Arts Play PDF

300 PART 2: EDUCATING THROUGH THE ARTS
and Wonder) This approach encourages children to move beyond simple observation and to
notice the details such as the sounds of different instruments and the tempo of music; or
colours, facial expression, dress and the setting in a painting. In regard to Charles Burton
Barber’s In Disgrace (see p. 116), a child may See the distressed girl and her dog in the corner,
Think that the dog is a loyal friend for the girl and Wonder what she has done that was so
naughty.
PICTURE WALK
A technique called ‘picture walk’ is often used with picture books to engage young children
in the sequence of unfolding events that feature in the story. This process involves going
through the pages of the book and encouraging children to describe and interpret what they
see. It also involves asking children to contemplate how the images work—how the colours,
shapes, perspective, scale and tones contribute to their interpretation of the story. In this
process children contemplate the way images convey information, and then experience the
way words relate to the images they have been able to interpret.
When reviewing a painting, a similar approach can be employed. Children are guided to:
• notice the pictorial features (trees, flowers, houses)
• contemplate how the Visual Arts elements (shapes, colours, lines) contribute to the story
in the picture
• speculate about the meaning or story (in terms of incident, relationships or situation).
Copyright © 2017. OUPANZ. All rights reserved.
Figure 12.1 Guided viewing leads children to contemplate artworks.

Dinham, J., & Chalk, B. (2017). It's arts play : Young children belonging, being and becoming through the arts. Retrieved from http://ebookcentral.proquest.com
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12_DIN_IAP_04515_TXT_SI.indd 300 21/09/2017 7:04 AM

CHAPTER 12: ARTS-RESPONDING EXPERIENCES ACROSS THE FIVE ARTS SUBJECTS 301
• project into another context: How would they feel in this situation? What could happen next?
• offer an opinion about the artwork and how they respond to it.
This process not only deepens and enriches the experience of the artwork, it engages
children in focused moments of contemplating their world. It encourages them to identify
and express their feelings, ideas, speculations, opinions and thoughts about imagined
possibilities. It reinforces the value of their thoughts and feelings.
RACE INTO LISTENING

Music stimulates feelings, activates memories, invites reflection, and creates a visceral
connection. While music is widely present in our lives, guided listening, which is also known
as active listening or mindful listening, encourages children to give their full attention to the
music and contemplate it with an inquiring mind.
For this age group, a musical piece that is one to two minutes long is generally considered
long enough. Invite children to listen to the music first before asking questions about their
responses.
Guided listening questions can be framed as HTW (see pp. 299–300). They can also be
framed around the way children personally Respond to the music, the musical Attributes
(how the music is put together), the Context of its making and children’s Evaluation or
opinion of the music (RACE). These questions can shape conversations with children.
Older children can be encouraged to write their impressions.
Table 12.2 RACE is a guided listening framework

RACE into listening: Response, attributes, context, evaluation
Response • How do you feel when listening to this music?
Response/connection • Does the music remind you of anything in your own life?
(Interpretation)
• What pictures does the music make in your mind?
• What movement would you make to this music?
Attributes • What do you hear? Did any sound (or instrument) stand out?
The music’s attributes
• How would you describe the beat or rhythm of the music?

(Description & analysis)
• What patterns did you notice in the music? Were there musical
phrases that you heard played several times in different ways?
• What atmosphere is created by the music? What contributes to that?
• If you were using this music in a movie, what would the movie be about?
Context • If the composer of this music came to the classroom, what would you
Significance of the like to ask him/her?
circumstances in which • The composer … (personal or historical context). How do you think
RESPONDING
the music was made. that is heard in the music?

Evaluation • How does this music compare to the music we heard last time?
Judgement/opinion • What do you like most/least about this music?
• What words best describe this music? Why did you choose those words?

Figure 12.2 Children’s understanding of music is strengthened when they are asked to reflect on
what they have heard and what they think about it.
WHO, WHAT, WHERE, WHY, WHEN, HOW AND WHOM

A Who, what, where, why, when, how and whom framework is an easy one to
remember. It can be adapted for different age groups and used to guide discussion about
different arts products such as dances, drama productions and media products.
Table 12.3 A general framework that can be used for reviewing arts products

Who, what, where, why, when, how and whom framework
Dance Drama Media Arts
Who Who is dancing? Who is in the performance? Who is creating the media
Amateurs, professionals, How many actors are involved? artefact?
soloists, groups. Are they What roles and characters Is it a team or an individual?
characters? What role are present? What role does Amateurs or professionals?
does the costume play in costume play in representing Why do they want to make this
conveying who they are? the characters? What do we product?
learn about the characters?

Who, what, where, why, when, how and whom framework

Dance Drama Media Arts
What What are they dancing? What is happening? What is the message?
Is this a ballet, social Is this an improvisation, a From what point of view is the
dance, or improvisation? mime? What is the story? story being told?
Does the dance have a What is the media artefact
name? designed to achieve?
Where Where are they dancing? Where is the performance Where is the media artefact
Are they dancing in the taking place? distributed and where is the
field or a stage? Does Is it happening on the stage, in story set?
the staged dance imply a the street, on a puppet stage? Who gets to see the artefact?
different location? Is the Does the staged performance How do they find it?
location significant? imply a different location? Is What is the location and time
the location significant? in the story? How are these
Where does the action in the significant?
drama take place? In a room?
In several locations?
Why Why are they dancing? Why are they performing? Why was the artefact created?
Are they dancing for joy, Is this a new interpretation of What is its purpose? Is it a
to entertain, for a ritual? a work or a new work? Is this book cover designed to attract
for entertaining children or a reader?
telling a moral?
When When is the dance When is the drama occurring? When was the media artefact
occurring? Historical time or particular created?
Historical time or time of day? How does this influence
particular time of day? the topic?
When is the action in the
media story occurring?
How How are they dancing? How is the drama being How is the media artefact
How are they using the performed? created?
elements of dance? Is there a plot? What is the How has technology been
conflict? How is dramatic used? How have the media
tension created? How have codes and conventions been
the elements of drama been used? How do they help
used? convey the message?
Whom For whom are they For whom are they performing? For whom is the media artefact
dancing? For a paying audience? For prepared?
For their god, for people passing by on the Is it for children or adults?
an audience or for street? How is this evident?
themselves?
RESPONDING

Figure 12.3 Children learn that Aboriginal dancers perform at the Woggan-ma-gule (meeting of the
waters) on the lands of the Gadigal to maintain custodial traditions on ceremonial occasions. Children
observe how body painting and red cloth are part of the ceremonial dress (see www.CreativeSpirits.
info; click on Aboriginal culture–Multimedia–Woggan-ma-gule–An Aboriginal ceremony for
Australia Day).
EDUCATIONAL VALUE
While much of children’s arts learning is about ‘learning to do’, this active learning
process is informed by reflection. This reflection is in relation to their own work in the
first instance but importantly, it also includes reflecting on or contemplating the work
of others. By observing the structure of artworks, contemplating their purpose and
‘understanding the meaning of what others communicate’ (Mezirow, 1990, p. 7), children are
developing a deeper understanding of how the Arts languages function to communicate
ideas, the motivations for making artworks and the nature of the human condition that is
communicated in these artworks (such as values, beliefs and feelings, and concepts such as
freedom, justice, and love).
When guided to reflect on artworks children are asked to examine the way the artwork is
‘put together’. A painting for example is considered in terms of what can be seen—what is
in the picture, what colours have been used, how is the eye drawn into the picture. They are
also led to interpret the content by looking for patterns, themes and metaphors ‘by which to
fit the unfamiliar into a meaning perspective, so that an interpretation in context becomes
possible’ (Mezirow, 1990, p. 8). Meaning and ‘truth’ is arrived at through reflections that

are informed by factual and contextual information and tested through discussion
and debate. The process helps children challenge presuppositions or first impressions. It
encourages them to explore alternative perspectives and to be open to transforming their
understandings and acting in new ways (Mezirow, 1990). This is the essence of critical
thinking and developing children’s critical thinking is an important educational goal.
EDUCATOR’S ROLE
Developing appropriate pedagogical strategies such as questioning techniques is an
important way in which educators can support reflection and review processes. So too is
allocating time for it and planning engaging ways for children to actively and purposefully
participate—as outlined above. Refer to the section ‘Listening and Conversing’ in Chapter
Fourteen for detailed guides to developing your questioning techniques.
INCLUSIVE EDUCATION
In an inclusive approach to education, promoting all children’s communicative competence
is an important priority. In these arts-responding activities, the ideas, desires, observations
and views of all children are sought and valued.
Artworks selected for review should be relevant to children’s interests and experiences.
Having said that, it is a mistake to think that children are only interested in childish themes.
They are interested in artworks (music, dances, drama, films, paintings) with good stories,
rich detail and strong aesthetic qualities. They relate to artworks such as paintings that depict
families, animals, places and events, and have themes such as friendship, peace, loyalty and
justice. They enjoy artworks that are intriguing and take them into enchanting realms.
Artworks chosen for review should be from different cultures and traditions. In particular,
they should reflect the cultural diversity of the group.
RESOURCES
The primary resources for guided viewing, listening and reviewing are YouTube videos of films,
music, dance and drama performances, printed reproductions of paintings, online sources
for media examples and images of visual artworks, and traditional crafts and paintings from
home or collected on travels. A number of these have been suggested throughout the text.
Consider building an archive of resources that you can use with children. Selected
RESPONDING
artworks can be reproduced on A4 paper with a potted account on the back for your
reference. These can be laminated to maintain them in good order. For older children, you
can design simple charts that capture the steps of an arts-responding process so children can
refer to this independently.

SPARKERS
• Compare different representations of motherhood by reviewing Pierre-Auguste
Renoir’s Child with Toys—Gabrielle and the Artist’s Son Jean (1895–96) and Australian
artist Patricia Piccinini’s The Young Family (2002–09). (See p. 12.)
• Show a video of brolgas (www.youtube.com/watch?v=VFCfqB6IQ9Edancing). Brolgas
are a threatened bird species in Australia. These birds are the source of inspiration
for the Bangarra Dance Theatre’s performance, Brolga (www.youtube.com/
watch?v=zxnra4q1ElA). Watch the video, and explore how the birds dancing has been
interpreted by the dance company. Examine how the dancers have emulated the bird
movements and appearance.
• Visit the Australian Screen website (http://aso.gov.au/titles/features/babe/clip3/).
Review the Curator’s Notes about the film Babe (1995) and use the clip Make Them Feel
Inferior to explore the theme of tolerance and the cinematic conventions in action.
• Review the YouTube video of the clog dance from the ballet La Fille Mal Gardée
presented by the Royal Ballet (www.youtube.com/watch?v=V5H4UMbKkgs). This is a
delightful and humorous version that can help you explore a number of features of
dance and what makes things funny. The mother figure, for example, is played by a
male dancer.
THINGS TO REMEMBER ABOUT GUIDED VIEWING,

LISTENING AND REVIEW
• Arts-responding involves reflection and review by children of their own artwork and
art-making processes, as well as those of their peers and those of acclaimed artists
and artistic traditions.
• Children’s reflection on their own art-making processes and creations is an important
part of the learning process.
• By reviewing art traditions and the artistic creations of renowned artists, children learn
about the wider world of art-making. They see how the Arts are part of society and
integral to the way cultures are shaped.

• Children’s own art-making is strengthened through contemplating the artworks of
acclaimed artists.
• Arts-responding activities that encourage critical review develop children’s skills to
reason and become independent thinkers.

RESPONDING THROUGH ARTS-MAKING
While responses to artworks and traditions may be articulated in words, they can also be
expressed through the Arts languages too, such as the languages of Dance, Drama, Media
Arts, Music, and Visual Arts.
JUMP INTO THE PICTURE

Empathising with others and imagining a possible future are aspects of being that can be explored
using the ‘jump into the picture’ technique. Children are invited to imaginatively place themselves
in the picture. From their position, they can look around and imagine what they can see that
they can’t see when otherwise looking at the artwork. For example, what can they see when they
look at Charles Burton Barber’s In Disgrace? (See p. 116.) Asking the children questions can help
a child imagine themselves in the pictorial space: What do you see in the rest of the room? How do
you feel standing next to the girl? In other instances, children may be asked to imagine where they
would go in the car that’s in the picture or how hot do they feel in the sunny landscape?
RESPONDING
Figure 12.4 Children imaginatively jump into paintings to explore

the possible stories they contain.

You can introduce this imaginative approach by reading Katie Meets the Impressionists by
James Mayhew (2007) to the class. In this story, Katie lands in the painting The Luncheon by
the impressionist artist Claude Monet. The story models the imaginative exploration of the
painting you are inviting children to undertake.
Similarly, when children have painted an imaginary scene or character, they can be invited
to imagine they are that character. Other children then ask questions of the child who is
in role as the character. In the case of an imaginary creature these questions may be about
how it lives, what it eats, if it has friends, why its tail is yellow. There are no right or wrong
answers but the process of investing in the subject of the painting encourages children to
identify more deeply with their creations.
Children can develop a drama improvisation around their ‘jump into the picture’
explorations. They can bring the picture to life and also improvise what happens next. This
method of responding, which can be applied to paintings, storybooks, drama productions
and films, enriches and deepens children’s appreciation of the artwork.
RESPONDING THROUGH PAINTING OR DANCING

When conducting a guided appreciation of music, children can be supplied with large sheets
of paper and free flowing paints, inks, chalks and pencils to paint the music. This is not
about painting scenes but making marks as responses to the music. Afterwards children
may tell you about their creation: This is the loud bit. The opportunity to graphically ‘show
music’ provides an important avenue for children’s expression and communication of their
engagement with their world. It also establishes the idea that music can be captured on a
page. This concept is developed further when children’s use of graphic notation and standard
music notation to capture the music on paper so that others can read the musical score and
make the same music.
Dancing the music is a similar process. Furthermore, fostering the links between music and
dance is seen as a meaningful way of supporting children’s development in both these subjects.
ROLE-PLAYING THE CRITIC
In Western society, critical review is a job undertaken by an art, film, music, dance or theatre
critic. Like artists, critics are part of the world of art. They share their thoughts about new
art exhibitions, films, concerts, dance or theatrical performances in various media forms,
from newspapers to online blogs. When done well, these reviews are educative and serve to
foster the public’s engagement with the artistic world. At the same time, they prompt debate
and encourage us to contemplate our philosophies, values and beliefs.
Children can approach reflection and review of each other’s work in the role of the critic.
In role-playing, they can interview the artists about their work. Written and Media Arts
skills are brought into play through the type of reporting used. Children can video-record
interviews or write reviews for the class newsletter.

INSPIRATION FROM ART
Reviewing an artwork by an acclaimed artist or arts company can be a prelude to children’s
own art-making and learning about the world. In the following example, we see how botanical
drawings provide the provocation or context for an observational drawing lesson. Attention is
given to both making and responding in an integrated approach where children learn about and
reflect on the artwork of an acclaimed artist and also attend to their own art-making.
Figure 12.5 Banksia Integrifolia watercolour by Sydney Parkinson from Banks’ Florilegium.
This observational drawing project based on drawing leaves is contextualised by introducing

RESPONDING
the role of the botanical illustrator and showing children examples of botanical drawings by
Sydney Parkinson (circa 1745–1771). Children are asked what they notice about these drawings.
Questions such as What has been drawn? Why would you recognise this plant if you saw it in the
bush? What do you learn about this plant from looking at the drawing? assist children to consider

each drawing carefully. This questioning is designed to lead children towards noting features
such as (1) they are all botanical drawings, (2) they are very detailed and (3) they provide
information about different aspects of the plant such as its flowers, leaves, buds and structure.
From this, the idea that some artists become specialists can be introduced and children learn
that artists can be employed in different types of specialised jobs. In this case, the specialist
artist is a botanical illustrator. Children learn that these artists draw with scientific accuracy
so that details about plants can be preserved, studied and shared by botanists. They also learn
that botanical illustrators play an important role in botanical research right up to today.
To highlight the historical significance of these particular botanical drawings for
Australian school children, the educator explains how Sydney Parkinson accompanied the
famous botanist, Sir Joseph Banks on Captain Cook’s voyage to the Pacific in the Endeavour.
The voyagers were the first Europeans to land on the east coast of Australia (1770)
where they found many plants they had never seen before. By making careful botanical
illustrations (and gathering specimens) they were able to share their discoveries with
other botanists in Britain and Europe when they returned. This was an important step in
European’s learning about the landmass we know as Australia.
From this basis, it is proposed that the children might like to see if they can mount an
expedition to the school garden to gather leaf specimens, which they will then carefully
study and draw so others can identify the plants and learn about the variety of leaves in the
garden. There can be discussion about what supplies are needed and preparations made for
an expedition (hat, water bottle, plastic bags for specimens). This stage of the project may be
developed into a process-drama activity where children assume different characters, names
and roles (See Chapter 8).
In this example, you see that children now have a context that supports the observational
drawing project. They understand the purpose of observational drawing and what it aims to
achieve. They have learned that there are specialist artists and have seen how art and science
work together in this instance. They have been introduced to Sydney Parkinson, who is an
important figure in Australian history and art. Children have also had the opportunity to
consider the nature of expeditions and how we can learn about the unknown.
On return from the expedition, children set up their studio with magnifying glasses, grids
and sharp pencils. They observe the overall shape of the leaf, for example by comparing it to
a range of geometric shapes that have been placed on the table and they place the leaf on a
grid so they can observe what parts are in alignment and how long the leaf is compared to
how wide it is. You can see how this involves maths concepts.
The educator sits down and models how they carefully look at the leaf. They lightly draw a
simple shape about the size of their hand that represents the overall shape of the leaf. Next,
they carefully draw a detailed outline of the leaf using the underlying shape as a reference.
The educator then asks the expeditionary team of botanists whether they are ready to record
their botanical specimens by drawing them with care and paying attention to the details.

EDUCATIONAL VALUE
Responding to artworks using the range of different arts languages opens up a breadth
of ways in which children can communicate. As embodied forms of communication, arts-
making connects directly to children’s embodied, sensory experience of the world. This
generates insights that are gained through actions and gestures. Children can show how they
respond. They can show what they understand.
EDUCATOR’S ROLE
Creating a wide range of opportunities for children to respond to artworks is a primary way
in which you can support children’s engagement.
You will need to have identified your educational intentions so that these activities
are progressed in ways that are educational, as well as diverting. Some small amount of
background research about the artist and artwork can guide you in this endeavour.
Figure 12.6 As a provocation for a weaving project that begins with paper-weaving, children are
RESPONDING
introduced to traditional Navajo rugs distinguished by their strong geometric designs. They learn
how these textiles were woven on simple looms made with wooden poles, and were used as shoulder
robes, wrap dresses and sashes for the Navajo people.

INCLUSIVE EDUCATION
In arts-responding activities, the ideas, desires, observations and views of all children are
sought and valued. By not always relying on verbal and writing skills, the principles of
Universal Design for Learning (UDL) (Rose & Meyer, 2002) are being applied. That is, varied
strategies are used to engage children’s interests, information is explored in multiple formats
and media, and a variety of ways to respond are offered.
RESOURCES
Begin to build your own collection of resources. Each example should be accompanied by
background notes for your reference, key ideas and questions, and ideas for the responding
strategies you can employ.
SPARKERS
• Explore the botanical illustrations of Sydney Parkinson as a prelude to an
observational drawing session of leaves from plants in the school garden.
• Use the video clip of a stage production of Wind in the Willows (www.youtube.com/
watch?v=pVcH9-_6pXw) with its riverbank characters (Toad, Ratty, Mr Badger and
Mole) to examine the characterisation of animals through manner, voice and dress.
Lead children through the exploration of animals that are well-known to them with a
view to creating small improvisations on themes, such as the car is stuck in the mud,
or coming to dinner.
• The Dhari/Dhoeri is a traditional and distinctive Torres Strait Islander headdress. It
features on the Torres Strait Island flag as a unifying symbol for the islands scattered
through the Torres Strait. Learn about how these are made and about their cultural
significance (www.slq.qld.gov.au/__data/assets/pdf_file/0006/196440/Teacher_Notes_
-_Introduction.pdf). A distinctive feature is the way the feathers (and more modern
alternatives) vibrate and shimmer when the dancers shake their heads. Lead children
through an exploration of construction techniques to make their own headdresses and

dances.
• Play Schubert’s Trout Quintet (1819). Lead children through a process of creating
movements for a selection of musical phrases before inviting them to dance to
the music.
• Play Beethoven’s 5th Symphony (1808) and invite children to paint the music.
• With the class, share the book Katie Meets the Impressionists by James Mayhew
(2007). In this story, Katie lands in the painting The Luncheon by the Impressionist
artist, Claude Monet. Then show children another Monet painting, such as
The Poppy Field and invite them to ‘jump into the picture’ and explore it in the
same way.

