F A 11 This IRP was revised in April 2011 to remove ...Integrated Resource Package 1997 IRP 004...

Integrated Resource Package 1997

IRP 004Ministry of Education,Skills and Training

FINE ARTS 11

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This IRP was revised in April 2011 to remove references to the 1995 Graduation Program. (page 1)

Copyright © 1997 Ministry of Education, Skills and TrainingProvince of British Columbia.

Copyright Notice

No part of the content of this document may be reproduced in any form or by any means, including electronicstorage, reproduction, execution or transmission without the prior written consent of the Province.

Proprietary Notice

This document contains information that is proprietary and confidential to the Province. Any reproduction,disclosure or other use of this document is expressly prohibited except as the Province may authorize in writing.

Permission to copy and use this publication in part, or in its entirety, for non-profit educational purposes withinBritish Columbia and the Yukon, is granted to all staff of B.C. school board trustees, including teachers andadministrators; organizations comprising the Educational Advisory Council as identified by Ministerial Order; and

other parties providing direct or indirect education programs to entitled students as identified by the School Act.

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PREFACE: USING THIS INTEGRATED RESOURCE PACKAGE

• Preface

FINE ARTS II INTRODUCTION

• Introduction• Graduation Requirements• Rationale• Nature of Fine Arts• Curriculum Organizers• Models of Content• Definition of Learning Resources• Rationale for Learning Resource Evaluation• Status of Learning Resources• Local Resource Evaluation• Resource Selection

FINE ARTS II DANCE

• Choreography• Jazz Dance Styles

FINE ARTS II DRAMA

• Film and Television• Voice and Improvisation• Human Relationships

FINE ARTS II MUSIC

• An Exploration of Music and Sound• Vocal Music

FINE ARTS II VISUAL ARTS

• Studio-Based Visual Arts• Contemporary Issues and the Visual Arts

FINE ARTS II MULTI-DISCIPLINARY

• History in the making• Contemporary Issues• Self-Portrait

TABLE OF CONTENTS

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APPENDICES

• Appendix A: Learning Outcomes• Appendix B: Learning Resources• Appendix C: Cross-Curricular Outlines• Appendix D: Assessment and Evaluation• Appendix E: Acknowledgements• Appendix F: Responding to Arts Expressions• Appendix G: Elements and Principles of the Fine Arts Disciplines• Appendix H: Glossary of Terms

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mplementation of Fine Arts 11 will beginin September 1995. This Integrated ResourcePackage (IRP) provides some of the basicinformation that teachers will require inorder to implement the Fine Arts 11 course.A list of the sections of the document, alongwith a description of how that section can beused, follows:

• The Introduction describes the Fine Arts 11course, including special features andrequirements.

• The Rationale for Fine Arts 11 discusses“why this subject is taught in schools.”

• The Graduation Requirements outlines theapplied skills graduation requirement andanswers questions regarding thealternatives for fulfilling the fine artsrequirement in Grades 11 and 12.

• The Curriculum Organizers describe thePrescribed Learning Outcomes for thecourse. The organizers can be used tofocus the planning of activities for anydelivery of Fine Arts 11. It is important toensure that all the curriculum organizersand outcomes are addressed in anydelivery model of Fine Arts 11.

• The provincially Prescribed LearningOutcomes for this course are listed undertheir appropriate curriculum organizer.


The main body of the document consists of aseries of integrated context tables thatcontain the following:

The Provincially Prescribed LearningOutcomes for Fine Arts 11The learning outcome statements are thecontent standards for the provincialcurriculum. They set out the knowledge,skills, and attitudes for the course. Thelearning outcomes are statements of whatstudents are expected to know and do inFine Arts 11; they also comprise theprescribed curriculum. Learning outcomesare clearly stated, expressed in measurableterms, and complete the stem, “It isexpected that students will ...” Outcomestatements have been written to enableteachers to use their experience andprofessional judgement in planning andevaluating. The outcomes are standards thatwill be useful to teachers for establishingbenchmarks for criterion-referencedassessment of student performance. It isexpected that student performance will varyin relation to outcomes. Evaluation,reporting, and student placement withrespect to these outcomes is dependent onthe professional judgment of teachers,guided by provincial policy.

Suggested Instructional StrategiesInstruction involves the selection oftechniques, activities, and methods that canbe used to meet diverse student needs anddeliver the prescribed curriculum. Teachersare free to adapt and use the suggestedinstructional strategies or substitute othersthat they feel will enable their students toachieve the prescribed outcomes. Thesestrategies have been developed by specialistand generalist teachers to assist theircolleagues; they are suggestions only.

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Suggested Assessment StrategiesThe assessment strategies consist of a varietyof ideas and methods to gather evidence ofstudent performance. Some assessmentstrategies relate to specific activities; othersare general and could apply to any activity.These strategies have also been developed byspecialist and generalist teachers to assisttheir colleagues; they are suggestions only.

Provincially Recommended LearningResourcesA comprehensive provincial evaluation hasnot yet taken place for this course.Resource evaluations will take place duringthe 1995-96 school year. Applicable re-sources already recommended from othersubject reviews have been included for yourinformation. Many provincially recom-mended resources are available in each of thefine arts subjects. At the discretion of theteacher, any provincially Recommended orAuthorized learning resource may be usedfor this course.

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SUBJECT AREA • (Curriculum Organizer)

SUGGESTED INSTRUCTIONAL STRATEGIES

Suggested InstructionalStrategies

The SuggestedInstructional Strategiesinclude teachingtechniques, studentactivities, and methodsthat can be used to meetdiverse student needswhen implementing thePrescribed LearningOutcomes. Opportunitiesfor integration may alsobe included.

Recommended LearningResources

Few resources arepresently listed in thisdocument. Acomprehensive learningresources provincialevaluation has not takenplace for this course but isplanned for the 1995-96school year. Teachersmay wish to use thiscolumn to identifyexisting resources insupport of the Fine Arts11 course.

Suggested AssessmentStrategies

The SuggestedAssessment Strategiesmake use of a wide rangeof different assessmentapproaches useful inevaluating the outcomesaddressed in the contextsoutlined in the course.Teachers should considerthese as examples theymight modify to suit theirown needs and theinstructional goals.

SUBJECT AREA • (Curriculum Organizer)

SUGGESTED ASSESSMENT STRATEGIES RECOMMENDED LEARNING RESOURCES

Prescribed LearningOutcomes

The Prescribed LearningOutcomes are listedunder the four organizers.These are the core of theFine Arts 11 curriculumand must be addressed inthe course. Teachers mustrefer to these outcomeswhen designing contentand establishing formaland informal reporting onstudent progress.

PRESCRIBED LEARNING OUTCOMES

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ine Arts 11 is a two-credit provincialcourse curriculum. It has been designed inpartnership with the provincial specialistassociations in each of the four disciplines.This course is intended as an alternative tothe currently available four-credit fine artscourses for students wishing to fulfill theFoundation Studies Requirement for twocredits of fine arts at the Grade 11-12 level.This course can be delivered by focusing onany one or a combination of the fine artsdisciplines: dance, drama (theatre), musicand/or visual arts. Any reference todiscipline(s) in this document refers to one orall of these.

The course is also intended to allow a broadrange of possible focuses within any of thefine arts disciplines or combination of thethem. Examples of several possible focusesare elaborated in the Content Models sectionof this Integrated Resource Package (IRP).

GRADUATION REQUIREMENTS

To satisfy the requirement for two credits offine arts, students must select one of thefollowing options in grade 11 or 12:1. An existing four-credit provincial course in

drama, music, or visual art (dance to beavailable in September 1996). Uponsuccessful completion of the course, twocredits are used by students to satisfy theFoundation Studies and two credits areused to satisfy the Selected Studies re-quirement.

2. This new Fine Arts 11 course (2 credits).

3. One of the approved four-credit provincialapplied skills courses that satisfiesrequirements for both Fine Arts 11 andApplied Skills 11, by being restructured toensure that it addresses the outcomes ofthis Fine Arts 11 course.

Note: The Prescribed Learning Outcomes must beaddressed if either option 2 or 3 is selected or ifFine Arts 11 is structured from existing fine artsfour-credit courses.

RATIONALE

Why Fine Arts 11 in B.C. schools?The aim of Fine Arts 11 is to ensure that allstudents receive a well-rounded andcomplete education. The fine arts (dance,drama, visual arts, and music) providestudents with unique ways of understandingtheir world and communicating thatunderstanding. This understanding iscritical to all aspects of a student’s education,future work, and leisure enjoyment. Noactivity takes place without someconsideration of the arts or aesthetics.

Through studying and participating in thefine arts, students develop the attitudes,skills, and knowledge needed for lifelonglearning and meeting the challenges of achanging workplace and world. The finearts develop self-discipline, self-motivation,and self-confidence. They help sparkimagination, innovation, creativity, andflexibility. The fine arts develop students’social, communication, and organizationalskills. The fine arts develop critical thinkingand problem-solving skills, and givestudents practical experience in establishing,implementing, and assessing goals that theyfind meaningful.

INTRODUCTION TO FINE ARTS 11

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Through experiences with the fine arts,students understand and appreciate thevariety of careers in art and related fieldsand the skills required to acheive them. Finearts are essential to a prosperous andsustainable economy. Through studying thearts, students learn strategies andtechnologies that are important indeveloping and marketing ideas andproducts.

In order to understand and appreciateartistic expression, students must develop anunderstanding of:• some basic principles of the artistic

discipline• how the context in which the arts are

created affects and is affected by them,• how the arts are used to express and

communicate

Students should also take part in both:• artistic creation or performance activities• experiencing and responding to the arts

and art works

These important aspects of the fine artsexperience form the basis of the curriculumorganizers for the Fine Arts 11 two-creditcourse that follows.

NATURE OF FINE ARTS

Central to our humanity is the capacity tofeel, to think, and to express. The fine artscultivate the student’s potential to feel moreintensely, think more profoundly, andexpress more originally. Through educationin dance, drama, music, and the visual arts,students become more complete asindividuals. Through their own experiencesin the fine arts students learn ways tocelebrate our collective human experience.

CURRICULUM ORGANIZERS

Curriculum organizers are used to categorizethe learning outcomes for Fine Arts 11, andto give teachers a conceptual framework fororganizing course content. The curriculumorganizers for Fine Arts 11 are:• Elements and Principles• Personal, Social, Cultural, and Historical

Contexts• Expressing our Humanity

Within each of these curriculum organizersthe following will be addressed:• Creating, Performing, Communicating• Perceiving, Responding, Reflecting

A description of each follows.

Elements and Principles

Each of the fine arts disciplines has a set ofelements and principles with which it isassociated. The following is a list of elementsand principles which should be addressed inthis course, depending on which discipline orcombination of disciplines is chosen:

Elements and principles of dance:• elements of movement: body, space, time,

dynamics, and relationship• principles: pattern, repetition, contrast,

transformation, and narrative

Elements and Principles of Drama:• elements of drama: focus, tension,

contrast, and symbol

Elements and Principles of Music:• expressive elements: rhythm, tempo,

melody, harmony/texture, dynamics,timbre, and articulation

• principles of form: repetition, contrast,and pattern


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Elements and principles of visual art:• visual elements: line, shape, colour,

texture, value, tone, form and space• principles of design: pattern/repetition,

rhythm, contrast, balance, emphasis,movement, and unity/harmony

• image development strategies:simplification, elaboration, magnification,exaggeration, distortion, point of view,fragmentation, multiplication,juxtaposition, and metamorphosis

Where possible, connections among all thearts disciplines should be made.

Personal, Social, Cultural, and HistoricalContexts

All works of art are created and experiencedin unique social, cultural, andhistorical contexts. These contexts bothaffect and are affected by artists, their workand their audiences. Understanding theserelationships is essential to appreciating bothworks of art and the societies or culture inwhich they are created. The study of theserelationships is an essential part of thiscourse.

Expressing Our Humanity

The fine arts reflect a human need tounderstand our world. The fine arts areused to express and communicateexperiences, thoughts and feelings and todesign objects and events which meetpersonal and social needs. In this coursestudents will reflect on and respond to theseaspects of the function of the fine arts.

For each of the above curriculum organizers,Creating/Performing/Communicating, andPerceiving/Responding/Reflecting arerepresented as categories under which the

prescribed learning outcomes are listed.Creating/Performing/Communicating, andPerceiving/Responding/Reflecting describeways in which we experience and learnabout the fine arts. These ways ofexperiencing the fine arts are considered tobe of equal importance and essential to thiscourse curriculum.

Creating/Performing/Communicating

Fine arts involve creating, performing, andcommunicating through images, sound,movement, and language. Creating is apersonally or culturally meaningful actinvolving images, sounds, movement and/or language. Communication through thefine arts disciplines is a powerful means ofexpressing ideas and emotions to satisfy arange of personal and social needs.Presenting and sharing is an important partof communication.

Perceiving/Responding/Reflecting

Fine arts involve perceiving, reflecting onand responding to images, sound,movement, and language. Perceivinginvolves exploring the world through thesenses. Reflecting on, and responding to,involves observing, listening, describing,analysing, interpreting, and evaluating thearts. Perceiving, responding to, andreflecting on are personal and socialactivities which develop sensory awarenessand aesthetic appreciation. An informed andsensitive response takes into account thecontexts of the artist, the student as artist,and audience and may involve selfevaluation.

Creating/Performing/Communicating andPerceiving/Responding/Reflecting areinterrelated processes for experiencing the


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fine arts. By engaging in both, studentsbecome more aware of the artistic processand experience their own creative potential.

Learning Outcomes

Elements and Principles:Creating/Performing/Communicating

It is expected that the student will:• create/perform a work of art

demonstrating an awareness andexperience of several of the basic elementsand principles of the discipline used

• create/perform a work of artdemonstrating the use of the basicelements and principles of the disciplineto communicate specific ideas, moods, orfeelings

Elements and Principles:Perceiving/Responding/Reflecting

It is expected that the student will:• develop the vocabulary for the discipline

studied.• identify, describe, analyse, interpret and

make judgement about the basic elementsand principles (see the description of thisCurriculum Organizer) as used in avariety of art works.

Personal, Social, Cultural, and HistoricalContexts:Creating/Performing/Communicating

It is expected that the student will:• create/perform a work of art that reflects

an understanding of the impact of social/cultural/historical contexts

• create/perform a work of art thatcommunicates specific beliefs/traditionsin response to historical/contemporaryissues

Personal, Social, Cultural and HistoricalContexts:Perceiving/Responding/Reflecting

It is expected that the student will:• identify, describe, and analyse cultural or

historical styles as represented in a varietyof art works

• critique a work of art relating its content tothe context in which it was created

• describe or demonstrate how a specificwork of art supports/challenges specificbeliefs/traditions, or responds tohistorical/contemporary issues

Expressing our Humanity:Creating/Performing/Communicating

It is expected that the student will:• create/perform a work of art expressing

the student's own ideas, thoughts, orfeelings

• create or perform a work of art for aspecific public need (e.g., advertising,public ceremony, or social cause)

Expressing our Humanity:Perceiving/Responding/Reflecting

It is expected that the student will:• identify, describe, analyse, interpret, and

make judgements about how ideas,thoughts, feelings, or messages arecommunicated in a variety of others’ artworks

• examine the tensions between publicacceptance and personal expression in theart discipline being studied


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MODELS OF CONTENT

The Models of Content section is designed tohelp teachers implement the prescribedlearning outcomes. Models are provided foreach curriculum area. As well, two modelsthat integrate all four arts disciplines areprovided. The models can be delivered aspresented, or they can be used as examplesof how teachers may design their owncontent.

Each model is presented in a three-pageformat. The first page is an overview anddescription of the model. This is followed bytwo pages that represent an example ofpossible content for meeting the outcomes ofthe course. The two pages include PrescribedLearning Outcomes, Suggested InstructionalStrategies, Suggested Assessment Strategies, andProvincial Recommended Learning Resources.Prescribed Learning Outcomes are listed intheir entirety in each model. The remainingthree columns are not prescribed or required.Suggested Instructional Strategies includesteaching techniques, activities, and methodsthat can be used to meet diverse studentneeds when implementing the prescribedcurriculum. Assessment Strategies includesspecific methods and tools for gatheringinformation about student learning, alongwith suggested criteria to assist in theassessment process.

DEFINITION OF LEARNING RESOURCES

Learning resources are defined asinformation, represented and stored in avariety of media and formats, that assistsstudent learning as defined by provincial orlocal curricula. This includes but is notlimited to, materials in print, video, and

software formats, as well as combinations ofthese formats intended for use by teachersand students.

RATIONALE FOR LEARNING RESOURCE

EVALUATION

The Ministry promotes the establishment ofa resource-rich learning environmentthrough the selection of a wide variety ofeducationally appropriate materials to meetthe needs of all learners and to satisfyvarious teaching styles. Resources areselected to support provincial programs andcurricula through an evaluation processcarried out using an “expert” model, that is,using practising master teachers asevaluators. It is expected that teachers willselect resources chosen from those items thatmeet the selected criteria and that suit theirparticular pedagogical needs and audiences.

All usage of materials involves the teacher asmediator and facilitator of learning.However, students may be expected to havesome choice in materials for specificpurposes such as independent reading orresearch. It is expected that multipleresources will be utilized to support learningoutcomes at any particular level. Amultimedia approach integrating materialsfrom different packages and media isencouraged.

A number of selected resources supportcross-curricular integration by enablingvarious approaches to content or theinclusion of a variety of different types ofcontent. The Ministry includes special needsaudiences in the evaluation and annotationof learning resources. As well, special formatversions of some selected resources (Brailleand taped-book formats) are available.

INTRODUCTION TO FINE ARTS

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STATUS OF LEARNING RESOURCES

Learning resources fall into one of threecategories:

Recommended Materials

Materials evaluated through a formalevaluation process, approved throughMinister’s Order, and purchased usingtargeted learning resource funds. Theseresources are listed in the print and CD-ROMversions of the Catalogue of LearningResources.

