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Arts scope and sequence

Primary Years Programme

PYP113Printed in the United Kingdom by Antony Rowe Ltd, Chippenham, Wiltshire

Published November 2009

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Primary Years ProgrammeArts scope and sequence

IB mission statementThe International Baccalaureate aims to develop inquiring, knowledgeable and caring young people who help to create a better and more peaceful world through intercultural understanding and respect.

To this end the organization works with schools, governments and international organizations to develop challenging programmes of international education and rigorous assessment.

These programmes encourage students across the world to become active, compassionate and lifelong learners who understand that other people, with their differences, can also be right.

IB learner profileThe aim of all IB programmes is to develop internationally minded people who, recognizing their common humanity and shared guardianship of the planet, help to create a better and more peaceful world.

IB learners strive to be:

Inquirers They develop their natural curiosity. They acquire the skills necessary to conduct inquiry and research and show independence in learning. They actively enjoy learning and this love of learning will be sustained throughout their lives.

Knowledgeable They explore concepts, ideas and issues that have local and global significance. In so doing, they acquire in-depth knowledge and develop understanding across a broad and balanced range of disciplines.

Thinkers They exercise initiative in applying thinking skills critically and creatively to recognize and approach complex problems, and make reasoned, ethical decisions.

Communicators They understand and express ideas and information confidently and creatively in more than one language and in a variety of modes of communication. They work effectively and willingly in collaboration with others.

Principled They act with integrity and honesty, with a strong sense of fairness, justice and respect for the dignity of the individual, groups and communities. They take responsibility for their own actions and the consequences that accompany them.

Open-minded They understand and appreciate their own cultures and personal histories, and are open to the perspectives, values and traditions of other individuals and communities. They are accustomed to seeking and evaluating a range of points of view, and are willing to grow from the experience.

Caring They show empathy, compassion and respect towards the needs and feelings of others. They have a personal commitment to service, and act to make a positive difference to the lives of others and to the environment.

Risk-takers They approach unfamiliar situations and uncertainty with courage and forethought, and have the independence of spirit to explore new roles, ideas and strategies. They are brave and articulate in defending their beliefs.

Balanced They understand the importance of intellectual, physical and emotional balance to achieve personal well-being for themselves and others.

Reflective They give thoughtful consideration to their own learning and experience. They are able to assess and understand their strengths and limitations in order to support their learning and personal development.

© International Baccalaureate Organization 2007

Arts scope and sequence

Contents

Introduction to the PYP arts scope and sequence 1

What the PYP believes about learning arts 1

Arts in a transdisciplinary programme 2

The structure of the PYP arts scope and sequence 6

How to use the PYP arts scope and sequence 7

Arts planning: Sample processes 8

Learning continuums 9

Responding 9

Creating 14

Samples 20

Arts scope and sequence 1

Introduction to the PYP arts scope and sequence

The information in this scope and sequence document should be read in conjunction with the arts subject annex in Making the PYP happen: A curriculum framework for international primary education (2009).

What the PYP believes about learning artsArts are integral to the IB Primary Years Programme (PYP). They are a powerful mode of communication through which students explore and construct a sense of self and develop an understanding of the world around them. Arts provide students with a wide range of opportunities and means to respond to their experiences and engage with historical, social and cultural perspectives. The students are stimulated to think and to articulate their thoughts in new ways, and through a variety of media and technologies. The PYP recognizes that not all learning can be supported solely through language, and that arts as a medium of inquiry also provide opportunities for learning, communication and expression. Learning about and through arts is fundamental to the development of the whole child, promoting creativity, critical thinking, problem-solving skills and social interactions.

In this document, arts are identified as dance, drama, music and visual arts. The inclusion of dance in this revised scope and sequence acknowledges dance as an art form and embraces the creative and expressive potential of the medium. Each of these arts is a significant discipline in its own right, but the transdisciplinary nature of arts gives them relevance throughout the curriculum. Arts promote attitudes such as empathy and appreciation, and skills such as analysis, that help us to see the uniqueness of each person as well as explore the commonalities that connect us. Work in arts is a way of conveying meaning, sharing a culture, developing one’s sense of self, and expanding knowledge. It provides opportunity to reflect on aesthetic experience, to engage the imagination and explore what is uncertain. Through engaging with and creating artworks, learners are encouraged to reconsider familiar concepts and think about issues of culture and identity. By responding to the work of other artists, they are invited to situate their own creativity within a broader context.

Arts engage students in creative processes through which they explore and experiment in a continual cycle of action and reflection. Such creative processes are seen by the PYP as the driving force in learning through inquiry. From an early age, students have the opportunity to develop genuine interests, to give careful consideration to their work and to become self-critical and reflective. Reflecting on and evaluating their own work and the work of others is vital, and empowers students to take intellectual risks. Exposure to and experience with arts opens doors to questions about life and learning. The process of making and appreciating arts is gratifying and will encourage students to continue creating throughout their lives.

In our rapidly changing digital age, students inhabit a world saturated with images, sounds and performances. Students in the PYP continually explore imaginative uses of new media tools beyond their basic functional applications, discovering alternative or individual ways to conceptualize the role of digital technologies in their lives. The arts develop innovative thinking and creative use of technologies, and in so doing prepare students to participate fully in this multifaceted world.

In this document, two common strands have been identified that apply across the different art forms and define the critical artistic processes. These intrinsically connected strands are concept-driven and have been designed to interact with each other, working together to support the overall development of the students.


Arts scope and sequence2

Responding

The process of responding provides students with opportunities to respond to their own and other artists’ works and processes, and in so doing develop the skills of critical analysis, interpretation, evaluation, reflection and communication. Students will demonstrate knowledge and understanding of the concepts, methods and elements of dance, drama, music and visual arts, including using specialized language. Students consider their own and other artists’ works in context and from different perspectives in order to construct meaning and inform their own future works and processes.

The responding strand is not simply about reflecting; responding may include creative acts and encompasses presenting, sharing and communicating one’s own understanding. By responding to their own artwork and that of others, students become more mindful of their own artistic development and the role that arts play in the world around them.

Creating

The process of creating provides students with opportunities to communicate distinctive forms of meaning, develop their technical skills, take creative risks, solve problems and visualize consequences. Students are encouraged to draw on their imagination, experiences and knowledge of materials and processes as starting points for creative exploration. They can make connections between their work and that of other artists to inform their thinking and to provide inspiration. Both independently and collaboratively, students participate in creative processes through which they can communicate ideas and express feelings. The creating strand provides opportunities for students to explore their personal interests, beliefs and values and to engage in a personal artistic journey.

Figure 1The arts strands

The responding and creating strands are dynamically linked in an ongoing and reflexive relationship. Students are encouraged to reflect continually upon their work throughout the process of creating, thus reinforcing the close link between these strands.

Arts in a transdisciplinary programmeArts in the PYP exemplify learning through inquiry because of the emphasis on, and the nature of, the creative process. Arts provide a unique vehicle to enhance the understanding of the transdisciplinary themes by providing both students and teachers with a range of mediums with which to access the units of inquiry. Arts support the acquisition of essential knowledge and skills, the development of conceptual understanding, the demonstration of positive attitudes, and the taking of action. It is the school’s responsibility to find opportunities to infuse arts teaching and learning in all areas of the curriculum that are relevant to the community of learners and reflect the educational theories underpinning the programme.

The school’s programme of inquiry provides a relevant and authentic context for students to create and respond to arts. Wherever possible, arts should be taught through the units of inquiry and should support students’ inquiries. The direct teaching of arts in a unit of inquiry may not always be feasible. However, teachers have a responsibility to help students to make explicit connections between different aspects of their learning. Students need opportunities to identify and reflect on “big ideas” within and between the arts strands, the programme of inquiry, and other subject areas. The role of inquiry in arts is important as students engage in building understanding of these links and arts in the world.

