How do you make art? It comes from your heart, down your arm, into the paintbrush or pen and onto the page. So said the young participants of a collaborative project developed by Kids’ Own in partnership with Focus Ireland. Kids’ Own is driven by a passionate belief in the intrinsic value of the arts in children’s lives; as a source of joy, fulfilment and connection. We work to give children greater access to cultural expression and to be actively creating, enquiring, communicating and making meaning through the arts. This book offers a window into ways of working collaboratively between artists and children. It also celebrates the work and history of Kids’ Own through samples of projects devloped over more than two decades.
kidsown.ie
A powerful place
Artists and children working together
Image © Anna Leask. Story House project, Culture Night, 2015
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Story Pods project at The Dock, 2015.
Introduction Welcome to our new
part of, this legacy and this
underpin our work; to take
methodology document!
evolution. The importance
stock in order that we may
This book provides a
of Kids’ Own’s work is not
never take for granted the
long-awaited articulation of
imagined. Kids’ Own has
importance of what are doing
something quite intangible.
held a central role as a
– and the why and how of it.
As the current CEO of Kids’
leading national organisation
Own, I am very conscious of
within the sector, supporting
This document is written
my role in bringing forward
and developing arts practice
in the spirit of sharing and
a way of working that has
with children and young
interrogating. It is not a
evolved and developed
people, and taking an
‘final say’ on how things
over 24 years – since Kids’
uncompromising view on the
should be done, but rather
Own was established.
importance of how we work.
seeks to enquire, probe,
Previous directors have had
While never operating in
celebrate and uncover.
a critical role in nurturing
isolation – always connecting
While not pretending to
this ‘methodology’ and
with, informing and drawing
present a definitive way of
protecting it, in order to
from the expertise of others
doing things, I still hope
preserve the values and
and relishing this sharing and
that it might offer lightbulb
ethos of the organisation
reciprocity of approaches,
moments or nuggets of
as it continues to engage
I would also like to think
inspiration to any artist,
with generations of children
that Kids’ Own has led
teacher or other human
from all backgrounds.
by example, and in some
who is interested in artistic
Having worked with Kids’
instances, been a trailblazer.
and creative practice with
Own since 2009, and for
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children and young people.
a large part of that time,
As Kids’ Own now inches
under the stewardship of
towards its 25-year
the organisation’s previous
anniversary, it seems timely
director – Orla Kenny – I
to take the opportunity to
have observed extensively,
interrogate some of the
Jo Holmwood
as well as being an active
values and approaches that
Creative Director, Kids’ Own
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History and Background
The establishment of
Also of huge importance was
Kids’ Own in 1997 came
Ireland’s ratification of the UN
at an important time,
Convention on the Rights of
when economic growth
the Child.
brought great optimism for the cultural sector – new
The founders of Kids’
partnerships, improved
Own were Simon Spain
funding, architectural
and Victoria Ryle – a
opportunities and an
printmaker and an educator
explosion of grass-roots
respectively – who observed
creativity. In the cultural
and responded to the
heart of Dublin, The Ark had
lack of print materials and
recently been established
resources for children that,
as the cultural centre
in the first instance, reflected
for children – a custom-
children’s own voices
designed building with
(untouched by an adult
theatre, art studio and
worldview) and secondly,
gallery and, under the
that gave a true reflection of
directorship of its founder,
children’s lived experiences,
Martin Drury, was exploring
i.e. multiplicitous and
multi-disciplinary models of
heterogeneous, rather than
engagement that reflected
the single-narrative and
a holistic view of the child;
dominant representations
framed within a rights-based
that were routinely presented
approach.
in mainstream children’s literature at the time.
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Magic Things An introduction to the origins of Kids’ Own by Simon Spain and Victoria Ryle Kids’ Own Publishing was
publication written through
contributed to the book’s
born from a union between
a collaborative process,
production– typically in small
us, Victoria Ryle, a teacher,
created in a classroom in
limited editions of only 100
and Simon Spain, an artist.
East London.
copies.
we began collaborating on
Over the next few years,
Frequently, each book was
socially engaged creative
working independently and
numbered and signed by
projects. As an early years
together, we honed a viable
the children by hand, thus
teacher with a focus on
process to enable schools to
becoming a hybrid between
literacy working in culturally
publish their own book, while
an artwork and a book. The
diverse and multilingual
developing a pedagogy
genres and subjects varied
schools in London in the
of publishing within the
from stories to poems,
1980s, I embedded the
classroom. We began to
calendars to local histories,
process of making books
gain insight into the potential
but collaboration always sat
with children within my
power of this innovative new
at the core of a process that
classroom practice. In a
approach where children
valued contribution from
pre-digital age, it took a
not only saw their own work
everyone involved. Engaging
collaboration with my partner
in print, but were able to
the local community became
Simon, a trained printmaker
take a copy home to share
part of the process through
specialising in screen-
with family and friends. The
book launches in the schools
printing, to create a book
physical process of writing,
and community centres.
printed in multiple copies,
illustrating and co-designing
The Living Dragon and
and actually hand screen
“By Kids, For Kids” was
The Magic Things (1989).
printing and assembling their
established on a shoestring
2017. Artwork, pages 6–11, from early
Produced in a small edition
books using high quality
at Hackney Teachers
hand-printed titles.
and printed in our studio,
art papers, proved to be a
Centre in East London, in
this book marked our first
galvanising process for the
1989, where I (Victoria) was
limited edition, hand printed
children involved. Each child
now working as a Literacy
Soon after meeting in 1980,
Simon Spain and Victoria Ryle at Kids’ Own’s 20-year anniversary event in
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Advisory Teacher. These
Calendar In County Down.
the Dún Laoghaire Poetry
before our relocation to
books focused on the rich
The groundwork for a larger
Festival with Something to
Sligo in 1999 where Kids’
array of languages spoken
project was being laid
Shout About (1998) and I like
Own Publishing Partnership
in the locality with titles
while at the same time new
the Sound of That (1999).
began a period of expansion.
such as Colours and The
technologies were enabling
It was during this period
Enter Orla Kenny, stage
Greenhouse Effect. This
us to better design and share
that we began to explore
left, who later became Kids’
project was trying to flow
the publications.
the interplay between
Own’s director, and Maeve,
text and image within the
Heather, Richard and Mary,
upstream in a turbulent period of UK social history
In 1996, Simon took up one
books and embarked on
all members of the Kids’ Own
dominated by Margaret
of the first residencies at
employing visual artists to
team.
Thatcher’s dismantling of
The Ark in Dublin, I left my
work on projects. Artists
the Inner London Education
increasingly politicized job
brought alternative ways for
On moving to Australia
Authority and an ideological
in Hackney, East London,
children’s self-expression
in 2004, Victoria Ryle set
re-shaping of education.
and we moved to Dalkey,
and storytelling rather than
up Kids’ Own Publishing
During this time, Simon
South County Dublin. It was
simply illustrating a text.
in Melbourne to continue
undertook short publishing
here, in 1997, that Kids’ Own
From 1996 to 1999, we built
developing the community
projects in the USA, Europe
Publishing was established.
critical relationships working
publishing model there,
and particularly a series of
With a £5000 start up grant
on a project by project basis,
which resulted in the
projects in Northern Ireland,
from the Irish Arts Council,
acquired new technologies
publication of dozens of new
with titles such as The
the company soon became
and equipment and began
titles. Kids’ Own Publishing
Wild Wolf of Woodtown,
engaged in a series of local
to document a solid
still operates in Australia
Our Townlands and a 1996
projects including notably
methodological approach
today.
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Artwork from Smarter Travel project in Dungarvan, Co. Waterford, 2015. Opposite page: Artwork from Starting School, published in 2014.
Vision Our vision is for a society that recognises children as independent writers, thinkers and creators and that truly values the arts in the lives of all children.
