Grand oral preparation & Co-teaching
Grand oral preparation & Co-teaching

1. projet danse & art-plastiques

2. projet danse & art-plastiques

3. projet danse & art-plastiques

GRAND ORAL - PROJECT "Transmitting my specialty" - How did Masilo Dada appropriate Swan Lake by Marius Petipa to create a new work?

4. projet danse & art-plastiques

"Revisiting the Cheret Museum"

Projet innovant; enseignement de spécialité & Co-enseignement
Des projets au service du grand oral

" Ce qu'il nous faut ce sont des structures qui mettent les hommes en rapport les uns avec les autres et permettent par là, à chacun de se définir en apprenant et en contribuant à l’apprentissage d'autrui"

Yvan Illich

Intervention
  • 1. Presentation of the RE-VISIT Matisse project

    Co-enseignement réalisé par Mathilde Lemaitre et Sophie MArtinez

  • "Trois jours avant "

  • Présentation des modalités d'enseignement en co-intervention Arts plastiques & danse 

  • Focus sur des projets en co-enseignement, un atout pour l'enseignement de spécialité danse

  • Un projet d'établissement 

1. RE-VISITER Matisse-Projet transdisciplinaire

Projet en co-enseignanement Mathilde Lemaitre & Sophie Martinez


Activités et Evaluations

School outing - 1 day


« L'art peut mourir, ce qui compte c'est qu'il ait répandu des germes sur la terre. (…)

Une peinture, il ne faut pas se soucier qu'elle demeure telle qu'elle, mais plutôt qu'elle répande des semences d'où naissent d'autres choses. »

Joan MIRÒ (1893-1983)



“Is Picasso today in museums? It is very good. But what would Picasso do today to give society a new shape? »

Michelangelo PISTOLETTO (né en 1933)



“To think is to say no. In all these cases, it is to itself that thought says no. She breaks the happy acquiescence. She separates herself. She fights against herself. Notice that the yes sign is of a man falling asleep; instead the alarm clock shakes its head and says no. No to what? To the world, to the tyrant, to the preacher? It's just the appearance. There is no other fight in the world. (…) And what makes the tyrant master of me is that I respect instead of examining. Even a true doctrine falls into falsehood by this somnolence. It is to believe that men are slaves. To reflect is to deny what one believes. Whoever believes no longer even knows what he believes. Whoever is content with his thought no longer thinks anything. » ALAIN


in Propos sur les pouvoirs« L’homme devant l’apparence » , 1924.

également:SARTRE disait « Penser, c’est penser contre soi-même. »






Il est possible de transposer dans les arts plastiques en disant : créer, c'est créer CONTRE.

→ contre,... tout contre, en s'appuyant, se référant, se liant à …..

→ contre, à l'encontre de ...en s’opposant et se démarquant de...



On crée en s'appuyant sur quelque chose, Piet Mondrian disait ainsi :

« Rien n'existe que par son contraire dans la vie comme dans l'art »



RE-VISITER



→ To re-visit as a spectator is to return (re-come); re-see, re-live, look differently, see something else...


→ Revisiting as a creator means reinterpreting (reinterpreting), appropriating, renewing, transforming, adapting to contemporary artistic issues, to one's favorite mediums or to one's concerns and personal feelings.


INSTRUCTIONS :


Comment "re-visiter" le musée Matisse et son exposition « Metamophoses » sur la sculpture de Matisse en tant que créateur (plasticien et danseur) et proposer à un public, à partir d'une création artistique personnelle, une rencontre renouvelée avec les œuvres d'art ?


Comment créer à deux, une création commune entre plastique et danse ?

Le rapport avec l' (l)es œuvre(s) ne sera pas forcément visible mais sera réel et explicité.


"The aim of my work has never been to destroy but to build, to create links, because we must all hope that humanity will come closer, and it will be all the easier if we understand better. I will be happy to have, of understanding contributed with my modest forces to this less within our Slavic family.