It is acknowledged that in many schools, single-subject teachers take responsibility for the different arts areas. It is vital that these teachers see themselves primarily as PYP teachers who teach arts, and in so doing



contribute to the overall outcomes of a transdisciplinary programme. To ensure a cohesive educational experience for students, a PYP school has a responsibility to make sure that there are regular opportunities for collaboration between single-subject teachers and homeroom/classroom teachers. This collaboration includes the development and review of the school’s programme of inquiry, as well as planning, teaching, assessing and reflecting on individual units of inquiry. The following models provide examples of how to strengthen the role of learning through and about arts in the PYP.

Developing or supporting a unit within the programme of inquiry:• Whenever appropriate, arts teachers should be involved in collaborative planning to teach, assess and reflect on the units of inquiry.

Preparing for or following on from a unit within the programme of inquiry:• The direct teaching of arts in a unit of inquiry may not always be feasible but, where appropriate, introductory or follow-up learning experiences may be useful to help students to make connections between the different aspects of the curriculum. Arts teachers may plan and teach activities or experiences that prepare students for participation in a unit of inquiry. Following on from a unit, students may demonstrate their understanding of the central idea in an arts context. Indeed, an arts activity may be incorporated into the summative assessment of the unit.

Independent arts inquiry:• There may be times when teachers will be teaching aspects of arts independent of the programme of inquiry. At such times, teachers should structure their teaching and learning through the use of the PYP planning process. Teachers should ensure that the essential elements of the PYP support such learning while maintaining the integrity and character of learning through and about arts. If undertaking an inquiry outside the programme of inquiry, teachers should still recognize that the same philosophy and pedagogy must underpin their planning and teaching of the subject.

It is imperative that all teachers in a PYP school are familiar with the arts scope and sequence document and understand their role in the student’s artistic development. All teachers (including the single-subject teacher and homeroom/classroom teacher) will find that the strands identified as part of arts in the PYP will be relevant to the transdisciplinary programme of inquiry as well as to subject-specific teaching.

It is worthwhile to note that there will be occasions for student-initiated spontaneous arts inquiries that are not directly related to any planned units of inquiry. These are valuable teaching and learning opportunities in themselves and provide teachers and students with the opportunity to apply the pedagogy of the PYP to authentic, of-the-moment situations.

Arts are built into the curriculum as essential areas of learning. Students are required to engage in a range of performing arts (dance, drama, music) and visual arts experiences. Please note that specific arts teachers are not necessarily required, although some teachers may have specific responsibilities in the arts. Issues related to school size, organization and staffing will determine the structuring of arts components of the programme.

Regardless of whether arts are being taught within or outside the programme of inquiry, it is believed that purposeful inquiry is the best way to learn. The starting point should always be students’ prior experiences and current understanding. When teachers plan learning experiences that enable students to develop artistically, students are able to make connections, apply their learning, and transfer their conceptual understanding to new situations. This progressive conceptual development, together with an enjoyment of the process, provides the foundation for lifelong learning.

The following guidance notes provide more specific information on how to put the arts scope and sequence into practice, with particular reference to each of the different art forms.



Guidance for danceDance is an integral part of many cultures. Dance plays an important role in society as it brings people and communities together. As an art form, dance explores how we express ourselves through movement. To understand and respond to dance, students need to understand how dance is used in cultural, ritual and social contexts. Students need opportunities to view a wide variety of dance from various sources, such as live performance, peer choreography, guest dance artists, and recordings. Dance as an art form has evolved considerably over the past century. Exploring dance in a historical and cultural context and a variety of genres enriches the student’s experience in creating and responding to dance.

Creating dance involves inquiring into the rhythm of music, the natural rhythms of our bodies and the environment around us. Students should have the opportunity to discover their own motivations and influences to inspire their movements. Through ensemble work, students can develop their ability to cooperate with others.

Dance uses the body as the medium of expression. Students need to develop confidence in their personal physicality through body awareness, balance, coordination, flexibility and strength. The physical nature of dance creates a strong link with the strands in the PYP Personal, social and physical education scope and sequence (2009).

Teachers can offer students experiences that may provoke and inspire them through exposing them to dance performance. By creating a safe environment for students to express themselves, teachers can draw on their students’ creativity with movement. Dance should be woven throughout the curriculum as a visual language and kinesthetic medium for students.

Dance is a living expression that takes place in the present. However, whenever possible it is important to document the inspiration and the process of creating movement. Digital recording can be used to capture moving images of dance. Photographs and sketches can be used as tools for planning a dance project. Building a dance vocabulary to describe movement can help to document the dance process verbally or through notation.

Information and communication technology (ICT) can be used to document the process of creating dance as well as to enhance the performance. Designing the stage with lighting and integrating video with live performance can add dimension to a dance project. Using a variety of tools, students can create their own music or generate and record sounds and words.

Dance requires a physical space in which to move. More importantly, it needs a trusting and positive environment. Nurturing physical confidence calls for an atmosphere where students feel safe to engage fully their minds and bodies.

Guidance for dramaDrama explores how we express ourselves physically and vocally. In creating, students should explore the use of facial expressions, gestures, movement, posture and vocal techniques to convey emotional or cultural meaning to both characters and stories. It is important that students are exposed to a variety of dramatic forms including creative movement, impersonation, improvisation, mask work, mime, musical, role play, pantomime, puppetry, re-enactment, scripted drama, and skit. In responding, students should experience a wide variety of scripts and stories from different times, cultures and places and, where possible, access live theatre performances and presentations. Students should have opportunities to present their creative work to an audience, to witness their peers in performance and through this become critically aware audience members.

In drama, documenting the individual’s learning process is integral. Drama is an active and transitory discipline, thus digitally recording performances or class project work provides both the student and teacher with tools for reflection. Through carefully planned exercises students can creatively explore personal interests and begin to develop their own style. Journal work (whether scrapbook-style or written) illustrating



storylines, scriptwriting, set designs and costume choices are indicators of students’ dramatic development and can provide an informative record of their personal creative journey.

All dramatic activities require room to move. An adequately large, clear space is required to explore movement and drama games. This space allows the class the freedom to create make-believe environments through the manipulation of objects, including sounds and lights. Thus access to an inventory of craft material, props, costumes, set pieces, rostrums and lighting would be beneficial to the creative experience.

ICT can be used in drama settings as a tool to enhance the creative experience. Word processing, scriptwriting and storyboarding programs can help the student to develop scenes and write plays. Students can also mix sound effects and music on audio programs to create soundtracks for performances. Dramatic work can be filmed and uploaded to a computer to be edited using video-editing software.

Guidance for musicMusic enables students to communicate in ways that go beyond their oral language abilities. Music delights and stimulates, soothes and comforts us; music allows students to communicate in a unique way. Musical experiences and learning begin with the voice. It is important that students are given opportunities to discover a broad range of music experiences including classifying and analysing sounds, composing, exploring body music, harmonizing, listening, playing instruments, singing, notation, reading music, songwriting and recording. In creating, students use their imagination and musical experiences to organize sounds—natural and technological—into various forms that communicate specific ideas or moods. In responding, students are given the opportunity to respond to different styles of music, as well as to music from different times and cultures. Individually and collaboratively, students should have the opportunity to create and respond to music ideas. By exposing students to a wide and varied repertoire of musical styles, they can begin to construct an understanding of their environment, their surroundings and structures, and begin to develop personal connections with them.

Music is a part of everyday life. Listening to and performing music can be a social activity. The development of listening skills, an important aspect of all learning, is constantly reinforced. Teachers should be aware that music plays an important part in the language learning process. Through songs and rhymes, students can hear patterns and develop a sense of the rhythm that applies to languages. This can be especially apparent when learning a new language because the meaning of the words is not necessarily understood, and so students concentrate on the rhythms and patterns they hear. Wherever possible, teachers should try to include rhymes and songs in their teaching activities, not just in designated music classes.

