AUSTRALIAN CURRICULUM UNIT PLAN

Subject: The Arts

Year Level: One Teacher: Alannah Heyman, Georgia Hyder, Cass Kotsoglous and Abhaya Racic 
Topic: Duration: 9 weeks

PART 1: PURPOSE

☒ Literacy ☐ Numeracy ☐ ICT ☒ Critical and Creative

General Thinking
Capabilities
☐ Ethical Understanding ☐ Personal and social ☐ Intercultural
capability Understanding
Cross-curriculum ☐ Aboriginal and TSI ☐ Asia and Australia’s ☒ Sustainability
Priorities
Histories and Culture Engagement with Asia

Strands, Sub-strands, Content Descriptors and Elaborations:

 investigating a diverse range of artworks made by living Australian artists; for example, artworks from a local, national,
state or regional collection
 exploring when, where, how and why First Nations Australians use visual arts, crafts and designs to share knowledge
about cultures; for example, during celebrations such as Aboriginal Children's Week, NAIDOC week, Reconciliation
AC9AVA2E01
Visual Arts Week or to acknowledge significant occasions such as Sorry Day
explore where, why and how people
 using Viewpoints to co-develop questions to explore and investigate ideas and understandings about artworks, craft
Exploring and across cultures, communities and/or
works or designs; for example, “What do I think is the story in this artwork?”, “What do I recognise in this artwork?”
Responding other contexts experience visual arts
 using Viewpoints to co-develop questions to explore an artist and their practice; for example, “Who is the artist?”,
“When and where was this artwork created?”, “What materials and techniques might this artist have used?”
 identifying similarities and differences in artworks that represent subject matter or ideas they may be exploring in other
learning areas; for example, exploring artworks that represent significant events from different times such as
celebrations, or subject matter such as living creatures and their relationships with their environment
 exploring how artworks created by First Nations Australian artists feature places as a way to show us why where we
are is a part of who we are
 identifying where they might experience First Nations Australians’ cultural expressions in their lives and
AC9AVA2E02
communities and as part of state and national events, taking notice of ways that artists observe protocols and respect
explore examples of visual arts
Elders or knowledge holders
created by First Nations Australians
 listening to the voices of First Nations Australian artists as they describe the importance of Country/Place to their
art-making; for example, through direct engagement or using resources created or co-created by First Nations
Australians
Page 1 of 16
  observing how visual conventions are used in artworks and designs created by First Nations Australians; for
example, exploring colours, symbols and patterns used in artworks with representatives of the First Nations
Australian community or through resources that are created or co-created by First Nations Australians
 exploring artworks that represent First Nations Australians’ interpretations of the night sky, co-creating symbols
and/or designs to represent shapes and patterns that can be seen at different times of the year with First Nations
Australians who have cultural authority
 playing with a range of natural and/or constructed materials to experiment with visual conventions and visual arts
processes; for example, creating mud sculptures, or using sticks, leaves and playdough to explore texture
 unpacking a surprise bag of everyday tools and materials, and working silently in small groups to make something
within limitations; for example, using materials of only one colour or making sculptural forms from paper or
cardboard using only folding and tearing processes
 using Viewpoints to develop questions to reflect on their arts experiences; for example, “What was challenging
AC9AVA2D01
Visual Arts about working in a limited timeframe?”, “What was something new that I discovered about the material?”, “What
experiment and play with visual
failures led to new discoveries?”
Developing practices conventions, visual arts processes
 identifying the difference between open lines and closed shapes; digitally filling a selection or colour block using a
and skills and materials
collage of closed shapes to form silhouettes of recognisable objects, people or other living things
 examining artworks and trialling “layer + layer + layer” as a way of building surfaces, colour, texture and interest;
for example, experimenting to create a layered world with pastels, then watercolour, ink and wax, and once the
experiment is completed, identifying how each material could be used in a future artwork
 exploring visual conventions using a wide range of materials; for example, creating lines using media such as
pastels, chalk, paint, ripped paper, textiles and markers; or going on a “line hunt” to identify and photograph the
different lines they see around their school environment using a digital camera, or creating rubbings
 using a combination of chaotic/accidental mark-making with more detailed intentional mark-making; for example,
using blobs of paint with added outlines and detail, and using imagination and creativity to build on the shapes to
see what emerges
 using Viewpoints to develop questions as they experiment with arrangement and rearrangement to shuffle visual
conventions, subject matter and materials around a designated area and to deliberately change the meaning of a
visual story; for example, “What happens if I make the subject fill the page?” or “Can I change the meaning of my
work by using darker or lighter tones?”
AC9AVA2C01  using visual brainstorming to build ideas for artworks and using Viewpoints to develop questions to push ideas
Visual Arts use visual conventions, visual arts further; for example, “What happens if I combine these ideas?”, “How can I adapt this idea?”, “What happens if I
processes and materials to create remove part of this design?”
Creating and Making artworks  creating a relief print through nature-printing, or creating collagraphs by creating a raised textured surface by using
glue, thread/string and textured paper to create monoprints; cutting these shapes out and making a collage to create a
recognisable form, such as a face or an animal
 using 3D construction (sculpture) methods to represent subject matter or ideas being explored in another learning
area; for example, building on their understanding of living things as a starting point to use modelling materials such
as potato clay and found objects to represent the life cycle of an insect
