Vap2601 501

Tutorial Letter 501
IMPORTANT INFORMATION:
This tutorial letter contains important information about the module. Please read the tutorial letter
carefully.
Table of Contents
LEARNING UNITS
INTRODUCTION
RECOMMENDED READING
PURPOSE OF THE MODULE
EXPECTED OUTCOMES
STRUCTURE OF THE MODULE
ASSIGNMENTS AND HONESTY PLEDGE
LEARNING UNITS
INTRODUCTION AND WELCOME
Welcome to the module Visual and Performing Arts. I hope that your journey with me through
this module will be an exciting one, and that it will inspire you to become the kind of arts teacher
that schools need. If you are already that kind of teacher, then I hope this module will make you
an inspiration to other teachers and your learners.
When you have mastered this module, you will realise the importance of putting your knowledge
of the visual as well as the performing arts into practice.
This wrap-around guide must be used in conjunction with your prescribed texts.
LEARNING UNIT 1: INTRODUCTION TO CREATIVE ARTS
Why the arts matter
A history of creative arts education in South African Primary Schools
The importance of creativity in the classroom
Different types of arts
The child in the intermediate phase
CAPS Curriculum
LEARNING UNIT 2 VISUAL ART EDUCATION
The formal Elements of visual art and how to write a formal analysis
Art forms and genres in art
Some South African artists
Create in 2D and 3D, materials for the art room
How to organise your art room
LEARNING UNIT 3 PERFORMING ARTS
The Performing Arts and Common areas to Cover
Music – Learning areas and ideas to teach them
Music – Instruments
Drama – what children learn from drama
Drama warm ups and games
The right environment for drama and dance
Dance – what it offers children
What a dance class should entail

LEARNING UNIT 4 SKILLS FOR A TEACHER
Different assessment strategies and rubrics
How to plan a lesson
Working in an interdisciplinary way
LEARNING UNIT 5 INCLUSIVE EDUCATION
A multilingual classroom
A history of inclusive education in South Africa .......................................................
Barriers to learning
Learning Preferences
YOUR recommended readings are
Solomon, L. & Kuzwayo, E. (1989). Khula Udweba: A Handbook About Teaching Art to
Children (ISBN: 9781919855530) published by African Institute of Art, Funda Centre : Soweto
Bruner, J. (1960) The Process of Education : Chapter 3: Readiness for Learning p33-54
Published 1960. A Harvard Paperback
Ken Robinson video:
Do schools kill creativity?
https://www.ted.com/talks/sir_ken_robinson_do_schools_kill_creativity?language=en
Teaching Arts in Primary School
Alter, F., Hays, T., & O'Hara, R. (2009). Creative arts teaching and practice: Critical reflections of
primary school teachers in Australia. International Journal of Education & the Arts, 10(9).
Retrieved [date] from http://www.ijea.org/v10n9/. (pdf available on Google scholar)
Hallam, S., Burnard, P., Robertson, A.,Saleh, C., Davies, V., Rogers, L. & Kokotsaki, D. (2009)
'Trainee primary school teachers' perceptions of their effectiveness in teaching music.', Music
education research., 11 (2). pp. 221-240.
Vermeulen, D., Klopper , C. & van Niekerk, C. (2011) South–South Comparisons: A Syntegrated
Approach to the Teaching of the Arts for Primary School Teacher Preparation in South Africa and
Australia, Arts Education Policy Review, 112:4, 199-205, DOI: 10.1080/10632913.2011.592472
Jansen van Vuuren, E. N. (2018). Arts across the curriculum as a pedagogic ally for primary
school teachers. South African Journal of Childhood Education
8(1) https://doi.org/10.4102/sajce.V8i1.477.
Mannathoko, M. C., Mamvuto, A. (2018). Teaching the Arts in the Primary School Curriculum:
What Strategies Imbue the Integrative Arts Subjects?. Studies in Art Education, 59(2), 145–
158.doi:10.1080/00393541.2018.1440149
Russell-Bowie, D. (2009). What me? Teach music to my primary class? Challenges to teaching
music in primary schools in five countries. Music Education Research, 11(1), 23-36.
Morris, G. (2002). Reconsidering theatre-making in South Africa: A study of theatre in education

in Cape schools. Theatre Research International, 27(3), 289-305.
Social Justice and the Arts:
Spaull, N. (2013). Poverty & privilege: Primary school inequality in South Africa. International
Journal of Educational Development, 33(5), 436-447
Music education
Pooley, T. M. (2016) Extracurricular arts: poverty, inequality and indigenous musical arts
education in post-apartheid South Africa, Critical Arts, 30:5, 639-
654, DOI: 10.1080/02560046.2016.1262438
Tracy, T. (1999). Musical Instruments of South Africa. The Smithsonian Folklife pp 63-64.
Available at:
https://folklife-media.si.edu/docs/festival/program-book-articles/FESTBK1999_25.pdf
Purpose
This module’s purpose is to help you to gain an understanding of the role of the teacher as an arts
learning programme developer and the need to apply your knowledge in practice. For this reason,
this course has been developed in a very practical way. You should also be able to apply effective
teaching strategies to successfully teach the arts, and be aware of the needs of learners in a
multilingual, multicultural classroom.
You should be able to critically consider what you do in the classroom to develop your potential
and to grow in all fields of arts and education. With the aid of this study guide and your readings
and resources, you will be guided in your intellectual, scientific and professional development.
Outcomes
The course content should enable you to:
 understand the nature of arts and culture development as a body of knowledge and a
process of discovering knowledge
 facilitate arts and culture among intermediate phase learners
 be a competent arts and culture teacher in the intermediate phase
 use different teaching and assessment strategies
 plan a term’s work and present a lesson on your own
 understand different methods of assessment and when to use them
 use CAPS as an integral part of the prescribed arts curriculum
 Use the correct arts terms, know genres, know how to write a formal analysis
 Know how to identify barriers to learning
 Have an understanding of inclusive education and how to teach inclusively
The approach to teaching and learning in this module
You will be studying independently most of the time. Therefore, the tutorial letters are there to
guide you through the learning material, help you to master the outcomes and, ultimately, prepare
you for the formal assessment. You are strongly advised to look at the additional resources given
under Artists, Musicians, Playwrights and Actors, and Dancers. You are also advised to go to art
galleries, theatre, concerts, and participate in the arts, as well as develop your own creativity.
Since this is a blended module, you should become familiar with the following myUnisa tools
Learning units: The study material for this module is divided into five topics. Each topic is
discussed in a learning unit. You will most likely have at least two lectures per learning unit,
and at least one discussion forum relating to each learning unit. Participation will be
examined. Please attend lectures or listen to the recordings, and participate in the discussion
forums.
As you work through each learning unit, it is essential for you to determine whether or not you
understand the ideas presented in it.
You can test your understanding in several simple ways:
 Identify the main ideas in the learning unit.

 Generate possible questions on the learning unit.
 Construct examples to illustrate the ideas presented in a section.
 Consider what you are learning with regard to your own experience.
 The best way to test your understanding of the ideas that you have to assimilate in this
module, is to apply them to real situations when you do your practical teaching.
 Please ask questions in the discussion forums or email queries to your lecturer.
Assessment
There will be 4 assessments and 1 exam. The first assessment will be online, and the exam will
also be. Your final mark will be made up of these results, and your participation in the discussion
forums.
3. STRUCTURE OF THE MODULE
This module is structured into five units of work dealing with various chapters in the prescribed
book as well as with the different aspects of creativity according to CAPS.
A vital learning skill is the ability to plot your own progress. This is only possible if you keep a
record of your understanding throughout the module. Please write down and learn new terms.
4 CLOSING REMARK
I hope that you will enjoy your online studies and that you will be just as excited about the arts as
I am once you have finished this module! I am eager to be your partner in this exciting endeavour.
I trust that you will enjoy your studies and do well in the examination. If you experience any
problems with your studies, you are welcome to contact me.
Dr Mort
LEARNING UNIT 1
INTRODUCTION TO CREATIVE ARTS TEACHING
This learning unit covers the following topics in this order:
What the arts are and why they matter
A history of creative arts education in South African Primary Schools
The importance of creativity in the classroom
Different types of arts
CAPS Curriculum
Overview of this learning unit:
Learning unit 1 will give you a general understanding of : why the arts matter and why they matter
in schools; a history of creative arts education in South African primary education; the importance
of creativity in the classroom; different types of arts (music, drama, dance, visual art) and their
genres; child development and the child in the intermediate phase and the CAPS Curriculum.
Learning outcome
You will be able to distinguish between creative arts and creativity, and between the different art
forms. You should also be able to speak knowledgably about, and advocate for, the importance
of the arts and creativity for children.
Watch: the Ken Robinson video:
Do schools kill creativity? https://www.youtube.com/watch?v=rKS_HhdSJ_4
Read:
Spaull, N. (2013). Poverty & privilege: Primary school inequality in South