Music is both an active and reflective process when making and listening to it. Students can draw on a wide range of sources in their music learning: music composed by themselves and other students; music composed by musicians; literature; paintings; dance; their own imagination; real-life experiences; feelings; values and beliefs. They should be exposed to live performances as well as recordings. Additionally, the opportunity to participate in live performances—informal as well as formal—allows students to work collaboratively and gain awareness of the audience.

A PYP music classroom provides an environment that stimulates and challenges students. It is well resourced with an extensive range of music recordings, videos and instruments. Students have the opportunity to explore home-made as well as manufactured instruments from a variety of countries and cultures. ICT can influence and enhance learning in music by allowing students to create, compose and record their work as well as listen to, observe and share music through the use of CDs and music files.

Guidance for visual artsThe term “visual arts” is used to describe practices that have been more traditionally described in education as “art, craft and design”. It is important that students are exposed to a broad range of experiences that illustrate the field of visual arts, including architecture, bookmaking, ceramics, collage, costume design, drawing, graphic design, film, illustration, industrial design, installation, jewellery, land art, mask making,



metalwork, painting, papermaking, performance art, photography, printmaking, sculpture, set design, textiles and woodwork.

Wherever possible, students should have the opportunity to experience visual arts beyond their own initial involvement. This may be achieved by inviting artists into the school, or by visiting art galleries, museums, artists’ and designers’ studios, exhibitions, films sets and/or theatres. Students will begin to appreciate the depth and breadth of the field by experiencing visual arts created by diverse artists—locally and globally, now and in the past, by women and men, and by people of different backgrounds.

In visual arts, the role of the sketchbook is integral to this process. The sketchbook provides a space for students to take ownership of their learning, to creatively explore personal interests and to develop their own style. The PYP recognizes the range of forms a sketchbook may take, reaching beyond the physical book to possibly include new media, sound and film.

ICT can be used in the visual arts classroom as a tool to enhance the creative experience. Photo and film editing, animation, web design, drawing, computer-aided design, audio and word processing programs can be used as tools to engage students with the conceptual understandings detailed in the continuums.

Visual arts activities require space, tools, materials and ICT tools. Ideally, an adequately large, well-resourced environment is desirable to explore a range of visual arts practices. Beyond the physical space, it is important to establish a constructive and positive learning environment conducive to the creative experience.

The structure of the PYP arts scope and sequenceThis scope and sequence aims to provide information for the whole school community about the learning that is going on in the subject area of arts. The document has been designed to recognize that learning in arts is a developmental process and that the phases through which a learner passes are not always linear or age related. For this reason the content is presented in continuums for each of the two strands of arts: responding and creating. For each of the strands there is a strand description and a set of overall expectations. The overall expectations provide a summary of the understandings and subsequent learning being developed in each phase within a strand.

The content of each continuum has been organized into four phases of development that aim to describe arts learning relevant to students in a PYP school. It is acknowledged that there are earlier and later phases than those described in this document. Teachers should ensure that they continue to build on understanding developed in the earlier phases while introducing the new concepts, knowledge and skills detailed in the later phases.

The continuums make explicit the conceptual understandings that are being developed at each phase. The development of these understandings is supported by the learning outcomes associated with each phase. The learning outcomes are written as observable behaviours or actions that will indicate to teachers how students are constructing, creating and sharing meaning through arts. They are, therefore, both diagnostic tools and a means of informing planning for further development.

This unified arts document strengthens the articulation across all PYP arts by providing common conceptual understandings in the context of the two strands: responding and creating. However, in order to respect the integrity of each art form and provide a useful planning tool for teachers, separate learning outcomes are provided for dance, drama, music and visual arts.

Each strand has a set of conceptual understandings and learning outcomes that indicate learning possibilities for that strand. Schools may find that they have other learning outcomes relevant to their particular context and may choose to document these within their own arts scope and sequences.



How to use the PYP arts scope and sequenceDevelopment in arts is not seen as a series of defined incremental steps through which all learners will progress in the same way. When using the continuums regularly, patterns will emerge for learners, indicating their preferences, strengths and needs. An analysis of the learning outcomes demonstrated by each learner will help the teacher decide when to consolidate, reinforce, or extend the learning.

The use of the PYP arts scope and sequence will be an encouragement to teachers to plan for an enriched programme of inquiry, an articulated arts programme, and differentiated instructions in the classroom. The following points should be considered when using the continuums to inform planning, teaching and assessing.

It is acknowledged that there are earlier and later phases that have not been described in these •continuums.

Each learner is a unique individual with different experiences and perceptions. No two learners •progress at the same rate or along the same developmental pathways.

Learners within the same age group will have different proficiency levels and needs. Therefore, •teachers should consider a range of phases when planning arts experiences for a class.

Learners may remain in one phase for some length of time or move rapidly through other phases.•

A learner may exhibit a range of learning outcomes from various phases at any one time.•

The PYP arts scope and sequence is not a prescriptive tool that assumes a learner must attain all the •outcomes of a particular phase before moving on to the next phase, nor that the learner should be in the same phase for each strand, or in the same phase for each of the PYP arts.

Some schools may be able to use the PYP arts scope and sequence just as it is presented here. Other schools may wish to adapt the PYP arts scope and sequence according to their needs. For example, schools may decide to:

develop the conceptual understandings into central idea(s) that students can explore•

incorporate the developmental continuums of the PYP arts scope and sequence into their existing •school documents

frame their arts scope and sequence document around the conceptual understandings outlined in •this document, but develop another aspect, such as the learning outcomes, differently

use the conceptual understandings to develop content for other forms of arts including media arts, •creative writing, photography

integrate additional requirements, for example, indicators, benchmarks and standards, into the PYP •arts scope and sequence.

Schools need to be mindful of practice C1.23 in the IB Programme standards and practices (2005) that states “If the school adapts, or develops, its own scope and sequence, the level of overall expectation regarding student achievement expressed in these documents at least matches that expressed in the PYP scope and sequence documents.” To arrive at such a judgment, and given that the overall expectations in this document are presented as broad generalities, it is recommended that the entire document be read and considered.



Arts planning: Sample processesWhen planning for arts, teachers should be mindful of the following practices.

Arts should be taught through the relevant, realistic context of the units of inquiry but is equally •relevant to all additional teaching and learning that the student experiences.

The PYP planner has been developed to support all teachers as they plan for inquiries that are •structured around a central idea.

Within the programme of inquiryIt is important for planning teams, including single-subject teachers, to consider how the development and/or the understanding of the central idea of a unit of inquiry can be supported, enhanced and informed by learning about and through subject-specific concepts, knowledge and skills.

Identify the conceptual understanding(s) (for example, those listed in the PYP arts scope and sequence) that support, enhance and inform learning in the unit of inquiry.

Outside the programme of inquiryWhen specific aspects of arts learning need to be addressed outside the programme of inquiry, structured and purposeful inquiry is considered the principal way in which students learn best.

Identify the conceptual understanding(s) (for example, those listed in the PYP Arts scope and sequence) that students have already shown evidence of. To build on what students already understand and can do, identify the conceptual understanding(s) that will provide either reinforcement or an appropriate level of challenge for the next stage of learning.

Consider how the conceptual understanding identified may help to develop a central idea into which students can inquire.

Design a summative assessment task that will demonstrate the students’ understanding of the central idea and will inform their further or future learning needs.

Identify appropriate learning outcomes (for example, those listed in the PYP Arts scope and sequence) that will provide observable evidence of each student’s engagement with the central idea behind the inquiry.

Plan a range of engaging learning experiences that accommodate the appropriate developmental phases (differentiation) of all students, and will enable individual students to consolidate and develop understanding, demonstrate skills and knowledge and move on to new challenges.

