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Appendix: Sample Programs
Integrated unit for stage one
Excerpt from an integrated unit for stage 1 (kindergarten–year 1) English/Literacy/Arts/
Personal Development, written by Robyn Ewing.
Background
A kindergarten/year 1 composite class working on fairy tales used
Lauren Child’s (2003) Who’s Afraid of the Big Bad Book as the text
for close study over four weeks. At the same time they used a range
of other fairy tales (both traditional and alternative) in literature
circles. They used a range of visual arts and drama strategies to
develop their understandings of narrative text and to encourage
their own oral and written storying. Initially, the students’ story
writing was benchmarked using criteria for narrative writing. The
students’ writing was reassessed at the conclusion of the unit.
Suitability: years K–2.
Duration: 8–10 sessions approximately 25–40 minutes each.
Resources: Who’s Afraid of the Big Bad Book (Child); The Paper
Bag Princess (Munsch); The Princess and the Perfect Dish (Gleeson
& Greder); nursery rhymes; and a selection of other fairy tales
including versions of The Frog Prince; The Three Bears; Cinderella.
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Anticipated outcomes
It is expected that students will
explore a range of well known and non-traditional fairy tales;•
become familiar with the structure of fairy tales;•
retell fairy tales and nursery rhymes;•
use their bodies and facial expressions to represent different fairy tale characters •
and different moods, thoughts and feelings;
recognise that words on a page have meaning and can be read aloud in different •
ways to suggest different feelings;
share their own fairytales with confidence orally and in writing;•
understand the different phases of a fairytale: orientation, complication, resolution; •
and
work cooperatively in small groups.•
Program
Focus: Our feelings, moods and actions have an impact on those around us. Narratives
are an important way for us to communicate with each other about the things that are
important in our lives.
Session 1: As a whole group the class revisit the stories of Goldilocks and the Three
Bears and Cinderella. They take it in turns around the circle to add the next
sentence to build up the stories. It is important to demonstrate that there are
different versions and endings of the same stories.
Session 2: Students choose their favourite character from either fairy tale and walk in
role exploring this character. How do they walk? How do they walk when they are
happy? Worried? Afraid? Students in small groups take turns to look at each other
and guess who is being depicted. Students conclude the session by drawing large
pictures of their character (can be child-sized if older buddies can trace around the
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Appendix
children). They think about adjectives that describe their character. The characters
are displayed around the room.
Session 3: Shared reading of Who’s Afraid of the Big Bad Book?
Discussion of the text, setting, the characters, etc.
Session 4: Students choose one of the characters in the story. In pairs, students sculpt
or paint each other as their chosen character at a critical moment in the story.
The teacher ‘taps in’ to the artworks and students respond with a brief comment
about how they are feeling at the depicted moment. Students add a thought or
speech bubble expressing their feelings at that particular point in the story. They list
characteristics of their character around their artwork.
Session 5: In small groups students choose a critical moment in either Goldilocks or
Cinderella to present as a freeze frame. The class view all the critical moments and
try to identify them. The teacher once again ‘taps in’ to find out how the characters
were feeling. The still images are recorded with a digital camera and the students
later add captions.
Session 6: Students read a range of fairy tales in small guided reading groups and discuss
the similarities of the structure of these stories. Back in a whole class group the
teacher collates their observations about narrative structure. She shares an alter-
native fairy tale (e.g. The Paper Bag Princess) so children can discuss the differences.
Session 7: Students think about how princesses, princes, dragons, fairy godmothers,
wolves, witches and other main ‘good’ and ‘bad’ characters are often depicted in
fairy stories. They write sentences or draw pictures to demonstrate how they are
usually portrayed. (E.g. ‘Witches usually …’ )
Sessions 8–9: In pairs students plan then write their own fairy tales. This includes
planning of characters, setting and sequence of story using frameworks provided
by the teacher. Those who need teacher help to scribe the stories complete their
illustrations first. The stories are edited if necessary. The students’ older buddies or
parents word process the stories and then these are published and final illustrations
completed.
Session 10: Students share their fairy tales with other classes before they are placed in
the library.
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Integrated unit for stage two
An excerpt from an integrated unit of work for stage two (years three
and four) written by Janelle Warhurst.
English, Creative Arts, Science, HSIE (see New
South Wales DET Connected Outcomes Unit The
Effects of Growth and Change)
Related texts: The Great Bear (Gleeson & Greder);
Arabella (Orr & Gamble); Storm Boy (Thiele) and
Swan Song (Thiele).
Anticipated outcomes will vary according to
rele vant state syllabus documents but the unit
spans English (Talking and Listening, Reading and
Writing) and Creative Arts (both Visual Arts and
Drama). Figure A.1 Blueback by Tim Winton
Teaching and learning activities
1 Read the text each day using Literature Circle
strategies (with parent helpers if available).
2 Discuss important events in each reading.
3 Ask students to take notes about the story.
4 Explicitly teach grammar, using Winton’s exemplary
language as a model for different kinds of verbs and
imagery, with exercises like this:
Find a description in Chapter One of Blueback which may
have imagery in it and which helps you to build up an
image in your mind about the setting of the book. You
may have found other quotes which help you to imagine
Literature Circles
Different roles are assigned
to children when they are
sharing a text in a small group.
This helps students take
responsibility for reflecting on
different aspects of a response
to a text. These roles include:
• leadingthediscussion;
• choosingapersonally
meaningful image to share;
• identifyinginterestingor
challenging words;
• makingconnectionswiththe
student’s own world; and
• developingacharacter
profile.
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both characters moving in the setting or events which are unfolding. Note down any
quotes you find and explain why they help you build up images.
5 Create a page of favourite images in an Interactive Whiteboard (IWB) notebook
using text from the book.
6 Draw your favourite and most memorable images.
These images will then be transferred to a mural
using calico squares, tie-dying, batik, sewing and
appliqué. Many different textures of material are
added. Students collect other materials including
beads, leather and foil. (Parents who are artists can
assist with this.)
7 Write a letter from Dora to Abel while Abel is
at boarding school. Explain to Abel that the
developers have moved into Longboat Bay and
describe what they are doing.
8 Using the model from Into the Story (Saxton
and Miller, 2004, p. 32) group students and
brainstorm theme-related words and ideas.
Themes of Blueback include family, conservation,
education, beauty and love. Create tableaux about
the themes; other class members can ‘tap in’ to
discover the meaning of each tableau.
9 Discuss the following questions in groups and write
your own extended answers:
a What do you think is the main message in the
book? What parts of the story help to get this
message across to the reader? (Read the section
of the book which talks about how Dora says
that the sea is sick. Why does she say this?)
b Write as much as you know about a blue groper.
Why did it have such a central role in Blueback?
Figure A.2 Memorable image
Figure A.3 Main message
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c What is conflict? Look it up in the dictionary.
d What are the main conflicts or problems between characters in the book?
e Why must a narrative or story have conflict between characters?
f Why does Abel say that there is nothing in nature as cruel as a greedy human
being?
10 Write and practise a drama about a significant event in Abel’s life, and have it ready
for the class.
11 Research in collaborative groups as follows the marine ecosystem of the Ningaloo
reef around which Blueback is written.
Computer assignment
You may do this homework with a group but each person must take responsibility for a
section so that one person is not doing it all. Start today!
Remember last Thursday when some of you started to make notebooks of marine
life for your mural panels? Why did you do this?
What was it helping you to do?
Was it helping you to create deep knowledge about what you were doing? Why do
you need this?
Also think about the marine life you have read about in Blueback or through your
research earlier this term for your speech. If, for example, you have been interested in
the life of a seahorse you may wish to study it for this homework. Your marine life may
be represented in our mural so please be specific about the textures of the covering
of the animal and threats to its survival which may help you with your mural panel
designs.
1 Research in detail one endangered marine animal or plant that is found in
the Ningaloo Reef in Western Australia. (Use internet or newspaper article as
resources.)
2 Write a description of what it looks like, feels like, how it behaves and what its
predators are. Describe its habitat, how it reproduces and why it is endangered.
3 Draw its life cycle.
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4 Create a picture that shows how the marine animal or plant exists in its ecosystem.
Draw arrows to its prey and predators, and include illustrations of where it is living.
5 How would the disappearance of this marine animal affect our lives or that of other
marine animals or plants?
6 Present your findings for all of the above questions in one of the following ways:
a digital photographs and explanations in a notebook or Powerpoint;
b your own drawings and hand written information; or
c a short video with you talking.
7 We’ll do our planning on Tuesday. Write each group member’s name next to the
section they will be responsible for.
Step One: Decide which marine animal or plant you will research: for example,
coral. (Tuesday in class)
Step Two: Decide who will be responsible for finding the information for each
question. (Tuesday in class)
Step Three: Decide on a time when you could possibly meet together outside
school time so that you can ask your parents. (Tuesday in class)
Step Four: Research the question you are responsible for at home for homework.
