Driving Question:

How does Japan’s culture perceive the concept of “existence”?

Project Summary:

Koko K., a Grade 10 student at TGs from Japan and Singapore, undertook a personal project titled “Between Nothing and Being.” This project explored Noh, a traditional Japanese theater form dating back to the 14th century. Through her research, Koko discovered that Noh theater requires an actor to possess inner solitude and concentration, allowing them to transcend their body and achieve a unique state of presence and groundedness.

Her project delved into the Japanese cultural concept of existence, using Noh and the pine tree (matsunoi), a symbol of eternity and longevity, as central themes. She examined how Shinto, which emphasizes the worship of nature and inanimate objects, and Buddhism, which focuses on change and impermanence, shape Japanese views on existence.

Koko engaged with multicultural literacy through this project, rediscovering and appreciating her Japanese culture. Her research included analyzing and reflecting on books about Shinto and Buddhism, attending Noh lessons with Kinue Ooshima Sensei, and studying Noh routines. She also compared Japanese concepts of existence with Western philosophical ideas from thinkers such as Victor Frankl, Sigmund Freud, Friedrich Nietzsche, and Aristotle.

Koko concluded that Japanese culture perceives existence as a balance between Shinto’s eternity and Buddhism’s impermanence. In Japan, the worship of kami (gods) in nature symbolizes eternity, while the frequent natural disasters and seasonal changes emphasize the impermanence of life. This cultural balance is reflected in the construction of buildings like shrines, which are designed to be periodically destroyed and rebuilt.

In her final summative product, Koko aimed to manifest this concept of existence by performing the Noh routine “Yuya,” striving to achieve neutrality in her physicality and mentality. She reflected on her learning process, acknowledging the need for better time management and a more chronological approach to her research.

Overall, the project deepened Koko’s understanding of Japanese customs, values, and beliefs, helping her to embrace her Japanese identity with confidence.

Driving Question:

How can we apply the Japanese approach of cultural conservation to design for architectural renovation or innovation in our own home cities?

Module Summary:

The teacher-led module “A Tale of Two Cities” focuses on architectural innovation and cultural conservation. The students got to explore how Japanese cultural conservation approaches could be applied to architectural renovation in their home cities. Throughout the term, they had the opportunity to learn from local and global architectural techniques and delve deeper into their own cultural techniques.

Kenzo W.’s 3D design for the Tale of Two Cities module is a modern Japanese resort/vacation home located in Karuizawa, a town in Nagano prefecture, Japan. This house is designed to accommodate 2-4 residents during the summertime and integrates both traditional and modern Japanese architectural concepts and furnishings, reflecting a blend of his artistic choices and elements from the Japanese lifestyle.

The key Japanese architectural concepts Kenzo W. focused on were Oku (depth) and the Doma (earthen floor), which were highlighted by guest speaker Professor Daniel during the Kyoto Wexplore. Professor Daniel explained these concepts and their connection to Japanese culture, and the session venue itself represented Oku, the Doma, and the Nakaniwa. In Kenzo’s design, Oku is represented through the flow of the house, emphasizing the concept of depth within a building. The bedroom, the most private part of the house, is the room that requires the most walking to reach, with personal activity spaces like the living room, recreational room, and dining room leading up to it. Despite the large windows on the second floor, there is no direct access to the outside environment.

The Doma is incorporated through the literal use of an earthen floor in the entryway, serving as a foundation and a slight height difference from the garden and the interior of the house. This facilitates the Japanese tradition of removing shoes when going inside and outside, supported by a shoe box, and acts as a border and gateway to the outside spaces of the house. Kenzo also included Shoji, Tatami, and Futon furnishings to suit the Japanese lifestyle for the intended residents, making the house cozy and representative of a traditional Japanese lifestyle, ideal for his family as a vacation home.

One of the unique elements Kenzo W. focused on is the roofing, which he considers a key identifying feature of a Japanese house. The design features an angled sloped gable roof fused with a smaller gable roof at a 90˚ angle, emulating the curves of natural environments and avoiding a cubic appearance. This roof design opens up on one side to create more space for windows in the living and recreational areas, directing the house’s face towards a scenic view.

