The Arts are used in every culture as a form of communication to express our understandings of the world (Dinham, 2020). They are a process as well as a product - multimodal forms of communication such as images, sounds, movements and gestures are used to comprehend reality through the creation of new realities within different art forms (Dinham, 2020; Sinclair et. al., 2017). The Arts learning area in the Australian Curriculum is comprised of five art forms - Visual arts, Drama, Dance, Music and Media Art - whereby through Arts practices, children experience both intrinsic and instrumental benefits (Australian Curriculum, Assessment and Reporting Authority [ACARA], 2018; Dinham, 2020). The latter importantly involves the development of transferable skills, recognised through the integration of the Arts within the curriculum, whereby adopting Arts pedagogical approaches enriches all aspects of education and significantly enhances wellbeing (Dinham, 2020; Ministerial Council, 2007).
The Arts offer unique opportunities for experiencing and understanding the world
Arts learning is a distinct form of cognition in that it provides unique opportunities to make sense of the world through our senses and our emotions (Dinham, 2020; Sinclair et. al., 2017). Through experiences in the Arts we engage in somatic and praxial ways of knowing, where knowledge is gained through perceiving and through doing, respectively (Dinham, 2020; Sinclair et. al., 2017). Subsequently, the affective domain, the domain of feeling, is engaged as we comprehend the experience and relate it to ourselves and the world around us (Sinclair et. al., 2017). The Arts also importantly shares similarities with learning through play as Sinclair et. al. (2017, p. 25) emphasises, “both play and art are about IF”. Where an area such as maths involves the application of universal understandings to produce objective truths, the Arts in contrast is ill-structured and open-ended, allowing for exploration of multiple perspectives and the understanding that one problem can have many solutions (Dinham, 2020; Eisner, 2002).
Experiences in the Arts have many intrinsic benefits
As a direct result of Arts practices and outcomes, we experience valuable intrinsic benefits relating to the capacity to feel connected to ourselves, other people and the world (Eisner, 2002; Sinclair, et. al.; 2017; Ewing, 2010). Captivation describes the feeling of being transported when deeply immersed in imaginative and emotional experiences in the Arts, allowing us to connect to the world through revealed meaning and in understanding new perspectives (Dinham, 2020). The Arts can also physically transport us; visiting museums, galleries and festivals allows us to gain insights in recognising the Arts as important products of history and culture, where we can see what unites and distinguishes us as humans (Dinham, 2020). Intercultural understanding and respect is gained through this recognition of diverse perspectives whilst also allowing us to make connections between our own art and wider culture, fostering a sense belonging (Dinham, 2020). Opportunities for self-expression when producing our own art significantly nurtures our sense of identity - we experience personal satisfaction in learning that our perspective is valued, crucially developing self-concept and self-esteem (Dinham, 2020; Ministerial Council, 2007). The role of the Arts in promoting wellbeing is so powerful in fact that it used in forms of therapy, such as music and art therapy, to develop mindfulness and facilitate healthy self-expression, significantly benefitting mental health (Stuckey & Nobel, 2010).
Experiences in the Arts have instrumental benefits, transferable to other areas of learning
Participation in the Arts also results in instrumental benefits which extend beyond the Arts practice itself and into other areas, equipping children with important transferable skills to meet the needs of society in the 21st century (Dinham, 2020; VBSchools, 2011; Ewing, 2010). Creativity and flexible thinking are fundamental benefits of Arts education, regarded as essential for meeting the innovation demands of a globalised, digital world (Sinclair et. al., 2017; Dinham, 2020). These skills are significant vehicles for growth in knowledge economies, nurtured through the imaginative and navigational processes of Arts practice which promote problem-solving through risk-taking and lateral thinking (Ministerial Council, 2007; VBSchools, 2011; Fiske, 1999 in Dinham, 2020). Reflective and reflexive practice is fundamental in Arts processes whereby consideration for the outcome of actions is a significant aspect of sustainable thinking (Dinham, 2020). Additionally, communication skills are important in a globalised world connected through relationships, developed in the Arts within collaborative learning experiences characterised by negotiation and respect (Dinham, 2020).
Learning in the Arts also contributes to academic success in other areas, such as mathematical reasoning and literacy, and also develops general capabilities e.g. empathy nurtured through drama develops Personal and Social capabilities (Dinham, 2020; Sinclair et. al., 2017). Perhaps most significantly however, children’s relationship to learning in general is improved through Arts experiences by fostering imagination and curiosity about the perceived world (Dinham, 2020; Ministerial Council, 2007). As a result, students experience higher academic achievement overall, with those from marginalised groups benefitting the most (Ministerial Council, 2007; Dinham, 2020). This is seen in the example of the Song Room which provides Indigenous children and children from backgrounds of socio-economic disadvantage with opportunities to develop interdisciplinary Arts skills, positively impacting wellbeing, school attendance and academic learning outcomes (Ewing, 2010; The Song Room, n.d.).
