Happiness can be found, even in the darkest of times, if one

only remembers to turn on the light

-Harry Potter and the Prisoner of Azkaban (Movie)

What you will learn:

You will learn about the effects of mental illness and coping techniques through the metaphors of the Harry
Potter universes dark creatures and their counter charms, as well as through multimodal research.

From JK Rowling:
Finding ways to fight off Dementors or depression are essential if one is to become permanently happier.

Assessment Tasks:
Body of Work and Artist Statement:
Ceate two works of art using the concept of either a Dementor or a Boggart from the Harry Potter Universe
and its respective counter charm.
Justify your use of colour, texture and material in a 200+ word artists statement.
Folio:
Document your multimodal research in a folio.

Research Checklist:
-----Remember to reference all websites, books and sources-----
Have I chosen either a Dementor or a Boggart and their counter charms to focus my work on?

Have I collected information on the related mental health issue?

Does this research include facts, statistics, symptoms and coping mechanisms and
strategies?

Have I researched the cultural associations of colour, medium, styles, imagery?

Have I found artists who either have mental illnesses or whose works can be seen to represent mental
illnesses?

Have I then critiqued his/her artworks in reference to my cultural association and mental health re-
search? (Four artworks in total. These can be from more than one artist.)

Have I experimented with medium? Remember, experimentation does not have to be a completed artwork.
experimentation could be two minute sketches with paint, drawing medium, etc on various papers.
Consider type of paper, drawing medium (charcoal, pen, pencil, etc), painting medium
(acryllic, watercolour, gouache, etc), sculpture mediums (clay, cardboard, plaster, glass,
recycled materials, etc), digital media.

Have I experimented with colour for both the dark creature and the positive counter charm artworks?

Have I decided on the medium and colour schemes that my final works will be completed in?

HAPPINES CAN BE FOUND IN THE DARKEST OF TIMES PAGE 1

 A NOTE BEFORE BEGINNING
It is important to recognise that this topic may be distressing for some people. Should you, at any time while
working on your Dark Creature aspect of work or conducting your research into mental health, feel that you
need to take a break, please immediately discuss with the teacher - no personal information will be required.
Useful contacts and resources should you need to talk to someone:
The School Counsellor (PHONE NUMBER/NAME)
Life line: 13 11 14 ---Crisis support and suicide prevention 24 hour hotline https://www.lifeline.org.au/
Youth Beyond Blue: 1300 22 4636 ---24 hour hotline https://www.youthbeyondblue.com/

Timeline:
Week 1: Introduction to Dementors, Patronuses, Boggarts and the Riddikulus! charm. Mental health connec-
tions. Short brainstorming tasks. Short drawing tasks. Group critiques.
Week 2: Research checklist.
Week 3: Research checklist and beginning of final works.
Week 4: Final work.
Week 5: Final work completion. Artist statement. All work to be handed up in last lesson of the week.

