Units of Work - K-6 Educational Resources

Transcription

➤➤
PLAY ➤
REWIND
STOP ■
FAST FORWARD ➤➤
RECORD ●
STOP ■
Creative
Arts
K-6
Units of Work
Creative Arts K–6
Units of Work
Acknowledgements
The Board of Studies NSW acknowledges and appreciates the generous assistance of all the people who have contributed to the
development of this support document. These include the writers of units in Visual Arts, Music, Drama and Dance and all of the
schools who participated in the trialling of the syllabus and units of work and collected samples of students’ work. Special thanks to
the principals, teachers, students, parents and caregivers from the following schools who have provided the worksamples in Visual
Arts, Music, Drama and Dance included in this document in the form of artworks, photographs, graphic scores, diagrams,
evaluations and video footage.
Beelbangera PS, Crescent Head PS, Erina Heights PS, Eglinton PS, Glendon School, Jamisontown PS, Kempsey South PS, Maroota
PS, Marwarra PS, Newington College Preparatory School, Lindfield, Pennant Hills PS, Pymble PS, St Felix Primary School,
Bankstown, St John Fisher Catholic Primary School, Tumbi Umbi, Shelley PS, Walgett PS, Waratah PS, Warilla PS.
Thanks are extended to the following schools who also trialled units and provided worksamples including: Forest Lodge PS,
Kempsey West PS, Mullumbimby Seventh Day Adventist School, Northside Montessori School, Ryde East PS, Tamworth South PS,
Wyong Creek PS.
Cover artworks:
Front:
Jessie Whiteman, Maroota PS, Rhiannon (detail)
Inside front:
Jessie Whiteman, Maroota PS, Rhiannon
Inside back:
Zoë Zapletal, Maroota PS, The Mad Face
© 2000 Copyright Board of Studies NSW for and on behalf of the Crown in right of the State of New South Wales.
This document contains Material prepared by the Board of Studies NSW for and on behalf of the State of New South Wales. The
Material is protected by Crown copyright.
All rights reserved. No part of the Material may be reproduced in Australia or in any other country by any process, electronic or
otherwise, in any material form or transmitted to any other person or stored electronically in any form without the prior written
permission of the Board of Studies NSW, except as permitted by the Copyright Act 1968. School students in NSW and teachers in
schools in NSW may copy reasonable portions of the Material for the purposes of bona fide research or study.
When you access the Material you agree:
• to use the Material for information purposes only;
• to reproduce a single copy for personal bona fide study use only and not to reproduce any major extract or the entire Material
without the prior permission of the Board of Studies NSW;
• to acknowledge that the Material is provided by the Board of Studies NSW;
• not to make any charge for providing the Material or any part of the Material to another person or in any way make commercial
use of the Material without the prior written consent of the Board of Studies NSW and payment of the appropriate copyright fee;
• to include this copyright notice in any copy made;
• not to modify the Material or any part of the Material without the express prior written permission of the Board of Studies NSW.
The Material may contain third party copyright materials such as photos, diagrams, quotations, cartoons and artworks. These
materials are protected by Australian and international copyright laws and may not be reproduced or transmitted in any format
without the copyright owner’s specific permission. Unauthorised reproduction, transmission or commercial use of such copyright
materials may result in prosecution.
The Board of Studies has made all reasonable attempts to locate owners of third party copyright material and invites anyone from
whom permission has not been sought to contact the Copyright Officer, ph (02) 9367 8289, fax (02) 9279 1482.
Published by Board of Studies NSW
GPO Box 5300
Sydney 2001
Australia
Tel: (02) 9367 8111
Fax: (02) 9367 8484
Internet: http://www.boardofstudies.nsw.edu.au
ISBN 07313 4646 7
October 2000
2000505
Contents
Introduction
UNITS
OF
5
WORK
Visual Arts
Early Stage 1 — About Me
Early Stage 1 — Fireworks
Stage 1 — Fish and Sea Creatures
Stage 1 — The Vase of Flowers
Stage 2 — Insects and Dragons
Stage 2 — Bicycles
Stage 3 — Shovels, Picks and Pans
Stage 3 — Making Music
6
6
12
20
26
32
38
44
50
Music
Early Stage 1 — Sing and Move
Early Stage 1 — Sounds in the Environment
Stage 1 — When I Get Mad I Beat My Drum
Stage 1 — Where the Forest Meets the Sea
Stage 2 — Night and Day
Stage 3 — Exploring Tone Colour
Stage 3 — Absolutely Everybody
56
60
66
72
79
83
89
94
Drama
Early Stage 1 — Dinosaurs
Early Stage 1 — Working with Animals
Stage 1 — If the Cap Fits
Stage 1 — Playgrounds
Stage 2 — Danny in the Toybox
Stage 2 — Explorers
Stage 3 — Rapunzel
Stage 3 — The Search
100
106
112
120
126
132
138
144
Dance
Early Stage 1 — Rain
Early Stage 1 — I Can Dance
Stage 1 — We’ve Got Rhythm
Stage 1 — Get Ready, Let’s Dance
Stage 2 — Making Connections
Stage 2 — Sports Carnival
Stage 3 — The Living Landscape
Stage 3 — Sculpture
150
154
158
164
168
172
177
182
Further Worksamples
185
4
Creative Arts K–6 Units of Work
Introduction
This support document has been developed to assist teachers in the use of the Creative Arts K–6 Syllabus. It
contains units of work that are organised from Early Stage 1 to Stage 3 in each of the artforms of Visual
Arts, Music, Drama and Dance. Each unit contains a short introduction, advice about the purpose of
different activities, teaching notes and a sequence of learning experiences and outcomes. Indicators have
also been developed for each unit. These indicators expand on syllabus indicators suited to the intentions
of the unit.
Information in these units will assist teachers and schools in their planning, programming and assessing.
They also include suggestions for resources and links with other key learning areas. Information is
provided on particular techniques, repertoire and scores, and advice on classroom organisation and
management where appropriate.
Student work samples based on the units of work are also included. Work samples, along with other
evidence of student learning, help teachers to monitor the progress of individual students and to make
on-balance judgements about the achievement of stage outcomes. Demonstration of the achievement of
the outcomes is usually not evident in a single work sample. Rather, it is evident over time and in a
number of ways. A work sample may illustrate progress towards the achievement of the outcomes.
Learning experiences can be adapted to school contexts and notes are provided for teachers about various
points in the units where individual lessons may conclude.
The units of work are not mandatory. It is expected that teachers and schools will adapt the units
according to the needs of their students, the availability of or preference for particular resources and the
nature of school policies and priorities. This might mean that teachers and schools:
•
•
•
•
implement all of the units as outlined;
implement some of the units and develop school-designed programs to complement them;
modify the units to suit student needs and available resources;
use the Outcomes and Content sections of the Creative Arts K–6 Syllabus as the basis for planning,
making use of their own units, units developed by other educational authorities or commercially
produced units.
Further advice on resources, suggestions for scope and sequence, key arts organisations and frequently
asked questions are available on the Board of Studies website.
Introduction
5
Visual Arts
Early Stage 1 — About Me
Subject Matter: People
Unit Duration: 4–6 lessons
Forms: Drawing, Painting
In this unit, students explore their uniqueness and individuality in their making of artworks and recognise
that other artists think about the uniqueness of people when they make portraits of them. Students will
make self portraits developing their observational skills and considering the qualities and relationships
between features and how these are represented in their picture making. Students will experiment with a
range of media and make individual and group works based on their experiences. Students will also
develop some imaginative works as they collectively use their hands as a stimulus for pattern making.
Content
Students in Early Stage 1 will
Early Stage 1
learn to:
• think about themselves as artists in their
artmaking (within a limited understanding of
the artist’s function)
learn about:
• who artists are, what they do, what they make
•
explore different kinds of things and
experiences in their making of artworks
•
how their interest in things and experience
affects what they and others represent in
pictures and other kinds of artworks
•
make drawings, paintings, sculptures etc
about things of interest to them and their
experiences
•
the properties of drawings, paintings,
sculptures etc, what they are about and what
they are made from
•
use a variety of media, techniques and tools
to create different effects
•
•
look at details within their own and others’
artworks and talk about associations with their
own experience and the effects of the works
the properties of some media, tools and
techniques and how they can be used to
create interesting effects
6
About Me
Visual Arts
Outcomes and Indicators
Making
VAES1.1
Makes simple pictures and other kinds of artworks about things and experiences
• investigates relationships in their artmaking eg the features of the face and how parts are
connected to one another
• talks about significant features and relationships within their artworks.
VAES1.2
Experiments with a range of media in selected forms
• explores the qualities of different drawing media eg crayons, inks, pencils, textas
• recognises how qualities such as colour, thickness, length and density of lines can assist
them to depict features of the face
• explores pattern making through repetition, overlapping, changing direction
• uses scissors to cut shapes from paper and assembles these in a variety of ways by
overlapping, gluing, and sticking.
VAES1.3
Recognises some of the qualities of different artworks and begins to realise that artists
make artworks
• identifies some of the ways artists depict the qualities of the face in an artwork
• talks about different media and effects that artists achieve
• talks about artworks they have seen, noting what they are about and who they were
made by.
VAES1.4
Communicates their ideas about pictures and other kinds of artworks
• identifies features in the works, eg the qualities of the face, that are significant to them
and makes links with their experience
• shows preferences for particular artworks based on eg feelings, colours, subject matter,
associations.
Early Stage 1
Appreciating
Resources
•
•
•
•
•
Prints/postcards of portraits eg available in Art Pack on Faces from S & S Wholesalers. Others available
from galleries across the state
Camera, film, photocopier
Magazine pictures of facial features
Prints/postcards of hands eg Aboriginal artworks showing lines and patterns
Mirrors, crayons, charcoal, soft pencils (2B and 4B), black textas – fine and thick, cardboard, art paper,
mural background, glue, paint, inks/dyes, brushes, scissors.
Assessment
Key assessment opportunities are marked *.
About Me
7
Visual Arts
Sequence of Learning Experiences
PURPOSE
To closely look at works
made by different artists
and the qualities of the
artworks
TEACHERS CAN
NOTES TO TEACHERS
• Have students observe and discuss portraits of
people of different ages by selected artists eg an old
lady (Rembrandt), a young child (Renoir), and an
adult male (Holbein).
Images of life like
portraits would be most
suitable for this activity.
Some students will say
that the picture of the
young girl and the artist
who painted it are the
best because at this
stage students transfer
the properties of the
picture to the artist
• Question students about how old each person looks
in the painting and ask them to think about how they
know this. Have students think about the techniques
the artists use. They may also consider whether or
not they think the artists have been successful in
their artworks.
Early Stage 1
To think about how
artists create different
effects
• Using Paul Klee’s Senecio, Arcimboldo’s The Gardener
and David Hockney’s Mother as a stimulus, discuss
how artist have manipulated the portraits in a
creative way to produce very different results.
Students respond and discuss which ones appeal
and why.
To explore the qualities
of the face and
relationships between
features and to seek to
represent these in
drawings
• Discuss with students what makes people unique.
Students observe similarities and differences within
the class eg face shapes, hair types and colour, eye
colour. Each student finds another person who has
the same hair colour, eye colour, looks similar, looks
different. Have students list all the features of the
face.
• Have students draw their own face from memory
using crayons, charcoal or black textas. They focus
upon details such as shape and position of nostrils,
nose, eyes and eye lashes, mouth, ears and face.*
Cards containing a
magazine picture of each
item could be used to
focus attention on each
facial feature.
As they are drawing,
question students about
the size of features and
relationships to each
other. First part of the
unit could conclude here
• Take close-up photographs of each student’s face
and, when developed, enlarge on a photocopier to
produce a life-size black and white copy. Have
students identify their own faces from the enlarged
photocopies, which are then coloured to look more
life-like.
To investigate the use of
media and effects
created
8
About Me
• Guide students to make another drawing of their face
using mirrors to observe facial details. Assist them to
further consider the details of eg eyes, ears, nose,
mouth and their relative sizes. Have students explore
the qualities of different media in making this
drawing, eg the firm black line of felt tip pen
compared with the variations of the weight of lines
that can be achieved with pencils.*
Media such as felt pens
or soft black pencils
assist students to
capture details
Visual Arts
PURPOSE
TEACHERS CAN
NOTES TO TEACHERS
• Photocopies of faces are cut in half and one half is
mounted on card. Facial features are discussed again
and students complete the ‘other half’ of the face,
focusing on symmetry of features and using crayons
and pencils.
To have the students
discuss similarities and
differences between
artworks and how they
depict things such as
faces
• Students compare their memory drawings,
observation drawings and half photocopy drawings.
They discuss the differences between the three works
and reflect on the different results. They consider
which drawings give the most complete picture of
the face and why.
• Guide the students on placement and provide
examples of grouping and overlapping. Further work
could focus on connecting the portraits and
developing a coherent mural. Have students use
pencils, inks, and dyes to finish this large group work.
To further investigate the
expressive use of
different media
This unit could conclude
here or continue with a
more imaginative focus
• Have students discuss the individuality of the hand,
palm, and fingerprints by observing their own hands
and comparing them with one another.
• Have students, using fluoro or other paint, create a
series of hand prints – overlap shapes and investigate
ways to create interesting effects. They may change
the direction of the hands, have them pointing up or
down, left or right, or rotating. Patterns of the hands
could suggest tracks or pathways.
• Have students further develop these imaginative
pictures by including further pattern work including
zigzags, circles, wavy lines, stripes. Students could
use black felt pen, edicol dyes, ink washes to
produce these.*
To further consider the
work of artists and think
about how these artists
use symbols of their
identity which may assist
them in their own
pictures
• Students observe prints of hand stencils made by
Aboriginal artists. They identify and discuss the
different shapes/lines/patterns, comparing these
works to their own. Discuss with students the
reasons why these kinds of works were made. They
may add further details to their own large pictures as
a consequence of looking at these works.
• Exhibit the artists’ prints and students’ artworks.
Have students talk about features at that are of
interest to them.*
About Me
9
Early Stage 1
• Have students select their favourite drawing from
earlier activities to be displayed as part of a class
mural/collage. Have students cut out the portraits
and place these on the mural background.
Visual Arts
Links with other artforms
DRAMA
DRAES1.1 Making
DRAES1.3 Performing
Ask students to mime an everyday routine and peers to decide what they are doing.
Develop a short play about a personal event.
Links with other Key Learning Areas
PDHPE
GDES1.9 Growth and Development
Discuss similarities and differences in appearance; Body parts, senses and basic needs;
Changes in appearance; Values — likes and dislikes, uniqueness.
Links to module I am Special in PDHPE K–6 Modules p 141.
ENGLISH
TES1.1
Talking and Listening
WES1.9
Producing Texts
Provide opportunities for students to talk about special events in their life, their friends and family.
Read a range of recounts and model the writing of a recount for the class as a joint construction.
Early Stage 1
HSIE
CCES1
Significant Events and People
CUES1
Identities
Discuss family traditions and special events, and people that are important in the lives of children.
Links to This is Me unit in HSIE K–6 Units of Work p 31.
About Me — Additional Information
This unit has been designed to be taught within the first half of the Kindergarten Year. It focuses attention
on students and allows them to become more familiar with their classmates. It offers the chance for
students to work both individually and as a group, and it provides an opportunity for very young students
to learn to listen to, and value, the opinions and work of their classmates.
It is important for teachers to closely observe students prior to teaching the unit in order to ascertain their
level of fine motor skills development. Important considerations are: How a child holds a pencil for a
drawing task; how effectively and how accurately he/she can use scissors; how competently he/she can use
crayons to make marks; and whether he/she can vary the pressure on the tool to create variation in line.
The use of scissors is a skill which needs to be developed in young children. The teacher must ensure that
all students can hold a pair of scissors correctly, place their fingers in the correct positions, use the correct
cutting action, and use their other hand to control, guide and turn the paper as they cut. Edicol dyes are
particularly vibrant and have a great impact when combined with oil crayons. However, they require great
care in the hands of young students, especially if they are working in a carpeted room, as dyes can stain.
At this early stage, until routines are established, supervised small group use of dyes is recommended.
Classroom Organisation
Most of the materials used throughout this unit are easily managed within a classroom situation. It will be
up to the teacher to decide if the class will work as a whole or in small rotating groups.
10 About Me
Early Stage 1
Visual Arts
About Me
11
Visual Arts
Early Stage 1 — Fireworks
Subject Matter: Events
Forms: Drawing, Monoprinting, Sculpture
A public display of fireworks such as that viewed in the 2000 New Year celebrations or others that are
taking place as celebratory events over 2000–2001 is the stimulus for this unit of work. The enjoyment of
watching the fireworks: the colour, noise, lines and patterns — are used as the experience for students’
making of imaginative artworks. Students are encouraged to experiment with a range of media using paint,
drawing and sculpture in order to respond to this event. The unit offers opportunities for students to think
about how photographers/artists can represent experiences such as celebratory events in artworks. It also
provides the opportunity for students to consider that artists make sculptures as well as paintings and
that sculptures are viewed differently from paintings.
Content
Early Stage 1
learn to:
• think about themselves as artists in their
artmaking (within a limited understanding of
the artist’s function)
learn about:
• who artists are, what they do, what they make
•
explore different kinds of things and
experiences in their making of artworks
•
how their interest in things and experience
affects what they and others represent in
pictures and other kinds of artworks
•
make drawings, paintings, sculptures etc
about things of interest to them and their
experiences
•
the properties of drawings, paintings,
sculptures etc, what they are about and what
they are made from
•
use a variety of media, techniques and tools
to create different effects
•
the properties of some media, tools and
techniques and how they can be used to
create interesting effects
•
look at details within their own and others’
artworks and talk about associations with their
own experience and the effects of the works
12 Fireworks
Visual Arts
Making
VAES1.1
Makes simple pictures and other kinds of artworks about things and experiences
• explores significant events in their lives such as celebrations, displays and festivals.
VAES1.2
Experiments with a range of media in selected forms
• explores the qualities of different drawing and printmaking media such as crayons,
pencils, printing inks
• recognises how qualities such as colour, thickness, length and density of lines can assist
them to depict experiences and things eg the fireworks
• explores the qualities of paint and uses cardboard strips to create textures, patterns, lines
and areas of colour
• explores simple construction techniques and manipulates sculptural materials such as
pipe cleaners, foam, foil, by joining, modelling, forming.
VAES1.3
Recognises some of the qualities of different artworks and begins to realise that artists
make artworks
• identifies different colours, lines, directions and other things of interest in artworks
• talks about the three dimensional qualities of sculptures.
VAES1.4
Communicates their ideas about pictures and other kinds of artworks
• identifies features in artworks that are significant to them and makes links with their
experience
• show preferences for particular artworks based on favourites
• talks about the artists who made selected paintings and sculptures.
Resources
•
•
•
•
•
Video of a fireworks display, photographs eg from newspaper etc
Selected prints or postcards of artworks eg Ken Done Sydney Nights and a 3-D sculpture if possible
Monoprinting: perspex sheets, permablock inks, rollers, art paper
Sculpture: shiny pipe cleaners and/or thin soft wire such as fuse wire, hat wire, coloured wire
Other media: for example, streamers, coloured paper, cardboard, pastels, shiny paper and fluoro
paint, foil, party champagne poppers, squeeze bottles, steel wool, glitter pens, glitter glue, gold and
silver paint, confetti, thick foam, beads, sequins, fabric strips, coloured threads, cellophane, tissue
paper. A visit to Reverse Garbage or a similar recycling plant can yield some valuable items suitable
for collage and sculpture.
Assessment
Fireworks
13
Early Stage 1
Appreciating
Visual Arts
TEACHERS CAN
NOTES TO TEACHERS
To consider reasons why
events are celebrated
and why people,
including themselves,
enjoy participating in
these events. To focus on
the students’ experiences
of the event and the
visual qualities of the
fireworks they have seen
• Have students view a fireworks display. Have
students talk about the purpose of the event
celebrated when the fireworks display occurred.
Alternatively students
can watch extracts of a
video of a fireworks
display, or observe large
photographs of
exploding fireworks eg
from newspapers
To encourage
experimentation with
materials to create
particular effects and
encourages reflection on
activities
• Have small groups of students (approx. 3–4 per
group) experiment with collage materials such as
black cardboard, foil or fluoro paints to create visual
effects like fireworks. Students to discuss and
evaluate the effects, deciding which materials offer
the most ‘realistic’ images of fireworks.*
PURPOSE
• Ask students to think about the movements of
different fireworks and have students use their
bodies to demonstrate the various movements of
eg a sparkler, rocket, catherine-wheel etc. Discuss the
different colours, shapes, lines, directions and
patterns made by the exploding fireworks. Students
could throw streamers up and down or the teacher
could pop some mini party champagne bottles that
shoot out streamers to suggest the movement of
the fireworks.
Safety factors need to be
taken into account in this
activity
Early Stage 1
Work areas need to be
organised for materials.
See additional
information
The first part of the unit
could conclude here
• Have students use crayons and paper to further
experiment with the lines, shapes and patterns
created by fireworks. They select two or three of the
lines, shapes and patterns and use white crayon on
black cardboard to create an image of exploding
fireworks. Lines, shapes and patterns are repeated.
• Using art paper and building upon their line work,
have students complete a light pencil drawing of
exploding fireworks. Students to use this drawing to
make a monoprint. Students to use a pencil to trace
heavily over the fireworks design. When complete,
have them peel off their paper to reveal the image.
The print may be left as is, otherwise inks or water
colours may be used to enhance the print when dry.
Alternatively, a second print could be made and
glitter pens, shiny confetti, gold and silver paint,
sequins, bright cotton threads etc. could be added to
provide further impact.*
14 Fireworks
With teacher assistance,
students make their
monoprint by inking up
a perspex sheet using a
roller and Permablock
ink. They place their
paper over the inked-up
surface ensuring their
drawing is visible (ie
facing upwards). See
further details in
additional information
TEACHERS CAN
NOTES TO TEACHERS
To introduce students
some appreciating
activities where
connections are made
between what artists
do and what they
themselves are doing
in their artmaking
• Have students think about how artists also make
artworks about special events and celebrations. As
an example, students to look at Ken Done’s Sydney
Night and identify the shapes, lines, colours and
patterns that make his work interesting to look at.
Students respond to the qualities of the artwork and
identify features that are of interest to them.*
Ken Done’s work is an
example. Other bright
celebratory artworks or
photographs in
newspapers of displays
of fireworks from
celebratory events could
be used
To consider artistic terms
and concepts. Students
also realise that artists
make sculptures and not
just paintings
• The teacher poses the question ‘What is a sculpture?’
and using an example of a sculpture, identifies with
students the qualities of sculptures eg materials,
size, and what makes it different from a painting.
The teacher assists students to appreciate that a
sculpture can be viewed from different angles so
they can consider this when constructing their own
3-dimensional work.
It would be useful to have
an example of a sculpture
available. If this is not
possible a photograph or
print would do but the
important point to make
is that sculptures are
viewed from different
angles
To investigate the
concept sculpture in the
students’ artmaking.
• Students are given a foam base, a selection of pipe
cleaners both shiny and plain coloured, and some
thin wire that is easy to bend. Building upon their
previous experiences in this unit, students further
investigate how they can make various lines and
patterns by bending the wire and pipe cleaners
around certain objects eg pencil, ruler, finger.
Students are also encouraged to consider their
selection of colours and how these relate to their
experiences of the fireworks. Once students
understand how to manipulate the materials, they
can begin to place wire and/or pipe cleaners into
the foam base.
The foam base could be
painted dark blue to
suggest the night sky
PURPOSE
To encourage
experimentation and the
trialling and use of
materials and ideas
Pipe cleaners are flexible
and can be stretched out
or squashed together to
achieve different effects
• Encourage students to look at their sculptures from
different angles to ensure that it is interesting to
look at and that all aspects are developing
concurrently. Discuss how to achieve different
heights and/or levels within the work. Students may
like to further develop their sculpture by adding
materials such as foil strips, cellophane.
• Students exhibit their sculptures and select their
favourite works within the class group, explaining
their choices eg colours, squiggly lines, direction of
lines and relationships between parts.
Fireworks
15
Early Stage 1
Visual Arts
Visual Arts
MUSIC
MUES1.4 Listening
Provide opportunities for students to listen to a selection from Handel’s Music for Royal Fireworks Suite.
Discuss how the music indicates when fireworks explode and the instruments that are used.
MUES1.2 Organising Sound
Provide opportunities for students to explore different sounds to accompany a visual presentation (video
or CD-ROM) of fireworks. These could be organised into a soundscape.
DANCE
DAES1.2 Composing
Encourage students to create a series of movements to perform for peers.
HSIE
CCES1
Research the important cultural events for children in the class and the local community. Particularly
explore those events which have fireworks or other traditional features.
Collect pictures, postcards and newspaper articles of these events and discuss similarities and differences.
Early Stage 1
Links to This is Me unit in HSIE K–6 Units of Work p 31.
ENGLISH
TES1.1
Provide opportunities for students to discuss what it was like to watch fireworks or similar events. Create
wordbanks of descriptive words and phrases as they arise.
RES1.5
Reading and Viewing
Locate and discuss a range of texts which describe special events, particularly fireworks, and discuss the
words used to describe fireworks and other traditional features.
Factual texts could be used to demonstrate how information can be gained from a range of visual sources.
Guided reading provides an opportunity to explore features of these texts.
WES1.9
Context and Text
WES1.10 Skills and Strategies (Grammar and Punctuation)
Provide opportunities for students to write descriptive passages to describe fireworks exploding. Discuss
how the words used can sound like the explosion or what they look like eg bang, rocket, whoosh.
Experiences of viewing of fireworks for a special event can be written as a recount.
16 Fireworks
Early Stage 1
Visual Arts
Fireworks
17
Visual Arts
Early Stage 1
18 Fireworks
Visual Arts
Fireworks — Additional Information
It is recommended that this unit be taught in the latter half of the year to allow students to develop some
familiarity with classroom procedures during Visual Arts lessons. They will need to be able to listen
carefully to instructions, work independently and in small groups, share materials and feel confident with
the use of particular tools eg scissors.
Organisation of materials. These are suggestions only:
Group 1: Black cardboard and squeeze bottles of fluoro paint
Group 2: Black cardboard, gold and silver paint and cardboard strips
Group 3: Black cardboard and oil and soft pastels
Group 4: Black cardboard, glue and confetti
Group 5: Black cardboard, glue and glitter
Group 6: Black cardboard, fluoro paint and steel wool
Group 7: Black cardboard and small pieces of shiny paper and/or foil.
Specific Techniques
Making a monoprint:
This is a relatively simple technique that results in the production of one print each time.
1.
2.
3.
4.
5.
6.
Block printing ink (eg Permablock) is rolled evenly onto a perspex sheet. Young children may require
assistance with this step as even pressure and complete coverage is important.
Students place their art paper over the inked-up perspex sheet with their drawing facing upwards (ie
visible) so it can be easily traced.
Using a pencil and firm pressure, students trace over their fireworks drawing and transfer the image
onto their art paper. Other items can also be moved across the page to provide different lines/effects.
It is vital at this stage to ensure students do not let their hand lean on the paper as this pressure can
transfer unwanted marks. Remind them to keep hand/wrist away from surface.
When drawing has been completely traced, students gently peel off their sheet to reveal the print.
The print must be dry before any further work on it can occur. Prints can be left as is, or additional
work as suggested in the unit can take place. The perspex must be washed between prints.
It is strongly recommended that the monoprinting process be conducted in small groups. This way,
only a small number of perspex sheets are required by the teacher and he/she can carefully supervise
students and lend assistance when necessary. A specific area set up for printing will allow students to
move to the area when a space is free.
Further Consideration for Students
Where students have problems with tasks, adaptations may be needed. For example, special scissors or
different strength wire may be required for students with hand function problems. Alternative methods
and materials should be investigated to suit student needs. An occupational therapist may be able to
assist with suggestions in this area.
Fireworks
19
Early Stage 1
When setting up the sculpture activity, ensure there are plenty of pipe cleaners for each student and
perhaps allocate sets of materials to each group of students.
Visual Arts
Stage 1 — Fish and Sea Creatures
Subject Matter: Other Living Things
Forms: Drawing, Painting, Printmaking
This unit provides a sequence of learning opportunities which are designed to heighten students’
awareness of the sea and its remarkable inhabitants. Students explore, observe, investigate, imagine, and
experiment in their own artmaking. They respond to the artworks of other artists who have explored
similar subject matter in their explorations of the world, and think about the reasons the artists may have
made these artworks. The unit encourages group work and collective decision making about the kind of
artwork that is to be made as a mural. The unit also encourages experimentation with a printmaking
technique that may be unfamiliar to students, and extends the ways in which they may think about
artmaking.
Content
Students in Stage 1 will
Stage 1
learn to:
• think about how they can work in similar ways
to artists in their making of artworks
learn about:
• how artists make artworks for different
reasons
•
explore different kinds of subject matter and
concepts in their making of artworks
•
how different aspects of the world are
represented in pictures and other kinds of
artworks
•
make different kinds of artworks including
paintings, drawings, sculptures, photographs,
digital artworks and videos
•
the diversity of kinds of things that are made
as art (eg paintings, drawings, sculptures,
photographs, digital works, videos)
•
extend their skills in using a variety of media,
techniques and tools to create effects that
link to things in the world
•
the properties of a wider range of media, tools
and techniques and how artists, including
themselves, can use these to create various
effects
•
take into account various factors when talking
about art (eg details within an artwork, what
the work is about and what the artist has done)
•
who audiences are, what they do and where
they look at art
20 Fish and Sea Creatures
Visual Arts
Making
VAS1.1
Makes artworks in a particular way about experiences of real and imaginary things
• investigates details of other living things eg fish and sea creatures
• talks about significant features and relationships within their artworks referring to such
things as size, scale, proportion, colour.
VAS1.2
Uses the forms to make artworks according to varying requirements
• thinks about how they can interpret the teacher’s or others’ requirements for artmaking
eg use of materials, investigation of subject matter, scale and purpose of the work
• experiments with the properties of different drawing, paint media and techniques in an
attempt to capture likenesses of things depicted
• explores various printmaking techniques to create one-offs and multiples
• emphasises particular features suited to the purpose of artmaking eg line, scale,
repetition, shape, colour.
VAS1.3
Realises what artists do, who they are and what they make
• talks and writes about particular artists’ works, and artists’ areas of interest, recognising
that they gain ideas in a variety of ways
• talks about some of the symbols and techniques artists use in their making of art
• identifies particular qualities in artworks such as the way the subject matter is
represented and the use of particular techniques and the effects these have in the artist’s
work and on viewers.
VAS1.4
Begins to interpret the meaning of artworks acknowledging the roles of artist and
audience
• recognises that artists may account for their work in different ways to an audience
• recognises that artists explore the world in particular ways in their approach to their
artmaking and in the artworks they make.
Resources
•
•
•
Prints/postcards/posters of artworks about the sea eg Art Pack on Water from S & S Wholesale or other
resources available from galleries across the state
Other pictures/prints of the sea and found objects eg shells, from the seashore
Classroom materials include: black and white paper and cardboard, paint, inks, watercolours, wax
crayons (ie conte crayons), edicol dyes, sponges, brushes, foam rollers, combs, magnifying glasses,
thin and thick textas, scratch foamboard sheets for printing, Permablock printing inks and rollers.
Assessment
Fish and Sea Creatures
21
Stage 1
Appreciating
Visual Arts
TEACHERS CAN
NOTES TO TEACHERS
To look at different
artworks made by artists
about the sea. To
consider the reasons why
artists make artworks
• Have students observe a variety of artworks of water
and seascapes. Students should be questioned
about the colours and techniques the artists have
used to depict the movement of water and the
qualities of the sea. Students are encouraged to
write about how the artists have interpreted the
world in their paintings and to suggest some of the
reasons why these artworks were made.*
Use prints of artworks
by artists such as Claude
Monet’s Waterlilies, or
Michael Johnson’s After
Sirius or other examples
from the Art Pack on
‘Water’
To develop skills in using
a range of media, using
different techniques and
evaluating their
effectiveness
• Guide students in experimenting with how they can
represent the colour and movement of the sea.
Inspired by the artworks they have looked at, have
students work on large sheets of art paper and
experiment with a variety of media eg paint, water
colours, spray containers, foam rollers, sponges,
paint scraped with wide-toothed combs, water
wash and ink, bubble printing.
This activity is well
suited to small group
work.
PURPOSE
Stage 1
• Question students about the different effects they
have created and have students consider which
techniques look the most natural, most imaginative,
or most fluid. Students decide which technique they
will use as a background for a mural on the sea.
Have other groups of students use the technique on
large sheets of paper joined together to form the
background for the mural.
To link other learning
experiences with this unit
and to develop students’
imaginative responses
• Read Margaret Wild’s There’s a Sea in My Bedroom. Have
students discuss the story and illustrations by Jane
Tanner. Talk about the various sights, sounds and
smells of the sea and have students describe how
the different surfaces would feel.
Connections should be
made with the things
they have discovered in
looking at the artists’
works and the effects
they may achieve in their
artmaking. Teachers
should demonstrate
different techniques as
required
Ask students to imagine
themselves as the person
holding the shell and
think about what they
would make come out of
their shell if they had the
power.
See additional
information
To gain skills in looking at • Have students select their own shells and observe
details and in responding
them carefully using a magnifying glass, describing
to experiences. To further
what they see and feel. Have them respond to the
investigate techniques
shapes, sizes, colours, textures and patterns on the
and their effects
shells. Have students make observational drawings
using black crayon or textas on white paper and
white conte crayon on black paper.*
Visual Arts
PURPOSE
To closely observe details
and further investigate
techniques and their
effects
TEACHERS CAN
NOTES TO TEACHERS
• Use the collection of shells and have students draw
different shell outlines in thick black textas.
Students’ drawings can
be further enlarged on a
photocopier if required.
Students should be
encouraged to make big
drawings. However, some
may find this difficult
and can be encouraged
over time
• On separate sheets of paper and using thin black
textas, have students experiment with particular
lines and patterns observed from the shells eg spiral,
zigzag, stripes, sharp/curved/radiating lines. Have
them make larger drawings of the shells using
crayons, watercolours or inks focusing on the lines,
patterns, and shapes.*
To further investigate
effects in depicting the
qualities of subject
matter
• Have students observe a variety of shapes, sizes,
colours and patterns of tropical fish. Guide students
in how they can make large drawings/paintings of
fish and tropical sea creatures by considering their
shape, colour, repetition of lines, using wax crayons,
inks, paints and/or edicol dyes.*
• Have the class consider the suitability of drawings
for the mural and possible placement, and locate
areas that could show emphasis and focus.
effects
Such an experience
may coincide with an
excursion to an
aquarium, or large
photographs/prints of
tropical fish, eg travel
posters of fish from the
Barrier Reef, could be
used
• The underwater mural can be completed with
shell designs, fish and sea creatures, seaweed,
grasses, rocks, coral etc. Alternatively have drawings/
