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Appendix: Sample Programs

Integrated unit for stage one

Excerpt from an integrated unit for stage 1 (kindergarten–year 1) English/Literacy/Arts/

Personal Development, written by Robyn Ewing.

Background

A kindergarten/year 1 composite class working on fairy tales used

Lauren Child’s (2003) Who’s Afraid of the Big Bad Book as the text

for close study over four weeks. At the same time they used a range

of other fairy tales (both traditional and alternative) in literature

circles. They used a range of visual arts and drama strategies to

develop their understandings of narrative text and to encourage

their own oral and written storying. Initially, the students’ story

writing was benchmarked using criteria for narrative writing. The

students’ writing was reassessed at the conclusion of the unit.

Suitability: years K–2.

Duration: 8–10 sessions approximately 25–40 minutes each.

Resources: Who’s Afraid of the Big Bad Book (Child); The Paper

Bag Princess (Munsch); The Princess and the Perfect Dish (Gleeson

& Greder); nursery rhymes; and a selection of other fairy tales

including versions of The Frog Prince; The Three Bears; Cinderella.

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Anticipated outcomes

It is expected that students will

explore a range of well known and non-traditional fairy tales;•

become familiar with the structure of fairy tales;•

retell fairy tales and nursery rhymes;•

use their bodies and facial expressions to represent different fairy tale characters •

and different moods, thoughts and feelings;

recognise that words on a page have meaning and can be read aloud in different •

ways to suggest different feelings;

share their own fairytales with confidence orally and in writing;•

understand the different phases of a fairytale: orientation, complication, resolution; •

and

work cooperatively in small groups.•

Program

Focus: Our feelings, moods and actions have an impact on those around us. Narratives

are an important way for us to communicate with each other about the things that are

important in our lives.

Session 1: As a whole group the class revisit the stories of Goldilocks and the Three

Bears and Cinderella. They take it in turns around the circle to add the next

sentence to build up the stories. It is important to demonstrate that there are

different versions and endings of the same stories.

Session 2: Students choose their favourite character from either fairy tale and walk in

role exploring this character. How do they walk? How do they walk when they are

happy? Worried? Afraid? Students in small groups take turns to look at each other

and guess who is being depicted. Students conclude the session by drawing large

pictures of their character (can be child-sized if older buddies can trace around the

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children). They think about adjectives that describe their character. The characters

are displayed around the room.

Session 3: Shared reading of Who’s Afraid of the Big Bad Book?

Discussion of the text, setting, the characters, etc.

Session 4: Students choose one of the characters in the story. In pairs, students sculpt

or paint each other as their chosen character at a critical moment in the story.

The teacher ‘taps in’ to the artworks and students respond with a brief comment

about how they are feeling at the depicted moment. Students add a thought or

speech bubble expressing their feelings at that particular point in the story. They list

characteristics of their character around their artwork.

Session 5: In small groups students choose a critical moment in either Goldilocks or

Cinderella to present as a freeze frame. The class view all the critical moments and

try to identify them. The teacher once again ‘taps in’ to find out how the characters

were feeling. The still images are recorded with a digital camera and the students

later add captions.

Session 6: Students read a range of fairy tales in small guided reading groups and discuss

the similarities of the structure of these stories. Back in a whole class group the

teacher collates their observations about narrative structure. She shares an alter-

native fairy tale (e.g. The Paper Bag Princess) so children can discuss the differences.

Session 7: Students think about how princesses, princes, dragons, fairy godmothers,

wolves, witches and other main ‘good’ and ‘bad’ characters are often depicted in

fairy stories. They write sentences or draw pictures to demonstrate how they are

usually portrayed. (E.g. ‘Witches usually …’ )

Sessions 8–9: In pairs students plan then write their own fairy tales. This includes

planning of characters, setting and sequence of story using frameworks provided

by the teacher. Those who need teacher help to scribe the stories complete their

illustrations first. The stories are edited if necessary. The students’ older buddies or

parents word process the stories and then these are published and final illustrations

completed.

Session 10: Students share their fairy tales with other classes before they are placed in

the library.

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Integrated unit for stage two

An excerpt from an integrated unit of work for stage two (years three

and four) written by Janelle Warhurst.

English, Creative Arts, Science, HSIE (see New

South Wales DET Connected Outcomes Unit The

Effects of Growth and Change)

Related texts: The Great Bear (Gleeson & Greder);

Arabella (Orr & Gamble); Storm Boy (Thiele) and

Swan Song (Thiele).

Anticipated outcomes will vary according to

rele vant state syllabus documents but the unit

spans English (Talking and Listening, Reading and

Writing) and Creative Arts (both Visual Arts and

Drama). Figure A.1 Blueback by Tim Winton

Teaching and learning activities

1 Read the text each day using Literature Circle

strategies (with parent helpers if available).

2 Discuss important events in each reading.

3 Ask students to take notes about the story.

4 Explicitly teach grammar, using Winton’s exemplary

language as a model for different kinds of verbs and

imagery, with exercises like this:

Find a description in Chapter One of Blueback which may

have imagery in it and which helps you to build up an

image in your mind about the setting of the book. You

may have found other quotes which help you to imagine

Literature Circles

Different roles are assigned

to children when they are

sharing a text in a small group.

This helps students take

responsibility for reflecting on

different aspects of a response

to a text. These roles include:

• leadingthediscussion;

• choosingapersonally

meaningful image to share;

• identifyinginterestingor

challenging words;

• makingconnectionswiththe

student’s own world; and

• developingacharacter

profile.

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both characters moving in the setting or events which are unfolding. Note down any

quotes you find and explain why they help you build up images.

5 Create a page of favourite images in an Interactive Whiteboard (IWB) notebook

using text from the book.

6 Draw your favourite and most memorable images.

These images will then be transferred to a mural

using calico squares, tie-dying, batik, sewing and

appliqué. Many different textures of material are

added. Students collect other materials including

beads, leather and foil. (Parents who are artists can

assist with this.)

7 Write a letter from Dora to Abel while Abel is

at boarding school. Explain to Abel that the

developers have moved into Longboat Bay and

describe what they are doing.

8 Using the model from Into the Story (Saxton

and Miller, 2004, p. 32) group students and

brainstorm theme-related words and ideas.

Themes of Blueback include family, conservation,

education, beauty and love. Create tableaux about

the themes; other class members can ‘tap in’ to

discover the meaning of each tableau.

9 Discuss the following questions in groups and write

your own extended answers:

a What do you think is the main message in the

book? What parts of the story help to get this

message across to the reader? (Read the section

of the book which talks about how Dora says

that the sea is sick. Why does she say this?)

b Write as much as you know about a blue groper.

Why did it have such a central role in Blueback?

Figure A.2 Memorable image

Figure A.3 Main message

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c What is conflict? Look it up in the dictionary.

d What are the main conflicts or problems between characters in the book?

e Why must a narrative or story have conflict between characters?

f Why does Abel say that there is nothing in nature as cruel as a greedy human

being?

10 Write and practise a drama about a significant event in Abel’s life, and have it ready

for the class.

11 Research in collaborative groups as follows the marine ecosystem of the Ningaloo

reef around which Blueback is written.

Computer assignment

You may do this homework with a group but each person must take responsibility for a

section so that one person is not doing it all. Start today!

Remember last Thursday when some of you started to make notebooks of marine

life for your mural panels? Why did you do this?

What was it helping you to do?

Was it helping you to create deep knowledge about what you were doing? Why do

you need this?

Also think about the marine life you have read about in Blueback or through your

research earlier this term for your speech. If, for example, you have been interested in

the life of a seahorse you may wish to study it for this homework. Your marine life may

be represented in our mural so please be specific about the textures of the covering

of the animal and threats to its survival which may help you with your mural panel

designs.

1 Research in detail one endangered marine animal or plant that is found in

the Ningaloo Reef in Western Australia. (Use internet or newspaper article as

resources.)

2 Write a description of what it looks like, feels like, how it behaves and what its

predators are. Describe its habitat, how it reproduces and why it is endangered.

3 Draw its life cycle.

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4 Create a picture that shows how the marine animal or plant exists in its ecosystem.

Draw arrows to its prey and predators, and include illustrations of where it is living.

5 How would the disappearance of this marine animal affect our lives or that of other

marine animals or plants?

6 Present your findings for all of the above questions in one of the following ways:

a digital photographs and explanations in a notebook or Powerpoint;

b your own drawings and hand written information; or

c a short video with you talking.

7 We’ll do our planning on Tuesday. Write each group member’s name next to the

section they will be responsible for.