Assessment Criteria
Final Works and Artist Statement
Grade Practical Application
A Exceptional use of colour, line,
texture, tone, form, scale (where
appropriate) to create two distinct,
juxtaposing artworks.
B Good use of colour, line, texture,
tone, form, scale (where appropri-
ate) to create two distinct, juxtapos-
ing artworks.
C Satisfactory use of colour, line,
texture, tone, form, scale (where
appropriate) to create one or two
juxtaposing artworks.
D Limited use of colour, line, texture,
tone, form, scale (where appro-
priate) to create one out of two
artworks.
E Very limited or no use of colour,
line, texture, tone, form, scale
(where appropriate) to create one or
none of two artworks.
Creation
Exceptional interpretation of research
within two distinct, juxtaposing art-
works.
Exceptionally creative use of medium
to create artworks.
Good interpretation of research within
two distinct, juxtaposing artworks.
Good, creative use of medium to create
artworks.
Satisfactory interpretation of research
within one or two juxtaposing art-
works.
Satisfactory use of medium to create
artworks.
Limited interpretation of research
within one out of two artworks.
Limited use of medium to create art-
works.
Very limited or no interpretation of
research within one or no artworks.
Very limited use of medium to create
artworks.
55%
Evaluation
Exceptional use of artistic language to
justify the use of medium, colour, etc
in both artworks.
Exceptional reasoning and research
used to justify medium, colour, sub-
ject matter, etc in both artworks.
Good use of artistic language to justify
the use of medium, colour, etc in both
artworks.
Good reasoning and research used to
justify medium, colour, subject matter,
etc in both artworks.
Satisfactory use of artistic language to
justify the use of medium, colour, etc
in one or two artworks.
Satisfactory reasoning and research
used to justify medium, colour,
subject matter, etc in one or two
artworks.
Limited use of artistic language to
justify the use of medium, colour, etc
in one out of two artworks.
Limited reasoning and research used
to justify medium, colour, subject
matter, etc in one out of two artworks.
Very limited or no use of artistic
language to justify the use of medium,
colour, etc in one or no artworks.
Very limited reasoning and research
used to justify medium, colour, sub-
ject matter, etc in one or no artworks.

HAPPINES CAN BE FOUND IN THE DARKEST OF TIMES PAGE 2

Folio 45%
Grade Knowledge and Analysis Practical Application
Understanding
A Exceptional understanding of mental Exceptional, relevant analysis of all of Exceptional experimentation with
health issues, including current, rel- the collected research. 12 or more medium combinations.
evant facts, statistics and symptoms.
Exceptional critique of how this infor- Very creative variation in experi-
Exceptional research into multiple mation might affect my work. mentation.
cultural associations of colour, medium,
style and imagery. Exceptional critique of 4 artworks in Outstanding experimentation with
relation to both cultural associations colour for both aspects of the work.
Exceptional understanding of artists and mental health research.
and/or artworks who deal with mental
illness.
B Good understanding of mental health Good, relevant analysis of all of the col- Good experimentation with 9-11
issues, including current, relevant facts, lected research. medium combinations.
statistics and symptoms.
Good critique of how this information Creative variation in experimenta-
Good research into multiple cultural might affect my work. tion.
associations of colour, medium, style
and imagery. Good critique of 3-4 artworks in rela- Good experimentation with colour
tion to both cultural associations and for both aspects of the work.
Good understanding of artists and/or mental health research.
artworks who deal with mental illness.
C Some understanding of mental health Some relevant analysis of the collected Some experimentation with 6-8
issues, including relevant facts, statistics research. medium combinations.
or symptoms.
Some critique of how this information Variation in experimentation.
Some research into cultural associations might affect my work.
of colour, medium, style and imagery. Some experimentation with colour
Some critique of 2-3 artworks in rela- for both aspects of the work.
Some understanding of artists or art- tion to either cultural associations or
works who deal with mental illness. mental health research.
D Limited understanding of mental health Limited analysis of the collected Limited experimentation with 4 -6
issues, including some facts, statistics research. medium combinations.
and/or symptoms.
Limited critique of how this informa- Little variation in experimentation.
Limited research into cultural asso- tion might affect my work.
ciations of colour, medium, style or Limited experimentation with
imagery. Limited critique of 1-2 artworks in colour for either one or two aspects
relation to either cultural associations of the work.
Limited understanding of artists or art- or mental health research.
works who deal with mental illness.
E Very limited or no understanding of Very limited or no analysis of the col- Very limited or no experimentation
mental health issues, some facts, statis- lected research. with 0-3 medium combinations.
tics or symptoms included.
Very limited or no critique of how this Very little or no variation in experi-
Very limited or no research into cultural information might affect my work. mentation.
associations of colour, medium, style or
imagery. Very limited or no critique of 0-1 Very limited or no experimentation
artworks in relation to either cultural with colour for one aspect of the
Very limited or no understanding of associations or mental health research. work.
artists or artworks who deal with men-
tal illness.

