Unit of Work - Creative Arts

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EDAE310 Creative Arts in the Classroom Assignment Two

EDAE310 Creative Arts inthe Classroom

Assignment Two: TeachingProgram

Weight: 50%

Due: Friday 16 April, 2008

Student Name: Katie Bassett-White

Student number: 220043061

Student Number: 220043061 of 51


TABLE OF CONTENTS

SECTION ONE: AGE APPROPRIATENESS OF TEACHING PROGRAM........3

SECTION TWO: CONCEPT MAPS...................................4

ENVIRONMENTAL UNIT OF WORK: CREATIVE ARTS TEACHING PROGRAM CONCEPT MAP....................................4

ENVIRONMENTAL EDUCATION UNIT OF WORK: CONCEPT MAP OF KEYLEARNING AREAS.........................................4

SECTION THREE: UNIT INTRODUCTION AND RATIONALE..............4

SECTION FOUR: CREATIVE ARTS TEACHING PROGRAM................4

LESSON TITLE: BUSH TUCKER..............................4

LESSON TITLE: WETLANDS LAGOON SETTING PART A...........4

LESSON TITLE: WETLANDS LAGOON SETTING PART B...........4

LESSON TITLE: DREAMTIME DRAMA..........................4

LESSON TITLE: BIRDS OF A FEATHER.......................4

LESSON TITLE: AUSTRALIAN BUSH SOUND COLLAGES...........4

LESSON TITLE: VISUALLY REPRESENTING SOUNDS.............4

LESSON TITLE: ABORIGINAL MUSIC, DREAMTIME AND DANCE PERFORMANCE............................................4

SECTION FIVE: REFERENCES....................................4

SECTION SIX: APPENDICES.....................................4

APPENDIX ONE: TONAL SCALE GUIDE SHEETS.................4

APPENDIX TWO: REFLECTIVE LESSON ACTIVITY...............4



Section One: Age Appropriateness of Teaching Program



Age Appropriateness of this Teaching ProgramThis Creative Arts teaching program, designed in conjunction

with members of the Kuriwa Aboriginal Education Consultative

Group (AECG), incorporates the views of the Aboriginal

Education Policy to ensure a holistic approach to education

is both adopted and implemented within the classroom. The

program is one component of an integrated unit of work that

is centered on the Science and Technology K-6 Syllabus Stage

One strand of Living Things and includes integrated

objectives from the English, Creative Arts, Mathematics,

Human Society and its Environment and Personal Development,

Health and Physical Education Syllabi.

This Creative Arts teaching program is designed for a year

two Lake MacQuarie classroom that includes, at a minimum, a

20 percent Aboriginal student population. It focuses on

educating students about Australian habitats, with a

particular focus on wetlands, and values the connection that

people have with the land and environment. This is

demonstrated throughout the program via the incorporation of



Aboriginal knowledge and a partnership with Aboriginal

community members in both curricular planning (Heitmeyer

2004) and program implementation.

This teaching program is deemed age appropriate as it adheres

to the continuum of learning outcomes relevant to Stage One

illustrated within the syllabus documents provided by the

Board of Studies, New South Wales. This program focuses on

Stage One visual arts making and appreciating outcomes whilst

also integrating music, dance and drama outcomes applicable

to a year two classroom (Board of Studies NSW 2001). The

active participation of students throughout this teaching

program, along with the integration of Aboriginal

perspectives and the community, instills in children a sense

of pride in Aboriginal culture and assists to enhance their

self esteem, establishing an important link between the home

and school environments (Hill 1997). This connection is a

crucial element that supports the success of young learners

within an educational institution (Heitmeyer 2004).



Additionally, the age appropriateness of this program is

confirmed through its fostering of learning about Aboriginal

perspectives via the incorporation of artistic literacies, a

suitable teaching methodology for young school-aged children

(Begoray 2001; Fiske 1999). Wright (2003) advises that

artistic literacy is a unique form of communication where

children are afforded access to symbolic, non-verbal

languages. These languages involve somatic forms of knowing

linking the mind and the body to integrate thought, emotion

and action (Wright 2003). By incorporating the arts as a way

of exploring real life concepts, the students are actively

participating in the expression and practice of Aboriginal

perspectives. Furthermore, this program ensures the

provision of a holistic learning environment that caters to

the individual learning styles and strengths of all of

students.

As a final point it should also be noted that all educational

resources utilised for each of the lessons found within this



program are aimed for use with an audience of students aged

five to seven years.

Section Two: ConceptMaps

1.Creative Arts Teaching Program Concept Map

2.Environmental Education Unit Work: Concept Map of Key Learning Areas



Environmental Unit of Work: Creative ArtsTeaching Program Concept Map


Lesson Eight: Music & Dance – Aboriginal

Music, Dreamtime &

Dance Performance. Students

participate in

traditional Aboriginal Dreamtime

performance.

Lesson Seven: Visual

Arts/Music – Visually

Representing Sound.

Students use line and colour to visually represent the sounds of natural and built

environments

Lesson Six: Music -

Australian Bush Sound Collages. Students create,

record and perform sound

collages using

materials found in natural

environments.

Lesson Five: Visual Arts – Birds of a Feather. Students

create birds using

techniques of painting, tracing and collage. Lesson

integrates Math & Science.

Lesson Four: Drama – Dreamtime Drama. Students explore dreamtime stories and take on roles of characters

to communicate meaning to class.