Authorized Materials

Materials selected prior to 1989 bycurriculum committees and purchasedthrough the Credit Allocation Plan. Theseresources are listed in the print and CD-ROMversions of the Catalogue of LearningResources.

Locally Selected Materials

Materials evaluated through local (district/school) evaluation processes and approvedfor use according to district policy.

All learning resources used in schools musteither have recommended or authorizeddesignation or be approved through districtevaluation and approval policies.Recommended learning resources for thiscurriculum will be evaluated and added tothe Catalogue of Learning Resources in theupcoming school year.

LOCAL RESOURCE EVALUATION

As previously indicated, districts that chooseto evaluate materials locally for school usemust have in place a district evaluationpolicy in accordance with section 182 (2) (e)of the School Act as outlined in Minister’s

Order #143. Users at the local level may se-lect provincially authorized or recommendedresources, or they may choose resources thatare not on the Ministry’s list. There is alsothe option to develop materials at the locallevel to support provincial or locallydeveloped curricula.

RESOURCE SELECTION

Currently, all authorized or recommendedmaterials are listed in the Catalogue ofLearning Resources, published periodically bythe Ministry. The same information isavailable in a CD-ROM catalogue, whichalso includes an efficient search capability.This enables the rapid identification ofresources that meet particular users’ needs.Although the main purpose is to helpteachers select classroom resources, it canalso be useful for the ordering andmanagement of resources. Both English andFrench discs are available in both Macintoshor MS-DOS format.

The flexiblity of selecting appropriatecontexts for students makes determiningspecific learning resources at the provinciallevel difficult. However, many resourceshave been approved through past calls forresources for each of the applied skillssubjects and physical education. In addition,some of the K to 10 materials reviewed in thespring may also be considered by teachers.

Teachers are reminded that all recommendedand authorized learning resources may beused at the discretion of the teachers. Akeyword search in the CD-ROM version ofthe Catalogue of Learning Resources can beused to find relevant resources.

INTRODUCTION TO FINE ARTS

THE FINE ARTS 11CURRICULUM

PRESCRIBED LEARNING OUTCOMES SUGGESTED INSTRUCTIONAL STRATEGIES

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It is expected that students will:

Elements and PrinciplesCreating/Performing/Communicating• create/perform a work of art demonstrating an

awareness and experience of several of the basicelements and principles of the discipline used

• create/perform a work of art demonstrating theuse of the basic elements and principles of thediscipline to communicate specific ideas, moods,or feelings

• create/perform a work of art demonstrating theuse of strategies for developing an artistic imageor idea

Perceiving/Responding/Reflecting• develop the vocabulary for the discipline studied• identify, describe, analyse, interpret, and make

judgements about the basic elements andprinciples as used in a variety of art works

Personal, Social, Cultural, Historical ContextsCreating/Performing/Communicating• create/perform a work of art that reflects an

understanding of the impact of social/cultural/historical contexts

• create/perform a work of art that communicatesspecific beliefs/traditions in response to histori-cal/contemporary issues

Perceiving/Responding/Reflecting• identify, describe, and analyse cultural or

historical styles as represented in a variety of artworks

• critique a work of art relating its content to thecontext in which it was created

• describe or demonstrate how a specific work ofart supports/challenges specific beliefs/tradi-tions, or responds to historical/contemporaryissues

Expressing our HumanityCreating/Performing/Communicating• create/perform a work of art expressing the

students' own ideas, thoughts, or feelings• create or perform a work of art for a specific

public need (e.g., advertising, public ceremony, or social cause)Perceiving/Responding/Reflecting• identify, describe, analyse, interpret, and make

judgements about how ideas, thoughts, feelings,or messages are communicated in a variety ofothers’ art works

• examine the tensions between public acceptanceand personal expression in the art disciplinebeing studied

FINE ARTS 11 •Dance: Choreography

Have students:• explore a variety of movements (e.g., skip, gallop,

twist)• use the visible pathways from a work of art to

create a sequence of movements• chart a dance for eight people that records the

pathways made by the dancers• represent the elements of time and space in brief

movement sequences• alter the dynamics of a movement sequence• describe how dynamics differ between different

styles of dance (e.g., ballet, highland, hip-hop, FirstNations dances)

• explore relationships between themselves andother dancers or props (e.g., mirroring, shadow-ing, following)

• improve movements using a specific focus• identify strong and weak transitions in videos (see

glossary) or reviews of live professional produc-tions

• use a double-entry journal to record before andafter thoughts about projects

• explore some choreographic techniques used indance

- distinguish among choreographic forms (e.g.,ABA, rondo, high point, canon, narrative)

- transform a given sequence (e.g., changingfloor design, sequence, relationships,

dynamics)- choreograph dance sequences for a variety ofenvironments

- translate themes into short movement studiesthat may express a personal attitude

- analyse videos of historically significant danceworks for techniques used

• choreograph a piece- explore the use of theme in dance- explore sounds, props, roles, improvisation asfocus for dance

- document the process through a journal orvideo

RECOMMENDED LEARNING RESOURCESSUGGESTED ASSESSMENT STRATEGIES

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Dance: ChoreographyFINE ARTS 11 •

• Set objectives and assessment criteria in consulta-tion with students at appropriate stages.

• Evaluate students’ double-entry journals (seeGlossary).

• Compare present assignments to past assignments(which use the same criteria) to assess growth.

• Keep a performance evaluation log for the class(see Appendix C for example).

• Observe students’ ability to apply previouslearning to present dance assignments.

• Evaluate the goals students set for what they wantto accomplish. Criteria may include:

- areas of weakness in performance andchoreography to be overcome

- understanding of technical items- collaboration/co-operation- strengths to enhance or teach to others

• Develop criteria, in collaboration with the class, forwhat makes a dance powerful. View professionalworks to identify some of these criteria.

• Have students assess their process and their finalproduct (orally, in writing, or on video).

• Assess students’ progress by regularly videotapingtheir work (students can also assess their ownprogress through the use of video).

• Evaluate students’ journals and videos. Thecriteria may include whether the student:

- identifies when he/she is at a certain stage ofthe creative process

- refers to the theme at various times in thedevelopment of the piece

- identifies weaknesses and strengths in theirchoreography

- uses and identifies cultural influences repre-sented in their own and others' choreography

• Observe the attention students give to all of thestages of the creative process.

• Develop criteria in collaboration with each studentfor judging the results of his/her work.

• Have students evaluate the works in progress andfinal products of their peers.

• Have students identify influential and importantchoreographers and trends in choreographystudied.

This column is provided for teachers to identifylearning resources in support of the Fine Arts 11curriculum. Recommended learning resourcesfor this curriculum will be evaluated and addedto the Catalogue of Learning Resources in theupcoming school year.


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FINE ARTS 11 •Dance: Jazz Dance Styles

• Teach students the general principles of a safewarm-up and lead them through a sample warm-up for the chosen dance style.

• Introduce a framework for movement analysis thatstudents can use to learn about new styles ofdance. Show a film or video that features the jazzdance style chosen and have students observe,record, and discuss the characteristics of the styleusing the framework given.

• Teach part of a movement sequence (e.g., 32counts). Have students practise the sequence andthen perform in groups. Repeat this procedurewith the next section of the sequence and thencombine both sections.

• Show a film or video that explains the historicaland cultural environment of a selected dance style.Have students identify the main influences on thestyle.

• Discuss with students the basic elements of jazzdance (e.g., isolation, contraction-release,polycentrism, syncopation). Have small groups ofstudents create phrases of 16 - 32 counts in jazzdance style, using examples from each categoryabove, as well as travelling steps, changes of level,turns, and so on.

• Use textbooks, bulletin board displays, slides, andso on, to show students examples of a selecteddance style. Choose two poses and have studentsdesign a travelling sequence to connect them.

• After teaching three or four styles, discuss thesimilarities and differences among them. Givestudents a floor pattern diagram or series ofdirections (e.g., forward, right, left, in place) andhave them demonstrate the diagram or directions,using steps and movements in a selected style.

• Have students choose a jazz-related style andcreate, refine, and perform a sequence.

• Have students keep a record of their danceexperiences, daily effort, and works viewed.

• When teaching theatrical styles such as musicaltheatre, tap, and jazz, have students focus on oneaudience member (or partner) while performing.

• Show students some examples of word-baseddance notation and have them notate their shortpiece of choreography.

• Invite dancers to perform and discuss their work.Dancers could reflect the cultural mix of thecommunity (e.g., First Nations dances, Europeanfolk dance). They need not be jazz styles — indiscussion, relate their style to jazz style.

• Adapt some non-jazz style dances observed to jazzdance.


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Dance: Jazz Dance StylesFINE ARTS 11 •

• Set objectives and assessment criteria for the course inconsultation with students at appropriate stages.

• Have students use response sheets to focus theirobservations.

• Keep video and anecdotal records of student progress.• Test students’ skills in the dance styles studied, using a

checklist or a rating scale.• Assess students’ contributions and commitment to

individual and group experiences. The criteria mayinclude whether the student:

- listens to others’ ideas- contributes his/her own ideas in a constructivemanner

- accepts the suggestions of others- stays on task

• Interview students about their arts experiences.Assessment criteria may include whether students:

- use appropriate dance vocabulary- discuss their own contributions to the class- show an awareness of their personal skills andlimitations

- show awareness of jazz-related styles and well-known performers in those styles

• Evaluate students’ use of the principles of safemovement in warm-up and class work.

• Have students provide feedback to performances bytheir peers when working in pairs or small groups.

• Evaluate students’ documentation of their personalideas and reflections. Assessment criteria may includewhether the student:

- recognizes his/her own strengths and weak-nesses

- reflects on the choices made in his/her own dancework

- reflects on the work of well known performers- considers what makes a dance work successful orunsuccessful

- completes the documentation as assigned• Test students’ knowledge of the cultural and historical

influences on the dance styles studied.• Evaluate students’ use (individually or in groups) of

the elements of jazz dance in the creation of a shortsequence.

• Evaluate students’ performance skills. Assessmentcriteria may include students’:

- dance memory- performing energy- focus- dynamics- rhythm



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FINE ARTS 11 •

Have students:• analyse critically the audio-visual techniques used

by film and/or television• identify and evaluate the effects of the techniques

used by film and/or television• identify ways in which these media affect their

personal lives- analyse a television program or specific genreand explore such questions as: What is thepurpose of the program? Is there effective useof video techniques? What improvementswould you suggest?

- design a three-dimensional set for a newtelevision show

- design a lighting plot for a television show- write a script for a new television programand perform a scene from it

- write an outline for a new movie- interview a media representative (e.g., atelevision reporter, camera operator, anchorperson)

- create an advertising campaign for a newproduct

- create a new advertising campaign for anexisting product and submit it to the companyproducing the product

- analyse their own reasons for their viewingchoices

- log their own television viewing habits- write a critical review of a television showand/or film

- write two versions of a television show,showing a comparison of the styles of yester-day and today

- role-play the board of a company and evaluateeach other’s advertising campaign

• identify and explore the effect of the media ontraditional cultures (e.g., First Nations) andcultural diversity

Drama: Film and Television


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FINE ARTS 11 • Drama: Film and Television

• Test students’ knowledge of the vocabulary used inthe production of film and television.

• Evaluate students’ television viewing logs.• Evaluate students’ film preview sheets.• Observe students’ manipulation of creative

materials.• Keep records of students’ progress in a variety of

ways (e.g., audio tapes, videotapes, anecdotalnotes, portfolios).

• Give a pre-test and post-test to chart any changes instudents’ television viewing habits.

• Use self, peer, and teacher evaluation.• Evaluate students’ written expression for:

- proper format- expression- understanding and insight

• Evaluate students’ advertising campaign. Assess-ment criteria may include students’:

- technical skill- effective use of materials and media- imaginative approach (e.g., jingle, music,slogan)

- articulation of ideas- understanding of the principles of mediaproduction and propaganda (e.g., montage,editing, close-up, pan)

• Evaluate students’ contributions and insights ofmedia’s effect on cultural diversity.

Mass Media and Popular Culture

Mass Media and Popular Culture: Teacher’sGuide

The Association for Media Literacy (Ontario),Anthology 1990

Anthology Supplement 1992


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FINE ARTS 11 •

Have students:• demonstrate the use of the vocabulary used in

voice and improvisation (e.g., pitch, rate, volume,blocking, side coaching)

• identify elements of storytelling and participate invaried storytelling activities (include stories fromdiverse cultures)

• present a choral interpretation of a piece of poetry• present a scripted choral interpretation in small

groups• present a children’s readers’ theatre script• videotape their presentation or perform live for an

audience of children• create a narrative with sound effects, using

materials such as paper, styrofoam, metal, wood,and plastic

• prepare and present a sound plot• create a combination of sound and nonsense poetry• listen and respond to a dramatic reading of a

soliloquy• tape a radio play of their own creation• present a taped anthology based on a theme of

their choice• participate in large-group improvisations (e.g., in a

railroad station, restaurant, hospital, or mall)• improvise scenes based on lyrics from songs• practise the skills of theatre sports• participate in improvisations in pairs and small

groups• participate in role drama with the teacher-in-role• create and present a short (5 - 10 minutes) theme-

based anthology demonstrating learned skills• explore history of a dramatic form focused on

voice (e.g., storytelling, radio plays, choral reading,talking blues, poetry reading, sound plotting, vocalsound effects)

Drama: Voice and Improvisation


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FINE ARTS 11 • Drama: Voice and Improvisation

• Test students’ knowledge of the vocabulary used invoice and improvisational work.

• Evaluate students’ vocal presentations (choralinterpretation, readers’ theatre, sound plot, etc.).Assessment criteria may include whether thestudent:

- shows technical skill- exhibits an imaginative approach (e.g., seating

arrangement, use of voice levels, voice change)- is focused during the presentation- is able to project his/her voice with good

volume• Evaluate students’ improvisational work. Assess-

ment criteria may include students’:- technical skills- effective use of necessary skills- effective use of materials (e.g., written tests,

costumes, lighting)- concentration on their roles- ability to work well with the group

• Test students’ knowledge of theatre sports.• Observe students’ skills during theatre sports

games in small teams. Assessment criteria mayinclude whether the student:

- stays in role- builds on his/her teammates’ ideas- supports the team onstage and offstage- follows the rules of the game

• Use self, peer, and teacher evaluation.• Evaluate each student’s anthology. Assessment

criteria may include:- the appropriateness of the material to the

theme- the choice of dramatic methods used to

present ideas- whether the student offers and accepts others’

ideas- the use of lighting, sound, costume, and set- technical skill- imaginative approach- coherence

Comedy Improvisation

Complete Book of Speech Communication

Readers Theatre Anthology


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FINE ARTS 11 •

Have students:• keep journals of one-on-one encounters, focusing

on a variety of relationships, such as with parents,friends, and partners

• participate in a role drama with the teacher-in-role(e.g., a dating service, a sports team, a marriageencounter group)

• explore stereotypes through tableaux• identify different kinds of relationships• create a mini soap opera illustrating the different

relationships of one character• reflect on the ways in which different relationships

affect their lives• write monologues in which they tell an imaginary

character about their own relationships with others• analyse famous character relationships from scripts

in contemporary and historical contexts (e.g., inplays by Shakespeare, Sharon Pollock, DavidFrench, and in soliloquies by Chief Dan George)

• rewrite fairytales to alter the relationships (e.g.,looking at the story from another person’s point ofview)

• create improvisations based on lyrics about arelationship from a modern song

• create a dramatic collage of different relationships• use mime or mask to explore ideal versus real

relationships

Drama: Human Relationships


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Drama: Human RelationshipsFINE ARTS 11 •

• Test students’ knowledge of the dramatic formsused (e.g., rules for improvisation).

• Evaluate students’ presentations. Assessmentcriteria may include students’:

- technical skills- imaginative approach- focus during the presentation

• Observe students’ group work. Assessment criteriamay include how a student:

- works collaboratively and co-operatively- builds on the group’s ideas- demonstrates self-confidence and trust in

others• Evaluate students’ journals. Assessment criteria

may include:- quality of the entries- growth or change in ideas about relationships- completion by due date

• Evaluate students’ monologues. Assessmentcriteria may include students’:

- written expression- performance- effective use of materials

• Use self, peer, and teacher evaluation.

Acting Natural

Drama 14-16 - A Book of Projects and Resources


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FINE ARTS 11 •Music: An Exploration of Music and Sound

Have students:• form a music ensemble to perform their own

compositions (this ensemble could include bothtraditional and non-traditional instruments, orstudents might create their own instruments fortheir activity)

• create compositions and critically analyse themwith reference to the works of previous composers

• manipulate and use technology to create anoriginal work

• graph a composition for its use of tension/release • define music and discuss their definitions, e.g.,

What makes “music” different from“ sound?”• examine the relationship between text and music in

a composition• invent a notation and create a composition using

the original notation system (either individually orcollectively)

• integrate dance, drama, or visual arts in a composi-tion

• research unfamiliar instruments and sound sourcesand listen to music using them, including:

- historical instruments (e.g., Haydn’s Barton,Mozart’s glass harmonica, hurdy gurdy)

- instruments of various cultures (e.g., diggery-doo, First Nations instruments, sitar)

- invented instruments (e.g., electronic instru-ments, Harry Partch’s work, Canada’s GlassOrchestra, conch shell trombones) and soundsources (electronic, environmental, instrumen-tal, vocal)

• outline musical notations and how they representthe elements of music, and listen to music usingthem, including:

- historical development of notation (e.g.,Gregorian chant, Franconian notation, ArsNova)

- notations of various cultures (e.g., IndianRaga, Gamelan notations)

- alternative notation (e.g., John Cage, MurraySchaffer, Stockhausen, computer sequencingnotation, Musical Heart - Baude Cordier - 14thcentury)


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Music: An Exploration of Music and SoundFINE ARTS 11 •

Objectives and assessment criteria should be set inconsultation with students as each assignment isgiven. It is particularly important that teachersdevelop criteria in collaboration with each studentfor judging student's work and its development.