Africa. International Journal of Educational Development, 33(5), 436-447
Pooley, T. M. (2016) Extracurricular arts: poverty, inequality and indigenous musical arts
education in post-apartheid South Africa, Critical Arts, 30:5, 639-
654, DOI: 10.1080/02560046.2016.1262438
What the arts are and why they matter
The arts are broadly defined as visual art, theatre arts, dance or movement, and music. They are a
tremendously important learning area for teaching and learning, having the possibility of creating
spaces for critical thinking, teaching respect for others and creating intercultural understanding, as
well as developing skills which could lead to career paths and developing a livelihood based on art
/ cultural skills, and giving the individual the space for self-expression.
A history of creative arts education in South Africa
Arts education has not been available for everyone in South Africa equally, but have suffered from
the same inequalities from which all other areas of education have suffered, due to prejudice, as
manifested chiefly during colonialism and apartheid. This means that many adults in South
African society have had scant opportunity for self-expression and very little development in the
arts.
Discussion forum activity:
Share a story about how poverty, a social condition or apartheid affected the arts
potential or education of you or someone you know. This can be a present day story
or one from the past.
The importance of creativity
Creativity, not to be confused with the arts, but often involving the arts, is a very important
facility to develop in learners, especially important in preparing them for an unforeseeable future.
Creativity is going to be a crucial concept to your career. Creativity is the act of turning novel
ideas into reality. Creativity is the ability to see the world in new ways, finding hidden patterns,
making connections between seemingly unrelated phenomena, and generating solutions. It is a
state of mind in which a person is wholly absorbed and involved, to give expression to an idea.
The creative solution to a problem has a quality of uniqueness, originality, newness, or freshness.
Creativity is an act that is individual and voluntary and contributes to the conception and
development of a new idea. It is characterised by an intense awareness in which a person’s unique
personality and potentialities can be actualised. There is a breakthrough of unconscious experience
into consciousness. The art teacher should encourage the development of creative thinking by:
Providing opportunity for self-initiating learning experiences through exploration and

experimentation.
Creating a non-authoritarian learning environment, thus a classroom conducive to creativity.
Stimulating creative thought processes by encouraging learners to seek new connections, to

imagine and to think of tentative or various solutions to problems.
Suspending judgement and being careful not to obstruct learners’ creative efforts.
Promoting intellectual flexibility, encouraging learners to consider problems from different

viewpoints and to move away from preconceived ideas.
Encouraging learners to look for new meanings in familiar materials and to use old meanings in
new contexts.
One of the important things discovered by Creativity Studies (a new field in research), is
that people need exposure to all the various art forms and creative opportunities in order to find
the ones which fit them, as creativity is domain-specific. Another important learning we have
from Creativity Studies is that it matters WHEN you learn something. So children who do not
have arts exposure at the right time, miss developmental stages in that area of learning.
Watch the Ken Robinson video: Do schools kill creativity?
Available at: https://www.youtube.com/watch?v=rKS_HhdSJ_4 and prepare to participate in

the discussion forum on creativity.
Discussion forum activity:
Do a drawing of yourself and upload it.
Developmental Milestones
Children in the ‘middle school’ years show a growing independence from the family and interest
in friends. Healthy friendships are very important to a child’s development, but peer pressure can
become strong during this time. Children who feel good about themselves are more able to resist
negative peer pressure and make better choices for themselves, therefore it is important for
teachers and other significant adults to praise and affirm children at this time, and also to set a
positive example, discuss behavioural issues in a fair and frank way, and create classrooms with a
positive and happy atmosphere. This is an important time for children to gain a sense of
responsibility along with their growing independence. Also, physical changes of puberty might be
showing by now, especially for girls. Another big change children need to prepare for during this
time is starting high school.
The emotional/social Changes you might see:
Children in this age group might:
 Start to form stronger, more complex friendships and peer relationships. It becomes more
emotionally important to have friends, especially of the same sex.
 Experience more peer pressure.
 Become more aware of his or her body as puberty approaches. Body image and eating
problems sometimes start around this age.
Thinking and Learning
Children in this age group might:
face more academic challenges at school; become more independent from the family; begin to see
the point of view of others more clearly.
 Have an increased attention span.
Languages in the middle school
This is where issues with language become pronounced, and where a slow or reluctant reader
might see a growing academic distance develop between him or her-self and others. If the
classroom’s language of instruction changes, teachers might see real language issues developing
and might need to learn some special skills in order to help children who are struggling. As
children learn new languages this gulf becomes increasingly pronounced. There will be more on
this in ‘inclusive education’ and ‘working with dyslexia’ (see Learning Unit 6).
CAPS Curriculum
The curriculum we are currently, mostly working with in SA, and definitely in the state schools is
the CAPS curriculum. While curricula come and go, and teaching is one of the most portable
careers (meaning you might easily land up teaching another curriculum, and you might travel and
teach all over the world, as many do), you will need to know how to work from the curriculum,
and cover it properly. The CAPS curriculum can be found in the resources section and you should
familiarise yourself with it as many of the assignments are related to it.
LEARNING UNIT 2 VISUAL ART EDUCATION
In this unit you will learn the formal elements of visual art and how to write a formal
analysis; art forms and genres in art; some South African artists and using them in the
classroom; creating in 2D and 3D, materials for the art room and how to organise
your art room.
2.1. Art forms and genres in art
2.2. The formal Elements of visual art and how to write a formal analysis
2.3. Some South African artists and why primary school aged children should know about them
2.4. Create in 2D and 3D
2.5. Materials for the art room & How to organise your art room
2.2. The formal elements of visual art and how to write a formal analysis
The following are art elements – all the parts of an art work which add up to create its uniqueness
and its meaning. Take note of the descriptive vocabulary (in brackets after each art element) and
practise using these words appropriately when you look at art work. Once you are fluent in this,
teach your learners too.
Line (straight, curved, gentle, harsh, angular, flowing, horizontal, vertical, diagonal, contour,
broken, jagged, thick, thin, implied etc.)
Shape (what shapes are created and how)
Light and Value (source, flat, strong, contrasting, even, values, emphasis, shadows)
Colour and how it is used (pure colour, saturated colour, primary, secondary, mixed,
complimentary (opposites), warm, cool, decorative, values) and what is the range of colour (is it a
wide palette -many colours- or a reduced palette?) How do the colours work together? Is it
harmonious or clashing?
Texture and Pattern (real, implied, repeating)
Space (depth, overlapping, crowded or clear, kinds of perspective)
How to Write a Formal Analysis of Art
Knowing how to write a formal analysis of a work of art is a basic skill. Consider the following
when analyzing a work of art. Not everything applies to every work of art, nor is it always useful
to consider things in the order given. But what this does is give you a structure and a list of things
to cover. I also hope this helps you learn to write and speak fluently and confidently about
artwork, so that you can also teach learners and others how to do this. It is a very important skill.
Take note of the four parts of this. Do not repeat yourself. Write in the present tense.
Using the order given is helpful when you start out
Part I – General Information

