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PYP113Printed in the United Kingdom by Antony Rowe Ltd, Chippenham, Wiltshire
Published November 2009
International BaccalaureatePeterson House, Malthouse Avenue, Cardiff Gate
Cardiff, Wales GB CF23 8GLUnited Kingdom
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Website: http://www.ibo.org
© International Baccalaureate Organization 2009
The International Baccalaureate (IB) offers three high quality and challenging educational programmes for a worldwide community of schools, aiming to create a better, more peaceful world.
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Primary Years ProgrammeArts scope and sequence
IB mission statementThe International Baccalaureate aims to develop inquiring, knowledgeable and caring young people who help to create a better and more peaceful world through intercultural understanding and respect.
To this end the organization works with schools, governments and international organizations to develop challenging programmes of international education and rigorous assessment.
These programmes encourage students across the world to become active, compassionate and lifelong learners who understand that other people, with their differences, can also be right.
IB learner profileThe aim of all IB programmes is to develop internationally minded people who, recognizing their common humanity and shared guardianship of the planet, help to create a better and more peaceful world.
IB learners strive to be:
Inquirers They develop their natural curiosity. They acquire the skills necessary to conduct inquiry and research and show independence in learning. They actively enjoy learning and this love of learning will be sustained throughout their lives.
Knowledgeable They explore concepts, ideas and issues that have local and global significance. In so doing, they acquire in-depth knowledge and develop understanding across a broad and balanced range of disciplines.
Thinkers They exercise initiative in applying thinking skills critically and creatively to recognize and approach complex problems, and make reasoned, ethical decisions.
Communicators They understand and express ideas and information confidently and creatively in more than one language and in a variety of modes of communication. They work effectively and willingly in collaboration with others.
Principled They act with integrity and honesty, with a strong sense of fairness, justice and respect for the dignity of the individual, groups and communities. They take responsibility for their own actions and the consequences that accompany them.
Open-minded They understand and appreciate their own cultures and personal histories, and are open to the perspectives, values and traditions of other individuals and communities. They are accustomed to seeking and evaluating a range of points of view, and are willing to grow from the experience.
Caring They show empathy, compassion and respect towards the needs and feelings of others. They have a personal commitment to service, and act to make a positive difference to the lives of others and to the environment.
Risk-takers They approach unfamiliar situations and uncertainty with courage and forethought, and have the independence of spirit to explore new roles, ideas and strategies. They are brave and articulate in defending their beliefs.
Balanced They understand the importance of intellectual, physical and emotional balance to achieve personal well-being for themselves and others.
Reflective They give thoughtful consideration to their own learning and experience. They are able to assess and understand their strengths and limitations in order to support their learning and personal development.
© International Baccalaureate Organization 2007
Arts scope and sequence
Contents
Introduction to the PYP arts scope and sequence 1
What the PYP believes about learning arts 1
Arts in a transdisciplinary programme 2
The structure of the PYP arts scope and sequence 6
How to use the PYP arts scope and sequence 7
Arts planning: Sample processes 8
Learning continuums 9
Responding 9
Creating 14
Samples 20
Arts scope and sequence 1
Introduction to the PYP arts scope and sequence
The information in this scope and sequence document should be read in conjunction with the arts subject annex in Making the PYP happen: A curriculum framework for international primary education (2009).
What the PYP believes about learning artsArts are integral to the IB Primary Years Programme (PYP). They are a powerful mode of communication through which students explore and construct a sense of self and develop an understanding of the world around them. Arts provide students with a wide range of opportunities and means to respond to their experiences and engage with historical, social and cultural perspectives. The students are stimulated to think and to articulate their thoughts in new ways, and through a variety of media and technologies. The PYP recognizes that not all learning can be supported solely through language, and that arts as a medium of inquiry also provide opportunities for learning, communication and expression. Learning about and through arts is fundamental to the development of the whole child, promoting creativity, critical thinking, problem-solving skills and social interactions.
In this document, arts are identified as dance, drama, music and visual arts. The inclusion of dance in this revised scope and sequence acknowledges dance as an art form and embraces the creative and expressive potential of the medium. Each of these arts is a significant discipline in its own right, but the transdisciplinary nature of arts gives them relevance throughout the curriculum. Arts promote attitudes such as empathy and appreciation, and skills such as analysis, that help us to see the uniqueness of each person as well as explore the commonalities that connect us. Work in arts is a way of conveying meaning, sharing a culture, developing one’s sense of self, and expanding knowledge. It provides opportunity to reflect on aesthetic experience, to engage the imagination and explore what is uncertain. Through engaging with and creating artworks, learners are encouraged to reconsider familiar concepts and think about issues of culture and identity. By responding to the work of other artists, they are invited to situate their own creativity within a broader context.
Arts engage students in creative processes through which they explore and experiment in a continual cycle of action and reflection. Such creative processes are seen by the PYP as the driving force in learning through inquiry. From an early age, students have the opportunity to develop genuine interests, to give careful consideration to their work and to become self-critical and reflective. Reflecting on and evaluating their own work and the work of others is vital, and empowers students to take intellectual risks. Exposure to and experience with arts opens doors to questions about life and learning. The process of making and appreciating arts is gratifying and will encourage students to continue creating throughout their lives.
In our rapidly changing digital age, students inhabit a world saturated with images, sounds and performances. Students in the PYP continually explore imaginative uses of new media tools beyond their basic functional applications, discovering alternative or individual ways to conceptualize the role of digital technologies in their lives. The arts develop innovative thinking and creative use of technologies, and in so doing prepare students to participate fully in this multifaceted world.
In this document, two common strands have been identified that apply across the different art forms and define the critical artistic processes. These intrinsically connected strands are concept-driven and have been designed to interact with each other, working together to support the overall development of the students.
Introduction to the PYP arts scope and sequence
Arts scope and sequence2
Responding
The process of responding provides students with opportunities to respond to their own and other artists’ works and processes, and in so doing develop the skills of critical analysis, interpretation, evaluation, reflection and communication. Students will demonstrate knowledge and understanding of the concepts, methods and elements of dance, drama, music and visual arts, including using specialized language. Students consider their own and other artists’ works in context and from different perspectives in order to construct meaning and inform their own future works and processes.
The responding strand is not simply about reflecting; responding may include creative acts and encompasses presenting, sharing and communicating one’s own understanding. By responding to their own artwork and that of others, students become more mindful of their own artistic development and the role that arts play in the world around them.
Creating
The process of creating provides students with opportunities to communicate distinctive forms of meaning, develop their technical skills, take creative risks, solve problems and visualize consequences. Students are encouraged to draw on their imagination, experiences and knowledge of materials and processes as starting points for creative exploration. They can make connections between their work and that of other artists to inform their thinking and to provide inspiration. Both independently and collaboratively, students participate in creative processes through which they can communicate ideas and express feelings. The creating strand provides opportunities for students to explore their personal interests, beliefs and values and to engage in a personal artistic journey.
Figure 1The arts strands
The responding and creating strands are dynamically linked in an ongoing and reflexive relationship. Students are encouraged to reflect continually upon their work throughout the process of creating, thus reinforcing the close link between these strands.
Arts in a transdisciplinary programmeArts in the PYP exemplify learning through inquiry because of the emphasis on, and the nature of, the creative process. Arts provide a unique vehicle to enhance the understanding of the transdisciplinary themes by providing both students and teachers with a range of mediums with which to access the units of inquiry. Arts support the acquisition of essential knowledge and skills, the development of conceptual understanding, the demonstration of positive attitudes, and the taking of action. It is the school’s responsibility to find opportunities to infuse arts teaching and learning in all areas of the curriculum that are relevant to the community of learners and reflect the educational theories underpinning the programme.
The school’s programme of inquiry provides a relevant and authentic context for students to create and respond to arts. Wherever possible, arts should be taught through the units of inquiry and should support students’ inquiries. The direct teaching of arts in a unit of inquiry may not always be feasible. However, teachers have a responsibility to help students to make explicit connections between different aspects of their learning. Students need opportunities to identify and reflect on “big ideas” within and between the arts strands, the programme of inquiry, and other subject areas. The role of inquiry in arts is important as students engage in building understanding of these links and arts in the world.
