propaganda poster on education

Propaganda Education for a Digital Age

• Posted March 4, 2021
• By Jill Anderson
• Moral, Civic, and Ethical Education
• Teachers and Teaching
• Technology and Media

While most of us don’t think about propaganda as something occurring today, it is everywhere. Propaganda is part of our news, entertainment, education, social media, and more. In order to understand the complexities of propaganda, we have to teach it, says Renee Hobbs , Ed.D.’85, director of the Media Education Lab at the University of Rhode Island.

“When you start to learn about propaganda, you inevitably realize the value and the importance of multiperspectival thinking,” she says. “The ability to think about a topic from a range of different points of view turns out to be incredibly powerful, to activate intellectual curiosity, to promote reasoning, to encourage genuine value judgements.”

Hobbs shares that understanding propaganda and being able to analyze, critique, and create it can strengthen democracy and impact the growing polarization in the country. In this episode of the Harvard EdCast, Hobbs shares how to revitalize propaganda education in the digital age.

• Propaganda education can fit in across all parts of the curriculum.
• A key goal of propaganda education is how to interpret messages while being mindful and strategic. Use familiar and inquiry-oriented pedagogies to help reflect and make meaning. Layer these practices in different subjects being studied. No matter what the subject, Hobbs contends that propaganda can be richly explored.
• Reinforce basic media literacy education practices in the home. Have conversations about who is the author of this message, what is their purpose, when we're playing a game, when we're reading a picture book, when we're checking out the Facebook feed, and when we're talking with grandma on the Zoom. Who's the author, what's the purpose tends to be a really great way to help kids understand that messages are created by people who have motives and purposes.

Jill Anderson: I'm Jill Anderson, this is The Harvard EdCast.

Most of us hear the word propaganda and don't think about it as a modern occurrence. Professor Renee Hobbs says we encounter propaganda at least once an hour in the news, entertainment, social media, and more. She is an expert in digital and media literacy who's been studying propaganda for decades. She believes learning to identify and understand propaganda is crucial for our democracy and also in navigating the overwhelming digital world we live. Yet, propaganda is often missing from school curriculums or is taught in outdated ways. I wanted to know more about propaganda education, but first, I asked Renee what propaganda is today and how we encounter it.

Renee Hobbs: Many different forms of expression that your listeners encounter every single day can be understood as propaganda, even though we might use words like clickbait, sponsored content, memes, social media posts, personalized search, and many other practices. The definition of propaganda changes as society changes. I like to think about propaganda's essential elements as having to do with intentional and strategic influence of public opinion. That's a really broad definition, but it really fits the contemporary era where propaganda can be found in news and journalism, in advertising and public relations, in government, in entertainment, in information, and even in education.

Jill Anderson: Our society and our world and our technology are really good at creating intentional and non-intentional things that we cannot even differentiate what's real and what's not.

Renee Hobbs: Yeah, it turns out that we've known for a long time that you can bypass people's critical thinking by activating strong emotions and responding to audience's deepest hopes, fears, and dreams by simplifying information. In fact, simplifying information has kind of become essential in an age where there's so much information. To break through the clutter, you have to have a snappy headline, it has to be shorter. Concision is a value of journalism as you know, but those are also practices that can lead to the bypassing of critical thinking. In some ways, we now encounter a lot of different messages where our feelings are activated, where we think we know what the story is because it's got a simple headline and it somehow appeals to our core values so we accept it, but we don't engage in the practice of critically analyzing it. My work in propaganda is in relation to my passionate efforts to bring media literacy education into American elementary and secondary schools.

Jill Anderson: Tell me a little bit about how learning about propaganda is a way to navigate this complex media environment that we're all engaging in.

Renee Hobbs: One of the claims I make is the idea that propaganda is in the eye of the beholder, that you might see that funny comedy, the interview about the goofy journalists who are sent out to assassinate a world leader, you might see that as entertainment, but when I watch it, I see something that looks darkly, darkly like a form of imperialistic propaganda. To me, it looks awfully devious to have the good guys go out and commit a political assassination, even if it's done in a very, very humorous way.

When you start to learn about propaganda, you inevitably realize the value and the importance of multiperspectival thinking. The ability to think about a topic from a range of different points of view turns out to be incredibly powerful, to activate intellectual curiosity, to promote reasoning, to encourage genuine value judgements. But multiperspectival thinking is hard. Looking at propaganda creates these fun ways to recognize that messages can be understood in many different ways, there's no one right answer. That's partly why I think it's so exciting to study propaganda with students because the discovery that it's the active interpretation that creates the meaning, well, that's a huge aha for studying anything. Literature, science, mathematics, philosophy, the arts, everything hinges on that in some ways.

Jill Anderson: Where are we in terms of how, and if, this is actually being taught in schools?

Renee Hobbs: Well, here comes the bad news, Jill. I started doing my work in propaganda in 2007 when I had a consultancy with the United States Holocaust Memorial Museum. They had a special exhibit at that time called The State of Deception, it was about the history of Nazi propaganda. They wanted to help people make connections between the past historical propaganda of the 20th century Germany and bring it into contemporary times.

That inquiry led me to ask the same question that you just posed to me, where is propaganda taught in American public schools? What I learned is that it's only taught in history class and it's only taught in the context of Nazi Germany. Sometimes, if you go to a very good school, you'll get a study of propaganda in the context of learning about World War II, but that's it. It's only studied as a historical topic.

That led me to wonder, well, why is propaganda not studied in English language arts, because it used to be. I discovered that back in the 1930s, English teachers were indeed teaching about propaganda, during the 1930s, as antisemitism was rising in the United States and as radio personalities were on the radio saying all manner of idiotic things, dangerous and idiotic things. The Institute for Propaganda Analysis, in 1937, spent over a million dollars in 1930s money, with support from businessman, Edward Filene of Filene's Department Store. This was a really influential effort as this lesson plans and curriculum materials were brought into thousands and thousands of American high schools.

Many of the concepts that were introduced in the 1930s are the same concepts that are used in high schools today. For instance, if you look at an example of propaganda and you identify it as a glittering generality, or if you say, "Oh, it looks like they want everybody to do it. Everybody's doing it, so you should too," that's called the bandwagon effect. Well, those concepts are 70 years old and they were designed for radio, to analyze radio and news media.

That led me to wonder what happened. It turned out that right around the time of the 1990s, there was a little bit of attention to persuasive genres, studying persuasive genres in English class, but then along came the Common Core State Standards. The Common Core State Standards shifted the way English teachers thought about the relationship between logos, pathos, and ethos. The Common Core Standards redefined persuasion as argumentation and said that the only legitimate form of persuasion to study in schools was the logical kind, the one with reasoning and evidence and arguments. The other kind of persuasion, the one that activated strong feelings, the one that tapped into your deepest hopes, fears and dreams, the one that attacks opponents, well, that's not the kind of persuasive content you study in schools. Common Core State Standards redefined what counts as persuasion, and therefore, only a very narrow band of persuasive texts were studied.

A scholar named David Fleming wrote a really powerful essay tracing this historical trajectory in a publication for English educators. I found it very compelling because, essentially, conflating argumentation and propaganda, conflating argumentation as the only form of persuasive discourse leaves kids at a real disadvantage, given that most of the persuasive messaging they encounter in the world outside of school, well, it isn't logical at all. It's emotional, it's based on the credibility and character of the speaker. So kids end up with a real deficit in their understanding right now.

Jill Anderson: Are you actually seeing some restoration of this back into the curriculum in places or-

Renee Hobbs: Oh, absolutely. In fact, one of the most important moves happened in the National Council of Teachers of English, the national membership organization for English educators with more than 25,000 members. In 2019, they issued a really important resolution. It was called the Resolution on English Education for Critical Literacy in Politics. This is a formal statement approved by the NCTE membership that says, unfortunately, this post-truth society, which is characterized by the routine use of political lying, where we come to accept as routine lies that are not condemned, if we're living in a society where that's our reality, then we need to be able to interrogate the new types of texts that are circulating in culture. They offer a set of resolutions that suggest that students be able to learn to analyze and evaluate sophisticated persuasive techniques in all texts, genres, and types of media, and that they resist attempts to influence discussion through falsehoods or through stereotypes or attempts to shame or silence, that they recognize what are the forms of deliberative dialogue that promote democratic practice and what are the forms of communication and expression that shut them down.

This, I think, is issuing in a little bit of a call to action as English teachers take up the challenge. Of course it is a challenge, Jill, because, well, bringing controversial texts into the classroom for discussion can be challenging for teachers, in this culture where some teachers have gotten criticized for bringing in the New York Times. Imagine that. It takes courage and good pedagogical strategy to teach about propaganda in the climate of polarization that we are now living in.

Jill Anderson: For a lot of teachers, I imagine it's challenging to know how to handle this. Also, you have the challenge of adults struggling themselves with navigating these issues as well. What do you recommend for teachers who are feeling a little bit scared to do this on how to take those steps without maybe losing their jobs.

Renee Hobbs: Right.

Jill Anderson: Or getting that angry letter from a parent or email or something.

Renee Hobbs: Right. There are 70 stories in this book of educators that I've interviewed or met or read about their work who are doing propaganda education in really simple and innovative ways. Like the art teacher at Charlemont Academy, who has her students create lithograph posters as they learn to create propaganda as a means to begin thinking about how propaganda works, why it works, what its visual appeal is, and how it persuades. Or the school library media specialist from Deerfield, Massachusetts, who introduces teaching about propaganda by using one of the Mo Willems books, Pigeon Wants a Puppy. Pigeon is so trying to get a puppy that sometimes he persuades with facts and sometimes he persuades with feelings. Even young children, as young as five or six years old, can understand the different ways that people try to influence each other to get what they want.

Jill Anderson: As a parent, it's hard for me to imagine introducing some of these concepts to a young child. What can parents and caregivers do at home to help teach their children about this?

Renee Hobbs: I think basic media literacy education is a perfect way to engage in these practices in the home. We generally say to parents, "Look, there are so many opportunities to have conversations about who is the author of this message, what is their purpose," when we're playing a game, when we're reading a picture book, when we're checking out the Facebook feed, and when we're talking with grandma on the Zoom. Who's the author, what's the purpose tends to be a really great way to help kids understand that messages are created by people who have motives and purposes.

It's harder and harder for parents to engage in co-viewing practices because kids now have their own devices very early, we're all in a very hyper specialized way, but the idea of reflecting on our pleasures and noticing what attracts and holds our attention. Even young children can begin to say, "I like this game because it does X, Y, and Z." A kid who can come up with a sentence like that is more media literate than a kid who says, "I like it because it's funny." The idea of helping kids build the practice of reasoning about one's pleasures and choices and preferences, this is a very simple way to introduce media literacy in the home. Jill, I'm guessing that you do that all the time with your kid, right?

Jill Anderson: I have to say yes, of course.

Renee Hobbs: Yes, because as a trained media professional, you've internalized media literacy. Of course you think about the purpose, the author, and the point of view, but not everybody does.

Jill Anderson: I mean, on some level we do at home. I think we do a lot of discussions about commercials in my house, even though in a lot of ways it's always subtly there in some way, advertising.

Renee Hobbs: I'm so glad you're talking about that, Jill, because in fact, that is the best way to introduce propaganda education to young children. Learning about advertising is a developmentally-appropriate set of knowledge and skills for children in the elementary grades. You don't want to introduce young children to disinformation and harmful propaganda, but you sure do want to help them recognize how advertising persuades, right?

Jill Anderson: Right.

Renee Hobbs: You also want to talk about how activists use images and symbols and emotional appeals to persuade. I mean, Greta Thunberg is perhaps the most famous teenage propagandist of all time and she's brilliant at it, but let's be clear, it's a form of beneficial propaganda. Her efforts to hold us grown-ups accountable to the devastation of our ecological destruction is argued beautifully as she uses reasoning and evidence and facts, but as she uses the power of emotional appeals and her character, she's a very effective propagandist. I think right now, many young people who are looking to make change, make a difference, fix some of the many, many issues and challenges we face in society, I think they well understand the value of positive propaganda to address those big social challenges.

Jill Anderson: I'm glad you mentioned her as an example, because I think a lot of us, myself included, come from that lens of looking at propaganda solely as a bad thing because a lot of us learn it that way. You have said that this is propaganda doesn't have to be something that's negative.

Renee Hobbs: Propaganda is an essential part of the democratic process. Propaganda is how citizens use the power of communication and information to make a difference in the world. We couldn't have free and fair elections if we didn't have election propaganda, because people make decisions about who their leaders are based on logos, ethos, and pathos. Once you open up your thinking beyond thinking of propaganda as a smear word, you discover how relevant it is to every aspect of our social, political, cultural, educational lives.

Jill Anderson: But I think there's so many people right now looking at the world, thinking we've got all these threats of fake news that get thrown out there and growing conspiracies, and we're very divided. Propaganda education is one way to help us better understand that and maybe close the divide?

Renee Hobbs: Propaganda is both the cause and the cure for what ails us in society. Propaganda has helped to widen the polarization and the strategy of attacking opponents is really good at that, right?

Jill Anderson: Mm-hmm (affirmative).

Renee Hobbs: You create an us versus them feeling, you reinforce tribalism, and all of a sudden people see each other as enemies to be feared. But propaganda is also the only way that we come together as a society. It's the one way that we are induced to act together. Good propaganda can help us recognize the similarities that exist between us, the common values that bind us together as a people, and the deeper truths, the emotional and moral truths, that all human beings share.

