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DELIVERING

ARTS EDUCATION
Judith DINHAM
DELIVERING

ARTS EDUCATION
Judith DINHAM
DELIVERING

ARTS EDUCATION
Delivering Authentic Arts Education © 2023 Cengage Learning Australia Pty Limited
5th Edition
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Brief contents

Part 1 The ABC of arts education 1


CHAPTER 1 
Putting you in the picture – the rationale
and context for arts education�������������������������������������������������� 2

CHAPTER 2 The features of authentic arts education������������������������������� 30

CHAPTER 3 
Being an effective teacher in the Arts������������������������������������� 56

CHAPTER 4 
Children at the centre��������������������������������������������������������������� 85

CHAPTER 5 Pedagogies for authentic arts learning ��������������������������������112

CHAPTER 6 Planning and assessment for authentic arts learning �������140

Programming: Patterns around us ���������������������������������������169

Part 2 Teaching in the Arts 194


CHAPTER 7 
Dance����������������������������������������������������������������������������������������195

CHAPTER 8 Drama���������������������������������������������������������������������������������������235

CHAPTER 9 Media arts���������������������������������������������������������������������������������279

CHAPTER 10 Music���������������������������������������������������������������������������������������� 320

CHAPTER 11 Visual arts�������������������������������������������������������������������������������� 362


Contents
Guide to the text ����������������������������������������������������������������������������������������������������������������������������������xiii
Guide to the online resources ����������������������������������������������������������������������������������������������������������xviii
Foreword ������������������������������������������������������������������������������������������������������������������������������������������������xx
Introduction ������������������������������������������������������������������������������������������������������������������������������������������xxi
About the author���������������������������������������������������������������������������������������������������������������������������������xxv
Acknowledgements�����������������������������������������������������������������������������������������������������������������������������xxv

Part 1 The ABC of arts education  1

CHAPTER 1 Putting you in the picture – the rationale and context for arts education ��������2
1.1 The arts are integral Navigational approaches to learning�������� 15
to human existence�����������������������������������3 Flexible thinking and problem solving������ 15
Understanding the arts today�����������������������3 Negotiating learning relationships������������ 15
1.2 The evolution of arts education Collaboration and teamwork��������������������� 16
as societal needs and values shift������������5 Cultural competency����������������������������������� 16
Introduction of the Australian Curriculum Dispositions for thinking and
as part of a reform agenda���������������������������7 acting sustainably���������������������������������������� 17
1.3 Research and policy behind 1.5 The heart of arts education��������������������17
recent developments���������������������������������9 Artistic experience��������������������������������������� 18
Creative thinking����������������������������������������� 10 Gaining all the benefits������������������������������� 19
Learning capability�������������������������������������� 11 1.6 Navigating the expectations for arts
Culture and community������������������������������ 12 education in the school context�������������20
Individual wellbeing������������������������������������ 13 A varied picture of
Sustainability������������������������������������������������ 13 classroom practices������������������������������������ 20
1.4 Developing children’s capabilities Your role in creating a meaningful
for the new era through the Arts�����������14 Arts program������������������������������������������������ 21
Visual and multimodal Summary��������������������������������������������������������������23
communication skills���������������������������������� 14 STUDY TOOLS �����������������������������������������������������24

CHAPTER 2 The features of authentic arts education�������������������������������������������������������������30


2.1 Arts education’s threshold concepts�����31 2.3 Artistic learning processes����������������������37
The Arts are meaning-making Invent: creative thinking, exploration
experiences�������������������������������������������������� 31 and imaginative invention�������������������������� 39
The Arts are forms of praxis���������������������� 32 Make: constructing and
The Arts are ways to communicate����������� 32 presenting artworks������������������������������������ 39
The Arts are creative endeavours������������� 33 Connect: connecting to the wider
The Arts are cultural undertakings������������ 33 world of cultural expression���������������������� 40
The Arts are aesthetic experiences����������� 34 Reflect: reviewing and reflecting
on art-making���������������������������������������������� 43
2.2 The Arts learning area�����������������������������36

vi
CONTENTS

2.4 Organising arts learning experiences��� 44 Handmaiden approach������������������������������� 51


Open-ended challenges������������������������������ 45 Smorgasbord����������������������������������������������� 51
2.5 Practices best avoided���������������������������� 48 Free-for-all���������������������������������������������������� 51
Cookie-cutter approaches�������������������������� 49 Showcase approach������������������������������������ 52
Busy work����������������������������������������������������� 50 Summary������������������������������������������������������������� 53
Cultural tokenism���������������������������������������� 50 STUDY TOOLS����������������������������������������������������� 54

CHAPTER 3 Being an effective teacher in the arts������������������������������������������������������������������ 56


3.1 Developing your professional 3.3 Creating the learning context: an ethical,
capabilities in arts education����������������� 57 stimulating and happy place to be������� 67
Examining your capabilities The ethical arts classroom������������������������� 67
(and baggage)���������������������������������������������� 58 The emotionally secure classroom����������� 71
Building on your abilities 3.4 The physical space: a safe, functional
and strengths����������������������������������������������� 59 and inviting classroom��������������������������� 73
3.2 Working smart to be effective��������������� 60 Physical safety���������������������������������������������� 73
Working smart in the digital world������������ 60 The functional classroom��������������������������� 73
Working smart with colleagues����������������� 62 An inviting physical environment�������������� 78
Working smart with community resources Summary������������������������������������������������������������� 81
and partnerships����������������������������������������� 63
STUDY TOOLS����������������������������������������������������� 83
Working smart through
lifelong learning������������������������������������������� 66

CHAPTER 4 Children at the centre�������������������������������������������������������������������������������������������� 85


4.1 Children’s capabilities����������������������������� 86 Studio habits of mind��������������������������������� 97
What children bring to their Spiral approach to learning������������������������ 97
arts learning������������������������������������������������� 86 Practising for improvement����������������������� 99
4.2 Children’s developmental growth Eight ways of learning������������������������������� 100
through the Arts�������������������������������������� 86 Learning by observing and listening������� 100
Physical growth�������������������������������������������� 87 Cultivating the creative mind������������������� 102
Cognitive growth����������������������������������������� 87 Children learn by telling their
Social and cultural growth�������������������������� 88 stories through the arts���������������������������� 103
Psychological growth and wellbeing��������� 88 The role of metaphor and symbolism
Identity formation��������������������������������������� 89 in children’s artistic thinking�������������������� 103
4.3 Valuing individuality and diversity in the Children learn by reflecting on
learning community�������������������������������� 89 their own art-making�������������������������������� 106
Cultural diversity in the Children learn by reviewing and
arts classroom��������������������������������������������� 90 responding to artworks of others����������� 106
Diversity of learners������������������������������������ 92 Summary����������������������������������������������������������� 108
4.4 Children’s arts learning behaviours������ 96 STUDY TOOLS��������������������������������������������������� 109
Experiential, self-directed learning����������� 96

vii
CONTENTS

CHAPTER 5 Pedagogies for authentic arts learning���������������������������������������������������������������112


5.1 Pedagogies to support children’s A demonstration is worth a thousand
learning in the arts�������������������������������� 113 words���������������������������������������������������������� 123
Adapting teaching approaches 5.4 Connect: pedagogy for connecting
to suit requirements��������������������������������� 115 to the world of art��������������������������������� 125
Pedagogies for the four artistic 5.5 Reflect: pedagogy for reflection
learning processes������������������������������������ 116 and review��������������������������������������������� 128
5.2 Invent: pedagogy for creative Purposeful questions�������������������������������� 129
thinking and design������������������������������ 117 Written reflections������������������������������������� 131
The creative process model��������������������� 118 5.6 Dialogues for learning�������������������������� 132
The divergent thinking model������������������ 118 One-on-one conversations����������������������� 133
Five creative habits of mind model��������� 119 Constructive feedback������������������������������ 133
Scaffolding creative thinking�������������������� 121 5.7 Blended learning����������������������������������� 134
5.3 Make: pedagogy for making Summary����������������������������������������������������������� 137
and presenting�������������������������������������� 123 STUDY TOOLS��������������������������������������������������� 139

CHAPTER 6 Planning and assessment for authentic arts learning��������������������������������������140


6.1 Planning a program of arts learning��� 141 Planning for reflection������������������������������ 153
Developing programs based on 6.4 Practical considerations����������������������� 154
units of inquiry������������������������������������������� 142 Planning for practical activity������������������� 154
Themes for units of inquiry���������������������� 142 Preparation and cleaning-up stages������� 154
Preparing teaching packs for 6.5 Assessment principles
units of inquiry������������������������������������������� 144 and guidelines��������������������������������������� 155
6.2 The planning process��������������������������� 144 Achievement standards in the
Completing worked examples Australian Curriculum������������������������������� 155
as part of planning������������������������������������ 145 Formative and summative
Incorporating the four artistic assessment������������������������������������������������ 155
learning processes������������������������������������ 146 Criteria-based learning
Using the six-pointed star template and assessment����������������������������������������� 156
for planning������������������������������������������������ 147 Indicators of learning�������������������������������� 156
6.3 Planning for the four artistic 6.6 Programming: the unit of
learning processes�������������������������������� 150 inquiry document���������������������������������� 158
Invent: planning for the imaginative 6.7 The planning, teaching, assessing
development of ideas������������������������������� 150 and reviewing cycle������������������������������� 163
Make: planning for art-making���������������� 150 Summary����������������������������������������������������������� 167
Connect: planning for cultural STUDY TOOLS��������������������������������������������������� 168
connection through the arts�������������������� 151

Programming: Patterns around us�������������������������������������������������������������������������������������������169


Theme: Patterns Around Us��������������������������� 171 Arts concepts and understandings��������� 172
LA1 A Dance for Fibonacci��������������������������� 172 Terminology����������������������������������������������� 172
Description������������������������������������������������� 172 Cultural references������������������������������������ 172
Teacher’s guide������������������������������������������ 172 Supplies and equipment�������������������������� 172
Curriculum, learning outcomes Preparation������������������������������������������������ 173
and assessment����������������������������������������� 172 Guide to lesson steps�������������������������������� 173

viii
CONTENTS

LA2 Land Art�������������������������������������������������� 174 LA5 Ostinatos������������������������������������������������ 183


Description������������������������������������������������� 174 Description������������������������������������������������� 183
Teacher’s guide������������������������������������������ 174 Teacher’s guide������������������������������������������ 183
Curriculum – learning Curriculum – learning
outcomes –assessment���������������������������� 175 outcomes – assessment��������������������������� 184
Arts concepts and understandings��������� 176 Arts concepts and understandings��������� 184
Terminology����������������������������������������������� 176 Terminology����������������������������������������������� 185
Cultural references������������������������������������ 176 Cultural references������������������������������������ 185
Supplies and equipment�������������������������� 176 Supplies and equipment�������������������������� 185
Preparation������������������������������������������������ 176 Preparation������������������������������������������������ 185
Guide to lesson steps�������������������������������� 176 Guide to lesson steps�������������������������������� 185
LA3 Abstract Patterned Papers������������������� 177 LA6 Hero’s Journey��������������������������������������� 186
Description������������������������������������������������� 177 Description������������������������������������������������� 186
Teacher’s guide������������������������������������������ 177 Teacher’s guide������������������������������������������ 186
Curriculum – learning Curriculum – learning
outcomes – assessment��������������������������� 178 outcomes – assessment��������������������������� 186
Arts concepts and understandings��������� 179 Arts concepts and understandings��������� 186
Terminology����������������������������������������������� 179 Terminology����������������������������������������������� 187
Cultural references������������������������������������ 179 Cultural references������������������������������������ 187
Supplies and equipment�������������������������� 179 Supplies and equipment�������������������������� 187
Preparation������������������������������������������������ 179 Preparation������������������������������������������������ 187
Guide to lesson steps�������������������������������� 179 Guide to lesson steps�������������������������������� 188
LA4 Digital Storybook – A Day in LA7 Guided Appreciation: The Artwork
Pattern World���������������������������������������� 180 of Bronwyn Bancroft���������������������������� 189
Description������������������������������������������������� 180 Description������������������������������������������������� 189
Teacher’s guide������������������������������������������ 180 Teacher’s guide������������������������������������������ 189
Curriculum – learning Curriculum – learning
outcomes – assessment��������������������������� 181 outcomes – assessment��������������������������� 190
Arts concepts and understandings��������� 182 Arts concepts and understandings��������� 190
Terminology����������������������������������������������� 182 Terminology����������������������������������������������� 190
Cultural references������������������������������������ 182 Cultural references������������������������������������ 190
Supplies and equipment�������������������������� 182 Supplies and equipment�������������������������� 190
Preparation������������������������������������������������ 182 Preparation������������������������������������������������ 191
Guide to lesson steps�������������������������������� 182 Guide to lesson steps�������������������������������� 191
References�������������������������������������������������������� 193