THINGS TO REMEMBER ABOUT RESPONDING

THROUGH THE ARTS
• Children can use arts processes to develop their understanding of artworks in
embodied and meaningful ways.
• Children can respond to artworks by being creators. They use the Arts languages to
make paintings, dance or enact drama improvisations that are inspired or informed by
artworks.
• By responding through art-making children are using the principles of play-based
learning to develop embodied understandings of art traditions and the artistic
creations of renowned artists.
RESPONDING

SUMMARY
Arts-responding is the second strand of the Arts Learning Area and complements art-
making. Children respond by reviewing their own work, the artistic creations of their peers
and the artworks of acclaimed artists and arts companies, and artistic traditions. They can do
this in an incidental way in the context of their own art-making, during formal reviews of their
creations at the end of a project, or by studying the work of artists and artistic traditions.
Critical thinking skills are developed through carefully prepared questions that lead children
to contemplate the structure, content, context and meaning of the artwork; and to reflect on
how they relate to the artwork, how they feel about it and how they judge its significance.
When children respond to artworks by expressing themselves in an art medium, they
have the advantage of employing different languages to convey ideas that may not be readily
or easily conveyed in words. The immersive and embodied quality of arts-making also
creates a memorable experience of the artwork and a deep understanding of it.
Learning activities
1 The quote by Sandra Chantry at the beginning of the chapter captures the essence of this
chapter. Explain how the quote is borne out in your reading.
2 Plan an arts-responding session using one of the suggested arts-making strategies for
exploring an artwork from an Asian or a Middle-Eastern country.
3 Choose an Indigenous artwork that would be relevant to young children and devise
a guided viewing/listening session that would engage children in contemplating the
artwork. Write down a potted account of the artwork and draw up a list of key questions
to guide children through a critical review. Lead a small group of colleagues or children
through a guided viewing/listening experience based on your planning.
Further reading
Chambers, A. (2011). Tell Me (Children, Reading and Talk) with The Reading Environment.
Jackson, MS: Thimble Press.
Eckhoff, A. (2008). The Importance of Art Viewing Experiences in Early Childhood Visual
Arts: The Exploration of a Master Art Teacher’s Strategies for Meaningful Early Arts
Experiences. Early Childhood Education Journal, 35, 463–472.
Epstein, A. (2001). Thinking About Art: Encouraging Art Appreciation in Early Childhood
Settings. Young Children, May, 38–43.
Wilks, S. (2003). The Visual Arts as a Thinking Tool. Australian Art Education, 26(2), 27–33.
Online resources
Australian art galleries
Art-Search: Locate the websites of Australian regional galleries from this site. www.art-
search.com.au/art_galleries/regional_art_galleries

State and territory art galleries are located in capital cities:

• Art Gallery of NSW. www.artgallery.nsw.gov.au
• Art Gallery of South Australia. www.artgallery.sa.gov.au/agsa/home
• Art Gallery of Western Australia. www.artgallery.wa.gov.au/index.asp
• Museum and Art Galleries of the Northern Territory. http://artsandmuseums.nt.gov.au/
museums
• National Gallery of Victoria. www.ngv.vic.gov.au
• Queensland Art Gallery, Gallery of Modern Art. http://qag.qld.gov.au
• Tasmanian Museum and Art Gallery. www.tmag.tas.gov.au
Museum of Contemporary Art (Sydney, Australia): The gallery’s focus is on the art of today.
There are a number of programs for young children, Indigenous workshops and support
for teachers. www.mca.com.au
National Gallery of Australia (Canberra, Australia): International collection with a major
collection of Australian art including representation of Aboriginal art. http://nga.gov.au/
New Zealand art galleries

Auckland War Memorial Museum: One of the most significant Māori and Pacific collections
in the world. www.aucklandmuseum.com
Te Papa Tongarewa Museum of New Zealand: New Zealand's national museum. http://
tepapa.govt.nz/pages/default.aspx
International
ArtCyclopedia: A searchable guide to the great art museums and artists of the world. www.
artcyclopedia.com/museums-int.html
British Museum: Houses a huge collection of world art and artefacts. The database can be
searched online. Curator’s Notes provide some background. www.britishmuseum.org
Kyoto National Museum (Japan): The main collection is of Japanese traditional arts that
includes short background accounts of the featured artefacts. www.kyohaku.go.jp/eng/
index.html
Louvre Museum (Paris, France): This is one of the great museums of the world. Under the
‘Learning About Art’ tab are useful resources. www.louvre.fr/en
National Palace Museum (Taipei, Taiwan): This is the national arts museum of the Republic
of China. It has the world's largest collection of Chinese artworks and artefacts. www.
npm.gov.tw/en
Online Museum Resources on Asian Art (OMuRAA): This is a good site to begin researching
the art of different Asian countries. It can be searched by topics for teaching. http://
afemuseums.easia.columbia.edu/cgi-bin/museums/search.cgi
Quai Branly Museum (MQB) (Paris, France): Devoted to the artworks of Indigenous cultures
and civilisations, this museum’s website is comprehensive and informative. www.
quaibranly.fr

Solomon R. Guggenheim Museum: This art museum has compiled a range of online
resources for teachers based on children’s exploration of artworks. www.guggenheim.
org/new-york/education/school-educator-programs/learning-through-art
The Art Institute of Chicago: The art collection can be browsed online by categories. There
are online resources for teachers. www.artic.edu/aic
Vatican Museum: One of the great museums of the world. Use the ‘Masterpieces’ link to
view different collections. http://mv.vatican.va/3_EN/pages/MV_Home.html
Music and film clip collections

Arizona State University: Provides links to open-access online audio collections. http://
libguides.asu.edu/content.php?pid=16129&sid=119905
Australian Screen: An education collection of over 1000 film clips with teachers' notes.
This wonderful resource has been created from the collections of the National Film and
Sound Archive, The National Archive of Australia, the ABC, SBS. http://australianscreen.
com.au/education
Classical Music Archives: A huge resource of classical music files in MIDI, MP3, or WMA
streaming file formats. Free subscription. www.classicalmusicarchives.com
Global Music Archive: Open-access to sound recordings of songs and music from
Indigenous communities in Africa and the Americas. www.globalmusicarchive.org
National and Indigenous broadcasters

ABC: Australian public broadcaster. A searchable site that includes arts-related news items,
podcasts and videos. Resources can be purchased from the online shop. www.abc.net.au
Māori Television (New Zealand): The website includes arts-related news items, podcasts
and videos. www.maoritelevision.com
NITV National Indigenous Television (Australia): The website includes arts-related news
items, podcasts and videos. www.sbs.com.au/nitv
WITBN World Indigenous Television Broadcasters Network: A site with links to member
organisations. www.witbn.org
Chapter references
Barrs, M., Barton, B. & Booth, D. (2012). This Book Is Not About Drama … It’s About New Ways to Inspire Students.
Markham, ON, Canada: Pembroke Publishers.
Bell, D. (2012). Talking About Art with Young People: Conversational Strategies for Aesthetic Learning in
Early Childhood Settings. International Art in Early Childhood Journal, 3(1), 1–17. Retrieved from http://
artinearlychildhood.org/journals/2012/ARTEC_2012_Research_Journal_1_Article_1_Bell.pdf
Chambers, A. (2011). Tell Me (Children, Reading and Talk) with The Reading Environment. Jackson,
MS: Thimble Press.
Eckhoff, A. (2008). The Importance of Art Viewing Experiences in Early Childhood Visual Arts: The Exploration
of a Master Art Teacher’s Strategies for Meaningful Early Arts Experiences. Early Childhood Education Journal,
35, 463–472.
Mezirow, J. (1990). Fostering Critical Reflection in Adulthood: A Guide to Transformative and Emancipatory Learning.
San Francisco, CA: Jossey-Bass.

317
CHAPTER THIRTEEN
Learning experiences
across the age groups
Chapter Objectives
So far in Part 2, we have examined the five arts subjects of Dance, Drama, Media
Arts, Music and Visual Arts and the types of making and responding activities in
each of these subjects that contribute to children’s education. In this chapter, we
look at each age group and suggest the types of arts learning experiences from the
five Arts subjects that would be relevant to that age group.
The age groupings are:
• age 0–2
• age 3–4
• Foundation to Year 2 Primary
• Year 3 Primary.

EYLF: AGE 0–2
DANCE
FOCUS
The focus for Dance involves whole body movements and explorations of movements, including
spatial dimensions such as over and under, up and down, big and small; ways of moving
(rolling, kicking, jumping, bouncing); and body parts (wiggling fingers, nodding head, tapping
feet). Interpretation through movement such as buzzing like bees, stomping like giants,
wriggling worms; moving to the rhythms of music; clapping to nursery rhymes and jingles.
TYPE OF ACTIVITIES
Infants: These children need daily, supervised opportunities to lie on the floor and freely
move their limbs. Educators interact with these infants by modelling and mimicking
movements. They also engage in movements with the baby such as holding their hands and
patting them together or bouncing and rocking him or rocking with him.
Toddlers: Play a selection of music throughout the day to signal specific times such as
lunchtime. During transitions such as moving indoors and outdoors, engage children in
movements like stretching, bending, tip toeing, fast steps, slow steps, and nodding head.
Provide movement challenges in the environment such as crawling tunnels, low benches
and mazes.
Read and tell stories and nursery rhymes that have action components which toddlers
can do. Explore movements through activities such as reaching for the stars, waving arms
like trees in the wind, hiding from the wicked witch and making themselves as big as a giant.
Take crocodile walks and walk around the world (around hoop on the floor).
Introduce short dance sessions in which toddlers move to music, song, or percussive
beat. Have some props such as scarves, twirly skirts, ribbons, to enhance expression and
exploration of movements. A group of children can hold onto a piece of lightweight fabric
and move it up and down in time to the music.

CHAPTER 13: LEARNING EXPERIENCES ACROSS THE AGE GROUPS 319
EYLF: AGE 0–2
DRAMA
FOCUS
Dramatic play is a key to how children in this age group engage in drama. Babies and
toddlers are keen observers and enjoy mimicking and trialling behaviours, actions and roles
they see in their environment or learn through songs and stories.
TYPE OF ACTIVITIES
Infants: Sensory explorations with blocks, bowls, cardboard tubes, soft toys. At about
seven months of age an infant will respond when asked to ‘Give teddy a hug’. This is an early
indication of engagement in role-playing of social behaviours.
Toddlers: Young children will explore wearing hats, carrying bags, draping fabric, and move
with intention. These explorations may appear as copying but close observation reveals
imaginative interpretations.
Mirrors placed at child height encourage further exploration of facial expressions,
movements and imaginary play to teach teddy how to dance, touch its nose and wear
its hat.
At this age children will use household equipment to improvise in their imaginary play.
Two cardboard rolls are taped together as binoculars, an old spectacles case becomes a
mobile phone, an upturned child’s chair becomes a cubby or a car.
They will begin to enact conversations with finger puppets. They will also use simple props
to play being someone else engaged in an activity such as making tea or fixing the car.
Usually children are engaged in solitary play or parallel play (playing in the vicinity of
others but not playing together) though sometimes they will interact in short bursts.

EYLF: AGE 0–2
MEDIA ARTS
FOCUS
Infants and toddlers are provided with opportunities to explore pictures as ways of telling
stories. Stories being told in a sequence of images is an important focus.
TYPE OF ACTIVITIES
Infants: A photobook with photos of the baby on each page can be the basis for activities
where the baby is encouraged to point to eyes, ears and nose. Similarly, photobooks
or posters showing the infant engaged in a variety of daily activities form the basis for
observations and interactions.
Toddlers: These children can arrange pictures in sequences to tell stories. With guidance,
they can take photos of flowers in the garden, their favourite toys and other meaningful
things in their environment. With guidance, they can select the photos they want printed or
downloaded. They can arrange images and vocalise about what they represent. Images can
be sorted into sequences such as the beginning, middle and end of the day. The educator can
add labels accordingly.

EYLF: AGE 0–2
MUSIC
FOCUS
Infants and toddlers are provided with many opportunities to listen and respond to
sound patterns in speech, stories, rhymes and music. These can be both incidental
and planned. They sing and chant rhymes, repetitive phrases from stories and well-
known children’s songs. They are invited to respond with relevant gestures, actions and
movements.
TYPE OF ACTIVITIES
Infants: Sing to babies during daily practices like changing nappies and during feed times.
Use specific music to mark changes in the day’s routine, for example, lullabies to signal nap
time. Consider the cultural diversity of your group to select lullabies. Play music for infants’
enjoyment. When doing this select different types of music that is played with different
instruments and changes in tempo and beat. Avoid discordant music which children find
unsettling. Make sure you acknowledge babies’ responses to music. You can do this through
your facial expressions and gestures, and by repeating their vocalisations. The immediate
environment is a source of sounds so invite children to listen to the rain, the wind, the
passing traffic, birds and insects.
Toddlers: Provide simple or home-made percussion instruments such as a plastic drink
bottle filled with rice, empty tins, wooden spoons, metal bowls, cardboard tubes, and sleigh
bells along with one or two tuned percussion instruments such as xylophones, with strikers.
Model beating drums or using shakers in time with music.
Teach children songs and rhymes. Sing songs incidentally throughout the day. For
example, sing songs during pack away time, before lunch, during hand washing, and when
getting ready for home.

In small groups and for short time span (two minutes) children can listen purposefully to
music and clap hands in time with the beat. These children should be encouraged to indicate
which music they like to hear (as they begin developing early musical discernment and
appreciation).
Examples of instruments or posters of musical instruments can be referred to while
music is playing. There should be opportunities for children to see real instruments being
played in the early childhood centre.
Explore the emotive quality of music: tinkling high notes on the keyboard for the fairies,
butterflies and raindrops; low notes for big bad giants, thunder and trucks. Play gentle music
for putting teddy to sleep and a variety of music for dancing.

EYLF: AGE 0–2
VISUAL ARTS
FOCUS
Infants and toddlers are provided with many opportunities to undertake two-dimersional
visual arts explorations as they draw, paint and collage with coloured papers. These are
ways for children to engage in two-dimensional forms of the Visual Arts. Constructions
with wet sand, found objects, clay and play dough are opportunities for three-dimensional
explorations.
TYPE OF ACTIVITIES
Infants: Opportunities for sensory exploration are the focus for infants. Textured items,
varied colours and different shapes encourage this so select toys, equipment, and materials
accordingly. Note that commercial toys and equipment offer a narrow range of these options
through the preponderance of bright colours and plastic surfaces.
There should be multiple opportunities for infants to experience and explore a variety of
environments and weather conditions. Supervised sandpit and water play are introduced.
Toddlers: Children of this age enjoy finger painting and painting with large brushes. They
enjoy painting outdoor walls and doors using water and large brushes. Large chalks, an
outdoor blackboard or pavement encourages exploration of texture and scale.
With supervision children can create collages by using a glue stick to glue torn paper onto
plain paper or cardboard. Avoid using commercial cut outs and shapes.
To encourage drawing, tape paper to children’s tables or on the wall. Alternatively provide
sturdy pieces of cardboard or card from cereal boxes which are easier to manage than paper.
Use large wax crayons.
Maintain a clay table and provide play dough in a variety of colours. Children should be
encouraged to manipulate these materials in a variety of ways. For example, squeezing,

pinching, rolling and shaping. Small rolling pins, cookie cutters and pop-sticks (for cutting
play dough and clay) extend this exploration.

EYLF: AGE 3–4
DANCE
FOCUS
Children are provided with ongoing opportunities for whole body movements and
explorations of movements, including more challenging spatial dimensions such as around,
through, next to, back to back and across. Dancing individually, with a partner or in small or
class groups. Practise controlled movements such as jumping, reaching, spinning, hopping,
bending, twisting, skipping.
TYPE OF ACTIVITIES
Teach children traditional singing games and circle dances such Ring-A-Ring O’ Roses, Five
Little Monkeys, Bluebird Bluebird, Okki Tokki Unger and songs with actions.
Use current interests to explore movements, for example, spider and lizard movements,
the wind, and rolling waves.
Props such as hoops, scarves and ribbons extend explorations. Children can hop in and
out of, crawl or tip toe around hoops on the floor. They hold scarves and move them as they
dance; or twirl and spin ribbons on a stick as they step to the beat.
At this level children can invent, remember and perform dances with a few different steps
in sequence. They can learn traditional steps of dances from around the world. Variations
in music encourage interpretation and expression. Play music to children from the classical
repertoire, world music and popular music that is appropriate for this age.
The cultural diversity of your classroom will be a valuable resource for traditional
children’s dances and singing games. These introduce different beats, rhythms and
subjects.

EYLF: AGE 3–4
DRAMA
FOCUS
Imaginary play is a very strong favourite and is usually a mixture of real-life and fiction.
Dramatic play in-role is evident and children play being the nurse, gardener, parents, babies,
characters from stories, and significant others in their lives. Dress-ups and simple props
encourage dramatic play. At this level children play the character of puppets with changes
of voice, they speak in an angry, gruff voice for the big bad wolf, and a frightened, squeaky
voice for grandmother.
TYPE OF ACTIVITIES
Children use commercial and home-made puppets (sock puppets, stick puppets, and glove
puppets) independently. Shadow puppets are always a favourite. Children can invent
their own stories or re-play their favourite stories. Puppets can also ‘sing’ favourite songs.
Introduce puppet traditions by showing examples from around the world and noting their
features.
Provide props and equipment for dramatic play such as large boxes, old sheets, cushions,
and dress-ups. Encourage the use of indoor and outdoor areas.
When reading stories to children, conclude the sessions by involving children in miming
the actions of the characters and giving attention to movement and gesture. Alternatively,
invite children to act a scene from the story giving attention to vocal expression in
character.
When listening to a story, invite children to join in with repetitive refrains such as, Run,
run, as fast as you can! You can’t catch me, I’m the Gingerbread Man! Encourage them to respond
to directions for the type of voice; whisper, loud, sad, tired, happy or lonely.
Invite children to dramatise short interchanges between characters, for example, the
episode in Tikki Tikki Tembo when the second son has run up the steep hill to wake up the
old man and is trying to say his elder brother’s long name.
Choose children’s literature which introduces varied cultural experiences such as
Indigenous stories and folktales from around the world.

EYLF: AGE 3–4
MEDIA ARTS
FOCUS
Children can learn to take their own photos and organise them. Sequencing is a focus. With
assistance, children make picture books by creating the drawings or photographs and deciding
on the sequence that tells the story. Another focus is the way information is communicated
in pictures and words. Children have opportunities to create ‘posters’, ‘advertisements’ and
‘notices’ that communicate information such as the name of their ‘shop’ or Goldfish for Sale.
TYPE OF ACTIVITIES
Sequence photos to tell the story of the day’s activities with ‘pre-writing’ and ‘emergent
writing’ captions or comments.
Children can take or collect photographs of a significant adult in their life and organise
these into a photo folder.
Hold whole or small group guided discussions of picture book covers and illustrations to
develop understandings of how pictures tell stories. Encourage children to bring ‘junk mail’
for discussion in the home corner and for use in dramatic play.

EYLF: AGE 3–4
MUSIC
FOCUS
Children sing songs with predictable structures (verse and chorus) and limited
pitch range.
They use simple percussion instruments such as xylophone, sleigh bells, triangle, clapping
sticks, tambourine and home-made instruments to tap out a beat and rhythm. This can be
to accompany a song.
They clap and step in time to music and songs.
They learn the names of musical instruments including orchestral instruments: drum,
guitar, trumpet, violin, xylophone, sleigh bells, triangle, clapping sticks, tambourine.
They have opportunities to explore the sounds they can make with objects, structures,
and natural resources within the environment, such as sticks run along the fence. They
engage in guided listening activities such as listening to music, listening to the silence and
listening to the sounds in the environment.
TYPE OF ACTIVITIES
Teach children nursery rhymes, songs to accompany transitions or events in the day, action
songs and songs for different purposes such as lullabies and marching songs.
Provide opportunities for children to play home-made instruments (drums, shakers,
maracas, clapping sticks) to accompany songs and to explore different sounds and
combinations of sounds.
Explore repetitive patterns to match word phrases such as Run, run, run as fast as you can.
Play tuned percussion (xylophone) to make simple melodies and to accompany singing.
Explore making music with environmental and household materials and objects, for
example, scrunching baking paper or shaking foil, blowing through a plastic tube into a
bucket or basin of water, running a wooden spoon across a hard, textured surface.
Based on the cultural diversity represented in your class select simple children’s songs and
chants for all to sing.

