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Fourth edition
Delivering
Authentic Arts
Education
Judith Dinham
Copyright 2020 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-202
Delivering
Authentic Arts
Education
Fourth edition
Delivering
Authentic Arts
Education
Judith Dinham
Delivering Authentic Arts Education © 2020 Cengage Learning Australia Pty Limited
4th Edition
Judith Dinham Copyright Notice
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Acknowledgements Creator: Dinham, Judith, author.
Chapter opener images Title: Delivering authentic arts education / Judith Dinham (author).
Edition: 4th edition
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1 2 3 4 5 6 7 23 22 21 20 19
v
Brief contents
PART 1 THE ABC OF ARTS EDUCATION
Chapter 1 Putting you in the picture – the rationale and context
for arts education............................................................... 02
Chapter 2 The features of authentic arts education......................... 29
Chapter 3 Being an effective teacher in The Arts.............................. 62
Chapter 4 Children at the centre........................................................ 92
Chapter 5 Planning, pedagogy and assessment for authentic
arts learning.......................................................................126
PART 2 TEACHING IN THE ARTS

Chapter 6 Dance.................................................................................160
Chapter 7 Drama.................................................................................199
Chapter 8 Media arts..........................................................................242
Chapter 9 Music.................................................................................. 285
Chapter 10 Visual arts...........................................................................327
PART 3 UNITS OF INQUIRY......................................................373
Contents
Guide to the text ..................................................xii A varied picture of classroom
Guide to the online resources............................xvii practices.............................................................19
Introduction...........................................................xix Your role in creating a meaningful
Is this book for you?.............................................. xx Arts program.................................................... 20
How this text is organised................................... xx Online resources: Arts in education
Pedagogical tools................................................ xxi research and advocacy.................................... 22
Terminology.......................................................... xxi Summary................................................................ 22
References........................................................... xxii Go further.............................................................. 24
About the author................................................xxiii Learning activities................................................. 24
Acknowledgements............................................xxiii Further reading..................................................... 25
References............................................................. 25
Chapter 2 The features of authentic

PART 1 THE ABC OF ARTS arts education 29
EDUCATION The nature of authentic arts education............. 30
Arts education’s threshold concepts................. 31
Chapter 1 Putting you in the picture – The Arts are meaning-making
the rationale and context experiences....................................................... 31
for arts education 2
Arts learning is praxis-based.......................... 32
The arts are integral to human existence............ 3
Developing arts literacies facilitates
The evolution of arts education as societal
expression and communication in
needs and values shift............................................ 3
The Arts............................................................. 34
Reasons for arts education in the past............ 4
Creativity is at the heart of arts
Introduction of the Australian Curriculum
education.......................................................... 36
as part of a reform agenda............................... 5
Arts education is situated in culture.............. 39
Research and policy behind recent
developments.......................................................... 7 Classroom snapshot: Authentic engagement
with Aboriginal artistic heritage............................... 41
International research and policy
directions............................................................ 8 Arts education involves developing
aesthetic sensibilities....................................... 42
Australian research and policy
perspective........................................................11 Framing the arts education experience............. 42
Evolving understandings about Attending to arts education for all
the arts...............................................................11 vis-à-vis the artistically talented..................... 43
Developing children’s capabilities for Addressing ‘Making’ and ‘Responding’
the new era through The Arts..............................13 in the Australian Curriculum........................... 44
Visual and multimodal communication Setting open-ended challenges.................... 44
skills.....................................................................13 At a glance: Characteristics of
Navigational approaches to learning.............13 open-ended approaches................................ 45
Flexible thinking and problem solving...........14 Integrating creative thinking and design
Negotiating learning relationships.................14 processes.......................................................... 45
Collaboration and teamwork...........................15 Classroom snapshot: Stimulating
creative thinking............................................... 48
Cultural competency........................................15
Developing craftsmanship, techniques,
Developing dispositions for thinking
skills and process............................................. 49
and acting sustainably......................................15
Establishing cultural context: linking the
Instrumental and intrinsic benefits
‘inside’ world to the ‘outside’ world.............. 50
of the arts.......................................................... 16
Incorporating reflection and review.............. 50
At a glance: Ten things you should know
Programming for arts learning.............................51
about the value of the arts in children’s
education...........................................................19 Units of inquiry..................................................51
Navigating the expectations for arts Classroom snapshot: Developing a unit
education in the school context..........................19 of inquiry on bushfires..................................... 52
Contents vii
Arts learning in an integrated curriculum..... 52 Physical safety................................................... 78

Classroom snapshot: English as a second The functional classroom................................ 79
language (ESL) taught through The Arts...... 54 An inviting physical environment................... 84
Practices best avoided......................................... 55 Why you should be confident about
Cookie-cutter approaches.............................. 55 teaching in the arts............................................... 86
Busy work.......................................................... 56 Online resources: Arts community
Handmaiden approach.................................... 56 partnership opportunities............................... 86
Smorgasbord.................................................... 56 Summary................................................................ 88
Free-for-all......................................................... 57 At a glance: What makes me a good
teacher in The Arts?......................................... 88
Classroom snapshot: Rehabilitating
the free-for-all................................................... 57 Go further.............................................................. 89
Learning activities................................................. 89
Showcase approach......................................... 58
Further reading..................................................... 90
Online resources: Learning more
References............................................................. 90
about arts education....................................... 58
Summary................................................................ 59 Chapter 4 Children at the centre 92
At a glance: The features of authentic Children’s capabilities.......................................... 93
arts learning...................................................... 59 What children bring to their
Go further.............................................................. 60 arts learning...................................................... 93
Learning activities................................................. 60 Children’s developmental growth
Further reading..................................................... 60 through The Arts................................................... 94
References..............................................................61 Physical growth................................................ 94
Cognitive growth............................................. 95
Chapter 3 Being an effective teacher
in The Arts 62 Self-regulatory behaviours.............................. 96
Developing your professional capabilities Expression and communication..................... 96
in arts education................................................... 63 Social and cultural growth.............................. 97
Examining your capabilities Wellbeing, emotional and psychological
(and baggage).................................................. 63 growth............................................................... 97
Building on your abilities and Identity formation............................................ 98
strengths........................................................... 65 Valuing individuality and diversity in
Classroom snapshot: Stepping up and the learning community....................................... 98
having a go....................................................... 66 Cultural diversity in the arts
Your learning journey as an arts classroom.......................................................... 99
educator............................................................ 67 At a glance: Exploring and validating
Working smart to be effective............................ 67 children’s cultural backgrounds................... 101
Working smart with digital resources............ 67 Diversity of ability, giftedness and
Classroom snapshot: Integrating digital disability.......................................................... 101
technology in a unit of inquiry....................... 69 Classroom snapshot: Unlocking a
Working smart with colleagues...................... 69 child’s potential.............................................. 102
Working smart with community Diversity of learning styles............................ 103
resources and partnerships............................ 70 Inclusive and exclusive language................. 105
Working smart through lifelong The nature of children’s arts learning............... 106
learning.............................................................. 73 At a glance: Your role in developing
Creating the learning context: an ethical, children’s aesthetic sensibilities................... 107
stimulating and happy place to be......................74 Children learn through commitment
The ethical arts classroom...............................74 and effort........................................................ 108
The emotionally secure classroom.................76 At a glance: Ways of improving levels of
Building relationships of trust..........................76 accomplishment............................................. 109
At a glance: Creating a climate that fosters Children learn by telling their stories
rich arts learning.............................................. 77 through the arts.............................................. 111
The physical space: a safe, functional Children learn by reflecting on their
and inviting classroom......................................... 78 own artmaking.................................................114
viii Contents
Children learn by reviewing and Planning for cultural connection

responding to artworks of others.................116 through The Arts................................................. 138
Learning enriched by framing Locating cultural references for
discussion.........................................................116 classroom use................................................. 139
At a glance: Ways to incorporate the Pedagogical practices for arts learning........... 140
world of arts in the program..........................117 Adapting pedagogical approaches
At a glance: Selecting artworks that to suit requirements....................................... 140
engage children..............................................118 Stimulating imaginative and active
Classroom snapshot: Talking about a engagement................................................... 140
painting............................................................119 A demonstration is worth a thousand
At a glance: Encouraging children’s words................................................................142
artistic engagement – dos and don’ts.........121 Dialogues for learning....................................142
Online resources: Arts-related online At a glance: Constructive feedback............ 146
resources for disability...................................121 Assessment principles and guidelines............. 146
Summary.............................................................. 122 Achievement standards in the Australian
Go further.............................................................123 Curriculum....................................................... 146
Learning activities................................................123 Formative and summative
Further reading....................................................123 assessment.......................................................147
References............................................................124 Criteria-based learning and
assessment.......................................................147
Chapter 5 Planning, pedagogy and
Indicators of learning......................................147
assessment for authentic
arts learning 126 Acknowledging children’s learning
Planning a program of arts learning .................127 processes.........................................................149
Developing programs using units of At a glance: Authentic arts assessment...... 150
inquiry...............................................................127 The planning, teaching, assessing and
reviewing cycle.................................................... 150
Preparing teaching packs for the unit
Online resources: Sites for locating arts
of inquiry..........................................................128
cultural references......................................... 152
Beginning the planning process...................128
Online resources: Educational
Classroom snapshot: Adapting planning
resources in the arts...................................... 153
to take advantage of local opportunities... 129
Summary.............................................................. 155
Themes for units of inquiry........................... 130
Go further............................................................ 156
At a glance: Themes for units of inquiry..... 130 Learning activities............................................... 156
Completing worked examples as Further reading................................................... 156
part of planning.............................................. 130 References........................................................... 157
Using the six-pointed star template for
planning...........................................................131
Planning for the imaginative
development of ideas........................................ 133 PART 2
TEACHING IN THE
Apply the Wallas model................................ 133 ARTS
At a glance: Working towards a
unit of inquiry plan......................................... 134 Chapter 6 Dance 160
Guiding principles for dance
Brainstorming................................................. 135
education..............................................................161
Aural and visual stimulation.......................... 135
Describing dance............................................161
Chance............................................................ 135
Dance in school education........................... 162
Planning for self-expression of
Engaging with dance.......................................... 164
ideas..................................................................... 136
Teacher participation..................................... 164
Open-ended challenges............................... 136
Planning for practical activity.............................137 Student participation..................................... 165
The preparation and cleaning-up Supporting diverse learners......................... 168
stages...............................................................137 Classroom snapshot: Inclusive dance
Planning for reflection........................................ 138 education.........................................................169
Contents ix
Dance in the Australian Curriculum...................170 Assessment in Drama.................................... 206

Classroom snapshot: Initiating dance Foundations of drama literacy: concepts,
in the classroom..............................................171 knowledge and skills.......................................... 207
Assessment in Dance.....................................171 Elements of drama......................................... 207
Foundations of dance literacy: concepts, Principles of story .......................................... 209
knowledge and skills...........................................172 Drama participation skills.............................. 210
Elements of dance..........................................172 Drama praxis: making..........................................212
The body as instrument.................................173 Initiating drama engagement........................212
Exploring and performing with others.........175 Dramatic play...................................................214
Dance praxis: making..........................................175 Process drama.................................................215
Developing a movement vocabulary............176 Story drama.....................................................215
Choreographing dances............................... 180 Classroom snapshot: Drama using a
At a glance: Strategies for supporting text as a stimulus.............................................216
children’s creation of dances.........................181 Improvisation...................................................217
Learning social dances.................................. 183 Role-playing.....................................................219
Performing dances......................................... 183 Mantle of the expert...................................... 221
Dance appreciation: responding...................... 185 Mime................................................................ 222
Viewing dance performances....................... 185 Puppetry.......................................................... 224
Understanding dance context and Cyberdrama.................................................... 225
motivation....................................................... 186 Vocally orientated drama.............................. 225
Leading guided dance appreciation........... 188 At a glance: Presenting vocally orientated
Cultivating interest in dance......................... 189 drama forms.................................................... 225
Linking dance to other subjects........................ 190 At a glance: Steps for developing stories
Drama.............................................................. 190 for storytelling................................................ 228
Media arts....................................................... 190 Playbuilding and devising theatre............... 230
Music................................................................ 190 Drama appreciation: responding...................... 232
Visual arts.........................................................191 Viewing drama performances...................... 233
Cross-curriculum.............................................191 Understanding drama contexts and
Safe dance practice and practicalities..............191 motivations..................................................... 234
Establishing sensible and safe Guided drama appreciation......................... 234
behaviour.........................................................191 Linking drama to other subjects....................... 235
Let’s start dancing......................................... 192 Dance............................................................... 235
Props and resources...................................... 193 Media arts....................................................... 235
Online resources: Dance education.............195 Music................................................................ 235
Summary...............................................................196 Visual arts........................................................ 235
Go further............................................................ 197 Cross-curriculum............................................ 236
Learning activities............................................... 197 Safe drama practice and practicalities............. 236
Further reading................................................... 197 Safe practices................................................. 236
References........................................................... 198
Space to work................................................. 236
Chapter 7 Drama 199 Working in groups......................................... 236
Guiding principles for drama education.......... 200 Masks............................................................... 237
Describing drama........................................... 200 Costumes, props and play boxes................. 237
Drama in school education........................... 201 Online resources: Drama education............ 238
Engaging with drama......................................... 202 Summary.............................................................. 239
Teacher participation..................................... 202 Go further............................................................ 240
Student participation..................................... 203 Learning activities............................................... 240
Supporting diverse learners......................... 204 Further reading................................................... 240
Drama in the Australian Curriculum................. 205 References............................................................241
x Contents
Chapter 8 Media arts 242 Managing with limited equipment.............. 279