The Arts in the Australian Curriculum
The Arts is one of the eight key learning areas in the Australian Curriculum and is comprised of five subjects: Dance, Drama, Media Arts, Music and Visual Arts (ACARA, 2018). Although the elements of each art form vary, all five subjects encompass two interrelated strands - making and responding to artworks (ACARA, 2018). Making involves using specific knowledge, skills and processes to produce artworks that communicate intentions, and responding involves analysing and interpreting artworks (ACARA, 2018). Through making and responding, children recognise that a diversity of perspectives can be used to explore the Arts within different social, cultural and historical contexts (ACARA, 2018).
The Arts is recognised as crucial for developing 21st century skills by fostering students’ creative and critical sensibilities through artistic practices related to the five different art forms, also developing general capabilities in Critical and Creative Thinking (ACARA, 2018; Dinham, 2020). Students gain personal insights through self-expression and understand diverse perspectives through analysing art in the context of different cultures, further developing Personal and Social Capability and Intercultural Understanding (ACARA, 2018; Dinham, 2020). Cross-curriculum priorities of Aboriginal and Torres Strait Islander Histories and Cultures are also integrated through recognising the role of the Arts in communicating knowledge and traditions (ACARA, 2018). In doing so, Sustainability as a cross-curriculum priority is addressed through advocating for social cohesion in recognising a diversity of world views (Dinham, 2020; ACARA, 2018).
Integrating the Arts into other learning areas
Authentic integration of the Arts into other subject areas fosters a holistic understanding of how learning is interrelated, better reflecting the experiences of life in a multimodal world (Dinham, 2020). It has the power to teach artistic skills whilst also enriching learning in all areas of the curriculum, whereby different Art forms engage different ways of knowing as Howard Gardner’s multiple intelligences theory argues (Dinham, 2020; Ministerial Council, 2007; Gardner, 1983). Gibson & Ewing (2011) outline five models of integration: conceptual, contextual, arts-infused, arts-enriched and cross-curriculum immersive projects. Firstly, conceptual integration involves the exploration of one concept in different disciplines, e.g. symmetry explored in maths and visual art. A broader theme is used in contextual integration to frame multi-dimensional investigations, e.g. ‘Islands’ might frame investigations from different learning areas. Arts-infused models involve a whole-school approach whereby art-based activities permeate the school culture, encouraging children to think creatively and critically in all learning areas. Similarly, the arts-enriched model adopts Arts practices as pedagogical tools to enrich cross-curricula learning in recognising these practices as multiple intelligences (Ministerial Council, 2007). Most comprehensively, cross-curriculum immersive projects integrate multiple learning disciplines within an inquiry-based project built around a ‘real-life’ scenario e.g., planning a party, where students are required to budget for food, design invitations and sequence the event (Erickson, 2016).
ICT's in the Arts
Both the Arts and Information and Communication Technologies (ICT’s) allow us to gain new insights into what is possible, whereby ICT’s are powerful and transformative resources which expand creativity in both teaching and learning in the Arts (Ilić et. al., 2018). Contextualising ICT use in Arts education in the Australian Curriculum improves Information and Communication Technology as a general capability and enables children to contribute as creative agents of the digital world (ACARA, 2018; Hamill, 2006). Both ‘making’ and ‘responding’ in the Arts is enhanced through embedding the four elements of ICT into the Arts: creating, inquiring, communicating and protecting (Dinham, 2020; Victorian Curriculum and Assessment Authority [VCAA], n.d.). Creating and communicating relate to the ‘making’ strand of Arts practice. It may involve the use of software to capture and edit photographs, sound clips or videos of dramatic performances and dances (Dinham, 2020). Interactive websites such as Chrome Music Lab (linked below) are also fun and engaging tools for children to create music whilst developing knowledge of musical elements. Inquiring relates to the ‘responding’ strand of Arts practice whereby the Arts is brought to life through visual, kinesthetic, sound, animation and video capabilities of digital technologies such as the internet (Dinham, 2020). World-class performances can be accessed easily on YouTube and digital excursions to cultural institutions such as the Sydney Opera House are enabled through live web conferencing (Dinham, 2020). Children are immersed in the work of others, gaining an understanding of artworks and art styles from different social, historical and cultural contexts, with the potential to use these as stimulus for their own work (VCAA, n.d.).