Step One: Decide which marine animal or plant you will research: for example,

coral. (Tuesday in class)

Step Two: Decide who will be responsible for finding the information for each

question. (Tuesday in class)

Step Three: Decide on a time when you could possibly meet together outside

school time so that you can ask your parents. (Tuesday in class)

Step Four: Research the question you are responsible for at home for homework.

(Tuesday night and Wednesday night)

Step Five: Record your results in a table, as shown below.

Table A.1 Marine animal or plant project

Marine animal: _________________________________________________________________

What don’t we know? Who will do each question?

When will you do each question?

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8 Using the lesson Creatures of the Sea from Exploring the Worlds of K-6 Drama

from Ancient Anna to the Cloth of Dreams (NSWDET 1998) develop and present

a performance about an underwater environment and make links with Human

Society and its Environment (HSIE).

9 Write your own marine animal narrative using rich imagery and verbs, remembering

to start with your own unique setting such as a rock pool. Remember your marine

drama and factors that have threatened your marine animal and its environment.

10 Listen to the Andrew Denton interview with Tim Winton. Write some questions and

answers of your own for an interview with Tim Winton and practise these in pairs.

Perform for the class.

11 Write letters to Tim Winton about your reaction to his book Blueback.

TeACher evALuATion

The most powerful activity in terms of student engagement with the book and an

indication of their love of drama was when students improvised their own marine

animals which they had extensively researched and told stories about them through

drama and movement. The students kept asking if they could do these over and over

again and we set them to the music of ‘Deep Sea Dreaming’ by Elena Katz-Chernin.

Students then wrote narratives which included descriptions of where the sea creatures

were located, such as in a cave or on a rock shelf. At about the same time the year

three students were participating in the NAPLaN Testing. Instead of giving them an

unrelated narrative to write in preparation as is often done, the students had enacted

their stories and these were published in a folder for the whole class to read.

Our class Blueback mural grew out of student fascination with images and themes

in the story. Drawings by groups of students reflected their interpretations of the

story and these were translated into a paneled mural using batik, tie-dye and appliqué

techniques. The text stimulus, mural stories and responses to various aspects of the

activity were recorded.

STudenTS’ reSponSeS To The MAking oF BlueBack MurAL

Talk about your answers to the following questions in small groups and write your

responses below.

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Appendix

A Which of the techniques used, such as batik, tie-dying or appliqué did you find

most effective and why or did you use a combination of all techniques and how did

this help you?

B Write about the textures, materials and objects you have used to create your mural

panel.

C Why did you use each particular fabric? What other materials did you use and why?

D Did you sew or glue your pieces on to tell your story? How did this change your

panel?

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Appendix

E How did you find the making of the mural helped you to interpret (understand)

Blueback?

F Which mural panel other than your own did you find meaningful and why?

Figure A.4 Main message Figure A.5 Main message

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Unit for stage three English

Mahtab’s Story by Libby Gleeson: a unit of work

for stage three, written by Jenny Pickering, Curl

Curl North Public School.

Aim: To achieve outcomes in

reading, writing, talking and

listening by engaging with the text

Mahtab’s Story through drama

and visual arts.

Specific outcomes will vary

according to relevant state sylla

bus documents.

Table A.2 Outcomes—NSW English Syllabus

TS3.1 Communicates effectively for a range of purposes and with a variety of audiences to express well-developed, well-organised ideas dealing with more challenging topics.

TS3.2 Interacts productively and with autonomy in pairs and groups of various sizes and composition, uses effective oral presentation skills and strategies and listens attentively.

RS3.5 Reads independently an extensive range of texts with increasing content demands and responds to themes and issues.

RS3.6 Uses a comprehensive range of skills and strategies appropriate to the type of text being read.

RS3.7 Critically analyses techniques used by writers to create certain effects, to use language creatively, to position the reader in various ways and to construct different interpretations of experience.

RS3.8 Identifies the text structure of a wider range of more complex text types and discusses how the characteristic grammatical features work to influence readers’ and viewers’ understanding of texts.

WS3.9 Produces a wide range of well-structured and well-presented literary and factual texts for a wide variety of purposes and audiences using increasingly challenging topics, ideas, issues and written language features.

WS3.10 Uses knowledge of sentence structure, grammar and punctuation to edit own writing.

WS3.11 Spells most common words accurately and uses a range of strategies to spell unfamiliar words.

Figure A.6 Mahtab’s Story by Libby Gleeson

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WS3.12 Produces texts in a fluent and legible style and uses computer technology to present these effectively in a variety of ways.

WS3.13 Critically analyses own texts in terms of how well they have been written, how effectively they present the subject matter and how they influence the reader.

WS3.14 Critically evaluates how own texts have been structured to achieve their purpose and discusses ways of using related grammatical features and con ven tions of written language to shape readers’ and viewers’ understanding of texts.

Links: The themes of identity, survival, war, family, tolerance,

collaboration, resistance and turning a blind eye have been central

to the previous texts studied. They were Hana’s Suitcase by Karen

Levine and Rose Blanche by Roberto Innocenti. Both were set in

the Second World War while Mahtab’s Story is set in Afghanistan

between 1996 and 2001 as the Taliban ruled the country.

Notes: This unit of work has been supported by teacher’s notes

by Dr Susan La Marca.

Questions

1 Entering the story

What does the word ‘freedom’ mean to you? Discuss. (Students could also be

asked to form a tableau or frozen moment in groups of 3, 4 or 5 to illustrate

their understanding of ‘freedom’.)

Write a response. This response will be examined at the end of the story.

Background information: Find pictures and videos of Afghanistan and kite fighting.

Show maps of the area on Google Earth and Google Maps. Newspaper articles

about refugees can also be researched.

2 Chapter 1

Predicting: After the first paragraph ask the students to predict what is happening.

Where is Mahtab going? Why?

Point out: Short sentences = sense of urgency and tension.

Symbolism of the kite: Just note when a kite is mentioned. Fog = changes in her life

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3 Chapter 2

Show world map to locate Afghanistan and Pakistan.

Connecting the story to the students’ own lives: Read to ‘get dressed quickly’ at

the top of page 14. Ask students what they would bring if they had to leave

suddenly in the middle of the night and go to another country. They can only

take two precious items. (Students can actually bring these items from home

and show the class and explain why.) Record what they have and why.

4 Chapter 3

Sculpting in pairs: Mahtab at home before the war began and then in the truck.

Compare/contrast: Note the significance of the song, stories, sugar cubes and

counting backwards—all are to distract from the terror of what is happening

but also connect to their past life.

Hot seat: After reading page 34, one student is chosen to be in role as Grandma.

The rest of the class question her.

5 Chapter 4

Read to the end of page 43.

Hot seat: Mahtab, her mother and her father.

Writing in role: You are Mahtab. You have at last escaped safely from Afghanistan.

At last you have a chance to write to Grandma and tell what has happened and

about your thoughts feelings and experiences. Write your letter.

At the end of the chapter: Teacher in role as Mahtab’s mother and students ask

questions about their situation but the teacher also takes this opportunity to

explain some of the background about the war and the Taliban as well as what

might happen.

6 Chapter 5

Conscience Alley: Read to ‘… away from any visitor who comes’ on page 60. What

should they do now? Why? How? Mother walks along the alley as students tell

her what they should do and why. Once mother reaches the end of the alley

she will tell the class what she has decided to do and why.

Complete the chapter to find out what they decided to do.

Writing in Role: You are Mahtab’s mother. Write to your husband. You do not know

where he is but he has been gone for eight long months. You have made a

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decision about what to do and you want to tell him what it’s been like, why you

have made your decision and how you intend to follow it up.

7 Chapter 6

Connecting with the story: After reading the chapter, write about a memory you

never want to forget, one that you would close your eyes and think about if

something very bad or scary was happening to you.

8 Chapters 7–8

Writing in role as Mahtab: After reading the chapters, write a letter to your father

telling him about the journey.

Tapping in: Underline the sentence that best sums up the journey. Try to memorise

it. The class all close their eyes and listen to each sentence as the teacher taps

students in turn.

9 Chapters 9–13

Background knowledge: Find pictures and locations of detention camps such as

Port Hedland.

At this stage it is probably better to read the story uninterrupted but hot seating

and writing in role would again add to the students’ understanding.

10 Chapter 14 to the end of the story

Compare and contrast the symbolism of the kites at the beginning of the story with

the final scenes through discussion.

Art: Make kites from paper and satay sticks. On one side draw/paint/collage

symbols to show what kite-flying symbolised at the beginning of the story

(freedom, used for fighting, banned by the Taliban, had to be buried as they

represented the old ways, represent captivity, war, fear etc.) with the last part

of the story (freedom).

Other activities that can be done at the end of the book

1 Interviews and Circle within a circle

Interview: Students are in pairs. Student A is the interviewer while student B is

Mahtab. Students use their knowledge of the story and other background

information to interview Mahtab about her family’s journey. Give students ideas

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for questioning: Why did you … ? What happened when … ? How did you feel

when … ? What if … ? Explain … Describe … Students swap roles.