(Tuesday night and Wednesday night)
Step Five: Record your results in a table, as shown below.
Table A.1 Marine animal or plant project
Marine animal: _________________________________________________________________
What don’t we know? Who will do each question?
When will you do each question?
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8 Using the lesson Creatures of the Sea from Exploring the Worlds of K-6 Drama
from Ancient Anna to the Cloth of Dreams (NSWDET 1998) develop and present
a performance about an underwater environment and make links with Human
Society and its Environment (HSIE).
9 Write your own marine animal narrative using rich imagery and verbs, remembering
to start with your own unique setting such as a rock pool. Remember your marine
drama and factors that have threatened your marine animal and its environment.
10 Listen to the Andrew Denton interview with Tim Winton. Write some questions and
answers of your own for an interview with Tim Winton and practise these in pairs.
Perform for the class.
11 Write letters to Tim Winton about your reaction to his book Blueback.
TeACher evALuATion
The most powerful activity in terms of student engagement with the book and an
indication of their love of drama was when students improvised their own marine
animals which they had extensively researched and told stories about them through
drama and movement. The students kept asking if they could do these over and over
again and we set them to the music of ‘Deep Sea Dreaming’ by Elena Katz-Chernin.
Students then wrote narratives which included descriptions of where the sea creatures
were located, such as in a cave or on a rock shelf. At about the same time the year
three students were participating in the NAPLaN Testing. Instead of giving them an
unrelated narrative to write in preparation as is often done, the students had enacted
their stories and these were published in a folder for the whole class to read.
Our class Blueback mural grew out of student fascination with images and themes
in the story. Drawings by groups of students reflected their interpretations of the
story and these were translated into a paneled mural using batik, tie-dye and appliqué
techniques. The text stimulus, mural stories and responses to various aspects of the
activity were recorded.
STudenTS’ reSponSeS To The MAking oF BlueBack MurAL
Talk about your answers to the following questions in small groups and write your
responses below.
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A Which of the techniques used, such as batik, tie-dying or appliqué did you find
most effective and why or did you use a combination of all techniques and how did
this help you?
B Write about the textures, materials and objects you have used to create your mural
panel.
C Why did you use each particular fabric? What other materials did you use and why?
D Did you sew or glue your pieces on to tell your story? How did this change your
panel?
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E How did you find the making of the mural helped you to interpret (understand)
Blueback?
F Which mural panel other than your own did you find meaningful and why?
Figure A.4 Main message Figure A.5 Main message
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Unit for stage three English
Mahtab’s Story by Libby Gleeson: a unit of work
for stage three, written by Jenny Pickering, Curl
Curl North Public School.
Aim: To achieve outcomes in
reading, writing, talking and
listening by engaging with the text
Mahtab’s Story through drama
and visual arts.
Specific outcomes will vary
according to relevant state sylla
bus documents.
Table A.2 Outcomes—NSW English Syllabus
TS3.1 Communicates effectively for a range of purposes and with a variety of audiences to express well-developed, well-organised ideas dealing with more challenging topics.
TS3.2 Interacts productively and with autonomy in pairs and groups of various sizes and composition, uses effective oral presentation skills and strategies and listens attentively.
RS3.5 Reads independently an extensive range of texts with increasing content demands and responds to themes and issues.
RS3.6 Uses a comprehensive range of skills and strategies appropriate to the type of text being read.
RS3.7 Critically analyses techniques used by writers to create certain effects, to use language creatively, to position the reader in various ways and to construct different interpretations of experience.
RS3.8 Identifies the text structure of a wider range of more complex text types and discusses how the characteristic grammatical features work to influence readers’ and viewers’ understanding of texts.
WS3.9 Produces a wide range of well-structured and well-presented literary and factual texts for a wide variety of purposes and audiences using increasingly challenging topics, ideas, issues and written language features.
WS3.10 Uses knowledge of sentence structure, grammar and punctuation to edit own writing.
WS3.11 Spells most common words accurately and uses a range of strategies to spell unfamiliar words.
Figure A.6 Mahtab’s Story by Libby Gleeson
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WS3.12 Produces texts in a fluent and legible style and uses computer technology to present these effectively in a variety of ways.
WS3.13 Critically analyses own texts in terms of how well they have been written, how effectively they present the subject matter and how they influence the reader.
WS3.14 Critically evaluates how own texts have been structured to achieve their purpose and discusses ways of using related grammatical features and con ven tions of written language to shape readers’ and viewers’ understanding of texts.
Links: The themes of identity, survival, war, family, tolerance,
collaboration, resistance and turning a blind eye have been central
to the previous texts studied. They were Hana’s Suitcase by Karen
Levine and Rose Blanche by Roberto Innocenti. Both were set in
the Second World War while Mahtab’s Story is set in Afghanistan
between 1996 and 2001 as the Taliban ruled the country.
Notes: This unit of work has been supported by teacher’s notes
by Dr Susan La Marca.
Questions
1 Entering the story
What does the word ‘freedom’ mean to you? Discuss. (Students could also be
asked to form a tableau or frozen moment in groups of 3, 4 or 5 to illustrate
their understanding of ‘freedom’.)
Write a response. This response will be examined at the end of the story.
Background information: Find pictures and videos of Afghanistan and kite fighting.
Show maps of the area on Google Earth and Google Maps. Newspaper articles
about refugees can also be researched.
2 Chapter 1
Predicting: After the first paragraph ask the students to predict what is happening.
Where is Mahtab going? Why?
Point out: Short sentences = sense of urgency and tension.
Symbolism of the kite: Just note when a kite is mentioned. Fog = changes in her life
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3 Chapter 2
Show world map to locate Afghanistan and Pakistan.
Connecting the story to the students’ own lives: Read to ‘get dressed quickly’ at
the top of page 14. Ask students what they would bring if they had to leave
suddenly in the middle of the night and go to another country. They can only
take two precious items. (Students can actually bring these items from home
and show the class and explain why.) Record what they have and why.
4 Chapter 3
Sculpting in pairs: Mahtab at home before the war began and then in the truck.
Compare/contrast: Note the significance of the song, stories, sugar cubes and
counting backwards—all are to distract from the terror of what is happening
but also connect to their past life.
Hot seat: After reading page 34, one student is chosen to be in role as Grandma.
The rest of the class question her.
5 Chapter 4
Read to the end of page 43.
Hot seat: Mahtab, her mother and her father.
Writing in role: You are Mahtab. You have at last escaped safely from Afghanistan.
At last you have a chance to write to Grandma and tell what has happened and
about your thoughts feelings and experiences. Write your letter.
At the end of the chapter: Teacher in role as Mahtab’s mother and students ask
questions about their situation but the teacher also takes this opportunity to
explain some of the background about the war and the Taliban as well as what
might happen.
6 Chapter 5
Conscience Alley: Read to ‘… away from any visitor who comes’ on page 60. What
should they do now? Why? How? Mother walks along the alley as students tell
her what they should do and why. Once mother reaches the end of the alley
she will tell the class what she has decided to do and why.
Complete the chapter to find out what they decided to do.
Writing in Role: You are Mahtab’s mother. Write to your husband. You do not know
where he is but he has been gone for eight long months. You have made a
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decision about what to do and you want to tell him what it’s been like, why you
have made your decision and how you intend to follow it up.
7 Chapter 6
Connecting with the story: After reading the chapter, write about a memory you
never want to forget, one that you would close your eyes and think about if
something very bad or scary was happening to you.
8 Chapters 7–8
Writing in role as Mahtab: After reading the chapters, write a letter to your father
telling him about the journey.
Tapping in: Underline the sentence that best sums up the journey. Try to memorise
it. The class all close their eyes and listen to each sentence as the teacher taps
students in turn.
9 Chapters 9–13
Background knowledge: Find pictures and locations of detention camps such as
Port Hedland.
At this stage it is probably better to read the story uninterrupted but hot seating
and writing in role would again add to the students’ understanding.
10 Chapter 14 to the end of the story
Compare and contrast the symbolism of the kites at the beginning of the story with
the final scenes through discussion.
Art: Make kites from paper and satay sticks. On one side draw/paint/collage
symbols to show what kite-flying symbolised at the beginning of the story
(freedom, used for fighting, banned by the Taliban, had to be buried as they
represented the old ways, represent captivity, war, fear etc.) with the last part
of the story (freedom).
Other activities that can be done at the end of the book
1 Interviews and Circle within a circle
Interview: Students are in pairs. Student A is the interviewer while student B is
Mahtab. Students use their knowledge of the story and other background
information to interview Mahtab about her family’s journey. Give students ideas
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for questioning: Why did you … ? What happened when … ? How did you feel
when … ? What if … ? Explain … Describe … Students swap roles.