The original meaning of the word propaganda, remember, is in spreading the gospel of love and forgiveness. We're going to need a heck of a lot of love and forgiveness if we're going to move forward. The cure for polarization is going to have to involve a great bit of critical thinking and an awful lot of love and forgiveness, because the way love and forgiveness come into cure us from this disease of polarization is if I'm willing to acknowledge that my understanding of the world is selective and incomplete, I don't have the whole story. I can't state for certain what is capital T truth, and I'm not going to find it through fact checking or experts or any of that. It's going to be a collaborative enterprise. I'm going to need a little help from my friends. The intellectual humility of acknowledging that we need each other to come to consensus, it's actually really liberating.

Jill Anderson: Yeah, and it sounds like everybody could benefit from having some propaganda education because this is only going to probably get more complex as media continues to evolve.

Renee Hobbs: Yeah, and at the same time, I would say that the pedagogies for teaching propaganda are not brand new pedagogies that you've never heard of, right?

Renee Hobbs: It's basically this practice of being metacognitive about how you interpret messages and being mindful and strategic in reflecting on the meaning making that you're doing. The pedagogies are very familiar, they're inquiry-oriented, they're rooted in reflection and meaning making, so it's not that hard to include them, to layer them into your science class. If you're studying the environment, you should darn well be studying environmental propaganda. If you're studying literature, you should be looking at language as propaganda. If you're studying art, Banksy is a must. You have to study art as propaganda.

Propaganda fits across the curriculum everywhere, with pedagogies that are familiar to teachers. All those great teachers that I found who were doing it made me realize that if we change our attitude about propaganda, we can in fact have a big influence in bringing media literacy competencies to all Americans.

Jill Anderson: Professor Renee Hobbs is the founder and director of the Media Education Lab at the University of Rhode Island. She's the author of numerous books about media literacy, including Mind Over Media: Propaganda Education for a Digital Age.

I'm Jill Anderson. This is The Harvard EdCast, produced by the Harvard Graduate School of Education. Thanks for listening.

Hobbs' new book, Mind Over Media: Propaganda Education for a Digital Age is the winner of the AAP PROSE Award for Excellence in Social Sciences for 2021. She also created a variety of digital resources to accompany the book , including the Propaganda Gallery, a crowdsourced collection of over 3,500 examples of contemporary propaganda suitable for educational use.

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Education Updates

Propaganda Posters and the Common Core

I don’t know if it says something about me, but I have always been fascinated with propaganda posters.  When I was in the classroom, I probably spent more time than I had to focusing on the various symbols, messages, and styles the US government used during World War I and World War II to gain support for the war effort.

Whether its message was easy to understand or difficult to decode, my students would have to analyze it.  Whether it used guilt, fear, humor or patriotism to tell its message, I was going to share it with students.  Whether it asked people to conserve wheat, join the army or buy more bonds, my students were going to investigate it.

Recently, my interest in these posters has been revived and refocused.  I was doing a bit of research to find National Archives documents related to the National Park Service for our Wednesday partner program , and I was struck by the frequent use of the Statue of Liberty in these posters.

While that alone might not be so shocking, I was surprised with how flexible she was as a symbol.  The Statue of Liberty was used by the government to encourage people to conserve wheat, buy war bonds, and work harder in factories.   The colors, slogans, and overall tone of these posters are even more varied. And I immediately thought these posters could be a good basis for an engaging Common Core task for writing an informative/explanatory text.

• Explain how the Federal government used the Statue of Liberty as a symbol during World War I and World War II to build support for the war effort?  Cite specific evidence from the posters.

Take this poster from World War I.  Above the Statue of Liberty is a patriotic rainbow, while behind lays a golden New York City skyline. In the foreground, there is a group of immigrants wearing traditional clothing.  The young man in front has his left hand on the older women’s basket of food while his expression and other hand seem to imply he is trying to persuade her.  Underneath the image are the slogan “Food Will Win the War” and the phrase “You came here seeking Freedom, You must now help to preserve it.”

The fact that this poster was translated into several languages (such as Italian and Yiddish) is not surprising because it has a very specific audience—recent immigrants to the US. The poster focuses on the emotional connection many of them had to the Statue of Liberty during their arrival in the United States to persuade them to support the Allied cause by conserving wheat. (You can find an online activity in which students analyze the English and Yiddish versions of this poster and investigate techniques used to urge Americans to conserve food  on DocsTeach .)

Contrast that positive scene to the bleak vision created by Joseph Pennell.  A decapitated and disarmed Statue of Liberty stands facing a ruined New York City.  Enemy airplanes and ships speed toward the city.  The skyline is ablaze in oranges, reds and yellows to represent fire and destruction.  Below the image, the text paraphrases Lincoln as it pleads for people to purchase bonds so “that liberty shall not perish from the earth.”

Over two million copies of this poster were printed by the government.  It uses fear to inspire its intended audience—in this case all Americans.  The specific message is to support the war effort through purchasing liberty bonds or else this might happen.  The Statue of Liberty is used here as a symbol of freedom that can be destroyed if we are not vigilant.  And much like its recurring use in such popular films as Planet of the Apes , Escape from New York , and Cloverfield , a destroyed Statue of Liberty represents an apocalyptic world.

Several other posters created during both world wars would use the Statue of Liberty.  Though they might have different intended audiences, messages, and tones, they all looked her way for inspiration.

Which do you find most interesting?  How might you use them in the classroom?

More information about the Statue of Liberty  is available from the National Park Service.  It is scheduled to re-open following damage sustained by Hurricane Sandy on July 4, 2013.

You can find posters from the world wars on DocsTeach and in the National Archives online catalog .

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6 thoughts on “ propaganda posters and the common core ”.

It seems you did a great job teaching before the existence of the Common Core. Maybe you should consider the drawbacks of the Core for teachersʼ autonomy and the future of the U.S. school system before unabashedly promoting it.

Peter, thanks for your comments.

The National Archives has supported teachers for the past 30+ years with resources and activities that help educators respond to changing standards and teacher expectations. So, I wrote this article to do just that–help teachers prepare for the expectations of the Common Core.

Keep reading and keep sharing your thoughts!

Thought the information was great…I think we should have a link to it from our web site. Keep up the good work! Yours in service,

Ed Mucci Park Ranger STLI

I’m sharing this with the teachers at my middle school. I’m always looking for examples of ways to implement CCSS lessons without rushing out and spending money on “CC-aligned” material. There’s a wealth of material available through the National Archives! Thanks for highlighting this lesson. I’m posting this on my Scoop.it page for great CCSS resources: http://www.scoop.it/t/common-core-state-standards-smusd .

Thanks for sharing! And stay tuned for more!

Propaganda is everywhere these days, on all forms of media blasting 24/7 stories, that all seem very coordinated with their messaging and timing. It used to be not as obvious, but these days it’s literally everywhere.

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Educator Resources

Powers of Persuasion - Poster Art of World War II

Guns, tanks, and bombs were the principal weapons of World War II, but there were other, more subtle, forms of warfare as well. Words, posters, and films waged a constant battle for the hearts and minds of the American citizenry just as surely as military weapons engaged the enemy. Persuading the American public became a wartime industry, almost as important as the manufacturing of bullets and planes. The Government launched an aggressive propaganda campaign to galvanize public support, and some of the nation's foremost intellectuals, artists, and film makers became warriors on that front.

Time required:

One to two class periods

To analyze poster art of World War II.

The Documents

Posters from the Powers of Persuasion exhibit in the Online Exhibit Hall

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Uncle sam wants you the propaganda posters of wwii.

When you think of the weapons of WWII, what comes to mind? Planes, tanks, money? Bullets, machine-guns, and grenade launchers? Yes, all of these were important tools in the effort to win the war. But so was information. In this case, government issued information. Over the course of the war the U.S. government waged a constant battle for the hearts and minds of the public. Persuading Americans to support the war effort became a wartime industry, just as important as producing bullets and planes. The U.S. government produced posters, pamphlets, newsreels, radio shows, and movies-all designed to create a public that was 100% behind the war effort.

In 1942 the Office of War Information (OWI) was created to both craft and disseminate the government’s message. This propaganda campaign included specific goals and strategies. Artists, filmmakers, and intellectuals were recruited to take the government’s agenda (objectives) and turn it into a propaganda campaign. This included posters found across American-from railway stations to post offices, from schools to apartment buildings.

During WWII the objectives of the U.S. government for the propaganda campaign were recruitment, financing the war effort, unifying the public behind the war effort and eliminating dissent of all kinds, resource conservation, and factory production of war materials. The most common themes found in the posters were the consequences of careless talk, conservation, civil defense, war bonds, victory gardens, “women power”, and anti-German and Japanese scenarios. It was imperative to have the American people behind the war effort. Victory over the Axis was not a given, and certainly would not be without the whole-hearted support of all men, women, and children.

To meet the government’s objectives the OWI (Office of War Information) used common propaganda tools (posters, radio, movies, etc.) and specific types of propaganda. The most common types used were fear, the bandwagon, name-calling, euphemism, glittering generalities, transfer, and the testimonial.

The posters pulled at emotions-both positive and negative. They used words as ammunition. “When you ride alone, you ride with Hitler.” “Loose lips might sink ships.” Messages made the war personal-you can make a difference, the soldiers are counting on you. Some posters also tapped into people’s patriotic spirit-do this and be a good American. They were bright and happy, colorful and positive. Other posters showed the dark side of war. They were filled with shocking images of what had happened to other countries and what could still happen in America if everyone did not do their part.

“The principal battleground of the war is not the South Pacific. It is not the Middle East. It is not England, or Norway, or the Russian Steppes. It is American opinion.”

--Archibald MacLeish, Director of the Office of Facts and Figures, forerunner of the Office of War Administration

“The function of the war poster is to make coherent and acceptable a basically incoherent and irrational ordeal of killing, suffering, and destruction that violate every accepted principle of morality and decent living.”

--O.W. Riegal, propaganda analyst for the Office of War Information

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Grades 8-12 Analyzing Propaganda

This lesson is "Grades 8-12 Analyzing Propaganda" Follow the lesson plan as you guide participants through a discussion on how the United States government used propaganda posters to encourage citizens in supporting the war effort during World War II. 

You can use the slideshow to guide discussion and have participants investigate the topic. Participants can use the worksheets at the end of the lesson plan to record thoughts and take part in an activity. Lessons can be led both synchronously or asynchronously.

For synchronous instruction, we recommend a platform that allows both for whole class discussion and for students to interact in small groups.

For asynchronous adaptations, we provide suggestions for teachers to provide additional support for the activities and for students to share their work with each other. To have participants work on this lesson independently, share this link with them and have them share using the platform of your choice.

Activity Slideshow

Adults History Adult Audience Analyzing Propaganda This lesson is "Adult Audience Analyzing Propaganda" Follow the lesson plan as you guide participants through a discussion on how the United States government used propaganda posters to encourage citizens in supporting the war effort during World War... Downloads Document Download Activity Guide (176.26 KB) Document Download Activity Sheet (85.02 KB) Read More

Adults History Adult Audience Sailor Art This activity is "Sailor Art."  Follow the activity guide as you lead participants through a discussion on what sailor art is, how it is preserved. You can use the slideshow to guide discussion and have participants investigate the topic... Downloads Document Download Activity Guide (1.87 MB) Read More

Grades 3-5 Grades 6-8 History Analyzing Artifacts Learn to analyze physical artifacts to understand the past. Downloads Document Download Activity Guide (6.07 MB) Read More

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You're the Author: WWI Propaganda Creation Project

In this lesson, students will view a variety of examples of WWI propaganda posters and discuss their message and why they were important for the war effort. After the discussion, students will create their own examples of WWI propaganda posters.

To inform students why WWI propaganda posters were so effective and important for the war effort.

• Define the concept of propaganda.
• Explain why the use of propaganda was of particular significance during this time period.
• Evaluate the different strategies and tools used in the creation of propaganda.
• Demonstrate their knowledge of propaganda characteristics, strategies, and tools by creating their own piece of propaganda.
• 9-12.AH.3.CC.B - Evaluate the motivations for United States’ entry into WWI.
• 9-12.AH.3.PC.D - Assess the impact of WWI related events, on the formation of “patriotic” groups, pacifist organizations, and the struggles for and against racial equality, and diverging women’s roles in the United States.

