REPUBLIC OF TRINIDAD AND TOBAGO MINISTRY OF EDUCATION SECONDARY EDUCATION MODERNIZATION PROGRAMME DRAFT SECONDARY SCHOOL CURRICULUM Form Three Visual and Performing Arts Curriculum Development Division October 2003 TABLE OF CONTENTS About This First Draft ………………………………………………............... i A Note to Teachers …………………………………………………………… iii Acknowledgements …………………………………………………………… v PART ONE: CURRICULUM FOUNDATIONS Introduction ……………………………………………………………………. 1 - 1 Curriculum Underpinnings ………………………………………………….… 1 - 2 Philosophy of Education ……………………………………………………… 1 - 3 The Goals of Education ……………………………………………………….. 1 - 5 The Essential Learning Outcomes ……………………………………………. 1 - 6 The Curriculum Design and Development …………………………………… 1 - 11 The Core Curriculum ………………………………………………………..… 1 - 12 PART TWO: CURRICULUM CONTENT Vision for the Visual and Performing Arts .………………………….……... 2 - 1 Rationale for Teaching Visual and Performing Arts ………………………… 2 - 2 General Intended Learning Outcomes from the Visual and Performing Arts Curriculum ………………………………….… 2 - 5 Framework of the Visual and Performing Arts Curriculum ………………… 2 - 6 Visual Arts – Internal Organizers ………………………………………….. 2 - 7 Specific Intended Learning Outcomes in the Visual Arts ………………….. 2 - 8 The Programme Content Organisation ……………………………………… 2 - 10 Visual Arts and Connections to other Visual and Performing Arts Disciplines ……………………………..…… 2 - 12 Visual Arts and Connections to the Core Curriculum ……………………….. 2 - 13 Criteria for Assessing Visual Arts Work …………………………………….. 2 - 15 Visual Arts Curriculum – Course Outlines (Form One) ……………..……… 2 - 16 Drama – Internal Organizers ……………………………………………….… 2 - 20 Specific Intended Learning Outcomes in Drama ……………………………… 2 - 21 Drama and Connections to the Core Curriculum ……………………………… 2 - 26 Drama and Connections to other Visual and Performing Arts Disciplines …… 2 - 28 Drama Curriculum – Course Outline (Form One) …………………………… 2 - 29 Music – Internal Organizers …………………………………………………. 2 - 37 Specific Intended Learning Outcomes in Music ……………………………… 2 - 38 Music and Connections to the Core Curriculum ……………………………… 2 - 46 Music and Connections to other Visual and Performing Arts Disciplines …… 2 - 49 Music Curriculum – Course Outline (Form One) …………….…………..…. 2 - 50 Dance – Internal Organizers ………………………………………………… 2 - 59 Specific Intended Learning Outcomes in Dance ……………………………… 2 - 60 Dance and Connections to the Core Curriculum ……………………………… 2 - 65 Dance and Connections to other Visual and Performing Arts Disciplines …… 2 - 67 Dance Curriculum – Course Outline (Form One) ………………………….… 2 - 68 Integrated Arts Programme ………………………………………………… 2 - 71 Thematic Model - Course Outline …………………………………………….. 2 - 74 PART THREE: GLOSSARY Glossary of Key Terms in Visual Arts ……………………………………… 3 - 1 Glossary of Key Terms in Dance …………………………………………… 3 - 5 Glossary of Key Terms in Drama …………………………………………… 3 - 9 Glossary of Key Terms in Music …………………………………………… 3 - 14 PART FOUR: BIBLIOGRAPHY/RESOURCES Bibliography/Resources for the Arts…………………………………………. 4 - 1 Visual Arts Bibliography and Resources……………………………..……… 4 - 5 Community Arts Organizations………………………………………………. 4 - 6 Dance Bibliography and Resources…………………………………………… 4 - 7 Drama Bibliography and Resources…………………………………………… 4 - 8 Music Bibliography and Resources……………………………………………. 4 - 10 General Arts Internet Resources………………………………………………. 4 - 12 i ABOUT THIS DRAFT Under the umbrella of the Secondary Education Modernization Programme (SEMP), since the latter part of 1999, new secondary school curricula in eight (8) subjects – Language Arts (English), Science, Mathematics, Social Studies, Spanish, Physical Education, Visual and Performing Arts and Technology Education – have been in development. In this publication you will find the first drafts of the Form III curriculum guide produced for each of the above identified subject areas. These Curriculum Guides represent ‘a work in progress’. They are not the finished product. They intended to serve the following purposes: (i) provide clear guidance to teachers for implementing effectively the instructional programme for a particular subject area at a particular class/form level. (ii) present a sufficiently detailed learning plan for the respective subject areas and for the entire secondary school curriculum that would enable teachers, school administrators and other major stakeholders to give meaningful, constructive feedback on the draft curricula for the various subjects – that is, for them to be actively involved in the development process. (iii) contribute to the further revision and refinement, through the feedback received at (ii) above, of this draft curriculum guide for Form III. Teachers and other users of these Curriculum Guides should also carefully note the following: • Teachers’ Guides, Performance Standards, Assessment Manuals, Integration Matrices (linking content and essential learning outcomes in the relevant subject areas) are being developed and are in various stages of completion as companion documents to these Curriculum Guides. Accordingly, teachers and other users of these Draft Curricula can be assured that only certain areas, which may be interpreted as showing a lack of clarity, detail and/or adequate treatment, will be adequately addressed in the forthcoming above-mentioned companion documents. • A series or orientation meetings and training workshops related to the effective implementation of the curriculum is being planned. At these workshops/meetings the concerns of teachers will be addressed and guidance given with respect to the interpretation/clarification of certain aspects of these draft Guides. • These first draft publications of the respective Curriculum Guides have been issued in ring binders. This mode of presentation will facilitate correction of existing typographical errors, standardization of font sizes, formatting, layout etc, as well as the revision/refinement of the subsequent drafts – which will inevitably ensue from feedback/comments on these draft documents. ii Finally, we hold the view that teachers, in particular, but other stakeholders as well, are key players in the curriculum development process. Teachers are integral to the development of curricula that are relevant and appropriate. The curriculum is the major vehicle for providing quality education which meets the needs of both the individual learner and the national development objectives of the Republic of Trinidad and Tobago. In this regard, we eagerly look forward to and indeed welcome the comments/suggestions of all stakeholders, especially teachers, which should be addressed to: Director, Curriculum Development Rudranath Capildeo Learning Resource Centre Mc Bean, Couva Tel/fax: 636-9296 e-mail: curriculum@tstt.net.tt iii A Note to Teachers The Ministry of Education through the Secondary Education Modernization Programme is seeking to reform the secondary education system. These draft National Curriculum Guides produced for eight subject areas are a key element in the current thrust to address the deficiencies identified in the system. Draft curriculum guides have already been produced for years one and two of the secondary system. Implementation of the new curriculum began on a phased basis in September 2003. These draft guides for year three represent the conclusion of the first cycle of secondary school and together with those of years one and two prepare students for the National Certificate of Secondary Education, Part One. The three sets of curriculum guides constitute the draft National Curriculum for the lower secondary school system. The National Curriculum is an important element of the School Curriculum which comprises all the learning and other experiences that each school plans for its pupils. It is expected that each school will undertake to develop the School Curriculum in alignment with the National Curriculum, fine tuning as necessary in response to the needs of their pupils and to the community. Teachers too have curriculum functions to perform. Using the National Curriculum Guides they are expected to develop instructional programmes, determining the type and extent of curriculum integration and the teaching and assessment strategies to be employed to facilitate student success. They will also identify and develop appropriate learning materials and decide on how the curriculum will be individualized to suit students’ capabilities, needs and interests. The introduction of the new curriculum guides for forms one to three is being accompanied by several supporting initiatives. These include the iv • phased technical upgrade of physical facilities • provision of enhanced teaching and learning resources including textbooks • increased use of educational technology • introduction of a curriculum website at www.curriculum.gov.tt • professional development opportunities for teachers, heads of departments, principals and vice-principals • expanded schools transportation and meals programmes • restructuring and decentralization of the education system. As implementation proceeds, there will be careful monitoring to obtain feedback and to provide necessary support. Your comments and suggestions are most welcome and may be made on the website or in writing. Final revision of the draft guides is planned for the academic year 2005- 2006. We are confident that this new curriculum will significantly enhance teaching and learning experiences in our secondary schools and consequently the achievement of the national educational goals. Sharon Mangroo Director, Curriculum Development (Ag) December, 2003 v ACKNOWLEDGEMENTS The Ministry of Education wishes to express its sincere appreciation to all those who contributed to the curriculum development process. The Coordinating Unit of the Secondary Education Modernization Programme (SEMPCU) assisted in planning, facilitating, organizing and coordinating the various exercises in addition to providing technical assistance. Special thanks to • Mr. Maurice Chin Aleong, Programme Coordinator, Dr. Stephen Joseph, Assistant Programme Coordinator, Quality Improvement and Mrs. Patricia Sealy and Mrs. Renée Figuera, Education Specialists • Mr. Lloyd Pujadas, Director, Curriculum Development and leader of the SEMP Curriculum Development sub-component who led the year three activities • Dr. Robert Sargent, International Consultant of Mount St. Vincent University who guided the process • The principals who generously released teachers to participate in the curriculum writing process • The administrative staff of the Curriculum Development Division who typed and retyped the documents • The Division of Educational Services which printed early drafts for circulation • Mrs. Marie Abraham, Editor who contributed her time, energy and knowledge to the editing of these documents The Curriculum Officers and members of the Curriculum Writing Teams brought their knowledge, skills and practical experience of teaching and learning to the curriculum development process. Members of the writing team for this subject are listed below. The Members of the Curriculum Writing Team for this subject are: NAME SCHOOL/INSTITUTION 1. Dr. Nick Webb Consultant: Professor, Nova Scotia College of Art & Design 2. Salima Ali Curriculum Coordinator, Ministry of Education 3. Victor Prescod Curriculum Officer, Music, Ministry of Education 4. Ainsworth Ovid Curriculum Officer, Art/Craft, Ministry of Education vi 5. Gillian Creese Art/Craft – Mucurapo Junior Secondary 6. Hillary Vieruel Art/Craft - Valsayn Teachers College 7. Victor Edwards Drama Facilitator - South East Educational District 8. Allison Seepaul Dance/Drama – Valsayn Teachers College 9. Colin Persad Music – Five Rivers Junior Secondary School 10. Averil Ramchand Drama - St. Augustine Girls High School 11. Indira Balkaransingh Dance - Cunupia High School 12. Carol La Chapelle Dance - Ibis High school 13. Glen Worrell Music - Barataria Senior Comprehensive 1-1 INTRODUCTION In its commitment to a comprehensive reform and expansion of the secondary school system, the Government of the Republic of Trinidad and Tobago in 1996, adopted the report of the National Task Force on Education as educational policy. The specific recommendations for the improvement of secondary education led to discussions with the Inter American Development Bank (IADB) for loan funding arrangements for a programme to modernise secondary education in Trinidad and Tobago. This programme, the Secondary Education Modernization Programme (SEMP) was formalized and has been designed to: - address deficiencies identified in the education system; - establish a firm secondary education foundation that would catapult Trinidad and Tobago into the 21st century assured of its ability to participate advantageously in the global economic village, smoothly traverse the information super highway and utilize cutting edge technology for the competitive advantage it provides; - allow for adaptation to future demands; and - produce good citizens. The deficiencies identified include: - an unacceptably low level of academic achievement; - unsatisfactory personal and social development outcomes: and - curricular arrangements whose major outcomes were linked to the attainment of a minimum of five General passes in the Caribbean Examinations Council (CXC) examination. The Secondary Education Modernization Programme (SEMP) consists of four articulated components: (a) improved educational equity and quality (b) deshifting, rehabilitation, and upgrading of school infrastructure 1-2 (c) institutional strengthening, and (d) studies and measures for improved sector performance. This document is evidence of the effort to address component (a) under which curriculum development falls. THE CURRICULUM UNDERPINNINGS This curriculum has been informed by the wealth of available curriculum theories and processes. In the Final Report of the Curriculum Development Sub-Component submitted by J. Reece and K. Seepersad, the curriculum is defined, as a “plan for action” or a “written document that included strategies for achieving desired goals or ends.” This is the definition that is applied here. The curriculum is herein defined as the written document that is to be used by teachers to plan effective learning opportunities for students in secondary schools. Macdonald (1976) declares, ‘Curriculum it would seem to me is the study of “what should constitute a world for learning and how to go about making this world”. As such it is a microcosm... the very questions that seem to me of foremost concern to all humanity, questions such as what is the good society, what is the good life and what is a good person are explicit in the curriculum question. Further, the moral question of how to relate to others or how best to live together is clearly a part of curriculum.’ In essence Macdonald’s statement establishes the basic forces that influence and shape the organization and content of the curriculum: the curriculum foundations. These are: (a) The Philosophy and the Nature of Knowledge (b) Society and Culture (c) The Learner (d) Learning Theories These foundations are at the heart or the centre of the dialogue essential to the development of a coherent, culturally focussed and dynamically evolving curriculum. Of course the prevailing philosophical concerns and educational goals provide the base. 1-3 PHILOSOPHY OF EDUCATION The following philosophical statements are at the foundation of the curriculum and are stated in the Education Policy Paper 1993-2003 as follows: WE BELIEVE That every child has an inherent right to an education which will enhance the development of maximum capability regardless of gender, ethnic, economic, social or religious background. That every child has the ability to learn, and that we must build on this positive assumption. That every child has an inalienable right to an education which facilitates the achievement of personal goals and the fulfilment of obligations to society. That education is fundamental to the overall development of Trinidad and Tobago. That a system of ‘heavily subsidised’ and universal education up to age 16 is the greatest safeguard of the freedom of our people and is the best guarantee of their social, political, and economic well-being at this stage in our development. That the educational system of Trinidad and Tobago must endeavour to develop a spiritually, morally, physically, intellectually and emotionally sound individual. That ethical and moral concerns are central to human development and survival. Fundamental constructs such as “decency,” “justice,” “respect,” “kindness,” “equality, “love,” “honesty,” and “sensitivity,” are major determinants of the survival of our multi- cultural society. 1-4 That the parent and the home have a major responsibility for the welfare of the child and that the well-being of the child can best be served by a strong partnership between the community and the school. That the educational system must provide curricular arrangements and choices that ensure that cultural, ethnic, class and gender needs are appropriately addressed. That students vary in natural ability, and that schools therefore should provide, for all students, programmes which are adapted to varying abilities, and which provide opportunities to develop differing personal and socially useful talents. That we must be alert to new research and development in all fields of human learning and to the implications of these developments for more effective teaching and school improvement. That the educational system must be served by professionals who share and are guided in their operations by a set of systematic and incisive understandings, beliefs and values about education in general and its relationship to the development of the national community of Trinidad and Tobago. That there is a need to create and sustain a humanised and democratised system of education for the survival of our democracy. That the democratisation and humanisation of the educational system are largely contingent on the degree to which the system is professionalised. The nature of educational problems are [sic] such that the professional core must be engaged in decision-making with respect to the problems that affect their expert delivery of the services to the clientele and ultimately to Trinidad and Tobago. Professionals must come to experience a real sense of ‘control and ownership’ of matters educational. 