EYLF: AGE 3–4
VISUAL ARTS
FOCUS
Children engage in a variety of approaches to art-making such as painting, drawing,
printing, collage, construction and sculpture. They represent important relationships, pets,
events such as birthdays and personal interests such as cars, animals and fairy princesses. At
this level, with opportunities and encouragement, most children are demonstrating control
of fine and gross motor skills. They can cut, glue, staple, fold and bend, paint using large and
smaller brushes, print using sponges and gadgets, and manipulate clay and play dough.
TYPE OF ACTIVITIES
Show children how to use different processes such as gluing, tearing and cutting paper and
mixing paints.
Children should know their primary colours and have experienced mixing colours to make
new colours. They should also know about the way adding black and white change colours.
When mixing colours, they should begin to see how changing proportions creates colour
variations.
Use chenille sticks (pipe cleaners), pop-sticks and newspaper rolls for sculptures, and clay
for making animals, bowls and tiles. By pressing textured items into clay tiles for surface
decoration children explore texture.
Lead guided viewing of artworks by renowned artists (with particular attention to
Indigenous and other Australian artists) to stimulate children’s thinking and awareness
of what’s possible with the materials and techniques. Similarly, show artworks related to
themes children are exploring themselves such as transport, celebrations, animals, jungles
and family activities.

AUSTRALIAN CURRICULUM: FOUNDATION TO YEAR 2
DANCE
FOCUS
Children explore, create and perform original movements with attention to developing their
movement vocabulary, spatial awareness, gross motor coordination and imaginative expression.
At this stage, children can combine two or three movements of their own devising into a
repetitive sequence to create and perform a dance. They can keep in time with the music and
co-ordinate movements with their partner.
They have opportunities to perform in front of each other and invite responses. As
audience members, they articulate the way dance elements have been used.
Utilise video clips of different dances to expand children’s ideas about dance movement
and styles.
Use this link to view Australian Curriculum Dance work samples:
https://www.australiancurriculum.edu.au/f-10-curriculum/the-arts/dance/
example-of-knowledge-and-skills/.
TYPE OF ACTIVITIES
Devise activities that focus on different dance elements and assist children to expand their
dance vocabulary and capacity to express ideas, experiences and feelings through dance.
Create scaffolded choreography opportunities where children explore: ways of jumping,
hopping, skipping, leaping, spinning; spatial terms such as over/under, sideways, up/down,
low/high; and ways of moving such as wriggly, jerky, stiff, and floppy. Use music, hoops and
long ribbons to extend the experience. They can create a sequence of movements with a
partner and perform to the whole group.
Develop dances by exploring movements for characters in traditional children’s tales and
picture books (sneaking like the fox, striding like a giant).

Show examples from Bangarra Dance Theatre of dances inspired by animal totems and
myths such as Mutton Birds, Moth and Brolga (https://www.youtube.com/watch?v=mfF_
NquI2RM) as the basis for children exploring animal movements.

DRAMA
FOCUS
Children act out fictional roles and explore voice, movement and character. As performers,
they learn about focus and tension. They learn to be an audience by responding to
performances and identifying the main idea of the drama.
Use this link to view Australian Curriculum Drama work samples:
http://resources.australiancurriculum.edu.au/work-portfolios/
the-arts-drama-satisfactory-foundation-to-year-2.
TYPE OF ACTIVITIES
Explore fictional characters in role using children’s literature as a provocation. Select stories
that have characters with a desire, intent or problem to be addressed. For example, John
Brown, Rose and the Midnight Cat by Jenny Wagner, The Magic Fish (traditional tale), Tikki
Tikki Tembo by Arlene Mosel, Aesop’s Fables.
Use Indigenous stories such as My Home Broome by Tamzyne and Bronwyn Houston and
Dingo Tree by Gladys Milroy and Jim Milroy to explore the natural world by using the TiR
process.
Create improvisations in fictional settings by drawing on children’s interests and the
events in their lives. For example, if children have been playing ambulances and emergencies
then a situation for improvisation might be the hospital, the staff and the patient.
Perform puppet plays using traditional stories with archetypal characters (witch, giant,
dragon, fairy, wolf and the innocent such as a lost child, little pig or duckling); or community
occupations and roles (shopkeepers, dentist, doctor, librarian, art gallery guide, swimming
coach). Pay attention to expressive voice and gesture.
Mime stories and act out messages or news using movement, gesture and expression.
Create tableaux (frozen pictures and sculptures made with their bodies) using paintings,
stories and scenarios as provocations. Children work in pairs with one child acting as a
sculptor and moving the partner into a position and shape that shows a range of different
emotions such as anger, curiosity, timidity, fear and excitement through body language.
Bring Visual Art works such as An Image of Beach Umbrellas by Nancy Kilgour to life by
acting out what is happening in the scene and what might happen next.
Respond to Who, what, when, where, why, how and whom guided discussions of class
and group performances. View video clips from dramas such as Wind in the Willows,
Finding Nemo, Babe and Charlotte’s Web to explore how drama elements are used to
communicate ideas.

MEDIA ARTS
FOCUS
Children tell stories in different formats such as a sequence of photos and comic strips. They
make posters for a school or classroom event, or current curriculum focus and create digital
stories using PowerPoint. Children learn to read and respond to images with attention to the
message and the use of conventions such as colour, size, and position to convey the message.
Use this link to view Australian Curriculum Media Arts work samples: http://resources
.australiancurriculum.edu.au/work-portfolios/the-arts-media-arts-satisfactory-foundation-
to-year-2.
TYPE OF ACTIVITIES
Children use a storyboard to develop comic strips to tell one of Aesop’s Fables or any action
story. Children learn and apply the conventions of comics such as episodic images in boxes,
speech bubbles, graphic symbols (such as strokes to suggest movement), close-up of key
action and stylised characters.
Children create photo stories to explore sequencing and the way images communicate.
They use cameras to take photos of events such as a trip to the zoo, lunch routine, hatching
eggs, or shadows throughout the day. They learn to print these and then arrange them in
the correct sequence. They use the images to recount the events to the class, to create a
storybook or to make a display chart.
Children create posters for events happening in the learning environment such as cake
stall, school assembly, parents’ night, Book Week and sports carnival. They pay attention
to the key message and necessary information to capture the audience’s attention and
participation. The layout principles discussed in Chapter 9 should be learned.
Painted sequences of images that tell a story can be uploaded and used as the basis for
making a digital storybook using PowerPoint software. A voice-over can be recorded and
text added. Stories can be a retelling of the stories in children’s books including Indigenous
stories, a re-creation of a drama improvisation they have developed or stories based on
natural processes such as the phases of the day or themes such as friendship.
Use video clips of films such as Babe from Screen Australia’s website to explore the use of
codes and conventions.

MUSIC
FOCUS
Children improvise, compose, arrange and perform simple musical compositions. They
are beginning to identify and employ rhythm, pitch, dynamics and expression, form and
structure, timbre and texture in their own compositions. They can create graphic scores to
record their musical compositions and share them with others.
Children have opportunities to be composer, performer and audience. They participate
in guided listening where they consider their response to the music, the structure of the
music and give reasons for their observations. They learn about different types of music, the
reasons why people make music, and how music is part of important events.
Use this link to view Australian Curriculum Music work
samples: http://resources.australiancurriculum.edu.au/work-portfolios/
the-arts-music-satisfactory-foundation-to-year-2.
TYPE OF ACTIVITIES
Provide opportunities to clap the beat while listening to classical musical, lullabies from
around the world, and children’s songs.
Children chant well-known, everyday phrases and combine these to compose a ‘song’,
such as, ‘Story time, Story time, I love stories!’ Children clap and use tapping sticks, wood
blocks and drums to play the beat.
Learn songs from different cultures. Children can sing songs with several verses or songs
in other languages.
Practise dynamic variations (volume) and changing tempos (speed) while singing
favourite songs.
Play a simple tune on tuned percussion instruments.

Create short sequences of notes (compositions) and use a graphic score to record these on
paper. Children can play, record and share their compositions with others.
Create soundscapes for Visual Art works using their own artwork and that of acclaimed
artists.
Watch video clips of orchestral performances and identify music elements (dynamics,
tempo, timbre and duration). Identify and describe the sounds of the instrument
families, for example, the strings (e.g. violin), wind (e.g. trumpets), and percussion
(e.g. drums).
Children participate in guided listening to a range of music (orchestral, jazz, folk music)
and express interpretations verbally, through painting, and by moving.

VISUAL ARTS
FOCUS
At this age children are developing the ability to reflect on their work as it unfolds. They
have an end product in mind and will make decisions about their arts practices, materials,
techniques and use of the Arts elements to convey their ideas. They continue to learn
about and apply a range of two and three dimensional Visual Arts processes, paying greater
attention to their craftsmanship. Observational drawing can be introduced. Guided viewing
of artworks by acclaimed artists is an essential dimension of the program as children are
developing a sense of being part of a wider world.
TYPE OF ACTIVITIES
Children participate in observational drawings of everyday objects and living and non-living
things such as flowers, insects, shells and bird nests.
They create shared or group drawings or collages of class events, patterns, favourite
outdoor activities, machines and the park.
Provide opportunities for self-initiated paintings and purposefully designed painting
sessions to explore and develop skills and understandings such as mixing secondary colours
and overlapping shapes.
Build using simple construction techniques.
Participate in viewing sessions of the artworks of acclaimed artists both 2D and 3D can
be the basis for artistic creations by children.
Use this link to view Australian Curriculum Visual Arts work samples:
http://resources.australiancurriculum.edu.au/work-portfolios/the-arts-visual-arts-
satisfactory-foundation-to-year-2.

AUSTRALIAN CURRICULUM: YEAR 3
DANCE
FOCUS
Children are choreographing and performing dances individually, with a partner, in small
groups, or all together. They explore ways of using their bodies and movements to interpret
concepts and ideas, to tell stories, to respond to events, and to express feelings. They
are becoming more aware of themselves in space and use different body parts to ‘lead’
movements. They explore levels, directions, timing, and dynamics such as smooth, jerky,
heavy and sudden to extend their movement vocabulary. They experiment with using
objects and props to extend movement and choreographic possibilities. Children can video
their dances and describe them in terms of their use of the vocabulary of dance. They can
make critical evaluations and suggest changes. In reviewing dances by acclaimed artists, they
consider them in terms of their historical, cultural and social contexts and articulate their
personal preferences.
Use this link to view Australian Curriculum Dance work samples: http://resources.
australiancurriculum.edu.au/work-portfolios/the-arts-dance-satisfactory-years-3-and-4.
TYPE OF ACTIVITIES
Use warm-up activities to explore how the body moves such as curling up like a sleeping cat,
twisting like a rope, jumping on imaginary dots, shivering in the cold.
Explore movements for characters in picture books and combining movements in a
sequence to create a ‘character dance’ or create movements for each event in the story and
perform the sequence of movements to tell a ‘story dance’.
Create movements to express concepts from other curriculum areas such as the seasons,
the phases of the moon, friendship, division and multiplication, sporting activities and the
life cycle of insects.

Create dances based on poems such as Aboriginal author, Jack Davis’ poem Need.
Create movement interpretations of acclaimed visual artworks and music. Their own
musical compositions can be developed into dances.
Undertake guided review of acclaimed dance companies and dances including traditional
dances from children’s cultures of origin. Attention is given to different beats, rhythms,
costumes and the universal practice of dance to celebrate and mark different socio-cultural
events. Children are encouraged to consider how ideas are conveyed through the dance, and
how dances reflect their historical, cultural and social contexts. Children articulate their
personal preferences and explain why this is so.

DRAMA
FOCUS
Children are learning how ideas and intentions are communicated in and through drama.
They participate in process-drama as well as improvisations, puppetry and mime. In their
drama performances they engage with role, character and situation with conviction. They
select and perform with suitable voice, movement, gesture, and posture. They are developing
an awareness of performing to an audience and holding the audience’s attention. They
use story structure to create dramatic performances and in their scripts, are showing an
understanding of how focus, tension, space and time shape dramatic action. In small groups,
they perform for each other. There are opportunities to perform to other audiences such as
parents or children from other classes.
Opportunities to reflect on performances encourage children to articulate the way the
dramatic language is employed to carry the dramatic action.
Use this link to view Australian Curriculum Drama work samples: http://resources.
australiancurriculum.edu.au/work-portfolios/the-arts-drama-satisfactory-years-3-and-4.
Use this link to view Australian Curriculum Drama work samples: http://resources.
australiancurriculum.edu.au/work-portfolios/the-arts-drama-satisfactory-years-3-and-4.
TYPE OF ACTIVITIES
Explore character and plot development. Use children’s literature and personal stories to
explore role, characters, relationships with other characters and sequence of events.
Conduct interviews in role as TV interviewer. Interviewees can be characters from
favourite stories, or spokesperson for a school event.
Engage in process-drama using Mantle of the Expert (MoE) or Teacher-in-role (TiR)
procedures.
Play dialogue games with a partner to explore and express their relationships with other
characters.
Use stories as frames for exploring themes and extending the drama beyond the
original story drama.
Perform mimes for the ‘secret action’ or ‘emotion’ shown on a card. Use mime games and
‘freeze frames’ to develop focus and concentration.
Perform plays based on traditional stories.
Review video clips of staged productions of stories such as Wind in the Willows and
verbalise observations about characters, plot, costumes, lighting and timing. Write short
critical reviews of these dramatic performances.

MEDIA ARTS
FOCUS
At this level children can use the conventions of several different media forms (comics,
digital storybooks, posters and book covers) to convey information or tell stories. They can
distil a story into a book cover to capture essential features. They employ layout principles to
establish hierarchies of information such as the main message and supporting details. They
explore and use symbolic codes such as costume/attire to suggest character, historical time,
and occupation. In photographs and other visual images, they explore and use camera angle
(tilted up or down) and shot type (close-up, wide angle) to carry the message.
In reviewing media products children determine whether design choices effectively
convey the message or author’s intention.
Use this link to view Australian Curriculum Media Arts work samples: http://resources
.australiancurriculum.edu.au/work-portfolios/the-arts-media-arts-satisfactory-years-3-and-4.
TYPE OF ACTIVITIES
Use story boards to plan digital stories with attention to characters, setting, story arc,
introduction and conclusion.
Employ graphic conventions to design posters and book covers that convey key messages.
These can relate to other areas of the curriculum or current preoccupations.
Caption photographs or create photographic essays by organising photographs in sequences.
Create comic strips that have social messages or tell historic stories.
Design digital storybooks that include the use of digital effects such as transitions,
animation, voice-over, music, and timed release of information. Recast traditional stories by
changing characters, time and location. Create stories with a social message (e.g. accepting
difference) using toys or animals as characters.

Make short videos and animations that extend the experience of visual narratives.

MUSIC
FOCUS
Children have opportunities to continue developing their aural skills to discriminate pitch,
rhythm, dynamics and beat. They compose and perform original work using basic notation
and graphic scores with attention to beat, rhythm, dynamics and expression. They respond
to classical, contemporary, and experimental music and music from a variety of cultures with
particular attention to Indigenous cultures and cultures of origin represented in the class.
Children have ongoing opportunities to listen to a variety of music and songs with attention
given to its social, cultural and historical contexts. They should be able to recognise different
instruments and musical structures. They can express their appreciation and interpretation
of the music through conversations, written reviews and creation of their own artworks.
Use this link to view Australian Curriculum Music work samples: http://resources.
australiancurriculum.edu.au/work-portfolios/the-arts-music-satisfactory-years-3-and-4.
TYPE OF ACTIVITIES
Create compositions of rhythmic speech ensembles using words and phrases from topics of
personal interest and other curriculum Learning Areas.
Use body percussion as well as instrumental percussion to create rhythmic patterns.
These can be recorded using personal or standard notation.
Make visual interpretations of classical and contemporary music.
Compose using standard notation or personal forms of notation with invented symbols.
Sing songs from a variety of cultures that extend children’s pitch musical discrimination.
Compose musical compositions experimenting with a variety of arrangements.
Practise repetitive ostinato patterns clapped or chanted or played using a non-tuned
percussion instrument such as a drum or clapping sticks.

Participate in guided listening to develop musical appreciation. While listening, children
can respond by using their graphic notation skills to record the melody. They can record the
dynamics of the music by using standard musical symbols to show loud (forte), soft (piano),
slow, fast, smooth (legato) and sharp and quick (staccato).
Children create soundscapes as interpretations of the work of acclaimed visual artists and
their own artwork.

VISUAL ARTS
FOCUS
Children at this age are increasingly interested and engaged in representing the world
around them. They have a greater appreciation of the potential of materials, techniques and
technologies. They are developing a stronger sense of craftsmanship and desire to emulate
the types of art-making they see around them. Increasingly they are encouraged to draw on
their observations of the physical and social world, and to plan their own interpretations.
Children can mix secondary and tertiary colours of different values and use these
purposefully in their paintings. They are also developing an understanding of foreground
and background. They can overlap shapes in paintings to show depth.
Use this link to view Australian Curriculum Visual Arts work samples:
(http://resources.australiancurriculum.edu.au/work-portfolios/the-arts-visual-arts-
satisfactory-years-3-and-4).
TYPE OF ACTIVITIES
Undertake observational drawings of items and features of the natural and manufactured
world such as bicycles, fruits and vegetables, shoes, buildings, trees, plants and insects.
Use print making techniques such as glue prints, cardboard, string and mono prints.
Make two-colour prints and small editions.
Create artworks based on guided viewing of the subject matter and techniques of
acclaimed artists such as Andy Goldsworthy, Van Gogh, Henri Rousseau and Emily Kame
Kngwarreye.
Make three-dimensional constructions with a variety of materials such as clay pots using
a coil technique, papier mâché and newspaper sticks. Make masks, creatures, people and
abstract sculptures.
Make three-dimensional constructions from found and discarded objects and materials.
Explore Surrealism and make surrealistic collages by combining different visual features
cut from magazines.
Create patterns on canvases taped to the ground after learning about the Indian festival
tradition of Rangoli where patterns are created on floors using coloured rice, sands or petals.
Build coil pots and pattern the surface by pressing textured objects into the surface.

SUMMARY
When designing programs of learning in the Arts, it is important to have an idea of
what children can achieve at different ages and how their learning can be progressed in
meaningful ways.
This guide is based on information about different types of arts processes outlined in
the previous chapters and what we know children can achieve. However, like all learning,
children’s achievements are determined by what experiences they have had previously. You
will find children aged three who can name primary colours and predict the colour they will
make when they mix two primary colours together. You will also find children aged five who
cannot do this. Inevitably this discrepancy is not about children’s ability but about the quality
of their education.

Part 3
THE PROFESSIONAL AT WORK
The environment must be rich in motives which lend interest to activity and invite the
child to conduct his own experiences.
Maria Montessori
Part 3 has three chapters which ‘map’ the dynamic and ongoing cyclic practices educators employ to
create and sustain good quality arts learning contexts. These practices reflect the child-centred, play-
based and open-ended approaches to learning advocated by early childhood philosophy, theory, principles
and practice.
Pedagogy, or the way you teach, is the focus of Chapter 14. In this chapter, we describe and explain
some specific Early Childhood pedagogies educators employ to create quality play-based learning arts
experiences and arts-based learning environments.
We examine how the environment is a provocation for learning and how carefully planned and
managed environments encourage children to use their initiative to investigate, explore, experiment
and question their ideas to reach understandings and make meaning of their world. We also review
purposeful play, intentional teaching, specific coaching, demonstrations, listening and purposeful
dialogue as pedagogies that support children’s learning through planned and deliberate interactions.
Monitoring, documenting and assessing learning is an important component of the early childhood
learning advancement cycle. In Chapter 15, we examine how educators observe children’s participation;
interpret and assess children’s learning in terms of learning outcomes (EYLF); or assess progress towards
the attainment of achievements standards in the school curriculum (ACARA); reflect on the effectiveness
of their planning; and report learning progress to parents and stakeholders. Reports of learning progress
and achievement can take the form of Learning Stories that capture the narrative of the child’s lived
experience of learning and what it means in terms of their learning journey.
Planning and implementing arts learning programs are critical components of the early childhood
learning advancement cycle practised by educators. The purpose of planning is to create pathways
for children to move towards meeting proposed learning outcomes (EYLF) or achievement standards
(ACARA). Educators in Early Childhood centres and kindergartens plan their learning experiences with
reference to the Early Years Learning Framework (2009). Educators in the Foundation and Primary
Years of schooling plan arts learning programs with reference to the Arts Learning Area in the Australian
Curriculum or the state or territory curriculum derived from the Australian Curriculum. Planning is
reviewed in Chapter 16.