 using a combination of digital art and analog art-making, such as using photography or drawing apps for painting
and drawing, to create a collaged abstract work that represents feelings and emotions; for example, responding with
colour, line and shape to music to create work that communicates how the music makes them feel
AC9AVA2P01  presenting an artwork they have made to the class, a small group or their teacher and explaining what they like about
Visual Arts share artworks and/or visual arts it
Page 2 of 16
  creating a spontaneous and experimental artwork and only showing a small portion of it to their audience as they
dramatise the making of the work; or using unlikely objects for brushes, testing colours and “brush” strokes using
expressive movements, and applying a cardboard “window” frame as a flourish across the finished painting to find
the most “successful section”, trimming away the remainder and concluding the performance by cutting a “window
frame” from paper to frame their final selection for display
Presenting and
practice in informal settings  using an everyday object as the starting point, drawing the object, then personifying it by adding character qualities,
Performing
attributes and a name; then taking it in turns to match each student’s artwork with the appropriate object, explaining
how they arrived at their decision
 deciding on an appropriate audience and ways to share their artworks; for example, sharing with the class a work-in-
progress or posting their work on a school learning management system to allow their families to see and appreciate
it
 listening to and talking about music that features instruments and/or voices/vocalisations from diverse contexts and
cultures, and sharing observations about the music, such as identifying the instruments used or identifying the
purpose the music was composed for; identifying and learning songs for special occasions (for example, birthday
songs) or exploring how music is used to enhance the action or mood in a game they play on a digital device or a
cartoon they watch (for example, “How is the music telling me that everyone is happy or that the rainforest is sad?”)
 exploring ways that people in their local community are making and experiencing music; for example,
identifying ways of being a musician such as singer, songwriter, composer, instrumentalist, sound engineer or digital
music producer; being a listener or audience member (at home, in places designed especially for music performance
AC9AMU2E01 and/or in physical or virtual public spaces); making a class list of places where they experience music each day and
Music explore where, why and how people noting who the performers/composers are and their responses to the music (for example, responding to questions
Exploring and across cultures, communities and/or such as, “Which music makes you want to sing along?”, “Why don’t we know who composed this music?” and
Responding other contexts experience music “Does that matter?”)
 identifying opportunities for engaging with music in their daily life by being a composer, performer or audience; for
example, singing when no-one else can hear you, singing in a group, writing and recording songs using available
digital devices and apps, listening to music, improvising chants/raps to make everyday tasks more interesting,
noticing how music is used in screen-based products such as games, cartoons or e-books
 discussing where, how and why they and their peers or family members experience music, and their music
preferences; for example, compiling a playlist that combines their favourite music from the different generations in a
family or creating a school playlist
 practising active listening skills; for example, moving with the beat and clapping rhythmic ideas or being aware of
pitch and volume when they are singing/vocalising and/or playing instruments
 identifying where and how they can experience music composed and/or performed by First Nations Australians,
such as via mainstream music platforms (live performance, video, television, radio, streaming), music for
ceremonies at their school, in their community, or as part of state and national events
AC9AMU2E02  exploring the diverse music styles represented in music composed and performed by First Nations Australians; for
explore examples of music example, listening to music that is available through mainstream media; music performed at a local festival, by street
composed and/or performed by First performers, by choirs and/or orchestras; or music created or performed for events such as openings of cultural or
Nations Australians community events or as part of a Welcome to Country, and asking questions such as “What instruments and voices
can I hear?”, “How is this music communicating message/s about Country/Place?” or focusing exclusively on the
music (the sound): “How is this music similar or different to other music I listen to?”
 exploring how the elements of music are used to create specific effects in screen-based or theatrical works that
communicate First Nations Australian cultural knowledge; for example, viewing cartoons or animations that retell
Page 3 of 16
 traditional stories and using Viewpoints to ask questions such as “How is texture being used to create tension in this
part of the story?”, “How is melody being used to represent characters in this story?”, “How are tempo and
dynamics being used to communicate the mood or feeling?”
 experimenting with their speaking and singing voices/vocalisation to create a range of expressive effects; for
example, varying dynamics or exploring different ways of sliding, scooping or bending, snapping, blending or
creating a mood or atmosphere
 playing music games or taking part in skill-development activities to develop skills for listening, composing and
performing; for example, movement/body percussion games that develop skills relating to pulse, beat and rhythm
 improvising on pitch and rhythm patterns to develop skills relevant to different elements of music; for example,
echo clapping, calling and response singing
 participating in singing games/activities that involve pitch awareness or matching pitch; listening to features of
music such as dynamics or articulation and replicating or varying what they hear; playing games that involve
repeating or extending a given idea such as a melodic or rhythmic pattern
Music AC9AMU2D01
 developing listening skills for specific purposes, such as listening to count-ins, to become confident about tempo;
develop listening skills and skills for
Developing practices being quiet when listening to live music (and learning when applause or comment is expected during a