• Have students describe the instruments they makeor use in terms of the elements and principles ofmusic.

• Assess student compositions for the effective use ofthe elements and principles of music.

• Have students critically analyse a song in terms ofthe relationship between the text and the music.

• Have students examine music from an unfamiliarculture and write a report on how music is used inthat society.

• Test students' knowledge of traditional musicalnotation systems and how these systems are usedto describe the elements and principles of music.

• Have students critically analyse their own in-vented notation systems in terms of how well theirsystems define the elements and principles ofmusic.

ABC Choral Arts Series

Exploring Music of the World (series)

Investigating Musical Styles

The Art of Music —An Introduction (with studyguide)


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FINE ARTS 11 •Music: Vocal Music

Have students:• review the basics of proper vocal production• review music notation symbols• perform a variety of vocal music from historical

periods (with regard to text, melody, rhythm,harmony, texture, dynamics, and timbre)

• listen to choral music, identifying the principlesand elements from various cultures, and fromdifferent historical periods

• explore the different uses of music in our own andother societies

• explore a feeling through voice (no words)• sing various vocal arrangements (e.g., S, SATB, a

cappella, solo)• graph a composition for its use of tension/release• examine the relationship between text and music in

a composition• integrate dance, drama, or visual arts in a perfor-

mance


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Music: Vocal MusicFINE ARTS 11 •

Objectives and assessment criteria should be set inconsultation with students as each assignment isgiven. It is particularly important that teachersdevelop criteria in collaboration with each studentfor judging students’ work and its development.

• Provide written and oral assessments of students’vocal technique.

• Test students’ knowledge of traditional notationsystems and of how these systems are used todescribe the elements and principles of music.

• Assess students’ understandings of the context ofworks over history and different cultures throughwritten reports and oral presentations (bothindividual and group).

• Have students critically analyse a song in terms ofthe relationship between the text and the music.

• Have students examine music from an unfamiliarculture, (e.g., Inuit throat singing, Japanese Noplays, and First Nations drumming) and write areport on how music is used in that society.



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FINE ARTS 11 •Visual Arts: Studio-Based Visual Arts

Have students:• collect images from observation by drawing,

xerography, or photography• change collected images, using selected strategies

such as magnification, elaboration, distortion,juxtaposition, and simplification

• show, through several pieces, the effect of differentstyles or materials on a single image

• research image development techniques of well-known artists (by using photographs or descrip-tions of well-known works in progress)

• research use of images similar to their own by otherartists in other cultures

• develop increasing fluency in image developmentthrough practise in their sketchbooks

• develop fluency in the use of the vocabulary of theelements and principles of design in discussingtheir own work and the work of others

• create images that develop their working knowl-edge of the elements and principles of design

• show safe and skillful use of a variety of tools andequipment

• use media appropriate to the project at hand• create a vocabulary of marks using different tools• practise the use of reasoned criticism by evaluating

their own work, the work of their peers, and thework of practicing artists


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Visual Arts: Studio-Based Visual ArtsFINE ARTS 11 •

• Set assessment criteria with students to reflect theobjectives of the unit.

• Keep records of student progress in a portfolio.• Have students evaluate their own particular

projects according to their personal objectives orgoals.

• Use checklists to summarize the knowledge andskills acquired in a studio experience.

• Interview students to discover their understandingof their own creative processes.

• Conduct critiques so that students can reachconclusions about their work and its effectiveness.Assessment criteria could include:

- original solutions to visual problems- an imaginative approach- a creative response- the innovative use of media- effective use of elements and principles ofdesign

- appropriate use of arts vocabulary• Have small groups of students critique a work in

progress by:- making constructive comments and praisingsuccess

- being non-personal- identifying areas that need attention andproviding suggestions about them

• Have students revisit earlier efforts in order tocompare and contrast changes in:

- fluency with image development strategies- technical skill- confidence- articulation of ideas- developing awareness of historical precedentsfor students’ image development

• Have students evaluate their completed projectsaccording to standards of quality for a particularmedium (e.g., printmaking criteria could includeinking, registration, and labeling an edition).

• Use a rating scale to evaluate students’ care oftools, equipment, and studio space.

Exploring Visual Design

Exploring Drawing

Arttalk (Note: the teacher’s wrap-around editionis particularly useful for planning)

The Art School Series, Prentice Hall.• An Introduction to Drawing• An Introduction to Analysis• Drawing Figures• Oil Painting Portraits


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FINE ARTS 11 •Visual Arts: Contemporary Issues and the Visual Arts

Have students:• use a variety of strategies, such as fragmenting,

distorting, combining, or simplifying• examine everyday objects in order to identify or

describe:- the relationship between form and function- the structure of the object- perspective- expressive qualities- real and invented context

• use themes from current events to create artworkthat expresses their personal beliefs

• use memory and imagination to create artworkthat evokes an emotional response

• research their own family or cultural history, andcreate an artwork that tells a story

• use an example from art history to create anartwork that interprets history in an original way

• study a theme from art history to understand theinfluence of the elements and principles of designon an image

• research artworks on themes similar to their own• use poetry, lyrics, or descriptions as a theme for

developing and creating personal imagery thatunites word and image

• discuss the work of others, to develop fluency inthe use of vocabulary of the elements and prin-ciples of design

• study propaganda or the influence of the media,and then create a group piece that demonstratestheir collective opinion on a social issue

• combine found images, demonstrating the effectiveuse of the elements and principles of design

• research the historical development of an artmaterial

• role-play the job of a curator selecting works forexhibition


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Visual Arts: Contemporary Issues and the Visual ArtsFINE ARTS 11 •

Arttalk

Exploring Visual Design

Looking at Paintings (Eyewitness Art Series)

• Use students’ journals or sketchbooks as a recordof their progress.

• Interview students to discover their understandingof their own creative process.

• Through reference to your anecdotal records,assess students’ contribution and commitment to agroup experience.

• Conduct critiques so that students can reachconclusions about the effectiveness of the thematicworks viewed. The critiques could consider:

- the artist’s intent- the social or cultural milieu in which theartwork was created

- the effective use of compositional devices- the creative response to a theme

• Have students use prose or poetry to summarizetheir artistic intentions in an artist’s statement toaccompany their work.

• Have students revisit earlier efforts in order tocompare and contrast changes in:

- fluency in image development- technical skill and confidence- their articulation of ideas- their understanding of theme

• Have students evaluate their completed projectswith reference to their success in making anoriginal and effective visual comment on a theme.

• Assess students’ defence of the choices they madefor work to be included in an exhibition.


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FINE ARTS 11 •Multi-Disciplinary: History in the Making

Have students:• observe and respond to a number of contemporary

artworks that have historical references in each ofthe four arts disciplines

• discuss the artist’s intentions, and historicalreferences or influences (see Appendix D: Re-sponding to Arts Expressions)

• refer to and analyse the use of the elements andprinciples in the works observed for each disci-pline, as appropriate

• choose a work and research the artist’s context,background, influences, and so on

• reinforce their learning with the class using adiscipline different from that of the work selected

• listen to an artist in any or all of the disciplines,discuss his/her own work and historical influences

• create a rough draft for a work “in the tradition” ofa contemporary or historical artist or style

• use the ideas or forms of an artist or tradition toexpress their personal feelings or reactions toartist’s work. The work could be in a disciplineother than the one that inspired it. Encourage theawareness of connections between disciplines

• produce a “major work” from rough drafts• produce a multi-disciplinary work as a group,

making historical references• reflect on and discuss the influence of their cultures

and backgrounds on their own developing work(Ethnicity is not necessarily reflective of thestudent’s culture. Students should themselvesdetermine what they perceive their own culture tobe.)

• critique artworks from different points of view (e.g.,historical, philosophical, cultural)

• understand the importance of the safe and properuse of the media and tools needed to create theirartwork

• research connections between wealth/class, socialstatus, and art in history (including non-Europeancultures, e.g., First Nations potlatch, Japanese, andChinese calligraphy)


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Multi-Disciplinary: History in the MakingFINE ARTS 11 •

Objectives and assessment criteria should be set incollaboration with each student for judging the finalresults of students’ own artwork and the processleading to it.

• Have students use response sheets (see AppendixD: Responding to Arts Expressions) to focusobservations of artworks by well-known artistsand peers.

• Use self, peer, and teacher evaluation.• Keep records of students’ progress in a variety of

ways (e.g., audio tape, video, anecdotal notes,portfolio).


- demonstrate awareness of historical prece-dents

- use appropriate fine arts vocabulary- describe works of art and styles observed

• Evaluate students’ same work at various stages ofits development.

• Evaluate students’ understanding of how contextinfluences the artworks of themselves and others.Assessment criteria may include whether students:

- show awareness of trends in the arts throughhistory

- relate historical trends to personal expression- make reasoned guesses about an unknownartist from an observation of their work

• Observe students’ manipulation of elements andprinciples to enhance their work and its message.Assessment criteria may include whether students:

- apply knowledge gained from historicalexamples in their own work

- revise their own work using elements andprinciples to enhance their messages

-demonstrate originality• Evaluate students’ documentation of their personal

ideas and reflections. Assessment criteria mayinclude whether students:

- reflect on the relationship between their ownand historical works

- are able to recognize their own strengths andweaknesses

- reflect on the choices they made in their ownworks

- consider what makes a work successful orunsuccessful

- have complete documentation as outlined• Test students’ knowledge and skills of the disci-

plines.



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FINE ARTS 11 •Multi-Disciplinary: Contemporary Issues

Have students:• observe and respond to a number of artworks by

well-known artists (examples from a variety ofperiods and styles might be used)

• discuss the messages and context for each artworkexamined

• discuss the elements and principles of the disci-plines and how they are used in each artwork tosupport the message or content

• relate the elements and principles of each disciplineto the others

• select and research the background or context ofartworks relating to a topic

• choose an artwork they feel exhibits excellence andthen explain or defend their choice

• discuss artworks, relating the cultural context ofthe artists to the points of view they express intheir works

• create an original work of art using one of the fourarts disciplines to address a chosen topic

• describe the importance of the safe and proper useof the media and tools needed to create theirartwork

• practise the skills needed to produce an artwork• refer to the work of historical or contemporary

artists before beginning their own work, and havethem analyse how and why they feel the chosenstyle is appropriate for their topic

• relate their own works to those of historical orcontemporary artists and have them analyse thoserelationships

• record their personal ideas and reflections on thedevelopment process, their work in progress, andany works observed

• discuss the influence of their own culture, bias, andbackground on their own developing work

• relate the four separate disciplines in a group pieceor performance on a selected topic and have thempresent the work in a class or at a public event.Discuss with them the appropriateness of theirpresentations and how the works may be modifiedto make them more appropriate for public

performance


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Multi-Disciplinary: Contemporary IssuesFINE ARTS 11 •

• Have students use response sheets (see AppendixD: Responding to Arts Expressions) to focus theirobservations of artworks by well-known artistsand peers.

• Use self, peer, and teacher evaluation.• Keep records of students’ progress in a variety of

ways (e.g., audio tapes, videos, anecdotal notes,portfolios).

• Assess students’ contributions and commitment toindividual and group experiences.


- relate class learning to their own work inprogress and to completed works

- have learned about themselves, and the socialor personal issues researched

- react appropriately to the work of others- contribute to the collective effort of the groupor class

- understand the connections among the artsand how they relate to social or personal issues

• Evaluate the same work at various stages of itsdevelopment. Assessment criteria may include:

- a demonstration of increased technical skill- the integration of personal expression withstudents’ understanding of the elements andprinciples

- a demonstration of the development of ideasthrough creative problem solving

- originality• Evaluate students’ understanding of how context

influences the artworks of themselves and others.Assessment criteria may include the extent towhich students:

- are able to identify the points of view ex-pressed in artworks

- make connections among knowledge of theartist, the artist’s style, and the message of thework

- make reasoned guesses about an unknownartist from observation of their work

- demonstrate an awareness of personal biasesand influences on their own work

• Evaluate students’ documentation of their personalideas and reflections. Assessment criteria mayinclude the extent to which students:

- are able to recognize their own strengths andweaknesses

- reflect on the choices they made in their ownworks

- consider what makes a work successful orunsuccessful



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FINE ARTS 11 •Multi-Disciplinary: Self-Portrait

Have students:• apply the elements and principles of dance, drama,

and music to create a movement sequence• analyse their natural ways of moving and create

groups linked by style and have them emphasizeand exaggerate these styles to create a movementsequence

• create a mask that accentuates a personality traitand then have them explore body shapes ormovements that match the emotions of the mask

• create a commercial about themselves that involvesmovement, a monologue, a backdrop or set, and ajingle

• explore the dynamics and emotions associated withbody shapes and then have them create a bodyoutline of themselves

• create and direct a choral interpretation aboutthemselves that incorporates the elements andprinciples of drama and music

• create a monologue in response to a famous artist’sself-portrait, and relate the self-portraits to theirown lives and emotions

• create a corner of their reality (e.g., a wall, room, orset design) and perform a movement or monologuein that space, using music to set the mood

• create a simple melody around a personal statementand then have them use those musical symbols tocreate an artwork

• create a conceptual self-portrait that incorporatesaspects of their personal history in:

- an assemblage of objects- a storyboard planning for a performance- a performance piece


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Mult-Disciplinary: Self-PortraitFINE ARTS 11 •

• Use peer, self, and teacher responses, to evaluatestudents’ ability to work collaboratively, co-operatively, and collectively. You might use:

- checklists with a simple rubric based on athree-point scale

- peer evaluations of group members and groupwork

• Use established terms such as rhythm, tempo,shape, level, and contrast to evaluate students’presentations and knowledge.

• Use anecdotal notes and student journals toevaluate the clarity and originality of students’expression. Base your comments on what studentshave begun to express about themselves throughthe media.

• Evaluate students’ ability to persist with apparentfailure by re-evaluating strategies and revisingtheir approaches.

FINE ARTS 11APPENDICES

APPENDIX ALEARNING OUTCOMES

36

Applied Problem-Solving Communication


• create and/or perform a work of artdemonstrating an awareness andexperience of the basic elements andprinciples of the discipline used

• create and/or perform a work of artdemonstrating the use of the basicelements and principles of the disciplineto communicate specific ideas, moods,or feelings

APPENDIX A: LEARNING OUTCOMES


• develop vocabulary for the disciplinestudied

• identify, describe, analyse, interpret, andmake judgements about the basic elementsand principles (see the description of thiscurriculum organizer) as used in a varietyof artworks

ELEMENTS AND PRINCIPLES

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Creating, Performing, and Perceiving, Responding, andCommunicating Reflecting


• create and/or perform a work of artthat reflects an understanding of theimpact of social, cultural, andhistorical contexts

• create and/or perform a work of artthat communicates specific beliefs ortraditions in response to historicaland/or contemporary issues


• identify, describe, and analysecultural or historical styles asrepresented in a variety ofartworks

• critique a work of art relating itscontent to the context in which itwas created

• describe or demonstrate how aspecific work of art supports orchallenges specific beliefs ortraditions, or responds to historicaland/or contemporary issues

PERSONAL, SOCIAL, CULTURAL, AND HISTORICAL CONTEXTS

38


Creating, Performing, and Perceiving, Responding, andCommunicating Reflecting


• create and/or perform a work of artexpressing the students' own ideas,thoughts, or feelings

• create and/or perform a work of artfor a specific public need (e.g.,advertising, public ceremony, or socialcause)


• identify, describe, analyse,interpret, and make judgementsabout how ideas, thoughts,feelings, or messages arecommunicated in a variety ofothers' artworks

• examine the tensions betweenpublic acceptance and personalexpression in the art disciplinebeing studied

EXPRESSING OUR HUMANITY

APPENDIX BLEARNING RESOURCES

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APPENDIX B: LEARNING RESOURCES

ContentObviously, the foremost consideration forselection will be the curriculum to be taught.Prospective resources must adequatelysupport the particular learning objectivesthat the teacher is attempting to address.Resources on the Ministry’s recommended listare not matched directly to learningoutcomes, but they are linked to theappropriate curriculum organizers. It is theresponsibility of the teacher to determinewhether a resource will effectively supportany given learning outcomes within acurriculum organizer. This can only be doneby examining descriptive informationregarding that resource; acquiring additionalinformation about the material from thesupplier, published reviews, or colleagues;and by examining the resource first hand.

Instructional DesignWhen selecting learning resources, teachersmust keep in mind the individual learningstyles and abilities of their students, as wellas the students they may have in the future.Resources have been recommended to supporta variety of special audiences, includinggifted, learning disabled, mildly mentallyhandicapped, First Nations, and ESL stu-dents. The suitability of a resource for any ofthese audiences has been noted in the re-source annotation.

The instructional design of a resourceincludes the organization and presentationtechniques; the manner in which conceptsare introduced, developed, and summarized;and the level of the vocabulary used. Thesuitability of all of these should beconsidered for the intended audience.

Teachers should also consider their ownteaching styles and select resources that willcomplement them. The list of recommended

SELECTING LEARNING RESOURCES

FOR THE CLASSROOM

IntroductionSelecting a learning resource means choosinglocally appropriate materials from the list ofrecommended resources or other lists ofevaluated resources. The process of selectioninvolves many of the same considerations asthe process of evaluation, though not to thesame level of detail. Content, instructionaldesign, technical design, and socialconsiderations may be included in thedecision-making process, along with anumber of other criteria.

The selection of learning resources should bean ongoing process to ensure a constant flowof new materials into the classroom. It ismost effective as an exercise in groupdecision-making, co-ordinated at the school,district, and Ministry levels. To functionefficiently and realize the maximum benefitfrom finite resources, the process shouldoperate in conjunction with an overalldistrict and school learning resourceimplementation plan.

