REPUBLIC OF TRINIDAD AND TOBAGO MINISTRY OF EDUCATION Secondary Education Modernization Programme SECONDARY SCHOOL CURRICULUM Forms 1–3 Visual and Performing Arts Curriculum Planning and Development Division, Ministry of Education September 2008 © Ministry of Education Published in 2008 by the Curriculum Planning and Development Division Ministry of Education Rudranath Capildeo Learning Resource Centre Mc Bean, Couva Republic of Trinidad and Tobago ISBN: Printed by Table of Contents Minister’s Foreword iii A Note to Teachers v Acknowledgements vii Part 1: The National Curriculum for Forms 1–3 Background 1 The Curriculum Design and Development Process 3 Curriculum Underpinnings 5 Education Policies That Impact on the Curriculum 6 Essential Learning Outcomes 8 The Core Curriculum Subjects 12 Language Across the Curriculum 13 Curriculum Implementation 14 References 17 Part 2: The Visual and Performing Arts Curriculum A Vision for Visual and Performing Arts Education 21 Rationale for Teaching the Visual and Performing Arts 22 The Visual and Performing Arts Programme 24 Framework of the Visual and Performing Arts Curriculum 27 General Outcomes for the Visual and Performing Arts Curriculum 30 Visual Arts Internal Organizers 33 Specific Learning Outcomes in the Visual Arts 34 The Programme: Content Organization 35 The Visual Arts: Connections to the Core Curriculum 36 The Visual Arts: Connections to Other Visual and Performing Arts Disciplines 38 Criteria for Assessing Visual Art Work 39 Visual Arts: Course Outline 41 i Drama Internal Organizers 67 Specific Learning Outcomes in Drama 68 Drama: Connections to the Core Curriculum 71 Drama: Connections to Other Visual and Performing Arts Disciplines 73 Drama: Course Outline 75 Music Internal Organizers 133 Specific Learning Outcomes in Music 134 Music: Connections to the Core Curriculum 138 Music: Connections to Other Visual and Performing Arts Disciplines 140 Music: Course Outline 141 Dance Internal Organizers 159 Specific Learning Outcomes in Dance 160 Dance: Connections to the Core Curriculum 163 Dance: Connections to Other Visual and Performing Arts Disciplines 165 Dance: Content 167 Dance: Course Outline 172 Part 3: Glossary Glossary of Key Terms in the Visual Arts 181 Glossary of Key Terms in Drama 185 Glossary of Key Terms in Music 193 Glossary of Key Terms in Dance 201 Part 4: Resources for the Visual and Performing Arts Bibliography 209 Associations and Organizations 215 ii Minister’s Foreword The Government of Trinidad and Tobago, in its Vision 2020 Draft National Strategic Plan, has articulated a vision of “a united, resilient, productive, innovative, and prosperous nation with a disciplined, caring, fun-loving society comprising healthy, happy and well-educated people and built on the enduring attributes of self reliance, respect, tolerance, equity and integrity” (p. 9). Five developmental pillars have been identified to achieve this goal: Developing Innovative People Nurturing a Caring Society Governing Effectively Enabling Competitive Business Investing in Sound Infrastructure and Environment The Ministry of Education is one Ministry that is expected to play a pivotal role in developing innovative people. We therefore accept as one of our primary responsibilities, the establishment of an education system that will nurture imaginative, innovative, and eager learners. It must also facilitate the seamless progression of learners from early childhood education up to the tertiary level. Graduates of the system must emerge as creative, committed, and enterprising citizens who are prepared intellectually, and who have the will to become global leaders. A critical contributor to this process is the national curriculum. These Curriculum Guides represent the core subjects of the national curriculum at the lower secondary level. They describe the formal content and process by which students at this level will gain the knowledge and skills that contribute to the achievement of our national goals. We expect that teachers will use these Guides to implement a school curriculum that is diversified, relevant, and of high quality, meeting the varied learning needs, interests, and abilities of all students. We expect, too, that students will be taught in ways that suit their own learning preferences. The curriculum will also connect them to their national heritage, help them to understand the issues facing their world today, and prepare them to meet the challenges and opportunities of the future. On behalf of the entire education community, I congratulate and thank all those educators—curriculum personnel, teachers, editors, and others—who have worked together over the eight years of development and revision to produce these Curriculum Guides for secondary schools. The nation owes you a debt of gratitude. I urge you to continue to be shining lights in your communities as we move forward together to achieve our goals. Esther Le Gendre Honourable Minister of Education iii A Note to Teachers These Curriculum Guides have been developed by educators, including practising teachers, for teachers. They are intended to assist you to prepare students to meet the rapidly changing demands of life in the 21st century, while ensuring that they acquire the core of general knowledge and experience essential for later education and employment. The new curriculum that they represent is designed to guide the adoption of a more student-centred approach to instruction, and the provision of learning opportunities that are relevant to today’s students and inclusive of varied learning needs and interests. Since the beginning of the curriculum development process, we have seen profound changes in the use of technology in education and there is no doubt that similar shifts will take place in the coming years. The challenge for us as educators is to find ways to make our approach to teaching flexible, progressive, and responsive, so that we embrace and motivate change where it benefits learners. This entails becoming lifelong learners ourselves and creating environments that provide necessary community support and foster professional development. The Guides embody the culmination of seven years of development and revision activity. The national curriculum will, however, be regularly reviewed to ensure that it continues to meet the needs of all students and matches the goals of society. Your input in this process is vital and we welcome and encourage your ongoing feedback. Instructional decisions must be based on sound, contemporary educational theory, practice, and research. These documents will serve as important guides for the development of instructional programmes to be implemented at the school and classroom levels. They are organized in several parts. Part 1 is common to all and provides the general philosophy and aims in which every subject is anchored. Part 2 is specific to each subject and includes specific outcomes and sample activities and strategies that may be used to achieve them. The rest of the document is designed to suit the particular needs of each subject area. All the Guides include suggested assessment strategies and recommended resources. We in the Curriculum Planning and Development Division are confident that the new National Curriculum Guides for Forms 1–3 will contribute significantly to enhanced teaching and learning experiences in our secondary schools and, consequently, the achievement of personal learning and national educational goals. Sharon Douglass Mangroo Director of Curriculum Development August 2008 v Acknowledgements The Ministry of Education wishes to express its sincere appreciation to all those who contributed to the curriculum development and revision processes from 2000 to the present. • The Inter-American Development Bank (IDB) and its staff • The staff of the Coordinating Unit of the Secondary Education Modernization Programme (SEMPCU), past and present, provided technical assistance and planned, organized, and conducted the various exercises over the years. They include Mr. Maurice Chin Aleong, Mr. Lloyd Pujadas, Mr. Arnott West, Dr. Stephen Joseph, Ms. Patricia Sealey, Ms. Renee Figuera, and Ms. Roslyn Elias. • Mrs Sharon Douglass Mangroo, Director of Curriculum Development, led the curriculum development sub-component and coordinated the curriculum development and revision activities. • Dr. Robert Sargent guided the early curriculum development process. • The principals of the pilot schools generously contributed teachers and participated in regular meetings to provide valuable feedback on field tests. • The principals of non-pilot schools kindly released teachers to take part in writing activities. • The staff of the School Libraries Division actively joined in workshops, facilitated research, and contributed to the infusion of information technology into the curriculum. • Editors, past and present: Ms. Avril Ross, Ms. Lynda Quamina-Aiyejina, and Ms. Patricia Worrell devoted time, energy, and knowledge to editing the several versions of the documents. • The Administrative staff of the Curriculum Development Division spent long hours typing and retyping the documents. • Officers of the Divisions of Educational Services, Schools Supervision, Student Support Services, and Educational Research and Evaluation provided support as needed. • Teachers throughout the secondary school system responded to requests for comments and other forms of feedback. • The Curriculum Officers and members of the Curriculum Writing Teams brought their knowledge, skills and practical experiences of teaching and learning to the curriculum development workshops and skilfully synthesized all to produce these documents. vii Members of the VAPA Curriculum Revision Team Names Subjects School/Institution Mrs. Sherry Ann Asson- Wilson Music Waterloo High School Mrs. Cheryl Davis Visual Arts Cunupia High School Ms. Cindy Lou Edwards Drama Roxborough Composite School Mrs. Joanna Francis Dance Barataria Senior Comprehensive School Mr. Dennis Frederick Visual Arts Fyzabad Composite School Ms. Cherry Ann Glod Drama La Romaine High School Mrs. Beverley Hinds- George Dance Naparima Girls’ High School Mrs. Allison Seepaul Dance Tranquillity Government Secondary Mr. Glen Worrell Music Barataria Senior Comprehensive School Visual and Performing Dr. Merle Baker Arts, Language Arts, Curriculum Coordinator Modern Studies Curriculum Development Division Ms. Patricia Elder Music Curriculum Officer Curriculum Development Division The Drama and Visual Arts components of this document were further reviewed by the following persons: Ms. Saira Dhanoo Drama Debe High School Ms. Iezora Edwards Drama Cowen Hamilton Secondary School viii Mr. Andy Jacob Visual Arts Tranquillity Government Secondary Ms. Alison Mykoo Visual Arts Naparima Girls’ High School Ms. Charmaine Rahaman Visual Arts Naparima Girls’ High School Mr. Victor Edwards Drama Curriculum Officer Mr. Shastri Maharaj Visual Arts Curriculum Officer ix Background From the Ministry of Education’s Corporate Plan 2008–2012 (p. 4) The Government of Trinidad and Tobago, in its Vision 2020 Draft National Strategic Plan, has articulated a vision of “a united, resilient, productive, innovative, and prosperous nation with a disciplined, caring, fun-loving society comprising healthy, happy and well-educated people and built on the enduring attributes of self reliance, respect, tolerance, equity and integrity…” Towards the achievement of this Vision, the Government has articulated five developmental pillars: Developing Innovative People Nurturing a Caring Society Governing Effectively Enabling Competitive Business Investing in Sound Infrastructure and Environment The Ministry of Education has been identified as one of the champions for developing innovative people. Central to the realization of this pillar is “A highly skilled, well- educated people aspiring to a local culture of excellence that is driven by equal access to learning opportunities.” In conjunction with other key ministries, the Ministry of Education has been charged with the realization of the following goals: The people of Trinidad and Tobago will be well known for excellence in innovation. Trinidad and Tobago will have a seamless, self-renewing, high-quality education system. A highly skilled, talented and knowledgeable workforce will stimulate innovation driven growth and development. The richness of our diverse culture will serve as a powerful engine to inspire innovation and creativity. …Nationally, the reform of the education system is driven by several local, regional and international perspectives. We are committed to a seamless, self- renewing, high-quality education system underpinned by a National Model for Education. This National Model has three (3) foci as follows: i. To ensure an alignment of the education system to government’s strategic plan Vision 2020 which mandates that the education system produces caring and innovative citizens 1 ii. To ensure that the education system produces citizens with a sense of democracy, respect for the rights of others and elders and with the ability to contribute meaningfully to the social and economic development of the country iii. To build a strong sense of nationalism and patriotism in our citizens. (p. 7) The Secondary Curriculum In its commitment to 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 (IDB) for loan funding arrangements for a programme, the Secondary Education Modernization Programme (SEMP), to modernize secondary education in Trinidad and Tobago. One of the intended outcomes of this programme was improved educational equity and quality. The curriculum guides produced for Forms 1–3 in eight subject areas are among the products and contribute to this outcome. 2 The Curriculum Design and Development Process In order to achieve the outcomes defined by the underpinning philosophy and goals, the Curriculum Development Division of the Ministry of Education embarked on a design and development programme consonant with accepted approaches to curriculum change and innovation. Curriculum Design This curriculum displays a learner-centred design. Its philosophical assumptions are mainly constructivist. Its major orientation is to curriculum as self-actualization. The curriculum is student-centred and growth oriented. It seeks to provide personally satisfying experiences for each student. As the student moves from one level to another, activities also expand to allow new insights and approaches to dealing with and integrating new knowledge. Curriculum Development The first stage of the curriculum development process consisted of consultations with stakeholders from a cross-section of the national 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 Trinidad and Tobago Unified Teachers’ Association (TTUTA); representatives from The University of the West Indies (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. These consultations focussed on the philosophy, goals, and learning outcomes of education. The result of these consultations was 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; the eight subjects to form the core; the desirable outcomes of secondary school education in Trinidad and Tobago. In Stage 2 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 the Task Force for Removal of Common Entrance, as well as newspaper articles and letters to the editor on education during the preceding 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 articulation of a set of desirable outcomes and essential exit 3 competencies to be possessed by all students on leaving school. All learning opportunities, all teaching and learning strategies, and all instructional plans are to contribute to the realization of these outcomes and competencies. At Stage 3, 10 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 also included in the teams. The outputs of this phase included learning outcomes specific to each subject that contribute to the fulfilment of the national outcomes; subject content; and teaching, learning, and assessment strategies to support the outcomes. The draft curriculum guides for Forms 1 and 2 were approved by Cabinet for introduction into schools on a phased basis in September 2003. The draft guides for Form 3 were completed and introduced in the following year. Introduction of the new guides was accompanied by professional development and training for principals and teachers. The Ministry also began to supply new and/or upgraded facilities for teaching and learning, and educational technology. At the same time, work began on a new assessment and certification system. Curriculum Revision As implementation proceeded, feedback was sought by the Curriculum Development Division through school visits, workshops, and reviews by UWI lecturers and other stakeholders. In 2007, a survey was conducted among teachers, followed by focus group meetings, in order to concretize feedback before embarking on the revision process. As in the original curriculum development exercise, revision—the final stage—was carried out by teams of practising teachers led by officers of the Curriculum Development Division. 4 Curriculum Underpinnings The national curriculum has been informed by a wealth of available curriculum theories and processes. The major forces that influence and shape the organization and content of the curriculum include: 1. Educational philosophy and understandings about the nature of knowledge 2. Society and culture 3. The learner and learning process 4. Learning theories 5. The nature and structure of subject matter to be learned Thus, these areas represent the foundation on which the national curriculum is built. The philosophical concerns and educational goals that shaped the curriculum also formed the basis for the dialogue with stakeholders in which the Curriculum Development Division engaged, with the aim of developing a coherent, culturally focussed, and dynamically evolving curriculum. An internal analysis of the education system, together with research conducted in international forums, has shown that the curriculum is core to the development of innovative people. This curriculum is aimed at attaining six essential learning outcomes. The six outcomes identified help to define universally accepted goals that have been developed and underscored by other educational jurisdictions and that have been agreed to be essential. The essential learning outcomes help to define standards of attainment for all secondary school students. 5 Education Policies That Impact on the Curriculum There are several Ministry of Education policies that impact on the national secondary curriculum, though some are still in the process of formalization. These include the National Model for Primary and Secondary Education in Trinidad and Tobago, the ICT policy, Standards for the Operation of Schools, and Quality Standards. Copies of these documents may be obtained from the Ministry offices or the website at www.moe.gov.tt. Three other policies that have direct impact on the development and implementation of the curriculum are discussed in some detail below. National Curriculum Policy A Draft National Curriculum Policy has been approved by Cabinet for consultation with stakeholders. The Policy statements are summarized as follows: 1. The curriculum must articulate with the goals of national development and be supportive of the aspirations of individuals and their personal development. It must provide opportunities for every student to be equipped with the knowledge, skills, attitudes, values, and dispositions necessary for functioning in an interactive, interdependent society. 2. The curriculum must be so managed as to ensure the provision of a quality curriculum experience for all students at all levels of the system. 3. At every level of the system, there must be equitable provision of requisite facilities, resources, services, and organizational structures that are conducive to and supportive of effective learning and teaching and healthy development. 4. Continuous quality management must support all curriculum and related activities at every level of the system. 5. Ongoing research and professional development activities must equip education practitioners for continued effective practice. Though the policy has not yet been formally issued, these statements are worthy of consideration at all stages of the curriculum cycle. Inclusive Education Policy The Ministry of Education is committed to “support the delivery of inclusive education in all schools by providing support and services to all learners, and by taking appropriate steps to make education available, accessible, acceptable and adaptable to all learners.” An inclusive curriculum is acknowledged to be the most important factor in achieving inclusive education. In planning and teaching the school curriculum, teachers are therefore required to give due regard to the following principles: 6 • The National Curriculum Guides set out what most students should be taught at lower secondary school but teachers should teach the required knowledge and skills in ways that suit students’ interests and abilities. This means exercising flexibility and drawing from curricula for earlier or later class levels to provide learning opportunities that allow students to make progress and experience success. The degrees of differentiation exercised will depend on the levels of student attainment. • Varied approaches to teaching, learning, and assessment should be planned to allow all students to participate fully and effectively. Account should be taken of diverse cultures, beliefs, strengths, and interests that exist in any classroom and that influence the way students learn. • Students with special needs should be given additional instructional support in negotiating the regular curriculum, not a different one. The guiding principle of equity is to supply students who need it with additional help to achieve set standards, but not to lower the standards. • Continuous formative evaluation must be used to identify learning needs and to shape instruction, thus maximizing students’ opportunities for achieving success. Assessment strategies must be appropriate to the way the curriculum is designed and delivered, as well as to each student’s individual learning profile and stage of development. • Suitable technology must be used in instruction to facilitate learning and enhance success. ICT in the Curriculum The following statements are taken from the Ministry of Education’s ICT in Education Policy (pp. 28–29). Curriculum Content and Learning Resources • Curriculum and content must increasingly maximize the use of ICT. • ICT must be integrated into the development and delivery of the curriculum. • ICT integration and ICT competency measures across the curriculum shall be driven through the development and delivery of an ICT-infused curriculum. 7 Essential Learning Outcomes The learning outcomes which have been deemed essential 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 suggested 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 that will constitute a platform for living in the Trinidad and Tobago society and making informed choices for further secondary education. The essential learning outcomes are described more fully below. Aesthetic Expression Students recognize that the arts represent an important facet of their development, and they should respond positively to its various forms. They demonstrate visual acuity and aesthetic sensibilities and sensitivities in expressing themselves through the arts. Students, for example: 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; 8 demonstrate understanding of the significance of cultural resources, such as museums, theatres, galleries, and other expressions of the multicultural reality of society. Citizenship Students situate themselves in a multicultural, multi-ethnic environment, and understand clearly the contribution they must make to social, cultural, economic, and environmental development in the local and global context. Students, for example: demonstrate understanding of sustainable development and its implications for the environment locally and globally; demonstrate 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 that characterize a just, peaceful, pluralistic, and democratic society, and act accordingly; demonstrate understanding of their own cultural heritage and cultural identity, and that of others, as well as the contribution of the many peoples and cultures to society. Communication Students use their bodies, the symbols of the culture, language, tools, and various other media to demonstrate their deeper understandings of synergies inherent in the exchange of ideas and information, and thus to communicate more effectively. Students, for example: 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; 9 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 their conclusions in everyday language; critically reflect on and interpret ideas presented through a variety of media. Personal Development Students “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, for example: 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 among 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 have a range of problem-solving strategies and apply them appropriately to situations they encounter. They demonstrate critical thinking and inquiry skills with which they process information to solve a wide variety of problems. Students, for example: acquire, process, and interpret information critically to make informed decisions; use a variety of strategies and perspectives flexibly and creatively to solve problems; 10 formulate tentative ideas, and question their own assumptions and those of others; 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; distinguish facts from opinions. Technological Competence Students are technologically literate, understand and use various technologies, and demonstrate an understanding of the role of technology in their lives, in society, and in the world at large. Students, for example: 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 understanding of the impact of technology on society; demonstrate understanding of ethical issues related to the use of technology in local and global contexts. 11 The Core Curriculum Subjects The core curriculum subjects are those for which every student is required to demonstrate achievement of the stated outcomes in Forms 1–3. Additional subjects that contribute to students’ holistic development and further their interests and aspirations may also be offered thereafter. A minimum time allocation is recommended for each core subject. The principal, as instructional leader of the school, will make the final decision as to time allocation, according to the needs of the students and the resources available at any given time. The subjects and the recommended time allocations are as follows: Subject No. of Periods Subject No. of Periods English Language Arts 6 Mathematics 5 Science Health and Physical 4 Education 2 Spanish 4 Technology Education 4 Social Studies 4 Visual and Performing Arts 4 At the end of Form 3, students will be assessed for the National Certificate of Secondary Education (NCSE), Level I. 12 Language Across the Curriculum The development of language skills and the ability to understand and use language correctly, competently, and effectively is fundamental to the learning outcomes expressed in the national curriculum. Language is a uniquely human capacity. Three simultaneous uses of language for learning are envisaged as students experience the national curriculum: students will learn language, they will learn through language, and they will learn about language. Language plays a major role in learning, which occurs when students use the major modes of language—listening, speaking, reading, and writing—to achieve various purposes, among them: to communicate with others; to express personal beliefs, feelings, ideas, and so on; for cognitive development in various subjects of the curriculum; and to explore and gain insight into and understanding of literature. Language is linked to the thinking process, and its use allows students to reflect on and clarify their own thought processes and, thus, their own learning. The national curriculum is predicated on the assumption that since students’ language development takes place across the curriculum, the development process must be addressed in all subject areas. Students will develop and use patterns of language vital to understanding and expression in the different subjects that make up the curriculum. However, the student of Trinidad and Tobago functions in a bidialectal context, that is, the natural language of the student, the Creole, differs from the target language and language of instruction, Internationally Accepted English. The philosophical position taken in the national curriculum is that both languages are of equal value and worth, and both must be respected. Students use their own language as a tool for interpreting the content of the curriculum and for mastering it. In addition, they must be taught to use the target language as effectively and effortlessly as they would their natural language. The exponential growth in information and the use of information and communication technologies provide opportunities for students to become critical users of information. Language development and use in this context is also addressed in all subject areas. 