It is acknowledged that in many schools, single-subject teachers take responsibility for the different arts areas. It is vital that these teachers see themselves primarily as PYP teachers who teach arts, and in so doing
Introduction to the PYP arts scope and sequence
Arts scope and sequence 3
contribute to the overall outcomes of a transdisciplinary programme. To ensure a cohesive educational experience for students, a PYP school has a responsibility to make sure that there are regular opportunities for collaboration between single-subject teachers and homeroom/classroom teachers. This collaboration includes the development and review of the school’s programme of inquiry, as well as planning, teaching, assessing and reflecting on individual units of inquiry. The following models provide examples of how to strengthen the role of learning through and about arts in the PYP.
Developing or supporting a unit within the programme of inquiry:• Whenever appropriate, arts teachers should be involved in collaborative planning to teach, assess and reflect on the units of inquiry.
Preparing for or following on from a unit within the programme of inquiry:• The direct teaching of arts in a unit of inquiry may not always be feasible but, where appropriate, introductory or follow-up learning experiences may be useful to help students to make connections between the different aspects of the curriculum. Arts teachers may plan and teach activities or experiences that prepare students for participation in a unit of inquiry. Following on from a unit, students may demonstrate their understanding of the central idea in an arts context. Indeed, an arts activity may be incorporated into the summative assessment of the unit.
Independent arts inquiry:• There may be times when teachers will be teaching aspects of arts independent of the programme of inquiry. At such times, teachers should structure their teaching and learning through the use of the PYP planning process. Teachers should ensure that the essential elements of the PYP support such learning while maintaining the integrity and character of learning through and about arts. If undertaking an inquiry outside the programme of inquiry, teachers should still recognize that the same philosophy and pedagogy must underpin their planning and teaching of the subject.
It is imperative that all teachers in a PYP school are familiar with the arts scope and sequence document and understand their role in the student’s artistic development. All teachers (including the single-subject teacher and homeroom/classroom teacher) will find that the strands identified as part of arts in the PYP will be relevant to the transdisciplinary programme of inquiry as well as to subject-specific teaching.
It is worthwhile to note that there will be occasions for student-initiated spontaneous arts inquiries that are not directly related to any planned units of inquiry. These are valuable teaching and learning opportunities in themselves and provide teachers and students with the opportunity to apply the pedagogy of the PYP to authentic, of-the-moment situations.
Arts are built into the curriculum as essential areas of learning. Students are required to engage in a range of performing arts (dance, drama, music) and visual arts experiences. Please note that specific arts teachers are not necessarily required, although some teachers may have specific responsibilities in the arts. Issues related to school size, organization and staffing will determine the structuring of arts components of the programme.
Regardless of whether arts are being taught within or outside the programme of inquiry, it is believed that purposeful inquiry is the best way to learn. The starting point should always be students’ prior experiences and current understanding. When teachers plan learning experiences that enable students to develop artistically, students are able to make connections, apply their learning, and transfer their conceptual understanding to new situations. This progressive conceptual development, together with an enjoyment of the process, provides the foundation for lifelong learning.
The following guidance notes provide more specific information on how to put the arts scope and sequence into practice, with particular reference to each of the different art forms.
Introduction to the PYP arts scope and sequence
Arts scope and sequence4
Guidance for danceDance is an integral part of many cultures. Dance plays an important role in society as it brings people and communities together. As an art form, dance explores how we express ourselves through movement. To understand and respond to dance, students need to understand how dance is used in cultural, ritual and social contexts. Students need opportunities to view a wide variety of dance from various sources, such as live performance, peer choreography, guest dance artists, and recordings. Dance as an art form has evolved considerably over the past century. Exploring dance in a historical and cultural context and a variety of genres enriches the student’s experience in creating and responding to dance.
Creating dance involves inquiring into the rhythm of music, the natural rhythms of our bodies and the environment around us. Students should have the opportunity to discover their own motivations and influences to inspire their movements. Through ensemble work, students can develop their ability to cooperate with others.
Dance uses the body as the medium of expression. Students need to develop confidence in their personal physicality through body awareness, balance, coordination, flexibility and strength. The physical nature of dance creates a strong link with the strands in the PYP Personal, social and physical education scope and sequence (2009).
Teachers can offer students experiences that may provoke and inspire them through exposing them to dance performance. By creating a safe environment for students to express themselves, teachers can draw on their students’ creativity with movement. Dance should be woven throughout the curriculum as a visual language and kinesthetic medium for students.
Dance is a living expression that takes place in the present. However, whenever possible it is important to document the inspiration and the process of creating movement. Digital recording can be used to capture moving images of dance. Photographs and sketches can be used as tools for planning a dance project. Building a dance vocabulary to describe movement can help to document the dance process verbally or through notation.
Information and communication technology (ICT) can be used to document the process of creating dance as well as to enhance the performance. Designing the stage with lighting and integrating video with live performance can add dimension to a dance project. Using a variety of tools, students can create their own music or generate and record sounds and words.
Dance requires a physical space in which to move. More importantly, it needs a trusting and positive environment. Nurturing physical confidence calls for an atmosphere where students feel safe to engage fully their minds and bodies.
Guidance for dramaDrama explores how we express ourselves physically and vocally. In creating, students should explore the use of facial expressions, gestures, movement, posture and vocal techniques to convey emotional or cultural meaning to both characters and stories. It is important that students are exposed to a variety of dramatic forms including creative movement, impersonation, improvisation, mask work, mime, musical, role play, pantomime, puppetry, re-enactment, scripted drama, and skit. In responding, students should experience a wide variety of scripts and stories from different times, cultures and places and, where possible, access live theatre performances and presentations. Students should have opportunities to present their creative work to an audience, to witness their peers in performance and through this become critically aware audience members.
In drama, documenting the individual’s learning process is integral. Drama is an active and transitory discipline, thus digitally recording performances or class project work provides both the student and teacher with tools for reflection. Through carefully planned exercises students can creatively explore personal interests and begin to develop their own style. Journal work (whether scrapbook-style or written) illustrating
Introduction to the PYP arts scope and sequence
Arts scope and sequence 5
storylines, scriptwriting, set designs and costume choices are indicators of students’ dramatic development and can provide an informative record of their personal creative journey.
All dramatic activities require room to move. An adequately large, clear space is required to explore movement and drama games. This space allows the class the freedom to create make-believe environments through the manipulation of objects, including sounds and lights. Thus access to an inventory of craft material, props, costumes, set pieces, rostrums and lighting would be beneficial to the creative experience.
ICT can be used in drama settings as a tool to enhance the creative experience. Word processing, scriptwriting and storyboarding programs can help the student to develop scenes and write plays. Students can also mix sound effects and music on audio programs to create soundtracks for performances. Dramatic work can be filmed and uploaded to a computer to be edited using video-editing software.
Guidance for musicMusic enables students to communicate in ways that go beyond their oral language abilities. Music delights and stimulates, soothes and comforts us; music allows students to communicate in a unique way. Musical experiences and learning begin with the voice. It is important that students are given opportunities to discover a broad range of music experiences including classifying and analysing sounds, composing, exploring body music, harmonizing, listening, playing instruments, singing, notation, reading music, songwriting and recording. In creating, students use their imagination and musical experiences to organize sounds—natural and technological—into various forms that communicate specific ideas or moods. In responding, students are given the opportunity to respond to different styles of music, as well as to music from different times and cultures. Individually and collaboratively, students should have the opportunity to create and respond to music ideas. By exposing students to a wide and varied repertoire of musical styles, they can begin to construct an understanding of their environment, their surroundings and structures, and begin to develop personal connections with them.
Music is a part of everyday life. Listening to and performing music can be a social activity. The development of listening skills, an important aspect of all learning, is constantly reinforced. Teachers should be aware that music plays an important part in the language learning process. Through songs and rhymes, students can hear patterns and develop a sense of the rhythm that applies to languages. This can be especially apparent when learning a new language because the meaning of the words is not necessarily understood, and so students concentrate on the rhythms and patterns they hear. Wherever possible, teachers should try to include rhymes and songs in their teaching activities, not just in designated music classes.