HAPPINES CAN BE FOUND IN THE DARKEST OF TIMES PAGE 3

Resources:
Websites:
https://www.pottermore.com
https://www.beyondblue.org.au/
https://www.anxiety.org/

From the books - Boggarts and Riddikulus!

So, the first question we must ask ourselves is, what is a Boggart?
Hermione put up her hand.
Its a shape shifter, she said. It can take the shape of whatever it thinks will frighten us most.
Couldnt have put it better myself, said Professor Lupin, and Hermione glowed. So the Boggart sitting in the
darkness within has not yet assumed a form. He does not yet know what will frighten the person on the other
side of the door. Nobody knows what a boggart looks like when he is alone, but when I let him out, he will
immediately become whatever each of us most fears.
This means, said Professor Lupin, choosing to ignore Nevilles small splutter of terror, that we have a huge
advantage over the Boggart before we begin. Have you spotted it, Harry?
Trying to answer a question with Hermione next to him bobbing up and down on the balls of her feet with
her hand in the air, was very off-putting, but Harry had a go.
Er because there are so many of us, it wont know what shape it should be?
Precisely, said Professor Lupin, and Hermione put her hand down looking a little disappointed. Its always
best to have company when youre dealing with a Boggart. He becomes confused. Which should he become,
a headless corpse or a flesh-eating slug? I once saw a Boggart make that very mistake tried to frighten two
people at once and turned himself into half a slug. Not remotely frightening.
The charm that repels a Boggart is simple, yet it requires force of mind. You see, the thing that really finishes
a Boggart is laughter. What you need to do is force it to assume a shape that you find amusing.
We will practise the charm without wands first. After me, please riddikulus!
Page 115 Harry Potter and the Prisoner of Azkaban
HAPPINES CAN BE FOUND IN THE DARKEST OF TIMES PAGE 4
A jet of sparks shot from the end of Professor Lupins wans and hit the doorknob. The wardrobe burst open.
Hook-nosed and menacing, Professor Snape stepped out, his eyes flashing at Neville.
Neville backed away, his wand up, mouthing wordlessly. Snape was bearing down on him, reaching inside his
robes.
R-r-riddikulus! squeaked Neville.
There was a noise like a whip crack. Snape stumbled; he was wearing a long, lace trimmed dress and a tower-
ing hat topped with a moth-eaten vulture, and swinging a huge crimson handbag from his hand.
There was a roar of laughter; The Boggart paused, confused, and Professor Lupin shouted, Parvati! For-
ward!
Page 117 Harry Potter and the Prisoner of Azkaban

From the books - Dementors and the Patronus Charm

And then the thing beneath the hood, whatever it was, drew a long, slow, rattling breath, as though it was
trying to suck something more than air from its surroundings.
An intense cold swept over them all. Harry felt his own breath catch in his chest. The cold went deeper than
his skin. It was inside his chest, it was inside his very heart
Harrys eyes rolled up into his head. He couldnt see. He was drowning in cold. There was a rushing in his ears
as though of water. He was being dragged downwards, the roaring growing louder..
And then, from far away, he heard screaming, terrible, terrified, pleading screams. He wanted to help whoev-
er it was, he tried to move his arms, but couldnt a thick white fog was swirling around him, inside him
Page 73 - 74 Harry Potter and the Prisoner of Azkaban

It was horrible, said Neville, in a higher voice than usual. Did you feel how cold it went when it came in?
I felt weird, said Ron, shifting his shoulders uncomfortable. Like Id never be cheerful again
Page 75 Harry Potter and the Prisoner of Azkaban

HAPPINES CAN BE FOUND IN THE DARKEST OF TIMES PAGE 5

The spell I am going to try to teach you is highly advanced magic, Harry well beyond Ordinary Wizarding
Level. It is called the Patronus Charm.
How does it work? said Harry nervously.
Well, when it works correctly, it conjures up a Patronus, said Lupin, which is a kind of Anti-Dementor a
guardian between you and the Dementor.
Harry had a sudden vision of himself crouching behind a Hagrid-sized figure holding a large club. Professor
Lupin continued, The Patronus is a kind of positive force, a projection of the very things the Dementor feeds
upon - hope, happiness, the desire to survive but it cannot feel despair, as real humans can, so the Demen-
tors cant hurt it.
Page 201 - 202 Harry Potter and the Prisoner of Azkaban