Circle within a circle: The teacher is in role as the producer of a current affairs
program (e.g. Sixty Minutes) and has set up a meeting with the production team
and journalists to discuss what they are going to do for a story about Mahtab’s
family’s journey from Afghanistan to Australia. Students remain in their pairs. All
student As form an inner circle with the teacher/producer while all student Bs
sit in a circle around the outside. The students in the outer circle simply listen in
while the students in the inner circle discuss everything they have learnt about
Mahtab’s journey. The teacher should ask questions and guide the discussion
so that students bring out the important themes, issues and ideas in the story.
The students then swap places and the activity is repeated.
2 Readers’ theatre
Demonstrate by taking an important moment in the story and turning it into a
script for a short play using the descriptions, actions and direct speech already
in the text as well as using your own words and actions to add meaning. (See
attached script from pages 3 and 4.)
In groups, students rehearse then perform the readers’ theatre for the class.
Emphasise use of voice and facial expression with some actions.
Teacher chooses sections or crucial events in the story. Divide the class into groups
and have them write the script and then perform their piece. Alternatively,
students may themselves choose the events they consider crucial to use for
readers theatre.
3 Written review
Give students headings to help plan their written review. Brainstorm content.
Headings might include:
What is the story about? (Journey, escape, survival, hope.)
Why is the story told? (Inspiration of Nahid.)
Who’s in it? (Characters.)
Connections to other stories? (The effect of war on children, families and society.)
Issues in Australia?
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How is the story told? (Language—short sentences to build tension and long
sentences to describe dreams.)
Symbolism? (Kites, shell, dirt, bracelet, tarpaulin.)
Contrasts? (Freedom versus imprisonment/captivity.)
Distractions in bad times? (Counting, song, sugar cubes’ stories.)
Irony? (Australia promises freedom but characters are again imprisoned in the
detention centre.)
Reader’s Theatre script for pages 3 and 4 of Mahtab’s Story
CAST: unCLe WAhid, FAhAd, rezA, MAhTAb, LeiLA, nArrATor
Fahad and Reza are running around with their kites. Mahtab and Leila are sitting watching.
FAHAD: Watch out Reza, I’m going to get you. I’m going to cut the string and bring your
kite down!
REZA: No way Fahad. I can run faster and move my kite to get yours and it will fly off
into the sky, across the city and it will be lost for ever.
Uncle Wahid races across, grabs the strings, hauling them to his chest swiftly. His hands
are torn on the glass on the string.
UNCLE WAHID: (Screaming.) You must never, never, never play this way again. You are
putting the whole family in danger. You will be killed and your fathers and your mothers
and your brothers and your sisters and your cousins. What do you think you are doing?
You have been told everything has been changed and you are to never, never, never to
play like this again.
NARRATOR: Everything had changed.
Mahtab and Leila look on fearfully holding hands.
The boys are crying, snivelling and shrunken. They take a shovel and dig a hole. They fold
up the kites and bury them. Uncle Wahid looks sternly on. They kick dirt over the kites.
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They then walk with Uncle Wahid who now puts his arms around their shoulders, pats
them and and guides them back into the house. The boys sniff and sob.
FAHAD: I love that kite. That is the only fun we have now. Why must I destroy it?
REZA: There’s no fun anymore. Now my kite has gone what is there to look forward to?
Winter is the best time because it’s kite fighting time. Fahad and I are the best. Now we
can’t even do it at home let alone with all the other boys. (Sob.)
UNCLE WAHID: I’m sorry I was so angry but I was so afraid when I saw what you were
doing. You know the Taliban have banned kite fighting. It will bring our home to their
attention. They will want to punish all of us if the rules are broken.
They lie on their beds sobbing. Leila and Mahtab look on sadly then comfort the boys.
Uncle Wahid walks slowly and sadly from the room.
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Unit for stage four Visual Arts
Extract from a unit of work for stage four Visual Arts, written by Alexandra Cutcher, Banora
Point High School
Specific outcomes will vary according to relevant state syllabus
documents.
Table A.3 Stage four Visual Arts
outcomes Specific content focus for stage four
A student: 4.1 uses a range of strategies to explore different art-making conventions and procedures to make artworks;
4.2 explores the function of and relationships between the artist—artwork—world—audience;
4.3 makes artworks that involve some understanding of the frames;
4.4 recognises and uses aspects of the world as a source of ideas, concepts and subject matter in the visual arts;
4.5 investigates ways to develop meaning in their artworks;
4.6 selects different materials and techniques to make artworks;
4.7 explores aspects of practice in critical and historical interpretations of art;
4.8 explores the function of and relationships between artist—artwork—world—audience;
4.9 begins to acknowledge that art can be interpreted from different points of view;
4.10 recognises that art criticism and art history construct meanings.
Students learn about: Students learn to:
the field of visual arts and design as •comprising conventions; activities, traditions and customs •shaped by different values and beliefs;
investigate the field of visual arts and •design and approximate some conventions, activities, traditions and customs of the field to make art;
the pleasure and enjoyment in •making artworks;
reflect on and interpret actions and choices, •and document these in their diaries;
the function of the artist to make •artworks—images or objects;
make images and objects (artworks) •that approximate an approach to artistic practice;
the material, physical and virtual form •of artworks intentionally made by artists;
make artworks using a range of 2D, •including drawing, 3D and/or 4D forms, materials and techniques and various investigations of the world;
belief, value and meaning in art- •making in the structural frame;
investigate and employ a range of •conventions including codes, symbols and signs and consider how communication is embedded in the material and conceptual organisation of artworks and offer a way to develop representations of ideas and interests in the world in the making of art;
belief, value and meaning in art- •making through the cultural frame;
investigate how notions of cultural identity •form artistic practice, and consider the effects of science and technology, politics, economics and social issues upon art-making;
feeling, emphasis, imagination and •experience in art-making in the subjective frame;
investigate how the unconscious, intuition •and imagination can be explored as a source of ideas for art-making and consider how artworks can be regarded as expressive and unique objects;
challenging assumptions about art •and power through the postmodern frame; and
Investigate how artworks can be modified, •reinterpreted and/or appropriated from a variety of sources using parody, irony and ideas that challenge the mainstream and conventions of art; and
how artworks may be differently •interpreted by artists, writers, critics, historians and other audiences.
identify and describe the purpose, audience •and context for viewing artworks.
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224
Appendix
Tab
le A
.4
Ban
ora
Poin
t H
igh
Scho
ol, V
isua
l Art
s st
age
four
, sco
pe a
nd s
eque
nce
plan
Ye
ar 8
Term
1
Term
2
pra
ctic
e
Art
-mak
ing;
criti
cal a
nd h
isto
rica
lst
udie
s
Sto
ne
s, g
od
de
sse
s &
to
mb
s
A c
ultu
ral &
str
uctu
ral e
xplo
ratio
n of
art
his
tory
, lin
king
rel
evan
t ex
ampl
es t
o th
e A
ustr
alia
n co
ntex
t. B
egin
ning
with
pre
hist
oric
art
and
pa
intin
g te
chni
ques
, stu
dent
s ex
plor
e cu
ltura
l pra
ctic
es a
nd s
ocia
l id
entit
y; d
esig
n &
pri
ntin
g te
chni
ques
, pro
cedu
res
& c
onve
ntio
ns a
re
then
em
ploy
ed, t
o m
ake
wor
ks e
xplo
ring
the
cul
ture
of E
gypt
thr
ough
pr
intm
akin
g
he
roe
s &
te
mp
les
A c
ultu
ral &
pos
tmod
ern
expl
orat
ion
of G
reek
& R
oman
form
s in
the
st
yle
of J
ohn
Wol
sele
y, in
corp
orat
ing
text
, col
lage
, app
ropr
iatio
n. T
o ex
tend
, an
expl
orat
ion
of p
ostm
oder
n co
nven
tions
of a
ppro
pria
tion
and
som
e hu
mou
r th
roug
h di
gita
l im
agin
g an
d co
llage
Key
artis
ts/e
xam
ples
‘Ven
us o
f Will
endo
rf’,
Lasc
aux
cave
pai
ntin
gs; A
bori
gina
l tra
ditio
nal
pain
ting;
the
pyr
amid
s; H
ypos
tyle
Hal
l at
Karn
ak; K
ing
Men
kure
& h
is
quee
n; A
men
emhe
b of
The
bes;
Mar
gare
t Pr
esto
n
Gre
ek s
culp
ture
; Gre
ek p
otte
ry; G
reek
arc
hite
ctur
e; R
oman
ar
chite
ctur
e; J
ohn
Wol
sele
y; V
icto
ry o
f Sam
othr
ace;
the
Par
then
on;
the
Col
osse
um
Form
s2D
—dr
awin
gs, p
aint
ing,
lino
pri
ntin
g2D
& 4
D—
Pai
ntin
g, d
igit
al m
edia
, col
lage
Fram
esSu
bjec
tive
Stru
ctur
alC
ultu
ral
Pos
tmod
ern
Subj
ectiv
eSt
ruct
ural
Cul
tura
lP
ostm
oder
n
Con
cept
ual F
ram
ewor
kA
rtis
tA
rtw
ork
Wor
ldA
udie
nce
Art
ist
Art
wor
kW
orld
Aud
ienc
e
Out
com
es4.