Music is both an active and reflective process when making and listening to it. Students can draw on a wide range of sources in their music learning: music composed by themselves and other students; music composed by musicians; literature; paintings; dance; their own imagination; real-life experiences; feelings; values and beliefs. They should be exposed to live performances as well as recordings. Additionally, the opportunity to participate in live performances—informal as well as formal—allows students to work collaboratively and gain awareness of the audience.
A PYP music classroom provides an environment that stimulates and challenges students. It is well resourced with an extensive range of music recordings, videos and instruments. Students have the opportunity to explore home-made as well as manufactured instruments from a variety of countries and cultures. ICT can influence and enhance learning in music by allowing students to create, compose and record their work as well as listen to, observe and share music through the use of CDs and music files.
Guidance for visual artsThe term “visual arts” is used to describe practices that have been more traditionally described in education as “art, craft and design”. It is important that students are exposed to a broad range of experiences that illustrate the field of visual arts, including architecture, bookmaking, ceramics, collage, costume design, drawing, graphic design, film, illustration, industrial design, installation, jewellery, land art, mask making,
Introduction to the PYP arts scope and sequence
Arts scope and sequence6
metalwork, painting, papermaking, performance art, photography, printmaking, sculpture, set design, textiles and woodwork.
Wherever possible, students should have the opportunity to experience visual arts beyond their own initial involvement. This may be achieved by inviting artists into the school, or by visiting art galleries, museums, artists’ and designers’ studios, exhibitions, films sets and/or theatres. Students will begin to appreciate the depth and breadth of the field by experiencing visual arts created by diverse artists—locally and globally, now and in the past, by women and men, and by people of different backgrounds.
In visual arts, the role of the sketchbook is integral to this process. The sketchbook provides a space for students to take ownership of their learning, to creatively explore personal interests and to develop their own style. The PYP recognizes the range of forms a sketchbook may take, reaching beyond the physical book to possibly include new media, sound and film.
ICT can be used in the visual arts classroom as a tool to enhance the creative experience. Photo and film editing, animation, web design, drawing, computer-aided design, audio and word processing programs can be used as tools to engage students with the conceptual understandings detailed in the continuums.
Visual arts activities require space, tools, materials and ICT tools. Ideally, an adequately large, well-resourced environment is desirable to explore a range of visual arts practices. Beyond the physical space, it is important to establish a constructive and positive learning environment conducive to the creative experience.
The structure of the PYP arts scope and sequenceThis scope and sequence aims to provide information for the whole school community about the learning that is going on in the subject area of arts. The document has been designed to recognize that learning in arts is a developmental process and that the phases through which a learner passes are not always linear or age related. For this reason the content is presented in continuums for each of the two strands of arts: responding and creating. For each of the strands there is a strand description and a set of overall expectations. The overall expectations provide a summary of the understandings and subsequent learning being developed in each phase within a strand.
The content of each continuum has been organized into four phases of development that aim to describe arts learning relevant to students in a PYP school. It is acknowledged that there are earlier and later phases than those described in this document. Teachers should ensure that they continue to build on understanding developed in the earlier phases while introducing the new concepts, knowledge and skills detailed in the later phases.
The continuums make explicit the conceptual understandings that are being developed at each phase. The development of these understandings is supported by the learning outcomes associated with each phase. The learning outcomes are written as observable behaviours or actions that will indicate to teachers how students are constructing, creating and sharing meaning through arts. They are, therefore, both diagnostic tools and a means of informing planning for further development.
This unified arts document strengthens the articulation across all PYP arts by providing common conceptual understandings in the context of the two strands: responding and creating. However, in order to respect the integrity of each art form and provide a useful planning tool for teachers, separate learning outcomes are provided for dance, drama, music and visual arts.
Each strand has a set of conceptual understandings and learning outcomes that indicate learning possibilities for that strand. Schools may find that they have other learning outcomes relevant to their particular context and may choose to document these within their own arts scope and sequences.
Introduction to the PYP arts scope and sequence
Arts scope and sequence 7
How to use the PYP arts scope and sequenceDevelopment in arts is not seen as a series of defined incremental steps through which all learners will progress in the same way. When using the continuums regularly, patterns will emerge for learners, indicating their preferences, strengths and needs. An analysis of the learning outcomes demonstrated by each learner will help the teacher decide when to consolidate, reinforce, or extend the learning.
The use of the PYP arts scope and sequence will be an encouragement to teachers to plan for an enriched programme of inquiry, an articulated arts programme, and differentiated instructions in the classroom. The following points should be considered when using the continuums to inform planning, teaching and assessing.
It is acknowledged that there are earlier and later phases that have not been described in these •continuums.
Each learner is a unique individual with different experiences and perceptions. No two learners •progress at the same rate or along the same developmental pathways.
Learners within the same age group will have different proficiency levels and needs. Therefore, •teachers should consider a range of phases when planning arts experiences for a class.
Learners may remain in one phase for some length of time or move rapidly through other phases.•
A learner may exhibit a range of learning outcomes from various phases at any one time.•
The PYP arts scope and sequence is not a prescriptive tool that assumes a learner must attain all the •outcomes of a particular phase before moving on to the next phase, nor that the learner should be in the same phase for each strand, or in the same phase for each of the PYP arts.
Some schools may be able to use the PYP arts scope and sequence just as it is presented here. Other schools may wish to adapt the PYP arts scope and sequence according to their needs. For example, schools may decide to:
develop the conceptual understandings into central idea(s) that students can explore•
incorporate the developmental continuums of the PYP arts scope and sequence into their existing •school documents
frame their arts scope and sequence document around the conceptual understandings outlined in •this document, but develop another aspect, such as the learning outcomes, differently
use the conceptual understandings to develop content for other forms of arts including media arts, •creative writing, photography
integrate additional requirements, for example, indicators, benchmarks and standards, into the PYP •arts scope and sequence.
Schools need to be mindful of practice C1.23 in the IB Programme standards and practices (2005) that states “If the school adapts, or develops, its own scope and sequence, the level of overall expectation regarding student achievement expressed in these documents at least matches that expressed in the PYP scope and sequence documents.” To arrive at such a judgment, and given that the overall expectations in this document are presented as broad generalities, it is recommended that the entire document be read and considered.
Introduction to the PYP arts scope and sequence
Arts scope and sequence8
Arts planning: Sample processesWhen planning for arts, teachers should be mindful of the following practices.
Arts should be taught through the relevant, realistic context of the units of inquiry but is equally •relevant to all additional teaching and learning that the student experiences.
The PYP planner has been developed to support all teachers as they plan for inquiries that are •structured around a central idea.
Within the programme of inquiryIt is important for planning teams, including single-subject teachers, to consider how the development and/or the understanding of the central idea of a unit of inquiry can be supported, enhanced and informed by learning about and through subject-specific concepts, knowledge and skills.
Identify the conceptual understanding(s) (for example, those listed in the PYP arts scope and sequence) that support, enhance and inform learning in the unit of inquiry.
Outside the programme of inquiryWhen specific aspects of arts learning need to be addressed outside the programme of inquiry, structured and purposeful inquiry is considered the principal way in which students learn best.
Identify the conceptual understanding(s) (for example, those listed in the PYP Arts scope and sequence) that students have already shown evidence of. To build on what students already understand and can do, identify the conceptual understanding(s) that will provide either reinforcement or an appropriate level of challenge for the next stage of learning.
Consider how the conceptual understanding identified may help to develop a central idea into which students can inquire.
Design a summative assessment task that will demonstrate the students’ understanding of the central idea and will inform their further or future learning needs.
Identify appropriate learning outcomes (for example, those listed in the PYP Arts scope and sequence) that will provide observable evidence of each student’s engagement with the central idea behind the inquiry.