Ethos and Values
Mission Our mission is to create opportunities for children to collaborate with artists, and to publish and promote the artwork and insights that emerge from these encounters.
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Our Values
Kids’ Own is driven by a
We take a holistic view of
passionate belief in the
childhood and support
Artist Sharon Kelly and a participant
intrinsic value of the arts
the practice of artists and
of the Smarter Travel project, 2015.
and works in defence of
other professionals who
children’s right to culture.
work with children, in order
Our ethos is rooted
to enrich the communities
Child-centred
Collaborative
firmly in professional
that children are part of in
Kids’ Own works in defence of children’s
We work collaboratively with children,
arts practice and places
all sectors of their lives.
right to culture. Through the arts, we
with their communities and families,
value on children’s free
give children new modes of enquiry
with professional artists and other
self-expression through
and expression. We value children’s
practitioners. Enquiry, listening and
publishing and the arts.
multiple and shared perspectives (their
process-based approaches are at
100 languages) that lead to strong
the heart of these collaborations. We
With a strong social
and proud identities and a sense of
also value collaboration with partner
justice agenda, we strive
belonging and contribution.
organisations whose expertise
to elevate and give
increases the impact of our work with
credence and visibility
Integrity
to all children’s voices
We deliver our work with an ethos
and artwork in order to
of openness and transparency. We
Actively Inclusive
champion their status as
champion the professionalisation of
We believe in a creative childhood
equal and active citizens
arts practice with children and authentic
for all children. We have respect for
within our society.
approaches that are non-directive and
children as experts in their own lives and
non-contrived. We do not compromise
promote a culture of listening to children
on this.
within their communities and wider
children.
society. We value all children, regardless
Originality
of background, ability, race, gender,
We value and respect children’s
sexuality or religion.
authentic voices and experiences. We trust in the collaborative process to let the work unfold without always knowing where it will lead. This is how we elicit truly original and authentic outcomes. Artist Maree Hensey and a participant of the Lullaby Project, 2013.
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Orla Kenny, connecting with Ann Henderson during the installation of the Practice Tour at West Cork Arts Centre, 2014.
Coming Together Orla Kenny in memoriam In October 2019, a small
family’ and her unrelenting
costs, one was not to do
group of artists came
pursuit and interrogation of
something by rote, or to
together to commune on
excellence was something
stray from an authentic
Iniscoo Island, Co. Donegal.
that we had all witnessed
line of thinking in order to
The purpose? To simply ‘be’
and experienced, and which
tick a box. The reasons for
in each other’s presence and
had had a marked influence
approaching something in
reflect. What did we have in
on our practices.
a particular way had to be
common? A commitment to
rooted in something real;
working with children and
Subsequent to Orla’s death,
and connected to one’s own
young people, and a sense
Kids’ Own invited many of
practice. Care had to be
of a shared ethos which Kids’
these artists to reflect and, if
taken to attend to this. If we
Own, to varying degrees,
possible, articulate how Orla
weren’t being true to our own
had helped to inform. This
had influenced them and
practice, we would be doing
gathering officially took
their practice.
children a disservice.
Kenny, Director of Kids’
One artist said that the
Much of the following is
Own from 2003 until her
question ‘Why?’ had
rooted in values that Orla
resignation, due to illness,
underpinned so many of
promoted.
in 2018.
his conversations with her.
place in memoriam of Orla
This was because she never
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Orla had been instrumental
took anything for granted
in drawing many of the artists
or at face value. Decisions
present into the ‘Kids’ Own
had to be justified. At all
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What is Meaningful Collaboration? Kids’ Own began using the term Meaningful Collaboration as an articulation of our process with children and young people. But what does this really mean? During our Iniscoo retreat, the cohort discussed and teased this out. Here are some of the responses that came from this discussion: This is our perspective. It isn’t a recipe. It’s not just one thing. It can’t be replicated. This page and opposite: All imagery from ‘An Island Away’, October 2019.
Flexibility
Artistic integrity
Trust and flexibility.
No hiding away from the truth or the honesty of your practice.
Taking a risk with being more spontaneous. Planning: creating a solid structure from which to “leap off”. The structure needs clear boundaries. It is freefall and process, but you have to be coming in from the same angle. Plan to respond to the children. Trust in the process (but so much planning is required). Giving time to allow for a process to develop. Tangents are good.
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What really connects with you as a writer or artist – that’s what brings you into the space. Being true to yourself in the room. Transparency, honesty, real truth. Bringing: honesty, openness, confidence, transparency. The more it’s connected to my own practice, the more you’re opening up that space, but there has to be a stepping in to that space. You’re vulnerable.
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Our view of children The children are the ones everyone’s thinking about. Fighting a model where adults are the experts. Children instantly know when your interest is real. They can sense fakery. For the child to feel like, and be, individual, be themselves, feel valued, in an environment where there are 30 uniforms.
[Children] being heard time and again.
Shifting expectations
Sometimes you see a switch going on. Providing a space for whatever their [the children’s] response is. There is no right or wrong answer. Sometimes it can take weeks for them to actually believe us when we say this.
“Pushing” always has a negative outcome. Lateral thinking. When there are stumbling blocks, you move around them.
Making visible and verbalising what’s already there.
Not seeking something which has notions of success. Turning failure on its head.
Verbalising layers of identity.
Children instantly know when your interest is real. They can sense fakery. 18
A shift takes place. Something clicks. (How do we define what this is?)
A safe space to fail. A space for those who don’t have a voice.
Participant of the Mental Health project, which resulted in the publication of Bouncing Away, 2015.
L–R: Judith White, Ann Henderson and Julie Brown (nee Orr), longstanding collaborators on the Virtually There project.
A shift takes place. Something clicks. (How do we define what this is?)
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The Virtually There exhibition at
Artist–Teacher Teachers are rarely invited to really “collaborate” and give time over. Confidence and experience are being brought from both practices – artist and teacher; or artist and writer. Communication is key.
Virtually There planning meeting, 2013. L—R: Ann Henderson, Judith White, Julie Brown (nee Orr).
University of Ulster, March 2020.
The artist also has respect for the teacher’s expertise and their role in this collaboration. There is a shift when the teacher begins to truly value the artist’s practice. When they see the process give time over to children who might not normally be engaged.
Teachers need to have a confidence in their own practice to step into that space with the artist.
The artist also has respect for the teacher’s expertise and their role in this collaboration.
Teachers are rarely invited to really “collaborate” and give time over. Left: Maree Hensey at a planning meeting for the Lullaby Project, 2012. Above right: Naomi Draper and a child at St. James's Primary School connecting as part of the Virtually There project, 2018.
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The Lullaby Project, 2013.
Main image: Girls from St. Louise's school, Belfast participating on the Gender Equality project, 2019.
What are the barriers to meaningful collaboration? Doubt on the part of funders or stakeholders.
Artistic Approaches
Fear of what children might say. The ‘adult-knows-best’ model. Fear of not being in control. A ‘token’ approach to collaboration. Children know when it’s not real.
Clockwise from bottom left, process imagery from Virtually There, 2019; To Be, To Wallow, To Wonder, 2018; This Giant Tent, 2018; To Be, To Wallow, To Wonder, 2018; Cruinniú na nÓg at LexIcon Library, 2019; An Island Away, 2019.
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Mary Branley
stayed present to what
make reading and listening
Deep Listening
was unfolding in art and
part of the group experience
discussion. On the way
when working with young
to the taxi after the fourth
writers in Letterkenny and
workshop, one of the girls
Derry. After a period of
said to Vanya, “tell Mary
writing, all the participants
I’ll talk about the war next
were invited to read their
week”. Sometimes I’m asked
work aloud, while we listened
The Mayo–Syria project, which
what if sensitive material
attentively, or as deeply as
resulted in the publication of A
arises in these discussions
Strong Heart, 2018.
possible. I also recorded the
that could be distressing for
readings, which seemed
the child or young person.
to add to the occasion,
We did special training to
or perhaps the recording
respond appropriately if
device was a neutral witness.