Lesson Three:

Visual Arts – Wetlands Lagoon

Setting Part B. Students create a pattern of waterlilies to complete wetlands artwork.

Lesson Two: Visual Arts – Wetlands Lagoon

Setting Part AStudents create tonal

scales and select a shade to paint

wetlands water

background.

Lesson One:Visual Arts

– Bush Tucker.

Students use techniques of painting, printing and collage to create bush

food artworks.

Environmental

Education:

Creative Arts

Teaching Program


Environmental Education Unit of Work:Concept Map of Key Learning Areas


Mathematics The relationship with the environment to make connections with existing knowledge and understanding, represent findings graphically and interpret results

PDHPE - The relationship with the environment and themselves represented through sequences incorporating basic movement skills and patterns.

Creative Arts - The relationship between the environment, its inhabitants and people represented through artworks, music movement and drama.

Human Society & Its Environment The relationship between people and the natural environment and their interdependence

English - The relationship with the environment within simple literary and factual texts both read and produced.

Science - The relationship with the environment & the ways in which living things grow and change

Aboriginal Education Policy - Culturally appropriate teaching strategies &assessment methods are implemented; the knowledge held by Aboriginal communities is recognised & valued.


Section Three: Unit Introduction and Rationale



Unit Introduction and Rationale

Throughout this Creative Arts teaching program the learning

of students is supported by the employment of a variety of

teaching strategies and learning pedagogies along with

principles from the Aboriginal Education Policy. It is the

very combination of these vital elements that set this unit

of work apart from one designed to solely meet the

curriculum criteria imposed by institutions of Western

schooling.

Differentiated instruction, based on the principles of the

Multiple Intelligences theory, is one teaching strategy

within this Stage One program that overcomes the

stereotyping of students regardless of their existing

cultural knowledge and capital (Heitmeyer 2004; Lareau

2003; Kapusnick & Hauslein 2001; Bourdieu 1986). This

method of teaching provides opportunities to students to

pursue genuine enquiry in multiple ways such as through

group discussions, excursion observations and learning

centres.



Throughout this program the importance of student

interaction is highlighted via the inclusions of creative

learning experiences that maximise strengths, while still

developing non-preferred intelligences simultaneously

(Kennedy & Fisher 2001). The lesson sequence included

within the program is based on the students’ progressive

knowledge development of Australian Environments and

relationships that exist between the land, its animal

inhabitants and people. The program commences with visual

arts experiences and extends to music and drama activities

that engage students in consolidation and reflection of

learning. These experiences incorporate activities, such

as small group work, working in pairs, pictorial and

kinesthetic illustration of meanings, all of which provide

equitable learning opportunities for a diverse community of

learners (Hughes, More & Williams 2004; Piquemal &

Kouritzin 2003).



Section Four: Creative Arts Teaching Program

A Sequence of Eight Lessons:

1.Bush Tucker2.Wetlands Lagoon Setting, Part A3.Wetlands Lagoon Setting, Part B4.Dreamtime Drama5.Birds of a Feather6.Australian Bush Sound Collages7.Visually Representing Sounds8.Aboriginal Music, Dreamtime and Dance Performance.



Unit Title: Environmental Unit of Work: Creative Arts Teaching Program

Lesson Title: Bush TuckerLesson: 1 of 8

Art Form: Visual

Lesson Focus: Creating/Appreciating

Stage Level: 1

Lesson Objectives: 1. Use forms to print shapes of berries, vegetables and

yams.2. Use repetition of shapes and colour to create

artwork.3. Use the techniques of printing, painting and collage

to create artwork.

Prior to this Lesson: Students have commenced an integrated unit of work

introducing them to Australian habitats/environments. Students have been introduced to plants that can be found in these environments. As a whole class the students have read the story ‘The Permaculture Courtyard’ written by students from Wilcannia Central School. In guided reading groups the students have also read the story ‘What is Bush Food?’ by Beth Hall.

This double lesson integrates the key learning areas ofHSIE, the relationships of people to their environment,and Creative Arts.

A request has been sent home to parents for recycled objects such as plastic bottle tops, foam pieces and large buttons. A large collection of these have been assembled in the classroom.



Classroom desks are grouped to accommodate four students and art resources for this lesson have been set up.

Lesson Part A: Introduction Have students assembled as a whole class at the front

of the room. Brainstorm with students a list of plant foods that can be found in the environment. Ask students if these plants are selected and grown by people or can they be found in the bush? Talk about how some plants are poisonous. Refer to Bush Foods Poster (Aboriginal Education Resource Unit 1999) and discuss bush food that can be eaten by people. Explain that the diet of Aboriginal people consisted mainly of vegetables, fruit and berries, approximately 80 percent. Explain and discuss that these bush foods werealmost exclusively gathered by women. Explain to students that bush tucker such as berries, nuts, vegetables and roots give us a collection of interesting shapes and colours. Explain that today students will be printing shapes to represent these bush foods.