Plan a range of engaging learning experiences that accommodate the appropriate developmental phases (differentiation) of all students, and will enable individual students to consolidate and develop understanding, demonstrate skills and knowledge and move on to new challenges.
Figure 2Sample processes to inform planning for arts
Arts scope and sequence 9
Learning continuums
RespondingThe process of responding provides students with opportunities to respond to their own and other artists’ works and processes, and in so doing develop the skills of critical analysis, interpretation, evaluation, reflection and communication. Students will demonstrate knowledge and understanding of the concepts, methods and elements of drama, dance, music and visual arts, including using specialized language. Students consider their own and other artists’ works in context and from different perspectives in order to construct meaning and inform their own future works and processes.
The responding strand is not simply about reflecting; responding may include creative acts, and encompasses presenting, sharing and communicating one’s own understanding. By responding to their own artwork and that of others, students become more mindful of their own artistic development and the role that arts play in the world around them.
The responding and creating strands are dynamically linked in an ongoing and reflexive relationship. Learners are encouraged to reflect continually upon their work throughout the process of creating, thus reinforcing the close link between these strands.
Overall expectationsPhase 1Learners show an understanding that the different forms of arts are forms of expression to be enjoyed. They know that dance, drama, music and visual arts use symbols and representations to convey meaning. They have a concept of being an audience of different art forms and display awareness of sharing art with others. They are able to interpret and respond to different art forms, including their own work and that of others.
Phase 2Learners show an understanding that ideas, feelings and experiences can be communicated through arts. They recognize that their own art practices and artwork may be different from others. They are beginning to reflect on and learn from their own stages of creating arts. They are aware that artworks may be created with a specific audience in mind.
Phase 3Learners show an understanding that issues, beliefs and values can be explored in arts. They demonstrate an understanding that there are similarities and differences between different cultures, places and times. They analyse their own work and identify areas to revise to improve its quality. They use strategies, based on what they know, to interpret arts and understand the role of arts in our world.
Phase 4Learners show an understanding that throughout different cultures, places and times, people have innovated and created new modes in arts. They can analyse different art forms and identify common or recurring themes or issues. They recognize that there are many ways to enjoy and interpret arts. They accept feedback from others.
Learning continuums
Arts scope and sequence10
Lear
ning
con
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um fo
r res
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Phas
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Phas
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Phas
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unic
ate
acro
ss
cultu
res,
pla
ces
and
times
thro
ugh
arts
.
The
arts
pro
vide
us
with
mul
tiple
pe
rspe
ctiv
es.
We
refle
ct a
nd a
ct o
n th
e re
spon
ses
to o
ur c
reat
ive
wor
k.
Dan
ce
Lear
ning
out
com
esLe
arne
rs:
show
cur
iosi
ty a
bout
•
live
and
reco
rded
dan
ce
perf
orm
ance
s
desc
ribe
the
idea
s an
d •
feel
ings
com
mun
icat
ed
thro
ugh
body
mov
emen
ts
iden
tify
and
expl
ain
why
•
cert
ain
body
pos
ture
s an
d m
ovem
ents
com
mun
icat
e ce
rtai
n id
eas
and
feel
ings
Lear
ning
out
com
esLe
arne
rs:
com
pare
a v
arie
ty o
f dan
ce
•ge
nres
ove
r tim
e to
the
cont
empo
rary
dan
ce fo
rm o
f th
eir c
ultu
re
reco
gniz
e th
e th
eme
of a
•
danc
e an
d co
mm
unic
ate
thei
r per
sona
l int
erpr
etat
ion
iden
tify
danc
e co
mpo
nent
s •
such
as
rhyt
hm a
nd u
se
of s
pace
in th
eir o
wn
and
othe
rs’ d
ance
cre
atio
ns
Lear
ning
out
com
esLe
arne
rs:
reco
gniz
e th
at d
ance
•
play
s an
inno
vativ
e ro
le in
co
mm
unic
atin
g id
eas
with
in
cultu
res
and
soci
etie
s
refle
ct o
n th
eir p
erso
nal
•an
d fa
mily
his
tory
and
mak
e co
nnec
tions
with
cul
tura
l an
d hi
stor
ical
dan
ce fo
rms
cons
ider
the
com
posi
tion
of
•an
aud
ienc
e w
hen
prep
arin
g an
eff
ectiv
e fo
rmal
and
/or
info
rmal
pre
sent
atio
n
Lear
ning
out
com
esLe
arne
rs:
inve
stig
ate
a cu
ltura
l or
•hi
stor
ical
dan
ce fo
rm
and
iden
tify
how
it
com
mun
icat
es a
rtis
tic, r
itual
or
soc
ial i
ssue
s, b
elie
fs o
r va
lues
reco
gniz
e th
e ro
le a
nd
•re
leva
nce
of d
ance
in
thei
r ow
n so
ciet
y th
roug
h ex
posu
re to
a v
arie
ty
of p
erfo
rmer
s an
d th
eir
pers
pect
ives
Learning continuums
Arts scope and sequence 11
disp
lay
audi
ence
etiq
uett
e •
and
appr
opria
te re
spon
ses
such
as
wat
chin
g, li
sten
ing
and
resp
ondi
ng to
favo
urite
pa
rts
of th
e pe
rfor
man
ce
resp
ond
to d
ance
thro
ugh
•sp
oken
, writ
ten,
vis
ual a
nd/
or k
ines
thet
ic m
ediu
ms.
desc
ribe
and
eval
uate
•
the
lear
ning
s an
d un
ders
tand
ings
dev
elop
ed
thro
ugh
thei
r exp
lora
tion
of
danc
e
real
ize
that
ther
e is
a
•dy
nam
ic c
onne
ctio
n be
twee
n th
e au
dien
ce a
nd
perf
orm
er.
refle
ct o
n ar
tistic
pro
cess
es
•in
dan
ce a
chie
vem
ents
and
ho
w to
inco
rpor
ate
new
id
eas
into
futu
re w
ork
reco
gniz
e ho
w d
ance
can
•
be u
sed
to e
xpre
ss a
nd
unde
rsta
nd o
ur in
ner t
houg
hts
and
our u
nder
stan
ding
of t
he
wor
ld a
roun
d us
.
anal
yse
how
the
mea
ning
s •
of m
ovem
ents
can
cha
nge
in
vario
us c
ultu
ral a
nd h
isto
rical
co
ntex
ts
anal
yse
and
inte
grat
e th
e •
refle
ctio
ns o
f oth
ers
into
th
e cr
eativ
e pr
oces
s w
hen
eval
uatin
g an
d im
prov
ing.
Dra
ma
Lear
ning
out
com
esLe
arne
rs:
resp
ond
to li
ve p
erfo
rman
ces,
•st
orie
s and
pla
ys fr
om o
ther
tim
es a
nd/o
r pla
ces
talk
abo
ut id
eas
and
feel
ings
•
in re
spon
se to
dra
mat
ic
perf
orm
ance
s
disp
lay
audi
ence
etiq
uett
e •
and
appr
opria
te re
spon
ses
real
ize
that
dra
mat
ic
•co
nven
tions
are
use
d to
cra
ft
perf
orm
ance
use
mat
eria
ls to
sym
bolic
ally
•
show
loca
tion
and
char
acte
r
resp
ond
to d
ram
atic
idea
s •
thro
ugh
spok
en, v
isua
l, au
dito
ry a
nd k
ines
thet
ic
med
ium
s.
Lear
ning
out
com
esLe
arne
rs:
com
pare
var
ied
styl
es o
f •
perf
orm
ance
with
dra
ma
from
thei
r ow
n cu
lture
use
dram
a pe
rfor
man
ce to
•
tell
stor
ies
abou
t peo
ple
and
even
ts fr
om v
ario
us c
ultu
res,
in
clud
ing
thei
r ow
n
disc
uss
and
expl
ain
•th
e w
ay id
eas,
feel
ings
an
d ex
perie
nces
can
be
com
mun
icat
ed th
roug
h st
orie
s an
d pe
rfor
man
ce
desc
ribe
and
eval
uate
the
•le
arni
ng a
nd u
nder
stan
ding
s de
velo
ped
thro
ugh
thei
r ex
plor
atio
n of
dra
ma
desc
ribe
the
dyna
mic
•
conn
ectio
n be
twee
n th
e au
dien
ce a
nd p
erfo
rmer
.