Figure 2Sample processes to inform planning for arts


Learning continuums

RespondingThe process of responding provides students with opportunities to respond to their own and other artists’ works and processes, and in so doing develop the skills of critical analysis, interpretation, evaluation, reflection and communication. Students will demonstrate knowledge and understanding of the concepts, methods and elements of drama, dance, music and visual arts, including using specialized language. Students consider their own and other artists’ works in context and from different perspectives in order to construct meaning and inform their own future works and processes.

The responding strand is not simply about reflecting; responding may include creative acts, and encompasses presenting, sharing and communicating one’s own understanding. By responding to their own artwork and that of others, students become more mindful of their own artistic development and the role that arts play in the world around them.

The responding and creating strands are dynamically linked in an ongoing and reflexive relationship. Learners are encouraged to reflect continually upon their work throughout the process of creating, thus reinforcing the close link between these strands.

Overall expectationsPhase 1Learners show an understanding that the different forms of arts are forms of expression to be enjoyed. They know that dance, drama, music and visual arts use symbols and representations to convey meaning. They have a concept of being an audience of different art forms and display awareness of sharing art with others. They are able to interpret and respond to different art forms, including their own work and that of others.

Phase 2Learners show an understanding that ideas, feelings and experiences can be communicated through arts. They recognize that their own art practices and artwork may be different from others. They are beginning to reflect on and learn from their own stages of creating arts. They are aware that artworks may be created with a specific audience in mind.

Phase 3Learners show an understanding that issues, beliefs and values can be explored in arts. They demonstrate an understanding that there are similarities and differences between different cultures, places and times. They analyse their own work and identify areas to revise to improve its quality. They use strategies, based on what they know, to interpret arts and understand the role of arts in our world.

Phase 4Learners show an understanding that throughout different cultures, places and times, people have innovated and created new modes in arts. They can analyse different art forms and identify common or recurring themes or issues. They recognize that there are many ways to enjoy and interpret arts. They accept feedback from others.

Learning continuums


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ive

wor

k.

Dan

ce

Lear

ning

out

com

esLe

arne

rs:

show

cur

iosi

ty a

bout

•

live

and

reco

rded

dan

ce

perf

orm

ance

s

desc

ribe

the

idea

s an

d •

feel

ings

com

mun

icat

ed

thro

ugh

body

mov

emen

ts

iden

tify

and

expl

ain

why

•

cert

ain

body

pos

ture

s an

d m

ovem

ents

com

mun

icat

e ce

rtai

n id

eas

and

feel

ings

Lear

ning

out

com

esLe

arne

rs:

com

pare

a v

arie

ty o

f dan

ce

•ge

nres

ove

r tim

e to

the

cont

empo

rary

dan

ce fo

rm o

f th

eir c

ultu

re

reco

gniz

e th

e th

eme

of a

•

danc

e an

d co

mm

unic

ate

thei

r per

sona

l int

erpr

etat

ion

iden

tify

danc

e co

mpo

nent

s •

such

as

rhyt

hm a

nd u

se

of s

pace

in th

eir o

wn

and

othe

rs’ d

ance

cre

atio

ns

Lear

ning

out

com

esLe

arne

rs:

reco

gniz

e th

at d

ance

•

play

s an

inno

vativ

e ro

le in

co

mm

unic

atin

g id

eas

with

in

cultu

res

and

soci

etie

s

refle

ct o

n th

eir p

erso

nal

•an

d fa

mily

his

tory

and

mak

e co

nnec

tions

with

cul

tura

l an

d hi

stor

ical

dan

ce fo

rms

cons

ider

the

com

posi

tion

of

•an

aud

ienc

e w

hen

prep

arin

g an

eff

ectiv

e fo

rmal

and

/or

info

rmal

pre

sent

atio

n

Lear

ning

out

com

esLe

arne

rs:

inve

stig

ate

a cu

ltura

l or

•hi

stor

ical

dan

ce fo

rm

and

iden

tify

how

it

com

mun

icat

es a

rtis

tic, r

itual

or

soc

ial i

ssue

s, b

elie

fs o

r va

lues

reco

gniz

e th

e ro

le a

nd

•re

leva

nce

of d

ance

in

thei

r ow

n so

ciet

y th

roug

h ex

posu

re to

a v

arie

ty

of p

erfo

rmer

s an

d th

eir

pers

pect

ives

Learning continuums


disp

lay

audi

ence

etiq

uett

e •

and

appr

opria

te re

spon

ses

such

as

wat

chin

g, li

sten

ing

and

resp

ondi

ng to

favo

urite

pa

rts

of th

e pe

rfor

man

ce

resp

ond

to d

ance

thro

ugh

•sp

oken

, writ

ten,

vis

ual a

nd/

or k

ines

thet

ic m

ediu

ms.

desc

ribe

and

eval

uate

•

the

lear

ning

s an

d un

ders

tand

ings

dev

elop

ed

thro

ugh

thei

r exp

lora

tion

of

danc

e

real

ize

that

ther

e is

a

•dy

nam

ic c

onne

ctio

n be

twee

n th

e au

dien

ce a

nd

perf

orm

er.

refle

ct o

n ar

tistic

pro

cess

es

•in

dan

ce a

chie

vem

ents

and

ho

w to

inco

rpor

ate

new

id

eas

into

futu

re w

ork

reco

gniz

e ho

w d

ance

can

•

be u

sed

to e

xpre

ss a

nd

unde

rsta

nd o

ur in

ner t

houg

hts

and

our u

nder

stan

ding

of t

he

wor

ld a

roun

d us

.

anal

yse

how

the

mea

ning

s •

of m

ovem

ents

can

cha

nge

in

vario

us c

ultu

ral a

nd h

isto

rical

co

ntex

ts

anal

yse

and

inte

grat

e th

e •

refle

ctio

ns o

f oth

ers

into

th

e cr

eativ

e pr

oces

s w

hen

eval

uatin

g an

d im

prov

ing.

Dra

ma

Lear

ning

out

com

esLe

arne

rs:

resp

ond

to li

ve p

erfo

rman

ces,

•st

orie

s and

pla

ys fr

om o

ther

tim

es a

nd/o

r pla

ces

talk

abo

ut id

eas

and

feel

ings

•

in re

spon

se to

dra

mat

ic

perf

orm

ance

s

disp

lay

audi

ence

etiq

uett

e •

and

appr

opria

te re

spon

ses

real

ize

that

dra

mat

ic

•co

nven

tions

are

use

d to

cra

ft

perf

orm

ance

use

mat

eria

ls to

sym

bolic

ally

•

show

loca

tion

and

char

acte

r

resp

ond

to d

ram

atic

idea

s •

thro

ugh

spok

en, v

isua

l, au

dito

ry a

nd k

ines

thet

ic

med

ium

s.

Lear

ning

out

com

esLe

arne

rs:

com

pare

var

ied

styl

es o

f •

perf

orm

ance

with

dra

ma

from

thei

r ow

n cu

lture

use

dram

a pe

rfor

man

ce to

•

tell

stor

ies

abou

t peo

ple

and

even

ts fr

om v

ario

us c

ultu

res,

in

clud

ing

thei

r ow

n

disc

uss

and

expl

ain

•th

e w

ay id

eas,

feel

ings

an

d ex

perie

nces

can

be

com

mun

icat

ed th

roug

h st

orie

s an

d pe

rfor

man

ce

desc

ribe

and

eval

uate

the

•le

arni

ng a

nd u

nder

stan

ding

s de

velo

ped

thro

ugh

thei

r ex

plor

atio

n of

dra

ma

desc

ribe

the

dyna

mic

•

conn

ectio

n be

twee

n th

e au

dien

ce a

nd p

erfo

rmer

.