We agree that art is communication, art is dialogue, and we value the process of working together and dropping into the unknown together. Deep listening is a practice
what is just under the surface
many definitions of art, but
record and later transcribe
that occured, but this has
Reading and being listened
of listening, not just with
and can emerge.
in Kids’ Own we agree that
verbatim to be read,
never happened to date. I do
to brought an added depth
your ears, but from different
art is communication, art is
expanded and edited by
think the creative process
to the writing workshops
centres in the body; heart,
I learnt deep listening from
dialogue, and we value the
them. If I’m working one on
is a safe place for children
week by week. The group
solar plexus and third eye.
Buddhist psychotherapist,
process of working together
one with children, sometimes
and young people to share
listening deepened over the
It requires the listener to be
Ros Oliver, while on retreat
and dropping into the
I type as they speak, so their
difficult and challenging
weeks, as the young people
present and alive to what
at Dzogchen Beara in 2008,
unknown together.
natural idiom, cadence and
experiences without it being
developed new trust in their
is arising, without the need
through multiple role plays
Children discover who they
inflection emerges in the
overwhelming. So Rafat did
writing voice, and their flow
for analysis, or comment. It
in which one practised
are in making art, and delving
writing.
share her experience of the
of words. They also could
requires the listener to be
speaking, listening and
into different aspects of
Syrian war and her family’s
hear what was working and
open to receiving what is
witnessing. It’s been part of
their experience that isn’t
On a recent project with
journey through Turkey and
what might need changing.
being communicated by an
my facilitation with children
usually possible in school
Syrian and Palestininan
Greece before coming to
The confidence of the young
individual or a group. In my
in creative writing and art
settings. Often children are
children in Mayo, deep
Ireland, and her story and
people was remarkable when
case, as a writer working with
workshops ever since. I feel
asked to make up a fiction
listening helped establish
artwork holds a powerful
they launched a broadsheet.
children talking about their
children are best placed to
in storytelling, rather than
trust in discussing their
place in A Strong Heart.
experiences, deep listening
articulate childhood as a
recount a reality.
experience of a new life
enabled me to truly hear
state of being, that as adults
in Ireland, and what being
I have also been asked if
what children were saying
we have forgotten. Deep
There are many ways of
a refugee was like. Vanya
deep listening is a practice
about their lives, and not
listening is a way of valuing
generating text, when it
Lambrecht Ward, artist
that young people can
presume I already knew what
childhood, adolescence
comes to working with
with Kids’ Own, and myself
learn, that might be useful
these experiences were. It
and young people, as well
children and young people,
had no outcome in mind,
in their creativity and lives.
also opens up a space for
as the individual. There are
such as discussions that I
but Saturday after Saturday
To explore this I decided to
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The World of Children, 2012.
I feel children are best placed to articulate childhood as a state of being, that as adults we have forgotten. 25
Naomi Draper Wonder and Curiosity Wonder: an emotion excited by what is unexpected or unfamiliar or inexplicable Curiosity: desire to know
I am excited by others’ sense
This particular project invited
interested in developing
each week when the group
of wonder, the energy of
artists to work with Baby and
an understanding of the
entered the space and found
curiosity, the draw towards
Toddler groups established
importance the environment
what I had created for them.
the unknown, the quest
in the border regions,
and its structure have on
for new knowledge and
introducing an ‘aesthetic
development, learning and
learning. I am interested in
dimension’ or ‘vibration’ to
creativity; examining the
how we encourage, enable,
their weekly meetings to
protect and value this way of
activate human development
being.
a space that might have
publication notes Vecchi’s
been closed previously and
description of the aesthetic
unavailable, its opening
vibration of education as
offers a place for new
“the process of empathy
discoveries, potential and
relating the self to things
possibility. It presents a
and things to each other …
place to share, exchange
it is an attitude of care and
and learn with others. The
attention for the things we
gesture of opening the door
do, a desire for meaning; it
communicates a non-verbal
is curiosity and wonder; it is
invitation that does not carry
the opposite of conformity,
instructions, directions or
of absence of participation
expectation.
and feeling”. Kids’ Own invited artists to bring an
Inside the space, I am
aesthetic vibration to the
usually scrambling to finish
Parent and Toddler setting,
Ten years later, the
my preparations of a new
acknowledging the value
action of ‘opening the
environment I will present,
of their role in a particular
structures, boundaries,
door’ represents many
carefully and meticulously
context. Kids’ Own’s attitude
limitations and new
fundamental aspects to
laying out materials,
and support towards this
and improve the quality of
potentials of the spaces we
my practice of work with
considering how each and
has enabled me to continue
human interactions within
are part of.
others and developing
every part is presented, while
exploring the potential of
The first project I worked on
those groups. I worked with
workshop led situations
outside the space I hear the
the environment on our
with Kids’ Own was Being
a group at Castlefinn, Co.
Each week I attempted to
... it has become my most
footsteps and eager sounds
development and learning,
and Belonging in 2011. It
Donegal. The meetings
present the familiar (space
cherished moment, marking
of the participants. I am
to progress and expand my
led to the publication of the
took place in a large gym
and materials) in a new and
the beginning of each new
curious and wonder about
approach and practice of
book Opening the Door,
space and I developed
unfamiliar way, transforming
workshop situation. It leads
what our time together will
making these spaces, and
presenting documentation
a series of installations
this regular meeting place
to a new environment I have
hold, what discoveries we
to value and cherish the
and research around the
and arts-based activities
to realise all its possibilities.
prepared. For me, it is the
will make today, what can
particular moments where
project. I think often about
for interaction, enabling
Each week as the gym door
step that reveals the energy
we learn in this experience
wonder and curiosity vibrate
how appropriate this title
a journey throughout the
opened and the participants
of wonder and curiosity; it
together. In this moment, on
and live.
was; as the opportunity to
space. Exploring the spaces
ran in, I watched how the
is exciting, it is a time full
either side of the door, we
work with Kids’ Own opened
we build around ourselves
wonder and curiosity of the
of tension and a touch of
share this energy excited
a door for me into a new
and how we respond to the
children filled this space. I
anxiety. Opening the door
by what is ‘unexpected or
practice of working, thinking
environments that we are
observed how this energy
offers an invitation, and a
unfamiliar or inexplicable’.
and questioning.
part of, I have always been
shifted and transformed
welcome. The action implies
The Opening the Door
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Images from the Being and Belonging Project in Castlefinn, Donegal, 2012.
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Maree Hensey A Journey with No End in Sight Kids’ Own gave me an
ethos, vision, values and
work, I am not concerned
allowance for me to be me.
mission underpin the
about the outcome, it is the
They have an ability to throw
relationships with the
memory of the making that
out a line and see what
communities with which they
is all important. One of the
unravels in and through the
work and the artists they
projects that connects with
processes of reeling it in.
engage. That is why it feels
the immersive and meditative
They created opportunities
safe to grow, to take risks, to
aspects of my work – the
with young people for me to
be honest, to be authentic
paring back, the slowing
be an artist in the space: not
and to feel trust.
down, the process – was the
a teacher, but there was a lot
Lullaby Project.
of learning; not a carer, but
I have had to look deep
Pages 30–33: All images from The
there was a lot of tenderness
into my own practice and
Lullaby Project, 2013. © John D’Arcy.
and nurturing; not a
genuinely look at what I,
The Lullaby Project (2013–14)
linguist, but it was all about
as an artist, could bring
The Lullaby Project was
the language; not an art
to a child’s experience
delivered by Kids’ Own,
therapist, but we connected
of learning, of creativity,
in partnership with Early
deeply with our emotions;
of development and
Childhood Ireland and
not a play therapist but we
experiencing the world
three Early Childhood Care
real musical instruments.
had such fun. I have deeply
around them. My studio is
& Education Settings in
John D’Arcy sat quietly in
felt the meaningful support
a retreat, it is still, quiet and
County Sligo. The Lullaby
the space and documented
of the Kids’ Own family over
nowhere. When I work, I
Project was about creating a
the process through
many years, to engage
process things, emotions
gentle sensory environment
photography and sound. We
with communities of young
and events in my life. I let
in which babies aged 6–18
were resident in each of the
people, to collaborate
the work evolve. I draw, I
months were invited to
ECCE settings for a period of
with artists, musicians and
paint, I construct. I work with
explore sounds, beautiful
four weeks.
writers, to make connections
plaster, paint, paper and
and natural materials and
that are, above all, honest,
found objects. Each artwork
texture. I collaborated with
It was Kids’ Own’s vision to
challenging and real. Kids’
is an artefact of a repetitive,
musician Martin Brunsden,
present the collaboration of
Own are clear about who
meditative and immersive
his double bass (Bertha) and
Martin and I. We had never
they are. Their evolving
experience. When I make
a collection of found and
met or worked together.