Guiding principles for media arts Storage............................................................ 280
education............................................................. 243 Online resources: Media arts education..... 280
Describing media arts................................... 243 Summary.............................................................. 281
Media arts in school education.................... 244 Go further............................................................ 283
Engaging with media arts.................................. 245 Learning activities............................................... 283
Teacher participation..................................... 245 Further reading................................................... 283
Student participation..................................... 246 References........................................................... 284
Supporting diverse learners......................... 247
Chapter 9 Music 285
Media arts in the Australian Curriculum.......... 248
Guiding principles for music education........... 286
Assessment in Media arts............................. 249
Describing music............................................ 286
Foundations of media arts literacy:
concepts, knowledge and skills........................ 249 Music in school education............................ 287
Engaging with music.......................................... 289
Key media arts concepts............................... 250
Elements of media arts................................. 253
Student participation..................................... 290
Story principles............................................... 255
Supporting diverse learners......................... 290
Genre............................................................... 256
Media arts praxis: making.................................. 258 Classroom snapshot: Music
and communication....................................... 291
Developing proficiency with digital
Music in the Australian Curriculum................... 291
technology...................................................... 258
Assessment in Music..................................... 292
Creating media stories.................................. 259
Foundations of music literacy: concepts,
Pictorial stories............................................... 259
knowledge and skills.......................................... 293
Stories using audio media............................ 262
Elements of music.......................................... 293
Classroom snapshot: Comic strips to
Music notation................................................ 294
create visual narratives.................................. 264
Music praxis: making.......................................... 296
Stories in audio-visual formats..................... 265
Exploring sound and silence........................ 296
At a glance: Guidelines for a claymation
Singing............................................................. 297
(or video) project............................................ 267
Percussion....................................................... 301
At a glance: Storyboard terminology when
Classroom snapshot: Creating a rainstorm
filming a video................................................ 270
using body percussion.................................. 302
Stories in graphic, print and web
Classroom snapshot: Percussive
media............................................................... 271
accompaniment to Pachelbel’s Canon........ 304
At a glance: Layout basics............................ 272
Creating or composing music...................... 305
Stories in multimedia, interactive and
At a glance: Composing a song................... 307
convergent communication formats............ 275
Media arts appreciation: responding................276 Sharing, recording and performing............. 308
Music appreciation: responding....................... 309
Reviewing media artworks.............................276
Listening to and viewing live
Understanding media arts context and
performances................................................. 309
motivation........................................................276
At a glance: Planning a successful public
Guided media arts appreciation.................. 277
performance................................................... 310
Linking media arts to other subjects................ 278
Understanding contexts and
Dance............................................................... 278
motivations..................................................... 310
Drama.............................................................. 278
Guided listening..............................................315
Music................................................................ 278
Classroom snapshot: Guided listening:
Visual arts........................................................ 278
The Moldau (Die Moldau) by Smetana.........316
Cross-curriculum............................................ 278 Linking music to other subjects.........................318
Safe media arts practice and
Dance................................................................318
practicalities........................................................ 279
Drama...............................................................318
Safe use of equipment.................................. 279
Media arts........................................................318
Cyber citizenship............................................ 279
Visual arts.........................................................318
Contents xi
Cross-curriculum.............................................318 Classroom snapshot: Discovering how we

Safe music practices and practicalities.............319 communicate using elements and principles
Safe practices..................................................319 of visual language.......................................... 353
Locating music................................................319 Exploring 3D form and space....................... 354
Instruments......................................................319 Sharing and displaying artworks.................. 356
Music library....................................................319 Visual arts appreciation: responding................ 356
Music centre or listening post...................... 320 Viewing visual art........................................... 356
Sharing music with children.......................... 320 Understanding visual arts contexts and
Online resources: Songs............................... 322 motivations..................................................... 357
Online resources: Music education............. 323 Guided visual arts appreciation................... 360
Summary.............................................................. 324 Linking visual arts to other subjects................. 361
Go further............................................................ 325 Dance............................................................... 361
Learning activities............................................... 325 Drama.............................................................. 361
Further reading................................................... 325 Media arts....................................................... 361
References........................................................... 326 Music................................................................ 361
Cross-curriculum............................................ 361
Chapter 10 Visual arts 327
Safe visual arts practice and
Guiding principles for visual
practicalities........................................................ 361
arts education..................................................... 328
Classroom snapshot: Discovering how the
Describing visual arts.................................... 328
composition of a painting contributes to its
Visual arts in school education..................... 330 meaning........................................................... 362
Engaging with visual arts................................... 331
Safe practices................................................. 364
Mixing colours................................................ 364
Student participation..................................... 332
Arranging still-life and subjects for
Supporting diverse learners......................... 333 observation..................................................... 365
Visual arts in the Australian Curriculum........... 334
Using visuals................................................... 365
Assessment in Visual arts.............................. 335
Acquiring art materials.................................. 366
Foundations of visual arts literacy:
Online resources: Visual arts education...... 368
concepts, knowledge and skills........................ 336
Summary.............................................................. 369
Elements of visual arts................................... 336
Go further............................................................ 370
Design principles........................................... 337
Learning activities............................................... 370
A closer look at colour – one of the Further reading................................................... 370
elements.......................................................... 338
References........................................................... 371
Classroom snapshot: Compare two ways of
teaching about colours................................. 338
Colour mixing using the warm and
cool paint colour system............................... 342
PART 3 UNITS OF INQUIRY
At a glance: Warm and cool paint colour
system.............................................................. 343 How this section works........................................374
Varying the units of inquiry................................ 375
Conventions for representing the
Understanding the learning experiences........ 375
spatial world in 2D......................................... 344
Patterns around us...............................................376
Symbols, metaphors and different
Guide to the learning experiences for
realms.............................................................. 346
Patterns around us...............................................376
Materials also communicate......................... 346
Unit plan options for Patterns around us......... 377
Visual arts praxis: making.................................. 347
Glossary............................................................... 408
Representation............................................... 348 Index......................................................................410
At a glance: Subjects for observational
activities.......................................................... 349
Formalism........................................................ 350
Expressionism................................................. 351
Social commentary and narrative................ 352
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
Chapter one 66 PART 1 The ABC of arts education
PUTTING YOU IN THE PICTURE – The first thing required is some lateral thinking. Consider the way the arts penetrate
everyday life: music, gigs, festivals, interesting murals and sculptures in the park, art exhibitions,
THE RATIONALE AND CONTEXT home decor, concerts, fashions, cinema, dance shows on TV, product packaging, musicals,
FOR ARTS EDUCATION photography, jewellery designs, computer games, street artists and buskers. The list goes on.
Now map the different ways you engage in the artistic and cultural dimensions of living. You may
Identify the key concepts that the chapter will

be pleasantly surprised.
In this chapter you will discover that: Next, reflect on your artistic capacities. Some of you will have studied in arts areas throughout
1.1 the arts are part of what it means to be human your secondary school years, or taken up arts classes or completed summer school workshops
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
cover with the objectives at the start of each
for your own interest. These are strengths that you can build on with ease. Others of you may
think you have no music background, but can you sing? Can you clap or tap your foot to music?
1.3 contemporary arts education research, policy and scholarship illuminate the nature
of arts education for the new era chapter. If so, you can recognise beat and tempo. These are concepts you will be covering in your music
1.4 arts education is in the curriculum to seriously contribute to developing children’s
(and dance) program. Do you take photographs and manipulate them on the computer? Those
capabilities to meet the challenges of the new era are media skills and they will be useful for planning a media arts lesson. Are you good at flower
1.5 implementing new educational practices and a meaningful program requires arranging or is scrap-booking one of your hobbies? While these are not part of The Arts learning
dedication and forward-thinking approaches. area, these activities still require you to use the visual arts elements of colour, shape, texture,
balance and contrast, so you will be able to transfer that understanding into a visual arts context.
Likewise, quilting, sewing, carpentry and knitting use the same arts concepts and practical skills
that apply in the visual arts classroom.
Having reflected on your interests and skills, think about the arts areas you would feel most
confident teaching. The advice to novice arts teachers is to begin with your strengths and plan
lessons in areas where you feel most confident. For example, if you play a musical instrument,
your initial Arts programs may have a strong music component and only modest opportunities
in the other areas of The Arts. While you will want to cover all the areas to allow for children’s
different predilections and abilities, it is more important that you deliver good-quality arts
learning opportunities. If that means an in-depth music program for your class, with modest
explorations in other areas, that is fine. As your confidence grows, you can branch out.
You should also remember there are lots of resources that can support your teaching. For
example, if you find it difficult to hold a tune, you will find plenty of music online to play as
FEATURES WITHIN CHAPTERS accompaniment to children’s singing. Mobile devices mean it has never been easier to bring
the arts world into the classroom. Children will appreciate the effort you make. Do not be overly
concerned if your singing is a little shaky. It may give children confidence to participate when they
see you taking creative risks in the way you are asking them to do.
CLASSROOM SNAPSHOT CLASSROOM SNAPSHOT

STEPPING UP AND HAVING A GO
Explore authentic arts education in practice through

This story was part of a post by a B Ed student on the unit’s actions. He told me, in front of the class, that it would be
Discussion Board. okay and that then some of the children could follow me.
I volunteer one day a week at our youngest child’s After the session Mr A asked me if I felt uncomfortable
the Classroom Snapshot boxes with primary school where Mr A, the principal, is very
supportive of my B Ed study.
doing it. I told him the truth. He congratulated me for not
letting the children know how uncomfortable I felt, and
real-life examples.
BK-CLA-DINHAM_4E-190029-Chp01.indd 2 09/07/19 3:43 PM
When the whole school was to learn a dance in for adapting to what I could do, as it showed the children
preparation for the school concert, I chose to sit at the that although something was hard for me (as an adult), I
back of the classroom and watch, knowing that my hands was willing to get up and give it a go.
and feet do not like to coordinate. In future sessions I got up as soon as everyone else
Authentic engagement with Aboriginal Mr A suggested to the children that I should get up
and join them. I felt really uncomfortable doing so, and
did and just did the feet actions. Most of the children
could do both, but there were some preps who positioned
artistic heritage Ch 2, p. 4 told him that I would only be doing either the hand or leg themselves behind me and copied my actions.
Suzanne Wright, 2013
Stimulating creative thinking Ch 2, p. 48

Developing a unit of inquiry on bushfires Ch 2, p. 52
English as a second language (ESL) Comic strips to create visual narratives
BK-CLA-DINHAM_4E-190029-Chp03.indd 66
Ch 8, p. 264 02/07/19 1:51 PM
taught through The Arts Ch 2, p. 54 Music and communication Ch 9, p. 291

Rehabilitating the free-for-all Ch 2, p. 57 Creating a rainstorm using body percussion Ch 9, p. 302
Stepping up and having a go Ch 3, p. 66 Percussive accompaniment to Pachelbel’s
Integrating digital technology in a Canon Ch 9, p. 304
unit of inquiry Ch 3, p. 69 Guided listening: The Moldau (Die Moldau)
Unlocking a child’s potential Ch 4, p. 102 by Smetana Ch 9, p. 316
Talking about a painting Ch 4, p. 119 Compare two ways of teaching about

colours Ch 10, p. 338
Adapting planning to take advantage of
local opportunities Ch 5, p. 129 Discovering how we communicate using
elements and principles of visual
Inclusive dance education Ch 6, p. 169 language Ch 10, p. 353
Initiating dance in the classroom Ch 6, p. 171 Discovering how the composition of a
painting contributes to its meaning Ch 10, p. 362
Drama using a text as a stimulus Ch 7, p. 216
‘cognition’ about
Completing written reflections ‘cognition’.
Metacognition
Reflection can be integral to the work process or undertaken at the end of an activity. It can includes developing
involve children reviewing their own work, a display of everyone’s work or the performance of the capacityGuide
to to the text xiii
another group in the class. Verbal reflections promote a conversational approach but there are select workable
strategies for
several reasons why written reflections also should be completed: learning or problem
• All children participate rather than the more vocal ones. For young children, oral responses solving.
FEATURES WITHIN CHAPTERS
can be recorded by the teacher.
• It is another way of responding that allows for different expressive preferences.
STARTER IDEAS
• It encourages the use of arts vocabulary and the organisation of thoughts into complete
sentences and statements.
• Children can revisit their written responses at a later stage. For example, the next time they
Developwrite
youra own
scriptactivities to introduce
and perform it, they can children to thoughts
review their the relevant artsprevious
from the principles, elements
session and and skills with the
learn
activities from them.
suggested in the Starter ideas boxes.
• The teacher can review children’s responses and make assessments about children’s arts learning.
STARTER IDEAS
DIFFERENT WAYS OF ENCOURAGING REFLECTION
• Children pair up and share their thoughts with their the artworks produced; e.g. the main figure is
partner. prominently positioned; the colours are delicate
• Children complete worksheets, make journal entries in and subtle. Children stick the notes to the
their ideas journal or use a digital equivalent like a blog. artwork and no artwork can have more than three
• Hold a ‘spotlight on budding artist/s’ event where sticky notes on it.
each child (or group) answers questions from • When the class is presenting small group
other children about their artistic creation or performances, have each group also be ‘a panel of
performance, what they learned, what they would do judges’ that reviews one of the other performances.
differently and what they like about their creation. Constructive feedback is the aim.
• Display visual artworks from the whole class. • Have children take on the role of a newspaper
Children use sticky notes to write observations columnist and write a review of the class display
about two of these. Their comments could relate or a group performance with reference to the
to the objectives of the lesson and qualities in process and the outcomes.
The 5Rs reflective writing scale