Lear

ning

out

com

esLe

arne

rs:

disc

uss a

spec

ts o

f dra

ma

that

•

illus

trat

e re

latio

nshi

ps b

etw

een

cultu

re, h

istor

y an

d lo

catio

n

expl

ore

how

dra

mat

ic

•m

eani

ng il

lust

rate

s the

val

ues,

belie

fs a

nd o

bser

vatio

ns o

f an

indi

vidu

al o

r com

mun

ity

cons

ider

the

com

posi

tion

of

•an

aud

ienc

e w

hen

prep

arin

g an

eff

ectiv

e fo

rmal

and

/or

info

rmal

pre

sent

atio

n

refle

ct o

n ac

hiev

emen

t and

•

chal

leng

es a

nd h

ow th

ey c

an

inco

rpor

ate

thes

e in

fluen

ces

in fu

ture

wor

k

reco

gniz

e an

d di

scus

s ho

w

•th

e co

nseq

uenc

es a

nd

actio

ns o

f a p

erfo

rman

ce

teac

h au

dien

ce m

embe

rs

and

perf

orm

ers

life

less

ons.

Lear

ning

out

com

esLe

arne

rs:

desc

ribe

how

dra

ma

•pl

ays

an in

nova

tive

role

in

com

mun

icat

ing

idea

s w

ithin

cu

lture

s an

d so

ciet

ies

unde

rsta

nd th

e ro

le a

nd

•re

leva

nce

of d

ram

a in

th

eir o

wn

soci

ety

thro

ugh

expo

sure

to a

var

iety

of

per

form

ers

and

thei

r pe

rspe

ctiv

es

refle

ct o

n a

varie

ty o

f •

dram

atic

form

s to

iden

tify

new

und

erst

andi

ngs

with

in

the

arts

reco

gniz

e an

d ex

plor

e so

me

•of

the

diffe

rent

role

s in

thea

tre

use

resp

onse

s to

dra

ma

to

•ad

apt a

nd im

prov

e w

ork,

co

nsid

erin

g th

e or

igin

al

inte

ntio

n.

Learning continuums


Mus

ic

Lear

ning

out

com

esLe

arne

rs:

use

voic

e to

imita

te s

ound

s •

and

lear

n so

ngs

brin

g m

usic

from

hom

e to

•

shar

e

desc

ribe

the

diff

eren

ces

in

•m

usic

mov

e th

eir b

odie

s to

exp

ress

•

the

moo

d of

the

mus

ic

desc

ribe

how

mus

ic m

akes

•

them

feel

dist

ingu

ish

the

soun

ds o

f •

diff

eren

t ins

trum

ents

in

mus

ic

liste

n to

mus

ic a

nd c

reat

e •

thei

r ow

n w

ork

in re

spon

se

expr

ess

thei

r res

pons

es

•to

mus

ic in

mul

tiple

way

s (d

raw

ings

, gam

es, s

ongs

, da

nce,

ora

l dis

cuss

ion)

expl

ore

body

and

unt

uned

•

perc

ussi

on in

stru

men

t so

unds

reco

gniz

e di

ffer

ent s

ourc

es

•of

mus

ic in

dai

ly li

fe

reco

gniz

e th

at s

ound

can

be

•no

tate

d in

a v

arie

ty o

f way

s.

Lear

ning

out

com

esLe

arne

rs:

sing

indi

vidu

ally

and

in

•un

ison

reco

gniz

e m

usic

from

a b

asic

•

rang

e of

cul

ture

s an

d st

yles

expr

ess

thei

r res

pons

es to

•

mus

ic fr

om d

iffer

ent c

ultu

res

and

styl

es

crea

te a

mus

ical

com

posi

tion

•to

mat

ch th

e m

ood

of a

vi

sual

imag

e (fo

r exa

mpl

e,

pain

tings

, pho

togr

aphs

, film

)

expl

ore

indi

vidu

ally

or

•co

llect

ivel

y a

mus

ical

re

spon

se to

a n

arra

ted

stor

y

refle

ct o

n an

d co

mm

unic

ate

•th

eir r

eact

ions

to m

usic

usi

ng

mus

ical

voc

abul

ary

reco

rd a

nd s

hare

the

stag

es

•of

the

proc

ess

of c

reat

ing

a co

mpo

sitio

n

shar

e pe

rfor

man

ces

•w

ith e

ach

othe

r and

giv

e co

nstr

uctiv

e cr

itici

sm.

Lear

ning

out

com

esLe

arne

rs:

sing

with

acc

urac

y an

d •

cont

rol f

ocus

ing

awar

enes

s on

the

mus

ical

ele

men

ts

sing

par

tner

son

gs•

disc

uss

mus

ic th

at re

late

s to

•

soci

al is

sues

and

/or v

alue

s

com

pare

asp

ects

of m

usic

•

from

diff

eren

t tim

es a

nd p

lace

s

crea

te a

nd p

erfo

rm a

•

mov

emen

t seq

uenc

e ac

com

pani

ed b

y m

usic

that

th

ey h

ave

crea

ted

shar

e an

d co

mpa

re th

eir

•ex

perie

nces

as

audi

ence

m

embe

rs a

t var

ious

pe

rfor

man

ces

desc

ribe

the

proc

ess

used

•

to c

reat

e th

eir o

wn

mus

ic

and

com

pare

it w

ith o

ther

s,

in o

rder

to im

prov

e th

eir

com

posi

tions

anal

yse

diff

eren

t •

com

posi

tions

des

crib

ing

how

the

mus

ical

ele

men

ts

enha

nce

the

mes

sage

refle

ct u

pon

how

thei

r mus

ic

•ex

pres

ses

thei

r per

sona

l vo

ice

and

the

impa

ct it

has

on

oth

ers.

Lear

ning

out

com

esLe

arne

rs:

sing

indi

vidu

ally

and

in

•ha

rmon

y

expl

ain

the

role

and

•

rele

vanc

e of

mus

ic in

thei

r ow

n cu

lture

, its

use

s an

d as

soci

atio

ns th

roug

h pl

ace

and

time

inte

rpre

t and

exp

lain

the

•cu

ltura

l and

/or h

isto

rical

pe

rspe

ctiv

es o

f a m

usic

al

com

posi

tion

mod

ify th

eir p

ract

ices

and

/or

•co

mpo

sitio

ns b

ased

on

the

audi

ence

s’ re

spon

ses

expl

ore

diff

eren

t art

istic

•

pres

enta

tions

that

are

/w

ere

inno

vativ

e an

d th

eir

impl

icat

ions

.

Learning continuums


Vis

ual a

rts

Lear

ning

out

com

esLe

arne

rs:

enjo

y ex

perie

ncin

g ar

twor

ks•

show

cur

iosi

ty a

nd a

sk

•qu

estio

ns a

bout

art

wor

ks

desc

ribe

wha

t the

y no

tice

•ab

out a

n ar

twor

k

iden

tify

the

mat

eria

ls a

nd

•pr

oces

ses

used

in th

e cr

eatio

n of

an

artw

ork

anal

yse

the

rela

tions

hips

•

with

in a

n ar

twor

k an

d co

nstr

uct m

eani

ngs

com

mun

icat

e th

eir i

nitia

l •

resp

onse

s to

an

artw

ork

in

visu

al, o

ral o

r phy

sica

l mod

es

mak

e pe

rson

al c

onne

ctio

ns

•to

art

wor

ks

expr

ess

opin

ions

abo

ut a

n •

artw

ork

crea

te a

rtw

ork

in re

spon

se to

•

a va

riety

of s

timul

i.

Lear

ning

out

com

esLe

arne

rs:

inve

stig

ate

the

purp

oses

•

of a

rtw

ork

from

diff

eren

t tim

es, p

lace

s an

d a

rang

e of

cu

lture

s in

clud

ing

thei

r ow

n

shar

pen

thei

r pow

ers

of

•ob

serv

atio

n

iden

tify

the

form

al e

lem

ents

•

of a

n ar

twor

k

use

appr

opria

te te

rmin

olog

y •

to d

iscu

ss a

rtw

ork

desc

ribe

sim

ilarit

ies

and

•di

ffer

ence

s be

twee

n ar

twor

ks

iden

tify

the

stag

es o

f the

ir •

own

and

othe

rs’ c

reat

ive

proc

esse

s

beco

me

an e

ngag

ed a

nd

•re

spon

sive

aud

ienc

e fo

r a

varie

ty o

f art

form

s.