Open-ended pedagogical approaches in the Arts
Open-ended explorations are another key pedagogical approach to support the inquiry-based nature of Arts learning through focusing largely on the artistic process rather than the product (Dinham, 2020). Creative and flexible thinking is facilitated through providing a challenge with no objective solution (Dinham, 2020; Sinclair et. al., 2017). Subsequently, the intentions of open-ended explorations are unique for each individual whereby children artistically investigate an idea through personal reflection and interpretation, forming their own theories to create meaning (Hannafin et. al., 1994). Open-ended challenges are assessed according to criteria as opposed to outcomes, for example criteria may include the use of a particular instrument or material, where the outcome will differ greatly for each child (Dinham, 2020). Teaching through this approach involves stimulating imaginative development and conceptual understanding through strategies such as brainstorming, whereby questions and observations relate to relevant criteria (Dinham, 2020). Importantly, Arts literacy is developed in this approach intentionally through investigating techniques, processes and materials of different art forms, allowing children to communicate their ideas with more proficiency and better meet their artistic intentions (Dinham, 2020).
“With open-ended activities, each child’s response will be a revelation”
(Dinham, 2020, p. 29)
The Elements of Visual Art
References
Additio. (2021). Multiple Intelligences. [Graphic of Multiple Intelligences]. Additio. https://additioapp.com/en/gardners-theory-of-multiple-intelligences/
Anish Kapoor. (n.d.). Anish Kapoor, Cloud Gate, 2004. [Photograph of sculpture]. Anish Kapoor. https://anishkapoor.com/110/cloud-gate-2
Art in Context. (2022, September 13). Elements of Art – An Analysis of the Seven Elements of Art. https://artincontext.org/elements-of-art/
Australian Curriculum, Assessment and Reporting Authority [ACARA]. (2018). Australian Curriculum: F-10 curriculum: The Arts: Introduction v.8.4. https://www.australiancurriculum.edu.au/f-10-curriculum/the-arts/introduction/
Australian Curriculum, Assessment and Reporting Authority [ACARA]. (2018). Australian Curriculum: F-10 curriculum: The Arts: Key ideas. https://www.australiancurriculum.edu.au/f-10-curriculum/the-arts/key-ideas/
Australian Curriculum, Assessment and Reporting Authority [ACARA]. (2018). Australian Curriculum: F-10 curriculum: General capabilities v.8.4. https://www.australiancurriculum.edu.au/f-10-curriculum/general-capabilities/
Australian Curriculum, Assessment and Reporting Authority [ACARA]. (2018). Australian Curriculum: F-10 curriculum: Structure. https://www.australiancurriculum.edu.au/f-10-curriculum/structure/
Australian Curriculum, Assessment and Reporting Authority [ACARA]. (2018). Australian Curriculum: F-10 curriculum: Sustainability v.8.4. https://www.australiancurriculum.edu.au/f-10-curriculum/cross-curriculum-priorities/sustainability/
Delsey Ah Wang. (2015). [Graphic of ‘The Arts’ learning area structure]. Delsey’s Art Advocation Statement. https://sites.google.com/site/delseysartsadvocacystatement/australian-curriculum--the-arts
Dinham, J. (2020). Delivering authentic arts education (4th ed.). Cengage Learning.
Ewing, R. (2010). The Arts and Australian education: Realising potential. Australian Education Review, 58. http://research.acer.edu.au/cgi/viewcontent.cgi?article=1020&context=aer
Erickson, L. (2016, February 24). Enrich the Learning Experience with Cross-Curricular Projects. Mimio Educator. https://blog.mimio.com/enrich-the-learning-experience-with-cross-curricular-projects
Gardner, H. (1983). Frames of Mind: A Theory of Multiple Intelligences. Basic Book Inc.
Gibson, R. & Ewing, R. (2020). Transforming the Curriculum Through the Arts. Springer International Publishing AG.
Google. (n.d.). Chrome Music Lab. https://musiclab.chromeexperiments.com/Experiments
Hamill, A. (2006). Learning ICT in the Arts. David Fulton Publishers.