WaysThe
to inform parentswriting
5Rs reflective to gainscale
greater Starting
(see Figure 4.2) is adapted from points
the Bain et for PowerPoint
al. model (2002)stories
and Ch 8, p. 265
support
canfor
beyour authentic
modified program
to suit differentofage
art groups. It is a framework that addresses metacognition by
learning Ch 1, p. 21 Topics for video activities Ch 8, p. 268
asking children to reflect on the learning process: to identify what they did, how it went, what
Wayswere
to encourage children’s
the contributing listening
factors Some ideas for
to the outcome and what understandings poster
about projects
learning or work Ch 8, p. 274
and observation skills Ch 4, p. 110 Ideaslearning
strategies can be carried forward and usefully employed in future for exploring sound and
experiences. silence
A sample Ch 9, p. 296
Types5Rs worksheet
of entries is included
in an in your Go Further
ideas journal Chresource.
4, p. 111 Ideas for using untuned percussion
instruments in the classroom Ch 9, p. 303
Finding equivalences Ch 4, p. 112
Ideas for creating music Ch 9, p. 305
Ideas for using metaphors and
symbolism Ch 4, p. 114 Exploring Aboriginal and Torres Strait
islander music Ch 9, p. 313
Different ways of encouraging
reflection
BK-CLA-DINHAM_4E-190029-Chp04.indd 115 Ch 4, p. 115 Classical music on movie soundtracks Ch 9, p. 7:56
28/06/19 313PM
Working collaboratively Ch 6, p. 175 Ideas for combining music and movement Ch 9, p. 318
Building physical skill Ch 6, p. 179 Instructions for making your own
percussion instruments Ch 9, p. 321
Conceptual challenges as starting points
for dances Ch 6, p. 181 Exploring the hues of colour Ch 10, p. 342
Steps into storytelling Ch 7, p. 210 Ideas for exploring linear perspective Ch 10, p. 345
Using drama games purposefully Ch 7, p. 213 Ideas for exploring atmospheric
perspective Ch 10, p. 345
Verbal improvisation Ch 7, p. 218
Ideas for exploring form Ch 10, p. 346
Scene improvisation Ch 7, p. 219
Ideas for exploring design elements
Preparing for role-playing Ch 7, p. 221 and principles Ch 10, p. 349
Ideas for mime activities Ch 7, p. 223 Ideas for exploring Expressionism Ch 10, p. 352
Initiating stories Ch 7, p. 227 Ways of exploring issues and ideas Ch 10, p. 354
Photographic stories Ch 8, p. 260 Ideas for exploring 3D form Ch 10, p. 355
Stories, topics and characters for comic A guided listening lesson you can use
strips Ch 8, p. 263 with a class Online, p. 1
Encouraging children to participate in their community by taking more responsibility for their
own behaviour and learning can be facilitated very easily by involving children in decision making.
For example, class codes of behaviour can be established by involving all class members. Since
learning needs to be relevant to children, they can be involved in deciding the topics of their arts
projects. Engaging children in constructing the direction of their own learning can be done at all
xiv Guide to the text levels of the primary school to good effect.
Children not only need to feel part of the classroom community to learn, they also learn
through their relationships. Cooperation and collaboration is promoted by arts learning and this,
more than competition, facilitates children’s learning, as well as the development of their self-
esteem and identity (Devaney et al., 2006). Sharing materials, working in pairs and performing
in groups are all ways in which children learn through their relationships with each other. They
FEATURES WITHIN CHAPTERS learn to take turns, listen to other points of view, build consensus and negotiate the contributions
each can make to the betterment of the group. For children to successfully develop productive
classroom relationships, as well as participate in creative activities that involve the exploration of
relationships, they need to feel emotionally secure.
AT A GLANCE AT A GLANCE
CREATING A CLIMATE THAT FOSTERS RICH ARTS LEARNING
To foster rich arts engagement, the emotional and physical • facilities or systems are in place for children to keep
climate should be considered in conjunction with open-ended working on projects in their own time
For more effective learning, the At a glance boxes educational activities that exercise children’s imagination,
interpretation and invention. In such an environment:
• materials and resources conducive to artistic
explorations, such as dress-up clothing and visual
provide quick overviews of key concepts, practical • children feel encouraged to take intellectual risks,
explore, experiment and trial things as part of
stimulation displays (collections of shells, seedpods,
mechanical pieces), are on hand
tips and useful resources. learning – their efforts in this regard are praised,
even if the end result is not particularly successful
• materials and resources for independent explorations –
such as a music centre that has CDs, headphones,
• children feel valued for who they are: their thoughts, music challenges and instruments – are provided
ideas and needs are considered and treated seriously, • stimulating examples of art, a music library or books
and differences of opinion are negotiated respectfully with stories of inventors, explorers, architecture and
• opportunities for children to work independently, such as artists are part of the learning environment.
a regular one hour of ‘project time’, are provided so that
children can work on their personal project interests
Working towards a unit of inquiry plan Ch 5, p. 134

Ten things you should know about the value
of the arts in children’s education Ch 1, p. 19 Constructive feedback Ch 5, p. 146
Characteristics of open-ended approaches Ch 2, p. 45 Authentic arts assessment Ch 5, p. 150
The features of authentic Arts learning Ch 2, p. 59 Strategies for supporting children’s
creation of dances Ch 6, p. 181
Creating a climate that fosters rich arts
learning Ch 3, p. 77 Presenting vocally orientated drama
forms Ch 7, p. 225
What makes me a good teacher in The Arts? Ch 3, p. 88
Steps for developing stories for
Exploring and validating children’s storytelling Ch 7, p. 228
cultural backgrounds Ch 4, p. 101
Guidelines for a claymation (or video)
Your role in developing children’s aesthetic 58 PART 1 The ABC of arts education
project Ch 8, p. 267
sensibilities Ch 4, p. 107
Storyboard Showcase
terminology when filming a
approach
Ways of improving levels of video Festivals, exhibitions, drama productions and school performancesCh 8,important
are an p. 270 part of
accomplishment Ch 4, p. 109 The Arts. The arts-as-entertainment is well established in our society, and events of this order
can bring colour and light to the school program. Often, children’s engagement in a large-scale
Layout basics Ch
production is remembered as a highlight of their school days. These 8, displays
public p. 272 can also
Ways to incorporate the world of arts in galvanise a school community and put The Arts in the spotlight. Taking on such challenges
the program Ch 4, p. 117 Composing requires

a song Ch 9, p. 307
commitment from the teacher and usually involves a lot of extra, out-of-class work, so
their efforts are to be applauded.
While such events contribute to children’s artistic education and make a positive impact in
Selecting artworks that engage children Ch 4, p. 118 Planning a successful public
the school, they do not, in themselves, represent a program of sequential learning in The Arts.
Ch –9, p. 310
With increasingly more opportunities for teachers to engage artists-in-residence to lead group
performance
projects, there is the temptation to assume that arranging such an activity wonderful though it
Encouraging children’s artistic is – represents your commitment to arts education. It would be the same as thinking a visit to a
engagement – dos and don’ts Ch 4, p. 121 Warm and cool paint colour system
museum represents your science program for the year.
Ch 10, p. 343
The other factor to consider is that performance-based activities such as a music concert,
drama production or dance performance tend towards:
Themes for units of inquiry Ch 5, p. 130 Subjects for• observational activities
being strongly teacher directed Ch 10, p. 349
• being an exercise in convergent thinking: lots of rehearsing to meet the performance
requirements – to get it right
• often being focused on a few talented children with others being given fill-in roles
• becoming more about the performance and entertainment than about the value of the
experience for the students themselves
• creating a situation where the quality of the performance and of individual children’s efforts
are judged more by their appeal to the audience than by any educational criteria.
Once again, there are benefits in engaging in such activities. The important thing is to be clear
ONLINE RESOURCES: LEARNING MORE about their weaknesses from an educational perspective and to remember that such activities
alone do not constitute an Arts program. Instead, they should be integrated into a sound and
ABOUT ARTS EDUCATION consistent program of arts learning.
ONLINE RESOURCES: LEARNING MORE

ABOUT ARTS EDUCATION
Discover high quality online educational resources to
support your teaching and learning in the annotated
• Aboriginal Educational Contexts. Hosted by the • Get Smart through Art. A USA site that is a useful
NSW Government Board of Studies, this site provides portal to arts integration approaches adopted at a
teachers with a breadth of information related to range of schools. http://www.aacpsartsintegration.
lists of Online resources. Aboriginal educational contexts and includes a
section on Aboriginal art where you can download •
org/ai-model/getting-started/
International Society for Education through Art. A
the Affirmations of identity teachers handbook. http:// non-government research and advocacy organisation
ab-ed.boardofstudies.nsw.edu.au/ of repute. It is membership-based and an official
• Creative Arts K–6. Hosted by the NSW Department of partner of UNESCO. http://www.insea.org/
Education and Training, this site provides resources to • Project Zero. An internationally recognised
support teaching The Arts in primary schools. https:// educational research group that has a sustained
educationstandards.nsw.edu.au/wps/portal/nesa/k-10/ research history in the area of creativity in the
learning-areas/creative-arts/creative-arts-k-6-syllabus arts. This website is a place to start when looking
• Creative Innovation. An Australian site for an for publications in the area. Studio thinking and The
interactive community of innovators, futurists and qualities of quality: Understanding excellence in arts
thinkers interested in creativity and innovation. education are listed among the group’s publications.
http://www.creativeinnovationglobal.com.au/ http://www.pz.harvard.edu
Guide to the text xv
FEATURES WITHIN CHAPTERS

374
Learn how to plan quality primary arts programs

using the frameworks in Part 3 of the text for UNIT OF INQUIRY
developing units of inquiry. This section includes
sample lessons and other resources that
HOW THIS SECTION
demonstrate authentic arts education. Further How this section works 377 WORKS
samples are available online. In the following pages you will find a range of learning activities that relate to the theme
LEARNING LEARNING ARTS AGE PAGE ADDITIONAL INFORMATION IN THE TEXT Patterns around us. By selecting several of the learning activities and organising them into
ACTIVITY NUMBER ACTIVITY TOPIC SUBJECT GUIDE
a meaningful sequence you can create your own unit of inquiry or module of work based
Digital storybook – 8+ 378 Chapter 8 on exploring the concept of pattern (a visual art design principle). To help you achieve
LA4 A day in pattern Elements of media arts success, cross-references to information in the text have been provided with each learning
world activity.
Stories in audio-visual formats
Stories in graphic, print and web media In the book’s Go Further resource, available through your instructor, you’ll find more
Chapter 10 learning activities clustered into units of inquiry based on different themes, concepts,
Classroom snapshot: Discovering how we communicate ideas or scenarios, along with additional support material, including links to relevant
using elements and principles of visual language websites and online videos.
Go Further resource
Planning worksheet for a PowerPoint template picture
book
Ostinatos All 382 Chapter 9
LA5 Elements of music
Body percussion
Classroom snapshot: Creating a rainstorm using body
percussion
Hero’s journey 8+ 385 Chapter 7
LA6 Elements of drama
Improvisation
The artwork of 389 Chapter 4
LA7 Bronwyn Bancroft Children learn by reviewing and responding to
artworks
Chapter 10
How this section works 385
Visual arts appreciation: Responding
UNIT PLAN OPTIONS FOR PATTERNS AROUND US LAND ART LA2
UNIT PLAN OPTIONS ARTS SUBJECTS COVERED LEARNING ACTIVITIES SEQUENCE

of materials. This means it doesn’t represent
anything, such as a picture of a fish, but works in
Option 1 LA1 LA5 LA6 an abstract way through the organisation of the art
elements (lines, shapes, textures, colours) using
Option 2 LA3 LA2 LA4 design principles (balance, rhythm [pattern], scale,
etc.).
Andy Goldsworthy is the most notable land
Option 3 LA7 LA4 LA6 artist and an online search will reveal a wealth of
photographs of his work.
Land art is an excellent way to show children
Option 4 LA5 LA1 LA2
how artmaking can involve using any materials.
They can also see how the visual arts elements
and design principles can be applied in a range of
The Arts Unit of Inquiry (AUOI) plan for Option 2 is a guide to how to write a unit of inquiry. Most plans are not
contexts. Land art lends itself to projects with an
this detailed, but using this format helps ensure you have considered all the important dimensions underpinning BK-CLA-DINHAM_4E-190029-Chp11_Part_3.indd 374 environmental theme. 07/08/19 3:55 PM
an authentic arts learning experience.
For the teacher, land art is an excellent way of
working when your range of art supplies is limited.
For children who have a strong affinity to their
388 PART 3 Units of inquiry natural environment, this project willHow
be this
welcomed.
section works 403
Curriculum – learning outcomes –

