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Ebook PDF Delivering Authentic Arts Education 3rd Australia Edition PDF
Ebook PDF Delivering Authentic Arts Education 3rd Australia Edition PDF
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CONTENTS
Chapter 5: Planning, pedagogy and assessment for authentic arts learning 107
ix
CONTENTS
Learning activities.................................................................................................................................................134
Further reading ....................................................................................................................................................134
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CONTENTS
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CONTENTS
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CONTENTS
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CONTENTS
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CONTENTS
Classroom snapshot: Discovering how the composition of a painting contributes to its meaning ...........312
Linking visual arts to other subjects ...................................................................................................................314
Dance ....................................................................................................................................................................... 314
Drama....................................................................................................................................................................... 314
Media arts ................................................................................................................................................................ 314
Music ........................................................................................................................................................................ 314
Cross-curriculum.................................................................................................................................................... 314
Safe visual arts practice and practicalities.........................................................................................................314
Safe practices .......................................................................................................................................................... 315
Mixing colours ......................................................................................................................................................... 315
Arranging still-life and subjects for observation.................................................................................................. 315
Using visuals............................................................................................................................................................. 316
Acquiring art materials ........................................................................................................................................... 316
Online resources: Visual arts education .........................................................................................................319
Summary ...............................................................................................................................................................319
Online study resources ..................................................................................................................................... 320
Learning activities............................................................................................................................................... 320
Further reading .................................................................................................................................................. 320
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CONTENTS
Glossary 343
References 346
Index 354
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xvii
Guide to the text
xviii
Guide to the text
xix
xx
Guide to the online resources
xxi
INTRODUCTION
A world without the arts would be a grey and tuneless place. The arts are so seamlessly woven into the
fabric of our everyday lives that it is easy to overlook the extent to which they contribute to the quality
of our lives, as the following list illustrates:
• music, iPods, CDs • festivals • PowerPoint presentations
• dance clubs • posters, advertisements • TV shows – So You Think
• murals • landscape design You Can Dance
• architecture • jewellery design • book illustrations
• interior design • theatre productions • public artworks
• fashions • music video clips • art exhibitions
• street artists • YouTube videos • advertising
• orchestras • playground design • cinema.
• Big Day Out • computer games
The arts are not only part of what we see and hear around us, but also influence the way we think
and the way we see ourselves. In fact, as the massive forces of change are being felt in our society, the
arts are assuming an increasingly significant role.
The digital revolution, which we are currently experiencing, is transforming the way we think of and
structure information, knowledge, experiences and understandings. The interactive, relative and
navigational ways of negotiating the world of knowledge in the digital world parallel the way artists
work and so researchers are increasingly interested in the arts as a way of gaining insight into these
types of cognition (Bourriaud, 2002).
Similarly, the unprecedented growth of forms of communication that rely on visual formats – such
as websites, videos, PowerPointâ , digital images and Skypeä – mean that visual literacy is becoming a
critical functioning skill. This is so much so that an Australian Government agency observed that
‘artistic and visual literacy are increasingly as important to success in work and life as numeracy and
language skills’ (Ozco and DEST, 2004, p. 4).
Across the world, the growth of the knowledge society has commentators remarking that success
in this economy requires creative and innovative thinkers more than the workers we needed for the
industrial world. In the USA, research shows that 97 per cent of employers surveyed believe that
creativity is increasingly important in the workplace – though 85 per cent seeking employees with such
skills reported having difficulty finding them. The report concludes that ‘it is clear that the arts …
provide skills sought by employers of the third millennium’ (Lichtenberg, Woock & Wright, 2008, p. 17).
Globalisation of economies and global issues like migration and climate change have blurred the
boundaries of societies. Fostering connections and relationships across and within cultures have
placed greater emphasis on cultural understanding and building people’s sense of identity and
connection. Once again, the arts attract attention because of their capacity to meet these needs.
The arts bring pleasure, joy, comfort and understanding into people’s lives. They allow people to
express who they are and to find meaning in their world. In the same way that prehistoric people drew
on cave walls and toddlers draw on bedroom walls, we know that expressing ourselves artistically
through dance, drama, media, music and visual art is a primary and deeply human need.