1, 4
.2, 4
.3, 4
.4, 4
.5, 4
.6, 4
.7, 4
.8, 4
.9, 4
.10
4.1,
4.2
, 4.3
, 4.4
, 4.5
, 4.6
, 4.7
, 4.8
, 4.9
, 4.1
0
Ye
ar 8
Term
3Te
rm 4
pra
ctic
e
Art
-mak
ing;
criti
cal a
nd h
isto
rica
lst
udie
s
Fait
h,
ho
pe
& F
anta
sy
A s
truc
tura
l & s
ubje
ctiv
e ex
plor
atio
n of
the
cul
tura
l asp
ects
of t
he
med
ieva
l Eur
opea
n w
orld
, usi
ng t
he p
roce
dure
s &
con
vent
ions
of
scu
lptu
re t
o ex
plor
e be
liefs
abo
ut &
mea
ning
s re
latin
g to
re
pres
enta
tions
of C
hris
tiani
ty
pic
ture
s, p
ort
rait
s &
Wo
rds
A s
truc
tura
l exp
lora
tion
of d
esig
n co
ncep
ts &
con
vent
ions
util
isin
g ill
umin
ated
man
uscr
ipts
& m
osai
cs, w
hich
exp
lore
the
pos
tmod
ern
prac
tice
of a
ppro
pria
tion,
to
crea
te t
wo
visu
al h
ybri
ds
Key
artis
ts/e
xam
ples
Arc
hite
ctur
e, g
argo
yles
, Jef
f Koo
ns, S
hona
Wils
onM
edie
val m
osai
cs; i
llum
inat
ed m
anus
crip
ts; C
hris
tian
icon
ic p
aint
ing;
Li
n O
nus,
Kat
hlee
n P
etya
rre
Form
s3D
—C
eram
ics,
ass
embl
age
2D—
Dra
win
g; c
olla
ge; d
esig
n; m
onop
rint
ing
Fram
esSu
bjec
tive
Stru
ctur
alC
ultu
ral
Pos
tmod
ern
Subj
ectiv
eSt
ruct
ural
Cul
tura
lP
ostm
oder
n
Con
cept
ual F
ram
ewor
kA
rtis
tA
rtw
ork
Wor
ldA
udie
nce
Art
ist
Art
wor
kW
orld
Aud
ienc
e
Out
com
es4.
1, 4
.2, 4
.3, 4
.4, 4
.5, 4
.6, 4
.7, 4
.8, 4
.9, 4
.10
4.1,
4.2
, 4.3
, 4.4
, 4.5
, 4.6
, 4.7
, 4.8
, 4.9
, 4.1
0
EWI_CAI_02_4pp.indd 224 28/8/09 11:58:04 AM
Robyn Ewing, 2009, Curriculum and Assessment © Oxford University Press: Melbourne
225
Appendix
225
Tab
le A
.5
Ban
ora
Poin
t H
igh
Scho
ol, V
isua
l Art
s st
age
four
, tea
chin
g, le
arni
ng a
nd a
sses
smen
t ac
tiviti
es
Ye
ar 8
, se
me
ste
r 1
(a)
teac
hin
g,
lear
nin
g &
ass
ess
me
nt
acti
viti
es
re
gis
trat
ion
Art
-mak
ing
Cri
tica
l & h
isto
rica
l stu
die
sS
ign
& d
ate
1 A
rtw
ork
; st
ruct
ura
l fra
me
Stud
ents
are
intr
oduc
ed t
o vi
sual
lang
uage
of t
he e
lem
ents
of d
esig
n (li
ne, s
hape
, ton
e, c
olou
r, te
xtur
e, c
ompo
sitio
n, p
atte
rn, s
pace
, siz
e,
prop
ortio
n et
c.) a
s w
ell a
s th
e co
nven
tions
of c
odes
, sym
bols
and
sig
ns
thro
ugh
a va
riet
y of
act
iviti
es (w
orks
heet
s, li
tera
cy e
xerc
ises
).
3 A
rtw
ork
a
rtw
ork
; st
ruct
ura
l fra
me
Util
isin
g sy
mbo
ls a
nd s
igns
from
Aus
tral
ian
Abo
rigi
nal r
ock
art
& b
ark
pain
tings
, stu
dent
s cr
eate
a g
raph
ic d
raw
ing,
usi
ng t
he c
onve
ntio
ns
of d
esig
n, s
peci
fical
ly c
olou
r, lin
e an
d sh
ape
(Inks
, VA
PD, p
enci
ls).
The
draw
ings
are
to
over
lap
in t
rans
pare
nt la
yers
in m
uch
the
sam
e w
ay a
s do
Abo
rigi
nal r
ock
art
imag
es.
2 W
orl
d
art
wo
rk a
ud
ien
ce;
stru
ctu
ral a
nd
cu
ltu
ral f
ram
es
Stud
ents
inve
stig
ate
thes
e as
pect
s of
vis
ual l
angu
age,
bei
ng in
trod
uced
to
the
str
uctu
ral f
ram
e, b
y cr
itica
lly e
xplo
ring
a r
ange
of a
rtw
orks
, in
clud
ing
Venu
s of
Will
endo
rf, S
tone
heng
e, L
asca
ux c
ave
pain
tings
, ‘Fi
ve
Dre
amin
gs’,
trad
ition
al A
bori
gina
l roc
k ar
t an
d ba
rk p
aint
ings
.
Intr
oduc
tion
to t
he r
ole
of t
he a
udie
nce
(gen
eral
pub
lic, c
ritic
s an
d ot
her
art
spec
ialis
ts) i
n th
e in
terp
reta
tion
of c
ultu
ral a
rtef
acts
and
the
ana
lysi
s of
vis
ual c
odes
, sym
bols
and
sig
ns
evi
de
nce
of
lear
nin
g:
1 C
ompl
eted
wor
kshe
ets
in t
he V
isua
l Art
s P
erso
nal D
iary
(VA
PD),
disp
layi
ng r
udim
enta
ry u
nder
stan
ding
s of
the
ele
men
ts;
2 O
ral &
wri
tten
res
pons
es t
o di
scus
sion
dem
onst
ratin
g un
ders
tand
ings
of t
he s
truc
tura
l fra
me,
the
rol
e of
the
aud
ienc
e in
the
ana
lysi
s an
d in
terp
reta
tion
of a
rtw
orks
; and
3 R
esol
ved
desi
gn d
emon
stra
tes
unde
rsta
ndin
gs o
f vis
ual l
angu
age
and
the
conv
entio
ns o
f col
our,
line,
sha
pe &
com
posi
tion.
Fee
db
ack
:
1 O
ral f
eedb
ack
from
tea
cher
in d
iscu
ssio
n;
2 W
ritt
en fe
edba
ck fr
om t
each
er in
dia
ry a
sses
smen
t; a
nd3
Teac
her
obse
rvat
ion
of s
tude
nt p
roce
sses
and
ora
l fee
dbac
k.
EWI_CAI_02_4pp.indd 225 28/8/09 11:58:05 AM
Robyn Ewing, 2009, Curriculum and Assessment © Oxford University Press: Melbourne
226
Appendix
226
Tab
le A
.5
Ban
ora
Poin
t H
igh
Scho
ol, V
isua
l Art
s st
age
four
, tea
chin
g, le
arni
ng a
nd a
sses
smen
t ac
tiviti
es (c
ontin
ued
)
Ye
ar 8
, se
me
ste
r 1
(b)
teac
hin
g,
lear
nin
g &
ass
ess
me
nt
acti
viti
es
re
gis
trat
ion
Art
-mak
ing
Cri
tica
l & h
isto
rica
l stu
die
sS
ign
& d
ate
5 W
orl
d
art
wo
rk;
cult
ura
l fra
me
Stud
ents
cre
ate
a 15
cm x
15c
m d
esig
n us
ing
sym
bols
and
sig
ns e
vide
nt
in E
gypt
ian
art
in t
heir
VA
PD, (
wor
kshe
ets,
tex
tboo
ks, c
olou
red
penc
ils).
