Tag creative writing

{ Delightful Visual Resource To Engage More Deeply With Ancient History } Panoply: Animating the Ancient World …*

Shout out to the ever fantastic Open Culture, where I discovered the delightful Panoply project which focuses on animating ancient pottery.

Panoply is run by Steve K. Simons and Sonya Nevin, combining Steve’s animation skills with Sonya’s expertise in ancient Greek culture.

We make animations from real ancient Greek vases. This site puts them together with a wealth of resources that give you reliable info on ancient culture and fresh ideas for teaching sessions on classical civilisation, art, and creative writing.

Panoply, like all good chance encounters aims to help us take another, deeper look at that which we might all too easily overlook. By creating stunning animations, Panoply gives us an opportunity to stop and really look and engage with fragments of ancient vases that we might have otherwise missed in the endless treasures of large museums. They have an entire page on their website dedicated to ideas for how you can use the animations to liven up discussions about ancient Greece and as a springboard into creative activities:

You can use these animations to spark all sorts of teaching and learning activities. They’re particularly good for sessions on classical civilisation, art, and creative writing. They can be used with learners of all ages and levels, from primary through to higher education as well as community, home-school, and lifelong learning. If you don’t have a group to teach, do the activities yourself or with your friends.  

From storyboarding, to writing, to film and animations studies, Panoply provides a wealth of resources to help you and your students engage with ancient civilizations and the craft of animation. Head over to their website to explore all their resources and blog which features discussions of vases and iconography as well as interviews with leading academics, and of course to watch their brilliant animations.

Watch the interview below to hear Dr. Sonya Nevin talk about how the project started and how it has been used as a teaching aid in schools.

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On a somewhat related note, I just read a fascinating origin legend about the beginnings of art related to Ancient Greece as told by Victoria Finlay in her book, Color: A Natural History of the Palette (which I previously mentioned in a post about cultivating a craftsman mindset). As recorded by Pliny the Elder in Natural History, the origins of painting came from a young Corinthian woman, who while embracing her lover good-bye before he set out on a long voyage, saw his shadow cast on the wall and decided to outline it in charcoal to hold on to his image while he was away:

According to one Western classical legend, the first paint was black and the first artist female. When Pliny the Elder was writing his Natural History–a summary of everything available in the Roman Marketplace and quite a few other things besides–he told a story of how the origin of art was found in epic love. After all, what better inspiration for art is there than passion? According to Pliny one of the first artists was a young woman in the town of Corinth in Greece who one evening was weepily saying good-bye to her lover before he set out on a long journey. Suddenly, between impassioned embraces, she noticed his shadow on the wall, cast by the light of a candle. So, spontaneously, she reached out for a piece of charcoal from the fire and filled in the pattern. 

I loved this little story and thought you might too.

look, create & rethink …*

W.H. Auden On Teaching Creative Writing, the Joys Of Constraints & the Transformative Power of Collaboration …*

W.H. Auden On Teaching Creative Writing, the Joys Of Constraints & the Transformative Power of Collaboration ...* | rethinked.org

W. H. Auden at the Poetry Center, 1966. Photo: Diane Dorr-Dorynek, courtesy of 92Y Unterberg Poetry Center via The Paris Review

 

W.H. Auden, whose birthday is today, had some marvelous views on the impossibility of teaching creative writing, the productive joys of constraints and the transformative power of collaboration, all topics dear to our hearts here at rethinked * I particularly love his views on teaching creative writing by exploring a wide range of other disciplines– creativity, after all, is often found in the in-between, cross-over spaces. Also, apprenticeships!

 TEACHING CREATIVE WRITING TRANSDISCIPLINARILY & THROUGH AN  APPRENTICE SYSTEM

If I had to “teach poetry,” which, thank God, I don’t, I would concentrate on prosody, rhetoric, philology, and learning poems by heart. I may be quite wrong, but I don’t see what can be learned except purely technical things—what a sonnet is, something about prosody. If you did have a poetic academy, the subjects should be quite different—natural history, history, theology, all kinds of other things. When I’ve been at colleges, I’ve always insisted on giving ordinary academic courses—on the eighteenth century, or Romanticism. True, it’s wonderful what the colleges have done as patrons of the artists. But the artists should agree not to have anything to do with contemporary literature. If they take academic positions, they should do academic work, and the further they get away from the kind of thing that directly affects what they’re writing, the better. They should teach the eighteenth century or something that won’t interfere with their work and yet earn them a living. To teach creative writing—I think that’s dangerous. The only possibility I can conceive of is an apprentice system like those they had in the Renaissance—where a poet who was very busy got students to finish his poems for him. Then you’d really be teaching, and you’d be responsible, of course, since the results would go out under the poet’s name.

THE PRODUCTIVE JOYS OF CONSTRAINTS 

But I can’t understand—strictly from a hedonistic point of view—how one can enjoy writing with no form at all. If one plays a game, one needs rules, otherwise there is no fun. The wildest poem has to have a firm basis in common sense, and this, I think, is the advantage of formal verse. Aside from the obvious corrective advantages, formal verse frees one from the fetters of one’s ego. Here I like to quote Valéry, who said a person is a poet if his imagination is stimulated by the difficulties inherent in his art and not if his imagination is dulled by them.

THE TRANSFORMATIVE POWER OF COLLABORATION

I’ve always enjoyed collaborating very much. It’s exciting. Of course, you can’t collaborate on a particular poem. You can collaborate on a translation, or a libretto, or a drama, and I like working that way, though you can only do it with people whose basic ideas you share—each can then sort of excite the other. When a collaboration works, the two people concerned become a third person, who is different from either of them in isolation. I have observed that when critics attempt to say who wrote what they often get it wrong. Of course, any performed work is bound to be a collaboration, anyway, because you’re going to have performers and producers and God knows what.

Source: W.H. Auden, The Art of Poetry No. 17 via The Paris Review, published Spring 1974.

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