WWI Propaganda posters - examples can be found at http://www.ww1propaganda.com/ , http://www.loc.gov/pictures/collection/wwipos/background.html , http://americanhistory.si.edu/collections/object-groups/women-in-wwi/war-posters , and other various internet and print sources

DAY 1 Students will walk into the classroom that has various examples of WWI propaganda posters (see primary sources above) on the walls. Students will walk around the classroom examining the posters and write quick notes about the posters. Students will pay close attention to:

• Message/theme
• Effectiveness
• Author/organization

After students have had time to examine the posters, the class will discuss propaganda What does propaganda mean? Propaganda is information that is spread for the purpose of promoting a cause or belief. During WWI, posters were used to

• Recruit men to join the army
• Recruit women to work in the factories and in the Women’s Land Army
• Encourage people to save food and not to waste it
• Keep morale high and encourage people to buy government bonds

Why were propaganda posters needed during WWI? Countries only had small standing, professional armies at the start of the war They desperately needed men to join up and fight Most people did not own radios and TVs had not yet been invented The easiest way for the government to communicate with the people was through posters stuck on walls in all the towns and cities How were men encouraged to join the army? Men were made to feel unmanly and cowardly for staying at home How were women used to encourage men to join the army? Women were encouraged to pressurise their husbands, boyfriends, sons, and brothers to join up How was fear used? Some posters tried to motivate men to join up through fear Posters showed the atrocities that the Germans were said to be committing in France and Belgium People were encouraged to fear that unless they were stopped, the Germans would invade Britain and commit atrocities against their families How were women encouraged to work in the factories or to join the army or the land girls? When the men joined the war, the women were needed to do their jobs There was a massive need for women in the factories, to produce the weapons, ammunition and uniforms needed for the soldiers There was a major food shortage and women were desperately needed to grow food for the people of Britain and the soldiers in France Posters encouraged everyone to do their bit Through joining up Through working for the war effort By not wasting food Through investing in government bonds Why are WWI propaganda posters important? For historians today, propaganda posters of WWI reveal the values and attitudes of the people at the time They tell us something about the feelings in Britain during WWI Class will discuss the assignment (poster creation) Students will begin brainstorming ideas for their own propaganda posters in small groups Students will begin creating their propaganda posters

DAY 2 Students will continue working to create their propaganda posters

DAY 3 Students will be given 15 minutes to finish their posters and hang them up around the classroom Students will walk around the room and look at the posters created by their classmates Students will play close attention to:

Directions: You will create an effective propaganda poster on one of the topics below that could have been used in World War I. • Possible topics: • Enlistment and recruitment • The role of women • Financing the war • Food conservation • Aiding our allies • Entering the war • Guidelines • The poster will be drawn or printed (using photoshop or etc) on 8 ½” by 11” paper and graded on your use of message/theme, creativity, neatness, historical accuracy, explanation, and use of characteristics/techniques

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Exploring the art and ideology of soviet propaganda posters: education and literacy.

Soviet education and literacy propaganda posters played a vital role in promoting education, literacy, and intellectual development within the socialist state. These captivating posters, with their striking imagery and persuasive messages, aimed to inspire individuals to embrace learning, value knowledge, and contribute to the advancement of the socialist society.

Celebrating the importance of education and promoting literacy

At the core of Soviet education and literacy propaganda posters was the celebration of education as a fundamental pillar of the socialist society. These posters highlighted the significance of acquiring knowledge, valuing education, and continuous learning. They aimed to inspire individuals of all ages to engage in educational pursuits, emphasising the transformative power of education in personal growth and societal progress.

Education and literacy propaganda posters placed a strong emphasis on promoting literacy among the population. They highlighted the importance of reading, writing, and acquiring literacy skills as a means of empowerment and social advancement. These posters aimed to eradicate illiteracy and ensure widespread access to education, reflecting the commitment of the socialist state to educate and uplift its citizens.

Encouraging technical and scientific education

In line with the Soviet Union's emphasis on technological and scientific progress, education and literacy propaganda posters emphasized the importance of technical and scientific education. They depicted students engaged in various scientific disciplines, showcasing the value of STEM (Science, Technology, Engineering, and Mathematics) education. These posters aimed to inspire young minds to pursue careers in fields that would contribute to the industrial and technological development of the socialist state.

Education propaganda poster from the USSR, 1985 , Antikbar collection (there's more to be seen at the Antikbar website)

Promoting Socialist values and ideals

Soviet education and literacy propaganda posters also aimed to instill socialist values and ideals in the minds of the population. They portrayed images of collective learning, cooperation, and the importance of working towards the collective good. These posters emphasised the principles of equality, social justice, and the spirit of camaraderie within the educational system. They sought to shape the attitudes and beliefs of the younger generation, molding them into active contributors to the socialist society.

Advocating for universal access to education

Education and literacy posters advocated for universal access to education, regardless of social background or gender. They depicted diverse individuals and encouraged inclusivity in education. These posters aimed to break down barriers to education, ensuring that every citizen had the opportunity to acquire knowledge and contribute to the socialist progress. They reflected the socialist ideology's commitment to egalitarianism and the empowerment of the masses through education.

Poster, "Flags of the Soviet Union", Propaganda, Soviet Union, USSR (CCCP), 1985

Impact on Soviet educational initiatives, empowering minds and building a Socialist intellect

These posters had a profound impact on Soviet educational initiatives. They mobilized public support for educational programs, encouraged participation in schools and universities, and fostered a culture of intellectual curiosity and critical thinking. These posters became symbols of educational progress and the quest for knowledge within the socialist state.

Education and literacy posters stand as visual testaments to the promotion of education, literacy, and the socialist values of the Soviet Union. Through their striking imagery and persuasive messages, these posters celebrated the importance of education, advocated for universal access, and fostered a culture of intellectual growth. They played a crucial role in shaping Soviet educational initiatives and inspiring generations of learners. 

This article is part of a series called:  Exploring the art and ideology of Soviet propaganda posters .

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WE SEE THE BEAUTY IN EVERY OBJECT

We love old posters and little items from forgotten times. Or think about a children's book from fifty or sixty years ago. It's fun to look at and to imagine what people were doing and thinking back then.

That's why: we see the beauty in every object and art is everywhere to be discovered.

• Choosing a selection results in a full page refresh.
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Kevin Dayton

Propaganda posters in California public school classrooms: union dogma or educational opportunity?

Why is the California teachers union Association distributing political propaganda posters to teachers and other educators for display “ in your school, classroom, and beyond? ”

The California Teachers Association doesn’t offer teachers a guide for the use of these posters in classroom instruction. Nor does it recommend the posters as catalysts for students to think about the nature and purpose of government. Instead, the posters have been presented at union conferences and on the union website with an associated “ Social Justice Toolkit ” for political advocacy.

It’s obvious these posters are meant to advance an ideology rather than encourage classroom discussion. And from the perspective of the California Teachers Association, is there any valid discussion to be had about the righteousness of “Social Justice?” The California Teachers Association seemingly regards its posters as declarations of self-evident truths for students to absorb and adopt. Any questioning of the messages on the posters is probably a trick by the ruling class to suppress social justice and maintain its power.

But suppose some teachers wanted to use these posters as an instructional tool rather than as a proclamation of union dogma. Students could practice critical thinking and consider diverse perspectives on controversial issues. Here are three questions related to the posters that could inspire critical thinking among students.

1. Are the statements on the California Teachers Association posters irrefutable truths?

As Thomas Jefferson in his time and place identified self-evident truths within the Declaration of Independence , the California Teachers Association has identified self-evident truths in this time and place. Before considering the statements on the posters, students could have a meaningful classroom discussion about whether the following statement contains truths that don’t need proof:

We hold these Truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness.

The California Teachers Association uses a different epistemological system to perceive and pronounce its own set of self-evident truths in the posters. And, as with Jefferson’s, these ideas are backed by a philosophy. In fact, the California Teachers Association Strategic Planning Group has adopted an explicit definition of social justice , a phrase which throughout its literature is capitalized:

Social Justice encompasses educational, economic, and political, arenas. Social Justice is a commitment to equity and fairness in treatment and access to opportunities and resources for everyone, recognizing that all is not equal. Social Justice means that we work actively to eradicate structural and institutional racism, sexism, classism, linguicism, ableism, ageism, heterosexism, religious bias and xenophobia. Social Justice means that we as educators are responsible for the collective good of society, not simply our own individual interests.

In this context, the California Teachers Association posters are meant to help younger generations absorb the precepts of “Social Justice.” With these precepts ingrained in their hearts and minds, these new generations can engage in political action and advance the collective good. The posters are a counterargument to the premise that public education should ensure that the next generation remains loyal to the political, economic, and cultural systems now dominant in the United States.

2. Why display these union posters instead of posters that cite or teach the foundational documents of the United States of America?

American public school students reportedly finish their education with a deficient knowledge of civics and a lack of familiarity with the foundational documents of their country of residence. Perpetuating this condition, the California Teachers Association posters never mention the Declaration of Independence or the U.S. Constitution. One poster declares a free public education to be a civil right but doesn’t cite a source for this declaration. It’s simply a self-evident truth.

Perhaps the California Teachers Association posters could be juxtaposed with excerpts from the foundational documents of the United States. Students could consider whether the principles in those documents are being fulfilled or are even worthy of fulfillment. For example, an obvious area for discussion would be the First Amendment to the U.S. Constitution :

Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof; or abridging the freedom of speech, or of the press; or the right of the people peaceably to assemble, and to petition the government for a redress of grievances.

A thoughtful student might argue that the California Teachers Association posters undermine the First Amendment. For example, the claim on one classroom poster that “Kindness Is Everything” could be interpreted as a kind of religious principle established by the state. (Change the statement on the poster to “God Is Everything” or “God is Love” and the California Teachers Association would likely object to its display in a public school.)

A thoughtful student could also look at a California Teachers Association “Hate-Free Zone” poster and argue that while the sentiment is admirable, its actual institution as a policy is an invitation for totalitarianism. To eliminate hate, the government would need to define hate – including its appearance in thought, art, music, sports, writing and speech – and determine which factions should be disciplined or controlled in order to suppress and eliminate that hate. Meanwhile, the class intellectual provocateur could point out poster paradox and, maybe even  citing Bob Dylan , ask if the hatred of hate is allowed in the Hate-Free Zone.

3. Do teachers have the right – as a matter of free speech – to display the California Teachers Association political posters in the classroom? Is displaying the posters a violation of student rights? Parent rights?

As seen above, a defender of the California Teachers Association posters asserts that anyone who judicially challenged the poster as a violation of student rights would be “laughed out of court.” But is this claim accurate?

The American Civil Liberties Union (ACLU) of Washington State (like California, part of the federal Ninth Circuit court that would likely hear such a case) has produced a comprehensive guide to the free speech rights of teachers in that state. It notes that the government restricts certain speech rights for a K-12 public school teacher:

Generally, the First Amendment protects your speech if you are speaking as a private citizen on a matter of public concern. However, if you are speaking as part of the duties of your job, your speech will not necessarily have the same protection. What you say or communicate inside the classroom is considered speech on behalf of the school district and therefore is not entitled to First Amendment protection. Certain types of speech outside the school might also not be protected if the school can show that your speech created a substantial adverse impact on school functioning or that your speech was made in accordance with your job duties.

It also notes that speech does include “classroom decoration, posters or displays…It is likely that the school could require you to remove political signs from the classroom.”

Students could be encouraged to use the California Teachers Association posters as a case study about the limits of free speech. Are the rights of students violated when they enter a classroom to fulfill their mandatory educational duties and are forced to see these posters as exhibits of “truth” as expounded by the California Teachers Association? Are the rights of teachers violated when they are prevented from displaying such posters in the classroom?

Teach Your Children at Home with California Teachers Association Posters

Obviously, some parents (and some students) may vehemently disagree with the content and connotations of the California Teachers Association posters. Parents and students who disagree with the classroom presence or messages of the California Teachers Association posters may be inclined to exert their perceived rights and try to get the posters removed from classrooms.

But just because a student sees and thinks about these California Teachers Association posters doesn’t mean that student will inevitably adopt those messages as their own irrefutable, self-evident truths. Perhaps the most educational response that parents can provide for their children is to discuss the posters at home in a way that should be done in the classroom. That would require California parents to be engaged in the instruction of their children and aware of the teaching atmosphere in their children’s classrooms. Regrettably, there are no California Teachers Association classroom posters that encourage this kind of educational subversion.

Kevin Dayton, a frequent contributor to CPC’s Prosperity Digest, is the President & CEO of Labor Issues Solutions, LLC, and is the author of frequent postings about generally unreported California state and local policy issues at  www.laborissuessolutions.com . Follow him on Twitter at  @DaytonPubPolicy .

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10 Vintage Soviet School Propaganda Posters

One of the ways in which the mighty Soviet Union maintained control was through extensive propaganda aimed at young children. Education was the cornerstone of Stalin’s efforts to create a new society. And the media that students were exposed to in the classroom promoted the communist system, obedience to the state, and the rejection of Western ways of life.

These efforts were undoubtedly a form of social control, and at the same time they depicted the utopia that the Soviet Union intended to create. The propaganda was designed to strengthen values like co-operation and respect for authority figures and to encourage the generation of workers being raised under communism to better themselves. There was also a strong emphasis on technological and scientific advancement that is interesting to note.

Here, then, are 10 fascinating Soviet education propaganda posters.

10. “My Student!” (1948)

The “cult of personality” surrounding Stalin was part of the dictator’s plan to increase his hold on the Soviet Union. The history of the Communist Party was rewritten to make the Soviet leader appear central to everything that had taken place after the 1917 revolution. And propaganda depicted him as a god-like and benevolent figure.

This poster used the Soviet premier’s reputation to encourage school children to excel in their classes. It depicts a decorated pupil being praised by Stalin, who calls him “my student.” Since Stalin was portrayed as a role model for Soviet citizens, this was clearly meant to encourage children to do well at school.

Interestingly, the dictator’s cult of personality was so successful that Soviet citizens who met him in person were frequently mesmerized with awe. Stalin also showed himself to be a formidable negotiator when convincing ideological opponents like Britain and America to work with him during WWII.