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INTRODUCTION
capabilities deemed necessary for success and fulfilment in our emerging world. This is a challenge,
but you have a pleasurable job to do – one that will bring you many rewards as well.
If you do not feel confident about teaching in the arts, be reassured that you have this capability
within you. It just needs to be harnessed and directed. Furthermore, opportunities such as
partnerships with arts organisations as well as access to professional networks and online resources are
providing more support than ever before. The purpose of this book is to support you in developing
your confidence, understandings and skills to initiate an authentic arts learning program in the primary
classroom. It does this by:
1 providing you with enough background information to appreciate the true nature of arts education
and its importance in the curriculum
2 encouraging you to recognise, celebrate and use your own creative and artistic capacities (which
may be dormant, but do exist) – and your pedagogical skills – to bring arts education alive in your
classroom, and for you to be the best teacher you can be
3 directing you to the range of options and support available to you through partnerships,
professional networks and online resources
4 reviewing the features of an authentic arts program and building the links between theory and
practice with sample lessons, supporting information pages, ideas for programs, suggestions and
guidelines – so that you can initiate an authentic arts education program, function effectively in the
classroom and be confident that you will succeed.
Both the title of this book and the content refer to authentic arts education. What this means is arts
education that is genuine education – where children actually develop more sophisticated
understandings, skills and capabilities in the arts, which support satisfying self-expression and
appreciation. To be blunt, far too much of what passes for arts education is not much more than busy
work or a fun-time interlude in the ‘real’ work of education. Not that there is anything wrong with
having fun – but arts education also needs to be purposeful, stimulating and challenging learning –
and all education should be fun!
Pedagogical tools
As part of being a reliable resource for learning about and teaching in the arts, a number of other
pedagogical features have been provided to assist your studies. The text makes regular references to
the Australian Curriculum. Icons in the margin draw attention to references made to cross-curriculum
priorities.
Each chapter begins with a set of bullet points outlining the key ideas in the chapter and has a
summary of the main points at the end. Subheadings are used throughout and you will be able to go
directly to the section you need at any time. At the end of each chapter are suggested activities for
you to consolidate and check your learning.
Throughout the book are At a glance boxes that can be quickly located as ready references for key
information – or photocopied and pinned up at your workstation.
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INTRODUCTION
The Classroom snapshots are boxed sections that offer examples of arts education in action in the
classroom and other learning contexts. You will see how the ideas discussed in the book are enacted
and translated into real-life classroom situations.
Online resources are provided in every chapter so you have reliable resources readily at hand for
teaching and your own self-education. These annotated lists of websites extend the value of the book
because you can continue to access up-to-date information.
Starter ideas throughout the text provide lists of ideas for practical implementation that illuminate
the concepts being discussed.
Icons for significant educators are in the margins as well as explanations for terminology
highlighted in the text in bold font. A glossary at the end of the book lists all these terms
alphabetically.
The book has its own website where additional lessons and resources expand the material
provided in the text. Templates such as those for unit planning or developing visual narratives, which
are in the book for reference, are also on the website so they can be downloaded for use.
All these features are intended to support your ongoing professional development as an educator
in the arts beyond the pre-service units you complete in your degree.
Terminology
While a glossary of terminology is included in this book, several terms used throughout the text should
be clarified here. ‘The arts’ is a collective term referring to dance, drama, music, visual and media arts
and other forms of artistic expression. When capitalised, The Arts is generally referring to The Arts
learning area in the Australian Curriculum. ‘Artworks’ and ‘artists’ are usually used in this text as
collective nouns to mean all products of the different arts areas and all creators. This is in order to
avoid cumbersome specification when meaning any and all art forms or creators. Therefore, a musical
performance is an artwork and a composer is also an artist.
The term ‘pre-service teachers’ refers to those who are studying to gain a teaching qualification.
Novice teachers are qualified teachers in the first years of their teaching careers. Throughout the text,
children and students are terms used interchangeably to refer to the young ones you will be teaching.