paintings mounted and displayed separately.
The unit could conclude
here
• Have students select their favourite fish shape and
draw/trace these onto pieces of foamboard using
thick pencils.
This part of the unit
provides for further
experimentation and the
development of
techniques in printmaking
• Assist students to press firmly into the foamboard
with pencils to create the lines/patterns of the fish
body. Use a roller and a dark permablock printing ink
and demonstrate how foam boards can be inked up
and printed.
• Have students ink up their foamboard designs, place
the paper over the foamboard and using a spoon or
fingertips apply even pressure over the back of the
paper to make a print or series of prints.*
• Have these prints added to the mural, or
alternatively mounted on cardboard and exhibited
separately.
23
Stage 1
• Have students assess these drawings for their
suitability for the mural.
Visual Arts
SCIENCE AND TECHNOLOGY
LT S1.3
Living Things
INV S1.7
Investigating
DM S1.8
Designing and Making
UT S1.9
Using Technology
Investigate a selection of sea creatures and fish focusing on their habitat, food, place in the food chain
and individual features.
Design and make a model of fish tank with fish and other sea creatures and a viewing tool to observe
these living things from the surface. Develop a fair test to assess the effectiveness of each one.
Links to Living Things unit (p 74) and Growing Up unit (p 66) in Science and Technology K–6 Syllabus and Support
Document.
ES S1.9
Earth and its Surroundings
INV S1.7
Investigating
DM S1.8
UT S1.9
Using Technology
Collect weather charts for several days including tide charts and investigate the relationship between the
moon and tide heights. Design and make a tool to measure the differences in tidal movements.
Research widely to find articles and information on effects caused by the sea/waves on land and sea
creatures.
Stage 1
ENGLISH
RS1.5
Reading and Viewing
RS1.6
Skills and Strategies
WS1.9
Producing Texts
WS1.10–1.12 Skills and Strategies
Identify and read a range of literary and factual texts which focus on the sea and associated content.
Discuss the differences in language used in literary texts and factual texts to describe sea creatures.
Select and read Dreaming Stories which have a sea creature as a focus of the text.
Write descriptive passages about individual sea creatures or shells.
Jointly construct an information report for a particular creature or habitat, before asking students to write
an individual or group report.
MATHEMATICS
MEASUREMENT
M S1.2
Length
M S1.3
Area
M S1.4
Capacity and Volume
Use a variety of materials relating to the sea, eg shells, water, sand, model fish to measure as informal
units, use as tessellations to cover particular areas, to compare capacity and volume of sand and water
comparing differences.
HSIE
ENS1.6
Relationships with Places
SSS1.7
Resources Systems
Investigate the local area and identify the use that is made of the ocean (or local river or estuary) as a
source of food. Identify any processing of sea food that takes place locally, how it is delivered to the
factory, distributed to wholesalers and stores.
Links to Workers in the Community (p 43) and Wet and Dry Environments (p 71) in HSIE K–6 Units of Work.
Visual Arts
Fish and Sea Creatures — Additional Information
This unit could be incorporated into an integrated unit on ‘The Sea’ covering various KLAs.
It is highly recommended that teachers experiment with materials and attempt all techniques prior to
teaching the unit.
Students are expected to have had some prior experience in Visual Arts in making and appreciating. They
should have some familiarity with the materials used in this unit. However, it is not essential that
students have previously used scratch foamboard to make prints (details of which appear below) or have
completed murals or collage works.
Margaret Wild’s There’s a Sea in My Bedroom
Other activities could be substituted when Margaret Wild’s There’s a Sea in My Bedroom is read. Students
could create a painting to illustrate part of the story. The original sheets of experimental water surfaces
can be cut out and used as collage material or as a background for the work. Other materials may be used
to create a mixed media result and wax crayons, watercolours, textas and inks can be added. Items from
the beach or rockpool could be used to add a 3-D aspect to the work. Students could discuss their
completed artworks, explaining why they chose that part of the story to paint and the process they used
to create it.
Making a scratch foam board block and print:
• Students plan their drawings on paper the same size as the scratch foam board.
• Place paper over scratch foam board and trace over the design to indent the foam surface.
• Remove the guide and draw over the visible lines more heavily so that the surface is ready for inking.
The design should be clearly visible. Thicker, stronger lines print more effectively.
• Using a roller (young children need assistance with this step as heavy, even pressure is required) ink
up the foam board with printing ink eg Permablock. (Experiment with other kinds of paint as well eg
tempera paint.)
• Place the art paper/card over the inked surface and rub evenly with fingertips or clean roller.
• Slowly peel off the print. Inking and rubbing can be repeated if more prints are required.
• Foam blocks should be washed as soon as possible and can be saved for future use when dry.
• It is highly recommended that the steps in the printmaking section of the unit are conducted with
small groups of about 5 or 6 children. This will allow the teacher to ensure that assistance is given
where required. These printing blocks can be used in a variety of ways. The fish shape can be cut out
and printed onto an experimental background; foam boards can be kept rectangular and prints pieced
together to form a class mural; or individual gift cards could be made.
Teachers need to carefully consider supply of materials in this unit. Class sets of the more unusual
materials, such as thick and thin felt pens, magnifying glasses and sheets of scratch foam board, will
need to be obtained. The inking of the foam board blocks should be done in small groups and 6 rollers
would be sufficient. Permablock printing inks are available in a wide range of colours and darker colours
(eg black, dark blue) generally produce a sharper print.
When students are drawing their shells, it may be helpful to place some shells on an overhead projector.
This is a useful way of highlighting the shell shape and may assist students in thinking about how the
three-dimensional form can be represented in two dimensions.
25
Stage 1
Specific Techniques
Visual Arts
Stage 1 — The Vase of Flowers
Subject Matter: Objects, Other Living Things
Forms: Drawing, Printmaking, Collage
Students investigate the unique qualities and details of a vase of flowers as a still life arrangement in this
unit as the initial investigations for their artmaking in drawing, printmaking and collage. By considering
this arrangement students develop understandings of the importance of balance, harmony and contrast in
shapes and colours and how these concepts can be used in the making of artworks. The unit also offers
opportunities for students to look at, in some detail, artworks made by artists such as Vincent Van Gogh
and Margaret Preston who interpreted similar kinds of subject matter in their artworks.
Content
Stage 1
learn to:
• think about how they can work in similar ways
to artists in their making of artworks
learn about:
•
explore different kinds of subject matter and
concepts in their making of artworks
•
•
make different kinds of artworks including
paintings, drawings, sculptures, photography,
digital artworks and videos
how different aspects of the world are
represented in pictures and other kinds of
artworks
•
extend their skills in using a variety of media,
techniques and tools to create effects that
link to things in the world
•
the properties of a wider range of media,
tools and techniques and how artists,
including themselves, can use these to create
various effects
•
take into account various factors when talking
about art (eg details within an artwork, what
the work is about and what the artist has
done)
26 The Vase of Flowers
Visual Arts
Making
VAS1.1
Makes artworks in a particular way about experiences of real and imaginary things
• investigates details of objects and other living things eg vases and flowers
• talks about significant features and relationships of objects, referring to such things as
shapes, materials, proportion and colour in their artwork.
VAS1.2
Uses the forms to make artworks according to varying requirements
• experiments with different drawing media including crayons, paint, dyes, rollers, to create
particular effects in an attempt to capture likenesses of things
• explores various printmaking techniques eg paper stencil techniques in silk screen
printing to create one-offs and multiples
• emphasises particular features suited to the purpose of artmaking eg balance, harmony
and contrast in shapes and colours.
Appreciating
Realises what artists do, who they are and what they make
• talks about artworks made by particular artists and the techniques these artists use eg the
work of Vincent Van Gogh and Margaret Preston.
VAS1.4
Begins to interpret the meaning of artworks, acknowledging the roles of artist and
audience
• recognises that artists explore the world in particular ways in how they approach their
artmaking and in the artworks they make.
Stage 1
VAS1.3
Resources
•
•
•
Prints/postcards of artworks which have floral still life as subject matter eg Margaret Preston’s Still Life,
Van Gogh’s Sunflowers, S & S Wholesales Art Pack Still Life or other prints/postcards available at
galleries across the state
still life arrangement for classroom; vases of various shapes and sizes
leaves; paint; brushes; art paper; flowers; oil pastels; vegetable dyes; silk screens; squeegees; printing
ink; scissors; masking tape; tissue paper; adhesive coloured dots; shiny squares; crepe paper;
corrugated cardboard; PVA glue.
Assessment
The Vase of Flowers
27
Visual Arts
TEACHERS CAN
NOTES TO TEACHERS
To focus attention on the
particular qualities of
different artworks and
the techniques artists
use to achieve these
effects
• Have students carefully look at and discuss artworks
such as Van Gogh’s Sunflowers and the Still Life by
Margaret Preston.
Any prints or originals
that have the subject
matter of flowers would
be suitable. Images with
bold shapes and colours
would be most effective
given the focus of the
unit
To encourage
observation and
discussion about objects
and their qualities
• Have students view a variety of vases and discuss
their shapes. Talk about their symmetry or asymmetry,
the flatness of the top and the bottom of each vase,
the dimensions of the vases, their transparency and/or
opacity, their colours, the material from which they
were made, and any patterns that decorate the vases.
To work with particular
techniques and to
evaluate their
effectiveness
• Have students make a paper stencil for a silk-screen
print. They should draw their favourite vase using
simple shapes onto a piece of art paper and have
them cut the vase shape out. Students may want
to make more than one stencil, then select the one
which they find the most pleasing and which suggests
the qualities of their favourite vase.
If the teacher is not
familiar with silk-screen
printing, a print can be
made by using a small
roller and paint over a
stencil
• Use a silk-screen that has been masked to ensure a
clean border. Have students place their cut-out
shapes on top of the paper on which they will print
and consider where the vase shape will look the
most effective.
Guide the students in
placing the vase shape,
ensuring that enough
room is left on the page
to place additional items
of the still life such as
stems and flowers. Some
students may prefer to
centre the vase while
others may choose to
place their vase slightly
off-centre. The first part
of the unit could
conclude here.
PURPOSE
• Guide students in considering:
– the ways in which the artist had made the artwork
interesting
– varied the lengths and shapes of flower stems
– how the artist had used particular media
– the kind of background each artist has used, and
the effect of the background on the vase of flowers
– the way the artist has added contrast, yet created
a harmonious composition.*
Stage 1
• The vase shapes are printed onto sheets of art paper.
Several prints may be made, the most successful
used for further work.
To suggest how ideas
and use of materials are
further developed in a
unit of work
• Have students collect a variety of leaves with
interesting veins. They cover the backs of the leaves
with thick acrylic paint of a single colour using a foam
brush and a dabbing technique. Several prints are
made from the same leaf before adding more paint.
Direct students to practise printing the leaves directly
onto sheets of paper by covering the upturned and
inked leaf with paper and rubbing it with their hand.
This discussion helps
students to decide the
most effective method
for printing leaves.
Students will use these
experiments in their
collage work later in the
unit
• Discuss the variety of effects.
Visual Arts
Again, the focus returns
to particular qualities
and the techniques that
can be used to suggest
the qualities of objects
and living things
To investigate
connections between the
work of other artists and
their own artmaking
TEACHERS CAN
NOTES TO TEACHERS
• Have individual students contribute to a class
collection of flowers. Students closely observe the
variety of flowers. They note their colours, shapes and
textures, their smell, their petals, stamens, pistils etc.
• Have students draw the flowers focusing on the
details of individual flowers, experimenting with oil
pastels, blending the colours with their fingers and
applying one colour on top of another.*
• Have students look again at the flowers to closely
examine their stems, discussing their colours,
thicknesses and shapes. Have them draw the stems
with long vertical lines using coloured crayons and
cover a sheet of art paper.
Question students about
the stem shapes and
thicknesses while they
are drawing
• Have students observe a still-life arrangement of a
vase and flowers. They discuss its composition and
examine the relationships between parts eg between
flowers, leaves, stems and vase. They identify
interesting aspects eg contrasts between shapes,
colours, textures and lines. Students use oil pastels
(eg black, white with one other colour) to make an
outline drawing of this arrangement over their silk
screen print of the vase.
They can be shown how
to add tones and/or tints
to suggest form and
perhaps even try to
suggest reflections from
the background
• Have students return to their stem drawings and
have them cut out an odd number of stems from
these drawings. After discussing some of the features
of still-life artworks, such as harmony, unity, contrast,
variation of levels of the flowers, and focus of
interest, the flower stems are glued down on the
previous drawing/print.
Stems should vary in
length
• Have students select their favourite flower drawings
from earlier in the unit and make their own flowers
using tissue, corrugated cardboard, crepe paper etc
to be attached to the drawing/print. Students to
consider the whole composition of the artwork as
they decide how to make the flowers and where they
can be placed on their artwork.
Flowers should be glued
down on the artwork with
PVA. Students will need
guidance as to the
different techniques they
can use for joining parts
of the flowers
• Have students consider how their printed leaves
from earlier in the unit could be glued onto the
artwork to add further areas of interest. Students to
investigate different arrangements before deciding
on the position of their leaves.
It is important that the
artworks do not become
too busy or overloaded.
Some discretion may
have to be used
• Students evaluate their own artworks.* They reflect
on their use of media within the composition.
Refer to initial questions
at the beginning of the
unit
Vegetable dye could be
applied to the vase so
that it complements the
printed or plain
background colour
• Display and discuss artworks.
The Vase of Flowers
29
Stage 1
PURPOSE
Visual Arts
LT S1.3
Living Things
INV S1.7 Investigating
DM S1.8
UT S1.9
Using Technology
Undertake a study of a particular plant, graph its growth and write a procedural recount explaining the
process of planting to full bloom
Investigate particular flowers and write an information report.
Design and make a vase of flowers using a range of materials and/or computer-based technology.
ENGLISH
RS1.5
Reading and Viewing
WS1.9
Producing Texts
Locate a range of texts which focus on plants and identify and record in a word bank the adjectives used
to describe their colours, shapes, textures, parts and other features.
Write an information report about a particular flower.
HSIE
CCS1.1
Research information about Australian artists, particularly those that work with plants.
Research the floral emblems of Australian states and territories.
Stage 1
Visual Arts
The Vase of Flowers — Additional Information
Method for this unit:
• A vase shape made of paper or newspaper is used as the stencil to resist the ink. The image printed is
the background to the vase.
• Alternatively, the vase shape could be cut out of a sheet of paper that is larger than the screen. This
large sheet of paper with the vase-shaped hole could then be used as the stencil, so that the image
printed is the vase shape.
• A sheet of art paper (larger than the screen) is placed onto a smooth, hard surface and the vase shape
lightly placed in position.
• With another set of hands holding the screen in position, the squeegee is placed in the ink and
pulled evenly (at an angle of about 45 degrees) down the screen, forcing the ink through the mesh
onto the art paper.
• The screen is lifted carefully, resulting in a print with blank spaces and flat colour shapes.
• The paper stencil will adhere to the back of the screen. Another print can be made before peeling it
off. Screens must be washed and dried thoroughly before making more prints.
• Students can repeat the process with a clean, dry screen and an alternative vase shape.
• Students examine the vase prints and select the best one for further work.
It is suggested that the process of silk-screen printing be conducted in small groups under the direct
supervision of a teacher as this may be the first time that young students have used silk-screen printing
equipment. Perhaps another activity in the unit could be done while small groups are withdrawn to
complete their silk-screen printing process, or some kind of independent work could be assigned so that
the teacher can assist students in this process. Perhaps two different printing areas could be set sup with
a different colour in each area so that students could then choose their preferred printing colour.
When students are completing the collage flowers and gluing them on their still-life arrangement some
guidance may be required depending upon the age of the students or the extent of their Visual Arts
experiences.
The Vase of Flowers
31
Stage 1
Silk Screen Printing
The technique of silk-screen printing involves pushing ink through a fine-mesh screen onto paper or fabric.
An area is masked off by a stencil on the underside of the screen and this remains unprinted. The printing
ink is forced though the screen by means of a squeegee (a rubber-bladed tool) onto the printing surface.
For this unit, the stencil can be made from thin paper or newspaper.
Visual Arts
Stage 2 — Insects and Dragons
Subject Matter: Other Living Things
Forms: Drawing, Sculpture and 3-D Forms, Fibre
This unit of work focuses on the subject matter of insects and dragons and offers students the opportunity
to explore real and imagined creatures in their artmaking. Students experience insects through their
contact with mealworms in the classroom. This experience offer them opportunities to creatively transform
ideas from 2-dimensional drawings of insects and creatures into 3-dimensional mythical beings using
wire, fibre and fabric. The structure and movement of these 3-dimensional creatures is emphasised and
students are encouraged to create new and original creatures that suggest feelings of power or the
creation of another mood. Students also explore the presence of mythical creatures in artworks from
different times and cultures and appreciate their meaning and purpose within these cultures.
Content
learn to:
• develop their artistic intentions in artmaking
and consider how these affect the look of the
work, its details and an audience’s response
learn about:
• how artists, including themselves, have
intentions that affect the look of the work and
its details
Stage 2
•
how artists think about what an audience may
think about their work when they make art
•
select and explore different aspects of subject
matter in particular ways in their making of
artworks
•
how artists, including themselves, can
interpret the world in particular ways in their
artmaking
•
use particular artistic traditions guided by
the teacher’s instruction in artmaking, and
experiment with techniques, tools and graphic
schema (eg in drawing, painting, sculpture,
printmaking and digital works)
•
traditions associated with different forms
such as drawing, painting, sculpture,
printmaking and digital works
•
interpret the meaning of artworks by taking
into account relationships between the
artwork, the world and the artist
•
how pictures and other artworks invite
interpretations from audiences
32 Insects and Dragons
Visual Arts
Making
VAS2.1
Represents the qualities of experiences and things that are interesting or beautiful by
choosing amongst aspects of subject matter
• talks about and thinks about their intentions for artmaking and recognises how these
affect their selection of ideas, materials, tools and techniques, and methods of working
• focuses on details of the subject matter of insects and their features
• considers how insects lend themselves to sculptural interpretations.
VAS2.2
Uses the forms to suggest the qualities of subject matter
• experiments with different techniques in drawing
• emphasises certain characteristics and consider how these can be represented as subject
matter using particular techniques and effects
• investigates various construction techniques and spatial arrangements suited to the
interpretation of this subject matter in sculpture.
VAS2.3
Acknowledges that artists make artworks for different reasons and that various
interpretations are possible
• discusses reasons why artists make artworks, focusing on who, where, when, why, how.
VAS2.4
Identifies connections between subject matter in artworks and what they refer to, and
appreciates the use of particular techniques
• identifies resemblances between subject matter in artworks from different cultures
• expresses opinions about how well the subject matter represented in particular forms
refers to the world and appreciates the skills involved to achieve these effects.
Stage 2
Appreciating
Resources
•
•
•
•
•
classroom mealworm display
factual Big Books of insects
prints/postcards of artists’ works eg Chinese and medieval artists, and those of Takis and Pol Bury
Graeme Base’s Discovery Book of Dragons
photocopier, soft pencils, art paper, long ribbons, crepe paper, paints, inks, brushes, pipe cleaners,
malleable wire, cling wrap, old stockings, socks, beads, straws, felt pieces, buttons, fabric and fibre,
scrap textiles, feathers, sequins, fabric paint, glue, needles, wool, cotton thread, environmental
materials (eg sand, gravel, grasses, seeds, bark, shells, nuts, pine cones).
Assessment
Key assessment opportunities are marked.*
Insects and Dragons
33
Visual Arts
TEACHERS CAN
NOTES TO TEACHERS
To stimulate students’
curiosity about insects
• Use factual Big Books containing large photographs
of insects. Have students identify features of insects
including the shape of their body parts, the texture
of their skin, the patterns of their wings, the lines of
their antennae, their colours.
Record the features that
students identify
To focus on details and
parts in students’
observations and
drawings
• Have students make drawings of insect body parts,
shapes, textures or patterns suggesting why certain
features appeal to them. Students to use soft pencils
to make these drawings on art paper of different
sizes.*
Question students about
the details and how they
can represent these
using the qualities of
lines, shapes, textures
and patterns
• Students study mealworms by observing their
features and their transformation into beetles. Have
students use soft pencils and art paper to sketch and
record the changes that occur at different stages of
this transformation.
These drawing records
could be kept over time
and may form the basis
for some future work that
is time-based. Students
could also photograph
the mealworms
PURPOSE
Stage 2
To investigate how artists
have interpreted similar
subject matter at
different times and
places. To learn from
these artists and their
artworks
• Have students study artworks of mythical creatures
by Chinese and medieval artists, and others by Takis
and Pol Bury. They discuss the stories that could be
associated with these artworks, the common features
of the creatures, how movement has been suggested
by the artists and the reasons why the artists have
made these artworks.*
To consider the
movement of insects and
other creatures
• Have students use long ribbons of material and
crepe paper to simulate the movement of insects
and other creatures, eg use ribbons and crepe paper
to represent ‘squirm’, ‘flutter’, ‘crawl’, ‘scuttle’, ‘fly’,
‘slither’, ‘hop’, ‘swim’. Have students interpret these
movements using thinned paint and inks and
brushes of different thicknesses.
To make connections
with students other
experiences
• Have students study the work of Graeme Base in
Discovery Books of Dragons and identify the stories and
features of his creatures, their environment, and the
atmosphere and information he conveys about them.
To develop ideas further
and to consider
imaginative possibilities
for artworks
• Have students combine photocopied sections
of their original drawings of insect parts, create
new and imaginative creatures and suggest
characteristics and roles for their new creatures
eg powerful, tricky, frightened, hard worker, loyal.
This part in the sequence
could be videoed or
photographed
Students may need some
assistance in these
experiments
Students should be
reminded of the
discussions and stories
related to mythical
creatures
• Have students create backgrounds which might
accommodate these insects and indicate where they
might be found and how they might be related to,
and engage with, their environment.
34 Insects and Dragons
Visual Arts
PURPOSE
TEACHERS CAN
NOTES TO TEACHERS
• Have students try to create a sense of the creature’s
movement through this environment.*
• Assist students to arrange their insect/dragon-like
creatures on backgrounds after discussions about
composition. Students need to think about the ways
in which the creatures relate to the background, how
they can achieve the greatest visual appeal and
impact, and how they can best convey the mood and
feeling which is most appropriate for their creature.
• Have students examine 3-dimensional toys and
creatures that resemble insects and dragons
investigating how they are constructed. These works
should be viewed from different angles. Discuss the
movement of various parts of their bodies eg wings
and tails, and identify their main structural elements.
• Have students work with thick, strong malleable wire
to a 3-D creature based on their drawings,
imaginative photocopied works and class
discussions. Wire is used to create the basic shape
and form of the creature. When students are happy
with their overall shape, they can wind cling wrap or
stretch an old stocking over the wire framework.
It is important for
students to work ‘in the
round’ and for them to
continue to turn their
wire construction around
while examining its
development from all
angles
• Have students stuff stocking/old socks into the main
structure to provide extra form eg to develop the tail,
ears, wings. Visual impact and surface decoration
can be added with applied fabric paint, sequins
and/or scrap textiles. Antennae can be formed with
pipe cleaners or extra wire.*
To reconsider the
significance of artists and
their works and how
ideas may apply to their
artmaking
• Have students reconsider recent artworks of insects
and dragons and those of medieval and Chinese
origin. Discuss how these artists created shape and
form and how space has been used in these sculptural
works. Consider how relief sculpture, sculpture in the
round and interactive forms involve the audience.
Identify the purposes of the artworks and the
meanings of the works.
• Have students further consider any implications for
their own 3-D work (its space, form and impact) and
refine or rework any sections of the creatures.
To recognise the
importance of the
audience for students
own artmaking
• Decide with students upon the most effective
location for completed 3-D creatures and organise
their placement. Creatures may be suspended or
handheld as props and moved through the
environment. Have students discuss the purpose of
their creatures and presence as creatures. Consider
how they move and their visual impact on others.
Invite others to view the
works the students have
made. Have one or two
students address the
audience about their
work and what they have
learnt about and to do in
this unit
Insects and Dragons
35
Stage 2
To further develop
imaginative possibilities
and for students to
explore 3-D possibilities
36
Visual Arts
LT S2.3
Living Things
DM S2.8
UT S2.9
Using Technology
Investigate the habitat, food, reproduction and other features of different insects and dragons.
Design and make a food chain representation of an insect’s food chain.
Links to Mini-worlds unit in Science and Technology K–6 Syllabus and Support Document p 92.
ENGLISH
RS2.5
Reading and Viewing
RS2.6
Locate, read and discuss a range of literary and factual text, both paper-based and multimedia, that focus
on insects and dragons. Discuss the differences and types of texts, focusing particularly on the descriptive
passages.
The most challenging aspect of this unit of work is the transformation from a 2-dimensional creature into
3-dimensional form. While the manipulation and bending of wire to form 3-dimensional work is a
legitimate form of sculpture (see Bicycles unit), it is used here as the basic shape and structure of the
creature. Very little of the wire may ultimately be seen as most of the body parts will be covered with some
kind of fabric/material.
It may beneficial for students to model their creature out of plasticine or soft clay in order to get a sense
of how body parts relate and to sense how the 2-dimensional ideas can be adapted in the 3-dimensional
form. If students have very little prior experience of 3-dimensional work, it may be worthwhile giving them
the opportunity to construct a sock puppet prior to commencing the unit or before the 3-dimensional
component of the unit. Making a simple sock puppet involves students in the manipulation of materials
such as needles, thread, buttons, ribbons, beads, pieces of fabric. These skills are valuable prerequisites
for the 3-dimensional activities within this unit.
Alternatively, the task of constructing an imaginary 3-dimensional creature could be made more specific
for students. They could explore the various textures of creatures eg slippery, prickly, fluffy, furry, knobbly,
sticky, soft, spiky, smooth, by constructing an imaginary beast which has texture as its most important
characteristic. These activities would allow students to explore and combine materials to achieve the type
of textured creature they have chosen. They could conduct some preparatory research and discussion
which would include looking at different beasts and noting their different textures as well as their shape,
size, mobility, method of protection eg camouflage, strength, speed, cunning, as well as their lifestyle.
Classroom organisation
Organisation of materials in this unit will require careful preparation. Teachers will need to collect all
materials and set them up in such a way that allows for easy distribution and easy access by all students.
Students could also be encouraged to bring items from home which they wish to use in making their
3-dimensional creatures.
Insects and Dragons
37
Stage 2
Insects and Dragons — Additional Information
Visual Arts
Subject Matter: Objects
Unit Duration: 3 lessons
Forms: Drawing, Sculpture
Bicycles in their different shapes and sizes form the stimulus for this unit of work. Students respond
to these objects, generally of great variety and interest to them at this age, from memory and through
observational drawings. In the unit they work towards producing more imaginative kinds of artworks as
linear sculptures using wire. Students are encouraged to think about their own intentions as they
produce these works and investigate and make use of different forms, techniques and media. The unit also
offers opportunities for students to view artworks including paintings, sculptures and photographs made
by artists and photographers, and to consider how the artists/photographers have achieved certain effects.
They can also consider what effects the works have on the them as they view them.
Content
learn to:
• develop their artistic intentions in artmaking
and consider how these affect the look of the
work, its details and an audience’s response
learn about:
• how artists, including themselves, have
intentions that affect the look of the work and
its details
Stage 2
•
how artists think about what an audience may
think about their work when they make art
•
select and explore different aspects of subject
matter in particular ways in their making of
artworks
•
how artists, including themselves, can
interpret the world in particular ways in their
artmaking
•
use particular artistic traditions guided by the
teacher’s instruction in artmaking and
experiment with techniques, tools and graphic
schema (eg in drawing, painting, sculpture,
printmaking and digital works)
•
traditions associated with different forms
such as drawing, painting, sculpture,
printmaking and digital works
•
interpret the meaning of artworks by taking
into account relationships between the
artwork, the world and the artist
•
how pictures and other artworks invite
interpretations from audiences
38 Bicycles
Visual Arts
Making
VAS2.1
Represents the qualities of experiences and things that are interesting or beautiful by
choosing amongst aspects of subject matter
• talks about and thinks about their intentions for artmaking and recognises how these
affect their selection of ideas, materials, tools, techniques and methods of working
• focuses on details of the subject matter of the bicycle and its particular qualities eg
pedals, tyres, spokes, wheels, seat
• considers how the bicycle lends itself to linear sculptural forms.
VAS2.2
Uses the forms to suggest the qualities of subject matter
• experiments with different techniques in drawing to recall details
• emphasises certain characteristics and considers how these can be represented as subject
matter using particular techniques and effects eg close-up views, enlarging, pattern,
movement
• investigates various construction techniques and spatial arrangements suited to the
interpretation of this subject matter in sculpture.
VAS2.3
Acknowledges that artists make artworks for different reasons and that various
interpetations are possible
• discusses reasons why artists make artworks focusing on who, where, when, why, how
VAS2.4
Identifies connections between subject matter in artworks and what they refer to, and
appreciates the use of particular techniques
• identifies resemblances between subject matter (bicycles) in artworks and the features of
things as they exist in the world, recognising similarities and differences in how things are
represented in the artworks
• expresses opinions about how well the subject matter represented in particular forms
refers to the world and appreciates the skills involved to achieve these effects.
Resources
•
•
•
•
Prints of artworks about bicycles eg John Olsen’s The Bicycles Boys Rejoice, Fernand Leger’s The Cyclists,
Jean Metzinger’s The Racing Cyclist
photographs of bike races and/or racers, video footage of bike races
bicycles, small bicycle tyres of different sizes such as those from toy bikes
large sheets of paper and/or card for group printing work, smaller pieces of textured and coloured
card, art paper, soft pencils (2B or 3B) for memory and observation drawings, thin black felt pens for
continuous line drawings, paint, viewing frames, charcoal, black textas, wire, wire cutters, long-nosed
pliers, glue, brushes, crayons, printing sticks (small sections of thick cardboard).
Assessment
Bicycles
39
Stage 2
Appreciating
Visual Arts
PURPOSE
TEACHERS CAN
NOTES TO TEACHERS
To gauge the students’
understanding of
parts that are
remembered and can be
represented in drawing
• Have students identify all the parts of a bicycle they
can think of. Findings are listed on the board eg
handlebars, wheels, tyres, frame.
To focus moves to
looking at details in
particular rather than
general ways
• Set up a bicycle in the classroom or take students
outside to the bike rack. Students carefully observe
all the parts they have previously identified.
Additional features can be identified. Students
discuss which parts are rough, smooth, shiny,
textured, patterned, dark, light etc. They look for and
discuss the various shapes and lines that make up
the structure of the bike and identify the directions
of these lines.
• Have students draw a bicycle from memory, trying to
include as many of the identified parts as possible.
Discussion should
promote a greater
awareness of parts of the
bicycle and their
relationships to other
parts
• Students make a large detailed drawing of the
bicycle from observation using pencil, crayon or
charcoal.*
Stage 2
To provide an
opportunity for students
to reflect on their
different learning
experiences
• Have students compare their memory drawings with
their observation drawings. Discuss the differences
between the two works and consider whether one
drawing tells more about the physical qualities of
the bicycle than the other. Discuss what has been
discovered in using the different approaches to
drawing (memory and observation).
details and the use of
artistic devices such as a
viewing frame to enhance
the formal aspects of the
artwork such as line,
shape
• Have students use a viewing frame to concentrate on
an interesting section of the bike’s wheel. They look
at the lines and shapes between the spokes and
carefully draw what they see, enlarging it to fill the
page.*
Cardboard cylinders,
slide mounts or
cardboard windows make
good viewing frames.
To investigate different
ways that artists make
artworks about similar
kinds of subject matter
and to speculate on
intentions and meanings
• Use prints or postcards of paintings that are about
bikes such as The Bicycle Boys Rejoice by John Olsen,
Fernand Leger The Cyclists, and Jean Metzinger
The Racing Cyclist, and compare how the artists have
made paintings about bicycles in different ways and
with different intentions. Consider some of the
reasons why the artists made these artworks and why
they look so different from each other.*
Some background
reading about the
interests of these artists
would assist in informing
the discussion with
students. See Additional
Information
40 Bicycles
There could be a break in
the unit at this point
Visual Arts
PURPOSE
These appreciating and
making activities
reinforce the idea of the
particular in artworks
including the students’
artworks
TEACHERS CAN
NOTES TO TEACHERS
• Show students photographs of a bicycle race, taken
from newspapers and magazines. They observe and
discuss how the figure sits on the bike, the position
of the arms, head and body. Have students suggest
the angle the photograph was taken from and why
the photographer would use this angle of view. Have
students consider how the angle of view influences
the visual impact of a photograph or other artwork.
Examples from
newspapers or video
clips from news/sports
programs would be
suitable
• Students pretend they are in the race and consider
feelings and body reactions as they ride very quickly.
They pose as if riding the bike and notice the angle
and position of their spine, arms and legs. They
make quick sketches with pencils, textas or crayons
of each other from different viewpoints whilst posing
in a position on the bike.*
Different angles of view
could be investigated eg
above, below, at eye
level. Students could
compare the different
approaches.
the unit here
To extend the drawing
experiences into a threedimensional experience
for students
• Examine selected sketches with students and look
for lines they can emphasise to suggest the position
of the rider and the bike. Have students make a
continuous line drawing highlighting these
important lines, and suggest to them how this kind
of drawing is like drawing in wire.
To explore the malleable
properties of the wire
and its representational
qualities which are
suited to an
interpretation of the
linear qualities of the
bicycle
• Demonstrate the technique of cutting and bending
wire and using pliers. Discuss with students how
sculptors draw with line by using wire. Have students
use thin wire to construct their drawing in space. As
they construct their sculpture, students need to view
their 3-D form from all angles and observe how their
line suggests shapes.*
To introduce students
to other audiences for
their work
• Exhibit the sculptures with drawings and invite other
teachers and students to view what students have
produced. Nominate one or two students to explain
what they have learnt about in this unit of work.
Stage 2
• Look with students at examples of the wire sculpture
work of Calder and discuss how he has drawn lines
through space using wire and how these lines
suggest shapes. Students select one of their quickaction sketches to develop as a wire sculpture.
See Additional Notes
Bicycles
41
Visual Arts
BE S2.1
Built Environments
DM S2.8
UT S2.9
Using Technology
Explore the local community to identify where specific facilities have been made for bicycle riders.