1-5 That from a psychological perspective, education is a means of looking out beyond the boundaries of the immediate. It can be the viable means which creates individuals with the intellect and capacity to develop and lead societies, communities, villages, and/or neighbourhoods and families of the future. It should be responsive to and stimulate the searing human spirit and the emphatic quest for human communication, interaction, love and trust. That learning is cumulative and that every stage in the educational process is as important and critical for the learner’s development as what has gone before it and what is to come. As such we must view educational programming and development in the round, recognising the importance of every rung on the ladder of delivery by intensifying our efforts throughout the system. THE GOALS OF EDUCATION Coming out of the articulated philosophy, formal education in Trinidad and Tobago must aim to: provide opportunities for all students to develop spiritually, morally, emotionally, intellectually and physically; develop in all students attitudes of honesty, tolerance, integrity and efficiency; provide opportunities for self-directed and life-long learning; provide opportunities for all students to develop numeracy, literacy, scientific and technological skills; promote national development and economic sustainability; promote an understanding of the principles and practices of a democratic society; equip all students with basic life skills; promote the preservation and protection of the environment; develop in all students an understanding of the importance of a healthy lifestyle; 1-6 help all students acquire the knowledge, skills and attitudes necessary to be intelligent consumers; provide opportunities for all students to develop an understanding and appreciation of the diversity of our culture; and provide opportunities for all students to develop an appreciation for beauty and human achievement in the visual and performing arts. An analysis of the educational philosophy of the Ministry of Education's Policy Paper (1993 – 2003) and of the goals for education derived from it by the Curriculum Development Division (as outlined above), taken with the research conducted in developed nations, has led to the identification of six areas in which all secondary students must achieve. These are universally accepted goals that have been developed and underscored by other educational jurisdictions and have been described as essential learning outcomes. These outcomes help to define standards of attainment for all secondary school students. THE ESSENTIAL LEARNING OUTCOMES The six outcomes are in the areas of: Aesthetic Expression Citizenship Communication Personal Development Problem Solving Technological Competence The achievement of these essential learning outcomes by all students is the goal that every core curriculum subject must facilitate. The core curriculum subjects, their content, and the teaching, learning and assessment strategies are the means to fulfil this end. It is expected that by the end of the third year of secondary school students’ achievement in all six areas will result in a solid foundation of knowledge, skills and attitudes which will constitute 1-7 the base for a platform for living in the Trinidad and Tobago society and for making informed choices for further secondary education. The essential learning outcomes are described more fully below. Aesthetic Expression Students should recognise that the arts represent an important facet of their development, and that they should respond positively to its various forms. They should be able to demonstrate visual acuity and aesthetic sensibilities and sensitivities in expressing themselves through the arts. Students should be able, for example, to use various art forms as a means of formulating and expressing ideas, perceptions and feelings; demonstrate understanding of the contribution of the arts to daily life, cultural identity and diversity; demonstrate understanding of the economic role of the arts in the global village society; demonstrate understanding of the ideas, perceptions and feelings of others as expressed in various art forms; demonstrate understanding of the significance of cultural resources, such as museums, theatres, galleries, and other expressions of the multi-cultural reality of society. Citizenship Students should be able to situate themselves in a multicultural, multiethnic environment with a clear understanding of the contribution they must make to social, cultural, economic, and environmental development in the local and global context. Students should be able, for example, to: demonstrate an understanding of sustainable development and its implications for the environment locally and globally; 1-8 demonstrate an understanding of Trinidad and Tobago’s political, social and economic systems in the global context; demonstrate understanding of the social, political and economic forces that have shaped the past and present, and apply those understandings to the process of planning for the future; examine issues of human rights and recognize and react against forms of discrimination, violence and anti-social behaviours; determine the principles and actions of a just, peaceful, pluralistic and democratic society, and act accordingly; demonstrate an understanding of their own cultural heritage, cultural identity and that of others, and the contribution of multiculturalism to society. Communication Students should be able to, through the use of their bodies, language, tools, symbols and media, demonstrate their deeper understandings of synergies inherent in the exchange of ideas and information and thus communicate more effectively. Students should be able, for example, to explore, reflect on, and express their own ideas, learning, perceptions and feelings; demonstrate understanding of facts and relationships presented through words, numbers symbols, graphs and charts; demonstrate sensitivity and empathy where necessary in communicating various kinds of emotions and information; present information and instructions clearly, logically, concisely and accurately for a variety of audiences; interpret and evaluate data, and express ideas in everyday language; critically reflect on and interpret ideas presented through a variety of media. 1-9 Personal Development Students should be able to grow from inside out, continually enlarging their knowledge base, expanding their horizons and challenging themselves in the pursuit of a healthy and productive life. Students should be able, for example, to: demonstrate preparedness for the transition to work and further learning; make appropriate decisions and take responsibility for those decisions; work and study purposefully both independently and in cooperative groups; demonstrate an understanding of the relationship between health and lifestyle; discriminate amongst a wide variety of career opportunities; demonstrate coping, management and interpersonal skills; display intellectual curiosity, an entrepreneurial spirit and initiative; reflect critically on ethical and other issues; deal effectively with change and become agents for positive, effective change. Problem Solving Students should know problem-solving strategies and be able to apply them to situations they encounter. They should develop critical thinking and inquiry skills with which they can process information to solve a wide variety of problems. Students should be able, for example, to: acquire, process and interpret information critically to make informed decisions; use a variety of strategies and perspectives with flexibility and creativity for solving problems; formulate tentative ideas, and question their own assumptions and those of others; 1 -10 solve problems individually and collaboratively; identify, describe, formulate and reformulate problems; frame and test hypotheses; ask questions, observe relationships, make inferences, and draw conclusions; identify, describe and interpret different points of view and distinguish fact from opinion. Technological Competence Students should be technologically literate, able to understand and use various technologies, and demonstrate an understanding of the role of technology in their lives, in society, and the world at large. Students should be able, for example, to locate, evaluate, adapt, create, and share information using a variety of sources and technologies; demonstrate understanding of and use existing and developing technologies appropriately; demonstrate an understanding of the impact of technology on society; demonstrate an understanding of ethical issues related to the use of technology in a local and global context. 1 -11 THE CURRICULUM DESIGN AND DEVELOPMENT PROCESS In order to achieve the outcomes as defined by the underpinning philosophy and goals, the Curriculum Division of the Ministry of Education embarked on a design and development programme consonant with the current approaches to curriculum change and innovation. CURRICULUM DESIGN George A. Beauchamp (1983) says, “curriculum planning is a process of selecting and organizing culture content for transmission to students by the school. The process is very complex, involving input from many sources, but the organized end result of the process is the design of the curriculum.” The varied perspectives as to the nature of knowledge, the nature of the learner, what should be learnt and how, and to what end, have resulted in three (3) major classifications of curriculum designs. Zais (1976, p.376) lists them as: subject-centered, learner-centered, and problem- centered designs. Also bringing influences to bear on the design is what Eisner and Vallance (1974) call the “orientations to curriculum.” These orientations aid in the comprehension of what the curriculum is geared towards in terms of the development of the individual. This curriculum displays a learner-centered design. It is based primarily on ‘man-centered’ philosophical assumptions employing constructivist theory. Its major orientation is to curriculum as self-actualization. It is student-centered, seeks to provide personally satisfying experiences for each student, and is growth oriented. As the student moves from one level to another, the activities expand to allow him/her new insights and approaches to dealing with and integrating new knowledge. The curriculum design is defined by two structures, the substantive and the syntactic. The substantive structure reflects the “range of subject matters with which it is concerned”; the syntactic structure describes the “procedures of inquiry and practice that it follows”. The substantive structure begins with a vision statement, a rationale, lists the general and specific outcomes of the programme, and establishes the nature of the connections with the other core 1 -12 subjects on the timetable. The syntactic structure is developed along a tabular format in which the intended outcomes are associated with activities making it easy to read and teacher friendly. The content finds coherence with Tyler's (1950) three criteria for the organization of learning activities: continuity, sequence and integration. CURRICULUM DEVELOPMENT The first stage of the curriculum development process consisted of stakeholder consultations held with a cross section of the community. Consultations were held with primary and secondary school teachers, principals, members of denominational school boards, members of the business community, the executive of the TTUTA, representatives from the UWI, John S. Donaldson Technical Institute, San Fernando Technical Institute, Valsayn Teachers’ College and Caribbean Union College, parents, librarians, guidance counsellors, students, curriculum officers and school supervisors. They were focused on the philosophy, goals and learning outcomes of education. The results of these consultations were: agreement on the concept of a “core”, that is, essential learning outcomes consisting of skills, knowledge attitudes and values that students must acquire at the end of five years of secondary schooling; agreement on the eight subjects to form the core; agreement on the desirable outcomes of secondary school education in Trinidad and Tobago. 1 -13 THE CORE CURRICULUM SUBJECTS These are subjects that every student is required to take in forms one to three. Students will be allowed to choose from a list of subject offerings thereafter. Minimum time allocation is recommended for each subject. The principal as instructional leader of the school will make the final decision according to the needs of the students and the resources available at any given time. The subjects and the time allocations are as follows Subject No. of Periods Subject No. of Periods English Six Mathematics Five Science Four Physical Education Two Spanish Four Technology Education Four Social Studies Four Visual and Performing Arts Four In Stage Two of the process, the officers of the Curriculum Development Division studied the reports of the consultations, the Education Policy Paper, the reports of the Curriculum Task Force and of the Task Force for Removal of Common Entrance as well as newspaper articles and letters to the editor on education over the past five years. The School Libraries Division and the Division of School Supervision assisted the Curriculum Development Division in this task. The result of the study was the identification and statement of a set of desirable outcomes and essential exit competencies to be had by all students on leaving school. All learning opportunities, all teaching and learning strategies, all instructional plans, are to contribute to the realization of these outcomes and competencies. At Stage Three ten existing schools were identified to pilot the new curriculum. Teachers from eight subject areas were drawn from these schools to form Curriculum Writing Teams for each subject. Teachers with specific subject or curriculum development skills from other schools were 1 -14 also included in the teams. These teams met initially for three days, then for one day per week during April to July 2000, to conduct the writing phase of the curriculum development. In this phase learning outcomes specific to each subject, which contribute to the fulfilment of the national outcomes were identified. Subject content, teaching and learning and assessment strategies to support these outcomes were developed. The process of curriculum development for years two and three continued in a similar fashion. Curriculum Officers were assisted by teachers who were released from their teaching duties for varying periods of time. The following curriculum document is the result of their efforts. The International Consultant, for Curriculum Development, Dr. Robert Sargeant, (Associate Professor - Mount St. Vincent University, Nova Scotia, Canada) guided the curriculum design and development process. 2-1 A VISION FOR EDUCATION IN THE VISUAL AND PERFORMING ARTS Our vision for education in the Visual and Performing Arts features a sequential approach to learning in visual arts, music, drama, and dance. Such an approach: acknowledges the primary role of the arts in developing and sustaining culture, and promotes knowledge and understanding of the historical and social context of the arts both within Trinidad and Tobago and within a more global context; develops the skills, sensitivities, and understandings involved in creating art and responding to it; recognizes that while all the arts are integrally connected in their focus on artistic expression, they are also connected with other fields of human endeavor; acknowledges a variety of assessment tools that respect the importance of qualitative judgment. 2-2 RATIONALE FOR THE VISUAL AND PERFORMING ARTS The arts have always been with us. Since early man first sang and danced in celebration of the hunt, since he attempted to gain power over his quarry by painting its image on the cave walls, since he acted out stories of bravery and heroism to his clan, the arts have described, defined, and deepened human experience. All peoples, everywhere, have an abiding need for meaning - to connect time and space, experience and event, body and spirit, intellect and emotion. People create art to make these connections, to express the otherwise inexpressible. A society and a people without the arts are unimaginable. The need to sustain itself demands that all societies imbue in its members a sense of its uniqueness, its cultural heritage. This can only be achieved through exposing children, who are already genuinely curious about their culture and how it operates, to a dedicated programme in the Visual and Performing Arts. Conceptual and formal knowledge of the arts is an important constituent of this cultural legacy and one should begin early to make children comfortable with these forms of knowledge. Arts Education provides an opportunity for students to explore and express feelings, to stimulate creativity and the imagination; to develop visual sensitivity to nature and the environment and to discover the visual richness of the qualitative world we inhabit. Arts education has become recognized as a field that contributes richly to the total learning experience of the student. There is abundant evidence to support the case of the arts being central to the business of educating children. Its ability to harness all the elements that interact in the process of learning in one localized discipline should afford it pride of place in the hierarchy of subjects on the schools’ curriculum. William Bennett (1988) declares that ‘the arts are an essential element just like reading writing and arithmetic…music, dance, painting and theatre are keys that unlock profound understanding and accomplishment. Not only does the arts convey in part what it means to be human, the arts also give coherence, depth and resonance to other academic 2-3 subjects.’ Thomas and Dennie P. Wolf (1988) see the arts as reinforcers of basic academic skills. They state that in addition to increasing students’ aesthetic sensibilities and capacity for enjoyment, instruction in the arts can also ‘enhance basic curriculum by teaching students to observe, reason, study, read (in the broadest sense) speak and listen, compute and write’, Arts courses provide fundamental academic skills. These skills are the foundation of all learning and students who do not acquire them would be disadvantaged in later life. The arts seek after all the development of the human capacities so that he can become ‘more than is given’. (Kant). Arnheim (1988) states that ‘art is the equivocation of life in all its completeness, purity and intensity. That, therefore is one of the most powerful instruments available to us for the fulfilment of life. To withhold this benefit from human beings is to deprive them indeed’ Education is concerned with the cultivation of intellect or, as Eisner (1988) puts it ‘the conversion of brain into mind.’ Research on the brain acknowledges that the right hemisphere in concerned with visual and spatial abilities, whilst the left hemisphere is concerned with conceptual, analytical, verbal and mathematical functions. The arts reside in the right hemisphere. Any denial of sustenance via involvement in the arts is in effect starving half of the brain. Thus, according to Dr. Jean Huston (1977) “without access to a stimulating arts programme, the student is being systematically cut off from most of the ways in which he can perceive the world. His brain is being systematically damaged. In many ways he is being de-educated.” While casual interaction with the arts may yield some positive and pleasing effects, carefully planned interaction through education can bring about profoundly beneficial and deeply satisfying results. It is this carefully planned interaction that should characterise arts education. The Visual and Performing Arts curriculum attempts to provide the wherewithal for the teaching/learning environment in the secondary schools to indeed be a stimulating one, 2-4 one that would not only produce more aesthetically sensitive and visually acute students, but in the final analysis enhance the cultural landscape of Trinidad and Tobago. 2-5 GENERAL INTENDED LEARNING OUTCOMES FROM THE VISUAL AND PERFORMING ARTS CURRICULUM A well designed Visual and Performing Arts curriculum that is effectively implemented can facilitate the attainment of the following intended learning outcomes. By the end of Form Three, students will be able to: demonstrate competencies in at least one artistic discipline; apply imagination and reason to the creative process; appreciate the value of reflection, analysis, decision-making in the arts; exhibit, demonstrate and perform with confidence and pride; recognize the arts give depth, coherence and resonance to other subjects; demonstrate an understanding of the multi-cultural nature of the society and its diverse artistic expressions; demonstrate an understanding that ideas could be shared through the arts; demonstrate an understanding that the arts are an essential element in the development of the human individual. 2-6 FRAMEWORK OF THE VISUAL AND PERFORMING ARTS CURRICULUM The Visual and Performing Arts curriculum is comprised of four DISCIPLINES: VISUAL ARTS, (ART&CRAFT), MUSIC, DANCE, AND DRAMA. Whilst each component brings with it it’s own language, level of discourse, knowledge, skills and methodologies, they all contribute to the whole “arts” experience which forms an integral part of what it means to be human. This curriculum seeks to present the arts in a holistic (integrated) manner whilst at the same time allowing students to develop proficiencies in the individual areas. It is expected that students will not only acquire basic knowledge of how to perform, respond and create in all of the arts, but also be proficient in at least one of the disciplines. It is suggested that TWO of the THREE terms in the year be devoted to individual DISCIPLINES, whilst the other term would see an integrated arts programme. It is felt that the teachers in the department together with the principal would decide which term should be the integrated term depending of course on various celebrations, school activities, etc. The programme over the three years should look as follows: YEAR TERM- D1 TERM- D2 TERM- INT ONE INDIVIDUAL DISCIPLINES INDIVIDUAL DISCIPLINES INTEGRATED TWO INDIVIDUAL DISCIPLINES INDIVIDUAL DISCIPLINES INTEGRATED THREE INDIVIDUAL DISCIPLINES INDIVIDUAL DISCIPLINES INTEGRATED TERM-D = Discipline Term. TERM- INT =Integrated Term Please note that the Integrated Term can be any term. 2-7 VISUAL ARTS INTERNAL ORGANIZERS CREATING KNOWING RESPONDING There are three basic domains around which the Visual Arts curriculum has been organized. These are CREATING, KNOWING and RESPONDING. They have been designed to focus on the required knowledge, skills and abilities that will enrich the life of every student who has been exposed to visual arts education. Each fundamental organizer also contributes to the definition of more specific learning outcomes. CREATING - is concerned with the manipulation of materials in activities designed: • to develop skills and techniques, in producing/making objects, • to facilitate choices about media, materials • to develop skill and dexterity in the use of tools • to allow for the conceptualising and the development of ideas, the re-organisation of knowledge, and the use of the imagination in the making of objects and images. KNOWING - involves technical knowing-about processes, materials, etc., but also includes historical knowledge of the visual arts through the ages and across cultures to include the cultural content of their society. RESPONDING - is concerned with the development of students’ ability to respond or react to works of art and craft, and their ability to criticize, analyze, interpret, assess, and make judgments. It also allows them the opportunity for reflection and articulation of their feelings about what they have seen and how it can impact their work. 2-8 SPECIFIC INTENDED LEARNING OUTCOMES IN THE VISUAL ARTS CREATING By the end of Form Three students will be expected to: explore the visual and tactile qualities of selected materials, media and techniques in the creation of works of art and craft; manipulate materials in creating works of art and craft; create works of Art and Craft based on observation, memory and imagination; Demonstrate skills in painting, drawing, modelling, printing, stencilling, and dyeing; Produce works from specific topics and themes. KNOWING By the end of Form Three students will be expected to: demonstrate knowledge of the elements of design and an understanding of their interrelatedness in the development of works of art and craft; communicate through the language (jargon) of the visual arts articulate some understanding of the various cultural symbols and images of the various ethnic groups in the society; relate their artistic expressions to those of other cultures through the ages; value the contribution of art and artists to their lives, their communities, and the society in which they live. RESPONDING By the end of Form Three students will be expected to: talk about their work and that of their classmates; 2-9 use suitable terminology and make appropriate references when analyzing artwork; analyze works of art and craft with a view to informing their own practice; make associations between symbols and images in works of art and craft and the culture/society that produced the work; describe the functions of particular art and craft objects in people’s lives. 