Lear
ning
out
com
esLe
arne
rs:
disc
uss a
spec
ts o
f dra
ma
that
•
illus
trat
e re
latio
nshi
ps b
etw
een
cultu
re, h
istor
y an
d lo
catio
n
expl
ore
how
dra
mat
ic
•m
eani
ng il
lust
rate
s the
val
ues,
belie
fs a
nd o
bser
vatio
ns o
f an
indi
vidu
al o
r com
mun
ity
cons
ider
the
com
posi
tion
of
•an
aud
ienc
e w
hen
prep
arin
g an
eff
ectiv
e fo
rmal
and
/or
info
rmal
pre
sent
atio
n
refle
ct o
n ac
hiev
emen
t and
•
chal
leng
es a
nd h
ow th
ey c
an
inco
rpor
ate
thes
e in
fluen
ces
in fu
ture
wor
k
reco
gniz
e an
d di
scus
s ho
w
•th
e co
nseq
uenc
es a
nd
actio
ns o
f a p
erfo
rman
ce
teac
h au
dien
ce m
embe
rs
and
perf
orm
ers
life
less
ons.
Lear
ning
out
com
esLe
arne
rs:
desc
ribe
how
dra
ma
•pl
ays
an in
nova
tive
role
in
com
mun
icat
ing
idea
s w
ithin
cu
lture
s an
d so
ciet
ies
unde
rsta
nd th
e ro
le a
nd
•re
leva
nce
of d
ram
a in
th
eir o
wn
soci
ety
thro
ugh
expo
sure
to a
var
iety
of
per
form
ers
and
thei
r pe
rspe
ctiv
es
refle
ct o
n a
varie
ty o
f •
dram
atic
form
s to
iden
tify
new
und
erst
andi
ngs
with
in
the
arts
reco
gniz
e an
d ex
plor
e so
me
•of
the
diffe
rent
role
s in
thea
tre
use
resp
onse
s to
dra
ma
to
•ad
apt a
nd im
prov
e w
ork,
co
nsid
erin
g th
e or
igin
al
inte
ntio
n.
Learning continuums
Arts scope and sequence12
Mus
ic
Lear
ning
out
com
esLe
arne
rs:
use
voic
e to
imita
te s
ound
s •
and
lear
n so
ngs
brin
g m
usic
from
hom
e to
•
shar
e
desc
ribe
the
diff
eren
ces
in
•m
usic
mov
e th
eir b
odie
s to
exp
ress
•
the
moo
d of
the
mus
ic
desc
ribe
how
mus
ic m
akes
•
them
feel
dist
ingu
ish
the
soun
ds o
f •
diff
eren
t ins
trum
ents
in
mus
ic
liste
n to
mus
ic a
nd c
reat
e •
thei
r ow
n w
ork
in re
spon
se
expr
ess
thei
r res
pons
es
•to
mus
ic in
mul
tiple
way
s (d
raw
ings
, gam
es, s
ongs
, da
nce,
ora
l dis
cuss
ion)
expl
ore
body
and
unt
uned
•
perc
ussi
on in
stru
men
t so
unds
reco
gniz
e di
ffer
ent s
ourc
es
•of
mus
ic in
dai
ly li
fe
reco
gniz
e th
at s
ound
can
be
•no
tate
d in
a v
arie
ty o
f way
s.
Lear
ning
out
com
esLe
arne
rs:
sing
indi
vidu
ally
and
in
•un
ison
reco
gniz
e m
usic
from
a b
asic
•
rang
e of
cul
ture
s an
d st
yles
expr
ess
thei
r res
pons
es to
•
mus
ic fr
om d
iffer
ent c
ultu
res
and
styl
es
crea
te a
mus
ical
com
posi
tion
•to
mat
ch th
e m
ood
of a
vi
sual
imag
e (fo
r exa
mpl
e,
pain
tings
, pho
togr
aphs
, film
)
expl
ore
indi
vidu
ally
or
•co
llect
ivel
y a
mus
ical
re
spon
se to
a n
arra
ted
stor
y
refle
ct o
n an
d co
mm
unic
ate
•th
eir r
eact
ions
to m
usic
usi
ng
mus
ical
voc
abul
ary
reco
rd a
nd s
hare
the
stag
es
•of
the
proc
ess
of c
reat
ing
a co
mpo
sitio
n
shar
e pe
rfor
man
ces
•w
ith e
ach
othe
r and
giv
e co
nstr
uctiv
e cr
itici
sm.
Lear
ning
out
com
esLe
arne
rs:
sing
with
acc
urac
y an
d •
cont
rol f
ocus
ing
awar
enes
s on
the
mus
ical
ele
men
ts
sing
par
tner
son
gs•
disc
uss
mus
ic th
at re
late
s to
•
soci
al is
sues
and
/or v
alue
s
com
pare
asp
ects
of m
usic
•
from
diff
eren
t tim
es a
nd p
lace
s
crea
te a
nd p
erfo
rm a
•
mov
emen
t seq
uenc
e ac
com
pani
ed b
y m
usic
that
th
ey h
ave
crea
ted
shar
e an
d co
mpa
re th
eir
•ex
perie
nces
as
audi
ence
m
embe
rs a
t var
ious
pe
rfor
man
ces
desc
ribe
the
proc
ess
used
•
to c
reat
e th
eir o
wn
mus
ic
and
com
pare
it w
ith o
ther
s,
in o
rder
to im
prov
e th
eir
com
posi
tions
anal
yse
diff
eren
t •
com
posi
tions
des
crib
ing
how
the
mus
ical
ele
men
ts
enha
nce
the
mes
sage
refle
ct u
pon
how
thei
r mus
ic
•ex
pres
ses
thei
r per
sona
l vo
ice
and
the
impa
ct it
has
on
oth
ers.
Lear
ning
out
com
esLe
arne
rs:
sing
indi
vidu
ally
and
in
•ha
rmon
y
expl
ain
the
role
and
•
rele
vanc
e of
mus
ic in
thei
r ow
n cu
lture
, its
use
s an
d as
soci
atio
ns th
roug
h pl
ace
and
time
inte
rpre
t and
exp
lain
the
•cu
ltura
l and
/or h
isto
rical
pe
rspe
ctiv
es o
f a m
usic
al
com
posi
tion
mod
ify th
eir p
ract
ices
and
/or
•co
mpo
sitio
ns b
ased
on
the
audi
ence
s’ re
spon
ses
expl
ore
diff
eren
t art
istic
•
pres
enta
tions
that
are
/w
ere
inno
vativ
e an
d th
eir
impl
icat
ions
.
Learning continuums
Arts scope and sequence 13
Vis
ual a
rts
Lear
ning
out
com
esLe
arne
rs:
enjo
y ex
perie
ncin
g ar
twor
ks•
show
cur
iosi
ty a
nd a
sk
•qu
estio
ns a
bout
art
wor
ks
desc
ribe
wha
t the
y no
tice
•ab
out a
n ar
twor
k
iden
tify
the
mat
eria
ls a
nd
•pr
oces
ses
used
in th
e cr
eatio
n of
an
artw
ork
anal
yse
the
rela
tions
hips
•
with
in a
n ar
twor
k an
d co
nstr
uct m
eani
ngs
com
mun
icat
e th
eir i
nitia
l •
resp
onse
s to
an
artw
ork
in
visu
al, o
ral o
r phy
sica
l mod
es
mak
e pe
rson
al c
onne
ctio
ns
•to
art
wor
ks
expr
ess
opin
ions
abo
ut a
n •
artw
ork
crea
te a
rtw
ork
in re
spon
se to
•
a va
riety
of s
timul
i.