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I have had to look deep into my own practice and genuinely look at what I, as an artist, could bring to a child’s experience of learning, of creativity, of development and experiencing the world around them. Through our collaboration
of holding and gentleness.
as musician and visual
We let the feathers fall, the
artist, we found a shared
sand flow through our hands,
visual vocabulary, approach,
the paint swirl as we watched
vision and ambition. This
patterns, fluidity, grace
was a sincere and honest
and movement emerge.
relationship. We forged
It felt so connected to my
a very deep connection
own practice and working
and common ground in
methods, staying with the
making spaces guided
focus and the intensity of
by the babies; their pace,
the moment. We did a lot
their sense of wonder,
of listening, we worked in
curiosity and of inquiry. The
silence and talked with our
collaboration was magical.
fingers. The heart of the
Martin made drawing with
Lullaby Project was about
sound, responding intuitively
a stillness and safety and
to the movement in the
individual expression. Is was
space. There was a slowing
a language without words, a
down and being, being in the
journey with no end in sight.
moment. There was a sense 30
31
Vanya Lambrecht Ward
Virtually There, one of Kids’
of what you bring, but the
meaningful collaboration of
Reciprocity and Trust
Own’s longest-running
expertise and generosity
the reciprocal kind.
school engagement
of the people involved; a
projects, actively sought
willingness to listen, learn
to balance the relationship
from each other and, again,
between artist, teacher
the respect given to the
L–R: Jo Holmwood and Vanya Lambrecht Ward, 2015.
For a long time, I have striven
to imbue when working with
to find new language to
children and young people in
and children, strongly
artistic voice of the child
describe the relationships
schools and other settings.
encouraging this close
and collective vision and
and exchanges that happen
The offering, listening,
listening and responding,
response of the group.
when working together,
responding, exchanging and
and respect for each
often called ‘collaboration’.
mutual respect that comes
individual’s expertise and
Most projects I have
The word has been used in
with reciprocity are crucial.
voice, within each process.
worked on, very naturally
so many contexts, and has
This, we must understand,
had this embedded from
so many social and political
Many of the projects I have
was also a learning process
the start. Some, due to a
connotations – and even
had the pleasure of working
for all, and there were many
delicate subject matter,
more interpretations associ-
on, over the many years with
additional influencing
became dominated by
ated with it – that it has lost
Kids’ Own, strived for this
and can sometimes become
unfold, is, in an ideal world,
factors, other than the
concerns other than the
not only the value I previ-
exchange of ideas, mutual
awash with individual fears
something we all are drawn
willingness of those involved
relationships, for instance,
ously stored in it, but also its
learning and listening:
and unintentional self-
to automatically. It is adults
to receive and give back. So,
concerns for the mental
the publication of Bouncing
meaningful significance to
holding the children’s
preservation. This then
who need to be reminded
for me, with varying levels of
health, safety and comfort
Away, 2015.
the listener or reader receiv-
autonomy in high regard
becomes something that
of this. It is we who often
success, these relationships
of the children involved
ing it. In this search for new
and listening and sharing
needs to be negotiated,
see ourselves as sharply
flourished and wavered.
(see: Bouncing Away and
language to describe collab-
in the experiences. Equally,
rather than natural and self-
separate to the process
orative working practices,
the interaction between
evident. Perhaps this is why
and to the others involved,
In preparation for the many
course, are essential to hold
I revisited the studies done
the artist, teachers and
the term ‘collaboration’ can
and thus, the honesty of
shorter engagements, from
close to mind and heart in
around the Reggio Emilia
other participants needs
seem somewhat fraught, as
our response no longer
one-day workshops to book
all engagements. However,
approach, a strong influence
to be on an equal footing,
it can have connotations of
comes effortlessly. This
projects, that I have been
we can sometimes become
on Kids’ Own’s practice
approached with the same
arrangement and contract,
individually focused mindset
involved in with Kids’ Own,
distracted by adult concerns,
and Orla Kenny’s approach.
understanding of reciprocity
rather than a generous,
is pervasive and embedded
value was also placed on
which emphasizes the
Here, I came across the term
and partnership, and not
spontaneous, and intuitive
in our culture, language and
the relationship between
importance of investing in
‘Reciprocal Relationships’,
of hierarchy or dominated
response of those working
our teaching systems and
the artist and writer, as this
a shared trust within these
coined by Carlina Rinaldi.1
by an individual idea. This
together; an agreement to
thus influences the manner
formed a fundamental part
projects, and having the
This wonderfully incorpo-
is not always achievable as
respectfully listen and give
in which we collaborate or
of the creative process
collective and individual
rates the values I think we, as
institutional and social orders
(equal) space to the other, to
cooperate.
and engagement. Like all
voice of the child at the
artist and writer, endeavour
can be rigid and unforgiving,
share and respond as things
relationships, this is not
centre of the practice. This,
all about equality in terms
to my mind, is what allows for
1 Understanding the Reggio Approach, Linda Thornton and Pat Bruton (David Fulton Publishers, 2005) p. 49
32
A participant of the Mental Health Project, resulting in
A Strong Heart) which, of
33
Sharon Kelly
paramount. Often, in my
explore. We gave time to
Finding Resonance
own work, I am dealing with
planning and discussing
significant life issues and I
basic ideas: practicalities
consciously temper how I
in the classroom; levels
share my practice with young
of engagement of the
children. That is to say, I
children; how to enhance the
reflect on the nature of what
enjoyment of the children
This insight relates to the
it is I am addressing in my
for the project and the
nature of the relationship
personal work and consider
exploratory tasks suggested;
between teacher, children
approaching a particular
and ways of encouraging
and artist, and focuses on the
theme from a new angle,
the children through open
aspects was made possible
able to articulate their
for all our explorations; that
2018/19 phase of the Virtually
with a more lighthearted
questions.
because of the experience
concerns and imagine ways
it would provide the children
There project. I worked with
tone. The starting points give
and sensitivity of the teacher;
of overcoming problems—
with a long-lasting positive
P6/P7 children and teacher
the possibility of opening
Specifically, then, at the time
and, by taking time to
both in the physical sense
and memorable encounter
Fionnuala Hughes at St.
pathways that will enable
I undertook the final phase of
explore each of the physical
of how they might imagine,
with one another, with art and
Patrick’s Primary School in
children to engage with a
the Virtually There residency,
elements, and embedding
design and physically
the creative process, which
Crossmaglen. By this final
theme or idea and, through
I had been exploring ideas
into the process time for
construct a mind protector,
they might take forward in
phase of the project, I had
the creative process, express
around resilience in my
discussion, reflection,
and in the sense of feeling
their own journey.
worked with this teacher for
themselves in their own
personal practice and spoke
pondering and wondering …
secure in identifying their
several years.
voice and their own way.