Part 2 Teaching in the Arts 194

CHAPTER 7 Dance���������������������������������������������������������������������������������������������������������������������� 195


7.1 Guiding principles for 7.2 Engaging with dance����������������������������� 199
dance education������������������������������������ 196 Teacher participation�������������������������������� 199
Describing dance��������������������������������������� 196 Student participation�������������������������������� 200
Dance in school education����������������������� 197 Supporting diverse learners��������������������� 204

ix
CONTENTS

7.3 Dance in the Australian Curriculum��� 205 Leading guided dance appreciation�������� 225
Assessment in dance�������������������������������� 208 7.7 Linking dance to other subjects���������� 226
7.4 Foundations of dance literacy: Drama��������������������������������������������������������� 226
concepts, knowledge and skills����������� 208 Media arts�������������������������������������������������� 227
Elements of dance������������������������������������� 209 Music����������������������������������������������������������� 227
The body as instrument��������������������������� 210 Visual arts��������������������������������������������������� 227
Exploring and performing Cross-curriculum��������������������������������������� 227
with others������������������������������������������������� 212 7.8 Safe dance practice
7.5 Dance praxis: making��������������������������� 212 and practicalities����������������������������������� 228
Developing a movement vocabulary������ 213 Establishing sensible and
Choreographing dances��������������������������� 216 safe behaviour������������������������������������������� 228
Learning social dances������������������������������ 219 Let’s start dancing������������������������������������� 229
Performing dances������������������������������������ 220 Props and resources��������������������������������� 230
7.6 Dance appreciation: responding��������� 221 Summary����������������������������������������������������������� 232
Viewing dance performances������������������ 221 STUDY TOOLS��������������������������������������������������� 233
Understanding dance context
and motivation������������������������������������������ 222

CHAPTER 8 Drama����������������������������������������������������������������������������������������������������������������������235
8.1 Guiding principles for Oral storytelling����������������������������������������� 263
drama education����������������������������������� 236 Readers’ theatre���������������������������������������� 264
Describing drama�������������������������������������� 236 Radio drama����������������������������������������������� 265
Drama in school education���������������������� 237 Playbuilding and devising theatre����������� 266
8.2 Engaging with drama���������������������������� 237 8.6 Drama appreciation: Responding������� 269
Teacher participation�������������������������������� 237 Viewing drama performances����������������� 269
Student participation�������������������������������� 239 Understanding drama contexts
Supporting diverse learners��������������������� 240 and motivations����������������������������������������� 269
8.3 Drama in the Australian Curriculum��� 241 Guided drama appreciation��������������������� 269
Assessment in Drama������������������������������� 242 8.7 Linking drama to other subjects��������� 271
8.4 Foundations of drama literacy: Dance���������������������������������������������������������� 272
concepts, knowledge and skills����������� 242 Media arts�������������������������������������������������� 272
Elements of drama������������������������������������ 242 Music����������������������������������������������������������� 272
Principles of story�������������������������������������� 245 Visual arts��������������������������������������������������� 272
Drama participation skills������������������������� 245 Cross-curriculum��������������������������������������� 272
8.5 Drama praxis: Making�������������������������� 248 8.8 Safe drama practice
Initiating drama engagement������������������ 248 and practicalities����������������������������������� 272
Dramatic play��������������������������������������������� 249 Safe practices��������������������������������������������� 272
Process drama������������������������������������������� 251 Space to work�������������������������������������������� 273
Mantle of the expert��������������������������������� 252 Working in groups������������������������������������� 273
Story drama����������������������������������������������� 253 Costumes, masks, props and
Improvisation��������������������������������������������� 256 play boxes�������������������������������������������������� 273
Role-playing������������������������������������������������ 258 Summary����������������������������������������������������������� 276
Mime����������������������������������������������������������� 260 STUDY TOOLS��������������������������������������������������� 277
Puppetry����������������������������������������������������� 262

x
CONTENTS

CHAPTER 9 Media arts���������������������������������������������������������������������������������������������������������������279


9.1 Guiding principles for media Stories in graphic, print and
arts education��������������������������������������� 280 web media�������������������������������������������������� 307
Describing media arts������������������������������� 280 Stories in multimedia, interactive and
Media arts in school education��������������� 280 convergent communication formats������ 311
9.2 Engaging with media arts��������������������� 282 9.6 Media arts appreciation: responding� 312
Teacher participation�������������������������������� 282 Reviewing media artworks����������������������� 312
Student participation�������������������������������� 282 Understanding media arts context
Supporting diverse learners��������������������� 283 and motivation������������������������������������������ 312

9.3 Media arts in the Guided media arts appreciation�������������� 313

Australian Curriculum�������������������������� 284 9.7 Linking media arts to other subjects�� 314
Assessment in media arts������������������������ 285 Dance���������������������������������������������������������� 314

9.4 Foundations of media arts literacy: Drama��������������������������������������������������������� 314


concepts, knowledge and skills����������� 285 Music����������������������������������������������������������� 314
Key media arts concepts�������������������������� 286 Visual arts��������������������������������������������������� 314
Elements of media arts����������������������������� 290 Cross-curriculum��������������������������������������� 314
Story principles������������������������������������������ 292 9.8 Safe media arts practice
Genre���������������������������������������������������������� 292 and practicalities����������������������������������� 314
9.5 Media arts praxis: making�������������������� 294 Safe use of equipment������������������������������ 315

Developing proficiency with Cyber citizenship��������������������������������������� 315


digital technology�������������������������������������� 294 Managing with limited equipment���������� 315
Creating media stories������������������������������ 295 Storage�������������������������������������������������������� 316
Pictorial stories������������������������������������������ 295 Summary����������������������������������������������������������� 317
Stories using audio media������������������������ 300 STUDY TOOLS��������������������������������������������������� 318
Stories in audio-visual formats���������������� 301

CHAPTER 10 Music���������������������������������������������������������������������������������������������������������������������320
10.1 Guiding principles for Sharing, recording and performing�������� 343
music education������������������������������������ 321 10.6 Music appreciation: responding���������� 345
Describing music��������������������������������������� 321 Listening to and viewing
Music in school education������������������������ 322 live performances�������������������������������������� 345
10.2 Engaging with music����������������������������� 324 Understanding contexts
Teacher participation�������������������������������� 324 and motivations����������������������������������������� 346
Student participation�������������������������������� 325 Guided listening����������������������������������������� 351
Supporting diverse learners��������������������� 325 10.7 Linking music to other subjects���������� 353
10.3 Music in the Australian Curriculum���� 326 Dance���������������������������������������������������������� 353
Assessment in Music��������������������������������� 328 Drama��������������������������������������������������������� 353
10.4 Foundations of music literacy: Media arts�������������������������������������������������� 353
concepts, knowledge and skills����������� 328 Visual arts��������������������������������������������������� 354
Elements of music������������������������������������� 328 Cross-curriculum��������������������������������������� 354
Music notation������������������������������������������� 330 10.8 Safe music practices
10.5 Music praxis: making���������������������������� 331 and practicalities����������������������������������� 354
Exploring sound and silence�������������������� 331 Safe practices��������������������������������������������� 354
Singing�������������������������������������������������������� 332 Locating music������������������������������������������� 354
Percussion�������������������������������������������������� 336 Instruments������������������������������������������������ 355
Creating or composing music������������������ 340 Music library����������������������������������������������� 357

xi
CONTENTS

Music centre or listening post����������������� 357 Summary����������������������������������������������������������� 359


Sharing music with children��������������������� 357 STUDY TOOLS��������������������������������������������������� 360

CHAPTER 11 Visual arts�������������������������������������������������������������������������������������������������������������362


11.1 Guiding principles for visual Social commentary and narrative����������� 385
arts education��������������������������������������� 363 Constructing in three dimensions����������� 387
Describing visual arts�������������������������������� 363 11.6 Visual arts appreciation: responding�� 388
Visual arts in school education���������������� 365 Viewing visual art��������������������������������������� 388
11.2 Engaging with visual arts���������������������� 366 Understanding visual arts contexts
Teacher participation�������������������������������� 366 and motivations����������������������������������������� 389
Student participation�������������������������������� 367 Guided visual arts appreciation��������������� 392
Engaging diverse learners������������������������ 368 11.7 Linking visual arts to other subjects��� 395
11.3 Visual arts in the Dance���������������������������������������������������������� 395
Australian Curriculum�������������������������� 368 Drama��������������������������������������������������������� 395
Assessment in visual arts������������������������� 370 Media arts�������������������������������������������������� 395
11.4 Foundations of visual arts literacy: Music����������������������������������������������������������� 395
concepts, knowledge and skills����������� 371 Cross-curriculum��������������������������������������� 395
Elements of visual arts������������������������������ 372 11.8 Safe visual arts practice
Design principles��������������������������������������� 373 and practicalities����������������������������������� 396
A closer look at colour – one of Safe practices��������������������������������������������� 396
the elements���������������������������������������������� 374 The warm and cool paint
Conventions for representing the colour system��������������������������������������������� 396
spatial world in 2D������������������������������������ 377 Arranging still life and subjects
Materials also communicate�������������������� 379 for observation������������������������������������������ 398
11.5 Visual arts praxis: making�������������������� 380 Using visuals���������������������������������������������� 398
Representation������������������������������������������ 380 Acquiring art materials����������������������������� 399
Formalism�������������������������������������������������� 382 Summary����������������������������������������������������������� 402
Expressionism�������������������������������������������� 383 STUDY TOOLS��������������������������������������������������� 403

Glossary���������������������������������������������������������������������������������������������������������������������������������������������� 405
Index���������������������������������������������������������������������������������������������������������������������������������������������������� 409

xii
Guide to the text
As you read this text you will find useful features in every chapter
to enhance your study of authentic arts education and help you
understand how the theory is applied in the real world.

CHAPTER OPENING FEATURES

1
CHAPTER
Putting you in the picture –
the rationale and context
for arts education
In this chapter you will discover that:
1.1 the arts are part of what it means to be human
Identify the key concepts that the 1.2 the nature of arts education changes as society’s needs and values
chapter will cover with the objectives change – so arts education today is different from arts education in the
past
at the start of each chapter. 1.3 contemporary arts education research, policy and scholarship
illuminate the nature of arts education for the new era
1.4 arts education is in the curriculum to seriously contribute to developing
children’s capabilities to meet the challenges of the new era
1.5 all benefits of arts education derive from a rich experience of the arts as
both artist and audience
1.6 implementing new educational practices and a meaningful program
requires dedication and forward-thinking approaches.

FEATURES WITHIN CHAPTERS

Explore authentic arts education in practice through the


Classroom Snapshot boxes with real-life examples.