Lear

ning

out

com

esLe

arne

rs:

com

pare

, con

tras

t and

•

cate

goriz

e ar

twor

ks fr

om a

ra

nge

of c

ultu

res,

pla

ces

and

times

iden

tify

and

cons

ider

the

•co

ntex

ts in

whi

ch a

rtw

orks

w

ere

mad

e

use

thei

r kno

wle

dge

and

•ex

perie

nces

to m

ake

info

rmed

inte

rpre

tatio

ns o

f ar

twor

ks

refle

ct o

n th

eir o

wn

and

•ot

hers

’ cre

ativ

e pr

oces

ses

to

info

rm th

eir t

hink

ing

use

rele

vant

and

insi

ghtf

ul

•qu

estio

ns to

ext

end

thei

r un

ders

tand

ing

reco

gniz

e th

at d

iffer

ent

•au

dien

ces

resp

ond

in

diff

eren

t way

s to

art

wor

ks

prov

ide

cons

truc

tive

•cr

itici

sm w

hen

resp

ondi

ng to

ar

twor

k.

Lear

ning

out

com

esLe

arne

rs:

expl

ain

the

cultu

ral a

nd

•hi

stor

ical

per

spec

tives

of a

n ar

twor

k

unde

rsta

nd th

e ro

le a

nd

•re

leva

nce

of v

isua

l art

s in

so

ciet

y

refle

ct o

n th

e fa

ctor

s th

at

•in

fluen

ce p

erso

nal r

eact

ions

to

art

wor

k

refle

ct th

roug

hout

the

•cr

eativ

e pr

oces

s to

cha

lleng

e th

eir t

hink

ing

and

enac

t new

an

d un

usua

l pos

sibi

litie

s

criti

que

and

mak

e in

form

ed

•ju

dgm

ents

abo

ut a

rtw

orks

.

Learning continuums


CreatingThe process of creating provides students with opportunities to communicate distinctive forms of meaning, develop their technical skills, take creative risks, solve problems and visualize consequences. Students are encouraged to draw on their imagination, experiences and knowledge of materials and processes as starting points for creative exploration. They can make connections between their work and that of other artists to inform their thinking and to provide inspiration. Both independently and collaboratively, students participate in creative processes through which they can communicate ideas and express feelings. The creating strand provides opportunities for students to explore their personal interests, beliefs and values and to engage in a personal artistic journey.

The responding and creating strands are dynamically linked in an ongoing and reflexive relationship. Students are encouraged to reflect continually upon their work throughout the process of creating, thus reinforcing the close link between these strands.

Overall expectationsPhase 1Learners show an understanding that they can express themselves by creating artworks in dance, drama, music and visual arts. They know that creating in arts can be done on their own or with others. They are aware that inspiration to create in arts comes from their own experiences and imagination. They recognize that they use symbols and representations to convey meaning in their work.

Phase 2Learners show an understanding that they can use arts to communicate their ideas, feelings and experiences. They use strategies in their work to enhance the meaning conveyed and to make it more enjoyable for others. They are aware that their work can provoke different responses from others. They understand the value of working individually and collaboratively when creating different art forms.

Phase 3Learners show that, as artists, they can influence thinking and behaviour through the arts they create. They think critically about their work and recognize that their personal interests, beliefs and values can inform their creative work. They show an understanding of the relationships between their work and that of others.

Phase 4Learners show an understanding that their own creative work in dance, drama, music and visual arts can be interpreted and appreciated in different ways. They explore different media and begin to innovate in arts. They consider the feedback from others in improving their work. They recognize that creating in arts provides a sense of accomplishment, not only in the process, but also in providing them with a way to understand the world.

Learning continuums


Lear

ning

con

tinu

um fo

r cre

atin

g

Phas

e 1

Phas

e 2

Phas

e 3

Phas

e 4

Conc

eptu

al

unde

rsta

ndin

gs

We

can

enjo

y an

d le

arn

from

cr

eatin

g ar

t.

The

crea

tive

proc

ess

invo

lves

jo

inin

g in

, exp

lorin

g an

d ta

king

ris

ks.

In c

reat

ing

art,

peop

le m

ake

choi

ces

to c

onst

ruct

mea

ning

ab

out t

he w

orld

aro

und

them

.

We

can

expr

ess

ours

elve

s th

roug

h ar

ts.

Our

exp

erie

nces

and

imag

inat

ion

can

insp

ire u

s to

cre

ate.

We

can

com

mun

icat

e ou

r ide

as,

feel

ings

and

exp

erie

nces

thro

ugh

our a

rtw

ork.

We

solv

e pr

oble

ms

durin

g th

e cr

eativ

e pr

oces

s by

thin

king

cr

itica

lly a

nd im

agin

ativ

ely.

App

lyin

g a

rang

e of

str

ateg

ies

help

s us

to e

xpre

ss o

urse

lves

.

We

are

rece

ptiv

e to

the

valu

e of

wor

king

indi

vidu

ally

and

co

llabo

rativ

ely

to c

reat

e ar

t.

Art

s ha

ve th

e po

wer

to in

fluen

ce

thin

king

and

beh

avio

ur.

We

mak

e co

nnec

tions

bet

wee

n ou

r art

wor

k an

d th

at o

f oth

ers

to

exte

nd o

ur th

inki

ng.

We

can

expl

ore

our p

erso

nal

inte

rest

s, b

elie

fs a

nd v

alue

s th

roug

h ar

ts.

We

act o

n th

e re

spon

ses

to o

ur

artw

ork

to in

form

and

cha

lleng

e ou

r art

istic

dev

elop

men

t.

We

expl

ore

a ra

nge

of p

ossi

bilit

ies

and

pers

pect

ives

to c

omm

unic

ate

in b

road

er w

ays

thro

ugh

our

crea

tive

wor

k.

Art

s pr

ovid

e op

port

uniti

es to

ex

plor

e ou

r cre

ativ

e po

tent

ial

and

enga

ge in

a p

erso

nal a

rtis

tic

jour

ney.

Dan

ce

Lear

ning

out

com

esLe

arne

rs:

resp

ond

to w

ord,

rhyt

hm

•an

d/or

mus

ic th

roug

h m

ovem

ents

com

mun

icat

e an

d ex

pres

s •

feel

ings

thro

ugh

body

m

ovem

ents

expl

ore

the

dyna

mic

flow

•

of b

ody

mov

emen

ts s

uch

as

fast

, slo

w, b

ig, s

mal

l, st

rong

, sm

ooth

, sha

rp, t

ensi

on a

nd

rela

xatio

n

Lear

ning

out

com

esLe

arne

rs:

crea

te m

ovem

ent t

o va

rious

•

tem

pos

inte

rpre

t and

com

mun

icat

e •

feel

ing,

exp

erie

nce

and

narr

ativ

e th

roug

h da

nce

desi

gn a

dan

ce p

hras

e w

ith

•a

begi

nnin

g, m

iddl

e an

d en

ding

crea

te m

ovem

ent t

hat

•ex

plor

es d

imen

sion

s of

di

rect

ion,

leve

l and

sha

pe

Lear

ning

out

com

esLe

arne

rs:

expl

ore

vario

us s

ourc

es

•of

mus

ical

and

nat

ural

rh

ythm

s su

ch a

s be

at,

brea

th, e

mot

iona

l and

en

viro

nmen

tal r

hyth

ms

inve

stig

ate

and

perf

orm

a

•cu

ltura

l or h

isto

rical

dan

ce

form

with

an

unde

rsta

ndin

g of

the

func

tion

of th

e da

nce

form

as

artis

tic, r

itual

or

soci

al

Lear

ning

out

com

esLe

arne

rs:

impr

ovis

e to

cre

ate

vario

us

•m

ovem

ents

for s

peci

fic

purp

oses

chor

eogr

aph

mov

emen

t to

•m

usic

, wor

d an

d so

und

chor

eogr

aph

perf

orm

ance

•

to e

xpre

ss a

nd c

omm

unic

ate

an id

ea, f

eelin

g, e

xper

ienc

e,

rela

tions

hip

or n

arra

tive.