singing and playing instruments
and skills performance); listening to ensure their voice/vocalisation/part is blended with other voices/being projected at about
the same dynamic level when singing or playing in a group
 exploring and improvising ways to create and vary sounds using a range of sound sources, such as
voice/vocalisation, classroom instruments, found/environmental/repurposed objects (buckets, leaves, etc.) or digital
instruments; for example, exploring how they can vary sounds using elements of music such as dynamics,
articulation or tone colour, the effects they can create by combining voices and instruments or combining sounds
and silences, and asking questions such as, “Which way of playing/singing sounds best?”, “What is the way I want it
to sound?”
 developing understanding of what matching pitch means; for example, by using a digital tuner or closing eyes and
gradually adjusting to match a partner’s pitch
 practising techniques for singing songs and playing classroom instruments
 contributing to decisions about how to interpret the elements of music, such as tempo (duration/time), dynamics
and/or articulation when performing songs, chants, rhymes or instrumental music
 improvising and making decisions about how to combine sounds to create compositions; for example, combining
pitch and rhythm patterns, improvising melodies and drone accompaniments, making decisions about
instrumentation, articulation, texture and dynamics
 using voices and body percussion to create music that features contrasting examples of elements of music, such as
AC9AMU2C01 sound/silence, fast/slow, long/short, high/low, loud/soft
Music select and combine elements of  improvising patterns of body movement, such as clapping or stamping, to create accompaniments; for example,
music when composing and accompaniments for songs
Creating and Making practising music for performance  practising a repertoire of songs, chants and rhymes focusing on using elements of music such as tempo, dynamics or
articulation to create expressive effects
 using signs and symbols to notate or document patterns or soundscapes and/or using an available device to record
work in progress so that they can listen and make decisions about what to do next
 practising music using accessible technologies; for example, using recordings to make decisions about dynamics or
tempo
 writing lyrics for a chant/rap and improvising to develop rhythmic patterns they can use to perform the lyrics; for
example, combining unison sections (voices alone) with multi-part sections (voices and body percussion or
Page 4 of 16
 instruments)
 singing songs, performing chants/raps or playing instrumental music they have learnt or composed for an audience
of peers and teachers
 following agreed decisions about how the music should sound; for example, using singing voice rather than
speaking voice, holding beaters or instruments in ways that produce clear and clean sound, performing at the agreed
tempo
 making decisions about how/where to sit/stand in a performance space; for example, deciding if they can see
Music AC9AMU2P01 cues/signals from other performers or a conductor more easily if they are standing in curved or straight rows, or
sing and play music in informal whether they can perform an instrumental part more accurately/comfortably when standing or sitting
Presenting and settings  introducing a performance by writing text for a slide that shares information about the music with the audience; for
Performing example, the title of the music, the name of the composer and identifying where, when or why it was composed, and
then projecting the slide before or during the performance
 listening intentionally and respectfully during performances and when invited, participating in the performance by
using body percussion (clapping, tapping, stamping) or singing
 contributing to post-performance discussions; for example, sharing ideas about what the best part of the
performance was or asking the performers questions such as, “How long have you been singing/playing as a
group?” or “How did you get your instrument to …?”
 identifying features of dances that communicate cultural knowledge, such as stories, traditions or dances used in
ceremonies
AC9ADA2E01  using Viewpoints to ask questions about dances they experience; for example, “What sort of movements did the
Dance explore where, why and how people dancers perform?”, “What are they wearing?”, “What kind of music are they dancing to?”, “How are they
Exploring and across cultures, communities and/or communicating the ideas or intentions in this dance?”
Responding other contexts experience dance  recognising and describing patterns of movement in dances, using their own words and learnt dance terminology
 identifying similarities and differences in dances by sharing, viewing and/or learning dances that they are familiar
with or have experienced with their families and communities
 identifying how dance can show what feelings people have about places, people or experiences
 exploring when, where, how and why First Nations Australians use dance to share knowledge about their cultures;
for example, during celebrations such as National Aboriginal and Torres Strait Islander Children’s Day, NAIDOC
Week, Reconciliation Week or the acknowledgement of significant occasions including Sorry Day
 observing how the elements of dance are used in choreography and/or performance by First Nations Australians; for
AC9ADA2E02
example, exploring the movements with representatives of the First Nations Australian community or by using
explore examples of dance
resources that are created or co-created by First Nations Australians
choreographed and/or performed by
 identifying where they might experience dance in First Nations Australians’ cultural expressions, such as in
First Nations Australians
ceremonies at their school, in their community, or as part of state and national events, and taking notice of ways the
performers and audiences observe protocols and respect Elders or knowledge holders
 learning about First Nations Australians’ interpretations of the night sky; for example, working with First Nations
Australians who have cultural authority to co-create movements to represent shapes and patterns that can be seen at
different times of the year
AC9ADA2D01  developing awareness of, and taking responsibility for, their own safe dance practice; for example, being aware of
Dance experiment with ways to move self and others in the dance space, moving with care, respecting others dancing in the space; developing an