Circle within a circle: The teacher is in role as the producer of a current affairs

program (e.g. Sixty Minutes) and has set up a meeting with the production team

and journalists to discuss what they are going to do for a story about Mahtab’s

family’s journey from Afghanistan to Australia. Students remain in their pairs. All

student As form an inner circle with the teacher/producer while all student Bs

sit in a circle around the outside. The students in the outer circle simply listen in

while the students in the inner circle discuss everything they have learnt about

Mahtab’s journey. The teacher should ask questions and guide the discussion

so that students bring out the important themes, issues and ideas in the story.

The students then swap places and the activity is repeated.

2 Readers’ theatre

Demonstrate by taking an important moment in the story and turning it into a

script for a short play using the descriptions, actions and direct speech already

in the text as well as using your own words and actions to add meaning. (See

attached script from pages 3 and 4.)

In groups, students rehearse then perform the readers’ theatre for the class.

Emphasise use of voice and facial expression with some actions.

Teacher chooses sections or crucial events in the story. Divide the class into groups

and have them write the script and then perform their piece. Alternatively,

students may themselves choose the events they consider crucial to use for

readers theatre.

3 Written review

Give students headings to help plan their written review. Brainstorm content.

Headings might include:

What is the story about? (Journey, escape, survival, hope.)

Why is the story told? (Inspiration of Nahid.)

Who’s in it? (Characters.)

Connections to other stories? (The effect of war on children, families and society.)

Issues in Australia?

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How is the story told? (Language—short sentences to build tension and long

sentences to describe dreams.)

Symbolism? (Kites, shell, dirt, bracelet, tarpaulin.)

Contrasts? (Freedom versus imprisonment/captivity.)

Distractions in bad times? (Counting, song, sugar cubes’ stories.)

Irony? (Australia promises freedom but characters are again imprisoned in the

detention centre.)

Reader’s Theatre script for pages 3 and 4 of Mahtab’s Story

CAST: unCLe WAhid, FAhAd, rezA, MAhTAb, LeiLA, nArrATor

Fahad and Reza are running around with their kites. Mahtab and Leila are sitting watching.

FAHAD: Watch out Reza, I’m going to get you. I’m going to cut the string and bring your

kite down!

REZA: No way Fahad. I can run faster and move my kite to get yours and it will fly off

into the sky, across the city and it will be lost for ever.

Uncle Wahid races across, grabs the strings, hauling them to his chest swiftly. His hands

are torn on the glass on the string.

UNCLE WAHID: (Screaming.) You must never, never, never play this way again. You are

putting the whole family in danger. You will be killed and your fathers and your mothers

and your brothers and your sisters and your cousins. What do you think you are doing?

You have been told everything has been changed and you are to never, never, never to

play like this again.

NARRATOR: Everything had changed.

Mahtab and Leila look on fearfully holding hands.

The boys are crying, snivelling and shrunken. They take a shovel and dig a hole. They fold

up the kites and bury them. Uncle Wahid looks sternly on. They kick dirt over the kites.

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They then walk with Uncle Wahid who now puts his arms around their shoulders, pats

them and and guides them back into the house. The boys sniff and sob.

FAHAD: I love that kite. That is the only fun we have now. Why must I destroy it?

REZA: There’s no fun anymore. Now my kite has gone what is there to look forward to?

Winter is the best time because it’s kite fighting time. Fahad and I are the best. Now we

can’t even do it at home let alone with all the other boys. (Sob.)

UNCLE WAHID: I’m sorry I was so angry but I was so afraid when I saw what you were

doing. You know the Taliban have banned kite fighting. It will bring our home to their

attention. They will want to punish all of us if the rules are broken.

They lie on their beds sobbing. Leila and Mahtab look on sadly then comfort the boys.

Uncle Wahid walks slowly and sadly from the room.

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Appendix

Unit for stage four Visual Arts

Extract from a unit of work for stage four Visual Arts, written by Alexandra Cutcher, Banora

Point High School

Specific outcomes will vary according to relevant state syllabus

documents.

Table A.3 Stage four Visual Arts

outcomes Specific content focus for stage four

A student: 4.1 uses a range of strategies to explore different art-making conventions and procedures to make artworks;

4.2 explores the function of and relationships between the artist—artwork—world—audience;

4.3 makes artworks that involve some understanding of the frames;

4.4 recognises and uses aspects of the world as a source of ideas, concepts and subject matter in the visual arts;

4.5 investigates ways to develop meaning in their artworks;

4.6 selects different materials and techniques to make artworks;

4.7 explores aspects of practice in critical and historical interpretations of art;

4.8 explores the function of and relationships between artist—artwork—world—audience;

4.9 begins to acknowledge that art can be interpreted from different points of view;

4.10 recognises that art criticism and art history construct meanings.

Students learn about: Students learn to:

the field of visual arts and design as •comprising conventions; activities, traditions and customs •shaped by different values and beliefs;

investigate the field of visual arts and •design and approximate some conventions, activities, traditions and customs of the field to make art;

the pleasure and enjoyment in •making artworks;

reflect on and interpret actions and choices, •and document these in their diaries;

the function of the artist to make •artworks—images or objects;

make images and objects (artworks) •that approximate an approach to artistic practice;

the material, physical and virtual form •of artworks intentionally made by artists;

make artworks using a range of 2D, •including drawing, 3D and/or 4D forms, materials and techniques and various investigations of the world;

belief, value and meaning in art- •making in the structural frame;

investigate and employ a range of •conventions including codes, symbols and signs and consider how communication is embedded in the material and conceptual organisation of artworks and offer a way to develop representations of ideas and interests in the world in the making of art;

belief, value and meaning in art- •making through the cultural frame;

investigate how notions of cultural identity •form artistic practice, and consider the effects of science and technology, politics, economics and social issues upon art-making;

feeling, emphasis, imagination and •experience in art-making in the subjective frame;

investigate how the unconscious, intuition •and imagination can be explored as a source of ideas for art-making and consider how artworks can be regarded as expressive and unique objects;

challenging assumptions about art •and power through the postmodern frame; and

Investigate how artworks can be modified, •reinterpreted and/or appropriated from a variety of sources using parody, irony and ideas that challenge the mainstream and conventions of art; and

how artworks may be differently •interpreted by artists, writers, critics, historians and other audiences.

identify and describe the purpose, audience •and context for viewing artworks.

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Appendix

Tab

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plor

e cu

ltura

l pra

ctic

es a

nd s

ocia

l id

entit

y; d

esig

n &

pri

ntin

g te

chni

ques

, pro

cedu

res

& c

onve

ntio

ns a

re

then

em

ploy

ed, t

o m

ake

wor

ks e

xplo

ring

the

cul

ture

of E

gypt

thr

ough

pr

intm

akin

g

he

roe

s &

te

mp

les

A c

ultu

ral &

pos

tmod

ern

expl

orat

ion

of G

reek

& R

oman

form

s in

the

st

yle

of J

ohn

Wol

sele

y, in

corp

orat

ing

text

, col

lage

, app

ropr

iatio

n. T

o ex

tend

, an

expl

orat

ion

of p

ostm

oder

n co

nven

tions

of a

ppro

pria

tion

and

som

e hu

mou

r th

roug

h di

gita

l im

agin

g an

d co

llage

Key

artis

ts/e

xam

ples

‘Ven

us o

f Will

endo

rf’,

Lasc

aux

cave

pai

ntin

gs; A

bori

gina

l tra

ditio

nal

pain

ting;

the

pyr

amid

s; H

ypos

tyle

Hal

l at

Karn

ak; K

ing

Men

kure

& h

is

quee

n; A

men

emhe

b of

The

bes;

Mar

gare

t Pr

esto

n

Gre

ek s

culp

ture

; Gre

ek p

otte

ry; G

reek

arc

hite

ctur

e; R

oman

ar

chite

ctur

e; J

ohn

Wol

sele

y; V

icto

ry o

f Sam

othr

ace;

the

Par

then

on;

the

Col

osse

um

Form

s2D

—dr

awin

gs, p

aint

ing,

lino

pri

ntin

g2D

& 4

D—

Pai

ntin

g, d

igit

al m

edia

, col

lage

Fram

esSu

bjec

tive

Stru

ctur

alC

ultu

ral

Pos

tmod

ern

Subj

ectiv

eSt

ruct

ural

Cul

tura

lP

ostm

oder

n

Con

cept

ual F

ram

ewor

kA

rtis

tA

rtw

ork

Wor

ldA

udie

nce

Art

ist

Art

wor

kW

orld

Aud

ienc

e

Out

com

es4.