Hannafin, M. J., Hall, C., Land, S., & Hill, J. (1994). Learning in Open-Ended Environments: Assumptions, Methods, and Implications. Educational Technology, 34(8), 48–55. http://www.jstor.org/stable/44428230
Ilić, V., Stojanović-Đorđević, T. & Šikl Erski, A. (2018). ICT and Art Education. In 7th International Scientific Conference Technics and Informatics in Education (Čačak, Serbia, 25-27.05.2018). (pp. 32-38). http://www.ftn.kg.ac.rs/konferencije/tie2018/Radovi%20TIE%202018/EN/2)%20Session%201%20-%20Technics,%20Technology%20and%20Informatics%20in%20Education/S102_013.pdf
The Met. (n.d.). Wheat Field with Cypresses, 1889 by Vincent van Gogh. [Closeup of brushstrokes]. The Met. https://www.metmuseum.org/art/collection/search/436535
The Met. (n.d.). Wheat Field with Cypresses, 1889 by Vincent van Gogh. [Image of painting]. The Met. https://www.metmuseum.org/art/collection/search/436535
Ministerial Council on Education, Employment, Training and Youth Affairs (MCEETYA). (2017). National education and the arts statement. http://www.curriculum.edu.au/verve/_resources/National_Education_Arts_Statement.pdf
The Museum of Modern Art (MoMA). (2022). Pablo Picasso, Three Standing Nudes, with Sketches of Faces from Le Chef-d'œuvre inconnu 1927–28, published 1931. MoMA. https://www.moma.org/collection/works/29307
Sinclair, C., Jeanneret, N., O'Toole, J., & Hunter, M. (Eds.). (2007). Education in the Arts: Teaching and learning in the contemporary curriculum (3rd ed.). Oxford University Press.
The Song Room. (n.d.). Our impact: programs. https://www.songroom.org.au/impact/programs/
ThoughtCo & Marina Li. (n.d.). The 7 Elements of Art. [Illustrated graphic of the 7 elements of visual art). ThoughtCo. https://www.thoughtco.com/what-are-the-elements-of-art-182704
Tubik studio (n.d.). [Graphic of Scott Adams quote]. Tubik blog. https://blog.tubikstudio.com/design-inspiration-powerful-quotes-about-art/
Stuckey, H. L., & Nobel, J. (2010). The connection between art, healing, and public health: a review of current literature. American journal of public health, 100(2), 254–263. https://doi.org/10.2105/AJPH.2008.156497
VBSchools. (2011, June 7). 21st century skills in action: Critical thinking, creative thinking, and problem solving [Video]. YouTube. https://www.youtube.com/watch?v=2s6PIrXwt7M
Victorian Curriculum and Assessment Authority [VCAA]. (n.d.). Information Communication Technologies and The Arts. https://victoriancurriculum.vcaa.vic.edu.au/static/docs/Arts%20ICT%20v2.pdf
ARTS RESOURCES FOLIO
Vidual Arts
Resource
Age-level
Years 3 and 4 - Use materials, techniques and processes to explore visual conventions when making artworks - ACAVAM111 (ACARA, n.d.).
Outcomes
Selecting and experimenting with forms, styles, materials and technologies to explore symbolic use of visual conventions used by various cultures and times, for example, how colour and pattern are perceived as symbolic in different cultures (ACARA, n.d.)
Considering viewpoints – societies and cultures: For example – What clues in the artwork tell you where it was made, who made it, and why? What artworks are you familiar with? Which style of artworks represents your community? (ACARA, n.d.)
Rationale
It is important that students recognise the significant role of artistic expressions in the traditions of other cultures, such as the reasons as to why rangoli are created during Diwali and the symbolism of the shapes and colours used (Dinham, 2020). This develops awareness of diversity and commonalities between the art and practices of different cultures, fostering intercultural understanding (Dinham, 2020).
Learning as artist and audience
As the audience, students understand the cultural context of the artwork in relation to how ideas are presented through symbolic communication within traditions, for example, the colour white is used to represent purity and lines are used to represent growth (ACARA, 2018; Tadvalkar, n.d.). Students also explore the practices involved in the creation of this work, such as materials and techniques, which then inform how they learn as the artist when creating their own ‘rangoli’. Using rangoli as a frame of reference, students develop original symbolic conventions representative of their own culture, whereby it is important to avoid mimicking artforms of other cultures (Dinham, 2020). Students are provided with a variety of resources such as rings, pourers, sifters etc. and encouraged to play with different techniques, experimenting and improvising during the incubation stage of the design process to develop fluency and flexibility (Dinham, 2020). The teacher’s role lies in prompting divergent thinking through open questioning – “What colours might you use to represent X? How might you create a symbol for it?” - drawing attention to creative thinking and encouraging students to collaborate with each other to build on each other’s ideas (Dinham, 2020; ACARA, 2018).