Alphonse MUCHA


CONTRAINTES :


» =Formats, Supports : planche type « planche d’architecture » ou « planche de design une ou 2 feuilles raisin

on trouvera au centre une vue de la représentation (danseur, lieu de la danse, créations plastiques)

we will find a QR code referring to the video of the dance

on trouvera des essais de couleur et textures

on trouvera un encart avec des explications du brainstorming danse/arts pla → qu'est ce qui fait filiation ? qu'est ce qui fait rupture ?

you will find views of important dance movements

on trouvera des dessins des réalisations plastiques (décors, accessoires, peintures, maquillages, costumes... etc)

on trouvera des détails précis travaillé de manière très aboutie (plastiquement et pour la réalisation)

on trouvera une vue (dessin ou peinture de qualité) de l'oeuvre inspiratrice avec son cartel (références complètes)

a title given to the creation

the name of the 2 creators

>techniques libres mais choisies volontairement (approfondissement technique attendu)



- Situer votre travail en filiation-rupture ou en avec les œuvres que vous re-visitez


- Ancrer votre travail dans une démarche contemporaine (enjeux artistes actuels)

- personal bias: affirm a singular, both in the realization (sensitive plastic) and in your semantic, symbolic, thematic choices.


→ a visual analysis of the chosen work (rendered on paper) is expected as an appendix to the plate (2 pages min font 12)