1, 4

.2, 4

.3, 4

.4, 4

.5, 4

.6, 4

.7, 4

.8, 4

.9, 4

.10

4.1,

4.2

, 4.3

, 4.4

, 4.5

, 4.6

, 4.7

, 4.8

, 4.9

, 4.1

0

Ye

ar 8

Term

3Te

rm 4

pra

ctic

e

Art

-mak

ing;

criti

cal a

nd h

isto

rica

lst

udie

s

Fait

h,

ho

pe

& F

anta

sy

A s

truc

tura

l & s

ubje

ctiv

e ex

plor

atio

n of

the

cul

tura

l asp

ects

of t

he

med

ieva

l Eur

opea

n w

orld

, usi

ng t

he p

roce

dure

s &

con

vent

ions

of

scu

lptu

re t

o ex

plor

e be

liefs

abo

ut &

mea

ning

s re

latin

g to

re

pres

enta

tions

of C

hris

tiani

ty

pic

ture

s, p

ort

rait

s &

Wo

rds

A s

truc

tura

l exp

lora

tion

of d

esig

n co

ncep

ts &

con

vent

ions

util

isin

g ill

umin

ated

man

uscr

ipts

& m

osai

cs, w

hich

exp

lore

the

pos

tmod

ern

prac

tice

of a

ppro

pria

tion,

to

crea

te t

wo

visu

al h

ybri

ds

Key

artis

ts/e

xam

ples

Arc

hite

ctur

e, g

argo

yles

, Jef

f Koo

ns, S

hona

Wils

onM

edie

val m

osai

cs; i

llum

inat

ed m

anus

crip

ts; C

hris

tian

icon

ic p

aint

ing;

Li

n O

nus,

Kat

hlee

n P

etya

rre

Form

s3D

—C

eram

ics,

ass

embl

age

2D—

Dra

win

g; c

olla

ge; d

esig

n; m

onop

rint

ing

Fram

esSu

bjec

tive

Stru

ctur

alC

ultu

ral

Pos

tmod

ern

Subj

ectiv

eSt

ruct

ural

Cul

tura

lP

ostm

oder

n

Con

cept

ual F

ram

ewor

kA

rtis

tA

rtw

ork

Wor

ldA

udie

nce

Art

ist

Art

wor

kW

orld

Aud

ienc

e

Out

com

es4.

1, 4

.2, 4

.3, 4

.4, 4

.5, 4

.6, 4

.7, 4

.8, 4

.9, 4

.10

4.1,

4.2

, 4.3

, 4.4

, 4.5

, 4.6

, 4.7

, 4.8

, 4.9

, 4.1

0

EWI_CAI_02_4pp.indd 224 28/8/09 11:58:04 AM


225

Appendix

225

Tab

le A

.5

Ban

ora

Poin

t H

igh

Scho

ol, V

isua

l Art

s st

age

four

, tea

chin

g, le

arni

ng a

nd a

sses

smen

t ac

tiviti

es

Ye

ar 8

, se

me

ste

r 1

(a)

teac

hin

g,

lear

nin

g &

ass

ess

me

nt

acti

viti

es

re

gis

trat

ion

Art

-mak

ing

Cri

tica

l & h

isto

rica

l stu

die

sS

ign

& d

ate

1 A

rtw

ork

; st

ruct

ura

l fra

me

Stud

ents

are

intr

oduc

ed t

o vi

sual

lang

uage

of t

he e

lem

ents

of d

esig

n (li

ne, s

hape

, ton

e, c

olou

r, te

xtur

e, c

ompo

sitio

n, p

atte

rn, s

pace

, siz

e,

prop

ortio

n et

c.) a

s w

ell a

s th

e co

nven

tions

of c

odes

, sym

bols

and

sig

ns

thro

ugh

a va

riet

y of

act

iviti

es (w

orks

heet

s, li

tera

cy e

xerc

ises

).

3 A

rtw

ork

a

rtw

ork

; st

ruct

ura

l fra

me

Util

isin

g sy

mbo

ls a

nd s

igns

from

Aus

tral

ian

Abo

rigi

nal r

ock

art

& b

ark

pain

tings

, stu

dent

s cr

eate

a g

raph

ic d

raw

ing,

usi

ng t

he c

onve

ntio

ns

of d

esig

n, s

peci

fical

ly c

olou

r, lin

e an

d sh

ape

(Inks

, VA

PD, p

enci

ls).

The

draw

ings

are

to

over

lap

in t

rans

pare

nt la

yers

in m

uch

the

sam

e w

ay a

s do

Abo

rigi

nal r

ock

art

imag

es.

2 W

orl

d

art

wo

rk a

ud

ien

ce;

stru

ctu

ral a

nd

cu

ltu

ral f

ram

es

Stud

ents

inve

stig

ate

thes

e as

pect

s of

vis

ual l

angu

age,

bei

ng in

trod

uced

to

the

str

uctu

ral f

ram

e, b

y cr

itica

lly e

xplo

ring

a r

ange

of a

rtw

orks

, in

clud

ing

Venu

s of

Will

endo

rf, S

tone

heng

e, L

asca

ux c

ave

pain

tings

, ‘Fi

ve

Dre

amin

gs’,

trad

ition

al A

bori

gina

l roc

k ar

t an

d ba

rk p

aint

ings

.

Intr

oduc

tion

to t

he r

ole

of t

he a

udie

nce

(gen

eral

pub

lic, c

ritic

s an

d ot

her

art

spec

ialis

ts) i

n th

e in

terp

reta

tion

of c

ultu

ral a

rtef

acts

and

the

ana

lysi

s of

vis

ual c

odes

, sym

bols

and

sig

ns

evi

de

nce

of

lear

nin

g:

1 C

ompl

eted

wor

kshe

ets

in t

he V

isua

l Art

s P

erso

nal D

iary

(VA

PD),

disp

layi

ng r

udim

enta

ry u

nder

stan

ding

s of

the

ele

men

ts;

2 O

ral &

wri

tten

res

pons

es t

o di

scus

sion

dem

onst

ratin

g un

ders

tand

ings

of t

he s

truc

tura

l fra

me,

the

rol

e of

the

aud

ienc

e in

the

ana

lysi

s an

d in

terp

reta

tion

of a

rtw

orks

; and

3 R

esol

ved

desi

gn d

emon

stra

tes

unde

rsta

ndin

gs o

f vis

ual l

angu

age

and

the

conv

entio

ns o

f col

our,

line,

sha

pe &

com

posi

tion.

Fee

db

ack

:

1 O

ral f

eedb

ack

from

tea

cher

in d

iscu

ssio

n;

2 W

ritt

en fe

edba

ck fr

om t

each

er in

dia

ry a

sses

smen

t; a

nd3

Teac

her

obse

rvat

ion

of s

tude

nt p

roce

sses

and

ora

l fee

dbac

k.

EWI_CAI_02_4pp.indd 225 28/8/09 11:58:05 AM


226

Appendix

226

Tab

le A

.5

Ban

ora

Poin

t H

igh

Scho

ol, V

isua

l Art

s st

age

four

, tea

chin

g, le

arni

ng a

nd a

sses

smen

t ac

tiviti

es (c

ontin

ued

)

Ye

ar 8

, se

me

ste

r 1

(b)

teac

hin

g,

lear

nin

g &

ass

ess

me

nt

acti

viti

es

re

gis

trat

ion

Art

-mak

ing

Cri

tica

l & h

isto

rica

l stu

die

sS

ign

& d

ate

5 W

orl

d

art

wo

rk;

cult

ura

l fra

me

Stud

ents

cre

ate

a 15

cm x

15c

m d

esig

n us

ing

sym

bols

and

sig

ns e

vide

nt

in E

gypt

ian

art

in t

heir

VA

PD, (

wor

kshe

ets,

tex

tboo

ks, c

olou

red

penc

ils).

7 A

rtis

t A

rtw

ork

; S

tru

ctu

ral F

ram

e

Usi

ng t

he a

bove

des

ign

as a

bas

is, s

tude

nts

are

intr

oduc

ed t

o th

e co

nven

tions

of p

rint

mak

ing

by c

reat

ing

a bl

ack

and

whi

te li

no p

rint

w

hich

is t

hen

man

ipul

ated

by

hand

col

ouri

ng t

echn

ique

s an

d re

peat

pr

intin

g. S

tude

nts

prod

uce

4 x

sing

le p

rint

and

one

rep

eate

d pr

int

(4–6

re

petit

ions

), gi

ving

5 p

rint

s in

tot

al.