Investigate what types of facilities are provided in other areas.
Design and make a bike track that could be built in the local area.
PP S2.4
Physical Phenomena
DM S2.8
UT S2.9
Using Technology
Investigate how gears/cogs make things work. Label parts of a bicycle and other geared toys. Draw
diagrams of different wheeled vehicles that students use. Investigate safety issues associated with riding
bikes.
Design and make a means of transport for the future.
Links to Out and About unit in Science and Technology K–6 Syllabus and Support Document.
Stage 2
HSIE
ENS2.5
Patterns of Place and Location
ENS2.6
SSS2.7
Resource Systems
Investigate how the needs of the community and changes in lifestyles, the use of public transport and the
need for bicycle facilities are met.
Links to Cooperating Communities unit in HSIE K–6 Units of Work p 77.
ENGLISH
RS2.5
Reading and Viewing
Identify, read and discuss texts where bicycles feature, particularly those relating to community facilities
PDHPE
SLS2.13
Safe Living
ALS2.6
Active Lifestyle
Discuss reasons why riding a bicycle is a healthy activity.
Discuss rules for riding bicycles and safety issues.
42 Bicycles
Visual Arts
Bicycles — Additional Information
This unit offers students the opportunity to look at
a familiar object in an unfamiliar way. The wire
sculpture work encourages students to understand
lines and shapes in space, and to express and
manipulate them in a 3-D form. This may give
students the chance to use new and different
materials. They may also want to investigate the
life and work of Alexander Calder (1898–1976) who
was interested in mathematics, mechanics and
engineering. His wire sculptures were often made
of one continuous piece of wire which was bent in
different directions to create a three-dimensional
form. Creating a linear sculpture in wire is like a
‘drawing’ in space. Calder’s Cow (1929) shows a
simple strong wire conveying a humorous
expression. Calder created freestanding sculptures
and was the first sculptor to make mobiles.
Wire comes in a variety of widths and weights. When making a wire sculpture, any wire that can bend,
curve, hold its shape, and be able to be joined and attached to a base is suitable. Wires include
galvanised, aluminium armature wire, soft thin wires, florists’ wire and coathanger wire. Some wires have
extreme flexibility while others are more suitable for providing strength or wrapping around shapes.
After selecting a suitable wire for the artwork, cut the required length with wire snips if the wire is thin, or
metal shears if it is thick, and proceed by bending and securing it with hands or tools. Round-nosed pliers
are used for forming the wire without creases and for creating hooks for joining lengths. Flat-nosed pliers
are used for creating sharp bends. The wire sculpture can be mounted on a firm base with nails or staples,
or suspended for a mobile construction using wire from the fulcrum.
While students are constructing their wire sculptures, they should be encouraged to turn their
construction around to see how it looks from the front, the back, the other side. They should be aware of
the different angles from which their sculpture can be viewed and be aware of ensuring the development
of the ‘whole’ work.
Safety issues need to be considered with the use of wire and wire cutters. Students need to have the
necessary skills demonstrated before use and must exercise care with tools. It is recommended that they
have the opportunity to experiment with the wire and tools before beginning their bicycle sculpture and,
as always, it is important for the teacher to have trialled the use of materials and tools in order to ensure
familiarity.
John Olsen’s painting The Bicycle Boys Rejoice
The following questions may assist in discussion: What do you think the artist intended in this artwork?
What do you see? How do you think the boys are feeling? Where are they? What materials did the artist
use? How did the artist paint the boys and the background? What lines and shapes can you see? When do
you think this was painted? Why? What qualities do you like in the work?
Bicycles
43
Stage 2
Making a Wire Sculpture
Visual Arts
Stage 3 — Shovels, Picks and Pans
Subject Matter: Objects, Events
Forms: Drawing, Painting
This unit has a strong focus on appreciating activities and also offers students a range of experiences in
artmaking. It considers how artists respond to events of significance in their own time and from other
times. The main focus is the era of the gold rush with consideration of how selected artists, including
Julian Ashton and Sidney Nolan, made artworks about the people, the landscape, the tools and the
experiences that had — and continue to have — symbolic meanings for audiences today. The styles and
concepts associated with these artworks are also considered in terms of their relevance to practices in art
in Australia since the nineteenth century. Making activities focus on students’ development of skills in a
range of techniques, including observational drawings, and colour and tonal mixing, further extending
their understanding of concepts that can be applied in artmaking. The unit also provides opportunities for
students to engage in research about selected artists.
Content
Stage 3
learn to:
• think about their artmaking as a kind of social
practice that employs both their own
resources and their understanding of art
learn about:
• how artists engage in a form of social practice
in making art and contribute to the field of
the visual arts
•
apply what they have learnt about concepts in
the artworld to their artmaking
•
a range of concepts and subject matter that is
of interest to the artworld and community
•
interpret subject matter which is of local
interest in particular ways in their making of
artworks
•
organise and assemble materials in various
ways in the making of artworks suited to
particular purposes and think about the
meaning of their decisions
•
how concepts and materials are thought
about, organised and assembled, and serve
different ends in artworks that they and others
make
•
become critically focused in their judgements
about artworks and artists and seek to explain
their reasons
•
how audiences can form different opinions
about artworks and artists
44 Shovels, Picks and Pans
Visual Arts
Making
VAS3.1
Investigates subject matter in an attempt to represent likenesses of things in the world
• closely observes details of things in the world and seeks to make artworks about these
• utilises different artistic forms and explores how symbols may be used in their
interpretation of selected subject matter
• explores subject matter of personal and social interest from particular viewpoints
including objects, events, places and spaces.
VAS3.2
Makes artworks for different audiences, assembling materials in a variety of ways
• examines a range of concepts and their relationships to selected forms, and experiments
with such things as the expressive use of colour in painting or drawing.
VAS3.3
Acknowledges that audiences respond in different ways to artworks and that there are
different opinions about the value of artworks
• talks about and writes about the meaning of artworks, recognising how artworks can be
valued in different ways, by themselves as audience members, and by others
• identifies some of reasons why artworks are made eg the artist’s personal interest, a work
commissioned for a site, a work made to commemorate an event in a community
• recognises that views about artworks can change over time and are affected by different
theories and beliefs.
VAS3.4
Communicates about the ways in which subject matter is represented in artworks
• identifies and describes the properties of different forms, materials and techniques in
artworks and comments on how these are employed in the representation of subject
matter
• discusses the artist’s intention and/or the use of styles and techniques in selected works
and considers the possible meanings of these works
• discusses how subject matter can mean different things in artworks and seeks to explain
the meanings
• discusses a range of artworks and their subject matter including paintings, drawings.
Resources
•
•
•
Selected prints/postcards/slides/videos of artists and artworks eg artworks such as The Prospector by
Julian Ashton, and Pretty Polly Mine by Sidney Nolan. Other examples of these artists’ works would also
be beneficial. See Australian Eye video series, prints/postcards slides from galleries across the state
Tools used in the goldfields or garden tools, prints of other tools
Art paper, soft drawing pencils (eg 2B, 4B, 6B), paint, brushes, cardboard strips, twigs, pastels,
charcoal, spray fixative, scissors.
Assessment
Shovels, Picks and Pans
45
Stage 3
Appreciating
Visual Arts
PURPOSE
To consider the
contribution of selected
artists to Australian art
and for students to
consider the social
practices artists
engage in
Stage 3
TEACHERS CAN
NOTES TO TEACHERS
• Have students look at a range of artworks by Julian
Ashton. Students should note the dates of these
works, the types of subject matter, the use of various
techniques in his drawings and paintings. Have
students record their findings in their
diaries/journals.
Ashton’s artworks and
others produced by eg
the Heidelberg school
artists could be
considered as symbols in
the growth of national
identity.
• Discuss with students how the artworks reflect
interests in Australian history and the characteristics
of Australian life in the late 1880s and 1890s.
Ashton’s works could be
compared with other
artworks produced at
around the same time.
Students could
undertake some research
to compare the work of
these painters eg Tom
Roberts, Arthur Streeton
and/or Frederick
McCubbin, Jane
Sutherland, Clara
Southern. An excursion
to a gallery would be
useful in assisting
students to respond as
audience members to
original artworks.
• Consider the details in Ashton’s painting of The
Prospector eg the physical stature and stance of the
man, his clothing, activities, the surroundings and
how these are painted. Have students consider what
these types of paintings may have meant at the time
they were painted and what they mean today.
Discuss concepts such as naturalism, realism and
the heroic in relation to the features in the painting.
Consider the techniques the artist uses to achieve
these effects and what the artist knows about artistic
traditions.
To have students identify
details and consider
relationships in their
drawings and to evaluate
how successful these are
• Have students look at a range of tools that would
have been used in the goldfields including shovels,
pans, pick, gold weights.
• Have students explore the qualities of these objects
from different viewpoints concentrating on their use,
size, weight, shape, and surface qualities. Have them
make realistic drawings (eg linear and tonal
drawings) of these tools and attempt to show the
proportions, weight and relative sizes of the objects.
Students could also take photographs of the objects
from different angles.
Actual objects or similar
types of objects from the
garden shed could be
used. Students will
needed to questioned
while they are drawing eg
how large is the object
relative to other objects?
How heavy is the object
and how would you show
this? What is its surface
like?
• Evaluate the effectiveness of the drawings with
students.*
To extend students’
understanding of a range
of artistic concepts and
for them to apply these
to their own artmaking
• Have students look at a range of artworks by Sidney
Nolan. Focus on such things as how the artist
explores Australian landscapes, myths and legends
in his artmaking and often refers to particular
historical incidents and events that are still relevant
today. Discuss the techniques the artist uses and
compare these with those of the earlier Australian
painters discussed previously. Consider concepts
such as abstraction and distortion and the
techniques the artist uses.*
Examples could include
The Ned Kelly Series,
outback paintings
including Pretty Polly Mine.
Students could
undertake some further
research on this artist
and consider his
significance in
Australian art
Visual Arts
To comment on the
approaches artists use to
make art and to
investigate particular
techniques and methods
of working
TEACHERS CAN
NOTES TO TEACHERS
• Look at the details in the painting Pretty Polly Mine
(1948), and have the class consider how the painting
is made, giving attention to colours, contrasts and
meanings relative to the figure and landscape; and
details of objects in the foreground and background
and their relative sizes.
Discuss terms such as
foreground,
middleground and
background.
• Have students consider how the artist has explored
distance in the picture. In particular, students are led
to see where the horizon line sits; how the painterly
colours are more muted to suggest distance but are
harshly contrasted with the sky. They can also be
directed to see how objects in the distance appear
smaller than those in the foreground, with the
exception of the bird. Have students think about why
the artist may have used distortion in this work.
It would be useful to
compare this work with
other works produced
around this time and to
consider how artists
moved away from trying
to show a natural image
to something more
expressive, and possibly
more personal
• Have students make sketches experimenting with the
placement of horizon lines and the location of objects
within an environment considering different effects.
• Demonstrate, using the examples that have been
discussed, different painting techniques including
applying paint with different implements, mixing
tints and tones by adding white and/or black to
colours. Have students investigate colour mixing and
changing tonal values and approaches to using
various tools eg brushes (thick and thin), offcuts of
cardboard, twigs, sponges. These experiments can be
extended to include students learning how to blend
colours using pastels.
Have students keep
these experiments with
annotations about the
techniques in their
diaries
• Discuss the results of these experiments.*
To have students apply
to their own artmaking
what they have learnt
from their appreciation
of artists and their works
• Reconsider initial sketches of tools with students
and have students think about how their drawings
could be further developed by adding colour and
tone with crayon or paint and how particular objects
could be distorted for certain reasons.
• Rearrange the tools and have students make large
drawings/paintings of the objects using the
techniques they have learnt about.
• Encourage students to fill the page and to look at
the objects from different and imaginative angles
and viewpoints. Discuss symmetrical and
asymmetrical placements and how artworks can be
more interesting when they are off-centre. Refer to
Nolan’s work.
Drawings/paintings where
charcoal has been used
should be sprayed with
fixative or hairspray to
prevent smudging
47
Stage 3
PURPOSE
Visual Arts
PURPOSE
TEACHERS CAN
NOTES TO TEACHERS
• Have students blend solid areas of colour with darker
tones and highlights to suggest the volume of the
objects. Hatching techniques can be used to suggest
volume and depth and may add further definition (eg
use charcoal pencils).
To reconsider the
techniques that can be
used and the meaning of
the artworks including
how objects and images
may act as symbols
• Have students use brushes and other tools to make
backgrounds using a limited palette of colours
similar to that used by Sidney Nolan.
Stage 3
• Encourage experimentation by mixing a variety of
oranges, browns and pinks, and using a range of
blues for the sky. Students use offcuts of cardboard
as scrapers to suggest the qualities of different
objects using light-toned paint. They can also use
twigs to ‘scratch’ dark purple, raw umber or burnt
sienna paint to suggest the harsh, pointy forms of
trees and other objects in the distance. Small
shredded or crumpled pieces of shiny gold paper
could be added to enhance the symbolic quality of
the work or to highlight features of the work to which
the student artist wants to draw the viewer’s
attention.
Students could explore
natural features in their
surroundings to develop
emphasis and a sense of
form for backgrounds
eg rocks, trees, old
buildings.
The background may be
done separately from the
objects which are then
cut out and reassembled
• Exhibit the artworks and initial experiments and
invite other classes to view the students’ works.
Have students talk to others about the works which
they think are the most effective, giving reasons for
their views.*
Visual Arts
HSIE
CCS3.1
CCS3.2
Time and Change
ENS3.6
Explore the influence of gold on Australia, including the effects on people and events associated with the
history of gold.
Investigate inventions that resulted from gold discovery in Australia.
Research the countries of origin of the first immigrants to the gold fields.
Links to Gold! Unit in HSIE K–6 Units of Work p 115.
ENGLISH
WS3.9
Producing Text
WS3.13
Context and Text
WS3.14
Language Structures and Features
Encourage work on historical recounts of people from the goldfields.
Develop advertising to encourage workers and prospectors to the goldfields; consider the type of language
structure and grammatical features that would be most appropriate.
Stage 3
ES S3.6
DM S3.8
UT S3.9
Using Technology
Explore how gold is found, mined and sold in a variety of forms.
Design and make, trial and test a tool that could be used in gold mining.
Links to An Ancient Land unit in Science and Technology K–6 Syllabus and Support Document p 128.
49
Visual Arts
Stage 3 — Making Music
Subject Matter: Objects
Forms: Drawing, Painting, Collage
The physical and auditory qualities of musical instruments and the experiences of playing them are the
focuses of artmaking in this unit of work. Students respond to the musical objects through investigations
in their artmaking, exploring details of their shape, size, form, texture and sound. Students also view a
range of artworks made by artists including Chagall and Picasso. Students’ understanding is further
developed through their analysis of the compositional devices used by these artists to communicate to
audiences. These devices are then employed in the students’ own approaches to artmaking. The qualities
of abstract works are considered in the unit; students are also required to write about and reflect on their
own artworks and the works of the other artists noted.
Content
learn to:
• apply what they have learnt about concepts in
the artworld to their artmaking
learn about:
Stage 3
•
interpret subject matter which is of local
interest in particular ways in their making of
artworks
•
organise and assemble materials in various
ways in the making of artworks suited to
particular purposes and think about the
meaning of their decisions
•
how concepts and materials are thought
about, organised and assembled, and serve
different ends in artworks that they and others
make
•
become critically focused in their judgements
about artworks and artists and seek to explain
their reasons
•
how artworks can be subject to different
interpretations by artists and audiences
•
how audiences can form different opinions
about artworks and artists
50 Making Music
Visual Arts
Making
VAS3.1
Investigates subject matter in an attempt to represent likenesses of things in the world
• closely observes details of musical instruments, and seeks to make artworks about these,
using various techniques such as proportion, perspective, composition, foreshortening
• utilises different artistic concepts eg colour, tone, line, scale, abstract, and explores how
these may be used in their interpretation of this subject matter.
VAS3.2
Makes artworks for different audiences, assembling materials in a variety of ways
• examines a range of concepts and their relationships to selected forms, and experiments
with such things as the use of line to suggest form and the abstract use of colour in
painting, drawing and collage
• reflects on how they go about making their artworks.
VAS3.3
Acknowledges that audiences respond in different ways to artworks and that there are
different opinions about the value of artworks
• identifies some interpretations that selected artworks might sustain and acknowledges
that people could respond in different ways.
VAS3.4
Communicates about the ways in which subject matter is represented in artworks
• identifies and describes the properties of different forms, materials and techniques in
artworks and comments on how these are employed in the representation of subject
matter
• discusses artists’ intentions, their styles and techniques in selected works and considers
the possible meanings of these works eg Chagall and Picasso.
Resources
•
•
•
•
•
•
A variety of musical instruments and photographs and charts of musical instruments
prints of Cubist artworks eg a print of Three Musicians by Picasso (available in the Art Pack on
Celebrations, supplier S & S Wholesale) and other artworks where the subject matter is about music eg
Picasso’s The Wine Bottle, Still Life with Guitar, Chagall’s painting Green Violinist, and Degas’ The Orchestra of
the Opera. These can be varied as resources permit.
drawing media: 2B–6B pencils, charcoal, graphite, felt pens, conte and water-soluble pencils
a variety of papers eg textured, tinted, black, shiny, patterned
acrylic paint, inks, dyes and brushes
collage materials including photocopies of music scores.
Assessment
Making Music
51
Stage 3
Appreciating
Visual Arts
TEACHERS CAN
NOTES TO TEACHERS
To use ‘iconic’ examples
from the visual arts to
broaden students’
appreciation of how
ideas are represented in
paintings. To suggest
how multiple views are
possible in one artwork
• Have students look at and discuss the works of
artists who have used musical instruments as
subject matter in their artworks. Particular emphasis
is given to the work of eg the Cubists, Picasso and
Braque. The teacher and students consider how
Picasso overlapped several views of violin/guitar in
the one picture. Students study Picasso’s still-life
works that include musical instruments eg The Wine
Bottle, Still Life with Guitar. Students speculate on the
possible meanings of these artworks and how the
world is viewed in the artworks.
Artworks such as the
Cubists’ works may be
unfamiliar to students
and may appear strange
and funny. The teacher
can encourage students
to consider how multiple
views are overlayed in
these works and how
some shapes are reduced
to suggest negative
forms
To develop students’
observational skills and
for them to understand
relationships amongst
parts, and to represent
these in their drawings.
To focus on the
development of
particular drawing
techniques that assist
students in their
representational activity
• Bring musical instruments to class (eg guitar, violin,
clarinet, French horn) for students to draw. Have
students identify the shapes, materials and forms of
musical instruments and consider the relative sizes
and functions of different parts of the instruments
(eg knobs, buttons, handles, keys, pedals,
mouthpieces, strings, wood, brass, plastic, silver,
gold, wire).
If the range of
instruments is limited,
these can be
supplemented by
photographs and prints.
PURPOSE
Stage 3
• Have students investigate the qualities of these
instruments in a series of drawings eg contour
drawings, continuous line drawings and detailed
tonal drawings. Using a window frame, students draw
an interesting section of their instrument. This is
enlarged and changed to fit a shape eg circle.*
Tonal and textured
effects can be achieved
by different techniques
such as using the tip of
the pencil to make dots
(stippling), repeating
short parallel strokes
(hatching) or crossing
short lines in many
directions (crosshatching). Soft pencils
(2B–3B) are used for
shading by applying
pressure in varied ways
or mixing the grades of
pencil within the picture.
the unit at this point
To extend appreciating
opportunities and
increase the range of
works students have
access to, and for
students to recognise
relationships between an
artist’s intentions, how
the world is interpreted
in an artwork and what
audiences think
52 Making Music
• Have students discuss the possible meanings and
compare artworks about individuals playing musical
instruments, eg Chagall Green Violinist, Picasso Three
Musicians and Degas The Orchestra of the Opera.
Comparisons are made of: style; the focus of subject
matter; composition of the work; viewpoint;
treatment of figures; and the relationship of the
figure to the instrument. Students may also
complete a written comparative account of selected
works focusing on the ways the artists have
approached their making of the paintings and
different interpretations audiences may have.*
Visual Arts
This further develops the
earlier drawing activities
and extends students’
understanding of
proportion and relative
size of the figure and
instrument
TEACHERS CAN
NOTES TO TEACHERS
• Have selected students pose for the class playing
musical instruments. Direct students to look at how
the body relates to the proportions and shapes of
the instruments. Students make continuous line
drawings in felt pen and large expressive sketches
using charcoal, graphite or conte crayon on different
textured and coloured papers. Water-soluble pencils
such as Aquarelle pencils have their own unique
character. These can be used alone or combined with
other drawing media.*
Drawings take
concentration; the teacher
should seek to question
students as they are
working, to improve
observations and how
these are represented.
Drawings can be kept in a
class folder or individual
folders.
• Students develop short evaluative statements about
what they have learnt in doing these drawings.
For students to recognise
and apply concepts in art
to their artmaking.
• Have students select parts of their drawings of
musical instruments to photocopy and enlarge.
These are reorganised into a new composition
showing different viewpoints in the one picture.
Parts are extended, distorted, overlapped, elongated
or eliminated. Following the planning of the
composition, students select collage materials to
apply to the work.
For students to
experiment with different
surface qualities such as
newsprint, patterned
paper, music scores etc,
to make a visually
interesting surface
• Assist students to consider their intentions for their
collage artworks and the effects of different colours.
Have them investigate the qualities of different
colours and paint media and make decisions on how
to use acrylic paints, inks, dyes and paint sticks to
achieve their intentions.
Students can refine areas
of their work following
reflection and evaluation
• Have individual students talk about their completed
artworks in a class discussion and identify the extent
to which their works have visual interest and where
improvements could be made to give impact to the
works. In the light of the discussions, students make
adjustments to their artworks. These could include
such things as re-working an area of paint or
reconsidering an area of collage.
Students also benefit from
making evaluative
comments about their
artworks in progress. A
diary is useful for this
purpose. There could be a
further break in the unit at
this point
This activity builds on
the earlier appreciating
activities in this unit
Students can record their
responses to their works,
and their understandings
gained, in their folders or
diaries
• Prepare an exhibition of artworks.* Have students
discuss the subject matter and use of techniques,
and reflect on what they have learnt in terms of
developing their own works, on other artists and
their artworks, and on how artworks generate
different responses from audiences.
Making Music
53
Stage 3
PURPOSE
Visual Arts
Links with Key Learning Areas
PP S3.4
Physical Phenomena
DM S3.8
UT S3.9
Using Technology
Investigate how sound is made on a variety of musical instruments. Design and make musical
instruments.
ENGLISH
WS3.9
Producing Texts
WS3.10
Skills and Strategies (Grammar and Punctuation)
Write a personal response to the artworks.
HSIE
CCS3.1
Significant People and Events
CUS3.3
Identities
Research significant Australian artists and musicians and their
contribution to Australian heritage and culture.
Stage 3
54 Making Music
Stage 3
Visual Arts
Making Music
55
Music
Early Stage 1 — Sing and Move
Musical Concepts: Duration, Pitch, Structure
This unit provides a sequence of learning opportunities linked to known songs that use a verse/chorus
structure as well as the Israeli folk song ‘Zum Gali Gali’. The unit offers an opportunity for students to
create and perform a dance that they can do while singing the song that reinforces the structure of
verse/chorus.
Content
Early Stage 1
learn to:
• perform music through singing, playing and
moving to simple songs and speech rhymes
learn about musical concepts:
• through recognising simple musical features
of the music they perform
•
organise sound by creating simple songs,
rhymes, games and compositions or
variations on simple songs, rhymes, games
and compositions
•
by organising sound through listening,
imitation and experimentation
•
listen to, and respond to, a variety of music
•
by responding to music through performing
and organising sound activities and
identifying simple features of this music
MUES1.1
Participates in simple speech, singing, playing and moving activities, demonstrating
an awareness of musical concepts
•
•
•
performs simple songs maintaining a sense of beat and rhythm
performs songs using their voice, percussion and movement reflecting the structure of a
song
creates and performs a movement sequence to reflect the structure of a song.
MUES1.2 Creates their own rhymes, games, songs and simple compositions
• selects contrasting percussion instruments to accompany a song
• explores, through movement and actions, ways of representing the structure of a song.
MUES1.3 Listens to and responds to music
• listens to and responds to the difference in the verse and chorus of a song
• recognises the structure of songs using verse and chorus.
Assessment
56 Sing and Move
Music
Resources
•
•
Recording of ‘Zum Gali Gali’ available from Music from Around the World by Gary and Carol Crees. Copy
of melody line also available in Springboards — Ideas for Music and Catch a Song by Deanna Hoermann
and Doreen Bridges.
A variety of non-melodic percussion, coloured scarves, streamers, flags etc.
HSIE
CCES1
CUES1
Identities
Explore other cultures and their celebrations including the music and dance which are integral parts of the
culture. Discuss the languages that are spoken at home or in the local community. Develop a repertoire of
songs from other cultures and where possible other languages.
Early Stage 1
Suggested link with School Days unit from HSIE K–6 Units of Work p 25.
Chorus
Zum ga-li
ga-li
ga-li,
zum ga-li
ga-li,
zum ga-li
ga-li
ga-li
zum.
Verse
Zum ga-li ga-li
ga-li,
zum ga-li
ga - li,
zum ga-li
ga-li
ga-li
zum. 1. He-kha2. Work is
lutz
le - mann
for
the
a - vo - dah,
pi - o
-
neers,
a - vo - dah
work is
for
le - maan he - kha - litz,
a - vo -
the
A
pi - o
-
neers
dah le - maan he - kha - lutz,
he - kha - lutz le - maan a - vo - dah.
pio - neer’s work is
A
his
love,
pio - neer’s work is his
love.
Sing and Move
57
58 Sing and Move
To sing a new song that
uses verse and chorus
structure
To play a constant beat
To maintain a constant
beat
To recognise verse and
chorus
✓
✓
✓
✓
S
✓
✓
✓
✓
✓
✓
✓
M
✓
P
PERFORMING
OS
✓
✓
✓
L
• Jointly stand in a circle and sing the song as before
with different student suggesting alternative actions
for the word ‘zum’
• Have students join in singing the song as they
become more familiar with the words and melody.
• Have students repeat above activity and clap each
time the word ‘zum’ is sung.
• Have students listen to ‘Zum Gali Gali’, either
teacher singing or a recording. Students then patsch
beat of the chorus and wave arms in the air during
the verse.
• Place a variety of non-melodic percussion
instruments on the floor. Teachers then have
students move around the room while performing
the verse of ‘This Old Man’, then stand playing the
beat of the chorus on the instrument at their feet.
• Have students individually or in groups explore
other actions or movements to perform with each
verse.
• Have students as a group move freely around the
room as they sing the verse, and stand still and clap
as they sing the chorus.
• Have students sing or listen to well known songs
that have verse and chorus — eg ‘This Old Man’,
‘Shoo Fly’.
TEACHERS CAN
SEQUENCE OF LEARNING EXPERIENCES
Early Stage 1
PURPOSE
✓
✓
✓
✓
D
✓
P
DY
✓
TC
MUSICAL CONCEPTS
✓
✓
✓
✓
✓
✓
✓
S
The song may be sung to
a syllable such as la if the
traditional words are too
difficult
The song is about
pioneer settlers travelling
over the sea to a new
home in Israel — ‘gali’
means waves
One instrument per
student if resources
permit
Any known song that has
a verse and chorus would
be appropriate
NOTES TO TEACHERS
Music
✓
✓
✓
✓
✓
✓
✓
✓
✓
Performing: S = Singing, P = Playing, M = Moving.
To explore various ways
of representing verse and
chorus
To reinforce the structure
of a song through
movement
✓
✓
✓
✓
✓
✓
✓
Sing and Move
Early Stage 1
Musical Concepts: D = Duration, P = Pitch, DY = Dynamics, TC = Tone Colour, S = Structure.
• Have students decide on which movements they like
best and incorporate these into their song and
movement.
• Have students individually perform their movements
and the rest of the class imitates them.
• Have students explore various ways of using scarves,
streamers, flags etc to represent the verse and
chorus while performing the song.
• Jointly perform the entire song with movement and
percussion accompaniment.*
• Have one student or a small group perform the beat
of the verse on a metallic non-melodic percussion
instrument while the other student performs the
song and movement.
• Have one student or a small group perform the beat
of the chorus on a wooden non-melodic percussion
instrument while the other student performs the
song and movement.
• Jointly walk to the centre of the circle for the first
phrase of the verse and back to the circle for the
second phrase.
• Jointly walk to the right for the first phrase of the
chorus, left for the second phrase. Each time to word
‘zum’ occurs, the clap or stamp.
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
Teachers may choose
alternatives to scarves
etc
These movements are
suggestions only
Music
59
Music
Early Stage 1 — Sounds in the Environment
Musical Concepts: Tone Colour
This unit provides a sequence of learning opportunities for students to listen and respond to sounds
around them in a variety of ways. Listening to environmental sounds allows students to discriminate
between sounds that are familiar to them and gives them accessible musical materials to work with in
their organising-sound activities. The unit focuses on sounds around us, and the sounds that insects
make, through listening and organising sound.
Content
Early Stage 1
learn to:
moving to simple songs and speech rhymes
• through recognising simple musical features
of the music they perform
•
organise sound by creating simple songs,
rhymes, games and compositions or
variations on simple songs, rhymes, games
and compositions
•
imitation and experimentation
•
listen to and respond to a variety of music
•
60 Sounds in the Environment
Music
MUES1.1 Participates in simple speech, singing, playing and moving activities demonstrating an
awareness of musical concepts
• responds and performs using voice, percussion and body percussion to rhymes and songs
• moves to recorded music
• recreates environmental sounds using voice, percussion and body percussion.
MUES1.2 Creates their own rhymes, games, songs and simple compositions
• experiments with sound sources to represent environmental sound
• organises sounds into simple compositions.
MUES1.3 Listens to and responds to music
• responds to music through movement
• listens to and describes sounds in the environment.
Assessment
Early Stage 1
cat
storm
dog
beach
water
keys
Sounds in the Environment
61
To identify and
discriminate between
sounds
To listen and imitate
accurately
To experiment with
sounds
To listen to sounds in the
environment
✓
✓
✓
✓
✓
✓
✓
✓
P
✓
S
M
PERFORMING
✓
✓
✓
✓
OS
✓
✓
✓
✓
✓
L
• Have each group perform their work for the rest of
the class.*
• Have students take an imaginary musical walk
around the school. In groups, students make the
sounds of walking around the school and stop every
now and then and create the sounds they might
hear (using voice, percussion and body percussion)
in different parts of the school.
• Have students sing Sound Song.
• Have students choose sounds — vocal, percussion
or body percussion to represent a range of pictures
on cards.
• Have students use voices, body percussion or
percussion instruments to try and recreate some
of the sounds they heard.
• Have students sit quietly in the classroom or
outdoors and listen to the sounds in their
environment. Have students draw or list the sounds
they hear.
TEACHERS CAN
Early Stage 1
PURPOSE
D
✓
P
DY
✓
✓
✓
✓
✓
✓
TC
MUSICAL CONCEPTS
S
The first part of this unit
could conclude here
Teachers might like to
have a predetermined set
of events around the
school — eg the
playground, the canteen,
the library etc
This song is about
sounds in the
environment. It is an
echo song which is
excellent for young
children as it provides a
model for children to
imitate. In the silences in
the song, encourage
students to listen to the
sounds around them
Samples of the cards on
page 61
NOTES TO TEACHERS
Music
✓
✓
✓
✓
To listen to orchestral
music and respond by
moving
To explore different
levels of space through
movement
To listen to orchestral
music and respond by
moving
To use voices, body
sounds and instruments
to imitate the sounds
made by some insects
To discriminate sounds
between the sounds
made by different insects
✓
✓
63
• Have students experiment with and discuss different
ways they could move to this music.
• Have students listen to ‘I Danced with a Mosquito’.
Have students move in response to the music.
• Have students move around the area like bees,
simulating high, medium and low level flight, and
resting to enact the bee sitting on a flower.
• Have students listen to and discuss ‘The Flight of
the Bumble Bee’.
• Have students experiment and substitute different
percussion sounds for the ‘zums’, ‘hums’, ‘zzzzs’ and
‘mmms’. Invite them to decide which sounds are the
most effective.
• Have students experiment and substitute different
body percussion sounds for the ‘zums’, ‘hums’,
‘zzzzs’ and ‘mmms’. Invite them to decide which
sounds are the most effective.
• Have students experiment with different ways of
saying the rhyme
• Have students learn the rhyme Listen to the Bee’s Song
• Have students discuss the different sounds that
insects make.
Early Stage 1
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
The second part of this
unit could conclude here
For example, begin by
lying on the floor and
wake up as the mosquito’s
buzzing begins
For recording details
refer to end of the unit
For example, sticks,
castanets, finger
cymbals, maracas
For example, clicks,
claps, rubs etc
For example, say the
‘zums’ and ‘zzzz’s’ loudly
and the ‘hums’ and
‘mmms’ softly
This is best done through
echoing. Teachers and
students may like to
make up additional
verses
For example, the sounds
made by flies, mosquitos,
bees, crickets, cicadas etc
Music
Music
Early Stage 1
‘Listen to the Bee’s Song’
Listen to the bee’s song
Zum, zum, zum
Listen to the bee’s song
Hum, hum, hum
Big bees zum
And little bees hum;
Zum, zum, zum
Hum, hum, hum.
Listen to the mozzie’s song
Zzzz, zzzz, zzzz
Listen to the mozzie’s song
Mmm, mmm, mmm
Big mozzies zzzz
And little mozzies mmm;
Zzzz, zzzz, zzzz
Mmm, mmm, mmm.
by L Suthers.
Music
Resources
•
•
‘Sound Song’ by Harriet Powell. This song can also be found in Music Builders level K (Silver Burdett)
and Game-songs with Prof Dogg’s Troupe (H. Powell (ed), A. & C. Black, London 1983).
‘Flight of the Bumble Bee’ by Rimsky-Korsakov and ‘I Danced with a Mosquito’ by Anotol Liadov
available from ABC shops on ABC Classic Kids (ABC for Kids: CD 512 297-2; cassette 512 297-4).
DANCE
DAES1.2 Composing
Encourage students to move in response to a music stimulus using several levels.
Assist students to join several movements to create a short dance.
LT ES1.3 Living Things
BE ES1.1 Built Environments
DM ES1.7 Designing and Making
INV ES1.8 Investigation
UT ES1.9 Using Technology
Investigate a number of insects and small animals that have easily identifiable sounds. Provide
opportunities for the students to use a simple draw program to draw the animal and record the sound it
makes. These can be used for the cards or for other matching activities.
Take the students on an environmental walk and discuss how the walk could be labelled to encourage
others to stop and listen to the sounds. Design and make a sound environment for baby to use.
Links with What’s Alive unit (p 74) and Sense of Direction unit (p 78) in Science and Technology K–6 Syllabus and
Support Document.
ENGLISH
RES1.5
Reading and Viewing
RES1.7
Context and Text
WES1.9
Producing Texts
Locate, read and discuss a range of factual and literary texts about the environment and small animals.
Discuss how they are different in structure and language.
Jointly construct an information report about one animal.
65
Early Stage 1
Music
Stage 1 — When I Get Mad I Beat My Drum
Musical Concepts: Duration, Tone Colour, Structure
This unit provides a sequence of learning based on the chant ‘When I Get Mad I Beat My Drum’. It uses
repertoire as a vehicle for exploring the rhythmic nature of words through speech and developing the
students’ feeling for beat through their ability to chant and play rhythmically. It also provides
opportunities for innovation on text.
Content
• through recognising musical features of the
music they perform
•
organise sound through imitation, and
experimentation, and represent this using
symbols
•
performing and notating using a symbol
system
•
•
Stage 1
learn to:
• perform a variety of music through, singing,
playing and moving
66 When I Get Mad I Beat My Drum
Music
MUS1.1
Sings, plays and moves to a range of music demonstrating awareness of musical
concepts
• performs chants demonstrating a sense of beat and rhythm
• performs chants using their voice, body percussion and percussion instruments
• performs own verses of a known chant.
MUS1.2
Explores, creates, selects and organises sound in simple structures