In many cases, this information can be found on a label or in a gallery guidebook. There may be
an artist’s statement available in the gallery or online. Your first sentence should read, “This is a
formal analysis of art work title or building (date) by artist (architect) in this medium.
Subject Matter (Who or What is Represented?) (What genre is it? - a still life, a seascape, a
portrait or is it abstract? Is it in a form which denies or defies traditional genres, such as
installation or land art?) If the artwork is representational your sentence should say, “This art work
depicts ….” Or “This artwork uses the genre of portraiture and depicts Madame Matisse, the
artist’s wife” or “This artwork is a portrait, a portrait of Madame Matisse, the artist’s wife” or
“This artwork is a piece of abstract graffiti” or “This is a site-specific installation made for the
floor or the Tiewits gallery in Belgium”. If you are talking about a building, you would say
discuss its function and who would use it: “This is a commercial building. It is a bank/hotel/state
art gallery/monument” (etc). “It is intended for public use.”
Artist, architect or designer. (What person or group made it? If this is not known, write
‘artist/architect unknown’ or If there is a name, refer to this person as the artist or architect, not
“author.” Remember to refer to this person by their last name, not familiarly by their first name.)
If you are referring to an architect, you use the word “design” – for example, “This building was
designed by Studio Mas.” You do not say “this building was built by …” because architects are
not builders. If they did physically build it tis needs to be mentioned and described, as it is an
important detail. If something was designed in collaboration that is very important and needs to be
mentioned.
Date (When was it made? Is it a copy of something older? Was it made before or after other
similar works? Does it refer to something historically? What is its precedent? In design, something
could be repeated, so it should be discussed in terms of original and
Location if it is important. (Where was it originally located? Does the viewer look up at it, or
down at it? If it is not in its original location, does the viewer see it as the artist intended? Can it
be seen on all sides, or just on one?)
Technique and Medium (What materials is it made of? How was it executed?)
Size or scale. How big or small is it? This can be a very important detail. Is it a large public
building? What is the scale or proportion of the work? How does this contribute to its meaning or
importance?
Part II – Brief Description
In a few sentences describe the work. What does it look like? Is it a representation of something?
Tell what is shown. Is it an abstraction of something? Write down what the subject is and what
aspects are emphasized and how the artist does this. Write which elements are dominant. This
section is not an analysis of the work yet, though some terms used in Part III might be used here.
This section is primarily a few sentences to give the reader a sense of what the work looks like.
Part III – Form
This is the key part of your paper. It should be the longest or largest section of the paper. Be sure
and think about whether the work of art selected is a two-dimensional or three-dimensional work.
This should be a couple of sentences.
What are the Art Elements?
Art works can be analysed by discussion of the following elements: line, shape, light and value,
colour, texture and pattern, space. You could also mention scale and materials.
Pay attention to your adjectives. In order to make a convincing statement, each sentence should
relate directly to the artwork. You need to discuss all the following elements.
1.Line (straight, curved, gentle, harsh, angular, flowing, horizontal, vertical, diagonal, contour,
broken, jagged, thick, thin, implied etc.)
Shape (what shapes are created and how)
Light and Value (source, flat, strong, contrasting, even, values, emphasis, shadows)
Colour and how it is used (pure colour, saturated colour, primary, secondary, mixed,
complimentary (opposites), warm, cool, decorative, values) and what is the range of colour (is it a
wide palette -many colours- or a reduced palette?) How do the colours work together? Is it
harmonious or clashing?
Texture and Pattern (real, implied, repeating)
Space (depth, overlapping, crowded or clear, kinds of perspective)
Principles of Design (these can be discussed with regard to architecture or design)
Unity and Variety
Balance (symmetry, asymmetry)
Emphasis and Subordination
Scale and Proportion (weight, how objects or figures relate to each other and the setting)
Mass/Volume (three-dimensional art)

Rhythm
Function/Setting (architecture)
Interior/Exterior Relationship (architecture)
Part IV –Meaning and Conclusion
And so we enter into the world of ideas. Artists make things with intention. All their energy is
focused on using the tools at their disposal to create meaning. This last part is where you go
beyond description and offer a discussion of the meaning or content of the work. This is a
conclusion and your own informed opinion about the work. In this section, discuss how and why
the key elements and principles of art used by the artist create meaning. Any statements you make
about the work should be based on the analysis in Part III above.
Your very last sentence could place the artwork in its historical importance – describe the artist or
artwork’s importance in the history or development of a style, or their subsequent influence on
other artists, or position in the evolution of a type of thinking or use of materials, etc.
Please note that while this has been written with art, design or architecture in mind, many of the
elements and areas described above could be used if you were reviewing a piece of theatre or
dance, for example.
If you were reviewing a whole exhibition, you would probably omit the formal analysis as that is
always done of an individual work, and you could not evaluate every art work on the exhibition,
but other principles from the above could be used.
Discussion forum
Take any art work you like, and write a formal analysis of it.
Begin by describing what the art work represents (if it is not abstract). Then go through all the
formal elements, finally ending up with the meaning of the artwork. Write in the present tense.
Try to use art terms and language.
2.3. Some South African artists and why primary school aged children should know
about them
There are hundreds of highly successful South African and African visual artists, who work in
many different styles and media. Many of these artists have made successful international careers
for themselves too, like Moshekwa Langa, Marlene Dumas and William Kentridge. Here are some
of the artists whom you might learn about in this module:
Jane Alexander *Willem Boshoff * Peter Clarke* Marlene Dumas * Hasan & Husein Essop *
Dumile Feni * David Goldblatt *Jackson Hlungwane *William Kentridge * Moshekwa Langa
*Noria Mabaso * Mary Visser * Ayanda Mabula *Zanele Muholi * Blessing Ngobeni * Robin
Rode * Gerald Tabata.
You will probably also learn about some African artists like: * Cyrus Kabiru (Angola) * El
Anatsui (Ghana)* Thonton Kabeya (DRC)* Yinka Shonibare (Nigeria) and Wallen Mapondera
(Zimbabwe).
You will learn why art matters and what these artists are trying to say, and how they use their
materials to say it.
Children can easily learn a lot about art history, including the names of artists, how they work, and
how to analyse an art work by discussing the subject matter, and how to arrive at the artist’s
intended meaning through doing so. They also often find the lives (their biographies) of the artists
fascinating, uplifting and inspirational. By teaching children about art we lay the path for them to
not only find meaning in the world of arts, but to be able to express these meanings, to appreciate
the arts, and learn that their own creative contributions could also be exciting and valued. This
learning about, and appreciating art, forms part of the curriculum, as does making or creating art.
2.4. Create in 2D and 3D
In the primary school classroom, children need to create in two dimensions and three dimensions.
In this section of learning you will learn how to teach children to explore and create in both these
dimensions, and how to extend 2D projects into three dimensions.
Two dimensional(2D) art is flat. It has no depth. Such as this

Moshekwa Langa (South Africa 1975-)
Basogadi I
mixed media, gouache and watercolour
However, an artist can create the illusion of depth or three dimensions in 2D art, see Bridget
Riley’s work below:
Movement in Squares, by Bridge Riley, 1961
Typically 3D works are sculptures, models or ceramics. See below:

Untitled, by Gift Musa (Zimbabwe)
Making ceramics
Architectural models give clients a sense of what the building will look like when built. They form
part of the communication between architect and client/user.
Richard Long, land art
2.5 Art Classroom planning, storage, materials and management
The art room or studio is not like an ordinary classroom.
Firstly its use is different, and the furniture is different. You also might have to move furniture
around according to projects. Most of the furniture is big – like large tables, and you might have
specialized equipment like easels, a printing press or a kiln. It is therefore desirable that your room
is very large in size, or that you have multiple interrelated or joined spaces.
Planning your room
Key considerations are the number of people using the space, the functions, and movements
within the room. If you have huge classes you will need a bigger space, because children need
‘working space’ i.e. at least 60 cm of desk space in front of them for artmaking and materials, so
you cannot necessarily just add more children to a large table, you need to see how many it will
comfortably fit. You might need to divide the room into functions like wet or dry activities,
because you would not want for example, ceramics near printmaking. You also need to consider
movement and activities.
If you do not have a classroom of your own …
There is plenty you can do. You can even work outside about three quarters of the year. There are
lots of ideas for making art outdoors (see under Resources).
Movement
The art room is a busy place and children move around in it, more so in other lessons, according
to materials they need, or needing to wash brushes or look at a reference book. So you need to
design clear movement flows and be aware of potentially congested areas, such as sinks, or
materials areas, or the places where portfolios are stored. You also have to decide how open you
want to be about materials – and how much you will control these or rely on pupils to go and fetch
things themselves. Then you also have to move furniture around according to projects.
Furniture
You need desks need to be large – tables are better, and sharing of big tables is common. You
need chairs or preferably stools. However, you have to move furniture around according to
projects, for example if you have a common drawing project for example if you set up a still life
or a model, then you would want that in the centre of the room, and all the tables and easels going
around that.
If you do not have desks, children can also work lying or sitting on the floor.
Sinks or basins for washing brushes and collecting water for projects, are essential. Worst case
scenario – no tap. Then use a bucket, or two. Slightly better scenario: an outside tap.
A blackboard is useful, with chalk and dusters.
A drying rack, where wet paintings or other wet art work can be dried before being stored, is
useful. If you do not have one you can put up lines of string across the room, and put artwork up
with clothes pegs – but be aware of dripping (which is why it is better to dry work flat). Or, save
painting for the last lesson of the day, when you can leave it to dry on desks, and get in early the
next day to put the dry work in a folder.
Lots of shelves are useful for materials, and for storing portfolios. If you do not have these, build
them yourself.
An electronic screen or smartboard is a nice thing to have but not necessary.
Storage
You need a lot of storage space, for works which are finished , works which are drying,
portfolios, and for art books, and for materials being used. That means about 5 different spaces.
Ideally you would have another storage area for materials not yet in use, but waiting to be used.
Ideally there should be open, accessible shelves for most of the above, and a lock up store room
for materials waiting to be used, where you might also leave expensive materials like cameras and
potentially dangerous materials like cutters and pairs of scissors. When children are quite small,
you can also put the things you do not want them to use, high up and out of reach.
Art room shelving: it’s ideal to have some deep shelves for paper storage.
Shelving units on casters can be moved. This is a clever idea, especially with primary school
pupils. A paper drying rack which is useful for putting wet work in at the end of a class (for
example, paintings, wet collage, ink drawings, prints).
Materials for art classes
Paper (all different sizes from post-its to A1 paper). Different colours of paper. Different types
and weights of paper from cartridge paper to brown paper to sugar paper to heavier paper. Top tip
to save money: Order huge rolls of paper. Buy A4 and A3 white photocopy cartridge paper in
boxes from the supermarket or stationer at the start of term. This is going to be your biggest
expense. You will need lots and lots and lots of paper. Collect all kinds of paper to use for
collage. Ask families and friends in the community to collect paper and cardboard for you.
Cardboard. Top tip for staying in budget: collect boxes and any off cuts of clean cardboard you
can find.
Newspaper: You will use use this a lot. You use them to protect desks if you are working with
clay, papier machê or painting. You will use them torn into little pieces for papier machê and for
collage. Top tip: collect in the neighbourhood. Make it known that you need these for your school.
Magazines: collect and use for collage. Top tip: collect in the neighbourhood. Make it known that
you need these for your school. These are useful for montage and photomontage.
Cutters. Scissors (order at least the number of children in the class). Stanley knives (to be used
with older children and only under supervision). Cheap plastic ones are available. Cutting mats
and a guillotine are desirable, but should be used under supervision.
Rulers. A couple of large steel rulers, for framing and cutting paper are also desirable.
Glues: Glue Craft or wood glue, also wall paper glue sachets from the hardware. Pritt sticks. Pritt
sticks are expensive and dry out, but craft glue or wallpaper glues last for ages. Buy in bulk and
keep sealed until you need them, then decant into small jars.
For Painting:
Brushes. You will need a number, and different sizes. I would say you need about 150 and of
those you need about 30 small brushes for ink work of two sizes – say one for fine lines and others
for washes, 30 small ones for ordinary painting, and 30 medium size ones, thirty large ones, etc.
Of these you need some round tipped and some flat-headed. Top tip for staying in budget: look at
the hardware shops for brushes, they are often cheaper than art shops. Look after your brushes
and they can last for years.
Paint. Acrylic or powder paint. Powder paint is cheaper and can be mixed to go quite far. Powder
paint manufactured locally will be cheaper than international brands. Always buy large quantities
of paint, and if you buy acrylic, get tubs not tubes, as they go further and do not dry out as fast.
Patty pans (plastic) for individuals. These will have to be bought. Or you can use the recycled
equivalent: muffin or small, multi- pastry or cake holders.
Aprons for painting. Or you can also ask children to bring an old shirt of their parents.
Jars for painting water. Top tip: collect these. Plastic is better for younger children.
Drawing materials: black BIC pens, pencils (4B, 2B, 6B), black ink, brown (sepia) ink, blue
ink, red ink, yellow ink, chalks, fineliners, coloured pencil crayons, markers, wax crayons, oil
pastels, ink brushes (the bare minimum things are indicated in bold print) Top tip: collect as
many luxury items as you can. Wax crayons are cheap but oil pastels are more expensive. The
cheapest way of equipping a class is to have one pack of oil pastels per table of say 5-6 pupils.
Mirrors for portrait drawing (go to a glass shop and ask them to cut a large piece of mirror glass
into small pieces (8X 10 cm)
Drawing materials
Pencils: buy 2D, 4D, 6D and keep them carefully. If you teach 40 children in a class, you need
about 45 of each type of pencil.
Pens – buy a big box of black ballpoint pens and take inspiration from Dumile Feni’s legendary
penmanship.
One or Two thick marker pens for labels for exhibitions
Chalk – white chalk is great
Hairspray for fixing chalk drawings (fixative is more expensive). Always spray this outside.
Black ink - buy in big bottles and decant, and dilute
Wax crayons
Coloured pencil crayons

Oil Pastels
Discussion forum: Think back to your

childhood: what art project would you have
loved to do?
FOR 3-D work:
Clay for sculpture TOP TIP: keep the bag sealed very carefully or the clay will dry out
Thin bendy wire, wire cutters for sculpture
A glue gun or two and glue sticks for it (also to be used only by older children).
Cardboard boxes (flatten for storage), discarded fabric, beads, buttons, a variety of interesting
ribbons, threads, strings, wool
Craft and sewing Needles in case someone wants to sew or bind something etc
Masking tape and packaging tape
A large white sheet for shadow puppets
For putting up exhibitions:
String
Pins
Thumbtacks
Prestik
Display boards (chipboard) (you can make your own easily, and then paint them).
Essential: art room first aid box, including lots of plasters, plasters and disinfectant, burn cream
etc.
Nice to have but unlikely in 70% of schools
A smartboard
A digital projector or
A slide projector and screen and slides
A laptop
Kilns and wheels for ceramics
A printing press
Photocopier
Camera and darkroom, etc…
A note about stocks in the art room
At the end of every term check what you might need to order some new supplies. Check your
supplies and note if you are down on essentials, and have everything for the projects you plan in
the future. Sometimes it takes 3-4 weeks to order things so get your order in soon, especially at the
end of the school year, when all the schools are ordering.
Watch your stock carefully, and try where possible to avoid theft of materials in the art room.
It is optimal to have a secure lock up area for yet-to-be-opened stocks, as opposed to things you
are using right now, and are accessible to children.
Your budget
Make sure you have a budget for materials, and your art materials’ budget has not disappeared
into something else or some other school project. Manage your budget carefully every year and
take a note of what you spent and also, where you saved. Try to do a nice spreadsheet, and to learn
these skills (basic bookkeeping).
Argue for your budget to be increased in line with inflation every year and also realise you will
need more materials and therefore a bigger budget as your class sizes increase or if you open
more activities, like an after schools art club (every school should have one) or run a community
project like a mural. It is very hard to argue for a budget increase if you cannot show that you have
managed your budget well and done good work in your subject. Try to avoid asking children (their
parents, really) for money or to pay for things and then it makes the subject seem elite, expensive
and out of their reach. So work hard, and manage it well.
LEARNING UNIT 3 PERFORMING ARTS
Reading for this unit (choose one or two of the following articles). Read and
make notes.
Alter, F., Hays, T., & O'Hara, R. (2009). Creative arts teaching and practice: Critical
reflections of primary school teachers in Australia. International Journal of Education
& the Arts, 10(9). Retrieved [date] from http://www.ijea.org/v10n9/.
(pdf available on Google scholar)
Hallam, S., Burnard, P., Robertson, A.,Saleh, C., Davies, V., Rogers, L. &
Kokotsaki, D. (2009) 'Trainee primary school teachers' perceptions of their
effectiveness in teaching music.', Music education research., 11 (2). pp. 221-240.
Vermeulen, D., Klopper , C. & van Niekerk, C. (2011) South–South Comparisons: A