Body Ask students what colours they could use to represent

their bush foods. Record a list on the Smartboard. Brainstorm ideas for objects that students can use whenprinting to represent the shape of their bush foods, for example small round lids for berries, foam shapes for yams and sponge shapes for fruit. Record a list onthe Smartboard. Advise students there is a selection ofobjects on their desks for their groups to share along with some paints and a piece of paper each on which they can print their bush food shapes. Have students return to their desks and choose objects to print various food shapes. Model how to paint these objects with a paint brush and press them onto paper to make a print. Show students that when too much paint is used that the texture of the object is not visible on the print. Ask students to print various food shapes. Stipulate that appropriate colours must be chosen to make the foods seem real. Student’s to place wet



prints on the drying rack at the rear of the classroom.Explain to students that they are now going to make a coolamon. Show picture of a coolamon and explain that a lot of the smaller foods collected by the women, suchas nuts, berries and vegetables, were carried in one ofthese .Have students select a light brown or orange piece of paper. Model how to draw an oval. Ask students to draw an oval shape on their paper. Ask students to lightly paint over their shape in a darker brown paint and then use a wooden pop-stick to scrape awood grain pattern into the paint. Model this process. Tell students to leave their work on their desks to dryand that we will return to our bush tucker after lunch.

Lunch Break

Lesson Part B: Body Ask students to cut out their coolamons. Hand out

student’s bush food prints. Ask students to carefully cut out their printed food items. Ask students to practice arranging their food items on the coolamon surface. Remind students that food can be glued separately or overlapping. Model these arrangements. Advise students that once they are happy with their bush food arrangements, they can glue their bush food prints onto their coolamons.

Conclusion Ask students to discuss in their groups what they

enjoyed about this experience. Ask each student to describe one element of colour,

shape or texture that they find interesting on each of their group members’collage.

Arrange a display of student collages in the classroom and label it ‘Our Bush Tucker’.

Teaching Resources: Smartboard Bush Foods Poster

(Aboriginal Education Resource Unit 1999)

Cartridge paper

Lesson Evaluation: Were the children motivated

to engage throughout the whole learning experience?

Did the children select appropriate colours for theirbush tucker?



Acrylic paints Paint brushes Water Plastic sheets to

cover desks Light brown and

orange paper Collection of

recycled materials for each group

Wooden pop-sticks Glue and brushes Scissors Lead Pencils

Did the children identify thedifferent techniques of printing, painting and collage?

Were my instructions clearly understood?

Did the children co-operate and work well in their small groups?

Were the children engaged in small group discussions to both reflect on this experience and appreciate interesting elements of theirpeers’ artworks?

This lesson was adapted from the educational resource ‘Focus on Indigenous art across the curriculum: Ages 5-8’ (Strong 2006).


Lesson Title: Wetlands Lagoon Setting Part A

Lesson: 2 of 8

Art Form: Visual


Stage Level: 1

Lesson Objectives: 1. Create artwork using real experiences as a basis for

knowledge and understanding.2. Create tints and shades of green.3. Select appropriate colour/s to create an authentic

water background.

Prior to this Lesson: Within their Australian habitats/environments unit

children have commenced identifying different types of natural environments, animal inhabitants and the



lifestyles/cultural practices of people that lived there in the past, in particularly the Awabakal people of Lake MacQuarie.

Children and family members have participated in a whole class excursion to the Shortland Wetlands Environmental Education Centre.

The participation of four parents has been enlisted forthis lesson to assist children with tonal scales and discussion where required. Parents have been briefed prior to the lesson.

The desks are clustered to accommodate four students with all required resources.

Introduction Ask children to reflect on their excursion to the

Shortland Wetlands Environmental Education Centre and describe the water scenery that they observed. Discuss and record details of the wetlands such as colours of the water, vegetation present and animal inhabitants. Explain waterlilies and their traditional significance as a source of food for Aboriginal people. Explain that over the next two lessons students will be painting a lagoon setting, including waterlilies. Distribute photographs of the wetlands lagoon scenery from children’s excursion, one between two students, toassist with their recall and reflection.

Body Explain to students that to create the colour of the

water they will be investigating the tonal scale, mixing tints and shades of green. Explain that a tint is a colour lightened by adding white paint; a shade isa colour darkened by adding black paint. Provide each student with a tonal scale guide sheet (see appendix one). Model to students how to place blobs of green, white and black paint on a mixing surface and ask them to do the same. Model to students to paint the middle of their scale green and ask them to do the same. Explain that this is the pure colour hue that will be mixed into tints and shades. Ask students to use theirtonal scale as a guide and to begin mixing tints on their tonal scale guide sheet. Explain that the bottom



space will be the lightest. Model using white paint and adding a touch of green. Ask students to continue adding a little more green paint for each space until the hue is reached. Parents to assist with this process where required ensuring students do not add toomuch paint to their tints. Explain to students that tocontinue across the scale they will now add black paintto the green, only a little at a time. Model this process. Ask students to gradually add more black paintto the green until they get to the last space. This space should be almost black with just a hint of green.Parents to assist with this process where required ensuring students do not add too much paint to their shades.

Ask students to join in their groups of four and view their tonal scales as a group. Ask students to discusswhich tint or shades they believe most appropriately represent the wetlands lagoon. Provide each student with a sheet of cartridge paper.

Students are to paint an entire page with their choice of colour/s for a water background.

Conclusion Students to place their painting on rack at the back of

the room to dry. Reflect on the creation of tonal scales with students as a whole class.

Ask students to describe how they made their tonal scales and discuss any challenges they found.

Teaching Resources: Parent helpers x 4 Photographs of water

scenery from children’s Wetlands excursion

Cartridge paper Acrylic paints Paint brushes and

mixing palettes Water Plastic sheets to

cover desks



Did the children reflect on their excursion to the Wetlands Centre to describe the water scenery that they observed?