341
CHAPTER 14
Arts pedagogies
Educators’ pedagogical decisions are crucial to understanding the
provision of an exemplary arts enriched program …[T]he way the educator
sets up the learning environment, the types of art-making experiences, the
repeated opportunities and the educator’s interactions with the children
influence learning outcomes.
Wendy Boyd and Lexi Cutcher
Chapter Objectives
This chapter aims to explore some specific Early Childhood pedagogies that engage
children in rich and meaningful authentic arts experiences. These are:
• creating learning environments
• play environments as provocations for learning
• purposeful play
• intentional teaching
• listening and conversing with children.
Introduction EYLF
EYLF: Glossary of terms
Pedagogy refers to the actions you take in your role as an educator
Pedagogies: practices that are intended

to promote children’s learning. While a shorthand way to think to promote children’s learning … early
of pedagogy is that it is how you teach, in fact pedagogy refers to childhood educators’ professional
practice, especially those aspects
a broader range of decisions and actions that influence children’s
that involve building and nurturing
learning experiences. relationships, curriculum decision-
Pedagogy is shaped by educational philosophy that has been making, teaching and learning (2009,
crafted from the knowledge and understanding of early childhood p. 46).
education philosophies, educational theories and principles of
learning. It applies to the way you plan and document learning,
the way you establish and maintain relationships of care and respect with all members of
the learning community, the way you create rich learning environments, and the way you
interact with children to foster their belonging, being and becoming.

342 PART 3: THE PROFESSIONAL AT WORK
The EYLF promotes a play-based approach to learning and the Arts Learning Area in the
Australian Curriculum extends this as a child-centred approach to learning. This is because
of the efficacy of educational practices that ‘systematically integrate the play element into the
curriculum in carefully structured ways that simultaneously engage children’s enthusiasm
and provide scope for children’s own initiative and creativity’ (Nicolopoulou, de Sá, Ilgaz, &
Brockmeyer, 2010, p. 42).
Within both a play-based approach and a child-centred approach to learning in
and through the Arts, the variety of relevant pedagogies include creating the learning
environment, planning environments as learning provocations, staging purposeful play,
utilising intentional teaching strategies such as specific coaching and demonstrating,
listening and responding to children’s talk, engaging in purposeful dialogue with children,
and encouraging their reflective thinking to enhance and enrich their learning. At the core of
all pedagogies is the educator’s intention to:
• create pathways or opportunities for learning
• observe and engage with children to support them as they learn
• look for indicators or evidence of learning and development, and
• plan future learning experiences that build on children’s achievements, interests and
passions.
EYLF Creating environments

EYLF: Outcome three
[I]n a supportive active learning
for arts learning
environment, children who are confident
The learning environment has been called the ‘third educator’ or
and involved learners are increasingly
able to take responsibility for their the ‘silent teacher’ because of its significant influence on learning.
own learning, personal regulation and In characterising the environment in this way, we think not only in
contribution to the social environment terms of the physical place, equipment and materials, but also the
(2009, p. 33).
social space.
EYLF The ethical and socio-cultural

EYLF: Practice learning environment
…creating physical and social learning
environments that have a positive The early learning centre or school classroom is the locus for children
impact on children’s learning (2009, learning together. In a shared enterprise, children and adults learn
p. 14). from and with each other. In this social space, the aim for educators
is to create an ethical environment where respect is shown to
individuals, the learning community, each individual’s learning journeys, the physical and
natural environment, cultural diversity, and the wider community. In an ethical environment
children can feel safe, secure, respected and valued. In this environment they respond with

CHAPTER 14: ARTS PEDAGOGIES 343
enthusiasm, explore and experiment with wonder and curiosity, and behave towards others
with care and empathy (Noddings, 2012).
Involving children as co-creators of the learning environment builds a shared sense of
ownership that engenders respectful behaviours within the learning community. Children
can easily be involved in decisions about the display of artworks, how to arrange the touch
table and the types of outdoor equipment they would like. Children’s views on what they like
about the shared space and what would be an improvement can also be sought and acted
upon. Involving children in the preparation, clean-up and pack away procedures for all arts
experiences is a full-circle approach to activities that is congruent with sustainability principles.
(Children learn to be responsible for the mess they make and for using materials prudently.)
In creating the learning environment, make sure there are places for children to play
quietly, play individually or in groups and engage in a wide range of explorations—from
insects in the garden to fairyland. They should also have a diversity of opportunities to
explore their world such as by participating in music, constructing, dramatic play, drawing
and painting, planting gardens and reading picture books. Establish practices around caring
for tools, equipment and the work created by others. Provide places for children to store
their work safely.
Arts learning experiences are real and vivid contexts for children to learn the protocols of
working together and sharing an environment with others. Children learn and practise how
to co-operate when sharing materials, taking turns with equipment and working together for
a common purpose. They learn how to fill supportive roles such as helping children in and
out of their costumes for a drama performance at the school assembly. When reviewing each
other’s artworks, they learn how to listen to each other, offer critiques, ask questions, make
suggestions and express opinions. In showing respect for each other, consideration is given to
cultural diversity, children’s individual circumstances, their right to learn and their creations.
Authentic arts learning experiences present many opportunities to enrich children’s
interest, enthusiasm, understanding and respect for cultural diversity. Validate children’s
cultures by including references to their cultural heritage when appropriate. To avoid the
‘token gesture’, make sure cultural references are embedded within the context of your arts
learning program. For example, when planning to show examples of woodcut prints from
India and Indonesia as a prelude to children creating prints themselves, remember to explain
the origins and context in which these are produced. This important protocol shows respect
for the work of artists and for the cultural artefacts of diverse cultures.
Respect for the natural world and environment is engendered through sustainable work
practices, caring for tools, using resources in non-wasteful ways, and disposing of rubbish
thoughtfully.
Visits out into the community, visits from community representatives, inclusion of
community resources and events in the program, and explorations of the community
through arts activities about the family, neighbourhood and wider community all engender
attitudes of care and respect, and strengthen children’s sense of belonging.

As educators you have a vital role in establishing and maintaining an ethical environment
for children’s wellbeing and learning. Ways of doing this include:
• leading by example—children learn by listening, observing and copying
• modelling and encouraging protocols of care and respect—such as taking turns, helping
each other, addressing others politely, and taking care of materials and equipment
• helping children learn socially acceptable behaviours by firstly naming the problem and
asking for a possible solution—Reaching across his work interrupts him. Tell me another way
you can get to the clay?
• promoting working with partners or groups when appropriate—this creates a social
context in which children practise negotiating, taking turns, consensus building and
group decision-making
• encouraging the co-creation of the learning environment—by paying attention to how
you involve the children, staff and parents in decision-making processes
• endorsing positive attitudes and behaviours about achievements as children learn to
express their satisfaction, appreciation and pleasure of their artworks and those of others
• modelling protocols and ways of interacting that show respect to different cultures—
showing the soles of the feet in a Muslim community or patting a Vietnamese child on
the head may be considered impolite or even a violation.
INDIGENOUS PERSPECTIVES
Our approach to responding and sharing is collective, avoid singling out one child. For
us it’s not appropriate to feel or think that you are better than others or for anyone to
say that.
Lesley Murray, an Anaiwan woman from Uralla, New South Wales
The aesthetic environment

The attractiveness of the environment, its aesthetic appeal, influences learning. While
our ideas of what ‘attractive’ means varies depending on a number of influences, the
environment should feel like a nice place to be. Importantly, you will find that giving
attention to the appearance of the environment, and creating a positive ambience, optimises
learning.
In the early learning centre or classroom, attending to the aesthetic quality of the
environment should be done with full consideration of the environment as a provocation for
play. This involves attending to variations in colour, arranging furnishings to define spaces,
including variations in texture to add depth, and creating displays that generate interest
(Duncan, cited in Wood, 2015). Remember that the best early childhood environments
are dynamic ones that encourage children’s interactions and engagement. They should be

shaped by children’s needs, interests, and play. Consequently, good quality environments
will be embodiments of children’s presence and learning. Some strategies to enhance the
aesthetic quality of the space include:
• Nature: Have plants inside. Pot plants are an obvious choice, but children can also grow
bulbs on the top of jars filled with water, or broad beans and corn in jars with damp
cotton wool. Outside, children will be invested in the space if they have prepared, planted
and maintained gardens or built their cubbies with natural materials. Include the presence
of animals in your centre. Fish tanks are easy to install and maintain. The colours and
movement of the fish, and the changes of light during the day, add to the sense of
aesthetics and ambience. Plants and animals also provide opportunities for children to
care for something living and keep it alive. This helps develop an understanding about,
and a healthy respect for, living things. Photographing, drawing and painting these
strengthens children’s awareness of them.
• Colour: The commercial world seems to limit the colour range of children’s toys to either
bright colours or soft pastels. Use the environment to extend children’s appreciation of
the rich variations of colours in our world. You can introduce subtle colours through soft
furnishings, fabrics attached to pinup boards, or by hanging lengths of coloured chiffon in
front of windows where their gentle movement in the breeze will create interest. Similarly,
the drama props box can be stocked with clothing in a variety of colours and textures.
Gift wrapping papers and discontinued wallpaper sample books introduce a diversity of
colours, textures and patterns that can be used for collage creations and a range of other
functions.
• Furnishings and spaces as places: The placement of furnishings and equipment
creates pathways for movements and demarcates different zones for different types
of activities. A small bookshelf and a few large, soft cushions and suspended lengths
of fabric can define the reading area. It can also be easily moved, so that the space is
transformed for a movement or drama activity.
• Lighting plays a role in creating ambience: A reading lamp over cushions in the
reading space creates an intimate space where good lighting is needed. Coloured lights
strung above the ‘dress-up’ boxes signal the magic and possibilities of dramatic play.
A few small torches on the ‘touch table’ invite close investigation and coloured lenses of
cellophane paper always generate a point of fascination.
• Textures: An overabundance of synthetic materials on equipment creates an
environment of smooth surfaces and minimal textural variation. While the outdoor
environment introduces the texture of grass, concrete, natural logs, and sand, more
textures can be introduced through fabrics, such as hessian, satin, chiffon and velvet
for dancing or dramatic play. The range of indoor textures can also be enhanced with
soft furnishings and items made of natural materials. A ‘touch table’ displaying natural
materials and objects such as pinecones, sea sponges, sheep’s wool, ears of ripened wheat
and barley, shells and cocoons, invites tactile investigations.

• Displays: Children’s work is displayed to celebrate and acknowledge each individual,

encourage children’s reflections, promote a sense of pride and belonging, give parents the
opportunity to see their child’s work on display, and enable other visitors to appreciate
the work being done. Displays on boards, walls and display cabinets should add to the
aesthetic appeal of your classroom, so give attention to how work is displayed and avoid
clutter. Using windows for display can counter the idea of letting in natural light and
linking the inside to the outside environment. Displaying children’s drama, music and
dance explorations and performances is best done with photos and digital displays or
printed books that are permanently available in the classroom. Assembling simple flat
pack display units enables three-dimensional works to be displayed without taking up
bench space.
Other displays can be designed to introduce children to arts concepts or a theme for
an arts project. Attention should be given to making them engaging, informative and
interactive so children can pursue their interest by reading the books or playing the
educational games provided.
With attention to ambience and aesthetic appeal carefully designed, managed, and
well-equipped indoor and outdoor environments have a significant influence on children’s
attitudes and engagement with arts learning experiences.
The safe environment

In the Arts Learning Area, children work physically with their whole bodies in dance and
drama and manipulate materials and equipment in all five Arts subjects. Keeping children
safe requires careful attention to the following:
1 Warming up the voice for singing and the body for dance. For singing warm-ups, hum,
say vowels with exaggerated facial expressions and sing gentle mid-range songs
before moving on to others. For physical activities, begin with gentle bending and
stretching.
2 The organisation of the centre or classroom with clear pathways between and around furniture.
When setting up the room for an arts process, make sure this is done with a clear work
flow around the room, so children are moving in one direction or are dispersed and
going to different parts of the room for different materials. Storage areas should be
labelled with words and symbols (visual cues) as this caters for those children who need
visual aids.
When planning movement experiences aim to work in areas where children can sit
or roll on the floor surface, and where there is space to move freely. As a rule of thumb,
children should be able to extend their arms in a circle around their bodies without
touching each other. Become familiar with places and spaces in your school environment
that are suitable for movement activities.

Clear and organised work procedures avoid accidents and give children a sense
of security as they participate in the process. Explain steps or components as part
of your introduction to the learning experience and continue to guide children with
demonstrations or specific coaching. For example, show a child how to squeeze the glue
onto the cardboard or how to store scissors safely with the pointy-end down. As children
learn that all artists follow specific procedures, they are developing understandings of the
nature of being an artist.
Take precautions with possible hazards such as corners of benches that may not be
hazardous for adults but can be for children when benches are at head height. Always
make sure you are up-to-date with first-aid procedures in case of accidents.
3 Giving children responsibility with the care, management and storage of equipment and
materials helps them learn how to use things safely. Demonstrate how this is done and assign
responsibilities so that each child knows what is expected and can be an active participant
in these practices. Let children know that you value their actions and attitude towards
‘keeping each other safe’ and looking after the learning space. Such an approach affirms
and validates each child as an important contributor to the enjoyment and success of arts
experiences.
The role of the outdoor environment

In early childhood education, the outdoor environment is equally as important as the
indoor environment. A growing body of research suggests that for children, having extended
opportunities to play in nature is a critical factor in their health, wellbeing and development
(Elliott, 2008; Fjortoft, 2001; Ginsburg; Munoz, 2009). A rich outdoor environment, which
has been maintained with natural features such as trees, grass, rocks, water and sand,
stimulates the senses and promotes children’s confidence, resilience, curiosity, explorations,
wonderment, wellbeing, and respect for the natural world.
Imaginary play outdoors

‘Wild’ nature, with bushes, trees, rushes, water, marshy land, logs, rocks, hills, valleys
and creatures, is a natural playground for children’s development. Forest schools and
bush kindergartens where education happens almost exclusively outdoors in natural
environments, are educational options based on sound theoretical and pedagogical
understandings that have spread throughout the world (Elliot & Chancellor, 2014).
While this may not be the type of educational setting you encounter, nevertheless,
an outdoor environment filled with a diverse range of natural materials can be achieved
everywhere. Sand pits, winding pathways, secluded corners, birdbaths, logs, timber stumps
as stools and stepping stones, lawn, river pebbles, bridges, tunnels, annual flowers, cacti,
bushes and trees, and ponds filled with water plants, frogs and fish can be easily introduced
into a playground area.

Outdoor environments constructed from artificial materials such as plastic turf and
populated with standard playground equipment reflect adult ideas about what is safe
and suitable for children—with little attention given to how these provisions contribute
to sensory explorations and imaginative play. These types of environments offer limited
opportunities for children to watch a spider scuttle up a tree trunk, or lie on the ground to
inspect a trail of ants, or make ‘leaf’ soup and ‘sand’ pie.
Fortunately, children challenge these limits by taking ownership of the space and
inventing new and novel purposes for seemingly ‘fixed’ places. For example, the permanent
cubby with its box shape, single door and one window will be transformed into a boat,
spaceship, plane, or office. When given old blankets, sheets, bamboo blinds, garden netting,
ropes, and pegs children will cover walls, and make entrance tunnels and alternative
‘doorways’. Children are quick to remodel or design and build their own structures. They like
twists and turns, round shapes, places to crawl into, tunnels and variations in height. They
relish the opportunity to claim the space which is communicated with written signs, SKT
PLS-NO GON UPS !!! (Secret Place-No Grown Ups!!!)
These behaviours are healthy signs of children’s imaginative invention, problem solving
and agency. Therefore, respond positively to their desires to ‘colonise’ permanent fixtures
and provide suitable resources for them to use.
The primary school outdoor environment for arts learning

Working outdoors alerts the senses and ‘feels’ different. A change of scene is motivating
and children enjoy the sense of space, yet the primary school outdoor environment is often
overlooked as a resource and location for arts learning experiences.
Outdoor spaces include wide verandahs, under-cover areas, lawns, basketball courts and
ovals. These can be suitable locations for dance, drama and music activities. The gardens,
play equipment and buildings offer subjects for drawing and painting. The outdoor surfaces
offer a variety of textures for making texture rubbings. Clusters of trees are perfect places to
create and dramatise stories, and where the space can be imagined as the setting: trees and
bushes become people, buildings become cities, and the playground equipment becomes
vehicles and dinosaurs.
The successful use of outdoor areas for planned arts learning experiences requires some
organisation. Review and decide on the location in advance. Plan how you will move the
children and necessary materials and equipment. You may use baskets, which two children
can carry between them, while others carry their individual supplies. For drawing outdoors,
have a class set of clipboards or strong cardboard pieces, and use bulldog clips or masking
tape to secure the paper. Outdoor painting and clay work is always enjoyable. You can carry
water in one bucket and paint jars in another while children carry individual supplies. Hats,
water bottles, sunscreen and insect repellent may be needed.
Outdoor arts learning experiences help develop children’s concepts and understanding of
‘school’ as being more than classrooms. Regular use of the outdoors encourages connections,
relationships and appreciation of the environment.

Figure 14.1 Children enjoy working outdoors.

Play environments as EYLF
provocations for learning EYLF: Outcome one

When children feel safe, secure and
supported they grow in confidence to
The purpose of play-based learning is for children to: explore and learn (2009, p. 20).
• use all their sensory capabilities to pursue independent
investigations and make discoveries
• nurture their inner being while delighting in the wonders of the world
• play with others to develop their social capabilities around interacting, negotiating, and
transacting
• develop positive relationships of care, consideration and responsibility.

While the actual experiences of play-based learning are child-led or initiated, educators
have a primary role in creating rich possibilities for learning and supervising the play.
This means proactively and intentionally creating physical, social, aesthetic and safe
environments that stimulate children’s sense of wonder and explorations of the physical,
inner and social worlds through play. In these play environments, children have the
opportunities they need to develop their dispositions to think divergently, persist with trial
and error, reason, explore their emotional landscape, engage collaboratively, persist, and
boldly venture into unknown territory.
Therefore, establishing space and resources that facilitate investigations, aesthetic
encounters, social interactions and risk-taking is an important pedagogical strategy. This
means establishing a variety of different types of outdoor and indoor environments with
spaces for children to play alone or together, actively or quietly. These are places like the
sandpit, the music garden, ‘dress-ups’ in boxes for dramatic play, water play zone, tents,
cubbies, places to paint, a box of outdoor chalks left by the concrete path, and wind chimes,
twirling metallic mobiles and small bells hanging from a tree to suggest a special place
where things might happen. It includes a range of resources that stimulate the senses, such
as different textures and sound-making possibilities. There should also be a wide range of
provisions that challenge children to venture into new territories of discovery learning such
as climbing equipment and resources for building structures that stand, span or support.
Figure 14.2 The type of environment created for play has a profound effect on children’s learning.

Early childhood educators are required to supervise play. This means watching over
children’s wellbeing regarding hazards and accidents. It also means monitoring the social
dynamics at work in the play and ensuring children have spaces to play quietly and
independently when they are tired or stressed by busy, noisy environments; discreetly
intervening if children are routinely excluded, bullied or assigned to subordinate roles in
group play; and helping children negotiate play interactions and extricate themselves from
play that has become fraught.
Besides making provisions for play and supervising children while they play, the early
childhood educator has an important role in observing the learning taking place within
the social dynamics of the play experience—and discreetly and incidentally participating
to sustain it. This means staying alert for instances in which your questions, suggestions,
assistance and modelling can enhance, support and create renewed impetus for children’s
learning through play.
Set up activity areas for art play (play-based learning) and let children explore when they
are ready. Let them do it their way. You will find the answers to your questions about their
learning through your observations. Now and then ask questions like: ‘Do you know what
colour you made with blue and yellow?’ Make comments like: ‘That’s a nice texture you
created there.’
Any participation in the play on your behalf should be at the invitation of, or with the
agreement of, the children. It should be a momentary participation where your involvement
follows the learner’s lead. You might adopt a fictional role within the context of the play as
someone who knows why the shop is closed (offering reasons), a musician who wants to try
a different beat on the drum (exploration), or the engineer who can show how to stop the
tower from toppling (modelling). Of course, not all play demands help ‘in role’ and there are
times when you simply offer to demonstrate how to hold a tambourine, secure a mask or
pinch clay.
Your constant self-awareness and reflection is crucial to avoiding mis-direction or taking
over the play, and knowing when it’s time to draw back from the situation. You should
always be alert and sensitive to the possibility that sometimes well-intentioned support
actually interferes with the flow of the play and stymies children’s agency to follow their
own ideas and learn from their mistakes. As we stated in Chapter 3, both the educator and
children are regarded as co-creators of the learning environment and therefore your actions
should be founded on your respect for the authority and agency of the learner.