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ABOUT THE AUTHOR
Dr Judith Dinham,
Senior Lecturer Curtin University and Honorary Senior Lecturer Edith Cowan University
Judith Dinham has held senior university teaching and leadership positions in arts education and
artists’ education over a number of decades. Her many awards include a University Fellowship for
Teaching Excellence (ECU) and two Curtin University Excellence and Innovation in Teaching Awards.
She is the founding director of ProArts, a professional development provider for teachers. She was an
International Baccalaureate examiner for 10 years and is a past board member for WAAPA and ARX.
Her broad curriculum experience includes writing and presenting arts education courses in Early
Childhood, Primary and Secondary Education for universities, the Curriculum Council, Professional and
Graduate Education, Open University Australia and the Botswana Government. Her research interests
relate to pre-service education in the arts. Dr Dinham is also a practising artist and exhibition curator.
The monograph Judith Dinham: An artistic journey describes her artistic practice.
xxv
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femme, abandonne Olympie. — Roger reçoit
l’hippogriffe des mains de Logistilla qui lui apprend à le
conduire. Il descend avec lui en Angleterre, où il voit le
rassemblement des troupes destinées à porter secours
à Charles. En passant en Irlande, il aperçoit dans l’île
d’Ébude Angélique enchaînée à un rocher pour être
dévorée par l’orque. Il abat le monstre, prend la jeune
fille en croupe, et descend avec elle sur le rivage de la
Basse-Bretagne.
Chant XI. — Angélique échappe à Roger au moyen de
l’anneau enchanté, et se réfugie dans la demeure d’un
pasteur. Roger, allant à sa recherche, voit un géant
enlever une dame qui lui paraît être Bradamante. —
Olympie, abandonnée par Birène et prise par des
corsaires, est exposée dans l’île d’Ébude à la voracité
du monstre marin. Roland la délivre. Survient Obert,
roi d’Irlande, qui devient amoureux d’Olympie et la
prend pour femme, après avoir enlevé à Birène ses
États et la vie. 219
Chant XII. — Roland, toujours à la recherche
d’Angélique, voit une femme qui lui ressemble dans les
bras d’Atlante, lequel, changé en chevalier, paraît
l’emporter. En le poursuivant, Roland parvient à un
palais enchanté, où arrive également Roger qui court
après celui qu’il prend pour le ravisseur de
Bradamante. Angélique y arrive, elle aussi, et y trouve
Roland, Sacripant, Ferragus, Gradasse et d’autres
guerriers. Une querelle s’élève à son sujet entre
quelques-uns d’entre eux, ce qui procure à Ferragus
l’occasion de s’emparer du casque de Roland.
Angélique se dirige vers le Levant, et trouve dans un
bois un jeune homme mortellement blessé. — Roland
va vers Paris et détruit deux troupes de Maures. Plus
loin il découvre un repaire de malandrins qui retiennent
Isabelle prisonnière. 240
Chant XIII. — Isabelle raconte à Roland ses malheurs. 264
Surviennent les malandrins habitants de la caverne.
Roland les tue tous, puis il part emmenant Isabelle. —
Bradamante apprend de Mélisse que Roger est tombé
au pouvoir du vieux magicien. Elle va pour le délivrer
et reste prise dans son propre enchantement. —
Digression élogieuse de Mélisse sur les femmes
appartenant à la maison d’Este.
Chant XIV. — L’armée des païens s’étant rassemblée, on
constate l’absence des deux troupes détruites par
Roland. Mandricard, courant sur les traces du paladin,
rencontre Doralice, fille du roi de Grenade, qui s’en va
épouser Rodomont, roi de Sarze. Il tue le cortège,
emmène Doralice avec lui et en fait sa femme. Les
Maures donnent l’assaut à Paris. 284
Notes 319
NOTES DU TRANSCRIPTEUR
Les notes numérotées de [1] à [15] sont les notes de
bas de page de la préface. On a numéroté de [16] à [67]
les notes en fin de volume, qui ne présentent dans l’original
ni numérotation ni renvoi depuis le corps du texte.
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