Did the children mix the paints effectively to produce a green tonal scale?

Did the children select Student Number: 220043061 of 51


Tonal scale guide sheets

appropriate colours to painttheir water background?

Were my instructions clearlyunderstood?

Lesson two was adapted from the educational resource ‘Focuson art in society and environment: Ages 5-8’ (Strong 2004).

Parental InvolvementParents are an invaluable part of the teaching philosophy

embedded within this unit. As such this program

incorporates the assistance of parents that are willing

to regularly assist with art creative arts lessons.

These parents have been orientated to the classroom and

are familiar with routines and clean up procedures.

Along with the classroom teacher, each parent is

allocated a number of students and assists by providing a

review of instructions if required. They also engage

with the students by creating their own art works,

modeling their thought process as they create. Involving

parents in the classroom not only creates a link between

the home and school community (Bronfenbrenner & Evans

2000) but also aligns with the NSW Quality Teaching

Framework Element of Inclusivity (NSW Department of

Education and Training 2003). Furthermore studies have

proven that parental involvement in the school and

classroom increases a child’s likelihood of learning

success (Athey 1990)




Lesson Title: Wetlands Lagoon Setting Part B

Lesson: 3 of 8

Art Form: Visual


Stage Level: 1

Lesson Objectives: 1. Recall and build on previous knowledge of colour,

position and repetition to complete wetlands lagoon painting.

2. Focus on positioning waterlilies, repeating them to create a pattern.

3. Use complementary colour to enhance the painting.

Prior to this Lesson: Children have completed previous units of work

throughout this year that have incorporated line, colour, shape, texture, position and repetition.

Children have completed a painting of a water background of a wetlands lagoon setting.

The participation of four parents has been enlisted forthis lesson to assist children with this artwork where required. Parents have been briefed prior to the lesson.

The desks are clustered to accommodate four students with all required resources.

Introduction Ask children to reflect on their excursion to the

Shortland Wetlands Environmental Education Centre and describe the water scenery that they observed. Provide photographs of the wetlands lagoon from the excursion and discuss the scenery details. Use Smartboard to display examples of Claude Monet’s Waterlilies series. Discuss the colours found within the work and use of complementary colour for highlights. Discuss the difference between the placement of the waterlilies in the photographs and in the paintings. Explain to students that Monet has painted and an impression of waterlilies rather than a realistic view. Explain thatstudents will now use their water background and createa pattern of waterlily impressions to complete their



wetlands artwork.

Body Ask students for ideas on how to paint their

waterlilies so that they sit well on the background. Record ideas. Use Smartboard to revisit the colour wheel with students. Ask students to identify complementary to colours. Ask students what colour would be ideal to complement their vast expanse of green water. Suggest to students that they use a touch of the colour r to enhance their painting.

Ask students to identify possible colours that could beused for waterlily leaves and flowers. Model the painting of these to students using these colours.

Ask students to paint waterlilies (flowers and leaves) onto their background. Advise students to consider theplacement of their waterlilies and to repeat them to create a pattern. Parents can reinforce by discussing and modelling pattern creation with students.

Conclusion Students to place their painting on rack at the back of

the room to dry. Reflect and discuss as a whole class about the use of

colour, position and repetition to create these paintings and what they enjoyed about this experience.

When dry students paintings are to be displayed in the classroom to create an Australian Environments learningcentre. As students learn more about the wetlands theycan add more artworks, artefacts and information to this display.

Teaching Resources: Parent helpers x 4 Photographs of water

scenery from children’s Wetlands excursion Wetlands lagoon

background paintings Use of Smartboard to



Did children recall and build on previous knowledgeof colour, position and repetition in order to complete their wetlands



access Claude Monet’s Waterlilies Series and a colour wheel.

Acrylic paints Paint brushes and

mixing palettes Water Plastic sheets to cover

desks

lagoon painting? Did the children use

repetition and positioning of waterlilies to create a pattern?

Did the children use complementary colours to enhance their paintings?

Were the students engaged in the reflective whole class discussion?


Lesson three was adapted from the educational resource ‘Focus on art in society and environment: Ages 5-8’ (Strong2004).




Lesson Title: Dreamtime Drama

Lesson: 4 of 8 Art Form: Drama

Lesson Focus: Performing/Appreciating

StageLevel: 1

Lesson Objectives: 1. Learn to create a range of roles and situations adapted

from literature (Dreamtime stories).2. Shares drama making with others.3. Interact in role to communicate meaning to audience.

Prior to this lesson Within this integrated unit of work children have

discussed the spiritual connection of the Aboriginal people to their land along with the importance of Dreamtime within the Aboriginal culture.

Introduction Have the children sitting on the floor in front of the

Smartboard. Explain to the students that you are going to play them

a dreamtime story which is told by Aboriginal women, Francis Firebrace. Ask the children to lie down on the floor and close their eyes while they listen to the story. Ask them to try and picture the story in their mind as it is being told. Use the Smartboard to play the Dreamtime story ‘Firekeeper; the story of fire’ to the students.

Brainstorm with the children what the story was about. Ask the children what pictures they could see in their minds as they listened to the story. Discuss rituals such as Aboriginal men sharing Dreamtime yarns by playing the didgeridoo and dancing to create the story.