• explores tone colours around the room
• explores and selects ways of varying known material
• creates own verses of known chant.
MUS1.4
Responds to a range of music expressing likes and dislikes and the reasons for these
choices
• recognises the phrasing within a known chant
• responds to known rhythms within a chant.
Stage 1
Assessment
When I Get Mad I Beat My Drum
67
To explore variations on
known material
To maintain a steady
beat
To imitate accurately
To explore sounds
✓
✓
✓
✓
✓
✓
✓
✓
P
✓
S
M
PERFORMING
✓
OS
✓
✓
✓
✓
✓
L
• Have students vary the known rhythm by varying the
rhythm pattern when they have the instrument.
• Have the class sit in a circle and jointly chant the
rhyme. Students can pass a small drum or
tambourine around the circle while chanting the
rhyme; whoever has the instrument when the
‘dum da dum …’ section occurs, plays the rhythm
on the instrument.
• Repeat the chant and have students join in the
‘dum da dum …’ line each time it occurs
• Introduce the chant ‘When I Get Mad I Beat My
Drum’. Have students as a group echo each phrase
while patsching the beat with both hands
• Select individual students to drum a pattern, which
the rest of the class then imitates.
• Have students experiment with making drumming
sounds using body percussion or by drumming on
objects around the room.
TEACHERS CAN
Stage 1
PURPOSE
✓
✓
✓
✓
✓
D
P
DY
✓
TC
MUSICAL CONCEPTS
✓
✓
✓
S
This can be done without
instruments: each time
the line occurs a different
student plays the rhythm
by themselves —
teachers may nominate
a student, or they could
take turns around the
circle
Teacher might ask
students to play the
rhythm of the line on
their thighs when they
are chanting it
Refer to the end of this
unit for the full chant
This can be repeated as
many times as is
necessary or desirable
discuss the different
sounds that each of the
body percussion or
objects make
NOTES TO TEACHERS
Music
✓
✓
✓
To innovate on the text
✓
✓
• Have class perform the chant incorporating the new
rhymes from each group.*
• Have students change the instrument from drum to
something else, eg
When I get mad, I play my flute
Doo da doo, doo da doo, doo da doo, doo doo
I play my flute
In my blue tracksuit.
• Have students make up new verses, eg
When I get mad, I shake my fist
Dum da dum etc
I shake my fist
Right off my wrist.
• Have students in small groups experiment with
different ways of presenting the chant — eg softly,
loudly, whispered. Have students experiment with
different members of the group leading the chant
and body percussion accompaniment. Teachers
get groups to perform their variation for the rest
of the class.
Stage 1
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
Teacher may like to
choose a selection of
these
Teacher should have a
few suggestions to help
students if necessary
This is better done in
small groups
Music
69
Music
Resources
Chant — ‘When I Get Mad I Beat My Drum’
When I get mad I beat my drum
Dum da dum, dum da dum, dum da dum da da dum
I beat by drum ‘til my arm gets numb
I beat my drum right through the day
Until that BAD MAD goes away
Dum da dum, dum da dum, dum da dum da da dum.
When I Get Mad I Beat My Drum by Sandy Offenhiem, from Are We There Yet? published in Music Builders 1,
© Cee & Cee (Berandol Music Limited), Canada, 1980.
Also published in vocal-ease, NSW Department of Education and Training, Sydney, 1999.
Stage 1
ENGLISH
TS1.4
Encourage students to create other rhyming lines for different event in their lives.
Investigate other examples of rhymes, eg You Beaut Juicy Fruit, Durkin, Peter (1990), Unreal Banana Peel,
Factor, June (1986) Oxford University Press.
HSIE
CUS1.3
Identities
Discuss and explore the ways in which family members learn about customs and traditions through songs,
chants, stories etc. Have the class learn some of these.
Suggested link Identifying Us unit from HSIE K–6 Units of Work p 59.
Stage 1
Music
71
Music
Stage 1 — Where the Forest Meets the Sea
Musical Concepts: Duration, Tone Colour,
Pitch, Dynamics
This unit has been developed thematically with the book Where the Forest Meets the Sea. The focus of these
activities is on children’s composition and performance using appropriate tone colours and dynamic
control for expressive purposes. The second part of the unit uses the song Noongar in the Bush. This allows
students to explore rhythmic elements of words, dynamics and tone colour to represent various objects
and actions. The unit assumes that children are comfortable with the use of classroom instruments and
organising sound activities.
Content
Stage 1
learn to:
• perform a variety of music through singing,
playing and moving
music they perform
•
organise sound through imitation and
experimentation, and represent this work
using symbols
•
performing and notating using a symbol
system
•
•
MUS1.1
Sings, plays and moves to a range of music demonstrating awareness of musical concepts
• uses body percussion and percussion to perform compositions
• sings songs with body percussion and percussion accompaniments.
MUS1.2
Explores, creates, selects and organises sound in simple structures
• explores tone colours of instruments to represent pictures
• explores dynamic contrasts in musical compositions.
MUS1.4
Responds to a range of music expressing likes and dislikes and the reasons for these
choices
• recognises the phrasing within a known song
• responds to music with dynamic contrasts under the direction of a conductor.
Assessment
72 Where the Forest Meets the Sea
Stage 1
Music
Where the Forest Meets the Sea
73
To develop an
understanding of the
relationships that different
Aboriginal people have
with their land
To perform a graphic
score
To represent visual
images with sound
To create a graphic score
To further explore
dynamics
To explore dynamics and
tone colour
✓
✓
✓
✓
✓
✓
✓
P
S
M
PERFORMING
✓
✓
✓
✓
OS
✓
✓
✓
✓
L
• Re-read the book Where the Forest Meets the Sea,
discuss the depiction of Aboriginal people in the
book and the cooking of food found in the natural
environment as it is illustrated.
• Have students perform a piece of rainforest with the
collage as the score. Different students might
‘conduct’ the performance.*
• Have students experiment with individual sounds to
represent each of the parts of the collage.
• Have class create a rainforest collage wall mural.
• Have students experiment with dynamics in the
soundscape by adding and removing sounds until
the soundscape gradually dies away.
• Have students use their voices, instruments and
natural materials to produce a soundscape of a
rainforest. Have students play the softest sound
possible on their instrument, gradually adding
instruments so that with the addition of each new
sound they are creating another layer to the
soundscape.
• Have students discuss the making of illustrations
using a collage of natural materials and discuss the
sounds that might be heard in a rainforest.
• Read the book Where the Forest Meets the Sea.
TEACHERS CAN
Stage 1
PURPOSE
D
P
✓
✓
✓
DY
✓
✓
✓
TC
MUSICAL CONCEPTS
✓
S
Publishing details of the
book can be found at the
end of this unit
NOTES TO TEACHERS
Music
✓
✓
✓
✓
✓
✓
✓
✓
• Have students experiment with different levels of
dynamics in each verse of the song.
• Have students sing the song with instrumental
accompaniment.
• Have some students play tapsticks as a substitute
for patsching in the first part of each verse.
• Have students choose non-melodic percussion
instruments to represent each of the sound words.
• Have students sing the song accompanying
themselves with the body percussion from above.
• Have students listen to the song again and patsch
on the beat in the first part of each verse. Have
students use different body percussion to perform
the rhythms of each sound word in the second part
of each verse.
75
Stage 1
✓
✓
✓
✓
✓
✓
✓
For example:
peck = castanet
slither = maracas
snap = tambourine
jump = drum
For example:
peck = click fingers
slither = rub thighs with
hands
snap = clap hands
jump = bounce hands on
floor
Noongar people are from
south-western Australia,
Koori people are from
south-eastern Australia,
Murri people are from
parts of Queensland and
Nunga people are from
South Australia
• As a group discuss the names in the song for
different groups of Aboriginal people living in
different parts of Australia.
• Have students discuss the kinds of ‘bush tucker’
which could be found in the rainforest and on the
coast.
Please refer to the end of
this unit for resource
details
• Have students listen to the song Noongar in the Bush
and discuss the animals listed in the song as ‘real
good tucker’.
✓
✓
✓
✓
✓
✓
✓
✓
To utilise dynamic
variations for expressive
purposes in the
performance of a song
with accompaniment
To choose appropriate
tone colours for
accompaniment
To sing and accompany a
song
To perform the beat and
rhythm of selected parts
of a song
✓
Music
Music
‘Noongar in the Bush’
(Traditional, adapted by Wendy Notley)
There was a Noongar in the bush
With spear and nulla nulla
And in the bush there was an emu
Gee that’s real good tucker
With a peck peck here
And a peck peck there
Here a peck there a peck
Everywhere
There was a Koori in the bush
And in the bush there was a snake
With a slither here
And a slither there
Here a slither there a slither
Everywhere
Stage 1
And in the bush there was a snake
With a snap snap here
And a snap snap there
Here a snap there a snap
Everywhere
And in the bush there was a kangaroo
With a jump jump here
And a jump jump there
Here a jump there a jump
Everywhere
Resources
•
•
Jeannie Baker, Where the Forest Meets the Sea, Julia MacRae Books, Lane Cove, 1987.
‘Noongar in the Bush’ in Growin’ Up Strong, Aunty Wendy’s Mob (1996, ABC Music 8146692), available
from ABC and Scholastic Australia.
Music
Growing’ Up Strong, Aunty Wendy’s Mob, ABC Music
8146692, 1996. Reproduced courtesy Wendy Notley.
Note: The Aboriginal words here are the generic names used by Aboriginal people in particular regions of
Australia to describe themselves.
(Original recording is in C major. This version has been transposed up a 4th).
77
Stage 1
‘Noongar in the Bush’
Music
LT S1.3
Living Things
BEE S1.1 Built Environment
DM ES1.7 Designing and Making
INV ES1.8 Investigation
UTES1.9
Using Technology
Investigate local bush/forests and waterways and discuss how they are being cared for and by whom.
Design and make an environment that allows for people, homes, transport and other community facilities
to be developed close to a forest or bush area. What issues need to be considered?
Links to What’s Alive unit in Science and Technology K–6 Syllabus and Support Document p 74.
HSIE
ENES1.5 Patterns of Place and Location
ENES1.6 Relationships with Places
Identify significant places and features of the local environment and discuss how they are protected.
Links with Wet and Dry Environments unit in HSIE K–6 Units of Work p 71.
Stage 1
ENGLISH
TS1.3
Context and Text
RS1.5
Reading and Viewing
WS1.9
Producing Texts
Read a range of texts about environmental issues and discuss the positions taken by the writers and why
they might be taking the various positions.
Scaffold as a joint construction the writing of an information report on a special environment.
Use a polarised debate or hot seat strategy to discuss an environmental issue.
Music
Musical Concepts: Duration, Pitch, Dynamics,
Tone Colour, Structure
This unit provides a sequence of learning opportunities based around a chant. It uses this repertoire as a
vehicle for developing students’ ability to create and structure their own composition through a series of
whole-group activities that lead to small group work. It assumes the children are familiar with the use of
classroom instruments, organising sound activities and group work.
Content
learn to:
playing and moving, demonstrating an
understanding of the music
music they perform
•
improvise, experiment, select and combine
musical ideas to form simple musical
structures and notate these ideas using
commonly understood symbols
•
by organising sound, listening, performing
and representing these ideas in traditional
and non-traditional notation
•
Listen to, and appreciate, a range of
repertoire showing some understanding of
musical concepts
•
identifying features of this music
MUS2.1
Sings, plays and moves to a range of music demonstrating a basic knowledge of musical
concepts
• performs rhythms and spoken chants accurately
• maintains rhythmic and melodic ostinato patterns.
MUS2.2
Improvises musical phrases, organises sounds and explains reasons for choices
• improvises short musical phrases based on C pentatonic scale
• organises chants and ostinati into a structure.
MUS2.3
Uses commonly understood symbols to represent own work
• notates compositions using graphic and/or traditional notation.
MUS2.4
Identifies the use of musical concepts and musical symbols in a range of repertoire
• discusses musical concepts in their own work and the compositions of others.
Assessment
Key assessment opportunities marked with *.
Bicycles
79
Stage 2
80 Bicycles
To organise sounds into
musical structures
To develop the ability to
listen to other
performers and perform
as part of an ensemble
To perform musical
patterns by ear
To say rhymes with
developing control over
musical concepts.
✓
✓
✓
✓
✓
✓
M
✓
P
OS
✓
✓
✓
S
PERFORMING
✓
✓
✓
✓
✓
L
• Have students as a group discuss the compositions
• Divide class into four groups. Have students create
a repeatable performance based on the rhyme from
the previous sessions. Have groups perform their
compositions for the rest of the class.
• Have student(s) conduct a performance. As a group
discuss the similarities and differences between
versions.
• Have the groups form into lines. Teachers create a
musical structure of various ostinati by conducting
the groups as an ensemble.
• Have students select a word from the rhyme and
walk around the room repeating the rhyme over and
over again until they group together with other
students with the same word
• Have students learn through an echo technique
the rhyme ‘Ride on My Bike’. Have students
maintain the beat as they say the rhyme by
stamping their feet.
TEACHERS CAN
Stage 2
PURPOSE
✓
✓
✓
✓
✓
D
✓
✓
✓
✓
✓
P
✓
✓
✓
✓
✓
DY
✓
✓
✓
TC
MUSICAL CONCEPTS
✓
✓
✓
✓
✓
S
This may start with a
discussion of what they
liked best, the most
effective features and the
use of musical concepts
This step may take some
time as students
experiment, select and
combine different ideas
into a final composition
for performance
This could conclude this
part of the unit
Experiment with
concepts such as loud,
soft, slow, fast, high, low,
repetition
A repeated pattern is
called an ostinato
Refer to end of this unit
for rhyme
NOTES TO TEACHERS
Music
Bicycles
✓
✓
✓
✓
✓
✓
✓
✓
To refine and record
music using notation
To identify how musical
concepts can be varied to
create different effects
To organise sounds into
musical structure.
To discuss their own
compositions and the
work of others
To improvise rhythmic
and melodic ideas
✓
✓
✓
81
✓
✓
✓
✓
• Have groups perform their compositions for the rest
of the class and as a group discuss the compositions.
• Have groups experiment with notating their
compositions.*
• Have students in three or four groups create their
own repeatable composition using a melodic
ostinato as a drone and experimenting with the
original rhyme. Have students experiment with
musical concepts to add interest to their
compositions.
• Have students experiment with other musical
concepts in their improvisations. Have them discuss
what happens to their improvisations when the
tempo is changed etc.
• Have students improvise their own melodic ostinato
over the drone. *
• Demonstrate an improvisation of a melody based on
C pentatonic scale while the class continues the
original drone
Stage 2
✓
✓
✓
✓
✓
• Play the following melodic ostinato while students
patsch the beat.
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
Students might use
either graphic or
traditional notation or a
combination of these
Students could
experiment with varying
the tempo, pitch and
dynamics in their
performances and may
experiment with different
ways of saying the rhyme
(tone colour). One melodic
percussion instrument
per group would be
enough for this activity
This could conclude this
part of the unit
For example, make the
drone move from slow
to fast, high to low, loud
to soft.
This could be done as a
group and then each
student or small group
could have a turn at
performing it
The notes of C
pentatonic scale are
CDEGA
Use a melodic
percussion instrument
such as a glockenspiel,
xylophone or chime bars
Music
Music
‘Ride on My Bike’
Repco, Apollo, Shogun, Diamond Back
Hop on your bike, off down the track
Haro, Orion, Giant and Balance
Up in the air and flip on your back.
VISUAL ARTS
Links with Visual Arts Bicycles unit in Creative Arts K–6 Units of Work p 38.
BE S2.1
Built Environments
DM S2.8
UT S2.9
Using Technology
Explore the local community to identify where specific facilities have been made for bicycle riders.
Investigate what types of facilities are provided in other areas.
Design and make a bike track that could be built in the local area.
Stage 2
PP S2.4
Physical Phenomena
DM S2.8
UT S2.9
Using Technology
Investigate how gears/cogs make things work. Label parts of a bicycle and other geared toys. Draw
diagrams of different wheeled vehicles that students use. Investigate safety issues associated with
riding bikes.
Design and make a means of transport for the future.
Links with Out and About unit in Science and Technology K–6 Syllabus and Support Document.
HSIE
ENS2.5
Patterns of Place and Location
ENS2.6
SSS2.7
Resource Systems
Investigate how the needs of the community and changes in lifestyles, the use of public transport and the
need for bicycle facilities are met.
Links with Cooperating Communities unit in HSIE K–6 Units of Work p 77.
ENGLISH
RS2.5
Reading and Viewing
Identify, read and discuss texts where bicycles feature, particularly those relating to community facilities.
PDHPE
SLS2.13
Safe Living
ALS2.6
Active Lifestyle
Discuss reasons why riding a bicycle is a healthy activity.
Discuss rules for riding bicycles and safety issues.
82 Bicycles
Music
Stage 2 — Night and Day
Musical Concepts: Duration, Pitch,
Tone Colour, Structure
This unit provides a sequence of learning experiences linked to the speech rhyme ‘Night and Day’ and the
song ‘Sun Arise’. It offers students the opportunity to explore instrumental and environmental sound
sources through listening and experimentation. The unit assumes the students have had some previous
experience singing simple songs, experimenting with sound and organising their ideas into simple
musical structures.
Content
learn to:
playing and moving, demonstrating an
understanding of the music
music they perform
•
improvise, experiment, select and combine
musical ideas to form simple musical
structures and notate these ideas using
commonly understood symbols
•
by organising sound, listening, performing
and representing these ideas in traditional
and non-traditional notation
•
listen to, and appreciate, a range of repertoire
showing some understanding of musical
concepts
•
MUS2.1
Sings, plays and moves to a range of music demonstrating a basic knowledge of musical
concepts
• performs songs and speech rhymes demonstrating an awareness of duration, pitch and
tone colour
• performs music using a variety of sound sources including the voice, percussion and
environmental sound sources
• performs own compositions.
MUS2.2
Improvises musical phrases, organises sounds and explains reasons for choices
• experiments with a range of sound sources and organises them into a simple
composition.
MUS2.3
Uses commonly understood symbols to represent own work
• devises graphic symbols to represent sound sources used in simple compositions.
MUS2.4
Identifies the use of musical concepts and musical symbols in a range of repertoire
• discusses musical concepts in their own work and the compositions of others.
Assessment
Key assessment opportunities marked *.
Night and Day
83
Stage 2
84 Night and Day
To experiment with
sound sources
To explore sound sources
To maintain a steady
beat and perform a
rhythmic ostinato
To learn a song and
imitate accurately
To explore musical
concepts with a known
ryhme
To learn a rhyme and
imitate accurately
✓
✓
✓
✓
✓
S
✓
✓
✓
P
✓
M
PERFORMING
OS
✓
✓
L
• Have students experiment in small groups to decide
on ‘morning’ and ‘night’ sounds.
• Show students a range of visual images of morning
and night. Teachers have students suggest sounds
they can produce from within the classroom to
represent these images.
• Have students individually or in groups explore the
environmental and instrumental sound sources in
the classroom and observe how different sounds can
be produced.
• Divide the class into two groups — one group to
perform the beat on the ground with claves/sticks
and the other to perform a rhythmic ostinato — eg
Bringing back the warmth to the ground
(rest, rest, rest).
• Have students learn ‘Sun Arise’ through imitation.
• Have students experiment with the rhyme by
changing the dynamics, varying tempo and saying
the voice using different vocal qualities.
• Have students invent actions to represent the sun
rising and the sun setting.
• Have students learn the speech rhyme Night and Day
through imitation.
TEACHERS CAN
Stage 2
PURPOSE
✓
✓
✓
✓
✓
D
✓
P
✓
DY
✓
✓
✓
TC
MUSICAL CONCEPTS
S
This may involve
repeating images and
having an image that
represents silence
get the class to make
their own instruments for
this and other activities
A rhythmic ostinato
(repeated pattern) can be
derived from a line in the
song, as in the example
given
If teachers do not feel
confident in this they can
use a recording or use
the words as another
speech rhyme
This is best achieved by
imitating one line at a
time then building it up
until it is all known
NOTES TO TEACHERS
Music
Night and Day
85
✓
✓
✓
✓
✓
To discuss and compare
other’s compositions
with their own
To move freely to sound
To make decisions about
their work
To organise and notate
sounds
✓
✓
✓
✓
• Have students discuss this composition and
whether they felt it represented a sunrise. Students
should compare this composition with their own.
• Have students move freely to a recording of another
piece of music that represents the sunrise using light
scarves and/or lengths of ribbon attached to sticks.
• Get students to perform and record an revised
version of their ‘sunrise’ composition.
• Have students record and discuss their performance,
giving attention to their ideas for modification.
• Have each group perform their ‘sunrise’
composition.*
• Have students select and combine these sounds.
Students then create graphic images to represent
the sounds and graphically notate a ‘sunrise’ piece.*
• Have students, in small groups, experiment with
these sounds and how they can represent sunrise.
• Have students discuss what happens at sunrise and
how they could represent this using a variety of
sound sources.
• Allow different students to conduct the night and
day composition by pointing to the images for the
class to play.
• Have students order these images into a ‘night and
day composition’.
Stage 2
✓
✓
✓
To discuss sounds
✓
✓
To organise sound
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
Teachers could use the
musical concepts as a
starting point for this
discussion
Suggestions include:
‘The Beginning of the
Day’ by Anne Boyd and
‘Morning’ from the Peer
Gynt Suite by Grieg
If recording facilities are
not available, then each
group could perform
their work and then the
class could discuss it
Students might like to
invent new images or
might like to use some
from previous activities
Music
Music
Stage 2
Sun-A-Rise, Rolf Harris/Harry Butler, Copyright © 1962
EMI Music Publishing Australia Pty Ltd. Used by permission.
International copyright secured. All rights reserved.
86 Night and Day
Music
Resources
Speech rhyme — ‘Night and Day’
The sun does rise in the morning
At noon it’s high overhead
The sun goes down in the evening
And then we’re off to bed!
Other resource materials:
•
•
•
•
•
Stage 2
•
copy of ‘Sun Arise’ available from ABC songbook Sing, 1987
claves or sticks, environmental sound sources, instrumental sound sources
photographs, images or children’s pictures representing morning and night
butcher’s paper, felt tip pens
copy of ‘The Beginning of the Day’ by Anne Boyd (Dream Children, ABC for Kids, 81454220) or a
recording of the Peer Gynt Suite by Grieg (readily available)
a variety of other sound sources, ribbons on sticks, light scarves, cassette player with microphone.
Night and Day
87
Music
ENGLISH
RS2.7
Context and Text
WS2.9
Producing Texts
WS2.10
Skills and Strategies (Grammar and Punctuation)
Locate texts which have descriptions of sunrise and sunset. Discuss the use of words and the variety of
ways the author creates images.
Compare these with descriptions of other times of the day or other weather conditions, eg rain, wind.
Provide opportunities for students to write descriptive passages to describe different times of the day or
different weather patterns.
ES S2.6
Investigate the causes of the different conditions that occur and the variety of effects that can be observed
at sunrise and sunset.
Stage 2
88 Night and Day
Music
Stage 3 — Exploring Tone Colour
Musical Concepts: Tone Colour, Duration
This unit draws on environmental sounds and recordings of traditional and contemporary recordings
of Aboriginal and Torres Strait Islander music to provide a sequence of activities based on the musical
concept of tone colour, which is explored through listening, organising sound and performing, focusing
on rhythmic activities.
Content
learn to:
moving to a variety of music, both individually
and in groups
music they perform
•
organise musical ideas to vary known
repertoire, to create new work and to notate
as a means of recording and communicating
musical ideas
•
by organising sound, listening and performing,
and by exploring the relationship between
musical symbols and sound
•
listen to and appreciate a variety of repertoire
demonstrating an understanding of musical
concepts
•
MUS3.1
Sings, plays and moves to a range of music, individually and in groups, demonstrating a
knowledge of musical concepts
• uses a range of environmental and percussion sound sources and methods of playing
these sound sources to explore the concept of tone colour
• performs, in groups, own compositions and rhythmic ostinato patterns.
MUS3.2
Improvises, experiments, selects, combines and orders sound using musical concepts
• creates a percussion accompaniment to a known song using a variety of sound sources.
MUS3.3
Notates and discusses own work and the work of others
• uses crotchets, crotchet rests and pairs of quavers in traditional notation to compose an
accompaniment to a known song.
MUS3.4
Identifies the use of musical concepts and symbols in a range of musical styles
• identifies and discusses sound sources, tone colours and rhythmic patterns in both
traditional and contemporary Aboriginal music and Torres Strait Islander music.
Assessment
Exploring Tone Colour
89
Stage 3
90 Exploring Tone Colour
To identify and perform
rhythm patterns
To identify instrumental
sound sources in
recorded music
To identify environmental
sound sources
S
P
✓
M
PERFORMING
OS
✓
✓
✓
L
• Have students use body percussion along with the
recording to perform the two rhythmic ostinato
patterns (riffs) played by percussion instruments.
• Have students listen to a recording of ‘My Island
Home’ recorded by Christine Anu to try and identify
the sampled environmental sounds that precede the
song. Discuss the cultural context of the song
(Torres Straight Islands), have students again try to
identify the sampled sounds at the beginning of the
recording and the instruments used to accompany
the song.
• Have students sit and listen in silence for 30 seconds
and write down all the sounds they can hear inside
and outside the classroom
TEACHERS CAN
Stage 3
PURPOSE
✓
D
P
DY
✓
✓
✓
TC
MUSICAL CONCEPTS
S
If different repertoire is
substituted, these riffs
will most likely not be
the same. Teachers may
substitute other rhythmic
ostinato (riff) patterns
Whilst this unit is based
on the song ‘My Island
Home’, other repertoire
that has similar features
may be substituted
NOTES TO TEACHERS
Music
To identify and perform
elements of traditional
notation
To perform rhythmic
ostinato patterns on a
variety of percussion
sound sources
✓
✓
✓
✓
Stage 3
• Replace the graphic notation grid with traditional
notation and have students perform the ostinato
patterns:
• Have students experiment with this accompaniment
by playing each line separately then in various
combinations.
• Have students accompany the recording of ‘My
Island Home’ using percussion instruments and
another set of rhythmic ostinato patterns from
graphic notation — eg
✓
✓
✓
✓
table continues on next page
This can be prepared
prior to the lesson, or the
teacher and class may
jointly work it out from
the graphic notation grid
Teachers may choose to
devise their own patterns.
Each square represents
one beat where one, two
or no sounds are heard
Music
91
92 Exploring Tone Colour
S
✓
✓
P
M
PERFORMING
To understand the
cultural contexts of
recorded music
To organise sound with
percussion sound
sources singly and in
combination
PURPOSE
✓
✓
✓
L
• Discuss the differences in the style of the two
versions and the place indicated by the lyrics and
the importance of this to Aboriginal and Torres
Strait Islander peoples.
• Have students listen to the original version of ‘My
Island Home’ by the Warumpi Band and compare
the two versions, paying careful attention to the
tone colours of the instruments and voices used.*
• Have students listen again to the recording and
indicate on a sheet or chart of song lyrics where
they can hear one, two or three voices.
• Jointly discuss the different effects produced by
using different instruments in a variety of
combinations to accompany the recording.
• Have students, in their groups, perform their
accompaniments with the recording.
Have students in small groups use sets of one-beat
rhythm cards to create their own 16-beat grid
accompaniments for ‘My Island Home’. Students
should experiment with and select a range of nonmelodic percussion instruments or environmental
sounds to perform their rhythms with.
TEACHERS CAN
OS
Stage 3
table continued …
✓
D
P
✓
DY
✓
✓
✓
✓
TC
MUSICAL CONCEPTS
✓
S
If different repertoire is
chosen, the teachers will
need to consider both
versions prior to the
lesson
These cards can be
prepared before the
lesson, or groups can
make their own
NOTES TO TEACHERS
Music
Music
Resources
•
•
‘My Island Home’ recorded by Christine Anu on Stylin’ Up (1995, Mushroom Records International, BV
D24345)
‘My Island Home’ recorded by the Warumpi Band on Go Bush album (1987, Festival, C38707).
HSIE
CUS3.3
Identities
CUS3.4
Cultural Diversity
Explore opportunities for students to listen to and learn or perform song material and music from a
range of cultures.
Suggested link Identity and Values unit from HSIE K–6 Units of Work p 141.
Stage 3
ENGLISH
RS3.5
Reading and Viewing
RS3.7
Context and Text
Examine the text structure and use of language in a range of repertoire from different cultures.
Compare this to texts from different cultures. Discuss the use of particular words to produce special
effects or emotions.
93
Music
Stage 3 — Absolutely Everybody
Musical Concepts: All musical concepts
This unit provides a sequence of learning based on the song ‘Absolutely Everybody’ performed by Vanessa
Amorosi. It looks at ways of focusing on repertoire through examining musical concepts in listening, while
still incorporating other learning experiences in performing and organising sound. The unit allows for
students to listen with discrimination, to compare different pieces of music and to develop their own
listening outlines. It allows students to focus on a piece of popular music well known to many of them, of
which recordings are readily available.
This unit uses a different approach to listening. Students learn most from listening when they are able to
explore the music through performing and organising sounds activities. This series of activities approaches
listening through activities in performing and organising sound stemming from the initial listening.
Content
Stage 3
learn to:
moving to a variety of music, both individually
and in groups
music they perform
•
organise musical ideas to vary known
repertoire, to create new work and to notate
as a means of recording and communicating
musical ideas
•
by organising sound, listening and performing,
and by exploring the relationship between
musical symbols and sound
•
listen to and appreciate a variety of repertoire
demonstrating an understanding of musical
concepts
•
MUS3.1
Sings, plays and moves to a range of music, individually and in groups, demonstrating a
knowledge of musical concepts
• performs rhythmic ostinato patterns and to accompany the song
• uses the voice to sing the song and experiment with vocal techniques.
MUS3.2
Improvises, experiments, selects, combines and orders sound using musical concepts
• composes own ostinato patterns and rhythms to accompany the song.
MUS3.3
Notates and discusses own work and the work of others
• discusses the use of musical concepts in the song
• notates the pitch contour of particular sections of the song
• notates own accompaniment work.
MUS3.4
Identifies the use of musical concepts and symbols in a range of musical styles
• discusses musical concepts in a piece of known music.
94 Absolutely Everybody
Music
Assessment
Resources
‘Absolutely Everybody’ by Holden/Ingram/Hicks, published by Dream Dealers/Transistor Music Australia.
From the album The Power by Vanessa Amorosi CD No. CCBK7042. Also available on many compilation
recordings.
DANCE
DAS3.1
Performing
DAS3.2
Composing
Students experiment with a range of movements to the song. These can later be developed into dance
for performance.
Stage 3
VISUAL ARTS
VAS3.1
Making
Investigate a range of media to represent some of the different musical concepts that are the focus of
the unit.
Absolutely Everybody
95
To sing a known song
To create a rhythmic
accompaniment
To focus on duration in
listening activities
To focus on musical
concepts
To focus on the structure
of a song through
listening
✓
✓
S
✓
✓
P
✓
M
PERFORMING
✓
✓
OS
✓
✓
✓
✓
✓
✓
L
• Have students sing the chorus of the song.
• Have students create their own ‘dance’
accompaniment for the song using body percussion
and/or percussion instruments, and notate this
accompaniment.*
This can be spoken at first and then transferred to
percussion and/or body percussion.
Absolutely everybody, everybody, everybody
Absolutely everybody in the whole wide world
• Have students in groups create their own rhythmic
ostinato based on words from the song; for
example:
• Have students determine the metre of the song.
• Have students focus on the musical concept of
duration. Have students move around the room
while the recording is playing, doing a different
movement for each of the sections.
• Have students discuss the similarities and
differences between different verses and choruses.
• Have students listen to the song and determine the
structure of the song using terms like verse, chorus,
bridge, introduction, coda.
TEACHERS CAN
Stage 3
PURPOSE
✓
✓
✓
✓
D
✓
✓
P
✓
DY
✓
TC
MUSICAL CONCEPTS
✓
✓
✓
S
This can be done by
students singing along
with the recording
For example, students
might walk around the
room during the verse
and stay still and do a
movement for the chorus
This can be done as a
group, individually or in
small groups using
butchers paper etc. A
listening outline of this
song is provided at the
end of this unit
This discussion could
focus on musical
concepts
NOTES TO TEACHERS
Music
✓
To compare different
music through the
musical concepts
To focus on dynamics in
listening
To focus on tone colour
in listening activities
To discriminate and
notate pitch contour
To experiment with vocal
techniques
• Have students apply the above sequence of learning
experiences to another song or piece of music and
develop their own listening outlines. Compare and
discuss.*
• Have students focus on dynamics in the song. As a
group, discuss the effect that adding or removing
instruments can have on a section, and compare the
use of dynamics in a pop song compared to another
piece of music — eg a piece of classical music.
• Have students focus on, discuss and describe tone
colours used in the song.
• Have students, in groups, draw a representation of
the pitch contour of a section of the song. Allocate
different sections to different groups and put them
together to form a map of the pitch for the entire
piece.*
• Have students experiment with some vocal
techniques used in the song — eg sliding between
notes
97
Stage 3
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
✓
This may be done in
small groups, with each
group focusing on a
particular concept or
section of the music. By
combining each group’s
work, the class can then
develop a group listening
outline
The range of dynamics in
pop music tends to be
more limited than in
some other forms of
music
For example, the class
could discuss the
difference in sounds
between real and
synthesised instruments,
lead and back-up vocals,
the effects created when
instruments are either
added or removed
Music
Stage 3
• 44 metre
• constant tempo
• rhythmic accompaniment in
a dance style
Verse 2
(Everybody needs a human touch …)
• 44 metre
• constant tempo
a dance style
• 44 metre
• constant tempo
a dance style
Chorus 1
(Absolutely everybody …)
Chorus variation
(Absolutely everybody … with lead
singer over top)
• 44 metre
• constant tempo
• rhythmic accompaniment in a
dance style
Verse 1
(Everybody needs a little loving …)
• 44 metre
• constant tempo
a dance style
• 44 metre
• constant tempo
a dance style
Introduction
Chorus 2
(Absolutely everybody … slightly
different words)
DURATION
STRUCTURE
• starts with ‘Absolutely
Everybody’ with recording
effect, then normal singing
voice with effect underneath,
use of keyboard and guitar
• synthesisers, normal singing
with backup vocals,
percussion
with vocal effects on
keyboard, percussion
• soft, start getting louder as
introduction progresses until
lead singer comes in
• constant loud dynamics
• harmony provided by
keyboards and vocal effects
on keyboard
• melodic interest provided
by voice and guitar
• melody sung by lead singer
with backup singers singing
harmony
harmony
• lead singer sings the last
note sliding over many
different pitches
with backup vocals,
percussion
with backup vocals,
percussion
• lead singer’s part increases
the level of dynamics
harmony
• backup singers sing a part of
the chorus while lead singer
does a melodic variation of
parts of the words over the
top of the chorus — higher in
pitch and louder, moving or
sliding between notes
TONE COLOUR
DYNAMICS
PITCH
NB: This is an outline only — there are many other things to be observed, this provides a basis to listening to the main points of the piece.
Listening outline — ‘Absolutely Everybody’ — Vanessa Amorosi
Music
• 44 metre
• constant tempo
• amount of percussion
reduced but rhythmic work
• 44 metre
• constant tempo
a dance style
• 44 metre
• constant tempo
a dance style
• 44 metre
• constant tempo
a dance style
• 44 metre
• constant tempo
a dance style
• 44 metre
• constant tempo
a dance style
Bridge
(Every boy and girl …)
Verse 3
(Everybody needs a human touch …)
— different from verse 2
Chorus 2
Chorus 2
Chorus variation
(Absolutely everybody …with lead
singer over top)
Coda
(Absolutely everybody sung once
together)
• Synthesisers, normal singing
with backup vocals,
percussion
harmony
• back up singers sing a part of
the chorus
• lead singer sings a loud high
note which then moves or
slides back down to a regular
pitch
harmony
Stage 3
• normal singing with backup
vocals, percussion,
synthesiser drops out
harmony
• lead and backup vocals only
(a cappella)
with backup vocals,
percussion
• constant loud dynamics (back
to previous level)
harmony
• lead singer sings the last
note sliding over many
different pitches
• dynamics appear to change
with instruments dropping
out
maintained
• melody sung by lead singer –
sliding and moving between
notes
Music
99
Drama
Early Stage 1 — Dinosaurs
Forms: Storytelling, Movement
In this unit, students draw on their knowledge of, and interest in, the topic, working with the teacher to
develop a story about a dinosaur in trouble. The format is that of a ‘whodunit’, but students are active
participants rather than an audience observing the action of the drama. The conventional narrative
patterns (orientation, rising action and complication, climax and resolution) are incorporated in the
developing story. Students and teacher work together in role to develop the action of the drama, using
dialogue, movement and improvisation to advance its course. The elements of drama (tension, focus,
mood, contrast, symbol and space) are all incorporated in this unit.
Content
Early Stage 1
learn to:
• make drama by interacting with the teacher
and others and by using their imagination to
create roles and dramatic situations
learn about drama through the experience of:
• engaging in the basic elements of drama such
as tension, contrast (loud/soft, fast/slow) and
symbol
•
communicate imagined situations through
drama forms such as improvisation,
movement, mime and storytelling
•
sharing their drama with others
•
begin to respond to their own drama in terms
of roles and space
•
depicting everyday situations in dramatic
contexts
100 Dinosaurs
Creative Arts K–6 Units of work
Drama
DRAES1.1 Uses imagination and the elements of drama in imaginative play and dramatic situations
• participates in imaginative play by taking on basic roles, for example, an adventurous
expedition
• works with other students and the teacher to develop dramatic situations in the drama
forms of improvisation, movement, mime and storytelling
• encounters drama elements, for example, tension, contrast and symbol as part of their
active engagement in the drama
• makes decisions about the development of a narrative
• experiments with preliminary scripting of dialogue.
DRAES1.4 Responds to dramatic experiences
• responds in personal ways to their own drama, for example, talk about their feelings
associated with the roles they adopted
• distinguishes between drama making and performing and their everyday experiences.
Assessment
Dinosaurs 101
Early Stage 1
DRAES1.2 Dramatises personal experiences using movement, space and objects
• communicates the depiction of real-life and fantasy situations in imagined dramatic
contexts
• organises space to engage in dramatic play