13 Curriculum Implementation Implementation of the curriculum is a dynamic process, requiring collaboration of the developers (curriculum teams) and users (teachers). In implementation, teachers are expected to use the formal curriculum, as described in the curriculum guides, to plan work and teach in a manner that accomplishes the objectives described. Teachers translate those objectives into units of study, determining the appropriate sequence and time allocation according to the learning needs of their students. The new Curriculum Guides provide sample teaching and assessment strategies but it is also the role of the professional teacher to select and use sound teaching practices, continually assessing student learning, and systematically providing feedback to the curriculum team for use in revising and improving the guides. The Curriculum Development System advocated by the Ministry of Education involves stakeholders, specialist curriculum officers, principals, heads of departments, and teachers, each with specific roles and responsibilities. Some of these are outlined in the table below. System Component Members Role National Curriculum Stakeholders • Advise on curriculum policy, goals, and Advisory Council/ standards Committee Curriculum Planning and curriculum officers • Plan and develop curriculum Development Division • Provide leadership in identifying curriculum (Head Office and goals and determining the process for District-based) development of curriculum materials • Lead writing teams (which include teachers) • Monitor implementation • Provide teacher support • Facilitate teacher professional development for curriculum implementation • Advise on processes and materials for effective implementation and student assessment • Evaluate curriculum School Curriculum Principal/Vice Principal • Make major decisions concerning the school Council and Heads of curriculum such as assigning resources Departments • Provide guidelines for Instructional Planning Teams Instructional Planning Teachers • Cooperate on tasks necessary for effective Teams/School implementation, such as: Instructional Committees yearly work plans, units of study, development of materials to individualize the curriculum, identification and development of learning materials, student assessment and evaluation 14 Curriculum Implementation at School Level The “School Curriculum” refers to all the learning and other experiences that the school plans for its students. It includes the formal or written curriculum as well as all other learning activities, such as those offered by student clubs, societies, and committees, as well as sporting organizations (e.g., cricket team, debating society, Guides, Cadets). The School Curriculum Council develops the School Curriculum in alignment with the National Curriculum. It consists of the Principal and/or Vice Principal and Heads of Department. The duties of the Council include the development of school culture, goals, vision, and curriculum in alignment with the national curriculum and culture. It also provides support for curriculum work and performs evaluation functions. In providing support for curriculum work, the Council: • encourages teachers to identify challenges and try new ideas; • timetables to allow for development of curriculum materials, for example, year plans, units, instructional materials; • ensures availability of learning materials; • provides instructional leadership; • ensures appropriate strategies for student success. In performing evaluation functions, the Council: • monitors the curriculum (observation, test scores, student books, talks); • assesses the hidden curriculum (discipline policies, fund allocation, physical environment); • evaluates the school programme of studies. The roles of the instructional teams and the individual teacher are described in the following tables: Roles of School Instructional Committees Develop/Revise/Evaluate work programmes Determine resource needs Identify/Develop instructional materials Conduct classroom action research Integrate and align curriculum Identify and develop appropriate assessment practices Develop reporting instruments and procedures (student and teacher performance) Keep records 15 Roles of Individual Teachers Develop/Revise instructional programme Individualize curriculum to suit students’ needs and interests Develop/Evaluate/Revise unit plans Develop/Select appropriate learning materials Select appropriate teaching strategies to facilitate student success Integrate the curriculum as far as possible, and where appropriate Select appropriate assessment strategies Monitor/Assess student learning and keep records Evaluate student performance Evaluate classroom programmes Conduct action research Collaborate with colleagues 16 References Trinidad and Tobago. Ministry of Education. (2005a). Draft policy for information and communications technology in education. Port of Spain, Trinidad: Author. Trinidad and Tobago. Ministry of Education. (2005b). Green paper for public comment: Draft quality standards for education in Trinidad and Tobago. Port of Spain, Trinidad: Author. Trinidad and Tobago. Ministry of Education. (2005c). Quest for excellence: Quality standards for education in Trinidad and Tobago: A Ministry of Education Green Paper – first revision. Port of Spain, Trinidad: Author. Trinidad and Tobago. Ministry of Education. (2006). Curriculum policy: Preprimary to secondary education; draft. Port of Spain, Trinidad: Author. Trinidad and Tobago. Ministry of Education. (2007). The national model for education in Trinidad and Tobago (Early childhood, primary and secondary); draft. Port of Spain, Trinidad: Author. Trinidad and Tobago. Ministry of Education. (2008). Draft corporate plan 2008–2012. Port of Spain, Trinidad: Author. Trinidad and Tobago. Ministry of Education. Student Support Services Division. (2008). Inclusive education policy; draft 5. Port of Spain, Trinidad: Author. Trinidad and Tobago. National Task Force on Education. (1994). Education policy paper (1993-2003) (White paper). Port of Spain, Trinidad: Author. Trinidad and Tobago. Task Force for the Removal of the Common Entrance Examination (1998). Report. Port of Spain, Trinidad: Author. 17 A Vision for Visual and Performing Arts Education Visual and Performing Arts (VAPA) is a composite subject comprising the disciplines of Visual Art and Craft, Music, Drama, and Dance. Our vision for the subject fits into the overarching vision of the Ministry of Education, which is to provide seamless quality education for all students from early childhood to the tertiary level as they are prepared to become productive citizens. Visual and Performing Arts will have pride of place in the national curriculum, since it will be recognized as central to the business of educating children because of its ability to harness all the elements that interact in the process of learning into one localized discipline. Visual and Performing Arts will provide essential linkages across all subject/curriculum areas. However, VAPA also possesses its own set of unique skills, which will assist learners to develop their multiple intelligences and prepare them for real-life situations. Visual and Performing Arts will make available opportunities for students to explore and express their emotions and feelings, to stimulate their creativity and imagination, to develop visual sensitivity to nature and the environment, to develop self-worth and love for family and country, and to provide the nation with a cadre of talented ambassadors. Thus, Visual and Performing Arts envisions itself as the platform from which all students will develop creatively and holistically in their quest to become worthy citizens of the global society, capable of critical and analytic thinking, effective at problem solving, and technically competent. 21 Rationale for Teaching the Visual and Performing Arts Nations are remembered by their cultural legacy and their contributions to the development of the Arts. Visual and Performing Arts can provide the institutional framework for that legacy to be developed, fostered, and enhanced in Trinidad and Tobago. Visual and Performing Arts is an important vehicle for transmitting a wide range of messages to students and to the public at large. It provides opportunities to underpin the national effort to promote healthy lifestyles. Through art competitions, dramatic presentations, and musical compositions, messages about healthy lifestyles, including the avoidance of HIV/AIDS, drug abuse, alcoholism, and teenage pregnancy, can be effectively delivered. The importance of enhancing and creating visually pleasing environments is recognized and encouraged through the Visual and Performing Arts. The development of murals, installations, sculptures, and other visually stimulating offerings in schools and in public community spaces creates the necessary ambience. The cultural forms displayed through dance, music, and drama add an unquantifiable dimension to any production, programme, and/or gathering. The Government of Trinidad and Tobago seeks, as part of its Vision 2020 mandate, to transform the country to developed country status by 2020. As a result, it has prioritized as national objectives the attainment of high levels of human development and standards of living through full participation of citizens, the attainment of a strong and resilient economy, good effective governance, and social cohesion. In its turn, the Ministry of Education, in its effort to assist the nation to reach developed country status by 2020, has incorporated the United Nations (UN) Millennium Goals and Education for All (EFA) Goals in many of its projects and programme as it, too, seeks to transform the education systems. All these efforts are intended to develop the country’s human capital, which is being prepared to compete in a highly global economy. Several initiatives have been taken to realize the transformation. These include the deshifting of junior secondary schools, the introduction of the composite subject VAPA, and provision for curriculum facilitation of the VAPA programme at the district level in primary schools. Additionally, Magnet/Specialist programmes have been introduced in specially selected schools in a wide range of fields, including the Visual and Performing Arts. Finally, Certificate and Postgraduate Diplomas in the Teaching of the Visual and Performing Arts are now being offered at The University of the West Indies, St. Augustine, and perhaps soon at The University of Trinidad and Tobago. These are all indicators of the state’s serious intention to deliver a strong Visual and Performing Arts programme. 22 The Visual and Performing Arts programme hinges on the following premises: 1. All students possess innate creative abilities and should be exposed to a stimulating arts programme to allow them to maximize those abilities. 2. Visual and Performing Arts education is essential to the development of citizens in our diverse and multicultural society. It is one of the most important avenues through which communication, understanding, and appreciation of diversity and individual differences can be experienced. 3. The study and practice of the Visual and Performing Arts develop important knowledge and skills such as the competencies needed for researching, planning, organizing, observing, and taking an idea to a finished product, as well as skills in creative and critical thinking. In addition, VAPA also facilitates psychomotor development and critical analysis, which are important for general education. 23 The Visual and Performing Arts Programme This programme is designed to allow teachers to use their creativity and initiative to develop activities that would cater to 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 content areas that comprise the curriculum in the classroom in the same way as they integrate knowledge in the real world. Its principal focus is the personal development and growth of students in terms of their understanding of themselves and their relationships with classmates, family, community, and the larger world; and in terms, too, of their competence in addressing the cultural content of their society. VAPA also gives students the opportunity to display the development/growth of their artistic talents. Integrating the Arts The curriculum for Forms 1–3 in the Visual and Performing Arts encourages at least one major integrated arts activity each term during each of the three years within each discipline. The integration is ongoing, and takes place simultaneously with the across- the-curriculum activities. However, the Festivals activity will constitute the main integrating activity for each term, and will be followed by a full-scale production at the end of the third year. The Visual and Performing Arts Department will therefore engage students in explorations of the expressive connections among the arts. The schedule of work is guided by the curriculum and the national cultural festivals of any given term. While integration takes place throughout the year, teachers are encouraged to make the main integrated project a memorable activity for students. The format may vary—a decision that should be made jointly by all the Arts teachers in a particular school. The rationale for this integrating component is that students should recognize that there are similarities in the way that artists work, whatever their particular discipline, and that discovering these helps students to 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 the criteria governing integrating projects remain flexible. Projects may, for example, include all four arts disciplines, and may extend for an entire term and involve an orchestrated performance. Alternatively, a series of projects may be planned, which includes two or three disciplines. A project may take one workshop session. However, all projects should be exploratory in nature: that is, they should involve problem solving, research, experimentation, critical thinking, and risk-taking. 24 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. This approach is useful for reinforcing information, developing memory, clarifying terms and concepts, and for fostering learning across subjects and curriculum areas. 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 topics: • General themes, for example, a journey, the environment, love, and so on. • A particular religious or secular festival, for example, Christmas, Republic Day, Emancipation, Divali, Eid ul Fitr, Carnival • A topic from another subject area such as Social Studies or English Literature • A topic suggested by historical, social, or political events Model 2 — The Project Model A project is identified. The contribution of each discipline is determined through collaboration by the Visual and Performing Arts teachers in formulating, planning, developing, and executing the project. The project might 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 (such as a concert). The other disciplines bring their strengths to promote its success, for example: • Art/Craft – decorative craft, fabric design, graphic design, set design • Drama – plays, stage decoration, costuming • Dance – supporting background dancers Model 4 — The Integrated Core Model The integrated core is centred on two or three of the core areas. Drama and Dance, or, alternatively, Music, Dance, and Drama may want to work on a project. An integrated activity based on any of these models will work most effectively when the Visual and Performing Arts teachers in each school meet on a regular basis to plan and 25 monitor projects, and when the VAPA staff work closely with the principal, other colleagues, and the community at large. Particular schools may need to be more flexible in the arrangements they make for integrated activities. These arrangements may include, for example: • 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, and may include examinations, portfolios, individual discussions, group critiques, and student self-assessment. 26 Framework for Visual and Performing Arts Integration The following framework is intended to support curriculum delivery in the event that teachers in all the four disciplines of the Visual and Performing Arts are not available at a school. This framework apprises teachers and students as to the areas of the curriculum that must be covered at different stages of the lower secondary curriculum. Thus, all students can be well prepared to reap the benefits of the curriculum in the Visual and Performing Arts, despite any possible limitations in terms of available resources. Visual Art Music Drama Dance Year 1 — Term 1 Brief overview/ Brief overview/ History of drama History/Overview of History of the History of music as it using Time lines dance using Body discipline as it refers to Lines and and the Body and Self awareness relates to SELF – Self using lines Highlighting Lines Highlighting Lines Using Lines Demonstrating the use of Lines Festivals – Festivals – Festivals – Festivals – Independence, Independence, Independence, Independence, Republic Day, Divali, Republic Day, Divali, Republic Day, Republic Day, All Saints/All Souls All Saints/All Souls Divali, All Saints/All Divali, All Saints/All Souls Souls Christmas – Parang Christmas – Parang Christmas – Parang Christmas – Parang Year 1 — Term 2 Tone/Form Tone/Pitch Space Space Spatial Organization Organization – of C Stage positions Dance – Freeze – Concepts of Thirds Major Scales positions Blind Contour Playing scales by Highlighting the Using the senses – Drawing – Senses sight senses – sight, sight, hearing in hearing in the Dance – Three environment Blind Mice Festivals – Melodic Singing – Kalinda and Kalinda and Stick Fight – Kalinda Songs re: Kalinda, Camboulay in Camboulay in in Art, Camboulay Camboulay Drama Dance Easter – Reflections Easter – Reflections Easter – Easter – in Art in Music Reflections in Reflections in Drama Dance 27 Visual Art Music Drama Dance Year 1 — Term 3 Oral traditions Tempo in Music Story telling as a Dance movement Story telling – related to the Oral tool in Drama related to Oral Painting appropriate Traditions and Story highlighting the Oral Traditions and scenes telling traditions and folk stories stories Year 2 — Term 1 Representations of Hand positions for Gait movements – Hand and foot the hands major scales – pan expressions of hand gestures and feet Non-verbal Using various Non-verbal Non-verbal communication types of music to communication communication create moods Tone/Texture Vocal Skills Voice/Diaphragm Breathing Festivals – Music related to Festivals – Festivals – Dances Emancipation, Eid Emancipation, Eid Emancipation, Eid related to symbols Emancipation, Eid Year 2 — Term 2 Carnival – Facial Carnival – Carnival – Carnival – movements Calypsoes Characterization Characters, movements, and dance Costume making – Traditional Traditional Carnival Traditional carnival Wire bending calypsoes characters dances Colours and tone to Vocal timbre Colours in Carnival Colours in reflect mood and Phagwa movement Research Research Research Research Year 2 — Term 3 Perspectives in Simple melodic Setting themes Development of Drawing compositions themes through Dance movements Body Proportion Developing scenes Characterization and scenes Lettering Flash backs/Flash Compositions forwards Creations Compositions Script writing Dance creations Tobago Heritage – Tobago Heritage – Tobago Heritage – Tobago Heritage – Caribbean Art Caribbean Music Caribbean Drama Caribbean Dance 28 Visual Art Music Drama Dance Year 3 — Term 1 3-D Models Associating music to Set Design Set Designs for various Sets specific dances Set Design Associating music to Sound Techniques Dances – various Sets responding to auditory stimuli Detailed Drawing – Composing in Lighting Techniques Dances – Faces different genres responding to aesthetic stimuli Aerial expressions Technical Theatre Creating dances Research Research Research Research Print Making – Improvisation Dance creations Block & Screen Cultural Forms – Cultural Forms – Cultural Forms – Cultural Forms – Local and Local and Caribbean Local and Caribbean Local and Caribbean Caribbean Year 3 — Term 2 3-D Studies Compositions – Technical Theatre Non-traditional Ceramics Compositions – Costume Design Traditional Decorative Craft Playwriting Journaling Fibre Arts Completion of Completion of Completion of Completion of student Portfolio student Portfolio student Portfolio student Portfolio Year 3 — Term 3 Art Exhibition – Art Exhibition – Art Exhibition – Art Exhibition – Practical and Practical and Theory Practical and Theory Practical and Theory EXAMS EXAMS EXAMS Theory EXAMS 29 General Outcomes for the Visual and Performing Arts Curriculum A well-designed Visual and Performing Arts curriculum that is effectively implemented should facilitate the attainment of the following intended learning outcomes. By the end of Form 3, 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, and decision making in the arts; exhibit, demonstrate, and perform with confidence and pride; recognize that the arts give depth, coherence, and resonance to other subjects; demonstrate understanding of the multicultural nature of the society and its diverse artistic expressions; demonstrate the understanding that ideas can be shared through the arts; demonstrate the understanding that the arts are an essential element in the development of the human individual. 30 Visual And Performing Arts VISUAL ARTS 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; • facilitate choices about media, materials; • develop skill and dexterity in the use of tools; • allow for the conceptualization and the development of ideas, the reorganization of knowledge, and the use of the imagination in the making of objects and images. Knowing entails demonstrating technical knowledge about processes, materials, and so on, but also includes historical knowledge of the visual arts through the ages and across cultures. Responding is concerned with the development of students’ ability to respond or react to works of art and craft, and their ability to criticize, analyse, interpret, assess, and make judgements. 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. 33 Specific Learning Outcomes in the Visual Arts Creating By the end of Form 3, 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 based on specific topics and themes. Knowing By the end of Form 3, students will be expected to: demonstrate knowledge of the elements of design; understand how the elements of design are interrelated in the development of works of art and craft; communicate using the specialized language of the visual arts; articulate some understanding of the 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 3, students will be expected to: talk about their work and that of their classmates; use suitable terminology and make appropriate references when analysing artwork; analyse 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. 34 The Programme: Content Organization This curriculum revolves around three areas of study: Drawing Colour and Design 3-Dimensional Studies The division of the programme into these three areas allows for deeper integration within the content, and avoids the problems caused by teachers teaching mainly to their strengths and students favouring particular curriculum areas. This approach facilitates the development of a more holistic view of the visual arts by all concerned. Thus, there will be no fragmentation of the curriculum. Instead, there will be the signal recognition that each area 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 in this curriculum because of the skills it seeks to develop in order to fulfil the demands of the other components. The Colour and Design component, in addition to including painting, collage, and so on, will also be intricately woven throughout all the other areas. It includes various design areas such as graphic design, fabric design, industrial/commercial design, and surface design. The 3-Dimensional Studies component incorporates areas such as sculpture, ceramics, fibre arts, jewellery, decorative craft, and so on. The following table outlines the timetabling structure over the three years in which the curriculum should be delivered: Term Year 1 Year 2 Year 3 Drawing Drawing Drawing Term – D1 Colour and Design Colour and Design Colour and Design Drawing Drawing Drawing Term – D2 3-Dimensional 3-Dimensional 3-Dimensional Studies Studies Studies Term – Int. Integrated Arts Integrated Arts Integrated Arts 35 The Visual Arts: 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 such as musical instruments and clothes Language Arts • Generating pictures\drawings from stories, poetry, and folktales • Calligraphy — writing passages • Developing response skills — critique and analysis • Describing the way artists represented various periods, styles, and cultures • Writing about works of art and craft Mathematics • Making concrete models of objects such as spheres, cylinders, and cubes • Relating proportions and ratios in mixing paints and dyes • Making measurements in drawing grids for making mosaics • Applying mathematical principles in creating mats for mounting work • Using specific measurements in drawing plans and designs for projects Technology Education • Understanding the use of technology in the creation of images • Operating computers, printers, and scanners to develop images • Understanding software applications and their ability to manipulate images • Understanding the impact of the Internet on the delivery and transference of images at high speed • Using digital technology in the preservation and quality of images • Understanding how technology can make instantly available examples of great works of art and craft 36 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 such as landscapes and landforms • Imaginative paintings/drawings based on events such as earthquakes, hurricanes, and volcanoes • Compositions based on people, trade, tourism, culture, historical sites • Designing posters, brochures, and so on Science • Using scientific apparatus/models as motifs for drawings, paintings, and designs • Applying scientific concepts in the application of colour theory • Using scientific principles related to mixtures and compounds in developing mixed media projects • Exploring “earth science” — ecosystems: flora and fauna • Creating imaginative compositions based on biological slides of human and organic material Physical Education • Drawings and paintings of the human figure engaged in sporting activities, for example, athletics, aerobics, weightlifting, ball games • Incising/decorating pots, objects, and other materials with motifs of athletic/sporting figures, for example, Grecian amphoras/urns • Designing sporting wear, trophies, and medals • Producing a mural painting, for example, a wall of sporting heroes 37 The Visual Arts: Connections to Other Visual and Performing Arts Disciplines Dance • Applying principles of rhythm and movement • Drawing and painting figures 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—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 38 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 averaging 35 minutes each, timetabled as one double period, be allotted for Art and Craft each week. The time must not be split into two separate periods during the week. 39 Visual Arts: Course Outline Year 1 – Term D-1: Drawing Internal Organizers and General Outcomes Specific Outcomes Sample Activities Materials Students will be able to: Students will be able to: Students may: pencils charcoal Creating • experiment with a variety of media • identify and draw various kinds of pens to make drawings lines in the environment (e.g., pastels • manipulate materials to create poles, trees, utility lines, etc.) chalk works of art • demonstrate a range of line markers qualities • draw basic shapes using any of paper • develop art-making strategies the following materials: chalk, plants pastel, charcoal Styrofoam forms – • create works from imagination, • create drawings based on cylinders, cubes, memory, and observation imagination and memory • draw contours of objects and spheres plants • draw from imagination Knowing • appreciate the power of simple • review prehistoric cave paintings, Resources/References ancient drawings e.g., Lascaux, Ajanta • demonstrate an awareness of art Cave art through time and cultures • utilize a variety of lines, methods, • make groups of marks by holding Edgar Escher and materials drawing implements in at least five Pablo Picasso • appreciate the potential of line to different ways Matisse create and communicate • demonstrate awareness of a (use examples of visuals of how to Aubrey Beardsley variety of methods and materials hold drawing materials) Alfredo Codallo for making lines 41 Internal Organizers and General Outcomes Specific Outcomes Sample Activities Vocabulary contour Responding • talk about their work and the work • discuss the use of symbols, composition of their classmates images in Cave art vertical • interpret/analyse artworks to horizontal construct meaning diagonal edge still-life plant-life shape form edge mass 42 Year 1 – Term D-1: Colour and Design Internal Organizers and General Outcomes Specific Outcomes Sample Activities Materials Students will be able to: Students will be able to: Students may: paint brushes paper Creating • manipulate tools and materials to • produce: water produce compositions in solid - a collage using black and white scissors • manipulate materials to create black and white paper white paper works of art black construction • create compositions using black - a painting using black paint on paper • develop art-making strategies and white paint white paper glue black paint • create works from imagination, - a composition using white and black paint that exhibits the palette memory, and observation widest possible range from black craft knife to white ruler black and white - a composition incorporating the newsprint, collage and painting elements black and white printed previously used matter (photocopied material) Knowing • demonstrate an understanding of • identify positive and negative Resources/References the concept of opposites in art elements in a range of designs • demonstrate knowledge of art (positive and negative, black and and the environment Monet through time and across cultures white, hard and soft edges) Boodhoo Degas • demonstrate an understanding Van Gogh that black and white produces grey Magazines 43 Internal Organizers and General Outcomes Specific Outcomes Sample Activities Vocabulary Responding • demonstrate an understanding • distinguish between closed and primary that spatial relationships influence open composition secondary • interpret/analyse variations in the the design outcome composition use of positive and negative abstract elements geometric proportion background motif pattern designs colour wheel print 44 Year 1 – Term D-2: Drawing Internal Organizers and General Outcomes Specific Outcomes Sample Activities Materials Students will be able to: Students will be able to: Students may: pencils charcoal Creating • experiment with a variety of • complete a drawing of a partner’s pens traditional and non-traditional face pastels • manipulate materials to create materials to create drawings (a) pen and ink sticks works of art (b) stick and ink paper • create drawings from memory and plants • develop art-making strategies imagination • draw two dragons fighting Styrofoam forms – cylinders, cubes, • create works from imagination, • use line to apply tonal value to • draw a pile of spiders spheres memory, and observation drawing Q-tips • create letter-form patterns using a variety of tones Knowing • appreciate the expressive power • review contemporary line Resources/References of simple contemporary line drawings • demonstrate knowledge of art drawings Magazines through time and across cultures Internet sources • appreciate that line can be used to Cave art create tonal value Edgar Degas Pablo Picasso Durer Aubrey Beardsley 45 Internal Organizers and General Outcomes Specific Outcomes Sample Activities Vocabulary Responding • talk about their work and that of • talk about possible meanings they contour their classmates can apply to drawings composition • interpret/analyse artworks to apply vertical meaning horizontal diagonal edge still-life shape form edge mass tone value 46 Year 1 – Term D-2: 3-Dimensional Design Internal Organizers and General Outcomes Specific Outcomes Sample Activities Materials Students will be able to: Students will be able to: Students may: clay, cardboard Creating • experiment with a variety of • construct a free-standing sculpture paper materials to create 3D items based upon an organic form or a wire (chicken) • manipulate materials to create man-made object wood works of art • manipulate materials to produce glue incised carvings on appropriate • make an incised carving of a bird string • develop art-making strategies materials in flight on a clay slab 8" x 8" found objects wool • create works from imagination, • create a variety of textural designs • make a floor tile with textural Styrofoam memory, and observation on an appropriate surface designs sand foil beads Knowing • appreciate the expressive power • copy incised designs found on shells of simple ancient rock carvings calabash and rock carvings, and • demonstrate knowledge of art (Sahara-Tassili) apply to their project Resources/References through time and across cultures • appreciate the expressive power • discuss the differences between Videos of contemporary surface designs two-dimensional and three- Slides (calabash/leather craft items) dimensional contemporary Magazines designs Art books • discern the differences between Michaelangelo two- and three-dimensional forms Pat Chu Foon Henry Moore Cave art Egyptian art 47 Internal Organizers and General Outcomes Specific Outcomes Sample Activities Vocabulary Responding • analyse their work in relation to • comment on the success of their sculpture themes presented undertaking in relation to the texture • interpret/analyse artworks to apply theme free-form meaning low-relief carving incising assemblage 3-dimensional additive subtractive slab gesture 48 Visual Arts: Course Outline Year 2 – Term D-1: Drawing Internal Organizers and General Outcomes Specific Outcomes Sample Activities Materials Students will be able to: Students will be able to: Students may: pencils charcoal Creating • represent objects after careful • complete drawings in the following pens observation areas: pastels • manipulate materials to create - figure drawing sticks works of art • apply tone to drawings to get the - still-life paper effect of mass - architecture plants • develop art-making strategies - one-point and two-point various objects • enlarge or reduce the scale of a perspective bottles • create works from imagination, drawing cans memory, and observation • use tone to bring out solidity in • experiment with a variety of media bottles and cans to create non-representational works through surface articulation • drawing parts of plant life (different sizes of leaves, types of fruits and • add colours to drawings flowers, running vines, dried demonstrating tonal values branches) Knowing • recognize high realism • distinguish between realistic and Resources/References contemporary drawings • demonstrate knowledge of art Magazines through time and across cultures Internet sources Albrecht Durer 49 Internal Organizers and General Outcomes Specific Outcomes Sample Activities Vocabulary contour Responding • critique various drawings and • discuss the use of lines and composition account for their stylistic shapes in various drawings vertical • interpret/analyse artwork to apply preferences horizontal meaning diagonal edge still-life plant-life shape form edge mass tone value 50 Year 2 – Term D-1: Colour and Design Internal Organizers and General Outcomes Specific Outcomes Sample Activities Materials paints, paper Students will be able to: Students will be able to: Students may: palette, water Creating • select and mix colours to • create paintings to evoke emotion brushes represent mood and feeling in – anger, loneliness, love, pain, leaves • manipulate materials to create artwork (using a limited palette) etc. heavy paper works of art glue • use tonal variation to create the • make landscape paintings using scissors • develop art-making strategies illusion of distance or depth aerial perspective marking knives stencils • create works from imagination, • draw by hand basic letter-forms • create posters, collages by cutting memory, and observation and pasting images from • apply formal elements of magazines composition and layout Resources/References • apply compositing skills in making Magazines designs Record jackets CD covers Greeting cards Knowing • describe various approaches to • compare images created by Posters creating images painting, printing, and compositing Pictures • demonstrate knowledge of art Paintings through time and across cultures Internet sources Monet Manet Daumier Rothko Constable Turner 51 Internal Organizers and General Outcomes Specific Outcomes Sample Activities Vocabulary Responding • talk about the feelings evoked by • identify four paintings by famous harmony different artworks artists that evoke feelings of love, perspective • interpret/analyse artworks to apply passion, hate, etc. illusion meaning compositing cutting and pasting transfer value poster collage 52 Year 2 – Term D-2: Drawing Internal Organizers and General Outcomes Specific Outcomes Sample Activities Materials Students will be able to: Students will be able to: Students may: pencils charcoal Creating • represent objects after careful • complete drawings in the following pens observation areas: pastels • manipulate materials to create - still-life: man-made or natural sticks works of art • apply perspective in creating forms paper drawings - manufactured, weathered, and plants • develop art-making strategies found objects various objects • create narrative drawings bottles • create works from imagination, • develop a variety of textures with cans memory, and observation the use of lines and shapes • draw a view through a window or down a corridor • execute five drawings that tell a story Knowing • recognize gestural drawings • review the work of Kathe Kollwitz, Resources/References Franz Kline • demonstrate knowledge of art Magazines through time and across cultures Internet sources Cave art Edgar Degas Pablo Picasso Aubrey Beardsley 53 Internal Organizers and General Outcomes Specific Outcomes Sample Activities Vocabulary Responding • compare the meaning intended in • discuss the meanings intended in contour their work with classmates’ their drawings composition • interpret/analyse artwork to apply understandings and interpretations vertical meaning of the work horizontal diagonal edge still-life plant-life shape form edge mass tone value 54 Year 2 – Term D-2: Three-Dimensional Studies Internal Organizers and General Outcomes Specific Outcomes Sample Activities Materials Students will be able to: Students will be able to: Students may: clay, paper Creating • experiment with a variety of • construct a figure (human, animal, glue, materials to create 3D items abstract form) to mark an boxes • manipulate materials to create occasion – cultural, historic Styrofoam works of art • manipulate suitable materials to string, create vessels • decorate a vessel/container that wool • develop art-making strategies can be used as a jewellery box fabric • manipulate materials to create a cigar boxes • create works from imagination, variety of designs on an • use papier-maché to create a sand memory, and observation appropriate surface ceremonial urn shells glitter dust dried leaves and seeds paint stencils lacquer Knowing • appreciate the form and • review other period work through decorative markings of Pre- slides, photographs, etc. Resources/References • demonstrate knowledge of art Colombian, African, Greek, etc. through time and across cultures ceremonial and household vessels Decorative craft books Magazines Slides Photographs Jewel boxes Greek amphoras African, Indian, and Pre- Colombian vessels – Internet sources 55 Internal Organizers and General Outcomes Specific Outcomes Sample Activities Vocabulary Responding • associate various decorative compare/contrast the designs on urn motif/designs with specific African and Indian vessels amphora • interpret/analyse artwork to apply geographical areas lacquer meaning decoupage layering gilding applying papier maché 56 Visual Arts: Course Outline Year 3 – Term D-1: Drawing Internal Organizers and General Outcomes Specific Outcomes Sample Activities Materials Students will be able to: Students will be able to: Students may: pencils charcoal Creating • produce drawings of an object • create drawings of a slice of bread, pens from various views a box of matches, a concrete wall, pastels • manipulate materials to create etc. sticks works of art • make enlarged and reduced paper drawings of the same object • draw from memory an emotional • develop art-making strategies experience, a familiar scene, a • produce drawings of faces that dream • create works from imagination, reflect the features of the African, memory, and observation East Indian, and Chinese • draw from memory a scene they encountered on the way to school • recreate a familiar scene • rearrange the parts of the human • restructure familiar objects to body to create a representation of create new/different objects a new species of human beings • redesign an everyday object Resources/Reference Knowing • recognize Surrealistic art, African • distinguish between realistic and Magazines art, Indian art, Chinese art other styles of drawings Internet sources • demonstrate knowledge of art Surrealism through time and across cultures Pablo Picasso Salvador Dali 57 Internal Organizers and General Outcomes Specific Outcomes Sample Activities Vocabulary Responding • critique various drawings and • talk about what they like and composition account for their stylistic dislike in various drawings vertical • interpret/analyse artwork to apply preferences horizontal meaning diagonal edge still-life shape form edge mass tone value 58 Year 3 – Term D-1: Colour and Design Internal Organizers and General Outcomes Specific Outcomes Sample Activities Materials pints, Students will be able to: Students will be able to: Students may: paper palette Creating • compose, select, and mix colours • make paintings using lines and water to represent the activities of the geometric shapes to represent brushes • manipulate materials to create workplace industry, technology, etc. leaves works of art heavy paper • use tonal variation to create a • make paintings of objects, fabric, glue • develop art-making strategies monochromatic painting foliage, etc. scissors marking knives • create works from imagination, • create designs from their • create designs for gift paper, stencils memory, and observation imagination fabric, using the human figure as a straws motif fabric • create patterns using familiar foliage motifs pots plates, etc. Knowing describe various approaches to collect pictures (magazines) that Resources/References• • creating images represent different kinds of images • demonstrate knowledge of art Magazines through time and across cultures Record jackets CD covers Greeting cards Posters Pictures Paintings Internet sources Monet 59 Internal Organizers and General Outcomes Specific Outcomes Sample Activities Manet Daumier Responding • talk about the feelings/responses • identify/discuss specific works of Rothko evoked by different artworks four artists that are different in Constable • interpret/analyse artworks to apply style, imagery, and impact from Turner meaning each other Vocabulary harmony perspective illusion cutting and pasting transfer value poster collage 60 Year 3 – Term D-2: Drawing Internal Organizers and General Outcomes Specific Outcomes Sample Activities Materials Students will be able to: Students will be able to: Students may: pencils charcoal Creating • represent figures after careful • create figures in motion (people pens observation and animals) pastels • manipulate materials to create sticks works of art • experiment with a variety of media • create artwork consisting of paper and materials to create drawings drawing and collage plants • develop art-making strategies various objects • simulate the textural quality of a • make careful studies of cactus, bottles • create works from imagination, range of surfaces crumpled foil, tree bark, rope, a cans memory, and observation heap of sand or gravel, etc. fruits • re-order textures on different bark objects • switch textures on objects, e.g., fabric apple with grainy texture Knowing • recognize gestural drawings • review the work of the Resources/References Impressionists, the Futurists • demonstrate knowledge of art Magazines through time and across cultures Internet sources Impressionism Salvador Dali Peter Minshall 61 Internal Organizers and General Outcomes Specific Outcomes Sample Activities Vocabulary Responding • compare the meaning intended in • discuss the meanings intended in texture their work with classmates’ their drawings composition • interpret/analyse artwork to apply understandings and interpretations surface meaning horizontal diagonal edge still-life shape form touch edge mass tone value 62 Year 3 – Term D-2: Three-Dimensional Studies Internal Organizers and General Outcomes Specific Outcomes Sample Activities Materials Students will be able to: Students will be able to: Students may: clay paper Creating • experiment with a variety of • construct an object that may be glue materials to create 3D items used for an ancient ritual (a boxes • manipulate materials to create ceremonial mask) Styrofoam works of art • manipulate found/discarded string materials to create sculpture • create a 3D mural – “21st century wool • develop art-making strategies humans” fabric • manipulate materials to create a cigar boxes • create works from imagination, variety of designs on an • produce a series of objects from sand memory, and observation appropriate surface discarded plastic bottles to be shells used as an installation glitter dust dried leaves and seeds • make low-relief designs on clay, paint Styrofoam by adding and stencils subtracting lacquer bottles straws Knowing • broaden their insight into sculpture • review, through slides, glue through research into different photographs, etc, sculpture of the • demonstrate knowledge of art periods Dada and 20th century sculpture Resources/References through time and across cultures Decorative craft books Magazines Slides Photographs Dada Henry Moore Giacometti Pevsner 63 Internal Organizers and General Outcomes Specific Outcomes Sample Activities Stella Oldenburg Responding • associate various sculptural • compare/contrast work with other Luise Kimme forms/designs with specific sculptures Jackie Hinkson • interpret/analyse artwork to apply geographical areas (pyramids) Internet sources meaning Vocabulary additive subtractive layering applying relief low-relief 64 Visual And Performing Arts Drama Drama Internal Organizers Creating, Knowing, Responding Drama is an aesthetic discipline with its own body of knowledge. As an art form, 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 for teaching other subjects. The three basic organizers for Drama in secondary schools—creating, knowing, and responding—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 facilitates the development of a learning 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 various sensory activities. It also supports the development of personal and social skills 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 and sensitivity to group dynamics, and further enhances self-assessment and reflection. 67 Specific Learning Outcomes in Drama Creating By the end of Form 3, 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 represent different characters; create walking and running movements to represent different situations; apply physical control and accuracy in performing simple mime activities; use objects (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 expressions; demonstrate greater spatial awareness; work in pairs to carry out identified activities; work in groups to perform identified tasks; work with others to produce dramatic episodes; construct, dissolve, and reassemble a tableau; demonstrate more effective use of the voice and greater audibility; practise 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 as experienced through the senses; debate a point of view; make clear, reasoned decisions within the drama work; choose from a range of alternative actions. 68 Knowing By the end of Form 3, 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 basic voice production and delivery explain the relationship between physical gestures, body language, and communication; describe 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 for drama of the relationship between light and darkness, both as a physical phenomenon and as a quality; describe how 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 dramatic effect; find/create alternatives to sex and violence to create drama; explain the nature of drama as a social/cultural/indigenous/ritualistic art form. Responding By the end of Form 3, students will be expected to: exhibit sensitivity to group dynamics; appreciate the importance of teamwork; respect their own artistic heritage and that of others; recognize the importance of listening in acquiring vocal skills; exhibit the discipline necessary for successful accomplishment of tasks; cooperate with others in the development and successful completion of drama projects; appreciate the importance of developing the creative imagination; 69 value the contribution a peer audience can make to the drama; value the constructive criticism of others; show willingness to adapt a dramatic work to accommodate the criticisms of others; show willingness to commit effort to a task; recognize that fun and recreation are aspects of drama, and that learning can be achieved through fun. 70 Drama: Connections to the Core Curriculum This section outlines some of the more obvious bases for interrelating 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 the culture of foreign countries • Correlation of foreign language expressions with dramatic gestures and facial expressions Language Arts • Correlation of metre and rhythm in poetry and music • Imagery and symbolism in stories and/or poems • Setting 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 storytelling • Study of dramatic productions/works based on literature Mathematics • Use of beats, note values, and time signatures to enhance students’ understanding of number concepts (counting, division, ratio, etc.) • Understanding of the relationship between musical and mathematical vocabulary, for example, time signatures, intervals, and note values Physical Education • Understanding that 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 71 Science • Study of the body to include the functions of: - muscles - lungs - the skeleton - intercostal muscles - diaphragm - ribcage Social Studies • Use of appropriate dramatic themes to enhance students’ understanding of the meaning, implications, and import of historical events • Use of appropriate dramatic sequences to enhance students’ understanding of 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, and so on to illustrate and/or describe geography and climate of various countries and regions • Engagement in group work and peer review 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, for example, amplifiers, microphones, mixing and lighting boards • Selection and use of appropriate applications and technology tools to enhance production techniques of students engaged in individual and collaborative multimedia projects. 72 Drama: Connections to Other Visual and Performing Arts Disciplines Visual Arts • Use of 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 common to drama and other visual and performing arts disciplines, for example, 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, and so on 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 73 Drama: Course Outline Year 1 – Term D-1: The Body Component Internal Organizers and General Outcomes Specific Outcomes Sample Activities Materials hard-cover notebook for Creating Students will be able to: Students may: journal Students will be aware of: • develop awareness of the • form a circle; students say their names, in turn, postcards usefulness of the body in along with a positive adjective about • their physical potential executing drama work themselves beginning with the first letter of blindfolds their name and adding a movement • the importance of the • show increased photographs physical in drama willingness and ability to • walk around the space. The teacher calls experiment with body Freeze! and each student freezes in a shape digital camera • the importance of body positions that is held for a few seconds. The activity is control repeated, but each time the students are DVD player • show an understanding asked to walk in a different way, e.g., that drama can exist in the fast/slow, and make different shapes with their TV contrast between bodies movement and stillness, video recorder fast and slow • be divided into pairs as sculptor and clay. The teacher gives a stimulus, e.g., teenager Resources • create stage pictures watching TV. “The sculptor” sculpts “the clay” through sculpting and by gently moving body parts into place or by Film clips showing mirroring demonstrating the position. The clay must not various dramatic move by itself and must not talk. The sculptor movements • show concentration and then exhibits the sculpture focus in drama activities Video of animals and • participate in a mirroring exercise. The class is people in motion divided into pairs. A mirrors B’s action of moving arms, palms, etc. Roles are reversed 75 • show an understanding of • work in pairs; one student holds his/her palm Useful Websites the importance of safety or index finger in front of the face of the other procedures and trust in the student, who is then hypnotized and must www.childdrama.com drama keep his/her face constantly the same distance away from the hand of the hypnotizer. The www.dramaresource.com hypnotizer must lead the student safely through the space 76 Year 1 – Term D-1: The Body Component Internal Organizers and General Outcomes Specific Outcomes Sample Activities Learning Outcomes Knowing Students will be able to: Students may: Listening • students will know through • identify the basic tools of • participate in the ring game “Farmer in the Dell”; historical, cultural, and performance as mind, then, guided by the teacher, observe and identify Cooperative learning cross-cultural references body, voice, and space the use of the four elements: space – the ring; voice – the song; body – the movements, mind – Concentration • compare their movements the choices with those of animals Observation • imitate, individually and in groups, the movement observe people and the of animals, e.g., a cat in repose, a cat stalking a Critical thinking • ways they move bird, a snake, etc. Journaling • imitate, individually and in groups, the movement/behaviour of people–toddlers, Dramatic Technique teenagers, old persons, etc. Getting to Know (GTK) Freezes Slow motion Role play 77 Year 1 – Term D-1: The Body Component Internal Organizers and General Outcomes Specific Outcomes Sample Activities Vocabulary drama Responding Students will be able to: Students will be introduced to the notion of the sculpting drama journal in which they will: concentration • students will respond with • describe and express focus awareness to their own feelings about drama • enter an account of the drama activity and pace work and that of others activities in their journal express feelings about the activity. Sample mirroring prompts may include: stage pictures • participate in group discussions “While I was being sculpted, I….” imitation • make connections between • teacher lists on board key words from a lesson; drama activities and their students must use these in individual journal own lives entries • diagrams, photographs, artefacts, etc. requiring student response • self-evaluation exercises, e.g., “I was able to hold my freeze in position” 78 Year 1 – Term D-1: The Voice Component Internal Organizers and General Outcomes Specific Outcomes Sample Activities Materials black/white board Creating Students will be able to: Students may: markers Students will be aware of: • express themselves through • play song games like “In a Fine Castle,” “Brown song and choral speaking Girl in a Ring” CD player • their vocal potential • communicate through • revisit the clapping song games of the primary DVD player • the importance of vocal singing words school control Resources • compose a simple rhythmic • imitate characters in songs from Sesame Street to sequence encourage free expression Song Games From Trinidad and Tobago • use poems like the Sink Son by J.A. Lindon, by J.D. Elder which contain many onomatopoeic words for group choral speaking activities Video clips – Midnight Robber, Pierrot • arrange themselves in a circle, and have each Grenade, and Black student call out or sing his/her name in rhythm, Indian then strike the floor rhythmically two or three times Nursery rhymes CDs 79 Year 1 – Term D-1: The Voice Component Internal Organizers and General Outcomes Specific Outcomes Sample Activities Student Skills Listening Knowing Students will be able to: Students may: Concentration • students will know through • appreciate that there are • perform stick-fighting songs, clapping songs, historical and cultural and folk traditions in which the song games, Pierrot Grenade, and Midnight Composition cross-cultural references voice is used in particular Robber speeches and riddles ways Journaling Dramatic Technique Responding Chorus/choral speech • students will critique their • describe and summarize • write an account of the activity in their journals Improvisation own work and that of others the activity in journal Sample prompts may include: • explain what was effective and what was not “In the role of the Midnight Robber, I…” Vocabulary “Choral speaking for me is…” choral speaking recitation • make connections between onomatopoeia their own lives and the Create a riddle about your best friend. rhythm drama Pierrot Grenade • work in groups 80 Year 1 – Term D-1: The Mind Component Internal Organizers and General Outcomes Specific Outcomes Sample Activities Materials digital camera Creating Students will be able to: Students may: video recorders Students will be aware of: • use the senses to develop • use sense of touch only to describe and identify video tapes imagination objects in a covered box • the use of their senses to TV enhance their response to • observe their environment • listen to sounds around them with eyes closed their environment more sensitively and discriminate between various sounds – CD player distant from/near to the sound of their own • sense memory • demonstrate an breathing understanding of the Resources reliance on one sense when • participate in Forest Walk exercise. Pairs choose another is impaired a sound of a forest animal. The class moves Look, Listen and Trust around the space with eyes closed making the by George Rawlins sound of their chosen animal. Partners must use and Jillian Rich sense of hearing to identify each other in the Object box forest of sounds Cue cards from Knowing Drama Morgue • students will know through • communicate experiences • discuss the use of the drama journal as a record historical, cultural, and and observations in a of feelings and impressions of life experiences as Student Skills cross-cultural references journal they relate to activities and student progress Observation • understand the significance • observe and discuss the differences in sense Listening of the senses levels of animals and human beings Focus • observe the way blind persons manage their environment Journaling Critical thinking 81 Year 1 – Term D-1: The Mind Component Internal Organizers and General Outcomes Specific Outcomes Sample Activities Dramatic Technique Narrative Responding Students will be able to Students may: Reflection • students will respond with • describe drama activities in • discuss as a class, “Without my eyes, I had to…” critical awareness of their their drama journal Vocabulary own work and that of others • draw a picture of an animal they would compare • participate in group/class themselves to and write a caption saying why; peripheral discussions share this creation with the class sense memory reflection • make connections between • write a story in which a person has to perform imagination their own lives and tasks involving all five human senses expression identified drama activities 82 Year 1 – Term D-1: The Space Component Internal Organizers and General Outcomes Specific Outcomes Sample Activities Materials black/white board Creating Students will be able to: Students may: Students will be aware of: DVD player • maintain individual space • establish individual space by standing with arms the concept of individual while moving in the space outstretched. They move