Syntegrated Approach to the Teaching of the Arts for Primary School Teacher
Preparation in South Africa and Australia, Arts Education Policy
Review, 112:4, 199-205, DOI: 10.1080/10632913.2011.592472
Jansen van Vuuren, E. N. 2018. Arts across the curriculum as a pedagogic ally for
primary school teachers. South African Journal of Childhood Education
8(1) https://doi.org/10.4102/sajce.V8i1.477.
Mannathoko, M. C., Mamvuto, A. (2018). Teaching the Arts in the Primary School
Curriculum: What Strategies Imbue the Integrative Arts Subjects?. Studies in Art
Education, 59(2), 145–158.doi:10.1080/00393541.2018.1440149
Russell-Bowie, D. (2009). What me? Teach music to my primary class? Challenges

to teaching music in primary schools in five countries. Music Education
Research, 11(1), 23-36.
Morris, G. (2002). Reconsidering theatre-making in South Africa: A study of theatre

in education in Cape schools. Theatre Research International, 27(3), 289-305.
Overview of this learning unit:
This learning unit will prepare you to teach the performing arts. Read through
it and also find the extra resources for this on myUnisa.
Four topics of performing arts
Music – Learning areas and ideas to teach them

What a dance class should entail
Four topics of performing arts
There are four topics or areas for each of the Performing Arts. These are:
1) Warm up and play – preparing the body and voice, and using games as tools for learning
skills;
2) Improvise and create – using arts’ skills spontaneously to demonstrate learning, individually
and collaboratively;
3) Read, interpret and perform – learning the language of the art form, and interpreting and
performing artistic products in the classroom;
4) Appreciate and reflect – demonstrating understanding and appreciation of own and others’
work.
Generally, one should in Intermediate phase, try to cover all of these in a term, and relate them to
practical activity whether it is doing a warm up or appreciating a theatre performance.
MUSIC
Music – Learning areas and ideas to teach

There are several learning areas in music education in the intermediate phase, in CAPS, and some
lovely ways of covering them.
A range of music using percussive and melodic instruments (African and Western). This is a nice
way of introducing children to the basic parts of music, and also musical instruments as family
groups.
Individual and group performances and processes including learning about instruments, and how
music is made, its function in society the life of the individual.
Basic notation and theory This is concerned with the basics of music theory, and how music can
be written, interpreted and played. Even young children can learn basic musical notation and to
listen to music and write it. This can be seen as part of music language development, and realising
that sound can be notated.
Listening to music. Here a range of music using percussive and melodic instruments (African and
Western), and reflecting different genres and styles, where you teach children the sound of one
instrument and then to learn to listen for that specific sound or the instrument and also to
recognise and name types or genres of music)
Discussion forum: choose a song which would be age appropriate and fun to teach to the
learners. Upload the song and write about why you think it would be fun for the learners.
Sound pictures – sounds which evoke moods , and learning the emotional or metaphorical value of
music. This can be made clearer by showing children how sound functions with regard to short
pieces of film, adding to the atmosphere, and also conjuring up emotions and visual scenes.
Drumming with various materials. This teaches rhythm and percussion, and working as a group.
Singing – different types of songs need to be learned. These songs and their singing can tie in
with performance for example in drama. Children will develop singing skills, learn to harmonise,
and learn about different types of songs. This is active learning and the voice is a primary
instrument.
Building instruments. This is a wonderful area of working and it can tie in with visual art. You
can build rattles, shakers, and instruments made with strings, as well as whistles and drums. You
can show learners how real instruments are made, and tie this in with the families of instruments
from the orchestra and also African instruments.
Music which tells a story. This is a lovely theme and it ties in with visual art and language. You
as a teacher need to show the learners how stories can be told non-verbally, musically or also with
song lyrics. You can also show them other types of narratives, pictorial ones for example.
Knowledge of instruments and different sound groups . This concerns learning individual sounds
and also how all the sounds fit together, increasing musical understanding and appreciation for its
complexity.
There are many instruments and none of them is better than another. Children should be
introduced to instruments, the sounds they produce, and their place in larger music-making. They
should also be shown where possible how to handle them carefully and respectfully. Children
who show a special interest in learning to play an instrument should be encouraged to do so, and
specialist tuition and instruments should be found, as close as possible to the child’s interest. Most
provincial education departments offer bursaries and music centres where this type of tuition is
possible.
Reading: Tracy, T. (1999). Musical Instruments of South Africa. The Smithsonian

Folklife pp 63-64. Available at:
https://folklife-media.si.edu/docs/festival/program-book-articles/
FESTBK1999_25.pdf
The instruments of the orchestra are organized into families:
Strings – String Instruments use vibrating strings to make their sound. The violin is an example of
a string instrument.
Woodwinds – Woodwind instruments are made of a long hollow tube of wood or metal. The
sound is made by blowing air through a very thin piece of shaved wood called a reed, or across a
small mouthpiece. The clarinet is an example of a woodwind instrument.
Brass – Brass instruments are wind instruments made of metal with a cup shaped mouthpiece. The
tuba is an example of a brass instrument.
Percussion – Percussion instruments are played by being struck or shaken. A snare drum is an
example of a percussion instrument
Assessment in music.
Assessment in music may be quite challenging, especially in the intermediate phase. It is
important to note that learners should not be made to feel incompetent in this activity, but should
rather remember it as a joyful experience. Every learner should be given the chance to play an
instrument (remember that the voice is an instrument too). Only in such a class room can learners
be taught to be an appreciative audience.
This type of assessment is also known as informal assessment. It is done through general
observation, discussions and interaction in class. Monitoring can also be done halfway through a
lesson. This type of assessment should be done to inform learners about their progress and of how
they can improve their activities. For this reason, formative assessment can be regarded as
feedback.
DRAMA
Drama is an area of enormous benefit for children. An area of childhood development that can be
overlooked is the development of a child’s creativity, self-confidence and social skills. Learning
drama from an early age can lead to unlimited numbers of positive benefits to children. Also,
drama can be enormous fun.
1. Drama builds confidence
Drama and theatre is a unique form of creative expression, and it takes a lot of courage to stand on
a stage and speak in front of an audience. Our drama workshops encourage all children to express
their creative ideas in an interactive, nurturing setting. Even the shyest of children will be able to
build up their self-esteem through drama.
When a child is given space to be creative and their imaginations supported, this helps to builds
their confidence and their self-esteem levels. This confidence gained from learning drama will be
very applicable in school, careers and in life!
2. Drama develops creativity
In our drama workshops, we explore new worlds, become people from different times and places
and learn about different perspectives and ways of thinking. Exploring these things can give us the
skills needed to be creative and imaginative. In an ever-changing world, having a creative and
imaginative approach is so important for thinking ‘outside the box’ and coming up with new and
interesting ideas and solutions. Our improvisational activities and games encourage children to
come up with ideas and respond imaginatively to a range of scenarios.
3. Drama improves communication; both verbal and non-verbal skills

Learning to act and drama skills can help children develop their speech, communication and
presentation skills, which are vital skills for anyone! In drama there are activities where children
take on different personas – this gives children the environment to develop their vocabulary, vocal
projection, articulation and expression. This will certainly aid poor speakers. Drama can easily be
tied to spoken word or slam poetry. Drama can develop children into becoming better
communicators, and storytellers! Drama is a very important subject in accelerating language skills
especially in multilingual environments.
4. Drama develops empathy and intercultural understanding

Drama requires children to act in different characters, and imagine how these characters feel and
behave. A good understanding of characters, roles and the subtext of plays will allow them to
relate better to different situations, context and even cultures. As a result, members are encouraged
to develop empathy – the ability to view the world from another persons' perspective without
judgement. This in turn will build our members’ emotional intelligence through the use of
imagination.
5. Drama develops concentration

Drama develops members ability to be able to focus the mind, the body, and the voice. Many
drama activities and games during are designed to develop concentration. Even rehearsing and
performing lines or movements will require concentration and improve memory, which needs
plenty of exercise, just like a muscle.
6. Drama encourages teamwork and collaboration