Lear
ning
out
com
esLe
arne
rs:
inve
stig
ate
the
purp
oses
•
of a
rtw
ork
from
diff
eren
t tim
es, p
lace
s an
d a
rang
e of
cu
lture
s in
clud
ing
thei
r ow
n
shar
pen
thei
r pow
ers
of
•ob
serv
atio
n
iden
tify
the
form
al e
lem
ents
•
of a
n ar
twor
k
use
appr
opria
te te
rmin
olog
y •
to d
iscu
ss a
rtw
ork
desc
ribe
sim
ilarit
ies
and
•di
ffer
ence
s be
twee
n ar
twor
ks
iden
tify
the
stag
es o
f the
ir •
own
and
othe
rs’ c
reat
ive
proc
esse
s
beco
me
an e
ngag
ed a
nd
•re
spon
sive
aud
ienc
e fo
r a
varie
ty o
f art
form
s.
Lear
ning
out
com
esLe
arne
rs:
com
pare
, con
tras
t and
•
cate
goriz
e ar
twor
ks fr
om a
ra
nge
of c
ultu
res,
pla
ces
and
times
iden
tify
and
cons
ider
the
•co
ntex
ts in
whi
ch a
rtw
orks
w
ere
mad
e
use
thei
r kno
wle
dge
and
•ex
perie
nces
to m
ake
info
rmed
inte
rpre
tatio
ns o
f ar
twor
ks
refle
ct o
n th
eir o
wn
and
•ot
hers
’ cre
ativ
e pr
oces
ses
to
info
rm th
eir t
hink
ing
use
rele
vant
and
insi
ghtf
ul
•qu
estio
ns to
ext
end
thei
r un
ders
tand
ing
reco
gniz
e th
at d
iffer
ent
•au
dien
ces
resp
ond
in
diff
eren
t way
s to
art
wor
ks
prov
ide
cons
truc
tive
•cr
itici
sm w
hen
resp
ondi
ng to
ar
twor
k.
Lear
ning
out
com
esLe
arne
rs:
expl
ain
the
cultu
ral a
nd
•hi
stor
ical
per
spec
tives
of a
n ar
twor
k
unde
rsta
nd th
e ro
le a
nd
•re
leva
nce
of v
isua
l art
s in
so
ciet
y
refle
ct o
n th
e fa
ctor
s th
at
•in
fluen
ce p
erso
nal r
eact
ions
to
art
wor
k
refle
ct th
roug
hout
the
•cr
eativ
e pr
oces
s to
cha
lleng
e th
eir t
hink
ing
and
enac
t new
an
d un
usua
l pos
sibi
litie
s
criti
que
and
mak
e in
form
ed
•ju
dgm
ents
abo
ut a
rtw
orks
.
Learning continuums
Arts scope and sequence14
CreatingThe process of creating provides students with opportunities to communicate distinctive forms of meaning, develop their technical skills, take creative risks, solve problems and visualize consequences. Students are encouraged to draw on their imagination, experiences and knowledge of materials and processes as starting points for creative exploration. They can make connections between their work and that of other artists to inform their thinking and to provide inspiration. Both independently and collaboratively, students participate in creative processes through which they can communicate ideas and express feelings. The creating strand provides opportunities for students to explore their personal interests, beliefs and values and to engage in a personal artistic journey.
The responding and creating strands are dynamically linked in an ongoing and reflexive relationship. Students are encouraged to reflect continually upon their work throughout the process of creating, thus reinforcing the close link between these strands.
Overall expectationsPhase 1Learners show an understanding that they can express themselves by creating artworks in dance, drama, music and visual arts. They know that creating in arts can be done on their own or with others. They are aware that inspiration to create in arts comes from their own experiences and imagination. They recognize that they use symbols and representations to convey meaning in their work.
Phase 2Learners show an understanding that they can use arts to communicate their ideas, feelings and experiences. They use strategies in their work to enhance the meaning conveyed and to make it more enjoyable for others. They are aware that their work can provoke different responses from others. They understand the value of working individually and collaboratively when creating different art forms.
Phase 3Learners show that, as artists, they can influence thinking and behaviour through the arts they create. They think critically about their work and recognize that their personal interests, beliefs and values can inform their creative work. They show an understanding of the relationships between their work and that of others.
Phase 4Learners show an understanding that their own creative work in dance, drama, music and visual arts can be interpreted and appreciated in different ways. They explore different media and begin to innovate in arts. They consider the feedback from others in improving their work. They recognize that creating in arts provides a sense of accomplishment, not only in the process, but also in providing them with a way to understand the world.
Learning continuums
Arts scope and sequence 15
Lear
ning
con
tinu
um fo
r cre
atin
g
Phas
e 1
Phas
e 2
Phas
e 3
Phas
e 4
Conc
eptu
al
unde
rsta
ndin
gs
We
can
enjo
y an
d le
arn
from
cr
eatin
g ar
t.
The
crea
tive
proc
ess
invo
lves
jo
inin
g in
, exp
lorin
g an
d ta
king
ris
ks.
In c
reat
ing
art,
peop
le m
ake
choi
ces
to c
onst
ruct
mea
ning
ab
out t
he w
orld
aro
und
them
.
We
can
expr
ess
ours
elve
s th
roug
h ar
ts.
Our
exp
erie
nces
and
imag
inat
ion
can
insp
ire u
s to
cre
ate.
We
can
com
mun
icat
e ou
r ide
as,
feel
ings
and
exp
erie
nces
thro
ugh
our a
rtw
ork.
We
solv
e pr
oble
ms
durin
g th
e cr
eativ
e pr
oces
s by
thin
king
cr
itica
lly a
nd im
agin
ativ
ely.
App
lyin
g a
rang
e of
str
ateg
ies
help
s us
to e
xpre
ss o
urse
lves
.
We
are
rece
ptiv
e to
the
valu
e of
wor
king
indi
vidu
ally
and
co
llabo
rativ
ely
to c
reat
e ar
t.
Art
s ha
ve th
e po
wer
to in
fluen
ce
thin
king
and
beh
avio
ur.
We
mak
e co
nnec
tions
bet
wee
n ou
r art
wor
k an
d th
at o
f oth
ers
to
exte
nd o
ur th
inki
ng.
We
can
expl
ore
our p
erso
nal
inte
rest
s, b
elie
fs a
nd v
alue
s th
roug
h ar
ts.
We
act o
n th
e re
spon
ses
to o
ur
artw
ork
to in
form
and
cha
lleng
e ou
r art
istic
dev
elop
men
t.
We
expl
ore
a ra
nge
of p
ossi
bilit
ies
and
pers
pect
ives
to c
omm
unic
ate
in b
road
er w
ays
thro
ugh
our
crea
tive
wor
k.
Art
s pr
ovid
e op
port
uniti
es to
ex
plor
e ou
r cre
ativ
e po
tent
ial
and
enga
ge in
a p
erso
nal a
rtis
tic
jour
ney.
Dan
ce
Lear
ning
out
com
esLe
arne
rs:
resp
ond
to w
ord,
rhyt
hm
•an
d/or
mus
ic th
roug
h m
ovem
ents
com
mun
icat
e an
d ex
pres
s •
feel
ings
thro
ugh
body
m
ovem
ents
expl
ore
the
dyna
mic
flow
•
of b
ody
mov
emen
ts s
uch
as
fast
, slo
w, b
ig, s
mal
l, st
rong
, sm
ooth
, sha
rp, t
ensi
on a
nd
rela
xatio
n
Lear
ning
out
com
esLe
arne
rs:
crea
te m
ovem
ent t
o va
rious
•
tem
pos
inte
rpre
t and
com
mun
icat
e •
feel
ing,
exp
erie
nce
and
narr
ativ
e th
roug
h da
nce
desi
gn a
dan
ce p
hras
e w
ith
•a
begi
nnin
g, m
iddl
e an
d en
ding
crea
te m
ovem
ent t
hat
•ex
plor
es d
imen
sion
s of
di
rect
ion,
leve
l and
sha
pe
Lear
ning
out
com
esLe
arne
rs:
expl
ore
vario
us s
ourc
es
•of
mus
ical
and
nat
ural
rh
ythm
s su
ch a
s be
at,
brea
th, e
mot
iona
l and
en
viro
nmen
tal r
hyth
ms
inve
stig
ate
and
perf
orm
a
•cu
ltura
l or h
isto
rical
dan
ce
form
with
an
unde
rsta
ndin
g of
the
func
tion
of th
e da
nce
form
as
artis
tic, r
itual
or
soci
al
Lear
ning
out
com
esLe
arne
rs:
impr
ovis
e to
cre
ate
vario
us
•m
ovem
ents
for s
peci
fic
purp
oses
chor
eogr
aph
mov
emen
t to
•m
usic
, wor
d an
d so
und
chor
eogr
aph
perf
orm
ance
•
to e
xpre
ss a
nd c
omm
unic
ate
an id
ea, f
eelin
g, e
xper
ienc
e,
rela
tions
hip
or n
arra
tive.