9. Ministry of Education Poster (1980)

Image Source

This poster is interesting because, despite the fact that it was created around 1980, its color and style almost seem closer to that of older Russian popular artwork, or like the traditional, brightly painted Russian nesting dolls. The whimsical style also contrasts with the theme of the poster, which depicts the Soviet school as a futuristic place where students have access to high technology, such as classes taught with headphones and recordings.

Many Soviet propaganda pieces worshiped the future, with themes of a “new society” that would be created using technology and industrialization.

8. “Honor and Glory to a Soviet Teacher” (1951)

This poster was first printed in 1951. During this time period, Soviet citizens were provided with free education, but the cost was a highly nationalistic curriculum designed to inspire devotion to the state.

It is significant that the teacher and central student in the picture are both women. Under the Soviet Union, gender equality was supposed to be practiced, and women were provided with an equal education. Moreover, during the 1940s and ‘50s, campaigns aimed at persuading women to take professional jobs in medicine were clearly having a big impact. By 1950, 75% of all Soviet doctors were female.

The propaganda aim of this poster seems to have been to persuade students to respect their teachers and regard them as trustworthy figures. This would, in turn, make them more likely to absorb the doctrine that was taught in classrooms.

7. “Drawing, Music and Singing Classes Will Raise Cultural Education of a Student! Without a Doubt” (1959)

By 1959, attempts to culturally control Soviet schools were well underway. The subject matter of lessons was rigidly controlled and made to subscribe to Marxist-Leninist orthodoxies.

It is likely that attempts to encourage students to become involved with “cultural” subjects like drawing and music were intended to solidify the Soviet political ideology in children, for the arts themselves served the purpose of propaganda.

In this poster, the figures of composer Pyotr Ilyich Tchaikovsky, painter and sculptor Ilya Yefimovich Repin and opera singer Feodor Ivanovich Chaliapin behind the student’s head are applauding his efforts in the classroom.

6. “Wear it with Pride!” (1956)

School uniforms are designed to enforce uniformity and equality amongst those who wear them. Many schools discontinued the practice of uniforms being worn after the collapse of the Soviet Union, as they were seen as unpleasant reminders of the restricted society of the old era.

The young boy’s outfit in the picture looks similar to a military uniform, which suggests that the purpose of the poster was to encourage students to see themselves as potential soldiers for the Soviet Union. Meanwhile, the slogan, “wear it with pride!” implies that students had a duty to the state to become educated.

By encouraging students to take pride in their schooling and do well academically, the state, presumably, meant to benefit by increasing the pool of educated people at its disposal.

5. “In USSR There Are Many New Schools, In USA Schools Are Getting Closed All the Time “ (1950s)

This 1950s poster contrasts the supposed disrepair of American schools with the establishment of new Soviet schools. The caption reads, “In the USSR there are many, many new schools, in the USA – schools are being closed all the time.”

The moods of the two different sections of the picture show a complete contrast between the brightly lit, confident Soviet pupil and the slumped, dimly lit American. This conforms to the standard portrayal (in such pieces) of Soviet citizens as happy and optimistic about the future and the West as decadent and unable to provide for its citizens.

For obvious reasons, the Soviets produced large amounts of anti-US propaganda during the Cold War. This example complies with the common theme of Soviet propaganda, which tended to show its citizens as superior to their Western counterparts.

4. “Help the School!” (1923)

This piece seems to have been intended to inspire students and citizens to rebuild Russia’s educational system. During WWI, illiteracy grew significantly and many children were unable to attend school.

In 1919, a new system of universal education was established, and a curriculum was adopted in 1923. It therefore makes sense that the Soviet government would have wanted to encourage adults to take part in rebuilding their radical new system.

In the poster, metal and wood shops are depicted on either side of the school. This may well have been tied to the Soviet veneration of productive manual workers – and a reminder that industry was just as important as education.

The poster’s drawing techniques are stylized and reflect the designs of popular Russian folk art, which could be because it was created at the beginning of the Soviet Union’s history, before the socialist realist art style had become established as state policy.

3. “Be An Excellent Student!” (1948)

This post-WWII poster encouraged Soviet students to excel at school. It was created in 1948, a time when the Soviet educational system was still relatively inflexible and pupils were commonly held back a year in school. It would therefore have been especially important for children to make great efforts with their studies.

During this time period, the Soviet Union was embroiled in the Cold War and was still straining to recover from the economic devastation brought about by WWII. Repression in schools was also taking place, and Western methods of science and education were discredited, including entire fields like genetics.

Yet the Soviets recognized that education, particularly in subjects like engineering, was hugely important to their country’s national prestige. And it is likely that propaganda pieces like this one were aimed at improving their country’s situation by increasing the number of well-educated workers available.

2. “Glory to the Soviet Teacher!” (Unknown)

This poster also uses the “glory to the Soviet teacher” slogan, much like the one seen in entry 8. The picture depicts the teacher and pupils as virtual cogs in the Soviet state machine, with the children’s studying, by extension, obviously intended to reflect the same idea.

Interestingly, an American study in the 1950s found that Soviet teachers were well educated and tended to have small class sizes, which made them effective educators. The same study revealed that the Soviet system placed far more emphasis on science and engineering than its American counterpart.

1. Child with Lenin (Unknown)

Vladimir Lenin was the first leader of the Soviet Communist Party, the architect of the revolution, and the first head of state of the Soviet Socialist Republics. This early Bolshevist hero was one of the most revered people in the Soviet Union. Stalin gained much of his legitimacy as a dictator from claiming to have been Lenin’s heir and in his confidence.

It is therefore unsurprising that Lenin’s “cult of personality” endured following his death. The head of state’s body was mummified and placed on display in the Red Square, the city of Petrograd was renamed Leningrad in his honor, and his likeness frequently appeared in statues and paintings.

As with Stalin, Lenin was held up as an exemplar of everything communism and the revolution stood for. Posters like this one held two purposes: to help instil the cult of personality in the minds of schoolchildren, and to encourage values which the state wished their students to hold – like obedience to the government and hard work at school.

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The 100 Posters for the Right to Education Exhibition: Its Lessons for the Enforcement of Fundamental Rights

Francis Ssenonga 'Literacy'

Between 8 December 2011 and 8 January 2012 the Institute of Heritage Conservation and Restoration (formerly Makerere Art Gallery; the Institute hereinafter) hosted the ‘100 Posters for the Right to Education Exhibition’ (100 Posters Exhibition hereinafter) to celebrate the International Human Rights Day.

In this essay I analyse a selection of posters to expose the visual and legal issues behind the right to education in Uganda and the point at which the exhibition intersected with this right. I observe and argue that the right to education is a legal right whose enforcement is in the province of the judiciary. It is not absolute. However by insisting that it is an absolute right to be enjoyed without exceptions, the exhibition succeeded in inviting artists, designers and human rights lawyers to join hands and fight together to protect fundamental rights and freedoms.

by Angelo Kakande F.J

The 100 Posters for the Right to Education Exhibition: its nexus with rights?

100 Posters Exhibition was a joint effort between Poster for Tomorrow , a non-profit organisation based in Paris (France), and the Institute. Its theme was the right to education. The Human Rights and Peace Centre (HURIPEC) was invited to participate. Consequently the exhibition was officially opened by Dr. Mayambala Kakungulu from HURIPEC at the Faculty of Law. All the posters are now part of the Institute’s permanent collection.

Now, the Institute has a rich collection dating back to the days of Margaret Trowell the founder of Margaret Trowell School of Industrial and Fine Art (MTSIFA). Some of the works collected comment on issues concerning education in Uganda. They are few compared to other thematic areas. They however demonstrate the position artists have taken towards the right to education in Uganda.

For example during the late-eighties Sennoga Freddie did his ‘Okusoma’ (Literacy; 1987). With complicated numbers and abbreviated words challenging a human subject forcing his eyes to pop out, the painting is an ominous comment on the country’s low levels of literacy and numeracy during the late-eighties.

Sennoga explored related tropes in his ‘Untitled’ (The news reader; 1987). Here he captured an anonymous male subject dominating a space. He used light, and a female figure entering the picture plane, to introduce life in a largely lifeless space characterized by leaf-less trees and a misty grey landscape. The painter may have chosen to alter normative conventions and expectations inviting us to see a world in which a human subject can redefine his access to information. Put in this light the man before us can be seen as one who has deliberately chosen to read the newspaper upside down. However, by depicting a man wearing no shirt and shoes, the artist persuades us to place the man before us into his poor, uneducated (and not our own educated, elite) class.

Translated literally the painting seems to suggest that the man before us is illiterate; he just does not know the right way to read a newspaper. The painting elicits a deep understanding of modernist styles; it confirms the artist’s access to western visual vocabulary, materials and aesthetics through formal art education. It does not portray the injustice associated with the lack of access to education; it captures a kind of human folly inviting laughter. Thus, by relying on humour, ambiguity and multiplicity of meaning Sennoga’s painting defies being fixed to a single reading as it gains its position on the trajectory of contemporary Ugandan art.

Understanding of aesthetics

Like Sennoga’s paintings many of the posters in the 100 posters exhibition demonstrate a deep understanding of the canons of aesthetics: management of space, balance, harmony and mastery of media. Emil Dodov ’s handling of geometric shapes and control of chalk coupled with the balancing of colour in ‘Jump! Its your right’ can be cited as exemplary.

Secondly, like Sennoga’s works some of the designers relied on unconventional symbols to force the beholder to think about inner meaning. This is especially so in the posters with messages encrypted in non-scholastic objects. For instance the meaning in Göksu Kaya ’s ‘Right to education’ in which the designer combined paper and barbed wires to critique the barriers to education is probably not on the surface.

I did not find it easy to access the coded message in the poster titled ‘Basics’ in which Abby Junge depicts a pencil placed on top of a spiral-bound slice of toasted bread. I must confess nevertheless that these challenges forced me to stop and think carefully and in the process dialogue with the posters rather than casually passing by. The posters became objects of contemplation just like any other artwork in the Institute’s collection.

Then too, we see pencils in Yossi Lemel ’s ‘Power’; we see a pen in Arda Cem Yilmaz ’s ‘Education drop’. Jose Jimenez combined paper and a pencil in his ‘Noniegues mi derecho a estudiar!’

We see chalk in Alessandro di Sessa ’s ‘Chalks for life’. This is not to suggest that designers used these objects without thought and innovation. For example Ulises Ortiz ’s use of an anthropomorphic pencil in his ‘Education is freedom’ was thoughtful, creative and innovative. I am however interested in the preference for such symbols.

Even none conventional symbols were transformed into pens/pencils as we see in Luca Sorbini ’s ‘Weapon’ where a catapult has been transformed into a pen. Arguably then, like Sennoga’s paintings many of the posters are grounded in conventions of western education. They do not look beyond numeracy and literacy to admit other forms of knowledge transfer and acquisition.

Posters are elitist

I thus argue that like Sennoga’s paintings the posters are elitist. They are captioned in elite symbols and languages (mainly English) and are housed in an elite space (the gallery). This limits their access to the few privileged elites who visit galleries and have attained the necessary language skills and education to access their codes and vocabulary. In this context the exhibition is completely inaccessible to the majority of Ugandans. This then suggests that the exhibition did not represent or seek to speak to the most vulnerable Ugandans. It simply proclaims that the right to education is universal and must be given to everybody including every Ugandan.

If Sennoga relied on the adult we notice that most designers for the 100 posters exhibition relied on the symbolism of a child to make their point. Premised on this platform education becomes a basic norm necessary for survival. Yet in both instances the chosen symbols are problematic in the sense that they do not have universal representation. They however complement each other. In addition, the exhibition enriches the Institute’s collection with other neutral symbols. For instance in her ‘Essential to survive’ Anna Zokowska-Zysko does not use a human symbol; she connects education to human survival using a folk turned into a writing pen.

Also, unlike Sennoga’s work, the posters in the 100 posters exhibition have very limited ambiguity. They show simplicity of design. Frédéric Schaffar ’s ‘Please, education’ has a black silhouette of a hand with an erect index finger capped with a blue pen cover; Louise Héroux used a simple, empty classroom in her ‘Je veux/I want’.

Other posters are bathed in a wealth of detail but still they bear clear messages. Carlos Logroño ’s ‘Clean’ can be cited here. The designer depicts a hand firmly pulling a squeegee against a slate covered with detailed information. He maintains a delicate balance between open and occupied space (small and large details) while presenting the possible list of benefits which may be lost if (and when) the right to education was denied.

To further enhance the delivery of their message the designers relied on captions. Written captions at the bottom of (and within) the posters tend to prescribe and guide their communicative power in varied ways although the deployment of objects which are not necessarily scholastic permits meaning to multiply almost endlessly.

For example Amin Shahed used a doll and balls of threads in his ‘Education for all’. The doll is art, a product of human innovation and creativity. But then the presence of the doll together with the tools and materials used in its making invites an inquiry into art/design as a product and process. All these things (if indeed they are things) can neither be directed nor confined by the two captions at the top of the poster, namely: (i) ‘education is the powerful weapon which you can use to change the world’ and (ii) ‘Education 4 all’.

And who gives the right to education?

Oleksandr Parkhomovsky used his ‘Education is vital’ to circulate the view that parents decide which education is best for their children; Carlos Logroño in his Clean places the obligation on the shoulders of nations, the States. The correct legal position is that both the parents and the State are responsible. Article 30 of the 1995 Constitution of Uganda (the Constitution hereinafter) grants the right to education; Articles 31(4) provides that it is the right and duty of parents of care for and bring up their children.