assessment
ABSTRACT PATTERNED PAPERS LA3 GUIDED APPRECIATION – BRONWYN
EachBANCROFT
LA7
learning experience has an intended
educational purpose that is guided by the
Description curriculum. The Australian Curriculum: The Arts
BK-CLA-DINHAM_4E-190029-Chp11_Part_3.indd 377 07/08/19 6:41 PM
Create an artwork in the style of land art. Using outlines the sequence of content for Visual arts
found natural materials, children create an on its website (http://docs.acara.edu.au/resources/
‘intervention’ in an outdoor space that incorporates The_Arts_-_Sequence_of_content.pdf).
pattern types such as bilateral or radial. This is In the table below, the educational purpose of
documented by photography. the learning experience is expressed as learning
outcomes aligned to the four curriculum sub-
Teacher’s guide strands that are important dimensions of an
Land art is a form of visual arts that involves using authentic approach to arts education.
natural materials (rocks, leaves, nuts, twigs) to create The type of evidence you will use to assess the
an organised arrangement of materials (an artwork) degree to which the intended learning has taken
that functions as an intervention in the landscape. place is listed in the third column of the table.
This means the artwork is designed for a chosen When developing your program for a specific
site. The site is the context for the artwork and the age group you will have to review the specific
artistic creation is designed to be in sympathy with curriculum requirements in each of the sub-strands
the site. In its construction, land art should, as an for the age group and also specify the features of
intervention, make on
Embedded. Acrylic the viewer
Canvas. more
89.5 × 50 attuned to the
cm © Bronwyn Bancroft, 2016. Photography
a good, sound or by Sharon Hickey.
modest achievement of learning
qualities of the
Reproduced particular
with permissionlandscape/environment/
of the artist.
in each case.
site. The artwork is a non-figurative arrangement
Description as illustrations for books and a range of murals
A guided viewing of the artwork of Aboriginal and glass installations in buildings and outdoor
artist, Bronwyn Bancroft. spaces.
Of the 40 books Bancroft has illustrated and
Teacher’s guide written, two titles, Shapes of Australia and Patterns
Bronwyn Bancroft is a Bundjalung woman who was of Australia, have obvious links to the Visual arts
born in Tenterfield, NSW in 1958. Bronwyn studied curriculum and should be part of your professional
photography and design at the Canberra School library.
Description of the marks (this is spiky, this is smooth like a of Art from 1976 to 1981. Bronwyn has successfully Bancroft has seen her designs on the fashion
Children use paints and a range of applicators snake) and developing an art vocabulary (words completed two Masters degrees and her PhD with catwalks in Paris, and has been acknowledged
to create patterned papers using repetition of like hue, tone, primary colour, repetition). the University of Sydney. through awards and honours. She is an active
colours, shapes and lines. They describe the The video KS1/2 Art – Messy art at KS2 (http:// Bronwyn Bancroft’s art has developed from
BK-CLA-DINHAM_4E-190029-Chp11_Part_3.indd 385 member of the urban Indigenous arts community 07/08/19 3:56 PM
features of their artworks in aesthetic terms. www.schoolsworld.tv/node/832) is an excellent a deep love of nature and the Australian bush. and has had a significant role in a number of
guide for this learning experience even though the Bronwyn Bancroft was fascinated by the textural Indigenous artists initiatives as well as serving on
Teacher’s guide focus differs from the one here. surfaces of plants and rocks from an early age and arts boards at the National Gallery of Australia and
The exploration of art materials and marks is a key The cultural references show different this has been translated into her symbology and the Museum of Contemporary Art. She regards
part of visual arts engagement. In this context, motivations and contexts for making art. Matisse painting repertoire. Bancroft draws on her daily, her images as a constant affirmation of Aboriginal
repetition and its role in the creation of patterns began making collages (gluing down cut papers lived experiences and cultural stories in the creation culture in Australia (ABC Education, 2015).
can be explored. to create images) when his failing health made it of her artworks. The imagery of brightly coloured Aboriginal and Torres Strait Islander Histories
In this learning experience, children explore difficult to sustain his large-scale painting in the and carefully detailed patterns is distinctive and and Cultures is one of the three cross-curriculum
ways of making marks using different applicators studio. Romero Britto, a Brazilian-born artist who reflects her own artistic imagination. It has been priorities in the Australian Curriculum. In the
(brushes, sponges, combs, toothbrushes, fingers) lives in Miami, was influenced by Matisse. He creates described as ‘reminiscent of stained glass windows’ Arts Learning Area curriculum content, specific
and techniques (stamping, brushing, splattering). colourful artworks for commercial organisations (Golvan Arts, 2019). reference is made to exploring the ideas and
After these initial free explorations, children move and advertising as well as for community-based A noteworthy feature of Bancroft’s art practice practices of Aboriginal and Torres Strait Islander
on to apply their new skills to create abstract projects. Carle is an example of an artist who has and her assuredness as an artist is the way cultures and artists. Studying the artwork of
patterned papers based on repetitions of colours, had a long and distinguished career as a children’s she has pursued her artmaking in a range of Bronwyn Bancroft as part of a unit of inquiry on the
shapes and lines. book author and illustrator. different contexts and applications. She makes theme of ‘pattern’ will appeal to young children.
During the process, children’s attention should paintings, prints, fabrics and garments, as well It is also a way of introducing an artist who will
be directed to appreciating the sensory qualities
BK-CLA-DINHAM_4E-190029-Chp11_Part_3.indd 388 07/08/19BK-CLA-DINHAM_4E-190029-Chp11_Part_3.indd

3:56 PM 403 07/08/19 3:56 PM
xvi Guide to the text
FEATURES WITHIN CHAPTERS 16 PART 1 The ABC of arts education
When you see Key terms marked in bold, study reflective

The reflective nature
Arts practice is reflective and reflexive, whereby the artist contemplates, acts and reviews
in a natural spiralling work cycle. From a sustainability perspective, this way of working allows for
of arts practice
the Definitions nearby to learn important means that the

new formations of self and other and the relationship to the natural world (Blewitt & Cullingford,
artist’s critical 2004).
contemplation of
vocabulary for your profession. See the Glossary
The arts engagement with the affective domain – the domain of feelings – means that
the artwork is a
significant part of
connections with the world, and the development of an attitude of caring and empathy, deemed
necessary for a sustainable disposition, can be cultivated (Everett et al., 2015).
at the back of the book for a full list of key terms
the work process. It
is an interrogation The active engagement and personal commitment (learning by ‘doing’ or ‘making’) that are
where judgements
hallmarks of arts learning are also required for building sustainability dispositions because it is
and CROSS
definitions.
98 PART 1 The ABC of arts education are made about how
ATSIHC well the artwork is recognised that action, as well as awareness, is important.
progressing towards
CURRICULUM
PRIORITIES
AAEA communicating the
Wonderment and curiosity about the perceived world and the world of ideas underpins
artistic endeavours, to the extent that artists often describe their creative work as journeys
SUST
Wellbeing is fostered in schools where creative engagement is highly valued (McLellan
et al., 2012). When children are actively engaged in meaningful artmaking, they experience the
artist’s intention
and then decisions into understanding. This characteristic is well aligned with the aims of developing children’s
12
are made about how sustainability dispositions.
PART 1 The ABC of arts education
feeling of rapt absorption or captivation typical of working in the arts. This generates a sense
of wellbeing and equilibrium (McCarthy et al., 2004). The grace and rhythm of music and dance
to move forward
The significance of mindfulness – paying close sensory attention to the world around us –
ICONS
towards the goal.
can be transporting and calming. ATSIHC
CROSS
The physicality of dance provides a good workout that relieves
CURRICULUM reflexive
is a feature of artistic practice. To draw an insect, children must closely observe every detail.
stress and also creates a feeling of wellbeing – a natural high – as endorphins are released. One study showed that young children who drew, as well as observed, an animal recalled
AAEA
PRIORITIES
Studies in the USA and Australia show that the ‘making’ aspect of collaborative arts projects
The reflexive nature
of arts practice is more factual details than the children in the control group who only observed (Fox, 2010). This
provides opportunities for children to negotiate with people from diverse backgrounds. This the intuitive and requirement to see and relate to the subject at a deep and focused level draws children into
experience, which develops children’s ability to manage relationships, is core to developing social reactionary response. richer understandings.
and community wellbeing (McDonald, Aprill & Mills, 2017).
CROSS
AAEA
Identify important educationalists, influential theorists and selected well-known artists
It is an ongoing
dialogue with the From the earliest times, the natural world has been a source of inspiration for artists.
Identity formation
PRIORITIES
CURRICULUM
SUST The the
using theory Key peopleof aesthetic education
icons. Explore theseproposed
key peopleby
evolving artwork –
the artist’s action is
in more philosopher detail in your Bennett Go FurtherReimer in the
Consequently, a wealth of artistic creations provide study resources for developing children’s
aesthetic appreciation of the natural world (Carr, 2004). The traditions of cultural festivals
a reaction.
1960s,
formation andfor
For children, the journey to adulthood involves separation from parents and a gradual
development of a sense of self. This is the basis for identity example, aimed to unite
online resource, available through your instructor.
is the process by the arts around their common
mindfulness and connection. engagement with the affective
celebrating the natural world and its rhythms are also entry points to a heightened sense of
which children develop Bennett

distinctivenessReimer
as discrete and separate individuals who are defined to A number of early childhood centres adopt the Reggio Emilia approach to learning.
themselves as well as to others. CROSS
1932–2013
CURRICULUM
Children’s self-concept incorporates
ATSIHC (or feelings) domain
their physical, psychological, spiritual, social and cultural
of learning. This philosophy cast a long shadow. Project Zero, which was
Developed in Italy by Loris Malaguizzi, it has an art specialist as a core member of the teaching
team and is based on understanding children as capable, inquisitive, autonomous and active
entities,SUST
PRIORITIES
selves. As children become separate
established
they develop a sense of the boundaries that make
them separate or different from others, a sense of continuity (a personal history) and a sense in 1967 at the Harvard Graduate
SUST
School
CROSS
CURRICULUM
of Education (partly as a result of Reimer’s
learners. Reggio Emilia promotes an integrated approach to learning that is well aligned to
CCP sustainability precepts. Emphasis is placed on making connections between the affective
PRIORITIES
of their uniqueness, while at the same time understanding how they are affiliated or related to
others. This is the foundation on which identity is formed. work), researches learning, thinking and creativity in the arts. It embraced new developments in
and the cognitive, and expressing ideas through arts activities like drawing and movement.
Connections are pursued in a full-circle approach to learning: children know where their art
Identity formation is a majorCROSS
task of childhood, and the arts lend themselves to this process
materials come from, they participate in acquiring them, they are encouraged to use them
by providing rich opportunities to explore: AAEA
CURRICULUM
• what it is to be themselvesPRIORITIES
cognitive psychology and brain research and has been instrumental in positioning the arts as forms
through self-referential activities such as building a personal
judiciously, they clean up and know what happens when they dispose of the materials. From the
shrine or retablo using significant images and artefacts to represent oneself
beginning, they learn the consequences of their actions.
• being part of a group through activities such as singing as of cognition
a choir, creating a group mural(ways of knowing). The widely influential work done by Howard Gardner, a past
or working as a member of a production team to create an outcome Cross-Curriculum
that is achieved by Priorities icons clearly direct
Instrumentalpre-service and intrinsic teachers benefits toofcontent
the arts relating
combined effort and skills CROSS
Howard Gardner
Director, on developing the concept of multiple
We have seenintelligences
that the attributes of artistic has thinking contributed
and engagement are regarded toas understanding
having
• their values through CURRICULUM
drama improvisations
PRIORITIES
ATSIHC to the three CCP areas of Aboriginal and Torres
about themes such as sacrifice, loyalty and
special Strait
relevance forIslander
functioning in theHistories andgiveCultures
21st century. This might the impression that The
thestorybooks
particularusing animals as nature of the arts. In due course, Reimer recast his conception of aesthetics as
honesty
• the nature of different types of(b. 1943) Arts’ role in education is mechanistic or instrumental, but it is not that simple. As we said at
characters
relationships
(ATSIHC),
by creating digital
Asia and Australia’s Engagement with Asia
the beginning, (AAEA),
the arts have been part and Sustainability
of our human (SUST).
existence since prehistoric times. They give
• personal hopes, dreams and aspirations by creating a dream
• role models they might emulate CROSS
a box form of these
that illustrates cognition (1992). Peter Abbs has inalso
by video interviewing significant people and role models in
shape and
been influential in the evolution of ideas about
dimension to our lives. So, while the arts are proving to be instrumentally
terms of contemporary society’s needs, the experience of engaging in arts education is also
beneficial
their lives. CURRICULUM