2. "trois jours avant" - voyage à Paris

Projet en co-enseignanement Mathilde Lemaitre & Sophie Martinez


 “Motivation is a complex concept, driving learning. How to create it? For behaviorists and Skinner the solution comes from external positive reinforcements. For the psychologist Carl Rogers, motivation comes from the individual himself. And for constructivists, it stems from the interactions between the student, his perceptions, his interests, his expectations and his environment. Unfortunately there is no universal solution and the tools to be used vary according to the learner. It is clear that this motivation starts from a need, from a lack felt by the learner. New paLearning then becomes an impulse that can motivate the learner, then bring him to the pleasure of filling his gaps, which will motivate him even more. Learning then becomes a virtuous circle. (…) In summary, the teacher must propose activities which, in addition to corresponding to an educational project, must bring something new, raise questions in such a way as to create this lack in the pupil. He must also demonstrate its interest and usefulness to make him want to fill it. He can only be a bonus if he is passionate about what he teaches because passion can be contagious .  André GIORDAN, Learning! The project in brief:  Building on work carried out for several years around the dual issue of transmission between peers and sharing cultural and artistic, it seemed to us that proposing to high school students to meet for this purpose opened up a new dimension corresponding particularly to the expectations of the new high school programs as well as artistic and cultural education. The project consists of a one-year exchange between pupils of the second general year and pupils of artistic specialty plastic arts (dance and music also) coming from distant cities and culturally different establishments. The highlight will be a school trip during which the pupils will present works of art, cultural places and other cultural elements that are of interest to the other pupils. This trip will be an opportunity for cultural and heritage discoveries as well as exchanges between students and even with professionals. The purpose of these exchanges over the course of the year and then during two "trips" of a few days to Paris and Nice aims to open up to otherness, to engage the students in an affective and cultivated appropriation of their environment, to teach them to invent, carry out and complete a large-scale project requiring in-depth research and personal work but also cooperation, to work on the oral skills necessary for the present, for their Grand Oral but also for their future, to work and also question the modes communications and transmissions related to new media. This cultural as well as artistic work, civic as well as academic, will take different forms at the two geographical poles in order to correspond to the specific expectations of each level as well as the lessons carrying out this project. This diversity, far from being a brake, will on the contrary be an asset since it will be a question of both sides sharing what is not the field of work of others. This posture of exchanges between different class levels and streams is an accepted goal in that it allows a real work of non-anecdotal transdisciplinary openness and prepares for integration into a society that is multiple in nature. In Nice, as part of the project but also of the plastic arts specialty course, students will work in museums so as to forge strong links between cultural structures of varying degrees of proximity and schools. This will facilitate exchanges between professionals and students, will densify the presence in the places, and will initiate a certain desacralization of art spaces. This work will make interactions between works of art/students, professionals/students, students/external audiences, students of different levels among themselves, students of different levels with professionals easier and more efficient. By means of a reinforced presence of the pupils because of their courses and school work, then little by little thanks to the development of their personal tastes like the realization of actions, will begin desires of sharing. Thus, by propagation and contamination of relatives, an opening towards these places will be triggered: beyond the educational and cultural interests, a civic and humanist dynamic is implemented beyond the only exchange of the year. If the benefits for the students are obvious, those for the structures and the professionals of these are not to be neglected. In addition to the richness induced by the transmission, the dynamic and active presence of young people can participate in a renewal of the public for the museum. Ultimately but not negligible: the construction of values, common and shared values, civic values with the cardinal values of the entire project being collaboration and altruism. Pragmatically, this takes place along several lines: On the one hand, during a defined period of the year, courses take place at the museum on a weekly basis (practical theoretical courses) so that there is space for discovery or he apprenticeship, even encounter with art, the museum becomes a place of training and research. On the other hand, in collaboration with certain mediators and other professionals, the pupils build a work which will be presented during the reception of the Parisian pupils. They create personal plastic productions in echoes and in interaction with the works and the places and fit into a living and questionable art history, anchor their work in the news of art and wonder about a visibility and presentation of these since in the long term this work will serve as a support for meetings with other students. Finally they meet the actors, professionals of the structure and discover the reality of their trades. This positions the students as "apprentice artists", in a dual approach of "drawing" resources (practical, technical and inspiring) within the works, the places as well as with specialists and documentation spaces and an approach of ' "actors" in the propagation of culture by becoming a mediator towards works and places. When welcoming 2nd year students, specialization students will rely on personal artistic creations in order to bring to life a sensitive encounter with the places and works presented. "Our civilization separates more than it connects". We are in lack of connection, and this has become a vital need: it is not only complementary to individualism, it is also the answer to the concerns, uncertainties and anxieties of individual life. Because we have to assume uncertainty and worry, because there are many sources of anxiety, we need forces that hold us and connect us. We need reliance because we are in the unknown adventure. We have to assume the fact of being there without knowing why. The existing sources of anguish mean that we need friendship, love and fraternity, which are the antidotes to anguish”. Edgar MORIN, The Method T VI, Ethics expect the unexpected to face it". It is necessary that all those who have the responsibility of teaching are at the forefront of the uncertainty of our times. »  Edgar MORIN, Main axes of the project Objectives, Purposes, added value for students This project aims to facilitate exchanges between museums – the works, the place as well as professional actors – and high school students. Based on the observation that despite the geographical proximity of high school students (particularly in the arts) only a minority of them are familiar with museums and that, despite the interest of the collections, they do not visit them regularly, it is appeared necessary to establish a process allowing to permeabilize these mental barriers which make tight these places nevertheless neighbors and which should on the contrary function in exchanges of the order of complementarity. On the other hand, these "apprentice-artists" have to assume the role of propagators of culture and it is by positioning them as such that art and culture can be disseminated among their peers and their relatives. High school-museum interactions should not be confined to the narrow temporal space of educational outings, but should become complementary places of training for art students, as for all students. Thus it seems necessary that the museum be perceived as a place of learning, of discoveries as much as of practice, of exchanges with professionals as well as of deepening one's creative personal work in contact with the works. This exchange project aims to develop this. In other words, to shake up the prejudices distinguishing between a place of learning (within the walls of the establishment) and a place of culture (the museum) that are spatially, temporally and above all symbolically sealed off from each other. This project is also part of the desire to enhance and encourage exchanges with local structures, to make the local cultural and heritage fabric visible and attractive, to teach our students to know it and to share it, in other words to make students smugglers of this culture which is theirs. This project is above all a humanist experience in which the students, actors, project leaders, creators of sensitive events enter into links and together create a dynamic and a "common world", developing social and civic skills as well as school skills. , techniques or cultural knowledge. "For me, we just need to make new looks" In an interview on France Culture on the occasion of his "Every stone should cry" exhibition at the Museum of Hunting and Nature in 2019, the visual artist Théo MERCIER explains “When I started my practice as a sculptor, I thought that my role as an artist would be to fill the world with its lacks. That's why I started to create works made from scratch, in materials that gave the illusion of being new. I thought that was my role as an artist, then I realized that I wasn't inventing and that in fact I was feeding off the world. I wanted to get out of my imagination and come and embrace the world, because what interested me was what surrounded me. The world lacks nothing, what is missing is the way of looking at it. “In other words, to go to the museum you have to be able to 'see'. (…) People who don't go to the museum are people who eliminate themselves from visiting the museum, not because they are not gifted and not because they don't have this grace that attribute those who go to the museum, but because they have not learned to look at works of art. Here too we are settling an illusion very widespread among the privileged of culture, the illusion that culture, paradoxically, could be something innate. In reality, the art of seeing is something acquired. » Pierre BOURDIEU Public concerned and numbers - The students in charge of the project are the students of the First Plastic Arts Specialty and Dance specialty, as well as the Dance, Music and Arts Specialty students of the other levels for certain moments of the project, i.e. between 10 and 40 pupils for the Lycée Apollinaire (Nice) and 15 pupils for the trip - The pupils of a second class at the Lycée Ionesco (Paris), i.e. around 35 pupils. - All the students of the two high schools who will be affected by the cultural actions carried out during the exchanges. Description and Modalities The Programs of the stays are currently only sketched out, they will depend on the speakers (teachers and outsiders) and the choices of the students to plan these visits, exhibitions and events in progress during the dates of the exchanges (temporary exhibitions, live shows ...) and organizational possibilities
Download the project sheet
3. Co-teaching projects 2021/2022 dance & plastic arts
Co-teaching dance-plastic arts in the final year class
Co- enseignement danse-Arts plastiques en classe de premiére
an ambitious project of both co-teaching & an inter-institutional project