and “freeze” at different VCR • space with others levels, maintaining their individual space TV the concept of the theatrical • use varying levels in the • try to maintain individual space in an epidemic-• space space type scenario, e.g., walking hurriedly to avoid Multimedia projector contact; since any contact could mean infection PC/Computer lab • group themselves according to numbers called by teacher. They work together to form various Resources shapes, e.g., couch or car, within a specified time Video recordings of • in groups, use half of the class to create various Carnival shapes of theatrical performance spaces, e.g., semicircle, rectangle, while positioning the other Internet and library half of the class as audience/spectator access 83 Year 1 – Term D-1: The Space Component Internal Organizers and General Outcomes Specific Outcomes Sample Activities Student Skills Cooperative learning Knowing Students will be able to: Students may: Critical thinking • students will know through • define drama and • do guided research on basic elements of Greek historical, cultural, and understand its historical theatre as the foundation of Western theatre and Brainstorming cross-cultural references development, beginning present research as journal notes with Greek theatre Negotiation • view video recordings of Carnival, Ramleela • recognize the link between Research this original dramatic form and West Indian drama as they have experienced it, Dramatic Techniques e.g., Carnival, Ramleela Levels • know through observation • demonstrate and discuss the territorial behaviour of animals and insects and of domesticated animals based on observation Freeze their organization of space Pace • know, through observation, • participate in a discussion of human rituals that the attitudes of human involve the use of space and the specific Thought/Speech beings to space through positioning of people, e.g., a wedding, boxing bubble residential choice and ring, stick-fighting gayelle rituals 84 Year 1 – Term D-1: The Space Component Internal Organizers and General Outcomes Specific Outcomes Sample Activities Vocabulary amphitheatre Responding Students will be able to: Students may: masks chorus • students will respond with • describe and express • voice their thoughts during freeze frame activities. tragedy critical awareness to their feelings about their drama Teacher can utilize Thought/Speech Bubble to organization work and that of others activities in their drama encourage students in voicing their thoughts ritual journal territorial • enter in their journal an account of the sensory individual/theatrical • participate in group/class activities using the following sample prompt: space discussions “Discussion of rituals helped me to…” • make connections between their own lives and drama • draw a diagram of how their personal space is activities organized • make oral presentations of findings after conducting research on Greek Theatre 85 Drama: Course Outline Year 1 – Term D-2: The Body Component Internal Organizers and General Outcomes Specific Outcomes Sample Activities Materials black/white board Creating Students will be able to: Students may: markers Students will be aware of: • collaborate with others to • in groups, create a tableau or still photograph create a tableau using a variety of stimuli: video recorder • how the individual - action shots communicates through body - Sunday lunch video tapes language - football game - funerals digital camera - scene from Literature or History DVD player • present tableau to class for discussion TV • create and perform solo mime activities such as: • do simple mimes of - making a cup of tea Resources everyday activities - picking a flower - frying an egg Marcel Marceau • mime everyday activities, e.g., brushing teeth, Charlie Chaplin dressing for school, etc. In pairs, one student relates story of his/her day. The other student Sesame Street reproduces story in mime and vice versa tapes/DVDs Pictures from Drama Morgue 86 Year 1 – Term D-2: The Body Component Internal Organizers and General Outcomes Specific Outcomes Sample Activities Student Skills Brainstorming Knowing Students will be able to: Students may: Critiquing • students will know through • observe various examples • make a collage of different kinds of groups, or Negotiation historical, cultural, and of group dynamics through stick pictures in scrapbooks, with attention being cross-cultural references everyday experiences, the paid to levels, balance, status, and focus Research newspaper, and magazine photographs Sequencing • view a video clip of a mime artist for discussion of elements of mime and performance artist • carefully observe their techniques Dramatic normal physical activity and Techniques that of others Slow motion Responding Stop & Start • students will respond with • describe and express • include captions for collage or scrapbook pictures Tableau critical awareness to their feelings about drama in describing various types of group dynamics Mime work and that of others their journal • use the Stop and Start technique to rework Improvisation • participate in group tableaux for clarity discussions Vocabulary • in journals, list steps outlining the best process for • make connections between creating an effective tableau mime identified dramatic activities tableau and their own lives focus status balance collage caption 87 Year 1 – Term D-2: The Voice Component Internal Organizers and General Outcomes Specific Outcomes Sample Activities Materials CD player Creating Students will be able to: Students may: miniature tape recorders Students will be aware of: • imitate the sound of various • travel as a group from point to point in the space blank tapes animals and machines imitating a vehicle, collectively making the sounds • the ability of the human and action of the vehicle in locomotion. One Resources voice to be extended • use sound to communicate student leads the group; when the group gets beyond the production of with others from point A to B, leader switches and introduces Cue cards from human language a new vehicle and sound, e.g., train, tugboat Drama Morgue • in groups, reproduce sounds made by familiar Student Skills machines, e.g., washing machine, microwave. Each step in the machine’s process is clearly Observation identifiable by/with an accompanying sound Focus Listening Cooperative learning Negotiation Imitation Cohesion Knowing Dramatic • students will know through • listen with awareness to • in groups, construct lists of all possible human, Techniques historical, cultural, and sounds in the environment– animal, machine sounds. Each group then cross-cultural references non-language human reproduces the sounds for the class Improvisation sounds, animal sounds, Slow motion machine sounds Soundscapes 88 Responding • describe and express • in journals, write one phrase related to each of Vocabulary feelings about drama in the environmental sounds listed by their group their journal locomotion • students will respond with critical awareness to their • enter in their journal an account of the vehicle modulation work and that of others • participate in group activities and complete a self-assessment using projection discussions the following sample prompts: “I experimented with the use of my voice by…” • make connections between the activity and their own “I was able to confidently reproduce…” lives 89 Year 1 – Term D-2: The Mind Component Internal Organizers and General Outcomes Specific Outcomes Sample Activities Materials blindfolds/ties Creating Students will be able to: Students may: CD player Students will be aware of: • display trust in others • work in pairs with one partner, A, blindfolded. The other, B, acts as his guide. B takes A on a Resources • the importance of group • demonstrate trustworthiness journey past obstacles. A introduces B to objects work in drama in the environment that are determined by touch. Stories/folktales, e.g., The roles are then reversed “How the Agouti lost its tail” – Anansi • the importance of • demonstrate cooperation • form a circle. A blindfolded student walks around cooperation with and with and consideration of the inside of the circle formed by classmates. Student Skills consideration of others in others in group work When required, classmates provide assistance group work Cooperative learning • in small groups, act out scenes from stories or folk tales provided, using the theme of trust as Listening the stimulus Concentration Decision making Oral communication Critical thinking 90 Year 1 – Term D-2: The Mind Component Internal Organizers and General Outcomes Specific Outcomes Sample Activities Dramatic Techniques Knowing Students will be able to: Students may: Improvisation • students will know through • appreciate the importance • identify from their knowledge of childhood stories Role play historical, cultural, and of trust based on their own examples of situations where trust was an issue cross-cultural references observation and Critiquing experiences • read stories and folk tales that relate to trust, trustworthiness, and credibility, e.g., “How the Narrative Agouti lost its tail” Textual analysis Responding Vocabulary • students will respond with • describe and express • write in their journals their experience of being betrayal critical awareness to their feelings about drama in blindfolded and comment on the trustworthiness situation work and that of others their journal of their partners loyalty traitor • participate in group • in journals, suggest what they would have done trust discussions differently in the story/folktale situations where trustworthiness trust was an issue • make connections between the activity and their own • make an oral presentation to the class describing lives how it felt to be walking around the circle blindfolded 91 Year 1 – Term D-2: The Space Component Internal Organizers and General Outcomes Specific Outcomes Sample Activities Materials black/white board Creating Students will be able to: Students may: videos/film clips Students will be aware of: masking tape • stage positions/coordinates • identify and use stage • in groups, move in the space from strong to multimedia/overhead positions/coordinates weak positions, to high- and low-status projector effectively positions, and vice versa. The rest of the class serves as the audience Resources • actors’ body positions • understand actors’ body • as a group, create a short story that must Naparima Bowl & positions in relation to the include the use of entrances, exits, turns, national performance stage and the audience diagonals, crosses, and masking, e.g., Simon venues enters through a door centre stage left and crosses to centre stage right to his piano. Slides Peers evaluate each other (PowerPoint/projector) of various performance • the relationship between the • understand the importance • in pairs, create brief representations of spaces body, the space, and the of status in relation to situations in which characters with high status audience positions on stage are brought low or vice versa, e.g., the Student Skills assassination of a king Perception Problem solving Decision making Self-awareness Evaluation ICT Spontaneity 92 Year 1 – Term D-2: The Space Component Internal Organizers and General Outcomes Specific Outcomes Sample Activities Dramatic Techniques Knowing Students will be able to: Students may: Role play • students will know through • observe the way actors • make field trip to a live performance. Students Improvisation historical, cultural, and make use of the space in a observe entrances and exits, turns, crosses, cross-cultural references live performance in a positioning and the absence of masking Interviews theatre, or other space • observe the differences in status and focus in Vocabulary • know that status and focus relation to positioning in the space at live change in relation to performance status theatrical space masking • compile a list of roles and duties of theatre positioning • learn about the roles of personnel diagonal various theatre personnel entrances • observe the similarities and differences in the exits outline of various spaces/stages internationally crosses using ICT resources (Internet, multimedia) open and closed Responding full-back profile • students will respond with • describe and express • in journals, write a summary of a situation where share critical awareness to their feelings about their a person changes in status during the story. personnel work and that of others activities in their journals Students must draw the outline of a stage and plot the movement of the person • participate in group discussions • in pairs, interview each other as to their experience in losing or gaining status; pairs • make connections between present to the class their activities and their own • in pairs, assess the performance they saw using lives sample prompters such as: “If I had the chance to be in charge of the play, I would…” 93 Drama: Course Outline Year 2 – Term D-1: The Body Component Internal Organizers and General Outcomes Specific Outcomes Sample Activities Materials Creating Students will be able to: Students may: brown paper bags Students will be aware of: • show character through: • walk around the space. On the teacher’s cue kite paper - movement/gait they change gait and posture while leading with • the creation of character - gesture a specified body part, e.g., elbows or knees markers through the exploration of - mannerisms the physical • work with a partner and explore the use of - body shapes, levels, and multimedia projector gesture to convey meaning: use hands to plead, postures threaten, welcome. Students also shrug, nod, TV stamp feet; tell each other the story of their day • create a mask and use it to so far extend movement and DVD player gesture • differentiate between an action as a mannerism and a feeling, e.g., nervousness in the stomach. PC/Computer lab • show increased physical Teacher uses Teacher-in-Role, e.g., as a control and sustain physical nervous person waiting on a bench for date to CDs tension in characterization arrive, and displaying specific mannerisms • participate in an As-If exercise with teacher side- coaching, e.g., look in their bag as if they cannot Resources find a project that is due but they know they packed it this morning. Look through again as if 100+ Ideas for Drama they were frantic. Then look through as if they by Anna Scher & were questioning whether they had packed it. Charles Verrall Now look through as if they located it • create a simple mask using a brown paper bag. Useful Website Use as a means of emphasis on body language as opposed to facial expression and voice www.imprology.com 94 Year 2 – Term D-1: The Body Component Internal Organizers and General Outcomes Specific Outcomes Sample Activities Student Skills Knowing Students will be able to: Students may: Concentration • students will know through • develop research skills • in computer lab and in groups, use Paint program Self-awareness historical, cultural, and to draw and colour simple face designs. This may cross-cultural references • increase their knowledge of be used as set induction for topic – Masks Imaging art forms through research • in groups, research subheadings under “masks”: Responding use ICT skills to interact • - what is a mask with historical theatre forms - types of masks Spontaneity - functions of masks generally, e.g., war, sports, and in performance Interpretation - materials used to make masks Research/ICT Findings may be presented to class. Teacher may use PowerPoint to present information on African, Visual/Tactile learning Papua New Guinea, and Bali masks, incorporating students’ research Dramatic Technique • use program or software such as Photoshop to Role play alter the design of one of the picture slides/video clips shown by the teacher; picture slides or video Improvisation clips may be on Japanese Kabuki, Noh, and Sanskrit Theatre As-If Reflection Teacher-in-Role Levels Masks 95 Year 2 – Term D-1: The Body Component Internal Organizers and General Outcomes Specific Outcomes Sample Activities Vocabulary Responding Students will be able to: Students may: facial expression posture • students will respond with • express ideas and feelings • discuss what were some of the thoughts running gait awareness to their own about the drama activity in through their minds in As-If and itemize their gesture work and that of others their journal movement, gestures, and facial expressions at the mannerisms various stages tension • reflect and articulate analogy personal growth • write in their journal in response to the Teacher-in- brotherhood Role activity on mannerisms. This could also take function the form of a letter to a friend mask masquerade • make connections between • in a circle, discuss the analogies and brotherhood the activity and their own connections lives • save their drawings, research, and teacher’s • make constructive PowerPoint presentation on CDs and place in their criticisms of their own journals. Students should be encouraged to performances and those of compile an electronic component to their journal. their peers 96 Year 2 – Term D-1: The Voice Component Internal Organizers and General Outcomes Specific Outcomes Sample Activities Materials Creating Students will be able to: Students may: film clips on video Students will be aware of: • project voice through breath • practise diaphragmatic breathing exercises to multimedia projector control improve voice control transparencies • the creation of characters using the voice • use sound rather than • produce a sound collage. Students are given a bandana language to convey location as stimulus and in small groups create bristol board meaning vocal sound effects in a sequential manner, e.g., a maxi stand – blaring horns, doors slamming newsprint • use tone and texture to • in a circle, each finds a different way to deliver a markers match a given mood or chosen phrase, e.g., “Oh boy!” Students may use VCR emotion an object as it is passed around the circle to add emphasis to the delivery of the line TV DVD player • use individual letters of the alphabet as conversation to convey meaning in given miniature tape situations, e.g., roti shop line, bank robbery recorders • use prompts given by teacher to develop dialogue Resources in pairs, e.g., "I am shocked at you, I really am." A begins dialogue in an outraged tone and B Cue cards: locations responds. The dialogue continues; teacher and situations from changes line and students exchange roles Drama Morgue Voice and the Actor by Cicely Berry Films, e.g., My Fair Lady 97 Year 2 – Term D-1: The Voice Component Internal Organizers and General Outcomes Specific Outcomes Sample Activities Student Skills Knowing Students will be able to: Students may: Sequencing • students will know through • observe nuances in speech • choose and listen carefully to an accent that is not Oral expression historical, cultural, and patterns of their own culture theirs, either from real life, film, or television. cross-cultural references and of other cultures Imitate to the rest of the class and/or use in drama Responding • understand the mechanism • use a sequence of simple voice warm-up activities Self-awareness of diaphragmatic breathing • be divided into pairs A and B. A places hand on Self-acceptance ribcage of B; B breathes in, holds breath, and breathes out slowly. A observes the movement of Empathy B’s ribcage. Roles are then reversed Imitation • view a transparency/slide presentation using the overlay method to examine a diagram of the Vocal manipulation/ respiratory system – lungs, diaphragm, ribcage control Dramatic Technique Sound collage Improvisation Role reversal Interviews 98 Year 2 – Term D-1: The Voice Component Internal Organizers and General Outcomes Specific Outcomes Sample Activities Vocabulary Responding Students will be able to: Students may: prop tone • students will respond with • express ideas and feelings • record in journals the experience of building the diaphragm awareness to their own about the activity in their sound collage, using sample prompts, e.g., ribcage work and that of others journal “Without words, I was able to…” accent diction • reflect and articulate • conduct interviews with each other using articulation personal growth questionnaires to create the biography of the projection character based on initial dialogue line inhale exhale • make constructive criticism • in their journals, draw and label a simple diagram nuances of their performances and of the respiratory system respiratory system those of others culture 99 Year 2 – Term D-1: The Mind Component Internal Organizers and General Outcomes Specific Outcomes Sample Activities Materials Creating Students will be able to: Students may: table Students will be aware of: • improvise a role having • with eyes closed, think about someone interesting chairs been given at least one in their family, neighbourhood, etc. and assume • the creation of characters variable, i.e., time, place, mannerisms, posture, gait, and behaviour of that bottle using improvisation activity, or occupation person. Students open eyes and move in character. Students deliver a line in role on touch rostra • work together in group cue from teacher. In groups, they create an Improv improvisation using the characters as stimulus Resources • understand the role of • participate in an exercise involving items such as a status in improvisation table, chairs, and a water bottle. Individual Films with crowd students arrange the objects so as to make one scenes,e.g., Julius • participate in developing item the most powerful object. When this is Caesar, Harry Potter power and status issues in achieved, students then enter the arrangement and traditional-type each tries to assume the most powerful position Newspaper clippings relationships • in pairs, explore a range of relationships focusing Cue cards: phrases on the display of power and status through eye from Drama Morgue contact and body language, e.g., a tyrannical employer and a timid employee. Students improvise dialogue and then switch status while maintaining roles 100 Year 2 – Term D-1: The Mind Component Internal Organizers and General Outcomes Specific Outcomes Sample Activities Student Skills Knowing Students will be able to: Students may: Characterization • students will know through • recognize different • observe crowds of people and make notes as to Creation of dialogue historical, cultural, and behaviour patterns through crowd dynamics: bartering for space, territorial cross-cultural references observation power, etc. Observe gestures, body language, Concentration voice patterns at the market or at a football match, • use knowledge gained and use observations in creating short scenes Imagination through observation to communicate meaning in • use newspaper clippings about real-life situations Enquiry improvisation to identify specific characters displayed and identify the status of these characters Sequencing • understand the process of • illustrate the breakdown of a scene by use of Observation improvising a basic scene charts and diagrams - beginning, middle, and end. Students plot action in sequence Imitation Dramatic Technique Role play Improvisation Dialogue Hot-seating Monologues 101 Year 2 – Term D-1: The Mind Component Internal Organizers and General Outcomes Specific Outcomes Sample Activities Vocabulary Responding Students will be able to: Students may: status improvise • students will respond with • express ideas and feelings • discuss tactics they utilized in a practical exercise role critical awareness to their in drama journals in relation to achieve the most powerful position relationship own work and the work of to the drama territorial others character • reflect on and articulate • be guided through a Hot Seat exercise for power perceptions of personal feedback on roles played sequence growth plot • make connections between • write a monologue based on a character they their own lives and the analysed from newspaper accounts drama • make constructive criticism • view a performance by a Theatre-in-Education of the performances of their group. After the session, discuss responses peers and others 102 Year 2 – Term D-1: The Space Component Internal Organizers and General Outcomes Specific Outcomes Sample Activities Materials Creating Students will be able to: Students may: multimedia projector video recorder Students will be aware of: • develop body awareness • improvise situations where characters are in a and spatial perception variety of different spaces, e.g., jail cell, crowded video tapes • the creation of characters in elevator, playground, and examine how the digital camera relationship to the space character interacts with the prevailing space cardboard boxes • experiment with imitative • participate in story dramatization, e.g., Aesop’s and interpretive movement Fables in a variety of formal and informal theatre Other recyclable for specific characters while spaces. Students create improvised spaces by materials for building working in formal and arranging classroom furniture models informal theatre spaces Resources Knowing Internet access • students will know through • know different kinds of • view multimedia slides of different performance Aesop’s Fables historical, cultural, and theatre spaces—formal and spaces and/or use the Internet to explore various cross-cultural references informal—through research Virtual Tours of international performance venues, Useful Website e.g., Shakespeare’s Globe Theatre www.shakespeares- • attend live performances to globe.org • in groups, build models of different kinds of theatre conduct research and spaces Student Skills practise audience etiquette Research • visit different theatre spaces, e.g., outdoor Oral communication amphitheatre, the proscenium Brainstorming • attend a live performance Spontaneity Critical awareness Construction 103 Year 2 – Term D-1: The Space Component Internal Organizers and General Outcomes Specific Outcomes Sample Activities Dramatic Technique Responding Students will be able to: Students may: Story dramatization • students will respond with • express ideas and feelings • include evidence of planning – brainstorming notes Endowment critical awareness to their in a drama journal in and design sketches of models in journals own work and the work of relation to the drama Simulation others • arrange a classroom museum of the models, • reflect on and articulate endowing students as designers/experts. This perceptions of personal could be videotaped as a documentary Vocabulary growth • fill out observation sheets examining the theatre proscenium • make connections between space and the performance arena their own lives and the amphitheatre drama Theatre-in-the-round thrust • make constructive criticism museum of the performances of their interpretive peers and others imitative spatial perception documentary 104 Drama: Course Outline Year 2 – Term D-2: The Body Component Internal Organizers and General Outcomes Specific Outcomes Sample Activities Materials newsprint Creating Students will be able to: Students may use the poem “The Pied Piper of Hamelin” by Robert Browning to: cloth Students will be aware of: • portray appropriate body personal props language in relation to: • explore the nature of attitudes to the “stranger.” • the creation of character (a) people they know Half the class role-plays a town meeting old magazines through the exploration of (b) people they don't know discussing the problem of the rats. Use Mantle of the physical (c) people of different status the Expert as other half of class become officials newspapers (d) people of different in the Ministry of Health, Ministry of Education, photographs backgrounds etc. artifacts • incorporate physical, • develop a scene with half of the class focusing on digital camera emotional, and social the Pied Piper and issues of distrust and dimensions of characters in prejudice. The teacher facilitates a forum whereby DVD player scenes the other half of the class, as audience, can interrupt and rework the scenes Resources • sustain characters in The Pied Piper of improvised and formal • practise dramatic tension: design a mime Hamelin by Robert scenes sequence that manipulates tension and release, Browning e.g., opening jar, defusing a bomb • make clear choice of Script of The Pearl character traits and • in groups, participate in the activity called Boxing Films, e.g., West Side behaviour Match. Characters include boxers, referee, Story, Romeo and coaches, etc. No touching or dialogue allowed but Juliet (Baz Luhrmann) • convey dramatic tension opponents and others must react realistically to & Romeo and Juliet through body language blows (Zefferelli’s Production), Rent (2005, Chris Columbus) 105 Year 2 – Term D-2: The Body Component Internal Organizers and General Outcomes Specific Outcomes Sample Activities Student Skills Knowing Students will be able to: Students may: Textual analysis • students will know through • observe body language in • observe the body language of people of different Brainstorming historical, cultural, and interpersonal relationships ages and genders in their communities, identifying Characterization/ cross-cultural references exaggerated use of body language Internalization • demonstrate how social concepts such as • collect pictures of different kinds of people, Observation cooperation, arranging them in categories, e.g., age, class, Research communication, sympathy, nationality, ethnicity, etc. Students improvise etc apply in theatre and real situations using a variety of types of people Character analysis life • work with The Pied Piper of Hamelin to make Written/Oral • understand how theatre connections between dialogue and character expression reflects life and the ways in choices in movement and body language Negotiation which it can be used to address social issues • choose concept or theme from the text, and collect Empathy artifacts relating to imagined character biographies ICT • show awareness of cultural differences in behaviour Dramatic Technique through research Writing-in-role Forum Theatre Mantle of the Expert Hot Seat Role play Brotherhood 106 Year 2 – Term D-2: The Body Component Internal Organizers