2-10 THE PROGRAMME: CONTENT ORGANISATION A major difference in this curriculum is in the organisation of the content. Unlike previous documents that identified TEN (10) areas of study, this curriculum revolves around THREE areas. These are: DRAWING COLOR AND DESIGN 3-DIMENSIONAL STUDIES The division of the programme into these THREE areas allows for deeper integration within the content and avoids the problem of, in the first case, teachers teaching to their strengths, and in the second, students favoring particular areas. This approach allows for a more holistic view of the visual arts by all concerned. Thus there is no separateness. There would be the signal recognition that each part constitutes an integral part of the whole, and that involvement in each area, advances the cause of the others; all promoting the enhancement of visual acuity on the part of the student. The DRAWING component is afforded more time because of the skills it brings in the execution of the other areas. The COLOUR/DESIGN component in addition to including painting, collage, etc., would also be intricately woven through all the other areas. It would involve various design areas to include graphic design, fabric design, industrial/commercial designs, and surface designs. 3-DIMENSIONAL STUDIES would incorporate areas such as sculpture, ceramics, fibre arts, jewellery, decorative craft, etc. 2-11 The following outlines the timetabling structure over the three (3) years: TERM YEAR I YEAR II YEAR III TERM-D1 Drawing Drawing Drawing Colour and design Colour and Design Colour and Design TERM-D2. Drawing Drawing Drawing 3-Dimensional 3-Dimensional 3-Dimensional Studies Studies Studies TERM-INT. Integrated Arts Integrated Arts Integrated Arts 2-12 THE VISUAL ARTS AND CONNECTIONS TO OTHER VISUAL AND PERFORMING ARTS DISCIPLINES DANCE - Applying principles of rhythm and movement - Drawing and painting the figure in motion - Designing costumes for dance - Designing and decorating sets for dance - Using dancers as motifs in pattern making and decorating. DRAMA - Designing sets for dramatic productions - Using dramatic themes in drawing and painting - Interpreting dramatic passages to produce imaginative compositions - Creating ‘live’ historical paintings (tableau) posing students after paintings. MUSIC - Applying musical beats and rhythm to mark-making - Using different kinds of music to create paintings - Interpreting moods in music and relating to paintings\drawings - Associating music with colour. 2-13 THE VISUAL ARTS AND CONNECTIONS TO THE CORE CURRICULUM The following outlines some of the more obvious bases for interrelating the Visual Arts and other subjects of the core curriculum. Foreign Language (usually Spanish) - Expressions (paintings, drawings, prints, motifs) of Spanish scenes, symbols - Festivals - Cultural symbols – musical instruments, clothes, etc. Language Arts - Generating pictures\drawings from stories, poetry, folktales, etc. - Calligraphy - writing of passages - Developing response skills – critique and analysis - Describing the way artists represented various periods, styles and cultures - Writing on works of art and craft. Mathematics - Making concrete models of objects – sphere, cylinder, cube, etc. - Relating proportions and ratios in the mixing of paints and dyes - Making measurements in the drawing of grids for making mosaics, etc. - Applying mathematical principles in the creation of mats for mounting work - Using specific measurements in the drawing of plans, and designs for projects. Technology Education - Understanding the use of technology in the creation of images - Operation of computers, printers and scanners in developing images - Understanding software applications and their ability to manipulate images - The impact of the Internet on the delivery and transference of images at high speed 2-14 - The use of digital technology in the preservation and quality of images - The capability that technology has to bring examples of great works of art and craft, instantly. Social Studies - Painting and drawing pictures based on national festivals and religious celebrations - Making cards and designs using religious and celebratory motifs - Representing features and characteristics of the earth – landscapes, landforms, etc. - Imaginative paintings/drawings based on events such as earthquakes, hurricanes, volcanoes, etc. - Compositions based on people, trade, tourism, culture, historical sites - Designing posters, brochures, relating to communication. Science - Drawings, paintings, designs using scientific apparatus/models as motifs - Applying scientific concepts in the application of colour theory - Using scientific principles re: mixtures and compounds in developing mixed media project - Exploration of ‘earth science’- ecosystems: flora and fauna. - Imaginative compositions based on biological slides of human and organic material. Physical Education - Drawings and paintings of the human figure engaged in sporting activities, e.g. , athletics, aerobics, weightlifting, ball games - Incising, decorating, pots, objects and other materials with motifs of athletic/sporting figures e.g. Grecian amphoras/urns - Designing sporting wear, trophies, medals, etc. - Producing a mural painting - wall of sporting heroes. 2-15 CRITERIA FOR ASSESSING VISUAL ARTS WORK Craftsmanship: The application of knowledge, related technical skills and processes. This includes: - Appropriateness of material - Level of skill in the use of materials and media - Experimentation Design/Composition: The organization of materials and aesthetically satisfying work. This includes: - Use of design elements - Unity (use of principles) - Impact Originality: The level of personal interpretation. This includes: - Demonstration of creativity - Demonstration of personal expression TIME ALLOCATION It is recommended that a minimum of two periods (one double period) be allotted for Art and Craft each week. THE TIME MUST NOT BE SPLIT INTO TWO SEPARATE PERIODS DURING THE WEEK. VISUAL ARTS COURSE OUTLINE DRAWING: YEAR THREE –TERM D1 INTERNAL ORGANISERS SPECIFIC OUTCOMES SAMPLE ACTIVITIES MATERIALS AND GENERAL OUTCOMES Pencils, charcoal, pens, pastels, Students will be able to: Students will be able to: Students may: sticks, paper, CREATING: - represent objects as seen - create drawings of a slice of through the eyes of an insect bread, a box of matches, a - manipulate materials to or small creature; concrete wall etc.; RESOURCES/REFERENCE create works of art; Magazines, Internet sources, - recreate a familiar scene; - draw from memory a scene they - develop art-making encounter on the way to school; surrealism, Edgar Degas, strategies; Pablo Picasso, - reorder familiar objects to - rearrange the parts of the human - create works from create new/different object. body to create a new specie of imagination, memory, and human beings. observation. VOCABULARY composition, vertical, horizontal, KNOWING: - recognize surreal art. - distinguish between realistic and other drawings. diagonal, edge, still-life, - demonstrate knowledge of shape, form art through time and across cultures. edge, mass, tone, value RESPONDING: - critique various drawings - talk about what they like and and account for their dislike in various drawings. - interpret, analyze artwork to stylistic preferences. apply meaning. VISUAL ARTS COURSE OUTLINE COLOR AND DESIGN: YEAR THREE - TERM D1 INTERNAL ORGANISERS SPECIFIC OUTCOMES SAMPLE ACTIVITIES MATERIALS AND GENERAL OUTCOMES Students will be able to: Students will be able to: Students may: Paints, paper, palette, water, - compose, select and mix - make paintings using lines & brushes, leaves, heavy paper, CREATING: colours to represent the hum geometric shapes to represent of the work place; industry, technology etc; glue, scissors, marking knives, - manipulate materials to stencils, straws, fabric, foliage, create works of art; - use tonal variation to create - make paintings of objects, a monochromatic painting; fabric, foliage etc.; pots, plates etc. - develop art making strategies; - create designs from their - design a trap to catch - a cold, RESOURCES/REFERENCES imagination; the wind, an idea, forty winks; - create works from - design a map to get lost; Magazines, record jackets, CD imagination, memory, and observation. - create patterns using familiar - create gift paper, fabric, using covers, greeting cards, posters, motifs the human figure as a motif. pictures, paintings, Internet sources, Monet, Manet, KNOWING: - describe various approaches - collect pictures (magazines) Daumier, Rothko, Constable, - demonstrate knowledge of to creating images. that represent different kinds of Turner. art through time and across images (different processes). cultures. VOCABULARY Harmony, perspective, illusion, RESPONDING: - talk about the feelings/ - identify/discuss specific works - interpret/analyze artworks to response evoked by of four artists that are different cutting and pasting, transfer, apply meaning different artworks. in style, imagery and impact value, poster, collage, from each other. VISUAL ARTS COURSE OUTLINE DRAWING: YEAR THREE - TERM D2 INTERNAL ORGANISERS SPECIFIC OUTCOMES SAMPLE ACTIVITIES MATERIALS AND GENERAL OUTCOMES Pencils, charcoal, pens, pastels, Students will be able to: Students will be able to: Students may: sticks, paper, plants, various CREATING: - represent figures by careful - make figurative drawings of objects, bottles, cans, fruits, observation; themselves to represent the - manipulate materials to passage of time; bark, fabric. create works of art; - experiment with a variety or media and materials to create - complete drawings on pictures RESOURCES/REFERENCE - develop art making drawings; collaged on paper; strategies; Magazines, internet sources, - simulate the textural quality - make careful studies of cactus, Impressionism, Salvador Dali, - create works from of a range of surfaces; crumpled foil, tree bark etc.; imagination, memory, and Peter Minshall observation. - reorder textures on different - switch textures on objects e.g. objects. apple with grainy texture. KNOWING: VOCABULARY - recognize gestural drawings. - review the work of the texture, composition - demonstrate knowledge of Impressionists, the futurists. art through time and across surface, horizontal, cultures. diagonal, edge, still-life shape, form, touch RESPONDING: edge, mass, tone, value - compare the meaning - Discussion on the meanings - Interpret/analyse artwork to intended in their work with intended in their drawings. apply meaning. classmates’ understandings and interpretations. VISUAL ARTS COURSE OUTLINE THREE-DIMENSIONAL STUDIES: YEAR THREE - TERM D2 INTERNAL ORGANISERS SPECIFIC OUTCOMES SAMPLE ACTIVITIES MATERIALS AND GENERAL OUTCOMES Students will be able to: Students will be able to: Students may: Clay, paper, glue, boxes, - experiment with a variety of - construct an object that may be CREATING: materials to create 3-D used for an ancient ritual; styrofoam, string, wool, fabric, items; cigar boxes, sand, shells, glitter - manipulate materials to - create a 3D mural “21st century create works of art; - manipulate found/discarded humans”; dust, dried leaves and seeds, materials to create sculpture; paint, stencils, lacquer, bottles - develop art-making - produce a series of objects from strategies; - manipulate materials to discarded plastic bottles to be straws, glue create a variety of designs used as an installation; - create works from on an appropriate surface. RESOURCES/ imagination, memory, and - make low relief designs on clay, REFERENCES observation. Styrofoam by adding and subtracting. Decorative craft books, magazines, slides photographs, KNOWING: Dada, Henry Moore, Giacometi, - broaden their insight into - review through slides, Pevsner, Stella, Oldenburg, - demonstrate knowledge of sculpture through research photographs etc sculpture of art through time and across into different periods. the Dada and 20th century Internet sources cultures. sculpture. . VOCABULARY additive, subtractive layering, , applying, relief, low-relief RESPONDING: - associate various sculptural - compare/contrast their work - interpret/analyze artwork to forms /designs with specific with other sculptures. apply meaning. geographical areas. 2 - 20 DRAMA INTERNAL ORGANIZERS CREATING KNOWING RESPONDING Drama is an aesthetic discipline that possesses its own body of knowledge, at the centre of which lies active communication. As an art form, however, it is unique, in that it embraces many facets of other Visual and Performing Arts. Because of this characteristic, Drama can lay claim to operate in equal measure within the cognitive, affective and psychomotor domains. It is for this reason that Drama has been identified as an extremely effective methodology in the teaching of other subjects. The three basic organizers for Drama in secondary schools have been designed to focus on the required knowledge, skills and abilities that will enrich the adult life of every student who has been exposed to Drama Education. Each fundamental organizer also contributes to the definition of more specific learning outcomes. Creating - involves students in activities designed to deepen and develop levels of concentration, listening, critical thinking and movement. The confidence developed by these activities allows for an environment where students are more at ease and therefore more creative. Knowing - affords students the opportunity to identify a range of physical and communicative skills through the use of movement, trust and other sensory activities. It also affords the assessment of the importance of human relationships, as well as relationships with one’s environment and draws on experiences to create new situations. Responding - gives students the opportunity to display positive human values such as sympathy, tolerance and discipline. It contributes to human interaction, sensitivity to group dynamics and further enhances self-assessment and reflection. 2 - 21 SPECIFIC INTENDED LEARNING OUTCOMES IN DRAMA CREATING By the end of Form Three students will be expected to: extend and deepen their levels of concentration; make use of listening skills in drama work; show increased confidence and participation in activities; carry out simple “warm up” activities; create walking and running movements to different characters; create walking and running movements to different situations; apply physical control and accuracy to simple mime activities; use an object (e.g. a stick) symbolically; hold and sustain a “freeze” position; use imagination to create a dramatic situation; employ a range of gestures and facial expression; demonstrate greater spatial awareness; work in pairs activities; 2 - 22 work at a task within a group; work with others to produce a dramatic episode; construct, dissolve and re-assemble a tableau; demonstrate greater use of the voice and audibility; practice clear articulation and correct pronunciation; draw conclusions from context clues; extend the use of memory in recalling and reconstructing experiences; show awareness of self and the physical environment through the senses; record drama experiences in a drama diary; debate a point of view; make clear, reasoned decisions within the Drama work; choose from a range of alternative actions. 2 - 23 KNOWING By the end of Form Three, students will be expected to identify a range of physical skills and ways in which these skills might be further extended; assess their own body reflexes, movement range and capability; demonstrate an awareness of the need for safety in extending their range of physical capability and in the general conduct of drama activities; demonstrate an understanding of the nature of basic voice production and delivery; examine the nature of trust and responsibility in the context of Drama as a social art form; discuss the relationship between physical gestures, body language and communication; examine the nature and function of facial expressions; assess the importance of the relationship between movement and stillness; assess the importance of the relationship between sound and silence for drama; assess the importance of the relationship between light and darkness for drama, both as a physical phenomenon and as a quality; examine the fact that experiences can be useful imaginatively to create new situations; 2 - 24 understand the relationship between self and others; appreciate the quality of movement and stillness, sound and silence, light and darkness for dramatic effect; find/create alternatives to sex and violence to create drama; examine the nature of Drama as a social/cultural/indigenous/ ritualistic art form. RESPONDING By the end of Form Three, students will be expected to: empathize; display tolerance and give support where needed; show a willingness to contribute ideas; exhibit a sensitivity to group dynamics; appreciate the importance of teamwork; respect their own artistic heritage and those of others; recognise the importance of listening in acquiring vocal skills; exhibit the discipline necessary for successful accomplishment of tasks; appreciate the need for seriousness of approach. 2 - 25 cooperate with others in the development and successful completion of drama projects; appreciate the importance of developing the creative imagination; value the contribution the peer audience can make to the drama; value the constructive criticism of others; Show willingness to adapt a Drama to accommodate the criticisms of others Show a willingness to commit effort to a task; Recognise that fun and recreation are aspects of Drama and that learning can be achieved through fun. 2 - 26 DRAMA AND CONNECTIONS TO THE CORE CURRICULUM The following outline some of the more obvious bases for inter-relating drama and other subjects of the core curriculum. Foreign Language (usually Spanish) Doing skits/productions from foreign lands Use of appropriate dramatic idioms to illustrate culture of foreign countries Correlation of foreign language expressions with dramatic gestures and facial expression. Language Arts Correlation of metre and rhythm in poetry and music Imagery and symbolism in stories and/or poems Setting of lyrics to dramatic interpretation and vice versa Use of appropriate dramatic sequences as stimuli for creative writing Use of appropriate dramatics to accompany poetry reading and story telling Study of dramatic productions-works based upon literature. Mathematics Beats, note values and time signatures as they relate to the understanding of number concepts (counting, division, ratio, etc.) Relationship between musical and mathematical vocabulary, e.g. time signatures, intervals and note values. Physical Education Proper breathing techniques are common in athletics and in dance Understanding of the skeletal structure and its relationship to posture Awareness of the body and movement, 2 - 27 Science • Study of the body to include the function of - Muscles - Lungs - The skeleton - Intercostal muscles - Diaphragm - Ribcage Social Studies • Use of appropriate dramatic themes to understand the meaning, implications and importance of historical events • Use of appropriate dramatic sequences to understand the ideals, religions and traditions of contemporary and past civilizations, cultures, nations and times. • Study of appropriate plays/dramas and dramatists to aid in building concepts of citizenship and patriotism • Use of appropriate dramatic plays skits etc. to illustrate and/or describe geography and climate of various countries and regions • Engagement in group work, peer review and critiquing in listening and appraising, performing and composing. Technology Education Operation of computers (hardware and software), video players/recorders, video cameras and other technologies to view, teach, choreograph, and perform dances Study of electronics and electronic equipment involved in the production of sound and lighting effects e.g. amplifiers, microphones, mixing and lighting boards. Selection and use of appropriate applications and technology tools to increase productivity of individual and collaborative multimedia projects. 