crea

te a

nd p

erfo

rm in

a

•va

riety

of d

ance

gen

res

and

cultu

ral d

ance

type

s

Learning continuums


mov

e fr

eely

thro

ugh

the

•sp

ace

to s

how

leve

ls o

f lo

w, m

ediu

m a

nd h

igh

and

chan

ge o

f dire

ctio

n

use

stim

ulus

mat

eria

ls

•to

ext

end

the

body

and

en

hanc

e bo

dy m

ovem

ents

su

ch a

s st

ream

ers,

sca

rves

, pr

ops

and

cost

umes

deve

lop

phys

ical

aw

aren

ess

•in

usi

ng is

olat

ed b

ody

mov

emen

ts a

nd g

ross

mot

or

skill

s

expl

ore

diff

eren

t typ

es

•of

mov

emen

ts s

uch

as

trav

ellin

g, ju

mpi

ng a

nd

turn

ing

deve

lop

the

abili

ty to

•

coop

erat

e an

d co

mm

unic

ate

with

oth

ers

in c

reat

ing

danc

e

wor

k in

divi

dual

ly o

r in

•gr

oups

with

trus

t and

co

nfid

ence

.

deve

lop

phys

ical

bal

ance

•

and

coor

dina

tion

shar

e da

nce

with

diff

eren

t •

audi

ence

s by

par

ticip

atin

g,

liste

ning

and

wat

chin

g

wor

k co

oper

ativ

ely

tow

ards

•

a co

mm

on g

oal,

taki

ng a

n ac

tive

part

in a

cre

ativ

e ex

perie

nce

cons

ider

and

mai

ntai

n •

appr

opria

te b

ehav

iour

s in

dan

ce, a

s an

aud

ienc

e m

embe

r or a

s a

perf

orm

er,

by li

sten

ing,

wat

chin

g an

d sh

owin

g ap

prec

iatio

n.

perf

orm

incr

easi

ngly

mor

e •

diff

icul

t seq

uenc

es w

ith

cont

rol

crea

te m

ovem

ent t

o sh

ow

•co

ntra

st in

des

igns

suc

h as

sy

mm

etry

/asy

mm

etry

and

op

posi

tion/

succ

essi

on

deve

lop

phys

ical

flex

ibili

ty

•an

d st

reng

th

expe

rienc

e va

ryin

g •

grou

ping

s w

hen

perf

orm

ing

danc

e, in

clud

ing

ense

mbl

e pe

rfor

man

ce

expr

ess

thei

r uni

que

valu

es,

•be

liefs

and

inte

rest

s th

roug

h a

danc

e fo

rm

inte

rpre

t and

repl

icat

e a

•va

riety

of d

ance

sty

les

and

genr

es.

show

phy

sica

l con

fiden

ce in

•

the

use

of th

eir b

odie

s

wor

k to

dev

elop

eac

h ot

her’s

•

idea

s du

ring

the

crea

tive

proc

ess

anal

yse

and

inte

grat

e th

e •

refle

ctio

ns o

f oth

ers

into

th

e cr

eativ

e pr

oces

s w

hen

eval

uatin

g an

d im

prov

ing.

Learning continuums


Dra

ma

Lear

ning

out

com

esLe

arne

rs:

enga

ge in

imag

inat

ive

play

•

usin

g a

rang

e of

stim

uli

deve

lop

the

abili

ty to

•

coop

erat

e an

d co

mm

unic

ate

with

oth

ers

in c

reat

ing

dram

a

expl

ore

basi

c bo

dily

•

mov

emen

ts a

nd th

e us

e of

sp

ace

expl

ore

fam

iliar

role

s, th

emes

•

and

stor

ies

dram

atic

ally

crea

te ro

les

in re

spon

se to

•

prop

s, s

et a

nd c

ostu

mes

wor

k in

divi

dual

ly o

r in

•gr

oups

with

con

fiden

ce.

Lear

ning

out

com

esLe

arne

rs:

shar

e dr

ama

with

diff

eren

t •

audi

ence

s by

par

ticip

atin

g,

liste

ning

and

wat

chin

g

iden

tify

with

cha

ract

ers

•th

roug

h ro

le-p

lay

deve

lopm

ent

use

perf

orm

ance

as

a •

prob

lem

-sol

ving

tool

wor

k co

oper

ativ

ely

tow

ards

•

a co

mm

on g

oal,

taki

ng a

n ac

tive

part

in a

cre

ativ

e ex

perie

nce

mak

e us

e of

sim

ple

•pe

rfor

man

ce c

onve

ntio

ns to

sh

are

idea

s

cons

ider

and

mai

ntai

n •

appr

opria

te b

ehav

iour

s in

dra

ma,

as

an a

udie

nce

mem

ber o

r as

a pe

rfor

mer

valu

e an

d de

velo

p im

agin

ary

•ro

les

or s

ituat

ions

.

Lear

ning

out

com

esLe

arne

rs:

crea

te a

dev

ised

or s

crip

ted

•pe

rfor

man

ce fo

r a p

artic

ular

au

dien

ce o

r pur

pose

mak

e ar

tistic

cho

ices

abo

ut

•ro

le, s

ituat

ion

and

cont

ext

iden

tify

how

cul

tura

l •

conn

ectio

ns c

an b

e m

ade

with

diff

eren

t typ

es o

f dra

ma

iden

tify

and

deve

lop

the

•pe

rson

al a

nd re

late

d sk

ills

enco

unte

red

thro

ugh

the

dram

a ex

perie

nce

find

appr

opria

te w

ays

to

•co

mm

unic

ate

spec

ific

mea

ning

usi

ng d

ram

atic

ac

tion

expr

ess

thei

r uni

que

valu

es,

•be

liefs

and

inte

rest

s th

roug

h a

dram

atic

form

inte

rpre

t writ

ten

dial

ogue

s •

or s

cena

rios.

Lear

ning

out

com

esLe

arne

rs:

man

ipul

ate

a va

riety

of

•di

ffer

ent d

ram

a st

rate

gies

an

d te

chni

ques

to

crea

te in

form

ed s

crip

ts,

char

acte

rizat

ions

and

co

ntex

ts

wor

k to

dev

elop

eac

h ot

her’s

•

idea

s du

ring

the

crea

tive

proc

ess

crea

te a

nd p

erfo

rm a

•

sequ

entia

l dra

ma

that

ex

plor

es a

par

ticul

ar is

sue

by

expe

rimen

ting

with

diff

eren

t dr

amat

ic fo

rms

cons

ider

the

skill

s an

d •

tech

niqu

es u

sed

by a

rang

e of

dra

ma

prac

titio

ners

in th

e pe

rfor

min

g ar

ts

show

an

awar

enes

s of

•

audi

ence

and

ada

pt

perf

orm

ance

s ac

cord

ingl

y

cons

ider

the

advi

ce a

nd

•fe

edba

ck o

f oth

ers

as a

n es

sent

ial p

art o

f the

cre

ativ

e pr

oces

s

expl

ore

writ

ing

for

•pe

rfor

man

ce.