Article 34 (2) provides that a child is entitled to basic education which shall be the responsibility of the State and the parents of the child. Article 18 (2) of the African Charter on Human and People’s Rights (the Banjul Charter hereinafter), among other international treaties and conventions, place this obligation on the State. Consistent with these provisions of the law, but also as a matter of traditional family obligations, parents in Uganda provide for the education of their children. The government of Uganda has rolled out the Universal Primary education (UPE) and the Universal Secondary Education (USE); it invests a lot of money in tertiary and vocational education. International donors and agencies also fund education in Uganda.

Does the quality of education matter?

Kristy Birtwistle used the metaphor of house-construction to suggest that the quality of education matters. She seems to contend that the material one uses to build determines the quality of his/her house. In her ‘The strongest future’ she presents houses having varied degrees of strength derived from different materials and material strengths. It is inferable from her poster that straw is the weakest and most unreliable building material. It represents the poor quality of education provided at the preschool level. Tree branches are stronger than straw but unsatisfactory and untidy. Tree branches represent the education provided at the primary school level. Bricks are the strongest and most satisfactory building materials. They represent the much better education offered at the secondary and other tertiary institutions.

Birtwistle asserts that it is improper to give children poor quality education at preschool education and expect to strengthen the curriculum as children go through primary to secondary schools. Children at all levels must be given the best education in order to ‘give every child the strongest future’.

I agree with this position. First, as we see in Victor Santos ’s ‘For free quality education for all’, universal education must not only be free, it must be quality education as well. Thus Birtwistle’s critique allows us to understand why critiques raise serious doubts about Uganda’s UPE and USE. By demanding improvements in the quality of UPE and USE critiques argue that under UPE and USE schools admit and train school-goers; they churn out job-seekers.

Two, good quality education gives intellectual freedom and freedom from violence. Kenzo Mayama Kramartz presents a subject uninhibitedly running across an open book in his ‘Exit’. Through the symbolism of uninhibited access to a book, and thus knowledge, Kramartz depicts intellectual freedom based on the notion that education is ‘the key to unlock the door of freedom’.

In his poster titled ‘There are two ways’  Alex Fernandez Colado depicts a bullet and a pencil giving them equal weight and presence in the middle of the poster. He seems to make the point that society can choose between granting education and reaping a violence. In essence by denying the right to education society will reap the kind violence seen in Richard Jibaja ’s ‘Educación de Guerra’ a poster in which an armed functionary wields a high-caliber weapon ready to shoot and take away people’s rights, lives and freedoms.

Three, by insisting on quality education Birtwistle’s poster allows us to appreciate the criticism against Uganda’s entire education system. Grounded in western paradigms of modernization and civilization, critiques argue, Uganda’s education has, since colonialism, been an agency of western cultural imperialism. Critiques contend that education in Uganda is not holistic. (And in the exhibition Byoung il Sun used an installation of books in his ‘Education is the completion of the human’ to make a case for holistic education.)

Critiques also argue that the best schools in Uganda do not provide to learners a ladder to greater heights of knowledge. (Such a ladder is emphasized in Chiara Ridera ’s poster titled ‘Achieving goals’.) They do not train students to acquire the kind of self-actualization envisaged by Sarah Hartwig in her ‘Education rewards’. Rather, they train crammers fluent in foreign languages and having a high appetite for ostentatious consumption and western values.

I admit that this criticism concentrates on weakness. Critiques miss the ways in which educators like Margaret Trowell, the midwife of formal art education in Uganda, resisted western cultural imperialism and ‘invented’ a new form of art education which respects African values. I however concede that Uganda’s formal education has bred a class of privileged members of society. (And I am a member of that club). This club constitutes the privileged class Carlos Perez addressed himself to in his poster titled ‘You are so lucky you can read this’. It speaks foreign languages; it has high appetite for ostentatious consumption and western values.

Put simply, the 100 posters exhibition provokes a debate on the quality of Uganda’s education: what it is, what it is not and what it should be. This debate is made possible not because the designers specifically had Uganda’s challenges in mind. They came from different parts of the world and from all continents; they therefore were unaware of Uganda’s specific challenges. However this debate is made possible because the designers identified the right to education as an inherent and universal right to which Ugandans are entitled. This nexus is fundamental. It explains the posters’ relevance to Uganda’s specific challenges.

Okay, the right to education is thus inherent and universal. But is it also absolute?

Roxanne Dupont in her ‘Education is a right’ asserts that ‘education is a right not a privilege’. Taber Calderon insists that women are entitled to education in his ‘Right to education’. Anna Wcislo , in his ‘Education for everyone’, and Alice Drueding , in her ‘Education for all’, advocate that education be given to all without discrimination against people with disabilities. Expressed in these terms, the right to education becomes an absolute right for all.

However this is not always the case. Yuval Eshel did a poster in which two children walk towards an undefined destiny. The emptiness of the space surrounding them allows us to focus our attention on the different choices being made for two girls of equal age. One is made to carry firewood (an ominous representation of domestic chores); the other carries a school bag (a symbol for education). This poster is cast in a universal concern that ‘every child in the world [must have] a right to education’.

Granting children education puts them on a right path. Thus the designer is concerned that this right path is often denied under a form of discrimination in which some girls are removed from school to do domestic chores. This is common in Uganda. But, Eshel has a message to us all and it is this: ‘choose the right path’ of giving education to all children.

Put simply, the exhibition defined education as an absolute right which must be enjoyed by all – and in Charles Bignon ’s ‘Hands up’ this case is made using the symbolism of hands of all ages surging towards the right to education. This is a valid position; the way the poster designers have approached it is visually appropriate. But is the right to education as absolute as the posters in the 100 posters exhibition seem to suggest? This is a legal question inviting a legal answer.

The right to education in the legal system

Article 30 of the Constitution provides for the right to education. It states that all persons have a right to education. This right is fundamental and inherent. It has to be respected by all organs of the Sate and all persons according to Article 20 of the Constitution. However in the eyes of the law this right is not absolute. It is subject to the general limitations provided under Article 43 of the Constitution. Its enjoyment cannot prejudice the fundamental rights and freedoms of others or the public interest.

These issues lay at the heart of the case of Dimanche Sharon and Others v Makerere University (1). In that case the Supreme Court of Uganda considered a petition challenging the constitutionality of Makerere University’s policy and regulations which required students belonging to the Seventh Day Adventist Church to attend scheduled lectures and sit tests and examinations on Saturday contrary to their fundamental beliefs. One of the issues for court to decide was whether the impugned policy and regulations contravened the appellants’ right to education as guaranteed by Article 30 of the Constitution. The Constitutional Court had answered this issue in the negative hence the appeal before the Supreme Court. The Supreme Court upheld the decision of the Constitutional Court and dismissed the appeal. Odoki CJ found and held that by giving them a second chance to sit for the exam which they had missed because it was done on their Sabbath, Makerere University had discharged its duty to accommodate the appellants’ special concerns. It had mitigated the adverse effect of its policy and regulations on the appellants’ right to education. In the premises granting the demands of the appellants would be unreasonable and would ‘cause undue hardship and expense to the respondent [University] as well as seriously affect the ability of the respondent to provide accessible, affordable , quality higher education to a diverse and multi-religious community’ (par Odoki CJ at page 34).

Thus the Dimanche Sharon case is to the effect that where a reasonable decision to deny the right to education is taken against an individual, Courts in Uganda will not interfere with such a decision to avoid placing undue pressure onto educational institutions.

Although based on the principle of reasonableness this decision is not good. Clearly the Supreme Court was alive to the settled principle in the case of R v. Big M. Drug Mart Ltd (2) which is to the effect that a broad and liberal spirit is required whenever interpreting a constitutional provision concerning the rights of an individual. It is therefore ‘essential that a Constitution is not interpreted in a narrow and legalistic way but generously, and purposively, so as to give effect to its spirit, and this is particularly true of those provisions which are concerned with the protection of constitutional rights’ (par Odoki CJ at page 15; my emphasis). And yet Court did exactly the opposite. The Supreme Court narrowed the whole debate to what Katureebe JSC called ‘public interest’ and rejected the petition. In a country where people rarely participate in the making of decisions which affect their lives because of what human rights lawyer Dr. Christopher Mbazira (2011:18) calls a ‘democracy deficit’, public interest is often a reflection of the whims of the President; reasonable programmes may be unreasonably implemented. In my opinion, therefore, reliance on public interest and reasonableness, per se, may erode people’s rights in general and right to education in particular.

Unfortunately, the complainants had no further appeal since Art 129(1)(a) of the Constitution creates the Supreme Court as the highest Court in Uganda. Parliament cannot help either; it has to avoid being seen to favour a particular religion in breach of Article 7 of the Constitution which protects the secularity of the state. Arguably then the petitioners in the Dimanche Sharon case exhausted all local options without getting any meaningful remedy.

In such a scenario regional legal systems would help. Uganda is signatory to the Banjul Charter. Article 17(1) of the Banjul Charter provides that “every individual shall have the right to education.” An aggrieved party can petition the African Commission to enforce his/her right to education if he meets the requirement of admissibility. Article 56(5) of the Banjul Charter provides that in order for an individual’s complaint to be heard, the petitioner must exhaust local remedies before he/she petitions the African Commission unless these are unduly prolonged. In SERAC v Nigeria (3) the African Commission explained the importance of this requirement:

I submit that this is good law. However, the grounds on which the African Commission can offer remedies to a party whose claim is admissible under Article 56(5) are still small and interlaced with policy considerations. This is an unfortunate reality which explains why very few cases have been decided by the African Commission. The few decisions taken so far merit some analysis because they highlight the situations in which the continental Court may intervene to help those whose right to education is threatened.

For example on 25 July 1996 Major Pierre Buyoya launched a coup and overthrew a democratically elected government headed by Sylvestre Ntibantunganya. Consequently, Ethiopia, Kenya, Tanzania, Uganda, Rwanda, Zaire (now the Democratic Republic of Congo) and Zambia held a summit at Arusha on 31 July 1996 in which they declared an embargo against Burundi. Supported by the United Nations and the Organisation of African Unity, the embargo was intended to force the coup leaders to enter into negotiations with other political groups in Burundi with a view of re-establishing peace and stability in the country. And yet the embargo affected the delivery of essential services forcing the respondent countries to change the sanctions regime in order to allow the delivery of essential goods and services.

The petitioners in Association pour la sauvegarde de la paix au Burundi v Tanzania, Kenya, Uganda, Rwanda, Zaire and Zambia (4) challenged the embargo contending that as long as it prevented the importation of scholastic materials into Burundi, it had violated the right of Burundians to education and contravened Article 17 (1) of the Banjul Charter to which the defendants (apart from Ethiopia which ratified it later) were signatories at the time.

The African Commission argued that in matters like these it will investigate if the embargo complained of is “excessive, disproportionate… indiscriminate and seeks to achieve ends beyond the legitimate purpose”. It will also inquire where the embargo goes beyond targeting the main perpetrators of the nuisance complained of and begins to interrupt the delivery of basic needs to a vulnerable population.

Using these principles and tests the African Commission found and held that the sanctions complained of had targeted the perpetrators and had not disrupted the delivery of essential commodities which were exempt from the embargo. The embargo was thus not indiscriminate and unjustified. This decision underscores the contention that the African Commission will help in situations where the denial of the right to education is indiscriminate, unjustified and unreasonable.

As such, in Zaire (now the Democratic Republic of Congo or the DRC) where the denial was indiscriminate, unjustified and unreasonable, the African Commission interfered. In the case of World Organisation Against Torture, Lawyers’ Committee for Human Rights, Jehovah Witnesses, Inter-African Union for Human Rights v Zaire (5)the military had unreasonably and without justification targeted and closed universities and secondary schools, belonging to the Jehovah’s Witnesses ( Témoins de Jéhovah ) for two years. This was part of a sustained brutal campaign against the religious sect. The African Commission found and held that the closure of the sect’s universities and secondary schools constituted a violation of the right to education.

Similarly, in August 1998 Uganda, Rwanda and Burundi invaded the DRC, occupied its territory, indiscriminately transferred the civilian population in the territory they occupied and interfered with the delivery of essential services including education. The DRC dragged its neighbours to the African Commission in the case of D.R. Congo v Burundi, Rwanda and Uganda (6). She complained, inter alia, that the incursion and occupation of her territory by the invading forces had denied the population its right to education. The African Commission held that these indiscriminate actions were in breach of the people’s right to education.

To sum up, the right to education is a legal right whose enforcement is in the province of Courts. Yet for Courts to intervene the denial of the right to education must be indiscriminate, unjustified and unreasonable. Courts also consider issues of public policy and interests. It is my informed opinion therefore, that the right to education is not absolute.

The 100 Posters Exhibition projected the view that the right to education is absolute and illimitable. This is not entirely accurate. As such the exhibition does not succeed in enforcing the right to education. This does not mean that the exhibition, and the subsequent addition of the posters to the Institute’s permanent collection, was an exercise in futility. On the contrary it had three lessons which must be picked up.

1. It motivates artists and designers to look beyond mere commentaries on breaches of fundamental rights. Where rights are threatened artists/designers must use their art/design for activism.