2 - 28 DRAMA AND CONNECTIONS TO OTHER VISUAL AND PERFORMING ARTS DISCIPLINES Visual Arts Using dramatic gestures (body and facial) as the basis for making drawings and paintings Use of appropriate dance to stimulate composition of works of art and vice versa Study of form in dance and in the visual arts Construction and decoration of scenery and backdrops for dance productions Study of rhythm in dance and in the visual arts Study of historical periods and styles, e.g. dada, classicism, romanticism Music Developing harmony of music and drama Study of rhythm in music and drama Study of form in music and drama Expression of musical form with body movements Shaping of melodic contours with hand and body movements Use of music to evoke mood, tension etc in dramatic productions Composition of music for dramatic sequence(s). Dance Speaking in rhythm Correlation of voice levels to pitch and intensity Development of creative dramatizations of songs Use of drama to reflect or affect mood Selection and/or choreography of dance for use with dramatizations Study of operatic songs and symphonic works based upon drama. DRAMA: COURSE OUTLINE IMPROVISATION: YEAR THREE – TERM D1 INTERNAL ORGANISERS AND SPECIFIC OUTCOMES SAMPLE ACTIVITIES MATERIALS GENERAL OUTCOMES Utility box with Students will be able to: Students will be able to improvise Students improvise situations on the following: materials for props, based on: costumes, CREATING: - late for work, first date, waiting on the bus early at decorations, masks, - time of day, year, period the bank, caught in traffic, late for an interview; etc.. - create, refine and deepen (historical); character through the - principal’s office, dentist’s office , lonely corner, a Objects, artifacts, exploration of situations. - Place: location/environment; bar, stuck elevator, unsupervised classroom.; newspapers, - Demonstrate an ability to - teacher, mother, father, son, daughter announcer magazines, assume roles; police officer, vagrant, prostitute, priest; newsprint, markers, - Situation: given a start or - fights: boy-girl attraction, teacher-student pens. ending line or parable; animosity, territorial disputes, husband-wife quarrel, rowdy neighbours, strangers; - Shifts in status; RESOURCES - Groups Interviews - Objects and artifacts. customer, salesperson, manager; merchant, buyer, vagrant; c) sister, older brother, library books parent; lion, mouse, hunter; performances From a series of objects presented, the student will videotapes use one (literally or symbolically) as the focus of his/her improvisation; VOCABULARY Given an artifact and some brief history, students working in groups develop an improvisation around the artifact. Status. Tension DRAMA: COURSE OUTLINE IMPROVISATION (CONT’D): YEAR THREE – TERM D1: INTERNAL ORGANISERS AND SPECIFIC OUTCOMES SAMPLE ACTIVITIES MATERIALS GENERAL OUTCOMES Students will be able to Students will be able to: Students may: Old magazines, newspapers KNOWING: - develop research skills. - research picong in parang and calypso; photographs - students will know through - evaluate the performances - research the concepts and origins of extempore; historical, cultural and cross- from the point of view of the RESOURCES cultural references. focus given; - research the art and concept of impromptu speaking. Library books, - express ideas and feelings interviews, RESPONDING: about the activity in their - discuss in a circle, at the end of each activity, performances, journals; the performances with specific references to the videotapes - students will respond with ‘process’ and clarity of presentations; critical awareness to their - make constructive criticisms work and that of others. of their performances (roles) - write to themselves about the process involved VOCABULARY and that of their peers in making improvisations. The emphasis should Constructive be on thoughts and feelings; criticism Inprovisation - Discuss the performances with reference to their dramatic and theatrical values, i.e. pace, rhythm, flow/sequence, critical thinking. DRAMA: COURSE OUTLINE TECHNICAL THEATRE: YEAR THREE– TERM D1 INTERNAL ORGANISERS AND SPECIFIC OUTCOMES SAMPLE ACTIVITIES MATERIALS GENERAL OUTCOMES Black/white board, Students will be able to: Students will be able to: Students may: chalk, markers, - create set designs illustrating - create a set design using a) floor plan. blocks for set, CREATING: concepts for staging b) a three-dimensional model for scene of class room furniture productions; original play developed in Term 1 of one of the - create the theatre scripted scenes discussed in Term 1, or a scene environment for from an improvisation; performances - create a lighting design to RESOURCES reflect the mood and - choose a scene from a play that would benefit environment of the play or from creative lighting and design lighting to The Voice and the scene; create the desired dramatic effects; Actor by Cicely Berry Ideas that Work in Drama by Michael - design costumes and make-up - design costumes for different characters using Theodore models for various scenes and paper in the first instance and different lengths characters in a play; of colored cloths - as a group, in pairs, or individually; VOCABULARY - design/compose sound and - choose a scene from a play and a) design a music to create mood and sequence of sound effects using the human articulation, set, model, atmosphere relevant to script voice, b) Design a sequence of sound effects projection, sound or scene. using backstage noises, c) choose a piece of effects, pitch, impact, music (taped or live) to create mood and mood, atmosphere, atmosphere. Choose a scene that can accommodate a, b, and c, DRAMA: COURSE OUTLINE TECHNICAL THEATRE (CONT’D): YEAR THREE – TERM D1 INTERNAL ORGANISERS AND SPECIFIC OUTCOMES SAMPLE ACTIVITIES MATERIALS GENERAL OUTCOMES Cassette tapes, Students will be able to: Students will be able to: Students may: cassette - increase their knowledge of - visit a theatre to view live performances, pay player/recorder KNOWING: technical theatre through attention to set, lighting, costume and sound effects; research; - students will know through - view video clips of various theatrical performances historical, cultural and cross- - increase their knowledge of with interesting use of costume, lighting and sound cultural references. technical theatre through (make distinction between theatre and film); visits to the theatre; RESOURCES - interview experts in the field of technical theatre. - increase their knowledge of Videos, video clips, technical theatre through - write about feelings and experiences in their books, magazines, interviews with experts. journals; Internet resources - express their ideas and - make constructive criticisms of their work and RESPONDING: feelings about the projects in that of their peers in group and class discussions; - students will respond their journals; with critical awareness - use design in texts of written responses to their to their own work and - make constructive criticisms work and that of others. others. of their designs and that of VOCABULARY their peers; - use design with texts. DRAMA: COURSE OUTLINE PLAYMAKING/WRITING: YEAR THREE - TERM D2 INTERNAL ORGANISERS AND SPECIFIC OUTCOMES SAMPLE ACTIVITIES MATERIALS GENERAL OUTCOMES Cassette tapes, Students will be able to: Students will be able to: Students may: cassette - develop a ritual using space, - design a ritual (working in groups) to make rain player/recorder CREATING: movement, symbol, chants and fall. They are reminded of the elements to be used language. in the design; - create rituals, use processions and choral effects given - use a procession to explore a - design as initiation ceremony (working in groups); different stimuli formal solemn occasion; - develop a procession based on the theme of victory; RESOURCES - use a procession to explore a joyous occasion.; - may use poems and extracts from stories and plays with particularly strong imagery to develop chants Videos, video clips, - develop choral skills through and choral works to explore how this is used to books, magazines, the use of chants and poetry create meaning in the action of the drama. Internet resources - develop research skills by N.B. students can be given other stimuli such as weddings, funerals, christenings, wakes etc. to construct 1) practical interactions, improvisations KNOWING: 2) the use of media and - attend (individually or in groups) a ritual or VOCABULARY 3) referencing procession occurring in their environment; - students will know through Rituals historical, cultural and cross- - conduct interviews with the participants of the Solemn imagery cultural references. ritual or procession to collect authentic information Chorus - use the Internet to source information on rituals/procession/chorus in other cultures - use the library to research and gather information on ritual/procession/ Greek chorus. DRAMA: COURSE OUTLINE PLAYMAKING/WRITING (CONT’D): YEAR THREE – TERM D2 INTERNAL ORGANISERS AND SPECIFIC OUTCOMES SAMPLE ACTIVITIES MATERIALS GENERAL OUTCOMES Extract from RESPONDING: Students will be able to: Students may: scripted plays Students will respond with critical - discuss and critically analyze - See CREATING above in this section awareness to their own work and the relevance of the research that of others. done to the process of RESOURCES improvisation and playmaking; Videos, video clips, books, magazines, Internet resources - Make constructive criticism of the performance of their peers and others. VOCABULARY Analyse Research DRAMA: COURSE OUTLINE PLAYMAKING/WRITING (CONT’D): YEAR THREE – TERM D2 INTERNAL ORGANISERS AND SPECIFIC OUTCOMES SAMPLE ACTIVITIES GENERAL OUTCOMES MATERIALS Students will be able to: Students will be able to: Students may: Props as required, - develop writing and - play The Memory Game.(see Teachers’ Manual) classroom CREATING: playmaking skills through telling the story word by word, sentence by furniture. games and story telling sentence; - create a script through the activities; exploration of the playmaking - realize and develop the essence of the drama by process. - depict through tableau the working in groups guided by a group leader; essence of the story; - assume and explore different roles in the story - explore roles from within the focusing on a range of characterizations – see RESOURCES story. activity No.3, Year 2, Term D1. pg. 30; See bibliography Teachers Guide - use language effectively in - consciously repeat the scene paying attention to different roles; selective use of language as it pertains to the roles and the situations; - produce a written script from the playmaking process. - develop a written script after reviewing, repeating VOCABULARY and editing the playmaking process Tableau Explore Script DRAMA: COURSE OUTLINE PLAYMAKING/WRITING (CONT’D): YEAR THREE – TERM D2 INTERNAL ORGANISERS AND SPECIFIC OUTCOMES SAMPLE ACTIVITIES GENERAL OUTCOMES MATERIALS Video camera, KNOWING: Students will be able to: Students may: Excerpts from - students will know through - develop research skills - find books and film/movie clips that can help scripted plays, historical, cultural, and cross- clarify the playmaking process; Videos, books, cultural references. - Increase their knowledge of language forms through - research the language use in the folk traditions e.g. RESOURCES research. Pierrot Grenade, Midnight Robber, Baby Doll etc.; Plays by Dereck - express ideas and feelings in - research the language used in plays written by Walcott, Trevor their journals in relation to Walcott, Rhone, Scott , Gibbons and from other Rhone, Rawle the drama; traditions e.g. Shakespeare, Tagpre, Soyinka etc.; Gibbons, etc. - reflect and articulate personal - perform short extracts using the language of the 1. Odale's Choice growth; folk characters and the language of other traditions; by Edward Braithwaite RESPONDING: - make connections between - reflect on their experiences in their drama journal; - students will respond their own life and the drama; 2. Duelling Voices with critical awareness - Discuss their experience as a class and make value by Zeno to their own work and - make constructive criticism judgments about their performances. Constance that of others. of the performance of their peers and others. 3. A Midsummer's Nights Dream by Shakespeare VOCABULARY Oral Tradition 2-37 MUSIC INTERNAL ORGANIZERS LISTENING, APPRAISING AND RESEARCHING CREATING/COMPOSING, ARRANGING AND PERFORMING The three basic organizers for Music in secondary schools have been designed to focus on the required knowledge, skills and abilities that will enrich the adult life of every student who has been exposed to music education. Each fundamental organizer is premised on the credo of “sound before sight,” and also contributes to the definition of more specific learning outcomes. Listening, Appraising and Researching - affords students the opportunity to develop the ability to focus on the structural and expressive elements of music, using suitable musical language to discuss how these elements are used in the conception, construction and performance of different styles and genres. Creating/Composing and Arranging - involves students in activities designed to foster the ability to select appropriate sounds and order these sounds to convey ideas musically. This includes adding their ideas to existing music (arranging), and/or instinctively experimenting with new material while performing (improvising). Performing - gives students opportunities to: present music on an instrument (including voice), to develop appropriate technical skills and to display sensitivity to - and to gain an understanding of musical structure and style. 2-38 SPECIFIC INTENDED LEARNING OUTCOMES IN MUSIC LISTENING, APPRAISING and RESEARCHING By the end of Form Three, students will be expected to distinguish between sounds that are high and low; determine that high and low sounds can be produced on instruments (including voice) or in the environment; recognize that an instrument has a range which may be relatively high or low within a particular family of instruments; identify high and low sounds as treble and bass respectively; identify by range and distinguish between soprano, alto, tenor and bass voices; recognize that tones in a melody move in steps or by leaps; indicate the contour of a melody by hand or body movements, or on paper hear that a melody is made up of pitch patterns and phrases; hear that a melody is, or is not, accompanied; identify recurring melodic patterns identify scale patterns and chords that repeat or move identify parts of melodies that are built on scale-wise patterns; 2-39 identify intervals (2 tones) or chords (3 or more tones); recognize pitch and melodic factors, as well as rhythmic characteristics relating to music of geographical areas of the world. Duration By the end of Form Three, students will be expected to: recognize that sound and/or silence can be relatively long or short; determine that music is made up of stronger and weaker pulses; hear that rhythm often has a recurring pulse or beat within it; recognize that music is usually organized in groups of twos, threes or fours; become aware of simultaneous multiple rhythmic sounds; relate the melodic rhythmic pattern or prominent accompaniment figure to the steady pulse of the music; become aware that silence is an important part of the organisation of sounds; identify beat, metrical accent and rhythm patterns. 2-40 Dynamics By the end of Form Three, students will be expected to: distinguish between sounds that are relatively loud or soft; become aware that dynamics (loud and soft) contribute to the expressive qualities of music; recognize that dynamic changes may be great or small; hear that dynamic changes may occur quickly or slowly; hear that dynamics often occur in relationship with other musical factors such as timbre and density; hear that dynamic changes may sometimes be used to express musical excitement or relaxation within a phrase or composition. Timbre By the end of Form Three, students will be expected to: hear that sounds are made by different sources; recognize that different kinds of sounds may be produced from a single sound source; hear that timbre changes occur with different combinations of voices, instruments, machines, body sounds, environmental sounds, etc.; identify the distinctive timbres of various instrumental and vocal ensembles; 2-41 hear and become aware of uses of electronic sounds in music; hear and identify timbres of various ethnic instruments. Expressive Controls By the end of Form Three, students will be expected to: hear and identify tempo changes and differences in music (fast – slow); hear that tones are connected (legato) or detached (staccato). Structure By the end of Form Three, students will be expected to: hear that music is organised by the use of repetition and/or contrast; identify a pattern, phrase, or section and recognize when each is repeated or different; identify simple polyphonic forms e.g. rounds, canons, partner songs; recognize two- and three-part song forms (AB and ABA) and simple rondo form (ABACA). 2-42 General By the end of Form Three, students will be expected to: be able to listen attentively and respectfully to a variety of sounds, music and other creative expressions; understand the nature of music in general terms and that there are a variety of types of musical expressions; be able to define various expressive and structural musical elements, including: pitch, duration, intensity, dynamics, tempo and timbre (tone colour); be able to work in cooperative situations in the design and development of various creative expressions; use appropriate musical language to describe the elements of pitch, duration, intensity, dynamics, tempo and timbre; critique their own performance and that of others using agreed standards and musical ideas; use score reading skills to enhance listening and appraising. 2-43 CREATING/COMPOSING By the end of Form Three, students will be expected to: use extra-musical stimuli (e.g. environmental sounds and scenes, visual arts, dramatic and literary works) to produce ideas for their own compositions use musical stimuli (e.g. rhythmic and melodic motifs, timbre) to produce ideas for their own compositions; use appropriate symbols (devised or traditional) to notate their compositions; demonstrate that notation (devised or traditional) can be an aid in communicating musical ideas; use descriptive words and/or symbols (devised or traditional) to designate dynamics, articulation, tempo and timbre. PERFORMING By the end of Form Three, students will be expected to echo-play/clap short rhythmic and/or melodic patterns use instruments and/or other materials or devices to produce high, low, long, short, loud and soft sounds ; use body percussion (snap, clap, patschen, stamp) to produce sounds; maintain a steady beat/pulse and tempo while playing an instrument or singing; 2-44 play simple rhythmic or melodic patterns (by ear, by reading [devised or traditional notation] and/or at sight); play and/or sing a variety of simple melodies (by ear, by reading [devised or traditional notation] and/or at sight); play and/or sing using appropriate technical skills and displaying sensitivity to - and understanding of - musical structure and style; experience simultaneous sounds by playing and/or singing descants, ostinati, chord roots and chords; play an independent part (e.g. harmony, ostinato, etc.); recognize and understand that symbols (devised or traditional) represent melodic direction and duration; recognize and understand symbols, e.g. staff, notes, clefs, signs; become aware that musical notation reads from left to right; become aware that melodic notation reads upward and downward; demonstrate that notation can be an aid in communicating musical ideas; read and perform simple notation using quavers (eighth notes), crotchets (quarter notes), minims (half notes), semibreves (whole notes) and their corresponding rests in simple, duple, triple and quadruple time; read and perform simple notation including skips of a third, fourth, fifth and octave; 2-45 follow the musical score for a single voice or instrumental line; demonstrate an understanding of key signature (in C, F and G majors) and moveable “doh”; interpret and respond to dynamic markings and symbols; interpret and respond to tempo markings and terms showing changes in tempo; interpret and respond to articulation symbols, e.g., staccato, slur, phrase, etc.; identify and define words that describe the timbre to be produced, e.g., soprano, alto, tenor, bass, descant, chorus/choir, names of instruments, etc. 2-46 MUSIC AND CONNECTIONS TO THE CORE CURRICULUM The following outline some of the more obvious bases for inter-relating music and other subjects of the core curriculum. Foreign Language (usually Spanish) Singing and/or playing songs from foreign lands Use of appropriate music to illustrate culture of foreign countries Correlation of Italian performance terms with foreign language. Language Arts Correlation of metre and rhythm in poetry and music Imagery and symbolism in stories and/or poems and music Setting of lyrics to melodies and vice versa Use of appropriate music as stimuli for creative writing Use of appropriate music to accompany poetry reading and story telling Study of operatic songs and symphonic works based upon literature. Mathematics Beats, note values and time signatures as they relate to the understanding of number concepts (counting, division, ratio etc.) Relationship between musical and mathematical vocabulary, e.g. time signatures, intervals and note values Physical Education Proper breathing techniques are essential in athletics and in the production of sound in wind instruments and voice Understanding of the skeletal structure and its relationship to posture Awareness of the body and movement. 