Kenzo chose to incorporate modern architectural elements as a personal aesthetic preference, inspired by the style of Japanese villa homes, such as those designed by M’s architect. This is reflected in his choice of a gray and brown color scheme from wood and metal materials. He also considered the environment by incorporating large windows facing a predominant direction to take advantage of views such as a sunrise, sunset, or mountain scenery.

Driving Question:

How can Japanese visual storytelling techniques document historical and cultural events?

Module Summary:

The Manga Evolution module explored how Japanese visual storytelling techniques document historical and cultural events. The module covers traditional Japanese art forms like sumi-e (ink painting), ukiyo-e (woodblock printing), kamishibai (oral storytelling), and manga (contemporary art form).

The students practiced dynamic movement in sumi-e, created layered prints in ukiyo-e, analyzed anime like “Demon Slayer,” and learned to read and draw manga. They visited the Manga Museum in Kyoto, attended drawing workshops, and honed their storytelling skills by creating narrative storyboards based on photos taken in Hiroshima.

Field experiences in Kyoto and Tokyo included visits to the Studio Ghibli Museum, TeamLab Planets, and the Tokyo National Museum. The final project required students to choose a significant historical or cultural event in Japan, create an eight-frame storyboard, and bring one panel to life using their chosen medium.

Esha V.’s final product is a scaled-up version of a Hanafuda card of her own design. This artwork incorporates watercolor, an element she integrated based on her experience with sumi-e. Through practicing sumi-e, Esha learned about opacity and color, skills she then applied to her final product. By iterating on her design and creating multiple drafts before commencing the final piece, she ensured she evaluated numerous ways of presenting her ideas. This thorough process allowed her to ultimately decide on a composition that effectively communicates the story within the frame.

For her final project, Nefertari J. chose a historical and cultural event to explore the meaning of being in Japan: the Atomic Bomb. Creating a storyboard helped her turn complex events into a coherent visual story, enhancing her narrative skills, whilst the module’s workshops and practice improved her artistic abilities. She examined the distinctions between Japanese culture and her own, particularly the Atomic Bomb.

Balancing research, creativity, and technical skills, she thoughtfully selected scenes, showcasing her growth in visual storytelling. The project refined her techniques and allowed her to experiment with traditional art forms.

Driving Question:

How can we use media to respectfully share Indigenous Australian Dreamtime stories and cultural knowledge while honoring Aboriginal rights and sensitivities?

Module Summary:

The module titled “I See You” challenged students to engage deeply with complex themes of power dynamics, equity, and oppression, examining their manifestations both in Australia and their respective cultural contexts. Emphasizing experiential learning, the module aims to cultivate an understanding of media’s multifaceted roles.

A significant focus of the module was on respectfully sharing Indigenous Australian Dreamtime stories and cultural knowledge, while honoring Aboriginal rights and sensitivities. With over 500 distinct Aboriginal groups and a history spanning 60,000 years, Aboriginal culture’s profound connection to the land is central. The module included immersive experiences in Aboriginal communities, such as in North Queensland, where students explore fundamental questions about land and its significance.

The culmination of these experiences often results in creative projects like films. For instance, “Dear Yabula” and “Lore of the Land” are films crafted by students. These works aim to convey the deep perspectives and wisdom of Aboriginal cultures, particularly their relationship with ancestral lands. Inspired by the songlines of various Aboriginal peoples, including the Wurundjeri Woi-wurrung, Bunurong/Boon Wurrung, Gimuy-walubarra Yidi, and Dyirribarra Bagirbarr, the films are developed with permission and serve as respectful conduits for sharing Indigenous stories and knowledge. The module thus underscores the importance of media in fostering understanding and appreciation of Indigenous cultures while navigating ethical considerations and respecting cultural protocols.