7 A
rtis
t A
rtw
ork
; S
tru
ctu
ral F
ram
e
Usi
ng t
he a
bove
des
ign
as a
bas
is, s
tude
nts
are
intr
oduc
ed t
o th
e co
nven
tions
of p
rint
mak
ing
by c
reat
ing
a bl
ack
and
whi
te li
no p
rint
w
hich
is t
hen
man
ipul
ated
by
hand
col
ouri
ng t
echn
ique
s an
d re
peat
pr
intin
g. S
tude
nts
prod
uce
4 x
sing
le p
rint
and
one
rep
eate
d pr
int
(4–6
re
petit
ions
), gi
ving
5 p
rint
s in
tot
al.
9 A
rtw
ork
A
ud
ien
ce;
Str
uct
ura
l Fra
me
An
exhi
bitio
n is
mou
nted
in t
he c
lass
room
and
stu
dent
s ch
oose
one
ot
her
wor
k to
cri
tical
ly a
naly
se (p
eer
asse
ssm
ent
wor
kshe
et).
4 W
orl
d
art
wo
rk
au
die
nce
; cu
ltu
ral f
ram
e
Stud
ents
exp
lore
asp
ects
of E
gypt
ian
cultu
re t
hrou
gh t
he
exam
inat
ion
of t
he p
yram
ids,
The
Hyp
osty
le H
all o
f the
Tem
ple
of
Am
on a
t Ka
rnak
, the
scu
lptu
re o
f ‘Ki
ng M
enku
re a
nd h
is q
ueen
’ an
d th
e fr
esco
of A
men
emhe
b of
The
bes.
The
se d
iscu
ssio
ns a
nd
obse
rvat
ions
are
focu
sed
thro
ugh
the
dyna
mic
of w
orld
—ar
twor
k—au
dien
ce a
nd t
he c
ultu
ral f
ram
e (t
exts
, wor
kshe
ets)
.
6 A
rtw
ork
a
ud
ien
ce;
art
his
tory
Stud
ents
com
plet
e lit
erac
y co
mpr
ehen
sion
tas
k fr
om ‘T
he V
isua
l A
rts’
tex
t. Q
uest
ions
focu
s on
the
pra
ctic
e of
art
his
tory
(tex
ts,
wor
kshe
ets)
.
8 A
rtw
ork
a
ud
ien
ce;
art
crit
icis
m
Cri
tical
eva
luat
ion
of e
ach
othe
rs li
no p
rint
ing
wor
ks. E
ach
stud
ent
sele
cts
one
wor
k to
be
exam
ined
by
thei
r ne
ighb
our
(pee
r as
sess
men
t w
orks
heet
).
evi
de
nce
of
lear
nin
g:
(4) D
iscu
ssio
n de
mon
stra
ting
unde
rsta
ndin
gs o
f sta
ted
aspe
cts
of c
once
ptua
l fra
mew
ork;
(5) W
ork
sam
ple
Egyp
tian
desi
gn;
(6) L
itera
cy t
ask
com
plet
ed in
boo
k; a
nd(7
) Wor
k sa
mpl
es o
f lin
o pr
ints
.
Fee
db
ack
:
(4) O
ral f
eedb
ack
in d
iscu
ssio
n, r
einf
orce
men
t of
con
cept
s;(5
) (7)
Wri
tten
feed
back
—as
sess
men
t of
pra
ctic
al t
asks
;(6
) Obs
erva
tion
of li
tera
cy t
ask
in t
he V
APD
; and
(7) P
eer
asse
ssm
ent
of li
no u
nit.
EWI_CAI_02_4pp.indd 226 28/8/09 11:58:05 AM
Robyn Ewing, 2009, Curriculum and Assessment © Oxford University Press: Melbourne
227
Appendix
227
Ye
ar 8
, se
me
ste
r 1
(c)
teac
hin
g,
lear
nin
g &
ass
ess
me
nt
acti
viti
es
re
gis
trat
ion
Art
-mak
ing
Cri
tica
l & h
isto
rica
l stu
die
sS
ign
& d
ate
1 A
rtw
ork
a
rtw
ork
; p
ost
mo
de
rn f
ram
e
Stud
ents
cre
ate
a m
ixed
med
ia w
ork
emph
asis
ing
the
elem
ents
of
line
and
shap
e in
the
sty
le o
f Joh
n W
olse
ley.
Tw
o G
reek
scu
lptu
res,
on
e G
reek
tem
ple
and
the
Col
osse
um a
re a
ppro
pria
ted
in p
en, u
sing
ov
erla
ppin
g an
d in
k w
ash
to c
ompl
ete
the
imag
e. T
ext
is t
hen
adde
d by
ha
nd a
nd b
y co
llage
. The
imag
e is
a s
ensi
tive
post
mod
ern
inte
rpre
tatio
n of
the
cla
ssic
al, c
ultu
ral i
deas
of G
reec
e an
d R
ome.
4 A
rtw
ork
a
ud
ien
ce
art
wo
rk;
po
stm
od
ern
fra
me
Stud
ents
man
ipul
ate
3 im
ages
of G
reek
scu
lptu
re (e
.g. V
enus
de
Milo
, V
icto
ry o
f Sam
othr
ace,
Dor
ypho
rous
), ad
ding
con
tem
pora
ry c
loth
ing
and
land
scap
es. T
his
is a
pos
tmod
ern
inte
rpre
tatio
n of
the
cla
ssic
al
Gre
ek s
culp
ture
. Stu
dent
s ad
d m
issi
ng b
ody
part
s an
d ba
ckgr
ound
s to
re
inte
rpre
t ea
ch s
culp
ture
to
a co
ntem
pora
ry c
onte
xt. H
umou
r, w
it an
d sa
tire
are
to b
e en
cour
aged
(pho
toco
pies
, ink
s, p
enci
ls, t
exta
s).
2 A
rtw
ork
a
ud
ien
ce;
art
his
tory
; cu
ltu
ral f
ram
e
Stud
ents
inve
stig
ate
aspe
cts
of G
reek
Scu
lptu
re, G
reek
arc
hite
ctur
e an
d R
oman
arc
hite
ctur
e th
roug
h th
e fr
ames
and
cri
tical
/his
tori
cal
stud
ies
in A
rtw
ise
No.
1 a
nd A
rtw
ise
No.
2. Q
uest
ions
em
phas
ise
elem
ents
of c
onte
nt (t
exts
).
2 A
rtw
ork
a
ud
ien
ce;
art
crit
icis
m;
cult
ura
l fra
me
Stud
ents
cri
tical
ly a
naly
se t
he w
ork
of J
ohn
Wol
sele
y th
roug
h di
scus
sion
and
a li
tera
cy e
xerc
ise
(tex
ts, w
orks
heet
s).
evi
de
nce
of
lear
nin
g:
(1) C
ompl
eted
mix
ed m
edia
imag
e;(3
) Com
plet
ed li
tera
cy e
xerc
ises
in V
APD
; and
(4) C
ompl
eted
figu
re in
land
scap
e w
orks
.
Fee
db
ack
:
(1) W
ritt
en fe
edba
ck o
n m
ixed
med
ia t
ask;
(2) O
ral f
eedb
ack
duri
ng d
iscu
ssio
n an
d ob
serv
atio
n of
wor
ks in
pro
gres
s; a
nd(4
) Wri
tten
feed
back
of d
iary
wor
k an
d po
stm
oder
n ex
erci
se.
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228
Appendix
228
Tab
le A
.5
Ban
ora
Poin
t H
igh
Scho
ol, V
isua
l Art
s st
age
four
, tea
chin
g, le
arni
ng a
nd a
sses
smen
t ac
tiviti
es (c
ontin
ued
)
Ye
ar 8
, se
me
ste
r 2
a te
ach
ing
, le
arn
ing
& a
sse
ssm
en
t ac
tivi
tie
sr
eg
istr
atio
n
Art
-mak
ing
Cri
tica
l & h
isto
rica
l stu
die
sS
ign
& d
ate
3 A
rtis
t a
rtw
ork
; su
bje
ctiv
e an
d c
ult
ura
l fra
me
s
Stud
ents
und
erta
ke a
ser
ies
of p
en a
nd in
k st
udie
s ex
plor
ing
vari
ous
stru
ctur
es e
.g. b
uild
ings
, the
bod
y, t
rees
etc
in t
heir
dia
ries
. Com
posi
tion
is e
mph
asis
ed.
They
mak
e w
ritt
en r
espo
nses
to
thes
e dr
awin
gs, u
sing
the
lang
uage
of
the
form
al q
ualit
ies
of a
rt; t
he w
ritin
g is
to
appe
ar o
n th
e dr
awin
g th
emse
lves
(sel
f-as
sess
men
t sh
eet)
.
Cla
ss d
iscu
ssio
n re
gard
ing
thei
r w
ork
and
peer
- an
d se
lf-ev
alua
tion
of
draw
ings
in t
he d
iary
.
5 A
rtis
t a
rtw
ork
; st
ruct
ura
l fra
me
If m
ater
ials
per
mit,
stu
dent
s cr
eate
a s
culp
ture
of a
gar
goyl
e or
fan
tasy
cr
eatu
re in
cla
y.