crea
te a
nd p
erfo
rm in
a
•va
riety
of d
ance
gen
res
and
cultu
ral d
ance
type
s
Learning continuums
Arts scope and sequence16
mov
e fr
eely
thro
ugh
the
•sp
ace
to s
how
leve
ls o
f lo
w, m
ediu
m a
nd h
igh
and
chan
ge o
f dire
ctio
n
use
stim
ulus
mat
eria
ls
•to
ext
end
the
body
and
en
hanc
e bo
dy m
ovem
ents
su
ch a
s st
ream
ers,
sca
rves
, pr
ops
and
cost
umes
deve
lop
phys
ical
aw
aren
ess
•in
usi
ng is
olat
ed b
ody
mov
emen
ts a
nd g
ross
mot
or
skill
s
expl
ore
diff
eren
t typ
es
•of
mov
emen
ts s
uch
as
trav
ellin
g, ju
mpi
ng a
nd
turn
ing
deve
lop
the
abili
ty to
•
coop
erat
e an
d co
mm
unic
ate
with
oth
ers
in c
reat
ing
danc
e
wor
k in
divi
dual
ly o
r in
•gr
oups
with
trus
t and
co
nfid
ence
.
deve
lop
phys
ical
bal
ance
•
and
coor
dina
tion
shar
e da
nce
with
diff
eren
t •
audi
ence
s by
par
ticip
atin
g,
liste
ning
and
wat
chin
g
wor
k co
oper
ativ
ely
tow
ards
•
a co
mm
on g
oal,
taki
ng a
n ac
tive
part
in a
cre
ativ
e ex
perie
nce
cons
ider
and
mai
ntai
n •
appr
opria
te b
ehav
iour
s in
dan
ce, a
s an
aud
ienc
e m
embe
r or a
s a
perf
orm
er,
by li
sten
ing,
wat
chin
g an
d sh
owin
g ap
prec
iatio
n.
perf
orm
incr
easi
ngly
mor
e •
diff
icul
t seq
uenc
es w
ith
cont
rol
crea
te m
ovem
ent t
o sh
ow
•co
ntra
st in
des
igns
suc
h as
sy
mm
etry
/asy
mm
etry
and
op
posi
tion/
succ
essi
on
deve
lop
phys
ical
flex
ibili
ty
•an
d st
reng
th
expe
rienc
e va
ryin
g •
grou
ping
s w
hen
perf
orm
ing
danc
e, in
clud
ing
ense
mbl
e pe
rfor
man
ce
expr
ess
thei
r uni
que
valu
es,
•be
liefs
and
inte
rest
s th
roug
h a
danc
e fo
rm
inte
rpre
t and
repl
icat
e a
•va
riety
of d
ance
sty
les
and
genr
es.
show
phy
sica
l con
fiden
ce in
•
the
use
of th
eir b
odie
s
wor
k to
dev
elop
eac
h ot
her’s
•
idea
s du
ring
the
crea
tive
proc
ess
anal
yse
and
inte
grat
e th
e •
refle
ctio
ns o
f oth
ers
into
th
e cr
eativ
e pr
oces
s w
hen
eval
uatin
g an
d im
prov
ing.
Learning continuums
Arts scope and sequence 17
Dra
ma
Lear
ning
out
com
esLe
arne
rs:
enga
ge in
imag
inat
ive
play
•
usin
g a
rang
e of
stim
uli
deve
lop
the
abili
ty to
•
coop
erat
e an
d co
mm
unic
ate
with
oth
ers
in c
reat
ing
dram
a
expl
ore
basi
c bo
dily
•
mov
emen
ts a
nd th
e us
e of
sp
ace
expl
ore
fam
iliar
role
s, th
emes
•
and
stor
ies
dram
atic
ally
crea
te ro
les
in re
spon
se to
•
prop
s, s
et a
nd c
ostu
mes
wor
k in
divi
dual
ly o
r in
•gr
oups
with
con
fiden
ce.
Lear
ning
out
com
esLe
arne
rs:
shar
e dr
ama
with
diff
eren
t •
audi
ence
s by
par
ticip
atin
g,
liste
ning
and
wat
chin
g
iden
tify
with
cha
ract
ers
•th
roug
h ro
le-p
lay
deve
lopm
ent
use
perf
orm
ance
as
a •
prob
lem
-sol
ving
tool
wor
k co
oper
ativ
ely
tow
ards
•
a co
mm
on g
oal,
taki
ng a
n ac
tive
part
in a
cre
ativ
e ex
perie
nce
mak
e us
e of
sim
ple
•pe
rfor
man
ce c
onve
ntio
ns to
sh
are
idea
s
cons
ider
and
mai
ntai
n •
appr
opria
te b
ehav
iour
s in
dra
ma,
as
an a
udie
nce
mem
ber o
r as
a pe
rfor
mer
valu
e an
d de
velo
p im
agin
ary
•ro
les
or s
ituat
ions
.
Lear
ning
out
com
esLe
arne
rs:
crea
te a
dev
ised
or s
crip
ted
•pe
rfor
man
ce fo
r a p
artic
ular
au
dien
ce o
r pur
pose
mak
e ar
tistic
cho
ices
abo
ut
•ro
le, s
ituat
ion
and
cont
ext
iden
tify
how
cul
tura
l •
conn
ectio
ns c
an b
e m
ade
with
diff
eren
t typ
es o
f dra
ma
iden
tify
and
deve
lop
the
•pe
rson
al a
nd re
late
d sk
ills
enco
unte
red
thro
ugh
the
dram
a ex
perie
nce
find
appr
opria
te w
ays
to
•co
mm
unic
ate
spec
ific
mea
ning
usi
ng d
ram
atic
ac
tion
expr
ess
thei
r uni
que
valu
es,
•be
liefs
and
inte
rest
s th
roug
h a
dram
atic
form
inte
rpre
t writ
ten
dial
ogue
s •
or s
cena
rios.
Lear
ning
out
com
esLe
arne
rs:
man
ipul
ate
a va
riety
of
•di
ffer
ent d
ram
a st
rate
gies
an
d te
chni
ques
to
crea
te in
form
ed s
crip
ts,
char
acte
rizat
ions
and
co
ntex
ts
wor
k to
dev
elop
eac
h ot
her’s
•
idea
s du
ring
the
crea
tive
proc
ess
crea
te a
nd p
erfo
rm a
•
sequ
entia
l dra
ma
that
ex
plor
es a
par
ticul
ar is
sue
by
expe
rimen
ting
with
diff
eren
t dr
amat
ic fo
rms
cons
ider
the
skill
s an
d •
tech
niqu
es u
sed
by a
rang
e of
dra
ma
prac
titio
ners
in th
e pe
rfor
min
g ar
ts
show
an
awar
enes
s of
•
audi
ence
and
ada
pt
perf
orm
ance
s ac
cord
ingl
y
cons
ider
the
advi
ce a
nd
•fe
edba
ck o
f oth
ers
as a
n es
sent
ial p
art o
f the
cre
ativ
e pr
oces
s
expl
ore
writ
ing
for
•pe
rfor
man
ce.