to Fionnuala, the teacher,
For example:
concerns and realising ways
about taking this notion as So, the processes of
a starting point. The wide
approaching the project
finding resonance within
scope for interpretation of
as an extension of their
this relationship (children/
this word was important
practice … It recognizes
teacher/artist) require
and it became the basis of
that time is needed to build
individual reflection on
a series of explorations that
works from Virtually There, with
trust between teacher and
the part of the artist, and
included investigations into
St. Patrick’s Primary School,
artist, to enable a sort of
then together, through
the qualities/properties and
Crossmaglen, 2018–19.
gentle opening of channels,
discussions and planning
thus the resilience of things;
which can happen through
with the teacher, we begin
physical impacts on objects,
If we can brace our bodies for a physical impact, how then could we protect our minds from things we cannot see? What are these things?
of addressing these. A mind
It takes the notion of the artist
honest discussion, reflection
to forge a pathway. This was
and then our bodies, which
Because of the nature of the
for me, a deeply moving
and testing things out,
also possible due to the
organically progressed
relationship between the
experience and one which I
and an overarching ethos
experience, knowledge, skill,
to embrace ideas around
teacher and the children, and
believe impacted greatly on
of exploration. For me as
openness and sensitivity
resilience of the mind.
the time spent engaging in
my personal practice. And it
an artist, the integrity of
of the teacher. We learned
This development towards
the creative and investigative
reminds me of the hope that
what we engaged in was
how to take our time to
investigating ‘invisible’
process, the children were
both the teacher and I held
Process imagery and exhibited
34
protector could be designed to fend off, or filter, negative things, or could infuse the child with special powers to filter things out. On a personal level, the work we all engaged in during this last phase will remain,
35
Ann Henderson
The joy of really experimenting together
In Knowing and Not Knowing
exclaiming “Oh P5, what will we do about the ones stuck to
I recall clearly hearing Julie laughing, through my headset, and my wellies?” as she stood peeling, precisely to P5 instruction, in the middle of their six foot “Maximum Effort” drawing. The
Skin, artist’s response work for
exchange was beautiful. P5 playfully proposing that exertion
Virtually There, 2018
might mean;
I washed the earth from its skin carefully, feeling small bits fall away with the water and wondering what unseen particles were simultaneously “falling away” from my skin. Through the water I feel it all over, as I do my own face each morning. Pat dried, I find it scarred and scabbed and yet between, soapy-translucent. I wonder if I continue to turn it, and turn it, in my hands, which skin will give way first – the potato’s or mine?
“bigger, air and suction, exaggerated, marathon, ice bath, cross-country, sleeping - a lot - a little, extracting something, blowing something up, watching a movie on the sofa with popcorn, being your cat, lying down playing the Xbox chilling”.
My working relationship with
artists she worked closely
enables Kids’ Own to shape
Because Kids’ Own nutures
For some weeks we had
Kids’ Own has spanned a
with. This deep knowing of
their support and direction
the long-term, I have had
been investigating “skin”,
period of 21 years and two
my practice went, hand in
around real and changing
the luxury of working with
both as a noun and a verb.
fundamentals are core to
hand, with Orla’s resolute
need, for instance, providing
teachers Judith White and
We had made drawings,
this partnership – personal
confidence in it; alongside
vital artist’s response
Julie Brown (nee Orr) for
peeling drawings, carefully
relationships and ethos.
her unshakable belief in
time within projects. This
15+ years. During this time,
mapping where every piece
For most of this period, I
“trusting the process”. Orla
enables the artist to further
we have come to know, and
of skin fell on the paper.
have had the great fortune
empowered me to engage as
their thinking, practice
have great confidence in,
When time had had its effect
of working intimately with
honestly and open-endedly
and research, separate to,
each other’s practices as
on the skin, we mapped it
Orla Kenny. The values Orla
as I could, to step out and
although connected with,
teachers, and artist. It is this
out again.
embedded within Kids’ Own
work confidently within
the collaborative aspect,
deep knowing which has
are the building blocks from
realms of not knowing.
which of course feeds back
enabled us to keep pushing
into the process as a whole.
our collaboration into the
which it continues to forge itself today. At the heart of
Knowing my practice
I have a very clear memory
further reaches of “not
our own partnership was
This intimate knowing
of Orla ringing up, excited
knowing” — keeping the fire
Orla’s innate understanding
of the artist and their
about the “response work”
in our bellies, all this time,
of my practice as an artist —
practice remains a Kids’
above, which I’d just posted
for our ongoing work within
and this was true for all the
Own foundation stone and
for Virtually There.
Virtually There.
36
Top: Beginnings of Josh’s peeling drawing, 2019 Left: Studio Peeling Drawing, 2 weeks, apple, paper, coloured pencil, Ann Henderson
37
Our art and science merged beautifully and indistinguishably. What fun we had with preservation! Judith and I had been talking about “slowing it down”! It seemed the antithesis to the constant need to be forging ahead within the rest of the curriculum! But what would happen if we really paid attention to the pace the work itself was asking for? The result was illuminating. We were able go so much deeper, to investigate and know our work more fully. A hugely important part of this knowing comes about through our ongoing conversations. We spend at least half of our Virtually There time talking together – the whiteboards acting as tangible facets of our dialogue.
Above: Experiments in skin, Virtually There
Above: Chatting with our Norway
Opposite: P2 (class 18-19), Judith
Exhibition, UUB, 2020
visitors, P2 (class 18-19), Judith
White, Ann Henderson
P5 (class 2018-19), Julie Brown (nee Orr),
White, Ann Henderson
Ann Henderson
P2 (class 18-19), Judith White, Ann Henderson
38
39
When your project teacher runs with an idea just because you are excited! P2 wrote recipes for “stuff” you would, normally and not normally, put on your hands! Our video “Hand Drawing” evolved from this and when the kids saw it for the first time they just laughed and laughed – it was such a joyous response!
What a privilege it is to be an artist working within what Orla has laid down, in what Kids’ Own is today. As teachers, arts body, artists, and children, we get the opportunity to tend to our knowing, to enable our collaboration to evolve within the unknown, in knowing and not knowing.
Left: Hand Drawing video stills, P2 (class 2018–19), Judith white, Ann Henderson Opposite: Hand Drawing process image, P2 (class 2018–19), Judith White, Ann Henderson
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41
Julie Forrester Creating Geographies
Playground drawings. Process imagery from Virtually There, 2014.
My daughter kept a diary called ‘Up North’ and brought it back to her school ‘Down South’ to show her teacher and classmates. I began my time with Kids’
3/4 in Tyrone. They were
Own in the last millennium.
going to show us their place.
My daughter was nine
They would tell us all about
and attending an Educate
different landmarks,
Together school, so we
where they lived. We were
got special dispensation
going to go walkabout,
to travel together, to work
visiting places of
on Multimedia Maps with
significance. Sometimes
twinned schools in Tyrone
it was a monument with
and Leitrim. It was an
dates and history attached,
adventure.
sometimes it was a hill with a legend, or a ditch
42
We set off in our little van,
with blackberries, or the
loaded with materials and
perimeter of a quarry, here
equipment. We were going
we heard that a boy ‘might
to work in small country
lose an arm’ as we peered
schools, we were going
through the fence at the
to explore each area with
dusty machinery. It was all
the children of 3rd and 4th
shown to us through the
class in Leitrim and years
perspective of children of 43
The Kids' Own Book Factory, 2013.
‘Random Drawing’ video stills from the Virtually There exhibition, 2014.
7–9 years. I learned a lot. My
the landscape in sand pits,
school to another. Watching
Tryone children were proud
daughter kept a diary called
describing stories and
each other’s videos inspired
to already know what certain
‘Up North’ and brought it
adventures, mixing legend
more discoveries and a
names meant in an old
back to her school ‘Down
with life experiences, another
bigger desire for sharing.
tongue from long ago, many
South’ to show her teacher
kind of mapping.