Purposeful play
In Chapter 2, you read of five different types of play identified by Walker (2011)—
sensory play; exploratory play; constructive and imaginative play; imaginative and socio-
dramatic play and directed and scaffolded play. Within the context of EYLF, we use the
term ‘purposeful play’ (called ‘directed’ and ‘scaffolded’ play by Walker) to indicate play
experiences that are ‘framed’ or planned by educators to address specific learning outcomes.
In purposeful play, the environment or context is structured by the educator to focus
the play on certain types of learning such as learning about musical beat by exploring and
experimenting with home-made musical instruments; or learning about voice and character
by making up stories with the collection of puppets in the cubby. In these sessions, the
educator will have a more prominent and active role and will interact with children by
regularly assisting, modelling, explaining and demonstrating to keep the play experience
focused substantially on its main purpose, while also supporting children in their unique
explorations, responses and creative expressions.
Purposeful play implies planning and creating a learning ‘pathway’ for the child.
References to EYLF or the school curriculum will ‘frame’ the planning and the observations
made about children’s participation in the purposeful play-based learning experience. For
example, when keeping the beat is the focus of the home-made musical instrument play
experience, you will observe and document each child’s ability to maintain the beat. Given
the nature of child-centred, open-ended arts learning, the play will unfold with some
coincidental and unpredictable outcomes and responses according to the child’s interest and
intentions. These will also be documented and may be used for further planning.
Figure 14.3 Children are engaged in play with plasticine where the goal is to
explore three-dimensional shapes.

Intentional teaching EYLF
EYLF: Practice
We use the term ‘intentional teaching’ for those authentic arts Intentional teaching is deliberate,
learning experiences in which the educator takes a visible and active purposeful and thoughtful. Educators
role in guiding children’s development of knowledge, skills and who engage in intentional teaching
recognise that learning occurs in
understandings towards intended learning outcomes through open-
social contexts and that interactions
ended arts learning experiences. The intention is that children can and conversations are vitally important
employ their newfound understandings in their response to the for learning. They actively promote
open-ended challenge. children’s learning through worthwhile
and challenging experiences and
Intentional teaching is reflected in lesson planning documents
interactions that foster high-level
where the educator, in advance of the lesson presentation, plans thinking skills. They use strategies such
the pathway for learning. This is like purposeful play, but is as modelling and demonstrating, open
more structured: the educator is more visible as the facilitator questioning, speculating, explaining,
and engaging in shared thinking and
who plans and guides children to engage with specific learning
problem solving to extend children’s
experiences that support them in achieving the intended learning thinking and learning. Educators move
outcomes. flexibly in and out of different roles
Having planned the open-ended learning experience and created and draw on different strategies as the
context changes (2009, p. 15).
the environment, the ‘scene is set’ with a provocation such as a
guided viewing of a sculpture or a musical listening experience, a
guest or an excursion, or a review of a children’s picture book.
The next stage is to workshop the ideas, skills and processes that are relevant to the
intended learning.
If the focus is to choreograph an ‘animal’ dance using three animal movements, the
educator might plan to
• show a segment of the musical Cats or The Lion King where dance moves capture the
quality of the animals’ movements
• lead a discussion about how the moves were characteristic of the animals, and
ask children to demonstrate the moves they thought best captured the animals’
movements
• lead children through a process for exploring movements

• follow with a demonstration showing how movements can be varied by changing levels,
tempo and direction
• invite children to explore these options themselves while specific coaching is provided
• share a strategy for linking separate moves into a sequence.
In this process children have been primed with knowledge, processes and strategies. They
have developed their understandings through their own explorations and can now employ
them as they see fit when responding to the open-ended challenge of creating an animal
dance using three movements. Another example can be reviewed in Chapter 12, Inspiration
from Art (p. 309)

With informed teacher-input, the child knows and understands that the purpose
or intent of the learning experience is to employ their new knowledge to develop an
artwork—whether this is a group composition of dance moves or an individual book
cover design.
The educator is mindful to record observations of children’s employment of the
demonstrated procedures or skills and refers to these records, along with the completed
artworks, to evaluate learning outcomes and achievements.
Intentional teaching is not to be confused with the teaching strategy known as Direct
Instruction which follows tightly scripted lesson plans to transmit knowledge and facts
(Luke, 2014). The Direct Instruction model is founded on behaviourist theories of learning
with the view that learning happens when adults attempt to ‘map’ an adult system
onto a child’s system. The learner is rewarded for giving the ‘correct’ response. Minimal
encouragement or attention is given to children developing their own understandings
through their arts experiences and similar inquiry-led processes. Direct Instruction
ignores the importance of children’s role in constructing their learning and making
meaning. As a model for learning, Direct Instruction is the antithesis of a child- centred
philosophy of learning.
Intentional teaching and the elements of arts

learning experiences (CLIMER)
The Arts Learning Area in the curriculum promotes a rich and comprehensive approach
to learning. This in turn shapes the design and pedagogy of authentic open-ended arts
learning experiences. When considering intentional teaching, educators are guided by the
expectations that they will create learning opportunities for children to:
• be inventive and imaginatively develop their own ideas
• be engaged in working with arts materials and arts-making processes to develop their
craft skills
• develop their skills at using the arts languages (elements, design principles and
conventions)
• express their ideas, bring them to realisation in the artworks they create, and
communicate them
• learn about the wider world of artists, art traditions and arts practices, and to connect as
artists themselves to this world of artistic expression and communication
• review and reflect on their own work, the work of their peers, and the acclaimed artworks,
practices and arts traditions of artists and different cultural groups.
These dimensions of arts learning suggest the pedagogical approaches and types of
learning outcomes that need to be addressed in individual arts experiences and longer
projects (known as Units of Inquiry). To make it easier to remember them, the CLIMER
acronym in Table 14.1 is a useful guide.

Table 14.1 CLIMER: Educational dimensions of authentic arts learning experiences

and projects
Connecting Connecting to the cultural world of artists, artistic traditions
and artworks. This is done by introducing the work of acclaimed
artists, and arts traditions, from different cultures, into the
lesson.
Languages Languages of the Arts. While the languages of the Arts are
used every time a child makes artworks (dances, paintings),
giving specific attention to the elements and conventions of
arts subjects is an important way for children to develop their
capabilities. For example, particular attention can be paid to the
use of overlapping shapes in painting to create foreground and
background effects.
Ideas Invention, interpretation and imaginative development of ideas.
Stimulating children’s development of their own ideas needs
specific attention. Brainstorming, for example, is one way this
can occur.
Making Making practices: materials, skills and processes. Teaching
children how to build a slab pot, how to blend colours using
crayons, how to sing in tune, how to execute a forward roll, how
to use mime, and how to print a photograph are all part of the
craftsmanship of arts-making.
Expressing Expressing and communicating own ideas. Children are
engaged in expressing their own thoughts, ideas, feelings
and interpretations through arts-making. They bring them to
realisation in the artworks they make and communicate with
others through display, sharing or performing.
Responding Responding, reviewing and reflecting. Various opportunities
created for children to respond, review and reflect on their own
work, the work of their classmates and the wider world of art
and artists are integral to arts learning experiences.
Specific coaching
Specific coaching is a strategy educators employ at the point of need while children are
actively engaged in the learning process. For example, if a child is having difficulty applying
pressure to a printing roller, you offer help by showing them the movement and explaining
how the ‘energy’ comes from your shoulder. In dance, children may need to be shown what
‘levels’ means when you talk about the level in a movement. Specific coaching is a strategy
which gives children ‘clear guidance’ (Pelo, 2016) to develop their skills, understanding and
knowledge of materials, skills, techniques and processes. Supporting children as they work
sustains their confidence to persist and take risks. This ‘just in time’ assistance optimises
children’s ability to explore and extend their possibilities. You can refer to these coaching
moments as good indicators of individual children’s capabilities.

Demonstrating
Given that arts-making is a practical and embodied way of manifesting ideas,
demonstrations are a very necessary and effective way for educators to explain and show
arts processes. Demonstrating a dance move, how to hold percussion instruments, how to
wedge clay, how to score paper for a paper sculpture, or how to animate a digital story, are all
part of arts pedagogy. In some cases, demonstrations happen ‘on the fly’ and in other cases
they are planned events. For example, part of your lesson planning may be to show children
how to mix paints to create a range of colour tones; or using computer software to add
captions to images of a photo story.
With all planned demonstrations, it is important to be prepared in advance with the
equipment already on hand. In cases where processes have several steps it is necessary
to prepare several samples. For example, showing children how to make a string print
involves showing them how to glue string onto the cardboard base to create the printing
block and then showing them the effect when this is inked and printed. Since the glued
string has to dry before the printing block can be used, a second printing block needs
to have been prepared in advance so it can be used to demonstrate the inking and
printing stage.
When planning demonstrations, it is important to be clear about what purpose they
serve. For any practical process, a demonstration should be your first option as children can
see what is required and put your words into a tangible context.
Figure 14.4 The teacher is demonstrating how to roll clay evenly into ‘snakes’ that are used in the coil
method of ceramic construction.

We learn by watching and doing. Our kids love arts and they have to connect with
something in their world. They love learning all the techniques to do things. We all need
to learn them, but make the connections so the reason for learning the techniques
makes sense to children. The art they do has to be their individual interpretation, their
own way of working, their own act of making. The ‘act of making’ is how we connect: our
ideas, our making.
Listening and conversing

Informal conversations between you and a child or between children as they engage
in arts experiences often reveal children’s learning. By ‘listening carefully’ (Burman,
2009) educators gain insights and understandings about what interests children and how
they go about learning. From this, educators develop purposeful dialogues with children
to advance children’s learning. They also make future plans by being responsive to their
unfolding learning.
How to listen to children’s talk

Rather than simply hearing the sounds of children’s voices, actual listening for a purpose
requires educators to stop, listen, reflect and ask, ‘What can I learn, what new insights,
knowledge and understanding will emerge if I take the opportunity to listen?’ It takes
practice to ‘hear’ children saying more than the names of things, giving directions, making
statements and offering opinions. Applying the following guide to listening will help you
gain insight into children’s learning and experiences of learning (Burman, 2009, p. 84).
1 Listening with intent: Practise being an attentive listener and alert to those moments
when your thoughts drift. Learn to monitor your focus and listen for ideas.
2 Listening to children’s thinking: Listen for children’s ideas, how they think about
their world, and how they express arts concepts, processes and understandings.
3 Giving up control of conversations: This means that you ‘follow the learner’s lead’
trusting in your ability to let go of any pre-conceived ideas. Rather than ‘interrogating’ the
child with your questions you participate responsively in a conversation directed by the
young learner.
4 Honouring children’s ideas: Ask questions which lead to discussions in which children
express their ideas, demonstrate what they know and reveal how they are thinking.
5 Beginning small: Develop your ability to listen with purpose by allocating a few
minutes to doing so when you are unlikely to be interrupted or distracted. At this time, be
present and attentive to what is being said.

Figure 14.5 Listening attentively to children is an important pedagogical skill.
Purposeful dialogue to promote learning

Purposeful dialogue is a critical pedagogical strategy teachers use to guide and promote
learning. For educators, purposeful dialogue refers to the conversations with children that
are deliberately focused on advancing the learning process and enhancing imaginative
potential.
Founded on social-constructive theories of learning, purposeful dialogue is intended
to support children in generating new understandings, clarifying ideas, reaching their
own conclusions and most importantly remaining at the centre of their own learning
process.
Teachers are responsive to children’s comments as these conversations unfold,
they remain alert to children’s perspectives, concepts, understanding, knowledge,
interests, doubts and confusions. They respond by promoting I wonder … or What if …
questions to advance the conversation and they welcome alternative opinions: I have a
different idea!
The direction of these purposeful dialogues or conversations can be to encourage
children’s observations about their:
• ideas for their own art-making
• sensory experiences

• arts-making experiences
• emotional responses (feelings and mood)
• learning practices and dispositions (studio habits of mind)
• reflections: thoughts, opinions, perspective or point of view.
To build conceptual understandings in all five arts subjects, it is important to use arts
related vocabulary and consistently incorporate reference to:
• arts languages: elements (e.g. line, shape, colour, voice and movement, shape and time),
principles (e.g. balance, pattern, rhythm, character and vocal expression) and conventions
(abstract, figurative, storytelling, mask and puppetry) that contribute to the creation of
an artwork
• arts processes: collage, crayon resist, contour drawing, script writing, character
development, musical composition
• arts materials: clay, oil pastels, cartridge paper, props, percussion instruments, scarves
and fabric.
The experiences of purposeful dialogue validate and develop each child’s unique approach
to exploring and expressing the meanings they make of their world.
Purposeful dialogue can also be considered in relation to professional conversations with
colleagues and others. They are engaging ways of further developing our understandings
about any given topic. We all have diverse interpretations and perspectives that are drawn
from specific ideologies and cultural experiences. For example, many Aboriginal and
non-Aboriginal people have different views of Australia Day. For non-Aboriginal people
this is a day of celebrating the arrival of the British settlers in 1788. However, for many
Aboriginal people it is a day of mourning, the day their land was invaded and the start
of the eroding of their languages, traditions and cultural ways of being. Here are stark
differences in perspectives.
When asked my perspective, I refer to the picture book The Rabbits by John Marsden
and Shaun Tan. This picture book is a visually stunning and engaging text about the
colonisation of Australia that has potential to challenge and change our ways of thinking.
I ask my colleagues to view and to consider the portrayal of Aboriginal peoples as passive
victims and reflect on the paternalistic suggestions that Aboriginal people needed saving.
This type of professional conversation lends itself towards genuine transformation of
understanding of issues that affect Aboriginal people. The illustrations are also a focal
point of discussion as they are very distinct in style and symbolic of the events that took
place many years ago.
Karen Sinclair, a Ngarrindjeri early years educator from Adelaide, South Australia.

Asking questions
While dialogues are conversational, an aspect of them is being able to ask questions that
serve to guide children’s thinking and educational engagement while they are involved in
art-making. While questions that test children’s knowledge (such as What two colours make
green?) have a role, purposeful dialogue is built on the type of questions that invite and
encourage children to reflect, think and respond. Table 14.2 lists different types of questions
that help foster these important dialogues for learning. You could create a prompt page
for yourself listing the questions in Table 14.2 and have the page to hand while you are
teaching. This will help develop your questioning skills and the ability to instigate purposeful
dialogues that promote learning.
Table 14.2 The educational relevance of different types of questions

Educational relevance (role
Prompt children to … Example
and value)
Ponder imagined I wonder what a bird’s eye view would Foster children’s wonderment
possibilities be like? (awe), imagination and curiosity.
Being able to project into an
imagined space and be curious are
important learning dispositions.
Recall When we completed the circus We learn by applying concepts
project we learned three ways to use learned in one context to
our crayons. Can you recall what they another. These types of questions
were because we could use them encourage children to exercise this
again in this new project? process.
Observe (all senses) Are the ears round or pointy? Are Developing children’s perceptual
they on the top of the head or more to skills by stimulating their sensory
the side? What happens to the tempo engagement is a very significant
of the music as we near the end? part of early childhood education.
Investigate I wonder what sounds we could make Learning ways of discovering things
with these lengths of pipe? Let’s for themselves enables children to
discover how many different ways we be independent learners.
can make sounds with these pipes?
What could we do first?
Plan If you are making music for each Assisting children to appreciate
stage of the story, what are those how future goals are achieved
stages? How many are there? through a series of practical steps.
Predict Looking at the red, yellow and blue Asking children to form ideas about
paint which two do you think would the future based on what they have
make green like this sample? experienced. This is an important
learning practice.
Make judgements and What colour do you think will give you Develops children’s confidence
decisions a good contrast so the pattern shows in their own thoughts and
up? views. Encourages them to be
independent decision makers.

Educational relevance (role

Prompt children to … Example
and value)
Reflect on and assess How did that solution give you the Children appreciate the cause
decisions outcome you wanted? and effect relationships of
things they have instigated.
The consequences of their
decisions are being brought to
their attention. This promotes
children’s sense of agency.
Infer (deduce by This artist made 10 prints of this In learning about the conventions
reasoning from image. At the bottom of this one we of printmaking the children are
evidence) have here the artist has written her asked to infer that 7/10 is the
name, the title, the year it was made 7th impression taken from the
and has also written 7/10. What do printer’s lino block in the edition
you think 7/10 might mean? of 10 prints. Being able to reason
from evidence is a critical thinking
skill. Note that the teacher
provided a reference point (the
artist made 10 prints).
Develop opinion or point How does this music make you feel? Draws children’s attention
of view Do you think the artist captures the to sensory experiences and
idea of racing horses? develops their confidence about
the validity of their own thoughts
and feelings.
Consider the Arts What is it about the shapes in this Develops children’s understanding
language (elements & picture that help create the sense of about the way the Arts language
principles) at work calm? (elements and principles) can be
employed to communicate specific
ideas.
Understand being an What do you think you have gained Helps children understand
artist from practising your dance today? the behaviours and practices
that support their artistic
development.
Aboriginal kids would be proud to talk about their work but be mindful how you ask the
question and don’t worry if you’re not given an answer, they might want to show you. It’s
still very prevalent that Aboriginal children don’t want to singled out or made to look
better than the others. The approach has to be very informal. Direct questioning might be
ok but ours is a collective approach-you can talk about what a group has done and ask
people to talk about that.

Encouraging children’s reflections

on their artwork
Children’s drawings, musical compositions, role-play, dance moves etc. are embodiments
of their thoughts, feelings, observations and experiences. For the educator, they are
touchstones for conversations that provide insight and promote children’s learning, so
invite children to talk about their drawings (and other artistic creations).
During shared small group or whole class guided reflections the educator and other
classmates in their capacity as audience ask questions of the artist or artists to guide and
stimulate children to reflect on the strategies they employed during the making process.
Prompts for the child to respond as artist include questions about making, for example, ‘I
noticed there were too many people in the group for your script. How did you make sure
that you were all involved?’ or, ‘What materials did you experiment with to make the right
sounds for that part of your graphic score?’ or, ‘Your group did that part of the dance in
slow motion, did you have a reason for doing that?’ Prompted by the educator’s questions
and questions to the group, children describe or explain the problem-solving strategies they
used to overcome difficulties, how they incorporated new ideas, what was changed through
trial and error. They respond to questions about their developing skills and the challenges
they faced with particular techniques: ‘I wanted to use complementary colours for my
collage so I checked the colour wheel’ or ‘We couldn’t decide on which parts of our music
composition should be fast so we experimented a few times and decided the middle section
would be fast’.
One way to encourage children to reflect on their artwork is a simple ‘tell me’
invitation. A ‘tell me’ invitation doesn’t carry the implication that there is a right
answer but rather, conveys to the child that their view or opinion is the thing being
sought and valued here. Chambers (2011) proposes a simple framework (though you
don’t have to specifically use ‘tell me’. An alternative is ‘I’m wondering’) that refers to
what the child likes, what they don’t like, what they find puzzling and what patterns
they see:
• Tell me what you like about this painting.

• I’m wondering if there’s anything you don’t like in the dance.
• Tell us if you found anything in the film that was puzzling.
• Did you see any patterns in the music? Would you like to share your thoughts about
these and how they might be connected?

While it’s important to ask Aboriginal children questions about their artwork, say Tell me
the story of your art or watch and let them show you their story telling of their art.
Figure 14.6 Children talking about their artwork.
Even with toddlers you can begin the process of art talk by initially making comment
yourself and then, as these young children advance and their language skills develop, invite
their observations about the same things (Sparling & Sparling, 1973). It is important to
understand that inviting children to reflect on their artwork affirms their sense of belonging
and validates their artworks as expressions of their thoughts, feelings, observations and
experiences.