7 A
rtw
ork
a
ud
ien
ce;
stru
ctu
ral f
ram
e
Wri
tten
and
ver
bal a
naly
sis
of t
heir
ow
n w
ork.
1 A
rtw
ork
a
ud
ien
ce;
cult
ura
l fra
me
Stud
ents
are
intr
oduc
ed t
o th
e M
edie
val E
urop
ean
wor
ld t
hrou
gh t
he
cultu
ral f
ram
e. L
inks
are
mad
e to
the
anc
ient
wor
ld s
tudi
ed la
st y
ear.
Not
ions
of c
ultu
ral i
dent
ity
and
cultu
ral p
ract
ices
are
dis
cuss
ed.
2 A
rtw
ork
a
ud
ien
ce;
cult
ura
l an
d s
tru
ctu
ral f
ram
es
Stud
ents
inve
stig
ate
the
conv
entio
ns o
f med
ieva
l arc
hite
ctur
e—
earl
y C
hris
tian
& B
yzan
tine,
Rom
anes
que
and
Got
hic—
usin
g a
rang
e of
w
ritt
en m
ater
ials
from
a h
isto
rica
l/st
ruct
ural
per
spec
tive.
Em
phas
is is
pl
aced
upo
n th
e de
velo
pmen
t of
tec
hnol
ogy
and
its
rele
vanc
e fo
r th
e ex
pres
sion
of c
ultu
ral b
elie
f sys
tem
s (A
rtw
ise
No.
2, T
he V
isua
l Art
s,
Cav
es t
o C
anva
s, w
orks
heet
s). T
his
inve
stig
atio
n fo
rms
the
foun
datio
n fo
r th
e su
bseq
uent
art
-mak
ing
activ
ities
. Not
ions
of a
udie
nce
are
disc
usse
d.
4 A
ssig
nm
en
t—C
F, a
ll fr
ame
s
Thro
ugh
the
conc
eptu
al fr
amew
ork
and
the
fram
es, S
tude
nts
exam
ine
and
anal
yse
nonfi
gura
tive
(pre
fera
bly
Aus
tral
ian
) scu
lptu
re.
6 A
rtw
ork
; st
ruct
ura
l fra
me
Cer
amic
the
ory,
saf
ety
and
proc
edur
es.
evi
de
nce
of
lear
nin
g:
(1) O
ral d
iscu
ssio
ns r
egar
ding
med
ieva
l cul
ture
;(2
) Wri
tten
res
pons
es t
o ar
chite
ctur
al c
onve
ntio
ns in
the
dia
ry;
(3) P
en a
nd in
k st
udie
s /
wri
tten
res
pons
es in
the
vis
ual a
rts
diar
y;(4
) Art
wor
ks (s
culp
ture
s) d
emon
stra
ting
the
evid
ent
unde
rsta
ndin
gs o
f str
uctu
re, s
culp
ture
, vis
ual l
angu
age
and
sym
bolis
m; a
nd(5
) Pee
r as
sess
men
t /
inte
rpre
tatio
n of
eac
h ot
hers
’ wor
k.
Fee
db
ack
:
(1) (
3) O
ral f
eedb
ack
in d
iscu
ssio
n;
(2) (
3) (4
) Wri
tten
feed
back
in t
he a
sses
smen
t of
wri
tten
tas
ks, a
ssig
nmen
t;(3
) (5)
Wri
tten
feed
back
on
the
art
mak
ing
task
s;
(3) (
7) T
each
er o
bser
vatio
n of
pee
r di
scus
sion
and
feed
back
in d
ecod
ing
artw
orks
; and
(all)
Ora
l fee
dbac
k.
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229
Appendix
229
Ye
ar 8
, se
me
ste
r 2b
te
ach
ing
, le
arn
ing
& a
sse
ssm
en
t ac
tivi
tie
sr
eg
istr
atio
n
Art
-mak
ing
Cri
tica
l & h
isto
rica
l stu
die
sS
ign
& d
ate
4 W
orl
d
art
wo
rk;
stru
ctu
ral a
nd
po
stm
od
ern
fra
me
s
Stud
ents
cre
ate
a se
lf-po
rtra
it fr
om a
dig
ital
pho
togr
aph
of t
hem
selv
es
in c
halk
pas
tel.
Usi
ng c
olla
ge, p
aint
and
ink,
stu
dent
s co
mpl
ete
a m
ixed
m
edia
icon
/mos
aic
imag
e on
pap
er.
Text
is a
dded
to
the
imag
e at
the
end
(usi
ng t
he li
tera
cy e
xerc
ise
on
belie
f sys
tem
s fr
om s
emes
ter
1).
5 A
rtis
t
art
wo
rk;
po
stm
od
ern
fra
me
Stud
ents
cre
ate
an il
lum
inat
ed In
itial
in t
he s
tyle
of a
med
ieva
l m
anus
crip
t pa
ge, c
ompl
ete
with
a b
orde
r. Th
e w
ork
will
als
o in
clud
e at
le
ast
one
anim
al a
nd/o
r fa
ntas
y cr
eatu
re. S
tude
nts
utili
se d
esig
n sk
ills,
w
ith a
par
ticul
ar e
mph
asis
on
finis
h an
d pr
esen
tatio
n.
6 A
rtw
ork
a
ud
ien
ce;
stru
ctu
ral f
ram
e
Stud
ents
rec
ord
eval
uativ
e re
spon
ses
in t
he d
iary
.
1 W
orl
d
art
wo
rk;
cult
ura
l fra
me
Stud
ents
are
intr
oduc
ed t
o th
e m
edie
val 2
D a
rt fo
rms
of ic
ons,
ill
umin
ated
man
uscr
ipts
and
mos
aics
.
They
are
gui
ded
thro
ugh
a st
ruct
ural
fram
e in
vest
igat
ion
of
conc
eptu
al fr
amew
ork
rela
tions
by
a se
ries
of q
uest
ions
.
2 A
ssig
nm
en
t: w
orl
d
art
wo
rk;
all f
ram
es
The
y us
e sc
affo
lds
to a
naly
se o
ne e
xam
ple
of e
ach
of t
he a
rt
form
s ab
ove
in w
hich
the
art
ist
uses
imag
ery
and
text
to
repr
esen
t ex
peri
ence
s, id
eas
or p
erce
ptio
ns o
f and
abo
ut t
he m
edie
val w
orld
.
3 A
rtw
ork
a
ud
ien
ce;
stru
ctu
ral f
ram
e
Stud
ents
exp
lore
icon
s as
bot
h a
cultu
ral a
rtef
act
and
port
rait
conv
entio
n th
roug
h di
scus
sion
.
Stud
ents
exa
min
e se
lf-po
rtra
its
by a
sel
ectio
n of
Aus
tral
ian
artis
ts
(e.g
. Whi
tele
y, H
este
r, R
obin
son
) in
orde
r to
cre
ate
an A
ustr
alia
n co
ntex
t fo
r th
is a
rtis
tic t
radi
tion.
evi
de
nce
of
lear
nin
g:
(1) S
tude
nt r
espo
nses
to
disc
ussi
on, n
ote
mak
ing
in d
iary
;(2
) Ass
ignm
ent
resp
onse
s in
dica
ting
unde
rsta
ndin
gs o
f the
con
cept
ual f
ram
ewor
k an
d th
e fr
ames
;(3
) Stu
dent
res
pons
es t
o di
scus
sion
, not
e m
akin
g in
dia
ry;
(4) S
elf-
port
rait
icon
;(5
) Illu
min
ated
initi
al; a
nd(6
) Eva
luat
ive
resp
onse
s in
VA
D.
Fee
db
ack
:
(1) (
3) O
ral f
eedb
ack
in d
iscu
ssio
ns;
(3) W
ritt
en fe
edba
ck a
nd a
sses
smen
t of
bod
y of
wor
k; a
nd
(4) (
5) O
ral f
eedb
ack
of a
rtw
orks
in p
rogr
ess.
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230
Appendix
Tab
le A
.5
Ban
ora
Poin
t H
igh
Scho
ol, V
isua
l Art
s st
age
four
, tea
chin
g, le
arni
ng a
nd a
sses
smen
t ac
tiviti
es (c
ontin
ued
)
Ye
ar 8
, se
me
ste
r 2c
te
ach
ing
, le
arn
ing
& a
sse
ssm
en
t ac
tivi
tie
sr
eg
istr
atio
n
Art
-mak
ing
Cri
tica
l & h
isto
rica
l stu
die
sS
ign
& d
ate
4 A
rtis
t a
rtw
ork
; su
bje
ctiv
e an
d s
tru
ctu
ral f
ram
es
Stud
ents
cre
ate
a bo
dy o
f dra
win
gs a
nd e
xper
imen
ts,
colle
ctin
g an
d de
velo
ping
per
sona
l im
ages
and
sym
bols
for
the
belie
fs w
ritt
en a
bout
in t
he la
st t
ask
(e.g
. rub
bing
s, s
cann
ed
imag
es t
hat
are
draw
n on
and
cro
pped
, ges
tura
l ink
stu
dies
, ot
her
type
s of
exp
ress
ive
mar
k m
akin
g). T
his
shou
ld b
e a
maj
or
expl
orat
ion
of s
ymbo
lism
and
mat
eria
ls.