I felt very privileged to be
children shared surnames
and classmates. It was all beautifully interconnected.
brought into the world of the
and we found it wasn’t so
Our work was in
child, and to be invited into
long ago.
documenting. We took
teachers’ worlds. We found
We built our own
photographs and made
sharing the names of places
This was a very personal
monuments. Once we found
videos, we made audio
was a key element, the Irish
journey for me as, in
a bat with a hole in its wing
recordings and made maps
language came to the fore.
many ways, it echoed my
and made a little cairn of
in drawings, inventing
We found Irish place names
childhood. I had left a school
rocks for a cave that it might
symbols for what we’d done
hold onto the particular
in urban UK for one in rural
recover in peace from the
and where we’d been. We
history of geography of
West Cork when I was nine
busy playground. It snowed
were creating our own
place. Children in Leitrim
and, as I found myself in
and we made spiral tracks in
geographies as we went
were amazed to learn how
these border schools, I felt
fields across the valley that
along. Annie and I were
much they could help those
so many worlds collide. The
could be seen later from the
messengers, bringing stories
in Tryone connect with place
children were my guides.
classroom. We replicated
across the border from one
through name, and some
44
Handmade Books
45
Handmade Books The handmade book has remained an important and integral part of Kids’ Own’s work. In schools, libraries, galleries and festival settings, we have made thousands of handmade, singleedition books with children and families over the years.
This page: Imagery from the Book Factory at The Model, Sligo, 2015.
The Travelling Library (2010–13)
The Book Factory (2013–16)
Developed with funding from the Department of Foreign
Developed in collaboration with the school of Industrial
Affairs Reconciliation Fund, the Travelling Library embarked on
Design at IT Sligo, this new creation—made from recycled
a cross-border tour to Sligo, Derry, Donegal and Enniskillen.
cardboard—provided an exciting child-centric installation at
Later, with an Arts Council Touring award, it travelled to
The Model, Sligo as part of Sligo Children’s Book Festival for
Waterford City and County, and then to remote parts of County
consecutive years. It also toured to schools and to other arts
Mayo and other locations. Inspired by Kids’ Own Australia’s
venues.
Book Cubby, its modular structure provided a versatile framework for bringing Kids’ Own books to new audiences nationwide, and gave children the inspiration, tools and dedicated space for making their own books. It also toured to Frankfurt Book Fair in 2010.
Through various initiatives, Kids’ Own has developed frameworks that supported wide public and family engagement with our book-making process and our published titles.
The Travelling Library, 2010.
Top images: The Book Factory, 2015. Bottom: The Book Factory, 2013.
46
47
The Story House (2015)
Library Collaborations
Developed by Naomi Draper and Vanya Lambrecht Ward for Culture Night 2015, the Story House invited children and parents to inhabit the house and populate it with drawings and stories connected to different rooms and everyday objects. Photography by Anna Leask.
All images from The Story House, Culture Night, 2015. © Anna Leask.
Kids’ Own recognises the crucial civic and democratic value of library spaces for children and families, and has built important relationships with many library services over the years. Since 2010, Kids' Own has been working in partnership with Donegal County Library Service and Libraries NI on numerous school, family and youth initiatives with consistent funding from the Department of Foreign Affairs. We have also worked extensively in Roscommon, Mayo, Waterford, Dun Laoghaire Rathdown, Kildare, Cork and Sligo to produce handmade books and published titles that represent the voices and lived experiences of the children in these communities. All imagery from ‘Big Book’ printing and story workshops at Roscommon branch libraries, 2010.
48
49
The 8-Page Fold
Process imagery from the Smarter Travel project, 2015.
The 8-page fold and the concertina fold have provided simple and timeless methods for supporting children to create their own instant book, to be populated with their stories and artwork—through drawing, printing and collage.
Raising the Status
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51
Unheard Voices Intercultural Series
“Unheard Voices” grew over a number of years to connect with children from an increasingly diverse Ireland. An intercultural approach is always part of our engagement with children, and has remained fundamental in publications to this day. But we also realised that all children’s voices were unheard, in terms of
Charlie Barley and all his Friends was created by Traveller and settled children, based on Traveller nursery rhymes and jokes little known outside of the Travelling community. It was the first Kids’ Own book to be mass printed and was launched in
decision making on every aspect of childhood, from education,
I am a biní creeper!
December 2001. Numerous projects followed rapidly with the development of an alphabet book, A–Z, Barnardos-funded Clotty Malotty and all her Friends, and the first Cant pictionary to support the Traveller language, which was developed in Kildare.
I’d like other children to learn the words too so that we can speak the Cant and keep the language alive. Clockwise from left, process imagery
Travellers like horses so much because in the olden times they had no cars and the horse pulled the wagons, a bit like you see on cowboy movies.
to health, to public spaces, etc. The obvious next step was to embrace children’s rights. – Mary Branley
Granny and Granda used to go fishing for food and mushrooms to put in the pot that Granda made.
from This Giant Tent, artwork from Can’t Lose Cant, artwork from A–Z.
Being a Traveller is the most important thing in our lives. It doesn’t matter what colour you are to be friends though. We are friends with everyone. 52
Artwork from This Giant Tent. Left, artwork from Cant Turn Back.
53
Children’s Rights
The World of Children (2012) Funded by the Children and Youth programme – a partnership between the two UNESCO Chairs at the University of
The UN Convention on the Rights of the Child Article 12: Assure to the child who is capable of forming his or her own views the right to express those views freely in all matters affecting the child. Article 13: The child shall have the right to freedom of expression.
Ding Dong, Right or Wrong? Children’s rights, needs and visions for the future (2010)
Ulster and the National University of Ireland at Galway, this
Developed from a series of workshops in libraries in Sligo,
the monitoring programme on the well-being of children
Bundoran, Enniskillen and Derry, as part of the Travelling
and youth in Ireland and Northern Ireland. A methodology
Library tour, and in response to the UN Convention on the
document was developed as a result of this project. The
Rights of the Child.
way that we worked together was through a combination of
project was developed as a practice-based response to
discussion and creative activity. The children brainstormed All of Kids’ Own’s work is a rooted in a rights-based approach,
these questions in groups: Why are children important?
but two titles in particular supported children to explore the
What’s important to children? Who are children important to?
UN Convention on the Rights of the Child, and articulate and
Why should people listen to children?
give creative expression to their thoughts on it. The children used different art techniques in the making of their work. They did printmaking, and began to assemble collages, which combined their prints, their photographs and their drawings.
Some children in the world don’t have a home. It should be every child’s right to have a home.
Quotes and imagery from The World of Children (2012). Bottom right: printmaking at Killyhommon PS, Boho, Co. Fermanagh.
We hope you find our book enjoyable. We are hoping it will open your mind and your heart to what children need.
Children need dreams to understand the real world
Quotes and imagery from Ding Dong, Right or Wrong (2010) and associated workshops.
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55
Children as Researchers
What do you see on your way to school?
Several book-making processes have connected strongly with the idea of supporting children to direct their own learning and fulfil their own curiosity, by empowering them to conduct research and adopt enquiry-based approaches through the arts.
I Can Taste the Rain (2015)
I went on my bike. I like pushing the pedals. I like the wheels moving.
We worked with the children to develop a series of activities that would encourage families to go outside, to move about in new ways and to have positive experiences within their communities. Among the activities explored were: mapping and how we move through spaces and environments;
The moon drinks the tide and spits it out.
observing and talking about things we saw, felt and heard in the outdoors; drawing natural and found objects from walks and outings; asking parents, guardians and grandparents about their own journeys to school.
Walking is way better because you can see everything. It’s like a journey. From the car, it’s like a big smudge.
The houses are close and the view is kind of far away. All imagery and quotes from Smater Travel workshops in Dungarvan, Co. Waterford, 2015.