Teamwork is undoubtedly an essential element of drama - without it, no theatre plays and
performances can be performed. Drama is therefore a perfect subject to foster and develop
teamwork in children.
For example, in one drama activity, members are divided into small groups. Each group is given a
scenario to perform and are left to develop the story together as a group. Children quickly realise
that teamwork and collaboration are important skills to get the best out of their workshops. As
opposed to competing, children realise that the better others are too, the better the play will be.
In a performance context, every member of a performance has a specific role to play during a
scene and work together as a team. Learning how to work together as individuals is a skill that
they will carry with them their entire lives. Children also learn a certain sense of responsibility for
playing their part, as they know a play or performance is made up of a certain number of parts.
7. Drama workshops develop new friendships
There is nothing that bonds a group of people quicker than making a piece of theatre together.
This is because drama is fun, and we bond through laughter and enjoyment. Drama requires
children to openly express themselves throughout the activities, which helps members become
friends by supporting each other.
Discussion forum:
Write a poem about the value of drama, or how it supports learners. You can write it in any
language.
There are many drama warm ups and games. Some of these are icebreakers, some warm the voice
like tongue twisters, and some can be used to introduce new class members to each other. Drama
games tap into learners’ imagination and can be conducted in any classroom for a variety of
purposes—in warm-ups or closures, team-building activities, or to accompany and enhance a
lesson plan. Drama games serve to profoundly introduce the difference between drama and other
subjects, and to introduce some essential aspects of drama, for example the way drama is playful,
social and involves using body and space.
1. Different Voices, Different Occasions
An invaluable skill for young learners is figuring out how to adapt their voice to a particular
situation and place—whether on the playground, in the classroom, or talking to a friend on the
bus. The following exercise teaches learners how to modulate their voice while also teaching
voice projection:
First create an open space in your classroom and have learners sit in a circle. Each learner selects
one index card from a container. On the card, a location (i.e. couch, desk, gym, bus, park) and a
person (i.e. friend, teacher, guardian) are provided. Pick a learner to select one stuffed animal or
toy from a pile you gathered before class, then place it anywhere in the circle. Invite the student to
speak to the object as if it were the person listed on the index card in the appropriate tone of voice
for the given location. After the learner speaks, the rest of the class guesses the location of the
conversation and whom the doll or toy represents. Continue until every learner has a chance to
speak.
2. Special Me: A Memorization Game
A good memory is essential on the theatre stage and in the real world. Help learners exercise their
memorization muscles while also building self-esteem and a sense of identity. The following game
will also help you gain insight into learners’ personalities.
With the class sitting in a circle, have each student share something he/she is proud of, thankful
for, or happy about. Moving clockwise, each learner should take turns completing the sentence, “I
am ________and I am special because____________.” Remind learners First Name Reason that
they don't have to pick an object that is special; they could be special because of an experience or
feeling. After each learner shares his/her sentence, the person sitting to the left must state why the
person who just spoke is special before sharing his/her own unique sentence.
3. Rhythm Again and Again
Another great memory game highlights rhythm and repetition. In addition to improving learners'
memory retention, the following game helps learners develop an understanding of sequence and
improves their ability to focus.
While sitting on the floor or at their desks, learners take turns making a two-beat sound with their
feet, hands, or mouth. Start off the first round by clapping your hands twice. The person to your
right makes a sound of his/her choosing, such as finger-snapping twice, then repeats the sound you
made. The next person makes a new two-beat sound, then repeats the others. The creation and
recollection of sounds continues around the room while keeping a steady beat. If a student is
stumped, give out a clue then continue. Depending on the grade level, you may choose to limit
how many sounds in a row should be made in each round. At the end of each round, invite the
next student to begin a new sequence of sounds.
After everyone has participated, have the learners perform—one by one—only the sound they
chose. Discuss the rhythm and musicality of the sounds the class performed.
The above activity is good for interdisciplinary work: for example between music and drama.
4. Moving Vocabulary
Actors must learn to move their bodies as well as their voices to portray a character. Teach
learners how to choreograph a series of movements, reinforce new vocabulary, and introduce
tempo and rhythm to learners—all in one activity.
Before class, pick a variety of verbs—some that learners are already familiar with and some that
they are learning (e.g., jump, stumble, twist, bounce, skate, fly, glide, skip). Write each word on
individual note cards and put all cards in one container. Have studs form a circle and invite each to
pick a note card. While music is playing, learners enter the circle, one by one, and demonstrate
their movement. You will find that learners keep time to the music as they are demonstrating.
Next, break the class into groups of 4 or 5 and have them put their movements together into a
dance. Each person must incorporate his or her movement once into the group dance. The group
decides the order of the movements and must figure out a way to smoothly transition from one
movement to the next. Have each group perform their dance for the rest of the class, making sure
that the movements accompany the tempo of the music. You may choose to repeat this activity,
having each person incorporate his or her movement twice into the group dance.
5. Charades: A Character Study
Drama and language arts go hand in hand. learners can study characters in a nursery rhyme or
story by acting out and guessing clues about a character's main traits. Not only are learners
learning how to recognize the details that make individuals unique, but they are also developing
important presentation skills.
Begin by explaining the concept of charades: One person uses gestures, movement, and facial
expressions to get the class to guess a predetermined word—without talking. As the audience
throws out guesses, the actor nods yes if the guess is getting close or correct. Before class, pick 1-
4 characters from a story or nursery rhyme and write the character's traits or characteristics on
large note cards. Have learners study the cards and pick one trait (or a combination of traits) that
best exemplifies the character they are portraying. Invite learners to individually act out a trait (or
traits) with movement, without speaking. You can choose to have the class guess the character or
the trait.
By enlivening your classroom with these drama games, your learners will develop important life
skills, enhance oral and communication skills, gain confidence, and have fun while learning.
The right environment for dance and drama is a large classroom or hall, which is free of
unnecessary furniture, and has a clean (preferably wood) floor, and good ventilation. The class
should preferably be private, as children may be inhibited performing in front of others. If you do
not have an appropriate classroom, an open space which is not overlooked and is clear and safe,
will do. Similarly, mirrors are often inhibiting to child performers, and should be avoided.
Dance
Dance needs music, so you need a CD player, some sound system, or a piano, or drums or some
instruments which can play appropriate music.
Optional extras are props like costumes, scarves, and decoration. The best props are those which
can be used in a variety of different ways. It is worth collecting a variety of interesting props over
the years.
Learning, thought, creativity, and intelligence don’t just come from the brain alone, but from the
entire body. Movement combinations increase memory, order, and sequencing skills. Creating
dances also increases self-esteem which is so very important to learning. We already witness the
need for children to move throughout the day. Having experienced first hand the positive effects
that music and dance have on students’ development, I feel it is important for dance to be included
in all elementary (and secondary) curricula.
There are so many reasons why dance is important to the health and development of our young
people. Above all, children need to move! Any way to get children moving on their feet is a must
(especially in a digital era). Dance burns calories, strengthens muscles, improves balance,
increases flexibility, and gives the heart a good workout. Dance has also been proven to increase
cognitive development. Current research documents the importance of exercise on the brain and
supports what dancers have always known – the body and mind are connected in vital ways.
Utilizing dance in academics also helps children develop skills that are necessary for learning such
as creativity, communication, critical thinking, and collaboration. Through the creative process,
students are encouraged to use their imagination, collaborate with their peers to solve problems,
and discover multiple solutions to challenges.
Some more detailed reasons for the importance of dance are given below:
Dance improves young people’s physical & mental wellbeing
It is obvious that dance has physical benefits – as a form of exercise it is highly physical and great
for young people’s health. Children that take up dancing regularly can significantly improve their
fitness, wellness, flexibility, strength and stamina! Any way to get children to move and have fun
is important for them.
But it is not just about physical health. One of the key benefits is the impact that it can have on
children’s mental health and wellbeing. Giving them the space to express their emotions,
channelling their feelings through a form of exercise that is also fun!
Dancing can be a great way for pupils to improve physical fitness, and increase wellbeing. Dance
is a way of getting the endorphins flowing with a form of exercise that can be very focused and
mindful, or expressive and intense.
Dance inspires creativity in the school environment

Dance is a creative outlet – and will therefore inspire creativity in the general school environment.
If pupils are given the time and space… and freedom to be creative in their chosen way, whether
that be: dance, art, drama, singing… their experience in education will be more positive.
Expressing yourself is key at school, whether that’s primary or secondary school. It can help that
part of development!
Dance classes or workshops may even spark a future passion, or be the start of a career!
Dance encourages socialising & new groups of friends