6 A
rtis
t a
rtw
ork
; st
ruct
ura
l fra
me
Stud
ents
pla
n an
d cr
eate
a s
culp
ture
/ a
ssem
blag
e /
site
sp
ecifi
c /
wor
k /
docu
men
ted
form
s. L
ogis
tics
and
proc
esse
s w
ill b
e pl
anne
d in
a v
ery
stru
ctur
ed a
nd t
horo
ugh
way
.
1 W
orl
d
art
ist
art
wo
rk;
cult
ura
l fra
me
Stud
ents
exa
min
e th
e ar
twor
ks o
f Aus
tral
ian
artis
ts w
ho r
espo
nd t
o sp
iritu
al
conc
epts
in t
heir
art
-mak
ing
(e.g
. Abo
rigi
nal f
orm
s, H
osse
in V
alam
anes
h,
John
Cob
urn,
Art
hur
Boy
d, J
ohn
Wol
sele
y, t
ext
refe
renc
e, li
brar
y: ‘F
ire
and
Shad
ow’)
.
Stud
ents
dis
cuss
and
wri
te c
ritic
ally
abo
ut s
elec
ted
exam
ples
.
2 W
orl
d
art
ist
art
wo
rk;
sub
ject
ive
fram
e
Gui
ded
disc
ussi
on a
nd w
ritin
g ab
out
the
conc
ept
of t
he in
visi
ble
(in t
his
case
, th
e co
ncep
t of
thi
ngs
like
faith
, the
spi
ritu
al, e
mot
ions
, tru
th e
tc),
how
art
ists
ha
ve c
reat
ed m
ater
ial r
epre
sent
atio
ns o
f int
angi
ble
real
ities
tha
t ar
e no
t of
the
m
ater
ial/
phy
sica
l wor
ld.
3 W
orl
d
art
ist;
cu
ltu
ral f
ram
e
Stud
ents
wri
te a
100
-wor
d st
atem
ent
abou
t th
eir
own
spir
itual
bel
iefs
(or
that
of
a c
ultu
re o
f int
eres
t) in
a d
irec
ted
liter
acy
exer
cise
. The
y id
entif
y si
gnifi
cant
de
scri
ptiv
e ad
ject
ives
and
ver
bs.
5 A
rtw
ork
a
ud
ien
ce;
stru
ctu
ral f
ram
e
Stud
ents
exa
min
e an
d an
alys
e th
e w
ork
of a
rtis
ts w
ho c
reat
e si
te s
peci
fic
wor
ks (e
.g. G
olds
wor
thy,
Chr
isto
, stu
dent
s w
ork
from
Art
expr
ess
cata
logu
es).
evi
de
nce
of
lear
nin
g:
(1) C
ritic
al w
ritin
g in
art
dia
ry;
(2) D
iscu
ssio
n re
spon
ses,
wor
kshe
ets;
(3) L
itera
cy t
ask
in d
iary
;(4
) Bod
y of
wor
k in
dia
ry;
(5) C
ritic
al w
ritin
g in
dia
ry; a
nd(6
) Thr
ee d
imen
sion
al w
ork.
Fee
db
ack
:
(1) (
2) (5
) Ora
l fee
dbac
k in
dis
cuss
ions
;(4
) (6)
Ora
l fee
dbac
k on
art
wor
ks in
pro
gres
s an
d as
sess
men
t at
end
; and
(4) (
6) W
ritt
en fe
edba
ck o
n ar
twor
ks t
hrou
gh p
eer
asse
ssm
ent
at e
nd.
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231
Appendix
Unit for stage five Visual Arts
Extract from a unit of work for stage four Visual Arts, written by Alexandra Cutcher, Banora
Point High School
Specific outcomes will vary according to relevant state syllabus
documents.
Table A.6 Stage five Visual Arts
Scope and sequence plan
Quality Teaching
All stage 4 & 5 programs have a historical emphasis. In this way significance is explored through the connections made to the History syllabus, thereby making clear connections to students’ prior or background knowledge. It also enables students to examine a wider variety of cultural knowledge. Each unit has been designed with sequenced learning activities to build confidence, develop autonomy and manage increasingly complex materials, concepts and procedures. Establishing this quality learning environment is enhanced by high and explicit expectations and the building of positive relationships. Intellectual quality is a strong feature of these units through the diverse and increasingly rigorous skills the students engage in, developing a deep knowledge and understanding about the world and the cultural practices of those who have inhabited it. The students constantly engage in meta-language and higher order thinking skills to communicate their ideas both visually and verbally and to critically analyse their own art practice and those of others. Problem solving, communication, cultural knowledge and knowledge integration are significant features of this program.
Semester 1 Semester 2
unit description Truth, beauty and reason
A cultural and structural exploration of the ideology and artistic conventions of the Renaissance in Europe. The focus this semester will be on traditional Renaissance techniques and concepts as well as the lives and work of the Great Masters.
The renaissance: Fast and Loose
A postmodern and subjective exploration of the ideology and artistic conventions of the Renaissance. The focus in second semester will be on appropriating and challenging these ideologies and conventions.
247-248 Students learn about Classicism. They will then examine the figure (proportions, anatomy etc), the figure in the landscape and the portrait. Devices such as allegory and narrative in painting will be explored. The notion of patronage will also be examined.
Students learn to examine Renaissance artworks from a postmodern perspective. They will then learn about artists who have appropriated classical images in their art-making.
outcomes 5.1, 5.2, 5.3, 5.4, 5.5, 5.6, 5.7, 5.8, 5.9, 5.10
key practitioners / examples
Giotto, ‘David’ by Donatello, Michelangelo, Bernini and Verocchio; anatomical drawings by Da Vinci and others; ‘The Tribute Money’ by Masaccio; ‘The Birth of Venus’ by Botticelli; Several portrayals of the crucifixion (and/or the resurrection); ‘Vetruvian Man’ by Da Vinci; The Mona Lisa’ by Da Vinci. Any related Australian example.
The Da Vinci Code by Dan Brown; ‘The Last Supper’ by Da Vinci; various examples of ‘The annunciation’, spiritual paintings by Colin McCahon, John Coburn; mixed media works in the Artexpress catalogues.
Art-making (forms) Students will build a body of work that includes drawings (figure, proportions, anatomy studies), etchings (anatomy studies) and paintings (portraits). The emphasis will be on naturalism & technique.
Students will create a body of work around the ‘Annunciation’ as a concept, from the perspective of either Joseph or Mary. Works will be 2-dimensional but utilise mixed media techniques and appropriation.
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232
Appendix
Assessment: 1 Body of work (drawings);2 Body of work (etchings);3 Body of work (portraits);4 Visual arts diary: making activities; critical /
historical studies; presentation; and5 Assignment—case study of a Renaissance
artist.
1 Body of work (the annunciation);2 Diary-making activities—critical / historical
studies; presentation; and3 Assignment—Powerpoint presentation on a
postmodern artist.
Frames Subjective Structural Cultural Postmodern Subjective Structural Cultural Postmodern
Conceptual framework
Artist Artwork World Audience Artists Artwork World Audience
Table A.6 Stage five Visual Arts (continued)
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233
Appendix
Tab
le A
.6
Stag
e fiv
e V
isua
l Art
s (c
ontin
ued
)
un
it 1
: ye
ar 9
te
ach
ing
, le
arn
ing
& a
sse
ssm
en
t ac
tivi
tie
sr
eg
istr
atio
n
Art
-mak
ing
Cri
tica
l & h
isto
rica
l stu
die
sS
ign
& d
ate
3 A
rtw
ork
; st
ruct
ura
l fra
me
Stud
ents
com
pile
a b
ody
of d
raw
ings
in t
he d
iary
tha
t fo
cus
on
corr
ect
prop
ortio
ns. T
hey
expl
ore
life
draw
ing;
dra
win
g fig
ures
fr
om R
enai
ssan
ce p
aint
ings
and
scu
lptu
res,
etc
. Ton
al m
odel
ling
and
form
are
als
o a
focu
s.
5 A
rtw
ork
; st
ruct
ura
l fra
me
Stud
ents
cre
ate
seve
ral d
raw
ings
bas
ed o
n th
e an
atom
ical
dr
awin
gs d
iscu
ssed
; als
o fr
om a
nato
my
text
s, s
kele
ton.