Table 14.3 Inviting very young children to observe and talk about their drawings
Random scribbler stage Controlled scribbler stage Naming scribbler stage
Physical movements: See Physical movements— Intention: What are you

how you moved the pen in lots controlling the medium: See how drawing here?
of directions. See how you have you have made lots of dots—and Naming: What is this you’ve
made dots and long lines? look, they are different sizes. drawn here?
Expressive impact: Those Expressive impact-how things Developing arts
lines make me feel like rolling look: There are lots of round vocabulary: These are
around like a ball in different shapes and different colours. The interesting shapes. Can you tell
directions. colours are very bright. They make me what they are called?
Child’s feelings: You’ve spent me feel happy. Storytelling: Tell me about your
such a busy time making those Child’s feelings: You must be interesting picture.
lines. You must find those pleased to find that when you wash
markers good for drawing. the brush between colours they
stay bright and cheerful.
Named: Can you point to the red dots?
Summary
Educators understand that pedagogy means more than selecting strategies or following
predetermined procedures. They know that pedagogical choices are informed and influenced
by Early Childhood theories, philosophies and principles of learning. This is the foundation
or point of reference which shapes pedagogical choices and how they are implemented.
Learning is enhanced when educators proactively create environments that are
welcoming, caring, aesthetically pleasing and child-centred. These environments are also
designed to stimulate children’s explorations and investigations of their natural, physical
and social worlds through play. Careful attention should be given to creating and managing
safe and supportive arts learning environments both indoors and outside.
The educator takes an active role in staging purposeful play to encourage children’s
investigations of a particular phenomenon such as the beat in music. Intentional teaching situates

the educator in a visible and active role guiding children through the dimensions of arts experiences
(CLIMER) towards achieving nominated learning goals and outcomes. In open-ended arts learning
experiences, children apply their knowledge and learned skills to create their own interpretations
that respond to the learning challenge. In this endeavour, educators participate by demonstrating,
providing specific coaching, asking questions and offering advice. They listen attentively to
children’s talk and engage in purposeful dialogue while children are involved in art-making. They
use questions to guide children’s thinking and educational engagement. They also encourage
children to talk about their artworks and experiences. Children’s learning processes, artworks and
discussions provide insights into their unique learning processes and how they make meaning of
their world. They make children’s learning visible to each child as well as to the educator.
Learning Activities
1 With reference to the quote at the beginning of the chapter by Wendy Boyd and Lexi
Cutcher, outline your understandings of arts pedagogies in an early childhood setting.
2 Your early learning centre manager has asked you to prepare a talk for parents about
purposeful play. Create an infographic or a PowerPoint presentation you could use to
explain what purposeful play means, how children learn, and your role as educator. To
finish your presentation, prepare a guide for parents to use at home.
3 Watch this video clip (www.youtube.com/watch?v=9G0GEsZ6JnY), in which children
explore and experiment with timbre, rhythm, dynamics and beat. Using Table 14.2 (on
p. 360–1) as a reference, create your own questions for the context shown in the video.
Include a description of the educational value and relevance of each question.
Further reading
Burman, L. (2009). Are You Listening? Fostering Conversations That Help Young Children Learn.
St Paul, MN: Redleaf Press.
Leach, J. & Moon, B. (2008). The Power of Pedagogy. London: Sage Publications Ltd.
Moyles, J. (Ed.). (2010). Excellence of Play. (3rd ed.). Berkshire: McGraw-Hill Education.
Rogers, S. (Ed.). (2011). Re-thinking Play and Pedagogy in the Early Years. New York, NY: Routledge.
Online resources
Early Childhood Australia: Early Childhood Australia is a national, professional
organisation that champions educational quality and care. Their ECA Voice Newsletter is
a quarterly national publication. Use the search engine to locate specific topics such as
‘pedagogy’, ‘intentional teaching’. www.earlychildhoodaustralia.org.au
The following link is dedicated to Early Childhood practice with sections devoted to
play-based learning, environment, intentional teaching and assessment. www.
earlychildhoodaustralia.org.au/nqsplp/wp-content/uploads/2012/05/EYLFPLP_Thinking_
about_practice_Planner_Screen.pdf

Child’s Play Music: Alec Duncan designs and presents music incursions for early childhood
centres and schools. The videos exemplify early childhood best practice for arts learning
experiences. https://childsplaymusic.com.au
Reggio Inspired Early Childhood Art: This YouTube link will take you to a series of videos
that explain and demonstrate the work of the Atelier (art studio) in Reggio Emilia early
learning centres. www.youtube.com/watch?v=tCCE_Szo2tQ
Chapter references
Australian Curriculum, Assessment and Reporting Authority [ACARA]. (2013). Australian Curriculum: The Arts
Foundation to Year 10. Retrieved from www.acara.edu.au/_resources/Draft_Arts_Curriculum_22_February_
2013.pdf
Boyd, W. & Cutcher, L. (2015). Learning from Early Childhood Philosophy, Theory and Pedagogy: Inspiring
Effective Art Education. Australasian Journal of Early Childhood. 40(1),91–98.
Chambers, A. (2011). Tell Me (Children, Reading and Talk) with The Reading Environment. Jackson,
MS: Thimble Press.
Department of Education Employment and Workplace Relations for the Council of Australian Governments
[DEEWR]. (2009). Belonging, Being and Becoming: The Early Years Learning Framework for Australia. Retrieved
from https://docs.education.gov.au/system/files/doc/other/belonging_being_and_becoming_the_early_
years_learning_framework_for_australia.pdf
Edwards, S. (2007). Theoretical Transitions and Professional Learning: How Do Early Childhood Teachers
Understand Sociocultural Theory? NZ Research in Early Childhood Education Journal, 10, 131–144.
Elliott, S. (Ed.). (2008). The Outdoor Playspace: Naturally. Sydney: Pademelon Press.
Elliott, S. & Chancellor, B. (2014). From Forest Preschool to Bush Kinder: An Inspirational
Approach to Preschool Provisions in Australia. Australasian Journal of Early Childhood,
39(4). Retrieved from www.earlychildhoodaustralia.org.au/our-publications/
australasian-journal-early-childhood/index-abstracts/ajec-vol-39-no-4-december-2014/
forest-preschool-bush-kinder-inspirational-approach-preschool-provision-australia-full-free-text-available
Fjortoft, I. (2004). Landscape as Playscape: The Effects of Natural Environments on Children’s Play and Motor
Development. Children, Youth and Environments, 14(2), 21–44.
Ginsburg, K. R. (2007). The Importance of Play in Promoting Healthy Child Development and Maintaining
Strong Parent-Child Bonds. Pediatrics, 119(1), 182–191.
Luke, A. (2014). On Explicit and Direct Instruction: ALEA ‘Hot Topic’. Australian Literacy Educators’ Association,
retrieved from www.alea.edu.au/documents/item/861.
Munoz, S. (2009). Children in the Outdoors: A Literature Review. Retrieved from www.countrysiderecreation.org.

uk/Children%20Outdoors.pdf.
Nicolopoulou, A., Barbosa de Sá, A., Ilgaz, H. & Brockmeyer, C. (2009). Using the Transformative Power of Play
to Educate Hearts and Minds: Vygotsky to Vivian Paley and Beyond, Mind, Culture, and Activity, 17(1),42–58.
doi: 10.1080/10749030903312512
Noddings, N. (2012). The Caring Relation in Teaching. Oxford Review of Education, 38(6), 771–781. doi: 10.1080/
03054985.2012.745047
Pelo, A. (2016). The Language of Art: Inquiry-Based Studio Practices in Early Childhood (2nd ed.). St Paul,
MN: Redleaf Press.
Sparling, J., & Sparling, M. (1973). How to Talk with a Scribbler. Young Children, 28(4), 333–341.
Walker, K. (2011). Play Matters: Investigative Learning for Preschool to Grade 2 (2nd ed.). Camberwell,
Victoria: ACER Press.

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CHAPTER 15
Monitoring,
documenting and
assessing arts learning
Adults need to make detailed and sensitive observations to really see
what children are doing, to make sense of their actions, to recognise their
achievements and to create further learning opportunities.
Cathy Nutbrown
Chapter Objectives
In this chapter, we turn our attention to the process of monitoring, documenting
and assessing learning. We will:
• explain the purpose of making observations and how they inform monitoring and
assessment of learning
• outline the process of observing and recording children’s actions, interactions
and talk
• describe how to interpret observational records of children’s actions, interactions
and talk
• provide examples for making formal records of your assessment of children’s
learning
• indicate how Learning Stories provide an effective way of capturing children’s
learning, and sharing this with parents

• review curriculum-based assessment practices
• provide practical examples of the monitoring and assessment of learning
progress, outcomes and achievements within the context of arts learning.

Introduction
In a child-centred approach to education, early childhood educators continually observe
and analyse children’s learning as a basis for planning future learning. This dynamic process
is responsive to children’s learning and interests. There are three phases in the learning
advancement cycle undertaken by the educator.
1 Observe and interact with children as they play and engage in arts activities. Document
observations of children’s actions, interaction and talk.
2 Interpret and analyse the documented observations looking for evidence of learning
behaviours. This information is used for making an assessment of the child’s attainment
of learning outcomes, and for reporting purposes.
3 Plan next stage of learning program with attention to building on children’s demonstrated
capabilities and interests to create meaningful learning opportunities for them.
For example, as you watch Sarah who has been making a pattern on the floor with
pieces of fabric, she climbs onto a chair and declares, It looks different from up here, I can
see it like I’m a bird! You record your observations. Later when you review your notes,
your interpretation is that this shows Sarah’s ability to explore possibilities, imagine
other viewpoints and take actions to explore her ideas. In terms of future planning
you make a note to find artworks or illustrations in children’s picture books that have
the perspective of a ‘bird’s eye view’. Ways I can look at the world may be your next topic
or theme.
The three phases of this learning advancement cycle are represented as a spiral
(see Figure 15.1), with each phase leading to the next in an ongoing spiral of learning
development. In this chapter, we examine the three phases in turn.
LEARNING ADVANCEMENT CYCLE
planning future learning oppor

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Figure 15.1 The learning advancement cycle spirals through observation, interpretation and analysis,
and planning future learning opportunities.

CHAPTER 15: MONITORING, DOCUMENTING AND ASSESSING ARTS LEARNING 369
Monitoring learning and

documenting observations

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Making and recording observations of children as they play and engage with arts learning is
the first phase of the learning advancement cycle. In the busy atmosphere of the early learning
centre or classroom it is easy to be caught up in the daily activities, so time has to be taken to
deliberately and attentively watch and document children’s actions, interactions and talk so
you can see beyond the immediate event and become cognisant of what children are actually
learning as they play. When attentively observing, you gain insights into children’s learning
practices, intellectual and creative potential, social development and wellbeing. You take note
of children’s interest in the event, topic or concept, and look for indications of children’s needs
for further and varied learning experiences to consolidate or extend their learning.
On these occasions, when you are giving close attention to children’s play or engagement in
planned arts activities, notes (written and visual) are made. These documented observations are
the basis on which you make an assessment of the child’s learning achievement. The assessment
can then be reported to parents and other stakeholders. The observations and assessment
become the basis for self-reflection on the effectiveness of your planning and programming,
and also provide the basis for planning forward.
Preparing to make and document observations

When preparing to make and document your observations you need to consider:
• the types of observation records you are making
• the preparations you need to make for a smooth recording process
• the context for your observations
• the types of things to notice.
Table 15.1 provides further guidance about these. Remember that this observation phase
does not include interpretation of events. That comes later.

Taking photos
When making observation records, a picture is worth a thousand words, and the images you
gather provide a rich account of children’s learning. You must have written informed consent
from children’s parents to photograph children and create photographic or video records of
them as they learn.
To use photography and video-recording to best effect:
• normalise photography in the classroom. If a child poses, redirect her focus by saying,
for example, Sarah, I’m interested in the way you are using shapes. Can you keep working
on that?
• capture children at work showing what they do and how they are doing it
• take close-up pictures of critical details: the action (e.g. hands working with clay), child’s
expression and interactions
• film at children’s level (not from adult height)
• edit videos to tell the story of the learning more effectively.
Table 15.1 Things to remember when planning to make observations of learning

Documenting observations
Types of observation recordings You can use combinations of these:
• Write notes
• Draw quick sketches
• Record direct quotes (written notes/audio or video-recording)
• Take photos, video and audio recording
Preparations to make • Have your camera in a pocket or on a strap
• Have a template prepared for note taking
• Have a pad and pencil for sketches
• Set up a video camera to record general vision and audio
• Use a low chair to be at child’s height when capturing vision
Questions to ask about the • What is the learning experience?
context • What is the intended learning?

• Who is involved?
• What is being done?
• What materials and processes are being used?
Types of things to notice • Social interactions
• Child’s disposition (happy, contented, frustrated)
• Actions and events
• Progression steps (e.g. problem solving)

Figure 15.2 When making observations, sit at the child’s level.
Making observations
In Chapter 14, we identified the types of questions you can ask to provoke children’s
learning. These same questions can be used to guide your observations of children’s learning.
(See Table 15.2.) They focus on learning dispositions and aim to capture the many facets of
how and what children are learning as they engage in arts learning experiences.
Personal critique of observational practices

It is important to understand the purpose of making and recording observations and the
reflective practitioner will ask these questions:
• Am I giving attention to relevant information?
• Am I documenting a broad range of observations about actions, interactions, and dialogue
(Refer to Table 15.2)?
• Does my documentation help me to identify learning progress and achievement?
Your observations are a crucial component in the ongoing cycle of learning advancement
so it is important that the quality of these is developed.

Figure 15.3 A photograph is worth a thousand words. Aim to normalise photography in the centre or
classroom so children continue playing while you document their learning.
Table 15.2 Questions to strengthen your observations

Prompts that promote learning Questions to strengthen your own observations
Ponder imagined possibilities What is the child curious about?
Recall What processes are being used again in a new situation?
Observe (all senses) How is the child engaging their senses in this arts
activity?
Investigate What investigative behaviours are being displayed?
Infer (deduce by reasoning from evidence) What evidence is there that the child can infer (deduce by
reasoning from evidence)?
What behaviours show that the child is using inference?

Plan What evidence is there that the child has planned ahead?
Make judgements and decisions What decisions is the child making?
Reflect on and assess decisions In what way did the child reflect on their actions?
Develop opinion or point of view Has the child offered an opinion or shown a preference for
one thing over another?
Consider the Arts language (elements and What is the evidence that the child is exploring art
principles) at work elements such as shape and colour or duration and
dynamics in a considered way?
Understand being an artist How is the child demonstrating understanding of being an
artist?

Prompts that promote learning Questions to strengthen your own observations

Use of arts materials and arts-making Does the child indicate preferences for particular arts
materials or show willingness to use all materials
offered?
What is the evidence to show the child engages with a
variety of arts-making processes?
Studio habits of mind What is the evidence to show that child can persevere and
(Hetland et al., 2007) persist, envision, observe, express and explore?
Example of observation notes
The Pause and reflect: A young child’s play-based experience of musical concepts from Chapter 3
(p. 59) has been used to provide an example of recording what you see and hear ‘in the
moment’ as the event unfolds.
You will notice that these observations are:
• written in the present tense because you are recording what is happening ‘in the moment’
• commence with a verb and
• are recorded as dot points and abbreviated to include only the essential components of
the events or episodes.
When making these observations, it is important to stay focused on the action and
avoid any temptation to interpret what you are hearing and seeing. After the event the
information can be transferred to your formal Observation-based Assessment Record.
(See Table 15.3.)
Event: Jesse making music on the metal rungs of the fence

Location: Sandpit fence
Date: xx/xx/xx
Observations:
Jesse
• picks up a small metal spade lying on ground near sandpit
• runs to metal fence, drags spade across rungs
• fascinated by sound she is making

• runs backwards and forwards, repetitive pattern of ‘run fast/walk slowly’
• stands still, strumming (glissando) spade across metal bars, rhythm is fast-to-the-left—slow to the right
• chants, ‘Wake-up! Sleeeeeeep. Wake-up! Sleeeeeeep’
• runs to outdoor table, gets a wooden spoon
• repeats same actions on fence with spoon
• pauses, picks up spade in other hand
• stands still, swishes (rapido) spade across metal rungs
• begins chant ‘Run fast’ with metal spade in left hand swished quickly (rapido). Does the same slowly (legato) with
wooden spoon in right hand. Chants, ‘Go to sleeeeeeep’.
• maintained focus for 15 minutes.
Figure 15.4 Observation notes made while observing child’s play.

Example of recorded observations

Table 15.3 Phase one: Observations entered in an observation-based assessment record
Observation-based assessment record
Name: Jesse H. Date: xx/xx/xx Location: Outdoors
Event: Jesse plays alone to make ‘music’ on the metal fence and create a binary chant.
Observation Interpretation Learning Outcome
Holds a metal spade Runs to the metal fence
Drags spade across fence
Very focused, runs to the left then walks slowly to the right
dragging spade across metal rungs
Runs to table, gets wooden spoon, uses this for slow
movement, drags it across rungs
Begins chanting as she ‘strums’ the spade and wooden
spoon across metal rungs
Creates structure for chant: A-B, A-B, A-B
Studio Habits of Mind: Dispositions for Learning
CLIMER—Dimensions of learning experience
Interpreting observations and

identifying learning outcomes

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For this phase of the learning advancement cycle and the subsequent one, the involvement
of colleagues will help you generate robust interpretations and assessments on which you
can make sound decisions for ongoing planning.
Interpreting observations
Having documented your observations, the next step is to interpret them. This is the first
part of Phase Two of the learning advancement cycle. In making your interpretations you are
looking to analyse the child’s actions, interactions and dialogue in terms of learning.

When you sit down to review your documentation you need to ask,
What is this telling me? What is it showing me? More particularly: EYLF
• What can I deduce from my observation notes about the child’s EYLF: Assessment for learning
experience of their learning journey? The five Learning Outcomes in this
Framework … provide early childhood
• What do my observations tell me about the child’s learning progress? educators with key reference points
• What am I learning about the child? against which children’s progress
can be identified, documented and
communicated to families, other early
childhood professionals and educators
in schools (2009, p. 17).
Figure 15.5 Educators confer to interpret observations of children’s learning.

Interpreting children’s talk
Children’s talk is a valuable resource which informs your judgements of children’s learning
progress and achievements. Consequently, it is important to record what children say and
to know how to interpret what you hear. Children’s talk is also a source of information to
reflect on when evaluating the effectiveness of your planning, programs and pedagogy.
You can record what you hear in any format (video, audio, or anecdotal notes) and
enter the quotes in the Observation-based assessment record (Table 15.3). Burman (2009,
p. 131–137) suggests using the following strategies to make effective use of your notes or
recordings of children’s talk:
1 Begin by asking questions to help your interpretations of the transcript, such as How is
the child’s talk related to her actions?

2 Consider if you can make any connections between what was said and what the child has
said on other occasions.
3 Blend or synthesise what one child has said with what others said during the same
experience. This may give insights into the child’s ideas and how they are making sense of
their world. Their unique theories of learning may become clearer.
4 Focus on specific words or phrases for insights into a child’s thinking. Ask yourself if
you are hearing the use of metaphor or rich imagery or the child’s sense of wonder and
fascination.
Example of recorded interpretations

Table 15.4 Phase two (A): Interpretation of observations
Event: Jesse plays alone to make ‘music’ on the metal fence and create a binary chant.
Holds a metal spade Runs to the metal fence Self -motivated by her desire to explore
Drags spade across fence Experiments with equipment
Very focused, runs to the left then walks slowly Showing awareness of duration
to the right dragging spade across metal rungs Self-directed, confidence to follow her own
ideas
Runs to table, gets wooden spoon, uses this Exploring timbre, fits duration to specific
for slow movement drags across rungs sound
Begins chanting as she ‘strums’ the spade and ‘Wake up’—rapid movement (glissando)
wooden spoon across metal rungs ‘Go to sleep’—slow movement (legato)
Creates structure for chant: A-B, A-B, A-B Sensitive to rhythm, can select and apply
words to ‘fit’ rhythm
Creates a chant in binary structure using
timbre and duration to differentiate A from B
Studio Habits of Mind: Dispositions for Learning
CLIMER—Dimensions of learning experience
Identifying learning outcomes

Having made your interpretations you need to analyse them to identify what learning
outcomes (EYLF) or achievement standards (Australian Curriculum) have been met.
Therefore EYLF or the relevant school curriculum is your point of reference. The information
you have gathered from your observations and interpretations becomes your evidence of
each child’s learning progress. This is the second part of Phase Two.

Example of recorded learning outcomes

Table 15.5 Phase two (B): Analysis of interpretations to identify learning outcomes
Event: Jesse plays alone to make ‘music’ on the metal fence and create a binary chant
Holds a metal spade, runs to the Self-motivated by her desire to explore Outcome 4: Jesse is curious and
metal fence enthusiastic and uses play to
investigate, imagine and explore her
ideas
Drags spade across fence Experiments with equipment Outcome 4: Jesse follows and extends
her ideas with enthusiasm, energy and
concentration
Very focused, runs to the left then Showing awareness of duration Outcome 3: Jesse enjoys moments of
walks slowly to the right dragging Self-directed, confidence to follow her solitude
spade across metal rungs own ideas Outcome 5: Jesse uses music to
express her ideas
Runs to table, gets wooden spoon, Exploring timbre, fits duration to Outcome 4: Jesse follows and extends
uses this for slow movement drags specific sound her ideas with enthusiasm, energy and
across rungs concentration
Begins chanting as she ‘strums’ the ‘Wake up’—rapid movement Outcome 4: Jesse manipulates objects
spade and wooden spoon across (glissando) and experiments with
metal rungs ‘Go to sleep’—slow movement cause and effect, trial and error,
Creates structure for chant: A-B, A- (legato) and motion
B, A-B Sensitive to rhythm, can select and Outcome 5: Jesse uses movement to
apply words to ‘fit’ rhythm express her ideas and experiments
Creates a chant in binary structure with ways of expressing her ideas
using timbre and duration to Outcome 5: Jesse can create her own
differentiate A from B chant or ‘song’
Studio Habits of Mind: Dispositions for Learning—Jesse’s behaviour indicates that she can: Envision, Engage and
Persist, Express her ideas, Stretch and Explore and Develop Craft (Music)
CLIMER (see Table 14.1, p. 355):
• Languages—Jesse indicates awareness of duration, timbre and structure. She does not have the vocabulary
to name the components of her composition; her actions indicate her conceptualisation of these elements of
music. She explores her world through her actions, she uses her whole body to investigate and make meaning of
her world.
• Ideas—Jesse began this experience with strumming on the fence. Something captured her imagination and sustained
her interest, she developed her ideas and created a repetitive chant.
• Expression—Jesse used her interest in exploring timbre in the outdoor environment which she expressed through her
musical composition. She expresses her explorations through bodily movement, sound and speech.
• Responding—Jesse monitored her explorations and composition to her own satisfaction.