Teachers may choose to use provinciallyrecommended resources to support provincialor locally developed curricula; or they maychoose resources that are not on theMinistry’s list, or they may choose todevelop their own. Resources that are not onthe provincial recommended list must beevaluated through a local, board-approvedprocess.

CRITERIA FOR SELECTION

There are a number of factors to considerwhen selecting learning resources.

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resources contains materials that range fromprescriptive or self-contained resources, toopen-ended resources that requireconsiderable teacher preparation. There arerecommended materials for teachers withvarying levels and experience with aparticular subject, as well as those thatsupport styles.

Technology ConsiderationsAlthough teachers are encouraged toembrace a variety of educationaltechnologies in their classrooms, they willneed to ensure the availability of thenecessary hardware and equipment, and tofamiliarize themselves with the operation ofthe technology. If the equipment is notcurrently available, then the need must beincorporated into the school or districttechnology plan.

Social ConsiderationsAll resources on the Ministry’s recommendedlist have been thoroughly screened for socialconcerns from a provincial perspective.However, teachers must consider theappropriateness of any resource from theperspective of the local community.

MediaWhen selecting resources, teachers shouldconsider the advantages of various media.Some topics may be best taught using aspecific medium. For example, video may bethe most appropriate medium when teachinga particular, observable skill, since itprovides a visual model that can be playedover and over or viewed in slow motion fordetailed analysis. Video can also bringotherwise unavailable experiences into theclassroom and reveal “unseen worlds” tostudents. Software may be particularlyuseful when students are expected todevelop critical thinking skills through the

manipulation of a simulated model of reality,or where safety or repetition may be factors.Print resources or CD-ROM can best be usedto provide extensive backgroundinformation on a given topic. Once again,teachers must consider the needs of theirindividual students, some of whom maylearn better from the use of one mediumthan another.

FundingAs part of the selection process, teachersshould determine how much money isavailable to spend on learning resources.This requires an awareness of school/districtpolicies and procedures for learning resourcefunding. Teachers will need to know howfunding is allocated in their district and howmuch is available for their needs. Learningresource selection should be viewed as anongoing process that requires adetermination of needs, as well as long-termplanning to reach goals and local priorities.

Existing MaterialsPrior to selecting and purchasing newlearning resources, an inventory of thoseresources that are already available in theschool and the district resource centre shouldbe established. This can be facilitatedthrough the use of district and schoolresource management and tracking systems.Such systems usually involve a computerdatabase program (and possibly bar-coding)to help keep track of a multitude of titles.Many school libraries already use suchsystems to manage their collections. If sucha system is put “on-line,” then teachers cancheck on the availability of a particularresource via a computer. Since few districtscurrently have this arrangement, teachersshould consult with their school or districtresource centre regarding the availability ofparticular resources.

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SELECTION TOOLS

The Ministry of Education has developed avariety of tools to assist teachers with theselection of learning resources. Theseinclude:• Integrated Resource Packages (IRPs)

which contain curriculum information,teaching and assessment strategies, andrecommended learning resources

• learning resources information viacatalogues, annotation sets, resourcedatabases on floppy diskettes, theLearning Resources CD-ROM, and in thefuture, “on-line” access

• each year, sets of the most recently recommended learning resources are pro-

vided to a number of host districtsthroughout the province to allow teachersto examine the materials first hand atregional displays

• sample sets of provincially recommendedresources are also available on loan todistricts on request

A MODEL SELECTION PROCESS

The following series of steps are suggested toassist a school resource committee to selectlearning resources:• identify a resource co-ordinator (e.g., a

teacher-librarian)• establish a learning resources committee

made up of department heads or leadteachers

• develop a school vision and approach toresource-based learning

• identify existing learning resource andlibrary materials, personnel, and

infrastructure• identify the strengths and weaknesses of

the existing systems• examine the district Learning Resources

Implementation Plan• identify resource priorities

• apply criteria such as those found inSelection and Challenge to shortlistpotential resources

• examine shortlisted resources first-hand ata regional display or at a publishers’display, or borrow a set from the LearningResources Branch

• make recommendations for purchase

FURTHER INFORMATION

For further information on evaluation andselection processes, catalogues, CD-ROMcatalogues, annotation sets, or resourcedatabases, please contact the LearningResources Branch at 387-5331 or by fax at387-1527.

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DRAMA

Print Materials

Comedy ImprovisationThis 134-page softcover resource provides anoverview of improvisation, theory, andpractice for generalist teachers andspecialists in the field. There are explanationsand examples of a wide variety of scenes forcomedy situations.Grade Level: 7-12Fitzhenry & Whiteside Ltd.Year Recommended: 1995

Complete Book of Speech CommunicationThis 157-page softcover resource containsideas and activities to developcommunication skills. It focuses on speechbut also contains sections on dramatics,storytelling, and acting. Chapters containnumerous ideas for starters as well asextensive lists of topics and suggestions.Grade Level: 4-10Fitzhenry & Whiteside Ltd.Year Recommended: 1995

Readers Theatre AnthologyThis 341-page softcover resource provides ananthology of 28 stories that are adapted forReaders Theatre presentation. It is dividedinto six sections: comedy, mystery/suspense, Christmas specials, folklore,children’s classics, and the human spirit.Grade Level: 6-12Fitzhenry & Whiteside Ltd.Year Recommended: 1995

MUSIC

Multi-media

Art of Music (Collection)This is an integrated, multi-media resourcepackage consisting of an instructor edition, astudent text, a study guide, a test bank, sixaudio cassettes, six CDs, and a softwaretestmaster program. The package presentsmusic history from four perspectives:selected works, cultural context, therelationship of past to present, and the musicof non-Western cultures.Grade Level: 10-12Harper Collins Canada Ltd.Year Recommended: 1995

Exploring the Music of the World (Collec-tion)This resource comes complete with audiocassettes, teacher reference book, and maps.Countries are introduced by geography,history, languages, community music,musical instruments, music, and dance.Each sub-topic contains informative text andmusic sections which are clearly cross-referenced to the audio cassette examples.Grade Level: 5-12Irwin PublishingYear Recommended: 1995

Investigating Musical Styles (Collection)This 96-page softcover text, accompanied bythree audio cassettes, investigates musicalstyles through various musical elements.The sequence of historical materials beginsaround 1450 and continues to the 1960s.Materials are presented in an independentlesson format with most lessons supportedby accompanying cassette performances.Grade Level: 8-12Pippin Publishing LimitedYear Recommended: 1995


45

VISUAL ARTS

Print

Arttalk (collection)This resource package consists of a studentedition, a teacher edition, supplementalbooklets with reproducible practicalactivities, and 48 transparencies of fine artreproductions. The teacher edition offersguided practise, technique tips, adaption forspecial needs, curricular connections, studioskills, critical thinking, co-operative learning,enrichment, assessment, expansions, andevaluation. Activities in the supplementalbooklets offer application activities,computers in the classroom, culturaldiversity, studio activities, co-operativelearning, enrichment, artist profiles, lessonplans, guide to fine art prints, re-teachingactivities, and a testing program. Thetransparencies of fine art reproductions areaccompanied by reproducible teachingstrategies and student activities whichcorrespond to each transparency.Grade Level: 8-10McGraw-Hill Ryerson Ltd.Year Recommended: 1995

Drawing FiguresThe Art School SeriesThis 72-page hardcover resource provides arichly illustrated introduction to thetechniques of figure drawing. Both wet anddry media are discussed as well asproportion, anatomy study, movement,composition, and information on how tobuild mood and atmosphere.Grade Level: 9-12Prentice Hall Canada Inc.Year Recommended: 1995

Eyewitness Art SeriesThis resource consists of 13 titles. The booksare profusely illustrated in colour. In


addition to art works, which are oftenanalysed with detailed close-ups, there aremany photographs of related areas andartifacts.Grade Level: 9-10Irwin PublishingGrade Level: 1995

An Introduction to AcrylicsThe Art School SeriesThis 72-page hardcover resource provides athorough introduction to the medium ofacrylic painting. Attractive and numerousillustrations accompany discussion ofmaterials, techniques, design principles,composition, and presentation.Grade Level: 6-11Prentice Hall Canada Inc.Year Recommended: 1995

An Introduction to DrawingThe Art School SeriesThis 72-page hardcover resource provides anin-depth introduction to drawing. The bookis divided into units on materials anddrawing techniques. Every page isillustrated with attractive colour examplesand step-by-step processes where techniqueis explored.Grade Level: 6-11Prentice Hall Canada Inc.Year Recommended: 1995

Oil, Painting, PortraitsThe Art School SeriesThis 72-page hardcover resource introducesportrait painting with oils. Materials arecovered in depth with a large unit ontechniques, composition, colour, andpresentation. All units are supported byinteresting colour photos and numerousstep-by-step illustrations.Grade Level: 10-12Prentice Hall Canada Inc.Year Recommended: 1995

APPENDIX CCROSS-CURRICULAR OUTLINES

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APPAPPENDIX C: CROSS-CURRICULAR OUTLINES

There are a number of cross-curricular areasthat have been incorporated into the FineArts 11 Integrated Resource Package. Thesecross-curricular areas are represented in theprescribed learning outcomes or in one ormore of the other components of the IRP.

• Applied Focus in Curriculum

• Career Development

• Environment and Sustainability

• English as a Second Language (ESL)

• First Nations Studies

• Gender Equity

• Information Technology

• Media Education

• Multiculturalism and Anti-Racism

• Special Needs

• Science-Technology-Society

A brief description of each cross-curriculararea follows.

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The three principles of learning described inthe introduction of this IRP support thefoundation of the K-12 Education Plan. Theyhave guided all aspects of the developmentof this document, including the curriculumoutcomes, instructional strategies,assessment strategies, and learning resourceevaluations. In addition to the threeprinciples, it is recognized that BritishColumbia’s schools include young people ofvaried backgrounds, interests, abilities, andneeds. In order to meet these needs andensure equity and access for all learners, thedevelopment of each component of thisdocument has also been guided by a series ofcross-curricular outlines. It is expected thatthese principles and cross-curricular outlineswill guide the users of this document as theyengage in school and classroom organizationand instructional planning and practice.

The following cross-curricular outlines havebeen used to focus the development andevaluation of the components of the IRP:

• Applied Focus in Curriculum•␣ Career Development•␣ English as a Second Language (ESL)•␣ Environment and Sustainability•␣ First Nations Studies•␣ Gender Equity•␣ Information Technology•␣ Media Education•␣ Multiculturalism and Anti-Racism•␣ Science-Technology-Society•␣ Special Needs

APPLIED FOCUS IN CURRICULUM

An applied focus in all subjects and coursespromotes the use of practical applications todemonstrate theoretical knowledge. Usingreal world and workplace problems andsituations as a context for the application oftheory makes school more relevant tostudents’ needs and goals. An applied focusstrengthens the link between what studentsneed to know to function effectively in theworkplace or in post-secondary educationand what they learn in Kindergarten throughGrade␣ 12.

Implementation of an applied approachinvolves working with a wide range ofpartners including universities, colleges,institutes, employers, community groups,parents, and government.

The applied focus in curriculum is consistentwith the following statements in TheKindergarten to Grade 12 Education Plan:

“All levels of the program aredeveloped around a common core oflearning to ensure that students learnto read, write, and do mathematics,solve problems, and use computer-based technology.”

“Employers expect graduates to begood learners, to think critically andsolve problems, to communicateclearly, to be self-directed, and to workwell with others. The new workplacealso requires people to beknowledgeable about technology andable to search out and applyinformation from many sources.”

-APPENDIX C: CROSS-CURRICULAR OUTLINES

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Some examples of an applied focus indifferent subjects are:

Language Arts English - increasing emphasison language used in everyday situations andin the workplace, such as job interviews,memos, letters, word processing, technicalcommunication (including the ability tointerpret technical reports, manuals, tables,charts, and graphics)

Mathematics - more emphasis on skillsneeded in the workplace, includingprobability and statistics, logic, measurementtheory, and problem solving

Science - more practical applications andhands-on experience of science such as:reducing energy waste in school or at home;caring for a plant or animal in the classroom;using computers to produce tables andgraphs, and for use of spreadsheets

Business Education - more emphasis on realworld applications such as preparingrésumés and personal portfolios,participating in groups to solve businesscommunication problems, using computersoftware to keep records, and usingtechnology to create and print marketingmaterial

Visual Arts - real world applications such asworking co-operatively to make images ofsocial significance for their classroom, schoolor community; viewing and analysingobjects and images from their community;and experimenting with a variety ofmaterials to make images

This summary is from a review of the literature, The

Kindergarten to Grade 12 Education Plan (September

1994), and curriculum documents from British

Columbia and other jurisdictions.

CAREER DEVELOPMENT

What is Career Development?Career development is an ongoing processthrough which learners integrate theirpersonal, family, school, work, andcommunity experiences to facilitate careerand lifestyle choices. The main emphases ofcareer development are career awareness,career exploration, career preparation, careerplanning, and career work experience.

In the process of career developmentstudents develop:• an open attitude toward a variety of

occupations and types of work• an understanding of the relationship

between work and leisure, work and thefamily, and work and one’s interests andabilities

• an understanding of the role of technologyin the workplace and in daily life

• an understanding of the relationshipbetween work and learning

• an understanding of the changes takingplace in the economy, society, and jobmarket

• an ability to construct learning plans andreflect on the importance of lifelonglearning

• an ability to prepare for multiple rolesthroughout life

In the Primary YearsCareer awareness promotes an open attitudetowards a variety of career roles and types ofwork. Topics include:• the role of work and leisure• the relationships among work, the family,

one’s personal interests, and one’s abilities

APPENDIX C: CROSS-CURRICULAR OUTLINES

52

A variety of careers can be highlightedthrough the use of in-class learning activitiesfocusing on the student themselves and on arange of role models, including non-traditional role models.

In Grades 4 to 8The emphasis on self-awareness and careerawareness is continued. Topics include:• interests, aptitudes, and possible future

goals• technology in the workplace and in our

daily lives• social, family, and economic changes• future education options• career clusters (careers that are related to

one another)• lifestyles• external influences on decision making

Games, role-playing, drama, and appropriatecommunity volunteer experience can beused to help students actively explore theworld of work. Field experiences in whichstudents observe and interview workers intheir occupational environments may also beappropriate. These learning activities willfacilitate the development of interpersonalcommunications and group problem-solvingskills needed in the workplace and in otherlife situations.

In Grades 9 and 10The emphasis is on providing students withopportunities to prepare for and makeappropriate and realistic decisions. Indeveloping their Student Learning Plans,they will relate self-awareness to their goalsand aspirations. They will also learn manybasic skills and attitudes that are required foran effective transition into adulthood. Thiswill assist in preparing them to beresponsible and self-directed throughouttheir lives.


Topics include:• entrepreneurial education• employability skills (e.g., how to find and

keep a job)• the importance of lifelong education and

career planning• involvement in the community• the many different roles that an individual

can play throughout life• the dynamics of the working world (e.g.,

unions, unemployment, supply/demand,Pacific Rim, free␣ trade)

The examination of personal interests andskills through a variety of career explorationopportunities is emphasized at this level(e.g., job shadowing). Group discussion andindividual consultation can be used to helpstudents examine and confirm their personalvalues and beliefs.

In Grades 11 and 12The emphasis of career development inGrades 11/12 is focused more specifically onissues related to the world of work. Theseinclude:• dynamics of the changing workforce and

changing influences on the job market(e.g.,␣ developing technology and economictrends)

• job keeping and advancement skills(interpersonal skills needed in theworkplace, employment standards)

• occupational health issues and accessinghealth support services

• funding for further education• alternate learning strategies and

environments for different life stages• mandatory work experience (minimum 30

hours)

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Work ExperienceWork experience provides students withopportunities to participate in a variety ofworkplace experiences that help preparethem for the transition to a workenvironment. Work experience will alsoprovide students with opportunities to:• connect what they learn in school with the

skills and knowledge needed in theworkplace and society in general

• experience both theoretical and appliedlearning which is part of a broad liberaleducation

• explore career directions identified in theirStudent Learning Plans

Descriptions of career development are drawn from

the Ministry of Education's Career Developer's Handbook,

Guidelines for the Kindergarten to Grade 12 Education

Plan, Implementation Resource, Part 1, and the draft of

the Prescribed Provincial Curriculum for Personal

Planning, Kindergarten to Grade 12, January 1995.

ENVIRONMENT AND SUSTAINABILITY

What is Environmental Education?Environmental education is defined as a wayof understanding human relationships withthe environment. It involves:• students learning about their connections

to the natural environment through allsubjects

• students having direct experiences in theenvironment, both natural and human-built

• students making decisions and acting forthe environment

The term sustainability helps to describesocieties that “promote diversity and do notcompromise the natural world for anyspecies in the future."

Why Integrate Environment andSustainability Themes into the Curriculum?These themes facilitate individuals having aresponsible attitude toward caring for theearth that integrates environment studies andsustainability themes. Studies that integrateenvironment and sustainability themesprovide students with opportunities toidentify their beliefs and opinions, reflect on arange of views, and ultimately makeinformed and responsible choices.

The guiding principles which should beinterwoven in subjects from K to 12 are:•␣ direct experience is the basis of human

learning•␣ analysis of interactions help humans make

sense of their environment•␣ responsible action is both integral to and a

consequence of environmental education

Some organizing principles are:•␣ human survival depends on complex

natural and human-built systems•␣ human decisions and actions have

environmental consequences•␣ students should be provided opportunities

to develop an aesthetic appreciation of theenvironment

Sample theme study units could be:Consumerism, School Operating Systems,Pollution, and Endangered Species

This summary is derived from Environmental Education/

Sustainable Societies - A Conceptual Framework,

Curriculum Branch, 1994.