Body Have the children break up into four equal groups. Each

group is to choose one story from the Dreamtime StoriesStudent Number: 220043061 of 51


website, listen to it and plan a performance for the whole class. Advise each group that they can access anyof the resources from the Australian Environments learning centre for their performance. Explain to each group that they will have time to practice their performance before sharing it with their peers. Provideprompts to let groups know when they should commence their performance practice and give five minutes noticebefore recalling groups to commence dramatisations.

Conclusion Have each group perform their Dreamtime story to the

class. Record each performance using a digital video recorder. After the completion of the dramatic performances

reflect as a whole class on what the children found interesting about the Dreamtime stories and what as performers they enjoyed about this experience.

Add the digital video footage to the Australian Environments learning centre so that the children can reflect on their learning.

Teaching Resources: Smartboard Tapping sticks Teaching Resources:

Computers with internet access for each group.

Website: Dreamtime Stories from: http://www.newagemultimedia.com/firebrace/page9.html

Digital Video recorder

Lesson Evaluation: Did the children create

situations that were adapted from the Dreamtime literature?

Lesson Evaluation:

Did the children work well with each other in order to create the drama?

Did the children interact in role to communicate meaning to the audience?

Were the children engaged throughout the entire lesson?

This lesson idea was inspired from the website Aboriginal Dreaming Stories (Miers & Turner 2007).


http://www.newagemultimedia.com/firebrace/page9.html





Lesson Title: Birds of a Feather

Lesson: 5 Art Form: Lesson Focus: Stage Student Number: 220043061 of 51


of 8 Visual Creating/Appreciating

Level: 1

Lesson Objectives: 1. Create artwork using real experiences as a basis for

knowledge and understanding.2. Use the techniques of painting, collage, tracing and

drawing to create a bird.1. 3. Use an aesthetic understanding to acknowledge and

reflect on their artwork.2.

Prior to this Lesson: Children have covered the characteristics of a bird

(feathers, beaks, legs wings, and feet) as a science topic incorporated within their Australian habitats/environments integrated unit of work.

Children have previously listened to Dreamtime Stories and discussed their importance within the culture of Aboriginal people.

This double lesson integrates visual arts with the mathematical concepts of two dimensional shapes, halvesand one pair along with the science concept of living things.

The participation of four parents has been enlisted forthis lesson to assist children with this artwork where required. Parents have been briefed prior to the lesson.

Desks have been clustered to accommodate groups of fourstudents.

Introduction Have students assemble on the floor at the front of the

room. As a whole class read the dreamtime story ‘How the Birds got their Colours’ by M. Albert and P. Lofts.

Ask students to reflect on their excursion to the Wetlands Environmental Education Centre and to picture in their minds some of the birds they observed. Ask if any of the birds looked like those in the story? Ask students what characteristics did the birds at the wetlands have in common? Record these characteristics, for example head, beak, body, legs, wings, feet, eyes and feathers, on the Smartboard. Ask children to



describe the birds that they observed at the wetlands. Ask students what birds do the bird look like that theysee around their school and home? Explain to students that today they will all be painting, drawing and usingcollage to make their own bird in flight.

Body Ask students to return to their desks. Parents to give

out paper plates. Explain to students that these plateswill actually form the body of their bird. Ask them to close their eyes and picture a brightly coloured bird. Ask students to select a bright colour and lightly paint the rippled rim of their paper plate. Model the process. Ask students to put their plates to one side of their desk to dry. Ask for one student member to collect two large wooden circles from the shape box fortheir group.

Explain to students that in pairs they are to trace a circle onto the back of some coloured paper. One student will hold the circle steady whilst the other traces, then they will swap. Model process. Explain tostudents that this circle will become the head of theirbird. Parents to have a range of coloured paper for thegroups. Students to select a coloured piece of paper and in pairs trace their circles using pencil. Remind students to trace on the white side of their paper.

Ask students what objects from around the room could they use to trace two eyes for their birds? Prompt withexamples if required such as small jar lids, small wooden circles and ovals, plastic coins, and large counters. Record ideas on the Smartboard. Ask for one member from each group to return the large wooden circles and another to collect objects for their group that they can use to trace eyes. Ask students to fold their left over coloured paper in half. Explain that this way they can trace one object to cut out a pair ofeyes. Model the process. Ask students to trace their object, this time on the coloured side of their paper, in pencil. Ask students to cut out their bird’s eyes.

Ask students what shape beaks do birds have? Record responses on Smartboard. Hold up a wooden diamond. Ask students what shape is this. Explain to students



that they are going to use this shape to trace the beakfor their bird. Parents to have a range of coloured card for the groups. In pairs students to select a coloured piece of card for their bird’s beaks. Ask student pairs to fold paper in half and cut down the centre. Explain that each student will need one half ofthe coloured card to trace their beak. Ask one studentto collect small, medium and large sized diamonds for their groups. Ask the students what size diamond wouldthey use if they wanted their bird to have a small beak? Ask what size diamond would they use if they wanted their bird to have a large beak? Explain that the medium sized diamond would produce a medium sized beak. Model tracing process. Advise students that as both sides of the card is coloured that they can trace on either. Ask students to select a diamond and trace it on their card in pencil. Ask students to cut out their diamond shape. Explain to students that to make their diamond into a beak shape they need to fold it inhalf. Model process. Hold up the half diamond and askwhat shape do we now have? Reinforce that two trianglescan be joined to form one diamond.