Using observations effectively

for planning

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The third phase of the learning advancement cycle is determining the success of your
planning and deciding how to proceed in response to your assessment of the learning.
This involves reflecting on, and critically reviewing, all the information you have gathered
about the children’s learning progress and outcomes. You reflect on the quality, success and
relevance of your planning. Based on the information you have gathered, you also identify
how to extend the learning. This begins the next planning cycle. The following questions
will guide the effective use of your documented observations to build on the experience to
promote further learning.
• How can I build on the child’s demonstrated interest and extend the concept being
explored?
• Would introducing new materials or provocations deepen the learning?
• What new type of arts experience would enhance the learning experience and engage the
children further?
• Would changing the environment or the social dynamics contribute to further learning?
• What do I need to do to facilitate the learning?
Sharing narratives of learning

One distinctive form of documenting observations, interpretation and assessment, and
planning for the next stage is the Learning Story. Developed by Professor Margaret Carr
(2011) and now used in a number of early learning settings, Learning Stories aim to make
the child visible in their learning. By focusing on capturing the child in their learning these

narratives offer educators, and also parents, a vivid account of the child’s lived experience
of learning. They show what happened; what this means in terms of learning progress and
outcomes; and what can happen next. As you can see the content of the Learning Story is
aligned to the learning advancement cycle we have just reviewed.
Conventions of the Learning Story are the inclusion of photographs and direct quotes
from the child so that the child’s voice and actions play a role in telling the story. The
narrative makes the child visible and the learning real. Importantly, Learning Stories are
written as an account of what the child can do within the specific context of an authentic
learning experience. For example, how the child explores ways of moving in a given space
when learning about dance choreography.
During parent interviews, the Learning Story provides a focus for conversation and
questions and gives clarity to specific terminology such as ‘learning outcomes’ (EYLF)
and ‘achievement standards’ (ACARA). Inviting parents to engage in a conversation
around the Learning Story and adding a written comment strengthens the links they
make with the learning centre or school and validates their role as partners in their
child’s education.
In focusing on narratives of children engaged in their learning, Learning Stories are
distinguished from record-keeping that focuses instead on the child’s ability to perform
an isolated particular skill, understanding or concept, such as when the child stands next
to the teacher’s desk and the teacher instructs the child to Show me how to run with little
steps, or asks Can you take giant strides across the floor? Rather, Learning Stories tell of
how a child is being and who they are becoming. They contribute significantly to creating a
sense of belonging.

Figure 15.6 Learning Story exemplar. Completed by Janet Durrant, as an assignment during her
Bachelor of Education studies.

(continued)

References
Department of Education, Employment and Workplace Relations (DEEWR). (2009). Belonging, being & becoming. The early years
learning framework for Australia. Barton, ACT: Commonwealth of Australia.
Dinham, J. (2014). Delivering authentic arts education (2nd ed) South Melbourne: Cengage.
Pelo, A. (2007). The language of art: inquiry-based studio practices in early childhood. St Paul. MN: Redleaf Publishing.
Woolfolk, A. and Margetts, K. (2013). Educational psychology. Frenchs Forest, NSW. Pearson Australia Group Pty Ltd.

Assessment of curriculum content

and achievement standards
Assessment in the primary school relates directly to children’s progress towards meeting the
Australian Curriculum achievement standards for their year of schooling. Educators plan
programs to create pathways of learning for children to achieve the specified knowledge,
skills, and understandings of each Learning Area. Children’s progress towards learning
achievement is assessed against the Curriculum Content Elaborations.
Educators interpret their documentations to make judgements about each child’s
curriculum-referenced learning progress to determine the degree to which they have met the
nominated achievement standards.
Curriculum-based assessment
In this section, we use the Unit of Inquiry: Print Making—Playing in the Adventure
Playground (see Chapter 16, Table 5.5, p. 399) to demonstrate how you interpret and
analyse your observations for evidence of learning progress, outcomes and achievement.
This is Phase Two of the now-familiar learning advancement cycle, as it is applied to
curriculum-based assessment.
Use the following questions to guide your interpretations and assessment of the learning
progress:
• What are the intended learning outcomes? (As identified in the lesson plan.)
• What are the indicators of learning vis-à-vis the learning outcomes?
• How and why is this evidence of learning?
• In what way do my observations of the learning process contribute to the assessment of
learning?
• Can I make a statement about the child’s achievement with reference to the completed
artwork?

Table 15.6 Curriculum-based assessment of learning example

Curriculum-based assessment of learning
Child’s Name: … Jake … Date 22/08/2018 Year … 2 …
‘Swinging on the monkey bars’ by Jake
Intended learning Content Description

and assessment 2.1 Explore ideas, experiences, observations and imagination visually to
question create visual artworks and design, including considering ideas in artworks by
‘What will Aboriginal and Torres Strait Islander artists.
I look for?’ • Content Elaboration
‘What will I listen 2.1.2 observing and recording the shapes, colours and textures of people,
for?’ objects and concepts they experience in their daily lives, for example, drawing
faces, insects, plants, food
• Assessment Question: Content Elaboration
2.1.2 Can Jake observe and record the shapes of children’s bodies as they play
on the monkey bars in the Adventure Playground?
Content Description
2.2. Use and experiment with different materials, techniques, technologies and
processes to make artworks.
• Content Elaboration
2.2.1 exploring a range of natural and man-made materials and technologies
to visually express their experiences, for example, paint, pencils, ink, in sand,
photography and graphically
• Assessment Question: Content Elaboration
2.2.1 Can Jake use and experiment with different materials (gadgets and found
items), visually express his experience?

Curriculum-based assessment of learning

Indicators Achievement Standard Level—Advanced
of Learning Jake has created a print to illustrate his enjoyment of the Adventure Playground and his work
Achievement demonstrates the following, he has learned to
‘How will I know?’ • Envision how to show the shapes the body makes as it swings on the monkey bars. Jake said,
‘What behaviours ‘I need to pretend that I’m playing on the monkey bars and “see in my mind” what shapes
can I use to I make with my body.’
judge Jake’s • Select and use appropriate gadgets to suit his plan. Jake said, ‘I have to find circle shapes to
achievement make my head and a fat, long rectangle shape for the step part of the Monkey Bar.’
standard?’ • Print angles to show that his legs change shape and he was able to explain this helps him to
swing. Jake said, ‘Look, you can see how my legs bend when I swing!’
• Make decisions about the content of his illustration and did not include the other end of the
Monkey Bar as it would make it look to small. Teacher said, ‘Jake, I can only see one end
of the Monkey Bar. Why’s that?’ Jake said, ‘Oh, that’s because I wanted to show how it’s a
long way across!’
• Persist with his art-making process and find ways to solve problems by asking a friend to
demonstrate ‘act’ the movements he makes on the monkey bars
• Use his problem solving to find solutions—selecting gadgets to make appropriate shapes. Jake
could be heard saying to himself, ‘No, not the bendy one, it would make the bars look squiggly.’
• Told the story of his print, ‘This is one of the best things to do at lunchtime. You have to swing
your legs really hard and I wanted to show that.’
CLIMER Connecting: Jake made a pattern using the wood blocks from India. He said they made play
(Table 14.1): dough prints in Pre-Primary. Applied ideas from Ed Arno’s prints to his own artwork.
‘Which Languages: Jake has demonstrated his ability to make judgements and decisions about
dimensions of representing accurate proportion, he said he made the right arm longer because it was stretching
arts learning were Ideas: imagined the movements on the monkey bars and asked another student to help him
embedded in review the shapes the body makes when swinging across the bars.
this arts learning Expressing: talked about his ideas and techniques and made reference to Indian wood block
experience?’ printing, ‘You’ve got to press and hold then lift just like the Indian printers’, while working.
‘How were these Responding: During the class discussion Jake said he got his ideas about showing his movements
dimensions when we looked at the Magic Fish linocut illustrations, he liked the way the waves got bigger and
evident in Jake’s looked as though they were moving. He commented that he wondered if the Indian printmaker’s
behaviour?’ fingers got in the way.
Summary: Jake created a Gadget Print to express his experience of playing in the Adventure Playground. He was very
focused and self-directed during this activity. He took responsibility for solving his own problems and was seen helping a
student who was getting a little frustrated with the printing process. During class discussions he made links between his
work and the wood block prints of India and commented, ‘Their arms must get tired’.
Parent’s
Comments: ………………………………………………………………………………………………………………………………….
Table 15.6 is an example of curriculum-based assessment. This report gives a ‘picture’ of

Jake’s (a primary school child) learning based on information gathered from:
• interactions while working with Jake
• documented observations of Jake’s learning process
• Jake’s completed artwork—his gadget print, I Like Playing in the Adventure Playground.
The educator reviewed all documented observations and Jake’s artwork for evidence of
learning against the intended learning outcomes expressed in the lesson planning. These

intended learning outcomes were originally written with reference to the curriculum’s
Content Descriptions and Content Elaborations. The educator then determined how well
these learning outcomes have been met to establish the achievement standard. Based on the
information in this example, the educator judged that Jake’s artwork indicates an Advanced
Achievement Level for Year 2.
Summary
In their work as professionals, early childhood educators constantly engage in an ongoing
cycle of planning, implementing, observing, interpreting, assessing and reporting learning
progress and outcomes. This chapter has explained the purpose and processes of monitoring
and assessing learning in early childhood arts education and provided detailed examples
for each phase. The initial phase of this process is to record observations of children as they
engage with arts learning experiences. Having an observation template or recording devices to
hand facilitates observation practices. Listening to children’s talk adds depth to observations.
The next phase is to ask specific questions of the recorded observations (anecdotal or
photographic) with a focus on children’s dispositions and actions as they engaged with arts
learning experiences. These questions guide and help shape interpretations of observations
as evidence of learning progress and attainment of intended outcomes. This is the basis for
reporting learning to parents and other stakeholders using one of the formats suggested. The
next phase of the learning advancement cycle is to plan for the next learning experience.
Learning Activities
1 The quote from Cathy Nutbrown at the beginning of the chapter highlights the
importance of observations in the early childhood context. Create a PowerPoint
presentation to explain the point that is being made.
2 Watch the video Doing Your Own Thing—Child’s Agency (www.youtube.com/

watch?v=cGeeK49tTwk) and record your observations of the young child’s dancing.
Interpret your observations and use EYLF to identify her learning.
3 Watch the video clip Making Music (www.youtube.com/watch?v=9G0GEsZ6JnY).
With reference to Music: Foundation to Year 2 (ACARA), select the relevant Content
Descriptions, Content Elaborations and skills. Use the Curriculum-Based Assessment of
Learning format to assess the learning outcomes of one of the two children in the video.

Further reading
Brody, K. (2013). Observation, Assessment and Planning in the Early Years: Bringing It All
Together. Maidenhead: McGraw-Hill Education.
Burman, L. (2009). Are You Listening? Fostering Conversations That Help Young Children Learn.
St Paul, MN: Redleaf Press.
McLachlan, C., Fleer, M. & Edwards, S. (2013). Early Childhood Curriculum, Planning,
Assessment and Implementation. (2nd ed.). Port Melbourne: Cambridge University Press.
doi: https://doi.org/10.1017/CBO9781107282193.009 (pp 113–140)
National Quality Standard—Professional Learning Program. (2012). Observing
Children: Gathering Analysing Information to Inform Curriculum Decision Making. NQS-PLP
e-Newsletter. No. 39.
National Quality Standard—Professional Learning Program. (2014). Assessing Children’s
Learning—Work in Progress! (Part Two). NQS-PLP e-Newsletter. No. 74.
Online resources
Observations and Documentations Reggio Emelia: This link takes you to a document
on the Reggio Children website that lists relevant topics, including observation and
assessment. The articles contain hyperlinks. http://reggioemilia2015.weebly.com
EYLFPLP e-Newletter No.102011: This e-newsletter includes practical examples of ways
to documents observations of learning in Early Childhood. www.earlychildhoodaustralia.
org.au/nqsplp/wp-content/uploads/2012/05/EYLFPLP_E-Newsletter_No10.pdf
Focused Observations: In this video, four children are playing with funnels and containers
in the ‘sand’ tray. A useful resource to become familiar with the observation process.
www.youtube.com/watch?v=fdZJiWnxhg0
Monitoring Early Progress: A teacher in the United Kingdom is filmed as she works
with children and talks about the purpose of making observations. www.youtube.com/
watch?v=D4Ec02y29Qw&list=PL0zV-7WCukB4unAprVFsa6NDmDkAFgrok
Chapter references
Brody, K. (2013). Observation, Assessment and Planning in the Early Years: Bringing It All Together. Maidenhead:
McGraw-Hill Education.
Burman, L. (2009). Are You Listening? Fostering Conversations That Help Young Children Learn. St Paul,
MN: Redleaf Press.
Carr, M. (2011). Young Children Reflecting on Their Learning: Teachers’ Conversation Strategies. Early Years,
31(3), 257–270. Retrieved from http://dx.doi.org/10.1080/09575146.2011.613805
Nutbrown, C. (1996). Respectful Educators—Capable Learners: Children’s Rights and Early Education. London: Sage.

388
CHAPTER 16
Planning for arts
learning
Plans are nothing; planning is everything.
Dwight D. Eisenhower
Chapter Objectives
This is the last of the three chapters dedicated to the ongoing and dynamic cycle
of Early Childhood education professional practice. The aim of this chapter is
to explain and illustrate how Early Childhood educators plan pathways for arts
learning with attention to the following:
• observation-based planning for an emergent curriculum for ages 0–4
• planning for curriculum-based purposeful arts play for Foundation–Year 2
• planning for curriculum-based purposeful arts play for Years Two and Three
• Arts curriculum-based planning for Foundation–Year 3:
– Units of Inquiry: Planning for Curriculum-Based Learning
– Unit of Inquiry: Playing in the Adventure Playground—Year 1.
Introduction
Educators in early childhood centres and kindergartens plan play-based learning experiences
with reference to EYLF.
Educators teaching in the Foundation and Primary Years of schooling plan arts learning
programs with reference to the Arts Learning Area in the Australian Curriculum or the state/
territory curriculum that is derived from the Australian Curriculum. This curriculum has
three interrelated dimensions which are considered necessary to equip young Australians to
engage and prosper in a globalised world. These are:
• Learning Areas (e.g. Arts Learning Area)—content and elaborations
• General Capabilities: Literacy, Numeracy, ICT capability, Critical and creative thinking,
Personal and social capability, Ethical understanding, and Intercultural understanding

CHAPTER 16: PLANNING FOR ARTS LEARNING 389
• Cross-Curriculum Priorities: Aboriginal and Torres Strait Islander histories and cultures,

Asia and Australia’s engagement with Asia, and Sustainability.
This means that as you plan arts experiences, you should also consider how the
general capabilities and cross- curriculum priorities can be addressed in the Arts learning
context.
The nature of planning varies depending on the age group and learning context. Planning
is framed by EYLF and/or Australian Curriculum as appropriate, and involves designing
pathways for children’s learning and achievement relative to their age or year of education.
In this chapter, we review three different ways of planning.
ACARA: IMPLICATIONS FOR TEACHING,
ASSESSING AND REPORTING
The Australian Curriculum achievement standards are an important focus for teachers
in initial planning and planning of teaching and learning activities. They provide teachers
with a statement of learning expected of students at the end of a year or band of years,
and assist in developing teaching and learning programs … [T]eachers use the Australian
Curriculum achievement standards and content to identify current levels of learning and
achievement (ACARA, v. 8.3 F-10 Overview).
Observation-based planning:
An emergent curriculum for
ages 0–4
In the previous chapter, we reviewed how the learning advancement cycle moves through
the phases of observation, interpretation and assessment, and planning (which initiates
the next cycle of implementation, observation and so on). In this model, planning is
responsive to children’s behaviours as they engage in play-based arts learning experiences.
The curriculum evolves, or emerges, in a dynamic and organic way in response to
children’s interests, strengths, and needs. This is known as an ‘emergent curriculum’
(Stacey, 2008).
In an early learning centre, educators will share observations and plan collaboratively.
The recorded observations are the first point of reference as you ask, What has emerged
from my observations of the children’s learning? This information is then cross-referenced
with learning frameworks or curriculum documents to identify the learning outcomes, or
progress towards learning outcomes, that have emerged as children play. On this basis, with
attention to children’s interests as well as their needs, educators then plan the next learning
experiences, taking care to specify the content and purpose.

The following recount is an example of how one teacher, Mrs Boyd, applies the three
phases of the learning advancement cycle.
Phase one: Observations. In her recorded observations, Mrs Boyd has written:
• Sujith and Kyle are building a stick house in the sand. They have organised their collection
of sticks into groups according to length. They work systematically … evidence of
planning? Learning behaviours?
• Sujith and Kyle are exploring a 3D visual arts medium – sticks. They understand the
rigidity of sticks and the concept of ‘linear measurement’.
Phase two: Interpretations and analysis of observations. Mrs Boyd reviews and
analyses her observations and discusses these with other staff to identify information in
terms of children’s interests, learning processes and behaviours, learning outcomes and
achievements. She knows what to look for and asks, What learning is demonstrated? What
did I see and hear? What does this tell me? What might happen next? How do I know this? Her
new insights, understanding and knowledge about the learner/s are noted. This information
forms her assessment of the learning and is the basis of her future program.
Phase three: Planning. Mrs Boyd creates a plan to enhance, support and extend
children’s arts learning experiences and learning. She includes the dimensions of arts
experiences (CLIMER) in her planning to ensure the Arts learning experiences are rich and
multidimensional experiences aligned to the expectations for learning in the Arts.
Figure 16.1 Early childhood educators observing a child.
Planning an observation-based emergent curriculum

for play-based arts learning with four-year-olds
Planning in an emergent curriculum is contextualised and determined by what children have
done, what you have observed, and how you have interpreted and analysed the observations
to arrive at an assessment of the learning. Table 16.1 shows how forward planning emerges
from this process.