and General Outcomes Specific Outcomes Sample Activities Vocabulary Responding Students will be able to: Students may: status dramatic tension • students will respond with • express ideas and feelings • participate in Hot Seating after dramatization of audience critical awareness to their in a drama journal in Pied Piper scenes and gauge level of character scenario own work and the work of relation to the drama internalization forum others biography • reflect on and articulate • complete in journals in essay format – “How justification perceptions of personal theatre reflects life,” tying in Brotherhood links from artifacts growth the Pied Piper dramatization excerpts • make connections between • write in role as a character from the text and report their own life and the drama on the sequence of events in the story • make constructive • view excerpts from West Side Story or Rent where criticisms of the two opposing gangs or groups in society are in performances of their peers conflict. Students may post comments on a Blog and others after viewing 107 Year 2 – Term D-2: The Voice Component Internal Organizers and General Outcomes Specific Outcomes Sample Activities Materials rostra Creating Students will be able to: Students may: miniature voice Students will be aware of: • use the range of voice, e.g., • perform diaphragmatic breathing exercises recorders pitch, tone, rhythm, speed, tapes • the creation of character volume to effectively relationships through the explore character • create a radio commercial advertisement for a Rat CD player/cassette exploration of voice relationships Catcher for the town of Hamelin, including voice- player overs and sound effects CDs–Opera • use character motivations, objectives, obstacles, • increase voice control by performing the following Resources actions, and personality to actions individually –- coughing, sneezing, Cue cards: situations create an appropriate voice belching, etc. The action is placed in a situation, from Drama Morgue for a given character e.g., in a church service. Two or three actions could be combined Voice and the Actor • show increasing voice by Cicely Berry control – articulation and • in pairs, explore relationships. Situations are given, Ideas that Work in projection e.g., a teenager wants to borrow parent’s car. Drama by Michael Parent who is reading the newspaper is only Theodore allowed to say “no” or “yes.” Child must convince parent to lend the car. Responses are taped Student Skills • in groups, explore sound and silence. Each group Vocal expression explores a given situation, e.g.: Listening “You are singing your favourite song in class and Observation your strictest teacher walks in.” • understand the value of the “You are in an examination room when the silence Critiquing contrast between sound is broken by a loud noise.” Listing and silence in drama Reflection Operating equipment 108 Year 2 – Term D-2: The Voice Component Internal Organizers and General Outcomes Specific Outcomes Sample Activities Dramatic Technique Knowing Students will be able to: Students may: Sound and silence • students will know through • distinguish variety in voice • record the nuances in the tone of speech in Role play historical, cultural, and quality by careful listening different relationships, e.g., mother and child, cross-cultural references mother with a stranger, and mother on the phone, Broadcasting • demonstrate an etc. understanding of how relationships with other • listen to operatic singing to better understand the characters affect voice versatile nature of the human voice Vocabulary elements of character development • create, as a class, an “Elements of Voice” checklist articulation projection • identify the elements of pitch voice necessary in contrast characterization relationship control opera Responding versatile variety • students will respond with • reflect on and articulate • in journals, list and describe some of the vocal nuances critical awareness to their perceptions of personal exercises they have learnt so far broadcast own work and the work of growth others • compare in an oral presentation how their favourite • make connections between type of music compares to operatic music their own lives and the drama • discuss whether they achieved an appropriate • make constructive variety in tone after listening to taped exchange criticisms of the performances of their peers and others 109 Year 2 – Term D-2: The Mind Component Internal Organizers and General Outcomes Specific Outcomes Sample Activities Materials rostra Creating Students will be able to: Students may: scripted plays Students will be aware of: • infer subtext from lines of • as a group activity, examine a short extract from a TV dialogue in formal scenes scene in, e.g., Tears in the Gayelle by Dennis DVD player • the creation of character Noel. Discuss the subtext and say out loud the relationships through an • use narrative as a means of meaning behind each line. Students can also enact computer lab understanding of subtext extending stage business the subtext multimedia projector and through scripting • create a short scene as a • working in pairs, develop two opposing characters, blank CDs group activity through the each trying to achieve something different and Microsoft PowerPoint process of improvisation getting in each other’s way. Neither character must and discussion outright say what they feel except when teacher Resources cues, ‘Stop! Think!’ Tears in the Gayelle • script the dialogue with by Dennis Noel some understanding of • form small groups. One student in each group text, subtext, and context writes a line of dialogue for a scene and passes Odale’s Choice by E. the folded paper to the next student who writes the Braithwaite next line, etc. The group then finds a context for Pink Panther (classic the five-line scene, act it out, and discuss the cartoon) video tape/ subtext. They then change the context of the scene DVD Student Skills Scripting } Textual analysis ICT Research Application Cross referencing 110 Year 2 – Term D-2: The Mind Component Internal Organizers and General Outcomes Specific Outcomes Sample Activities Dramatic Technique Knowing Students will be able to: Students may: Day in the Life • students will know through • know the difference • define and explain drama terminology: text, Narrative historical, cultural, and between text, subtext, and context, subtext, protagonist, antagonist cross-cultural references context Monologue • research films, television shows, and literature • understand the texts for examples of protagonists and antagonists, Stop! Think! conventional roles of e.g., Pink Panther, westerns protagonist and antagonist • research and present in PowerPoint slides, the • know that there is a range work of a Caribbean playwright, e.g., Derek of scripted plays available Walcott, Zeno Constance, Paloma Mohammed, for dramatization etc. Responding • participate in Day in the Life exercise; each student Vocabulary • students will respond with • express ideas and feelings in a group creates a scenario focusing on the critical awareness to their in a drama journal in specific activities of a character at various times of text own work and the work of relation to the drama the day. Use character such as “Roy” from Tears in subtext others the Gayelle context • reflect on and articulate protagonist perceptions ofpersonal • list and explain drama terminology: text, context, antagonist growth subtext, protagonist, antagonist extract • make connections between • assess individual ability to work in a group through playwright their own lives and the a self-assessment questionnaire terminology drama enact • write a short monologue in role of protagonist or stage business • make constructive antagonist from a literature text criticisms of the performances of their peers • make a list of playwrights of the Caribbean with and others focus on Trinidad and Tobago; include samples of their works 111 Year 2 – Term D-2: The Space Component Internal Organizers and General Outcomes Specific Outcomes Sample Activities Materials Creating Students will be able to: Students may: props as required Students will be aware of: • show an increased • work in pairs to establish relationships, e.g., rostra understanding of the use of parent/child, teacher/student. Students move, • the creation of characters in levels in the space freeze in position and level, and improvise a Excerpts from relationship in and to the dialogue appropriate to their position. Activity scripted plays space. • use levels and positioning continues with students assuming different to indicate status, and positions, levels, and distances Prompt book status in relationships • portray the role of a protagonist in two situations, Resources • show how the plot and the e.g., a crowded Sunday market, a lonely spot development of characters perhaps on the way home. Half the class functions Scripted plays, e.g.: can be realized through the as audience, the other half as actors. Students 1. Odale's Choice by use of the space discuss the problems these two situations pose to Edward Brathwaite the character in the space 2. Duelling Voices by • understand the concept of • in groups, identify the required elements and Zeno Constance creating a simple set design a simple set for a scripted extract 3. A Midsummer Night’s Dream by William Shakespeare 4. The Ping Pong by Errol Hill 112 Year 2 – Term D-2: The Space Component Internal Organizers and General Outcomes Specific Outcomes Sample Activities Student Skills Knowing Students will be able to: Students may: Scripting • students will know through • define the drama • view formal plays that have used flashback, e.g., Perception historical, cultural, and conventions of flashback Duelling Voices by Zeno Constance and discuss cross-cultural references and flash-forward the effectiveness of these techniques Negotiation • understand the use of the • from scripted plays, discuss the setting and the use Self-Awareness theatre conventions of of space in relation to the story flashback, flash-forward, Critical Awareness and simultaneous setting • examine the stage directions in a text, e.g., The Ping Pong by Errol Hill, and identify categories of • understand the basic information included such as props, time of day, Dramatic Technique elements of blocking entrances and exits, etc. Flask back • understand the role and • look at an extract from a Stage Manager’s prompt function of stage directions book and familiarize themselves with simple Flash-forward blocking notations Simultaneous setting Blocking Time line 113 Year 2 – Term D-2: The Space Component Internal Organizers and General Outcomes Specific Outcomes Sample Activities Vocabulary Responding Students will be able to: Students may: set blocking • students will respond with • express ideas and feelings • choose one scene from The Pied Piper of Hamelin status critical awareness to their in journals in relation to the and write a script using both flashback and flash- flashback own work and the work of drama forward techniques and stage directions flash-forward others stage directions • reflect on and articulate • in journals, draw a time line of a scene and identify masking perceptions of personal how flashback and flash-forward can be used in Stage Manager growth restructuring the action of the play prompt book scripting • make connections between • plan basic blocking for scene scripted above design their own lives and the motivation drama • discuss in relation to activity in Creating: convention (a) for participants in the crowd scenes: What were • make constructive the problems associated with the crowd of criticisms of the people in the space? performances of their peers and others (b) for participants in the role of protagonist: What motivated your movement in the space? 114 Drama: Course Outline Year 3 – Term D-1: Improvisation Internal Organizers and General Outcomes Specific Outcomes Sample Activities Materials utility box with props Creating Students will be able to: Students may: costumes decorations Students will be aware of: • understand the keys of who, • establish a “where” through mime and sound. masks what, where, why, and Teacher provides stimuli, e.g., in a beehive. objects • creating, refining, and when in building a scene Students use their bodies as instruments, adding artifacts deepening character • use plot, conflict, tension, sound newspapers through improvisation crisis, climax, resolution in • improvise situations based on time, relationships, magazines building a scene and conflict scenarios with focus on movement in newsprint • show involvement with and the space: pace, distance, levels, e.g., lion- markers relationship to various mouse-hunter photographs stimuli • given an artifact, create an imaginary history for CD player • participate in guided the artifact; groups develop an improvisation brainstorming sessions in around the artifact. Resources planning for improvisations • develop motives for their characters. Choose a • demonstrate a series of “who” and “where” in the first instance and Improvisation for the Theatre by Viola motivated movement gradually the teacher side coaches the activities introduction of a “what,” a one-word motive, e.g., Spolin participate in character old man at pharmacy: one-word motive – relief The Young Actor’s • internalization exercises • combine who, where, and what. Character A and Book of Improvisation work within a given time B establish the scene. Without planning, Ages 12-16 by Sandra • Character A and B begin to think in what way the Caruso and Susan frame other character is an obstacle to their motive. Kosoff This develops into a conflict Music CDs 115 Year 3 – Term D-1: Improvisation Internal Organizers and General Outcomes Specific Outcomes Sample Activities Student Skills Knowing Students will be able to: Students may: Interview/enquiry • students will know through • understand that • in groups, arrange and compile stimuli in Research historical, cultural, and improvisation can be built categories, e.g., parables/proverbs, newspaper cross-cultural references around any possible stimuli headlines, photos, sequentially A – Z, etc. Brainstorming • know that character is • compile a verb/action/motive/emotion dictionary Spontaneity represented through the ongoing actions and • research examples of picong in parang, calypso, Sequencing choices of the actor and on election platforms Negotiation • research and develop • research the concepts and origins of extempore students’ knowledge of Reflection speech forms in their local • research the art and concept of impromptu contexts speaking Oral/ Written expression • identify plot, conflict, • using a script as a guide, identify and explain the tension, crisis, climax, concepts: plot, conflict, tension, crisis, climax, resolution in a scene resolution Dramatic Technique Improvisation Critique Scripting Role on the Wall 116 Year 3 – Term D-1: Improvisation Internal Organizers and General Outcomes Specific Outcomes Sample Activities Vocabulary Responding Students will be able to: Students may: internalization tension • students will respond with • express ideas and feelings • write one headline for a scene; everything in the motive awareness to their own about the process of description of the scene must relate to the headline plot work and that of others creating an improv in their conflict journals • add detail to their one-word character motives by tension engaging in Role on the Wall exercise crisis • make constructive climax criticisms of their • write to themselves about the process involved in resolution performances and those of making improvisations. The emphasis should be extempore their peers on thoughts and feelings theatrical picong • evaluate performances • critique a performance with reference to its impromptu from the point of view of the dramatic and theatrical values focus given 117 Year 3 – Term D-1: Technical Theatre Internal Organizers and General Outcomes Specific Outcomes Sample Activities Materials Creating Students will be able to: Students may: rostra Students will be aware of: • create set designs • using realism or symbolism in a scene from a play, CD player illustrating concepts for create a set design producing: digital camera • the elements that go into staging productions and (a) a floor plan the creation of incorporating types of PC/Computer lab stages (b) a three-dimensional model environments for theatre multimedia projector performances • work with a scripted scene, e.g., the Witches’ scene from Macbeth, and create a lighting design Resources • create a lighting design to to enhance theme, actions, motives Ideas that Work in reflect the mood and environment of the play or • use house lights/ceiling classroom lights to cue Drama by Michael scene entrances and exits, moments of dramatic tension Theodore and transition blackouts for a scene Script extracts • in groups, design costumes for different characters Student Skills using paper, fabric, and found materials Illustration • design costumes and • choose a scene from a play: make-up models for various (a) design a sequence of vocal sound effects Design scenes and characters in a (b) design a sequence of off-stage sound effects Composition play (c) choose a piece of music (taped or live) to create mood and atmosphere Sequencing • design/compose sound and Choose another scene that can accommodate a, b, Research/Enquiry music to create mood and and c atmosphere relevant to Documentation script or scene Negotiation Critiquing 118 Year 3 – Term D-1: Technical Theatre Internal Organizers and General Outcomes Specific Outcomes Sample Activities Dramatic Technique Knowing Students will be able to: Students may: Set design • students will know through • identify the components of • research the components of technical theatre, Lighting design historical, cultural, and technical theatre explain considerations of designing for theatre, list cross-cultural references the elementary vocabulary of designers and Costume design • explain the primary technicians considerations in designing Sound design for theatre • draw a chart or graphic organizer to represent roles in the theatre. Identify roles and use arrows Soundscape • increase their knowledge of to show a crossover of duties technical theatre Use of realism and/or • visit a formal theatre space and view a dramatic symbolism • identify and explain the production. Critique technical aspects of the roles of personnel in performance technical theatre and the possibilities for their collaboration • use the elementary vocabulary of designers and technicians 119 Year 3 – Term D-1: Technical Theatre Internal Organizers and General Outcomes Specific Outcomes Sample Activities Vocabulary Responding Students will be able to: Students may: articulation set • students will respond with • express ideas and feelings • write about the experience of going to the theatre model awareness to their own about projects in their in their journals projection work and that of others journals sound effects • store samples of sketches, costumes, floor plans, pitch • make constructive etc. in journals impact criticisms of their designs mood and those of their peers • critique their designs and those of their peers atmosphere during class discussions realism • apply design skills to texts symbolism • critique aspects of technical theatre in different components productions enhance 120 Year 3 – Term D-2: Playmaking/Writing Internal Organizers and General Outcomes Specific Outcomes Sample Activities Materials CD player Creating Students will be able to: Students may: Utility box of props Students will be aware of: • develop a ritual using • in groups, design and perform a ritual, e.g., to Extracts from orators, space, movement, symbol, make rain fall. Students are reminded of the e.g., Martin Luther • the techniques involved in chants, and language elements to be used in the design King, Jr., Dr. Eric the creation of rituals, Williams processions, and choral • use a procession to explore • in groups, design and perform a ceremony, e.g., an effects different types of occasions initiation Poems PC/Computer lab • develop choral and oration • develop and perform a procession based on a Internet Access skills theme, e.g., victory – School wins football match. Invisible Theatre can be incorporated Useful Websites www.wordpress.com • use extracts from famous historical orators to www.blogger.com develop their own speeches and analyse public www.vineblogs.net speakers’ performances for tools of oration, e.g., political leaders’ use of quotations from religious Student Skills texts, etc. ICT • use poems and extracts from stories and plays Synthesize with particularly strong imagery to develop chants and choral work Document/Research Sequence N.B. students can be given other stimuli such as weddings, funerals, christenings, wakes, etc. to Textual analysis construct improvisations Spontaneity Empathy Reflection 121 Year 3 – Term D-2: Playmaking/Writing Internal Organizers and General Outcomes Specific Outcomes Sample Activities Dramatic Technique Knowing Students will be able to: Students may: Improvisation • students will know through • compose definitions for • examine rituals that exist in their communities; Invisible Theatre historical, cultural, and terms such as rituals and attend (individually or in groups) a ritual or cross-cultural references ceremonies procession occurring in their environment Oration • understand the form and • conduct interviews with participants in the ritual or Interviews function of rituals, procession to collect authentic information ceremonies, etc. in Metaphor performance and in relation • set up a web-based journal-blog and post to the origin of Caribbean information and ideas about Analogy drama rituals/processions/choruses in their culture and develop exchanges with students in other countries Vocabulary • develop oral research skills oration ceremony Responding procession initiation • students will respond to • discuss and critically • record, in role, the ritual process symbol their own work and that of analyse the relevance of imagery others the research to the process • deliver an oration, in role, for an occasion metaphor of improvisation and analogy playmaking • parallel their ritual as a metaphor or analogy for an ritual everyday life situation chorus • make constructive criticism chants of the performance of their blog peers and others media 122 Year 3 – Term D-2: Playmaking/Writing Internal Organizers and General Outcomes Specific Outcomes Sample Activities Materials Creating Students will be able to: Students may: Extracts from scripted plays Students will be aware of: • develop writing and • play the Memory Game, telling the story word by playmaking skills word, sentence by sentence video recorder • the process involved in the creation of a script • depict, through tableau, the • plot turning points in a character’s life. Suggested digital camera essence of a story techniques for teacher’s use: Voices in the Head, Thought Tracking, and examination of The Ritual newsprint • explore roles from within by Zeno Constance the story Resources • devise dialogue for development of tension, e.g., • use language effectively in through Telephone/Radio Conversations Plays by local and different roles international • use a storyboard to plot main events and then to playwrights • produce a written script juggle the order of events of a story from the playmaking 1. Odale's Choice by process • in groups of five, develop a written script after Edward Brathwaite reviewing, repeating, and editing during the • create a recognizable voice playmaking process 2. The Ritual by Zeno Constance • mount a production of the script including all elements 3. A Midsummer of production: plot, setting, Night’s Dream by characterization, style William Shakespeare 123 Year 3 – Term D-2: Playmaking/Writing Internal Organizers and General Outcomes Specific Outcomes Sample Activities Student Skills Knowing Students will be able to: Students may: Interpretation • students will know through • increase their knowledge of • using extracts, examine the language used in plays Brainstorming historical, cultural, and language forms written by Trevor Rhone, Dennis Scott, Rawle cross-cultural references Gibbons; and from other traditions, e.g., William Sequencing • know the process of Shakespeare, Tennessee Williams, Wole Soyinka playmaking Observation • through discussion, assist other groups in revising • integrate the elements of their plays’ structure and meaning Imagination production • as a class, develop a checklist for monitoring the Critical thinking rehearsal and staging the production Responding Textual analysis • make connections between • students will respond with their own lives and the • complete a self-assessment form Dramatic Technique awareness to their own drama work and that of others • use a digital camera to photo-journal their Storyboard • reflect on and articulate production process perceptions of their Storytelling personal growth • journal in groups collectively (on sheets of newsprint) before and after the process of Script writing • express ideas and feelings playmaking/production in their journals in relation Voices in the Head to the drama • assess each other. Ask each member of a group to analyse a character and to consider how the Thought Tracking • make constructive criticism character was revealed and developed of the performance of their Telephone/Radio peers and others Memory game 124 Drama: Course Outline Year 1: Integrated Term The Thematic Model: Museum Exhibition entitled “Discovering Me” Framework ♦ This project model may take the form of research and activities related to Traditions of Carnival in Trinidad and Tobago involving all four disciplines—Visual Art, Dance, Drama, and Music. ♦ Teachers of the various disciplines coordinate all teaching activities to fulfil the learning outcomes required for the completion of this model. ♦ The suggested time span for this model is one term. ♦ The project culminates in a production, for example, a morning programme on Carnival Friday at the school. ♦ A display could be set up spanning the week leading up to Carnival. ♦ Student portfolios can be built and monitored as the project progresses to production stage. ♦ Assessment could be based on performances, portfolios, organizational skills, collaborative learning skills, initiative, creativity, etc. ♦ The presentations may be videotaped and photographed for documenting purposes. The following is an outline of suggested learning outcomes and activities for the model. The teachers involved in planning can develop this frame to suit their preferences. 125 Drama: Course Outline Year 1: Integrated Term Content Intended Learning Outcomes Sample Activities Visual Art Students will be able to: Students may: • manipulate materials to • create posters to advertise the museum create works of art exhibition • construct a free-standing sculpture of where they see themselves in 10 years • make a wall painting representing their neighbourhood • mount a display of artifacts that represent their cultural heritage Dance • manipulate their bodies to • work in groups to create a sequence based on create shapes, forms, a nursery rhyme from their childhood, e.g., movements, and gestures “Three Blind Mice” that convey meaning • combine a number of different steps/movements in response to their experience of family life • use folk dances they have learned to tell the story of their national identity Drama • demonstrate an • create a monologue based on some aspect of understanding of how the their school life; a dramatization of this would individual communicates include costume and props through body, language, and voice • in groups, create a series of tableau pictures that represent their hobbies or special interest • participate in role play of various museum personnel such as Curator, Security, Tour Guides • tell a story including one or some of the artifacts in the visual arts display 126 Content Intended Learning Outcomes Sample Activities Music Students will be able to: Students may: • manipulate instruments • analyse childhood nursery rhymes, compose and voice to create rhymes with repeated rhythmic and melodic musical passages and motifs develop ideas in composing • use samples of music enjoyed by their parents to play as an echo, rhythmic patterns • compose and perform an original advertisement/jingle for the museum exhibition 127 Drama: Course Outline Year 2: Integrated Term The Project Model: “Traditions of Carnival” Performance at School Framework ♦ This project model may take the form of research and activities related to Traditions of Carnival in Trinidad and Tobago involving all four disciplines—Visual Art, Dance, Drama, and Music. ♦ Teachers of the various disciplines coordinate all teaching activities to fulfil the learning outcomes required for the completion of this model. ♦ The suggested time span for this model is one term. ♦ The project culminates in a production, for example, a morning programme on Carnival Friday at the school. ♦ A display could be set up spanning the week leading up to Carnival. ♦ Student portfolios can be built and monitored as the project progresses to production stage. ♦ Assessment could be based on performances, portfolios, organizational skills, collaborative learning skills, initiative, creativity, and so on. ♦ The presentations may be videotaped and photographed for documentation purposes. The following is an outline of suggested learning outcomes and activities for the model. The teachers involved in planning can develop this frame to suit their preference. 