2. Many of the posters on display, and the very fact that they were exhibits in a gallery, became objects of contemplation. They however advance a very important warning that ‘until we have universal education, our world will simply be wrong’. We can only ignore this warning at our peril.

3. That a human rights lawyer accepted to officially open the exhibition as guest of honour means that there is a shared goal between artists, designers and the legal fraternity in Uganda. They must jointly define, and meaningfully fight for, all fundamental rights and freedoms.

Dr. Angelo Kakande has researched extensively on contemporary Ugandan art and the connection to politics. He is currently the Head of the Department of Design at MTSIFA.

• The 1995 Constitution of the Republic of Uganda.
• The African Charter on Human and People’s Rights.

Association pour la sauvegarde de la paix au Burundi v Tanzania, Kenya, Uganda, Rwanda, Zaire and Zambia. Communication no.157/96 Available at http://www.achpr.org/english/Decison_Communication/Zambia/Comm.157-96.pdf (visited 17-1-2012).

D.R. Congo v Burundi, Rwanda and Uganda. Communication no.227/99. Available online at http://www.achpr.org/english/Decison_Communication/Uganda/Comm.227-99.pdf (visited at 17-1-2012).

Dimanche Sharon and Others v Makerere University. Constitutional Appeal No. 2 of 2004 [2006] UGSC 10 (1 August 2006) Available online at http://www.ulii.org//cgi-bin/uganda_disp.pl?file=ug/cases/UGSC/2006/10.html&query=dimanche (visited 17-1-2012).

R v. Big M. Drug Mart Ltd (1985) 18 DLR 321.

SERAC v Nigeria. Communication 155/96. Available online at http://www.achpr.org/english/Decison_Communication/Nigeria/Comm.155-96.pdf (last visited 27-1-2012)

World Organisation Against Torture, Lawyers’ Committee for Human Rights, Jehovah Witnesses, Inter-African Union for Human Rights v Zaire. Communication no. 25/89, 47/90, 56/91, 100/93 Available online at http://www.achpr.org/english/Decison_Communication/DRC/Comm.%2025-89,47-90,56-91,100-93.pdf. (visited 17-1-2012).

Exhibition Catalogue

Poster for Tomorrow. 2011. Right to Education. Exhibition Catalogue.

Journal Articles

Mbazira, C. 2011. Grootboom: A paradigm of individual remedies versus reasonable programmes in Southern African Public Law Journal

Angelo Kakande F.J

An ACLS Fellow and NGAAII Fellow, Kakande is a graduate of Makerere University, Kampala, Uganda and University of Witwatersrand, Johannesburg, South Africa. He teaches studio art and art history at Makerere University. He is an artist (ceramist and painter), art historian (with interest in contemporary African art) and a lawyer (with interest in human rights law).

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Propaganda Poster Ideas For School: A Comprehensive Guide

In the realm of visual communication, propaganda posters have long been a powerful tool for spreading ideas, influencing opinions, and rallying support. Whether it’s promoting a cause, raising awareness, or shaping public perception, these posters have the ability to captivate and persuade audiences.

If you’re a student tasked with creating a propaganda poster for a school project, this comprehensive guide will provide you with a wealth of ideas and inspiration.

If you’re short on time, here’s a quick answer to your question: Some popular propaganda poster ideas for school include promoting environmental awareness, encouraging healthy habits, fostering school spirit, advocating for social justice causes, and highlighting historical events or movements.

In this article, we’ll delve into the world of propaganda posters, exploring their historical significance, design elements, and various themes that resonate with students. We’ll also provide practical tips and strategies for crafting compelling and visually striking posters that effectively communicate your message.

Understanding Propaganda Posters

Historical context and significance.

Propaganda posters have played a pivotal role throughout history, serving as powerful tools for governments, political movements, and social causes to shape public opinion and influence behavior. From the iconic World War II posters that rallied support for the war effort to the striking imagery used during the Civil Rights Movement, these visual narratives have left an indelible mark on society.

According to the Imperial War Museums , propaganda posters were particularly prevalent during times of conflict, serving as a means to boost morale, vilify enemies, and promote national unity.

Key Elements of Effective Propaganda Posters

Compelling propaganda posters often possess a combination of striking visuals, persuasive messaging, and strategic design elements. Here are some key factors that contribute to their effectiveness:

• Bold imagery: Powerful symbols, iconic figures, or striking scenes that capture attention and evoke emotional responses.
• Concise messaging: Clear, concise slogans or catchphrases that convey the desired message in a memorable and impactful way.
• Patriotic or emotional appeals: Appeals to patriotism, fear, anger, or other strong emotions to motivate the audience.
• Simplicity and clarity: Clean, uncluttered designs that effectively communicate the intended message without ambiguity.

The Power of Visual Communication

Propaganda posters exemplify the power of visual communication in shaping public perception and influencing behavior. According to a study by Rutgers University , visuals are processed 60,000 times faster than text, making them an incredibly effective means of conveying complex ideas and emotions quickly.

Furthermore, visuals have been shown to improve comprehension and retention by up to 89% compared to text-only materials. 🤩 This underscores the enduring impact of well-designed propaganda posters, which can leave a lasting impression on the collective psyche and influence societal attitudes for generations.

As you embark on creating propaganda poster ideas for your school project, remember to carefully consider the historical context, leverage powerful visuals and messaging, and tap into the persuasive potential of visual communication.

By understanding the principles behind effective propaganda posters, you can craft compelling designs that not only engage your audience but also leave a lasting impact. 👏 Don’t hesitate to explore authoritative resources like the National Archives for inspiration and guidance on this fascinating aspect of visual communication.

Themes and Ideas for School Propaganda Posters

Environmental awareness and sustainability.

In today’s world, environmental issues have become a pressing concern, and schools can play a crucial role in raising awareness and promoting sustainable practices. Propaganda posters can be an effective tool to educate students about the importance of environmental conservation, recycling, and reducing their carbon footprint.

For instance, posters highlighting the impact of plastic pollution on marine life, or the devastating effects of deforestation, can inspire students to adopt eco-friendly habits. According to EPA’s Students website, “Engaging students in environmental education helps them make informed decisions and take responsible actions to protect the environment.”

Promoting Healthy Lifestyles and Well-being

School years are a formative period, and instilling healthy habits early on can have a lasting impact on students’ overall well-being. Propaganda posters can be a fun and engaging way to encourage physical activity, proper nutrition, and mental health awareness.

For example, posters promoting active transportation (walking or biking to school) or highlighting the benefits of a balanced diet can motivate students to make healthier choices. According to the CDC’s Healthy Schools initiative, “Healthy students are better learners.”

😊 By promoting healthy lifestyles through posters, schools can create a positive environment that fosters both physical and mental well-being.

Fostering School Spirit and Community

A strong sense of community and school spirit can have a profound impact on students’ overall educational experience. Propaganda posters can be a powerful tool to unite students, promote school events, and celebrate achievements.

Posters highlighting school traditions, sporting events, or academic accomplishments can inspire a sense of pride and belonging among students. According to NAESP , “Building school spirit and community is essential for creating a positive learning environment.”

👏 By fostering a sense of unity and camaraderie through posters, schools can cultivate a supportive and inclusive atmosphere that encourages students to thrive.

Social Justice and Advocacy Campaigns

Schools can play a vital role in shaping socially conscious and responsible citizens. Propaganda posters can be an effective medium to raise awareness about social justice issues, promote diversity and inclusion, and encourage students to be agents of positive change.

For instance, posters highlighting the importance of gender equality, racial justice, or disability awareness can spark meaningful conversations and inspire students to take action. According to Teaching Tolerance , “Engaging students in social justice issues helps them develop critical thinking skills and empathy.”

🎉 By incorporating social justice themes into propaganda posters, schools can foster a culture of understanding, respect, and advocacy.

Historical Events and Movements

Propaganda posters have played a significant role in shaping history and influencing public opinion during various historical events and movements. By exploring this aspect, schools can provide students with a deeper understanding of the power of visual communication and its impact on society.

Posters depicting pivotal moments in history, such as the civil rights movement, women’s suffrage, or World War II propaganda efforts, can serve as powerful teaching tools. According to The National Archives , “Analyzing historical propaganda posters helps students develop critical thinking skills and gain insight into the motivations and perspectives of different groups.”

By examining historical propaganda posters, students can develop a nuanced understanding of the past while sharpening their analytical and critical thinking abilities.

Design Principles and Techniques

Color psychology and symbolism.

Color is a powerful tool in propaganda poster design. It can evoke emotions, symbolize ideas, and reinforce messaging. The choice of colors should be intentional and align with the desired impact. For example, red often represents passion, energy, and revolution, while blue conveys trust, stability, and calmness.

According to Color Psychology Meaning , yellow is associated with optimism, happiness, and creativity, making it a suitable choice for uplifting messages.

Beyond individual colors, color combinations and contrasts can also be leveraged. Complementary colors (those opposite on the color wheel) create a striking visual impact, while analogous colors (those adjacent on the color wheel) promote harmony and unity.

Symbolism plays a crucial role too – consider using colors associated with your school or national colors to foster a sense of pride and belonging.

Typography and Layout Considerations

Typography and layout are essential elements that can make or break a propaganda poster’s effectiveness. The font choice should complement the message and evoke the desired emotion. Bold, sans-serif fonts like Futura or Helvetica convey strength and modernity, while serif fonts like Times New Roman exude tradition and authority.

According to Smashing Magazine , around 95% of design is typography – a testament to its significance.

The layout should be visually appealing and guide the viewer’s eye through the poster’s elements. A balanced composition with strategic use of white space can enhance readability and impact. Contrast, alignment, and hierarchy are key principles to consider.

Incorporating design elements like borders, shapes, or icons can also add visual interest and reinforce the message.

Incorporating Imagery and Illustrations

Imagery and illustrations are powerful tools for propaganda posters, as they can convey complex ideas and emotions quickly and effectively. Photographs can capture real-life moments and lend authenticity, while illustrations allow for more creative freedom and symbolism.

When selecting images, ensure they align with the message and resonate with the target audience.

Consider using iconic symbols or metaphors that represent the desired concept. For example, a clenched fist could symbolize strength and resistance, while a dove could represent peace and unity. According to VeryWell Mind , visual symbols can tap into our subconscious minds and evoke strong emotions, making them highly effective in propaganda posters.

Crafting Compelling Slogans and Messaging

The slogan or messaging is the heart of a propaganda poster, encapsulating the core idea or call to action. Craft slogans that are concise, memorable, and emotionally resonant. Use persuasive language, rhetorical devices (like alliteration or rhyme), and evocative words to capture attention and inspire action.

Consider incorporating rhetorical questions or direct calls to action to engage the viewer and prompt a response. For example, “Are you ready to make a difference?” or “Join the movement today!” According to Nielsen Norman Group , effective slogans should be brief (no more than 7-8 words), benefit-oriented, and memorable.

By mastering these design principles and techniques, you can create powerful propaganda posters that capture attention, evoke emotions, and inspire action within your school community. Remember, the goal is to craft visually striking and persuasive messages that resonate with your target audience and drive them towards your desired outcome.

Tips for Creating Impactful Propaganda Posters

Researching and understanding your audience.

Before you begin crafting your propaganda poster, it’s crucial to research and understand your target audience. What are their beliefs, values, and concerns? What motivates them? By gaining insights into your audience’s mindset, you can tailor your message and visual elements to resonate with them effectively.

According to a study by Pew Research Center , nearly 6 in 10 Americans believe that false or misleading information is a major problem online. This highlights the importance of being credible and trustworthy when creating propaganda materials.

Developing a Clear and Focused Message

Your propaganda poster should have a clear, concise, and focused message. Avoid ambiguity or mixed signals that could confuse or disengage your audience. Your message should be compelling, persuasive, and tailored to your audience’s interests and emotions. Consider using rhetorical questions or direct calls to action to engage your viewers and encourage them to think or act in a specific way.

For example, a poster promoting environmental awareness might ask, “Do you want to leave a polluted planet for future generations?” 🌎

Utilizing Persuasive Techniques and Emotional Appeals

Effective propaganda posters often employ persuasive techniques and emotional appeals to influence their audience. Some common techniques include:

• Appealing to fear, patriotism, or a sense of belonging
• Using powerful imagery or symbolism that resonates with your audience
• Presenting a simplified or exaggerated perspective on an issue
• Employing repetition or catchy slogans to reinforce your message

However, it’s important to strike a balance and avoid being overly manipulative or deceptive, as this can backfire and damage your credibility. According to a study by ScienceDirect , propaganda techniques that are perceived as too manipulative can lead to psychological reactance and a decrease in persuasion effectiveness.

Ensuring Clarity and Readability

Your propaganda poster should be visually appealing and easy to understand at a glance. Use clear, legible fonts and a balanced layout that guides the viewer’s eye to the most important elements. Avoid cluttering your design with too much text or unnecessary details. A well-crafted poster should convey its message quickly and effectively, even to those who only glance at it briefly.

According to research by Nielsen Norman Group , users tend to scan web pages rather than read them word-for-word, so it’s essential to prioritize clarity and readability in your design. 👀

Propaganda posters have the power to inspire, educate, and influence audiences in profound ways. As a student, creating a compelling propaganda poster can be a rewarding and insightful experience, allowing you to explore various themes, design principles, and communication strategies.