Explain to students to students that they can now arrange their shapes onto the paper plate. Ask students to hold up which shape they think they would glue on first. Reinforce the selection of large circles and explain this needs to be glued first as it is the bird’s head. Model placement of circle to students. Ask students to use their glues sticks to glue the large circle to the centre of their paper plate. Remind students to glue the edges of the circle.Parents to reinforce this process and provide students with assistance if required. Ask students to arrange their eyes and beak onto their birds head, the large circle. Explain that only one half of the beak, or onetriangle, will be glued to their birds head. Ask students if anyone knows why? Reinforce that only one half of the diamond is glued so the beak can protrude or stick out from the bird’s head. Model process of gluing the beak to the head. Ask students to glue their bird’s eyes.



Ask students what characteristics of our birds have we created so far? Tick characteristics off the list as the students answer. Ask students to look at what we have left. Explain that if a bird is flying in the airwe may not see of these? Ask students what characteristics left on our list would they not see if a bird was flying? Prompt with another question if students do not answer legs and feet. Cross these characteristics off the list. Ask students what characteristics do you still need to add to make your birds? Students should respond wings and feathers.

Explain to students that we are first going to make a pair of wings. Students to select another piece of coloured a paper for their wings. Ask students if theywere going to make a pair of wings what should they do with their paper. If prompting is required, ask students what did they do with their paper to make a pair of eyes? Model folding the paper in half for the students. Model drawing a pair of wings on the Smartboard. Ask students to draw their wings on the white side of their paper. Ask students to cut their wings out. Explain they now have a pair of wings. Ask students to glue the edge of the coloured side onto theback of their paper plate. Model process. Parents to assist if required.

Explain to students that now they need some feathers for their birds. Parents to distribute a collection ofcoloured feathers to each group. Students to select a handful of feathers and use sticky tape to attach on the back of their paper plate at the top. Model process. Advise students they can draw eye detail in black marker if they wish. Model process. Ask studentsto hold up their birds in flight.

Conclusion Explain reflective activity (see appendix two). Ask

students to complete reflection. Display student’s artwork and label ‘Birds of a

Feather’. Discuss reflections with students as a whole class. Teaching Resources: ‘How the Birds got their Colours’




by M. Albert and P. Lofts.

Parent helpers x 4 Box of wooden shapes Smartboard Acrylic paints Paint brushes Water Plastic sheets to cover

desks Small uncoated paper

plates Coloured craft paper Coloured craft card Sticky tape Feathers Scissors Lead pencils Black Markers Glue sticks


Did children recall on previous knowledge of birdsin order to create their artwork?

Did the children successfully use their knowledge of and skills in collage, painting, tracing and drawing to create theirbirds?

Did the children successfully complete theirreflective activity?

Did the children engage in the reflective whole class discussion?


This lesson and reflective activity was adapted from ‘Primary Art: Book A’ (Sterret 2007).


Lesson Title: Australian Bush Sound Collages



Lesson: 6 of8

Art Form: Music

Lesson Focus: Creating/Performing

Stage Level:1

Lesson Objectives: 1. Explore dynamic contrasts in musical compositions.2. Explore, create, select and organise simple sound

structures.3. Identify simple musical features of the music that is

listened to.

Prior to this Lesson: Whole class has listened to the recorded version and

read the book ‘Imagine’ by Alison Lester. The students have discussed the differences between the habitats identified within the story and the children’s locally built environments.

Introduction Have the children sitting as a whole class at the front

of the room. Have the green leaves, wooden sticks, gum nuts, hollow logs, sand stone and tub of water displayed out the front. Show the children each item. Conduct an investigation and brainstorm about how theseitems could possibly be used to produce music and sound. Have the children demonstrate their ideas with their proposed materials. Offer other possible suggestions if required. Record class brainstorm on theSmartboard.

Body Explain to the children that they are to use their

voices, bodies, instruments and natural materials to create a two minute sound collage of the Australian bush that they can accompany to recorded music. Explainthat they are to create symbols for each sound they produce and that they need to notate their sound journeys. Discuss and record possibilities for notationon the Smartboard before they begin. Break children upinto their groups of four that include a leader, organiser, time keeper and reporter. Students are to rotate group roles throughout the experience. Groups are to explore dynamic contrasts. Once created,



children are to practice performing their sound collage.

Conclusion Return as a whole class and have each group perform

using their sound collage to accompany the recorded music of the Australian bush. Record on the tape recorder.

Discuss what the children found interesting about each groups performance.

Add the resources used in this lesson, along with the recorded sound collages, to the Australian Environmentslearning centre. Students can subsequently use this centre to create sound and movement journeys in small groups through a number of different environments, bothnatural and built, over the duration of this unit of work.

Teaching Resources: Native green leaves Gum nuts Wooden sticks and

hollow logsTeaching Resources:

Sandstone Water NSW Board of Studies,

K-6 Creative Arts Syllabus and Support Documents

Australian Bush Tapes Smartboard Tape recorders Photographs and

posters Environmental and

percussion instruments.



Lesson Evaluation:

Did the children explore allmaterials offered in order to engage with the contrasting the musical compositions?

Did the children incorporatetheir bodies in response to music and identify simple features of the music that was listened to?

Were all lesson expectationsclearly understood?



This idea for this lesson was inspired from the educationalresource ‘Planning for learning’ (Hinde Mcleod & Reynolds 2003).