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Across an Open Field (2016)
A Beak Like a Banana (2016)
This project was symbolic in the way that it actively engaged
“Our young environmental explorers from St. Patrick’s National
children with the Decade of Commemorations and gave them
School in Magherow went to the rocky sea shore on their
agency in interrogating, framing and (re)presenting history
environmental field trip because that is one of their local habitats.
through their own child-centred lens. The process with writer
[…] In the field we completed drawings, took pictures and
Mary Branley focused on gathering information through
recorded details we saw, all helping to develop our observation
online research and dialogue with historians and family and
skills. When we got back from our adventure we used our field
community members; and retelling and reflecting on the
notes to explore and learn more about what we found.”
stories they heard. With artist, Ann Donnelly, they explored
Declan Feeney, Lecturer of Environmental Science at the
different techniques and developed beautiful artwork inspired
Institute of Technology, Sligo
by the era.
By Emily Davison dying, it makes everyone feel awful and upset.
One hundred years ago, kids didn’t have any shoes so they had to walk about with bare feet. It would’ve hurted your feet a lot and if you were walking you could’ve just stood in glass.
We think the flamingo and the heron might be connected because they look really alike. The flamingo had a beak like a banana and a boomerang. And the heron had a beak that was pointy like chopsticks.
L–R: Mary Branley with a project participant, 2015; artwork from the publication, Across an Open Field (2016). Quotes from participant videos.
Participants and observational drawings from a field trip in Magherow, during the Environmental Field Guide project, 2016.
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59
Social Inclusion
A Strong Heart (2018) قلب قوي
Created by children from Syria and Palestine in partnership with the Refugee Resettlement Programme in County Mayo. Over six
Building on the Unheard Voices series, many projects have specifically sought to amplify and elevate the voices of children whose voices are lost and unheard within cultural life and within mainstream society in general. In the main part, such projects have engaged Traveller children and their families and communities, but in more recent years, this has extended to children from migrant and refugee families, and children with other experiences of social disadvantage, such as homelessness or disability.
weeks, the children met with artist Vanya Lambrecht Ward and writer Mary Branley at the Linenhall Arts Centre in Castlebar, Co. Mayo. Speaking about the process, Mary Branley said: “As the weeks went by, it was clear how much the children appreciated the opportunity to meet each other, the opportunity to engage culturally and communicate through the arts.”
I Hope You Grow (2018) Developed in partnership with Focus Ireland, this project supported young people living in temporary accommodation to engage in a two-week-long creative process alongside
I love high feeling that’s so emotional, and before I did it I felt deep in my heart that I could do it, because it looks very smooth and beautiful.
The men who were going to bring us to Greece took the money and left us in the jungle. That was frightening.
writer Mary Branley and artist Maree Hensey. As part of the process, they sowed seeds, wrote poems, developed beautiful ink drawings and spoke about their lives and experiences.
When you are a doctor, you need a strong heart.
The guy was selling the house so we all had to move. It was like a piece of glass shattering.
Artwork, quotes and process imagery from the project, which resulted in the publication of I Hope You Grow, 2018.
60
How to care for our seeds: Handle with care. Water them, feed them and give them lots of sun. Don’t leave them in the dark.
I’m going to take Aya with me and Sidrat to live on a different country with nice aliens and monsters and sunshine. Artwork, quotes and process imagery from the project, which resulted in the publication of A Strong Heart, 2018.
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Arts In Education
Pupils of Ballydown Primary School responding to the Virtually There Exhibition at F.E. McWilliam Gallery and Studio,
A young collaborator on the
spring 2015.
Virtually There project, from Ballydown Primary School.
I am very interested in the work that Kids’ Own does, because I think it’s a very honest approach to learning. — Marie O’ Donoghue, Education Authority of Northern Ireland
I had the privilege of being in the classroom in 2009 when Ann and Marcella were actually working together […] one of the things I took from it all was that Marcella, the teacher took a risk. […] Art and design allows us to take risks. — Inspector, Education and Training Inspectorate, Northern Ireland (2015) While the book-making
individual perspectives of the
important aspect of these
collaborative approaches
and Library Board (now
process remains a central
artists, teachers and children
projects was the framework
with children and young
the Education Authority
element of Kids’ Own’s
involved.
of support and professional
people became a strategic
of Northern Ireland), the
development that Kids’ Own
focus for the organisation
AmmA Centre in Armagh;
work, the organisation has also pioneered and
Orla Kenny – through
put in place, and saw as a
– professionalising arts
Armagh, Banbridge,
developed unique ways of
her directorship, and as
crucial contributor to such
practice with children, in
Craigavon Borough Council,
working between artists,
a practicing visual artist
a project’s success. Space
order to raise the status of
the Association for Arts and
children and teachers
herself – recognised the
was given: to planning and
children’s work. Through
Design Education,
in schools, which have
critical value of bringing
processing; to dialogue
these initiatives, incredible
F. E. McWilliam Gallery and
modelled process-driven
professional artists into
and exchange between and
artist–teacher relationships
Studio, The Burnavon, Void
approaches that didn’t have
sites of learning; and saw
among artists and teachers;
were developed over many
Gallery, Derry, and many
a single output as the core
the potential for this to be
to ongoing interrogation of
years, with deep trust and
schools who participated in
focus. Instead of resulting
expanded and developed
the value and the impact; to
reciprocal respect for the
the projects over the years.
in a published book, these
through longer-term
online platforms that gave
roles that each fulfilled.
projects have given rise to
initiatives. Multimedia Maps,
a voice to all participants
Strategic partnerships were
Many venues and
enormous bodies of work
The Linen Project, Further
and showcased the
also formed with friends
organisations in the Republic
that showcased ways of
Afield and Virtually There are
process. Recognition of
from the arts and education
of Ireland also partnered with
thinking and enquiring; and
all long-term projects that
the artist’s professional
sectors in Northern Ireland:
Kids’ Own to showcase the
that were published online
represented exciting models
practice at the heart of
The Arts Council of Northern
work and to share learning
through evolving journals
of practice; each building on
this work was key; and
Ireland, the Southern
within the arts in education
that tracked and presented
the learning and outcomes
supporting artists to develop
Education and Library
sector.
the work through the
of what came before. An
their practice through
Board, the Belfast Education
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It is a completely fresh approach as it focuses on the learning process, the children are encouraged to think and discuss and explore the possibilities of working with different themes, concepts and materials, including their own bodies. — Fionnuala Hughes, Teacher
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Research and Learning
Opening the Door (2015) The Being and Belonging project was
Virtually There, Open Space (2020)
funded by the DFA Reconciliation Fund,
In-depth, qualitative and longitudinal
and was an interagency partnership
research, conducted by Dr. Bryonie
between Kids’ Own, Early Childhood
Reid, interrogated the impact of Kids’
Ireland and Early Years Northern Ireland.
Own’s long-running Virtually There
strengthen our voice as advocates for
It was borne out of a recognised need
project on all participants – artists,
children’s right to cultural engagement
to support parents and children in rural
teachers and children. This arts-in-
and to have their voices heard. Over
border communities and to develop a
education initiative pioneered the
a number of years, we have sought to
culture that values the transformative
use of virtual technology to connect
embed research within key projects, to
power of the arts in the daily lives of
artists from their studio with children in
investigate the impact on participants
children. The research gave particular
the classroom, and was rooted firmly
and to inform our own learning as we
focus to the unique role of professional
in an enquiry-based approach that
continue to develop new initiatives for
artists in supporting parent–toddler
foregrounded process over outcomes.
and with children and young people in
interactions and a ‘pedagogy of
all sectors of their lives.
mutuality’.
Independent research has become Young participants on the
an important component of Kids’
Rhymes of the Deise project in
Own’s work, to build evidence and to
Wateford, 2012–13.