• uses movement, objects and costumes to assist in portraying roles and situations in
symbolic play.
Drama
TEACHERS CAN
NOTES TO TEACHERS
• Explain to students that they will be making a story
about dinosaurs that no-one has ever heard before,
because they are the ones who will decide what
happens in that story.
Instruct students that in
drama we can be people
other than ourselves and
can, through imagination,
be in and travel to places
without ever leaving the
room
• Have students individually say what sort of a
dinosaur they would like the story to be about.
Listen to and accept
suggestions and agree
any type of dinosaurs will
do; decide on one that
seems to have
reasonable support
To shift from the
everyday context into an
imagined situation
• Have students jointly demonstrate the stance,
movements and sounds made by the creature
(pterodactyl, brontosaurus, whatever has been
decided upon).
Tell the students that
later on in the drama the
teacher will be the
pterodactyl,
brontosaurus, etc and is
not sure what he/she
should do. It can be
helpful to do it in stages:
‘Could you show me
what a … looks like when
it is standing still?’ ‘How
about when it is standing
still but making a noise?’
To help decide on what is
conveyed in the drama
and where the action of
the drama occurs
• Have the students seated as a group and begin the
story. ‘It was a bright sunny day and people were out
enjoying themselves.’ Break from narrative and ask
the group where people would go on a lovely day, if
they wanted to go out and enjoy themselves.
suggestions, selecting
one (eg park, beach,
bush, amusement park)
• Have students suggest individually what they might
be doing on a lovely day at the beach (or whatever
has been suggested).
As students make
suggestions, have them
begin the enactment
• When all the class have chosen where they are and
what they are doing, give a signal to freeze. Have
students relax, with one group at a time portraying
their scene.
The teacher continues
narrative as he/she moves
around, describing the
scenes the students have
set up. (For example,
‘Some people were
playing with a ball, others
were having lunch’)
PURPOSE
To facilitate the creating
of a story
Early Stage 1
To set the dramatic
context for the action of
the drama
• Have students sit in their chosen place while they
listen to the next part of the story — eg ‘Everyone
was out in the park when, suddenly, they saw
something very strange.’
To locate role in the
dramatic context
102 Dinosaurs
• Break the narrative and tell the students that this is
the part of the story when the dinosaur enters, and
that they will need to go back to enacting whatever
they had decided.
Use the movements and
sounds suggested by the
students earlier, being
very careful not to display
the character as fierce
TEACHERS CAN
NOTES TO TEACHERS
To add a complication to
the story pattern
• Move away and return (in role as a very sad
dinosaur). The dinosaur walks from group to group
looking very sad, outlining the shape of an egg with
its hands and looking pleadingly at each group. It
sits facing the students, continuing to outline the
shape of a large egg. The teacher breaks from role
and becomes her/himself again.
If any students want to
approach or attack the
dinosaur, simply stop the
drama and say (out of
role) that in this part of
the story, they need to
watch the dinosaur very
carefully, but must not
go near it
To develop commitment
to role and to the action
of the drama
• Have students gathered together as a group and
continue the narrative — eg ‘This strange creature
went to everyone who was at the park that day as if it
was asking for their help. It drew a shape in the air
but it said nothing.’
To use symbolic gesture
and movement to
enhance the meaning of
the drama
• Have the group jointly suggest what message they
think the dinosaur was trying to convey. Respond
non-verbally (in role). It can mime the rocking of a
baby as well as outlining the egg shape.*
PURPOSE
If necessary, the teacher
can ‘be’ the dinosaur
again, sitting and
outlining the egg. The
teacher (in and/or out
of role) can encourage
the students to work out
that the dinosaur has lost
her egg.
If necessary, this would
be a suitable point to
conclude the first lesson
To provide focus for the
action of the drama
• Have students jointly suggest some ideas about
what might have happened to the egg (stolen, lost,
etc). Who might have stolen the egg? Where would
they have hidden it? Or, if lost, ‘where shall we say
the dinosaur was when it lost the egg and where
would the egg be now?’
The teacher and group
work together to decide
the future direction of
the story
To give meaning to the
action of the drama
• Have the students jointly enact the journey to find
the egg. Have students suggest possible dangers
that have to be overcome as they proceed in their
journey, and these too can be enacted.*
The students’
suggestions should be
sought and enacted
To build tension as the
story pattern moves
towards the climax
• Have the students work towards the finding of the
egg. If the students decide that egg has been stolen,
have the group slowly and quietly approach the
place where the egg has been hidden. The thief
(teacher in role) can confront the group and demand
that they convince him/her as to why the egg should
be returned.*
This section can include
some simple oral
scripting. The teacher can
ask the group what they
think the thief would say
when it saw them and
what they would be likely
to reply. Once this is
decided, it can be enacted
and this process can
continue for three or four
interchanges. The teacher
(out of role) needs to
guide this, suggesting the
focus of the dialogue so it
leads towards solution of
the problem, ie the return
of the egg
Dinosaurs 103
Early Stage 1
Drama
Drama
PURPOSE
TEACHERS CAN
NOTES TO TEACHERS
To reach a resolution to
the action of the drama
in the story pattern
• Have the students as a group enact the return of the
egg. The original dinosaur (teacher in role) is waiting
to see if the group will find the egg and shows
delight and gratitude when returned.
To describe and reflect
on the action of the
drama
• Have students as a group talk about the story and
their part in it. The teacher can ask such questions
as: What part of the story was the most exciting?
Which parts of the story were the best?*
The teacher can have
students suggest further
ideas for enactment by
asking them that if they
were going to make this
story again, what would
they change?
Additional Information
Early Stage 1
This unit has been described as though the teacher is the only adult who will be involved. However, if
another adult is available he/she can take the role/s of the dinosaur and the possible thief, thus freeing
the teacher to act as leader and facilitator of the drama. A student should not take the role of the dinosaur
in trouble, for it is a role that demands that the adult in role responds to the reactions, ideas and
suggestions of the students.
The drama is likely to develop more satisfactorily and more dramatically for everyone if, when the students
are asked to make suggestions that will forward the course of the drama, the teacher leads towards an
acceptance of the more exotic propositions. For example, there is more dramatic scope if the egg has been
taken over the rainbow than if it was left around the corner. Ask the students for the most unusual or
exciting places they can think of, and work with those.
Narrative, on the part of the teacher, can be a useful strategy to move the drama along and can cover what
might seem to be awkward gaps.
The students may need to be reminded that when we do drama we can say that we are anywhere at all,
but sometimes the real space we are in is much smaller than the imaginary space.
Young children may find it difficult to work dramatically in small groups, unless this is carefully structured
by the teacher; however, they are likely to have fewer problems when asked to work as a whole group.
Don’t expect too much by way of sophisticated enactment. This is a complex task for young children.
Some may prefer to work alone while others may be happy to cooperate with others. It is important that
all students’ enactments should form part of the narrative when indicated, eg when the group are enacting
the scene at the park/beach etc.
As in all areas of classroom interaction, some students will be more forthcoming with ideas than others.
There are continual opportunities in this unit for students to be involved in the drama experience. They
may move in and out of the drama from time to time, but on the whole should be engaged throughout at
their own level.
Either one 40–45 minute lesson or two lessons of 20–30 minutes are suggested.
104 Dinosaurs
Drama
Investigate the characteristics of different dinosaurs.
Viewing a video or other multimedia program could be used for part of this work.
Research a particular dinosaur.
Links with What’s Alive unit in Science and Technology K–6 Syllabus and Support Document p 74.
Early Stage 1
ENGLISH
RES1.5
Reading and Viewing
WES1.9
Producing Texts
Identify and read a range of factual and literary texts about dinosaurs.
Jointly construct an information report about a dinosaur.
Identify and read a range of factual and literary texts about dinosaurs.
Jointly construct an information report about a dinosaur.
Dinosaurs 105
Drama
Early Stage 1 — Working with Animals
Forms: Movement, Improvisation
Elements of Drama: Tension, Mood
This unit provides a sequence of learning opportunities linked to the overarching topic of working with
animals. Roles and situations are developed within dramatic contexts and expressed through the drama
forms of movement and improvisation. The action of the drama is the prime focus; role and narrative are
subsidiary concerns. The elements of drama enable students to create and shape the action and its
meaning.
Content
Early Stage 1
learn to:
• make drama by interacting with the teacher
and others and by using their imagination to
create roles and dramatic situations
• engaging in the basic elements of drama such
as tension, contrast (loud/soft, fast/slow) and
symbol
•
communicate imagined situations through
drama forms such as improvisation,
movement, mime and storytelling
•
sharing their drama with others
•
begin to respond to their own drama in terms
of roles and space
•
depicting everyday situations in dramatic
contexts
106 Working with Animals
Drama
DRAES1.1 Uses imagination and the elements of drama in imaginative play and dramatic situations
• participates in imaginative play by taking on basic roles such as putting ‘baby’ to sleep or
adventurous expedition
• works with other students and the teacher to develop dramatic situations in the drama
forms of improvisation, movement, mime and storytelling
• encounters drama elements such as tension, contrast and symbol as part of their active
engagement in the drama.
DRAES1.4 Responds to dramatic experiences
• responds in personal ways to their own drama; for example, talk about their feelings
associated with the roles they adopted
• compares their own depictions of animals with real animals
• interprets a character’s mood from body posture and facial expression.
Resources
•
•
•
•
Books of animal photography.
A visit to a zoo/farm/wildlife refuge/aquarium would be a worthwhile reflective experience.
A camera would be useful but not obligatory resource.
A space in which students can move and enact the developing story.
Assessment
Working with Animals 107
Early Stage 1
DRAES1.2 Dramatises personal experiences using movement, space and objects
• communicates the depiction of real-life and fantasy situations in imagined dramatic
contexts
• uses movement, objects and costumes to assist in portraying roles and situations in
symbolic play
• shows their own interpretation of animal movement, stance and, if appropriate,
vocalisation.
Drama
PURPOSE
To see if the students
know about the
profession of
photographer
To provide focus for the
action of the drama
Early Stage 1
Provide opportunities to
use movement and
dialogue to forward the
action of the drama
TEACHERS CAN
NOTES TO TEACHERS
• Have students look at a camera (or a picture of a
camera) and ask if they know who would use it in
their work.
Students are seated as
they normally would be
at the beginning of a
group experience (circle,
gathered group)
• Have the students as a group discuss the concept of
taking roles. The teacher explains that she/he will
take on the role of photographer in the drama.
Teacher turns away, picks
up the camera (real or
imaginary) and returns in
role
• The photographer explains that he/she has to take
pictures of animals for a special book but does not
know what sorts of animals would be best.
If it is desired to focus on
a particular animal group
or habitat, include a
specific statement eg ‘I’ve
been asked to take some
photographs of animals in
the jungle/the Australian
bush/under the sea etc,
but I don’t know which
ones would be best’
• The photographer invites the group to accompany
him/her on the journey.
Students can ‘dress’
appropriately and can
collect any equipment
they may need on the
journey (real or
imaginary)
• The photographer asks questions about the best way
to travel to … (wherever has been decided upon).
• Have the group jointly enact the preparations for the
journey, and the journey itself.
• On arrival at the specified destination, the
photographer can ask the group where they might
find the animals they have decided upon.
ideas
To lead the group to an
agreement that they will
take the roles of the
animals
• Have students work in groups to choose which
animals they would like to portray, and where their
animal will be when the photographer takes the
photo.
Teacher (out of role)
explains that if this were
a real photographic
shoot, real animals would
be required, but because
it is a drama, we need
people who can take the
roles of the animals
To introduce a tableau to
focus the action of the
drama
• Have students begin by moving like the animals they
are portraying; when the signal is given, they ‘freeze’.
They must also be quite close together so they will
all be in the picture.
Discuss the difference
between photographing
humans and wild
animals. Humans look at
the camera and smile,
animals should be in a
natural, animal-like
position
• Teacher (in role) moves from group to group asking
them first to move like the animal, then freeze as the
camera clicks.
TEACHERS CAN
NOTES TO TEACHERS
To find acceptance for
ways of de-roling
• Have the photographer thank the group for being
such wonderful models and asks what he/she should
do to make sure they are people again before the
drama ends. Listen to and enact suggestions.*
If necessary, this could
mark the end of the first
part of the unit. Although
it is possible to work
straight through, the
structure of this unit
lends itself more readily
to a distinct break in the
action
To incorporate the
elements of drama, in
particular: conflict, mood
and tension.
• Use narrative to retell (briefly) the story of the
drama. Instruct the students as a group that the
photographer is going to return. Return to the group
without the camera, looking downhearted.
Seat the students as is
usual at the beginning of
a group discussion
To have the students read • Have the photographer ‘see’ the group and greet
the signs given by the
them sadly, saying something like: ‘Oh hello. I really
actor’s demeanour, as in
did appreciate the help you gave me the other day,
the theatre where the
but a terrible thing has happened. You’ll never guess
audience reads more into
…’ Trail off here and have students give ideas.
what is said by the actors.
Encourage the students
to read, from the
photographer’s facial
features and body
language, that something
bad has happened.
Comments like ‘I couldn’t
believe it … it had gone,
just like that’ etc. By
suggesting that
something has gone, it is
likely the students will
realise it is the camera.
To highlight that some
ideas have more dramatic
potential than others
• Out of role, have the students decide which idea
should be used. ‘What shall we say has happened to
the camera?’
The group know the
answer to the problem,
but do not know the path
they must take to find
the camera
To introduce a
complication in the
narrative
• Back in role as the photographer, confirm this
suggestion: ‘So you think it was stolen?’ or ‘You
think I must have left it somewhere … but where?’
It is useful to work
towards it having been
hidden somewhere, with
the students deciding
where that place is
before the enactment
begins. Suggest students
think of a difficult place
that is hard to find and
difficult to reach
• Facilitate the enactment of the search for the
camera.
Somewhere hard to reach
has the most dramatic
potential: in a deep cave,
on top of a mountain, in
a hollow log
PURPOSE
Early Stage 1
Drama
Drama
TEACHERS CAN
NOTES TO TEACHERS
To introduce the
elements of drama using
the contrast of opposites
to create dramatic
meaning
• Assist the drama to proceed towards its conclusion.
Have students encounter difficulties in approaching
the spot. This can involve meeting people (teacher
in role) who insist on the group justifying their
journey; or it can involve crawling through dark
tunnels (these can be imaginary or can be made
from tables etc).
The emphasis needs to
be on the difficulties in
approaching the spot.
These obstacles can be
imaginary or can be
made out of safe objects
in the classroom
To build tension
• As the hiding place is neared, have the photographer
say: ‘I am too nervous to go any further. You go and
see if it is there.’ Then when each child returns with
a camera the photographer can be amazed and acts
confused (‘They are all alike. How will I ever tell?
Just put them down in the middle and I’ll have a
look.’) Have the students sitting in a circle; the
photographer can build tension as he/she moves
slowly among the (imaginary) cameras until at
last the right one is found.*
The problem arises as to
what to do with all the
other cameras. This can
form the basis for
another drama or it can
be dealt with fairly
rapidly by asking the
group what should be
done with them
• Have students look at some professional animal
photography and compare, physically and through
discussion, their own interpretation of the animals
in the photographs.*
Have students examine
their animal depictions
through discussion and
a visit to a zoo/farm/
aquarium etc (whichever
is most appropriate to
the animals being
portrayed in the drama)
PURPOSE
To use narrative or
enactment to describe
the next course of action
Early Stage 1
To reflect through
discussion
As in any drama experience the teacher
needs to set limits regarding the use of
space and to get the student’s agreement
that these limits will be adhered to. ‘Can
we agree that all our drama will take
place in this area?’ (define). Students can
also be asked to make a decision about
the setting of scenes and the action of
the drama. ‘Where would be a good place
for a cave?’ ‘Where shall we say the trees
are growing?’ This not only helps
students understand that drama takes
place in an imaginary setting which is
different from the setting it represents
but also encourages their understanding
that an object can be used as a symbol
for something else. ‘Could we agree that
these three tables will be the tunnel we
need to go through?’
Drama
When the teacher asks questions in the drama they should be posed as genuine requests for information,
not as questions to which the teacher already knows the answer and is just checking to see if the students
know it too. Drama demands that students are regarded as important contributors to the group process.
If the drama ends at this point the following reflective questions can be asked with students seated in a
circle or gathered group.
If the decision is made to complete the unit over two sessions the following questions could be asked by
the teacher to reflect through discussion the dramatic forms that were used to build the drama.
When you were being the animal, how did you know what to do? What did you do, when you were
being the animal, that you thought made you seem most like that animal? Why did you choose the
animal you did? Do you think some animals are harder to be than others? Which ones? Why? Is it
harder to move like an animal or to be like the animal when it is still? How can you tell how animals
are feeling? What could you do with your body or your voice that would show this?
Questions for discussion at the end of the drama might include:
• How could you tell how the photographer was feeling? Did we choose a good place to hide the
camera? Why do you think that? How can we make a drama story exciting? Which was the best part of
the drama? Why did you choose that? What could we have done to make the drama better? Why
would it have been better if we had done that?
Some suggested roles to be taken by students and/or teacher in role include:
• Veterinary surgeons, owners of pet shops, farmers (specialised — beekeepers, sheep farmers, dairy
farmers etc — or general), zoo keepers, explorers, scientists, park rangers, zoologists, ornithologists,
herpetologists etc, or people who write about animals, who draw, paint or photograph them, can also
provide suitable roles within a drama experience.
VISUAL ARTS
VAES1.1
Making
VAES1.3
Appreciating
Provide opportunities for students to observe and sketch animals live or observed in photographs or
video. Discuss the different features. Use a window frame to focus on particular features.
Look at and discuss examples of professional animal photography. Compare these to other animal
artwork.
ENGLISH
RES1.5
Reading and Viewing
WES1.9
Producing Texts
Identify and read a range of factual and literary texts about animals.
Jointly construct an information report about an animal.
Investigate the characteristics of different animals — domestic, farm, wild.
An excursion to a zoo, animal sanctuary or farm could be appropriate for part of this work.
Research endangered animals.
Links with What’s Alive unit in Science and Technology K–6 Syllabus and Support Document p 74.
Early
Outcomes
Stage 1
•
Drama
Stage 1 — If the Cap Fits
Forms: Improvisation and Mime
Elements of Drama: Symbol, Tension
Students in this unit have opportunities to recognise and value the ways in which body language, facial
expression and nonverbal vocalisation can be used to create their own improvisations. The use of symbol
and tension as elements of drama are also incorporated to help students understand why action is shaped
in a particular way to create meaning.
Content
learn to:
• explore role interactions in a variety of
dramatic situations
• engaging in the elements of drama to develop
Stage 1
•
make drama in various groupings by
responding to the elements of drama (eg
tension, contrast, symbol, time, space, focus
and mood)
•
make meaning through the forms of drama
(eg improvisation, movement, mime,
storytelling, readers theatre and puppetry)
•
communicate and express their everyday and
imagined experiences in drama as a way to
create meaning about them
•
making decisions about role, situation, space,
voice and movement
•
respond to drama as devisers and audience
members
•
viewing character relationships in live
performances and screen drama
112 If the Cap Fits
Drama
DRAS1.1
Takes on roles in drama to explore familiar and imagined situations
• creates a range of roles and situations adapted from their imagination
• expresses an understanding of the shared fiction of the drama by stepping-into-role to
enact a situation, and interacting in role
•
responds to the action of the drama through individual and group roles
• interprets a dramatic context by responding in the drama forms of improvisation, mime
and mask.
DRAS1.2
Conveys story, depicts events and expresses feelings by using the elements of drama and
the expressive skills of movement and voice
• creates and adapts stories for enactment
• responds to the elements of drama including tension, symbol and mood
• expresses dramatic meaning through movement and voice.
DRAS1.3
Interacts collaboratively to communicate the action of the drama with others
• shares their drama making with others, interacts with others abstractly in role to
communicate meaning to an audience
• incorporates props and costumes, sound effects and movement sequences to
communicate role, situation and place and add to the meaning of the drama.
DRAS1.4
Appreciates dramatic work during the making of their own drama and the drama of
others
• responds to their own drama and that of others by describing their ideas and meanings
• reflects on characters developed in the action of the drama.
Resources
A selection of hats and scarves. The unit can also be developed using masks such as basic masks or
commedia dell’arte masks provided by the teacher or that the students make from papier-mâché.
Assessment
Key assessment opportunities marked with *.
If the Cap Fits 113
Stage 1
Drama
PURPOSE
To introduce the concept
of nonverbal
communication
TEACHERS CAN
NOTES TO TEACHERS
• Have the class divide into groups of four or five
which are separated from each other.
Definitions of body
language can be
recorded in logbooks and
discussed again at the
end of the unit to see
how appropriate they are
and whether they need to
be refined
• Introduce the terms ‘body language’ and ‘facial
expression’. Have the groups come up with
definitions of what these might be and what parts of
the body are used for each definition. Ask students
whether it is possible to tell how people are feeling
just from observing them.
To use body language to
convey emotions
• Have each group express a particular emotion
dramatically, without the use of words. Have groups
take on the emotion and create a tableau that uses
body language, facial expression and nonverbal
vocalisation to communicate these.
Emotions might include:
sadness, happiness,
anger, shyness, fear,
surprise
• The tableaux are performed and each group
identifies the emotions expressed by the others.*
Stage 1
To reflect on the meaning
communicated across
space to portray roles and
situations nonverbally
• Have students jointly evaluate the success of each
group in communicating their emotion, with
emphasis on the group’s use of body language and
facial expression.*
Have each group sit in a
circle to complete this
exercise
To use known rhymes or
songs to express
emotion
• Have students sit in a class circle and share a
nursery rhyme or the lyrics of a simple song. Have
one student recite a rhyme. Have students repeat the
recitation of the rhyme/song, enacting with the
emotions already explored.
Teach some rhymes or
songs to students before
the dramatic activity
begins. The nursery
rhymes or songs might
come from a range of
cultures and relate to the
cultural traditions of the
students
To focus the action of
the drama on the
communication of
emotion
• Have the class divide into pairs or threes. Have each
group select a nursery rhyme and prepare a shared
recital of that rhyme, with each student in the small
group communicating a different emotion.
Students are directed
with the following rules:
To identify body
language and gesture
and the impact of the
short time frame on
contributing tension to
the performance
• Present the nursery rhymes to the class. Have
students discuss the presentations, focusing on body
language, gesture and vocalisation.*
Students could note their
observations and
thoughts about this
material in their
logbooks at this stage of
the lesson, or at the
conclusion
114 If the Cap Fits
All lines must be said;
each student has to say
at least one phrase (solo
or in unison); not all the
emotions have to be
used; they have only five
minutes to prepare
TEACHERS CAN
NOTES TO TEACHERS
To understand how it is
possible to communicate
meaning even when the
language does not seem
to make sense or cannot
be understood by
everyone
• Give instructions in nonsense language that suggests
‘Come here!’ The instruction is repeated but directed
to one student. Exaggerated body language and
facial expression is used to deliver the instruction.
Have students as a whole group engage in a
discussion about nonsense language.*
If the group contains
students who speak
other languages, have
volunteers say something
in their language without
facial expression, body
language or emotion.
Have them speak again,
this time with
appropriate emotion,
facial expression and
body language. The class
explores ideas as to the
meaning of the words
spoken
To use masks or hats (as
appropriate to the needs
of students) to represent
symbol
• Have one of the students collect a bag that the
teacher has left somewhere in the classroom. The
bag contains two hats or masks. The teacher takes
out one hat/mask and puts it on his/her head. This
particular hat/mask is labelled and recognised from
now on as representing ‘happiness’. The other
hat/mask is labelled as the one representing
‘sadness’.
When the teacher or
student wears one of the
hats/masks, he/she
adopts the physical
attributes and voice
appropriate to being
either happy or sad
To introduce symbol to
represent meaning
• The teacher and a student exchange a conversation:
one is wearing the happy hat/mask; the other is
wearing the sad hat/mask.
Students are asked to
bring in an unusual or
imaginative hat, such as
a top hat or headscarf,
for the next lesson.
Teachers should have
headwear in store as a
backup; alternatively,
they may use masks for
this purpose
• Have each student show their headwear/masks and
explain what these items symbolise to them.
The class group discusses
‘symbol’. They are asked
to recall/recount areas of
life where they commonly
meet symbols
PURPOSE
To use masks or headwear • Have each student develop a character by discussing
as symbols to represent
his or her headwear/masks with a partner.
meaning and as a starting
point in the development
of a character portrait or
profile
• Have students jointly discuss the characters they
have created. Have two or three students explain why
they have built the characteristics they have into
their figure, and how the headwear relates to the
character.
Students need to
consider the sort of voice
their character would
use, accents if any, and
the sorts of clothes the
character might wear. The
character would have a
particular way of walking
and speaking . The
character needs a family
background, friends,
enemies, what has
happened in the
character’s life until now
If the Cap Fits 115
Stage 1
Drama
Drama
PURPOSE
TEACHERS CAN
NOTES TO TEACHERS
Stage 1
To shape dramatic action
and to create meaning
using character
• Have students form a circle and, in role, wearing
their hat/mask, each character speaks a short
sentence to the character on his/her right. This has
to be in nonsense language, but in the tone/manner
and the characteristics of the character. The listener
takes on the information and, in character, passes it
on to the next as if relaying a message.
To reinforce the need to
use whole body/face and
vocal range in order to
achieve meaning to the
action of the drama and
to introduce the element
of tension
• Have students in groups of four or five devise a
scene where characters meet and interact with other
characters, expanding it into a five-minute
presentation. Only nonsense dialogue is permitted.
Have students consider how best they may create
‘tension’ — gradually introducing each character into
the scene or creating points of conflict in their
interactions.*
Students can write up
their process and note
their observations and
thoughts about this
material in their
logbooks now or at the
end of the lesson
To determine the effect
of tension and points of
conflict in shaping the
drama
• Set a scene, such as ‘at a bus stop’, and have one
student in character from each group to participate
in a meeting at this place. Each character enters the
scene in turn and introduces the next. They have to
interact with each other and lead towards a
resolution of some kind.
Time is limited to two
minutes after all the
characters have been
introduced
To deconstruct and
reflect on the action of
the drama
• Have students perform their in-group scene with
their characters and props for the classroom
audience. Have all the students — performers and
audience — respond to the performance considering
the clarity of the characters, use of body language,
facial expression, movement skills, use of tension
and symbols. Characters are identified and assessed
as to their success. Stereotyping could also be
considered.*
The use of body
language, facial
expression and
movement skills are
commented on. Consider
whether or not there was
tension in the piece and
the use of the other
elements of drama —
especially contrast,
mood and space. What
was the relationship
between the group and
the audience? Which
characters really used the
hat/mask to advantage
and how have symbols
been used?
116 If the Cap Fits
Stage 1
Drama
If the Cap Fits 117
Drama
If masks are used instead of hats in this unit some very basic conventions about masks might need to be
introduced; for example, the convention that masks are always put on, and removed, away from the
audience.
Each lesson might be 60 minutes long. Vocal and physical warm-ups for about five minutes at the
beginning of each lesson are encouraged in order to physically prepare students and to focus their
attention on the dynamics of the drama classroom. Examples of warm-ups that could be used to
introduce this unit are:
Throwing the sound: One student in the whole group makes a nonverbal sound while simultaneously
throwing it, as if a ball, to another student. The other student ‘catches’ (repeats) the sound as he/she
catches ‘the ball’. That student then changes the sound and throws it to another student. Throwing and
catching actions can be as bizarre or exaggerated as the teacher allows.
Bluff: The whole group sits in a circle. A small object or tennis ball has to be passed secretly round the
circles, ending up with the student who started passing the object around. The teacher, as the
‘investigator’, has to discover where the object is (who is holding/concealing it) before it reaches the end
of its journey. The task of each student in the circle is to bluff the investigator into making a false
accusation. For each successful bluff, the group gains one point. If the object travels the distance, five
points go to the group. If the investigator accuses successfully, five points go to the ‘investigator’. The
winner (group or teacher) is the first to set point target depending on time available.
Stage 1
The students at all times need to be praised for their performances and contributions to each lesson. At
different times students will work individually, in small groups and as a whole-class group. The teacher
will need to organise the students into groups and encourage students to work with those who are not
necessarily their close friends. At the end of each lesson, the students are given relaxation activities and
other activities in order to de-role.
118 If the Cap Fits
Drama
VISUAL ARTS
VAS1.2
Making
Students could design and make masks showing
different facial features.
ENGLISH
RS1.5
Reading and Viewing
RS1.7
Context and Text
Research several television commercials and
analyse the non-verbal symbols, eg facial
features, colour, body language. Compare these
with advertisements from magazines and other
print-based material.
Discuss the language used in advertisements.
Compare television and print based
advertisements.
Stage 1
PDHPE
IN S1.3
Interacting
GD S1.9
Growth and Development
IR S1.11
Interpersonal Relationships
Discuss the different ways we communicate with
each other verbally and non-verbally.
Research the ways that deaf or blind people
communicate.
HSIE
CCS1.1
CCS1.2
Time and Change
CUS1.3
Identities
Research and identify the different symbols,
customs and practices used by different cultures
to communicate.
Links with Families, Past and Present: Stories and
Histories unit p 55 and The Way We Were unit p 67;
also in HSIE K-6 Units of Work.
If the Cap Fits 119
Drama
Stage 1 — Playgrounds
Forms: Improvisation, Movement, Mime
Elements of Drama: Space, Focus, Mood
In this unit students enact real and imagined events from their everyday experiences of playground
interactions. Students draw on their individual thoughts and feelings in role to explore situations such
as the first day of school, playground games and relationships. Using movement, students explore the
environment of the school playground and the ways in which the body can be placed and moved in
response to activities that take place there. Focus and space and mood are dramatic elements explored
in the unit.
Content
learn to:
• explore role interactions in a variety of
dramatic situations
• engaging in the elements of drama to develop
Stage 1
•
make drama in various groupings by
responding to the elements of drama (eg
tension, contrast, symbol, time, space, focus
and mood)
•
make meaning through the forms of drama
(eg improvisation, movement, mime,
storytelling, readers theatre and puppetry)
•
communicate and express their everyday and
imagined experiences in drama as a way to
create meaning about them
•
making decisions about role, situation, space,
voice and movement
•
respond to drama as devisers and audience
members
•
viewing character relationships in live
performances and screen drama
120 Playgrounds
Drama
DRAS1.1
Takes on roles in drama to explore familiar and imagined situations
• creates a range of roles and situations adapted from their imagination, literature
(including poetry) and everyday experiences
• expresses an understanding of the shared fiction of the drama by stepping-into-role to
enact a situation and stepping out-of-role to reflect on the action
• interprets a dramatic context by responding in a drama form (eg improvisation,
movement, mime, storytelling, readers’ theatre and puppetry)
• experiments with focus by placing the body when creating dramatic images and freeze
frames.
DRAS1.2
Conveys story, depicts events and expresses feelings by using the elements of drama and
the expressive skills of movement and voice
• creates and adapts stories for enactment
• expresses feelings and other responses when depicting an event (eg the feelings
associated with the celebratory homecoming of a child)
• responds to the elements of drama (eg tension, contrast, symbol, time, space, focus and
mood) to create shared meaning
• experiments with slow and fast movements
• explores the possible uses of space in the imagined playground.
DRAS1.3
Interacts collaboratively to communicate the action of the drama with others.
• shares their drama making with others
• interacts abstractly or in role to communicate meaning to an audience.
DRAS1.4
Appreciates dramatic work during the making of their own drama and the drama of
others.
• responds to their own drama and that of others by describing their ideas and feelings
• distinguishes between the fiction of the drama and their everyday lives.
Resources
•
•
Tambourine, drum, bell or whistle that can be
used to signal the beginning and end of
actions.
Photographs and pictures of facial features
and ones that show particular ‘mood’ stances.
Assessment
Playgrounds 121
Stage 1
Drama
PURPOSE
To assist students into
adopting a role to
provide a protective way
in which they can enact
experiences
Stage 1
TEACHERS CAN
NOTES TO TEACHERS
• Have students mime getting ready for school —
getting up, getting dressed, having breakfast, packing
their school bag. Assist students into role by having
them choose someone they would like to be, deciding
what their character will look like, and their
character’s name.
It may help students into
role if they close their
eyes and imagine who it
was that bought them to
school that morning,
what they were feeling as
they put on their uniform
for the first time
• Have students make a still picture or frozen image
with their bodies showing how their character feels
about being at school on their first day.*
Ask students to show how
they felt when they arrived
at school — happy,
excited, scared, sad.
Photographs or pictures
with different facial
expressions and particular
body stances could be
used as stimulus
• Have students pretend that their characters feel shy
about being at school. They need to find out about
where things are in the playground and as a group
they move around the space to explore it. Have
students not make eye contact with anyone, but to
look at everything in the playground very carefully.
The teacher may describe
areas in the playground
and make up objects that
they might see, eg
climbing equipment,
steps, toilet block, trees,
sand area, grassed area,
handball courts
• Have the students keep moving as a group, while
sneaking quick looks at the others whom they pretend
they have never seen before.
• Have students continue to move; ensure they do not
touch anyone; ask them to make eye contact with
each person they meet the next turn around the
playground.
• Have students smile at each person and then say
‘hello’ as they move around the space as a group.
Have students greet each person they encounter and
tell them their character’s name.
To reflect; to help
students assimilate the
drama and externalise
their experiences
122 Playgrounds
Encourage students to
talk about the differences
they felt between not
looking at other students
in the playground, and
meeting each other’s
eyes and telling each
other their names
• Have students gather together in the playground and
in role (as a teacher) suggest they play a new game
called ‘Chain Tag’ to get to know each other. Explain
how the game is played.
See Additional Information
for instructions on how to
play ‘Chain Tag’
• Ring a bell as soon as the tag game finishes and have
students go into a ‘freeze’ or frozen statue that shows
how they feel now about starting their first day at
school, then show how students on their first day at
school might look in the playground. Have students
discuss which freezes they liked and why.*
Short, improvised
interactions could be
carried out using the
‘freeze’ as a starting point,
then by having students in
role, in groups of three,
begin conservations.
Students might show
feeling frightened, excited,
unsure, sad, happy etc
PURPOSE
TEACHERS CAN
NOTES TO TEACHERS
• Have students create a range of characters eg
pretend to be the most important/bossy/popular/
nasty/shy/friendly/beautiful/rich/strongest person
in the world. Have students make up short
improvisations about their characters in the
playground.*
Work with stereotypes
and draw on observed
characteristics, as well as
exaggerating use of the
whole body for comic