PRIORITIES
SUST intrinsically beneficial to individuals.
aesthetics and its place in contemporary arts education. Theorists including Arthur Efland and
Instrumental benefits
4.3 VALUING INDIVIDUALITY AND DIVERSITY Elliot Eisner IN are among those who have In muchcontributed
of the research and policysignificantly
outlined earlier in this chapter,towe the explanation
see that governments or of the
THE LEARNING COMMUNITY their agencies tend to examine The Arts and arts education in terms of the contribution made
arts as forms of cognition. Other works, including Project Zero’s identification of ‘studio habits
Elliot Eisner
The Australian Curriculum documents
Identify quotes from the curriculum material with the Australian Curriculum
remind us that ‘All students are entitled to rigorous,
ofacknowledges
mind’that ‘students (Hetland
(AC)in icon.et al., 2007) and the New Zealand work Like Writing Off the Paper (Holland &
relevant and engaging learning programs drawn from a challenging curriculum that addresses
(1933–2014)
their individual learning needs’ (ACARA, 2015a). This
Australian classrooms have multiple, diverse and changing needs that are shaped by individual
O’Connor,
learning histories and abilities, as well as cultural and language backgrounds and socioeconomic
factors’ (© Australian Curriculum, Assessment and Reporting Authority (ACARA) licensed under a
2004), have addressed the particular nature of learning in the arts. In Chapter 2 we
cultural pluralism explore the nature of arts learning in more depth.
(CC BY) licence). An authentic arts program thrives on diversity. It encourages children to develop BK-CLA-DINHAM_4E-190029-Chp01.indd 16 09/07/19 3:44 PM
as individuals, within a community. This means that each child’s sense of individuality necessarily
The recognition that

The growth of multiculturalism led scholars to recognise that the arts, as they occurred in
different cultures
END-OF-CHAPTER
have parallel differentFEATURES
cultures, could not be easily explained using a Western aesthetic Chapter 4 Childrenframework
at the centre 123 where
BK-CLA-DINHAM_4E-190029-Chp04.indd 98 and equally valid ‘high’ art was distinguished from ‘low’ art. As it became increasingly evident that the arts in
28/06/19 7:56 PM
frameworks
At theforend of eachdifferent
chaptercultures stemmed
you will find severalfrom
toolsalternative
to GO
helpFURTHER you traditions
to review, practise and thatand arts wereyour
extend embedded in people’s
valuing their cultural
knowledge
products.
of the area.
everyday lives, the concept of cultural pluralism,
Go Further resource or relativity,
and deepen your understanding filtered
Go Further with extra resources and study tools for this chapter. Ask your instructor for the
of the chapter content. into contemporary
Chapter 4 Children at the centre 123
arts
Go Further containsthinking.
extra The work and
resources of scholars
study such as the influential ethnomusicologist David P McAllester
supported the adoption of a social GO FURTHER
anthropological
LEARNING ACTIVITIES approach to understanding and describing
tools for each chapter. Ask your instructor for the Go Further with extra resources and study tools for this chapter. Ask your instructor for the
INDIVIDUAL ACTIVITIES GROUP ACTIVITIES
Go Further
David
the arts in education.
McAllesterresource and deepen your
Go Further resource and deepen your understanding of the chapter content.
1 Create an information pamphlet for parents 1 View Austin’s Butterfly: Building excellence
describing the nature of arts learning and in student work (https://vimeo.com/38247060).
understanding
(1913–2006) of the topic.Alperson coined the term praxial
Philip philosophy
explaining the value
this style of learning.
of children participating as in a way
Organiseof positioning
yourselves into groups of three or
four and, using this model, take turns to set a
the arts within a
LEARNING ACTIVITIES
range of different social, psychological and cultural
2 Investigate how arts and disability are being
addressed in
INDIVIDUAL
frameworks.
Australia through major projects,
ACTIVITIES completed
GROUP
This
their first drawing, re-enact the type is articulated
ACTIVITIES
philosophy
drawing task for your peers. After they have
Test
praxial your knowledge and consolidate your
by David Elliott in his book Music Matters:
1
policy and strategies. Identify five key ‘take-
Create
home’ an A new
information
messages for youpamphlet
as a philosophy
for
teacher.parents 1
of discussion seen in the video. Provide three
of Thismusic
View Austin’s
opportunities Butterfly:
for your peerseducation
Building
to draw the chosen (1995). Social
excellence
describing the natureinof arts learning and in student work (https://vimeo.com/38247060).
the Learninglike
activities.
object. activity could run over several weeks.
learning throughmovements
3 Using the information Figure 4.5 and the
philosophy feminism also strengthenedexplainingsnapshot:
Classroom
this style
general
the social framingmembers
the valueTalking
of learning.
guide,
of children
aboutparticipating
a painting as a
prepare a guided viewing experience
in
fourof
Organise
2 In
the
John Marsden’s
and, using thisarts,
yourselves picture
of a typical model, takewith
into groups of three
book, Home
Australian turns leading
or Away,
and
familytobecome
set a scholars
A term coined by 2 Investigate
for an artwork how arts and disability
in PowerPoint. This shouldare being
highlight drawing
refugees.task for your
In small peers.
groups, After they
develop and have
act out
like Griselda Pollock (1999) developing visualtheoretical
addressed in Australia
features through
and incorporate innovations
major
information projects,
that’s one and
completed
of the key new
their
scenes intellectual
first drawing,
in the re-enact
book. Basedtheontype frameworks
Professor Philip policy to
linked and strategies. for
opportunities Identify
childrenfivetokey ‘take-
arrive at their of discussion
your experience,seenplanin the video.
a unit Providefor
of inquiry three
Year
Alperson. It refers to for thinking about the arts in the context home’
theof
own conclusions.
3 list
Using feminism,
messagesFigure
for you10.22
information
of artists
as a inteacher.
gender,opportunities
Chapter 10 has a
Figure 4.5 and the
to get youinstarted.
ethnicity
object.
with theThis
for yourthe
6 students to explore
activity
intention ofcouldand
peers
run over
developing culture.
to draw
refugee the chosen
experience
several weeks.
children’s
Classroom snapshot: Talking about a painting as a 2 understanding
In John Marsden’s
andpicture book, Home and Away,
empathy.
the positioning of the Similarly, the scholarship of Kerrygeneral Freedman
guide, prepare a guidedhas contributed
viewing experience significantly to the field of
members of a typical Australian family become
for an artwork in PowerPoint. This should highlight refugees. In small groups, develop and act out
arts within a range
visual culture, which positions the visual artsforin ato arrive
social context and embraces any medium
visual features and incorporate information that’s one of the key scenes in the book. Based on
linked to opportunities children at their your experience, plan a unit of inquiry for Year
of different social, FURTHER READING
own conclusions. Figure 10.22 in Chapter 10 has a 6 students to explore the refugee experience
Extend your
psychological and understanding
that has a through
key the
visual component. This envisioning
list of artists to get you started.
of visual arts opened the
with the intention of developing children’s
understanding and empathy.
door for media arts
Copple, C (Ed.) (2003). A World of Difference: Readings on teaching Golomb, C. (2011). The Creation of Imaginary Worlds: The role of art,
cultural frameworksFurther
suggested readingsuch
as products, relevant to each
as comics and advertising, to be of Youngviewed
young children in a diverse society. Michigan: National
Association for Education Children. and critiqued as art forms (Freedman &
magic and dreams in child development. London: Jessica Kingsley
Publishers.
chapter.
Deasy, RJ (Ed.) (2002). Critical Links: Learning in the arts and Meager, N (2006). Creativity and Culture: Art projects for primary
a basis for determining Hernández, 1998; Freedman, 2003). student From Partnership. an arts criticism perspective, Edmund Feldman
academic and social development. Washington, DC: Arts schools. UK: NSEAD.
their natures and FURTHER

Education
Dinham, READING
J & Chalk, B (2018). It’s Arts Play: Young children belonging,
Walker, SR (2001). Teaching Meaning in Artmaking. Worcester,
Davis Publications.
MA:
intrinsic value. (1994) highlighted the arts as forms of social practice and developed models (procedures) for being and becoming through the arts. South Melbourne: Oxford
University
Copple, C (Ed.) Press.
(2003). A World of Difference: Readings on teaching
Wright, S (Ed.) (2012). Children, Meaning-making and the Arts
(2ndC.edn).
Golomb, Sydney:
(2011). Pearson.of Imaginary Worlds: The role of art,
The Creation
young children in a diverse society. Michigan: National magic and dreams in child development. London: Jessica Kingsley
systematically
09/08/19 12:40 PM appraising artworks. Association for Education of Young Children.
Deasy, RJ (Ed.) (2002). Critical Links: Learning in the arts and
Publishers.
Meager, N (2006). Creativity and Culture: Art projects for primary
visual culture student academic and social development. Washington, DC: Arts schools. UK: NSEAD.
Embraces any Creativity is a cornerstone feature of arts practice, yet what this means and how it can be Education Partnership.
Dinham, J & Chalk, B (2018). It’s Arts Play: Young children belonging,
Walker, SR (2001). Teaching Meaning in Artmaking. Worcester, MA:
Davis Publications.
being and becoming through the arts. South Melbourne: Oxford Wright, S (Ed.) (2012). Children, Meaning-making and the Arts
medium that developed has challenged scholars for years. Profitable approaches have been to use indicative University Press. (2nd edn). Sydney: Pearson.
has a key visual descriptions of the profiles of people considered to be creative, the ‘habits of mind’ or dispositions
component. This
includes products
associated with creative activity and the nature of creative processes. Researchers including
such as comics and Lowenfeld and Brittain (1975), Sternberg (1988), Abbs (1989), Csikszentmihalyi (1990), Gardner
advertising.Copyright
The 2020 (1993), and Winner
Cengage Learning. All Rightsand Hetland
Reserved. (2001)
May not be copied,are among
scanned, thosein whole
or duplicated, who orhave
in part.contributed
WCN 02-200-202 significantly to
articulation of visual BK-CLA-DINHAM_4E-190029-Chp04.indd 123 28/06/19 7:56 PM
this work.
culture opened the
Guide to the online resources xvii
FOR THE INSTRUCTOR
Guide to the online resources

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.
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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.
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• Chapter objectives • Tutorial activities.
• Key terms
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
GO FURTHER RESOURCE
Deepen your understanding of the chapter content by asking your instructor for your Go Further resource,
which includes:
• Lesson plan templates
• Worksheets
• Additional Units of Inquiry
• Key people glossary.
MINDTAP FOR DELIVERING AUTHENTIC ARTS EDUCATION 4TH EDITION