2-47 Science Experimenting with sound-producing materials to examine - Pitch - Duration of sound - Intensity of sound - Reverberation and decay Study of the vocal mechanism to include the function of - Vocal cords - Lungs - Resonating chambers - Intercostal muscles - Diaphragm - Ribcage Social Studies Use of appropriate music to understand the meaning, implications and importance of historical events Use of appropriate music to understand the ideals, religions and traditions of contemporary and past civilizations, cultures, nations and times Study of appropriate music and composers to aid in building concepts of citizenship and patriotism Use of appropriate music to illustrate and/or describe geography and climate of various countries and regions Engagement in group work, peer review and critiquing in listening and appraising, performing and composing Technology Education Operation of computers (hardware and software), cassette players/recorders, keyboard synthesizers and other technologies to compose, arrange, notate and perform music 2-48 Study of electronics and electronic equipment involved in the production of sound, e.g. amplifiers, microphones, mixing boards Selection and use of appropriate applications and technology tools to increase productivity of individual and collaborative multimedia projects. 2-49 MUSIC AND CONNECTIONS TO OTHER VISUAL AND PERFORMING ARTS DISCIPLINES Visual Arts Making and decorating of simple musical instruments Use of appropriate music to stimulate composition of works of art and vice versa Study of form in music and in the visual arts Construction and decoration of scenery and backdrops for musical productions Study of rhythm in music and in the visual arts Study of historical periods and styles, e.g. impressionism, classicism. Dance Use of singing and movement games Study of rhythm in music and dance Study of form in music and dance Expression of musical form with body movements Shaping of melodic contours with hand and body movements Choreography of dance to music Composition of music for dance style(s). Drama Speaking in rhythm Correlation of voice levels to pitch and intensity Development of creative dramatizations of songs Use of music to reflect or affect mood Selection and/or composition of music for use with dramatizations Study of operatic songs and symphonic works based upon drama. MUSIC LISTENING APPRAISING AND RESEARCHING - (RHYTHM): YEAR THREE - TERM D1 INTERNAL ORGANISERS SPECIFIC OUTCOMES SAMPLE ACTIVITIES AND GENERAL OUTCOMES MATERIALS Students will be able to: Students will be able to: Students may: C.D. Player - identify various rhythmic - listen to music of various genre; Cassette Player LISTENING…: motifs used in music of Turntable various genres; - identify and discuss the rhythmic - recognize, analyse and motifs e.g. calypso, waltz, folksong, RESOURCES define various from different parts of the world; Recorded and printed examples expressive and of simple songs, calypsos, structural musical - write rhythmic motifs; - listen to various genre of music to parang, chutney, folksongs. elements. identify the time as simple, duple or quadruple, and write in notation instruments e.g. steelpan, some simple rhythmic motif e.g. recorders, piano, keyboard. calypso, waltz, reggae; Non melodic instruments, drums, claves, triangles, tambourine, - analyse the relationship - examine the rhythmic motifs of cymbals, fold drums, tabla, between the rhythmic motifs various genre and discuss the dholak, drum kit and the genre; relationship between the rhythmic and the genre e.g. calypso, waltz, VOCABULARY disco and reggae; Rhythm Beat Metre [meter] Pulse, Tempo, - recognize, define and - listen to performances of live and/or Lento, Moderato Allegro interpret time signatures as recorded music to determine Time Signature, Simple duple simple duple, simple triple, whether there are two, three, four, or Simple triple, Simple quadruple simple quadruple and six beats in a bar. Compound duple compound duple. Crotchet [quarter note] Minim [half note] Semibreve [whole note] Quaver [eighth note], Rest, Note MUSIC LISTENING… – (RHYTHM) Cont’d: YEAR THREE - TERM D1 INTERNAL ORGANISERS AND SPECIFIC OUTCOMES SAMPLE ACTIVITIES MATERIALS GENERAL OUTCOMES Student will be able to: Students will be able to: Students may: C.D. Player Cassette Player LISTENING…: - identify the elements that - write the chromatic scale beginning with Melodic Instruments recognize, analyse and constitute the structure of a any note ascending and descending in - define various expressive chromatic scale; semi-tones using sharps and flats e.g. C, RESOURCES and structural musical C#, D, D#, E, F, F#, G, G#, A, A#,B, C; elements; - identify the intervals of examples of simple songs, tones and semi-tones; - listen to intervals performed live by the calypsoes, parang, chutney, - develop music making teacher and identify as tones or semi- folksongs. strategies tones; - identify the intervals that constitute major and minor - listen to, analyse and discuss the VOCABULARY scales; structure of intervals in the keys of C, G, F, D, and Bъ majors. e.g. Interval, tone, - identify and compare the C-D-E—F-G-A-B—C semi-tone octave, tonality of a melody as G-A-B—C-D-E-F#--G; accidental, sharp, major or minor. flat, natural, - listen to, analyse and discuss the scale, mode, structure of intervals in the keys of A major, minor, minor, E minor and D minor. key chromatic. A-B—C-D-E—F—G#-A-E-F#--G-A-B --C—D#-E; - listen to selected pieces of music to determine the mode as major or minor e.g. “Symphony in G’. “Pan in A minor MUSIC LISTENING APPRAISING AND RESEARCHING – (RHYTHM) Cont’d: YEAR THREE - TERM D1 INTERNAL ORGANISERS AND SPECIFIC OUTCOMES SAMPLE ACTIVITIES GENERAL OUTCOMES MATERIALS Students will be able to: Students will be able to: Pupils may: C.D. Player Cassette Player LISTENING…: - identify chromatic passages - listen to selected pieces of music of Melodic Instruments in recorded music; various genre to identify chromatic Non-melodic instruments - recognize, analyse and passages; define various expressive RESOURCES and structural musical - recognise the effective use - listen to selected pieces of music of elements. of chromatic passages in various genre and discuss the examples of simple music of various genre; effective use of chromaticism e.g. songs, calypsoes, parang, blues, East Indian, calypso etc.; chutney, folksongs. - recognise that scales and - listen to selected pieces of music in VOCABULARY melodies could be major and minor keys and identify performed using solfa the pitch using solfa names and /or Motif names or East Indian East Indian notation e.g. Phrase notation Major Scale: doh, ray, me, fah, Interval, tone, Chromatic: doh, de, ray, re, soh, lah, ti, doh. semi-tone octave, me, fah, fe, so, si, lah, le, te, Harmonic scale: lah, te, doh, ray, accidental, sharp, doh me, fah, si, lah. flat, natural, East Indian: Sa, Re,Ga, scale, mode, Ma, Pa, Dha, Ni, Sa major, minor, key chromatic MUSIC PERFORMING - (MELODY): YEAR THREE - TERM D1 INTERNAL ORGANISERS SPECIFIC OUTCOMES SAMPLE ACTIVITIES MATERIALS AND GENERAL OUTCOMES Students will be able to: Students will be able to: Pupils may: C.D. Player Cassette Player PERFORMING: - demonstrate appropriate - play on melodic instruments the scales of Melodic Instruments technical skills by C, G, F# and Bb major, and the scales of - manipulate voice and RESOURCES performing scales and A, E, and D minor using appropriate /or instruments in A variety of songs from arpeggio by rote on musical technique; performance. different genre e.g. instruments; “What Child is This” “Scarborough Fair” - play the chromatic scale; - play the printed score of the above scales “Happy Birthday’ play either by rote or from the printed score the chromatic scales beginning on VOCABULARY any note; Interval, - interpret and perform pieces - play by rote and /or reading from a tone, in major and /or minor keys; printed score pieces in major and minor semi-tone keys; octave, accidental, sharp, - interpret and perform pieces - play by rote of from notation pieces, flat, natural, with chromatic passages; short chromatic passages; scale, mode, major, minor, - perform their own - perform on an instrument of choice , key chromatic. compositions. original compositions in major or minor keys including chromaticism. MUSIC CREATING, COMPOSING AND ARRANGING - (RHYTHM, MELODY): YEAR THREE-TERM D1 INTERNAL ORGANISERS AND SPECIFIC OUTCOMES SAMPLE ACTIVITIES GENERAL OUTCOMES MATERIALS Students will be able to: Students will be able to: Students may: C.D. Player CREATING…: - compose melodies to given - compose short melodies in the keys of C, Cassette Player rhythm motifs in different G, F, and D major to specific patterns; Melodic rhythmic - create melodic modes; instruments, recorder, compositions; - compose short melodies in the keys of steel pan, piano, keyboard Am, Em, and Dm to specific rhythmic etc - arrange melodies. patterns; RESOURCES - compose melodies using - compose short melodies in any of the Recorded and printed chromatic passages; above keys using chromatic passages; examples of simple songs, calypsoes, parang, - compose melodies to their - compose short melodies in any of the chutney, folksongs. own rhythmic motifs. above keys using chromaticism to their own rhythmic motifs. VOCABULARY form, strophic binary, ternary verse, chorus, bridge, round, rhyme, metre, call and response MUSIC LISTENING, APPRAISING AND RESEARCHING (RHYTHM, MELODY, HARMONY, TIMBRE): YEAR THREE - TERM D2 INTERNAL ORGANISERS SPECIFIC OUTCOMES SAMPLE ACTIVITIES MATERIALS AND GENERAL OUTCOMES Students will be able to: Students will be able to: Students may: C.D. Player Cassette Player LISTENING…: - recognise and identify music of - listen to music of other cultures and Melodic Instruments - recognize, analyse and other cultures; identify from which region of the define various world the music comes; RESOURCES expressive and struct- - define the basic elements of ural musical elements music; - research and define the elements of Recorder in music of other music as rhythm, melody, harmony Steel pan cultures. and timbre; Piano/Keyboard - identify the common elements of etc. all music; - listen to a selected range of local and foreign music to identify the basic elements as rhythm, melody, harmony VOCABULARY and timbre; - compare and contrast the As stated in Year3, Term element of music in different - listen to a selected range of music of D1 genre; other cultures and discuss the similarities and differences in the elements; - identify the elements of music of other cultures which are present - listen to selected pieces of music and in the various genre of selected discuss the various foreign cultural Caribbean music. influences identified in the music. MUSIC LISTENING, APPRAISING AND RESEARCHING (RHYTHM, MELODY, HARMONY, TIMBRE) Cont’d: YEAR THREE - TERM D2 INTERNAL ORGANISERS SPECIFIC OUTCOMES SAMPLE ACTIVITIES MATERIALS AND GENERAL OUTCOMES Students will be able to: Students will be able to: Students may: C.D. Player Cassette Player LISTENING…: - identify and classify - listen to different genre and identify and instruments instruments used in the music classify the instruments as - identify and classify of different cultures. idiophones, chordophones, musical instruments. membranophones, aerophones, and RESOURCES electrophones or the traditional classification of string, woodwind, brass, and percussion. VOCABULARY idiophones, chordophones, membranophones, electrophone, aerophones string, woodwind, brass, and percussion. MUSIC PERFORMING: YEAR THREE - TERM D2 INTERNAL ORGANISERS SPECIFIC OUTCOMES SAMPLE ACTIVITIES MATERIALS AND GENERAL OUTCOMES Students will be able to: Students will be able to: Students may: Coconut, calabash, wood, leaves, paper, PERFORMING: - make instruments used in - manipulate local material-disposable seeds, bottles, string, local and other cultures; containers to produce instruments to pvc, combs, tins, nails - manipulate materials to imitate existing instruments; screws, string, plastic create musical bottles instruments; - interpret and perform - use traditional instruments to perform RESOURCES selected local pieces; familiar local pieces of different genre, and - perform with musical use their original instruments as substitutes Local, Caribbean and instruments. for the traditional in performance; world music - interpret and perform - use their voices to imitate the sound of VOCABULARY selected pieces from other instruments in performances; cultures; idiophones, chordophones, - re-interpret and perform - arrange and re-interpret selected pieces Caribbean music derived from other cultures in the Caribbean style membranophones, from other cultures. e.g. Country and Western to Calypso - electrophone “The House Of The Rising Sun.” aerophones string, woodwind, brass, and percussion. MUSIC CREATING, COMPOSING AND ARRANGING - (RHYTHM, MELODY): YEAR THREE - TERM D2 INTERNAL ORGANISERS SPECIFIC OUTCOMES SAMPLE ACTIVITIES MATERIALS AND GENERAL OUTCOMES Students will be able to: Students will be able to: Students may: Traditional instruments and instruments made by CREATING…: - arrange simple familiar - arrange simple pieces in the style of other students pieces in the style of other genres with emphasis on the melodic and Tape player/recorder - arrange and compose specific genre; rhythmic structure e.g. chutney, parang; music in different genre; - compose simple short - compose short pieces in the style of other - Develop music making pieces in the style of other genre with emphasis on the melodic and RESOURCES strategies. specific genre; rhythmic structure; A collection of Caribbean - arrange music of other - arrange short pieces of other cultures in the Songs, culture, in the style of style of some of the more popular e.g. “National Anthem” specific Caribbean genre; Caribbean genre e.g. calypso, reggae, “A Nation’s Dawning” chutney, parang, etc.; “Boca Chimes” “Portrait of Trinidad” - compose short pieces in - compose short pieces in the style of some “Nah Leaving” specific Caribbean style. selected Caribbean style e.g. calypso, reggae, parang, chutney etc. VOCABULARY Genre 2-59 DANCE INTERNAL ORGANIZERS CREATING KNOWING RESPONDING DANCE is an aesthetic discipline that possesses its own body of knowledge, at the centre of which lies active communication. As an art form, however, it is unique, in that it embraces many facets of other Visual and Performing Arts. Because of this characteristic, Dance can lay claim to operate in equal measure within the cognitive, affective and psychomotor domains. It is for this reason that Dance has been identified as an extremely effective methodology in the teaching of other subjects. The three basic organizers for Dance in secondary schools have been designed to focus on the required knowledge, skills and abilities that will enrich the adult life of every student who has been exposed to Dance Education. Each fundamental organizer also contributes to the definition of more specific learning outcomes. Creating - involves students in activities designed to deepen and develop levels of concentration, listening, critical thinking and movement. The confidence developed by these activities allows for an environment, where students are more at ease and therefore more creative. Knowing – affords students the opportunity to identify a range of physical and communicative skills through the use of movement, trust and other sensory activities. It also affords the assessment of the importance of human relationships, as well as relationships with one’s environment and draws on experiences to create new situations. Responding– gives students the opportunity to display positive human values such as sympathy, tolerance and discipline. It contributes to human interaction, sensitivity to group dynamics and further enhances self-assessment and reflection.. 2-60 SPECIFIC INTENDED LEARNING OUTCOMES IN DANCE CREATING By the end of Form Three, students will be expected to: perform different kinds of dances; combine a number of differents steps/movements to create dances; show increased confidence and participation in activities; • demonstrate rhythmic acuity; create space by moving at different levels; create walking and running movements to different situations; apply physical control and accuracy to simple dance movements; use an object, props, etc., to enhance dance; hold and sustain a “freeze” position; use imagination to create a dance situation; employ a range of gestures and facial expression; demonstrate greater spatial awareness; work in pairs; 2-61 work at a task within a group; work with others to produce a dance episode; construct, dissolve and re-assemble a tableau; practice clear articulation and correct pronunciation; extend the use of memory in recalling and reconstructing experiences; show awareness of self and the physical environment through the senses; record Dance experiences in a dance diary; make clear, reasoned decisions within the dance work; choose from a range of alternative actions. KNOWING By the end of Form Three, students will be expected to: identify a range of physical skills and ways in which these skills might be further extended; understand dance as a way to create and communicate meaning; demonstrate an awareness of the need for safety in extending their range of physical capability and in the general conduct of dance activities; 2-62 demonstrate an understanding of the nature of basic voice production and delivery; examine the nature of trust and responsibility in the context of dance as a social art form; discuss the relationship between physical gestures, body language and communication; examine the nature and function of facial expressions; assess the importance of the relationship between movement and stillness; assess the importance of the relationship between sound and silence for dance; assess the importance of the relationship between light and darkness for dance, both as a physical phenomenon and as a quality; examine the fact that experiences can be used imaginatively to create new situations; understand the relationship between self and others; appreciate the quality of movement and stillness, sound and silence, light and darkness, for dance effect; find/create alternatives to sex and violence to create drama; examine the nature of dance as a social/cultural/indigenous/ ritualistic art form. 2-63 RESPONDING By the end of Form Three, students will be expected to empathize, display tolerance and give support where needed; show a willingness to contribute ideas; exhibit a sensitivity to group dynamics; appreciate the importance of teamwork; respect their own artistic heritage and those of others; recognise the importance of listening in acquiring vocal skills; exhibit the discipline necessary for successful accomplishment of tasks; appreciate the need for seriousness of approach; cooperate with others in the development and successful completion of dance projects; appreciate the importance of developing the creative imagination; value the contribution the peer audience can make to the dance; value the constructive criticism of others; show willingness to adapt a dance to accommodate the criticisms of others; 2-64 show a willing ness to commit effort to a task; recognise that fun and recreation are aspects of dance and that learning can be achieved through fun. 2-65 DANCE AND CONNECTIONS TO THE CORE CURRICULUM The following outline some of the more obvious bases for inter-relating dance and other subjects of the core curriculum. Foreign Language (usually Spanish) Dancing to music from foreign lands Use of appropriate music to illustrate culture of foreign countries Correlation of Italian performance terms with foreign language Language Arts Correlation of metre and rhythm in poetry and music Imagery and symbolism in stories and/or poems and music Setting of dance movements to literary interpretation and vice versa Use of appropriate dance as stimuli for creative writing Use of appropriate dances to accompany poetry reading and story telling Mathematics Beats, note values and time signatures as they relate to the understanding of number concepts (counting, division, ratio etc.) Relationship between dance movements and mathematical vocabulary, e.g. time signatures, intervals and note values Physical Education Proper breathing techniques are common in athletics and in dance Understanding of the skeletal structure and its relationship to posture Awareness of the body and movement 2-66 Science • Study of the body to include the function of - muscles - Lungs - The skeleton - Intercostal muscles - Diaphragm - Ribcage Social Studies Use of appropriate dances to understand the meaning, implications and importance of historical events Use of appropriate dances to understand the ideals, religions and traditions of contemporary and past civilizations, cultures, nations and times. • Study of appropriate dances, dancers and choreographers to aid in building concepts of citizenship and patriotism Use of appropriate dances to illustrate and/or describe geography and climate of various countries and regions Engagement in group work, peer review and critiquing in listening and appraising, performing and composing. Technology Education Operation of computers (hardware and software), video players/recorders, video cameras and other technologies to view, teach, choreograph, and perform dances Study of electronics and electronic equipment involved in the production of sound and lighting effects e.g. amplifiers, microphones, mixing and lighting boards. Selection and use of appropriate applications and technology tools to increase productivity of individual and collaborative multimedia projects. 