effect
• Have half the students build a collaborative picture
while the rest of the group observe and interpret the
meaning, then swap. One student starts in the centre
of the playground and adopts a pose. Each student
adds to this pose and builds on it.*
Poses could reflect the
following:
‘The happiest playground
ever’
‘Don’t come near me, I’m
cross’
‘Who want’s to play?’
‘I’m new and I don’t know
anyone’
To contrast movements to • Have the students briefly discuss as a group the
give dramatic emphasis
different things they like to do when they have free
time in the school playground. Have them think of
fast things, slow things, things that they do on their
own and things that they do with other people. Have
students try some of these movements and then
exaggerate them.
To provide a sense of pace • Have students show activities or games individually
and timing by using music
with slow movements that can be done in the
or tapping rhythms on an
playground. Try these in slow motion. Have students
instrument
repeat this in groups of five.*
• Have students think up activities or games they can
do in the playground involving fast movements. Have
students in groups of five exaggerate their
movements taking care not to touch anyone else.*
Use examples specific to
the student’s interests eg
chasing, cricket, swapping
cards, buying things from
the canteen, playing on
the play equipment
Appropriately slowmoving music could be
used to accompany these
movements. Give
students time to decide
what they are going to do
before playing
appropriate music
Appropriately fastmoving music could be
used to accompany these
movements
To build an understanding • Have students in a large circle with one person
of the importance of focus
starting in the centre beginning an activity that the
as an element of drama
other students would like to do in the playground.
Have the other students copy his/her actions and
continue until a new person runs into the centre and
begins a new activity, replacing the last person.
• Using a tambourine to create a rhythm, have the
students move around the space in different ways
and to different rhythms: slow skipping, fast walking,
very fast sideways walking, slow motion running.
On verbal cues, all the
students freeze and focus
on certain people or
objects, eg ‘freeze and
focus on Paul’, ‘freeze
and focus on the clock’
Playgrounds 123
Stage 1
Drama
Drama
PURPOSE
To identify ways the
dramatic images can be
made clearer
TEACHERS CAN
NOTES TO TEACHERS
• Have the students sit in a circle to talk about the
different ways they moved around in their imaginary
‘playground’, and the different playground situations
that were created. Have students discuss how they
felt in these different situations and compare these
to the playground at school.*
The different things that
occur that feel good in
the playground, and
those that do not, might
be shown dramatically
• As a culminating activity, have the students, as a
group, create a photograph or a meaningful tableau
with a clear focus directed by the teacher but using
students’ suggestions as to who should stand where,
and how their bodies should be shaped.*
The teacher suggests to
them that they don’t
have to be people; some
of the students could be
objects. Photographs
could include: the
friendliest kid in the
school; someone has
been hurt; the friendly
dog in the playground;
school is over for the day
• Have the students discuss what they liked about the
pictures.*
Have students discuss
how they have used their
whole bodies to tell the
story
Stage 1
A space that provides sufficient room for group movement is needed for this unit. At different times
students will work individually, in small groups or as a whole class. It is useful to encourage students to
work with those who are not necessarily their close friends. This unit requires an introductory explanation
to the students that they are going to pretend that the space they are in is a school playground. The space
is probably much smaller than they are used to as a playground, and there may be objects in the room
that could get broken or which students need to be aware of as they use the space. Students will need to
take care if they are moving quickly, and look after each other’s safety. In discussing the size of a real
playground and the size of the performance space they are working in, students will make choices about
the use of the dimensions and shape of the space in which they will work, and will understand in a simple
way how the dramatic element of space can shape, enhance or limit what occurs in the drama.
Specific Techniques
Activities to build trust and cooperation could include some of the following:
•
•
Chain Tag: The student who begins the game is IT and must try to tag another student. That person
has to join hands with the one who has been tagging. Then, the two of them tag a third student who
also joins hands with them. The game continues until all the students are in the chain. Only the last
two students can tag and if the chain breaks the game has to begin again with the student who was
last to be tagged becoming IT.
Elmer and Bugs: Students form a tight circle, shoulder to shoulder. Two students are inside the circle,
with eyes closed or blindfolded. One is ‘Elmer’ and the other ‘Bugs’. (Names can be anything you
choose as culturally appropriate to the group.) ‘Elmer’ has to find ‘Bugs’ by calling out, ‘Where are
you Bugs?’. Bugs must answer, ‘Here I am!’, but she/he can continue to move and try to evade Elmer.
The circled group protect Elmer and Bugs in the game area and prevent them from wandering out of
the circle. They can also either aid Elmer in finding Bugs or move the circle to hide her/him.
124 Playgrounds
Drama
•
•
Forming Shapes: The whole group is asked to carry out
this exercise without speaking. This emphasises
concentration and nonverbal intuitive
communication. The group is asked to form shapes
such as numbers, letters, names of the students,
geometric shapes, and punctuation marks.
Machines: In this exercise the group builds an image
step by step, each student contributing to the whole
in a particular way. The teacher chooses, or the
students suggest, the type of machine they are going
to create, eg a washing machine, a truck engine or
something more imaginative, such as a sausagemaking machine or a robot to mind children or to do
all the housework. One student begins a movement
and perhaps uses a sound, and gradually others add
to and complement this movement and sound to
make the complete machine.
•
•
•
Simon Says: Play ‘Simon Says’ with Simon in the centre of the playground. The teacher then asks the
students who was the most important person in the game. Simon is the focus or the person who
needs to be looked at most carefully.
Statues: The students walk around; on the command ‘freeze’ they create an individual tableau showing
how they feel today.
Group Photograph: The students are directed to get into groups of different numbers, with this part of
the game stopping when they are in groups of approximately five. They are then asked to make a
photograph of the following: ’I’m scared!’, ’I’m the greatest!’, ’wild animals’, ’monster’s picnic’, ‘mad
professors’. Students need to be given time to choose how they will do this and may need help if they
are having difficulty.
MUSIC
MUS1.2
Organising Sound
Create a musical piece to accompany the drama.
Experiment with different sounds to represent different movements for feelings.
DANCE
DAS1.2
Composing
Create a dance incorporating different patterns and combinations of movement reflecting the playground.
PDHPE
IN S1.3
Interacting
MO S1.4 Moving
GS S1.8
Games and Sports
IR S1.11
Use the opportunity when working in these strands to highlight the points being used in the drama unit.
Suggested links with Enjoying the Game module (p 121) and Building my Network (p 200 in PDHPE K–6
modules).
Playgrounds 125
Stage 1
In order to find a group focus, the teacher directs the following games:
Drama
Stage 2 — Danny in the Toybox
Unit Duration: 3–4 lesson,
Forms: Improvisation, Readers Theatre
This unit provides a sequence of learning experiences based on the book Danny in the Toybox by
Richard Tulloch (Scholastic Australia, Sydney, 1990). The unit incorporates mime, improvisation and roleplay, dialogue and narration. Students use vocal expression, silent pauses and a direct actor-audience
relationship in a presentation of the book as a piece of readers theatre.
Content
learn to:
• express dramatic meaning by taking on and
sustaining familiar and different roles and by
selecting character-specific props, gestures
and movements
• interpreting everyday situations through a
range of drama elements (eg tension,
contrast, symbol, time, space, focus, mood)
Stage 2
•
making decisions and asking questions which
help to develop in-role depth and dramatic
responses
devise drama using narrative or episodic
sequences in collaboration with others
•
acting in and devising drama from the
perspective of drama maker and audience
interpret the meaning of their own drama and
that of others
•
appreciating drama by viewing others’
performances
•
use the elements of drama to deepen the
meaning of the drama and in discussing
drama work
•
consolidate interpretative and symbolic work
in the drama forms of improvisation,
movement, mime, storytelling, puppetry, mask
and playbuilding
•
•
126 Danny in the Toybox
Drama
DRA S2.1 Takes on and sustains roles in a variety of drama forms to express meaning in a wide
range of imagined situations
• experiments with the voice to create appropriate characteristics in role
• uses clarity of articulation, expression, intonation and pitch
• adopts roles from the given story and suggested stereotypes.
DRA S2.2 Builds the action of the drama by using the elements of drama, movement and voice
skills
• performs in improvisations
• participates in readers theatre
• uses appropriate props and costumes in performance.
DRA S2.3 Sequences the action of the drama to create meaning for an audience
• relates to an audience in performance.
DRA S2.4 Responds to, and interprets drama experiences and performances
• reflects on and discusses the improvisations, exercises and performance
• discusses the effectiveness of their own work and the work of others suggesting reasons
for preferences.
A collection of hats to symbolise the roles of police officer, firefighter, nurse, doctor etc. and a set of
pictures of people in these roles. A copy of Danny in the Toybox by Richard Tulloch (Scholastic Australia,
Sydney, 1990). Cardboard on which to print lines in large letters.
Assessment
Danny in the Toybox 127
Stage 2
Resources
Drama
PURPOSE
To take on and sustain
familiar roles by
selecting characterspecific props, gestures
and movements
TEACHERS CAN
NOTES TO TEACHERS
• Have students jointly look at a collection of hats or
props that are symbolic of a person such as a police
officer, firefighter, nurse, doctor. In small groups,
have students look at pictures of people in action in
roles such as those above.
‘Brainstorm’ who might
wear these hats.
Brainstorm the types of
things that the people in
their group might do if
they were to adopt one
of these roles. List
possible actions and
feelings under headings
• Have groups decide on an incident that might occur
in the lives of their focus role, and in which they
have to assist people.
Stage 2
To sequence action to
help define role, place
and situation and to
introduce the role of the
narrator
• Have students represent this incident in three freeze
frames showing the most important moments in the
incident. Have one student from each group take on
the role of a narrator, describing the action while the
rest of the group perform their freeze frames to the
rest of the class.*
The freeze frames should
emphasise the actions of
the focus role of police
officer, firefighter etc
To ask questions which
help to develop in-role
depth and dramatic
responses
• Select one person from each group to wear the hat of
the role they have chosen to enact. The teacher (in
role as a reporter from the local newspaper)
interviews students wearing the hat.*
The teacher can ask such
questions as: Who are
they? What has
happened? What did they
decide to do? Why did
they do it? How do they
feel?
To explore the topic in a
dramatic context
• Have students jointly discuss why people help each
other and why we might need people with special
skills to help in different ways.
To use the voice to
emphasise elements in
the story
• Read Danny in the Toybox by Richard Tulloch to
students as a class group.
• Have students jointly make a list on butcher’s paper
of who came to help Danny and why he might have
been cross.
Ask students to consider
how the teacher used
his/her voice to make the
story more interesting
To use the voice in
different ways to convey
meaning
• Have students individually enact the lines: ‘He
shouted and screamed at the top of his voice.’
‘He lay on the ground and pounded with his fists
and hammered with his heels’.*
This can be performed in
a space of their own and
the teacher can then ask
for volunteers to repeat
their actions for the
whole class
To develop dramatic
tension and focus by
using the voice in
different ways to create
contrast and mood
• Have pairs of students consider how many different
ways they can find to say the line: ‘I’m never coming
out for the rest of my life. Never, never, never, so
there!’ Have students close their eyes and listen to
the other class members vocalising the line.*
Have students practise
shouting, whispering,
building the line to a
crescendo etc. Discuss
aspects of voice,
projection, intonation,
volume etc. Have
students consider which
delivery of the line is the
loudest, sounds the
angriest, and is the most
convincing, and why
TEACHERS CAN
NOTES TO TEACHERS
To explore the story in a
dramatic context
• Re-read the story and have the students note the
way the voice adds emphasis to particular parts of
the story.
Students could note any
sound effects or music
that could be used
throughout the story to
enhance dramatic
tension. Students who
don’t have a role later
could create the sound
effects
To explore
characterisation to
deepen and sustain role
• Give students, in groups, a major character from the
story to work with — Danny, Emma, Mother,
Rumpus, Father, Doctor, Little Firefighter, Fire Chief,
Old Firefighter.
The whole group can
work on one character, or,
if the class is experienced,
individuals in each group
can be given a character to
work with
• Have students, as a group or as individuals, write a
character analysis of their focus character.*
Have students consider
such things as age, where
they live, likes and
dislikes, favourite food,
and draw a picture
of what the character
looks like.
• Give each group the lines that their character says
from the story (on a piece of cardboard). Have
students underline words needing more emphasis.
Lines can be given to
the whole group for one
character or to
individuals for each
character. Have students
work as a group to say
their lines together; or
have a few students in
the group, or an
individual, say the lines.
Have the others in the
group mime the actions.
PURPOSE
To participate in the
action of the drama
using narrative in
collaboration with others
• Have students rehearse the lines, emphasising
clarity of expression, intonation and voice projection.
To take on the
responsibility of the
narrator
• Read the book with the class and have each
character read their own lines.*
Read as a group or as
individuals for each
character
• Have each student take on a role in the story or act
as a storyteller/narrator.*
Students not taking a
role, or acting as a
narrator, could provide
sound effects or could
mime the action
• Have the story divided for multiple storytellers so
that the story is read/narrated by the whole group.*
The story would need to
be divided before the
lesson. Have students
use a large decorated
box as the Toybox. Select
appropriate costumes
and other production
elements. The hats used
earlier could be worn to
suggest the different
characters
Stage 2
Drama
Drama
PURPOSE
To reflect on and
appreciate the action of
the drama from the
perspective of the maker/
devisor, actor and
audience
TEACHERS CAN
NOTES TO TEACHERS
• Have students present Danny in the Toybox as direct
readers theatre, sitting on chairs and using their
voices present the story.
Have students make their
own observations of the
presentation. Discuss
how the voice and other
elements made the
presentation successful
• Have students add movement and gesture.
• Have students reflect on what was effective, and why,
in their performance.*
Additional Information and Specific Techniques
•
•
•
Stage 2
•
•
•
•
Lessons could be 60 minutes long.
Teachers may wish to use some vocal warm-ups before students perform in readers theatre, in order
to encourage students to use the voice in a variety of ways. (See the ‘Rapunzel’ unit for further ideas.)
Teachers should be aware of less confident readers in the class and use appropriate strategies to
introduce key words or concepts from the story beforehand to assist in achieving familiarity with the
text.
At different times, students will work individually, in small groups and as a whole-class group. The
teacher will need to organise the students into groups and encourage students to work with those
who are not necessarily their close friends.
The teacher should ensure multiple copies of the text are available and passages are divided between
several narrators.
A large cardboard box could be decorated before the unit begins as the Toybox, and costumes for the
major characters could be found from a dress-up box.
Danny could be developed further by more confident students into a script improvised and
developed from the book. Students could develop their own scenes through workshops and add
these to their scripts.
Students may use logbooks for describing scenes, writing their own descriptions of characters, and to
reflect on the effectiveness of their work.
PDHPE
INS2.3
IRS2.11
Interacting
Suggested link with Building My Network in PDHPE K–6 Modules p 200.
Stage 2
Drama
Drama
Stage 2 — Explorers
Forms: Improvisation, Movement
‘Explorers’ has been selected as a topic on which an almost endless series of drama lessons can be based.
It can allow students to develop dramas in which they can construct and reflect on cultural values and, as
the theatre has always done, such drama experiences can encourage them to learn more about the world
in which they live and about the people and other living things that inhabit it with them. Students’
interests, knowledge and understanding can be extended through the use of dramatic forms.
Content
Stage 2
learn to:
• express dramatic meaning by taking on and
sustaining familiar and different roles and by
selecting character-specific props, gestures
and movements
• interpreting everyday situations through a
contrast, symbol, time, space, focus, mood)
•
use the elements of drama to deepen the
meaning of the drama and in discussing
drama work
•
making decisions and asking questions which
help to develop in-role depth and dramatic
responses
•
consolidate interpretative and symbolic work
in the drama forms of improvisation,
movement, mime, storytelling, puppetry, mask
and playbuilding
•
devise drama using narrative or episodic
sequences in collaboration with others
•
acting in and devising drama from the
perspective of drama maker and audience
•
interpret the meaning of their own drama and
that of others
•
performances
132 Explorers
Drama
DRAS2.1
Takes on and sustains roles in a variety of drama forms to express meaning in a wide
range of imagined situations
• adapts and sustains belief in roles from their imagination and literature (including
poetry)
• makes decisions about role interactions, symbolic representations and dramatic context
in the shared fiction of the action of the drama
• interprets a dramatic context by responding in drama form, eg improvisation and
movement
• improvises scenes that demonstrate episodes in the drama.
DRAS2.2
Builds the action of the drama by using the elements of drama, movement and voice
skills
• devises action through movement and voice to adapt a character to create dramatic
meaning through metaphor
• expresses feeling and other responses when depicting an event
• interprets imagined situations to make drama by deciding on dramatic elements, eg
tension, contrast, symbol, time, focus and mood.
DRAS2.3
Sequences the action of the drama to create meaning for an audience
• demonstrates confidence in gesture, movement and vocal skills
• demonstrates how characters interact with others
• selects props, costumes, artefacts, sound effects and movement sequences to refine role,
place and situation to add meaning to the drama
• improvises scenes that demonstrates the episodes in drama.
DRAS2.4
Responds to and interprets drama experiences and performances
• shares the processes of shaping and making drama and the reasons for choices
• engages in role to communicate meaning to an audience and engages as a respectful and
appreciative audience member.
Resources
•
•
Space for the enactment of the drama. The classroom space would be suitable.
Paper and pencils, sufficient for each member of the group.
Assessment
Explorers 133
Stage 2
Drama
PURPOSE
To set the context for the
action of the drama
TEACHERS CAN
NOTES TO TEACHERS
• Explain to students as a class group that the drama
will be about explorers. Have the students engage in
a discussion about who explorers are, where they
might go and why.
• Have students decide what sort of explorers should
be portrayed.
• Exit, re-entering in role as someone who wants to be
an explorer, and asks if he/she can join the next
expedition. This new explorer asks where they are
going, what this place is like and why the explorers
would be going there, and if he/she can accompany
the explorers on their journey.
Ask questions such as:
‘Will you be explorers
who explore on land or
on sea, or in space?’
• Have students engage in a discussion (in role as
explorers) of the equipment they will need and the
clothes they should wear, and enact this. Ask the
explorers to get their equipment so the new explorer
knows what is involved.
Stage 2
To decipher information
about a character from
their demeanour and
voice
• Have each member of the group (including the new
explorer) collect a box of clothing (an imaginary box)
and equipment (‘from the imaginary store’).
Teacher in role
comments on how heavy
equipment is and
demonstrates this by
movement and mime,
encouraging other group
members to do the same.
• Ask the group (in role) what sort of equipment is in
the box. Have each member of the group take out
whatever has been suggested and either stow it in an
imaginary bag or, if clothing, put it on.
In role, direct the action
through questioning.
• Out of role, say he/she is going to turn away and
return as another character.
The teacher (out of role)
asks the group who this
new character could be.
Select one idea. Ask the
group what they would
call this person
• Return with the stance and voice of authority: ‘Good
morning, explorers.’ Ask the explorers if they are
ready to go on their expedition to … (wherever was
previously decided upon) and give orders, asking the
group to show that they are properly equipped and
clothed. Character exits saying he/she is sure the
expedition will be a great success.
• Have the students sitting in a group and tell them
(out of role) that they are going on a journey where
no-one has ever gone before.
• Have the students as a group jointly make a decision
as to how they will journey to their destination.
134 Explorers
Use vocal and bodily
expression to indicate
that the group are
embarking on a journey
into the unknown and that
this may have unforeseen
consequences
Drama
PURPOSE
TEACHERS CAN
NOTES TO TEACHERS
• Have students, in role as explorers, write down how
they feel as they begin this journey (again using
voice to build the mood). The students write their
thoughts.*
The teacher may need to
move among the students
and give assistance with
writing when needed
• Place a table with a chair each side of it to define the
entry point to the imaginary transport.
• Have each explorer (including the teacher in role)
hold their paper as they step on the … (whatever
was decided) that will take them to their destination,
and read what they have written as they enter.*
To provide dramatic
focus of this scene, the
emphasis being that
there is a point of
departure
To express and develop a
mood of concern
The teacher (in role)
should go first and
demonstrate what is
required of the students
• In role as the captain of the transport (spaceship,
ordinary ship, train, bus …), greet each explorer and
say something like ‘Welcome to our …,’ and
conclude by saying, ‘The journey begins.’
The drama could end here.
If continued on a later
occasion, have the
students seated in a group
and narrate the story to
date. Show the group the
thoughts that the
explorers expressed on
paper, which may be
displayed around the room
• Have the students walk around and read what has
been written, then stand next to a statement they
like, but not the one they wrote themselves.
The teacher can say, ‘If
someone else is standing
next to the one you like,
then find another one’
• Move around the room, reading the statements and
using a ‘public voice’ which expresses the feelings of
the written thoughts.*
• At the conclusion of reading, turn to the group and
say, ‘But of course, the explorers never returned
home, for a terrible disaster overtook them all.’
The teacher should use
his/her voice and facial
expression to emphasis
that what happened was
disastrous
To collaboratively script
the storyline
• Have students sitting as one group and ask for their
ideas about the disaster that might have occurred.
The more disastrous the
ideas they come up with,
the more forthcoming
the enactments will be
To provide the actors and
audience with a
theatrical experience
• Have students in small groups enact an aspect of the
disaster that overtook the explorers.
Have students specify
what part of the disaster
they are intending to
develop
Explorers 135
Stage 2
• Have the students step on the first chair, walk across
the table and step onto the second chair.
Drama
PURPOSE
TEACHERS CAN
NOTES TO TEACHERS
• Have groups perform enactments for the rest of the
class.*
The teacher can be in
role as a photographer.
• Have the groups make a still picture of some part of
their scene that is suitable for photographing.
Explain that a book is to be written about the
disaster and photographs are required of the most
important scenes.*
To make sense of the
drama in which the
students have
participated
It is important that the
group itself and its
audience know what is
being depicted. The
teacher can ask each
group what is being
depicted, and announce
the title of each picture
in a way that gives it
importance
• Have the students sit as a whole group and conclude
with narrative: ‘So the explorers who set off that day
experienced a disaster which they overcame and
their journey will never be forgotten.’
• Have students consider: how the explorers might
have felt when the disaster occurred (relate the
question/s back to the enacted disaster), why their
Stage 2
136 Explorers
Drama
In this unit the teacher needs to work in role, and sometimes in more than one role, throughout the
course of the drama. It is not necessary for a teacher in role indicate when he/she is coming out of role in
order to facilitate the drama, but it is important to tell students when his/her role changes.
It is suggested that the total lesson duration be 45–60 minutes.
Another possibility that can be used to extend a drama on explorers is enacting figures in a museum. The
students can be asked to develop ‘waxworks’ which will show some aspect or incident of the explorers’
journey, and these can be individual or group portrayals. The ‘museum’ can be extended to show waxworks
which incorporate some movement whenever a visitor (teacher in role) presses a switch. An even more
complex development can enable waxwork figures to speak to the visitors. This is a difficult proposal. The
teacher (in role as a visitor to the museum) is more able to ask the sorts of questions that will elicit
meaningful responses from the waxworks, but the students are also likely to want to take on the powerful
role of permitting the waxworks to speak. It may work best if the teacher and some students visit the
museum together, with the teacher asking the first question and possibly some others as well, thus
modelling appropriate inquiries, while the students also have a chance to interrogate the figures.
When students are involved in the action of the drama they may experience powerful and real emotions.
At the end of the drama it is important that the teacher provide students with the opportunities to de-role
by being able to talk about key moments and tensions in the drama. De-roling may involve whole group
discussions or quiet reflection or through writing about experiences in a journal, or it may involve
channelling energy into another activity such as writing a poem or a song, or painting a picture.
This unit contains many opportunities for students to work in groups. If the teacher feels that some
students are having difficulties, it may be possible to regroup them with more able and confident class
members. If the tasks seem difficult for most of the class, it might be wise to change focus and practice,
and involve the group in activities they can cope with more easily. This might mean working with the
whole class rather than pairs or small groups. By careful observation, the teacher should be able to make
appropriate adjustments as the drama proceeds.
ENGLISH
RS1.5
Reading and Viewing
WS1.9
Producing Texts
Locate, read and discuss texts about exploring new places. Write a recount of a visit to a new place.
Explorers 137
Stage 2
As stated in the rationale, the basic premise of the drama can have many variations. Explorers can travel
to a multitude of destinations. Their journey can end successfully. They can meet difficulties which they
overcome. They can undertake their journey for a multiplicity of purposes. They can meet people en route
who can hamper or facilitate their progress, and students, given some encouragement, are well able to
make suggestions that the teacher can use to build the drama.
Drama
Stage 3 — Rapunzel
Forms: Improvisation, Readers Theatre, Storytelling
This unit provides students with opportunities to explore the nature of the story, its structure and the
conventions associated with storytelling and readers theatre. The use of narrative encourages students to
adopt roles and move into the imagined reality of the fairytale. The story is brought alive by the use of
voice, gesture, facial expression, body position, pace and sound effects. Dramatic tension and mood are
manipulated throughout the story to increase the impact. The ways in which the meaning and purpose of
the story can change with cultural context is also investigated.
Content
Stage 3
learn to:
• develop and sustain greater belief in a variety
of roles that challenge character stereotypes
as a means of interpreting the world in which
they live
• interpreting the personal, social and cultural
aspects of everyday situations through a
contrast, symbol, time, space, focus and
mood)
•
manipulate artefacts, costumes, music, sound
effects, lighting, scripted and unscripted
material to develop and transform the
meaning created through role, place, situation
•
exploring traditions associated with different
forms of drama (eg improvisation, movement,
mime, storytelling, puppetry, mask, video
drama and playbuilding)
•
manage the elements of drama (eg tension,
mood) during the preparation of the drama, in
the drama and when reflecting on the effect of
their drama work
•
devise and collaborate on drama works
through various combinations of forms
•
devising and acting in drama for an audience
•
critically appraise drama work as participants
and as audience
•
performances and acknowledging how this
can change their own drama practice
138 Rapunzel
Drama
DRA S3.1 Develops a range of in-depth and sustained roles
• takes on a range of roles challenging character stereotypes, depicting empathy, different
and contrasting attitudes and status
• collaborates to convey dramatic meaning by responding abstractly to represent ideas,
feelings, objects and situations.
DRA S3.2 Interprets and conveys dramatic meaning by using the elements of drama and a range of
movement and voice skills in a variety of drama forms
• responds confidently with gesture, movement and voice skills to a range of scripts and
other texts to structure the narrative or episodes and build on the action of the drama
• interprets a dramatic context through the use of a combination of various drama forms
• combines and manages the elements of drama, for example: tension, contrast, symbol,
time, space, focus and mood to communicate the depth of meaning of their drama work.
DRA S3.4 Responds critically to a range of drama works and performance styles
• forms and communicates opinions about a range of drama works created by themselves
and others
• evaluates drama performances in order to reflect upon and enhance their own drama
work and the work of others.
Resources
•
•
Script of Rapunzel adapted by Danni Laurence and Susan Hill in Readers Theatre: Performing the Text
by Susan Hill (Eleanor Curtain Publishing, Armadale, Victoria, 1995); a copy of the original version
of Rapunzel.
Who, what, where, when, why cards listing story events, settings and characters; video camera (optional).
Assessment
Rapunzel 139
Stage 3
DRA S3.3 Devises, acts and rehearses drama for performance to an audience
• devises drama in collaboration with others using scripted and unscripted material as
resources for drama performances
• devises, rehearses and acts in drama using voice and movement skills to convey meaning
to an audience.
Drama
PURPOSE
To highlight patterns in
traditional fairytales, eg
a more powerful figure
solving the problems
TEACHERS CAN
NOTES TO TEACHERS
• Tell or read a traditional version of Rapunzel using
expressive voice, timing and gesture.
Help students to see the
similarities and
differences between
fairytales and real life.
• Have students jointly discuss the story outline —
how the story begins, the most exciting parts, where
the tension develops, the climax of the story, how
the story concludes.
• Have students sit in a circle to retell the story. Each
student contributes a sentence/phrase to recreate
the narrative in their own words.*
To introduce the element
of tension and the
concept of freeze-frame
The story may subtly
change in this process,
which might allow for
discussion of versions of
the stories. Students
could also explore the
idea of how stories can
change when they are a
part of an oral tradition
Copy sections onto card
and distribute to pairs of
students. Discuss what
makes each section
significant to the story
and how the use of voice
and gesture can give
greater emphasis and
impact to the dialogue
• Have students in small groups identify and select key
moments of tension in the narrative and create
frozen pictures to depict these moments.
Have students consider
the way they use body
language, levels, spatial
relationships, facial
expressions and the
focus of their freeze
frame to capture the
tension of the action of
the drama
Stage 3
• Have students select sections of dialogue from key
moments in the narrative.
• Have the small groups of students present their
freeze frames.
• Have students jointly discuss the presentations and
evaluate the overall impact of the freeze frame and
how effective tension was portrayed.*
To analyse the dramatic
context of the story
• Have students identify what, where and when in the
Rapunzel narrative.
When considering the
‘who’, students might
discuss the main
characters in Rapunzel and
describe relationships
between them. Re-read
sections of the narrative
to find sections where
oppositions are set up
between the main
characters eg love, anger,
revenge and compassion
To introduce readers
theatre highlighting the
importance of voice,
script, sound effects
• Read the script of Rapunzel, a modern interpretation
of the traditional story adapted by Susan Hill.
Identify the conscious
use of humour in the
script
140 Rapunzel
Drama
PURPOSE
TEACHERS CAN
NOTES TO TEACHERS
• Have students discuss how and locate where the
characters, storyline, tension and mood have been
changed to incorporate humour.
To consider the use of
voice in readers theatre
• Have students in groups consider ways of performing
this script as readers theatre.
• Have students give regard to the extent that
cumulative, individual or group speaking parts could
impact on the presentation.
• Have student groups explore how:
– pace, body positions, movement and sound
effects influence the creation of mood
– opportunities arise for taking advantage of
surprise and the unexpected
– styles could change from serious to comic.
Distribute the script to
groups.
Investigate how the
minimal use of props or
extra sound effects
contributes to the overall
success of the
presentation
To reflect on the action
of the drama and the
processes used in
developing the drama
To encourage the telling
of a story from a different
point of view, perhaps as
one of the characters
• Have groups present their readers theatre to the
audience of other students.*
Video documentation of
presentations would be
worthwhile for the
discussion of styles that
follows
• Have students jointly discuss the successful
components in each presentation and make
suggestions for improvement.*
Students can document
the development of the
group performance,
evaluate their personal
contribution and comment
in their logbooks on the
understanding they have
gained
• Have groups develop a scene from their readers
theatre into a role-play by using elements from the
original story, but changing the way the dilemma of
the main characters is solved.
This may lead to
discussion of
contemporary issues
such as adoption, good
versus evil, and creative
problem solving.
Students may need to
invent new characters
with new motives or
manipulate original
characters
• Have groups of students tell the story from a
different point of view, perhaps as one of the
characters eg the witch.
• Have groups present role-plays to the rest of the
class.*
• Have students jointly discuss the successful
components of each performance and make
suggestions for improvement.*
In their log books, have
students document the
development of their
own group performance
Rapunzel 141
Stage 3
• Have groups establish character parts and rehearse.
Drama
This unit has a vocal focus and, for this reason, voice warm-ups could be used before each session. These
should be related to the content of the unit and could include:
• – Breathing in and out slowly, using the breath to extend the length of spoken phrases or sounds,
– Counting aloud up to 20 by 2s; backwards from 20 to 0; starting softly and becoming loud, and
starting loud and becoming soft to demonstrate the effect of pitch and volume.
– Singing like a witch or a beautiful young damsel or a brave young prince to demonstrate the
importance of song in the story of Rapunzel and its relation to mood
– repeating a tongue twister to emphasise the importance of diction in oral communication, or
saying the names of the characters in the story rapidly, with different intonation to communicate the
nature of the character or their feelings about the character
– creating soundscapes with the voice to enrich students’ readers theatre presentation, eg
representing the characters or some of their actions: Rapunzel’s hair falling, the witch’s arrival, forest
sounds
• Warm-up activities related to character development and role, such as creating interesting ways to
move around the room. If a student sees someone else moving in a way they like, they can steal that
movement and copy it. If a student notices that their movement has been stolen, they must change it.
This exercise introduces the concept of magical powers being used to take on others’ identities or
take powers, possessions or children, as the witch does in Rapunzel. A further step is for the teacher to
call out character names from various fairy stories and the students develop walks for each of the
characters, or a student can leave the room while the group decides upon a character to imitate in
voice and action. The returned student must guess the character’s identity.
Stage 3
I really enjoyed the hot seat. It was very
funny because you had to act like the
person and speak like the person and in
front of everybody
Shelley
I enjoyed doing the Hot Seats. I
enjoyed it because you could put
a whole new perspective of a
character
Samantha
I enjoyed the role play using
changed endings because I liked
performing it to the class and I
liked working with others. It
was funny and I enjoyed it a lot.
Jessica
142 Rapunzel
Drama
The context of the story is analysed through the identification of the who, what, where, why and when of
the Rapunzel narrative. The teacher might prepare a list of contexts in the story and ask the students to
arrange these under the appropriate headings. Alternatively, students could prepare their own lists. Some
suggestions include:
• Young mother expecting her first child; Father worried about providing for family; The forbidden
garden of the witch; Longing for the forbidden fruit of the garden; The theft from the garden; The
angry witch; Giving up the baby to the witch; Rapunzel as a beautiful young girl; Rapunzel locked in a
tower in the forest; Witch uses Rapunzel’s hair to enter tower; The prince hears Rapunzel; The prince
finds the tower; The prince climbs the tower; The prince asks Rapunzel to marry him; Witch discovers
prince is visiting Rapunzel; Witch cuts Rapunzel’s hair; Rapunzel banished to the desert; Prince is
tricked by the witch; Prince jumps off tower and is blinded; Prince wanders looking for Rapunzel;
Rapunzel gives birth to twins; Prince recognises Rapunzel’s voice; Rapunzel recognises the prince;
Rapunzel’s tears restore the prince’s sight.
These contexts can be printed on cards and mixed up so that students have to place them in the right
sequence. Small groups can be given a scrambled selection of four or five cards from which to improvise
a new story based upon the elements in their cards. Another variation is to distribute one card to each
student and ask them to tell the story from that moment or form the point of view of the character on