9 A

rtw

ork

A

ud

ien

ce;

Str

uct

ura

l Fra

me

An

exhi

bitio

n is

mou

nted

in t

he c

lass

room

and

stu

dent

s ch

oose

one

ot

her

wor

k to

cri

tical

ly a

naly

se (p

eer

asse

ssm

ent

wor

kshe

et).

4 W

orl

d

art

wo

rk

au

die

nce

; cu

ltu

ral f

ram

e

Stud

ents

exp

lore

asp

ects

of E

gypt

ian

cultu

re t

hrou

gh t

he

exam

inat

ion

of t

he p

yram

ids,

The

Hyp

osty

le H

all o

f the

Tem

ple

of

Am

on a

t Ka

rnak

, the

scu

lptu

re o

f ‘Ki

ng M

enku

re a

nd h

is q

ueen

’ an

d th

e fr

esco

of A

men

emhe

b of

The

bes.

The

se d

iscu

ssio

ns a

nd

obse

rvat

ions

are

focu

sed

thro

ugh

the

dyna

mic

of w

orld

—ar

twor

k—au

dien

ce a

nd t

he c

ultu

ral f

ram

e (t

exts

, wor

kshe

ets)

.

6 A

rtw

ork

a

ud

ien

ce;

art

his

tory

Stud

ents

com

plet

e lit

erac

y co

mpr

ehen

sion

tas

k fr

om ‘T

he V

isua

l A

rts’

tex

t. Q

uest

ions

focu

s on

the

pra

ctic

e of

art

his

tory

(tex

ts,

wor

kshe

ets)

.

8 A

rtw

ork

a

ud

ien

ce;

art

crit

icis

m

Cri

tical

eva

luat

ion

of e

ach

othe

rs li

no p

rint

ing

wor

ks. E

ach

stud

ent

sele

cts

one

wor

k to

be

exam

ined

by

thei

r ne

ighb

our

(pee

r as

sess

men

t w

orks

heet

).

evi

de

nce

of

lear

nin

g:

(4) D

iscu

ssio

n de

mon

stra

ting

unde

rsta

ndin

gs o

f sta

ted

aspe

cts

of c

once

ptua

l fra

mew

ork;

(5) W

ork

sam

ple

Egyp

tian

desi

gn;

(6) L

itera

cy t

ask

com

plet

ed in

boo

k; a

nd(7

) Wor

k sa

mpl

es o

f lin

o pr

ints

.

Fee

db

ack

:

(4) O

ral f

eedb

ack

in d

iscu

ssio

n, r

einf

orce

men

t of

con

cept

s;(5

) (7)

Wri

tten

feed

back

—as

sess

men

t of

pra

ctic

al t

asks

;(6

) Obs

erva

tion

of li

tera

cy t

ask

in t

he V

APD

; and

(7) P

eer

asse

ssm

ent

of li

no u

nit.

EWI_CAI_02_4pp.indd 226 28/8/09 11:58:05 AM


227

Appendix

227

Ye

ar 8

, se

me

ste

r 1

(c)

teac

hin

g,

lear

nin

g &

ass

ess

me

nt

acti

viti

es

re

gis

trat

ion

Art

-mak

ing

Cri

tica

l & h

isto

rica

l stu

die

sS

ign

& d

ate

1 A

rtw

ork

a

rtw

ork

; p

ost

mo

de

rn f

ram

e

Stud

ents

cre

ate

a m

ixed

med

ia w

ork

emph

asis

ing

the

elem

ents

of

line

and

shap

e in

the

sty

le o

f Joh

n W

olse

ley.

Tw

o G

reek

scu

lptu

res,

on

e G

reek

tem

ple

and

the

Col

osse

um a

re a

ppro

pria

ted

in p

en, u

sing

ov

erla

ppin

g an

d in

k w

ash

to c

ompl

ete

the

imag

e. T

ext

is t

hen

adde

d by

ha

nd a

nd b

y co

llage

. The

imag

e is

a s

ensi

tive

post

mod

ern

inte

rpre

tatio

n of

the

cla

ssic

al, c

ultu

ral i

deas

of G

reec

e an

d R

ome.

4 A

rtw

ork

a

ud

ien

ce

art

wo

rk;

po

stm

od

ern

fra

me

Stud

ents

man

ipul

ate

3 im

ages

of G

reek

scu

lptu

re (e

.g. V

enus

de

Milo

, V

icto

ry o

f Sam

othr

ace,

Dor

ypho

rous

), ad

ding

con

tem

pora

ry c

loth

ing

and

land

scap

es. T

his

is a

pos

tmod

ern

inte

rpre

tatio

n of

the

cla

ssic

al

Gre

ek s

culp

ture

. Stu

dent

s ad

d m

issi

ng b

ody

part

s an

d ba

ckgr

ound

s to

re

inte

rpre

t ea

ch s

culp

ture

to

a co

ntem

pora

ry c

onte

xt. H

umou

r, w

it an

d sa

tire

are

to b

e en

cour

aged

(pho

toco

pies

, ink

s, p

enci

ls, t

exta

s).

2 A

rtw

ork

a

ud

ien

ce;

art

his

tory

; cu

ltu

ral f

ram

e

Stud

ents

inve

stig

ate

aspe

cts

of G

reek

Scu

lptu

re, G

reek

arc

hite

ctur

e an

d R

oman

arc

hite

ctur

e th

roug

h th

e fr

ames

and

cri

tical

/his

tori

cal

stud

ies

in A

rtw

ise

No.

1 a

nd A

rtw

ise

No.

2. Q

uest

ions

em

phas

ise

elem

ents

of c

onte

nt (t

exts

).

2 A

rtw

ork

a

ud

ien

ce;

art

crit

icis

m;

cult

ura

l fra

me

Stud

ents

cri

tical

ly a

naly

se t

he w

ork

of J

ohn

Wol

sele

y th

roug

h di

scus

sion

and

a li

tera

cy e

xerc

ise

(tex

ts, w

orks

heet

s).

evi

de

nce

of

lear

nin

g:

(1) C

ompl

eted

mix

ed m

edia

imag

e;(3

) Com

plet

ed li

tera

cy e

xerc

ises

in V

APD

; and

(4) C

ompl

eted

figu

re in

land

scap

e w

orks

.

Fee

db

ack

:

(1) W

ritt

en fe

edba

ck o

n m

ixed

med

ia t

ask;

(2) O

ral f

eedb

ack

duri

ng d

iscu

ssio

n an

d ob

serv

atio

n of

wor

ks in

pro

gres

s; a

nd(4

) Wri

tten

feed

back

of d

iary

wor

k an

d po

stm

oder

n ex

erci

se.

EWI_CAI_02_4pp.indd 227 28/8/09 11:58:05 AM


228

Appendix

228

Tab

le A

.5

Ban

ora

Poin

t H

igh

Scho

ol, V

isua

l Art

s st

age

four

, tea

chin

g, le

arni

ng a

nd a

sses

smen

t ac

tiviti

es (c

ontin

ued

)

Ye

ar 8

, se

me

ste

r 2

a te

ach

ing

, le

arn

ing

& a

sse

ssm

en

t ac

tivi

tie

sr

eg

istr

atio

n

Art

-mak

ing

Cri

tica

l & h

isto

rica

l stu

die

sS

ign

& d

ate

3 A

rtis

t a

rtw

ork

; su

bje

ctiv

e an

d c

ult

ura

l fra

me

s

Stud

ents

und

erta

ke a

ser

ies

of p

en a

nd in

k st

udie

s ex

plor

ing

vari

ous

stru

ctur

es e

.g. b

uild

ings

, the

bod

y, t

rees

etc

in t

heir

dia

ries

. Com

posi

tion

is e

mph

asis

ed.

They

mak

e w

ritt

en r

espo

nses

to

thes

e dr

awin

gs, u

sing

the

lang

uage

of

the

form

al q

ualit

ies

of a

rt; t

he w

ritin

g is

to

appe

ar o

n th

e dr

awin

g th

emse

lves

(sel

f-as

sess

men

t sh

eet)

.

Cla

ss d

iscu

ssio

n re

gard

ing

thei

r w

ork

and

peer

- an

d se

lf-ev

alua

tion

of

draw

ings

in t

he d

iary

.

5 A

rtis

t a

rtw

ork

; st

ruct

ura

l fra

me

If m

ater

ials

per

mit,

stu

dent

s cr

eate

a s

culp

ture

of a

gar

goyl

e or

fan

tasy

cr

eatu

re in

cla

y.

7 A

rtw

ork

a

ud

ien

ce;

stru

ctu

ral f

ram

e

Wri

tten

and

ver

bal a

naly

sis

of t

heir

ow

n w

ork.