Developing practices safely and expressively awareness of the boundaries of the dance space and an awareness of what their bodies need; for example, getting a
and skills using fundamental movement drink to hydrate themselves after dance activities
skills and the elements of dance  using improvisation to explore movement possibilities in response to a stimulus such as imagery, music or shared
Page 5 of 16
 stories; for example, improvising movements in response to prompts such as “Make a long, narrow shape”, “Stretch
the shape as wide as possible”, “Make your shape long, narrow and low/high”, “Connect your shape with the shape
another person has made”, “Make your combined shape move sideways/forwards/in a circle/ backwards”
 using Viewpoints to ask questions and identify movement possibilities, such as “What levels are you using in this
dance, and why?”, “How are you communicating your ideas and intentions in this dance?”, “Are there other body
parts you can use for this movement?”
 exploring fundamental movements safely to develop ideas for movement; for example, ideas about familiar
situations, objects, animals or environmental features, such as running in a race, jumping like a frog, stomping like a
giant, rolling like a log, falling like an autumn leaf, floating like a cloud, gliding like a bird
 moving around open and crowded spaces safely and using a variety of travelling steps, such as running, skipping,
rolling, jumping, walking backwards and sideways movements; identifying the distance between themselves and
others when dancing and using props such as scarves; and responding by reflecting on the space and movements that
made them feel safe or unsafe
 using improvised movements to create a dance sequence that represents a weather event, or shows how they might
take care of a place that is important to them
 using music they have created as inspiration for a dance, considering how they can use movement to communicate
the rhythm/beat, texture (layers) or timbre (unique sound of each instrument/voice) in the music
 devising a dance sequence; for example, devising a starting shape, a way of moving to another place in the dance
AC9ADA2C01 space (considering level, direction, locomotor and non-locomotor movements) and then combining their ideas with a
Dance use the elements of partner or a small group to extend the sequence
dance to choreograph dance  using ideas from an exploration of how they maintain balance, manipulate their posture, or move specific body
Creating and Making sequences parts, noting similarities and differences across individuals, groups or the whole class, to create a dance sequence
 using patterns of movement such as a sequence of locomotor movements (travelling movements) they have
improvised, sharing/teaching these movements to a partner (and learning the partner’s movements), and working
collaboratively to combine and extend these movement ideas to create a dance sequence
 using their own words and learnt dance terminology to share ideas about the dance they are creating and recognising
and accepting constructive feedback from peers or teachers; for example, in response to a “work-in-progress”
sharing
 presenting a learned sequence of movements or performing dances they have learnt to peers and teachers
 performing a dance they have co-created with a First Nations Australian person who has cultural authority, and
following protocols to ensure they are using any Indigenous Cultural and Intellectual Property with permission
Dance AC9ADA2P01
 expressing ideas to an audience through movement; for example, showing contrasting dynamics by stamping
share dance sequences in informal
Presenting and heavily and tiptoeing lightly or using movement qualities, such as slow controlled sinking to the floor to express
settings
Performing melting ice or sharp jerky movement to express a robot
 using Viewpoints to develop questions when responding to dances they experience in order to reflect on their
choreography and/or performance; for example, “What did this dance make you think about?”, “Did the dance
movements remind you of anything?”, “How did you communicate the ideas or intention in this dance?”
 identifying where they might experience drama in their lives and community; for example, sharing experiences of
AC9ADR2E01
Drama attending drama performances at their school or taking part in drama in their community, and considering why these
explore where, why and how people
performances might have been created
Exploring and across cultures, communities and/or
 recognising how drama can show feelings and ideas that people have about the world or personal experiences
Responding other contexts experience drama
 asking questions about the drama they experience; for example, “How and why are these people making drama?”,
“Where are they making drama?”, “What is the drama about?”
Page 6 of 16
  considering how drama communicates cultural knowledge in their own communities; for example, exploring how
drama communicates stories, traditions and experiences that are important to people, such as drama that
communicates stories from cultures, countries or regions in Asia
 exploring when, where, how and why First Nations Australians use drama to share knowledge about their cultures;
for example, during celebrations such as National Aboriginal and Torres Strait Islander Children’s Day, NAIDOC
Week, Reconciliation Week or the acknowledgement of significant occasions including Sorry Day
 exploring First Nations Australians’ use of drama to express connection to and responsibility for Country/Place,
such as communicating knowledge about the local seasons, or storytelling to communicate knowledge to maintain
AC9ADR2E02 unique ways of life
explore examples of drama created  observing how the elements of drama such as place, language and movement are used in First Nations Australians’
and/or performed by First Nations cultural expressions that they experience; for example, through direct engagement or using resources created or co-
Australians created by First Nations Australians
 exploring ways of communicating knowledge through stories; for example, learning about stories that communicate
knowledge of the environment in their region, through direct engagement (co-creating drama to share the
knowledge) or using resources created or co-created by First Nations Australians
 co-creating a Welcome to Country (as appropriate) or an Acknowledgement of Country to perform before their
drama class with a First Nations Australian person who has cultural authority, or using advice from a resource such
as protocols from their school sector