Table 16.1 An example of an observation-based emergent curriculum plan for play-based arts learning with four-year-old children
An observation-based emergent curriculum plan for play-based learning arts learning with four-year-old children
Topic: Printing
Initiating Place or Learning Observations Assessment Assessment Forward Planning
Observations Space of Art Experience During Art EYLF Learning Outcomes ACARA v8.3
Experience Experience (Making)
16_DIN_IAP_04515_TXT_SI.indd 391
David, Carol, Indoor art Time Frame: This Making Assessment: Evidence of Learning—Learning Assessment: Evidence of Learning Introduce the specific
Aisha and Jai tables experience will Children intrigued and Journey Portfolio: Arts with reference to ACARA (v8.3) vocabulary for the
Yi pressing be available to all fascinated by printing Anecdotal notes with reference to EYLF Content Elaborations. elements of Visual
shells and children for one week. process. Shelly, Wei Li, Learning Outcomes. 1. What did I see? Arts—line, shape,
sticks into the Record of Children’s printed ‘real’ things. Include photos of prints in Learning Stories. Children engaged and fascinated pattern.
wet sand to Participation: Staff Some children 1. What did I see? with actual process of printing. Children’s artworks
make patterns use checklist to printed a background Children engaged and fascinated with 2. What does that tell me? will be made into a Big
(photos taken) record those children with the textured actual process of printing. ACAVAM (107) trialling Book for class Library.
who engaged with objects and printed a 2. What does that tell me? different options for designing Each child will dictate
activity. realistic image onto Outcome One: Children are open to new representation by looking at the written text to
Learning Activity: the background. challenges and discoveries. artworks about a theme or subject accompany their print.
Printmaking— 3. What do I know? matter, such as a ‘circus’, and (Outcome Five: engage
Elijah seemed
wooden print blocks Encouraging children to make choices and make their own interpretation children in
fascinated printing
from Bali and India, decisions supports their sense of agency. based on their ideas, experiences, conversations about the
borders with the
selection of textured 1. What did I see? observations and/or imagination. meanings of images
potato masher.
objects, sponge All children except two completed 3. What do I know? and print).
pieces, potato Andrew and Monique Children can explore materials to
an artwork. Andrew and Monique Unit of Inquiry—‘Sand’.
masher. experimented with visually express their experiences.
investigated the technique for some time. Investigate ideas for
EYLF: Outcome the materials for
Outcome Four: Children are curious 1. What did I see? 3D sculptures with wet
Five: use the creative some time but did not
and enthusiastic participants in their All children except two engaged sand or home-made
arts such as drawing, create an artwork.
learning. in the process and completed an kinetic sand.
painting to express Responding
Children participate in a variety of rich and artwork.
ideas and make A whole class mat Music—compose songs
meaningful inquiry-based experiences, 2. What does this tell me? Critical
meaning session for children based on children’s
Children persevere and experience the and Creative Thinking—these
ACARA: Visual Arts to present their experiences with and
satisfaction of achievement. children can organise and process
Elaboration (v8.3). completed artwork, descriptions of sand.
2. What does that tell me? information, imagine possibilities
Use and experiment share their ideas,
Andrew and Monique want to know how and put ideas into action.
with different explain their process
things work. 3. What do I know?
materials, and topic.
All children followed their own interest ACAVAM (107) Children can
techniques, Display photos of
and persevered. explore a range of natural and
technologies initiating event,
3. What do I know? man-made materials to visually
and processes to pressing sticks and
Children are confident and involved express their experiences, for
make artworks shells into wet sand,
learners, they are curious, and use their example, paint, pencils, ink, sand,
(ACAVAM107). as provocation.
imaginations to explore ideas. photography and graphically.
CLIMER: Elements of Arts Learning Experiences (see Table 14.1)
Describe How These Are Embedded in this Print Experience
Connections: introducing woodblocks from Bali and India will enable children to make connections with the Arts expressions and practices of other cultures.
Language of Arts: children can express their ideas, observations and experiences of their physical world in the context of their arts learning experiences. They learn their investigations can be
further explored and expressed through the Arts, that their art communicates their ideas. They are developing concepts about the elements of Visual Arts such as line, shape, size, spacing, and
pattern although they may not know these terms.
Ideas: children’s imaginations are validated as a way of investigating the natural world; using their imaginations they express their unique interpretations of open-ended, play-based arts learning
experiences.
Materials: this experience will create a learning pathway from the initiating exploration of using natural materials to make prints in damp sand to further development and exploration of printing
techniques and skills with ‘to hand’ materials and those from Asia and India.
Expression: children will explore and experiment with the materials, technique and processes to express their unique exploration of the possibilities of the materials or to create a pattern or
representational image.
21/09/2017 7:59 AM
Planning for curriculum-based
purposeful play: Arts learning
Early childhood purposeful play-based arts learning experiences are shaped by selected
learning outcomes, themes or topics (Samuelsson & Carlsson, 2008). These open-ended
experiences involve providing children with resources and opportunities to explore
particular concepts (Edwards & Cutter-Mackenzie, 2011). For the topic Making sounds with
water, an exploration centre is created outside with tubs of water, hose pipes, saucepan lids,
drumsticks, and plastic bottles. Children gather around the tubs and the educator prompts
children’s explorations by saying, I wonder how many sounds you can make with water?
Figure 16.2 A water centre has been set up for a purposeful play event. Items that offer opportunities
to find different ways of making sounds have been carefully curated and made available.
Including these types of purposeful play experiences in the primary years carries forward
the open-ended structure of play-based learning and the principles of child-centred education
that underpin EYLF. The transition from early childhood centre to Foundation (pre-primary
or kindergarten) to Primary is a smooth one. In the next section of this chapter, we see how
purposeful play merges into Arts Curriculum-based planning where open-ended challenges
are presented in an inquiry-based approach to arts learning (Units of Inquiry).
Planning for purposeful play requires establishing a curriculum-based focus to create a
learning pathway. The following table (Table 16.2) demonstrates the processes of planning

Table 16.2 Guide to planning for curriculum-based purposeful play

Guide to planning for curriculum-based purposeful play
Focus Planning begins with the selection of Learning Outcomes or Learning Achievements
from the Australian Curriculum (or your state or territory version)
Plan Ensure the location and space is suitable for the planned activities
Note if there are safety issues that need to be addressed
Make sure you have all the necessary equipment
Consider supervision implications. Will the activity require close supervision? Who will
do this?
Nominate the time period set aside for the learning experience
Make sure that children understand whether the activities are limited to small groups
Observe Observations are the data you record to document learning
Use ‘Who? What? When? Where? Why? How?’ to guide and manage your observations
(see Chapter 15)
Ensure you have your recording devices close to hand ready for you to capture
‘moments of learning’
Participate You can enjoy and learn too—be mindful and on the alert that your participation does
not take over
Scaffold Look for those ‘teachable moments’ knowing that specific coaching is one way to
learning scaffold learning. Take a few moments for the problem solving to develop and always
offer to help, Would you like me to ……? This approach ensures that learners have
agency of their learning process.
Demonstrations scaffold and enhance learning. For example, you can demonstrate a
dance move, how to hold a musical instrument, use a paint brush, operate a puppet.
Prompt learning investigations: I wonder …? What will happen if you do …? Are there
other ways you can …?
Children’s Lead discussions that invite children to relive the experience and identify what they
reflection discovered or what they did
Personal Review and critique the effectiveness of your planning. What learning was provoked?
reflection Were all children engaged in purposeful play?
for curriculum-based purposeful play. Although written as a list of sequential actions, like
all planning, this process is dynamic and cyclical. Your observations will inform you of
children’s learning behaviours and dispositions, interests, and learning progress.
Example of planning for curriculum-based

purposeful arts play: Foundation–Year 2
The following plan confirms that formal or traditional classrooms are suited to purposeful
arts play. The work space could be created from a few desks pushed together and covered with
a large piece of plastic. The following example of planning assumes you have either a Teacher
Assistant or volunteer parent to assist with supervision and ‘clean away’. In this model,
there are several play sites set up and children in small groups can choose purposeful play
experiences offered in the painting area, maths area, class library, music and dress-up area.

Table 16.3 An example of a plan for purposeful play where children experiment with a
variety of painting and printing options
Curriculum-based purposeful arts play
Foundation–Year 2
Topic: Experimenting with a variety of painting/printing equipment
EYLF: Learning Outcome 5: Children express ideas and make meaning using a range of media
(2009, p. 42)
Visual Arts 2D: Content 2.2 Use and experiment with different materials, techniques, technologies
and processes to make artworks (ACARA, 2013, p. 116)
CLIMER:
Connecting: one of the children showed a print she had made at home with the steel scratchy pad
used to clean aluminum saucepans. She had dipped the pad in acrylic paint and stamped it onto her
paper. The children were fascinated and wanted to do ‘experiments with ordinary things’ making
connections between home and school.
Languages: children will develop the concept of texture and its effectiveness in visual artworks.
They will express how they develop their ideas in the process of making an artwork.
Ideas: this purposeful play based experience emerges from one child’s imaginative use of a cleaning
object, she followed her own ideas to create an artwork. Children will use their imaginations to
develop their own ideas by experimenting and sharing their ideas with others.
Making: support will be offered by demonstrating, questioning and specific coaching to support the
development of children’s ideas which may be to paint or print or a combination of both.
Expressing: children will express their ideas as they experiment with the materials to express their
interpretations.
Responding: children will respond by commenting on their work and the work of others as they
work. They will share the ideas of their completed artwork in small groups.
Planning Observations Reflections and New Information
Place Art Area Check aprons and 1 David No problems or issues—
large cover sheet for table fascinated children showed enjoyment and
Space Four small tables to create one with patterns concentration, asked for their
larger table made by work to be displayed on easels.
potato Patterns and secondary colours a
Equipment Paint on foam trays—three
masher possible future topic. Took photo
primary colours; assortment
2 Sienna of David and Jamal’s work to use
of cardboard rolls, pieces of
made lots as provocations.
corrugated cardboard, spatulas,
of scrunchy All children demonstrate control
combs, discarded tooth
prints and of printing technique.

brushes, hair scrunchies, potato
added spiky Children created abstract and
mashers. Check availability—
shapes realistic prints—consider using
put note outside for parents
with the these to further understanding of
with an example.
toothbrush this concept.
People Teacher to demonstrate printing
3 Jamal mixed Fascination with patterns—use
with these items, then children
colours on photo of David’s artwork to
work independently with parent
a ‘pallet’ of provoke interest in patterns,
help or ‘roving eye’ of indoor staff.
cardboard ask children to be ‘patterns
TA to take photos or videos
and used only everywhere detectives’ to set up a
for teacher to use to identify
secondary ‘Patterns’ display.
learning and learning process.
colours
TA and parent to assist with
clean and ‘pack away’
continued

Reflection and review
Languages: artworks indicate an awareness of pattern, texture and colour mixing.
Ideas: the children interpreted the play experience to follow their own ideas and a few children
experimented with printing and painting and combining the two for one artwork.
Responding: children responded to each other’s interpretations as they worked, they were
interested in the different interpretations and talked with each other while they were working. Some
children walked around to see what others were doing. This created a ‘studio’ atmosphere.
Figure 16.3 Modelling resources are laid out ready for a purposeful play event. Note how attention is
given to creating an aesthetically pleasing and inviting space.
Example of planning for curriculum-based

purposeful arts play: Years 2 and 3

Purposeful play focuses on the learning that emerges as children engage with the Arts
learning experience to experiment, investigate, explore and develop their ideas.
At times educators find they have limited space and equipment which may challenge
opportunities for play-based learning. However, with thought and planning it is possible
to create an environment for Years Two and Three children to engage in play-based, arts
investigations. These are planned with reference to the Australian Curriculum Arts Learning
Area Content Elaborations or the state or territory curriculum.

In the example below the educator participates with groups and individuals and, when
appropriate, scaffolds the learning experiences with demonstrations, specific coaching,
and questioning to enhance problem solving and imaginative potential. Observations are
documented to inform further planning and assess children’s learning.
This ‘purposeful play’ episode occurs within the context of children having choices to
‘play’ in designated areas, there will be groups of desks pushed together for the Visual Arts
experience, and designated areas in the room for the music and drama experiences.
Table 16.4 An example of how to plan for purposeful play-based arts learning experiences

for a traditional Year 2 or Year 3 classroom with limited access or no access to an outdoor
area or sink and minimal floor space
Curriculum-based purposeful play: Arts
Year 2 and Year 3
Curriculum content What may Equipment and Learning demonstrated/notes for
description emerge preparation of future planning
play areas
Visual Arts 2D: Observational Magnifying glass, Most drawing realistic. Mark and
Content 2.2 Use and drawing fine point felt David created fantasy drawings
experiment with pens, A4 paper, of objects. Consider a Guided
different materials, shells, leaves, discussion to compare realism and
techniques, feathers, bark, fantasy in Visual Art.
technologies and small flowers. Observation:
processes to make • children very engaged, asked if
artworks (ACARA, we could do an internet search
2013, p. 116) for close-up images.
• These could be used as
provocation to explore movement
in dance.
• Possibilities for abstract art with
reference to Georgia O’Keefe.
• Link to Science.
Music: Content 4.2 Experimenting Tuned and non- Sienna, Natasha, Fatima,
Practise singing, with ways of tuned percussion Vincent, Hemi and Rua decided to
playing instruments using voices and instruments. compose a new song with musical
and improvising instruments, accompaniment. They used a C
using rhythm, pitch, combining Major pentatonic scale.
dynamics (ACARA, sounds, silence, Song ABACAD—verse and choruses
2013, p. 98) tempo and ‘A—I am the Galaxy’.
volume to create B—‘I hold the stars together’
and perform C—Stars and planets shine at night.
music We have been composing songs
in this form so will ask group to
perform for sharing and responding.
continued

Drama: Content: 2.2 Communicating Puppets and Wei Li, Sujith, Emma, Joseph, Cyrus
Use voice, facial verbally and masks. played with the masks exploring
expression, movement non-verbally possibilities of voices and actions.
and space to imagine to explore and Some brief performance moments.
and establish role and show role and Ask them to share their ideas about
Situation (ACARA, situation. character and voice.
2013, p. 55)
Reflection and review
In this example, the CLIMER Elements of Arts Learning Experiences has been used to frame this
process (see Table 14.1, p. 355).
Languages: Drama—these children worked with voice, character and role; Visual Arts—some
children indicated a sensitivity to line and pattern, others focused on a realistic representation of
the object; Music—children explored the structure of song and melody composition.
Ideas: The open-ended nature of play-based arts learning experiences allows for the exploration of
many ideas, some are tried and quickly discarded, others form the core of the experience. The play-
based experience seems to focus their attention as they pursue their own problem solving.
Expressing: All children expressed their ideas through drawing, discussion, enactment and the
process of song and melody composition and performance.
Responding: Responses happened during the play experience, there was some questioning during
the whole class sharing time.
Arts curriculum-based
planning: Foundation–Year 3
A program is prepared at the beginning of the term or within the time frames allocated by
your school. It outlines the planned learning experiences by which the curriculum content
(Australian Curriculum or its state/territory variations) is covered. It also provides details of
how the intended learning will be monitored and assessed.
When planning arts learning experiences, it is important to consider how the
CLIMER: Elements of Arts Learning are incorporated.
Planning for Arts curriculum-based

learning: Unit of inquiry
When planning for a school term the Arts content is best presented as a series of modules or
Units of Inquiry. These modules can be designed to extend over several weeks or longer but
are distinguished by being a planned sequence of learning experiences designed to explore
at some depth a particular theme, arts element, artist or artistic tradition, art material or
process.

Phase One:
With reference
to curriculum documents and
learning achievement standards,
nominate arts experiences which
will advance children’s learning.
The selected learning experiences
may be in response to children’s
interests, school and local
community events and may
link with other curriculum
learning areas.
Phase Two:
You plan a Unit of
Phase Four: Inquiry including intended
You interpret your documented learning (CLIMER), learning
observations and make judgements experiences and what will be
on children's achievement of the likely indicators of learning
intended learning (and progress progress towards intended
towards achievement standards). achievement standards.
Phase Three:
You engage children in the
planned learning experiences
which may include intentional
teaching, purposeful dialogue,
demonstrating and
specific coaching. You make and
record your observations
with written notes, video
and audio recordings
or photos.
Figure 16.4 Planning cycle for a Unit of Inquiry.

When developing Units of Inquiry, we should be pro-active in our approach to embedding
an Indigenous perspective. Firstly, we need to appreciate that art forms vary among
Indigenous language groups and that there is diversity among individual artists and
their art. To deepen our understandings about this we need take the time to get to know
our Aboriginal families and communities and respective language groups. Secondly, we
need to acknowledge that authentic embedding of Indigenous perspectives comes from
Indigenous processes and pedagogies, rather than isolated activities about ‘culture’. It is
about learning through culture not about culture.
continued

Indigenous processes and pedagogies include learning by observation and doing,

learning through stories, learning through the process of yarning and most of all
learning through relationships and respect because without relationships and respect
learning will not occur. This is only possible through genuine commitment and dialogue
with Aboriginal peoples with the purpose of designing learning that is authentic for the
context. This may require that you have many professional conversations to enhance your
sense of efficacy to embed Indigenous perspectives. Have a yarn with your Aboriginal
families and fellow educators and consider what you could do in your educational setting
to promote genuine understanding of and respect for Indigenous perspectives.
Karen Sinclair, a Ngarrindjeri early years educator from Adelaide, South Australia.
Example of curriculum-based Unit of inquiry: Playing in the

adventure playground (Year 1)
This Unit of Inquiry for Year One is based on a favourite playtime activity, I Love Playing in
the Adventure Playground. It is suitable for Foundation and Year Two as well. This example
focuses on the Gadget Print arts learning experience in which children use recycled
everyday objects to create a print expressing their experiences of playing in the Adventure
Playground. These images are then the basis of the digital storybook creations that follow.
Children experience how ideas and possibilities developed in one context can be the basis for
new creations in another.
Table 16.5 I Love Playing in the Adventure Playground is a Unit of Inquiry plan based on a
favourite playtime activity
Theme: I Love Playing in the Adventure Playground YEAR
GROUP: Year 1
Walking on the monkey bars Playing on the Flying Fox Swinging on the monkey bars
GENERAL DESCRIPTION: Children use gadgets to create block prints NUMBER OF
illustrating their experiences of playing in the Adventure Playground. They WEEKS: 4
create a digital storybook incorporating their prints and fanciful scenarios.
Overarching goals or motivations for developing this educational experience:
As part of our focus on what we can make with found objects, children will explore how to use
gadgets as stamps for printmaking. This is the second printmaking technique we will use this term
where we have been focusing on studio processes. Children will then create digital picturebooks
working in small groups to sequence images of their prints for a story based on fanciful ideas for
what happens next. They will learn to load image files.

MAKING ACTIVITIES INCLUDED: RESPONDING ACTIVITIES INCLUDED: CULTURAL

1 Gadget prints 1 Guided viewing of Indian woodblock print (WORLD OF ART)
2 Digital storybook (PowerPoint) examples. REFERENCES:
using prints with text. 2 Art Gallery—children talk about their Cultural
prints in groups of four. Framework: a) Reference:
the actual objects they used to create • Indian
their print, b) the story ‘told’ by the print, woodblock
& c) how their imagination helped them printing on
to create their print. fabric.
• Illustrations in
Fairground light
by Fran Nuno
& Enrique
Quevedo (2013)
GENERAL CAPABILITIES HIGHLIGHTED: CROSS-CURRICULUM PRIORITIES
ICT: Managing and Operating ICT – Select and use hardware INCORPORATED:
and software AAEA: Artwork and practices from
CCT: organise and process information; seek solutions and India to introduce printing with wood
put ideas into action, reflect on process blocks.
PSC: Social awareness: Appreciate diverse perspectives SUST: Using recycled materials to
Social management: Communicate effectively make artwork.
LIT: Composing texts through speaking, writing and
creating, Understand how visual elements create meaning
IU: Explore and compare cultural knowledge, beliefs and
practices
(ACARA, v.8, 2016)
LEARNING ACTIVITY 1 (LA1) LEARNING ACTIVITY 2 (LA2)
Gadget Prints. Digital Storybook using gadget prints
Children use the technique of print making with gadgets - As a provocation read Fairground
to visually express their experiences of playing in the Light by Fran Nuno & Enrique
Adventure Playground. Quevedo (2013) which introduces
- Review Indian block printing. the idea of a fairground where
- Demonstrate printing with gadgets each ride leads to a magical/
- Children experiment with mark-making fanciful outcome.
- Children review playground activities and model different - Children refer to own gadget print
actions noting positions of parts of body and imagine what could happen
- Children make gadget prints next (one sentence).

- Children in small groups review prints using framework - Work with children in groups of
questions six to upload photos of their prints
and write story.
continued

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300 PART 2: EDUCATING THROUGH THE ARTS

Figure 12.1 Guided viewing leads children to contemplate artworks.

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RACE INTO LISTENING

Table 12.2 RACE is a guided listening framework

• How would you describe the beat or rhythm of the music?

the music was made. that is heard in the music?

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WHO, WHAT, WHERE, WHY, WHEN, HOW AND WHOM

Table 12.3 A general framework that can be used for reviewing arts products

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Who, what, where, why, when, how and whom framework

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12_DIN_IAP_04515_TXT_SI.indd 305 21/09/2017 7:04 AM

THINGS TO REMEMBER ABOUT GUIDED VIEWING,

integral to the way cultures are shaped.

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JUMP INTO THE PICTURE

Figure 12.4 Children imaginatively jump into paintings to explore

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RESPONDING THROUGH PAINTING OR DANCING

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Figure 12.5 Banksia Integrifolia watercolour by Sydney Parkinson from Banks’ Florilegium.

This observational drawing project based on drawing leaves is contextualised by introducing

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through an exploration of construction techniques to make their own headdresses and

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THINGS TO REMEMBER ABOUT RESPONDING

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State and territory art galleries are located in capital cities:

New Zealand art galleries

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Music and film clip collections

National and Indigenous broadcasters

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and move it up and down in time to the music.

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getting ready for home.

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encouraged to manipulate these materials in a variety of ways. For example, squeezing,

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AUSTRALIAN CURRICULUM: FOUNDATION TO YEAR 2

picture books (sneaking like the fox, striding like a giant).

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AUSTRALIAN CURRICULUM: FOUNDATION TO YEAR 2

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AUSTRALIAN CURRICULUM: FOUNDATION TO YEAR 2

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AUSTRALIAN CURRICULUM: FOUNDATION TO YEAR 2

Play a simple tune on tuned percussion instruments.

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