By understanding the historical context, identifying relevant themes, mastering design techniques, and crafting a clear and focused message, you can create a poster that resonates with your audience and effectively conveys your intended message.

Remember, the key to a successful propaganda poster lies in its ability to captivate, persuade, and leave a lasting impact on the viewer.

Whether you’re promoting environmental awareness, advocating for social justice, or fostering school spirit, this comprehensive guide has provided you with a wealth of ideas and practical tips to help you create a visually striking and impactful propaganda poster for your school project.

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6 Creative And Impactful Propaganda Poster Ideas For School Projects

Creating an eye-catching and thought-provoking propaganda poster is a great way to flex your creative muscles and make a statement. Whether it’s for a school project or just for fun, propaganda posters are an impactful medium for expressing your voice.

If you’re short on time, here’s a quick answer to your question: Some great propaganda poster ideas for school projects include posters about environmental causes, political issues, social movements, promoting school events, anti-bullying campaigns, public health awareness, and more .

The key is choosing a topic you’re passionate about and creating a simple, bold design with a clear message.

In this comprehensive guide, we’ll provide 15 creative propaganda poster ideas you can use for school assignments or extracurricular projects. We’ll also offer tips on how to make your poster design stand out and effectively communicate your message.

            View this post on Instagram                         A post shared by Philip Williams Posters (@postermuseum)

Pick a Cause or Issue You’re Passionate About

When creating a propaganda poster for a school project , it’s important to choose a cause or issue that you feel strongly about . This will not only make the project more engaging for you, but it will also allow you to convey your passion and conviction through your artwork.

Whether it’s advocating for environmental causes, raising awareness about political issues, supporting social movements, promoting school events, addressing anti-bullying and inclusion, or spreading public health awareness, selecting a cause that resonates with you will ensure that your poster is impactful and meaningful.

Environmental Causes

The environment is a pressing issue that affects us all. From climate change to deforestation, there are numerous environmental causes that you can choose to support through your propaganda poster. Consider using powerful imagery and statistics to highlight the urgency of the issue and inspire others to take action.

Websites like National Geographic can provide valuable information and inspiration for your project.

Political Issues

Political issues are often at the forefront of public debate and can be a great source of inspiration for your propaganda poster. Whether it’s advocating for human rights, promoting equality, or raising awareness about a specific policy, your poster can serve as a powerful tool for expressing your views.

Social Movements

Social movements are a powerful way to bring about change and raise awareness about important issues. Whether it’s supporting the LGBTQ+ community, fighting for racial justice, or advocating for gender equality, your propaganda poster can play a role in amplifying the voices of marginalized groups and promoting inclusivity.

School Events

Creating a propaganda poster for a school event can be a fun and creative way to engage your fellow students. Whether it’s promoting a sports tournament, a talent show, or a fundraising event, your poster can help generate excitement and participation.

Use bold colors, catchy slogans, and eye-catching graphics to grab attention and get your message across.

            View this post on Instagram                         A post shared by Karines Reyes (@karinesreyes87)

Anti-Bullying and Inclusion

Bullying and exclusion can have a devastating impact on individuals and communities. By creating a propaganda poster that addresses these issues, you can help raise awareness and promote a culture of kindness and acceptance in your school.

Consider using personal stories, powerful quotes, and uplifting imagery to convey your message. 

Public Health Awareness

Promoting public health awareness is crucial, especially during times of crisis. Your propaganda poster can play a role in educating others about important health issues such as vaccinations, mental health , or hygiene practices.

Use clear and concise messaging, along with informative visuals, to convey your message effectively. 

Research and Brainstorm Key Messages

Before creating impactful propaganda posters for school projects , it is essential to conduct thorough research and brainstorm key messages . This step will help you understand the topic or issue you want to address and identify the most effective ways to communicate your message to the audience.

1. Understanding the Topic

Start by gathering information and gaining a deep understanding of the topic you want to focus on. This could be a social issue, a historical event, an environmental concern, or any other subject relevant to your school project.

Read books, articles, and credible websites to gather accurate information and multiple perspectives on the topic.

2. Analyzing the Target Audience

Consider who your target audience is and what message would resonate with them. Are you creating the poster for your classmates, teachers, or the wider school community? Understanding your audience will help you tailor your message to be more impactful and relatable.

3. Identifying Key Messages

Brainstorm a list of key messages that you want to convey through your propaganda poster. These messages should be concise, powerful, and aligned with your project’s objectives. Consider using persuasive techniques such as emotional appeal, catchy slogans, or thought-provoking statements to grab the viewer’s attention.

4. Incorporating Visual Elements

Think about how you can visually represent your key messages through graphics, symbols, colors, and typography. Visual elements play a crucial role in conveying the intended message and capturing the viewer’s attention.

Make sure your visuals are relevant, impactful, and aligned with your overall message.

5. Fact-Checking and Credibility

Ensure that the information you include in your propaganda poster is accurate and credible. Fact-check your sources and verify the statistics or claims you want to include. Using reliable sources such as government websites, academic journals, or reputable news outlets will add credibility to your message.

Remember, the purpose of a propaganda poster is to persuade and influence the viewer’s opinion. By conducting thorough research and brainstorming key messages, you can create impactful posters that effectively communicate your ideas and raise awareness about the chosen topic.

Use Bold, Simple Visuals

When creating propaganda posters for school projects , it is important to use bold and simple visuals to catch the viewer’s attention and convey your message effectively . Here are some tips to help you create impactful posters:

Use Striking Imagery

One of the most effective ways to make your propaganda poster stand out is by using striking imagery. Choose visuals that are visually appealing and instantly grab the viewer’s attention. For example, you can use powerful symbols, such as clenched fists or doves, to represent different ideas or concepts.

You can also use images that evoke strong emotions , such as happiness, sadness, or anger, to create a connection with the viewer.

            View this post on Instagram                         A post shared by Paul Pazdan (@iampurerage_retro)

Keep in mind that propaganda posters are meant to convey messages quickly and effectively. Therefore, it is important to limit the amount of text you include in your poster. Use short and impactful phrases or slogans that are easy to read and understand.

Remember, a picture is worth a thousand words , so let the visuals do most of the talking.

Use Contrasting Colors

Using contrasting colors in your propaganda posters can help grab the viewer’s attention and make your message more impactful. Choose colors that create a strong contrast, such as black and white, or complementary colors that are opposite each other on the color wheel.

This will make your poster visually appealing and help your message stand out.

Remember, the goal of a propaganda poster is to communicate a message effectively and leave a lasting impact on the viewer. By using bold, simple visuals, striking imagery, limiting text, and using contrasting colors, you can create a powerful propaganda poster for your school project.

Add Short, Punchy Slogans

When it comes to creating impactful propaganda posters for school projects, one of the most effective techniques is to add short and punchy slogans. These slogans are catchy phrases or statements that convey a strong message in just a few words.

They have the power to grab the attention of the viewer and leave a lasting impression.

One example of a short and punchy slogan is “Save Water, Save Life.” This slogan not only raises awareness about the importance of conserving water but also creates a sense of urgency. By using concise and powerful language, the message is easily understood and remembered by the audience.

Another example is “Plant Trees, Save the Earth.” This slogan highlights the significance of planting trees in combating deforestation and climate change. It encourages individuals to take action and contribute to the preservation of our planet.

When creating your own propaganda poster, think about the main message you want to convey and condense it into a short and impactful slogan . Consider using strong verbs, vivid imagery, and rhyming words to make your slogan more memorable.

            View this post on Instagram                         A post shared by You are typography (@youaretypography)

Why are short, punchy slogans effective?

Short, punchy slogans are effective for several reasons. First, they are easy to remember. People are more likely to retain information that is presented in a concise and memorable way. By using a catchy slogan, you can ensure that your message sticks with the viewer long after they have seen your poster.

Second, short slogans have a greater impact on the viewer. In a world filled with information overload, it is important to capture attention quickly and effectively. A short and punchy slogan cuts through the noise and grabs the viewer’s attention , increasing the chances of them engaging with your message.

Third, slogans create an emotional connection. By using powerful language and evocative imagery, you can elicit an emotional response from the viewer. This emotional connection can motivate individuals to take action and support the cause or message presented in your propaganda poster.

Remember to keep your slogans concise, compelling, and aligned with your overall message. Experiment with different combinations of words and phrases to find the perfect slogan that resonates with your target audience.

Consider Your Target Audience

When creating propaganda posters for school projects, it is important to consider your target audience . Who are you trying to reach with your message? Understanding your audience will help you tailor your poster to effectively communicate your message and elicit the desired response.

Identify the Demographics

Start by identifying the demographics of your target audience. Are they students, teachers, parents, or a combination of these? Consider their age, interests, and goals. For example, if your target audience is high school students, you might focus on issues that are relevant and important to them, such as social justice or environmental sustainability.

Understand Their Perspectives

Take the time to understand the perspectives and beliefs of your target audience. What are their concerns and values? What motivates them? This will help you craft a message that resonates with them and convinces them to take action.

For instance, if your target audience is parents , you might emphasize the importance of education and how your poster project relates to their children’s future.

Consider Visual Appeal

When designing your propaganda poster, consider the visual appeal that will attract and engage your target audience. Use colors, fonts, and images that are visually appealing and align with your message.

For example, if your target audience is younger students, you might use bright colors and playful illustrations to capture their attention and make the poster more engaging.

Keep it Simple and Clear

Remember to keep your message simple and clear. Avoid using complex language or too much text, as this can overwhelm your audience and dilute the impact of your message. Use catchy slogans or phrases that are easy to remember and understand.

For instance, if your target audience is teachers, you might use a simple and direct message like “Invest in Education for a Brighter Future.”

By considering your target audience when creating propaganda posters for school projects, you can ensure that your message is effectively communicated and has the desired impact. So, take some time to research and understand your audience, and let your creativity shine through in your poster design!

Creating a stellar propaganda poster requires passion for your cause, bold visuals, and clear messaging. By choosing a topic you care about, researching effective slogans, and designing eye-catching imagery, you can develop a poster that makes a true impact.

The next time you need to create a propaganda poster for a school project, use these creative ideas and tips to make your voice heard. With a compelling poster, you have the power to change minds and inspire action. So pick an issue, grab some art supplies, and start designing your masterpiece today!

Maria Sanchez is the founder of the Save Our Schools March blog. As a former teacher and parent, she is passionate about equitable access to quality public education. Maria created the blog to build awareness around education issues and solutions after organizing a local march for public schools.

With a Master's in Education, Maria taught high school English before leaving her career to raise a family. As a parent, she became concerned about underfunded schools and over-testing. These experiences drove Maria to become an education advocate.

On the blog, Maria provides resources and policy insights from the dual perspective of an informed parent and former teacher. She aims to inspire others to join the movement for quality, equitable public education. Maria lives with her family in [city, state].

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Women and war posters.

How were women depicted during the WWI and WWII through propaganda posters? What kinds of messages do these posters send women? How are women recruited for the military today?

• Here are 10 propaganda posters depicting women, taken from WWI and WWII. Get into groups and analyse each poster, focusing on the five aspects listed below. Compare your analysis of each poster to the analyses provided. What do you think were the effects of these posters on women during these wars?

Call to action: How does each poster speak to women and call them to action? What are they expected to do in response to each poster?

Typography : Fonts come in serif, sans-serif, large, small, bold and italics. What does the typography say about the message of each poster?

Symbolism : What kinds of symbols are used in each poster? What do these symbols stand for, and how to they contribute to the message of each poster?

Idealisation : How are people, objects, places and things idealised? What ideals are represented in each poster?

Artistic style : How does the style of the artist's artwork contribute to the text's message?

Text 1: 'Women of Britain' by Parliamentary Recruiting Committee, 1914

Analysis of Text 1

Call to action : Women should encourage their husbands to leave home and fight in the war.

Typography : White font is contrasted on blue sky. Underlining, capitals exclamation mark and quotation marks add emphasis to message.

Symbolism :- Windowsill resembles ‘home’. The horizon is about the future.

Idealisation : Men march orderly, closely and uniformly. Women and children are close together. The mother is beautiful. The children are groomed.

Artistic style :  Soft colours with light on the mother suggest she is the centre point. Yellow dress shows she is brave and bold. Mother looks worried but in command.

Text 2: 'Knit your bit' by American Red Cross, 1918

Analysis of Text 2

Call to action:  Women should knit socks for the soldiers.

Typography:  The reds, whites and yellows all stand out against the use of black. Sans- serif fonts and capitalized letters are easy to read. ‘SOX’ stretches across the length of the poster, emphasizing the need for a simple clothing item.

Symbolism:  The Red Cross itself is a symbol of help and healing. The knitting needles are a sign of homeliness.

Idealisation:  The knitting basket is simple. The yarn looks soft.

Artistic style:  There is a sense of depth with the red cross behind the yarn and the letters at the foundation. The words, and therefore the message, is stronger than any drawings.

Text 3: 'Come into the factories', 1941

Analysis of Text 3

Call to action:  Women should seek jobs in factories to produce planes and ammunition for the war.

Typography: The white, sans-serif letters stand tall, like the woman, on a black foundation.

Symbolism:  Planes symbolise the war effort. The smokestacks symbolise the industrious factories.

Idealisation: The planes fly in neat rows to infinity, suggesting and endless production line. The woman is the ideal worker: happy and healthy.