Getting children out of their comfort zones, and usual friend groups or classmates, is important in
school. Enabling them to mix with different people, have new opportunities, and open their
options.
Though it is a form of physical exercise, it also allows children to connect with others, grow their
confidence, and build their teamwork skills.
Dance can also have academic benefits
Dance has been proven to increase cognitive development! It helps children develop skills such as
creativity, communication, critical thinking, collaboration… and much more!
it can just be a fun creative outlet for some children, but the underlying that is that it is good for
the brain and academic development too.
Elements of dance
The essential elements of any dance are:
body,
action,
space,
time
and …
energy!
Discussion Forum: Do ONE of the following
A. Share how you feel when you dance OR

B. share a short video clip of what you regard as the most crazy or most inspiring dance
you have seen OR
C. Write about how dance is incorporated into your culture and community.
What a Dance class should entail
Dancers need to warm up carefully so they do not damage themselves. Warm-up is therefore an
essential starting point to any class and should be taken very seriously.
A dance class will have the following elements:

1. Warm ups (a series of movements linked to breath)
2. Skills training involving a series of movements relating to:
flexibility, posture, balance, spinal flexibility & core strength
3. The main activity: a choreographed dance or
Improvisation or some other learning activity
And a warm down.
LEARNING UNIT 4 SKILLS FOR A TEACHER
What will be covered in Learning Unit 4:
Assessment, rubrics, how to plan a lesson, and working in an interdisciplinary

way.
Reading for this learning unit: Bruner, J. (1960) The Process of Education :
Chapter 3: Readiness for Learning p33-54
Published 1960. A Harvard Paperback
Different assessment strategies and rubrics
Assessment is an important part of teaching and learning. W use assessment to see what learners
know, as well as to see how they are enjoying their projects, and to get and give feedback to them.
Assessment of a learner is always also assessment of a teacher and how well they are teaching ach
learner. Assessment allows the teacher the opportunity to modify her or his teaching to improve
outcomes.
There are many different assessment strategies such as:
Pre-assessment: Establishes what learners already know, can do or value at the beginning of the
year.
Formative assessment is developmental and is used to inform both teachers and learners about
how the learner has progressed (or not).
Assessment gives an overall and final picture of the achievements of a learner at a given time and
identifies both the strengths and weaknesses of either the learner or the teaching methodology.
Reflection when a learner reflects on their own learning or work, usually after the project has
finished. This makes children aware of their own learning and helps them with self-evaluation.
Observation assessment: when you observe a class, usually during an activity, and note how they
are getting on with it, enjoying it, what they are generally struggling with.
Peer assessment when children of the same age and class critique each other’s work;
Self assessment when a child assesses their own work;
Whole class critique when the whole class is involved, usually in a discursive way, with
critiquing a work;
Marking in class – when a written assignment is marked by the class with the teacher’s help;
Marking with one learner – when the teacher marks a learner’s work with them, to show them
how they are being assessed and how they are doing;
As well as the traditional approach when a teacher marks on his or her own, and gives feedback
to the learners afterwards.
With all the above types of assessment approaches there are different types of rubrics which could
be used. Look in the resources folder and attend the lecture on assessment.
Provide timely and constructive feedback
Constructive feedback is considered as a way to enhance teaching and learning. The teacher points
out learners’ mistakes and allows learners to rectify these mistakes while learning at the same
time. Feedback on the teacher’s lesson is also valuable for the teacher to establish which concepts
are still unclear to learners and need extra explaining.
A teacher is responsible to facilitate learning and to provide feedback in such a manner that
learners are encouraged to learn. Negative feedback can discourage learners and affect their
academic achievement. Therefore, teachers need to be selective in the technique they apply when
giving feedback.
Allow learners to give YOU feedback
Allow learners to give feedback on your lesson so that you as a teacher can improve your teaching
methods. Guide them with questions such as:
What did you learn today?

What did you like most about the lesson?
What didn’t you understand?
If you were teaching today’s lesson, what would you do differently?
Discussion Forum activity: Developing sensitivity through reflection on our own

experience
Look back to your own childhood, Share a negative or positive experience of feedback or
assessment in the arts: what was said and how it made you feel.
How to plan a lesson
All lessons need some planning. This should start out with what you are going to do or the content
that needs to be covered, and the skills you are trying to teach the learners. Of course you should
also know how it relates to CAPS, and relate it to CAPS. Before you plan an individual lesson you
need to look at the overall unit of learning such as the year’s work, then break it down into terms,
and then plan weeks of learning and each lesson per week. Children love creative arts so try to
make it two lessons a week, not one long one. Shorter lessons also suit children’s concentration
length.
As you plan a lesson you should be able to answer the following questions, and the answers to
them should guide you in your preparation:
*What is the topic you are teaching?
*What skills and knowledge are you wanting the learners to end up with? (what is the Learning
objective?)
*How will you assess their skills and learning/knowledge?
*What is going to be the learning activity?
*How long will you be teaching this for? What is the allocated time?
*How does this fit into the curriculum?
*How does this build on learners’ knowledge and skills?
*How does this prepare learners for the next thing they will be learning?
When planning a module of work, its activities and its assessment, always consider your
workload, and the children’s workload. Do not for example, give a large detailed project at the
start of exam week. Do be fair and considerate when planning work, and be flexible.
4.3. Working in an interdisciplinary way

On many occasions, the curriculum allows you the opportunity of working across traditional
subject disciplines and in an inter-curricular way. This can be seen as a fun way of getting more
time for the arts, and also as a way of re-touching and extending knowledge, as you work in an
iterative way across the curriculum.
You might try to talk to other teachers about what they are covering in their class and see the
many opportunities of working together. You might also read the whole social sciences curriculum
for Intermediate Phase and see if any Creative Arts topics overlap. While it is an important idea to
work in interdisciplinary ways , and incorporate many stimulating areas of other parts of the
curriculum, one must be wary of not letting other subjects take over the creative arts curriculum,
and the creative arts curriculum just being relegated to ‘decorating’ other subjects. The Personal
and Social Well-being part of the curriculum can often be covered in the art class, in creative and
thought-provoking ways.
LEARNING UNIT 5: INCLUSIVE EDUCATION AND THE ARTS
5.1.A multilingual classroom
South African classrooms are multilingual. It is unusual to go into a classroom where there is only
one language spoken. Old ideas about education discouraged the use of more than one language,
usually the Language of Instruction (LoI) but now we know how important it is to recognise the
culture of each learner, we encourage a multilingual classroom. Please use the glossaries (see
myUNISA) to help you explain things in your multilingual classrooms, and work hard to make
sure each learner feels respected and feels that they each have a social contribution to the class.
With many children not being educated in their home language or mother tongue, it is easy for
children to fall behind in the primary school especially. These gaps in learning sometimes
increase, especially when children struggle with reading and writing, which is called the Matthew
Effect.
Children who speak a variety of languages should be seen as advantaged not as a burden to teach.
Try to use all the languages of the children in the classroom so that each child feels valued.
5.2. A history of inclusive education in South Africa
Inclusive education implies that everyone can access and participate in successful education,
regardless of gender, race, language, socio-economic background, level of educational
achievement and disability. Inclusion provides all learners with flexible learning choices in
achieving their educational goals. An inclusive learning environment: Allows all learners access to
equal education opportunities where all learners, regardless of their learning abilities and
disabilities, learn together with other learners of the same age in schools situated within their
communities and receive high quality instruction, and support to reach the lesson outcomes that
will contribute to successful completion of the curriculum. Thus, all learners can achieve
academic success within the same classroom.
The aim of inclusive education is to ensure that all arts learners in the same classroom develop to
their maximum potential. Arts teachers can use a variety of teaching methods.
5.3. An inclusive arts education curriculum
Crucial to Arts curriculum access is early identification and intervention, and the creation of high-
quality teaching and learning at all schools.
In 2007, South Africa approved the UN Convention on the Rights of Persons with Disabilities
(United Nations, 2008). Article 24 makes provision for the following:
Arts learners with learning disabilities can access an inclusive, free and quality primary and
secondary education on an equal basis with others in the community, and no person can be
excluded from the general education system on the basis of disability.
The learning disabled should receive the necessary support they need in the education system and
every individual’s requirements should be accommodated in the Arts classroom.
Effective individualised support measures are provided in environments that maximise academic
and social development in the Arts, consistent with the goal of full inclusion.
Define inclusive education and indicate how you will implement it successfully in your classroom.
What are the main characteristics of successful inclusive education in the classroom?
What are special educational needs? And a history of SEN education in South Africa
What are special education needs (SEN)?
'Special educational needs' is a legal definition and refers to children with learning problems or
disabilities that make it harder for them to learn than most children the same age.
How schools can help children with special educational needs
A school can usually provide help and sometimes uses specialists. If a child has special
educational needs, they may need extra help:
with schoolwork
reading, writing, number work or understanding information
expressing themselves or understanding what others are saying
making friends or interacting with adults
behaving properly in school
organising themselves
they might have sensory or physical needs that affect them in school.
A brief history:
The first special needs school established in 1863.
Children of colour with educational special ed needs stayed at home or went to church schools
(limited/uneven provision)
Education was only formalised in 1910.
Vocational Educational & Special Needs Education (SEN) act was passed in 1928. As
apartheid began in 1948 – once again CoC with SEN were neglected, and provision was unequal.
Unfortunately, special educational needs have followed the usual historical pattern. Since the end
of apartheid, they were again consigned to the margins of educational concern, as the new
democratic government began rapid work on trying to correct the apartheid damage to education.
However the 2001 Government White Paper stated that with by 2021 there will be free and
available SEN schools but this is a hope still not realised. One of the most common reasons for
children not being in school regularly is that they have special educational needs.
Barriers to learning
A learning barrier of can be described as an obstacle that prevents a learner to achieve successful
education. These barriers can be extrinsic such as socioeconomic, or they may be innate like a
physical disability, or a recognised barrier to learning such as dyslexia.
Once teachers have identified learners’ barriers and the factors causing these barriers, they are
confronted with the challenges on how to create differentiated learning activities so that all
learners can learn.
Despite the increasing workload of teachers, they also need to face the various learning barriers
and English First Additional Language (EFAL) learners who are not always able to read and write
proficiently in English (language of tuition).
Learners who attend classes not understanding the language of instruction could contribute to
negative attitudes. Home language is considered the foundation on which EFAL learners can
connect and learn a second language and eventually become literate in both languages.
Learning Preferences
VARK is an abbreviation for four main types of learning preferences, namely Visual/spatial,
Auditory, Read & Write and Kinaesthetic (physical).
Some of the main characteristics of learning styles (VARK) are listed below.
Characteristics of visual (spatial) learning learners
Learners who prefer the visual learning style:
Want to see the new information.
They wish to observe body language and facial expressions when learning.
Characteristics of aural (auditory) learning learners