128 Drama: Course Outline Year 2: Integrated Term Content Intended Learning Outcomes Sample Activities Visual Art Students will be able to: Students may: • manipulate materials to • design and produce costumes of traditional create works of art Carnival characters, e.g., Midnight Robber, Dame Lorraine • develop art-making strategies • manipulate materials and colours to produce Carnival parade banners • create works from imagination, memory, and • apply decorative craft skills to create masks observation for traditional masked ball event • interpret and analyse • examine the work of one famous mas’ artwork to apply meaning designer and analyse the historical and cultural influence in the work • mount a display of their design sketches Dance • manipulate their bodies to • moving in time to rhythm – basic chip in create shapes, forms, different directions movements, and gestures that convey meaning • explore the fight, action, and reaction in Kalinda/Gathka • explore dance/rhythm movements based on • perform a variety of dances, e.g., sailor, traditional Carnival calypso, etc. dances, e.g., calypso, kalinda • make connections between traditional dance forms and traditional performance contexts • distinguish between various Carnival dances • demonstrate the Carnival dances through movement sequences, e.g., sailor 129 Content Intended Learning Outcomes Sample Activities Drama Students will be able to: Students may: • create character through • perform dramatic presentations of traditional the exploration of the characters, e.g., Midnight Robber, Indian physical, voice, and speeches improvisation • dramatize traditional Carnival events, e.g., • enact dramatic Canboulay Riots; presentations/readings of, e.g., Midnight Robbers, • participate in brainstorming sessions to create Red Indian, etc. speeches • structure/manipulate • understand traditional carnival as a means of language to create social commentary, e.g., ol’ mas’ characters dramatic passages suitable for traditional • in pairs, present extempore exchanges on Carnival characters given stimuli • structure/manipulate language to create extemporaneous exchanges • create dramatizations of historical events in traditional Carnival Music • manipulate voice and • listen to various traditional calypso rhythms instruments to create and examine the use of rhyme, metre, simile, musical passages metaphor, alliteration, onomatopoeia, imagery, and double meaning in calypso • demonstrate appropriate technical skills by • develop a “rhythm track” alongside recorded performing on musical calypso instruments • write songs individually or in groups that • examine the lyrical reflect the traditions of Carnival content of songs and establish the relationship • perform by singing their own compositions between the lyrics and the occasion • use available melodic and non-melodic instruments to accompany each other as they • distinguish between sing their own compositions calypso rhythms and other rhythms 130 Visual And Performing Arts Music Music Internal Organizers Listening, Appraising, and Researching Creating/Composing, and Arranging Performing The three basic organizers for Music in secondary schools have been designed to develop 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 their 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 develop an understanding of, musical structure and style. 133 Specific Learning Outcomes in Music Listening, Appraising, and Researching By the end of Form 3, students will be expected to: Pitch 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 that may be comparatively high or low within a particular family of instruments; identify name of notes on the treble and bass clef; identify voice as soprano, alto, tenor, or bass; recognize that pitches in a melody move in steps or by leaps; indicate the contour of a melody; recognize that a melody is made up of various pitches; identify scale patterns within simple melodies; recognize the music of various cultures by looking at the element of pitch. Duration By the end of Form 3, students will be expected to: recognize that music is made up of sound and silence; recognize that sound/silence can be long or short; hear that rhythm often has a recurring pulse; determine that music is made up of stronger and weaker beats; recognize that metre is usually organized in groups of twos, threes, or fours; relate the melodic rhythmic pattern or prominent accompaniment figure to the steady pulse of the music; identify beat and off-beat; identify rhythmic patterns; 134 identify note symbols and their corresponding rest; identify simple time signature using crotchets as the beat; interpret simple time signatures. Dynamics By the end of Form 3, students will be expected to: distinguish between loud and soft sounds; become aware that dynamics (loud and soft) contribute to the expressive qualities of music; recognize that dynamic changes may be great or small; recognize that dynamic changes may occur suddenly or gradually; recognize that texture and balance affect dynamics; use appropriate terminology to describe the dynamic changes. Timbre By the end of Form 3, 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 combination of voices, instruments, machines, body sounds, environmental sounds, and so on; identify the distinctive timbres of various instrumental and vocal ensembles; identify timbres of various ethnic instruments. Expressive Controls By the end of Form 3, students will be expected to: Tempo identify tempo changes and differences in music (fast, medium, and slow); Articulation recognize that tones are connected (legato) or detached (staccato). 135 Structure/Form By the end of Form 3, students will be expected to: recognize that music is organized by the use of repetition/contrast; identify simple polyphonic forms, for example, rounds, canons, partner songs; recognize songs in binary and ternary forms; develop an awareness of bridged passages in songs. General By the end of Form 3, students will be expected to: appreciate a variety of sounds, music, and other creative expressions; understand the nature of music, and that there are a variety of musical expressions; define various expressive and structural musical elements, including pitch, duration, tempo, and timbre (tone colour); work in cooperative situations in the design and development of various creative expressions; use appropriate musical language to describe the elements of pitch, duration, dynamics, tempo, and timbre; critique their own performances and those of others, using agreed standards and musical ideas; develop music literacy skills. Creating/Composing, and Arranging By the end of Form 3, students will be expected to: use extra-musical stimuli (e.g., environmental sounds and scenes, visual arts, dramatic and literacy works) to develop ideas for their compositions; use musical stimuli (e.g., rhythmic and melodic motifs, timbre) to develop ideas for their own compositions; use appropriate symbols (devised or traditional ) to notate 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. 136 Performing By the end of Form 3, students will be expected to: echo-play/clap short rhythmic melodic patterns; use instruments, voices, and other materials or devices to create high, low, long, short, loud, and soft sounds; use body percussion (snap, clap, patchen, stamp) to produce sounds; maintain a steady beat/pulse and tempo while playing an instrument or singing; play simple rhythmic or melodic patterns (by ear, by reading, by rote—non- traditional or traditional drawings); play/sing using appropriate techniques, and displaying sensitivity to, and understanding of, musical structure and style; play or sing displaying appropriate interpretation of piece; experience simultaneous sounds by displaying/singing descants and ostinati; play an independent part (e.g., harmony, ostinato, etc.); interpret simple musical scores; demonstrate that notation is used in communicating musical ideas; read and perform simple notation using quavers (eight notes), crotchets (quarter notes), minims (half notes), semibreves (whole notes) and their corresponding rest in simple, duple, triple, and quadruple time; read and perform simple notation including skips of a third, fourth, fifth, and octave; follow the musical score for a single voice or instrumental line; demonstrate an understanding of key signature in C, F, and G majors; interpret and respond to dynamic markings and symbols; identify and define words that describe the timbre to produce, for example, soprano, alto, tenor, bass, descant, chorus/choir, names of instruments, and so on. 137 Music: Connections to the Core Curriculum The following outlines some of the more obvious bases for integrating music with 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 • Selection of appropriate music to accompany poetry reading and storytelling • 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, for example, time signatures, intervals, and note values Physical Education • Importance of proper breathing techniques to athletics and to the production of sound in wind instruments and voice • Understanding of skeletal structure and its relationship to posture • Awareness of the body and movement 138 Science • Experimenting with sound-producing materials to examine: - pitch - duration of sound - intensity of sound - reverberation and decay • Study of 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 import of historical events • Use of appropriate music to illustrate the ideals, religions, and traditions of contemporary and past civilizations, cultures, nations, and times • Study of appropriate music and composers to help build 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 • Study of electronics and electronic equipment involved in the production of sound, for example, amplifiers, microphones, mixing boards • Selection and use of appropriate applications and technology tools to increase productivity of individuals and in collaborative multimedia projects 139 Music: Connections to Other Visual and Performing Arts Disciplines Visual Arts • Making and decorating 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, for example, Impressionism, Classicism, that are common to music and the visual arts 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 and 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 140 Music: Course Outline Year 1: Listening, Appraising, Researching, Performing, Creating Component Outcomes Strategies/ Sample Activities Resources Assessment Sample Integration Activities Rhythm Students will be able • Listen • Non-melodic • Teacher observation • Dance: to: instruments, e.g., - dance steps that • Patterns • Perform drums, tambourine, • Individual or group are related to • explore and respond • Demonstrate cymbals, claves presentation different styles, to simple rhythmic • Performing using body e.g., waltz, patterns • Clap, tap, jump, etc. to • Tape/CD player parts, e.g., hands, feet; or chutney, soca, simple rhythmic patterns dancing or playing bele, pique, etc. played at different tempi percussion instruments in response to rhythmic parts • Beat/Off-beat • analyse the beat • Clap, tap, jump, etc. on • Non-melodic and • Imitate rhythmic patterns and off-beat to the beat and off the beat melodic instruments with regular pulse • Physical Education simple rhythmic to simple rhythmic accentuating the beats students can patterns played at patterns played at and off-beats exercise to rhythmic different tempi different tempi patterns, e.g., • Creating • compose rhythmic • Clapping or performing • Non-melodic and • Individual or group aerobics pattern as on percussion melodic instruments performance of motifs created by students • Language – answering phrase to instruments, answering rhythmic patterns in given motifs phrases in response to poetry patterns played by the teacher • Note symbols • recognize note • Demonstrate the value of • Non-melodic and • Create pattern using symbols that are each symbol in crotchet melodic instruments, symbols of long and short used in writing beats e.g., steel pan, duration rhythmic patterns: drum, recorder, • Write patterns semibreve, minim, synthesizer, keyboard crotchet, quaver 141 Year 1: Listening, Appraising, Researching, Performing, Creating Component Outcomes Strategies/ Resources Assessment Sample Integration Sample Activities Activities • Rest symbols Students will be able • Create rhythmic patterns • Non-melodic and • Individual presentation of • Dance: to: combining note and rest melodic instruments created patterns on an - create dance symbols instrument steps to rhythmic • recognize that each patterns note symbol has a corresponding rest • Drama: symbol: semibreve, - display actions minim, crotchet, and moods to quaver rhythmic patterns • Time signature • interpret simple time • Listen to recorded or live • Tape/CD player • Beat, clap, dance, etc. to signature as simple music to determine • Synthesizer determine time signature • Dance duple, simple triple, regular measures of and simple duple, triple, or quadruple • Keyboard quadruple pulses • Other melodic and/or non-melodic • Visual Arts, Dance, instruments Drama: - thematic or festive • interpret time • Perform rhythmic patterns • Melodic and non- • Teacher observation presentation, e.g., signature in in simple duple, simple melodic instruments performance triple, and simple • Individual or group Christmas, Divali, quadruple time on • Score sheets with presentations Eid, The Family, melodic and non-melodic simple phrases The School instruments • Visual Arts, Dance, Drama: - thematic or festive • create rhythmic • Write and perform original • Music manuscript • Individual presentation of presentation, e.g., motifs using simple compositions in simple own composition from a Christmas, Divali, time signatures time using standard • Melodic or non- written score Eid, The Family, notation melodic instruments The School 142 Year 1: Listening, Appraising, Researching, Performing, Creating Component Outcomes Strategies/ Sample Integration Sample Activities Resources Assessment Activities • Performing Students will be able • Individual or class • Performing area: • Teacher observation of • Visual Arts, Dance, to: performances stage, seated students’ attitude, Drama: audience, sound discipline, cooperation, • present musical - thematic or festive system, lights, and participation, and other performances in presentation, e.g., other necessary necessary performing class and for special Christmas, Divali, props skills occasions in school Eid, The Family, The School Dynamics • explore the use of • Listening aurally • CD/Tape player • Observation the expressive • Dance: elements of • Discriminate by listening • Melodic and non- • Class discussion and - large movements dynamics in music to live or recorded music melodic instruments worksheets on loud passages - small movements on soft passages • Terminology • use appropriate • Aural and written • CD/Tape player • Observation musical terminology presentations to describe to describe dynamic dynamic levels in live or • Melodic and non- • Class discussion and levels, e.g., forte, recorded music melodic instruments worksheets piano, cres., etc. • Performing • interpret dynamic • Vocal or instrumental • CD/Tape player • Teacher observation as students perform • Application of the indications from performances with expressive element score sheets in dynamic markings • Melodic and non- individually or in groups melodic instruments in concert performance performances by VAPA • Creating • compose short • Write/Score original • Music manuscript • Teacher observation as melodic or rhythmic compositions using students perform pieces with musical terms to indicate • A wide variety of individually or in groups dynamics included dynamic changes and musical instruments perform original compositions 143 Year 1: Listening, Appraising, Researching, Performing, Creating Component Outcomes Strategies/ Sample Activities Resources Assessment Sample Integration Activities Tempo Students will be able • Listen, discuss, perform, • A wide variety of • Teacher observation • Dance: to: demonstrate musical instruments - movement • explore and respond • Clap, tap, jump, etc. to • CD/cassette player • Drama: to pieces played at short music pieces played - different moods different tempi at various tempi set by music played at different tempi • use appropriate • Aural and written • A wide variety of • Questions terminology to presentation to describe musical instruments • Dance: describe tempi, e.g., music played at different • Worksheets - movement lento, largo, etc. tempi • CD/cassette player • Drama: - different moods set by music played at different tempi • interpret various • Vocal and instrumental • A wide variety of • Teacher observation tempo indications in performance from score musical instruments • Dance: performance sheets with tempo - movement indications • CD/cassette player • Drama: - different moods set by music played at different • Creating • compose short • Write/score original • A wide variety of • Teacher observation tempi melodic or rhythmic compositions with tempo musical instruments pieces with tempo indications • Dance: indications included • CD/cassette player - movement • Drama: - different moods set by music played at different tempi 144 Year 1: Listening, Appraising, Researching, Performing, Creating Component Outcomes Strategies/ Sample Activities Resources Assessment Sample Integration Activities Pitch Students will be able Performance to: • Using Solfa notation, sing • Imitate by performing • perform C Major the scales and arpeggios changes of pitch scale and arpeggios of C, F, and G major performed by the teacher ascending and descending • perform simple • Play the scale and • Melodic instruments • Imitate by performing melodies in the keys arpeggios of C, F, and G changes of pitch of C, F, and G major major on a melodic performed by the teacher instrument Demonstrations • demonstrate • Drawing the staff • White board Observation understanding of the concept that pitches • Manuscript books must be located on a staff • identify the pitches as note names in the musical alphabet – a, b, c, d, e, f, g • Drawing the treble and • Ongoing observation • identify the treble bass clefs at the and bass staffs beginning of the staff • identify note • Drawing note symbols • Indicate by placing the symbols such as semibreves, correct note names under minims, crotchets, the symbols • identify pitches on quavers Sight Reading the treble and bass staffs • Drawing pitches on the • Play the correct pitches treble and bass staffs on a melodic instrument 145 Year 1: Listening, Appraising, Researching, Performing, Creating Component Outcomes Strategies/ Sample Activities Resources Assessment Sample Integration Activities Timbre Students will be able to: Listening to various • CD player • Indicate by drawing or • recognize that • writing the names of sound comes from sounds from kitchen • Objects including objects in response to the various sources musical instruments sound (worksheet) Demonstration Observation • Use an instrument of • recognize that • Listening to a variety of choice to show a variety different kinds of objects in sound sounds can come from a single source • Seeing how each can be manipulated to get • Individual presentation various sounds • Show how one instrument can produce different quality sounds • recognize that • Listen to a combination of • Students’ voices • Ongoing observation timbre occurs with objects, human voices, different and musical instruments • Objects combinations of • Musical instruments voices 146 Music: Course Outline Year 2: Listening, Appraising, Researching, Performing, Creating Component Outcomes Strategies/ Resources Assessment Sample Integration Sample Activities Activities • Note symbols Students will be able • Demonstrate the value of • Non-melodic and • Imitate rhythmic patterns • Rhythmic patterns to: each symbol in crotchet melodic using the given symbols found in local • recognize note and minim beats instruments, e.g., genres/styles, e.g., symbols that are steel pan, parang used in writing recorders, etc. rhythmic patterns, • Relating dance such as: steps to rhythmic patterns of different - semibreve genres/styles - minim - crotchet - quaver - semiquaver Rest symbols • recognize that each • Create rhythmic patterns • Non-melodic and • Individual presentation of • Dance: • note symbol has a combining note and rest melodic created patterns on an - create dance corresponding rest symbols instruments, e.g., instrument steps to rhythmic symbol: steel pan, patterns - semibreve recorders, etc. • Drama - minim - crotchet - display actions - quaver and moods to - semiquaver rhythmic patterns • Teacher observation of • Dance: • Dotted notes • recognize that value • Demonstrate, interpret • Non-melodic and of notes can be the value of dotted notes melodic performance/interpretation - create dance of dotted notes increased by using a instruments, e.g., steps to rhythmic dot steel pan, patterns recorders, etc. • Drama - display actions and moods to rhythmic patterns 147 Year 2: Listening, Appraising, Researching, Performing, Creating Component Outcomes Strategies/ Resources Assessment Sample Integration Sample Activities Activities • Time signature Students will be able • Demonstrate rhythmic • Non-melodic and • Perform short pieces • Dance: to: patterns using the minim melodic instruments using the minim as the - create dance • interpret simple time as the beat beat • Score sheets with steps to rhythmic signature as 2/2, short pieces patterns 3/2, 4/2 • Drama - display actions and moods to rhythmic patterns • Creating • create rhythmic • Write and perform original • Music manuscript • Individual presentations motifs using the composition in simple of own compositions from time using the minim as • Non-melodic and minim as the beat a written score the beat melodic instruments • Performing • present musical • Individual, group, or class • Performing area: • Teacher observation of • Other areas of performances in performances stage, seated attitude, discipline, VAPA and other class for special audience, sound cooperation, participation, subject areas that occasions in school system, light and other necessary can contribute to a system, and other performing skills concert performance necessary props • recognize that a Pitch melody ascends, • Listen to various • Indicate the contour by descends, or melodies performed drawing/by hand and remains at the same live/recorded body movements pitch • Indicate whether the • recognize that a • Listen to various interval is small or large melody is made up melodies performed by drawing/by hand and of small and large live/recorded body movements intervals • identify intervals • Listen 148 Year 2: Listening, Appraising, Researching, Performing, Creating Component Outcomes Strategies/ Resources Assessment Sample Integration Sample Activities Activities Pitch Students will be able • Comparing 3rds, perfect • Singing the intervals or to: 5th, and octaves through playing the intervals on use of melodic musical instruments instruments and voice • recognize that small • Listen to chromatic scales • Imitate by performing intervals are called and identify their pitch changes of the intervals tones and names with their performed by the teacher semitones enharmonic equivalents and signs as sharp, flat, • identify accidentals and natural Demonstration • identify intervals on • Use the staff to • Draw given pitches and the staff demonstrate what are identify their intervals intervals • identify the tonality • Listen to simple melodies • Indicate the tonality as of a melody and in major and minor keys major or minor by hand or major or minor body movements • Discuss the differences • identify the intervals • Listen to, analyse, and • Observation that constitute the discuss the structure of structure of a major intervals in a major scale scale as tone, tone, semitone, tone, tone, tone, semitone 149 Year 2: Listening, Appraising, Researching, Performing, Creating Component Outcomes Strategies/ Sample Integration Sample Activities Resources Assessment Activities Pitch Students will be able • Listen to pitches in simple • Imitate by performing to: familiar melodies changes of pitch • recognize that a performed by the teacher melody could be performed using: - solfa names; e.g., doh, ray, me, fah, soh, lah, te, doh - East Indian notation, e.g., Sa, Re, Ga, Ma, Pa, Dha, Ni, Sa • identify the correct • Sing major scales using pitch names of the pitch names, solfa major scale to the names/East Indian solfa names/East notation Indian notation • analyse simple • Listen to the scales C, G, • Read the melody from a musical and F major musical score written in compositions staff notation while through listening identifying pitch names, key, solfa/East Indian notation • Use treble and bass clefs • identify melodic • Listen to short pieces and • Melodic instruments • Use body movements to sequences that are identify bars that consist show similarity in melodic similiar of similar melodic sequences patterns 150 Year 2: Listening, Appraising, Researching, Performing, Creating Component Outcomes Strategies/ Resources Assessment Sample Integration Sample Activities Activities Pitch Students will be able • Listen to melodies that • Melodic instruments • Use body movements to to: change through keys show key changes in Transportation melodic patterns • Sing vocal exercises to • identify a melody develop and improve played in different breath control, range, • Imitate by performing keys tonal quality, and vocal exercises done by articulation the teacher • recognize appropriate vocal skills required for good singing • Play melodic instruments • develop appropriate using appropriate • Performance technical skills for techniques such as playing musical fingering, tonguing, etc. instruments that are applicable to the instrument of choice • Read and play simple develop music familiar melodies of • • Performance literacy by various genres on performing on a melodic instruments in melodic instrument the keys of C, F, and G major • develop • Sing/play simple memorization melodies by rote in the through keys of C, G, and F performance major/their related minor keys • combine the • Compose simple elements of pitch melodies using the first and rhythm to three to five notes of a compose melodies major scale in keys of C Major, G, and A minor 151 Component Outcomes Strategies/ Sample Activities Resources Assessment Sample Integration Activities Timbre • identify and classify • Listen to live or recorded • Identify orally or on instruments that are music to identify worksheets, instruments associated with instruments, e.g., parang, used in these styles of different soca, bhagan, Western music genre/styles art 152 Music: Course Outline Year 3: Listening, Appraising, Researching, Performing, Creating Component Outcomes Strategies/ Sample Integration Sample Activities Resources Assessment Activities • Rhythm Students will be able • Listen to live and • CD/cassette player • Imitate rhythmic • Dance: to: recorded music of various expressions on available - corresponding • analyse the genres instruments steps to match relationship between rhythmic patterns genres/styles and of each genre their rhythmic patterns Performance • discuss the • Written exercises in relationship between matching specific motifs • Different genres/styles rhythmic motifs and to their genre/style specific genre, e.g., calypso, waltz, chutney, etc. • Notate rhythmic • Listen to and write with • Music manuscript • Written rhythmic patterns motifs time signature, different • CD/cassette player rhythmic patterns played • Worksheets • Dance: live or recorded • Melodic and non- melodic instruments - corresponding steps to match • Time signature • interpret time rhythmic patterns • Listen to performance, • Music manuscript • Written rhythmic patterns signature as simple of each genre live or recorded, to duple, triple, or • CD/cassette player determine the time • Worksheets • Dance, Drama, quadruple and signature • Melodic and non- Visual Arts: compound duple melodic instruments - combined • interpret time • Perform simple music of • Melodic and non- activities that signatures in different genres/styles in melodic instruments relate to music in performance simple duple, triple, performances, quadruple, and exhibitions, compound duple displays, etc. 153 Year 3: Listening, Appraising, Researching, Performing, Creating Component Outcomes Strategies/ Resources Assessment Sample Integration Sample Activities Activities • Creating Students will be able • Instrumental or vocal • Melodic and non- to: compositions in different melodic instruments • compose rhythmic styles/genres, including and melodic pieces dynamic markings and in different tempo indications genres/styles including structural expressive elements of form, dynamics, tempo, etc. • Performing • perform using all the • Individual or ensemble • Students’ choice of • Individual and ensemble various structural performances on available performances in class or and expressive instrument of choice instruments concerts elements of music Pitch • demonstrate • Play on melodic • Melodic instruments Performance appropriate instruments/sing the technical skills for scales of C, G, F, and Bb • Perform using melodic performing scales major and A, E, and D instruments (including and arpeggios minor voice) with appropriate identify the • Play, either by rote or techniques • chromatic scale from printed score, the chromatic scales on any Performance given note • interpret studied • Play, by rote or reading pieces with from printed score, chromatic passages pieces in major and minor keys • compose or arrange • Play on an instrument of musical pieces choice, original compositions or arrangements in major or minor keys 154 Year 3: Listening, Appraising, Researching, Performing, Creating Component Outcomes Strategies/Sample Sample Integration Activities Resources Assessment Activities Timbre Students will be able • Listen to live and • CD/cassette • Identify, orally or on • Drama – to: recorded ensemble and recorder worksheets, instruments instruments can solo performances and the role they perform represent • distinguish the • Non-melodic in ensembles characters quality of sound instruments, e.g., produced by a drums, drum kit, folk • Visual Arts – variety of drums, tassa, tabla, instruments can instruments dholak, etc. represent colour • Melodic instruments, e.g., piano, guitar, cuatro, etc. 155 Visual And Performing Arts Dance 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 develop a range of physical and communicative skills. It also helps students to recognize the importance of human relationships as well as relationships with one’s environment. Responding gives students the opportunity to display positive human values such as sympathy, tolerance, and discipline. It contributes to human interaction and sensitivity to group dynamics, and further enhances self-assessment and reflection. 