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ENGLISH AS A SECOND LANGUAGE (ESL)

What is English as a Second Language(ESL)?ESL assistance is provided to students whose“use of English is sufficiently different fromstandard English to prevent reaching his orher potential.” Many students learningEnglish speak it quite fluently and seem tobe proficient. School, however, demands amore sophisticated variety of English, bothread and written. Thus, even fluent speakerscould require ESL to provide them with theappropriate language experience that isunavailable outside the classroom. ESL is atransitional service rather than a subject.Students are in the process of learning thelanguage of instruction and in many cases,the content matter of subjects appropriate totheir grade level. Thus ESL does not have aspecific curriculum. The provincialcurriculum forms the basis of a great deal ofthe instruction and is used to teach Englishas well as individual subject areas. It is themethodology, the focus, and the level ofengagement with the curriculum thatdifferentiates ESL services from other schoolactivities.

Who are the students in ESL?Nearly 10 per cent of the British Columbiaschool population is designated as ESL.These students come from a great diversityof backgrounds. Most are recent immigrantsto British Columbia. Some are Canadian-born but have not had the opportunity tolearn English before entering the primarygrades. The majority of ESL students have awell-developed language system and havehad similar schooling to that of BritishColumbia-born students. A small number,because of previous experiences, are in needof basic support such as literacy training,academic upgrading, and traumacounselling.

Teachers may have ESL students at any levelin their classes. Many ESL students areplaced in subject area classes primarily forthe purpose of contact with English-speakingpeers and experience with the subject andlanguage. Other ESL students are whollyintegrated into subject areas. A successfulintegration takes place when the student hasreached a level of English proficiency andbackground knowledge in a subject to besuccessful with a minimum of extra support.

How Can ESL Students Learn Best?The guiding principle for ESL support is theprovision of a learning environment wherethe language and the concepts can beunderstood by the students.

Good practices to enhance the learning ofstudents include:• using real objects and simple language at

the beginning level• taking into consideration other cultural

backgrounds and learning styles at anylevel

• providing adapted (language-reduced)learning materials

• respecting a student’s “silent period”when expression does not reflect the levelof comprehension

• allowing students to practise andinternalize information before givingdetailed answers

• differentiating between form and contentin student writing

• keeping in mind the level of demandplaced on students

This summary is drawn from Supporting Learners ofEnglish; Information for School and DistrictAdministrators, RB0032, 1993, and ESL Policy DiscussionPaper (Draft), Social Equity Branch, December 1994.


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FIRST NATIONS STUDIES

What are First Nations Studies?First Nations studies focus on the richnessand diversity of First Nations cultures andlanguages. These cultures and languages areexamined within their own unique contexts,and within historical, contemporary, andfuture realities. First Nations studies arebased on a holistic perspective thatintegrates the past, present, and future. FirstNations peoples are the original inhabitantsof North America and lived in sophisticated,organized, and self-sufficient societies. TheFirst Nations constitute a cultural mosaic asrich and diverse as Western Europe. Thereare many groups of people with differencesin culture (e.g., Nisga’a, KwaKwaka’Wakw,Nlaka’pamux, Secwepemc, Skomish,Tsimshian). Each is unique and has a reasonto be featured in the school system. The FirstNations of British Columbia constitute animportant part of the historical andcontemporary fabric of the province.

Why Integrate First Nations Studies into theCurriculum?• First Nations values and beliefs are

durable and relevant today.• There is a need to validate and

substantiate First Nations identity.• First Nations peoples have strong,

dynamic, evolving cultures that haveadapted to changing world events andtrends.

• There is a need to understand similaritiesand differences among cultures to createtolerance, acceptance, and mutual respect.

• There is a need for informed, reasonablediscussions and decisions regarding FirstNations issues based on accurate, reliableinformation (for example, as moderntreaties are negotiated by Canada, BritishColumbia, and First Nations).

In studying First Nations, it is expected thatthe students will:• demonstrate an understanding and appreciation for the values, customs, and traditions of First Nations peoples• demonstrate an understanding and appreciation for unique First Nations communications systems• demonstrate a recognition of the importance

of the relationship between First Nationspeoples and the natural world

• point out dimensions of First Nations art as a total cultural expression• give examples of the diversity and function-

ing of the social, economic, and politicalsystems of First Nations peoples in traditionaland contemporary contexts

• describe the evolution of human rights andfreedoms as they pertain to First Nationspeoples

Some examples of the integration of FirstNations material into subject curricula are:

Visual Arts - students may compare the artisticstyles of two or more First Nations cultures

Language Arts English - students may analyseportrayals and images of First Nations peoplesin various works of literature

Home Economics - students may identify formsof food, clothing, and shelter in past andcontemporary First Nations cultures

Technology Education - students may describethe sophistication of traditional First Nationstechnologies (bentwood or kerfed boxes,weaving, fishing gear)

Physical Education - students may participatein and develop an appreciation for First Nationsgames and dances

This summary is derived from First Nations Studies -Curriculum Assessment Framework (Primary throughGraduation), published by the Aboriginal Education Branchin 1992; and from the B.C. First Nations Studies 12Curriculum, published by the Aboriginal Education Branchin 1994.


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GENDER EQUITY

Gender equitable education involves theinclusion of the experiences, perceptions,and perspectives of girls and women, as wellas boys and men, in all aspects of education.It will initially focus on girls in order toredress historical inequities. Generally, theinclusive strategies, which promote theparticipation of girls, also reach males whoare excluded by more traditional teachingstyles and curriculum content.

Principles of gender equity in education are:• all students have the right to a learning

environment that is gender equitable• all education programs and career

decisions should be based on a student’sinterest and ability, regardless of gender

• gender equity incorporates aconsideration of social class, culture,ethnicity, religion, sexual orientation, andage

• gender equity requires sensitivity,determination, commitment, and vigilanceover time

• the foundation of gender equity is co-operation and collaboration amongstudents, educators, educationorganizations, families, and members ofcommunities

Research suggests the following generalstrategies for gender equitable teaching:• be committed to learning about and

practising equitable teaching• create a supportive environment for all

students, regardless of factors such asgender, abilities, or cultural background

• highlight the social aspects and usefulnessof activities, skills, and knowledge

• model non-biased behaviour—use inclusive, parallel, or gender sensitive

language

• teach male and female students strategies torecognize and eliminate the inequities theyobserve

• move around the classroom, create mixedseating plans, and/or group the desks in avariety of ways—this will provide moreopportunity to focus on quiet students

• ensure that all resources in the classroomare free of gender bias

• observe your questioning techniques—Onwhom do you call most often and why? Doyou commonly ask leading or probingquestions of both boys and girls?

• provide specific strategies, specialopportunities, and resources to encouragestudents to excel in areas of study in whichthey are typically under-represented

• modify content, teaching style, andassessment practices to make non-traditional subjects more relevant andinteresting for boys and girls

• be aware of accepted gender bias practicesin physical activity—team sport, funding

for athletes, and choices in physical educa-tion programs

• ensure consistent standards of achievement,courtesy, behaviour, and dress

• design lessons to explore many perspectivesand to use different sources of informa-tion—refer to female and male “experts”

• allow more time for students to respond toquestions—faster pace typically favoursmales, who are more likely to jump intoclassroom discussions

• share information and build a network ofcolleagues with a strong commitment toequity

• have colleagues observe your teaching anddiscuss any bias they may observe

• be consistent over time

This summary is from the preliminary Report of the

Gender Equity Advisory Committee, received by the


Ministry of Education in February 1994, and from a

review of related material.

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INFORMATION TECHNOLOGY

What is Information Technology?Information technology is the use of toolsand electronic devices that allow us to create,explore, transform, and express information.

Why Integrate Information Technology intothe Curriculum?As Canada moves from an agricultural andindustrial economy to the information age,students must develop new knowledge,skills, and attitudes. The informationtechnology curriculum has been developedto be integrated into all new curricula toensure that students know how to usecomputers and gain the technologicalliteracy demanded in the workplace.

Overall, students will acquire skills inanalysing and evaluating information, wordprocessing, database analysis, informationmanagement, graphics, and multimediaapplications. Students will also identifyethical and social issues arising from the useof information technology.

With information technology integrated intothe curriculum, students will be expected to:• demonstrate basic skills in handling

information technology tools• demonstrate an understanding of

information technology structure andconcepts

• relate information technology to personaland social issues

• define a problem and develop strategiesfor solving it

• apply search criteria to locate or sendinformation

• transfer information from external sources• evaluate information for authenticity and

relevance• arrange information in different patterns

to create new meaning• modify, revise, and transform information• apply principles of design affecting

appearance of information• deliver a message to an audience using

information technology

The curriculum organizers are:Foundations, Explorations, Transformations,and Expressions

Foundations: the basic physical skills,intellectual, and personal understandingsrequired to use information technology, aswell as self-directed learning skills andsocially responsible attitudes

Explorations: defining a problem toestablish a clear purpose for search strategiesand retrieval skills

Transformations: filtering, organizing, andprocessing information

Expressions: designing, integrating, andpresenting a message using text, audio andvisual information, and message delivery

This information is derived from the draft Information

Technology Curriculum K-12 currently under

development.

MEDIA EDUCATION

What is Media Education?Media education is a multi-disciplinary andinter-disciplinary approach to the study ofmedia. Media education deals with keymedia concepts, and focuses on broad issuessuch as the history and role of media indifferent societies, and the social, political,economic, and cultural issues related to themedia. Instead of addressing the concepts indepth, as one would in media studies, media


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education deals with most of the centralmedia concepts as they relate to a variety ofsubjects.

Why Media Education in B.C. Schools?Popular music, television, film, radio,magazines, computer games, andinformation services, media, and mediamessages are pervasive in the lives ofstudents today. Media education developsstudents’ ability to think critically andindependently about issues that affect them.Media education encourages students toidentify and examine the values contained inmedia messages. It also cultivates theunderstanding that these messages areproduced by others to inform, persuade, andentertain for a variety of purposes. Mediaeducation helps students understand thedistortions that may result from the use ofparticular media practices and techniques.There are learning opportunities for mediaeducation in all curriculum areas. Mediaeducation is not taught as a separatecurriculum.

The key concepts for media education are:• analysis of media products (purpose,

values, representation, codes, conventions,characteristics, and production)

• ␣ audience interpretation and influence(interpretation, influence of media onaudience, influence of audience on media)

•␣ media and society (control, scope)

Examples of integrating key concepts are:Language Arts English - students critiqueadvertising and examine points of view

Visual Arts - students analyse the appeal ofan image by age, gender, status, etc., of thedesignated audience

Drama - students critically view professionaland amateur theatre productions, dramaticfilms, and television programs to identifypurpose

Social Studies - students compare thedepiction of First Nations in the media overtime

This summary is derived from A Cross-Curriculur

Planning Guide for Media Education prepared by the

Canadian Association for Media Education for the

Curriculum Branch in 1994.

MULTICULTURALISM AND ANTI-RACISM

EDUCATION

What is Multiculturalism Education?Multiculturalism education stresses thepromotion of understanding, respect, andacceptance of cultural diversity within oursociety.

Multiculturalism education involves:• recognizing that everyone belongs to a

cultural group• accepting and appreciating cultural

diversity as a positive feature of oursociety

• affirming that all ethnocultural groupshave equality of status within our society

• understanding multiculturalism educationis for all students

• recognizing that most cultures have muchin common and similarities across culturesare much greater than differences, andrecognizing cultural pluralism as apositive aspect in our society

• affirming and enhancing self-esteemthrough pride in heritage, and providingopportunities for individuals to appreciatethe cultural heritages of others

• promoting cross-cultural understanding,citizenship, and racial harmony

• students examine the influence of themedia on body concepts and healthylifestyle choices


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What is Anti-Racism Education?Anti-racism education promotes theelimination of racism through the identifyingand changing of institutional policies andpractices, as well as the identifying ofindividual attitudes and behaviours thatcontribute to racism.

Anti-racism education involves:• proposing the need to reflect about one’s

own attitudes on race and anti-racism• understanding what causes racism in order

to achieve equality• identifying and addressing racism at both

the personal and institutional level• acknowledging the need to take individual

responsibility for eliminating racism• working towards removing systemic

barriers that marginalize groups of people• providing opportunities for individuals to

take action for eliminating all forms ofracism, including stereotypes, prejudice,and discrimination

Why Multiculturalism and Anti-RacismEducation in B.C. Schools?Multiculturalism and anti-racism educationwill contribute to quality education throughlearning experiences that promote strengththrough diversity, and social, economic,political, and cultural equity. Multiculturalismand anti-racism education will also providestudents with learning experiences that areintended to enhance their social, emotional,aesthetic, artistic, physical, and intellectualdevelopment. It will also provide learnerswith the tools of social literacy and skills foreffective cross-cultural interaction withdiverse cultures. It also recognizes theimportance of collaboration among students,parents, educators, and communities workingtowards social justice in the education system.

The key concepts for multiculturalism andanti-racism education are:•␣ enhance understanding of and respect for

cultural diversity•␣ increase creative inter-cultural communi-

cation in a pluralistic society•␣ provide equal access to quality programs

for educational achievement for alllearners regardless of culture, nationalorigin, religion, or social class

• develop self-worth, respect for oneself andothers, and social responsibility

•␣ combat and eliminate stereotyping,prejudice, discrimination, and other formsof racism

•␣ include the experiences of all students inschool curricula

Examples of integration with subjectscould be:Fine Arts - students identify ways in whichthe Fine Arts portray cultural experiences

Humanities - students identify similaritiesand differences within cultural groups’lifestyles, histories, values, and beliefs

Mathematics/Science - students recognizethat individuals and cultural groups haveused both diverse and common methods tocompute, to record numerical facts, and tomeasure

Physical Education - students can developan appreciation for games and dances fromdiverse cultural groups

This summary is derived from the draft Multicultural

and Anti-Racism Education - Planning Guide, developed

in the Social Equity Branch in 1994.


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SCIENCE-TECHNOLOGY-SOCIETY

What is Science-Technology-Society?

Science-Technology-Society (STS) addressesour understanding of inventions anddiscoveries and how science and technologyaffect the well being of individuals and ourglobal society.

The study of STS includes:• the contributions of technology to

scientific knowledge and vice versa• the notion that science and technology are

expressions of history, culture, and a rangeof personal factors

• the processes of science and technologysuch as experimentation, innovation, andinvention

• the development of a conscious awarenessof ethics, choices, and participation inscience and technology

Why Integrate STS into the Curriculum?The aim of STS is to enable learners toinvestigate, analyse, understand, andexperience the dynamic inter-connectednessamong science, technology, and human andnatural systems.

The study of STS in a variety of subjects givestudents opportunities to:

• discover knowledge and develop skills tofoster critical and responsive attitudestowards innovation

• apply tools, processes, and strategies foractively challenging emerging issues

• identify and consider the evolution ofscientific discovery, technological change,and human understanding over time, inthe context of many societal andindividual factors

• develop a conscious awareness of personalvalues, decisions, and responsible actionsabout science and technology

• explore scientific processes andtechnological solutions

• contribute to responsible and creativesolutions using science and technology

The organizing principles of STS are:Human and Natural Systems, Inventions andDiscoveries, Tools and Processes, Society andChange

Each organizer may be developed through avariety of contexts, such as the economy,environment, ethics, social structures,culture, politics, and education. Each contextprovides a unique perspective for exploringthe critical relationships that exist, and thechallenges we face as individuals and as aglobal society.

Examples of linkages with subjects are:Visual Arts - the demands generated byvisual artists have led to the development ofnew technologies and processes, e.g., newpermanent pigments, fritted glazes, drawinginstruments

Language Arts English - many technologieshave recently influenced listening, speakingwriting, e.g., CDs, voice mail, computer-generated speech

Physical Education - how technology haseffected our understanding of therelationship between activity and well being

This summary is derived from Science-Technology-

Society--A Conceptual Framework, Curriculum Branch,

1994.


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SPECIAL NEEDS

Students with special needs are those withintellectual, physical, sensory, learning,behavioural, or emotional disabilities;students who are gifted or talented; andstudents who require special services andadaptations in order to reach their individualpotential.

All students can benefit from an inclusivelearning environment that is enriched by thediversity of the people within it.Opportunities for success are enhancedwhen provincial learning outcomes andresources are developed with regard for awide range of student needs, learning styles,and modes of expression.

Educators can assist in creating moreinclusive learning environments byattending to the following:

• activities that focus on development andmastery of foundational skills (basicliteracy)

• a range of co-operative learning activitiesand experiences in the school andcommunity; and application of practical,hands-on skills in a variety of settings

• references to specialized learningresources, equipment, and technology

• examples of ways to accommodate forspecial needs (e.g., incorporatingadaptations/extensions to content,process, product, pacing, and learningenvironment; suggesting alternatemethodologies or strategies; makingreferences to special services)

• a variety of ways for students todemonstrate learning, not just throughpaper and pencil tasks (e.g., dramatizingevents to demonstrate understanding of apoem, recording observations in science

by drawing, composing/performing amusic piece)

• promotion of the capabilities andcontributions of children and adults withspecial needs

• participating in a physical activity

All students can work toward achievementof the provincial learning outcomes. Manystudents with special needs learn what allstudents are expected to learn. In somecases, the student’s needs and abilitiesrequire that education programs be adaptedor modified. A student’s program mayinclude regular instruction in some subjects,some subjects that are modified, and somesubjects that are adapted. Adaptations andmodifications are specified in the student’sIndividual Education Plan (IEP).

An Adapted Program addresses the learningoutcomes of the prescribed curriculum, butprovides adaptations so the student canparticipate in the program. Theseadaptations can include alternate formats forresources (e.g., Braille, books-on-tape),instructional strategies (e.g., use ofinterpreters, visual cues, and learning aids),and assessment procedures (e.g., oral exams,additional time). Adaptations may also bemade in areas such as skill sequence, pacing,methodology, materials, technology,equipment, services, and setting. Studentson adapted programs are assessed using thecurriculum standards and can receive fullcredit.