The auditory learner:
Learns best when hearing information.

Wishes to attend verbal lessons, where discussions take place and different viewpoints are
discussed.
Characteristics of reading and writing learning learners
A learner who prefers to read and write in learning:
Wants to observe content presented in words.
The more words new content consists of the better.
Characteristics of kinaesthetic (physical) learning learners A kinaesthetic learner:
Engages in a lesson by moving around or touching different objects.
Learns best when teachers use hands-on approaches.
Please note that it is possible (and common) to have two types of learning preference in one
person.
Adjusting your teaching
The successful inclusion of all learners in the arts class is mainly determined by the arts teacher’s
ability to create an enjoyable, adaptable, supporting teaching and learning classroom atmosphere.
An Arts teacher should be always sensitive to the needs of all learners. It is helpful if the Arts
teacher consults all parents in the beginning of the academic year to establish the needs of the
learners and to arrange the classroom in such a way that will include every learner in active Arts
class participation. Once the teacher has identified the special needs of arts learners in class, the
teacher should adjust teaching methods and strategies to accommodate all the learners’ needs.
Adjustments in Arts classes and in arts teaching methods and strategies do not necessarily imply
that all learners will achieve success. The teacher needs to adjust continuously to determine what
works best for all learners in need of extra support. To provide quality education for all learners,
Arts teachers need to be able to identify learners’ barriers to learning and enable them to engage in
some form of arts activity in class.
Discussion Forum Activity:
What is your learning preference or do you have a Special Educational Need? How did your
school cater for you? How could your experience of learning have been improved while you
were at school?
The use of a variety of teaching methods in the Visual Arts, where individual expression, levels of
achievement and pace of learning are respected and encouraged, is essential if learners are to be
motivated to continue.
The Honesty Pledge you need to sign and submit with every uploaded
assignment:
Department Language Education, Arts and Culture
Module name and

code: Assignment
Due date: Total

marks: 100
Unique number:
Instructions:
This assignment is compulsory and must be completed and submitted by

the due date.
The assignment questions are based on different learning units from your
study guide.
Have your study guide at hand while completing this assignment, as you
will need it to answer the assignment questions.
Please make use of academic writing and proofread your assignment

before submitting it.
Please complete the attached honesty declaration and submit it with your
assignment.
HONESTY DECLARATION FOR THE DEPARTMENT OF

LANGUAGE EDUCATION, ARTS AND CULTURE
Module code:……………………. Assessment date:………………. 20….

1. I know that plagiarism means taking and using the ideas, writings,
works or inventions of another as if they were one’s own. I know that
plagiarism not only includes verbatim copying, but also the extensive use
of another person’s ideas without proper acknowledgement (which
includes the proper use of quotation marks) or any attempt to cheat the
plagiarism checking system. I know that plagiarism covers the use of
material found in textual sources and from the internet.
2. I acknowledge and understand that plagiarism is wrong.
3. I understand that my assignment/exam answers must be accurately

referenced.
4. This assignment/exam file/portfolio is my own work. I acknowledge

that copying someone else’s work, or part of it, is wrong, and that
submitting identical work to others constitutes a form of plagiarism.
5. I have not allowed, nor will I in the future allow, anyone to copy my
work with the intention of passing it off as their own work.
6. I understand that I can be awarded 0% if I have plagiarised.
7. I understand that my assignment/exam file/portfolio may be submitted

automatically to Turnitin.
8. I confirm that I have read and understood the following Unisa policies:
8.1 Policy for Copyright and Plagiarism
8.2 Policy on Academic Integrity
8.3 Student Disciplinary Code
Name……………………………………………… Student
no: ..............................
Signed ……………………………………………. Date
…………………………….

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Tutorial Letter 501

PURPOSE OF THE MODULE

STRUCTURE OF THE MODULE

ASSIGNMENTS AND HONESTY PLEDGE

INTRODUCTION AND WELCOME

Why the arts matter

A history of creative arts education in South African Primary Schools

The importance of creativity in the classroom

Different types of arts

The child in the intermediate phase

LEARNING UNIT 2 VISUAL ART EDUCATION

Art forms and genres in art

Some South African artists

Create in 2D and 3D, materials for the art room

How to organise your art room

LEARNING UNIT 3 PERFORMING ARTS

The Performing Arts and Common areas to Cover

Music – Learning areas and ideas to teach them

Drama – what children learn from drama

Drama warm ups and games

The right environment for drama and dance

Dance – what it offers children

What a dance class should entail

Different assessment strategies and rubrics

How to plan a lesson

Working in an interdisciplinary way

LEARNING UNIT 5 INCLUSIVE EDUCATION

A history of inclusive education in South Africa .......................................................

Published 1960. A Harvard Paperback

Ken Robinson video:

Do schools kill creativity?

Teaching Arts in Primary School

Morris, G. (2002). Reconsidering theatre-making in South Africa: A study of theatre in education

Social Justice and the Arts:

The course content should enable you to:

The approach to teaching and learning in this module

You can test your understanding in several simple ways:

 Identify the main ideas in the learning unit.

3. STRUCTURE OF THE MODULE

This learning unit covers the following topics in this order:

What the arts are and why they matter

A history of creative arts education in South African Primary Schools

The importance of creativity in the classroom

Different types of arts

The child in the intermediate phase

Overview of this learning unit:

Watch: the Ken Robinson video:

Do schools kill creativity? https://www.youtube.com/watch?v=rKS_HhdSJ_4

Spaull, N. (2013). Poverty & privilege: Primary school inequality in South

What the arts are and why they matter

A history of creative arts education in South Africa

Discussion forum activity:

The importance of creativity

Providing opportunity for self-initiating learning experiences through exploration and

Creating a non-authoritarian learning environment, thus a classroom conducive to creativity.

Stimulating creative thought processes by encouraging learners to seek new connections, to

Promoting intellectual flexibility, encouraging learners to consider problems from different

Watch the Ken Robinson video: Do schools kill creativity?