As passionate advocates for the intrinsic value of the arts and their power to transform, inspire and connect children,
Rannta na nDéise (2012)
we have inherently understood the value
In collaboration with Waterford County
of this work. However, the objective
Library Service, Waterford County
eye and theoretical analysis of an
Childcare Committee and the University
independent researcher offers a critical
of Ulster – and funded through the Arts
framework within which to site this
Council’s Touring and Dissemination
work more confidently. It adds layers of
Award – this research explored the
understanding and offers new channels
impact of the Rannta na nDéise project
for interpreting the work within new
on children’s learning, development and
contexts. This all makes a stronger case
creativity. The project itself developed
for continuing our work with children
a model of early years engagement to
and young people; and gives scope to
support family learning between parents
expand the way we think about it; and
and very young children through a range
an evolving vision for what it can be and
of creative activity with professional
what it can achieve.
artists, and resulted in the publication of Wiggly Woo agus a Cairde.
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Top and below: Artwork from Virtually There, exhibited in March 2020 by artist Ann Henderson and her collaborators at Ballydown Primary School.
Ann’s exposition of what it means to her to work with Judith, Julie and the children from her studio set me thinking more closely about how this aspect of the virtual connection can function. I wondered about how the space in which an artist habitually works becomes an extension of her, and felt my way into the idea that as the artist thinks through doing and making – process, again – her thinking becomes externalized and tangible: spatialised. — Dr. Bryonie Reid
Above: Process imagery from a Being and Belonging workshop led by Naomi Draper and Maree Hensey, 2013.
The Kids' Own intervention [...] provides a place where children are supported in active learning. It also acts as a catalyst for involvement in a positive network of family and community. — Dr. Áine McKenna
This project was about artists creating an 'aesthetic vibration' within the parent and toddler groups for both parents and children in order to nourish and support the kinds of knowledge not based uniquely on information. — Dr. Áine McKenna 65
Biographies Mary Branley is a Sligo born poet, author and musician. Her
Naomi Draper is an artist and educator based in Boyle, Co.
Ann Henderson. I am a visual artist with 30 years of interlinked
Jo Holmwood is a writer, editor and Creative Director of Kids’
third collection of poetry, “A Pinch of Snow in a Black Velvet
Roscommon. Naomi graduated from NCAD with a Bachelor
solo and collaborative practice. I am passionate about sharing
Own. Through her work with Kids’ Own since 2009, she has
Glove”, will be published this September with Lepus Print.
of Design specialising in glass in 2007. Following an Erasmus
my practice and do so locally, nationally and internationally
developed and managed dozens of collaborative projects
Deep Listening and reflective practice are key elements
programme at the Academy of Art, Architecture and Design,
within a variety of contexts. I am particularly interested in our
with children and young people, connecting with professional
in Mary’s creative work with children and adults. She is an
Prague, she received a scholarship to attend Pilchuck Glass
interconnection with the natural environment, as well as in the
artists across a range of education, arts and community
associate writer with Kids’ Own Publishing Partnership for 20
School, Seattle. In 2011, she completed a Postgraduate
evidence of passage of time. I work within the landscape and
settings. She has edited and co-edited numerous Kids’ Own
years, and has been involved in 35 titles to date.
Diploma in Community Arts Education at NCAD. Naomi has
the studio, often with found materials combined with digital
titles and has also collaborated on several projects with
participated on a number of residency programmes within
media.
children in her capacity as a writer.
Maree Hensey is a visual artist based in Clonmore, Co.
Sharon Kelly is a visual artist whose practice gravitates around
Carlow. Her practice encompasses drawing, sculpture and
drawing, incorporating sound, moving image, installation
Martin Corr is a graphic designer with over 25 years
contemporary art institutions, community and educational
experience in the design and print industry. He graduated from
contexts.
NCAD with a Batchelor of Design in Visual Communications and Art History. Martin has worked on numerous arts
Julie Forrester. I am seduced by materials and material
installation. Over the past number of years, she has completed
and sculpture. Recent work has investigated the notion of
publications, artist and museum catalogues, and arts festival
processes. During the process of making, objects become
several public art commissions, site specific installations,
bodily interiority; healing and resilience, informed by research
programmes. He has collaborated with Kids’ Own on many of
invested with meaning, and from here narrative strands begin
artist in residence programmes and community-based
undertaken as part of her 2020 Fellowship at the British School
their publications including amongst others, A Strong Heart, I
to emerge. I allow the narratives to lead me, the destination is
participatory art projects. She works in many ways as an
at Rome. She holds an MA from University of Ulster (1989) and
Hope You Grow, This Giant Tent and Here in Ourselves.
elusive. In becoming entangled I am brought to other places.
enquirer, researcher, collator, provocateur and mentor. She has
has exhibited nationally and internationally. An associate artist
I enjoy participatory projects as this dynamic is even more
collaborated with Kids’ Own on several projects.
for Kids’ Own since 2000, Sharon has shared her creative
multifaceted and surprising. I see my work (whatever the form)
practice through such projects as Virtually There (2011–2019).
as the documentation of process.
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Biographies
The Story House project, 2015. (c) Anna Leask.
Vanya Lambrecht Ward has worked in the arts for over two
Dr Simon Spain is a visual and socially engaged artist. His
decades, as a designer, maker and educator, in the visual arts,
thirty-five year career spans three countries and multiple
architecture and theatre. In a capacity as an artist, designer
communities. As an advocate of holistic creative practice his
and curator she has worked with Kids’ Own Publishing
work encompasses personal visual artwork, local community
Partnership since 2008. She is a Creative Associate with the
engaged creative encounters, and national leadership in his
Arts Council and Lectures in Theatre Design at The Yeats
role as Chair of Regional Arts Australia. Simon currently lives
Academy of Arts, Design and Architecture (IT Sligo).
and works in an immersive practice project overlooking tidal waters in Tasmania, Australia.
Victoria Ryle co-founded Kids’ Own Publishing Partnership in Ireland (1997) with Simon Spain, and founded Kids’
Several other artists have been central to Kids' Own's work
Own, Australia, in Melbourne (2003) to co-publish books
over many years. A special thanks to those who couldn't
with children as authors through artist-led community
contribute to this publication but whose input has been so
partnerships. She is a PhD candidate at the University of
valuable. Many other professionals have informed our work,
Tasmania researching co-publishing books with children in
in particular, teachers on the Virtually There project, as well as
the School of Education. She is also co-director of all that we
librarians and early childhood practitioners. Thanks to you all
are, a residency space in southern Tasmania that connects
for sharing our passion for the value of the arts in children's
communities through creativity.
lives.
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This book is dedicated to the memory of Orla Kenny, Creative Director of Kids' Own from 2003–2018.
A Powerful Place: Artists and Children Working Together © Kids’ Own Publishing Partnership CLG., 2021 All rights reserved. No part of this book may be reproduced or transmitted in any form without prior written authorization. ISBN 978-1-902432-76-2 Published by Kids’ Own Publishing Partnership CLG. 40 Wolfe Tone Street Sligo, F91 R231 Republic of Ireland +353 (0) 7191 70759 Charity number: 20639 www.kidsown.ie Collated and Edited by Jo Holmwood Designed by Martin Corr Printed by W&G Baird Kids’ Own Board of Directors Carmel Brennan, Naomi Feely, Jennifer Hennessy (Chair), Michael Kirby, Irene Lawlor, Mark O’Brien (Treasurer) Acknowledgements Kids’ Own gratefully acknowledges our receipt of Strategic Funding from the Arts Council of Ireland, without which we would not be able to operate. We also wish to thank all of the funders who have supported our work during our first 24 years, of which there are too many to list. Again, too numerous to list are the schools, libraries, arts centres, galleries, education centres, childcare committees, ECCE settings, festivals, government departments and agencies from diverse sectors that we have worked with to support and nurture children’s creativity and self-expression in all sectors of their lives. Most of all, a huge thanks to all the children and young people we have worked with, who themselves offer so much inspiration.
kidsown.ie
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