159 Specific Learning Outcomes in Dance Creating By the end of Form 3, students will be expected to: perform different kinds of dances; combine a number of different steps/movements to create dances; show increased confidence and participation in dance activities; demonstrate rhythmic acuity; create space by moving at different levels; create walking and running movements that are appropriate to different situations; apply physical control and accuracy to simple dance movements; use objects, props, etc.; 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 to carry out different activities; work at a task within a group; work with others to produce a dance episode; construct, dissolve, and reassemble a tableau; practise clear articulation and correct pronunciation; extend the use of memory in recalling and reconstructing experiences; record dance experiences in a dance diary; make clear, reasoned decisions within the dance work; choose from a range of alternative actions. 160 Knowing By the end of Form 3, students will be expected to: identify a range of physical skills and suggest 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; 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 for dance of the relationship between sound and silence; assess the importance for dance of the relationship between light and darkness, 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. explain the nature of dance as a social/cultural/indigenous/ritualistic art form. Responding By the end of Form 3, students will be expected to: empathize, display tolerance, and give support where needed; show willingness to contribute ideas; exhibit sensitivity to group dynamics; appreciate the importance of teamwork; respect their own artistic heritage and that of others; recognize the importance of listening in acquiring vocal skills; exhibit the discipline necessary for successful accomplishment of tasks; 161 appreciate the need for seriousness of approach; cooperate with others in developing and successfully completing dance projects; appreciate the importance of developing the creative imagination; value the contribution a 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; show a willingness to commit effort to a task; recognize that fun and recreation are aspects of dance and that learning can be achieved through fun. 162 Dance: Connections to the Core Curriculum The following constitute some of the more obvious bases for integrating dance with 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 • Use of dance movements to support literary interpretation and vice versa • Use of appropriate dance as stimulus for creative writing • Use of appropriate dances to accompany poetry reading and storytelling 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, for example, time signatures, intervals, and note values Physical Education • Understanding of the importance of proper breathing techniques is necessary for athletics and dance • Understanding of the skeletal structure and its relationship to posture is necessary for dancers • Awareness of the body and movement is necessary for dancers 163 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 import 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, for example, amplifiers, microphones, mixing and lighting boards • Selection and use of appropriate applications and technology tools to increase productivity of individual and collaborative multimedia projects 164 Dance: Connections to Other Visual and Performing Arts Disciplines The following constitute some of the more obvious bases for integrating dance with the other disciplines that comprise the Visual and Performing Arts: Visual Arts • Using dance poses as the basis for making drawings and paintings • Use of appropriate dances 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 common to dance and the visual arts, for example, 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 by means of 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 • Dramatization of creative dances to evoke emotions • Use of dance to reflect or affect mood • Selection of dramatic events as the basis for choreography • Study of classical theatrical works on which to base dance sequences 165 Dance Content What all students should know and be able to do in the subject area Form 1 – Term 1 Form 1 – Term 2 Form 1 – Term 3 Body Themes Body Themes Body Themes • distinguish between locomotor (moving one • demonstrate standing and sitting spine • create a longer action phrase point to the next) and non-locomotor stretches (anchored on one spot) movements • combine all themes in a sequence • combine movements with gestures to • transfer weight create a sequence Space Themes Space Themes Space Themes • demonstrate size of movements • demonstrate different ways to travel and • understand the Diagonal Scale: (a) Right- jump High-Forward (RHF-LHF); (b) Left-Low- • understand the differences between Backward (LLB-LLF); (c) Left-High-Forward personal and general space • have a sense of direction, e.g., right, left, (LHF-RHF); (d) Left-High-Backward (LHB- up, and down RHB); (e) Right-Low-Forward (RLF-LLF); (f) Right-High-Backward (RHB-LHB); (g) Left- Low-Forward (LLF-RLF) Dynamics Dynamics Dynamics • demonstrate understanding of the • demonstrate understanding of how time is • display feelings in relation to movement difference between a quick and a slow used in movement actions, e.g., happy, sad, angry movement • understand (cannon, copying, mirroring, etc.) 167 Form 1 – Term 1 Form 1 – Term 2 Form 1 – Term 3 Relationships Relationships Relationships • demonstrate movements in twos and threes • demonstrate grouping and breaking away • work in groups of more than three to create with peers a basic A-B or A-B-A sequence • demonstrate basic foreign folk steps in a group, e.g., step, walk, skip, slip, etc. • work with partner to create a sequence • work in pairs to create a foreign folk based on stories sequence, using steps learnt • demonstrate basic foreign folk steps, e.g., snatch, set, hook, polka, gallop, etc. Heritage/Festivals, e.g., Christmas, Divali Heritage/Festivals, e.g., Hosay Heritage/Festivals, e.g., Indian Arrival/Emancipation • demonstrate three basic Jharoo steps, use • confidently perform four Kalinda • creatively use any of the folk dances learnt of props (brooms), music, and costuming movements, Kalinda chants, etc. to tell life stories using any type of music • identify folk music • create a sequence with peers depicting a • confidently perform for peers competition, using variations taught by the • demonstrate steps and costuming for the teacher Castilian • appreciate and understand the history, • speak on the religious aspect of Hosay music, costuming, and movement for the • perform with confidence for school Bongo and Bele population, parents, and teachers • appreciate and understand the history, • make journal entries based on their feelings music, costuming, movement for the Kalinda and Ghatka • make journal entries based on their feelings • make journal entries based on their feelings Note. Depending on the Season/Festival, different dances could be done, including all dances from Tobago 168 Dance Content What all students should know and be able to do in the subject area Form 2 – Term 1 Form 2 – Term 2 (Integrated Term) Form 2 – Term 3 Body Themes/Space Themes Body Themes/Space Themes Body Themes/Space Themes/ Dynamics • demonstrate movement at any of the three • understand the visual image of the body–a • understand the dimensional scale: levels—high, medium, low range of shapes, including ball, wall, flat, (a) place high –- place low/rising and arrow, and screw sinking • create different pathways using “stop” and “go” • demonstrate the basic jumps (two feet to (b) sideways across and sideways two feet; two feet to one foot; one foot to open/enclosing and opening • demonstrate correct breathing technique the same foot; one to the other foot; one (c) backward and forward/retreating and foot to two feet) advancing • understand a structured warm-up • move across the space using any one of • move through the floor space using any of • use steps from the Tobago Jig to show the movements from the nation dances, the steps from the King Sailor, Fireman, exactly how the dimensional scale themes modern dance, popular/social dance and Jab Molassie for peers (different can be incorporated in their sequence Carnival characters can be used) • demonstrate basic position of dance—1st • display proper body alignment when doing turn out-1st parallel/2nd turnout-2nd parallel • display proper technique when jumping standing, floor, and across floor work (dancers’ costuming and movement could be used in displaying art for integration) Dynamics Dynamics • combine movement and meaning using • put effort into everyday working action to time, weight, and flow produce a rhythmic phrase • understand basic improvisational skills 169 Form 2 – Term 1 Form 2 – Term 2 (Integrated Term) Form 2 – Term 3 Relationships Relationships Relationships • understand being alone in a mass – group • work in pairs, threes, fives, etc. • use poetry, prop, music, drums, etc. to work with peers improvise (tell a story) • mirroring each other (shape, action); • identify and create a tableau question and answer (A then B) • demonstrate basic group shapes, e.g., circle, etc. Heritage/Festivals, e.g., Eid, Heritage/Festivals, e.g., Carnival, Phagwa Heritage/Festivals, e.g., Labour Day Republic Day, & Independence • recount the history of Eid, Republic Day, • research the history, dramatization, • research the history, dramatization, and Independence costuming, and music of Carnival and costuming, and music of the Tobago Phagwa Heritage Festival and Labour Day • perform with confidence any of the nation • perform with confidence and enjoyment dances, e.g., Ebo, Temne, etc./modern dance • identify and research the music, costuming, chants, etc. • make journal entries based on their feelings Note. Depending on the Season/Festival, different dances could be done, including all dances from Tobago 170 Dance Content What all students should know and be able to do in the subject area Form 3 – Term 1 Form 3 – Term 2 (Integrated Term/ Art Exhibition) Form 3 – Term 3 Exploration/Body Themes/ Exploration/Body Themes/Space Preparation for National Certificate of Dynamics/Relationships/Heritage/ Themes/Dynamics/Relationships/ Secondary Education (NCSE) examinations – Festivals, e.g., Religious Dances/Work Heritage/Festivals, e.g., Carnival, School-based assessment (Theory & Dances Mimetic Characters Practical) • follow specific dance forms and styles • become familiar with Carnival and Carnival Teachers will continue to review and coach choreographed/given by the teacher, e.g., characters students before examinations stimulus (auditory, visual, kinesthetic, and tactile) • work on characterization of these - creative dance characters, based on their history - folk (foreign, local) - modern • create traditional costuming - ballet - improvisational dance • listen to traditional and other types of music - hip-hop that can be adapted to these kinds of characters, movement, and choreography • research dances and present papers for coursework • create props and a set that will be suitable for this festival • present choreography using all elements of dance learnt and dance forms (solos/duet/ groups) for end-of-term practicals • critique • make journal entries • make journal entries Note. Depending on the Season/Festival, different dances could be done, including all dances from Tobago 171 Dance: Course Outline What students should know and be able to do at various developmental levels while pursuing the subject area Year 1 – Terms D-1, 2, & 3 Components Outcomes/ Suggested Teaching Objectives Strategies Coaching Points Connected Activity Resources • Body Themes • action phrase • different ways of turning: • breathing • perform the rhythm on the CDs/folk music, (turning) - on both feet drums for the folk dances instrumental - pivoting or spinning • use of space – (Music) • movement & personal/general Calypso (quick) meaning - jumping, hopping - inward or outward Cassette player/CD • Warm-up • cultural emphasis accompanied by • quality of movement arm/leg gesture Floor space • introduction to • levels structured warm-up • add facial expressions to Internet (standing, sitting, sequence (love, anger, • extend gestures Notes/handout floor work) happiness, etc.) DVDs • Space Themes • basic • different ways of jumping: • breathing Terminology jumps(elevation) - two feet to two feet phrase - two feet to one foot • stretching of legs cultural • space phrase - one foot to one foot emphasis - one foot to two feet • pointing of feet floor work space • start with a very small • use of space explore movement and increase sudden in size to very large • levels elevation • move with large dimensional scale • extend gestures movement pivoting away from the body gesture • alternately move one side emotions of the body with small folk gestures and the other stillness side with large gestures speed (use folk steps) levels Temne 172 Components Outcomes/ Suggested Teaching Objectives Strategies Coaching Points Connected Activity Resources • Dynamics • explore free, • ask students to move • breathing Create a phrase adding and Ebo continuous, hesitant, freely and continuously taking away counts (Math) modern dance sudden, and strong • stretching of legs climax movements • move with hesitation – holding back mass • pointing of feet solo • elevation • make a series of sudden free movements • use of space • travel quickly and freely • levels to end in sudden and strong stillness and add • speed elevation to the sequence • Relationships • explore the • place high-place • use of space Resource personnel dimensional scale: low/rising and sinking (based on their specific - alone in a mass • stretching of legs specialty) • sideways across- - trio sideways open/enclosing - duet • levels and opening - solo • backward and forward/ retreating and advancing • use the scale in any sequence • Heritage/ • Christmas • research history (music, • expression • group work Props Festivals movement, costuming, • Divali characterization, etc.) • projection • duets Folk skirt enjoyment • Hosay • soloists • performances • space Towel • Indian Arrival • dances – nation dances • clarity Calabash • Emancipation (Ebo, Temne, etc.)/ modern dance • structure • climax, etc. • use of props, etc. 173 Dance: Course Outline What students should know and be able to do at various developmental levels while pursuing the subject area Year 2 – Terms D-1, 2, & 3 Components Outcomes/Objectives Suggested Teaching Strategies Coaching Points Connected Activity Resources • Body Themes • action phrase • different ways of opening, • breathing Students will learn CDs/folk music, (opening, closing, closing, stretching: songs for folk dances instrumental stretching) • use of space - symmetrically/asymmetrically (Music) Cassette/CD player - with parts of the body • stretching of legs • Warm-up isolated or with the whole Floor space body • levels - led by different parts Internet • expression - with transference of weight Resource books • Space Themes • space phrase: • start in the corner of the dance • breathing Dance Composition - backward area, move backwards to by J.M. Smith - forward centre front • use of space - curve move in a series of curves to Golden Heritage by • - centre end centre front • stretching of legs Molly Ahye - right - left • move slightly right then left • levels Notes/Handouts - circular pathway • move on a wide circular Local folk music - diagonal across pathway to the right and end in • expression - corner the left back corner Drumming - backward • alignment - forward • move diagonally across the Different types of space from the left back corner music to the right front corner Selected music • move backwards towards the centre and then exit from one of Resource the four corners personnel • Carnival characters’ (based on their movements should be used to specific specialty) enhance the lesson DVDs 174 Components Outcomes/Objectives Suggested Teaching Strategies Coaching Points Connected Activity Resources • Dynamics • explore light, slow, • move lightly and slowly • breathing • Students will Vocabulary strong, tension (firm, • slowly with changing tensions research history of light), accelerating, • use of space Tobago Heritage and decelerating • travel quickly, alternating opening between firm tension and light • stretching of legs (History) closing qualities diagonal • levels levels • spin accelerating and decelerating to end in a strong • expression tension accelerating held position • alignment decelerating • perform the Jig improvisation Phagwa • Relationships • Dance improvisation: • use some of these words as • quality of Labour Day - alone in a mass stimuli to improvise and movement Tobago Heritage - duet compose a sequence: • change of rhythm - solo - hover - group of 10 - twist • use of space Props - swirl - lift • levels Folk skirt - dip • breathing - fall Towel - circle • expression - sway Calabash • depict the following ideas: - movement of the wind - movement of birds • Heritage/Festivals • Eid • research history (music, • expression • group work • Republic Day movement, costuming, • projection characterization, etc.) • duets • Carnival enjoyment • Phagwa • performances • space • soloists, etc. • Labour Day • dances –- nation dances (Ebo, • clarity Temne, etc)/modern dance/ • structure • Tobago Heritage Tobago Jig • climax • Emancipation Day • use of props 175 Dance: Course Outline What students should know and be able to do at various developmental levels while pursuing the subject area Year 3 – Terms D-1, 2, & 3 Components Outcomes/Objectives Suggested Teaching Strategies Coaching Points Connected Activity Resources • Introduction to • Students will be able • Teacher gives notes and • Students group and DVDs Term’s Work to research the history instructs students on create dances based on and styles of all different ways of doing history, music, Books • Research dances; they must their research in order to dramatization, Paper – course review work from gain information in an costuming, etc. Dance Composition by work Forms 1& 2 efficient and reliable way J.M. Smith • Choreography Golden Heritage by (all styles of Molly Ahye dance will be taught by the Resource personnel teacher) Magazines • Stimuli for • Students will be • Notes will be given on Internet Dance introduced to stimuli the definition of stimuli for dance composition CDs • Teacher will brainstorm with students CD player • Auditory Stimuli • Students will have • Teacher will focus on • Students will listen to Floor space (music, increased knowledge the nature of the music, different types of instruments, of auditory stimuli and e.g., emotive, religious music, e.g., voice) their components, atmospheric, abstract, Spanish, French, etc. e.g., religious music etc., and link creative (Languages) movement • Notes 176 Components Outcomes/Objectives Suggested Teaching Strategies Coaching Points Connected Activity Resources • Auditory Stimuli • Students will • Teacher will focus on • Creative use of any Vocabulary (words ,songs, understand auditory mood, character, poem in groups (Drama) poems) stimuli (AS) and be rhythm, poems, songs, choreography able to focus and etc., link movement stimuli create based on the sequences auditory different components visual of AS for practical • Notes poems assessment focus research • Visual Stimuli • Students will have • Teacher looks at stimuli • Create a work song abstract (picture, increased knowledge for a work dance, using voice, and look at mood sculptures, of visual stimuli (taking students create dance work actions (Music) character objects, the idea behind the sequence based on patterns, and visual image) sound or picture, e.g., shapes) picture of persons working in a cane field Books • Kinesthetic • Students should • Give an example of • Use of technology in Dance Composition by Stimuli understand that some kinesthetic stimuli; look classroom (IT) J.M. Smith (dance about movement phrases at video, and critique, movement itself) have no e.g., hip-hop Golden Heritage by communicative Molly Ahye purpose but have a mood, style, Resource personnel dynamics, pattern, or form Magazines Internet • Mimetic • Students will • Look at videos to • Characterization • Use of technology in Carnival understand the establish character, classroom (IT) CD Characters characterization, movement, style • Rhythm CD player movement, costuming, • Use of props • Design costumes (Art) music, history of the Floor space Baby doll, Dame • Space Lorraine, etc. • Enjoyment 177 Components Outcomes/Objectives Suggested Teaching Strategies Coaching Points Connected Activity Resources • Traditional • Students will • Listen to traditional • Work with art teacher to Vocabulary Calypso Music understand the calypsoes and soca, create choreography for difference between looking at rhythm, exhibition kinesthetic calypso music and styles, and mood, etc. mimetic soca music Baby Doll Dame Lorraine technology • Heritage/ • Christmas hip-hop Festivals mood • Divali style • Review of dynamics Year’s Work • Hosay pattern or form • Indian Arrival • Emancipation 178 Part 3 Glossary 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 181 Media and Techniques The materials and procedures used in making art, such as drawing/painting materials; sculptural materials such as clay, wood, or stone; 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. 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. 182 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. 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 that 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. Three-Dimensional (3D) The physical characteristics of artwork that have depth, width, height, and volume (most sculpture). 183 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. 184 Glossary of Key Terms in Drama Act To perform or play a role; a division of drama. Actor A person who performs in a play, who assumes the role of a character. Amphitheatre A building, usually circular or oval, in which tiers of seats rise from a central open arena. Antagonist The main opponent of the protagonist; a character or force against which another character struggles. Atmosphere (a) A special mood or character associated with a place. (b) The prevailing tone or mood/feeling of a novel, symphony, or painting, or other work of art. Arena Stage Also called theatre-in-the round; theatre space where the audience sits on all four sides of the auditorium and watches the action in an area set in the middle. Artefact Something made or given shape by man, such as a tool or work of art. Backstage The area behind the stage not visible to the audience. Blocking A way to organize the action onstage. Body Language The non-verbal imparting of information by means of conscious or subconscious bodily gestures, postures, movement. Ceremony A formal observance or solemn rite. 185 Character A person, animal, or entity in a story, scene, or play with 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. Choreographer A person who designs and directs a dance. Chorus A group of characters in Greek tragedy (and in later forms of drama), who comment on the action of a play without participation in it. Climax The highest point of dramatic tension. Conflict The fundamental struggle that leads to crisis and climax of a scene or play. Context (a) The conditions and circumstances that are relevant to an event or fact. (b) The parts of a piece of writing that precede and follow a word or passage and contribute to its full meaning. Crisis A decisive moment or turning point in the dramatic action. Cue The signal for an actor to speak or perform an action, usually a line spoken by another actor. Dialogue The lines of the play spoken by the actors. Diaphragm The dome-shaped muscular partition that separates the abdominal and thoracic cavities in mammals. Diction The degree of clarity of enunciation or distinctness of speech. Director The person in charge; the one who gives directions to the actors and assumes ultimate responsibility for the production. 186 Drama (a) A term applied loosely to the whole body of work written for the theatre. (b) A term applicable to any situation in which there is conflict, resolution of that conflict with the assumption of character. It implies the cooperation of at least two actors. (c) Plays of high emotional content. Dramatist Anyone writing for the theatre, including the playwright. Dramatization The creation of a play from a poem or story. Extempore Without planning or preparation. Extemporize To perform, speak, or compose a piece of music without planning or preparation. Flashback Theatrical convention in which the audience is able to see scenes from the past through the eyes of one of the characters in a play. An interruption of a work’s chronology to describe or present an incident that occurred prior to the main time frame of a work’s action. Gait Manner of walking or running. The pattern is distinguished by a particular rhythm and footfall. Gesture The movement of a body part or combination of parts with the emphasis on the expressive aspects of the move. Imitate To copy or mimic the actions, appearance, mannerisms, or speech of others. Impact The impression made by an idea, cultural movement, and social group (noun); to have a strong effect on. Improvisation The spontaneous use of movement and speech to create a character or object in a particular situation. Intonation The sound pattern of phrases and sentences produced by pitch variation in the voice. 187 Mannerism A distinctive and individual gesture or trait. Mask A covering for the face with openings for the eyes and mouth. It was originally made of carved wood or painted linen, later of papier-mâché or lightweight plastics. The wearing of masks in the theatre derives from the use of animal skins and heads in primitive religious rituals. In the Greek theatre, masks served, in an all-male company, to distinguish between the male and the female characters and to show the age and chief characteristics of each— hate, anger, fear, cunning. Masking An actor is said to be masking another actor if he gets between the actor and the audience so that he cannot be seen properly. Masquerade (a) A party or other gathering to which the guests wear masks and costumes. (b) The disguise worn at such a function. Mime Acting without words. Mirroring Copying the movement and/or expression or look of someone else exactly. Model A representation, usually on a smaller scale, of a structure. Monologue Uninterrupted speech delivered by one character in a play to other characters that are at least present if not listening. Mood A prevailing atmosphere or feeling; a state of mind. Motive The reason or reasons for a character’s behaviour; an incentive or inducement for further action for a character. Pace (a) Single step in walking. (b) The rate at which a group runs or walks or proceeds at some other activity. 188 Picong Any teasing or satirical banter, originally a verbal duel in song (picon – Spanish, meaning mocking) Pitch To sing or play accurately a note, interval. Playwright A person who writes plays. Plot The story. Posture (a) A position or attitude of the limbs or body. (b) A characteristic manner of bearing the body. Production The total theatrical product, including the play, the acting, the direction, scenery, costumes, lighting, and special effects. Project (a) To cause an image to appear on a surface. (b) To cause one’s voice to be heard clearly at a distance. Props Short for properties; any article, except costume or scenery, used as part of a dramatic production; any moveable object that appears on stage during a performance. Proscenium A theatre in which the audience sits on one side with the action being viewed through an opening or frame (the proscenium arch) that separates the acting area from the audience space. Protagonist The principal character who carries the main thought of the play. Realism An attempt in theatre to represent everyday life and people as they are or appear to be through careful attention to detail in character motivation, costume, setting, and dialogue. Recitation The formal reading of a verse before an audience: repeating aloud from memory before an audience. 189 Rehearsal Repeated practice in preparation for performance. Repertoire A collection of parts played by an actor or actress. Resolution The final unfolding of the solution to the complications in the plot of a play. Rhythm The regular pattern of movement and/or sound. It is a relationship between time and force factors. It is felt, seen, or heard. Ritual The prescribed or established form of a religious or other ceremony. Role The characteristic and expected social behaviour of an individual in a given position. Scenery The large pieces (backdrops, furniture, etc.) that are placed onstage to represent the location. 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. Set The physical surroundings, visible to the audience, in which the action of the play takes place. Set Designer The person who designs the physical surroundings in which the action of the play takes place. Setting The time and place of a scene or a play. Situation A combination of circumstances at a given moment. Soliloquy A speech in which an actor, usually alone on stage, speaks the inner thoughts of his/her character aloud. 