2-67 DANCE AND CONNECTIONS TO OTHER VISUAL AND PERFORMING ARTS DISCIPLINES Visual Arts Using dance poses as the basis for making drawings and paintings Use of appropriate dance to stimulate composition of works of art and vice versa Study of form in dance and in the visual arts Construction and decoration of scenery and backdrops for dance productions Study of rhythm in dance and in the visual arts Study of historical periods and styles, e.g. romanticism, classicism. Music Developing harmony of music and dance Study of rhythm in music and dance Study of form in music and dance Expression of musical form with body movements Shaping of melodic contours with hand and body movements Choreography of dance to music Composition of specific music for dance style(s). Drama Speaking in rhythm Correlation of voice levels to pitch and intensity Development of creative dances dramatized to evoke emotions Use of dance to reflect or affect mood Selection dramatic events as the basis for choreography Study of classical works (theatre) on which to base dance sequences. DANCE: COURSE OUTLINE YEAR THREE - TERM D1 ORGANISING CATEGORIES SPECIFIC OUTCOMES SAMPLE ACTIVITIES MATERIALS AND GENERAL OUTCOMES Student will be able to: Student will be able to Students may: Props, sticks, scarves, CREATING: Body Awareness - improvise to music using 4 shapes; hoops, - use improvisation as a - improvise singly or with a cassette player, CD player means exploring partner various body - set an 8 count movement phrase out of the movement and setting shapes; improvisation; - set a phrase of movement - create a dance around the theme “the Challenge”; RESOURCES KNOWING: out of the improvised - recognize and research piece. - explore facial gestures of sadness, anger, joy Magazines, videos, The different dance forms; excitement. Dancers Heritage by Molly Ahyee - recognize that Space - Improvise (to music) based on the Dimensional movements can be - explore the Dimensional Cross; combined to tell stories. Cross individually. - set a phrase of movement based on one D/cross - travel along a set pathway and stop and improvise at each stop; RESPONDING: - create a dance based on the theme “The Path.” - analyse, explore and react VOCABULARY to the movements of Effort - improvise varying 2 effort actions to create a others; - explore light and firm; sequence with a beginning middle and end; Improvisation, phrase, - explore cross-cultural - explore direct and flexible; - explore different efforts at each stage; study, undulating, suck , references, to enhance tihai, kathak, analyse their own performance. - explore elevation. - create a dance based on the “Encounter”, discuss and agree on plot. Relationship - improvise keeping contact with a partner; - work in pairs, imitating and responding to create - improvise with partner without contact sequences. - create a dance around the theme “The Picnic.” DANCE: COURSE OUTLINE YEAR THREE – TERM D2 INTERNAL ORGANISERS SPECIFIC OUTCOMES SAMPLE ACTIVITIES MATERIALS AND GENERAL OUTCOMES Students will be able to: Students will be able to: Students may: Percussion instruments, CREATING: Body Awareness- - support different parts of the body; - manipulate their bodies to - explore the differences in appropriate props, bundle create shapes, forms, bearing and not bearing - move parts of the body that are not taking weight; of cocoyea, scythe, movement, and gestures by weight; transferring weight - find 4 ways to transfer body weigh whilst sticks, balls - find balance by using travelling; gestures to transfer weight; RESOURCES KNOWING: - explore a study where different parts of the legs - stimulate insight into the - lead with different body parts lead in jumps; Selected Music possibilities for exploration, by varying gesture. improvisation and - find 4 different ways of kneeling, lying, standing composition or sitting. Space VOCABULARY - explore basic composition - create movement on the - clap /create a phrase and discuss the length of in pairs using exploration of dimensional cross using notes and values; Gesture, motif, shape, specific movements varying rhythms; - combine the directions of the Dimensional Cross form, thrusting, gather, with one rhythm phrase; - combine, scatter, gather with - travel to another point and perform short scatter/ elevation, stimuli, effort actions. gather combinations. dimensional cross, Effort scatter, complimentary, - explore fluent movements in twisting, undulating, action/reaction, Bele, - explore /produce flexible and turning; movements; Gadka, Kolatum, - contrast flexible movements with sudden flicks Kalinda, staccato/legato, - analyse and perform two or and firm thrusts; more action elements flexible - create a sequence varying effort actions using the Dimensional Cross; - explore tihai and kathak techniques DANCE: COURSE OUTLINE YEAR THREE – TERM D2 (CONT’D) INTERNAL ORGANISERS SPECIFIC OUTCOMES SAMPLE ACTIVITIES MATERIALS AND GENERAL OUTCOMES Percussion instruments, Students will be able to: Students will be able to: Students may: RESPONDING: Relationship - perform and analyse individual movement phase appropriate props, bundle - analyse, explore and react to - create a movement phrase explaining the different effort and space elements; of cocoyea, scythe, the movements of others; working in pairs; - teach the phase created to partner or group; sticks, balls - explore cross-cultural - identify and analyse created references, to enhance their movements. - learn and perform traditional Pique and Phagwa RESOURCES own performance. dances. Selected Music VOCABULARY Gesture, motif, shape, form, thrusting, gather, elevation, stimuli, pique scatter, complimentary, action/reaction, phagwa Kalinda, staccato/legato, flexible 2 - 71 THE INTEGRATED ARTS PROGRAMME The Integrating Term This programme is designed to allow teachers to use their creativity and initiative to develop activities that would allow for the integration of the Visual and Performing Arts components on a number of levels. It is intended to allow students to interact with the various contents in the classroom in the same way as they integrate knowledge in the real world. In addition, it attempts to focus on the personal development and growth of students in their understanding of their relationship with classmates, family, community and the larger world, and in addressing the cultural content of their society. The curricula for Forms 1-3 in the Visual and Performing Arts include an integrating term for each of the three years. Within each year, two terms will focus on acquiring basic skills in each of the four discrete disciplines of drama, dance, visual art, and music. The remaining term will focus on finding formal and expressive connections between the arts. This integrating term may be any term during the year – a decision made jointly by all the Arts teachers in a particular school. It should be noted that during this integrating term, basic skills will continue to be acquired and/or reinforced. The rationale for this integrating component is that students should recognise that: There are similarities in the way that artists work whatever their particular discipline, and that discovering these helps students learn about the role that all the arts play in their communities. The expressive potential of combining art forms constitutes a powerful tool for generating and sustaining community, and for establishing both personal and group identity. It is important that criteria governing integrating projects remain flexible. Projects may, for example, include all four arts disciplines, may extend for an entire term, and involve 2 - 72 an orchestrated performance. Alternatively, a series of projects may be planned that include two or three disciplines. A project may take one workshop session. But all projects should likely be exploratory in nature, that is, they should involve problem solving, research, experimentation, and risk-taking. There are basically four models that can be employed in the attempt at integration. Model 1 - The Thematic Model A theme is selected and each discipline decides how it contributes to executing the theme in terms of content. (See course outline on paper) Model 2 - The Project Model A project is identified and the contribution of each discipline determined through a collaborative approach to formulating, planning, developing and executing the project by the Visual and Performing Arts teachers. This project could culminate in a production, performance, exhibition or Open Day activity. Model 3 - The Core Model The integration is centred around or determined by one of the four core disciplines. For example, the music department may want to put on a production (concert), the other disciplines bring their strengths to promote its success. Art/Craft- stage decoration, costuming- Drama – skits, Dance – dances supporting background dancers, etc. Model 4 - The Integrated Core Model The integrated core is centered around two or three of the core areas: Drama and Dance may want to work on a project, or alternatively, Music, Dance and Drama. Themes/topics could address everyday societal concerns and be value-laden. There can be a deliberate attempt to have children come face to face with situations that would promote their growth through the development of self-esteem and self-worth. Themes can address some of the following: 2 - 73 A general theme, e.g. a journey, the environment, love, etc. A particular festival, e.g. Divali, Carnival. A topic from another subject area such as Social Studies or English Literature. A topic suggested by historical, social, or political events. Please note that the Teachers’ Guide will contain a selection of themes/topics and approaches to aid the teacher in planning the integration. An example of the Thematic Model is shown in the course outline, which follows this section. The integrating term will work most effectively when the Arts teachers in each school meet on a regular basis to plan and monitor projects and when the Arts staff work closely with the principal, other colleagues, and the community at large. Flexibilities possible in particular schools will include such things as: Team-teaching Disciplines working both separately and together as projects suggest Disciplines sharing periods to give extended blocks of learning time. Assessment will be both cumulative and summative. It will take into account formal and informal methods – from examinations to portfolios, to individual discussions, to group critiques and student self-assessment. THEME: FESTIVALS. TOPIC - CARNIVAL THE INTEGRATED PROGRAMME: THE THEMATIC MODEL COURSE OUTLINE CONTENT/TOPIC INTENDED LEARNING OUTCOMES SUGGESTED ACTIVITIES SUGGESTED RESOURCES Students will be able to: - moving in time to rhythm – basic DANCE: CALYPSO - explore movements based on chip in different directions; Carnival videos, DANCE traditional calypso dance/rhythm; Best Village - making hip circles-fast and slow; videos, - distinguish between calypso dance and dance groups other dances; - walking floor patterns; - demonstrate the calypso dance through a - compose simple pattern of steps; sequence of movements; - making shapes. - display a harmony of music/ rhythm and dance. Calypso Tent, MUSIC: CALYPSO - define the term ‘rhythm’; - listening to various calypso- videos, RHYTHM rhythms; records, CDs, - define the term ‘calypso’; visiting - beating along with the Calypsonians, - distinguish between calypso rhythms music; and other rhythms; - creating sounds and rhythm from - demonstrate the calypso beat; ‘instruments’ e.g. box, can, bottle and spoon, etc. - reproduce calypso rhythms by beating - instruments; - developing a ‘rhythm track’ alongside recorded calypso - accompany calypso with appropriate rhythm. THE THEMATIC MODEL (CONT’D) CONTENT/TOPIC INTENDED LEARNING OUTCOMES SUGGESTED ACTIVITIES SUGGESTED RESOURCES Students will be able to: Pictures of VISUAL ARTS: CARNIVAL - create designs for costumes based - develop simple designs in carnival, carnival DESIGN AND COSTUMING on a carnival theme by drawing on geometric shapes to represent videos, (traditional characters) paper; costumes; presentations by carnival - translate drawings into color - refining shapes to produce designers, presentations; motifs for costume; carnival magazines, - manipulate materials to produce - applying colour and decoration; Daily paper costume models; newspapers - transferring design to build - demonstrate skills in cutting model; decorating, sticking, decorating etc. - assembling on human model DRAMA: CARNIVAL - develop an appreciation of the - dramatic readings of Carnival videos, THEATRE theatre represented by traditional Robber, Indian speeches; traditional carnival characters; carnival - dramatization of events, scenes masqueraders, - enact dramatic presentations in speeches; copies of /readings of e.g Midnight Robbers, speeches, Red Indian etc.; - brainstorming sessions to Book-Trinidad create speeches; Carnival - structure / manipulate language to - Miming of speeches to develop create dramatic passages / readings dramatic presentations. suitable for traditional carnival characters. 3-1 GLOSSARY OF KEY TERMS IN THE VISUAL ARTS Abstraction Art that is representational, or that converts forms observed in reality to patterns that are read by the viewer as independent relationships. Assemblage The use of three-dimensional found objects combined to make art. Chroma or Hue The degree of saturation, or vividness of a colour, ranging from pure primary colours to colours muted by mixture with their complements, black, or white. Complementary Colours Colours that fall opposite one another on a circle (or wheel) showing the primary colours and their combinations are said to be complementary (e.g., red/green, yellow/violet, blue/orange). Composition The combination and arrangement of shape, form, colour, line, texture and space so that they seem satisfactory to the artist. Contour Drawing A drawing that defines the outline of a form. By varying the thickness and character of the line, an artist can suggest volume and weight. Elements of Visual Arts Elements are generally considered to be line, colour, shape or form, space and value. Foreground, Middle Ground and Background Layers of implied space or planes in the picture space of a two-dimensional work. The foreground is closest to the viewer, then the middle ground and, most distant, the background. Gradation See Value Hue See Chroma Media and Techniques The materials and procedures used in making art, such as drawing/ painting materials, sculptural materials such as clay, wood, or stone; and procedures such as modelling, carving, or construction; print-making materials and techniques such as relief printing, etching, or lithography; electronic media and techniques such as film- making or computer-generated imagery. 3-2 Pattern A decorative arrangement created by repeating a motif. Perspective A method of representing the illusion of volume in three-dimensional objects and depth of space on a two-dimensional surface. Techniques include: Atmospheric perspective: the use of gradation of colour, overlapping and relative degrees of detail to suggest an impression of depth in space. Linear perspective: the use of real or suggested lines that converge on a vanishing point or points on the horizon or at eye level (and link receding planes as they do so) to suggest depth in space. Isometric perspective or projection: the use of lines to represent an object in which the lines parallel to edges are drawn in their true length and do not converge; sometimes used in architectural or mechanical drawing to convey the actual dimensions of an object. Primary and Secondary Colours Primary colours are red, yellow, and blue. Mixing pairs of primary colours in equal proportion forms secondary colours. These are orange, green, and violet Printmaking Techniques of art that are designed to create reproducible images: etching, engraving, woodblock and other relief printing, lithography, serigraphy (silkscreen). Proportion The ratio between the respective parts of a work and its whole. A canon of proportion is a mathematical formula establishing ideal proportions of the human body, as seen in ancient Egyptian and Greek sculpture and reinterpreted in the Renaissance by Leonardo da Vinci Representational Art Art that seeks to portray things seen in the visible world; sometimes called figurative art. Schematic Layout Sketches or diagrams of works made for projecting the appearance of a final work. Sculpture Any work carried out in three dimensions, as opposed to drawing, painting, flat collage and printmaking, which are usually two-dimensional. Relief sculpture refers to compositions in which parts project from a flat surface. 3-3 Style A manner of expression characteristic of an individual, national, or cultural group, genre, or historic period. Several key terms spanning all arts disciplines (and most often applied to Western art forms) include: Folk: forms of arts that are linked to the social life and traditions of specific communities. Participation is not restricted to the professional artist. Classical: in Western art, forms that conform to Greek and/or Roman models, or highly developed and refined styles of any culture; those which aspire to an emotional and physical equilibrium and which are rationally, rather than intuitively constructed. Classical forms have developed all over the world. Romantic: in Europe and America, 18th and 19th century forms that express the individual’s right to expression and imagination. Modern: forms that broke with romantic and classical traditions in the late 19th and early 20th centuries and which established new approaches to creating and performing based on ideas and technologies that looked toward the future; forms are sometimes called avant-garde (before their time). Postmodern: forms that emerged in the 1970s, primarily in the United States and Europe. As a reaction to modernism, artists – and particularly architects – returned to borrowing from the classical tradition, often using allusions ironically. Symbol Something that stands for, or suggests, something else by reason of relationship, association, convention, or accidental resemblance. Symmetry Arrangement of elements that are balanced around a line or point; bilateral symmetry- balanced distribution of elements on the opposite sides of a linear axis or medial plane(forms like leaves or the human body); radial symmetry- balanced distribution of elements around a central axis(forms like composite flowers). Texture, Surface Texture, Visual Texture The tactile quality of the surface of a painting, sculpture, or building (rough, smooth, patterned). Visual texture refers to the illusion of texture created on a flat surface through line or brush stroke. 3-4 Three-dimensional (3D) The physical characteristics of artwork that have depth, width, height and volume (most sculpture). Two-dimensional (2D) The physical characteristics of artwork that are carried out primarily on a flat surface (most drawing, painting, printmaking). Value and Gradation of Colours or Greys Value refers to the lightness or darkness of a colour, or to gradations of black, greys and white. 