Driving Question:

How can the art of analogue film photography serve as a powerful conservation tool, revealing the intricate interplay between plants and animals within vulnerable ecosystems?

Module Summary:

The module titled “Snapshots of Nature Symphony,” explored how analog film photography can serve as a powerful conservation tool by revealing the intricate interplay between plants and animals in vulnerable ecosystems. They began by explaining their use of pinhole cameras, which were made from cans and operated by capturing images through a small hole acting as a lens. These images, initially inverted, were then processed digitally to reveal their true colors.

The students also learned from Doug Gimy, a renowned wildlife conservation photographer, who taught them how to create compelling stories using photographs. Additionally, they experimented with cyanotypes, a photographic process that involves creating images on fabric or paper using light-sensitive chemicals and natural elements like leaves and flowers, which were then developed in sunlight.

A visit to the zoo provided them with insights into ongoing conservation efforts and allowed them to apply their film photography skills to capture images of wildlife. They also had the opportunity to visit a dark room, where they learned about the film development process, including techniques such as developing, stopping, enlarging, burning, and dodging.

The module included a field trip to the Daintree Rainforest, where they engaged in field studies to analyze water quality and learned about local conservation initiatives. They also designed and printed conservation-themed t-shirts using a silk-screening process, which involved coating screens with emulsion and exposing them to create designs.

For their final project, Keetah B. wanted to focus on the relationship between wildlife conservation and the dying cultures of the aboriginals while also celebrating the diversity and beauty of Australian nature. In the Daintree, the Eastern Kuku Yalanji people are nowadays part of the wildlife conservation effort, but in the past, they had their land taken away from them by colonizers who destroyed their native land. Although these issues mainly occurred in the past, there are still cases of this today. A sacred birthing hole was taken away from the Eastern Kuku Yalanji people, and they are no longer allowed on the site. Not only that, but climate change and other environmental factors pose a huge risk to Australian wildlife conservation, and the Daintree is not exempt from this. Although it has been around for hundreds of millions of years, it can very quickly be destroyed by human actions.

Keetah wanted to bring these themes together into one image by taking a piece of aboriginal culture, the boomerang, an object known for “coming back,” and placing it with the wildlife that is at risk, all while showing the beauty that is important to preserve.

Driving Question:

How might we understand the relationship between physics and human performance in aerial and aquatic environments?

Module Summary:

The module Over/Under: Air, Water & Physics explored the relationship between physics and human performance in aerial and aquatic environments. Their project involved taking trapeze classes for five weeks, where they learned and practiced various tricks, reflecting on the physics involved in their movements. They focused on understanding forces, pendulums, and the transformation of kinetic and potential energy.

Midway through the term, they participated in a workshop in Cairns, where they learned additional aerial arts and tight roping, and completed a water safety diving course. This course included pool training in breath-holding techniques, streamlining, and basic swimming skills, which they later applied in a lake, encountering real-world aquatic conditions, such as swimming with a crocodile. They also visited the Great Barrier Reef, where they swam with turtles and saw sharks.

The educational components of their module emphasized the physics of trapeze, such as gravitational, centripetal, and air resistance forces, as well as pendulum motion and energy transformation. In diving, they focused on swimming strength, equalizing pressure, rescue techniques, and efficient breathing.

Rianon T.’s final product is a physical scrapbook titled “A Physicist’s Guide to Trapezing and Free Diving!”. This scrapbook serves as an educational and informative overview of the physics involved in trapezing and free diving. Throughout the module, she focused on developing the 21st-century skill of adaptability and managing complexity. This was exemplified through various activities, including trapezing, creating physics experiments, building a car, launching a baking soda rocket, experimenting with pendulums, learning to free dive, and adapting to new challenges constantly.

She found this module particularly engaging and enjoyable, especially the trapezing aspect. The open-ended nature of the summative assessment allowed her to creatively interpret your learning, resulting in a fulfilling and engaging final product.

Driving Question: How can I improve my diving skills through the SSI Stress and Rescue Course and apply them to the artistic practice of jewelry making to create jewelry inspired by the ocean?