CLASSROOM SNAPSHOT
Authentic engagement with the artistic heritage of 2
First Nations Australians Ch 2, pp 42–43
Rehabilitating the free-for-all Ch 2, pp 46–47
Developing a unit of inquiry on bushfires Ch 2, p 48
BK-CLA-DINHAM_5E-220153-Chp01.indd 2 22/07/22 5:37 PM

Stepping up and having a go Ch 3, p 59


Integrating digital technology in a unit of inquiry Ch 3, p 62
Unlocking a child’s potential Ch 4, p 93
English as a Second Language (ESL) taught through
the Arts Ch 4, pp 95–96
Scaffolding creative thinking Ch 5, pp 121–122
Talking about a painting Ch 5, pp 127–128
Adapting planning to take advantage of local
opportunities Ch 6, pp 141–142

xiii
DELIVERING AUTHENTIC ARTS EDUCATION

FEATURES WITHIN CHAPTERS

Inclusive dance education Ch 7, p 205 Percussive accompaniment to Pachelbel’s Canon Ch 10, pp 339–340
Dance exploration initiated by a poem Ch 7, pp 207–208 Guided listening: The Moldau (Die Moldau)
by Smetana Ch 10, pp 351–353
Drama using a text as a stimulus Ch 8, pp 254–256
Discovering how we communicate using elements
Comic strips to create pictorial narratives Ch 9, p 299
and principles of visual language Ch 11, pp 372
Music and communication Ch 10, p 326
Discovering how the composition of a painting
Creating a rainstorm using body percussion Ch 10, pp 337–338 contributes to its meaning Ch 11, pp 393–395

Develop your own activities to introduce children to the


relevant arts principles, elements and skills with the
activities suggested in the Starter ideas boxes.

STARTER IDEAS
Ways to inform parents to gain greater support for
your authentic program of art learning Ch 1, p 21
Ways to encourage children’s listening and
observation skills Ch 4, p 102
Types of entries in an ideas journal Ch 4, p 103
Ideas for using metaphors and symbolism Ch 4, p 105
Different ways of encouraging reflection Ch 5, p 129
Teaching strategies to stimulate children’s
creative thinking Ch 6, p 151
Ideas for using untuned percussion instruments
Working collaboratively Ch 7, p 212 in the classroom Ch 10, p 339
Building physical skill Ch 7, p 216 Ideas for creating music Ch 10, p 343
Conceptual challenges as starting points Exploring the music of First Nations Australians Ch 10, p 348
for dances Ch 7, pp 218–219
Classical music on movie soundtracks Ch 10, p 349
Using drama games purposefully Ch 8, p 249
Ideas for combining music and movement Ch 10, p 353
Verbal improvisation Ch 8, p 257
Instructions for making your own percussion
Scene improvisation Ch 8, p 258 instruments Ch 10, pp 355–356
Preparing for role-playing Ch 8, pp 259–260 Ideas for exploring design elements and principles Ch 11, p 374
Ideas for mime activities Ch 8, p 261 Exploring the hues of colour Ch 11, p 377
Photographic stories Ch 9, p 296 Exploring linear perspective Ch 11, p 379
Stories, topics and characters for comic strips Ch 9, p 297 Ideas for observational drawing subjects Ch 11, pp 381–382
Starting points for PowerPoint stories Ch 9, p 302 Ideas for exploring expressionism Ch 11, p 384
Topics for video activities Ch 9, p 305 Ways of exploring issues and ideas Ch 11, pp 386–387
Some ideas for poster projects Ch 9, p 310 Ideas for exploring 3D forms Ch 11, pp 387–388
Ideas for exploring sound and silence Ch 10, pp 331–332

xiv
GUIDE TO THE TEXT

FEATURES WITHIN CHAPTERS

For more effective learning, the At a glance boxes provide


quick overviews of key concepts, practical tips and useful
resources.

AT A GLANCE
Ten things you should know about the value of the
arts in children’s education Ch 1, p 19
Your role in developing children’s aesthetic sensibilities Ch 2, p 35
Protocols and considerations when introducing
artworks from diverse cultures into lessons Ch 2, p 41
Characteristics of open-ended approaches Ch 2, p 46
The features of authentic arts learning Ch 2, pp 52–53
Creating a climate that fosters rich arts learning Ch 3, p 72
What makes me a good teacher in the Arts? Ch 3, p 82
Exploring children’s cultural backgrounds Ch 4, p 91
Ways of improving levels of accomplishment Ch 4, p 99
Enacting signature pedagogies to facilitate children’s General guidelines for readers’ theatre and
artistic engagement – dos and don’ts Ch 5, pp 114–115 radio drama Ch 8, p 266

Ways to incorporate the world of arts in the program Ch 5, p 124 Guidelines for a claymation (or video) project Ch 9, pp 303–304

Constructive feedback that supports learning Ch 5, p 134 Storyboard terminology when filming a video Ch 9, p 307

Themes for units of inquiry Ch 6, p 143 Layout basics Ch 9, p 308

Selecting artworks that engage children Ch 6, p 153 Composing a song Ch 10, p 342

Authentic arts assessment Ch 6, p 158 Planning a successful public performance Ch 10, pp 344–345

Strategies for supporting children’s creation of dances Ch 7, p 217 Guidelines for choosing music for listening Ch 10, p 346

Steps for developing stories for storytelling Ch 8, p 264 Warm and cool paint colour system Ch 11, p 397

Discover high quality online educational resources to


support your teaching and learning in the annotated lists of
Online resources.

xv
PART 1 THE ABC OF ARTS EDUCATION

a pattern is a template, such as a dress pattern, that guides the way fabric is cut into separate
pieces, which are then assembled to make the dress. The template ensures that repeats of the
DELIVERING AUTHENTIC ARTS EDUCATION dress can be made over and over, so repetition is implied in the use of the template.
All the learning activities provided here refer to patterns explored in a diversity of art forms,
but the significance of pattern extends beyond the bounds of art-making. Explorations of
‘pattern’ in the Arts can facilitate children’s comprehension and usage of sequencing, grouping
and categorising in Science, English and Maths. When children use the Fibonacci sequence

FEATURES WITHIN CHAPTERS to choreograph a sequence of movements in a dance activity, they are being introduced to a
mathematical concept.

Learn how to plan quality primary arts programs using the


LA1 A DANCE FOR FIBONACCI
frameworks at the end of Part 1 in Programming: Patterns Description The type of evidence you will use to assess the

around us of the text for developing units of inquiry. This PART 1The
THEFibonacci sequence,
ABC OF ARTS and its presence in nature,
EDUCATION
is introduced as a basis for choreographing a dance
degree to which the intended learning has taken place
is listed in the third column of the table.

section includes learning activity examples, guide to lesson sequence. When developing your program for a specific age
group you will have to review the specific curriculum
Teacher’s guide for me to integrate a live
steps and other resources that demonstrate authentic arts While the opportunity requirements in each of
their interpretation of the
Thestrands
Arrival for the
the age
2010group
Sydney
The Fibonacci
puppet performance sequence (Fibonacci
into this unit ofscale or Fibonacci
inquiry has now and also specify
Festival. the features
I also found a videoof of
a good, soundinterviewed
Tan being or
numbers)
I canisstill
a sequence of numbers where again.
each I modest achievement of learning in eachand
case.
education. passed,
number
have the prepared
present the
is the sum of the
lesson
unit of inquiry
previousand
sequence two:resources.
0, 1, 1,
by Channel
Memorial
Arts
Ten following
Awards,
concepts which
and
his Oscar Astrid Lindgren
provides a neat profile of
understandings
2, 3, 5, 8, 13, 21, etc. It is named after the Italian
Furthermore, in my earlierCHAPTER 6 PLANNING
research I came
mathematician Fibonacci who described it in Liber
across the AND ASSESSMENT
an artist’s
1. By working
life. So, with a FOR AUTHENTIC
dance, a varietyARTS
few modifications
with the elements of
to the first
of LEARNING
Red Leap Theatre Company’s YouTube video trailer of version, I am able to use this unit of inquiry again.
Abaci in 1202, but its application to the metre (beat) movement patterns can be created.
in Indian Sanskrit poetry predates this. The Fibonacci 2. Bound movements are precise (robotic) and distinct
sequence of numbers is found widely in nature in the from free (gliding movements).
patterns of pine cones, petals, leaves and sunflower
seeds where it is believed to have evolved as the
Developing programs based on units of
3. Number sequences such as the Fibonacci sequence
are seen in natural patterns and can be the basis for
most efficient way of organising within a space. Theinquiry establishing sequences of beats when choreographing
Fibonacci sequence is a mathematical phenomenon dances.
The arts learning content to be covered in the school year may seem
and has application today in computer algorithms. 4. Akram Khan is a renowned contemporary dancer
rather daunting. Furthermore, within a busy classroom schedule,
The sequence can be used to correspond to beats whose choreography of the dance Gnosis draws on
sustaining an Arts program that is coherent, educationally meaningful
so, in this case, the length of dance movements can be traditional Indian dance (kathak) and uses precise
and developmental can be difficult. Yet content must be covered
movements.
determined by the Fibonacci numbers in the sequence.
andTeachers:
achievementdecidestandards which
met. An effective way of overcoming
Curriculum, learning outcomes andprogramming arts-making Terminology
processes
challenges and
is to modularise the content, so that the Arts
Teachers: design
assessment open-ended techniques will beis introduced
program for the year
Fibonacci a sequence
sequence, of these
precision, modules.
bound movement
challenges and plan pedagogical and/or practised. They determine
Each learning experience has an intended educational In this text, these modules
Cultural referencesare called units of inquiry. They are
steps that will facilitate children’s
purpose that is guided by the curriculum. The what elements
Australian of the different arts
organised around
Akram aKhan,
chosen theme,
Gnosis such as those suggested in At a
(https://www.youtube.com/
investigations,
Source: creative
Wassily thinking,
Kandinsky (Russian, 1866–1944), Untitled
languages, and/or
for unitsconventions,
Curriculum: The Arts outlines the sequence of content for
(drawing for ‘Diagram 17’), 1925, Black ink on paper, Gift glance: Themes of inquiry. The theme provides the foundation for
watch?v=A-Gl3rVm7SQ)
imaginative explorations
Dance on its websiteand
(https://v9.australiancurriculum.production skills will be in
of Odyssia Skouras Quadrani (Class of 1954) in honour and designing a cluster of learning
generation of ideas.
edu.au/downloads/learning-areas).
Hayes Mount Holyoke College Art focus. They Supplies and equipment with an educational purpose.
experiences
For example, a devise meaningful
of Professor Marian
Museum, South Hadley, Massachusetts, Photograph unit of inquiry about the concept of contrast could be
In the table below, the educational purpose of the Music with a present
definite beat; for example, Enya,
Petegorsky/Gipe, 1970.1.S.RIV ways
explored through a dance learningtheir
for children to experience that focuses on contrasts
learning experience is expressed as learning outcomes The River Sings (https://www.youtube.com/
work to an audience.
aligned to the four curriculum strands that are of tempo (fast and slow movement), high and low movements, and open
FIGURE 6.1 Untitled (Drawing for ‘Diagram 17’) by watch?v=oxcq2m0XwJ8)
Wassilyimportant
Kandinsky,dimensions
1925 of an authentic approachand closed shapes, followed by a music composition activity that focuses
to arts
education.
Mak on exploring contrast of tempo and musical texture. A final activity
t
that invites students to create a combined music and dance performance as a response to Wassily

en

e
Kandinsky’s Untitled (Drawing for ‘Diagram 17’) (see FIGURE 6.1) provides an opportunity for children

Inv
172 Artistic
to synthesise their learning in a creative interpretation.
learning
The length of each unit of inquiry can vary, but the intention in each case is to create a
When you see Key terms marked in bold, study the meaningful coherentprocesses
series of activities that scaffold students’ meaningful art-making and deep learning
art-making Refl
within the Arts. In Chapter 2 you’ll find Classroom snapshot: Developing a unit of inquiry on
Definitions nearby to learn important vocabulary for your

ct
Where children
BK-CLA-DINHAM_5E-220153-Chp06.indd 172 22/07/22 10:39 PM
bushfires, which would be useful to read now.
t

ne
ec
undertake arts activities
While there are variouso n ways to plan a program for a term or the year, the advantage of
that enable them to
C
profession. See the Glossary at the back of the book for a explore or engage with
ideas, concepts and
planning in modules (units of inquiry) is that coherence, focus and educational purpose are
Teachers: plan in pedagogical easier to articulate and manage within theresearch
Teachers: bounds of the
and module.
selectIf each
the unit of inquiry has been
full list of key terms and definitions. experiences
steps andthat
engaging
ways
activitiesdesigned
are personally for to address specific aspects
artists,ofartworks,
the curriculum forpractices
arts your year group,
or then an Arts program
relevant and valued by
children them.
to reflect critically on for the term or year is created by assembling a sequence of
traditions that inform the themeunits of inquiry.
their ideas, their artwork, theIn this chapter we look at ways
andtochildren’s
plan units of inquiry.
own At the end of this chapter you will find
art-making.
a selection of learning activities
artwork of others, and/or their and examples
They of how they can
plan meaningful ways be organised
to into units of inquiry.
The
own artistic learning practices. websites of curriculum authorities and various arts organisations
engage children in learning about such as Arts-Pop (http://
www.artspop.org.au) also providethese
excellent programreferences.
cultural guides to help you get started on translating
curriculum requirements into coherent and interesting units of inquiry.