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Introduction xix
Introduction
A world without the arts would be a grey of negotiating the world of knowledge in the
and tuneless place. The arts are so seamlessly digital world parallel the way artists work and
woven into the fabric of our everyday lives that so researchers are increasingly interested in the
it is easy to overlook the extent to which they arts as a way of gaining insight into these types
contribute to the quality of our lives. Music of cognition (Bourriaud, 2002).
accompanies our everyday activities as we plug Similarly, the unprecedented growth of forms
into our mobile devices while taking an early of communication that rely on visual formats –
morning run or working out in the gym, or such as websites, videos, PowerPoint ®, digital
listen on the radio while driving. A night out to images and Skype™ – mean that visual literacy
a dance club, concert hall, cinema or theatre, is becoming a critical functioning skill. This is so
immerses us in the worlds of dance, music, much so that an Australian Government agency
media arts and drama. We watch TV shows observed that ‘artistic and visual literacy are
where interior stylists decorate homes with increasingly as important to success in work and
neutral shades of wall paint offset by ‘pops of life as numeracy and language skills’ (Ozco &
colour’, and we employ the same visual arts skills DEST, 2004, p. 4).
to choose the colours and textures in our own Across the world, the growth of the
homes. The retail world of fashion, jewellery, knowledge society has commentators
magazines, furniture and advertising engages remarking that success in this economy requires
our senses through the quality of visual design. creative and innovative thinkers more than the
Our urban environment is enlivened by music, workers we needed for the industrial world.
public artworks such as murals and sculptures, In the USA, research shows that 97 per cent
and interesting architecture. Our digital world of of employers surveyed believe that creativity
YouTube videos and computer games depends is increasingly important in the workplace –
on media arts skills. though 85 per cent seeking employees with such
The arts are not only part of what we see skills reported having difficulty finding them.
and hear around us, but also influence the The report concludes that ‘it is clear that the
way we think and the way we see ourselves. arts … provide skills sought by employers of the
Participating in the arts is an important third millennium’ (Lichtenberg, Woock & Wright,
dimension of children’s development because 2008, p. 17).
artmaking activates complex thinking processes Globalisation of economies and global
through the abstract nature of music, the issues like migration and climate change have
embodied materialisation of thought through blurred the boundaries of societies. Fostering
dance and drama, the externalisation and connections and relationships across and within
abstract representation of ideas by drawing, cultures has placed greater emphasis on cultural
and the multidimensional weaving of sensory understanding and building people’s sense of
experience in media arts creation. The arts identity and connection. Once again, the arts
are also integral to the way we build our personal attract attention because of their capacity to
and cultural identities through traditional meet these needs.
songs and national anthems; dance, paintings, The arts bring pleasure, joy, comfort and
drama and movies that tell our stories; and understanding into people’s lives. They allow
iconic architecture that presents us to the world. people to express who they are and to find
The arts have always been part of human meaning in their world. In the same way that
life, but in our contemporary world their role prehistoric people drew on cave walls and
is changing as the digital revolution transforms toddlers draw on bedroom walls, we know that
the way we think of and structure information, expressing ourselves artistically through dance,
knowledge, experiences and understandings. drama, media, music and visual art is a primary
The interactive, relative and navigational ways and deeply human need.
Another random document with
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dexterously manipulated the cards. Celia thought they made too much of a
business of the game, for large sums of money changed hands during the
course of the evening; and she could not help noticing the evident
satisfaction of the winners, and the disagreeable expressions of the losers,
although to some of them it seemed a matter of indifference whether they
won or lost. A breathless silence reigned whilst each round was being
played, only to be followed by a noisy passage-at-arms between two or
more of the players as soon as it was over.
Mrs. Friedberg was constantly in trouble, for she was so busily engaged
in gleaning the latest bits of gossip from her friends, that she was not able to
give her undivided attention to the game. On one occasion she revoked, just
when her dearest friend Mrs. Solomon had gone a misere. The lady resented
it, and told her she ought to be more careful, whereupon Mrs. Friedberg’s
ire was aroused, and she began to be personal. An unpleasant quarrel
seemed imminent, until David Salmon threatened to leave the table if they
did not amicably settle the dispute.
Celia looked on in silent disapproval. The constant chink of the money
seemed to get on her nerves, and she found that the play made her fiancé
irritable. She was not sorry when Adeline asked her to sing, and the cards
were thrown down for a time. A general move was made to the drawing-
room, where a number of young people, led by Dinah Friedberg, were
amusing themselves in a somewhat noisy manner.
David took Celia’s arm with an air of proud possession. Her fair and
delicate loveliness formed a striking contrast to the pronounced features and
olive complexions which constituted the predominant type of beauty
present.
Mike Rosen vociferously sounded the gong—not for supper, but in order
to command silence. Then he asked Celia what she was going to sing.
“I will tell you what I should like to hear, and that’s ‘Jerusalem,’ ” he
said. “I heard a man play it on the cornet the other day; it was grand. I went
at once and bought the music for Adeline.”
“He means the ‘Holy City,’ ” explained his wife. “Mike likes anything
with a good swing about it.”
She found the music, which happened to be in the right key, and Lottie
played the accompaniment. Celia considered the song unsuited to a Jewish
audience, but she sang it with appropriate feeling, nevertheless, and no one
appeared to realize that the words were quite contrary to Jewish belief.
They made her sing the last verse over again, some of them lustily joining
in the chorus.
Mike Rosen was delighted. “It quite makes me want to go to Jerusalem,”
he said. “David, give me another brandy and soda on the strength of it.”
“Well, why don’t you join the Zionists?” said Lottie’s husband,
facetiously. “I believe they are on the look-out for people who want to go
there.”
“I do belong to the Zionists,” returned Mike, promptly. “Didn’t I
subscribe fifty pounds to the trust only last week?”
“Did you, indeed? Then I suppose you have already engaged a Pullman-
car to take you to Palestine. When do you start? We will all come and give
you a hearty send-off.”
A general titter of amusement went round the room. Mike chuckled
good-humouredly.
“Ah, that’s a different thing,” he said. “I will gladly pay to send the poor
Yidden[13] there, but as for going myself, I think I would rather wait until
they’ve got the electric light, the telephone, and the ‘tuppeny tube’ before I
go, thank you. There is no Fitzjohn’s Avenue in Jerusalem. I wouldn’t mind
going there on a visit, though. Don’t we say, ‘next year at Jerusalem?’ ”
“We don’t always say what we mean,” answered his wife. “Be quiet,
Mike, Celia is going to give us another song.”
Mr. Rosen obediently remained silent, and Celia proceeded to charm her
audience once more with her full, sweet voice. She sang entirely without
affectation of manner, and the natural ease with which the tuneful notes
issued forth from her slender throat elicited surprise and admiration.
The song concluded, supper was announced. Mike Rosen gave his arm
to Celia, and called her “little Tommy Tucker,” because she had sung for
her supper. He considered that very funny, and felt somewhat aggrieved that
no one else appreciated his wit. With great dignity he took her into the
dining-room, and gave her the place of honour at his right hand.
On her left sat David Salmon, with Dinah Friedberg as his partner. Dinah
had grown into a very stylish girl, with plenty of what her mother called
chein.[14] She had lovely dark eyes, which she used as a kind of battery to
enforce the homage of the opposite sex, and was not averse to boasting of
the conquests she had made. She snubbed David unmercifully, and teased
him with a pertness of manner which put him on his mettle, but she was
very fond of him all the same; and, although she would not have confessed
it, was terribly jealous of his fiancée.
As the meal progressed, her flippancy increased, and she insisted on
drinking his health in champagne. Then when order was called for the Rev.
Isaac Abrahams to say grace, she made a dunce’s-cap out of her serviette,
and stuck it on David’s head. This proceeding quite shocked Celia; but she
found to her surprise that many of the young men followed suit. They were
obliged to cover their heads while grace was being said; and as serviettes
met the needs of the case, they did not trouble to fetch their hats. The Rev.
Mr. Abrahams, who wore a black silk cap, smiled at them indulgently as he
chanted the long Hebrew prayers. He evidently saw no irreverence in
adorning one’s head like a guy in order to praise one’s Maker, although to
Celia’s way of thinking it was little less than an insult to the majesty of
God. The young people, however, seemed to consider it a good joke, for it
created a diversion, and lightened the tedium of the grace.
In talking over the events of the evening on the drive back to Great
Cumberland Place, Celia commented on the incident, and expressed her
disapproval.
David was greatly amused. “What a curious girl you are!” he said. “I
wonder what makes you notice these things? You always seem to be
picking Jewish habits and customs to pieces. You take everything so
seriously, Celia. A little incident like this isn’t worth talking about; it is
such a trifling thing.”
It was indeed a trifling thing, but a straw shows how the wind lays; and
it was just those trifling things which filled Celia with disgust, and ratified
her opinion of the lack of spirituality in modern Judaism.
However, it was of no use to discuss the question with David; he would
not, or could not, understand.
CHAPTER IV
A LETTER FROM AUSTRALIA

“David is growing impatient,” Celia said the next morning, after breakfast.
“He thinks we have been engaged long enough, and wants me to name the
day.”
“I am not surprised at that,” returned Lady Marjorie, looking up from her
work. “What are you going to do?”
That was just what Celia did not know. She sighed heavily, and remained
lost in thought. Her eyes were heavy from lack of sleep, for she had lain
awake all night in uneasy deliberation of the question. Souvie jumped on
her knee and demanded her attention; he never allowed his mistress to leave
him unnoticed if she happened to have any spare time on her hands.
Lady Marjorie was artistically arranging some flowers in a bowl. She
looked just as nice in her morning blouse as she did in a Parisian toilette.
When she had finished, she came over to the couch where Celia was sitting.
“Girlie,” she said, “I want to talk to you seriously.”
Celia looked up in surprise.
“I have been watching you for the past few months, and I don’t quite
know what to make of you. When you became engaged to David Salmon, I
supposed it was because you were in love with him; but it seems to me now
that you are not quite happy in your engagement. Now listen, Celia. Either
you mean to marry him, or you do not. If you do, why have you this
unnatural desire for procrastination? I consider, honestly speaking, that you
have kept him waiting an unreasonable length of time. If, on the other hand,
you do not intend to marry him, the sooner you break off the engagement
the better, both for his sake and your own. Perhaps, during your long
courtship, you have found out that he and you are not so suited to each
other as you thought you were, and yet you do not like to hurt his feelings
by telling him so? You long for freedom, but you are reluctant to strike the
blow that will set you free. Girlie, darling, tell me the truth as it is in your
heart. Am I right?”
She sank on to the couch, and looked into the girl’s face with a tender
solicitude in her kindly blue eyes.
Celia’s heart gave a leap. How exactly had her chaperon diagnosed the
case, and how she despised herself that it should be so! The blood rushed to
her cheeks, as, hiding her face in Souvie’s silky coat, she murmured, so low
that it could scarcely be heard, the single monosyllable, “Yes!”
Lady Marjorie did not exhibit surprise. She had guessed as much for
some time. But she thought, and did not hesitate to say, that Celia had done
very wrong in allowing the engagement to continue, when on her part she
did not intend it to terminate in marriage. She came to the conclusion that
the girl had not possessed the courage to face the question out; she had
always put away the thought of her marriage with David as a disagreeable
necessity of the future; she had dissembled with her own conscience.
In this she was right. Celia had given way to weakness, but she had not
intentionally done wrong; and when the matter was threshed out, as Lady
Marjorie was threshing it out now, she saw the magnitude of the injury she
had done to her fiancé.
One thing was certain: there must be no more equivocation.
“You will have to give David his congé as nicely as you can,” her
chaperon said when it was all explained. “It will be a painful interview, of
course; but it will have to be gone through, and the sooner you get it over
the better.”
But Celia had decided otherwise. It became evident to her that, having
plighted her troth, she was bound to abide by it. If she had acted foolishly in
becoming engaged before she knew her own mind, she must be ready to
pay for her folly. How could she, who almost prided herself on her fidelity
and stability of character, allow herself to be accused of inconstancy,
classed as a fickle coquette? Her cheeks tingled at the very thought.
“There will be no painful interview,” she replied, in a firm low voice. “I
shall marry him before the year is out.”
“You will, after what you have admitted!” Lady Marjorie was genuinely
astonished now.
“Yes, I will. I must! What would he think of me if I jilted him now, after
three years? What would his friends say? Would they not have reason to
condemn me? Oh, I couldn’t do it. I should never be able to hold up my
head again.”
It was a difficult predicament. Lady Marjorie acknowledged that, from
David Salmon’s point of view, Celia’s conduct would be looked upon as
reprehensible; but, on the other hand, she did not consider that the girl was
justified in making an unhappy marriage for the sake of saving some
immediate unpleasantness. Secretly she thought that he was not worth the
sacrifice; she had never been very favourably impressed with him from the
first.
“I am sure it will be better for you to tell Mr. Salmon the truth now,
before the irrevocable step has been taken,” she said, after a pause. “It will
be unpleasant, I admit, especially if he is reluctant to release you from your
promise; but it will blow over after a little while, and at least you will be
free. Just think what a loveless marriage means: an uncongenial husband, an
unhappy home. And, perhaps, when it is too late, you may come across a
man whom you could really love. How would you feel then? Dear child, do
consider well before you lay up for yourself a store of unhappiness which
will last until your life’s end.”
But Celia’s determination remained unshaken. She would be true to her
promise, and she would try not to be unhappy over it either. It seemed to her
that the majority of Jewish alliances were marriages of convenience,
contracted without much thought of love, yet the consequences were, as a
rule, quite satisfactory. Adeline, for instance, had admitted to her in
confidence that when she married Mike Rosen she had not cared for him in
the least, but love had come in time; and now they were devoted to each
other, and to their baby boy.
If Celia did not exactly love David Salmon, she possessed no feelings of
animosity towards him; and, being a sensible girl, she would do her best to
make him a good and dutiful wife. She felt relieved when she had thus
settled the matter in her mind; but her tranquillity was again disturbed when
the midday post brought her a letter which had been forwarded from
Durlston, bearing the Sydney postmark.
Lady Marjorie, catching sight of the stamp, and Celia’s sudden blush,
drew her own conclusions.
“You had forgotten him, girlie, hadn’t you?” she queried softly.
Celia slit the envelope. “No,” she replied; “but I thought he had forgotten
me.”
It was a letter of congratulation. Dr. Milnes had read of her début in
Paris, and could not resist writing to tell her of the pleasure the account of it
had given him. About himself he said very little. He and his partner were
rapidly increasing their practice, and had got on as well as they could have
hoped. He was on the brink of some new discovery in connection with the
prevention of tuberculosis. When it was made, he would probably come to
Europe, first to Vienna, then to England. He liked Colonial life, but would
be glad to see the mother-country once again. Meanwhile, he sent his kind
regards, and remained, “Sincerely yours, Geoffrey H. Milnes.”
The girl passed the letter over for Lady Marjorie’s perusal; there was
nothing in it that all the world might not read.
It was the first communication, with the exception of birthday and
Christmas cards, that she had received from him since he went away. The
sight of it brought back old associations, memories so tender as to be almost
akin to pain. Geoffrey’s honest face rose up before her mental vision; his
strong young voice almost sounded in her ears; his delightful
companionship was brought back to her remembrance. She rested her chin
on her hand, and lost herself in a dream of long ago. The pleasant rides and
drives they had enjoyed together, the hot-headed discussions, the musical
confabulations; with what force they all recurred to her just when she was
most anxious to forget.
Why does everything change so, she wondered, half rebelliously? Why
do all the sweet things of life pass away so soon to leave only bitterness
behind? Why is there so much misunderstanding in the world; so much
unhappiness brought about by cruel circumstance, so much heartache which
could be avoided if we were all absolutely candid and truthful in our
relations one towards another? Here was yet another side to that eternal
question, Why?
Lady Marjorie’s voice recalled her to the present once more.
“Poor old Geoff!” she exclaimed, replacing the letter in the envelope. “I
am glad he is getting on so well. I used to think that he and you——” she
paused. “Ah, well, never mind; I suppose I was mistaken after all. It is so
easy to make mistakes, isn’t it? Shall you send Geoffrey an invitation to
your wedding?”
She did not mean to be unkind; but Celia felt as if she had received a
sharp blow. Yet how foolish it was to be so sensitive.
“I shall certainly send him an invitation if he happens to be in England,”
she answered quietly; and there the matter dropped.
When she saw David, a few days later, Celia told him that she was
willing to be married before the close of the year. She was very quiet, very
submissive: and when he proposed, that if all were propitious, the wedding
should take place on her birthday, December 15th, she assented without a
protest.
In the meantime she had accepted an invitation to spend the month of
August with the Wiltons at Woodruffe, their place near Brighton. Enid had
left the Academy some time ago to blossom forth as a professor of music at
Hove; but although Celia had not seen her for nearly eighteen months, she
still kept in touch with her by means of a regular correspondence. The Rev.
Ralph Wilton had resigned his curacy at Hoxton—after having seen his
parochial affairs greatly improved as the result of Celia’s munificence—to
be promoted to a living in a quiet midland town; but he too would be at
Woodruffe for his holiday in August, and Celia looked forward to meeting
him there.
She would have to return to town in the autumn to attend the rehearsals
of “The Voice of the Charmer,” which was to be produced at the beginning
of November. Guy Haviland had found it no easy matter to coax Karne into
giving his consent, for Herbert possessed some decided views anent the
stage; but in the end he managed to overrule all his numerous objections,
and returned to London in triumph and great glee.
Lady Marjorie received the news with dubious satisfaction. She was not
enamoured of the theatrical life.
“Don’t let it spoil our girlie, will you, Haviland?” she said, when he had
acquainted her with the details of his plans. “She is so sweet and unaffected
as she is; it would be such a pity if she became imbued with the artificiality
of the stage.”
Haviland assured her that she need have no fear.
“I am just as anxious for the welfare of your girlie, as you call her, as
yourself,” he replied. “I will guard her as rigorously as any old duenna.”
And knowing that he would be as good as his word, Lady Marjorie was
content.
CHAPTER V
THE WILTONS OF WOODRUFFE

