British Museum blog

Teddy time traveller


Faye Ellis, Digital Learning Programmes Manager, British Museum

I’ve liked Grayson Perry’s work for a long time, and was hugely excited when I heard that the British Museum would be staging an exhibition of his work. He’s a bit of a legend in my family – there are lots of Grayson Perry books lying around my parents’ house, and my Mum even dressed up as him once – complete with rosy cheeks and teddy bear. Knowing a bit about his work, I was also very aware that the content of the exhibition might be quite adult, and wasn’t too hopeful that we’d be able to do many Grayson-inspired family activities. However, much to my delight, it turned out that we’d be able to run an activity in the Samsung Digital Discovery Centre. If you’ve not been yet, the Samsung Centre is a digital education space for young people in the British Museum. We run free activities for families and 13-18s every weekend, and the Grayson Perry session would make up part of that programme.

A lot of the Museum’s activities for young people based on the exhibition have centred around Alan Measles, Perry’s childhood teddy bear, who is, on the surface, the ‘child-friendly face’ of the exhibition (but look closer and you’ll discover he’s a witty, cynical old bear with a strong tendency to swear). We wanted to stick with the theme of teddy bears, but do something a little different. We decided to run a session called Teddy time traveller, inspired by the idea of taking a childhood toy with you on a journey (as Grayson Perry did when he travelled around Bavaria in 2010) and blogging – something which Alan Measles does himself from time to time.

The session has three stages – firstly, families have their photograph taken in front of a green screen with their teddy bear (or one of our six standby bears, if they don’t have one of their own). I even donated my own childhood bear, the unimaginatively named Brown Ted, to take part:

My very own Brown Ted

Next, they use Photoshop (the children are amazingly quick to pick it up!) to insert themselves into an illustrated scene. Finally, they upload the picture to a WordPress blog, and write a short entry about their travels. It was important to me that the children found a ‘voice’ for their bear, and so I put some of the less adult Alan Measles quotes on the walls to inspire them! Although most children wrote the blogs from their own perspective, we did have a few writing as their toys.

Here’s part of a blog entry I particularly liked – especially because of the enormous handful of toys Dan took to Egypt with him:

I went to Egypt and I had lots of fun and a nosebleed. That’s the thing with time travel: nosebleeds. I liked it at Egypt. It was hot. I did some digging and found lots of beads and necklaces and jewellery and a model of a Pharoah. Monkey enjoyed it lots and Margot and Foofah enjoyed it. It was too hot for Monkey…

I wanted the scenes to be visually exciting, and so I asked the illustrator Rob Flowers to create backgrounds of ancient China, Greece, Rome, Egypt and Mexico. His work is bright, bold and funny, just like Grayson’s. Rob used pictures of objects from the Museum when creating the illustrations, and was very interested in where they came from and what they were used for. He was recently interviewed by Topman.co.uk in which he mentions the project and the Museum. Here’s my favourite of the four backgrounds – ancient Mexico:

The Aztec backdrop created by illustrator Rob Flowers

Grayson often mentions technology when giving talks or writing blogs, whether it’s to discuss his dislike of the way we use mobile phones or to write about his appreciation of the potential of technology in craft and design. He’s used technology in his work, including to create some wonderful digital tapestries. It was therefore interesting to create a workshop that entirely used technology, but to create an illusion – children travelling back in time, teddy bears writing blogs…it’s all part of delving deep inside your imagination (something Grayson does in spades) whether it’s through the use of technology or not.

The thing that pleased me most of all about the activity was the fact that children did actually bring their own teddies along – it meant that a lot of our standby teddies sat unused most of the time, but it was hugely encouraging to us that the children felt their bears were so important. One even brought her ‘second-favourite’ teddy because of the fear of losing her favourite one!

We’ll be running six Teddy time traveller sessions altogether – the last one will be on Saturday 4 February. Bring your children, nieces, nephews and all their friends – and don’t forget your teddies!

See all the families’ blogs at http://teddytimetraveller.wordpress.com, and keep up to date with all our free digital activities for families by checking the family events calendar.

Grayson Perry: The Tomb of the Unknown Craftsman
is supported by AlixPartners, with Louis Vuitton.
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Filed under: Exhibitions, Grayson Perry: The Tomb of the Unknown Craftsman

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Another brilliant photo of the Museum’s Main entrance on Great Russell Street – this time by @violenceor. The perspective gives a good sense of the huge scale of the columns. The Museum has two rows of columns at the main entrance, with each being around 14 metres tall and 1.5 metres wide. Designer Sir Robert Smirke used 44 columns along the front elevation. This design of putting columns in front of an entrance is called a ‘portico’, and was used extensively in ancient Greek and Roman buildings. #regram #repost #architecture #neoclassical #BritishMuseum The Museum looks spectacular with a blue sky overhead – especially in this great shot by @whatrajwants. You can see the beautiful gold flashes shining in the sun. This triangular area above the columns is called a ‘pediment’, and was a common feature in ancient Greek architecture. The copying of classical designs was fashionable during the late 18th and early 19th centuries, and was known as the Greek Revival. The sculptures in the pediment were designed in 1847 by Sir Richard Westmacott and installed in 1851. The pediment originally had a bright blue background, with the statues painted white. #regram #repost #architecture #neoclassical #sculpture #gold #BritishMuseum Concluding our short series of gold objects from the Museum’s collection is this group of items found in the Fishpool hoard. The hoard was buried in Nottinghamshire sometime during the War of the Roses (1455–1485), and contains some outstanding pieces of jewellery. 1,237 objects were found in this hoard in total. At the time it was deposited, its value would have been around £400, which is around £300,000 in today’s money! The variety of this collection of objects includes brilliant examples of fine craftsmanship. The turquoise ring in the centre was highly valued as it was believed that turquoise would protect the wearer from poisoning, drowning or falling off a horse.
#hoard #gold #jewellery #turquoise #treasure Continuing our exploration of the golden objects in the Museum, this amazing inlaid plaque is from 15th-century China. Lined with semi-precious stones, this piece would have formed part of a pair sewn into a robe. We can tell this belonged to an emperor of the Ming dynasty because only he would have been allowed to use items decorated with five-clawed dragons.
#Ming #gold #jewellery #China #BritishMuseum Our next trio of objects shows off some of the shimmering gold in the Museum’s collection. This stunning piece of jewellery comes from Egypt and was made around 600 BC. It was worn across the chest – this type of accessory is known as a ‘pectoral’. Popular throughout ancient Egypt, pectorals have been found from as early as 2600 BC. This example is made from gold and is inlaid with glass, showcasing the incredible level of craftsmanship in Egypt at the time, and asserting the status of the wearer. Falcons were important symbols in ancient Egypt – the god Horus took the form of a falcon.
#AncientEgypt #gold #jewellery #BritishMuseum In 1991, BMW invited South African artist Esther Mahlangu to make a work of art in their Art Car project to mark the end of apartheid. Her work, with its brightly coloured geometric shapes, draws on the traditional house-painting designs of Ndebele people in South Africa. Under apartheid the Ndebele were forced to live in ethnically defined rural reserves – their designs are an expression of cultural identity, and can be read as a form of protest against racial segregation and marginalisation.

See this incredible Art Car as part of our #SouthAfricanArt exhibition, which opens 27 October 2016. You can book your tickets now by following the link in our bio.

Esther Mahlangu (b. 1935), detail of BMW Art Car 12, 1991. © Esther Mahlangu. Photo © BMW Group Archives.
#SouthAfrica #history #art #design
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