the card.
ENGLISH
RS3.5
Reading and Viewing
RS3.6
WS3.9
Producing Texts
WS3.10–12 Skills and Strategies
Choose a variety of texts which have examples of interpersonal relationships and conflict — traditional
and contemporary. Present as readers theatre.
Discuss how the relationships develop and how conflicts
are resolved.
Analyse a narrative text to identify the conflicts and
the characters they relate to.
Students work in groups to write a narrative,
present it as readers theatre.
PDHPE
INS3.3
Interacting
IRS3.11
Discuss the roles and responsibilities
of friends within groups. Analyse the
conflicts that can occur and how
they may be resolved.
Suggested links with Playing My Part
p 206 in PDHPE K–6 Modules.
Rapunzel 143
Stage 3
Drama
Stage 3 — The Search
Forms: Video Drama
This unit provides students with the opportunity to engage in video drama within a dramatic context,
manipulating role, situations and the drama elements of tension, focus and symbol to make meaning. The
use of video in this unit promotes different ways of framing the drama. This would not necessarily be the
first drama unit in which students use video techniques.
Content
Stage 3
learn to:
• develop and sustain greater belief in a variety
of roles that challenge character stereotypes
as a means of interpreting the world in which
they live
• interpreting the personal, social and cultural
aspects of everyday situations through a
mood)
•
manipulate artefacts, costumes, music, sound
effects, lighting, scripted and unscripted
material to develop and transform the
meaning created through role, place, situation
•
exploring traditions associated with different
forms of drama (eg improvisation,
movement, mime, storytelling, puppetry,
mask, video drama and playbuilding)
•
manage the elements of drama (eg tension,
mood) during the preparation of the drama, in
the drama and when reflecting on the effect of
their drama work
•
devise and collaborate on drama works
through various combinations of forms
•
devising and acting in drama for an audience
•
critically appraise drama work as participants
and as audience
•
performances and acknowledging how this
can change their own drama practice
144 The Search
Drama
DRA S3.1 Develops a range of in-depth and sustained roles
• takes on a range of roles challenging character stereotypes, depicting empathy, different
and contrasting attitudes and status
• collaborates to convey dramatic meaning by responding abstractly to represent ideas,
feelings, objects and situations.
DRA S3.2 Interprets and conveys dramatic meaning by using the elements of drama and a range of
movement and voice skills in a variety of drama forms
• responds confidently with gesture, movement and voice skills to a range of scripts and
other texts to structure the narrative or episodes and build on the action of the drama
• interprets a dramatic context through the use of a combination of various drama forms
• combines and manages the elements of drama to communicate the depth of meaning of
their drama work.
• manages ways of creating focus, tension and symbol to enhance the meaning of the onscreen and off-screen drama
DRA S3.4 Responds critically to a range of drama works and performance styles.
• forms and communicates opinions about a range of drama works created by themselves
and others
• evaluates drama performances in order to reflect upon and enhance their own drama work
and the work of others.
Resources
•
•
•
•
•
Video camera, video tape, television, VCR
Costume box
A tripod if possible
Editing facilites if available
Appropriate cable to connect camera to TV.
Assessment
The Search 145
Stage 3
DRA S3.3 Devises, acts and rehearses drama for performance to an audience
• devises drama in collaboration with others using scripted and unscripted material as
resources for drama performances
• devises, rehearses and acts in drama using voice and movement skills to convey meaning
to an audience
Drama
PURPOSE
To familiarise students
with performing in front
of the camera and to set
the dramatic context for
TEACHERS CAN
NOTES TO TEACHERS
• Have each student sit on a chair in front of a camera,
before it is switched on. Instruct the students that,
as ‘the presenter’ they have thirty seconds to
introduce themselves on camera as a ‘talking head’.
Negotiate roles for the
task of camera operator,
clapperboard operator,
timer, on-camera
presenter, viewers etc
prior to the lesson. Set
the camera up prior to
the start of the lesson.
The camera can be
connected to a television
monitor, if available, so
students can view the
filming ‘live’
• Have students in small groups rehearse their
improvised introductions.
• Have students introduce themselves in front of the
camera.*
Stage 3
To use and reflect on
camera techniques to
create dramatic meaning
• Have students as viewers observe the convincing
nature of the introduction by each ‘talking head’.*
Discuss issues of
presentation and framing
in reflecting on students’
experience in front of the
camera
To create a fictional
context by defining the
action of the drama
• Have students as a group negotiate a dilemma of
something or someone lost or missing. Discuss the
possibilities: when this event could occur, where it
could occur and what or who is lost/missing.
Allocate roles of the
television crew: camera
operator, clapperboard
operator, news presenter
and viewers
To develop role within
the shared fiction of the
drama
• Choose one student to be the presenter.
To collaborate as viewers
to enhance the meaning
of the drama
• Have students as ‘viewers’ adopt the role of
someone who knows the presenter or the
item/person who is lost/missing, or who is aware/not
aware of the event.
Students can help to
develop a character
profile by asking such
questions as: What’s your
name? How old are you?
Explain what you do in
your job? Have you ever
reported on a search and
rescue before?
To refine the dramatic
context and to introduce
dramatic tension
• Have the ‘camera crew’ record the presenter on
location as a ‘talking head’ for a television news item
where the presenter introduces him/herself and
requests help from the general public to find the
missing or lost item or person.*
To reflect on the meaning
of the work as audience
members
• Have viewers discuss their response to the news
item and question the presenter and crew as to their
effectiveness in communicating the message.
• Have students as a group help to develop the
character of the presenter who is connected in some
way to the missing/lost object/person, by hot-seating
the presenter.
The filming of this news
item may require a
number of ‘takes’.
Framing the action for
the camera to create
meaning authentic to the
drama could consider
camera movement,
visuals and costuming
• Have students in small groups improvise a moment
that represents what happened before the
object/person went missing.
To extend the dramatic
context
146 The Search
• Have each small group begin their improvisation
with a still depiction of ‘happier times in their
community’.
Depictions can be
photographed by the
teacher. Alternatively, the
students could represent
depictions in drawings
Drama
PURPOSE
To use dramatic tension
to refine the action of the
drama
TEACHERS CAN
NOTES TO TEACHERS
• Have each small group positioned in their still
depiction. Bring depictions ‘to life’ and improvise
scenes when signalled.*
The improvisation may
run for up to three
minutes.
• Have each small group devise a symbolic
representation of something terrible occurring in
the future which results in the object or person
going missing, using mime movement or still
depiction.
Students could write a
letter in role to a friend
who used to live in their
community about the
‘happy’ event which they
just re-enacted
• Have small groups perform their symbolic
representations to the rest of the class. Discuss how
the meaning was conveyed through the images
used.*
Stage 3
• Have students in small groups discuss what ‘others’
might think about the event of searching for
something/someone who is lost or missing and
discuss who in their group could be interviewed
about the event.
To enrole students in the
action of the drama
• As a whole group, hot-seat the interviewees to
develop a character profile.
Ask such questions as:
What’s your name? What
is your relationship to
the object or person who
is missing or lost? How
long have you lived in
this town?
To collaborate in
developing a script to
enhance the meaning of
the video drama
• Have each group prepare questions and answers for
the interviews to be filmed (script). They conclude
their interview with a comment addressing the
search team.
The interviewees are
people in the local
community who have an
opinion on the
effectiveness of the
search
To enhance meaning
created through role and
situation and by camera
techniques
• Have students as a group decide on the costumes,
location and framing (mid-shot or close-up; one-shot
with just interviewee or two-shot including
interviewer).
Allocate the roles of
camera operator,
interviewer, and
interviewees
• Have students film opinions of the ‘local community’
in ‘vox populi’ style.
• Have the remainder of the class view interviews in
role as local community members.
• Have students in small groups in role as community
members improvise dramatic action through still
depictions that represent that the missing
something/someone has been found.
The Search 147
Drama
PURPOSE
TEACHERS CAN
NOTES TO TEACHERS
• Have students improvise the action of the drama
using the still depiction of the missing
something/someone being found as a starting point.
• Have students repeat the action without dialogue.
• Have students in groups perform the ‘find’ or the
‘return home’ incidents, by means of still depictions,
improvised action or action without dialogue.
• Have the camera crew film each group using long
shots, then using close-ups to focus on one person’s
response to the situation.
• Have students view the recording as a group, and
discuss what is portrayed.
• Have students as a group choose two newsreaders.
• Have students as a group prepare a script for two
newsreaders, to be read before and after the showing
of the video clip of the ‘find’ event.
Stage 3
• Have students as a group design and arrange the
studio set and costuming for the news broadcast.
• Have the camera crew set up the camera, check the
tape, focus, frame.
• Have the camera crew film the newsreaders before
and after the film clip of the ‘find’ event.
• Have students discuss the effectiveness of their ‘onair’ news broadcast.
• To conclude the drama, have students as a group
adopt one of their roles from the drama for a group
photograph that depicts their feelings about the end
of the search.
148 The Search
Negotiate roles of one
camera operator, one
the search and rescue
team and members of
the local community.
Have students write their
response to this part of
the drama unit on a
graffiti wall.
Prior work on the
techniques used by
newsreaders would be
useful. The use of
excerpts from other
media scripts, noting
relationship with
camera/viewer, formality
of tone, vocal clarity,
speed of reading/
speaking would be
valuable.
If an editing machine (or
two VCRs) is/are
available, a group of
students may be able to
edit the news reading and
the ‘find’ event onto the
one tape as a complete
video-recorded news item
Drama
Video drama is a drama form described on p 98 of the Creative Arts K–6 Syllabus.
Some applications of video in classroom drama:
• setting the scene for the beginning of a classroom drama, eg time and place
• flashback scenes
• camera taking on a role in the drama, eg ‘The Search’
• record process of group-devised drama, eg character development
• dramatic referencing eg time capsule.
Specific Techniques
This drama unit relies on simple film language, techniques and equipment:
• framing: big close-up, close-up, medium close-up, mid-shot, wide-shot, very wide-shot, one-shot,
two-shot
• camera movement: panning, zooming, tracking, travelling, tilting
• hand-held camera or tripod-supported camera
• VCR-video playback machine
• RF (or similar) lead — a connecting lead between the camera and the television monitor for direct
playback of image while filming.
•
•
•
•
In order for the unit to run smoothly the teacher and students should check the battery, the focus and
the close-up framing of someone sitting on the chair prior to the start of the lesson.
Position the camera (on a tripod if available) and place a chair in front of the camera on which
students will sit to introduce themselves.
A discussion of framing and presentation techniques used in television news reports would be useful
prior to the lesson.
Clapperboards can be made by the students prior to the beginning of the unit.
ENGLISH
TS3.1
TS3.2
Develop interview questions, uses a hierarchical approach to lead to analysis and synthesis on behalf of
the interviewer and the interviewee.
PDHPE
SL3.15
Safe Living
Discuss and explore the places where people might get into trouble or become lost. Use media articles to
identify real-life incidents.
Links with Safe Living Module in PDHPE K–6 Modules p 257.
The Search 149
Stage 3
Dance
Early Stage 1 — Rain
Elements of Dance: Action, Dynamics, Time,
Space, Relationships, Structure
This unit provides a sequence of learning opportunities where students make a class dance based on the
idea of rain, developing their understanding of the natural environment as a source for dance ideas.
Content
Early Stage 1
learn to:
• move safely and expressively in a dance with
control and sensitivity to sound
accompaniment
learn about:
• the importance of moving safely, as an
individual and with others, in a designated
dance space
•
explore the elements of dance expressively in
the composition of dances
•
the basic elements of dance: actions of the
body, dynamic qualities of movement, timing,
spatial aspects and relationships
•
use memory and imagination to explore a
range of familiar and fantasy movement ideas
for dance
•
the use of everyday and fantasy movement
ideas as active and physical starting points for
creating dances
•
show their dance ideas to others, watch other
people dance, think and talk about
themselves and others dancing
•
the basic components of dances — dancers,
movement, sound and physical settings —
and how they and their classmates can think
about dance ideas
150 Rain
Dance
DAES1.1
Participates in dance activities and demonstrates an awareness of body parts, control
over movement and expressive qualities
• performs basic movements demonstrating control over body parts
• performs movements in unison with a partner.
DAES1.2
Explores movement using the elements of dance in response to a stimulus to express
ideas, feelings or moods
• explores small and large movements to the stimulus of rain.
DAES1.3
Responds to and communicates about the dances they view and/or experience
• discusses their movements and the movements of other groups.
Resources
•
•
Dance space
Recorded sounds of a thunderstorm and rain.
Early Stage 1
Assessment
Rain 151
Dance
PURPOSE
To respond to music with
movement
TEACHERS CAN
NOTES TO TEACHERS
• Have students listen to the taped sound of thunder
and get them to curl their bodies into a small shape
in response.
Early Stage 1
• Have students listen to the taped sound of rain
and get them to uncurl their body, look up and
stretch.
Imagery such as
raindrops, puddles,
splashes and wetness
can be used to
encourage imaginative
responses
To explore movements at
different levels and body
awareness with a wellknown gesture
• Have students stretch up high, looking and focusing
upwards. Have them produce a well-known finger
pattern to represent raindrops starting at the top of
their head and touching their body lightly down to
their feet.
Lead students to make
raindrop patterns with
fingers
To isolate parts of the
body in movement
exercises
• Have students take up positions on the floor and
trace the shape of a puddle with their finger, then
with other parts of their body — eg a toe, an elbow
To concentrate on small
foot movements
• Have students take small steps around their own
puddle shape on the floor, showing an awareness of
parts of the feet — toes, soles, heels.
Students learn about
applying performance
skills by balancing their
arms as they step and
focusing their eyes on
the puddle shape as they
step
To explore large
movements
• Have students perform large jumps over the
imaginary puddles.
This activity provides a
contrast in movement to
the previous activities
To explore movement
in unison
• Have students work with a partner to mirror each
other’s movements.
This may best be done
with students sitting
opposite each other on
the floor
• Have partners explore new finger patterns in their
mirroring exercise to represent rain falling, paying
careful attention to using different parts of the hand.*
• Have partners continue to explore movements with
mirroring, standing, bending and stretching in
unison using the whole body and mirroring hand
patterns.*
To work cooperatively to
create movement
• Have students, in their pairs, walk around the puddle
taking small steps and linking hands.
To lead and to follow
with movement
• Have students explore movements around the
puddle with one partner leading the other, hands
still linked, and explore ways of turning carefully
while keeping hands linked.
152 Rain
This further develops the
concept of working with a
partner
This more complex task
involves students using
observation, a sense of
movement, timing and
cooperation
Dance
TEACHERS CAN
NOTES TO TEACHERS
To explore changing roles
in movement activities
• Have students repeat above activity, emphasising the
notion of keeping small steps and have them swap
leader and partner roles in a fluid motion.
This reinforces footwork
with light, sustained
qualities, unison, timing,
care and sensitivity in
making close contact and
imaginative responses
To perform movement
sequences
• Have pairs perform their leader/partner puddle
movements for the rest of the class. Discuss the
movements used, what they liked etc.*
Teachers may ask two
groups to perform their
movements together if
students become restless
PURPOSE
ENGLISH
RES1.7
Context and Text
Locate texts which have descriptions about rain or rainy days.
Discuss the words used to describe rain, and which ones are like the sound they make, eg drip, splash.
WES1.9
Producing Texts
Provide opportunities for students to write poems or rhymes about rain, eg acrostic poems
MATHEMATICS
EES1.2
Using Technology with Teacher Guidance in Mathematical Situations
Collect rainwater during a rainy period and graph daily results on a chart or mark on a calendar.
Use newspaper weather maps to graph rainfall.
ESES1.7
INVES1.7 Investigating
DMES1.8 Designing and Making
UTES1.9
Using Technology
Investigate by observing and exploring the types of clothing worn when it it wet. Using a range of material,
design and make an outfit to wear in the rain.
Create a retrieval chart of photographs and other materials showing ‘rainy days’.
Suggested link A Place in Time unit from Science and Technology K–6 Syllabus and Support Document p 82.
Rain 153
Early Stage 1
Dance
Early Stage 1 — I Can Dance
Elements of Dance: Action, Dynamics, Time,
Space, Relationships, Structure
This unit of work focuses on the elements of action, time, space and relationships. Students make short
movement phrases in response to ideas, moods and kinaesthetic stimuli, which they may share with their
peers. Students learn to respond in movement to a variety of accompaniment (sounds, voice, music and
percussion). They learn to respond spontaneously (improvise) with maturity, and reflect and refine
movement at their particular stage of development.
Content
Early Stage 1
learn to:
• move safely and expressively in a dance with
control and sensitivity to sound
accompaniment
learn about:
• the importance of moving safely, as an
individual and with others, in a designated
dance space
•
explore the elements of dance expressively in
the composition of dances
•
the basic elements of dance: actions of the
body, dynamic qualities of movement, timing,
spatial aspects and relationships
•
use memory and imagination to explore a
range of familiar and fantasy movement ideas
for dance
•
the use of everyday and fantasy movement
ideas as active and physical starting points for
creating dances
•
show their dance ideas to others, watch other
people dance, and think and talk about
themselves and others dancing
•
the basic components of dances — dancers,
movement, sound and physical settings —
and how they and their classmates can think
about dance ideas
154 I Can Dance
Dance
DAES1.1
Participates in dance activities and demonstrates an awareness of body parts, control
over movement and expressive qualities
• performs basic movements demonstrating control over body parts
• performs movements in unison with a partner.
DAES1.2
Explores movement using the elements of dance in response to a stimulus to express
• explores movement in response to stimulus, for example tapping a hot surface or tapping
with one foot or two.
DAES1.3
Responds to and communicates about the dances they view and/or experience
• discusses their movements and the movements of other groups.
Assessment
VISUAL ARTS
VAES1.1
Making
VAES1.2
Making
VAES1.3
Appreciating
VAES1.4
Appreciating
Links with Visual Arts Early Stage I About Me unit in Creative Arts K–6 Units of Work Support Document p 6.
PDHPE
GDES1.9 Growth and Development
Discuss similarities and differences in appearance.
Body parts, senses and basic needs.
Changes in appearance.
Values — likes and dislikes, uniqueness.
Suggested links with I Am Special module in PDHPE K–6 Modules p 141.
I Can Dance 155
Early Stage 1
Dance
TEACHERS CAN
PURPOSE
NOTES TO TEACHERS
To experience a range of
non-locomotor and
locomotor movements
• Have students warm up as a whole group with
bending and stretching movements and body
isolations.
To explore movement
qualities and aspects of
tempo
• Have students as a whole group apply strong and
sustained dynamics to non-locomotor movements.
To explore locomotor
movements using
different levels
• Have students individually ‘feel’ the space around
them with different body parts to establish their
personal space.
• Have students explore locomotor movements such
as walking, running, hopping and skipping, with
instruction to apply aspects of tempo (moving as fast
and slow as they prefer, as well as moving to a set
beat).
Early Stage 1
• Have students move freely in the space (using
locomotor patterns that encourage the use of
movement at high, medium and low level) to
establish sharing of the general space.
• Have students sit informally with their feet in a
position that allows them to move easily.
• Have students begin by tapping their feet on the
floor, then alternate between tapping their toes and
heels in their own sequence.*
To develop an awareness
of body parts and some
control over movement
and expressive qualities
• Introduce ‘stillness’ into the tapping and vary the
time relationship between movement and stillness.
Have students develop simple movement sequences
by guiding the students to accent the lifting section
of the movement phrase, for example:
(i)
Tap toes
---1
Tap toes
---2
Tap heel
---3
Tap heels
---4
Tap toes
---1
Hold lift
---2
(ii)
Tap toes
---1
Tap toes
---2
Hold lift
---3
Hold lift
---1
Tap heels
---2
Tap heels
---3
(iii) Tap heels
Hold lift
Hold lift
Tap toes
Hold lift
Hold lift
---2
---3
---1
---2
---3
---1
156 I Can Dance
Students’ movement
response varies with the
introduction of another
stimulus, for example
tapping a hot surface, or
a sticky surface; tapping
as quickly and sharply
as possible; tapping
close to or far from the
body; tapping with one
foot or two.
Tap heels
---3
Hold lift
---4
Dance
PURPOSE
Respond to and
communicate about the
dances viewed
TEACHERS CAN
NOTES TO TEACHERS
• Have students ‘find’ different positions when they lift
their feet, and accent the lift by making it as high as
possible.
Guide students through
similar activities, focusing
action on the hands and
arms. Encourage them to
use their arms alternately
or both together. Students
create an arm dance; for
example, their patterns
may communicate a
particular idea — stop, go,
come, help, fly, open,
close, hard, soft — simply
move according to their
mood
• Have students find one sequence of movement that
they like and repeat it three times.*
Early Stage 1
• Have large groups of students show their dances to
the class, who then comment upon the parts they
enjoyed watching.*
• Have students keep their hands and feet on the floor
as they lift different body parts away from the floor
and then return, keeping the movement fluid and
continuous (sustained), leading the movement with
particular parts of the torso.
• Have students free their hands, then find many ways
to move away from the floor and back again (rising
and sinking), using different bases.
To develop movement
memory and intent
• Have students select one of their movement
sequences and repeat it.
• Have students think about visual imagery — for
example: the sun rising and setting; waves building
and curling; kites lifting, flying and landing — to
assist the quality of the performance and to think
imaginatively (with intent).
To explore movement in
response to a stimulus to
express ideas, feelings
and moods
• Have students, as a whole group, choose one of the
above visual images to make a dance; for example,
kites lifting in flight and landing.
• Have students find a partner and perform their kite
dance beside their partner — independently and
simultaneously — in their own personal space,
showing regard for their partner’s work. Have
students choose to be the first or second dancer.*
Guide the students to
include moments of
stillness as well as fast
and slow movements in
their movement
exploration
• Have the class divide into two groups to allow the
students to view each other’s movement responses.
Have student express what they liked most, and why.*
I Can Dance 157
Dance
Stage 1 — We’ve Got Rhythm
Elements of Dance: Dynamics, Time, Space
This unit of work introduces the element of time in dance. It provides a series of learning experiences
where students experience rhythm, duration and tempo through body movement in dance.
Content
Stage 1
learn to:
• perform expressively with awareness of
others, using movement qualities appropriate
to the idea for the dance and having
sensitivity to the timing, mood and sound
accompaniment
learn about:
• the importance of using the body safely and
skilfully when creating and performing dance
•
explore ideas in the composition of dances
with attention to body actions, space,
dynamic qualities, timing and relationships
•
the use of the elements of dance to express
ideas in the composition of dances
•
respond to a range of stimuli, using their
imagination and drawing on their experience
of the immediate and wider world for dance
ideas
•
the structure and development of dances from
a range of starting points and stimuli
•
perform dances for other people, view dance
as an audience member, talk about other
people dancing and the dances they have
viewed
•
thinking and talking about the basic
components of dance (dancers, movement,
physical setting) and that dance can be
accompanied by music, other sounds or
silence
158 We’ve Got Rhythm
Dance
DAS1.1
Performs dances demonstrating expressive qualities and control over a range of
locomotor and non-locomotor movement
• explores movement and to a specified rhythm
• explores the elements of time, space and dynamics within movement sequences.
DAS1.2
Explores and selects movement using the elements of dance to express ideas, feelings or
moods
• responds to imagery through movement demonstrating an awareness of time, space and
dynamics
• selects and combines movements to form sequences.
DAS1.3
Gives personal opinions about the dances and their purpose that they view and/or
experience
• discusses and compares body shapes made quickly and slowly in movement sequences
• observes, describes and discusses locomotor movements used in class work.
Assessment
Stage 1
We’ve Got Rhythm 159
Dance
TEACHERS CAN
NOTES TO TEACHERS
• Have students sit in a large circle. Instruct the class
through a non-locomotor, whole body warm-up,
throughout encouraging the students to find different
ways of interpreting the body moves.
See Additional Information
for ideas for a nonlocomotor, whole-body
warm-up
• Have students run on the spot and rest. Repeat with
10 jumps on the spot and rest.
Have students repeat a
couple of times, expending
short bursts of energy
followed by a brief rest.
To introduce the concept
of rhythm
• Have students feel their heartbeat with their hands
on their chests.
The students and the
teacher talk about
rhythm, how everyone
has their own pulse, their
own constant, regular
rhythm
To perform locomotor
movement and to
internalise a steady beat
• Have students clap the rhythm of their heartbeat,
take time to compare each other’s rhythm. Make a
class heartbeat rhythm to a steady 4/4 beat (either
clapping or with a hand drum) and have the students
clap the beat. Have students walk anticlockwise in
the circle, to the steady beat. Keeping the steady
4/4 beat, have students to try different movements.
Movements could
include: march (like
soldiers with back
straight, chin lifted,
knees high, strong steps),
stamp (like smashing
nuts on the floor) and
trot (like a horse)
To explore the use of the
body time and duration
• Have students, on the spot, clap 4 beats, stop and
This emphasises starting
and stopping, movement
wait 4 beats (silence). Have students repeat this
several times until they feel the rhythm of the silence. and stillness
Then repeat the above locomotor movements
(changing direction to clockwise) — 4 counts
marching and 4 counts stopping (no movement =
stillness), then repeat with stamping and trotting.
To use contrasting pace
• Establish a new beat: 1 2 3 4 / 1 2 3 4 (4 regular beats /
2 slow beats). Have the class clap the new rhythm.
Have students walk to the new rhythm: 4 regular
steps, 2 slow. Once the students have established the
rhythm, have them experiment to find slow travelling
movements. Have them perform the two different
movements several times.*
Movements could
include: trudge (heavy
slow steps as if carrying a
bag of sand on your
back), leap frog (from a
crouched position, light
and low), jump (shooting
up like a rocket), etc
• Incorporate four counts of stillness into movement
patterns
For example: (each line
four beats)
walk walk walk walk
trudge trudge
walk walk walk walk
leapfrog leapfrog
PURPOSE
To use a safe dance
warm-up incorporating
the element of action
Stage 1
For example: (each line
four beats)
walk walk walk walk / wait
stamp stamp stamp
stamp / wait
trudge trudge / wait
jump jump / wait
Dance
PURPOSE
To perform a dance
sequence using a range
of rhythmic patterns and
phrases
TEACHERS CAN
NOTES TO TEACHERS
• Make a dance sequence by combining the above
rhythms, steps and stops/waits. Have the class
practise the sequence.*
Have the class divide in
half and watch each
other. Jointly discuss the
different locomotor
rhythms and movements
performed.
This is an appropriate
place to end a 40 minute
lesson
• Have students complete a non-locomotor, whole
body warm-up
• Have students repeat the rhythmic locomotor activity
from previous session, and have them suggest other
appropriate steps for the regular (1 2 3 4) and the
slow (1 2 3 4) movements.
See ‘Additional
Information’ for ideas on
how to lead the warm-up.
Movements could
include hops, leaps,
jogging, etc
To explore the element of
space
• Have the students explore body shapes. Instruct
them to make a curved low shape, then a narrow
pointed shape, and then a bent shape. Have
students repeat this sequence of three shapes
several times, each time finding a different and
interesting shape.
Teachers should
encourage the children
to make the shapes in
different levels,
directions etc, and to
concentrate on the
transitions (getting from
one shape to the other)
To show contrasting use
of pace as the body
travels through space
• Have students continue to explore the three-shape
sequence. Instructing students to use different
speeds for each transition. Have students perform
the entire sequence very slowly, then very quickly.
Have students experiment to find the most exciting
speeds and discuss their preferences. Set a sequence
incorporating the suggestions.
Have students try moving
quickly from the curved,
low shape to the narrow,
pointed shape; then
move at a medium pace
to the bent shape; then
move quickly to the
round shape etc. Ask
which shapes are best
made slowly and what
happens to curved
shapes that are made
quickly
• Divide the class into two groups and have them
observe each other performing the three-shape
sequence. Teachers encourage students to discuss
and evaluate the performances by recognising the
shapes and comparing the choices made.*
This provides an
appropriate end to a
session. The above
activities could be
covered in a single 40–45
minute lesson, or in two
20-minute lessons
Stage 1
To warm up with nonlocomotor movements
Dance
PURPOSE
To use the body as
impetus for contrasting
rhythmic movement
TEACHERS CAN
NOTES TO TEACHERS
Stage 1
• Begin with a warm-up that builds on the previous nonlocomotor, whole body movements. Have students
continue to warm up by isolating body parts, making
fast, slow and rhythmic movements.
This emphasises the
element of time using
fast/slow movements with
movements of silence. For
example, the teacher
instructs the students to
move their right arm, to
explore how many ways
they can move their right
arm, to move it very slowly,
to explore how fast they
can move it, to move it
rhythmically for 8 counts.
Then to continue with the
other arm, the legs, the
hips, the feet etc
•
Have students sit in a large circle and, one at a
time, clap the rhythm of their name. Have students
repeat this activity, this time stamping the rhythm
of their name. Repeat with students choosing a
different body part to move to the rhythm of their
name.
Explain that names have
rhythm, there are accents
and emphasis on
different parts of our
names. For example,
‘Jessica’ is clapped with
an accent on the first
syllable: Jes si ca (rhythm
is quick–quick–slow), Sa
man tha (quick–slow–
quick) and John (slow)
• Have students combine three names going around the
circle, saying and clapping the names. Have students
continue around the circle combining the rhythms of
the next three names.
For example, Jessica /
Samantha / John
To incorporate accent
• Have three students stand up and each do a body part
dance to the rhythm of their own name, one after the
other, to the combined rhythm, while the seated
students continue to clap the beat. The students
incorporate the accents and the rhythm into their bodypart dance. Have students reflect and discuss how the
accented body part movements are stronger and
require more force than the unaccented movements.
All the students stand up and perform the body-part
dance — elbow/shoulder/head. The next three stand
up and continue the exploration.*
To perform showing a
sensitivity to a range of
rhythmic patterns and
phrases
• Choose 3 or 4 name rhythms, decide on body parts,
and compose and practise a class body-part dance.
Set a tempo appropriate to the movements and
rhythms chosen. Have the class divide into two facing
groups. Group 1 performs the dance; group 2 observes
and claps the rhythm. Then group 2 performs the
dance while group 1 observes and claps, the movement
alternating continuously between the groups.*
For example, Jessica
chooses her elbow and
makes three movements
accenting the first
movement. Samantha
chooses her shoulder and
makes three movements,
accenting the second
movement. John chooses
his head and makes one
thrusting movement to
the side. It may be
necessary to slow the
tempo down, keeping the
rhythm and the accents.
Depending on the
abilities of the students,
the teacher could begin
with a slow rhythm,
gradually speeding up,
then slowing down
• Jointly discuss the body-part dance, reflecting upon
the elements of time that were used.*
Dance
An appropriate space to allow students freedom and safety to move is important for this unit.
At the beginning of each session students should be guided through a safe dance warm-up using nonlocomotor movement. Ideas for warm-ups are detailed as follows:
• The students curl their bodies into a small shape, then uncurl and stretch. From a kneeling position,
curl, uncurl and stretch. From a standing position, curl, uncurl and stretch. Bend down and touch the
floor, reach up and touch the ceiling. Stretch to the right side of the room, to the left side of the
room. Twist the torso, tilt into a balance in several directions, sway from side to side, rise and
collapse.
• Have students use levels in their warm-up. For example, to move from a low level: the students curl
their bodies into a small shape, then slowly uncurl and stretch; from a middle level: curl, slowly
uncurl and stretch; from a high level: curl, slowly uncurl and stretch. Shrink slowly and grow quickly,
then shrink quickly and grow slowly. Stretch to the right side of the room quickly, to the left side of
the room slowly. Twist the torso slowly. Tilt into a balance in several directions both quickly and
slowly. Sway from side to side beginning slowly, speeding up, then slowing down. Rise quickly and
collapse slowly, then rise slowly and collapse quickly. The teacher can alternate the whole-body
movements, as well as the tempo of movement, by calling out moves to which students respond.
Links to Music unit When I Get Mad I Beat My Drum in Creative Arts K–6 Units of Work p 66.
PDHPE
INS1.3
Interacting
MOS1.4
Moving
DAS1.7
Dance
This unit provides opportunities for students to demonstrate outcomes in PDHPE while working in Creative
Arts – Dance. It will allow for other basic movements and patterns to be incorporated from Dance in PDHPE
K–6 Modules p 88.
ENGLISH
TS1.4
Encourage students to create rhythmic patterns for chants or playground raps they know.
Investigate other examples of rhymes, eg You Beaut Juicy Fruit, Durkin, Peter (1990), Unreal Banana Peel,
Factor, June (1986) Oxford Universty Press.
HSIE
CUS1.3
Identities
Discuss and explore the ways in which family members learn about customs and traditions through songs,
chants, stories etc. Have the class learn some of these.
Stage 1
MUSIC
Dance
Stage 1 — Get Ready, Let’s Dance
Elements of Dance: Action, Space
This unit of work provides a series of learning experiences which clarify the ‘What?’ of dance. ‘What can the
body do?’ ‘What activity is taking place?’ ‘What part of the body is moving?’ Students will experience a
range of non-locomotor and locomotor movements and will develop an understanding of the physicality
of the dancing body.
Content
Stage 1
learn to:
• perform expressively with awareness of others,
using movement qualities appropriate to the
idea for the dance and having sensitivity to
the timing, mood and sound accompaniment
learn about:
• the importance of using the body safely and
skilfully when creating and performing dance
•
explore ideas in the composition of dances
with attention to body actions, space,
dynamic qualities, timing and relationships
•
the use of the elements of dance to express
ideas in the composition of dances
•
respond to a range of stimuli, using their
imagination and drawing on their experience
of the immediate and wider world for dance ideas
•
the structure and development of dances
from a range of starting points and stimuli
•
perform dances for other people, view dance
as an audience member, talk about other
people dancing and the dances they have
viewed
•
thinking and talking about the basic
components of dance (dancers, movement,
physical setting) and that dance can be
accompanied by music, other sounds or silence
DAS1.1
Performs dances demonstrating expressive qualities and control over a range of locomotor
and non-locomotor movement
• isolates body parts in locomotor and non-locomotor movement.
• combines body parts to make a body part dance
• explores the elements of time, space and dynamics within movement sequences.
DAS1.2
Explores and selects movement using the elements of dance to express ideas, feelings or moods.
• responds to stimuli to invent new ways of moving body parts, demonstrating an awareness
of time, space and dynamics
• selects and combines movements to form sequences
• responds to imagery through movement demonstrating an awareness of time, space and dynamics
• selects and combines movements to form sequences.
DAS1.3
Gives personal opinions about the dances and their purpose that they view and/or experience.
• discusses and compares body shapes made quickly and slowly in movement sequences
• observes, describes and discusses locomotor movements used in class work
• discusses what the body can do.
Resources
Whiteboard or butcher’s paper
Assessment
164 Get Ready, Let’s Dance
Dance
PURPOSE
To isolate body parts
in non-locomotor
movements
TEACHERS CAN
NOTES TO TEACHERS
• Using safe dance practices, have students warm up
using non-locomotor whole-body movements. Have
students stretch their body, bend, twist, curl,
balance, fall, rise, collapse, swing, shake, and find
moments of stillness in the body between
movements.
Talk about what the body
can do and the different
ways it can move. Try the
body movements in
different directions and
levels to encourage them
to find new and
interesting ways of
moving, eg do a sideward
stretch, twist down below
• Introduce isolation of body parts, exploring all the
ways individual parts of the body can move.
Encourage exploration by
asking students to lead
with the head: what can
the head do? In order to
move your head, what
else has to move? Let’s
isolate the head and neck
together. Can you stretch
it, bend it, turn it, roll it,
twist it, shake it slowly,
quickly? Shoulders: lift
them, then one at a time,
roll them, push them
down, what else can you
do with them? Continue
with the torso, arms,
hands, legs, feet, etc
• Have students use non-locomotor movement words
(swing, shake, bend, stretch, etc) to encourage
inventive movement of the body parts.
• Have students combine several body parts explored
to make an on-the-spot ‘body-part dance’. For
example, swing your arms, add your knees, add your
head. Continue all three body part movements for a
few moments, then rest. Try another combination.*
To assist to develop
control over a range of
locomotor movement
• Have students move from one side of the dance
space to the other while performing locomotor
