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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
Judith Dinham Copyright Notice
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Brief contents
CHAPTER 3
Being an effective teacher in the Arts������������������������������������� 56
CHAPTER 4
Children at the centre��������������������������������������������������������������� 85
CHAPTER 8 Drama���������������������������������������������������������������������������������������235
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
vi
CONTENTS
vii
CONTENTS
viii
CONTENTS
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
Australian Curriculum�������������������������� 284 9.7 Linking media arts to other subjects�� 314
Assessment in media arts������������������������ 285 Dance���������������������������������������������������������� 314
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
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.
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.
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
xiii
DELIVERING AUTHENTIC ARTS EDUCATION
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
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
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
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
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.
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
24
xvii
Guide to the online resources
FOR THE INSTRUCTOR
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.
xviii
GUIDE TO THE ONLINE RESOURCES
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.
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
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.
2
CHAPTER 1 PUTTING YOU IN THE PICTURE – THE RATIONALE AND CONTEXT FOR ARTS EDUCATION
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].
*
* *
Des volcans.
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).
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Des affaissements ?
Morphologie.