Elements developed
The elements of line, colour and shape are developed through student’s exploration and creation of personal symbolism in the form of a Rangoli, which emphasises the concentric repetition of pattern to create a balanced, symmetrical piece (Dinham, 2020; Art in Context, 2022).
Cross-curriculum connections
Learning areas - Maths (symmetry and pattern), HASS (celebration of Diwali observed in Australia) (ACARA, n.d.).
General Capabilities - Critical and Creative Thinking (imagine possibilities and connect ideas, consider alternatives), Intercultural Understanding (investigate culture and cultural identity, develop respect for cultural diversity), Personal and Social Capability (develop reflective practice) (ACARA, n.d.).
Cross-curriculum priorities - Asia and Australia’s Engagement with Asia (ACARA, n.d.).
Interests and inclusion
Inclusivity is taken into account in this highly sensory experience, whereby students who are visually impaired are able to ‘feel’ the patterns they create using different techniques e.g. drawing lines through the material instead. Students with limited physical ability can also be supported by using stencils/dots/outlines to achieve desired patterns if they are unable to do so themselves.
Dance
Resource
Age-level
Foundation to Year 2 - Explore, improvise and organise ideas to make dance sequences using the elements of dance - ACADAM001 (ACARA, n.d.).
Outcomes
Exploring movement possibilities in response to a stimulus, such as imagery, music and shared stories (ACARA, n.d.)
Exploring fundamental movements safely to improvise dance ideas, for example, running in a race, jumping like a frog, stomping like a giant, rolling like a log, falling like an autumn leaf, floating like a cloud, gliding like a bird (ACARA, n.d.)
Rationale
This Creation story from south-eastern Australia has geographic and historical relevance to students in Victoria whereby it is important for students to understand the significance of Aboriginal and Torres Strait Islander traditions and knowledge of the past and present (ACARA, 2018). This resource also helps students understand that dance can be used as a form of storytelling, another significant aspect of Indigenous knowledge (The University of Melbourne, n.d.).
Learning as artist and audience
As the audience, students understand the cultural context of the work and use this knowledge to inform how they might create a dance inspired by Australian animals as their role shifts to that of the artist. In this process, students also make the connection between the interrelated nature of making and responding in that the former is dependent on the latter (ACARA, 2018). As the artist, students engage their kinaesthetic thinking to produce movements, reflecting on and evaluating how the animals in the story moved (ACARA, 2018). The educator may brainstorm ideas during a free-flowing period of playing with movement to help students make connections, prompting using open-ended questions - “What animals did we see in the story? How did they move/dance?” (ACARA, 2018; Dinham, 2020). The educator should guide students in selecting the most appropriate fundamental movement skills for each animal e.g. jumping/hopping like the kangaroo, modelling this themselves, whilst also embracing ambiguity and absurdity by asking ‘What if?’ questions - “What if Tiddalick tried to jump while he was full of water?” - developing children’s flexible thinking (Dinham, 2020).
Elements developed
The element of body is developed as children practice locomotor and non-locomotor movements to emulate the different animals of the story (Dinham, 2020). Similarly, space and dynamics are explored as children recognise that animals move in different ways e.g. Tiddalick may be represented by occupying a lot of space and engaging the weight of the body, moving slowly (Dinham, 2020).
Cross-curriculum connections
Learning areas – HPE (practise fundamental movement skills), Science (common features of animals) (ACARA, n.d.).
General Capabilities – Critical and Creative Thinking (imagining possibilities and connecting ideas), Personal and Social Capability (work collaboratively, understand themselves as learners) (ACARA, n.d.).
Cross-curriculum priorities - Aboriginal and Torres Strait Perspectives (ACARA, n.d.).
Interests and inclusion
Young children are interested in stories and particularly stories about animals, whereby storytelling within dance provides opportunities to develop fundamental movement skills such as leaping and balancing (Dinham, 2020; Pill, 2019). Inclusivity is fostered in that students with differing physical abilities/cultural backgrounds participate in ways that are most suited to the child’s physical strengths/cultural allowances, such as drawing the dances instead of performing them, whereby consultation with families in this process is essential (Dinham, 2020).
Music
Resource
Age-level
Years 3 and 4 - Create, perform and record compositions by selecting and organising sounds, silence, tempo and volume - ACAMUM086 (ACARA, n.d.).
Outcomes
Experimenting with ways of using voices and instruments, combining sounds, silence, tempo and volume to create and perform music (ACARA, n.d.).
Improvising and trialling ideas to create compositions for specific audiences and purposes (ACARA, n.d.).
Creating, sourcing and organising music using a range of accessible technologies (ACARA, n.d.).