Lesson Title: Visually Representing Sounds



Lesson: 7 of8

Art Form: Music/Visual Arts


Stage Level:1

Lesson Objectives: 1. Listen to music and respond artistically using a chosen

drawing medium.2. Interpret music and choose appropriate colour to

represent situation or mood.3. Understand that music is a means of expression and

respond to it to create a variation in mood.Prior to this Lesson: Whole class has participated in sound collage creation

for both natural and built environments. Introduction Have the children sitting as a whole group at the front

of the classroom. Revisit the sound collages created for natural and built environments. Play a sound collage of a natural and a built environment and allow children to move freely to the music.

Body Ask children to identify which sound collage was the

natural environment and which was the built environment. Ask children how the music made them feel?Ask what words represent these feelings? Ask children what colours they could use to represent these feelings? Record these responses on the Smartboard.

Model drawing a musical note to the class. Explain to the children that they are to use lines and colour to represent how the music made them feel. Write the word‘Peaceful’ inside a musical note. Ask children what lines could represent a peaceful environment? If required draw examples such as pointy lines and wavy lines ask children to choose. Ask children to return totheir desks and draw two musical notes in pencil on their paper. Ask children to trace over their outline with black wax crayons. Ask children to select a word from the board, or a new word of their own, to represent their feelings from the natural environment sound collage. Replay natural environment sound collage



an ask children to draw lines inside their note in wax crayons to represent their feelings. Repeat for built environment. Children are to select appropriately coloured water paint for each environment and apply a light wash over their musical note. Model this process.

Conclusion When dry, children are to use scissors to cut notes

out. Working in groups of four the students can arrange and glue their musical notes onto black A2 card.

Discuss with children what kinds of lines and colours were used to represent what they felt when hearing the natural environment sound collage.

Discuss with children what kinds of lines and colours were used to represent what they felt when hearing the built environment sound collage.

Ask children to recall how they felt when they were drawing to the music? Ask if the music changed the way they felt like drawing.

Display around the room and title ‘Our Sound Collages: How They Make Us Feel’.

Teaching Resources: Natural and built

environments recorded sound collages

Tape recorder Parent Helpers x 4 Smartboard Cartridge paper Lead pencils Wax crayons Water colour paints Paint brushes Scissors Black Card, A2 sized Glue

Lesson Evaluation Were the children

motivated to engage throughout the whole learning experience?

Did the children incorporate their bodies in response to the music?

Did the children explore the use of line to represent the dynamic contrasts in the musical compositions?

Did the children identify appropriate colours to represent the feelings evoked by the music?

Were all of the Student Number: 220043061 of 51


expectations of the lessonclearly understood?

This lesson was adapted from the educational resource ‘Classroom art: drawing, painting, printmaking’ (Ruscoe 2004).




Lesson Title: Aboriginal Music, Dreamtime and Dance Performance

Lesson: 8 of 8

Art Form: Music/Dance

Lesson Focus: Appreciating/Performing

Stage Level: 1

Lesson Objectives: 1. Identifies simple features of the music that is

listened to. 2. Imitates dance movements used in different cultures.3. Appreciates similarities and differences between

themselves and others.4. Recognises the contributions made by others.

Prior to this Lesson: Prior to this unit the children learnt the song ‘kami’s

country’ from Aunty Wendy’s Mob ‘Happy to be me’ teaching resources (Notley 2007).

Throughout this integrated unit of work students have identified the differing types of natural environments and the lifestyles/cultural practices of people that lived there, in particularly the Awabakal people of Lake MacQuarie.

Set up digital video recorder prior to commencing this lesson.

Introduction Explain to children that they are going to participate

in a performance hosted by people from our Aboriginal community.

Settle children in the hall. Introduce the host to parents and children and explain

that he and his mob will be playing the didgeridoo for them, telling dreamtime stories, asking them to participate with actions, and teaching them some traditional dance movements.

Record the show.

Body Have the children engage in the Aboriginal Cultural Student Number: 220043061 of 51


Dance and Music Practices learning experience with the community members.

Model actions and dance movements to children when group participation is required.

Conclusion Children thank Aboriginal community members for sharing

their knowledge and cultural practices and sing the song ‘kami’s country’ from ‘Happy to be me’ (Notley 2007) to show their appreciation.

Children return to the classroom. Children participate in a whole class discussion and

reflection about the similarities and differences between Indigenous dance/music and the children’s own dance/music. Record in a brainstorm chart and display on classroom wall.

Add the video of the visiting show to the Australian Environments learning centre so that the children can access and reflect upon their learning experience.

Teaching Resources: Ensure availability and book

use of school hall.

Teaching Resources:

Consult the Aboriginal Community Liaison Officer to resource an Aboriginal Community member who is willing to visit our classroom and demonstrate Aboriginal cultural dance andmusic practices.

Permission notes for child participation.

Invitations for family members to attend.

Digital Video Recorder

Lesson Evaluation: Did the children

identify the simple musical features thatthey listened to?

Lesson Evaluation:

Did the children imitate the dance movements that pertain to the Indigenous culture?

Did the children identify differences between Indigenous music and dance and their own?

Were the children engaged in this learning experience?

Was an authentic viewprovided to consolidate the



learning that has already occurred within this unit of work?



Section Five: References



References

Aboriginal Education Resource Unit. 1999, Bush food poster kit,Aboriginal Education Resource Unit, East Perth, WA.

Albert, M & Lofts, P.1983, How the birds got their colours, Ashton Scholastic, Sydney, New South Wales.