Learning continuums


Mus

ic

Lear

ning

out

com

esLe

arne

rs:

use

voca

l sou

nds,

rhyt

hms

•an

d in

stru

men

ts to

exp

ress

fe

elin

gs o

r ide

as

crea

te a

nd a

ccom

pany

mus

ic

•us

ing

a va

riety

of s

ound

s an

d in

stru

men

ts

play

unt

uned

per

cuss

ion

•in

stru

men

ts in

tim

e w

ith a

be

at

use

the

voic

e an

d bo

dy to

•

crea

te m

usic

al p

atte

rns

expl

ore

soun

d as

a m

eans

of

•ex

pres

sing

imag

inat

ive

idea

s

recr

eate

sou

nds

from

fam

iliar

•

expe

rienc

es

part

icip

ate

in p

erfo

rmin

g •

and

crea

ting

mus

ic b

oth

indi

vidu

ally

and

col

lect

ivel

y

reco

rd th

eir p

erso

nal,

visu

al

•in

terp

reta

tion

of e

lem

ents

of

sou

nd (f

or e

xam

ple,

loud

/so

ft, h

igh/

low

, fas

t/sl

ow)

crea

te th

eir o

wn

basi

c •

mus

ical

inst

rum

ents

.

Lear

ning

out

com

esLe

arne

rs:

expl

ore

voca

l sou

nds,

•

rhyt

hms,

inst

rum

ents

, tim

bres

to c

omm

unic

ate

idea

s an

d fe

elin

gs

expr

ess

one

or m

ore

•m

oods

/fee

lings

in a

mus

ical

co

mpo

sitio

n

crea

te m

usic

to re

pres

ent

•di

ffer

ent c

ultu

res

and

styl

es

crea

te a

sou

ndsc

ape

base

d •

on p

erso

nal e

xper

ienc

es

colla

bora

tivel

y cr

eate

a

•m

usic

al s

eque

nce

usin

g kn

own

mus

ical

ele

men

ts (f

or

exam

ple,

rhyt

hm, m

elod

y,

cont

rast

)

read

, writ

e an

d pe

rfor

m

•si

mpl

e m

usic

al p

atte

rns

and

phra

ses

crea

te m

usic

for d

iffer

ent

•pu

rpos

es.

Lear

ning

out

com

esLe

arne

rs:

crea

te a

mus

ical

com

posi

tion

•ex

pres

sing

thei

r ow

n id

eas

and

feel

ings

on

a so

cial

issu

e

deliv

er a

mus

ical

mes

sage

•

to d

iffer

ent a

udie

nces

(for

ex

ampl

e, p

eace

mes

sage

to

par

ents

, kin

derg

arte

n ch

ildre

n, fr

iend

s)

crea

te a

nd p

erfo

rm a

•

mov

emen

t seq

uenc

e us

ing

know

n m

usic

al e

lem

ents

impr

ovis

e up

on a

bas

ic

•pa

tter

n to

rein

forc

e th

e im

port

ance

of t

he in

divi

dual

w

ithin

the

grou

p

crea

te a

nd re

cord

a

•co

mpo

sitio

n fo

cusi

ng o

n fo

rm, s

truc

ture

and

sty

le to

gi

ve m

ore

mea

ning

to th

eir

mes

sage

expr

ess

them

selv

es a

s •

indi

vidu

als

thro

ugh

mus

ical

co

mpo

sitio

n

read

and

writ

e m

usic

usi

ng

•no

n-tr

aditi

onal

not

atio

n.

Lear

ning

out

com

esLe

arne

rs:

crea

te m

usic

that

will

be

•co

ntin

ually

refin

ed a

fter

be

ing

shar

ed w

ith o

ther

s

pres

ent,

in s

mal

l gro

ups,

•

inno

vativ

e m

usic

al

perf

orm

ance

s on

a s

elec

ted

issu

e

inco

rpor

ate

the

othe

r art

s •

and

avai

labl

e re

sour

ces

in o

rder

to b

road

en th

eir

crea

tive

expr

essi

on

read

and

writ

e m

usic

in

•tr

aditi

onal

and

/or n

on-

trad

ition

al n

otat

ion.

Learning continuums


Vis

ual a

rts

Lear

ning

out

com

esLe

arne

rs:

enga

ge w

ith, a

nd e

njoy

•

a va

riety

of v

isua

l art

s ex

perie

nces

sele

ct to

ols,

mat

eria

ls

•an

d pr

oces

ses

for s

peci

fic

purp

oses

com

bine

diff

eren

t for

mal

•

elem

ents

to c

reat

e a

spec

ific

effe

ct

real

ize

that

thei

r art

wor

k ha

s •

mea

ning

use

thei

r im

agin

atio

n an

d •

expe

rienc

es to

info

rm th

eir

art m

akin

g

crea

te a

rtw

ork

in re

spon

se to

•

a ra

nge

of s

timul

i

take

resp

onsi

bilit

y fo

r the

•

care

of t

ools

and

mat

eria

ls

take

resp

onsi

bilit

y fo

r the

ir •

own

and

othe

rs’ s

afet

y in

the

wor

king

env

ironm

ent

part

icip

ate

in in

divi

dual

•

and

colla

bora

tive

crea

tive

expe

rienc

es.

Lear

ning

out

com

esLe

arne

rs:

iden

tify,

pla

n an

d m

ake

•sp

ecifi

c ch

oice

s of

mat

eria

ls,

tool

s an

d pr

oces

ses

shar

pen

thei

r pow

ers

of

•ob

serv

atio

n

dem

onst

rate

con

trol

of t

ools

, •

mat

eria

ls a

nd p

roce

sses

mak

e pr

edic

tions

, •

expe

rimen

t, an

d an

ticip

ate

poss

ible

out

com

es

com

bine

a v

arie

ty o

f for

mal

•

elem

ents

to c

omm

unic

ate

idea

s, fe

elin

gs a

nd/o

r ex

perie

nces

iden

tify

the

stag

es o

f the

ir •

own

and

othe

rs’ c

reat

ive

proc

esse

s

cons

ider

thei

r aud

ienc

e •

whe

n cr

eatin

g ar

twor

k.

Lear

ning

out

com

esLe

arne

rs:

show

aw

aren

ess

of th

e •

affe

ctiv

e po

wer

of v

isua

l art

s

mak

e co

nnec

tions

bet

wee

n •

the

idea

s th

ey a

re e

xplo

ring

in th

eir a

rtw

ork

and

thos

e ex

plor

ed b

y ot

her a

rtis

ts

thro

ugh

time,

pla

ce a

nd

cultu

res

crea

te a

rtw

ork

for a

spe

cific

•

audi

ence

use

a pe

rson

al in

tere

st, b

elie

f •

or v

alue

as

the

star

ting

poin

t to

cre

ate

a pi

ece

of a

rtw

ork

use

a ra

nge

of s

trat

egie

s to

•

solv

e pr

oble

ms

durin

g th

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s.

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ning

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rs:

beco

me

incr

easi

ngly

•

inde

pend

ent i

n th

e re

aliz

atio

n of

the

crea

tive

proc

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adju

st a

nd re

fine

thei

r •

crea

tive

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ess

in re

spon

se

to c

onst

ruct

ive

criti

cism

iden

tify

fact

ors

to b

e •

cons

ider

ed w

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disp

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an a

rtw

ork

utili

ze a

bro

ad ra

nge

of w

ays

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mak

e m

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ng

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ct, r

esea

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and

deve

lop

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idea

or t

hem

e fo

r an

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ork

deve

lop

an a

war

enes

s of

•

thei

r per

sona

l pre

fere

nces

.


Samples

Several examples of how schools are using the planner to facilitate inquiries into arts have been developed and trialled by IB World Schools offering the PYP. These examples are included in the HTML version of the PYP Arts scope and sequence on the online curriculum centre. The IB is interested in receiving planners that have been developed for inquiries into arts or for units of inquiry where arts concepts are strongly evident. Please send planners to [email protected] for possible inclusion on this site.

Arts scope and sequence - Älmhults kommunscope+and+sequenc… · Balanced They understand the...

Documents

Transcript of Arts scope and sequence - Älmhults kommunscope+and+sequenc… · Balanced They understand the...