Project Summary:

Keetah’s project “Search and Rescue,” creatively combines her passion for rescue diving and jewelry making. Her journey began with her first diving experience, which was life-changing despite initial struggles with focus and awareness. This inspired her project goal: to improve her diving skills through the SSI Stress and Rescue course and apply these skills to create ocean-inspired jewelry.

The first part of her project involved taking the stress and rescue course to enhance her diving abilities, specifically focusing on identifying and managing stress in underwater and above-water situations. This included completing an online course with extensive note-taking, pool diving sessions to reinforce basic skills, and an open water dive where she successfully applied her new skills in real-world scenarios, demonstrating improved awareness and ability to assist others.

The second part of her project combined her newfound diving skills with jewelry making, inspired by a conversation with her instructor about underwater treasure hunting. She decided to create jewelry from materials found in the ocean, using a wire wrapping technique that suited her aesthetic vision. After some trial and error with materials, Keetah crafted her final pieces using sea glass, seashells, and other natural elements, completing a project that symbolized her love for the ocean and her growth as a diver.

Driving Question:

How can AI be applied in investigative, opinion, and solutions-based journalism in the context of digital communities in Bosnia?

Module Summary:

The “AI Journalism” module explored the intersection of artificial intelligence and journalism. The module aimed to understand the capabilities and limitations of AI in news writing and its impact on current events.

Students investigated the origins and evolution of journalism in their home countries and Bosnia, comparing human-written articles to AI-generated content. They examined various types of journalism—investigative, solution-based, and opinion—and learned how AI can be ethically and legally integrated into these fields.

The module included excursions to notable sites like the Al Jazeera Balkans, the National Museum of Bosnia and Herzegovina, and the Sarajevo Film Festival. Guest speakers provided insights into wartime reporting and modern journalism challenges, emphasizing the irreplaceable human element in storytelling.

Through practical experiences and reflections, students created their own articles, juxtaposing them with AI-generated pieces to discern the unique human touch in journalism.

For instance, senior student Santi D. created an article titled ‘Unraveling the Web of Deceit: Serbian Media’s Role in Spreading Fake News During the Yugoslav Wars,’ which examines the impact of misinformation during the 1990s conflicts in the Balkans. The article outlines how the Serbian media played a crucial role in shaping public perception and exacerbating ethnic tensions through the dissemination of fake news and propaganda.

Driving Question:

How can you use traditional Bosnian carpentry techniques to create innovative product designs?

Module Summary:

The “Carpentry and Innovation” module, tasked students with transforming a plank of wood into an innovative and culturally significant piece over five days. Working closely with local experts in Konjic, the students learned traditional Bosnian carving techniques. They designed and created wooden carvings and objects, using both sketches and 3D models.

Students visited the Zanat factory and a wood carving museum, where they were introduced to different types of wood, carpentry, and woodworking techniques. They also delved into the innovation aspect, learning about the difference between innovation and invention, legal and ethical considerations, and the process of idea protection through patents, trade secrets, and copyrights.

After mastering the basics, the students created their final products in two factory spaces: Elektra, where they worked on sawing, chiseling, and filing their basic shapes, and Zanat, where they refined their shapes, added intricate patterns, and completed their projects with sanding and oiling.

Niko W.’s final product is an oak wooden boat with a unique texture designed to enhance its hydrodynamic performance, akin to the dimples on a golf ball or sharkskin texture. He employed two types of chiseling techniques—flat-headed, curved, and V-shaped—to serve different purposes in crafting the boat. The rip saw, while providing a cleaner cut, required more time compared to the bow saw, which removed more material but left a rougher finish.

Initially using the rip saw for shaping, Niko later switched to the bow saw based on feedback from Alestra staff, prioritizing time efficiency over surface smoothness, as he planned to refine the boat’s sides through subsequent shaping and sanding. To achieve smoother edges and surfaces, he utilized a file initially for its material-removal capability, followed by 80-grit sandpaper to refine the texture further.