Rationale
Using a song from the popular Pixar movie ‘Encanto’ will be a fun and engaging way for students to learn about the different elements of music and also how the voice can be used as an instrument in more ways than just singing. This acapella cover isolates the elements of music (rhythm, melody and harmony) and demonstrates that they are the building blocks of the song by combining them in different parts for different effects (Dinham, 2020).
Learning as artist and audience
As the audience, students critically evaluate the effectiveness of the techniques involved in creating the work they are responding to, providing reasons for their views (ACARA, 2018; Dinham, 2020). This knowledge is then used to inform their own practice when creating an acapella themselves of another song, either using an app or performing it live. Brainstorming as a class to identify and add to the techniques used in the resource will develop children’s fluency, whereby aesthetic awareness is developed in this process as children are required to pay close attention to isolate the different sounds (Dinham, 2020). The educator should facilitate dialogic exchanges between themselves and students and amongst students themselves, encouraging the class to experiment and explore possibilities with practical actions to make different sounds (Sinclair et. al., 2007; ACARA, 2018). To encourage flexible thinking, the educator should provide many different ‘instruments’ in this incubation stage e.g. drink bottles, crinkly food wrappers (more than will actually be used), allowing students to build up a wealth of sensory information and generate ideas in many directions (Dinham, 2020).
Elements developed
The element of rhythm is developed in that students recognise that a beat underpins majority of the song whereby other elements, including pitch, are layered on top in the form of melodies and harmonies (Dinham, 2020). Children recognise that the texture of the song changes as layers are added and removed, depending on the part of the song, which also develops their understanding of the element of structure (Dinham, 2020).
Cross-curriculum connections
General capabilities – Critical and Creative Thinking (organise and process information, imagine possibilities and connect ideas, seek solutions and put ideas into action), Personal and Social Capability (develop reflective practice, appreciate diverse perspectives) Numeracy (patterns), Information and Communication Technology (ICT) Capability (select and use hardware and software) (ACARA, n.d.).
Interests and inclusion
Students can create an acapella of a song of their choice and decide themselves what elements they will recreate and with what techniques e.g. banging a water bottle for a drum. In this process, students develop skills in listening for specific elements in a song, strengthening neural processes which is particularly beneficial for students who struggle with auditory processing (Dinham, 2020). The resource itself also supports these students by providing a visual representation of the layering of sounds in that each frame represents one element, whereby the frames become increasingly occupied as the texture of the song becomes denser.
Drama
Age-level
Years 5 and 6 – Develop skills and techniques of voice and movement to create character, mood and atmosphere and focus dramatic action – ACADRM036 (ACARA, n.d.).
Outcomes
Altering voice and movement to show change in mood and atmosphere, and to create images, effects and an engaging delivery (ACARA, n.d.).
Considering viewpoints – evaluations: For example – How did the performers use the elements of drama and design elements effectively? For what purposes did they make drama? What evidence supports your judgement about the drama? (ACARA, n.d.).
Rationale
At this age, children are increasingly understanding the complexities of relationships and explore this in process drama, a type of drama that is grounded in the life experiences of those involved (Dinham, 2020). Children are invited to make their own interpretation of the image, possibly exploring themes such as relationships and conflict, and in doing so, explore situations directly related to the world in which they live (Dinham, 2020).
Learning as artist and audience
Students are percipient in this experience as they maintain fluid roles of both audience and artist, developing their understanding of the interrelated nature of responding and making (Sinclair et. al., 2007; Dinham, 2020; ACARA, 2018). Firstly as the audience, students interpret the image and communicate their understanding of it through devising a drama whereby their role will then shift to that of the artist (ACARA, 2018) They will perform this drama to one another whereby their role will then shift back to that of the audience as they evaluate and interpret the themes/situations/stories depicted in each performance (ACARA, 2018). By seeing each groups’ varying interpretations of the image, students will understand that different experiences inform the viewpoints held by different people and thus shape Arts practices (ACARA, 2018; Sinclair et. al., 2017). Students develop aesthetic sensibilities as they experience the dramas in relation to themselves, each other and the wider world, whereby open-ended explorations such as this provide opportunities for self-expression and flexible thinking (Sinclair et. al., 2017; Dinham, 2020).
Elements developed
The element of character is developed as students explore how differences in personal experiences affect relationships, whereby the elements of voice and movement are used to distinguish character traits such as personality and mood (Dinham, 2020; ACARA, 2018). Relationships are developed through understanding the dynamics of character interactions, driving the focus and tension of the drama and also providing the context for the situation in which the characters are in (Dinham, 2020).