 exploring a situation through dramatic play using familiar props; for example, empty containers (boxes, plastic
bottles, food packaging), clothing or toys
 understanding and employing appropriate drama terminology when discussing drama they have created and/or
experienced; for example, using terms such as dramatic play, process drama, pretending, audience, theatre,
AC9ADR2D01
Drama performance, actors
use the elements of drama and
 understanding and employing own language and drama terminology relating to the elements of drama, including
Developing practices imagination in dramatic play and/or
role, place, situation, language and movement
and skills process drama
 taking part in purposeful dramatic play focusing on creating roles and situations; for example, developing ideas from
texts such as children’s literature or images
 taking turns in offering and accepting ideas, and staying in a role when participating in improvised drama
 brainstorming and discussing situations based on their experiences, such as situations related to games played during
break time, and using these ideas to improvise drama
 using puppets to create new stories, including stories that communicate their understanding of existing stories or
personal experiences; for example, using puppets they have made from repurposed or recycled materials and/or
puppets that are modelled on puppets used in an Asian culture
AC9ADR2C01  using learning from explorations of drama that communicates First Nations Australians’ connection to and
create and co-create fictional responsibility for Country/Place to devise drama that communicates their own connection to and responsibility for
situations based on imagination place; for example, devising short scenes that communicate feelings about a “favourite” place or show how they
Drama
and/or experience care for a place in their community
Creating and Making  using costume items and props to share information about their character with other participants in the drama when
“in-role” during Readers’ Theatre
 identifying situations drawn from stories, films, fantasy, history or personal experience that might be explored
through dramatic play, process drama or puppetry
 considering how unstructured materials might be used to create play spaces, or everyday clothing items might be
used to symbolise roles (hats, coats, lab coats, briefcases, etc.)
Page 7 of 16
  contributing ideas and actions within whole group or small group improvisations as part of a process drama to
support or extend the offerings of others, including teacher-in-role
 communicating non-verbally by using facial expressions and movements to explore and show role and situation
when participating in mime or movement-based drama
 accepting the pretence situation established by others or participating in its active development; for example, by
creating relevant props and suggesting relevant roles or additional situations to explore
 using inquiry questions to propose situations to explore in dramatic play and process drama, such as “What else
might happen to these characters?”, “What might happen next?”, “What might have happened before the story?”,
“What if I was there?”
 retelling a familiar story through acting and sharing with an audience
 performing sequences of frozen images linked by transitions in order to communicate key scenes from a familiar
Drama AC9ADR2P01
story
share their drama in informal
Presenting and settings  considering their personal responses to drama experiences at school, in their homes or in their communities; for
Performing example, reflecting on their drama using questions such as, “What do you want your audience to think about your
drama?”, “What did this drama make you think about?”, “How did you feel when making/watching the drama?”,
and evaluating: “What did you like best in the drama? Why?”
 identifying where they might experience media arts works in their lives and communities; for example, considering
how media arts works communicate cultural knowledge and the purpose of a range of media types
AC9AMA2E01
Media Arts  using Viewpoints to ask questions about societies and cultures; for example, “What story is this media arts work
explore where, why and how people
telling me/us?”, “Who made this media arts work?”, “Where is this media arts work from?”
Exploring and across cultures, communities and/or
 discussing the roles of media artists and what permission means; for example, deciding on a class set of rules for
Responding other contexts experience media arts
using and creating images, sounds and text in media arts works
 considering how media arts works communicate and celebrate cultural knowledge in their own communities; for
example, through podcasts or animated children’s shows
 exploring when, where, how and why First Nations Australians use media arts works to share knowledge about their
cultures; for example, during celebrations such as National Aboriginal and Torres Strait Islander Children’s Day,
NAIDOC Week, Reconciliation Week or the acknowledgement of significant occasions including Sorry Day
AC9AMA2E02  exploring children’s television programs, cartoons/animations and child-focused print media, such as an
explore examples of media arts advertisement encouraging people to adopt a healthy lifestyle, created and distributed by First Nations Australians
produced and/or distributed by First  observing how visual, audio and/or interactive elements are used in media arts works created by First Nations
Nations Australians Australians; for example, exploring colours, symbols and patterns used in media arts works with representatives of
the First Nations Australian community or through resources that are created or co-created by First Nations
Australians
 exploring media arts works created and/or co-created by First Nations Australians that communicate cultural
narratives
AC9AMA2D01  exploring ways to use digital tools to capture moving image; for example, using a digital device to capture and
explore ways of using media manipulate short videos, add sound effects or voice-overs, and considering how best to combine the visual and audio
Media Arts technologies responsibly to capture elements to communicate ideas or a narrative
Developing practices and organise images, sounds, text  exploring how sound can be used to communicate ideas; for example, creating sound effects using found objects or
and skills and/or interactive elements sound recording technology to integrate with a picture book story
 experimenting with images; for example, retelling the story of a school day using a digital camera to capture still or
moving images and adding appropriate captions