Woodruffe was an old-fashioned country house, standing in a little valley
of its own formation, and thus protected from the high winds which came
from the sea. It affected the Gothic style of architecture, with long windows
which opened outwards, and a porch like that of a church. From the front an
extensive view of cliffs and ocean was obtained, while from the back one
could gaze on miles of verdant meadowland.
When Celia pulled up her blind the first morning after her arrival, it
seemed as though she were miles away from civilization. There was not a
vestige of anything human to be seen, yet she knew that less than an hour’s
walk would take her into busy Brighton. With a sigh of enjoyment she
threw open the window, and inhaled the fresh morning air: the fragrance of
flowers, the faint scent of hay, the strong salt breeze: how different from the
stifling heat of crowded London.
She had been thoroughly satiated with society during the waning days of
the “season,” tired of being dressed up like a doll to attend Lady
Somebody’s “crush:” of talking inanities to society worldlings, and of being
patronized by great ladies on account of her voice.
Lady Marjorie, noticing her pale cheeks and weary languor, had been
very wishful to take her with her to the Highlands, where she might breathe
the mountain air; but Celia would not be prevailed upon to postpone her
visit to Woodruffe, even though she would miss seeing her brother, who
was also due at Lord Bexley’s shooting-box before the important twelfth.
She had a vague feeling, almost a presentiment, that her visit to
Woodruffe would be fraught with importance; that it was one of those
opportunities which, if once missed, can never be recalled. She had been
invited by Enid on several occasions, but something had always occurred to
prevent her from accepting the invitation, so she was quite determined that
nothing should stand in the way this time. She never had reason to regret
her decision, for in after years she regarded that month at Woodruffe as the
turning-point of her life.
The Wiltons were a large family, with fresh complexions, high spirits,
and healthy appetites. It took Celia some little time to distinguish one from
the other, for there was a strong family likeness between them, especially
amongst the elder ones. She had scarcely recognized Ralph when he met
her at the station, for instead of being attired, as she had always seen him, in
the garb of a London curate, he wore a straw hat and flannels, and his face
and hands were almost as brown as a gipsy’s.
Ralph was the “big brother” of the family, and Celia soon discovered
that he was prime favourite at Woodruffe. The girls danced attendance on
him, and vied with each other in anticipating his wishes; the boys envied his
splendid physique, and made him director of their sports. He was what they
called “game for anything,” so full of activity, so humorous in his ways;
yet, knowing what he had so nobly endured in that poverty-stricken East
End parish, Celia could discern the deep earnestness which lay behind the
apparently gay exterior.
At breakfast the first morning he introduced her to all the members of
the family, for she had arrived late the previous evening, and had only seen
Enid and himself. There were his parents, who gave her a kindly welcome;
Cynthia, the eldest girl, who was engaged to be married; Claude the dandy,
who was at a susceptible age, and fell in love with her at first sight; Jack,
full of bluster and bounce, with a sharp tongue and tender heart; Eric, who
was the leading treble in their church choir; and the two little girls, Irene
and Doris, who were twins.
“What a crew!” exclaimed Claude, when Celia had shaken hands with
them all. “But it is holiday-time; we are not always at home, you know.
Parson Ralph lives away, Jack goes to Harrow—which is a mercy, for he is
a noisy little beggar,—and I go to dad’s London office from Monday till
Friday. You are not used to the ways of a large family, are you, Miss
Franks?”
“Oh yes,” Enid answered for her. “Celia has stayed with the people next
door to Uncle Brooke’s—the Friedbergs; and I think that their boys, Montie
and Victor, are even worse than ours.”
“Which is saying a good deal,” put in Cynthia, with a smile. “Still I hope
they will not annoy our guest in any way. Eric is as good as gold when Jack
is away at school.”
The two boys stared at Celia somewhat awkwardly at first, and the little
girls were very shy, but before the day was out she had made friends with
them all. They admired her beauty; and she had such an ingratiating manner
that each one of them fell captive to her charms. Even Jack, who possessed
an avowed aversion to the generality of girls, pronounced her “ripping.”
She fell into their ways as easily as if she had been accustomed to them
for years. A greater difference to her life in town could not be imagined; but
she thoroughly enjoyed the change, and the colour returned to her cheeks.
Up at seven every morning for an early bathe with Cynthia and Enid, she
spent the rest of the day driving, boating, or engaging in field-sports with
the boys. An enjoyable musical evening, to which all the elder members of
the family contributed, usually terminated the day. Celia sang her prettiest
songs; it was quite a pleasure to sing to such an appreciative little audience.
The high spirits and good humour of the Wiltons were contagious; she
found herself becoming quite an adept at witty repartee. One thing she
noticed: there was never a jarring note in their innocent fun. If any
disagreement arose between the boys, it only needed a word from one of the
elders to quell it in an instant. Unlike the Friedbergs, they were obedient to
authority. In spite of their mischievous proclivities, Jack and Eric could
always be prevailed upon to do what was right, not by threats of
punishment or parental wrath—as had been the case with Montie and Victor
—but simply for right’s own sake.
There was something about the whole family—a kind of high moral
tone, as it were—which had been entirely lacking among the Friedbergs.
Celia could not explain it, but she felt its force. There was a reason for it,
however; it was the result of their early training. From their tenderest years
they had all been taught to submit to a very high standard of right and
wrong, in order to bring their lives into harmony with a life which was, to
them, the very acme of perfection—a Divine Life which had been lived just
nineteen hundred years ago. It was this which dispelled selfishness, and
made them amenable to discipline; which gave them noble ideals, and
imbued them with the love of all that was good. Their evident spirituality
made a deep impression on Celia: she wanted to find out the reason of it;
once again she began to think.
One morning, when the girls were promenading on the West pier, they
passed a lady whose face was familiar to Celia, though she could not
remember for the moment where she had seen her before. The lady smiled,
and looked as if she wished to stop and speak; but Celia, not being sure of
her identity, passed on. Presently she recollected that she had met her at two
or three social functions, and had been introduced to her by Lord Bexley at
Richmond.
By the band-stand they met her again, and this time she advanced
towards Celia with outstretched hand.
“You remember me, don’t you, Miss Franks?” she said with a fascinating
smile. “Mrs. Neville Williams, you know. I had the pleasure of hearing you
sing so charmingly at Richmond. It is quite delightful to meet somebody
one knows here. Brighton in August is so full of trippers and rich Jews——
Oh, I beg your pardon,” as Celia reddened. “I quite forgot. You are staying
with friends?” with a glance at the Wiltons. “Is your brother here also?”
“No, he is in Scotland,” replied Celia, when she had introduced the girls.
She wondered what made her ask after him, for to her knowledge the two
had never met. “Do you know him?” she added as an afterthought.
“Just slightly. I met him some years ago, before he made his reputation
as an artist. I do not think he would remember me. He is married, I
suppose?”
She asked the question with apparent carelessness, but an eager light
flashed into her eyes; and, on receiving an answer in the negative, an
enigmatical expression, half cynical, half triumphant, passed over her face.
The band struck up one of Sousa’s most inspiriting marches, and they
listened in silence for a few moments. Then Mrs. Neville Williams held out
her hand.
“Well, I hope you will come and see me at the Metropole before I leave;
I go to Ostend next week. Good-bye; I am so pleased to have met you;” and
with another sweet smile she moved away.
Celia gave a little sigh of relief. “There is something I don’t like about
Mrs. Neville Williams,” she remarked to Enid as they took their seats. “I
fancy that she is too sugary to be sincere. Lady Marjorie positively detests
her, though I haven’t the faintest idea why.”
“She is awfully made-up,” said Cynthia, disapprovingly. “And just look
at the way she sweeps the dust off the pier with those long skirts.”
They passed her yet again on their way home. She was conversing with a
gentleman in French, and affected not to see them this time.
Celia made up her mind not to call at the Metropole, for she was not
desirous of cultivating her acquaintance. It was not often she took a dislike
to any one without adequate cause, but she felt a vague distrust of Mrs.
Neville Williams, especially as Lady Marjorie disliked her too.
There was a letter from Lady Marjorie waiting for her when she got back
to Woodruffe. She was enjoying herself immensely, and Herbert was having
good sport. Celia was surprised at the familiar way in which she wrote of
him. The letter was full of “Herbert;” he was no longer “Mr. Karne.” Were
they going to make a match of it after all, the girl wondered? She, for one,
would be delighted if they did.
There was also a letter from David Salmon, who was spending his
holidays in the Isle of Man. He would probably run down to Brighton
before the end of the month; and he hoped Celia was having a good time.
Celia read the letter twice, and then absent-mindedly tore it up into little
bits. Cynthia Wilton watched her in surprise.
“You naughty girl!” she exclaimed. “Is that what you do with your love-
letters? What would your fiancé say? Look, this is where I keep my
sweetheart’s letters.” She pulled one out from the inside of her blouse. “Just
over my heart, you see.”
“I don’t know that I have a heart,” Celia answered, half playfully, half in
earnest.
Then she sighed.
CHAPTER VI
CELIA’S AWAKENING
In due course came Sunday. The boys appeared at breakfast in their best
suits, with faces that seemed to have caught the reflection from their patent
leather shoes, for they had received an especial Sunday shine. The little
girls were attired in embroidered silk frocks, with strict injunctions not to
soil them. A sense of best clothes and quiet behaviour pervaded the air;
Woodruffe was enveloped by an atmosphere of Sunday.
Celia was given the option of accompanying the family to church, or of
going for a walk with Enid, who, with her eldest brother, had already
attended the early Communion Service. She chose the former alternative,
partly out of interest, partly because Ralph had been invited to preach, and
she knew that Enid would like to hear him. With the exception of two
weddings at Durlston, she had never attended a church service before, and
hoped she would not shock the congregation by her ignorance of Church
customs. She felt quite uncomfortable when they arrived within hearing of
the deep-toned bells and in sight of the pointed spire. She almost wished
she had not come.
But this feeling was quite dispelled when they came within the precincts
of the sacred edifice, and a strain of organ music fell upon their ears. It was
an air from Mendelssohn’s Elijah—“If with all your hearts,” and because it
was familiar to her, Celia felt less strange.
She could scarcely restrain an exclamation of surprise as they passed
through the swing-doors and up the aisle; she had had no idea that a church
could be so beautiful. The altar, with its brass cross, tall candles, and white
flowers; the richly painted window above it reaching right up to the
wainscoted roof; the ornamental inscriptions on the walls; the brass eagle-
shaped lectern; the elaborately carved altar rails, choir stalls and pulpit;—all
these excited her admiration; and when, a little later, the white-robed
procession of choristers and clergy filed to their places in the chancel, she
considered the scene, as a beautiful picture, complete.
Throughout the service Celia was deeply impressed. The dignity of the
Liturgy, the solemn beauty of the music, and, most of all, the evident
sincerity of the worshippers, moved her strangely. Presently she began to
consider the religion itself. Judaism, as practised in the present day, she had
found impossible. Deism was unsatisfactory. What of the religion from
which she had always been kept aloof? She was not entirely ignorant of the
doctrines of the Christian faith; and from early childhood had cherished the
deepest respect for the Founder of Christianity, just as she had admired all
the great men who have made history. But now it was gradually dawning
upon her that in Christ’s religion she would find that spirituality she had
sought so long in vain. She knew the principles it inculcated: love, charity,
self-sacrifice, peace, and piety—all that conduced to the development of
man’s spiritual nature.
During her week’s stay at Woodruffe she had already discovered that
religion was, to the Wiltons, a practical reality; that it tempered all their
actions; that they were as certain of its truth as they were of life itself. She
found herself wondering if, although she had been taught to the contrary,
Christianity were true after all; and as the service came to a close,
determined to study the subject to the best of her ability.
She would have liked to discuss the subject with Enid, but, although she
could not have explained why, felt shy of introducing the subject.
In the afternoon, however, an opportunity occurred. They were out for a
stroll on the cliffs with Irene and Doris. A fresh breeze was blowing,
covering the waves with foam. Enid found a nook sheltered from the wind;
and the four girls threw themselves down on the long dry grass to rest
awhile.
Far out at sea a small fishing-vessel was battling against the tide, tossed
hither and thither by the force of the wind and waves. Shading their eyes
with their hands, the girls watched it. Celia was of opinion that it was too
frail to weather a storm, should one arise.
“It looks so tiny, and the sea is so vast,” she said meditatively. “I wonder
if any one would miss it if it were to sink?”
“Yes, I think so,” Enid replied. “There is a man in it, and he probably has
a wife and children at home. Just imagine how they would feel if he went
out and never came back!”
Celia gave a little shudder. “The sea is cruel,” she said. “It looks grey
and hungry. Don’t you get tired of being always near it, Enid?”
“No; I love it. It is ever changing; it always seems to have some new tale
to tell. And it isn’t cruel when one remembers the protecting Providence
above.”
“You believe in that protecting Providence above,” said Celia, with a
sigh. “I wish I had the same kind of faith.”
For answer Enid sat up with her elbows resting on her knee.
“Irene,” she said, turning towards her small sister, “say that little passage
about the sea which Ralph taught you this morning.”
The child thought a minute, and then recited in a clear voice—
“ ‘They that go down to the sea in ships: and occupy their business in great waters:
These men see the works of the Lord: and His wonders in the deep.
For at His word the stormy wind ariseth: which lifteth up the waves thereof.
They are carried up to the heaven: and down again to the
deep: their soul melteth away because of the trouble.
They reel to and fro, and stagger like a drunken man: and are at their wits’ end.
So when they cry unto the Lord in their trouble: He delivereth them out of their distress.
For He maketh the storm to cease: so that the waves thereof are still.
Then are they glad, because they are at rest: and so He bringeth them unto the haven
where they would be.’ ”
“What beautiful poetry!” exclaimed the girl, who had listened with
interest. “Who is the author of it?”
“Don’t you know?” answered Enid, with surprise. “It was written by one
of your own people: it is an extract from the Book of Psalms.”
“Psalm one hundred and seven,” put in Irene, who liked to be exact.
“I am dreadfully ignorant of the Bible,” said Celia, half ashamed to
make such a confession. “I know my Shakespeare twice as well. The Bible
is not much read amongst Jewish people, except in Hebrew, which most of
them can barely translate.”
“How strange!” Enid rejoined. “Why, if I were a Jewess, I should claim
it as my special heritage. Do you know, I have sometimes wished I were a
Jewess. It must be so inspiring to think that you belong to the same race as
the holy men of old—the patriarchs, the prophets, and the apostles.”
Celia looked doubtful. “I don’t think you would like to give up your
Christianity for Judaism,” she said.
“No, of course not. But if I were a Jewess, I should be a Christian too. I
can scarcely conceive of a religion that excludes Christ.”
“That is because you have been brought up to it,” Celia replied. “I wish I
possessed your faith.” She paused to pluck a little field-flower, and
continued a trifle nervously. “If I could be convinced of Christ’s Divinity, I
think I should become a Christian. I feel the need of a pure spiritual faith;
and Judaism does not satisfy me. I’ve been thinking about it a good deal
lately.”
“Have you really?”
Enid’s face lit up with eagerness. She had often wished that her friend
followed the same creed as herself; but being aware how prejudiced most
Jewish people were against Christianity when applied to themselves, had
hitherto refrained from touching on the subject.
“You must have a talk with Ralph,” she said. “He will be able to explain
all you wish to know so much better than I can. I am sure he will be able to
convince you of the truth.”
Such was indeed the case. Celia introduced the subject at the first
opportunity, and the Rev. Ralph, being greatly interested, did his utmost to
enlighten her. She proved an apt and intelligent pupil, and, although
inclined to be shy at first, soon unbent under the influence of his tactful
kindliness, so that it was not long before he was aware of the exact nature
of her ideas. Although she had scarcely been conscious of it, the spark of
faith had been kindled in her soul long years before; and it only needed this
encouragement to make it develop into a pure and steady flame.
Her teacher wished her to approach the subject so far as was possible
from the Jewish standpoint, and to this end advised her to study the New
Testament side by side with the Old. Very carefully he pointed out the
numerous Hebrew prophecies—particularly those of Isaiah,—together with
their marvellous fulfilment in the incidents of the Gospel.
With the light of Christianity thrown upon it, the Old Testament became,
to Celia, a much more interesting and comprehensive book. By degrees she
was able to trace through its pages how wonderfully God had educated the
Israelites of old: giving them at first a narrow and material conception of
Himself—a conception which was not too far above the level of their
understanding,—preparing them by types and shadows for the fuller
manifestation that should afterwards appear; then gradually weaning them
from their crude ideas of His nature and attributes, until, after many
generations had passed, they were, although unworthy, permitted to receive
the sublime teaching of the Incarnation.
She discovered also that each important rite instituted by the Mosaic law
had its counterpart, only with deeper spiritual significance, under the
Christian dispensation; and that Christ’s religion did not oppose Judaism,
but was a fuller, nobler, and grander expansion of the same.
Ralph Wilton was astonished at the fallacious opinions she had held
respecting Christian doctrine, and which she informed him were common to
the majority of Jews.
“It seems to me,” he said on one occasion, “that the Jews will not seek
enlightenment simply because, on account of their foolish prejudice, they
don’t want Christianity to be true;” and Celia was obliged to agree with him
on that point.
“There are none so blind as those who wilfully shut their eyes,”
remarked Enid, who happened to be present. “But do you know what I was
thinking, Ralph? That Celia’s friends will consider it rather mean of us to
have won her over to our religion. I can just imagine, for instance, what
Mrs. Friedberg will say.”
“Yes, I am afraid that Miss Franks will have some unpleasantness to
face,” returned her brother, regretfully. “But that cannot be helped. If we
owed a duty to her friends, we owe a still higher duty to our Master. I know
that in certain quarters it is regarded as ‘bad taste’ to interfere with the
religion in which a person happens to be born; but I could not possibly have
withheld from our friend the instruction she so eagerly sought.”
“Please do not dream of reproaching yourself,” said Celia, earnestly,
turning towards the vicar with a bright smile. “I can never be sufficiently
grateful to you for your kindness, and I shall thank God every day of my
life for this visit to Woodruffe. As for what my friends will say—that does
not trouble me in the least. My greatest friend, Lady Marjorie Stonor, is
herself a Christian, so that she cannot possibly blame me for my change of
faith.”
“But your brother and Mr. Salmon?” put in Enid, with hesitation. “Don’t
you think they will receive the news with anger?”
“Herbert will not; he is too sensible,” replied the girl, readily. “But about
David I cannot say. However, I trust he will take it in the right light. I really
cannot see that my religion need make any difference to him.”
But Enid was not so sanguine; she knew that David Salmon possessed a
lofty contempt for everything pertaining to matters spiritual.
“I hope he will be nice about it,” she said doubtfully. “But—I can’t help
wishing that you were going to marry a Christian, Celia dear.”
And in his heart her brother re-echoed her wish.
CHAPTER VII
WHITE HEATHER
“I believe I must be losing my youth, Janet,” Lady Marjorie said half