A Modified Program has learning outcomeswhich are substantially different from theprescribed curriculum, and specificallyselected to meet the student’s special needs.For example, a Grade 5 student in languagearts could be working on recognizingcommon signs and using the telephone. In


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this case, the learning outcomes aresubstantially different from those that mostother students are working on. A student ona modified program is assessed in relation tothe goals and objectives established in thestudent’s IEP.

Ministry Publications to Support Teachersof Students with Special Needs

The following publications are currentlyavailable from the Learning ResourcesBranch, or are under development and willbe made available soon:

The Universal Playground: A Planning Guide(Ministry of Education, 1991, FCG 129)

Hard of Hearing and Deaf Students—A ResourceGuide to Support Classroom Teachers (Ministryof Education, 1994, RB0033)

Special Education Services—A Manual ofPolicies, Procedures and Guidelines (Ministry ofEducation, Response Draft-December 1994)

I.E.P. Planning Resource (Ministry ofEducation, 1995)

Students with Visual Impairments—A ResourceGuide to Support Classroom Teachers (Ministryof Education, 1995)

Gifted Students—A Resource Guide to SupportClassroom Teachers (Ministry of Education,1995)

Foundation Studies Supplement: Essential andSupportive Skills for Students with IntellectualDisabilities — A Resource Guide to SupportClassroom Teachers (Ministry of Education,1995)

Teaching for Student Differences—A ResourceGuide to Support Classroom Teachers (Ministryof Education, 1995)

Resource Handbook for Adapted CurriculumSoftware (Ministry of Education, 1995)

Awareness Series (Ministry of Education,1995)

This summary is derived from the Handbook for

Curriculum Developers (February 1994), and Special

Education Services - A Manual of Policies, Procedures and

Guidelines (Response Draft, December 1994).


APPENDIX DASSESSMENT AND EVALUATION

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APPENDIX D: ASSESSMENT AND EVALUATION

ASSESSMENT AND EVALUATION

Learning outcomes, expressed in measurableterms, provide the basis for the developmentof learning activities and assessment andevaluation strategies. Assessment is thesystematic gathering of information aboutwhat students know, are able to do, and areworking toward. Assessment methodsinclude student self-assessments, reviews ofperformance, portfolio assessments, andconferencing. Assessment tools may includeobservation, daily practice assignments,quizzes, samples of student work, pencil andpaper tests, holistic rating scales, projects,and oral and written reports. Studentperformance is evaluated from theinformation collected through assessmentactivities. Teachers use their insight,knowledge about learning, and experiencewith students, along with the specific criteriathey establish to make judgements aboutstudent performance in relation to learningoutcomes.

Students benefit most when evaluation isprovided on a regular, ongoing basis. Whenevaluation is seen as an opportunity topromote learning rather than as a finaljudgement, it shows learners their strengthsand suggests how they can develop further.Students can use this information to redirectefforts, make plans, and establish futurelearning goals.

Evaluation may take different forms,depending on the purpose.

• Criterion-referenced evaluation shouldbe used to evaluate student performancein classrooms. It is referenced to criteriabased on learning outcomes described inthe provincial curriculum. The criteriareflect a student’s performance based on

specific learning activities. When astudent’s program is substantiallymodified, evaluation may be referencedto individual goals. These modificationsare recorded in an Individual EducationPlan (IEP).

• Norm-referenced evaluation is used forlarge-scale system assessments. A norm-referenced evaluation system is notmeant for classroom assessment becausea classroom does not provide a largeenough reference group. Norm-referenced evaluation compares onestudent’s achievement to that of others.The comparison is based on a “normal”distribution. A normal distributionshows how achievement in a particulararea is distributed over an entirepopulation. To use norm-referencedevaluation appropriately, a student’sachievement must be compared to areference group large enough torepresent the population. Placing studentachievement on a normal distributioncurve does not accurately describe astudent’s individual progress; itcompares student achievement to that ofothers rather than comparing how well astudent meets the criteria of a specifiedset of learning outcomes.

CRITERION-REFERENCED EVALUATION

In criterion-referenced evaluation, astudent’s performance is compared toestablished criteria rather than to theperformance of other students. Evaluationreferenced to prescribed curriculum requiresthat criteria are established based on thelearning outcomes listed under thecurriculum organizers for Fine Arts 11.

Criteria are the basis of evaluating studentprogress; they identify the critical aspects ofa performance or a product which describe

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in specific terms what is involved in meetingthe learning outcomes. Criteria can be usedto evaluate student performance in relationto learning outcomes. For example,weighting criteria, using rating scales, orperformance rubrics (i.e., reference sets) arethree ways that student performance can beevaluated using criteria.

Samples of student performance shouldreflect learning outcomes and identifiedcriteria. The samples will clarify and makeexplicit the link between evaluation andlearning outcomes, criteria, and assessment.(Where a student’s performance is not aproduct, and therefore not reproducible, adescription of the performance sample willbe provided.)

Criterion-referenced evaluation may bebased upon the steps below.

1. identify the expected learningoutcomes (as stated in the IntegratedResource Packages)

2. identify the key learning objectivesfor instruction and learning

3. establish and set criteria 4. involve students, when appropriate,

in establishing criteria 5. plan learning activities that will help

students gain the knowledge or skillsoutlined in the criteria

6. inform students of the criteria theirwork will be evaluated against priorto the learning activity

7. provide examples of the desired levelof performance

8. implement the learning activities 9. use various assessment methods

based on the particular assignmentand students

10. review assessment data and evaluateeach student’s level of performanceor quality of work in relation tocriteria

11. report the results of evaluation tostudents and parents

FORMAL REPORTING OF STUDENT LEARNING

Legislation requires that teachers provideparents with three formal reports each year.The following are guidelines andsuggestions for assigning letter grades.Letter grades are used to indicate a student’slevel of performance in relation to expectedlearning outcomes. They may be assigned foran activity, a unit of study, a term, as a finalgrade at the end of the year, or at thecompletion of a course or subject.

ASSIGNING LETTER GRADES FOR AN ACTIVITY

OR PROJECT

1. Learning outcomes for the activity andunit are identified to make clear what thestudent is expected to know and be ableto do.The provincial curriculum prescribes broadlearning outcomes. From these, the teacherestablishes more specific outcomes for thelearning activities.

2. Specific criteria for the unit and activityare established.It is helpful for students to be involved inestablishing criteria. In this way theyunderstand what is expected of them.

3. Different levels of performance ormodels are developed.Students are more likely to be successfulwhen they clearly understand the criteria andthe level of performance expected.

4. Students participate in learning activitiesto allow them to practise the skills andacquire the required knowledge.Feedback is provided to help the studentscontinue their learning. Practice exerciseshelp students meet the criteria and achievethe expected level of performance. Resultsfrom practice exercises support the student’slearning but should not contribute to theterm evaluation or final letter grade.

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5. Students are given opportunities todemonstrate their learning.Teachers may have students represent theirlearning in a variety of ways. Assessmentdata is collected from tests, teacherobservations, conferences, student self-assessment, written assignments, portfolios,and performance tasks.

6. Students’ levels of performance areevaluated in relation to the criteria.Evaluation of each student’s performance isbased on the assessment data collected and iscompared to the established criteria.

7. The teacher assigns a letter grade for aset of activities.The letter grade indicates how well thecriteria were met. Teachers often includewritten feedback to students along with theletter grade. In this way students gaininformation necessary to continue theirlearning.

The following sample contains genericassessment criteria for the discipline ofdance. They would, of course, have to beadopted for specific situations as outlined inthe preceding steps.

1. Technique criteria• execution of a specific skill (within a

dance style)• alignment• balance• breathing• co-ordination• control• flexibility• strength• dynamics• rhythm

2. Composition criteria• shows originality• provides structure (i.e., has a

beginning, middle, end)• makes transitions• remains on topic throughout piece• uses the basic elements of dance

3. Performance criteria• dance memory• projection/focus• effective use of dynamics• fulfils the intention of the movement• overall effect

4. Classwork criteria (observation ofclassroom contributions)• wears appropriate clothing• expends physical effort• is on task• co-operates with others• is open to new experiences• participates

5. Written and verbal criteria (specific to theactivity or assignment)• describes what was seen• provides an opinion• supports the opinion• refers to elements of dance• uses dance vocabulary

The Guidelines for Student Reporting(September 1994), established the guidelinesand policy for the evaluation of students andthe reporting of student progress. Thispolicy states that reporting must be done inreference to prescribed learning outcomes.The purpose of the following subsections ofthe IRP is to provide teachers with examplesof such criterion-referenced evaluation. Eachexample illustrates ways teachers mayincorporate criteria based on the prescribedlearning outcomes in teaching andevaluating students’ work in Fine Arts 11.

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These learning outcomes, expressed inmeasurable terms, provide the basis for thedevelopment of learning activities,evaluation strategies, and criterion-referencing. The examples below mayinclude some or all of the followingelements:• background information to provide the

context for the instruction andassessment

• the learning outcomes from theprescribed fine arts curriculum

• attitudes and skills to be assessed, suchas problem-solving and communicationskills

• the assessment or performance task• information on how the criteria are to be

applied in assessing and evaluating• the holistic scale, performance scale, or

rubric to be used in the evaluation

The criterion-referenced examples thatfollow are grouped into the discipline areasto which they most directly apply. Anattempt has been made to represent anumber of assessment styles. Teachers areencouraged to adapt the styles used in thesediscipline areas to any other discipline areafor which they may be appropriate.

Where noted, the examples relate directly tothe Models of Content described in the mainbody of this document.

1. DANCE: CHOREOGRAPHY

Each group presentation or piece ofchoreography in this content sample mightbe assessed by the teacher and students. Theteacher could use a criterion-referencedrating scale based on the elements andprinciples of dance as follows. Theevaluation in this example could be used forall participants in the presentation beingevaluated.

CriteriaTo what extent does the piece demonstratethe use and understanding of:• Required elements

– isolation – contraction – polycentrism – syncopation – level changes – traveling steps – turns

• Structure – use of transitions – originality

• Scale for evaluation3 – element is clearly presented2 – element is not clear, needs more

evidence, lacks some necessaryquality

1 – element is suggested but not fullyshown

0 – element is not included

Group Work Self-evaluationStudents could use a detailed questionnairelike this to direct their self-evaluation:1. What was the most positive

accomplishment of your group? How didyou achieve it?

2. What was the biggest problem yourgroup had? Did you solve it? If not, whynot?

3. Explain your attitude towards the projectand the group. Did your attitude changeduring the project? If so, why, and inwhat way?

4. Describe your own contribution to thegroup project.

5. Who helped your group most? In whatway?

6. Would you change your approach togroup work in the future? If so, how?

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Which mark best represents yourcontribution to the group (5 being thehighest?)

Circle mark: 5 4 3 2 1

Performance ChecklistStudents could informally evaluate groupsother than their own using a checklist to befilled in as they watch a performance: Didthe dancer remember the sequence? Were themovements clearly executed? Did the dancerdemonstrate strong projection and clear focus?Were the dynamics made clear? Was the rhythmclear?

2. DANCE: JAZZ DANCE STYLES

BackgroundIn this example, students had just begun theunit. They had learned the principles of asafe warm-up, and had participated in a jazzdance warm-up.

Learning OutcomesThe teacher, in consultation with students,decided to base the evaluation on thefollowing learning outcomes (taken from theoutcomes listed in the IRP):• create or perform a dramatic work

demonstrating an awareness andexperience of several of the basicelements and principles of the disciplineused

• create or perform a dramatic workdemonstrating the use of the basicelements and principles of the disciplineto communicate specific ideas, moods, orfeelings

• develop the vocabulary for the disciplinestudied

• identify, describe, analyse, interpret, andmake judgments about the basicelements and principles used in a varietyof artworks

• create or perform a dramatic workexpressing the students’ own ideas,thoughts, or feelings

• identify, describe, analyse, interpret, andmake judgments about how ideas,thoughts, feelings, or messages arecommunicated in a variety of others’ artworks

In addition to these outcomes, the teacheralso assessed students’:• daily effort• problem-solving skills• contributions to the group

Planning for Assessment

Students:• were given a framework for analysing

movement (e.g., use of space)• watched a jazz dance on video and

discussed it using the framework• watched a second jazz dance and

recorded their analysis• learned sections of a jazz dance sequence

during the next few classes• performed the sequence• responded to the performances of others

(performing techniques of others)• learned the specific qualities (e.g., use of

isolation) that help create jazz dance style• worked in small groups to create, revise,

practise, and perform a sequence in jazzdance style

These areas might be covered in a sequenceof 10 to 15 classes.

Defining CriteriaIt was decided that students would beevaluated on criteria that answer thefollowing questions. To what extent does thestudent demonstrate the use andunderstanding of:• basic jazz dance technique in warm-up.

The specific skills to be covered mightinclude pliés, tendus (brushes),isolations, jumps, and battements (kicks).

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• elements of dance in written analysis.Elements to be covered might includedynamics, use of space, rhythm,character steps, relationship of dancers,costumes/props used, and musicalaccompaniment.

Assessing and Evaluating StudentPerformanceAll students kept daily journals of self-evaluation on their creative projects and skillacquisition. Each was given a daily mark bythe teacher for willingness to participate andfor effort. They each gave the teacher awritten analysis of the video they hadviewed. The teacher evaluated the technicalprogress of the dancers, using observationsof actual performances and videotapes, andstudents evaluated each other’s performingtechniques informally. At the end, studentsevaluated their own contributions to theirgroups using a rating scale, and bothteachers and students evaluated thechoreography of each group.

Students’ written analysis of the dance videothey had watched was based on thefollowing criteria:• area to be evaluated• analysis of a jazz dance, using elements

of dance as the framework• title of the video/film• style of dance observed• comments on: dynamics, use of space,

rhythm, character steps, relationship ofdancers, costumes/props used, musicalaccompaniment

• what they most enjoyed about this video• what they least enjoyed about this video• overall comment

Students’ journals were evaluated accordingto the following criteria:• completeness of their daily records• recognition of their strengths and

weaknesses• consideration of the creative choices they

made• the degree of success of their work

Both the students and the teacher agreed thatthe course components would contribute, inthe following proportions, to the mark forthis section of the course:

Daily work: 30%Technique: 20%Written work: 25% (journal: 20%,

written analysis: 5%)Choreography: 20%Group work/evaluation 5%

Actual performances were to be evaluatedinformally.

Students’ daily work was evaluated onhaving the appropriate clothing andmaterials, as well as their effort andparticipation.

Students’ technique was evaluated on a scaleas follows:

3 – correct execution and quality2 – minor flaws, some sense of the

necessary quality1 – major errors, unsafe

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3. DRAMA : FILM AND TELEVISION

Learning OutcomesThe teacher, in consultation with students,decided to base the evaluation on thefollowing learning outcomes related toExpressing Our Humanity.

Creating/Performing/Communicating• create or perform a dramatic work

expressing students’ own ideas,thoughts, or feelings

• identify, describe, analyse, interpret, andmake judgements about how ideas,thoughts, feelings, or messages arecommunicated in a variety of others’artwork

In addition to these outcomes, the teacherassessed the students’:• attitudes towards the work• group problem–solving skills• creative approach

Planning for AssessmentStudents watched and analysed a specificgenre of television programming. Theyexplored such questions as: What is thepurpose(s) of the program? Was the use of audio-visual techniques effective? What are theproducers of the show expecting us to feel orthink? What changes would you make to theprogram?

In their journals, students also analysed theirreasons for their viewing choices and whataffected them. They viewed examples ofcommercials and analysed the sellingtechniques used by advertising agencies.Lastly, they created either an advertisingcampaign for a new product or a newcampaign for an existing product.

Defining CriteriaThe following evaluation criteria weredeveloped with students:

Attitude• shows collaboration• demonstrates organization• applies strategies for group decision-

making

Ability to analyse and interpret• demonstrates understanding of the

techniques used by the advertisingindustry

• demonstrates understanding of theeffects of these techniques

• demonstrates understanding of differenttelevision genres and the elements ofeach

Active expression• demonstrates the application of

advertising techniques to their ownproducts

• demonstrates learned presentation skills

Assessing and Evaluating StudentPerformanceEach student kept a journal for assessmentand evaluation purposes. Students wereresponsible for charting their viewingchoices and for answering questions posedby the teacher and other students.

Students wrote a test on the elements of aspecific television program. Students’progress on the advertising campaign wasmonitored by the teacher with class-to-classanecdotal notes. Students evaluated thecontributions of their group members at theend of the project. This evaluation became apercentage of their final grade.

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4. MUSIC: EXPLORING MUSIC

Learning OutcomesThe teacher, in consultation with students,decided to have the evaluation on thefollowing learning outcomes related toelements and principles:

Creating/Performing/Communicating• create or perform a dramatic work

demonstrating an awareness andexperience of several of the basicelements and principles of the disciplineused

• create or perform a dramatic workdemonstrating the use of the basicelements and principles of the disciplineto communicate specific ideas, moods, orfeelings

In addition to these outcomes the teacherassessed students’:• attitudes towards music• group problem-solving skills• performance/recording skills• communication of musical ideas and

thinking

Planning for AssessmentThe teacher had students listen torepresentative examples of compositions,which were simple enough to demonstratethe elements and principles of music inisolation. After the entire class could easilyidentify the elements and principles,students were directed to examine how theseelements and principles were put together toform an idea, mood, or feeling in acomposition of music. They set to work ingroups to create and perform their owncompositions. The teacher monitored thework as it developed in the groups over tenone-hour periods.