Learning continuums
Arts scope and sequence18
Mus
ic
Lear
ning
out
com
esLe
arne
rs:
use
voca
l sou
nds,
rhyt
hms
•an
d in
stru
men
ts to
exp
ress
fe
elin
gs o
r ide
as
crea
te a
nd a
ccom
pany
mus
ic
•us
ing
a va
riety
of s
ound
s an
d in
stru
men
ts
play
unt
uned
per
cuss
ion
•in
stru
men
ts in
tim
e w
ith a
be
at
use
the
voic
e an
d bo
dy to
•
crea
te m
usic
al p
atte
rns
expl
ore
soun
d as
a m
eans
of
•ex
pres
sing
imag
inat
ive
idea
s
recr
eate
sou
nds
from
fam
iliar
•
expe
rienc
es
part
icip
ate
in p
erfo
rmin
g •
and
crea
ting
mus
ic b
oth
indi
vidu
ally
and
col
lect
ivel
y
reco
rd th
eir p
erso
nal,
visu
al
•in
terp
reta
tion
of e
lem
ents
of
sou
nd (f
or e
xam
ple,
loud
/so
ft, h
igh/
low
, fas
t/sl
ow)
crea
te th
eir o
wn
basi
c •
mus
ical
inst
rum
ents
.
Lear
ning
out
com
esLe
arne
rs:
expl
ore
voca
l sou
nds,
•
rhyt
hms,
inst
rum
ents
, tim
bres
to c
omm
unic
ate
idea
s an
d fe
elin
gs
expr
ess
one
or m
ore
•m
oods
/fee
lings
in a
mus
ical
co
mpo
sitio
n
crea
te m
usic
to re
pres
ent
•di
ffer
ent c
ultu
res
and
styl
es
crea
te a
sou
ndsc
ape
base
d •
on p
erso
nal e
xper
ienc
es
colla
bora
tivel
y cr
eate
a
•m
usic
al s
eque
nce
usin
g kn
own
mus
ical
ele
men
ts (f
or
exam
ple,
rhyt
hm, m
elod
y,
cont
rast
)
read
, writ
e an
d pe
rfor
m
•si
mpl
e m
usic
al p
atte
rns
and
phra
ses
crea
te m
usic
for d
iffer
ent
•pu
rpos
es.
Lear
ning
out
com
esLe
arne
rs:
crea
te a
mus
ical
com
posi
tion
•ex
pres
sing
thei
r ow
n id
eas
and
feel
ings
on
a so
cial
issu
e
deliv
er a
mus
ical
mes
sage
•
to d
iffer
ent a
udie
nces
(for
ex
ampl
e, p
eace
mes
sage
to
par
ents
, kin
derg
arte
n ch
ildre
n, fr
iend
s)
crea
te a
nd p
erfo
rm a
•
mov
emen
t seq
uenc
e us
ing
know
n m
usic
al e
lem
ents
impr
ovis
e up
on a
bas
ic
•pa
tter
n to
rein
forc
e th
e im
port
ance
of t
he in
divi
dual
w
ithin
the
grou
p
crea
te a
nd re
cord
a
•co
mpo
sitio
n fo
cusi
ng o
n fo
rm, s
truc
ture
and
sty
le to
gi
ve m
ore
mea
ning
to th
eir
mes
sage
expr
ess
them
selv
es a
s •
indi
vidu
als
thro
ugh
mus
ical
co
mpo
sitio
n
read
and
writ
e m
usic
usi
ng
•no
n-tr
aditi
onal
not
atio
n.
Lear
ning
out
com
esLe
arne
rs:
crea
te m
usic
that
will
be
•co
ntin
ually
refin
ed a
fter
be
ing
shar
ed w
ith o
ther
s
pres
ent,
in s
mal
l gro
ups,
•
inno
vativ
e m
usic
al
perf
orm
ance
s on
a s
elec
ted
issu
e
inco
rpor
ate
the
othe
r art
s •
and
avai
labl
e re
sour
ces
in o
rder
to b
road
en th
eir
crea
tive
expr
essi
on
read
and
writ
e m
usic
in
•tr
aditi
onal
and
/or n
on-
trad
ition
al n
otat
ion.
Learning continuums
Arts scope and sequence 19
Vis
ual a
rts
Lear
ning
out
com
esLe
arne
rs:
enga
ge w
ith, a
nd e
njoy
•
a va
riety
of v
isua
l art
s ex
perie
nces
sele
ct to
ols,
mat
eria
ls
•an
d pr
oces
ses
for s
peci
fic
purp
oses
com
bine
diff
eren
t for
mal
•
elem
ents
to c
reat
e a
spec
ific
effe
ct
real
ize
that
thei
r art
wor
k ha
s •
mea
ning
use
thei
r im
agin
atio
n an
d •
expe
rienc
es to
info
rm th
eir
art m
akin
g
crea
te a
rtw
ork
in re
spon
se to
•
a ra
nge
of s
timul
i
take
resp
onsi
bilit
y fo
r the
•
care
of t
ools
and
mat
eria
ls
take
resp
onsi
bilit
y fo
r the
ir •
own
and
othe
rs’ s
afet
y in
the
wor
king
env
ironm
ent
part
icip
ate
in in
divi
dual
•
and
colla
bora
tive
crea
tive
expe
rienc
es.
Lear
ning
out
com
esLe
arne
rs:
iden
tify,
pla
n an
d m
ake
•sp
ecifi
c ch
oice
s of
mat
eria
ls,
tool
s an
d pr
oces
ses
shar
pen
thei
r pow
ers
of
•ob
serv
atio
n
dem
onst
rate
con
trol
of t
ools
, •
mat
eria
ls a
nd p
roce
sses
mak
e pr
edic
tions
, •
expe
rimen
t, an
d an
ticip
ate
poss
ible
out
com
es
com
bine
a v
arie
ty o
f for
mal
•
elem
ents
to c
omm
unic
ate
idea
s, fe
elin
gs a
nd/o
r ex
perie
nces
iden
tify
the
stag
es o
f the
ir •
own
and
othe
rs’ c
reat
ive
proc
esse
s
cons
ider
thei
r aud
ienc
e •
whe
n cr
eatin
g ar
twor
k.
Lear
ning
out
com
esLe
arne
rs:
show
aw
aren
ess
of th
e •
affe
ctiv
e po
wer
of v
isua
l art
s
mak
e co
nnec
tions
bet
wee
n •
the
idea
s th
ey a
re e
xplo
ring
in th
eir a
rtw
ork
and
thos
e ex
plor
ed b
y ot
her a
rtis
ts
thro
ugh
time,
pla
ce a
nd
cultu
res
crea
te a
rtw
ork
for a
spe
cific
•
audi
ence
use
a pe
rson
al in
tere
st, b
elie
f •
or v
alue
as
the
star
ting
poin
t to
cre
ate
a pi
ece
of a
rtw
ork
use
a ra
nge
of s
trat
egie
s to
•
solv
e pr
oble
ms
durin
g th
e cr
eativ
e pr
oces
s.
Lear
ning
out
com
esLe
arne
rs:
beco
me
incr
easi
ngly
•
inde
pend
ent i
n th
e re
aliz
atio
n of
the
crea
tive
proc
ess
adju
st a
nd re
fine
thei
r •
crea
tive
proc
ess
in re
spon
se
to c
onst
ruct
ive
criti
cism
iden
tify
fact
ors
to b
e •
cons
ider
ed w
hen
disp
layi
ng
an a
rtw
ork
utili
ze a
bro
ad ra
nge
of w
ays
•to
mak
e m
eani
ng
sele
ct, r
esea
rch
and
deve
lop
•an
idea
or t
hem
e fo
r an
artw
ork
deve
lop
an a
war
enes
s of
•
thei
r per
sona
l pre
fere
nces
.
Arts scope and sequence20
Samples
Several examples of how schools are using the planner to facilitate inquiries into arts have been developed and trialled by IB World Schools offering the PYP. These examples are included in the HTML version of the PYP Arts scope and sequence on the online curriculum centre. The IB is interested in receiving planners that have been developed for inquiries into arts or for units of inquiry where arts concepts are strongly evident. Please send planners to [email protected] for possible inclusion on this site.