ICONS Themes for units of inquiry CHAPTER 3 BEING AN EFFECTIVE TEACHER IN THE ARTS
The themes suggested in At a glance: Themes for units of inquiry highlight a breadth of possibilities
for developing engaging and coherent learning experiences. In choosing a theme, the aim is to

teacher should seek 142 out cultural awareness training, approaches to adopt in the classroom
Identify important educationalists, influential theorists and selected well-known artists using the
include those that sit within a broad ethical and social justice framework outlined above.
Key people icons. Explore these key people in more These approaches advanceFurther
detail in your Go onlinethe
from: recognising resource,
impact of a available
dominant culture on the learning
through your instructor. environment;
FIGURE 6.5 Planning for the considering how one’s
four interconnected own cultural positioning influences one’s thinking, attitudes
BK-CLA-DINHAM_5E-220153-Chp06.indd 142
artistic learning processes
22/07/22 10:38 PM

and behaviours; and respecting diverse world views, knowledges and experiences.
Cross-Curriculum Priorities icons clearly direct pre-service teachers to content relating to the three
In the Australian Curriculum: The Arts, children have opportunities to encounter the artistic
CCP areas of Aboriginal and Torres Strait Islanderpractices, traditions and artefacts of a diversity of cultures, with particular attention paid to the
Using the six-pointed star template for planning
Histories and Cultures (ATSIHC), Asia and Australia’scultures of First Nations Australians. For this to be authentic, it should lead to new learning about
In Chapter 2, the Classroom snapshot: Developing a unit of inquiry on bushfires and this chapter’s
Engagement with Asia (AAEA), and Sustainability those cultures.
(SUST)
earlier Classroom snapshot: Adapting planning to take advantage of local opportunities show how
Engaging
developing a unit of inquiry with a diversity
is a creative of cultures
process inThere
in itself. an ethical
is noway means
set way you should
to plan a unit ofacknowledge the
Go Further contains extra resources and study
inquiry, tools
but thecreator and contextualise
six-pointed star templatethe artwork
does in terms
guide you of why
towards the it was created
essential and the purpose it serves in
elements,
for each chapter. Ask your instructor for its cultural
including theFurther
the Go four artistic and historical
learning setting.
processes. TheIt star
is important
templateto remember
(see that
FIGURE 6.8 certain
and FIGUREartworks
6.9) is are religious,
where spiritual and culturally sensitive
jotting in nature,
into and whether or how youandintroduce
revising them
until should be
resource and deepen your understanding ofyou
thework out your
topic. ideas, so begin ideas the different sections
you have built carefully
a complete considered in these
and coherent terms.
picture At the
of the very
unit’s least, avoid
underlying simplistic,
concepts (see inappropriate
FIGURE 6.6). activities
You can downloadsuchaas asking
blank copychildren to ‘make an
of the template fromAboriginal painting’.
this book’s Go Further resource.
When you have Avoiding
filled in stereotyping
each section on andthe
generalisations
template, youabout artsbasis
have the practices and traditions
for writing the is another
outline for the way
unit to
of promote
inquiry. Arespect
unit offor cultural
inquiry diversity.
outline Terms
is part likeprogramming
of your ‘Aboriginal art’,
for a‘Australian
school culture’ and
Identify quotes from the curriculum material with the
term. Once you‘African
have yourart’outline,
are sometimes
you move conveniences that
on to the next obscure
tasks, which a rich
are diversity
gatheringofresources
cultures and artistic life.
Australian Curriculum (AC) icon and writing theCCP For the
plans cross-curriculum
for each lesson in thepriority Aboriginal
unit of inquiry (seeand Torres
FIGURE 6.7Strait
). Islander histories and cultures CROSS-CURRICULUM
PRIORITIES
in the Australian Curriculum, one of the organising ideas is: ‘The broader Aboriginal and Torres
ATSIHC
Strait Islander societies encompass a diversity of nations across Australia’ (ACARA, 2015).
There are over 500 Aboriginal nations and we cannot talk about one monolithic Aboriginal and
Torres Strait Islander culture. Similarly, in Africa, there are 47 to 57 countries, depending on how
147
they are counted, and many more ethnic or tribal groups with their own traditions and heritage.
Culture is not static or delimited, and therefore within every culture there are traditional,
vernacular and contemporary forms of artistic expression that create a rich tapestry of artistic
works
BK-CLA-DINHAM_5E-220153-Chp06.indd 147 and practices. Unfortunately, we often find the term ‘Aboriginal art’, for example, is used to 22/07/22 10:38 PM

refer to traditional artworks from the past, or specifically, paintings created with dots of colour.
This ignores the diversity of art forms and the ongoing and varied practices of First Nations
Peoples from diverse regions, nations, times and artistic traditions.
In Chapter 2, At a glance: Protocols and considerations when introducing artworks from diverse
xvi cultures into lessons and the accompanying Classroom snapshot: Authentic engagement with the
artistic heritage of First Nations Australians shows how exploring the art forms from diverse
cultures can be done sensitively and authentically.
GUIDE TO THE TEXT

END-OF-CHAPTER FEATURES

At the end of each chapter you will find the study tools to help you to review, practise and extend your knowledge of
the area.
PART 1 THE ABC OF ARTS EDUCATION

Test your knowledge and consolidate Learning activities


your learning through the Learning STUDY Individual activities reviewing the images and the story they tell,
write an account of how, why and where the arts
activities. TOOLS 1 In this chapter we learned
that 89 per cent of Australians
are part of your life. Aim to express the different
ways they contribute to your life and sense of
believe the arts are an
who you are.
important part of children’s
education. Interview a range of
people you know to discover if
Group activities
they have the same view, and 1 Create two debating teams and debate the
why or why not they hold this view. If possible, proposition: ‘Arts education for children is
include those with young children as they pointless because it does not lead to a good career’.
represent the parents of your future students. 2 Use GroupMap (https://www.groupmap.com),
Write an account of the prevailing views you an online collaborative brainstorming tool, to
uncover and then describe the contemporary arts capture views about the reasons arts education is
education imperatives that should be brought to important. Use the voting facility to rank these and
people’s attention. then design a graphic that promotes these reasons.
2 How are the arts part of your surroundings and 3 In small groups, prepare and role-play a
daily life? Over the period of a week, capture this presentation advocating for the Arts to be included
information in images (for example, if you have regularly in the weekly teaching program. Decide on
purchased tickets for a music concert you might a context and audience (parents’ night, school board
photograph the tickets or the advertisement). meeting, staff meeting etc.). Develop a presentation
Choose a site such as Canva (https://www.canva. format and support material (PowerPoint, brochure
com) or Moodboard (http://www.gomoodboard.com) etc.) to get your message across. Employ your drama
to assemble the images into a visual story. After skills to create a convincing performance.

Extend your understanding through the Further reading


suggested Further reading relevant to Barton, G & Baguley, M (Eds.)
(2017). The Palgrave handbook
Naughton, C, Biesta, G & Cole,
DR (Eds.) (2018). Art, artists and
Winner, E, Goldstein, TR & Vincent-
Lancrin, S (2013). Arts for art’s
each chapter. of global arts education. Palgrave pedagogy: Philosophy and the sake? The impact of arts education.
Macmillan. arts in education. Routledge. Centre for Educational Research
Ehrlich, B (2015). The neuroscience Robinson, K (2011). RSA animate and Innovation, OECD Publishing.
of art: What are the sources (online video). Retrieved from doi: 10.1787/9789264180789-en\
of creativity and innovation? http://vimeo.com/29485820
Salzburg Global Seminar Report
547. Retrieved from http://www.
salzburgglobal.org/go/547

24

BK-CLA-DINHAM_5E-220153-Chp01.indd 24 22/07/22 5:37 PM

xvii
Guide to the online resources
FOR THE INSTRUCTOR

Cengage is pleased to provide you with a selection of resources that


will help you prepare your lectures and assessments. These teaching tools
are accessible via cengage.com.au/instructors for Australia
or cengage.co.nz/instructors for New Zealand.

MINDTAP
Premium online teaching and learning tools are available on the MindTap platform - the personalised eLearning solution.
MindTap is a flexible and easy-to-use platform that helps build student confidence and gives you a clear picture of their
progress. We partner with you to ease the transition to digital – we’re with you every step of the way.
The Cengage Mobile App puts your course directly into students’ hands with course materials available on their
smartphone or tablet. Students can read on the go, complete practice quizzes or participate in interactive real-time
activities.
MindTap for Dinham’s Delivering Authentic Arts Education 5th edition is full of innovative resources to support critical
thinking, and help your students move from memorisation to mastery! Includes:
• Dinham’s Delivering Authentic Arts Education 5th edition eBook
• Additional Units of Inquiry
• Lesson plan templates
• Video Activities
• And more
MindTap is a premium purchasable eLearning tool. Contact your Cengage
learning consultant to find out how MindTap can transform your course.

INSTRUCTOR’S GUIDE
The Instructor’s guide includes:
• Chapter objectives • Go Further Student resources –worksheets, templates
• Key terms and notes on using Units of Inquiry
• Instructor notes on using the Units of Inquiry • Tutorial activities

POWERPOINT™ PRESENTATIONS
Use the chapter-by-chapter PowerPoint slides to enhance your lecture presentations and handouts by reinforcing the key
principles of your subject.