Defining CriteriaThe teacher and students discussed thecriteria for assessment. It was agreed that allthe elements and principles could be easilydefined. After some discussion, it wasagreed that students were to describe inwriting the idea, mood, or feeling that theywanted to create. The groups also had tocorrelate at least one musical element orprinciple with their compositions. Eachcomposition was taped, and the groupreviewed the tape to validate the writtendescriptions of the ways in which each of theelements and principles contributed to thecomposition.

Students’ efforts in class were assessed on afour-point scale:

3 – contributing throughout the class2 – contributing occasionally during the

class1 – co-operating only in the performance

and composition0 – no contribution or co-operation

The teacher assessed each student during theclass periods. Students agreed that 50percent of their mark as a group wouldencompass:• the performance of the group’s

composition• the group’s written description of how

the elements were used to make acomplete musical statement

Students’ individual contributions to theproject were worth the other 50 percent.

Assessing and Evaluating StudentPerformanceStudents worked in five groups in theclassroom. As the ten classes progressed, itbecame apparent that in most groupscollective thought was taking place. In theother groups, the leadership for the project

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was in the hands of one or two individuals,with the rest of the group offering littlecontribution.

The compositions were performed by all thestudents in each group. The teacherdiscussed the compositions with eachstudent. Every student in the class was ableto cite many of the elements and principlesin the composition and the performance.

The teacher kept a daily log of each student’scontribution. This log was shared with theindividual students, and students had theopportunity to discuss their feelings abouttheir work with the teacher.

As a result of these assessment strategies, theteacher had the following notes, which wereused as the basis for formal reporting:

“Within group 1 the student members wereable to define eight of the ten elements andprinciples of music, giving each student amark of 80 percent (weighted 50 percent).

Student A (from group 1): When student Awas in class, her effort mark was reasonablygood. However, student A missed and waslate for many classes and her effort to makeup work was minimal. Over the ten classhours, this student achieved an effort markof 17. Based on the effort mark ([17÷3] x100=57%), the total mark for this student was([80+57]÷2) 68.5%.

Within group 2: The student members wereable to define seven of the ten elements andprinciples of music, giving each student amark of 70 percent (weighted 50 percent).

Student B: This student was veryconscientious and worked to her fullpotential for most of the classes. The effort

mark for this student was 28. Based on aneffort mark of 28 ([28÷3] x100= 93%), thisstudent received a total mark of 81.5%([93+70]÷2).

5. FINE ARTS 11 (MUSIC): SINGING

This example uses a standard essayassessment strategy to assess the followingprescribed learning outcomes:


historical styles as represented in avariety of artworks

• critique a dramatic work relating itscontent to the context in which it wascreated

• describe or demonstrate how a specificdramatic work supports or challengesspecific beliefs or traditions, or respondsto historical or contemporary issues

In addition to these outcomes the teacherassessed students’ communication ofmusical ideas and thinking.

Planning for AssessmentThe teacher had students listen torepresentative examples of Canadian folkmusic. These examples were simple enoughto demonstrate the elements and principlesof music in isolation. After the elements andprinciples were easily identified by the entireclass, students were directed to examine howthese elements and principles were puttogether to form an idea, mood, or feeling ina music composition. Individual studentsresearched a culture and wrote an essay onthe evolution of its folk music. This projecttook place in the library and the music roomover 12 class hours.

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Defining CriteriaThe teacher and students discussed thecriteria for assessment. It was agreed thatstudents would be assessed on the degree towhich they demonstrated an understandingof:• the elements and principles of music• how these are used to create an idea,

mood, or feeling (e.g., soft for peaceful)• the chronology or periods of the culture’s

folk music• the relationship of music to other art

forms of the culture

Assessing and Evaluating StudentPerformanceThe marks would be assessed as follows: 20percent for presentation, 40 percent foridentification of the elements and principles,20 percent for a coherent understanding ofthe chronology of the culture, and 20 percentfor the inclusion of other art disciplines inthe essay.

6. VISUAL ARTS

Two assessment models are presented here:portfolio assessment and student’s self-evaluation. Examples of possible evaluationscales, applicable to these assessment modelsas well as a number of others, are alsopresented.

PortfoliosAn assessment portfolio is an organizedcollection of student work used by both thestudent and the teacher to monitor growth inthe student’s knowledge, skills, and attitudesin visual arts. Portfolios help students andteachers to:• assess the learning of course materials• assess the development of skills and of

the creative process• share in the ownership of the learning

and assessment processes, becomingactively engaged in both

• see growth over time• reflect on work over time• reflect on work at hand in order to

improve subsequent work• increase students’ self-confidence by

building on successes• judge work through an ongoing visual

and verbal dialogue

To effectively achieve this, criteria can be setfor evaluating a portfolio in relation to theprescribed learning outcomes. Outcomes tobe addressed in the portfolio assessmentinclude:• create a dramatic work demonstrating an

awareness and experience of several ofthe basic elements and principles of thediscipline used

• create a dramatic work demonstratingthe use of the basic elements andprinciples of the discipline tocommunicate specific ideas, moods, orfeelings

• create a dramatic work demonstratingthe use of strategies for developing anartistic image or idea


• identify, describe, analyse, interpret, andmake judgments about the basicelements and principles used in a varietyof artworks

• create a dramatic work that reflects anunderstanding of the impact of social,cultural, and historical contexts

• identify, describe, and analyse cultural orhistorical styles as represented in avariety of artworks

• critique a work of art, relating its contentto the context in which it was created

• create a work of art expressing students’own ideas, thoughts, or feelings

• create a work of art for a specific publicneed (e.g., advertising, public ceremony,or social cause)


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Assembling the Contents of the Portfolio forAssessmentA portfolio is a collection of work thatrepresents student progress. Therefore, it isimportant that a final portfolio assessmentrepresent this progress, not simply the bestof students’ work.

The following criteria could be presented tostudents for use in selecting and presentingtheir portfolios for teacher assessment:

Your portfolio should be presented in acareful, well-organized manner, displayingyour work to best advantage.

1. Select three pieces that show your bestwork this term. On the back of eachpiece, attach a brief description of whatyou were trying to express, the elementsand principles of design youemphasized, and a consideration of howwell you used the media.

2. Include a piece that does not please you.Write a short description suggestingimprovements.

3. Include examples of your planning orresearch. These could include sketches,photographs, notes, resources, and so on.How did you use them to make yourartwork original and effective?

4. Include any works in progress. What areyour future directions and plans forcompletion?

5. Summarize your progress this term.What are your goals for future artwork?

Evaluating the Portfolio: A Holistic ScoringModelThe following descriptors are suggested as abasic three-point scale which could beexpanded. For example, using a five-point

scale would allow teachers to evaluate moresubtle distinctions without having to writefurther descriptions. (See Evaluation Scalesbelow for an example.)

3 – In a portfolio that demonstrates clearevidence of success, the student:• demonstrates completion of well-

developed artwork and excellence incraftsmanship

• shows original thinking and fluentapplication of image developmentstrategies in planning

• independently sets personal goalsbased on a thoughtful evaluation ofhis or her own work

• demonstrates problem-solving skills• demonstrates command of visual arts

vocabulary in written work anddiscussion

• demonstrates a basic knowledge ofthe elements and principles of designin work at hand

• can systematically critique theartwork of his or herself and others

• has a thorough knowledge of thehistorical or cultural precedentsappropriate to the work at hand

• communicates thoughts, feelings, andknowledge effectively through his/her artwork

• demonstrates originality• presents a portfolio that is complete,

well-organized, and effectivelypresented

• over time demonstrates significantpersonal growth in visual art throughwork

2 – In a portfolio that demonstrates someevidence of success, the student:• shows substantially completed

artwork and demonstrates some skillin craftsmanship

• shows some understanding• applies image development strategies

in planning in order to create originalwork


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• sets personal goals, with help, basedon evaluation of his or her own workand demonstrates basic problem-solving skills

• uses basic visual arts vocabulary inwritten work and discussion

• demonstrates a basic understandingof the elements and principles ofdesign in work at hand

• understands the basic critiquingprocess and can apply it adequately

• refers to historical or culturalprecedents appropriate to the work athand

• communicates thoughts, feelings, andknowledge effectively throughartwork

• shows some original elements• presents a portfolio that is complete,

reasonably well organized, and inwhich most pieces are effectivelypresented

• demonstrates personal growth invisual art over time

1 – In a portfolio that demonstrates littleevidence of success, the student:• shows incomplete artwork and

demonstrates weak skills andcraftsmanship

• shows little evidence of planning anda limited understanding of imagedevelopment strategies

• has difficulty and little interest insetting goals, evaluating his or herown work, or problem-solving

• has a limited visual arts vocabularyand has difficulty with written workand discussion

• demonstrates little understanding orability to use the elements andprinciples of design in his or her ownwork

• has difficulty applying a critiquingprocess

• shows little understanding ofhistorical or cultural precedentsappropriate to the work at hand

• seldom communicates effectivelythrough artwork

• includes work that is stereotypical,copied, or has few original elements

• has a disorganized, incomplete, orineffective portfolio

• demonstrates little or no growth invisual art over time

Students Self-evaluationStudents self-evaluation can be a useful partof all evaluation. Students could use thefollowing model in a variety of contexts,including portfolio evaluation. It is based oncriteria relating to the following prescribedlearning outcomes:• create a work of art that reflects an

understanding of the impact of social,cultural, and historical contexts

• create a work of art demonstrating theuse of strategies for developing anartistic image or idea

• create a work of art demonstrating anawareness and experience of several ofthe basic elements and principles of thediscipline used

• identify, describe, analyse, interpret, andmake judgments about the basicelements and principles used in a varietyof art works

• create a work of art demonstrating theuse of the basic elements and principlesof the discipline to communicate specificideas, moods, or feelings


• create a work of art expressing thestudent’s own ideas, thoughts, or feelings


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Criteria

1. I planned my artwork by manipulating source material.

2. I studied historical precedents related to my work.

3. I used tools and equipment safely and skilfully.

4. I made effective use of the elements and principles of designin order to reinforce the message of the piece.

5. I can describe the processes I have used in completingmy artwork.

6. My artwork is effective and original.

Students can evaluate themselves on each ofthe following criteria, using, for example, arating scale of from 0 to 3 where the numbersrepresent the following judgements:

3 – I succeeded, I understood

2 – I managed, I understoodeventually

1 – I struggled, I didn’t understand

0 – I didn’t try or complete my work

Scale

3 2 1 0

3 2 1 0

3 2 1 0

3 2 1 0

3 2 1 0

3 2 1 0


Evaluation Scales

The following examples are two possibleevaluation scales for all the outcomes listedunder the curriculum organizer forCreating/Performing/Communicating.

Five-point scale (adapted from that used inthe International Baccalaureate, art anddesign evaluation)

5 – the student works independently onimagery that is consistently personal,inventive, and original

4 – the student works individually andoften uses original solutions andideas

3 – the student has explored someaspects of personal imagery and hassome success in expressing ideas andfeelings

2 – the student can work with someindependence and parts of the workshow some originality andimagination

1 – the student needs constant directionand the work is unimaginative,unoriginal, and unstimulating

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Three-point scale (courtesy of Delta SchoolDistrict)

3 – Maturing: The student’s work hascommunicated an effective personal andoriginal visual statement. The studenthas developed a complete image throughimage development strategies.

2 – Developing: The student’s work containsevidence of a personal visual statement.There has been some development of theimage through the manipulation ofspecific strategies.

1 – Beginning: The student’s work as avisual statement is neither personal nororiginal. The image development isweak and shows little evidence of the useof strategies.

Formal Reporting of Student LearningLegislation requires that teachers provideparents with three formal reports each year.Letter grades are used to indicate a student’slevel of performance in relation to prescribedlearning outcomes. Grades may be assignedfor an activity, a unit of study, a term, at theend of the year, or at the completion of acourse or subject. The following areguidelines and suggestions for assigningletter grades for an activity or project.

1. Learning outcomes for the activity andunit are identified to make clear what thestudent is expected to know and be ableto do.The provincial curriculum prescribes broadlearning outcomes. From these, the teacherestablishes more specific outcomes for thelearning activities.

2. Specific criteria for the unit and activityare established.It is helpful for students to be involved in theestablishing of criteria. In this way theyunderstand what is expected of them.

3. Different levels of performance ormodels are developed.Students are more likely to be successfulwhen they clearly understand the criteria andthe level of performance expected.

4. Students participate in learning activitiesto allow them to practise the skills andacquire knowledge they require.Feedback is provided to help studentscontinue their learning. Practice exerciseshelp students meet the criteria and achievethe expected levels of performance. Theresults from practice exercises supportstudents’ learning, but should not be used aspart of the term evaluation or final lettergrade.

5. Students are given opportunities todemonstrate their learning.Teachers may have students represent theirlearning in a variety of ways. Assessmentdata is collected from tests, teacherobservations, conferences, students’ self-assessments, written assignments, theexamination of students’ portfolios, andperformance tasks.

6. Students’ levels of performance areevaluated in relation to the criteria.The evaluation of each student’s performanceis based on the assessment data collected andis compared to the established criteria.

7. The teacher assigns a letter grade for aset of activities.The letter grade indicates how well thecriteria were met. Teachers often includewritten feedback to students along with theletter grade. In this way students gaininformation necessary to continue theirlearning.


APPENDIX EACKNOWLEDGEMENTS

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APPENDIX E: ACKNOWLEDGEMENTS

Many people contributed their expertise tothis document. The project was co-ordinatedby Kit Eakle of the Curriculum Branchworking together with Ministry personneland our partners in education. We wouldlike to thank all who participated in theprocess.

LEARNING OUTCOMES WRITING COMMITTEE

British Columbia Dance Educators’Association

Ruth Emerson, Simon Fraser University

Association for British Columbia DramaEducators’

Linda Riches, District No. 57 (Prince George)Monty Hughes, District No. 22 (Vernon)

British Columbia Music Educators’Association

Mike Angel, District No. 35 (Langley)

British Columbia Art Teachers Association

Margaret Scar, District No. 41(Burnaby)Donna Gilchrist, District No. 37 (Delta)

INTEGRATED RESOURCE PACKAGE WRITING

COMMITTEE

Learning Outcomes Writing Committee

Jill Steacy-Machibroda, District No. 35(Langley)

Linda Medland, District No. 44 (NorthVancouver)

Association for British Columbia DramaEducators

Leona Kyrytow, District No. 75 (Mission)Alan Penty, District No. 61 (Greater Victoria)

British Columbia Music Educators’Association

Jay Bigland, District No. 57 (Prince George)Allan Anderson, District No. 38 (Richmond)

British Columbia Art Teachers Association

Keith Rice-Jones , District No. 43 (Coquitlam)Jennifer Mac Intyre, District No. 61 (GreaterVictoria)

Fine Arts Co-ordinators, Curriculum Branch,Ministry of Education

Anne Hill

APPENDIX FRESPONDING TO ARTS EXPRESSIONS

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APPENDIX F: RESPONDING TO ARTS EXPRESSIONS

A significant part of Fine Arts 11 involvesstudents in responding to arts expressions.The goal is to increase students’ ability toexpress their personal responses to the artsand to broaden their understanding of them.This appendix provides a possible structurefor arts criticism. You are encouraged toadapt the process to suit your students’abilities and needs to promote discussionusing arts vocabulary. Students areencouraged to use the process (as outlined oradapted) to respond to their own work, thework of their peers, and that of establishedartists and performers.

SEVEN STEPS FOR RESPONDING TO ARTS

EXPRESSIONS

The following seven steps can be used toguide students in responding to visualartworks, dances, music, and dramaticpresentations. Note that the outlinedprocess, which breaks up the viewing/listening process into steps, is not to befollowed rigidly. An audience membermoves back and forth between the steps.Thus the steps cannot be isolated from oneanother as they appear here, and the ap-proach outlined should be considered onlyas a general guide.

See the blackline master “Responding to ArtsExpressions – Student Sheet” at the end ofthis section for a sample form on whichstudents may keep track of their responses.

1. Preparation: Establish a climate forviewing or listening in which studentsfeel comfortable expressing their ownopinions and feelings, and provide acontext for the experience by giving somebackground or focus for viewing orlistening.

2. First impressions: Students share theirspontaneous reactions to a work. Sincetheir responses are influenced by pastexperiences, culture, and so on, allresponses must be considered acceptable;there are no wrong responses.

3. Description: Students objectivelydescribe the artwork, taking inventory ofwhat they saw, heard, or experienced.Their responses should be objective, notinterpretive.

4. Analysis: Students analyse whatcontributes to the effect of a work of art.This analysis includes an examination ofhow the artist has used various materials,instruments, elements, and principles.Encourage students to use the languageof the discipline in their analysis.

5. Interpretation: Students form opinionsabout the artists’ intentions and/or themeaning of the work using their collectedinformation. Students’ perspectives,associations, and experiences will affecttheir interpretations. Although your roleis to extend students’ experience, theirperspectives are personal and need to bevalued. Students’ interpretation shouldbe encouraged through a variety ofmeans of expressions (e.g., throughanother arts discipline, imagery,metaphor, or analogy).

6. Background information: Studentsresearch biographical, historical, orcultural information about the work andthe artist(s) involved with its creation.

7. Informed judgment: Using the newinformation they have collected, studentsrefer to their first impressions and eithersupport their initial opinions of theartwork or develop and support a newopinion.

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ADAPTING THE SEVEN-STEP PROCESS FOR THE

DISCUSSION OF STUDENT WORK

Students’ responses to their own and to theirpeers’ work are an important part of thecreative and evaluative process. Suchresponses can occur to works-in-progress, aswell as to completed projects. Responding toworks-in-progress helps students refine theirartwork or expressions. However, it isessential to encourage only positive andthoughtful responses to students’expressions. Before they display or performtheir work, ensure that an atmosphere oftrust is established in which students arewilling to take risks.