Artistic style: The light shines on the back of the woman. The red sky suggests the sun is setting or rising. Her body language celebrates the flying machines she has helped create. The camera angle looks up to the sky and the glory of the Air force.

Text 4: 'Your Red Cross Needs You' 1942

Analysis of Text 4

Call to action: Women should become  nurses and listen to their country’s call.

Typography: The letters stand tall like the woman. White is contrasted on blue and the sans-serf font spans the width of the text’s foundation.

Symbolism: The square cross stands for safety. Uncle Sam stands for US values and traditions.

Idealisation: The woman is the ideal nurse: beautiful, clean and healthy with rosy cheeks.

Artistic style: Uncle Sam is not a cartoon, but a realistic looking, wise, old man, who deserves respect and commands presence. The nurse’s gaze is determined. The reds and pure whites, with the cape, suggest heroism. In the background looms the debris of an explosion.

Text 5: 'We can do it!' by Westinghouse Electric, 1942

Analysis of Text 5

Call to action: Strong women, working in factories, will win the war (it). So women should seek jobs in factories and get to work.

Typography: Each first letter is capitalised like a title or slogan. The exclamation point is bold.

Symbolism: She is wearing a depiction of herself on her collar. She is her own symbol. The headscarf stands for industriousness. Flexed muscle equals strength.

Idealisation: The woman is wearing make-up and lipstick. She’s both feminine and masculine

Artistic style: The yellows, blues, whites and reds are all bold and iconic. Her gaze is piercing, as she looks at or down on the viewer. Rule of thirds is used effectively.

Text 6: 'I'd join the Navy', 1918

Analysis of Text 6

Call to action: Men should join the Navy, because not everyone has the opportunity.

Typography: A serif font with different sizes, colours and uses of capitals and underlining is intriguing. These words are contrasted with the bold sans-serif font at the foundation of the text which tell the reader to ‘be a man’ and join.

Symbolism: The pin stripes, hat and emblem suggest rank and order, which is contrasted with her playful way of wearing the uniform.

Idealisation: Her curly hair and apple cheeks suggest innocence and charm. She looks flirtatious.

Artistic style: The use of watercolour and the inclusion of the artist’s signature indicate that this is art and not an ad.

Text 7: 'Booby trap', 1943

Analysis of Text 7

Call to action: Men should not have sex

during the war so as to avoid STDs.

Typography: The crooked angle of the letters, suggest the woman is a slippery slope or a ‘trap’. The title ‘booby’ is a play on words.

Symbolism: Beer and cigarettes stand for recreation and socialisation. Her eye shadow, cleavage, lipstick stand for seduction. The uniforms help the target audience identify with the characters.

Idealisation: The soldier on the left has a boyish charm that show is naiveté.

Artistic style: The light on the woman’s chest is contrasted with the dark pub, drawing attention to the pun. The artist’s use of cartoonification makes one laugh at the situation.

Text 8: 'Wake up America' by The Major's Committee, 1916

Analysis of Text 8

Call to action: America, including every man woman and child, should get involved in the Great War.

Typography: White letters with a yellow outline on a black background really stand out. The font screams to the sleeping woman to wake her up.

Symbolism: Red stripes, white stars and blue all indicate Americanism. Dark clouds stand for doom and gloom, lurking in the horizon. The pillow and wicker chair are symbols of relaxation.

Idealisation: America is a beautiful woman or goddess, soft and tender. Her red cheeks exude life.

Artistic style: The woman’s skin is pale and soft. Her silky clothing is almost tangible for the viewer. The light on her chest and face contrast with the dark clouds, suggesting she is hope.

Text 9: 'Victory Waits' by US Civil Service Commission, 1943

Analysis of Text 9

Call to action: Women should take secretarial positions to support the war effort.

Typography: The letters are bold, black and red. The sans-serif font is tall and stretched like the lines of the flag.

Symbolism: Red, white and blue stand for America and France. The typewriter and salute show the young woman’s servitude.

Idealisation: The bow, curly, blond hair and round cheeks are signs of youthful beauty. Her white, starched and pressed blouse are perfect. The typewriter is a well-oiled machine.

Artistic style: The image of the woman is slightly stylised. She looks the reader in the eye to gain contact.

Text 10: 'Wanted for murder' 1944

Analysis of Text 10

Call to action: Men should not talk to women about war about war strategy. Women should be careful about what they say to others.

Typography: The letters are bold, black on white, with a red subheading. The italicised letters below are contrasted with the bold font above.

Symbolism: Her earrings, makeup, hairstyle suggest that she has made an effort to look attractive.

Idealisation: The woman’s face is not the idealised face of a murderer, which is exactly the incongruity that the reader finds striking.

Artistic style: The photograph is a realistic portrait photograph. Many soldiers carried photographs of their girlfriends, like this one.

• How have women contributed to the military since WWI and WWII? How have roles of women in the military evolved over time? Compare the two recruitment posters below. How are they similar or different? Relate these posters to the seven concepts from this course: identity, culture, communication, transformation, representation, creativity and perspective. 

Text 11: 'New Army New independence New you' WRAC, 1970s

Text 12: 'The best place for a woman in the army is everywhere', US Army 2000s

• After having discussed so many posters, take one that you like and write a Paper 1-style analysis on it. Consult the page on propaganda posters in the text types section of this site if you have not already done so. Study the assessment criteria for Paper 1 and read an example, such as this one , in preparation for writing your analysis of the poster that you select. Ask your teacher for feedback on your analysis, after you have written it. Rewrite it if necessary and keep it in your learner portfolio. 

PMQs latest: Sunak refuses to rule out deploying UK forces to Middle East - and shrugs off Tory defection

Rishi Sunak faced Keir Starmer at the final PMQs before this week's pivotal local elections. It comes as a Tory mayor seeking re-election shuns the prime minister in his campaign literature - instead relying on the endorsement of Boris Johnson.

Wednesday 1 May 2024 13:10, UK

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• Starmer boasts at PMQs: Defection shows Sunak has 'utterly failed'
• PM refuses to rule out deploying UK forces to Middle East
• Sam Coates: I've got to apologise after today's PMQs
• Johnson tells voters to 'forget about the government'
• First illegal migrants bound for Rwanda detained
• Scottish government to face Holyrood vote of no confidence today
• Contest for new first minister explained | Why Yousaf resigned
• Local elections:  All you need to know about this week's votes
• Live reporting by Charlotte Chelsom-Pill

The week has kicked off with a huge political story - the resignation of Humza Yousaf - and will end with another, as voters across England and Wales turn out for the local elections.

Sky's political reporter Alexandra Rogers   has looked ahead to a potentially defining night for Rishi Sunak's premiership, when hundreds of council seats, police and crime commissioner jobs, and mayoral posts will be up for grabs.

Read her full explainer below:

PMQs has come to a close - and even enthusiasts like our deputy political editor Sam Coates struggled a bit with this week's session.

You certainly wouldn't have guessed it was the final Sunak-Starmer face-off before some critical local elections - it was a PMQs lacking for "passion" and any "razzmatazz".

"It was very pedestrian," admits Sam, saying he has to apologise to viewers who had every right to expect more.

"The only thing that made me laugh was the Speaker at the beginning going, 'who's banging on the furniture?! They'll have to pay for the damage!'

"That's the closest we got to wit."

Sam notes one moment where, under questioning from Sir Keir, the prime minister refused to rule out scrapping the winter fuel allowance.

But the best exchange for Sam involved Stephen Flynn, the Westminster leader of this week's "most troubled party of all" - the SNP.

He asked about the deployment of UK forces to the Middle East to help US forces distribute aid in Gaza - and Mr Sunak didn't rule it out.

Stephen Crabb, the Tory MP for Pembrokeshire, is up next.

"Thousands of my constituents have lived with foul polluted air," he says, pointing to a local landfill site operated by a business.

"[That] company is owned by somebody with previous convictions for environmental crimes and who a few months ago gave £200,000 to help Vaughan Gething become first minister of Wales."

He also mentions a £400,000 loan given to another of the businessperson's companies by the Bank of Wales, which he says was overseen by Mr Gething as economy minister at the time. 

"Does the prime minister agree with me that this serious matter demands an independent investigation?"

Rishi Sunak says the case is "an incredibly important issue".

"I know that people in Wales are concerned about the relationship that he mentions and I also agree with him on the need for transparency and an investigation regarding the Welsh Labour leader, because it's very clear that the situation is not at all transparent and answers are needed."

The UK has "no legal obligation to accept returns of illegal migrants from Ireland", Rishi Sunak declares after a question from the DUP politician Carla Lockhart.

Referring to the Safety of Rwanda Act, which became law last week, he says "it's no surprise that our robust approach to illegal migration is providing a deterrent".

Ireland's prime minister has insisted the UK must respect an existing arrangement between the two countries to take back asylum seekers.

Simon Harris told Sky News yesterday that the UK must honour the deal, in place since 2020, as the row escalated over the Irish government's new plans to return to the UK asylum seekers who cross the border from Northern Ireland.

His comments came after Ireland's deputy prime minister and foreign secretary Micheal Martin said the threat of deportation to Rwanda was causing "fearful" migrants to head for Ireland instead of the UK.

You can read more on that row here:

By Gurpreet Narwan, political correspondent

With Israel determined to launch an offensive in Rafah, Gaza's southernmost city, the prime minister was pushed on the UK's position on a plan that has raised global alarm.

Against the backdrop of increasingly tense protests and counterprotests on US campuses, Mr Sunak was pushed on levels of humanitarian aid going into Gaza and the UK's ongoing arms exports to Israel. 

The prime minister held firm, pointing out that Israel has "a right to defend itself" and talked up UK efforts to get aid into Gaza.

It's a tense issue for Labour too, and the party could pay the price at the ballot box tomorrow, especially in constituencies with large Muslim populations.

"Our coast has taken a battering," the prime minister is told by Tory MP Peter Aldous as he asks about funding for infrastructure to protect coastal communities. 

Mr Sunak says almost £1bn of levelling up funding has been allocated to the east of England, including £75m for "coastal places".

He says he will secure a meeting between Mr Aldous, the MP for Waveney in Suffolk, and the relevant minister to discuss how his region can be further supported.

SNP MP Deidre Brock asks the prime minister about "shady" groups behind what she describes as "gutter politics". 

She raises a Greenpeace report that alleges 36 "supposed grassroots campaign groups" were "actually administered by Conservative staff and activists". 

The groups acted as "global forums for vile racism, antisemitism and Islamophobic attacks on Sadiq Khan", she says.

"Can the prime minister shed some light on the shady groups spreading abuse, their funding, their links to his party and whether he is aware of similar operations existing elsewhere in the UK?"

The prime minister stands and says he is unaware of the reports. 

He is unapologetic, however, for any Conservatives pointing out the "record" of other parties. 

Next to speak is Caroline Lucas, who brings up a potential Israeli invasion of the southern Gazan city of Rafah.

More than a million displaced Palestinians are sheltering in the city, which Israel claims is the last bastion of Hamas.

Charities, governments and humanitarian organisations on the ground have warned an attack would lead to thousands more Palestinians killed and injured. 

"All the signs are that Netanyahu is about to defy the international community," Ms Lucas says. 

"If that attack begins, will that be the moment when the prime minister finds the moral backbone to ban arms exports to Israel?

"And if not, how much more suffering has to happen before he acts to prevent further UK complicity and crimes against humanity?"

The UK provides a small amount of arms to Israel. 

The prime minister responds: "I've been crystal clear, we want to see humanitarian law respected and adhered to by all parties.

"Too many civilians have been killed and we do want to see Israel take greater care to avoid harming civilians.

"I've made these points repeatedly to Prime Minister Netanyahu specifically about the impacts of any military incursion into Rafah, and we continue to say to the Israelis at all levels that we want to see more aid going in and... a hostage deal so we can move towards a sustainable ceasefire."

Stephen Flynn, the SNP leader in Westminster, asks the prime minister whether he is giving "active consideration to the deployment of UK forces in the Middle East".

He says the answer is "yes or no", saying the public needs "clarity".

Mr Sunak skirts the issue, saying he can't get into any operational planning details. 

But, he says, "we are absolutely committed to supporting international efforts to get more humanitarian aid into Gaza ...  by land, sea and air".

Mr Flynn follows up by asking whether all members will be given a vote before he makes a decision on any UK deployment. 

"I'm not going to apologise for our armed forces playing a leading role in supporting international efforts to get more aid in," Mr Sunak says.

"And indeed we are sending Royal Navy support ship RFA Cardigan Bay to the region to support that effort."

He adds the fastest way to end the Israel-Hamas conflict is to ensure there is a "hostage deal that gets hostages out, aid in and for there to be a sustainable pause in the fighting".

He says it is clear there is now a "workable offer on the table" and asks Mr Flynn to join him in urging all parties, including Hamas, to accept the deal.

Sir Keir Starmer began the session by revelling in the defection of Dan Poulter, who moved from the Tory benches to the Labour side last weekend. 

The Labour leader said it was symbolic of the wider exodus of Tory voters to Labour. 

He then made a series of attacks about unfunded tax cuts and pushed the prime minister on whether he would raid pensioners to shore up the public finances. 

The Labour leader was unrelenting, repeatedly trying to undermine the government's offer to pensioners.

It was a considered choice. Pensioners are a core voting base for the Conservatives. 

Labour had a clear message for them: "Vote Tory, risk your pension."

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