Movies:

Harry Potter and the Prizoner of Azkaban, 2004. Directed by ALFONSO CUARN.
Inside Out, 2015. Directed by PETE DOCTER and RONNIE DEL CARMEN

Artist and Artwork Research Suggestions

Edvard Munch:
The Scream, 1893 >>>

Tracey Emin:
^^^ My Bed, 1998

<<< Ceramic process: Kintsugi (or Kintsukuroi)

HAPPINES CAN BE FOUND IN THE DARKEST OF TIMES PAGE 6

 Pablo Picasso:
<<< The Old Guitarist, 1903

Chiara Bautista
^^^ Stories, 2014

Yohnnie Scarce:
Thunder Raining Poison, 2013 >>>

HAPPINES CAN BE FOUND IN THE DARKEST OF TIMES PAGE 7

 Bibliography
Bautista, C. (2016). Stories. from https://www.facebook.com/chiarabautistaartwork/photos/a.558941394158
718.1073741828.558917134161144/801110499941805/?type=3&theater
http://www.chiarabautista.com/.

Cuarn, A. (2004). Harry Potter and the Prizoner of Azkaban.

Emin, T. (1998). My Bed. from http://www.saatchigallery.com/artists/artpages/tracey_emin_my_bed.htm.

Munch, E. (1893). The Scream. from http://www.edvardmunch.org/the-scream.jsp#prettyPhoto.

Picasso, P. (1903). The Old Guitarist. from http://www.pablopicasso.org/old-guitarist.jsp.

Rowling, J. (1999). Harry Potter and the Prisoner of Azkaban. London, Bloomsbury.

Rowling, J. (2016). The Boggart. from https://www.pottermore.com/image/boggart-dressed-as-nevilles-
grandmother.

Rowling, J. (2016). Dementors and Chocolate. from https://www.pottermore.com/writing-by-jk-rowling/
dementors-and-chocolate.

Rowling, J. (2016). The Patronus Charm. from https://www.pottermore.com/writing-by-jk-rowling/patro-
nus-charm.

Rowling, J. (2016). Profesor Snape. from https://www.pottermore.com/image/snape-illustration.

Scarce, Y. (2015). Thunder Raining Poison. Adelaide, Art Gallery of South Australia: TARNANTHI.

ThisColosal. Kintsugi. from http://www.thisiscolossal.com/2014/05/kintsugi-the-art-of-broken-pieces/.

HAPPINES CAN BE FOUND IN THE DARKEST OF TIMES PAGE 8

 Australian Curriculum connections
Manipulate materials, techniques, technologies and processes to develop and represent their own artistic inten-
tions (ACAVAM126)

This unit requires students to experiment with multiple mediums to find and refine their personal aesthetic.

Develop and refine techniques and processes to represent ideas and subject matter (ACAVAM127)

The product objective for this unit is to create two juxtaposing, yet related artworks. Students will experiment
with medium and choose the one which fits best with the specific memory, feeling, etc, that they are aiming
to represent.

Plan and design artworks that represent artistic intention (ACAVAM128)

Due to the personal nature of the assessment, it is not expected that artworks will be realistic or directly rec-
ognisable. The personal meanings behind each students work is expected to be researched, planned, designed
and executed with the intention to artistically camoflage their subject matter.

Evaluate how representations communicate artistic intentions in artworks they make and view to inform their
future art making (ACAVAR130)

Students are expected to justify all aspects of their work in an artist statement upon finishing their artworks.