ARTWORK FROM THE TEXT


Add the digital files of graphs, tables, pictures and flow charts into your course management system, use them in student
handouts, or copy them into your lecture presentations

xviii
GUIDE TO THE ONLINE RESOURCES

FOR THE STUDENT

MINDTAP FOR DELIVERING AUTHENTIC ARTS EDUCATION 5TH EDITION


MindTap is the next-level online learning tool that helps you get better grades!
MindTap gives you the resources you need to study – all in one place and available when you need them. In the MindTap
Reader, you can make notes, highlight text and even find a definition directly from the page.
If your instructor has chosen MindTap for your subject this semester, log in to MindTap to:
• Get better grades
• Save time and get organised
• Connect with your instructor and peers
• Study when and where you want, online and mobile
• Complete assessment tasks as set by your instructor
When your instructor creates a course using MindTap, they will let you
know your course key so you can access the content. Please purchase
MindTap only when directed by your instructor. Course length is set by
your instructor.

xix
Foreword
It is hard to consider what text we employed in teacher education Arts courses prior to 2011 and
the first publication of Delivering Authentic Arts Education. Thankfully, Judith Dinham provided
a ‘go-to’ primary Arts education resource that was accessible to pre-service teachers, novice
teachers, and experienced and well-qualified discipline experts. Now, 10 years on and in its fifth
edition, with updates and additional inclusions, this text has been cemented in 19 universities
across Australia and has become Australia’s most widely used primary Arts education text.
It has also been adopted in New Zealand.
This new edition provides readers with a solid structure incorporating historical and
contemporary theoretical framing that contextualises Arts education within the Australian
educational landscape. The first six chapters (Part 1: The ABC of Arts Education) challenge
teachers to consider the import of delivering authentic arts experiences and to embrace the
challenges of becoming an authentic Arts educator, irrespective of their arts skills base.
Importantly, Dinham positions learners as artists and active participants in their learning
journey. Pedagogical tools, planning advice and assessment strategies support teachers ongoing
professional learning, with approaches evidenced by long-standing arts engagement experiences.
Part 1 concludes with a section devoted to units of inquiry, which provides exemplary
planning, activities and experiences to engage learner cognition and extend creative processes
beyond praxis. The units of inquiry offer a range of innovative, assembled inquiry-based activities
that can be easily adapted to different contexts. This unique feature ensures the text is a
resource-rich blueprint of practical strategies for how we can teach the Arts authentically.
Part 2 Teaching in the Arts provides a chapter each for Dance, Drama, Media Arts, Music and
Visual Arts, aligned with the Australian Curriculum. Each art form is given equal and unbiased
attention, with guiding principles providing clear reasoning behind suggested approaches,
considering the nuances found within the individual Arts disciplines. While each chapter
regards the art forms individually, they skilfully craft potentialities for interdisciplinary and
cross-arts approaches. Making and Responding activities feature throughout, along with ideas
for incorporating performative and exhibitive outcomes of student works, and how these can be
planned, considered, and incorporated into authentic, industry-echoed events.
While it is not difficult to measure the impressive impact and success of a text in its fifth
edition, 10 years after first being published – including sales of more than 15 500 copies, its
inclusion as core reading in universities across Australia and New Zealand, and its impact on
teacher education students, particularly generalist teachers – what is harder to measure and
celebrate is the ripple effect that this book has had on classrooms and learners’ experiences of
the Arts in Australasia and around the world. This impact on children and young people who have
been the recipients of this resource, with its positive and engaging authentic arts experiences,
is undeniable. Indeed, the impact is too vast to entirely capture as many of the activities and
approaches outlined in the five editions of this book are now common in classrooms across the
country, with children and young people as the benefactors of this well-considered, informative,
resourceful and accessible text. Initial teacher education courses, primary teachers’ in-service
programs and school communities all owe a considerable debt of gratitude to Judith Dinham as
the impact of this text has taught us all how we can successfully be delivering authentic
arts education.
Peter Cook
Deputy Head of School, Education
Associate Professor Arts Education
University of Southern Queensland

xx
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. Music accompanies our everyday activities as we plug in our mobile
devices while taking a morning run, or listen on the radio while driving. A night out to a dance
club, concert hall, cinema or theatre immerses us in the worlds of dance, music, media arts and
drama. We watch TV shows where interior stylists decorate homes, and we employ the same
visual arts skills to choose the colours and textures in our own homes. The retail world of fashion,
jewellery, magazines, furniture and advertising engages our senses through the quality of visual
design. Our urban environment is enlivened by music, public artworks such as murals and
sculptures, and interesting architecture. Our digital world of online videos and computer games
draws on our media arts skills.
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. Participating in the arts is an important dimension of
children’s development because arts-making activates complex thinking processes through the
abstract nature of music, the embodied materialisation of thought through dance and drama,
the externalisation and abstract representation of ideas by drawing, and the multidimensional
weaving of sensory experience in media arts creation. The arts are also integral to the way we
build our personal and cultural identities through traditional songs and national anthems;
dance, paintings, drama and movies that tell our stories; and iconic architecture that presents
us to the world.
The arts have always been part of human life, but in our contemporary world their role
is changing as the digital revolution transforms the way we think and structure knowledge,
experiences and understandings. The interactive and navigational ways of negotiating
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, PowerPoint®, digital images and Zoom™ – means that visual literacy
is becoming a critical functioning skill. This is so much so that Australian Government agencies
observe that ‘artistic and visual literacy are increasingly as important to success in work and life
as numeracy and language skills’ (Australia Council for the Arts (Ozco) & DEST, 2004, p. 4).
The growth of the knowledge society means that success in this economy requires creative
and innovative thinkers more than the labourers needed for the industrial world. In the USA,
research shows that 97 per cent of surveyed employers 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 et al., 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
has 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.
Across the world there are growing concerns about rising mental health issues. This trend has
recently escalated due to a combination of the pandemic, recent natural disasters and turbulent
political climate. Therefore, it is important to note that health and therapeutic research (Staricoff,
2006) shows there are clear benefits for personal wellbeing gained from encountering and
participating in the arts. This has also been demonstrated in studies of recovery and self-healing

xxi
INTRODUCTION

arts projects deployed within communities following disasters (Adnams Jones, 2018). In schools,
arts education plays a crucial role in bolstering children’s sense of wellbeing (Clift & Camic, 2015;
Noble & Wyatt, 2008; Thomson et al., 2015; Winner et al., 2013).
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 is a primary and enduring human need.

Is this book for you?


This book is for pre-service and novice primary school teachers. Experienced teachers who are
looking for a guide to contemporary arts teaching should also find it useful.
The Arts is a mandated learning area in both the Australian and New Zealand primary
school curricula. For the most part, generalist primary school teachers have the responsibility
of providing their students with good-quality arts learning opportunities that enable them to
develop the 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 understandings, skills and confidence to initiate an authentic arts learning
program in the primary classroom. It does this by:

providing you with enough background information to appreciate the true nature
1 of arts education and its importance in the curriculum

encouraging you to recognise, celebrate and use your own creative and artistic
2 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

directing you to the range of options and support available to you through
3 partnerships, professional networks and online resources

reviewing the features of an authentic arts program and building the links between
4 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!

xxii
INTRODUCTION

How this text is organised


The book is organised into two parts.

PART provides an overview of the contemporary PART devotes a chapter to each of


1 context for arts education and then 2 the five Arts subjects – Dance,
examines the three interconnected Drama, Media Arts, Music and
elements of arts education in the primary Visual Arts – with attention to
school – the student, the teacher and key concepts and ways of
the curriculum. Part 1 concludes with a teaching the subject.
programming guide and range of learning
experiences that can be implemented in
the primary school classroom.

Pedagogical tools
As this text serves as a reliable resource for learning about and teaching in the arts, a number of
pedagogical features have been provided to assist your studies. The text makes regular references
to the Australian Curriculum. Even if the state or territory where you live has developed its own
curriculum, this text is still relevant because these curricula are derived from the Australian
Curriculum, and the underpinning concepts and expectations are consistent. Icons in the margins
draw attention to any direct references to the Australian Curriculum and cross-curriculum
priorities. Other icons highlight references to significant educators mentioned in the text.
Each chapter begins with a numbered list of the topics covered. These align to the numbered
headings throughout the chapter so it is easy to locate the relevant section. Under each heading,
subheadings will help you go directly to the part you need at any time. The summary at the end of
the chapter reinforces the main points. Each chapter concludes with the provision of resources for
you to consolidate and extend your learning.
Throughout the book you will find four different types of boxed information to facilitate
your learning:
• At a glance boxes encapsulate key information. These can be photocopied and pinned up at
your workstation for reference.
• Starter ideas suggest the types of learning experiences you can introduce in your classroom
to put theory into practice.
• Classroom snapshots offer examples of arts education in action in the classroom. You will
see how the ideas discussed in the book are enacted and translated into real-life classroom
situations.
• Online resources comprise carefully curated lists of websites that offer good-quality support for
your teaching and self-education. These websites extend the value of the book because you
can continue to access up-to-date information.
Specialist terms in the text are highlighted and, for easy reference, an explanation is provided
in the margin. A glossary at the end of the book lists all these terms alphabetically.
All these features are intended to support your professional development as an educator in the
arts. Hopefully you see the value of keeping this text as part of your professional library for future
reference while teaching.

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, media arts,

xxiii
INTRODUCTION

music, and visual arts and other related 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
people you will be teaching.

References
Adnams Jones, S (2018). Art-making with refugees and survivors: Creative and transformative responses to
trauma after natural disasters, war and other crises. Jessica Kingsley Publishers.
Australia Council for the Arts (Ozco) & DEST (2004). Request for tender for the provision of national review of
education in visual arts, craft, design and visual communications. FA/6416.
Bourriaud, N (2002). Relational aesthetics (rev. edn). Translated S Pleasance & F Woods. Buenos Aires:
Adriana Hidalgo Editoria.
Clift, S & Camic, PM (Eds.) (2015). Oxford textbook of creative arts, health, and wellbeing: International
perspectives on practice, policy and research. Oxford University Press. doi: 10.1093/med/
9780199688074.001.0001
Lichtenberg, J, Woock, C & Wright, M (2008). Ready to innovate: Are educators and executives aligned on the
creative readiness of the US workforce? The Conference Board. Retrieved from http://www.artsusa.org
Noble, T & Wyatt, T (2008). Scoping study into approaches to student wellbeing: Literature review. Australian
Catholic University and Erebus International.
Staricoff, R (2006). Arts in health: the value of evaluation. Journal of The Royal Society for the Promotion of
Health, 126(3), 116–120. doi: 10.1177/1466424006064300
Thomson, P, Coles, R, Hallewell, M & Keane, J (2015). A critical review of the Creative Partnerships
archive: How was cultural value understood, researched and evidenced? Retrieved from http://www.
creativitycultureeducation.org/a-critical-review-of-the-creative-partnerships-archive
Winner, E, Goldstein, TR & Vincent-Lancrin, S (2013). Arts for art’s sake? The impact of arts education. Centre
for Educational Research and Innovation, OECD Publishing. doi: 10.1787/9789264180789-en

xxiv
About the author
ASSOCIATE PROFESSOR DR JUDITH DINHAM, School of Education, Curtin University
Judith Dinham has held senior university teaching and leadership positions in arts education
and artists’ education over a number of decades. At Curtin University she is the Director of
Learning and Teaching in the School of Education, having previously held the position of
Program Co-ordinator for the Bachelor of Education (Primary).
She is a Fellow of the Higher Education Research and Development Society of Australasia
(HERDSA); and has an Edith Cowan University Fellowship, along with a number of other awards
for excellence and innovation in teaching.
She was the founding director of ProArts, a professional development provider for teachers,
as well as being an International Baccalaureate examiner for 10 years and a board member of
the Western Australian Academy of Performing Arts (WAAPA) and National Exhibition Touring
Structure, WA. Her broad curriculum experience includes writing and presenting arts education
courses in Early Childhood, Primary and Secondary Education for universities, state government
and overseas curriculum bodies, Professional and Graduate Education, and Open University
Australia. Her research interests relate to pre-service education in the arts. Judith Dinham is also
a practising artist and exhibition curator. The monograph Judith Dinham: An artistic journey
(https://ro.ecu.edu.au/cgi/viewcontent.cgi?article=8122&context=ecuworks) describes her
artistic practice.