Cross-curriculum connections
Learning areas – English (language for interaction) (ACARA, n.d.).
General Capabilities - Personal and Social Capability (work collaboratively, understand relationships, communicate effectively), Literacy (compose spoken, written, visual and multimodal learning area texts) (ACARA, n.d.).
Interests and inclusion
Students particularly at this age regard friendships as significant in establishing a sense of identity and belonging and are increasingly aware of the complexity of relationships as they grow older (Brooker & Woodhead, 2010). Character work allows students to develop skills in empathy as well as fostering a sense of belonging in identifying with the character they are playing (Dinham, 2020). Inclusivity is ensured through offering students’ different types of drama to communicate their ideas. For example, students who are learning EAL may choose to devise a mime and alternatively, readers theatre, monologues, storytelling drama require limited movement for students with differing physical abilities (Dinham, 2020).
Media Arts
Age-level
Foundation to Year 2 - Use media technologies to capture and edit images, sounds and text for a purpose - ACAMAM055 (ACARA, n.d.).
Outcomes
Experimenting with and managing a digital camera to capture still or moving images, for example, reviewing captured images, zooming in and out and deleting unwanted images (ACARA, n.d.).
Trialling the selection and arrangement of images, sounds and text to organise important features of an idea or story (ACARA, n.d.).
Rationale
Visual communication modes are dominant in the 21st century and students are familiar with how images can tell stories in themselves without much/any text in the form of dialogue or narration (Dinham, 2020). Using digital technologies to capture images to tell a story is a fun and engaging way to develop student’s skills in creative visual communication and proficiency in using ICT’s (Dinham, 2020).
Learning as artist and audience
As the audience, students evaluate the effectiveness of the artists’ expression of ideas by reflecting on the artists practice with relation to visual and symbolic communication (ACARA, 2018). In doing this, student understanding of the relationship between artist and audience is developed, whereby their role then shifts to that of the artist as they themselves experiment with techniques and technologies to tell a story when making their own comic strip in groups (ACARA, 2018). Brainstorming ideas through prompting questions develops fluency and divergent thinking – “What is a story that you could tell without words? How can you show what a character is thinking or feeling?” – whereby ideas can be recorded visually with use of anchor charts for students to later refer back to i.e. a character might have their mouth wide open to show surprise. Providing an adequate amount of time within the incubation stage for children to experiment with taking photos allows children to realise the potential of their ideas and reflect on how best to communicate them (Dinham, 2020). Collaboration is important in this process as it allows children to vocalise their thinking and build on each other’s knowledge (Dinham, 2020). Collaborative relationships also result in sensory and emotional experiences which are powerful in developing aesthetic understandings through ‘embodied knowing’ (Dinham, 2020).
Codes and conventions developed
The codes and conventions developed include technical elements such as cropping and layout as students make choices about what elements to include in each frame, and how to arrange these images, in order to tell the story (Dinham, 2020). This is also achieved through inclusion of symbolic elements such as symbols/signs and facial and body expressions to convey information about the characters and setting of the story, as well as the progression of time (Dinham, 2020).
Cross-curriculum connections
Learning areas – English (creating texts) (ACARA, n.d.).
General Capabilities – Critical and Creative Thinking (identify and clarify information and ideas, organise and process information), Information and Communication Technology (ICT) Capability (select and use hardware and software), Literacy (compose spoken, written, visual and multimodal learning area texts, understand how visual elements create meaning) (ACARA, n.d.).
Interests and inclusion
Developing skills in visual communication modes is particularly beneficial for students who find difficulty with other communication forms such as language (Dinham, 2020). Additionally, use of ICT’s supports students with limited physical abilities in that their adaptive nature offers many alternatives to taking photos, such as creating images on an iPad or finding images on the internet.
REFLECTION
Upon reflecting on my experience in this unit and my Arts experiences as both a student and a pre-service teacher, I feel passionately about the importance of Arts education and my instrumental role as an educator in delivering it.
I believe the Arts is, at its core, fun, liberating, experiential and collaborative. It allows children to positively explore their identity through responding to the work of others, working with others, and producing their own artworks to express their interpretations of reality that cannot be communicated through other ways of knowing. I found this when I was in the workshop where we were exploring drama - the experience of playing different characters had the effect of revealing inner thoughts and feelings as I attempted to connect with different identities. It also had the effect of forming deeper bonds with my peers as we were able to behave outside of the usual social codes of the classroom and become playful and experimental. This helped me recognise the similarities between the Arts and learning through play - something that as PST we understand is important to learning, but conversely, the education system gradually provides less opportunities for as students move through school. Arts education is crucially one of the few areas that offer these benefits.