1 A

rtw

ork

a

ud

ien

ce;

cult

ura

l fra

me

Stud

ents

are

intr

oduc

ed t

o th

e M

edie

val E

urop

ean

wor

ld t

hrou

gh t

he

cultu

ral f

ram

e. L

inks

are

mad

e to

the

anc

ient

wor

ld s

tudi

ed la

st y

ear.

Not

ions

of c

ultu

ral i

dent

ity

and

cultu

ral p

ract

ices

are

dis

cuss

ed.

2 A

rtw

ork

a

ud

ien

ce;

cult

ura

l an

d s

tru

ctu

ral f

ram

es

Stud

ents

inve

stig

ate

the

conv

entio

ns o

f med

ieva

l arc

hite

ctur

e—

earl

y C

hris

tian

& B

yzan

tine,

Rom

anes

que

and

Got

hic—

usin

g a

rang

e of

w

ritt

en m

ater

ials

from

a h

isto

rica

l/st

ruct

ural

per

spec

tive.

Em

phas

is is

pl

aced

upo

n th

e de

velo

pmen

t of

tec

hnol

ogy

and

its

rele

vanc

e fo

r th

e ex

pres

sion

of c

ultu

ral b

elie

f sys

tem

s (A

rtw

ise

No.

2, T

he V

isua

l Art

s,

Cav

es t

o C

anva

s, w

orks

heet

s). T

his

inve

stig

atio

n fo

rms

the

foun

datio

n fo

r th

e su

bseq

uent

art

-mak

ing

activ

ities

. Not

ions

of a

udie

nce

are

disc

usse

d.

4 A

ssig

nm

en

t—C

F, a

ll fr

ame

s

Thro

ugh

the

conc

eptu

al fr

amew

ork

and

the

fram

es, S

tude

nts

exam

ine

and

anal

yse

nonfi

gura

tive

(pre

fera

bly

Aus

tral

ian

) scu

lptu

re.

6 A

rtw

ork

; st

ruct

ura

l fra

me

Cer

amic

the

ory,

saf

ety

and

proc

edur

es.

evi

de

nce

of

lear

nin

g:

(1) O

ral d

iscu

ssio

ns r

egar

ding

med

ieva

l cul

ture

;(2

) Wri

tten

res

pons

es t

o ar

chite

ctur

al c

onve

ntio

ns in

the

dia

ry;

(3) P

en a

nd in

k st

udie

s /

wri

tten

res

pons

es in

the

vis

ual a

rts

diar

y;(4

) Art

wor

ks (s

culp

ture

s) d

emon

stra

ting

the

evid

ent

unde

rsta

ndin

gs o

f str

uctu

re, s

culp

ture

, vis

ual l

angu

age

and

sym

bolis

m; a

nd(5

) Pee

r as

sess

men

t /

inte

rpre

tatio

n of

eac

h ot

hers

’ wor

k.

Fee

db

ack

:

(1) (

3) O

ral f

eedb

ack

in d

iscu

ssio

n;

(2) (

3) (4

) Wri

tten

feed

back

in t

he a

sses

smen

t of

wri

tten

tas

ks, a

ssig

nmen

t;(3

) (5)

Wri

tten

feed

back

on

the

art

mak

ing

task

s;

(3) (

7) T

each

er o

bser

vatio

n of

pee

r di

scus

sion

and

feed

back

in d

ecod

ing

artw

orks

; and

(all)

Ora

l fee

dbac

k.

EWI_CAI_02_4pp.indd 228 28/8/09 11:58:05 AM


229

Appendix

229

Ye

ar 8

, se

me

ste

r 2b

te

ach

ing

, le

arn

ing

& a

sse

ssm

en

t ac

tivi

tie

sr

eg

istr

atio

n

Art

-mak

ing

Cri

tica

l & h

isto

rica

l stu

die

sS

ign

& d

ate

4 W

orl

d

art

wo

rk;

stru

ctu

ral a

nd

po

stm

od

ern

fra

me

s

Stud

ents

cre

ate

a se

lf-po

rtra

it fr

om a

dig

ital

pho

togr

aph

of t

hem

selv

es

in c

halk

pas

tel.

Usi

ng c

olla

ge, p

aint

and

ink,

stu

dent

s co

mpl

ete

a m

ixed

m

edia

icon

/mos

aic

imag

e on

pap

er.

Text

is a

dded

to

the

imag

e at

the

end

(usi

ng t

he li

tera

cy e

xerc

ise

on

belie

f sys

tem

s fr

om s

emes

ter

1).

5 A

rtis

t

art

wo

rk;

po

stm

od

ern

fra

me

Stud

ents

cre

ate

an il

lum

inat

ed In

itial

in t

he s

tyle

of a

med

ieva

l m

anus

crip

t pa

ge, c

ompl

ete

with

a b

orde

r. Th

e w

ork

will

als

o in

clud

e at

le

ast

one

anim

al a

nd/o

r fa

ntas

y cr

eatu

re. S

tude

nts

utili

se d

esig

n sk

ills,

w

ith a

par

ticul

ar e

mph

asis

on

finis

h an

d pr

esen

tatio

n.

6 A

rtw

ork

a

ud

ien

ce;

stru

ctu

ral f

ram

e

Stud

ents

rec

ord

eval

uativ

e re

spon

ses

in t

he d

iary

.

1 W

orl

d

art

wo

rk;

cult

ura

l fra

me

Stud

ents

are

intr

oduc

ed t

o th

e m

edie

val 2

D a

rt fo

rms

of ic

ons,

ill

umin

ated

man

uscr

ipts

and

mos

aics

.

They

are

gui

ded

thro

ugh

a st

ruct

ural

fram

e in

vest

igat

ion

of

conc

eptu

al fr

amew

ork

rela

tions

by

a se

ries

of q

uest

ions

.

2 A

ssig

nm

en

t: w

orl

d

art

wo

rk;

all f

ram

es

The

y us

e sc

affo

lds

to a

naly

se o

ne e

xam

ple

of e

ach

of t

he a

rt

form

s ab

ove

in w

hich

the

art

ist

uses

imag

ery

and

text

to

repr

esen

t ex

peri

ence

s, id

eas

or p

erce

ptio

ns o

f and

abo

ut t

he m

edie

val w

orld

.

3 A

rtw

ork

a

ud

ien

ce;

stru

ctu

ral f

ram

e

Stud

ents

exp

lore

icon

s as

bot

h a

cultu

ral a

rtef

act

and

port

rait

conv

entio

n th

roug

h di

scus

sion

.

Stud

ents

exa

min

e se

lf-po

rtra

its

by a

sel

ectio

n of

Aus

tral

ian

artis

ts

(e.g

. Whi

tele

y, H

este

r, R

obin

son

) in

orde

r to

cre

ate

an A

ustr

alia

n co

ntex

t fo

r th

is a

rtis

tic t

radi

tion.

evi

de

nce

of

lear

nin

g:

(1) S

tude

nt r

espo

nses

to

disc

ussi

on, n

ote

mak

ing

in d

iary

;(2

) Ass

ignm

ent

resp

onse

s in

dica

ting

unde

rsta

ndin

gs o

f the

con

cept

ual f

ram

ewor

k an

d th

e fr

ames

;(3

) Stu

dent

res

pons

es t

o di

scus

sion

, not

e m

akin

g in

dia

ry;

(4) S

elf-

port

rait

icon

;(5

) Illu

min

ated

initi

al; a

nd(6

) Eva

luat

ive

resp

onse

s in

VA

D.

Fee

db

ack

:

(1) (

3) O

ral f

eedb

ack

in d

iscu

ssio

ns;

(3) W

ritt

en fe

edba

ck a

nd a

sses

smen

t of

bod

y of

wor

k; a

nd

(4) (

5) O

ral f

eedb

ack

of a

rtw

orks

in p

rogr

ess.

EWI_CAI_02_4pp.indd 229 28/8/09 11:58:05 AM


230

Appendix

Tab

le A

.5

Ban

ora

Poin

t H

igh

Scho

ol, V

isua

l Art

s st

age

four

, tea

chin

g, le

arni

ng a

nd a

sses

smen

t ac

tiviti

es (c

ontin

ued

)

Ye

ar 8

, se

me

ste

r 2c

te

ach

ing

, le

arn

ing

& a

sse

ssm

en

t ac

tivi

tie

sr

eg

istr

atio

n

Art

-mak

ing

Cri

tica

l & h

isto

rica

l stu

die

sS

ign

& d

ate

4 A

rtis

t a

rtw

ork

; su

bje

ctiv

e an

d s

tru

ctu

ral f

ram

es

Stud

ents

cre

ate

a bo

dy o

f dra

win

gs a

nd e

xper

imen

ts,

colle

ctin

g an

d de

velo

ping

per

sona

l im

ages

and

sym

bols

for

the

belie

fs w

ritt

en a

bout

in t

he la

st t

ask

(e.g

. rub

bing

s, s

cann

ed

imag

es t

hat

are

draw

n on

and

cro

pped

, ges

tura

l ink

stu

dies

, ot

her

type

s of

exp

ress

ive

mar

k m

akin

g). T

his

shou

ld b

e a

maj

or

expl

orat

ion

of s

ymbo

lism

and

mat

eria

ls.