Acknowledgements
The first edition of Delivering authentic arts education was published in 2011. The production of
this fifth edition directly relates to the continued support the text has received from university
lecturers around the country who have made it the recommended text for their students. I am
indebted to the publisher’s commitment to publishing a new updated edition every three years
so the text continues to be relevant for each intake of pre-service teachers. As this edition
goes to print, the outcomes from the Australian Curriculum Review are not yet endorsed for
implementation, so a conservative approach to referencing anticipated changes has been taken.
For the preparation of this new manuscript, I wish to acknowledge and sincerely thank
colleagues, teachers, students, friends and family for their assistance and, importantly, the
reviewers listed below who provided critical review of the content.
I would also like to thank those who made generous contributions of artwork, images and
ideas for inclusion in the book including Elizabeth Ford, Christine Latham, Sylvia Le Min Maslin,
Angela Perry and Gill Treichel. A number of images were sourced from the following educational
institutions: Bayswater Primary School, Hale School, MLC Claremont, Moerlina School, Edith
Cowan University and Curtin University with kind assistance from staff and parents. In this
regard, a special thank you to Kate Hall, Angela Perry and Nina Usher for facilitating this.
This book is intended for pre-service primary school teachers and as such I have especially
valued the contributions of past and present pre-service students. The stories of several teaching
experiences recounted by my students on their Blackboard Discussion Board bring an immediacy
to the matters being discussed and provide valuable insights.

xxv
ACKNOWLEDGEMENTS

A special thanks goes to Fiona Hammond, Margie Asmus and the whole wonderful team at
Cengage who have masterfully brought this book into being. It is always a pleasure working with
such committed and capable individuals.
Ideas float in a ferment and any number of fragments can take hold and grow into arts
creations and lessons. These in turn may suggest possibilities for interpretation by someone else.
I have willingly shared ideas with my students and colleagues and, while I have acknowledged
known sources in this text, I also want to thank all those who, with a teacher’s instinct and
collegial spirit, have generously contributed to the ferment that feeds us all.
Judith Dinham
2022

The author and publisher would like to thank the following reviewers, whose feedback helped
shape this fifth edition:
Helen Sandercoe – La Trobe University
Katie Burke – University of Southern Queensland
Marta Kawka – Griffith University
Rachael Jacobs – Western Sydney University
Dr Rachael Jefferson-Buchanan – Charles Sturt University
Robin Pascoe – Murdoch University
Victoria McTaggart – Australian Catholic University

xxvi
1
PART
The ABC of Arts Education
The Arts is one of the mandated learning areas in the Australian Curriculum and includes the
subjects of Dance, Drama, Media Arts, Music and Visual Arts. All students from Foundation
through the primary school years are expected to have an education in the Arts subjects. How
this is achieved will vary across state and territory jurisdictions and from school to school.
Nevertheless, all teachers have a role to play in delivering arts education in a contemporary
curriculum – even if the school has specialist teachers. If you are preparing to be a generalist
teacher, it is possible that you have a modest background in the arts, lack confidence in your
ability or feel intimidated by the challenge. However, you will find that you can deliver a
worthwhile Arts program if you are willing to try.
Part 1 of this book is an examination of the principles of delivering good-quality arts
education. It begins with an exploration of the context and rationale for arts education
because you need some understanding about why arts education is in the curriculum in order
to engage with arts learning intelligently. The rest of this section is devoted to addressing the
three key players in education: the learner, the teacher and the learning area. Understanding
essential concepts in relation to each of these three factors represents the ABC of arts
education:

A B C
Authentic arts Being the best Children at the centre
education. teacher you can be. of their learning.
1
CHAPTER
Putting you in the picture –
the rationale and context
for arts education
In this chapter you will discover that:
1.1 the arts are part of what it means to be human
1.2 the nature of arts education changes as society’s needs and values
change – so arts education today is different from arts education in the
past
1.3 contemporary arts education research, policy and scholarship
illuminate the nature of arts education for the new era
1.4 arts education is in the curriculum to seriously contribute to developing
children’s capabilities to meet the challenges of the new era
1.5 all benefits of arts education derive from a rich experience of the arts as
both artist and audience
1.6 implementing new educational practices and a meaningful program
requires dedication and forward-thinking approaches.

Alamy Stock Photo/Cristiano Fronteddu

2
CHAPTER 1 PUTTING YOU IN THE PICTURE – THE RATIONALE AND CONTEXT FOR ARTS EDUCATION

1.1 The arts are integral to


human existence
The arts, such as painting and dancing, are forms of expression found in every culture.
They are integral to human society, and archaeologists suggest that our artistic practices, along
with rituals and new technologies, are the three key drivers in the evolution of humankind
(BBC News, 2000).
In Australia a rock art painting of a two-metre-long kangaroo, securely dated to between
17 500 and 17 100 years ago, is the oldest unambiguous in situ Aboriginal painting (Finch et al.,
2021). The oldest known images in the world are hand stencils found in a cave in Sulawesi,
Indonesia. These are 39 900 years old (Aubert et al., 2014), although other discoveries of paint
pigments and tools suggest that between 350 000 and 400 000 years ago Stone Age people were
painting their bodies for ritualistic and ceremonial occasions (BBC News, 2000). By the Bronze
Age (3300–1200 BCE) artisans were employed to produce ornaments and jewellery. These are
objects that have no utilitarian role, meaning that they were being valued for their artistry,
beauty and symbolic or ritualistic significance (Davies, 2012).
Artistic expression across cultures and throughout history serves to reveal much about the
societies within which they were created – their needs, values and beliefs – and how people
understood and made sense of their world. Much of the information gained by archaeologists and
historians about civilisations and eras of the past comes from studying their artistic pursuits. We
see that the earliest forms of artistic practices and artefacts encapsulated key qualities that still
hold true today:
• Art is an expression and communication of meaning.
• Art engages our aesthetic sensibilities.
• Art is an integral part of our existence as a social species.
The centrality of the arts in our lives and the life of a society is reflected today in the Universal
Declaration of Human Rights, which states in Article 27 that: ‘Everyone has the right freely
to participate in the cultural life of the community, to enjoy the arts, and to share in scientific
advancement and its benefits’ (United Nations, 1948).
As educators, recognising the primacy of the arts in societies helps us to understand the role
and significance of the Arts in the school curriculum today.

Understanding the arts today


In the Western codification of knowledge, artistic pursuits such as dance, drama, music and
visual arts have been formalised into disciplines, each with unique histories, philosophical
and theoretical underpinnings, practices and fields of research. Media Arts has naturally been
established more recently. These disciplines are referred to collectively as the Arts or the Creative
Arts; however, it is important to note that these are not universal categories. For example,
calligraphy has a rich and highly developed history in Islamic art, and there are many other
significant artistic traditions across cultures that exist outside these categories.

Historical insights
The written history of Western art describes periods and eras, and reveals how particular belief
systems, philosophies or social and political forces have had a notable and distinctive influence
on the artworks produced. The following examples help to illustrate how the arts are expressions
of their histories and beliefs:

3
Another random document with
no related content on Scribd:
directement, en de nombreux points, sur un substratum de Schistes
cristallins injectés de pegmatite).
2º Avant cette transgression, en effet, le « rabotage » du massif
avait été très loin : le granit avait été atteint, ainsi que les diverses
roches intrusives profondes (nous avons vu en divers points les
Grès inférieurs reposer par les Conglomérats de base sur le granit)
et il ne restait aucun élément non métamorphisé sous la couverture
tassilienne, elle, non métamorphisée (nous n’avons vu nulle part
dans le Pays cristallin de sédiments non métamorphisés, ni aucun
explorateur).
3º Enfin le caractère général de cette discordance n’est pas en
effet pour inciter à croire courte la période qui s’est écoulée entre
plissement et transgression.
C’est pourquoi nous croyons ne pas nous écarter d’une très
grande probabilité en qualifiant les Schistes cristallins d’anté-
cambriens.
Dans ces Schistes cristallins peut-on faire des divisions
stratigraphiques ?
Cela est impossible encore.
On est tenté de distinguer des pays de Schistes cristallins de
caractère peut-être plus ancien.
Mais il n’est, pour le moment, pas prudent de s’abandonner à
cette séduction.
La présence de discordance typique stratigraphique sur laquelle
on puisse se fonder, avec conglomérats, dans les Schistes cristallins
n’a pas en effet été observée, ni par nos prédécesseurs ni par nous-
même.
Des quartzites (entre autres la pyramide de l’In Kaoukan dans
l’Anahef) ont été observés par M. Buttler en légère discordance sur
des gneiss sous-jacents.
Rien ne donne à cette discordance une importance suffisante
pour le moment, ni caractère nettement stratigraphique (absence de
conglomérats), ni grande extension, qui permette déjà de fonder sur
elle une coupure dans les Schistes cristallins anté-cambriens. Mais
elle laisse prévoir la possibilité d’une pareille éventualité[38].