Arts education also delivers important instrumental benefits such as also promoting reflective and reflexive thinking within the process of making and responding (Dinham, 2020; ACARA, 2018). As an Arts student, learning to respond to changes in the moment has shaped my approach to learning and now my approach to teaching, as I carry this skill into my practice through understanding the importance of providing “in the moment” feedback (Sinclair et al., 2007). In this sense, I also understand my position as a co-constructor of knowledge as I co-learn alongside my students within collaborative experiences, who’s own different personal contexts bring unique insights into shared Arts practice (Sinclair et al., 2007; Dinham, 2020). I also recognise that there are areas in the Arts that I do not consider myself proficient in, however, continually building on a wealth of knowledge of each art-form is a strategy I will use to overcome these trepidations in order to be able to provide accurate and constructive in-the-moment feedback for my students (Sinclair et al., 2007).
Experiences in the Arts (should) also build resilience through teaching the value of mistakes in the creative process, something I feel was not emphasised in my primary school Arts education. I felt many of my primary school Arts experiences promoted convergent thinking as opposed to divergent, focused on a set outcome as opposed to being criteria-driven (Dinham, 2020). In Year 2 specifically, I remember recreating Sidney Nolan’s ’Ned Kelly’ where the ‘goal’ was to produce a work as similar as possible to the original. Arts experiences such as these that adopt a ‘cookie cutter' approach perpetuate ideas of perfectionism and leave little room for creativity and self-expression. In acknowledgment of this, I will actively avoid providing experiences such as these, as I believe it is not only ineffective in developing creative dispositions in children but it is actively harmful in negatively affecting children’s attitudes to the Arts and their own artistic abilities.
I also acknowledge that a significant obstacle to delivering authentic experiences in the Arts is limitations of time and space (Sinclair et al., 2007). The timetable of a classroom teacher is overloaded, to say the least, and priority is generally given to learning areas such as Maths and English. Embedding the Arts within cross-curriculum connections not only utilises time and space but enhances learning in all areas - children gain a holistic understanding of concepts whilst simultaneously developing aesthetic sensibilities (Dinham, 2020). This is an approach I experienced on my most recent placement, where students employed Arts practices to communicate their learning in Inquiry by using cardboard to build a town. The ‘towns’ were then displayed in the classroom, which becomes the third teacher, allowing them to reflect on their artistic practice and further develop their aesthetic sensibilities (Sinclair et al., 2007; Rinaldi, 2001).
In conclusion, I believe authentic Arts education is crucial within an education system that heavily emphasises rote learning. Learning about and through the Arts as a product and a manifestation of culture helps us understand the world we live in and find belonging through contributing as artist and audience. The Arts in this way represents a way of understanding reality whilst also escaping it through captivating emotional and sensory experiences, allowing us to connect to the world in ways that other learning areas do not provide (Dinham, 2020).
References
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Credits:
Created with images by Ded Pixto - "Collage with plaster antique sculpture of human face in a pop art style. Modern creative concept image with ancient statue head. Zine culture. Contemporary art poster. Funky minimalism. Retro design." • master1305 - "Modern design, contemporary art collage. Inspiration, idea, trendy urban magazine style. Ballet dancer like puppet on pastel background" • highwaystarz - "Group Of Children Enjoying Drama Class Together" • Chanintorn.v - "Happy cheerful ethnic girls play wooden block puzzle together at outdoors park , Relationship little kids, Diverse ethnic concept." • Anton Gvozdikov - "Rock festival" • saiko3p - "Inside Meenakshi temple" • Birute - "Boy plays with colored rice. Implement for children to develop fine motoric skills through play. DIY toy to learn hand - eye coordination. Montessori type pre school activities at home." • Olga Lyubkin - "young photographer" • Rafael Ben-Ari - "Yirrganydji Aboriginal woman and men in Queensland Australia" • Maridav - "Fire dancers at Hawaii luau show, polynesian hula dance men jugging with fire torches." • Prostock-studio - "School Children Having Fun Using Smartphone During Break In Classroom" • Mr. Note19 - "Asian boy doing digital drawing on tablet with high concentration." • Prostock-studio - "Positive girl dancing at camera filming vlog on cellphone" • Friends Stock - "Orchestra performing live concert under blue night sky" • zinkevych - "Talented creative brother and sister attending art lesson" • suwanb - "Autistic, Autism or Down Syndrome children girl is playing the ukulele. Concept disabled child learning in school."