Page 8 of 16
  experimenting with ways that media artists communicate with audiences by combining text, symbols and images;
for example, combining headlines, subtitles and digital images to communicate ideas or emotions
 using Viewpoints to develop questions as they experiment with media technologies, such as, “What happens if I take
a photo up close to the object, and how does it change as I move further away?”, “How can I change the meaning of
this image by adding different text headings?”
 creating a story through a series of captioned or voice-over images or direct to camera footage; exploring
composition through character creation using images, sounds, and/or animation; for example, claymation
 selecting and editing images, sound and text to re-create the characters in well-known stories or songs, using
AC9AMA2C01
Viewpoints to develop questions when making decisions about composition; for example, asking questions about
use media languages and media
Media Arts use of elements and content such as, “What images will I keep or delete?”, “Which image interests me and why?”
technologies to construct
representations  capturing and sequencing images and text to create a media arts work, such as a comic book that retells familiar or
Creating and Making traditional stories
 producing and presenting a media arts work for a particular purpose; for example, creating an advertisement that
recommends appropriate behaviour when using cameras
 using features such as shot types in media arts works; for example, identifying long-shots, mid-shots and close-ups;
discussing what the shots tell the audience about the story
 collecting and sharing class stories and presenting them in the form of a class news bulletin, with permission of the
people involved and observing relevant protocols, such as obtaining permission to use cultural material that belongs
AC9AMA2P01 to a collective or a cultural group rather than an individual
share media arts works with  presenting a media arts work they have made to the class, a small group or their teacher, and explaining how they
Media Arts
audiences in informal settings made it and what they enjoyed about making it
Presenting and  considering relationships that peers may have with their work when creating, rehearsing and recording a radio play,
Performing and seeking permission to share it with another class
 exploring what permission means; for example, consulting relevant people such as cultural knowledge holders or
using online safety resources, and deciding on a class set of rules for using and creating images, sounds and text in
media arts works