Responding to their peers’ work should be alearning and growing experience forstudents and should not include personaljudgments. Students may feel particularlyvulnerable when performing, as it is theywho are being watched or heard, unlike avisual artwork which provides somedistance between the student and the work.Greater distance can be achieved in works ofperformance by recording students’ works-in-progress and their final presentations onaudio or videotape. Audio or videotapingcan also facilitate the response process, sincerecordings can be replayed several times toallow students time for deeper reflection.Recordings of works-in-progress can also becompared to final products to see how awork has evolved.

To maintain objectivity, all comments shouldbe kept to observations about the ideasexpressed, the sounds, the instruments, theimages, the movements, and the use ofelements and principles. For example, thecomment “I like Stacey’s composition”would be better expressed as “I thought therhythm in Stacey’s composition was lively.”

As well, comments that judge the individualshould be discouraged. Before thediscussion begins, be sure to establish somegeneral rules of conduct, including somesample student comments.

Not all the steps outlined above will be usedevery time students respond to their own ortheir peers’ work. Use steps that appear tobe useful and a level of questioning that suitsthe needs and abilities of your students. Tobegin, you might use only the descriptionand interpretation steps. As studentsbecome more comfortable with the process,additional steps can be added. Be especiallycareful to establish a trusting atmospherebefore any responses are given; remindstudents to stress the positive in theirresponses to each piece of work. Whenjudgments are allowed, they should alwaysfocus on whether or not the work hasachieved the student’s intended purpose.

In drama, students’ reflections on the workof their peers will most often occur as groupreflections on small-group tableaux,prepared improvisations, mime and story-theatre episodes, and prepared monologuesthat are structured into the dramatic contextin which the class has been working.Students should have many opportunities toexpress what an improvisation means tothem within the context of the dramaticsituation or collective creation in which theyare working. Encourage the co-operativereworking of a piece to ensure that theintention of the group which created it isultimately realized.

Students will undoubtedly haveinterpretations of, and opinions on their ownand their peers’ work. However, it isimportant that they base their opinions andinterpretations on the evidence they see and

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RESPONDING TO ARTS EXPRESSIONS

STUDENT SHEET

1. First Impressions What are your first thoughts about the work? List the first words that come to mind.

2. Description List the words and phrases that describe what you see or hear, as if you were making

an inventory list. Do not give your personal opinions at this stage.

3. Analysis What has (have) the artist(s) done to achieve the effects you described above? How have the various elements and principles been used? Use vocabulary that relates to

this art form.

hear in the work itself. These interpretationsand opinions must be assessed on students’ability to express and justify them, and noton students’ ability to conform to the normor to the opinions of the teacher.

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RESPONDING TO ARTS EXPRESSIONS

STUDENT SHEET (CONTINUED)

4. Interpretation What do you think the work is about? What was (were) the artist(s) trying to achieve? Use information from the two preceding steps. What does this arts expression mean to you personally?

5. Background Information What have you discovered about the work and the artist(s) involved in its creation or performance? If you have been involved in research for this project, attach research information to this form.

6. Informed Judgment Look back at your first impressions and support your initial opinions of the work based on your analysis and interpretation. Or, if you have changed your mind since your first impressions, write down and support your new opinion. Consider the context of the artwork (its time period, place of origin, purpose, and cultural meaning) as part of your conclusion.

APPENDIX F: RESPONDING TO ARTS EXPRESSIONSAPPENDIX F: RESPONDING TO ARTS EXPRESSIONS

APPENDIX GELEMENTS AND PRINCIPLES OF THE

FINE ARTS DISCIPLINES

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APPENDIX F: RESPONDING TO ARTS EXPRESSIONSAPPENDIX G: ELEMENTS AND PRINCIPLES OF THE FINE ARTS DISCIPLINES

The following are working definitions for therequired elements and principles listed in theElements and Principles curriculumorganizer and in the prescribed learningoutcomes for Fine Arts 11.

DANCE

Elements of MovementThe elements of movement—body, space,time, dynamics, and relationship—arefundamental to the art of dance. Anymovement involves some aspect of theseelements, but one or more can beemphasized according to the dancer’spurpose. The elements of movement can bedefined as follows:

• body. The “what” of movement. Thebody produces action, gesture, andshape.

• space. The “where” of movement.Movement may take place in one, two, orthree dimensions.

• time. The “when” of movement. Thespeed, metres, and rhythms of movementare established over time.

• dynamics. The “how” of movement.The dynamics of movement give itexpressive qualities—the intendedqualities of emphasis, weight, and flowof movement.

• relationship. The “with whom” ofmovement. Relationship refers to theway partners, groups, body parts, and soon move in relation to one another.

Principles of DanceThe principles of dance refer to the ways inwhich the elements are constructed to createa choreographic work. They include:

• repetition. The repetition of like orsimilar movements or patterns in dance.

• contrast. The juxtaposition of move-ments with distinct differences, (e.g.,high/low, curved/straight, sudden/strong, solo/group).

• pattern. A sequence of movements thatcan be repeated, varied, or developed ina dance. Folk dances are examples ofpattern dances.

• narrative. A movement sequence(s) thatcarries meaning beyond the movementitself. "Sleeping Beauty" is an example ofa narrative ballet.

• transformation. Making meaning ofmovement. Expressive gestures may betransformed into dance patterns. Forexample, choreographer Paula Ross’dance “Coming Together” uses notesfrom prisoners’ journals and actions ofrage and violence to create powerfuldance patterns.

Everyday action may be transformed intonarrative dance by emphasizing aspects ofthe actions. For example, the characterTiresias, in Martha Graham’s dance “NightJourney” is portrayed through themovement of his walking staff and the soundit makes on the floor.

ELEMENTS OF DRAMA

Drama is concerned with the representationof people in time and space, their actions,and the consequences of their actions.Dramatic art is a symbolic representation ofexperience. It seeks (as do all art forms) touncover meaning and to help us make senseof experience.

This curriculum is concerned with teachingand learning through drama. Teachers must,therefore, be aware of and apply theelements of drama when structuring, livingthrough, shaping, and refining dramaticwork with their students.

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APPENDIX G: ELEMENTS AND PRINCIPLES OF THE FINE ARTS DISCIPLINES

The following elements of drama are thoserequired in Fine Arts 11:

• focus. The concerns on which the dra-matic activity is based. These mightinclude the time, place, action, theme,idea, concept, or conflict beingrepresented. Whatever the concerns orfocus, they should be clear both to theparticipants and the audience (if there isone).

• tension. Tension in a dramatic activitythat impels people to respond and takeaction. It can take the form of a conflict,a challenge, a surprise, a time restraint,or the suspense of not knowing. Tensionworks in a play to ensure the audience’sdesire to know what will happen.

• contrast. Contrast is the dynamic use ofsuch opposites as movement/stillness,sound/silence, and light/darkness inany dramatic activity.

• symbol. A symbol is something thatstands for or represents something else.Drama itself is the symbolic ormetaphoric representation of humanexperience. Within dramatic activity,links can be made between the concreteexperiences of those involved andabstract ideas and themes. Thus, an ideaor object can hold several layers of bothindividual and collective meaning.

MUSIC

Expressive Elements• rhythm. The groupings of longer and

shorter sounds and silences over aregular pulse or beat. These beats arecommonly grouped into a recurringpattern of twos, threes, fours, fives ormore. The recurring pattern of beats iscalled metre.

• dynamics. The degree of loudness orsoftness of sounds.

• timbre. The quality or “colour” of sound.Timbre is determined by thosecharacteristics of sound that help usdistinguish one sound from another.

• tempo. The speed or pace of the music.The speed is determined by the numberof beats in a given time frame.(Increasing the number of beats per giventime frame increases the tempo.)

• melody. Pitch describes the highness orlowness of sounds. Melody is acombination of pitches and durationsthat make a musical statement much as asentence does. Melodies may consist ofone or more smaller sections (phrases)similar to the clauses in a sentence. Pitchdirection describes the movement ofpitch patterns or melodies, which maymove upward, downward, or stay thesame.

• texture. The combination and layering ofdifferent sounds in music. Composerscreate various textures by combiningsounds, instruments, or voices to achieveexpressive effects. The texture may bethick, thin, dense, or transparent.Harmony is one aspect of texture.

• harmony. Harmony occurs when two ormore sounds are heard simultaneously.

• articulation. The way a note begins andends.

Principles of Form• repetition. Musicians and composers use

repetition to help the listener becomefamiliar with the major ideas or themesof a musical work. The restatement of aparticular melody, theme, or rhythmoften draws the audience back to an ideaor thought that the musician or composerwants to communicate. Repetition alsoserves to unify many compositions andto draw attention to ideas that are centralto the work.

• contrast. A musician or composer usesvariety within a musical composition tocreate interest. Variety is created by

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using or altering different elements innumerous ways. Variety is often createdthrough the use of contrast, such as loudto soft dynamics, harsh to smoothtimbres, and thick to thin textures. Acomposer might, for example, repeat apreviously heard melody twice as fast(tempo change) or in a different key(tonality change).

• Pattern. The organization and overallstructure of the composition or form.

VISUAL ARTS

There are three aspects to the elements andprinciples of visual arts: visual elements,principles of design, and image developmentstrategies. Together, they represent a concep-tual hierarchy. Image development strate-gies refers to the complete process requiredto create a work of art or image. This processincludes, but is not limited to, the applicationof the principles of design. The principles ofdesign refer to how artists use the visualelements to create images. The visual ele-ments are the things artists actually use tocreate images. These three areas are definedas follows:

Visual Elements(the things artists use to create images)• line. Line is the path of a moving dot or

point. A point is extended in somemanner to determine a line. Line is usedto symbolize direction, imply movement,outline forms, suggest mood, anddetermine the boundaries of shapes. Thequality of line can vary according to thetool and method used, the amount ofpressure used, and the way a line relatesto other elements. The following aresome examples of words used to describeline: jagged/smooth, thick/thin, weak/strong,curved, straight, implied, wavy, anddiagonal.

• shape. Shape describes a two-dimen-sional area that is defined in some way.Shapes may be open or closed, positiveor negative, and free-form or geometric.The following are some examples ofwords used to describe shape: solid,organic, repeated, symbolic, proportional.

• form. Form occurs when a three-dimen-sional quality has been achieved in ashape. Form may be implied by the useof tone or shadow, or it may be three-dimensional. The following are someexamples of words used to describeform: founded, squared, angular, textural,volume, mass.

• texture. Texture refers to surface quality.Texture can be real or simulated. Actualtexture can be both seen and touched.Simulated texture cannot be interpretedby touch; it must be seen. The followingare some examples of words used todescribe texture: shiny, smooth, rough,course, gritty, granular.

• colour. More correctly, hue. Hue is whatis usually meant when we say colour.Hue is the colour itself and refers to thenaming words we use to identify specificwavelengths of light such as red, yellow,orange, and so on. A colour wheel canexplain the origins and relationships thathues possess. Colour may be descriptive,decorative, and symbolic. Colour hasboth value and intensity. The followingare some words used to describe colour:bright, pastel, warm, cool, in harmony,discordant.

• value. Value or tone refers to the degreeof light and dark in colour. An image,however, can exist without colour (i.e., intone only). The following are someexamples of words used to describe tone:dark, dull, gloomy, pure, stark, strong, weak.

• space. The volume (three-dimensional)or area (two-dimensional) around orbetween objects (negative space orground) is as real as the space occupiedby the object itself (positive space or

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figure) and an equal consideration in anyimage. Space can be real, illusory,positive, negative, open, or crowded.

Principles of Design(how artists use the visual elements definedabove to create an image)• balance. Balance refers to the equilib-

rium of various elements and involves asense of order. Order may be achieved ina variety of ways. It may be symmetricalor asymmetrical, formal or informal, orrigid or random. An imbalance cancreate a feeling of awkwardness ordiscomfort. It can also be used to createan exciting visual response.

• contrast. Contrast involves opposition.It results from the juxtaposition of quali-ties that are unlike one another. Highcontrast can be used to emphasize,dramatize, add variety, and surprise.Low contrast can be used to soothe,settle, harmonize, and comfort.

• emphasis. Emphasis refers to the focalpoint or centre of interest in an image.Emphasis implies both dominance andsubordination and can be used to callattention to specific areas within a work.

• movement. Movement is achieved bymanipulating the elements to implymotion, to move the viewer’s eye in adedicated direction as he or she looks atan image. Movement may be impliedthrough recognizable images in actionand may also be implied throughabstract, non-representational markssuch as diagonal lines, broken edges, andgradation of tones.

• pattern. Pattern involves the repetitionof similar motifs on a surface, whichcreates rhythm. Pattern can be used toorganize or unify an object and/or tocreate visual enrichment. Pattern can becreated in an organized way or in ran-dom fashion.

• unity. Unity describes a sense of onenesswithin an image, where all qualities worktogether in a cohesive relationship.

Unity can be used to produce feelings ofharmony, completeness, and order. De-pending on the purpose of the image, lackof unity can be used to imply disharmony,incompleteness, disorder, and dissonance.

Image Development StrategiesArtists strive for images that rise above theordinary, that are compelling, and that com-municate effectively. Image developmentstrategies are the methods, techniques, andpictorial devices that artists use to create suchimages.

Sources for image development include:• working from memory• working from the imagination or feelings• direct observation of source material

Strategies for image development include:• simplification. removing details in an

image to various degrees• elaboration. extending, expanding, or

complicating an image• magnification. reformulizing an object on a much larger scale• minification. the reformulizing an object

on a much smaller scale• exaggeration. emphasis of aspects of an

image to make the meaning or emotionalimpact more powerful

• distortion. the deformation of the wholeor part of an image

• point of view. a vantage point for view-ing an object. Multiple viewpoints couldbe used simultaneously in the same image

• fragmentation. splitting or breaking upobjects and images

• multiplication. repetition of an element,object, or image

• juxtaposition. combining images tocreate new relationships.

• metamorphosis. depicting images orforms in progressive states of change


APPENDIX HGLOSSARY OF TERMS

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acappella (music) Singing without accompaniment.

AB (dance, music) A thematic composition that provides contrast andvariety. The A part represents a phrase of specifiedlength, and the B part represents a different phraseof specified length. The two A and B phrases aremade to complement and enhance each other, butmay deal with either two sides of the same themeor two different themes.

ABA (dance ) An extension of the AB structure. After the Bphrase, the piece returns to an altered version ofthe A phrase, which can be manipulated bychanging the tempo, size, rhythm, or the quality ofthe movement or by fragmenting, repeating, orchanging the order of the sequence.

anthology (drama) A presentation of a collection of materials (e.g.,poetry, narration, essay, and song) based on atheme.

canon (music) A single theme or sequence that is executed atdifferent times. The following are some examples:

Canon example 1: Dancer A: 1234 5678Dancer B: 1234 5678

Canon example 2: Dancer A: 12345678Dancer B: 12345678

Canon example 3: Dancer A: 1234Dancer B: 2341Dancer C: 3412Dancer D: 4123

choral interpretation (drama) A means by which literature (poetry, chants, raps,fairytales, etc.) is interpreted and communicatedvocally by a group.

contraction (dance) A tightening of a muscle or a group of muscles tocause the flexion of a joint or body area.

dramatic collection (drama) An anthology using a variety of drama techniques(mime, reader’s theatre, stage fighting, etc.).

APPENDIX H: GLOSSARY OF TERMS

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dreamscapes (visual arts) Images that evolve from dreams, the imagination,or the inner reaches of the mind.

floor pattern (dance) The path travelled during a movement sequence.

high point (dance) The high point that occurs in a sequence ofmovement. It can be at the beginning or the end ofthe sequence or at both. It can start with a bang,build to a bang, or build to a bang and then die out.

invented notation (music) A system of musical notation constructed to meetthe unique requirements of a particular piece ofmusic. It may be diagrammatic, descriptivenarrative, pictorial, or a combination of any ofthese. Details may be precise or general in nature.Computer and MIDI technology (e.g., MIDI eventlists) may be used to create unique notationsystems. “Invented” notation contrasts with“standard” music notation which uses the five-linestaff and oval notes with stems placed on the staffto represent specific pitch and rhythms in thestandardized way.

isolation (dance) Moving individual parts of the body (body centres)independently of others.

mirroring/shadowing (dance) In mirroring, the leader and follower face eachother. In shadowing, the leader faces away fromthe follower, and the follower shadows the leader’smovement. These are excellent activities forbuilding trust and sensitivity between individualsor within a group where the leader and thefollower are clearly identified.

pathways (dance) The path on the floor along which a dancer (ordancers) move.

polycentrism (dance) Co-ordinating two or more body centres at thesame time.

release (dance) The change from a state of tension to a letting-go,which results in a release of tension.


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role drama (drama) A class of students enact a situation based on acommon problem; the teacher may participate inthis improvisation.

rondo (dance) This form relates to ABA but can continue for anindefinite period of time (ABA CA DA, etc.). The Aphrase can be repeated exactly or varied.

SATB (music) See “voice.”

solo (music) One singer or performer performing with orwithout accompaniment.

sound plot (drama) A series of sounds that tell a story; a performancemeant only to be heard.

syncopation (dance) A shifting of the accent or emphasis from thebeginning of a beat or group of beats.

tableau (drama) A living representation of a scene or image formedby one or more people posing silently andmotionlessly.

theatresports (drama) A competitive, improvisational game that hasstudents work in teams. Refer to a manual ontheatresports to understand the scoring andvariations in the game.

vocabulary of marks (visual arts) The range of possible expressive marks made byany tool or material for use in effective imagery.

voice (music) May be categorized as soprano (S), alto (A), tenor(T), or bass (B). These categories represent singingranges from high to low. Music is often arranged inthis form as well as SA, SSA, SAB, TTBB, etc.

xerography (visual arts) The use of photocopying to develop or producevisual arts images.


F A 11 This IRP was revised in April 2011 to remove ...Integrated Resource Package 1997 IRP 004...

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