3-5 GLOSSARY OF KEY TERMS IN DANCE AB A two-part compositional form with an A theme and a B theme. The binary form consists of two distinct, self-contained sections that share either a character or quality (such as tempo, movement quality, or style). ABA A three-part compositional form in which the second section contrasts with the first section. The third section is a restatement of the first in a condensed, abbreviated, or extended form. Abstraction Movement that is removed from a particular or representational context and manipulated through the elements of space, time and force in order to create a new sequence or dance that retains the essence of the original movement. Agility The ability to move in a quick and easy fashion. Alignment The relationship of the skeleton to the line of gravity and base of support Articulation of Body Parts The distinct movements of one or more parts of the body as the rest of the body serves as support. Axial Movement or Non-locomotor Movement Any movement that is anchored to one spot by a body part using only the available space in any direction, without losing the initial body contact. Movement is organised around the axis of the body, rather than designed for travel from one location to another. Balance A state of bodily equilibrium; the point where the sum of all the forces acting upon the body equals zero and the forces are in equilibrium. Canon Choreographic form that reflects the musical form of the same name, in which individuals and groups perform the same movement or phrase beginning at different times. Chance Choreographic process in which elements are specifically chosen and defined, but randomly structured to create a dance or movement phrase. 3-6 Choreographic Principles Factors to be considered in the attainment of an aesthetically satisfying dance composition. Choreographic Structure The specific compositional forms in which movement is structured to create a dance. Choreography 1. The art of making dances; 2. Making a dance with a process that involves the understanding of choreographic principles, processes and structure. Clarity Clear execution of a movement or task. Climax The “high point,” or the point of culmination in a dance. Contrast The introduction of a theme or pattern different in nature from the original, yet related to it, which, by means of its very opposition, highlights the former to result in a new strength of meaning. Counterbalance Any weight that acts to balance another weight; in dance, any limb moving in one direction must be given a counterweight. Countertension A state of two opposing pulls (e.g., in the body, the dominant up/down tension of standing). Elevation The body’s propulsion into the air away from the floor, such as in a leap, hop, or jump. Ensemble The dynamic interaction and harmonious blending of the efforts of many artistes involved in the dance activity. Entrances and Exits The places of entry and exit for each dancer in a dance. They refer both to the physical space of the performing area, as well as the sequence of the dance itself. Flexibility Range of motion determined by a person’s particular skeletal structure and muscular density. 3-7 Force The instigator of movement, a push or pull. Form The overall structural organisation of a dance or music composition (e.g., AB, ABA, call and response, rondo, theme and variations) and the interrelationships of movements within the overall structure. Gesture The movement of a body part or combination of parts, with the emphasis on the expressive aspects of the move. Improvisation Movement that is created spontaneously, ranging from free-form to highly structured environments, but always with an element of chance. Locomotor Movements Movement in space, including walking, running, skipping, hopping, galloping, sliding, leaping, etc. Mirror Imaging A “follow the leader” exercise for two or more dancers in which one person initiates movement and the other(s) attempts to imitate the leader simultaneously and exactly. Musicality The attention and sensitivity given to the musical elements of dance during creation or performance Neuromuscular Coordination The efficient and appropriate response of muscle groups in the execution of an action or task. Non-locomotor Movement Movement in place, including twisting, balancing and extending. See Axial Movement. Pantomime A situation in which the performer relies totally on gesture, facial expression and movement, rather than speech, for enactment of material. Personal Space The “space bubble” or the kinesphere that one occupies; it includes all levels, planes and directions, both near and far from the body’s centre. Phrase A brief sequence of related movements that has a sense of rhythmic completion. 3-8 Positive Body Image Acceptance of one’s body as it is, with recognition of its capabilities and limitations. Projection 1. A confident presentation of one’s body and energy to vividly communicate movement and meaning to an audience; 2. Performance quality. Reordering A choreographic process in which known and defined elements (specific movements, movement phrases, etc.) are separated from their original relationship and restructured in a different pattern. Repetition Performing a movement theme, or a portion of it, a number of times for emphasis. Rhythmic Acuity The physical, auditory recognition of various complex time elements. Rondo A choreographic form that reflects the musical form of the same name, in which one principal theme is repeated at intervals, with contrasting episodes between the repetitions. Shape The positioning of the body in space (curved, straight, angular, twisted, symmetrical, or asymmetrical). Space The medium in which movement takes place; a defined area. Strength The ability to exert tension against resistance. Dancers build strength at all the joint angles by doing exercises that require movement through the full range of motion. Stylistic Nuance The subtle or slight movements that identify the distinct characteristics of a particular performer, or the dances of a particular choreographer or period. Tempo 1. The rate of pulses or beats in music; 2. The relative speed at which a dance phrase or composition is to be performed. Unison Dance movement that takes place at the same time in a group. 3-9 GLOSSARY OF KEY TERMS IN DRAMA Antagonist The main opponent of the protagonist. Blocking (Floor Plan) 1. A way to organise the action onstage; 2. A rehearsal device to clarify script, character and stage picture by arranging floor patterns and performers’ spatial relationship to each other and the set (usually designated by the Director). Performers follow blocking in performance. Body Alignment The relationship of the skeleton to the line of gravity and the base of support. Casting The selection of actors or performers. Character A person, animal, or entity in a story, scene, or play with specific distinguishing physical, mental and attitudinal attributes. Characterization The process of creating a believable “person” by exploring the physical, social and psychological dimensions of a role. Character Dimensions Physical (e.g., gender, age, external traits), social (e.g., occupation, family) and psychological (e.g., attitudes, motivation, values) aspects of a character. Climax 1. The point from which the major conflict can go no further without bringing about resolution; 2. The highest point of dramatic tension. Comedy A drama of light and amusing character, typically with a happy ending. Conflict 1. Tension between two or more characters, or between action and ideas; 2. The fundamental struggle that leads to a crisis and climax of a scene or play. Crisis A decisive moment or turning point in the dramatic action. Diction 1. Choice and use of words in speech or writing; 2. The degree of clarity of enunciation or distinctness of speech. 3 -10 Drama A composition in verse or prose intended to portray a character, or tell a story through action and dialogue and designed for theatrical performance. Dramatic Elements Six major elements of drama according to Aristotle: plot, character, theme, dialogue, music and spectacle. Ensemble The harmonious blending of the efforts of the many artistes involved in a dramatic activity or theatrical production. Exposition Information provided by dialogue, rather than through dramatic action, necessary for an understanding of time, place, plot, character and theme. Five “W’s” 1. Who – refers to roles and characterisations 2. What – refers to dramatic action 3. Where – refers to setting, locale, environment 4. When – refers to time of day, year 5. Why – refers to motivation Formal Dramatic Productions Dramatic activity designed for presentation, with a focus on final production and the audience reception. Genre A method of categorizing play scripts. The major genres include: tragedy, comedy, melodrama and farce. Gesture The movement of a body part (or combination of parts) with the emphasis on the expressive aspects of the move. Imagery 1. A term for any expression, reference, or allusion that appeals to the senses, such as colours, sounds, odours, or visual description; 2. The collective term for images, or a pattern of images in a literary work. Improvisation 1. The spontaneous use of movement and speech to create a character or object in a particular situation; 2. An intuitive and immediate response, rather than a behaviour that is rehearsed. 3 -11 Inflection An alteration in pitch or tone of voice. Informal Production The exploration of all aspects of a dramatic work (such a s visual, oral and aural) in a setting where experimentation is emphasised – similar to classroom dramatisations with classmates and teachers as the usual audience. Lighting The illumination of the stage or playing area by means of artificial light. Makeup Cosmetics used to change the appearance of the face and other exposed surfaces of the body in order to emphasize characteristics appropriate to a role. Performance The imitation of life in front of at least one other person. In a broad sense, performance refers to the presentation of any kind of entertainment, from play to concert, solo presentation to ensemble collaboration. Playmaking A term used to describe dramatic activities that lead to improvised drama with a beginning, middle and end and that employ the general form and some elements of theatre. Playwriting The act of creating the plot, theme, characters, dialogue, spectacle and structure of a play and organising it into a playscript form. It involves the ability to imagine the entire production scene and to put it into written form so that others may interpret it for the stage. Playwright One who writes plays; dramatist. Plot The story as revealed through the action and dialogue of the characters. Plot structure usually includes a beginning, middle and end and entails a problem, complications and a solution. Properties (Props) Objects used on stage such as furniture, utensils, ornaments and personal possessions. 3 -12 Proscenium A theatre in which the audience sits on one side, facing towards the stage. Usually, the action is viewed through an opening or frame (the proscenium arch), which extends into the audience space. In a thrust configuration, the stage extends into the audience space. In an arena theatre, the audience sits around the stage. Protagonist The principal character that carries the main thought of the play. Resolution The final unfolding of the solution to the complications presented in the plot of the play. Rising Action Term used in discussion of the structure of a play to designate the complications of the plot leading to the crisis (or turning point). Role The characteristic and expected social behaviour of an individual in a given position (e.g., mother, employer). Role portrayal is likely to be more predictable and one-dimensional than character portrayal. Scenes The subdivision of an act in a play, identified by place and time. Script The written dialogue, description and directions provided by the playwright. Setting The time and place of a scene or play. Sound Effects or Environment Actual or simulated sounds used to create an aural atmosphere. Stage Directions 1. Description or direction that indicates actors’ movements or stage business; 2. Locations on a stage from the actors’ position (centre stage, stage right, stage left, upstage [toward, or at the back of the stage], downstage [toward, or at the front of the stage]). Stage Manager The head of the production staff that, once the play begins, takes charge of the stage, the actors and the crews. Technical Theatre Design and creation of sets, lighting, sound, properties and costumes/makeup. 3 -13 Tragedy Plays of an elevated and poetic style involving serious action with strong moral implications. The defeat of the protagonist (often a person of high rank) is brought about by an inability to overcome a character flaw, or some event beyond human control, such as fate, or the will of the gods. 3 -14 GLOSSARY OF KEY TERMS IN MUSIC AB A two-part musical form in which both parts are distinctly different. ABA A three-part musical form in which the second section (B) contrasts with the first section. The third section is a restatement of the first (sometimes in a condensed, abbreviated, or extended form). Accompaniment A part performed with the main part for richer effect. Alto 1. The lowest voices of women and pre-pubescent boys; 2. Instruments that play the notes of these voices. Arpeggio The production of tones in a chord in succession, rather than simultaneously. Arrangement Music that has been changed from the original way in which it was written. Articulation 1. In performance, the characteristic of attack and decay of tones and the manner and extent to which tones in sequence are connected or disconnected; 2. The way in which musical sounds begin, end and are connected with each other. Bar or Measure A number of notes grouped between stressed beats that are usually the same number of beats apart. Bar-line A vertical line across the staff dividing the music into bars (measures). Bass 1. The lowest voices of men; 2. Instruments that play the notes of these voices. Beat The unit of rhythm; rhythmic pulse felt in most music. Cadence A group of chords or notes at the end of a phrase or piece that gives a feeling of pausing or finishing. 3 -15 Canon A composition in which one part or voice is imitated in its entirety by the other parts. The parts overlap and may or may not be on the same pitches. Chord A combination of three or more tones sounding together. Chorus 1. The part of a piece of music where everyone joins in and performs together; 2. A group of singers and the music written for them. Clef A symbol written at the beginning of a musical staff (stave) to indicate the pitch of the notes. Compose To create original music by organising sound. Consonance Two or more sounds that are perceived to have stability; in harmony, consonant intervals are those that are treated as stable and do not require resolution to another set of intervals. Contour The shape or direction in which a succession of tones moves. Countermelody A second melody played against, or simultaneously with, the main melody. Density or Texture The “thickness” of the musical sounds. Descant A countermelody added above the melody. Devised Scale A scale which is constructed by an individual and which does not conform to any of the common scale patterns. Devised Symbols Symbols which are not part of the notational system in common use and are invented by an individual to represent a particular sound. Dissonance An interval or a chord that sounds unstable and pulls toward a consonance. 3 -16 Double –Bar line A double vertical line, the second line of which is usually thicker, that is used to signify the end of a piece or section. Duple Time Music with two beats to the bar. Dynamics 1. Degrees of loudness. 2. The effect of varying degrees of loudness and/or softness in the performance of music. Elements of Music Pitch, rhythm, harmony, dynamics, phrasing, style, interpretation, and appropriate variations in dynamics and tempo. Ensemble 1. The harmonious blending of the efforts of the many artistes involved in a musical activity. 2. Any group of players or singers. Flat A sign that is used to indicate that the pitch of a note is lowered by one semitone. Form The overall structural organisation of a music composition (e.g., AB, ABA, call and response, rondo, theme and variation, sonata-allegro) and the interrelationships of music events within the overall structure. Fugue A composition in which a theme is stated in one voice and imitated in other voices successively. The theme appears frequently during the composition, but other melodic material may also be introduced. Harmonic Minor Scale A scale that contains the pattern, tone, semitone, tone, tone, tone, One and a half tone, semitone. Harmony 1. The simultaneous sounding of two or more tones. 2. Structure in terms of treatment of chords. Homophonic Texture A melodic line supported by a harmonic accompaniment that has a similar rhythm to the melody. 3 -17 Improvise To perform music as an immediate reproduction of simultaneous mental processes. Interval The distance in pitch between two notes. Key Music is said to be in a particular “key” when it is based on the scale starting with the key note of the same name (e.g., music in the key of F major is based on the scale of F major). Key Note or Tonic The starting note of a scale. Key signatures and scales are named after their key note. Key Signature A group of sharps or flats placed on the staff immediately after the clef to indicate the key of the music. Leap or Skip An interval that skips at least one letter name and is therefore larger than a step (e.g., C-F, A-C, B-G, etc.). Major Scale A scale that contains the pattern – Tone, Tone, Semitone, Tone, Tone, Tone, Semitone (or using the solfa names doh, re, me, fah, soh, lah, ti, doh). Major Tonality Tonally,the organisation of music around a key that is based on a major scale. Measure See Bar Melodic Minor Scale A scale that contains the pattern: tone, semitone, tone, tone, tone, tone, semitone, when ascending and the pattern: tone, tone, semitone, tone, tone, semitone, tone, when descending. Melody 1. The tune. 2. Arrangement of notes in sequence to form a musical idea. Metre or Meter The basic pattern of beats in successive measures, usually expressed in time signature. Minor Tonality Tonally, the organisation of music around a key that is based on a minor scale. 3 -18 Monophonic Texture Music having a single melody without accompaniment. Motif or Motive 1. The shortest recognizable melodic pattern. 2. A pattern of two or more tones. Moveable Doh A system of music reading in which each scale step is given a name. Because the intervals between the levels, or degrees, of a scale remain fixed, the scale steps are the same in all keys. Natural A sign that is used to cancel the effect of a flat or sharp and restore a note to its original pitch. Natural Minor Scale A scale that contains the pattern, tone, semitone, tone, tone, semitone, tone, tone. Notation The name given to ways of writing music. Note 1. A musical sound. 2. A sign that represents a musical sound. Octave 1. An interval of eight notes. 2. A distance of eight pitch names or scale degrees (e.g., C to C, B to B, etc.). Ostinato (pl. ostinati) A short rhythmic or melodic pattern that is persistently repeated. Pentatonic Scale 1. A scale of five notes. 2. One in which the tones are arranged like a major scale, with the fourth and seventh tones omitted. Phrase A continuous length of melody or harmony that acts as a complete thought (similar to a sentence or a line of poetry) consisting of two or more motifs. Pitch The height or depth of a sound. 3 -19 Polyphonic Texture Two or more independent melody lines sounding together. Quadruple Time Music with four beats to the bar. Question-Answer Phrases A pair of phrases, the first of which ends inconclusively, sounding as though it should be “answered.” The question phrase ends on a note other than the tonic, while its “answer” generally ends on the tonic. Range The distance between the lowest and highest pitches that a particular instrument or voice can produce. Refrain 1. The chorus. 2. A phrase or verse that occurs at the end of each stanza of a song. Register The pitch location of a group of tones (if the group of tones consists of all high sounds they are in a high register and vice versa). Rest A sign that indicates a period of silence. Rhythm The treatment of time in music. In a broad sense, it includes metre, melody, harmony and the whole movement of music through the grouping of bars into phrases, phrases into sentences and sentences into a completely integrated piece of music. Rondo A musical form in which one theme or section alternates with two or more contrasting sections (e.g., ABACA, ABACADA, ABACABA). Round A song in which two or more voice parts sing the same words and pitches, but start and finish at different times. Scale 1. A series of notes in alphabetical order, starting with the key note after which the scale is named. 2. An arrangement of pitches from lower to higher according to a specific pattern of intervals or steps. 