190 Sound Anything that can be heard. Sound Effect Any sound artificially produced or reproduced from a recording to create a theatrical effect. Stage Business Actions or behaviour of an actor on stage used to give information, enhance character, define focus, or establish importance. Stage Directions Notes added to the script of a play to convey information about its performance not already explicit in the dialogue. Generally speaking, they are concerned with the actor’s movements and the scenery or stage effects: • Cross means to go across the stage. • Exit means to go out. • Exeunt omnes means all go out. • Manet means he remains. • Movement around an object on stage is expressed as above or below an object and not as “in front or behind.” • Scissor-cross is the simultaneous crossing of two actors intentionally, usually for a humorous effect; it is regarded as an ugly movement denoting a clumsy technique. Stage Manager The person in charge backstage. Status (a) The relative position or standing of a person or thing. (b) A social or professional position, condition, or standing to which varying degrees of responsibility, privilege, and esteem are attached. Subtext (a) The underlying theme in a piece of writing. (b) A message that is not stated directly but can be inferred. Symbol An object or action in a literary work that means more than itself, that stands for something beyond itself. Tableau A technique in creative drama in which actors create a frozen picture, as if the action were paused; plural is tableaux. A representation of a scene, painting, sculpture by a person or group posed silent and motionless. 191 Tension A situation or condition of hostility, suspense, or uneasiness. Text The basis of dramatic activity and performance; a written script or an agreed-upon structure and content for an improvisation. Texture The surface of a material as perceived by the sense of touch. Theme A topic or subtopic developed in a play; the subject on which the plot is based. Thrust Stage A stage or platform that extends into the auditorium with the audience seated down three sides. Tone Sound with reference to quality, pitch, or volume. Wings The side areas of the stage out of view of the audience, the area where the actors wait for their entrances. 192 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 (a) The lowest voices of women and pre-pubescent boys. (b) 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 (a) In performance, the characteristic of attack and decay of tones, and the manner and extent to which tones in sequence are connected or disconnected. (b) 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 (a) The lowest voices of men. (b) Instruments that play the notes of these voices. Beat The unit of rhythm; rhythmic pulse felt in most music. 193 Cadence A group of chords or notes at the end of a phrase or piece that gives a feeling of pausing/finishing. 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 (a) The part of a piece of music where everyone joins in and performs together. (b) 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 notes. Compose To create original music by organizing 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 melody. Density or Texture The “thickness” of the musical sounds. Descant A countermelody added above the melody. Devised Scale A scale that is constructed by an individual and which does not conform to any of the common scale patterns. Devised Symbols Symbols that are not part of the notational system in common use and are invented by an individual to represent a particular sound. 194 Dissonance An interval or a chord that sounds unstable and pulls toward a consonance. Double Bar-Line A double-vertical line, the second line of which is usually thicker. It is used to signify the end of a piece or section. Duple Time Music with two beats to the bar. Dynamics (a) Degrees of loudness. (b) The effect of varying degrees of loudness/softness in the performance of music. Elements of Music Pitch, rhythm, harmony, dynamics, phrasing, style, interpretation, and appropriate variations in dynamics and tempo. Ensemble (a) The harmonious blending of the efforts of the many artistes involved in a musical activity. (b) 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 organization 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 (a) The simultaneous sounding of two or more tones. (b) Structure in terms of treatment of chords. 195 Homophonic Texture A melodic line supported by a harmonic accompaniment that has a similar rhythm to the melody. 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 signature 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 (using the solfa names doh, re, me, fah, soh, lah, ti, doh). Major Tonality Tonally, the organization 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 (a) The tune. (a) Arrangement of notes in sequence to form a musical idea. 196 Metre or Meter The basic pattern of beats in successive measures, usually expressed in time signature. Minor Tonality Tonally, the organization of music around a key that is based on a minor scale. Monophonic Texture Music having a single melody without accompaniment. Motif or Motive (a) The shortest recognizable melodic pattern. (b) 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 (a) A musical sound. (b) A sign that represents a musical sound. Octave (a) An interval of eight notes. (b) 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 (a) A scale of five notes. (b) One in which the tones are arranged like a major scale, with the fourth and seventh tones omitted. 197 Phrase A continuous length of melody or harmony that acts as 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. 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 (a) The chorus. (b) 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). 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. 198 Scale (a) A series of notes in alphabetical order, starting with the key note after which the scale is named. (b) An arrangement of pitches from lower to higher according to a specific pattern of intervals or steps. 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 (a) The higher voices of women or pre-pubescent boys. (b) 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 (a) The higher voices of men. (b) Instruments that play the notes of these notes. Texture (a) The thickness or thinness of the musical sound based upon the number of different tones produced simultaneously or in proximity to one another. (b) 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). 199 Theme and Variations A form in which a basic melody (theme) is presented and then repeated in a series of modified versions. Timbre (a) The character or quality of sound that distinguishes one instrument, voice, or other sound source from another. (b) 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. 200 Glossary of Key Terms in Dance Adrenaline A hormone secreted by the adrenal gland, which prepares the body for “fight or flight.” It has widespread effects on the muscles, circulation, and sugar metabolism. Alignment Positioned in a straight line. Biceps This term is most often used for the muscles at the front of the upper arms, but there are also biceps at the back of the thighs. Carbon dioxide A colourless gas formed in the tissues during metabolism, which is carried in the blood to the lungs and then exhaled. Centering This term refers to the technique of centering the body by strengthening and stabilizing the powerhouse (the area from the abdominal muscles to the buttocks, which stretches round the body at the back and the front). Cervical lordosis A postural problem of the spine that occurs in the neck area. The muscles at the back of the neck contract, while those at the front overexpand. The chin protrudes forward and over time this condition can cause inflammation of the joints, including arthritis. Ch’i According to Chinese tradition, this energy, or “life force,” permeates everything—it is within and around all things, living or otherwise. Cortisol This is a steroid hormone produced in the body that is important for normal stress- response and carbohydrate metabolism. Deltoids These are the thick triangular muscles that cover the shoulder joints—they are responsible for raising up the arms from the sides of the body. Ectomorph One of three basic body shapes—the other two are endomorph and mesomorph. Ectomorph people tend to be light and delicate, often tall and thin with long limbs. This body shape is often linked to an alert, inhibited, and intellectual personality. 201 Endomorph One of the three basic body shapes. People with this body shape will be heavy or rounded, and may have trouble keeping their body weight down. This shape is quite often linked to placidity, a relaxed attitude, and hedonism. Endorphins “Happy” chemicals that occur naturally in the brain and have pain-relieving qualities. They are also responsible for feelings of pleasure. Fight-or-Flight Response A process that prepares the body for physical effort. When the body is under extreme stress, it gears up to meet the immediate threat by releasing adrenaline and other hormones into the system. The heartbeat, metabolism, and breathing become more rapid, and any bodily function that is not essential to immediate survival—including the immune system and digestion processes—are automatically shut down. Force The instigator of movement, a push or pull. Form The overall structural organization 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. Gluteus Maximus These paired muscles are located within the fleshy part of the buttocks. Gluteus Minimus These are the paired muscles situated above the fleshy part of the buttocks. Improvisation Movement that is created spontaneously, ranging from free-form to highly structured environments, but always with an element of chance. Levator Scapulis Muscles at the sides and back of the neck. Leucocytes White blood cells that help to protect the body against foreign substances and disease. 202 Locomotor Movements Movement in space, including walking, running, skipping, hopping, galloping, sliding, leaping, etc. Lumbar Lordosi A postural problem of the spine in which the abdominal muscles are weakened, pulling the stomach forward and creating an unnatural inward curve in the lower back. Lymph The name for the fluid present in the lymphatic system (a network of vessels). Lymph carries leucocytes, or white blood cells, which play a key role in helping the body to fight off disease. Mesomorph One of the three basic body shapes. People with this body shape will be athletic or muscular, with large chests, limbs, and muscles. This body shape is sometimes associated with an aggressive tendency. Mesomorphs are often athletic and excel at sports. 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. 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. 203 Positive Body Image Acceptance of one’s body as it is, with recognition of its capabilities and limitations. Powerhouse The area from the abdominal muscles to our buttocks, stretching round the body. In Pilates, this is the area from which all energy and effort travel outward. Projection (a) A confident presentation of one’s body and energy to vividly communicate movement and meaning to an audience. (b) Performance quality. Quadriceps Muscles situated in the thighs. 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. Rickets A disease of childhood in which the bones do not harden and become soft and malformed. It is caused by a deficiency of vitamin D. 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. 204 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. Sway Back A postural problem where the thoracic spine becomes distorted and results in weak ligaments and muscles. T'ai Chi Ch'uan This is a flowing form of movement, working on mind, body, and spirit, which dates back to China at least 2,000 years. Tan Tien The Chinese word for the reservoir of ch'i energy situated in the abdominal area. Tempo (a) The rate of pulses or beats in music. (b) The relative speed at which a dance phrase or composition is to be performed. Thoracic Breathing Sometimes known as “lateral breathing.” This technique involves breathing into the back and lower ribs: as the air goes into the lungs, the back and sides of the rib cage expand, then they contract as the air is exhaled. In this way, the abdomen can stay contracted and tight and yet not interfere with the intake of breath. Thoracic Kyphosis This is a postural problem that causes excessive outward curvature of the spine and eventual hunching of the back. Thoracic Straight Spine This is a postural problem that causes the spine to straighten as a result of muscle contraction. It causes pain in the arms and strain in the chest area. Unison Dance movement that takes place at the same time in a group. 205 Part 4 Resources for the Visual and Performing Arts Bibliography The Arts and Arts Education Academic preparation in the arts. (1983). New York: College Board. Carpenter J. (1987). Creating the world: Poetry, art, and children. Seattle, WA: University of Washington Press. Feagin, S., & Maynard, P. (Eds.) (1997). Aesthetics. Oxford: Oxford University Press. Gardner, H. (1982). Art, mind and brain. New York: Basic Books. Gardner, H. (1983). Frames of mind. New York Basic Books. Gardner, H. (1994). Creating minds: An anatomy of creativity seen through the lives of Freud, Picasso, Stravinsky, Eliot, Graham and Gandhi. New York: Basic Books. Greene, M. (1989). Arts education in the humanities: Towards a breaking of the boundaries. Portland, ME: Maine Alliance for Arts Education. Jensen, E. (1997). Brain compatible strategies. Del Mar, CA: Turning Point Publishing. Jensen, E. (1998). Introduction to brain-compatible learning. San Diego, CA: Brain Store, Inc. Langer, S. K. (1957). Philosophy in a new key (3rd ed.). Cambridge, MA: Harvard University Press. Perkins, D. (1981). The mind’s best work. Cambridge, MA: Harvard University Press. Perkins, D. (1994). The intelligent eye: Learning to think by looking at art. Santa Monica, CA: Getty Center for Education in the Arts. Pinker, S. (1997). How the mind works. (1997). New York: Norton. Very Special Arts. (1992). Start with the arts. Washington, DC: Author. Very Special Arts, Massachusetts. (1993). Multi-arts resource guide [video]. Boston, MA: Author. Welch, N., with Greene, A. (1995). 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. Winner, E. (1982). Invented worlds: The psychology of the arts. Cambridge, MA: Harvard University Press. Arts Education Position Papers Americans for the Arts. (1998). Arts programs for at-risk youth: How US communities are using the arts to rescue their youth and deter crime. Washington, DC: Author. Americans for the Arts. (1998). YouthARTS Toolkit: Arts programs for youth at risk. Washington, DC: Author. Arts, Education and Americans Panel. (1977). Coming to our senses. New York: McGraw Hill. 209 Gary, C. L. (1997). 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. McLaughlin, J. (1990). Building a case for arts education: An annotated bibliography of major research. Lexington, KY: Kentucky Alliance for Arts Education and Kentucky Arts Council. National Endowment for the Arts. (1993). Arts in schools: Perspectives from four nations. Washington, DC: Government Printing Office. National Endowment for the Arts. (1995). The arts and education: Partners in achieving our national education goals. Washington, DC: Author. National Endowment for the Arts. (1998). Toward civilization: A report on arts education. Washington, DC: Government Printing Office. Pankratz, D. B., &. Mulcahy, K. V. (Eds.). (1989). The challenge to reform arts education: What role can research play? New York: American Council for the Arts. Arts and Education Reform Issues Catterall, J. S. (1997). Involvement in the arts and success in secondary school (Americans for the Arts Monograph, Vol. 1, No. 9). Washington, DC: Americans for the Arts. Eisner E. W. (1991). What really counts in schools. Educational Leadership, 48(5), 10– 17. Eisner E. W. (1994). Cognition and curriculum. New York: Teachers College Press. Eisner E. W. (1994). The educational imagination: On the design and evaluation of school programs (rev. ed.). New York: Macmillan. Eisner E. W. (1998). Does experience in the arts boost academic achievement? Art Education, 51(1), 7–15. Goodlad, J. (1984). A place called school. New York: McGraw Hill. Greene, M. (1995). Releasing the imagination: Essays on education in the arts and social change. San Francisco, CA: Jossey-Bass. Jacob, H. H. (Ed.). (1989). Interdisciplinary curriculum design and implementation. Alexandria, VA: Association for Supervision and Curriculum Development. Lightfoot, S. L. (1983). The good high school: Portraits of character and culture. New York: Basic Books. Robinson, K. (Ed.). (1993). The arts in schools. London: Calouste Gulbenkian Foundation. Arts and Education Partnerships Dreeszen, C. (1992). Intersections: Community arts and education collaboration. Amherst, MA: Arts Extension Service, University of Massachusetts at Amherst. Remer, J. (1996). Beyond enrichment: Building effective arts partnerships with schools and your community. New York: American Council for the Arts. Welch, N., & Fisher, Paul. (1995). Working relationships: The arts, education and community development. Washington, DC: National Assembly of Local Arts Agencies. 210 Assessment Beattie, D. K. (1997). Assessment in art education. Worcester, MA: Davis Pub. Herman, J. L., Aschbacher, P., & Winters, L. (1992). A practical guide to alternative assessment. Alexandria, VA: Association for Supervision and Curriculum Development. Lazear, D. (1994). Multiple intelligences approaches to assessment: Solving the assessment conundrum. Tucson, AZ: Zephyr Press. Lerman, L. (1993, Winter). Toward a process for a critical response. High Performance, No. 64, 46–48. Mitchell, R., & Wolf, D. P.; with Phillip, F. (1993). Issues concerning a national assessment of arts education. Washington: Council of Chief State School Officers. Seidel, S., Walters, J., Kirby, E., Olff, N., Powell, K., & Veenema, S. (1997). Portfolio practices. Washington, DC: National Education Association. Winner, E. (Ed.). (1991). Arts PROPEL: An introductory handbook. Cambridge, MA: Project Zero, Harvard Graduate School of Education. Winner, E. (Ed.). (1992). Arts PROPEL: Music handbook. Cambridge, MA: Project Zero, Harvard Graduate School of Education. Winner, E. (Ed.). (1992). Arts PROPEL: Visual arts handbook. Cambridge, MA: Project Zero, Harvard Graduate School of Education. Winner, E. (Ed.). (1993). Arts PROPEL: Imaginative writing handbook, Cambridge, MA: Project Zero, Harvard Graduate School of Education. Wolf, D. P., & Pistone, N. (1991). Taking full measure: Rethinking assessment through the arts. New York: College Entrance Examination Board. Art and Craft Arnheim, R. (1974). Art and visual perception (2nd ed.). Berkeley, CA: University of California Press. Arnheim, R. (1989). Thoughts on arts education. Los Angeles, CA: Getty Center for Education in the Arts. Barzun, J. (1973). The use and abuse of art. Princeton, NJ: Princeton University Press. Chaet, B. (1978). The art of drawing (2nd ed.). New York: Holt, Rineheart & Winston. Collier, G. (1966). Form, space and vision. Englewood Cliffs, NJ: Prentice Hall. Cross, J. (1977). For art’s sake. London: George Allen & Unwin. Dunstan, B. (1977). Composing your paintings. London: Studio Vista. Eisner, E. W. (1972). Educating artistic vision. New York: MacMillan. Foster, W. (1989). How to draw. Laguna Hills, CA: Walter Foster Publishing. Goetz, H. (1959). Art of the world. London: Methuen. Hodge, A. (1991). Hands-on art and craft. London: Alladin Books. Janson, H. W. (1962). History of art. New York: Abrams. Johnson, P. (1958). Creating with paper. Seattle, WA: University of Washington Press. Knobler, N. (1968). The visual dialogue: An introduction to the appreciation of art. New York: Holt, Rinehart &Winston. Mattil, E. (1965). Meaning in crafts. Englewood Cliffs, NJ: Prentice Hall. 211 Ramsawak, A. (1984). Adventure into basic drawing. Port of Spain: Al Production. Richard, C. (1968). Draw they must. London: Edward Arnold. Tyler, K. (1955). Pottery without a wheel. London: Dryad. Drama Blank, C., & Roberts, J. (2000). Live on stage!: Performing arts for middle school. Palo Alto, CA: Dale Seymour Publications. Bray, E. Playbuilding: A guide for group creation of plays with young people. Portsmouth, NH: Heinemann. Caruso, S., & Kosoff, S. (1998). The young actor’s book of improvisation: Dramatic situations from Shakespeare to Spielberg: Ages 7–11. Portsmouth, NH: Heinemann. Caruso, S., & Kosoff, S. (1998). The young actor’s book of improvisation: Dramatic situations based on literature: Ages 12–16. Portsmouth, NH: Heinemann. Charters, J., & Gately, A. (1987). Drama anytime. Portsmouth, NH: Heinemann. Engelsman, A., & Engelsman, P. (1997). Theatre arts 1: Students handbook. Colorado Springs, CO: Meriwether Publishing Ltd/Contemporary Drama Service. Engelsman, A., & Engelsman, P. (1997). Theatre arts 1: Teachers course guide. Colorado Springs, CO: Meriwether Publishing Ltd/Contemporary Drama Service. Engelsman, A., & Engelsman, P. (1998). Theatre arts 2: Students handbook. Colorado Springs, CO: Meriwether Publishing Ltd/Contemporary Drama Service. Engelsman, A., & Engelsman, P. (1998). Theatre arts 2: Teachers course guide. Colorado Springs, CO: Meriwether Publishing Ltd/Contemporary Drama Service. Heathcote, D., & Bolton, G. (1995). Drama for learning. Portsmouth, NH: Heinemann. Heinig, R. B. (1993). Improvisation with favorite tales: Integrating drama into the reading/writing classroom. Portsmouth, NH: Heinemann. Ingham, R., & Covey, L. (1992). The costume designer’s handbook: A complete guide for amateur and professional costume designers. Portsmouth, NH: Heinemann. King, N. (1996). Playing their part: Language and learning in the classroom. Portsmouth, NH: Heinemann. Neelands, Jonothan. (1985). Making sense of drama: A guide to classroom practice. Portsmouth, NH: Heinemann. O’Neill, C., & Lambert, A. (1984). Drama structures: A practical handbook for teachers. Portsmouth, NH: Heinemann. Rawlins, G., & Rich, J. (1992). Look, listen and trust: A framework for learning through drama. Studio City, CA: Players Press. Salazar, L. G. (1995). Teaching dramatically, learning thematically. Charlottesville, VA: New Plays Inc. Saldaña, J. (1995). Drama of color: Improvisation with multiethnic folklore. Portsmouth, NH: Heinemann. Tanner, F. E. (1999). Basic drama projects (7th ed). Topeka, KS: Clark Pub. Watts, I. (1990). Just a minute: Ten short plays and activities for your classroom. Portsmouth, NH: Heinemann. Williams, M. Y. (1987). Let ‘em talk: Oral language activities for the classroom (Grades K-8). Topeka, KS: Clark Pub. 212 Music Anderson, W. M. (Comp.). (1991). Teaching music with a multicultural approach. Reston, VA: Music Educators National Conference. Anderson, W. M., & Campbell, P. S. (Eds.). Multicultural perspectives in music education. Reston, VA: Music Educators National Conference. Bennett, R. (1998). Fortissimo! Cambridge, UK: Cambridge University Press. Berz, W. L., & Bowman, J. (1994). Applications of research in music technology. Reston, VA: Music Educators National Conference. Boardman, E. (Ed.). (1989). Dimensions of musical thinking. Reston, VA: Music Educators National Conference. Colwell, R. (Ed.). (1992). Handbook of research on music teaching and learning. Reston, VA: Music Educators National Conference and Schirmer Books. Elder, J.D. (1973). Song games from Trinidad and Tobago. Port of Spain: National Cultural Council Publications. Fyfe, S. (1990). Teach yourself to play pan – Volume 1: The tenor pan. Port of Spain: MAJOR & minor Productions. Fyfe, S. (1990). Teach yourself to play pan – Volume 2: The double tenor. Port of Spain: MAJOR & minor Productions. Fyfe, S. (1994). Teach yourself to play pan – Volume 3: The double second. Port of Spain: MAJOR & minor Productions. Fyfe, S. (1994). Teach yourself to play pan – Volume 4: Advanced pan. Port of Spain: MAJOR & minor Productions. Gilbert, J. (1997). Festivals. Oxford, UK: Oxford University Press. Haines, N. (1997). Composing at the electronic keyboard – Book 1. Cambridge, UK: Cambridge University Press. Haines, N. (1997). Composing at the electronic keyboard – Book 2. Cambridge, UK: Cambridge University Press. Hiscock, C., & Metcalfe, M. (1992). Music matters. Oxford, UK: Heinemann Educational. Levenson, T. (1994). Measure for measure: A musical history of science. New York: Simon & Schuster. McNicol, R. (1992). Sound inventions. Oxford, UK: Oxford University Press. Miles, E. (1997). Tune your brain: Using music to manage your mind, body, and mood. New York: Berkley Books. Music Educators National Conference. (1991). Growing up complete: The report of the National Commission on Music Education. Reston, VA: Author. Salaman, W. (1990). The new composer. New York: Boosey & Hawkes. Wilson, S. A. (1999). Steelpan playing with theory. Quebec, Canada: Salahpan. Winters, G. (1995). Listen, compose, perform. Cambridge, UK: Cambridge University Press. Winters, G. (1996). StartercComposing pack (with music by Jim Northfield). Cambridge, UK: Cambridge University Press. 213 Dance Adams, C., & Adams Strandberg, J. (1997). Dancing through the curriculum: A guide to dance videotapes curated and designed to enrich the school curriculum. Providence, RI: JayEss Press. Bartenieff, I., with Lewis, D. (1980). Body movement: Coping with the environment. New York: Gordon and Breach. Dell, C. (1977). A primer for movement description. New York: Dance Notation Bureau. Emery, L. F. (1998). Black dance in the United States from 1619 to 1970. Princeton, NJ: Princeton Books. Gere, D., Segal, L., Zimmer, E., & Koelsch, P. C. (Eds.). Looking out: Perspectives on dance and criticism in a multicultural world. New York: Macmillan. Gilbert, A. G. (1992). Creative dance for all ages. Reston, VA: American Alliance for Health, Physical Education, Recreation and Dance. Goldman, E. (1994). As others see us: Body movement and the art of successful communication. New York: Gordon and Breach. Guest, A. H. (1983). Your move: A new approach to the study of movement and dance. New York: Gordon and Breach. Humphrey, D. (1959). The art of making dances. Princeton, NJ: Princeton Book Company. Laban, R. (1966). The language of movement. London: McDonald and Edwards. Levine, M. N. (1994). Widening the circle: Towards a new vision for dance education: A Report by the National Task Force on Dance Education. Washington, DC: Dance/USA.. Morgenroth, J. (1987). Dance improvisation. Pittsburgh, PA: University of Pittsburgh Press. Schlaich, J., & Dupont, B. (1988). The art of teaching dance technique. Reston, VA: American Alliance for Health, Physical Education, Recreation and Dance. Teck, K. (1994). Ear training for the body: A dancer’s guide to music. Princeton, NJ: Princeton Book Company. 214 Associations and Organizations Arts Education Americans for the Arts 927 15th Street, NW, 12th Floor, Washington, DC 2005, 202/371-2830 Website: www.artusa.org/ Artsedge The John F. Kennedy Center for the Performing Arts, 2700 F Street, NW, Washington, DC 20566-0001, USA Website: http://www.artsedge.kennedy-center.org/artsedge.html Association for Supervision and Curriculum Development 1703 North Beauregard Street, Alexandria, VA 22311-1717; 703/578-9600 Website: www.ascd.org/ Getty Education Institute for the Arts 1200 Getty Center Drive, Suite 600, LA, CA 90049-7704, 310/440-7315 Music Educators National Conference 1806 Robert Fulton Drive, Reston, VA 22091, 800/828-0229 Website: www.menc.org/ National Art Education Association 1916 Association Drive, Reston, VA 20919-1590; 703/860-8000 Website: www.naea-reston.org/ Very Special Arts 818 Connecticut Avenue, Suite 600, Washington, DC 20006, USA Website: http://www.vsarts.org Art Education 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. Website: http://www.naea-reston.org 215 Community Arts Organizations 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 Tel: (868) 627-1422 National Carnival Commission of Trinidad and Tobago Queen’s Park Savannah, Queen’s Park West, Port of Spain Tel: (868) 627-1350 National Council of Indian Culture Uriah Butler Highway Tel: (868) 671-6242 National Dance Association of Trinidad and Tobago c/o Carol La Chapelle, 67 Cipriani Blvd., Port of Spain Tel: (868) 627-6339 National Drama Association of Trinidad and Tobago 4 Hillcrest Avenue, Port of Spain Tel: (868) 625-0312 Pan Trinbago Queen’s Park Savannah, Queen’s Park West, Port of Spain Tel: (868) 627-2894 San Fernando Arts Council c/o Marion Philomen, St. Joseph Road, San Fernando Trinbago Unified Calypsonians Organization Queen’s Park Savannah, Queen’s Park West, Port of Spain Tel: (868) 627-7876 Trinbago Unified Calypsonians Organization (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 216 Drama/Theatre Education American Alliance for Theatre and Education 4811-B Saint Elmo Ave, Bethesda, MD 20814, USA Website: http://www.aate.com Caribbean Association of Secondary Schools Drama Associations c/o Victor Edwards Tel: (868) 655-0826 Educational Theatre Association 2343 Auburn Ave., Cincinnati, OH 45219-2819, USA Website: http://www.edta.org International Association of Theatre for Children and Young People Box 6033 S-121-06, Johanneshov, Sweden Website: http://www.ass.itej.org Secondary Schools Drama Association of Trinidad and Tobago c/o Fyzabad Composite School, Old Siparia Road, Fyzabad Music Education American Orff-Schulwerk Association P.O. Box 391089, Cleveland, OH 44139-8089, 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 E-mail: sclibdiv@tstt.net.tt Music Educators National Conference 1806 Robert Fulton Drive, Reston, VA 22091, USA Website: http://www.menc.org Organization of American Kodaly Educators 1612 29th Avenue South, Moorhead, MN 56560 Website: http://www.oakes.org Pan in Schools Coordinating Council c/o Trinidad and Tobago Unified Teachers’ Association, Southern Main Road, Curepe, Trinidad and Tobago 217 Dance Education American Dance Legacy Institute at Brown University Tel: (401) 863-7596 Website: http://www.brown.edu/Departments/Theatre_Speech_Dance/ Amer._Dance_Legacy_Inst.html Dance Horizons Videos & Dance Book Club (videos and books on all styles of dance) 614 Route 130 Hightstown, NJ 08520 Tel: (800) 220-7149 Dance/USA 1111 16th St, NW, Suite 300, Washington DC 20036 Tel: (202) 833-1717 Website: www.danceusa.org Human Kinetics P.O. Box 5076, Champaign, Il 61825-5076, USA Website: http://www.humankinetics.com Multicultural Media 56 Browns Mill Road, Berlin, VT 05602, USA Website: www.worldmusicstore.com Additional Resource National Standards for Arts Education Developed by the Consortium of National Arts Education Associations. Outlines basic arts learning outcomes. Available at: http://artsedge.kennedy.center.org/teach/standards/ 218