6 A

rtis

t a

rtw

ork

; st

ruct

ura

l fra

me

Stud

ents

pla

n an

d cr

eate

a s

culp

ture

/ a

ssem

blag

e /

site

sp

ecifi

c /

wor

k /

docu

men

ted

form

s. L

ogis

tics

and

proc

esse

s w

ill b

e pl

anne

d in

a v

ery

stru

ctur

ed a

nd t

horo

ugh

way

.

1 W

orl

d

art

ist

art

wo

rk;

cult

ura

l fra

me

Stud

ents

exa

min

e th

e ar

twor

ks o

f Aus

tral

ian

artis

ts w

ho r

espo

nd t

o sp

iritu

al

conc

epts

in t

heir

art

-mak

ing

(e.g

. Abo

rigi

nal f

orm

s, H

osse

in V

alam

anes

h,

John

Cob

urn,

Art

hur

Boy

d, J

ohn

Wol

sele

y, t

ext

refe

renc

e, li

brar

y: ‘F

ire

and

Shad

ow’)

.

Stud

ents

dis

cuss

and

wri

te c

ritic

ally

abo

ut s

elec

ted

exam

ples

.

2 W

orl

d

art

ist

art

wo

rk;

sub

ject

ive

fram

e

Gui

ded

disc

ussi

on a

nd w

ritin

g ab

out

the

conc

ept

of t

he in

visi

ble

(in t

his

case

, th

e co

ncep

t of

thi

ngs

like

faith

, the

spi

ritu

al, e

mot

ions

, tru

th e

tc),

how

art

ists

ha

ve c

reat

ed m

ater

ial r

epre

sent

atio

ns o

f int

angi

ble

real

ities

tha

t ar

e no

t of

the

m

ater

ial/

phy

sica

l wor

ld.

3 W

orl

d

art

ist;

cu

ltu

ral f

ram

e

Stud

ents

wri

te a

100

-wor

d st

atem

ent

abou

t th

eir

own

spir

itual

bel

iefs

(or

that

of

a c

ultu

re o

f int

eres

t) in

a d

irec

ted

liter

acy

exer

cise

. The

y id

entif

y si

gnifi

cant

de

scri

ptiv

e ad

ject

ives

and

ver

bs.

5 A

rtw

ork

a

ud

ien

ce;

stru

ctu

ral f

ram

e

Stud

ents

exa

min

e an

d an

alys

e th

e w

ork

of a

rtis

ts w

ho c

reat

e si

te s

peci

fic

wor

ks (e

.g. G

olds

wor

thy,

Chr

isto

, stu

dent

s w

ork

from

Art

expr

ess

cata

logu

es).

evi

de

nce

of

lear

nin

g:

(1) C

ritic

al w

ritin

g in

art

dia

ry;

(2) D

iscu

ssio

n re

spon

ses,

wor

kshe

ets;

(3) L

itera

cy t

ask

in d

iary

;(4

) Bod

y of

wor

k in

dia

ry;

(5) C

ritic

al w

ritin

g in

dia

ry; a

nd(6

) Thr

ee d

imen

sion

al w

ork.

Fee

db

ack

:

(1) (

2) (5

) Ora

l fee

dbac

k in

dis

cuss

ions

;(4

) (6)

Ora

l fee

dbac

k on

art

wor

ks in

pro

gres

s an

d as

sess

men

t at

end

; and

(4) (

6) W

ritt

en fe

edba

ck o

n ar

twor

ks t

hrou

gh p

eer

asse

ssm

ent

at e

nd.

EWI_CAI_02_4pp.indd 230 28/8/09 11:58:05 AM


231

Appendix

Unit for stage five Visual Arts

Extract from a unit of work for stage four Visual Arts, written by Alexandra Cutcher, Banora

Point High School

Specific outcomes will vary according to relevant state syllabus

documents.

Table A.6 Stage five Visual Arts

Scope and sequence plan

Quality Teaching

All stage 4 & 5 programs have a historical emphasis. In this way significance is explored through the connections made to the History syllabus, thereby making clear connections to students’ prior or background knowledge. It also enables students to examine a wider variety of cultural knowledge. Each unit has been designed with sequenced learning activities to build confidence, develop autonomy and manage increasingly complex materials, concepts and procedures. Establishing this quality learning environment is enhanced by high and explicit expectations and the building of positive relationships. Intellectual quality is a strong feature of these units through the diverse and increasingly rigorous skills the students engage in, developing a deep knowledge and understanding about the world and the cultural practices of those who have inhabited it. The students constantly engage in meta-language and higher order thinking skills to communicate their ideas both visually and verbally and to critically analyse their own art practice and those of others. Problem solving, communication, cultural knowledge and knowledge integration are significant features of this program.

Semester 1 Semester 2

unit description Truth, beauty and reason

A cultural and structural exploration of the ideology and artistic conventions of the Renaissance in Europe. The focus this semester will be on traditional Renaissance techniques and concepts as well as the lives and work of the Great Masters.

The renaissance: Fast and Loose

A postmodern and subjective exploration of the ideology and artistic conventions of the Renaissance. The focus in second semester will be on appropriating and challenging these ideologies and conventions.

247-248 Students learn about Classicism. They will then examine the figure (proportions, anatomy etc), the figure in the landscape and the portrait. Devices such as allegory and narrative in painting will be explored. The notion of patronage will also be examined.

Students learn to examine Renaissance artworks from a postmodern perspective. They will then learn about artists who have appropriated classical images in their art-making.

outcomes 5.1, 5.2, 5.3, 5.4, 5.5, 5.6, 5.7, 5.8, 5.9, 5.10

key practitioners / examples

Giotto, ‘David’ by Donatello, Michelangelo, Bernini and Verocchio; anatomical drawings by Da Vinci and others; ‘The Tribute Money’ by Masaccio; ‘The Birth of Venus’ by Botticelli; Several portrayals of the crucifixion (and/or the resurrection); ‘Vetruvian Man’ by Da Vinci; The Mona Lisa’ by Da Vinci. Any related Australian example.

The Da Vinci Code by Dan Brown; ‘The Last Supper’ by Da Vinci; various examples of ‘The annunciation’, spiritual paintings by Colin McCahon, John Coburn; mixed media works in the Artexpress catalogues.

Art-making (forms) Students will build a body of work that includes drawings (figure, proportions, anatomy studies), etchings (anatomy studies) and paintings (portraits). The emphasis will be on naturalism & technique.

Students will create a body of work around the ‘Annunciation’ as a concept, from the perspective of either Joseph or Mary. Works will be 2-dimensional but utilise mixed media techniques and appropriation.

EWI_CAI_02_4pp.indd 231 28/8/09 11:58:05 AM


232

Appendix

Assessment: 1 Body of work (drawings);2 Body of work (etchings);3 Body of work (portraits);4 Visual arts diary: making activities; critical /

historical studies; presentation; and5 Assignment—case study of a Renaissance

artist.

1 Body of work (the annunciation);2 Diary-making activities—critical / historical

studies; presentation; and3 Assignment—Powerpoint presentation on a

postmodern artist.

Frames Subjective Structural Cultural Postmodern Subjective Structural Cultural Postmodern

Conceptual framework

Artist Artwork World Audience Artists Artwork World Audience

Table A.6 Stage five Visual Arts (continued)

EWI_CAI_02_4pp.indd 232 28/8/09 11:58:05 AM


233

Appendix

Tab

le A

.6

Stag

e fiv

e V

isua

l Art

s (c

ontin

ued

)

un

it 1

: ye

ar 9

te

ach

ing

, le

arn

ing

& a

sse

ssm

en

t ac

tivi

tie

sr

eg

istr

atio

n

Art

-mak

ing

Cri

tica

l & h

isto

rica

l stu

die

sS

ign

& d

ate

3 A

rtw

ork

; st

ruct

ura

l fra

me

Stud

ents

com

pile

a b

ody

of d

raw

ings

in t

he d

iary

tha

t fo

cus

on

corr

ect

prop

ortio

ns. T

hey

expl

ore

life

draw

ing;

dra

win

g fig

ures

fr

om R

enai

ssan

ce p

aint

ings

and

scu

lptu

res,

etc

. Ton

al m

odel

ling

and

form

are

als

o a

focu

s.