movements.
• Have students walk across, jog back, run fast, hop,
shuffle, roll.
To combine body parts to
make a body-part dance
The teacher explains that
previously they were
using stationary
movements to warm up
the body, and now they
are going to do travelling
movements.
• Have the students skip, and tell which part of the
body is leading the movement (the knees).
Ask students which body
part leads when
prancing, sliding or
leaping. Try these
movements
• Have students choose other body parts to lead a
travelling movement.
For example, cross the
space leading with the
elbow, left hip, nose, top
of the head, bottom,
belly button etc
• Have students explore different ways of travelling
with the leading body part.
• Have students individually explore combining nonlocomotor and locomotor movements with body
parts.*
Have students move
their arms (eg swinging),
add their knees (bending
or lifting/stepping in
place), add wrists
(shaking)
Get Ready, Let’s Dance 165
Stage 1
Dance
PURPOSE
To enhance
understanding of the
element of action, by
understanding what
movements are taking
place. What are the
bodies doing? What parts
of the body are moving?
To respond to stimuli to
invent new and
interesting ways of
moving body parts
TEACHERS CAN
NOTES TO TEACHERS
• Have students repeat this sequence several times:
move arms, add knees, add wrists to make a body
part dance, then move to another spot leading with
the left shoulder. Assist students to clarifiy the
sequence.
Sequence: three body parts
moving together on the
spot, followed by a body
part leading a movement
through space. After the
two sequences have been
established, have half the
class sit down to observe
the other students perform
the two sequences. Have
students reflect on the
body parts used in isolation
and to lead a movement
• Have students use three more body parts and add a
new body part leading a locomotor movement to
another space.*
• Have students as a whole group name all the parts
of the body which begin with the letter H, and then
experiment together with moving each part in turn in
every possible way, then combine some of the
actions, such as walking on heels with hands on hips
and head nodding. Try several combinations.
Stage 1
Head: nodding; shaking
from side to side, turning
in circles, Hands: clapping;
tapping fingers, banging
fists, stretching, bending.
Heels: walking on heels;
walking on tip toes with
heels high, Hips: swinging
from side to side; turning
in circles
• Have students suggest travelling movements. Write
each suggestion on a whiteboard or large sheet of
paper so that everyone can see; for example, walk,
run, hop, skip, gallop.
• Have students demonstrate their suggestions one at
a time and have the class join in, exploring the
travelling movement.*
To explore different
locomotor movements
• Have the class divide into two groups. Decide on a
direction of travel (either across the dance space
side to side, diagonally, or front to back) and instruct
the first group to spread out at one end of the dance
space. Have the second group gather near the list of
travelling words.
Encourage the students
to think of other
descriptive ways of
travelling across/through
the space; for example,
roll, rush, tiptoe, scurry,
shuffle, stagger, creep,
slide, fly
• Have students, one at a time, call out a travelling
movement from the list of words; the first group
moves across the space performing that travelling
movement.
• Then have the second group call out from the list,
giving the first group enough time to explore the
movement.*
To engage in discussion
about what the body can
do
• Have the class reflect together, giving their opinions
of the locomotor activity, about directing the activity
(choosing the locomotor movements) and performing
the travelling movements, and how it looked and felt
to perform the different travelling movements.*
166 Get Ready, Let’s Dance
Dance
MUS1.1
Performing
MUS1.2
Organising Sound
MUS1.3
Organising Sound
MUS1.4
Listening
Links with Music unit When I Get Mad I Beat My Drum in Creative Arts K–6 Units of Work p 66.
Links with Dance unit We’ve Got Rhythm in Creative Arts K–6 Units of Work p 158.
PDHPE
MOS1.4
DAS1.7
GDS1.9
Moving
Dance
Growth and Development
Stage 1
Suggested links with Let’s Dance (p 87) and There is Only One ME (p 144) in PDHPE K–6 Modules.
Get Ready, Let’s Dance 167
Dance
Stage 2 — Making Connections
Elements of Dance: Relationships, Space
This unit provides students with a sequence of learning activities which will enhance their knowledge and
understanding of two of the elements of dance — relationships and space. Through creative explorations,
students investigate how the dancing body relates to other individuals, groups and an audience. Students
learn to perform in unison with individual movements, and as part of a group.
Content
Stage 2
learn to:
• sustain expressive qualities and movement
skills to convey intent in a dance performance
learn about:
• the human body and movement as the raw
material for dance as a performing art
•
draw on the elements of dance to create
movement content that relates clearly to the
intended meaning of a dance
•
the use of the elements of dance to make
meaning in the creation of a dance, in a
performance and for an audience
•
use a range of ideas in the composition of
dances based on diverse stimuli
•
how dance ideas can come from a diverse
range of sources, including personal
experience and the wider world
•
talk and write about their own and others’
dances using dance vocabulary
•
dance as it occurs in different places for a
range of reasons and how dances can be
about different things and elicit varying
interpretations from audience members
DAS2.1
Performs dances from a range of contexts demonstrating movement skills, expressive
qualities and an understanding of the elements of dance
• performs movements and movement sequences demonstrating increasing physical skill in
the selection and refinement of movements.
DAS2.2
Explores, selects and combines movement using the elements of dance to communicate
• mirrors, complements and contrasts shapes
• constructs sequences of movements that combine shapes
• uses the elements of space and relationships to create movement sequences.
DAS2.3
Gives personal opinions about the use of elements and meaning in their own and others’ dances.
• responds to imagery through movement.
• observes and discusses the movements, shapes and transitions in a movement sequence
• considers and discusses how the processes of group decision-making have contributed to
the construction of a dance.
Assessment
168 Making Connections
Dance
To use safe dance
practices through warmup activities
TEACHERS CAN
NOTES TO TEACHERS
• Have students begin walking to all areas of the
dance space. Slowly at first and increasing speed,
jogging, running and dodging without touching
anyone or anything, gradually slowing down to
return to a walk.
Instruct students to be
aware of each other,
taking care not to touch
anyone else
• Have students allow paths to cross with the other
students. When two students meet, they stop
walking, shake hands and continue on. Each time
two, or maybe three or four, students cross paths,
they stop and shake hands.
To ‘introduce’ the
children to each other,
and to prepare the body
for dance.
Have students increase
the pace from walking to
jogging to running, while
stopping, shaking hands,
continuing. Gradually
slow the pace back down
to a walk
• Have students continue walking throughout the
dance space and make a body gesture to
communicate ‘Hello’. Students make just one
gesture each time they meet someone, then continue
on. If they like someone’s greeting, they can try it
themselves.
Prompt students to try
other ways to say ‘Hello’,
eg try both arms, use
different parts of your
body, turn as you make
the gesture, make it huge,
make it on a low level etc
• Have students continue walking in pairs through the
space together as before, at a brisk pace, meeting
another pair, each student making a greeting gesture,
and continuing on together. After several
meetings/gestures, each pair combines with another
pair to make a group of four and they continue
walking and meeting.
Have students sit down
to rest and discuss the
differences between
avoiding/dodging and
meeting/greeting each
other, ask students about
finding new ways of
greeting, about trying
someone else’s greeting
etc. How did the
greetings change with a
partner, and then as the
group got larger? How
was it different to
walk/jog/run through the
dance space on your
own, in pairs, in larger
groups? What sorts of
things did you have to
think about to keep
together as a group?
• Have groups stay together and walk together until
there are only two groups, each containing half the
class. When the two groups have greeted the other
half, each student with a gesture, then finish.*
To recall movement
previously learnt to
create dance sequences
• Have the students imagine that they are inside a
mirror. Perform several of the gestures from the
greeting exercise.
Have students make the
mirror image of the
teacher’s movements.
Lead the students in
slow motion so that the
students can follow
exactly
To mirror, complement
and contrast shapes
• Have students work in pairs, facing each other to
practise mirroring one another’s gestures from the
warm-up activity, taking turns at leading.
The students should
move slowly and as one
so that the teacher
cannot guess which
student is the leader
Making Connections 169
Stage 2
PURPOSE
Dance
PURPOSE
To select and refine
movement
TEACHERS CAN
NOTES TO TEACHERS
• Have the leader in the pair choose three gestures.
Have students pause
midway in the first
gesture, feel the shape of
the body, exert their
muscles so they can
really feel the shape, feel
the air around, under,
through the shape;
repeat for the other two
gestures.
• Have pairs perform gestures several times.
• Have the leader repeat the sequence and then move
to the second gesture with a pause to make a shape,
then move to the third gesture with a pause to make
a shape, and finally complete the third gesture, with
the partner mirroring the sequence of
gesture/pause/shape. Have students swap leaders.
• Have students work with the same partner,
positioning themselves away from each other in the
dance space, making sure they can see each other
(there could be other students between them). Have
students repeat the same mirroring sequence of three
gestures/pauses, taking turns leading.
Stage 2
To explore the meanings
of complement and
contrast
• Have one student in the pair make an interesting
shape from the previous exploration and then remain
static. Have their mirror partner make a similar shape
and then contrast it by making a very different or
opposite shape. Have students reverse roles.
To work on the visual
aspect and recognition of
the shapes and
transitions
• Have pairs combine to make groups of four. Each
group continues the same activity with one leader
and three followers.
• Have the leader make a shape, the three followers
mirror the shape, then make a similar shape, then
contrast it.
To use the elements of
relationships and space
individually, in pairs and
in a large group to create
movement sequences
• Have students in the same groups of four, each
choose one shape, and decide who will be first,
second, third and fourth. The first leader makes
his/her shape and holds it while the other three
students mirror it, complement it, and contrast it.
Have the other group members repeat the process.
170 Making Connections
Ask the students how it
felt to be the leader, and
to be the follower. Was the
leader making clear
gestures and shapes? Was
the ‘mirror’ able to copy
the movement smoothly?
How did it differ when the
partners were close
together/far apart? Which
was more difficult, and
why? Which was more
interesting, and why? What
kinds of shapes did you
make? (Round, curved,
bent, stretched, twisted,
small etc)
Have half the class sit
and watch the others
repeat the exploration,
looking for the
complementary and
contrasting shapes.
Discuss what was
observed
Instruct the groups,
helping them construct a
sequence of movement by
combining the four
shapes, and to
concentrate on transitions
between the shapes —
how they move from
mirroring shape to
complementary shape to
contrasting shape.
Dance
PURPOSE
TEACHERS CAN
NOTES TO TEACHERS
• Have the groups practise their four-shape sequences.
Have the students as a whole group view each
other’s sequences, either one group at a time or
several groups together.*
Discuss and evaluate the
sequences in reference to
the visual aspects,
recognition of the
shapes, transitions, the
students performing both
unison (the same) and
individual (their own)
movements as part of a
group.
• Have the students spread out in the dance space and
make interesting static shapes in their own space.
• Indicate when the students are to change to a new
shape, and at the same time call the names of one
or two students who then move to a student of
their choice and either complement or contrast the
shape.
• Have students make new groups of four.
• Have the students choose their favourite greeting
gesture from the first warm-up activity, and their
favourite shape.
• Have students practise mirroring the gestures and
the shapes so that they are alike.
To share movement
sequences in order to
make decisions about
the construction of a
dance
• Have students make a sequence by performing the
four gestures in unison, as in the mirroring activity.
• Have students repeat this sequence.*
• Have students make a sequence by performing the
four shapes in unison, and decide the order, the
transitions, the formation.
• Have students work on each of the four sections
separately. After sufficient time, have students
combine the sections, with the gesture sequence as
the beginning, the shape sequences as the middle,
and the gesture sequence as the end.
• Have students concentrate on moving together at
the same time.
• Have students view each other’s group dance.*
Give the groups a
structure to compose a
group dance. Have
students decide which
shape is first, second,
third and fourth, and make
interesting transitions
between each gesture.
Have them decide their
formation, eg in a line, in
a circle facing each other.
The teacher should be
ready to prompt the
students from one section
of the dance to the next,
should they have difficulty
remembering what comes
next. Have students
evaluate their impression
and recognition of the
unison and individual
movement, the different
shapes and gestures, and
the structure.
PDHPE
MOS2.4
Moving
DAS2.7
Dance
Links with Dance with Confidence module in PDHPE K–6 Modules p 92.
Making Connections 171
Stage 2
• Have each student take a turn teaching the other
three the gesture, then the shape.
Dance
Stage 2 — Sports Carnival
Elements of Dance: Dynamics
This unit of work provides a sequence of learning experiences based upon the theme of a sports carnival
and focuses on the element of dynamics. Students investigate and perform the dynamic qualities of light
and strong movements and explore how dance can communicate a range of ideas and feelings.
Content
Stage 2
learn to:
• sustain expressive qualities and movement
skills to convey intent in a dance performance
learn about:
• the human body and movement as the raw
material for dance as a performing art
•
draw on the elements of dance to create
movement content that relates clearly to the
intended meaning of a dance
•
the use of the elements of dance to make
meaning in the creation of a dance, in a
performance and for an audience
•
use a range of ideas in the composition of
dances based on diverse stimuli
•
how dance ideas can come from a diverse
range of sources, including personal
experience and the wider world
•
talk and write about their own and others’
dances using dance vocabulary
•
dance as it occurs in different places for a
range of reasons and how dances can be
about different things and elicit varying
interpretations from audience members
DAS2.1
Performs dances from a range of contexts demonstrating movement skills, expressive
qualities and an understanding of the elements of dance
• performs movements and movement sequences demonstrating an understanding of ‘light’
and ‘strong’
• performs movement sequences in groups.
DAS2.2
Explores, selects and combines movement using the elements of dance to communicate
• selects and combines movements to create a movement sequence taking into acount the
dynamics of the movements
• responds to imagery through movement.
DAS2.3
Gives personal opinions about the use of elements and meaning in their own and others’
dances
• observes and discusses the movement, shapes and dynamics in a movement sequence
• considers and discusses how movement sequences can be altered by changing dynamics.
Assessment
172 Sports Carnival
Dance
TEACHERS CAN
NOTES TO TEACHERS
To use safe dance
practice in the warm-up
and to introduce
dynamics — how the
body can move
• Guide students through a warm-up activity
describing the dynamics that direct the movement.
Use whole body
movements. Describe
different dynamics in
movements eg moving
continuously with a
smooth quality
(stretching, bending,
twisting, curling), falling
as if you were very heavy,
rising as if you were very
strong, then falling as if
you were as light as a
feather, shaking strongly,
then lightly with a
vibrating action
To use images to travel
diagonally across the
space
• Have students group together in a corner of the
dance space. Instruct them to move across the space
in different ways and have them describe the
different movements they make (strong, light, heavy)
and discuss how much effort was needed.
For example — across a
field of grass on a spring
day, to walk in a dreadful
hurry, to walk barefoot
through a field of clover
swarming with bees, to
walk into a strong wind,
to walk with the wind at
their backs, being
propelled by it; to pull a
cart full of bricks, to push
a cart out of the mud, to
moonwalk (as though
gravity does not exist,
with helium balloons
under their arms), to
walk without making a
sound
To explain that the floor
provides resistance to
the movements
• Have students spread out through the dance space
and use the floor to stamp, press and push. Allow
students to repeat stamping, pressing, pushing, but
without touching the floor, feeling the strength in the
movement without the noise.
Strong movements could
include kicking, swiping,
lunging, punching,
thrusting and throwing
To demonstrate that
strong movements
require short bursts of
energy and must show
resistance and suggest
that there is yet more
strength to follow
• Have students suggest other strong movements in
the space around the body imagining that there is
something to move against.
PURPOSE
• Jointly choose three strong movements, for example
stamp, punch, lunge.
• Have students explore the movements and plan the
location of the movements (above, below, to the
side, behind, across) and combine the three
movements into a short sequence and perform the
sequence twice.*
Sports Carnival 173
Stage 2
Dance
PURPOSE
To use contrasting
movements
TEACHERS CAN
NOTES TO TEACHERS
• Have the students make light movements, prompting
students with imagery of movements that glide and
are smooth and calm. Have the group perform their
movement choices and discuss and compare the
strong movements with the light movements which
have a lack of force.*
Examples of light
movements include
fluttering hands and
twitching heads, bouncy
jumps, lightly stepping
and springing, circling,
swaying, falling and
floating
• Jointly choose three light movements, for example
flutter, float and fall. Have students explore and find
the most appropriate body part, plan the location of
the movements (above, below, to the side, behind,
across) and combine the movements into a
sequence and perform the sequence twice.
To provide a structure for
movements
Stage 2
To identify that the
quality of movement is
affected by the effort
involved
174 Sports Carnival
• Have the students combine the above two
sequences: three strong and three light movements.
Direct students in changing the order of the
movements, mixing up the strong and light
movements, to make a new sequence. Have the
students practise the sequence, repeating it twice.
Divide the group in half and have them observe each
other perform the sequence and reflect on the strong
and light qualities observed and felt in the sequence.*
For example, stamp,
flutter, punch, float,
lunge and fall.
• Begin the session with a non-locomotor warm-up
with whole-body movements emphasising dynamics.
Movements could
include stretching,
bending, twisting,
curling, balancing,
falling, rising, collapsing,
swinging, shaking
• Have the students group together in a corner of the
space. Guide students to use images to create
pathways that move diagonally across the space.
Repeat some of the previous movements and add
some more.
For example: moving
across the dance space
imagining that there are
wind and leaves whipping
and whirling through the
space; walking through
knee-high snow, wading
through chest-high
water etc
• Ask students to name some of their favourite sports.
For each sport mentioned, have a student
demonstrate a movement corresponding to the
sport. As she/he demonstrates each movement, have
the class copy it, first in normal time, then in slow
motion. During each exploration, have the students
pause during each movement in a shape that can be
identified with the particular sport. As the students
explore the movements for each sport, jointly
discuss the effort used and whether the movements
are strong or light.
For example: T-Ball —
the student swings an
imaginary bat, catches an
imaginary ball, tags an
imaginary runner; tennis
— a tennis serve
(reach/hit), a backhand
hit; soccer — a drop kick,
dribble; swimming —
backstroke, breaststroke;
netball — shoot etc
This provides an
lesson. The above
activities could be
covered in one 40–45
minute lesson or two 20
minute lessons
Dance
To create a structure for
the dance and identify
the dynamics used
To learn about
relationships as one of
the elements of dance
TEACHERS CAN
NOTES TO TEACHERS
• Have each pair choose a sport and continue to
explore the movements and shapes of that sport
together. Allow the students to choose two or three
shapes and two or three movements. Have students
combine the three sports movements to make a
sequence, deciding how to link them together, then
combine the three shapes to make a sequence,
deciding how to link those together.
Consider the dynamics
(strong/light) that
students will emphasise
that are appropriate to
the movement.
• Have the same pairs of students repeat the
sequence, this time in slow motion, exaggerating the
movements, transitions and shapes, making them
larger than life.*
Guidance can be given to
assist transitions linking
phrases to maintain
fluency
• Set up a structure that each pair will use in their
To consider whether the
meaning of the movement
sequence. Explain that the original movement can
is altered when the
change, for example a strong swing may become a
intention of the
light swing. Have the pairs experiment and practise
movement changes
their new sequence. Allow the class to watch the
others perform their sequences, discuss and identify
how the movements have altered.*
Have students, in pairs,
practise the two
sequences and combine
them, deciding which
sequence comes first,
then perform their
combined sequences
for each other in groups
of 3 or 4 pairs. As a
group, identify the
movements, shapes and
dynamics
Allow students to practice
them several times, then
perform them for each
other and discuss how
the movements have
changed*
For example, the first
movement is to be
strong, the second light,
the third strong; the first
transition between
shapes is with a light
movement, and the
second transition is with
a strong movement.
This provides an
lesson. The above
activities could be
covered in one 40–45
minute lesson or two
20-minute lessons
Sports Carnival 175
Stage 2
PURPOSE
Dance
PURPOSE
dance to structure a
dance and to retain the
intention of sequences
developed
TEACHERS CAN
NOTES TO TEACHERS
• Explain that the class is going to perform all their
sequences together and create the atmosphere of a
sports carnival. Place the pairs throughout the dance
space. The plan of the composition:
Teachers may choose to
devise their own plan.
1 Each pair must repeat their sequence four times.
2 In between each sequence, each pair moves to a
new location designated by the teacher,
performing one of the pathways using images
explored previously. The class performs the same
travelling movement between locations.
3 Each pair gets one ‘rest’ after arriving at a new
location so that they can look at the other pairs
(the teacher assigns when each group gets a rest).
In effect the sequence is repeated five times (four
times performing, one time watching).*
To reflect on and
describe the experience
of performing and
observing
Have the class practise
the Sports Carnival
several times. Direct the
activity, deciding on the
placement of the groups,
and on the length of time
for the sequence and for
the travelling to a new
location. Have groups
perform their sequences
while other groups
watch, then all groups
travel to a new location.
When everyone is ready,
have them ‘perform’ the
Sports Carnival
Stage 2
• Jointly discuss the Sports Carnival. Have students
discuss the atmosphere created and reflect on the
dynamics of the sequences and consider if the
movements and meanings had been altered. Allow
students, in groups, to analyse how they had taken
literal movements and changed them by
manipulating the elements of dance.*
PDHPE
INS2.3
Interacting
DAS2.7
Dance
GSS2.8
Games and Sports
This unit provide opportunities to build on the current games, sports, locomotor and non-locomotor
movements being taught at the time.
Suggested links with Dance and Games and Sports in PDHPE K–6 Modules pp 92, 121.
176 Sports Carnival
Dance
Stage 3 — The Living Landscape
Elements of Dance: Action, Dynamics
This focus of the unit is on students developing their own compositions based on contemporary
Aboriginal music. These compositions might also incorporate traditional dance movements and styles if
permission has been granted by members of the local Aboriginal or Torres Strait Islander community. As
custodians of their culture, the Aboriginal and Torres Strait Islander communities must be consulted
before this unit is attempted. Such consultation should address issues of ownership, sensitivity to the
significance of dance movements, music and totems to all Aboriginal people, and the knowledge base of
Aboriginal students in the class. All students should be exposed to traditional styles through local dance
groups, and through local community knowledge and input.
Content
learn to:
• use appropriate expressive and movement
skills in performing dances which have been
sourced from a range of cultural and historic
contexts
learn about:
• how they and others engage in dance as a
performing art for a range of reasons in
relation to individuals, the community,
societies, culture, and the world
•
create and perform new work, with clear
intent, applying what they have learned about
the elements of dance through composing,
performing and appreciating
•
the use of the elements of dance within and
outside traditions and conventions to create
original and new dance work which expresses
ideas and conveys meaning
•
think of themselves as an active participant in
dance-making, giving form to a range of dance
ideas through composing, performing and
appreciating
•
how dance as a performing art occurs in
different artistic cultural contexts: indigenous,
folk, classical, modern and popular
•
talk and write critically about their dance
experience, both as creative and active
participants and as members of a dance
audience
•
the range of meanings in dance, which like
other artworks, can be interpreted by people
in different ways
The Living Landscape 177
Stage 3
Dance
DAS3.1
Performs and interprets dances from particular contexts using a wide range of movement
skills and appropriate expressive qualities
• performs sections of dance displaying their intent
• interprets and performs movement sequences using the body to express ideas.
DAS3.2
Explores, selects, organises and refines movement using the elements of dance to
communicate intent
• develops and refines movement sequences that are influenced by contemporary
Aboriginal styles of dance.
DAS3.3
Discusses and interprets the relationship between content, meaning and context of their
own and other’s dances
• associates dance with the values and meaning of Aboriginal storytelling.
Resources
Local Aboriginal and Torres Strait Islander community members. Performances by Doonooch Dancers,
NAISDA or Bangarra Dance Theatre Australia. Bloodwood: The Art of the Didjeridu (CD), Alan Dargin with
Michael Atherton. Didjeridu, clapping sticks.
Stage 3
Assessment
178 The Living Landscape
Dance
TEACHERS CAN
NOTES TO TEACHERS
To use movement skills
in developing dances
which have been sourced
from an indigenous,
cultural context
• Have students as a group listen to the ‘Bloodwood Log’
track from the CD Bloodwood: The Art of the Didgeridu.
Have students respond to the question ‘How can we
make a didjeridu through dance movements?’
To explore the elements
of action and dynamics
• Have students as a group find ways to move to the
music to make an imagined shape of the didjeridu
and find ways to respond to the deep, continual,
resonating drone of the instrument.
To explore the elements
of action
• Have students divide into two groups. One group
investigate different actions including gesture,
bending and stretching, and explore different ways
that they can travel by stepping, rolling, jumping.
• Have the other students play a complementary role
to the students who are moving, by providing
repetitive clap stick rhythms for the dancers.
If boys in the class can
play the didjeridu, have
them accompany the
dancers. It should be
noted that it is
inappropriate for girls to
play this instrument
• Have students listen to the ‘Bloodwood Log’ track
again. Alan Dargin (narrator on the track) calls out
various animal names, eg desert owl, emu, dingo,
kangaroo.
To use a stimulus that
can be identified with
contemporary Aboriginal
styles of dance to
develop and refine
movement sequences
• Have students as one large group improvise animal
actions and make up their own movements
appropriate to the animal, eg using hand movements
to create the large eyes of the desert owl; hopping,
perusing the landscape, scratching their chest like a
kangaroo; cupping of the hands for an emu and
showing the emu’s stunted wing movements.
Have students describe
actions such as: moving
and stopping suddenly;
showing tension; moving
firmly or lightly; showing
strength; moving
delicately
To use elements of dance
to communicate intent
• Have students interpret the mood and rhythm of the
animal movements and investigate the range of
possible movements associated with that animal.
Encourage students to
draw on their traditional
Aboriginal dance
experiences but create
their own movements
• Have students work individually or in groups to try
out four different effects.
• Have students find four different pathways to link
their four different effects in order to create a
movement sequence.
To perform and discuss
the content structure and
meaning of the dances
created and the
indigenous influences on
these dances
• Have students watch each other as two large groups
and respond to each other’s improvisations. Have
students offer comments about why the works are
good and criticisms of how the works could be
improved.
• Have students rework and complete their dance
sequence.* Have students perform their
compositions for the local community who
contributed initially to advising the students.
The teacher’s role is to
be the facilitator and
ensure that the students’
dance sequences connect
with the sequences in
the music. The teacher
keeps a close watch on
the timing of the various
sequences and their
connection with one
another
The Living Landscape 179
Stage 3
PURPOSE
Dance
•
•
•
•
Prior to beginning this unit provide students with opportunities to participate in a variety of dance
workshops with recognised local and professional dance groups, eg with the Doonooch Dancers,
NAISDA dance workshops, Bangarra Dance Theatre. Provide students with an understanding of local
Aboriginal community input into dance and culture and knowledge of what is culturally correct for
dance.
Students should be given some background knowledge on the role of dance and musical instruments
in Aboriginal and Torres Strait Islander culture, for example diversity between communities, roles of
men, women and Elders.
Teachers should attempt, through contact with the Aboriginal community, to find information on local
totems. This will restrict the animals chosen for interpretion in the dance movements. This issue
should be approached with great sensitivity, and teachers should be guided at all times by the advice
of local Aboriginal people.
Contact with the local Aboriginal and Torres Strait Islander communities can be made through
Aboriginal education workers at district and diocesan offices.
Stage 3
MUSIC
MUS3.1
Performing
MUS3.2
Organising Sound
MUS3.3
Organising Sound
MUS3.4
Listening
Provide opportunities for students to experience a range of different vocal and instrumental Aboriginal
music. Discuss the musical concepts they can identify, and experiment with making similar sounds and
using similar rhythms and beat.
Explore with students a range of Aboriginal instruments and create and notate a musical work.
Due to the importance of dance and music to Aboriginal people in terms of their sprituality and identity, it
is vital that students develop some background knowledge about Aboriginal cultural expressions and their
significance before attempting this unit. Therefore, this unit should be taught after, or in conjunction with,
the HSIE units listed below.
HSIE
CUS3.3
Identities
CUS3.2
Cultural Diversity
CCS3.1
Investigate the diversity of Aboriginal groups in Australia including their language, religion and different
ways of living.
Identify the significant events in Australian Aboriginal history and discuss these in relation to
reconciliation.
LTS3.3
Living Things
Research a range of Australian animals and discuss their habitat, movements, reproduction, interaction
and effects on the environment.
Suggested link with A Change for the Better unit in Science and Technology K–6 Syllabus and Support Document
p 134.
180 The Living Landscape
Dance
Stage 3 — Sculpture
Elements: Action, Space, Relationships
This unit of work provides a sequence of learning experiences based on the theme of groups of people
represented in sculpture. Awareness of body parts and the ways in which they can be shaped, coupled
with an understanding of where the body can go and the movements it can make, will allow students to
effectively use the elements of dance to create dance sequences.
Content
learn to:
• use appropriate expressive and movement
skills in performing dances which have been
sourced from a range of cultural and historic
contexts
learn about:
• how they and others engage in dance as a
performing art for a range of reasons in
relation to individuals, the community,
societies, culture, and the world
•
create and perform new work, with clear
intent, applying what they have learned about
the elements of dance through composing,
performing and appreciating
•
the use of the elements of dance within and
outside traditions and conventions to create
original and new dance work which expresses
ideas and conveys meaning
•
think of themselves as an active participant in
dance-making, giving form to a range of dance
ideas through composing, performing and
appreciating
•
how dance as a performing art occurs in
different artistic cultural contexts: indigenous,
folk, classical, modern and popular
•
talk and write critically about their dance
experience, both as creative and active
participants and as members of a dance
audience
•
the range of meanings in dance, which like
other artworks, can be interpreted by people
in different ways
Sculpture 181
Stage 3
Dance
.Outcomes
and Indicators
DAS3.1
Performs and interprets dances from particular contexts using a wide range of movement
skills and appropriate expressive qualities
• performs sections of dance displaying clarity of their intent
• interprets and performs movement sequences with awareness of detail to the use of
stillness and focus.
DAS3.2
Explores, selects, organises and refines movement using the elements of dance to
communicate intent
• develops sequences of movements and transitions using pictures of sculptures and
people as stimuli.
DAS3.3
Discusses and interprets the relationship between content, meaning and context of their
own and others’ dances
• compares the varying uses of dance elements in their own work and the work of others
• describes and discusses their own work and the work of others.
Resources
Pictures, photographs of sculptures or a visit to a gallery or outdoor exhibition.
Stage 3
Assessment
ENGLISH
RS3.7
Context and Text
Discuss the variety of different interpretations that could be made for the sculptures. Explore the range of
subject matter and the intended audience for each one.
Choose one sculpture and write a personal response. If this is a new text type, model as a joint
construction.
182 Sculpture
Dance
PURPOSE
To warm up the body
using safe dance
practices
TEACHERS CAN
NOTES TO TEACHERS
• Have students observe and discuss pictures and
photographs of sculptures, or view sculptures in a
gallery or outdoor exhibition.
Works can be drawn from
anywhere and may
include artists such as
Rodin and Moore
• Jointly discuss ways in which movement ideas could
be taken from frozen moments.
You could consider the
following questions:
How would you expect
this person to move?
What sort of music might
accompany their
movements? Would they
interact with others as
they move? What shapes
would they make with
their bodies?
• Have students complete a warm-up activity that
focuses on isolating different body parts.
Emphasise in the warmup the awareness of
other students’ space
and an awareness of
remaining in a static
position.
Use a term eg ‘freeze’
• Have students work with a partner or in small groups
to explore building shapes as a response to one of
the sculptures.
To build a series of
shapes to be developed
in a dance sequence
To explore symmetrical
and asymmetrical shapes
• Have students experiment using techniques such as
mirroring, contrasting and complementing each
other’s shapes and movements.
• Have groups select and practise four frozen
sculptures and have them devise an interesting
movement sequence to link each one.*
Have groups present their
movement sequence to
the rest of the class
• Have students work in pairs to create symmetrical
shapes, then develop these shapes. Have them
discuss their ideas, organise and refine these ideas
into a movement sequence.
Students may develop
their shapes by exploring
different sizes, levels,
directions or planes in
the movements
Sculpture 183
Stage 3
• Have students discuss what they perceive as the
artist’s intentions in making the work, the way
bodies can be interconnected with sculptures and
the impact achieved by creating a frozen moment
in time.*
Dance
PURPOSE
To vary components such
as time and shape
To develop and improve
the dance sequence
TEACHERS CAN
NOTES TO TEACHERS
• Have students form larger groups and explore the
ideas they have gained from the previous activities.
Have students, in their groups, create a movement
sequence where one student picks a shape and holds
it for four counts, the second student copies the first
movement for four counts and then adds another
movement. Continue this until all members of the
group have participated.*
This may be achieved by
combining some of the
pairs from previous work.
• Have the class form a circle and select four students
to move to the centre to create a static shape and
hold for four counts. Have another group of students
replace them and hold for four counts etc.
Teachers may like to
allocate each student a
number to facilitate the
smooth transition between
these groups. New group
shapes could mirror,
contrast, complement or
change the focus of the
shape. Students could
explore their
understanding of levels
and a range of pathways as
they move to and from the
centre of the circle
Stage 3
• Have students develop this activity into a group
dance, exploring the ways bodies can be made into
frozen shapes, and a variety of pathways and levels,
and by exploring the elements of space, action and
relationships.*
• Have students consider photographs of people
involved in everyday events.
dance to create a variety
of movement sequences
based on a range of
stimuli
• Allocate a photograph to a group of four students
and ask them to explore movements for it.
• Have each group choose four movements from those
that have just been explored and develop them into
a movement sequence.
• Have each group present their movement sequence
with each student beginning at a different time. Have
groups practise this and perform it for the rest of the
class.*
• Have students discuss their work, reflecting on how
they organised their movements and identifying the
elements of dance in their final sequence.*
184 Sculpture
Have groups practise the
movement sequence,
with each student
holding their final shape
until a tableau of frozen
shapes is formed. Have
students discuss their
sequence and consider
how their bodies interact
within the tableau
For example, a bus
queue or a crowd at a
football match.
This includes:
1. copy the shape in the
photograph
2. make a shape that
complements the
original shape
3. make a shape that
contrasts with the
original shape
4. make their shape
larger, smaller, curved,
stretched, angular etc.
5. jump, roll or slide into
their shape
Have each group perform
their movement
sequence in unison
This is a movement
cannon. The first student
may start on beat one,
the second on beat two
etc

Units of Work - K-6 Educational Resources

Transcription

Similar documents

St. Joseph-Scollard Hall St. Joseph-Scollard Hall - Nipissing

- gill web design

2009-2010 Facts

Chi-Town Squares Blast 2015 poster final

DTD Episode 70 Show Notes Defeat the Drama of Supervising Your

The History of Middle Eastern Dance, Part 1.

Downtown Strathroy 4:00 - 9:00pm Sponsored by

Student Teachers´ Insights of Drama Education

Bon Odori Dance Practices

Ceilis/Set Dancing