An ambitious project in co-intervention and co-establishment


Il s'agit de 5 rencontres entre les enfants seuls migrants résidant au CIV et nos élèves de 1ere du lycée Guillaume Apollinaire


Enjeux:

A partir d'ateliers de création et d'écriture plastique chorégraphique et littéraire nous souhaitons "danser & dessiner" les témoignages de ces enfants ce qui permettrait à nos élèves outre de s'approprier les compétences disciplinaires de chaque matiére, d'ouvrir leur regard sur le monde. Au delà nous avons pour ambition de creer des tutorats afin que les enfants s'approprient des outils d'expression leur donnant alors la possibilité de s'exprimer sur leurs histoires.


Les modalités d'organisation sont encore à définir


4. Co-teaching projects 2021/2022 dance & other specialty disciplines

Suite au déroulement de l’année  2020-2021, plusieurs constats ont pu émerger notamment dans le cadre de la préparation au grand oral.

Pour cette préparation, commencer en tout début d’année à aborder le travail du grand oral notamment en croisant les disciplines sur des projets courts fonctionne. Nous avons réalisé ce travail avec la collègue Mathilde Lemaitre en Arts plastiques. Il apparait à ce jour que ce travail a été très bénéfique pour l’ensemble des élèves, cependant il apparait évident que croiser d’autres disciplines à savoir les enseignements de spécialités choisies pour les élèves est incontournable.

 

- To know and find the links between the programs of the different disciplines

- To harmonize assessments so that the entire teaching team has the same vision and identical requirements.

Cross discipline
1s Mme Troiani
1s History/ geopolitics
1s
1s Mr Fontanille How 20th century choreographers use science to construct their choreographies
The influence of philosophy on contemporary choreographic works
The influence of cultural policies on the marketing of French shows
Sciences/SVT Mr Fontanille The energy constraints of the body / preparing the dancer's body to perform artistic performances
5. Preparation for the grand oral - an ambitious school project -
focus sur les compétences transversales à acquérir

The idea after the test phase on the transdisciplinary project dance/plastic arts/specialty teaching is to carry out two weeks of courses in co-intervention from the month of April with a view to

- préparer les questions transversales de grand oral

- acquérir un savoir faire commun dans la méthodologie de l'exposé


Protocol:

1/2 journée banalisée en octobre/novembre afin que les enseignants des différentes spécialité échangent sur

- les programmes (piste de croisement des disciplines entres elles

- les critères d'évaluation (préparation d'une méthodologie commune de la présentation orale)


1 week of dedicated co-teaching at the beginning of April (during specialty teaching hours)

- afin de définir les besoins de chaque élève et de travailler les questions transdisciplinaires


1 semaine en co-enseignement dédiée en mai (sur les heures d'enseignement de spécialité)

- in order to carry out an evaluation by pairs on the grand oral presentations




Et pour conclure - Projet " Arts engagés"

Projet en co-enseignanement Mathilde Lemaitre & Sophie Martinez


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