*
* *

On avait tout d’abord, à la suite des découvertes de la Mission


Flatters, rattaché les plissements propres aux Schistes cristallins, qui
apparaissent au Sud des Tassilis, aux plissements calédoniens.
Puis, les découvertes des Schistes du Tindesset par la Mission
Foureau-Lamy, considérés comme de la fin de l’Ordovicien, des
Schistes d’El-Khenig, par le Capitaine Cottenest, considérés comme
gothlandiens, avaient jeté quelque trouble dans les idées admises
jusque-là sur la date de ces mouvements.
Les conditions de gisement de ces Schistes à Graptolithes
n’ayant pu être éclaircies, on avait admis soit que ces schistes
appartenaient à une partie non métamorphisée de l’ensemble des
formations qui, métamorphisées, avaient donné les Schistes
cristallins, — et alors l’hypothèse calédonienne restait absolument
acceptable — soit que ces Schistes à Graptolithes considérés tous
comme siluriens supérieurs, étaient à la base du complexe gréso-
argileux dévonien, et alors il fallait admettre que les plissements qui
avaient intéressé les Schistes cristallins et qui leur étaient propres
étaient antérieurs à certains mouvements calédoniens typiques.
Mais, par suite de l’incertitude régnant en Ecosse sur la question
de savoir si le Silurien supérieur avait été intéressé par les
mouvements calédoniens, on avait voulu y voir les premiers
mouvements calédoniens. C’est cette dernière opinion qui était celle
de Suess qui déclarait qu’on ne saurait prétendre que les Saharides
ne se révèleraient pas quelque jour comme le prolongement des
Calédonides.
Ces plissements propres aux Schistes cristallins de l’Ahaggar
furent dénommés Saharides par Suess, en attendant que des
explorations ultérieures permettent de les rattacher avec certitude
aux Calédonides.
Maintenant que nous avons étudié les relations des Schistes
argileux à Graptolithes avec les Schistes cristallins, nous pouvons
déclarer que les Schistes cristallins ont été plissés avant le Silurien
— et vraisemblablement avant le Cambrien.
La possibilité de réaliser les espoirs de Suess et de rattacher les
Saharides aux mouvements calédoniens est donc écartée à tout
jamais.
Ces mouvements sont trop antérieurs aux mouvements
calédoniens.
Et nous croyons pouvoir admettre que les mouvements les plus
récents qui ont plissé les Schistes cristallins avant le dépôt en
discordance dessus de la couverture tassilienne, sont algonkiens, et
faisons toutes les réserves sur l’existence de mouvements
antérieurs (discordance de l’In Kaoukan ?) intéressant une partie
des Schistes cristallins, qui peut être mise en lumière un jour par
l’étude approfondie du Pays cristallin.
Ainsi, les Saharides (pour conserver l’appellation de Suess) sont
algonkiennes.
C’est là un des résultats de notre mission dont nous sommes fier
que la démonstration de l’existence d’un « Faîte saharien »
algonkien, comparable au « Bouclier canadien »[39], au « Faîte
sibérien » et au « Bouclier baltique ».
Etudions maintenant les plissements eux-mêmes.
Tout d’abord, il convient de faire remarquer que l’état actuel de
plissement des Schistes cristallins est le résultat de mouvements
complexes.
Il est possible que pour certains des Schistes cristallins, les
mouvements algonkiens se soient déjà superposés à d’autres
antérieurs (discordance de l’In Kaoukan ?).
D’autre part, les Schistes cristallins plissés par les mouvements
algonkiens ont sans doute été repris (la partie voisine de l’Enceinte
tassilienne tout au moins) par les plissements postérieurs que nous
avons décrits dans l’Enceinte tassilienne et qui ont déterminé l’allure
festonnée de cette enceinte, par le découpage des régions
anticlinales provoquant des avancées du Pays cristallin.
On ignore même si ces mouvements qui ont plissé l’Enceinte
tassilienne n’ont pas eu une grande ampleur dans l’Ahaggar, et si
cet Ahaggar ne présente pas actuellement le résultat de la mise à nu
du Cristallin par décapage d’un vaste bombement d’âge alpin (?)
ridé sensiblement Nord-Sud, avec tendance vers une direction Nord-
Nord-Ouest-Sud-Sud-Est (les rides les plus accentuées se trouvant
vers l’Ouest), par les mouvements hercyniens ou calédoniens (?) ou
hercyniens et calédoniens (?) qui ont agité l’Enceinte tassilienne.
Ce dôme qui est décapé maintenant de sa couverture primaire
pouvait même être une région de violents plissements primaires et
les régions anticlinales de l’Enceinte tassilienne, dont nous avons
esquissé les traits, ne représenteraient peut-être que les
terminaisons mourantes vers le Nord des vastes rides de ce dôme
qui, dans les régions ahaggariennes auraient été beaucoup plus
accentuées, allant peut-être jusqu’au déversement et même à des
nappes de charriage[40].
Cette hypothèse n’a rien d’impossible :
L’Enceinte tassilienne avec son pendage vers la périphérie se
présente bien comme les bords d’un vaste bombement arasé et sa
disposition en guirlandes paraît bien être le résultat du décapage
d’un dôme plissé de rides sub-méridiennes (avec une tendance vers
une direction Nord-Nord-Ouest-Sud-Sud-Est).
Enfin, il est possible que le Pays cristallin ait été le théâtre
d’affaissements, de surrections, de mouvements épirogéniques en
relation avec les phénomènes volcaniques dont nous parlerons plus
loin, et avec les plissements tertiaires alpins dont ces incidents
pourraient avoir été le contre-coup : le contre-coup de l’Atlas.
Il est donc difficile de déterminer, dans l’état actuel de
plissements des Schistes cristallins, la part des plissements
algonkiens, et la caractéristique de ces plissements.
Les observations que l’on peut faire au cours d’une rapide
mission d’exploration ne permettent pas de répondre avec précision
et certitude à ces questions ; une étude de longue haleine est
nécessaire.
On a parlé d’une direction générale sub-méridienne des
plissements saharidiens.
En effet, on constate que beaucoup de crêtes de Schistes
cristallins dont certaines sont certainement de plissement surtout
algonkien, sont voisines de la direction Nord-Sud, mais toujours
avec une tendance vers Nord-Ouest-Sud-Est.
Ainsi, au mont Ahellakan où les Grès inférieurs des Tassilis
reposent très calmes sur les Schistes cristallins, ce qui permet de
considérer les plissements des Schistes cristallins dessous comme
purement algonkiens, on constate que la direction des plissements
est bien Nord-Nord-Ouest-Sud-Sud-Est.
Dans l’Edjéré, ces crêtes sont particulièrement nettes, émergeant
des coulées dont nous parlerons plus loin. Elles sont en général
plutôt Nord-Nord-Ouest-Sud-Sud-Est que Nord-Sud, avec le
pendage des Schistes dirigés vers l’Est, tout le long de l’oued Tedjert
en particulier.
Certaines crêtes sont dirigées presque Nord-Ouest-Sud-Est, en
particulier à l’Est de la gara Holla.
La gara Tersi est un synclinal de Schistes cristallins isolé en
« Monad-Nock », orienté Nord-Nord-Ouest-Sud-Sud-Est.
Dans la région Nord de l’Anahef, la région de l’In-Sakan, les
Schistes cristallins ont une allure très calme et forment des plateaux
ondulés, la direction des plissements semble encore Nord-Nord-
Ouest-Sud-Sud-Est.
(Je citerai parmi ces ondulations l’anticlinal-dôme de l’In-
Kaoukan.)
Dans la région d’In-Amdjel, les Schistes cristallins forment des
crêtes également sub-méridiennes. Là, ils semblent laminés ; il se
pourrait qu’il y ait eu des phénomènes de charriages.
Ainsi on constate dans l’Ahaggar, dans les plissements des
Schistes cristallins, une direction dominante sub-méridienne Nord-
Nord-Ouest-Sud-Sud-Est, à laquelle ne semble pas être étrangère la
direction générale qui fut celle des mouvements algonkiens, des
Saharides dans l’Ahaggar.
Il n’est peut-être pas inopportun de rappeler ici que la direction
Nord-Ouest-Sud-Est est la direction des plissements algonkiens,
entre la mer Blanche et le Nord de la Norvège.
D’autre part, il convient de faire remarquer que nous ne
connaissons ces plissements algonkiens que par les régions du
Nord et du Centre de l’Ahaggar, que ce n’est là qu’un aperçu
relativement local sur ces plissements et qu’il est possible que
d’autres explorations nous apprennent qu’ils ont une autre direction
ailleurs et sont plus ou moins disposés en virgation.
Des explorations de la région entre Ahaggar et Tibesti seraient
très intéressantes à ce sujet, ainsi que des explorations des pays
cristallins de l’Eglab.
Cette direction sub-méridienne Nord-Nord-Ouest-Sud-Sud-Est
qui déjà dans l’Ahaggar n’est pas absolument générale, ne peut
encore être considérée comme la direction générale des Saharides,
pour le moment.
Les plissements postérieurs semblent avoir épousé plus ou
moins les directions des plissements algonkiens, avoir tout au moins
été influencés par elles.
Et c’est à l’influence des plissements algonkiens en particulier
qu’on pourrait peut-être attribuer la tendance Nord-Ouest-Sud-Est
des rides sub-méridiennes de l’Enceinte tassilienne, de date
postérieure, sinon le caractère sub-méridien lui-même de ces rides.

Des intrusions de roches grenues.

Les Schistes cristallins sont percés par des massifs de roches


intrusives granitoïdes ou grenues[41] variées, qui font contraste par
leurs dômes luisants ennoyés à la base par les produits de la
desquamation (boules) avec les crêtes fines des Schistes cristallins.
Ces massifs de roches intrusives granitoïdes sont la note
dominante dans la partie axiale du Tifedest où ils semblent disposés
en chapelets d’intrusions elliptiques.
Citons en particulier dans cette grande région allongée sub-
méridiennement des monts du Tifedest, comme type de ces massifs
de roches intrusives granitoïdes, les massifs de l’In Takoulemout et
de l’Iskarneïer à l’Est de l’oued Martoutic et de l’oued Aor et à
l’Ouest de l’Ir’err’er.
Dans la Koudia, la partie la plus élevée de l’Ahaggar, les
intrusions de roches granitoïdes jouent un rôle également important.
Citons entre autres :
Les reliefs à l’Ouest d’Ideles, entre Ideles et Irhafock (avec de
beaux types de désagrégation en boule) ;
Le flanc Nord-Ouest du Tahat et au Nord-Ouest du Tahat les
régions de l’oued Tellet-Mellel, de l’oued Ti-n-Iferan aux environs
d’une source remarquable par ses figuiers dont l’altitude est voisine
de 1.700 mètres, et de l’oued Arrou aux mêmes altitudes.
Dans la partie haute de la Koudia des roches grenues
apparaissent parfois sous les coulées, jusqu’à de très hautes
altitudes.
Ces intrusions de roches grenues paraissent avoir eu, quant au
choix des endroits de leur mise en place, une certaine prédilection
pour ce qui est devenu les régions axiales des vastes systèmes
anticlinaux actuels des Schistes cristallins, ou pour ce qui est
devenu les régions de plus grand bombement du pays des Schistes
cristallins.
Il est très difficile de savoir de quand date la mise en place de
ces diverses roches granitoïdes, dans l’absence actuelle d’éléments
datés reconnus, postérieurs aux Schistes cristallins anté-cambriens,
avec lesquels on en puisse observer les rapports.
Certaines de ces mises en place sont anté-siluriennes (ou anté-
cambriennes ?), car le long de la Discordance tassilienne sous les
Grès inférieurs et leurs Conglomérats de base, on constate la
présence de roches granitoïdes. C’est le cas dans la région d’In-
Ebeggi (Edjéré) et dans la région de Titahouine Tahart (ou Aïne-
Karma) près d’Amguid.
D’autre part, les filons de pegmatites diverses qui injectent les
Schistes cristallins si généralement, qui sont en relation possible
minéralogique et génétique avec ces massifs intrusifs de roches
granitoïdes, sont arrêtés, comme nous l’avons souvent observé, par
la discordance et ne poursuivent pas leur chemin (du moins nous
n’en avons pas observé qui poursuivent leur chemin) au travers des
Conglomérats de base et des Grès inférieurs des Tassilis.
Cela semble prouver que ces injections filoniennes de
pegmatites sont antérieures au Silurien (ou au Cambrien ?) ; et on
peut considérer, semble-t-il, que beaucoup des intrusions de roches
granitoïdes de l’Ahaggar ont eu une mise en place anté-silurienne
(ou anté-cambrienne ?).
Mais il est possible que certaines mises en place soient de date
postérieure.
Cependant, rien ne le prouve jusqu’à maintenant.
L’existence de mises en place anté-siluriennes (ou anté-
cambriennes ?) est seule prouvée pour le moment.

Des injections filoniennes.

Les Schistes cristallins sont en général injectés de roches


filoniennes, particulièrement de pegmatites variées, entre autres de
pegmatites à tourmalines et à minéraux[42].
Les pegmatites sont injectées avec une telle constance et une
telle abondance dans les Schistes cristallins, que c’est un des
caractères dominants du Pays cristallin, surtout de l’Anahef, d’être
lardé de pegmatites, et qu’on pourrait presque le définir par ce
caractère et l’appeler : le Pays cristallin pegmatitifère.
Nous avons vu que ces pegmatites paraissent en général anté-
siluriennes (ou anté-cambriennes ?).

Des volcans.

Enfin, ces Schistes cristallins, avec leurs intrusions de roches


grenues et leurs injections de pegmatites et autres roches
filoniennes, sont souvent recouverts de roches d’épanchement et
d’appareils volcaniques (cratères, dômes, aiguilles, brêches, tufs) et
sont traversés par des dykes également volcaniques.
Ces pays ont été le théâtre d’éruptions d’une ampleur
considérable et d’époques diverses.
Leurs formes usées par tous les agents de l’érosion depuis les
lointains temps primaires, ont été ainsi rajeunies par ces reliefs
volcaniques surimposés, et protégées également dans une certaine
mesure contre l’action ultérieure de l’érosion.
Et ce sont des aiguilles, monts et plateaux volcaniques qui
constituent actuellement les parties culminantes de la Koudia de
l’Ahaggar : le mont Tahat, l’Ilaman, l’Amdai, l’Asekrem[43].
Certains de ces volcans sont très bien conservés ainsi que leurs
coulées et analogues aux puys, gravennes, planèzes et cheires du
Massif Central Français.
Il est très difficile de dater ces éruptions en raison de l’absence
d’éléments stratigraphiques datés, reconnus à ce jour dans ce vaste
Pays cristallin de l’Ahaggar.
Planche IX.

Le Pays cristallin. Les Basaltes de Tin ed’ness (Egéré).

C’est en vain que nous avons cherché dans les alluvions que l’on
trouve sous les coulées des restes d’organismes permettant d’avoir
une idée de l’âge des épanchements.
On en est réduit à faire uniquement pour le moment, entre les
différents volcans et leurs coulées, des comparaisons fondées sur
l’état de conservation des appareils volcaniques et les relations des
coulées entre elles (quand c’est possible).