Page 9 of 16
UNDERSTANDING BY DESIGN STAGE 1: DESIRED RESULTS KNOWLEDGE AND SKILLS
TRANSFER GOAL: Knowledge and Understanding:
Students will be able to independently......

DEEP UNDERSTANDINGS:
Students will understand that:

ESSENTIAL QUESTIONS:

UNDERSTANDING BY DESIGN STAGE 2: ASSESSMENT EVIDENCE

YEAR 1-2 ACHIEVEMENT STANDARD

Visual Arts: By the end of Year 2, students identify where they experience visual arts. They describe where, why and/or how people across cultures, communities and/or
other contexts experience visual arts.

Students experiment with visual conventions, visual arts processes and materials. They make and share artworks in informal settings.

Music: By the end of Year 2, students identify where they experience music. They describe where, why and/or how people across cultures, communities and/or other
contexts experience music.

Students demonstrate listening skills. They use the elements of music to improvise and/or compose music. They sing and play music in informal settings.

Dance: By the end of Year 2, students identify where they experience dance. They describe where, why and/or how people across cultures, communities and/or other
contexts experience dance.

Students use the elements of dance to structure dance sequences. They demonstrate fundamental movement skills and safe dance practice. They perform their dance in
informal settings.

Drama: By the end of Year 2, students identify where they experience drama. They describe where, why and/or how people across cultures, communities and/or other
contexts experience drama.

Page 10 of 16
Students pretend and imagine as they create roles and situations in improvised drama and/or dramatic play. They perform their drama in informal settings.

Media Arts: By the end of Year 2, students identify where they experience media arts. They describe where, why and/or how people across cultures, communities and/or
other contexts experience media arts.

Students use media languages and media technologies to construct representations in media arts works. They share their work with audiences safely and in informal ways.
Performance Task(s):

Assessment task:

Other Evidence of Learning:

Feedback:

Self-assessment:

UNDERSTANDING BY DESIGN STAGE 3: LEARNING AND TEACHING PLAN

Differentiation: Adjustments for Needs of

Teaching and Learning Sequence Thinking Models
Learners
Learning Dispositions
Learning Sequence Collaborative
Courageous
Unit Test Creative
Curious
Reflective
Resilient
Self-regulated

Interdisciplinary Connections
Page 11 of 16
Week Visual Art Media Arts/Dance/Drama/Music
Shadow Art Music
Learning Intention: we are learning to… Learning Intention: we are learning to…
 make artworks in different forms to express our ideas, observations and   Use our voices to sing to the beat of the music in time
imagination, using different techniques and processes.
Success Criteria: I will be successful when…
Success Criteria: I will be successful when…  I can start to remember the words of the songs
1  I can use nature to create artworks
Students can practice singing the assembly songs:
Using an object/toy from the classroom (or home) place the toy on a piece of paper  My lighthouse
outside in the sun. A shadow should be projected onto the piece of paper which the
 This little light of mine
students can trace around. From here using crayons/textas/pencils the students can to fill
 1, 2, 3 Jesus is Alive
in the shape however they choose.

Mother’s Day Craft Music/Dance

Learning Intention: we are learning to… Unit 1 – Lesson 1 – Keeping the beat 
 make artworks in different forms to express our ideas, observations and Learning Intention: we are learning to…
imagination, using different techniques and processes.  Students will learn to keep a steady beat using different body parts. 

Success Criteria: I will be successful when… Success Criteria: I will be successful when…
 I can follow instructions to make a card and cookie  I can listen to the beat and follow in time
2 Create a Mother’s Day Card.

Make a Mother’s Day cookie

 Biscuit
 Icing sugar
 Food colouring
 Lollies (snakes, MnMs)

3 Sun Catcher Media Arts

Learning Intention: we are learning to…
 use and experiment with different materials, techniques, technologies and
processes to make artworks.
Success Criteria: I will be successful when…
 I can use different materials to create my artwork
Students collect sticks from the Nature Play area and use them to create a sun catcher.
Learning Intention: we are learning to…
 Use technology to explore the world around us
Success Criteria: I will be successful when…
 I can use the iPad safely and appropriately outside
Using the Ipads to take photos outside of nature and then coming back inside and
learning how to edit photos (colours, brightness, contrast etc).
Page 12 of 16
 This could be done with pop sticks and clear contact or a paper plate and clear contact.
Students will need to collect items from the yard that they could use to create their sun
catchers – the flatter the object the better it will stick.