5 A

rtw

ork

; st

ruct

ura

l fra

me

Stud

ents

cre

ate

seve

ral d

raw

ings

bas

ed o

n th

e an

atom

ical

dr

awin

gs d

iscu

ssed

; als

o fr

om a

nato

my

text

s, s

kele

ton.

Stud

ents

the

n cr

eate

a b

ody

of e

tchi

ngs,

usi

ng p

last

ic p

late

s an

d dr

y po

int

tech

niqu

es. T

hese

can

be

man

ipul

ated

by

hand

co

lour

ing

and

/or

by d

igit

al t

echn

ique

s.

1 A

rtis

t a

rtw

ork

; cu

ltu

ral f

ram

e

Link

ing

the

Med

ieva

l to

the

Ren

aiss

ance

, stu

dent

s le

arn

abou

t th

e ri

se o

f th

e in

divi

dual

art

ist

and

the

begi

nnin

gs o

f nat

ural

ism

thr

ough

the

wor

k of

G

iott

o. D

iscu

ssio

ns a

nd a

naly

sis.

2 A

rtis

t a

rtw

ork

; st

ruct

ura

l fra

me

Stud

ents

exa

min

e re

alis

m a

nd fi

gure

pro

port

ions

by

exam

inin

g ‘V

itruv

ius

Man

’ by

Da

Vin

ci a

nd o

ther

sig

nific

ant

exam

ples

of R

enai

ssan

ce d

raw

ings

, pa

intin

gs a

nd s

culp

ture

s. S

tude

nts

com

plet

e cr

itica

l dis

cuss

ions

and

art

m

akin

g us

ing

visu

al la

ngua

ge. C

lass

ical

idea

ls o

f bea

uty,

idea

lism

and

tru

th

are

also

exa

min

ed t

hrou

gh r

evis

iting

Anc

ient

Gre

ece

and

Rom

e an

d m

akin

g lin

ks t

o th

e co

ncep

ts o

f the

Ren

aiss

ance

.

4 A

rtis

t a

rtw

ork

; cu

ltu

ral f

ram

e

Gui

ded

disc

ussi

on—

stud

ents

exa

min

e an

atom

y dr

awin

gs o

f Mic

hela

ngel

o an

d D

a V

inci

.

6 A

rtw

ork

; st

ruct

ura

l fra

me

Etch

ing

proc

esse

s te

chni

ques

and

saf

ety.

Exam

inat

ion

of A

ustr

alia

n pr

intm

aker

s (e

tchi

ng).

evi

de

nce

of

lear

nin

g:

(1) C

ritic

al a

naly

sis

in d

iary

;(2

) Cri

tical

ana

lysi

s in

dia

ry a

nd w

orks

heet

s;(3

) Bod

y of

wor

k (d

raw

ings

);(4

) Bod

y of

wor

k (e

tchi

ngs)

; and

(5) E

tchi

ng t

heor

y in

dia

ry.

Fee

db

ack

:

(1) (

2) (4

) Ver

bal f

eedb

ack

in d

iscu

ssio

ns;

(3) (

5) V

erba

l fee

dbac

k du

ring

art

-mak

ing;

and

(11)

Wri

tten

feed

back

whe

n di

ary

and

body

of w

ork

asse

ssed

.

EWI_CAI_02_4pp.indd 233 28/8/09 11:58:05 AM


234

Appendix

Tab

le A

.6

Stag

e fiv

e V

isua

l Art

s (c

ontin

ued

)

un

it 2

: ye

ar 9

te

ach

ing

, le

arn

ing

& a

sse

ssm

en

t ac

tivi

tie

sr

eg

istr

atio

n

Art

-mak

ing

Cri

tica

l & h

isto

rica

l stu

die

sS

ign

& d

ate

2 A

rtis

t a

rtw

ork

; st

ruct

ura

l fra

me

Bod

y of

wor

k is

cre

ated

from

tec

hnic

al e

xerc

ises

suc

h as

pla

cing

cu

t ou

t fig

ures

from

the

pre

viou

s un

it in

to a

pai

nted

bac

kgro

und,

pe

rspe

ctiv

e dr

awin

gs (t

echn

ical

exe

rcis

es).

1 W

orl

d

art

wo

rk;

cult

ura

l & s

tru

ctu

ral f

ram

es

Exa

min

atio

n of

Ren

aiss

ance

por

trai

ts o

f the

figu

re in

the

land

scap

e (e

g ‘B

irth

of V

enus

’; Th

e Tr

ibut

e M

oney

’; ‘C

reat

ion

of A

dam

’; Th

e La

st S

uppe

r’;

‘Vir

gin

of t

he R

ocks

’; et

c) D

iscu

ssio

n is

focu

sed

on v

isua

l sym

bolis

m,

alle

gori

es a

nd n

arra

tives

, cri

tical

ana

lysi

s of

exa

mpl

es.

Ana

lysi

s of

the

use

of p

ersp

ectiv

e, d

epth

and

spa

ce; a

s w

ell a

s th

e pl

acem

ent

of fi

gure

s an

d co

mpo

sitio

n.

3 A

ssig

nm

en

t—w

orl

d

art

ist

art

wo

rk;

all f

ram

es

A c

ase

stud

y of

a R

enai

ssan

ce a

rtis

t.

evi

de

nce

of

lear

nin

g:

(1) D

iscu

ssio

n re

spon

ses;

ana

lyse

s an

d no

tes

in d

iary

;(2

) Bod

y of

wor

k—fig

ures

in la

ndsc

apes

; per

spec

tive

exer

cise

s; a

nd(3

) Ass

ignm

ent

resp

onse

s.

Fee

db

ack

:

(1) O

ral r

espo

nses

/ fe

edba

ck in

dis

cuss

ion

;(3

) Ora

l res

pons

es /

feed

back

dur

ing

the

deve

lopm

ent

of b

ody

of w

ork;

and

(11)

Wri

tten

feed

back

of a

sses

smen

t of

cas

e st

udy

and

book

mar

ks.

EWI_CAI_02_4pp.indd 234 28/8/09 11:58:06 AM


235

Appendix

un

it 3

: ye

ar 9

te

ach

ing

, le

arn

ing

& a

sse

ssm

en

t ac

tivi

tie

sr

eg

istr

atio

n

Art

-mak

ing

Cri

tica

l & h

isto

rica

l stu

die

sS

ign

& d

ate

2 A

rtw

ork

; st

ruct

ura

l fra

me

Stud

ents

com

plet

e a

deta

iled

self-

port

rait

of t

hem

selv

es in

pai

nt

from

a d

igit

al p

hoto

of t

hem

selv

es p

osed

as

the

Mon

a Li

sa. T

he

back

grou

nd w

ill b

e ta

ken

from

eith

er t

he o

rigi

nal o

r so

me

othe

r la

ndsc

ape

the

stud

ent

devi

ces.

3 A

rtw

ork

a

ud

ien

ce;

stru

ctu

ral f

ram

e

Eval

uatio

n of

sel

f-po

rtra

it th

roug

h an

exh

ibiti

on a

nd p

eer

eval

uatio

n.

1 W

orl

d

art

wo

rk;

cult

ura

l & s

tru

ctu

ral f

ram

es

Expl

orat

ion

of R

enai

ssan

ce p

ortr

ait

with

a p

artic

ular

em

phas

is o

n th

e ‘M

ona

Lisa

’. G

uide

d di

scus

sion

s an

d w

ritt

en a

naly

sis

of R

enai

ssan

ce p

ortr

ait

conv

entio

ns. E

xam

inat

ion

of t

he p

roce

ss o

f com

mis

sion

s.

4 W

orl

d

art

ist

art

wo

rk;

cult

ura

l fra

me

Pat

rons

and

issu

es o

f pow

er in

the

Ren

aiss

ance

wor

ld a

re d

iscu

ssed

. Key

ex

ampl

es in

clud

ed t

he p

atro

nage

of t

he M

edic

i’s a

nd t

he c

ompl

etio

n of

the

Si

stin

e C

hape

l.

evi

de

nce

of

lear

nin

g:

(1) (

4) D

iscu

ssio

n re

spon

ses;

ana

lyse

s w

ritt

en a

naly

ses;

(2) S

elf-

port

rait;

and

(3) W

ritt

en &

ver

bal e

valu

atio

ns in

vis

ual a

rts

diar

y.

Fee

db

ack

:

(1) (

4) O

ral f

eedb

ack

in d

iscu

ssio

ns;

(2) O

ral f

eedb

ack

and

advi

ce d

urin

g ar

t-m

akin

g;(3

) Ora

l fee

dbac

k in

eva

luat

ions

; and

(all)

Wri

tten

feed

back

whe

n vi

sual

art

s di

ary

asse

ssed

.

EWI_CAI_02_4pp.indd 235 28/8/09 11:58:06 AM


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