Analyse a range of visual artworks from contemporary and past times to explore differing viewpoints and en-
rich their visual art-making, starting with Australian artworks, including those of Aboriginal and Torres Strait
Islander Peoples, and consider international artworks (ACAVAR131)

As part of their research folio, students are expected to research artists who live with mental illness or art-
works which represent, or can be perceived as representing mental illness.

By the end of Year 10, students evaluate how representations communicate artistic intentions in artworks they
make and view. They evaluate artworks and displays from different cultures, times and places. They analyse con-
nections between visual conventions, practices and viewpoints that represent their own and others ideas. They
identify influences of other artists on their own artworks. Students manipulate materials, techniques and pro-
cesses to develop and refine techniques and processes to represent ideas and subject matter in their artworks.

This unit encompases every aspect of this statement - by the end of the unit, students should have, within
their folio, evaluated artworks, artists and their intentions; and experimented with multiple mediums, tech-
niques and processes. They process and refine this information and experimentation into two artworks.
Within their artist statement they evaluate how the visual and tactile aspects of their works convey their
artistic intent.

HAPPINES CAN BE FOUND IN THE DARKEST OF TIMES PAGE 9

 ACARA connections
They will use art and design thinking, and create works that embody conceptual and problem-solving processes.

Students will develop a more critical understanding of visual arts as an aesthetic and cultural body of knowl-
edge. They will understand its historical, theoretical, social and material contexts and interrogate their own art
and design works within these knowledge frameworks.

These two passages from the ACARA visual arts curriculum embody the knowledge being gained by these
students. The works created will be conceptual bodies of work; the processes taught within the unit will cover
the cultural and emotional associations of colour, texture and form in western cultures and other cultures,
both real and fictional. Students will be expected to justify their colour and form choices using this cultural
knowledge.

Inclusive Practices and Differentiation

This unit of work is inclusive and easily differentiated in its nature. The topic of the unit and class surrounds
the stigmatised mental health demographic. In making mental health an open and encouraged topic of con-
versation, we are attempting to de-stigmatise the topic. The research aspect of the unit also requests students
to research mental health and understand some of the underlying issues, as well as the facts of mental illness-
es, rather than a poor understanding and misconstrued perception of them.

In addition, the topic is asking students to both reflect on their negative emotions but also find the opposite
memory or emotion that, in the Harry Potter universe is used to conquer these dark creatures. The process
of overcoming dark thoughts and anxieties includes focusing on the positive aspects of a situation and life
which is what we are teaching within the unit in a roundabout way- each activity, day and assessment will
end with looking at the positive aspects of or feelings about the activity/day/assessment.

Differentiation within the assessment unit and class will be achieved through the diversity of materials, tech-
niques and processes that students are able to work with. While initially activities are class dictated, students
can choose the medium, scale and complexity of their final pieces. This means that students can play to their
own strengths.

Finally, activities are structured so students are requested to experiment with medium more intensely rather
than rigorous technical drawings which often leave some students feeling inadequate. The assessment criteria
is set up in such a way that justification of artistic choices is rewarded more heavily than technical processes
that are often seen to be traditional.

School and Classroom Context

School advantage/disadvantage: ICSEA value of 950-1000
Students: Year 10, co-ed class
Prior knowledge: Year 8 and 9 level visual arts - practice and experimentation using a wide range of
mediums.
Classroom: dedicated visual arts classroom.

HAPPINES CAN BE FOUND IN THE DARKEST OF TIMES PAGE 10

We would like you to note that in a high school setting with adolescent students,
these tasks would be extended over a 90-100 minute double lesson.

Lesson 1

Introduction:
Show first video (Lupin teaching Harry how to cast a Patronus charm) to engage students with the lesson.
(4m24s). While video is playing, hand out assessment booklets.
MATERIALS REQUIRED:
Projector, computer, video file.

Explanation:
So, as you might have guessed, we are starting a project which uses aspects of the world of Harry Potter.
Within your assessment booklets there are some passages from Harry Potter and the Prisoner of Azkaban
which you can reference when you need. These passages highlight the sensations of depression and anxiety
and in their countercharms, their treatments.
Our focus for today is to look at Dementors and the Patronus charm, but next lesson we will also be looking
at Boggarts and the Riddikulus! charm.