Sand Trays Music/Dance

Learning Intention: we are learning to… Unit 1 – Lesson 2 – Keeping the beat 
 use and experiment with different materials, techniques, technologies and Learning Intention: we are learning to…
processes to make artworks.  Keep a steady beat using body percussion and instruments
 understand the important of country/place to First Nations Australians  Explore sounds and follow rhythm 

Success Criteria: I will be successful when… Success Criteria: I will be successful when…
4
 I can tell my own story through artwork  I can listen to the beat and follow in time

Students can use the sand trays to create their own stories using the different First Nations
symbols. Showing students, a Dreaming story that has various symbols and explaining
their meaning – the differences between how we would write a story in English compared
to using the symbols and how not all words are translated into symbols.

Drawing on Leaves Music/Drama

Learning Intention: we are learning to… Unit 1 – Lesson 3 – High and low 
 use and experiment with different materials, techniques, technologies and  
processes to make artworks. Learning Intention: we are learning to…
 use and reuse materials from around us  Respond to high and low through movement 
5
Success Criteria: I will be successful when… Success Criteria: I will be successful when…
 I can create my own designs that include First Nations Symbols I can use high and low movements when listening to music

Students can begin the lesson by going into the yard and collecting a variety of different
leaves. From here using textas the students can draw on different designs – these can
include First Nations Symbols or the students own designs.
Page 13 of 16
 Recycled Plastic Artwork
Learning Intention: we are learning to…
 use and experiment with different materials, techniques, technologies and
processes to make artworks
Success Criteria: I will be successful when…
6
 I can use a variety of materials to create an artwork
Students use different recycled/plastic materials to create a sustainability poster. This can
include different objects that have been collected from the classroom or things that have
been brought in from home, e.g. bottles caps, plastic bottles, cardboard etc. Students can
also choose to create elements of this poster using the iPads or create a powerpoint etc.
7 Collagraphs
Learning Intention: we are learning to…
 make artworks in different forms to express our ideas, observations and
imagination, using different techniques and processes.
Success Criteria: I will be successful when…
 I can select one colour and a visual art technique from the term to create this
artwork.
Students will use a variety of different recycled
objects to create their own picture. Once they
have glued or stuck these objects to some paper
(as seen below) they can then use paint to paint
over the objects, students will then flip this
over onto a white piece of paper to create their
textured picture.
– using bottles, caps, cardboard to dip in paint
Media Arts – linked with Visual Art
Learning Intention: we are learning to…
 Use technology to explore the world around us
Success Criteria: I will be successful when…
 I can use different techniques to create a poster
 I can work collaboratively with my peers to participate in activities
Music/Drama
Learning Intention: we are learning to…
 Create movements using our bodies and the space around us
Success Criteria: I will be successful when…
 I can use my body to create different shapes and movements 
Get students to make different shapes with their bodies
 “Make a long, narrow shape”, “Stretch the shape as wide as possible”,
“Make your shape long, narrow and low/high”, “Connect your shape with
the shape another person has made”, “Make your combined shape move
sideways/forwards/in a circle/ backwards”
Students can also move around the space in different ways – as an elephant stomping
around or tiptoeing quietly like a mouse etc
Page 14 of 16
 NAIDOC Week Artworks Drama / Dance / Music
Learning Intention: we are learning to… Unit 1 – Lesson 4 – High and low 
 make artworks in different forms to express our ideas, observations and  
imagination, using different techniques and processes. Learning Intention: we are learning to…
 Respond to high and low through voice and instruments.

8 Success Criteria: I will be successful when… Success Criteria: I will be successful when…
 I can create artwork inspired by the First Nations People  I can use my voice and other instruments to respond to music

Students can create artwork using the sand trays. Each layer is pulled off and the students
choose a coloured sand to use for that area. Each area is done one at a time so that the
colours don’t blend.

Continue on with sand art or other NAIDOC artworks Last week of school no Media Arts

Learning Intention: we are learning to…

 make artworks in different forms to express our ideas, observations and
imagination, using different techniques and processes.
9

Success Criteria: I will be successful when…

 I can create artwork inspired by the First Nations People

UNDERSTANDING AND DESIGN STAGE 4: LEARNING SUPPORT

ASSESSMENT ADJUSTMENTS
CLASSROOM ADJUSTMENTS
CURRICULUM ADJUSTMENTS Example: Presentation of work,
STUDENT Example: Quality differentiated
Example: Curriculum standard student working on method of presentation (scaffolding),
teaching, seating
extra-time, rest breaks

Page 15 of 16
 TEACHER REFLECTION ON THE UNIT PLAN
Identify what worked well during and at the end of the unit, including:
 learning tasks that worked well and why

 learning tasks that could be improved and how

 assessment that worked well and why

 assessment that could be improved and how

Page 16 of 16