Athey, C. 1990. Extending thought in young children: a parent teacher partnership, Paul Chapman, London.

Begoray, D. 2001, ‘Through a class darkly: Visual Literacy in the Classroom’, Canadian Journal of Education, vol. 26, no. 2, pp. 201-217.

Board of Studies NSW. 2001, Creative Arts K-6: syllabus, support documents and student worksamples. Board of Studies NSW, Sydney, New South Wales.

Board of Studies NSW. 2000, Creative Arts: K-6 syllabus, Board of Studies NSW, Sydney, New South Wales.

Bourdieu, P 1986, The forms of capital, in Trans. R. Nice,J. G. Richardson, eds, Handbook of theory and research for the sociology of education, Greenwood Press, New York, pp. 241-258.

Bronfenbrenner, U. & Evans, G. W. 2000, ‘Developmentalscience in the 21st century: emerging theoreticalmodels, research designs and empirical findings’, inSocial Development, vol.9, pp.115-125.

Fiske, E. (ed) 1999, Champions of change: the impact of the arts onlearning, Arts Education Partnership: President'sCommittee on the Arts and the Humanities, Washington,DC.

Heitmeyer, D. 2004, It's not a race: Aboriginality andeducation, in J. Allen, ed, Sociology of education: possibilitiesand practices, 3rd edn, Social Science Press, South Bank,Victoria, pp. 220-249.



Hill, S 1997, `Perspectives on early literacy and home-school connections', in Australian Journal of Language and Literacy, vol. 20, no. 4, pp. 263-279.

Hinde Mcleod, J & Reynolds, R 2003, Planning for learning, SocialScience Press, Tuggerah, NSW.

Hughes, P, More, A & Williams, M. 2004, Aboriginal ways of learning, Paul Hughes, Adelaide.

Kapusnick, R A, & Hauslein, C M 2001, The ‘Silver Cup’ of differentiated instruction, in Kappa Delta Pi Record, vol. 37, no. 4, pp. 156-159.

Kennedy, C H, & Fisher, D 2001, Inclusive middle schools, Paul.H.Brookes Publishing, Baltimore, Md.

Lareau, A. 2003, Concerted cultivation and the accomplishment of natural growth. Retrieved April 18 2007 from https://library.newcastle.edu.au/search/aLareau/alareau/1,4,5,B/l962&FF=alareau+annette&1,,2,0,0

McInerney, D M, & McInerney, V. 2003, Educational psychology: constructing learning, 3rd edn, Pearson Education Australia, Frenchs Forest, NSW.

Miers, J. & Turner, L. 2007, Aboriginal dreaming stories, Retrieved May 1 2007 from http://www.teachers.ash.org.au/jmresources/dreaming/stories.html

Ruscoe, A. 2004, Classroom art: drawing, painting, printmaking, RIC Publications, Balcatta, Western Australia.

NSW Department of Education and Training. 2003, Quality teaching in NSW public schools: a classroom practice guide, NSW Department of Education and Training Professional Support and Curriculum Directorate, Ryde, New South Wales.


http://bonus.newcastle.edu.au/search?/aRuscoe%2C+Amelia+/aruscoe+amelia/1%2C1%2C3%2CB/frameset&FF=aruscoe+amelia&1%2C%2C3

http://bonus.newcastle.edu.au/search?/aRuscoe%2C+Amelia+/aruscoe+amelia/1%2C1%2C3%2CB/frameset&FF=aruscoe+amelia&1%2C%2C3

http://www.teachers.ash.org.au/jmresources/dreaming/stories.html

http://www.teachers.ash.org.au/jmresources/dreaming/stories.html

https://library.newcastle.edu.au/search/aLareau/alareau/1,4,5,B/l962&FF=alareau+annette&1,,2,0,0

https://library.newcastle.edu.au/search/aLareau/alareau/1,4,5,B/l962&FF=alareau+annette&1,,2,0,0


Sterret, D. 2007, Primary art: book A, RIC Publications, Balcatta, Western Australia.

Strong, D. 2006, Focus on indigenous art across the curriculum: ages 5-8, Macmillan Teacher Resources, South Yarra, Victoria.

Strong, D. 2004, Focus on Art in Society and Environment: ages 5-8, Macmillan Teacher Resources, South Yarra, Victoria.

Wright, S. (ed) 2003, Children Meaning-making and the Arts, PearsonPrentice

Hall, Frenchs Forest, New South Wales.



Section Six: Appendices

1.Appendix One: Tonal scale guide sheets Required for Lesson Two, Part A.

2.Appendix Two: Reflective lesson activity Required for Lesson Five.



Appendix One: Tonal scale guide sheets

Creating a Tonal Scale



Appendix Two: Reflective lesson activity

Birds of a Feather Reflection1. Circle the mediums, materials and tools you used on your artwork:wax crayonsdye oil pastels paper plate

paint glitter coloured paperwater colours

feathers glue coloured cardscissors

black marker string lead pencilwool

2. Colour the part of the activity that you enjoyed the most:Painting the paper plate

Tracing the bird parts

Cutting out the Gluing your bird Student Number: 220043061 of 51


bird parts together

3. Using a lead pencil draw anotherwetlands bird, including all its body parts. Next to your bird draw all of the things it needs to live happily. Colour your drawing.


Unit of Work - Creative Arts

Documents

Transcript of Unit of Work - Creative Arts