3 -20 Score Musical composition written in notation. Semitone The smallest interval from one note to another in Western music. Sequence Repetition of a melodic pattern at a different pitch level. Sharp A sign that is used to indicate that the pitch of a note is raised by one semitone. Simple Time Time where the main beat can be subdivided in two. In Simple Time, the top number of the time signature is usually two, three, or four (duple, triple and quadruple respectively) Skip or Leap See Leap Soprano or Treble 1. The higher voices of women or pre-pubescent boys. 2. Instruments that play the notes of these voices. Staff or Stave The five lines and four spaces on which music is written. Tempo The speed of music. Tenor 1. The higher voices of men. 2. Instruments that play the notes of these voices. Texture 1. The thickness or thinness of the musical sound based upon the number of different tones produced simultaneously or in proximity to one another; 2. The kind of horizontal and vertical relationships of musical materials (e.g., one unaccompanied melody, a melody supported by harmony [or chords], two or more melodies sounding simultaneously). Theme and Variations A form in which a basic melody (theme) is presented and then repeated in a series of modified versions. 3 -21 Timbre 1. The character or quality of sound that distinguishes one instrument, voice, or other sound source from another. 2. The quality or “colour” of a tone. Time The number of beats in a bar Time Signature Two numbers (written one above the other) or a sign placed on the staff at the beginning of music (after the clef and key signature). The top number gives the number of beats in a bar, while the lower number gives the type (or value) of the beats. Tonality The harmonic relationship of tones with respect to a definite centre or point of rest. Tone A musical sound; the quality of sound made by a voice or instrument; two semitones Tonic See Key Note. Traditional Symbols Notational symbols found in common use in Western music. Treble See Soprano. Triple Time Music with three beats to a bar. Unison Two or more voices, or instruments, singing or playing the same notes. Verse-Refrain A form, common in folk and popular songs, in which verses having the same music, but different words, are each followed by the same refrain. 4-1 BIBLIOGRAPHY/RESOURCES FOR THE ARTS RELIABLE SOURCES FOR PUBLICATIONS ON ARTS EDUCATION Americans for the Arts 927 15th Street, NW, 12th Floor, Washington, DC 2005, 202/371-2830; www.artusa.org/publications Association for Supervision and Curriculum Development 1703 North Beauregard Street, Alexandria, VA 22311-1717; 703/578-9600; www.ascd.org/pubs/pubs.html Getty Education Institute for the Arts 1200 Getty Center Drive, Suite 600, LA, CA 90049-7704, 310/440-7315; www.artsednet/getty/ArtsEdNet/catalog/index.html Music Educators National Conference 1806 Robert Fulton Drive, Reston, VA 22091, 800/828-0229; www.menc.org/publications/books/booksrch.html National Art Education Association 1916 Association Drive, Reston, VA 20919-1590; 703/860-8000; www.naea- reston.org/publications/naeapub.html National Arts Standards Consortium of National Arts Education Associations, National Standards for Arts Education: Dance, Music, Theatre, Visual Arts, Reston, VA: Music Education National Conference 1994 THE ARTS AND ARTS EDUCATION Bibliography Carpenter J. Creating the World: Poetry, Art, and Children, Seattle: University of Washington Press, 1987. Academic Preparation in the Arts. New York: The College Board, 1983. Feagin, Susan, and Patrick Maynard, eds. Aesthetics. Oxford: Oxford University Press, 1997 Gardner, Howard. Art, Mind and Brain. New York: Basic Books, 1982. Gardner, Howard. Creating Minds: An Anatomy of Creativity Through the Lives of Freud, Picasso, Stravinsky, Eliot, Graham and Ghandi. New York: Basic Books, 1994. Gardner, Howard. Frames of Mind. New York: Basic Books, 1983. 4-2 Greene, Maxine, Arts Education In the Humanities: Towards a Breaking of the Boundaries. Portland: The Maine Alliance for Arts Education, 1989. Jensen, Eric. Brain Compatible Strategies. Del Mar: Turning Point Publishing, 1997. Jensen, Eric. Introduction to Brain-Compatible Learning San Diego: The Brain Store, Inc., 1998. Langer, Suzanne K. Philosophy in a New Key, 3rd ed. Cambridge: Harvard University Press, 1957. Perkins, David. The Intelligent Eye: Learning to Think by Looking at Art, Santa Monica, CA: The Getty Center for Education in the Arts, 1994. Perkins, David. The Mind’s Best Work. Cambridge, MA: Harvard University Press, 1981. Pinker, Steven. How the Mind Works. New York: Norton, 1997. Very Special Arts, Start with the Arts. Washington: Very Special Arts, 1992. Very Special Arts Massachusetts, Multi-Arts Resource Guide. Boston: Very Special Arts, 1993 (video). Welch, Nancy, with Andrea Greene. Schools, Communities and the Arts: A Research Compendium. Tempe AZ: Arizona Board of Regents on behalf of Arizona State University, its Morrison Institute for Public Policy, and the National Endowment for the Arts, 1995. Winner, Ellen. Invented Worlds: The Psychology of the Arts. Cambridge, MA: Harvard University Press, 1982. ARTS EDUCATION POSITION PAPERS American Council for the Arts Research Seminars. The Challenge to Reform Arts Education; What Role Can Research Play? New York: American Council for the Arts, 1989 Americans for the Arts. YouthARTS, Arts Programs for Youth at Risk: the Tool Kit. Edison NJ: Americans for the Arts, n.d Americans for the Arts. Arts Programs for At-Risk Youth: How US Communities are Using the Arts to Rescue Their Youth and Deter Crime. Edison NJ: Americans for the Arts, n.d. “Arts Education: The New Basic”: Bulletin, April, 1998. Port of Spain: the National Association of Secondary School Principals. 4-3 Arts, Education and Americans’ Panel. Coming to Our Senses. New York: McGraw Hill 1977. Gary, Charles L. Transforming Ideas for Teaching and Learning the Arts. Washington DC: National Institute on Student Achievement, Curriculum and Assessment, Office of Educational Research, US Department of Education, 1997. McLaughlin, John. Building a Case for Arts Education: An Annotated Bibliography of Major Research. Lexington, KY: Kentucky Alliance for Arts Education and Kentucky Arts Council, 1990. National Endowment for the Arts. Toward Civilization: A Report on Arts Education. Washington: 1998 - . Arts in Schools. Washington: G.P.O., 1993. - .The Arts and Education: Partners in Achieving Our National Education Goals. Washington: National Endowment for the Arts, 1995. ARTS AND EDUCATION REFORM ISSUES Caterall, James S. Involvement in the Arts and Success in Secondary School. New York: Americans for the Arts Monographs, Volume 1, Number 9. Eisner Elliot W. Cognition and Curriculum. New York: Teachers College Press, 1994. - The Educational Imagination: On the Design and Evaluation of School Programs Revised ed. New York: Macmillan, 1994. - “What really Counts in Schools.” Educational Leadership, Feb. 1991: 10-17. - Does Experience In The Arts Boost Academic Achievement? Reston VA: National Art Education Association, 1998. Goodlad, John. A Place Called School. New York: McGraw Hill, 1984. Greene, Maxine. Releasing the Imagination: Essays on Education in the Arts and Society. San Francisco: Jossey-Bass, 1995 Jacob, Heidi Haynes, ed. Interdisciplinary Curriculum Design and Implementation. Alexandria, VA: Association for Supervision and Curriculum Development, 1989. Lightfoot, Sarah Lawrence. The Good High School: Portraits of Character and Culture. New York: Basic Books, 1983. 4-4 Robinson, Ken, ed. The Arts in Schools. London: Calouste Gulbenkian Foundation, 1993. ARTS AND EDUCATION PARTNERSHIPS Dreeszen, Craig. Intersections: Community Arts and Education Collaborations. Amherst, MA: Arts Extension Service, University of Massachusetts at Amherst, 1992. Remer, Jane. Beyond Enrichment: Building Effective Arts Partnerships with Schools and Your Community. New York: American Council for the Arts, 1996 Welch, Nancy and Paul Phillips. Working Relationships: The Arts, Education and Community Development. Washington: National Assembly of Local Arts Agencies, 1995. ASSESSMENT Beattie, Donna Kay. Assessment in Art Education. Worcester, MA: Davis Press, 1997 Herman, Joan L., et al. A Practical Guide to Alternative Assessment. Alexandria, VA: Association for Supervision and Curriculum Development, 1992. Lazear, David. Multiple Intelligences Approaches to Assessment: Solving the Assessment Conundrum. Tucson: Zephyr Press, 1994. Lerman, Liz. “Toward a Process for a Critical Response,” High Performance, Winter 1993: 46-48. Mitchel, Ruth, and Dennie Palmer Wolf; with Frank Phillip. Issues Concerning a National Assessment of Arts Education. Washington: Council of Chief State School Officers, 1993. Seidel, Steve et al. Portfolio Practices, Washington: National Education Association, (Copyright: President and Fellows of Harvard College), 1997. Winner, Ellen, ed. Arts PROPEL: An Introductory Handbook. Cambridge: Project Zero, Harvard Graduate School of Education, 1991. - Arts PROPEL: Imaginative Writing Handbook, Cambridge: Project Zero, Harvard Graduate School of Education, 1993. - Arts PROPEL: Music Handbook. Cambridge: Project Zero, Harvard Graduate School of Education, 1992. - Arts PROPEL: Visual Arts Handbook. Cambridge: Project Zero, Harvard Graduate School of Education, 1992. 4-5 Wolf, Dennie Palmer, and Nancy Pistone. Taking Full Measure: Rethinking Assessment through the Arts. New York: College Entrance Examination Board, 1991 ART AND CRAFT Art Education Associations Art and Craft Teachers Association of Trinidad and Tobago, c/o Curriculum Officer, Art and Craft, Rudranath Capildeo Learning Resource Centre, Mc Bean, Couva, e-mail: sclibdiv@tstt.net.tt National Art Education Association, 1916 Association Drive, Reston, VA 22091, USA. http://www.naea-reston.org Bibliography Arnheim, Rudolf. Art and Visual Perception. 2nd ed. Berkeley: University of California Press, 1974. - Thoughts on Arts Education. Los Angeles: Getty Center for the Arts, 1989. Barun, Jaques. The Use and Abuse of Art. Princeton: Princeton University Press, 1973. Chaet, Bernard. The Art of Drawing. 1978. Collier, A. Form, Space and Vision. New York: Prentice Hall, 1966. Cross, Jack. For Art’s Sake. London: George Allen and Unwin, 1977. Dunstan, Bernard. Composing Your Paintings. London: Studio Vista, 1977. Eisner, Elliott. Educating Artistic Vision. New York: MacMillan, 1972. Foster, Walter. How to Draw. Walter Foster Publishing, 1989. Goetz, Heiman. Art of the World. London: Methuen, 1959. Hodge, Anthony. Hands-on Art and Craft. London: Alladin Books Ltd., 1991. Janson, H.W. History of Art. Abrams, 1962. Johnson, P. Creating With Paper. Washington Press, 1958. Knobler, N. An Introduction to the Appreciation of Art. Holt, Rinehart and Winston, 1968. Matterl, E. Meaning in Crafts. Prentice Hall, 1965. 4-6 Ramsawak, Al. Adventure Into Basic Drawing. Port of Spain: Al Production, 1984. Richard, Charline. Draw They Must. London: Edward Arnold Publishers Ltd., 1968. Tyler, Keith. Pottery Without a Wheel. London: Dryad, 1955. COMMUNITY ARTS ORGANISATIONS Caribbean Contemporary Arts, CCA7, Building 7, Fernandes Industrial Centre, Eastern Main Road, Laventille, Trinidad and Tobago. National Carnival Bands Association, Queen’s Park Savannah, Queen’s Park West, Port of Spain, (868) 627 – 1422. National Carnival Commission of Trinidad and Tobago, Queen’s Park Savannah, Queen’s Park West, Port of Spain, (868) 627 – 1350. National Council of Indian Culture, Uriah Butler Highway, (868) 671 – 6242. National Dance Association of Trinidad and Tobago, c/o Carol La Chapelle, 67 Cipriani Blvd., Port of Spain, (868) 627 – 6339. National Drama Association of Trinidad and Tobago, 4 Hillcrest Avenue, Port of Spain, (868) 625 – 0312. Pan Trinbago, Queen’s Park Savannah, Queen’s Park West, Port of Spain, (868) 627 – 2894. San Fernando Arts Council, c/o Marion Philomen, St. Joseph Road, San Fernando. Trinbago Unified Calypsonians Organisation, Queen’s Park Savannah, Queen’s Park West, Port of Spain, (868) 627 – 7876. Trinbago Unified Calypsonians Organisation (South Branch), c/o City Hall, Harris Promenade, San Fernando. Trinidad Art Society, Art Centre, Jamaica Blvd and St. Vincent Ave., Federation Park, Port of Spain. DANCE Dance Education Associations 4-7 American Dance Legacy Institute (401) 863-7596, http://www.brown.edu/Departments/Theater_Speech_Dance/Amer._Dance_Legacy_Inst.html Dance USA, 1156 15th St, NW, Suite 820, Washington DC 2005-1704. Bibliography Adams and Strandberg. Dancing through the Curriculum: a Guide to Dance Videotapes Curated and Designed to Enrich the School Curriculum. Providence, RI: JayEss Press, Bartenieff, Irmagard, with Dori Lewis: Body Movement: Coping with the Environment. New York: Gordon and Breach, 1980. Dance Horizons Videos & Dance Book Club, 614 Route 130 Hightstown, NJ 08520, (800) 220-7149 (videos and books on all styles of dance) Dell, Cecily, A Primer for Movement Description. NY: Dance Notation Bureau, 1977. Emery Lynne Fauley. Black Dance in the United States from 1619 to 1970. Princeton, NJ: Princeton Books 1998 Gere, David ed. Looking Out: Perspectives on Dance and Criticism in a Multicultural world. NY: Macmillan, 1995. Gilbert, Anne G. Creative Dance for All Ages. Reston, VA: American Alliance for Health, Physical Education, Recreation and Dance, 1992. Guest, Anne Hutchinson. Your Move: A New Approach to the Study of Movement and Dance. New York: Gordon and Breach, 1983. Goldman, Ellen. As Others See Us: Body Movement and the Art of Successful Communication. New York: Gordon and Breach, 1994. Human Kinetics, P.O. Box 5076, Champaign, Il 61825-5076, USA http://www.humankinetics.com Humphrey, Doris. The Art of Making Dances. Princeton, NJ: Princeton Book Company, 1959 JVC and JVC/Smithsonian Folkways Video Anthologies of Music and Dance (dance videos of traditional dances from all parts of the world) Laban, Rudolf. The Language of Movement. London: McDonald and Edwards, 1966. Levine, Mindy N. Widening the Circle: Towards a New Vision for Dance Education. A Report by the National Task Force on Dance Education. Dance/USA. 1994. Morgenroth, Joyce. Dance Improvisation. Pittsburgh: University of Pittsburgh Press, 1987. 4-8 Multicultural Media, 56 Browns Mill Road, Berlin, VT 05602, USA www.worldmusicstore.com Schlaich, Jean and Betty Dupont. The Art of Teaching Dance Technique. Reston, VA: American Alliance for Health, Physical Education, Recreation and Dance, 1988. Teck, Katherine. Ear Training for the Body: A Dancer’s Guide to Music. Princeton, NJ: Princeton Book Company, 1994. DRAMA Drama/Theatre Education Associations American Alliance for Theatre and Education, Theatre Department, Arizona State University, Box 872002m, Tempe, AZ 85287-2002, USA, http://www.aate.com Caribbean Association of Secondary Schools Drama Associations, c/o Victor Edwards, (868) 655 – 0826. Educational Theatre Association, 2343 Auburn Ave., Cincinnati, OH 45219-2819, USA, http://www.etassoc.org International Association of Theatre for Children and Young People, P.O. Box 22365, Seattle, WA 98122-0365, USA. Secondary Schools Drama Association of Trinidad and Tobago, c/o Fyzabad Composite School, Old Siparia Road, Fyzabad. Bibliography Blank, Carla and Jody Roberts. Live on Stage: Performing Arts for Middle School. Palo Alto, CA: Dale Seymour Publications, 2000. Bray, Errol. Playbuilding: A Guide for Group Creation of Plays with Young People. Portsmouth, NH: Heinemann, 1994. Caruso, Sandra and Susan Kosoff. The Young Actor’s Book of Improvisation, Ages 7-11. Portsmouth, NH: Heinemann, 1998 - The Young Actor’s Book of Improvisation, Ages 12-16. Portsmouth, NH: Heinemann, 1998. Charters, Jill and Anne Gately. Drama Anytime. Portsmouth, NH: Heinemann, 1987. 4-9 Engelsman, Alan and Penny Engelsman,. Theatre Arts 1: Students Handbook. Colorado Springs, CO: Meriwether Publishing Ltd./Contemporary Drama Service, 1997. - Theatre Arts 1: Teacher’s Course Guide. Colorado Springs, CO: Meriwether Publishing Ltd./Contemporary Drama Service, 1997. - Theatre Arts 2: Students Handbook. Colorado Springs, CO: Meriwether Publishing Ltd./Contemporary Drama Service, 1996. - Theatre Arts 2: Teacher’s Course Guide. Colorado Springs, CO: Meriwether Publishing Ltd./Contemporary Drama Service, 1996. Heathcote, Dorothy and Galvin Bolton. Drama for Learning. Portsmouth, NH: Heinemann, 1995. Heinig, Ruth Beall. Improvisation with Favorite Tales: Integrating Drama into the Reading/Writing Classroom. Portsmouth, NH: Heinemann, 1993. Ingham, Rosemary and Liz Covey. The Costume Designer’s Handbook: A Complete Guide for Amateur and Professional Costume Designers. Portsmouth, NH: Heinemann, 1992 King, Nancy. Playing Their Part: Language and Learning in the Classroom. Portsmouth, NH: Heinemann, 1996. Neelands, Jonathan. Making Sense of Drama: A Guide to Classroom Practice. Portsmouth, NH: Heinemann, O’Neill, Cecily and Alan Lambert. Drama Structures: A Practical Handbook for Teachers. Portsmouth, NH: Heinemann, 1994. Rawlins, George and Jillian Rich. Look, Listen and Trust: A Framework for Learning Through Drama. Studio City, CA: Players Press, Inc., 1992. Salazar, Laura Gardner. Teaching Dramatically, Learning Thematically. Charlottesville, VA: New Plays Incorporated, Saldaña, Johnny. Drama of Color: Improvisations with Multiethnic Folklore. Portsmouth, NH: Heinemann, 1995. Tanner, Fran Everett. Basic Drama Projects. (7th ed). Topeka, KS: Clark Publishing Company, 1999. Watts, Irene. Just a Minute: Ten Short Plays and Activities for Your Classroom. Portsmouth, NH: Heinemann, 1990. 4-10 Williams, May Young. Let ‘Em Talk: Oral Language Activities for the Classroom (Grades K-8). Topeka, KS: Clark Publishing Company, MUSIC Music Education Associations American Orff-Schulwerk Association, P.O. Box 391089, Cleveland, OH 44139, USA Association of Caribbean Music Educators, Head Office, P.O. Box 544, Castries, St. Lucia, e-mail: acme@candw.lc Association of Caribbean Music Educators, Trinidad and Tobago Office, c/o Curriculum Officer – Music, Rudranath Capildeo Learning Resource Centre, Mc Bean, Couva, Trinidad and Tobago, email: sclibdiv@tstt.net.tt Music Educators National Conference, 1806 Robert Fulton Drive, Reston, VA 22091, USA, http://www.menc.org Organization of American Kodaly Educators, http://www.oakes.org Pan in Schools Coordinating Council, c/o Trinidad and Tobago Unified Teachers’ Association, Southern Main Road, Curepe Bibliography Anderson, William M., Comp. Teaching Music With a Multicultural Approach. Reston, VA: Music Educators National Conference, 1991. Anderson, William M. and Patricia Shehan Campbell, eds. Multicultural Perspectives in Music Education. Reston, VA: Music Educators National Conference, 1989. Bennett, Roy. Fortissimo! Cambridge: Cambridge University Press, 1998. Berz, William L. and Judith Bowman. Applications of Research in Music Technology. Reston, VA: Music Educators National Conference, 1994. Boardman, Eunice, ed. Dimensions of Musical Thinking. Reston, VA: Music Educators National Conference, 1989. Colwell, Richard, ed. Handbook of Research on Music Teaching and Learning. Reston, VA: Reston, VA: Music Educators National Conference and Schirmer Books, 1992. 4-11 Elder, J.D. Song Games from Trinidad and Tobago. Port of Spain: National Cultural Council Publications, 1973. Fyfe, Sherman Teach Yourself To Play Pan – Volume 1:’ “The Tenor Pan”. Port of Spain: MAJOR & minor Productions, 1990. - Teach Yourself To Play Pan – Volume 2: “The Double Tenor ”. Port of Spain: MAJOR & minor Productions, 1990. - Teach Yourself To Play Pan – Volume 3: “The Double Second”. Port of Spain: MAJOR & minor Productions, 1994. - Teach Yourself To Play Pan – Volume 4: “Advanced Pan”. Port of Spain: MAJOR & minor Productions, 1996. Gilbert, Jean. Festivals. Oxford: Oxford University Press Music Department, 1997. Haines, Nicholas. Composing at the Electronic Keyboard – Book 1. Cambridge: Cambridge University Press, 1997 - Composing at the Electronic Keyboard – Book 2. Cambridge: Cambridge University Press, 1997. Hiscock, Chris and Marian Metcalfe. Music Matters. Oxford: Heinemann Educational, 1992. Levenson, Thomas. Measure for Measure: A Musical History of Science. New York: Simon and Schuster, 1994. McNicol, Richard. Sound Inventions. Oxford: Oxford University Press Music Department, 1992. Miles, Elizabeth. Tune Your Brain: Using Music to Manage Your Mind, Body and Mood. New York: Berkley Books, 1997. Music Educators National Conference. Growing Up Complete: The Report of the National Commission on Music Education. Reston, VA: Music Educators National Conference, 1991. Salaman, William. The New Composer. New York: Boosey & Hawkes, 1990. Wilson, Salah A., Steelpan Playing with Theory. Quebec: Salahpan, 1999. Winters, Geoffrey. Listen, Compose, Perform. Cambridge: Cambridge University Press, 1995. 4-12 - (with Music by Jim Northfield). Starter Composing Pack. Cambridge: Cambridge University Press, 1996 General Arts Education Internet Resources American Council for the Arts, 1 East 53rd Street, New York, NY 10022, USA, http://www.artusa.org Artsedge, c/o Kennedy Center for the Performing Arts, 2700 F Street, NW, Washington, DC 20566-0001, USA; http://www.artsedge.kennedy-center.org/artsedge.html Center for the Arts in the Basic Curriculum, Inc.; http://www.newhorizons.org/ofc_cabc.html Council for Basic Education, 1319 F Street, NW, Suite 900, Washington, DC 20004-1152, USA; http://www.c-b-e.org Getty Education Institute for the Arts, 1200 Getty Center Drive, Suite 600, Los Angeles, CA 90049-1683, USA; http://www.artsednet.getty.edu Very Special Arts, 1300 Connecticut Avenue, Suite 700, Washington, DC 20056, USA; http://www.vsarts.org