Stud
ents
the
n cr
eate
a b
ody
of e
tchi
ngs,
usi
ng p
last
ic p
late
s an
d dr
y po
int
tech
niqu
es. T
hese
can
be
man
ipul
ated
by
hand
co
lour
ing
and
/or
by d
igit
al t
echn
ique
s.
1 A
rtis
t a
rtw
ork
; cu
ltu
ral f
ram
e
Link
ing
the
Med
ieva
l to
the
Ren
aiss
ance
, stu
dent
s le
arn
abou
t th
e ri
se o
f th
e in
divi
dual
art
ist
and
the
begi
nnin
gs o
f nat
ural
ism
thr
ough
the
wor
k of
G
iott
o. D
iscu
ssio
ns a
nd a
naly
sis.
2 A
rtis
t a
rtw
ork
; st
ruct
ura
l fra
me
Stud
ents
exa
min
e re
alis
m a
nd fi
gure
pro
port
ions
by
exam
inin
g ‘V
itruv
ius
Man
’ by
Da
Vin
ci a
nd o
ther
sig
nific
ant
exam
ples
of R
enai
ssan
ce d
raw
ings
, pa
intin
gs a
nd s
culp
ture
s. S
tude
nts
com
plet
e cr
itica
l dis
cuss
ions
and
art
m
akin
g us
ing
visu
al la
ngua
ge. C
lass
ical
idea
ls o
f bea
uty,
idea
lism
and
tru
th
are
also
exa
min
ed t
hrou
gh r
evis
iting
Anc
ient
Gre
ece
and
Rom
e an
d m
akin
g lin
ks t
o th
e co
ncep
ts o
f the
Ren
aiss
ance
.
4 A
rtis
t a
rtw
ork
; cu
ltu
ral f
ram
e
Gui
ded
disc
ussi
on—
stud
ents
exa
min
e an
atom
y dr
awin
gs o
f Mic
hela
ngel
o an
d D
a V
inci
.
6 A
rtw
ork
; st
ruct
ura
l fra
me
Etch
ing
proc
esse
s te
chni
ques
and
saf
ety.
Exam
inat
ion
of A
ustr
alia
n pr
intm
aker
s (e
tchi
ng).
evi
de
nce
of
lear
nin
g:
(1) C
ritic
al a
naly
sis
in d
iary
;(2
) Cri
tical
ana
lysi
s in
dia
ry a
nd w
orks
heet
s;(3
) Bod
y of
wor
k (d
raw
ings
);(4
) Bod
y of
wor
k (e
tchi
ngs)
; and
(5) E
tchi
ng t
heor
y in
dia
ry.
Fee
db
ack
:
(1) (
2) (4
) Ver
bal f
eedb
ack
in d
iscu
ssio
ns;
(3) (
5) V
erba
l fee
dbac
k du
ring
art
-mak
ing;
and
(11)
Wri
tten
feed
back
whe
n di
ary
and
body
of w
ork
asse
ssed
.
EWI_CAI_02_4pp.indd 233 28/8/09 11:58:05 AM
Robyn Ewing, 2009, Curriculum and Assessment © Oxford University Press: Melbourne
234
Appendix
Tab
le A
.6
Stag
e fiv
e V
isua
l Art
s (c
ontin
ued
)
un
it 2
: ye
ar 9
te
ach
ing
, le
arn
ing
& a
sse
ssm
en
t ac
tivi
tie
sr
eg
istr
atio
n
Art
-mak
ing
Cri
tica
l & h
isto
rica
l stu
die
sS
ign
& d
ate
2 A
rtis
t a
rtw
ork
; st
ruct
ura
l fra
me
Bod
y of
wor
k is
cre
ated
from
tec
hnic
al e
xerc
ises
suc
h as
pla
cing
cu
t ou
t fig
ures
from
the
pre
viou
s un
it in
to a
pai
nted
bac
kgro
und,
pe
rspe
ctiv
e dr
awin
gs (t
echn
ical
exe
rcis
es).
1 W
orl
d
art
wo
rk;
cult
ura
l & s
tru
ctu
ral f
ram
es
Exa
min
atio
n of
Ren
aiss
ance
por
trai
ts o
f the
figu
re in
the
land
scap
e (e
g ‘B
irth
of V
enus
’; Th
e Tr
ibut
e M
oney
’; ‘C
reat
ion
of A
dam
’; Th
e La
st S
uppe
r’;
‘Vir
gin
of t
he R
ocks
’; et
c) D
iscu
ssio
n is
focu
sed
on v
isua
l sym
bolis
m,
alle
gori
es a
nd n
arra
tives
, cri
tical
ana
lysi
s of
exa
mpl
es.
Ana
lysi
s of
the
use
of p
ersp
ectiv
e, d
epth
and
spa
ce; a
s w
ell a
s th
e pl
acem
ent
of fi
gure
s an
d co
mpo
sitio
n.
3 A
ssig
nm
en
t—w
orl
d
art
ist
art
wo
rk;
all f
ram
es
A c
ase
stud
y of
a R
enai
ssan
ce a
rtis
t.
evi
de
nce
of
lear
nin
g:
(1) D
iscu
ssio
n re
spon
ses;
ana
lyse
s an
d no
tes
in d
iary
;(2
) Bod
y of
wor
k—fig
ures
in la
ndsc
apes
; per
spec
tive
exer
cise
s; a
nd(3
) Ass
ignm
ent
resp
onse
s.
Fee
db
ack
:
(1) O
ral r
espo
nses
/ fe
edba
ck in
dis
cuss
ion
;(3
) Ora
l res
pons
es /
feed
back
dur
ing
the
deve
lopm
ent
of b
ody
of w
ork;
and
(11)
Wri
tten
feed
back
of a
sses
smen
t of
cas
e st
udy
and
book
mar
ks.
EWI_CAI_02_4pp.indd 234 28/8/09 11:58:06 AM
Robyn Ewing, 2009, Curriculum and Assessment © Oxford University Press: Melbourne
235
Appendix
un
it 3
: ye
ar 9
te
ach
ing
, le
arn
ing
& a
sse
ssm
en
t ac
tivi
tie
sr
eg
istr
atio
n
Art
-mak
ing
Cri
tica
l & h
isto
rica
l stu
die
sS
ign
& d
ate
2 A
rtw
ork
; st
ruct
ura
l fra
me
Stud
ents
com
plet
e a
deta
iled
self-
port
rait
of t
hem
selv
es in
pai
nt
from
a d
igit
al p
hoto
of t
hem
selv
es p
osed
as
the
Mon
a Li
sa. T
he
back
grou
nd w
ill b
e ta
ken
from
eith
er t
he o
rigi
nal o
r so
me
othe
r la
ndsc
ape
the
stud
ent
devi
ces.
3 A
rtw
ork
a
ud
ien
ce;
stru
ctu
ral f
ram
e
Eval
uatio
n of
sel
f-po
rtra
it th
roug
h an
exh
ibiti
on a
nd p
eer
eval
uatio
n.
1 W
orl
d
art
wo
rk;
cult
ura
l & s
tru
ctu
ral f
ram
es
Expl
orat
ion
of R
enai
ssan
ce p
ortr
ait
with
a p
artic
ular
em
phas
is o
n th
e ‘M
ona
Lisa
’. G
uide
d di
scus
sion
s an
d w
ritt
en a
naly
sis
of R
enai
ssan
ce p
ortr
ait
conv
entio
ns. E
xam
inat
ion
of t
he p
roce
ss o
f com
mis
sion
s.
4 W
orl
d
art
ist
art
wo
rk;
cult
ura
l fra
me
Pat
rons
and
issu
es o
f pow
er in
the
Ren
aiss
ance
wor
ld a
re d
iscu
ssed
. Key
ex
ampl
es in
clud
ed t
he p
atro
nage
of t
he M
edic
i’s a
nd t
he c
ompl
etio
n of
the
Si
stin
e C
hape
l.
evi
de
nce
of
lear
nin
g:
(1) (
4) D
iscu
ssio
n re
spon
ses;
ana
lyse
s w
ritt
en a
naly
ses;
(2) S
elf-
port
rait;
and
(3) W
ritt
en &
ver
bal e
valu
atio
ns in
vis
ual a
rts
diar
y.
Fee
db
ack
:
(1) (
4) O
ral f
eedb
ack
in d
iscu
ssio
ns;
(2) O
ral f
eedb
ack
and
advi
ce d
urin
g ar
t-m
akin
g;(3
) Ora
l fee
dbac
k in
eva
luat
ions
; and
(all)
Wri
tten
feed
back
whe
n vi
sual
art
s di
ary
asse
ssed
.
EWI_CAI_02_4pp.indd 235 28/8/09 11:58:06 AM
Robyn Ewing, 2009, Curriculum and Assessment © Oxford University Press: Melbourne