*
* *

Les principaux centres volcaniques dont nous avons constaté


l’existence sont les suivants :
a) Au Nord et au pied du massif de l’Oudan, entre ce massif et le
mont Edjeleh, et plus près de ce massif que l’Edjeleh, nous avons
constaté la présence de coulées basaltiques étalées en vastes
nappes qui couvrent une assez grande surface.
Ces coulées semblent récentes.
Leur existence n’avait pas été signalée jusqu’à maintenant ;

b) Dans l’Edjéré et à l’Ouest de Tisemt nous avons rencontré des


volcans et coulées, de l’Hanou Tin-a-degdeg dans l’oued Tedjert à
Tisemt sur les bords de la plaine de l’Amadror.
Ces volcans sont remarquablement bien conservés. Tous leurs
appareils noirâtres font contraste avec les crêtes des Schistes
cristallins qui émergent parées de vives couleurs par les jeux de
lumières étonnants de ces pays des sombres coulées basaltiques.
Ces coulées s’étalent en général comme de véritables lacs
occupant les fonds des vallées, et les oueds se sont réfugiés sur
leurs bords, en suivant leur contact avec les Schistes cristallins ; ces
oueds ont souvent leurs rives parées de magnifiques colonnades de
prismes basaltiques, en particulier l’oued Tedjert de l’abankor
Ahalléllen (au Sud de Hanou-Tin-a-degdeg, lui-même au Sud de
Hanou-Tin-Edéjerid), à l’abankor Tin-ed’ness (près du redir El-Arab).
Sur les bords de cet oued Tedjert, à Tin-ed’ness, deux coulées de
ces basaltes des vallées sont superposées, la plus élevée est donc
la plus récente.
Non loin de là, à l’Est de Tin-ed’ness, et à l’Ouest de la gara
Maserof (en gneiss) une coulée plus élevée forme plateau.
Cette coulée semble plus ancienne que les deux précédentes,
qui se trouvent en contrebas.
On peut donc distinguer dans la région de Tin-ed’ness trois
phases dans l’activité volcanique.
Ces phases sont d’une époque antérieure à la présence de
l’homme de l’âge de la pierre taillée dans ces régions. En effet :
A l’Est du point d’eau de Tin-ed’ness, dans des grottes qui se
trouvent sur les flancs d’un cratère, nous avons fait la découverte en
faisant une tranchée de fouille, de nombreux instruments de l’âge de
la pierre taillée bien en place, de facture genre Tardenoisien, c’est-à-
dire avec pièces microlithiques et géométriques[44].
(Ces instruments sont, semble-t-il, contemporains des tombes
anté-islamiques à tumuli qui sont particulièrement abondantes dans
les fonds de cratères, peut-être parce que quelque croyance
religieuse s’attachait à ces entonnoirs infernaux et y voyait quelque
rapport avec le noir séjour des morts.)
Ces grottes avaient donc été habitées par des populations
préhistoriques comme elles l’ont été d’ailleurs souvent depuis par les
Touareg ainsi qu’il ressort de l’abondance des ustensiles de touareg
que l’on trouve abandonnés sur leur sol.
Ce volcan n’est peut-être pas le plus récent de la région de Tin-
ed’ness. Près de là, se trouvent des volcans que leur état de
conservation peut faire considérer comme postérieurs. Mais la
proximité de ces derniers fait que l’habitat des grottes voisines lors
de leur activité est peu vraisemblable.
Il ressort de cette observation que l’activité des volcans de
l’Edjéré est antérieure à la présence des hommes de l’âge de la
pierre taillée qui ont habité ces grottes.
Mais la civilisation de l’âge de la pierre semble très récente en
pays targui. Les Touareg conservent encore l’usage de
l’emmanchure néolithique pour leurs haches, et l’âge de la pierre
taillée, postérieur à la période d’activité des derniers volcans de
l’Edjéré, n’est peut-être pas très ancien.
Les éruptions de l’Edjéré paraissent pléistocènes par l’état de
conservation de leurs coulées et de leur cratère.
Les cratères de la région de Tin-ed’ness semblent alignés
sensiblement suivant des directions sub-méridiennes.
On peut distinguer à l’Est de Tin-ed’ness, et de l’Est à l’Ouest,
deux de ces alignements.
A l’Ouest de Tin-ed’ness on aperçoit une autre chaîne de volcans
(monts Iferekouassen), la plus importante par l’ampleur de ses
appareils.
Les volcans de l’Est de Tin-ed’ness paraissent en général moins
récents que ceux de l’Ouest, mais ce n’est que l’impression qu’on
peut avoir au cours d’un rapide passage, c’est-à-dire bien sujette à
caution.
Les volcans sont très développés également dans la région de
l’Ouest de l’oued In Reggi et du Nord-Ouest de Tisemt (monts
Tig’elouin) où ils forment un ensemble montagneux important.
On trouve quelques cratères et coulées près de Tisemt.
La montagne de Tisemt qui domine les deux salines si réputées
en pays targui est un curieux cratère.
L’entonnoir de ce cratère est rempli de cailloutis, sortes
d’alluvions, de morceaux de roches diverses et très variées que
nous n’avons trouvés que là, et épars sur le sol autour de ce cratère.
Il existe un épanchement de ces cailloutis, sortes d’alluvions, sur
le flanc Est de ce cratère.
Ces morceaux de roches diverses sont sans doute des débris
arrachés à la cheminée et la dernière émission de ce volcan semble
avoir été une émission de cailloutis.
Il semble que nous ayons là un beau type de « neck ».
Outre son genre particulier d’activité, le cratère de Tisemt est
intéressant à un autre point de vue.
Dans les débris qui remplissent son entonnoir, nous avons trouvé
des calcaires travertineux que M. Buttler a observés en place, non
loin de la base.
Ainsi, ce cratère est postérieur à ces travertins, et le jour où ces
travertins se révèleront fossilifères, nous pourrons avoir des
données précises sur l’âge de ce volcan.
Au pied de ce cratère se trouvent les salines de Tisemt ; l’origine
de ces salines est mystérieuse encore !
La formation de ces amas de sels a-t-elle été en relation avec les
manifestations volcaniques ?
La forme des protubérances salines pourrait faire pencher vers
cette hypothèse, mais elle pourrait également faire croire à
l’existence passée de sources chargées de sel en cet endroit !!!,
sources plus ou moins artésiennes, provenant peut-être d’un seuil
rocheux, barrant l’issue des eaux cheminant en profondeur dans la
plaine de l’Amadror, les obligeant à remonter en surface et les
faisant sortir dans cette dépression qui est le point le plus bas de la
plaine de l’Amadror (en profondeur de la plaine de l’Amadror se
trouvent peut-être des dépôts salés qui chargeaient ces eaux en
sels, dépôts salés d’une sorte d’ancienne mer morte ; le puits de
Tisemt, très profond [80 m. environ], est salé, mais pas artésien !).
Des analyses d’échantillons salins que M. Buttler a recueillis
dans cette saline nous fixeront peut-être dans la suite.
Dans toute la région Edjéré-Tisemt, l’ensemble volcanique peut
être considéré comme pléistocène et antérieur à la présence de
l’homme de l’âge de la pierre taillée dans cette région ;

c) Au Sud-Est de la plaine de l’Amadror, dans le Nord de


l’Anahef, le massif volcanique de l’Assgaffi est le témoin d’une
activité volcanique certainement antérieure à celle de tous les
volcans précédents.
Là, on ne constate plus la présence de cratères bien conservés
et les coulées sont perchées très au-dessus des vallées sur des
socles cristallins (c’est le cas pour le Tellerteba, dont les parties les
plus élevées sont d’épanchement volcanique), ce qui suppose un
long travail d’érosion.
Les coulées sont également de nature minéralogique différente.
Le centre volcanique de l’Assgaffi et du Tellerteba est très
ancien, aucune précision n’est possible pour le moment quant à son
âge : il est tertiaire vraisemblablement, c’est tout ce qu’on peut en
dire, et encore ! il pourrait être crétacé, mais alors il faudrait
admettre qu’il n’est pas en relation avec le contre-coup des
plissements alpins (Atlas) principaux sur un pays peu souple.

d) Dans la région d’Idelès, nous trouvons de nouveau un centre


volcanique d’activité récente, pléistocène probablement.
Les coulées et volcans sont bien conservés. Citons en particulier
les beaux basaltes prismés de l’oued Terrinet (affluent de la rive
Ouest de l’oued Telouhet) tout près d’Idelès ;

e) Dans la Koudia, les formations volcaniques ont un immense


développement.
Ce n’est que vastes coulées étagées, aiguilles, culots
volcaniques plus ou moins prismés, l’Irhafock à Tamanrasat.
Dans ces régions centrales de l’Ahaggar l’activité volcanique
s’est manifestée avec une ampleur particulière et en de nombreuses
périodes (trois principales, semble-t-il), suivant des modes divers et
avec des émissions variées.
La période la plus récente semble représentée par la coulée de
basalte de l’oued Echchil (ou Abedassen) et l’îlot volcanique qui se
trouve dans le fond de l’oued Ti-n-Iferan, au Nord-Ouest du Tahat,
au Sud de la Source des Figuiers.
La période la plus ancienne, peut-être contemporaine des
éruptions de l’Assgaffi, semble représentée par le plateau de
l’Isekran (p. c. avec Asekrem dans l’Atakor) qui domine les vastes
coulées étagées plus récentes dans lesquelles est encaissé l’oued
Teroummout, et également peut-être par la coulée de l’Adrian.
La période de plus grande activité semble intermédiaire entre ces
deux extrêmes et correspondant en particulier aux vastes coulées
étagées dans lesquelles est encaissé l’oued Teroummout.

*
* *

On voit par l’exposé qui précède que les manifestations


volcaniques au Pays cristallin de l’Ahaggar sont loin d’avoir été un
cas isolé, localisé, et sans ampleur.
Nous avons constaté la présence de centres volcaniques au
Nord de l’Oudan, dans l’Edjéré et la région Ouest de Tisemt, dans le
Nord-Ouest de l’Anahef, dans la région d’Idelès et dans toute la
Koudia.
Ce ne sont pas là encore tous les centres volcaniques du Pays
cristallin de l’Ahaggar ; d’autres ont été signalés : le volcan d’In-Size,
le Serkout, etc., etc.
A mesure que les explorations se poursuivent, le Pays cristallin
de l’Ahaggar apparaît de plus en plus comme une terre de
prédilection du volcanisme, au Tertiaire et au Quaternaire.

Des affaissements ?

Les volcans de l’Ahaggar sont peut-être en relation avec des


affaissements[45], qui, comme nous le verrons plus loin, pourraient
expliquer certains des caractères morphologiques du Pays cristallin.
Planche X.

Le Pays cristallin. « Monad nock » (Gara Maserof, dans la


paeneplaine de l’Avant-pays cristallin à l’Est de Tin ed’ness
(Edjéré).

Il n’est pas possible de démontrer encore l’existence


d’affaissements et il est difficile pour le moment de préciser leurs
emplacements et de déterminer quelle fut leur ampleur.
Dans un pays à base de Schistes cristallins, c’est une étude qui
nécessiterait une longue série d’observations.
Il se pourrait, en particulier, qu’il y ait un affaissement à l’origine
de la plaine de l’Amadror.
Les volcans de l’Edjéré-Tisemt sur le bord Ouest de cette plaine
s’expliqueraient ainsi très bien.
Certains de ces volcans auraient peut-être provoqué dans la
suite, par des barrages dus à leurs coulées, un vaste lac ; que ce
soit avec lac ou sans lac, par alluvionnement, les oueds descendant
des parties hautes du Pays cristallin auraient comblé cette grande
dépression et ainsi se serait établi le vaste « reg » de la haute-plaine
de l’Amadror dont l’immensité remarquablement plate de cailloutis et
d’argile, située à l’altitude moyenne de 1.000 mètres environ, est un
des étonnements des explorateurs qui l’ont vue.
Cet affaissement à l’origine de la plaine de l’Amadror n’est
encore qu’à l’état d’hypothèse.

Morphologie.

Au point de vue morphologique on peut distinguer dans ce vaste


Pays cristallin[46] deux zones :
Le pourtour plus ou moins aplani ;
Le centre fortement montagneux.
De telle sorte qu’on peut comparer le Massif Central Saharien à
un vaste ensemble fortifié comprenant une enceinte ; à l’intérieur de
cette enceinte un vaste glacis, l’« Avant-pays cristallin » et, entourée
par ce glacis, une imposante citadelle, le « Massif cristallin ».
Ce glacis, l’Avant-pays cristallin, est composé soit de pays
d’ennoyage à « reg » (plaine de cailloutis) prédominant, soit de pays
de Schistes cristallins, particulièrement paeneplainisés, usés,
« rabotés » par l’érosion, dont la monotonie est rompue plus ou
moins fréquemment par des « monad-nock », des parties plus
résistantes qui ont subsisté en relief et dont la silhouette aiguë et
déchiquetée ou en tas conique de boules, étonne souvent au milieu
de ces étendues relativement aplanies.
Citons dans cette zone : les pays de l’oued Tedjert et de l’oued
Taheret (au pied des monts Ahellakan), de l’Amadror, d’Abada-

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