JK Rowling, while writing the first few books, suffered from cripling depression, which is where the Demen-
tors come from - they are an explicit metaphor for it. This is demonstrated very clearly in the excerpts from
the books - the Dementors leave you feeling cold, empty, like youll never feel happy again.
A Patronus charm is what is used to get rid of a Dementor and can only be produced while thinking of some-
thing that makes you feel happy; and as Lupin said in the clip, it needs to be strong and fill you up.

It is important to recognise that this topic may be distressing for some people. Should you, at any time while
working on your Dark Creature aspect of work or conducting your research into mental health, feel that you
need to take a break, please immediately discuss with one of us.
MATERIALS REQUIRED:
Assessment booklets.

Assessment Outline:
Your assessment will have two parts, 45% of your final grade will be a research folio and 55% will be the final
product and artist statement. In your assessment booklet, there is a research checklist for your folio, as well as
the assessment rubrick we will use to mark your work when the project is finished.
MATERIALS REQUIRED:
Display folder/s, students to be requested to bring one from home. If this is not possible, provide one for the
duration of the assessment.

Today:
Everything that you will do today will go into your folio - the group work we will photocopy so everyone has
a copy and you need to keep all of the quick drawings you do.
Within your research over the next five weeks, you will discover more about mental illness, but first we would
like to see what you know, think or believe about depression and happiness starting with a looks like, feels
like, sounds like activity.

So we want you to divide into groups of three and over the next minute come up with a few ideas about what
depression looks like, feels like and sounds like and write them down.
(Start activity one - Depression, looks like, feels like, sounds like - set up, 30 seconds, task, 1 minute, class
diagram, 5 minutes)
MATERIALS REQUIRED:

HAPPINES CAN BE FOUND IN THE DARKEST OF TIMES PAGE 11

Sharpies, A2 Paper
Now, in the same groups, we want you to write down what happiness looks like, feels like and sounds like.
(Start activity two- Happiness, looks like, feels like, sounds like - set up, 10 seconds, task, 1 minute, class dia-
gram, 5 minutes)
MATERIALS REQUIRED:
Sharpies, A2 Paper

Ok, now that everyone has a broad idea of what both depression and happiness look like, feels like and
sounds like, we want you to now put these thoughts into quick drawings. Were going to start with depres-
sion and finish with happiness before doing a brief whole class analysis. We are going to time each drawing
for thirty seconds. In those thirty seconds we want you to pick a colour you think represents the emotion and
draw loosely, using expressive markmaking rather than anything identifyable. There is literally no way to do
this wrong. Dont forget to put your name on the back of each piece of paper before you start and please dont
blow pastel or charcoal dust around as it isnt particuarly good to be inhaling it.
MATERIALS REQUIRED:
A4 Cartridge paper, coloured soft pastels/conte, charcoal

(Start activity three - set up, 30 seconds. Depression looks like (30 second drawing), feels like (30 second
drawing) and sounds like (30 second drawing). All students put their work on the floor at the front of the
class.)
MATERIALS REQUIRED:
A4 Cartridge paper, coloured soft pastels/conte, charcoal

(Start activity three - set up, 30 seconds. Happiness looks like (30 second drawing), feels like (30 second
drawing) and sounds like (30 second drawing). All students put their work on the floor at the front of the
class.)
MATERIALS REQUIRED:
A4 Cartridge paper, coloured soft pastels/conte, charcoal

Class analysis (last task):

Does anyone see any common themes within the two different mental states?
What do you think this might indicate in terms of everones association with colour, line and texture?
Finally, to finish off, I would like everyone to think of one positive thing that you learnt today.
-Teacher to note all answers down and hand out the results in the next lesson as part of all students folios

HAPPINES CAN BE FOUND IN THE DARKEST OF TIMES PAGE 12