seriously. “This is the third grey hair I have found this week.”
She took up a silver-mounted hand-glass from the dressing-table and
surveyed herself critically. The suspicion of a wrinkle lined her forehead;
but her mouth was still as mobile, and her eyes as bright as ever they had
been. The old servant carefully removed the offending hair, and went on
arranging her mistress’s tresses. She had nursed Lady Marjorie as a baby, as
well as Lady Marjorie’s boy, and knew the Bexley family almost as well as
her own.
“Losing your youth indeed!” she exclaimed, inserting the last hairpin in
its place. “Why, you are not nearly thirty yet, my lady, and as young-
looking as can be.”
“Am I?” The young widow smiled. “I feel young, it is true; but I am
twenty-eight to-day, Janet, and it will soon be ten years since my wedding-
day. It doesn’t seem like ten years, does it, since we drove up to that great
cold church in Mayfair? Do you remember how nervous I was, and how I
shivered? But I was so young—only just out of the schoolroom; and poor
Mr. Stonor was thirty; he seemed dreadfully old to me then. Do you
remember, too, how my sister Olive pitied me for having to stand before the
altar with a man with mutton-chop whiskers? Poor Denis! he retained those
mutton-chop whiskers to the last.”
She glanced at a photograph which stood on her escritoire. Judging by
his portrait, Mr. Stonor could scarcely have been the kind of man to attract
the fancy of a young and pretty girl; but he had been considered a suitable
match for Lady Marjorie, and her parents had hurried on the marriage
almost before she had even realized the fact of her engagement.
Janet nodded. “Ay, I remember as well as can be,” she answered, shaking
out the folds of a shimmering evening dress. “Didn’t I deck you out for the
wedding myself, my lady? I shall never forget the bother I had with that
French mam’selle who wanted to make you look like a doll.” She hung up
the gown in a wardrobe, and continued significantly, “Maybe I shall have to
dress your ladyship once again for a wedding? Pardon me if it’s a liberty
I’m taking, but——” She hesitated.
“Well?” said her mistress, trying not to look conscious. “What do you
mean?”
“Mr. Karne——?”
Lady Marjorie paused in the act of clasping a bracelet on her wrist; and
looked up at her old nurse with an enigmatical expression, half pleased, half
shy, on her bright face.
“What of Mr. Karne, nursie?” she queried softly.
“Ay, my lady, what need to ask? Do you think I haven’t noticed the love-
light in your eyes when you’ve spoken of him, or when he’s been anywhere
near; or the little bit of white heather I’ve found under your pillow, which
he has given you the night before? Folks say the Highlands is the place for
romance, and I’m close on believing it. Anyway, I shall be mightily
mistaken if there’s not a wedding before long!”
But the mistress shook her head, whilst a look as of pain came into her
eyes.
“No, Janet,” she said quietly. “You are mistaken. Mr. Karne and I are
very good friends, but he pays no more attention to me than he would to
any other woman who happened to be his hostess.”
“Yet he gave you the white heather, my lady?”
“Yes, he gave me the white heather; but what of that? He did not tell me
to put it behind my pillow—that was just a silly fancy of mine. We women
are such fools, Janet. We have such an inordinate craving for love, that we
magnify the slightest attention of any man for whom we possess regard,
until we vainly imagine that we are really loved by him. That is what I’ve
been doing—giving way to imagination. I’ve been indulging in the
romantic day-dreams of a girl of seventeen.”
A sharp rat-tat at the door made her pause. Janet opened it to admit
Bobbie, a sturdy lad of eight years with curly hair and large blue eyes.
Without waiting for permission, he rushed into the boudoir to offer his
birthday wishes, and hugged his mother until she was obliged to plead for
mercy.
“How awf’lly late you are this morning, mother!” he said, when she had
accepted his congratulations as well as his little present. “I thought you

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PART 2 TEACHING IN THE ARTS

PART 3 UNITS OF INQUIRY......................................................373

Chapter 2 The features of authentic

Arts learning in an integrated curriculum..... 52 Physical safety................................................... 78

Children learn by reviewing and Planning for cultural connection

Dance in the Australian Curriculum...................170 Assessment in Drama.................................... 206

Chapter 8 Media arts 242 Managing with limited equipment.............. 279

Cross-curriculum.............................................318 Classroom snapshot: Discovering how we

Guide to the text

CHAPTER OPENING FEATURES

Chapter one 66 PART 1 The ABC of arts education

Identify the key concepts that the chapter will

CLASSROOM SNAPSHOT CLASSROOM SNAPSHOT

Explore authentic arts education in practice through

Stimulating creative thinking Ch 2, p. 48

taught through The Arts Ch 2, p. 54 Music and communication Ch 9, p. 291

Talking about a painting Ch 4, p. 119 Compare two ways of teaching about

The 5Rs reflective writing scale

BK-CLA-DINHAM_4E-190029-Chp03.indd 77 02/07/19 1:51 PM

Working towards a unit of inquiry plan Ch 5, p. 134

the program Ch 4, p. 117 Composing requires

ABOUT ARTS EDUCATION consistent program of arts learning.

ONLINE RESOURCES: LEARNING MORE

BK-CLA-DINHAM_4E-190029-Chp02.indd 58 09/07/19 4:19 PM

FEATURES WITHIN CHAPTERS

Learn how to plan quality primary arts programs

UNIT PLAN OPTIONS FOR PATTERNS AROUND US LAND ART LA2

UNIT PLAN OPTIONS ARTS SUBJECTS COVERED LEARNING ACTIVITIES SEQUENCE

Curriculum – learning outcomes –

BK-CLA-DINHAM_4E-190029-Chp11_Part_3.indd 388 07/08/19BK-CLA-DINHAM_4E-190029-Chp11_Part_3.indd

FEATURES WITHIN CHAPTERS 16 PART 1 The ABC of arts education

When you see Key terms marked in bold, study reflective

the Definitions nearby to learn important means that the

which children develop Bennett

their lives. CURRICULUM

The recognition that

their natures and FURTHER

FOR THE INSTRUCTOR

Guide to the online resources

ARTWORK FROM THE TEXT

FOR THE STUDENT

MINDTAP FOR DELIVERING AUTHENTIC ARTS EDUCATION 4TH EDITION

A LETTER FROM AUSTRALIA

THE WILTONS OF WOODRUFFE

“I believe I must be losing my youth, Janet,” Lady Marjorie said half

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Stimulating creative thinking Ch 2, p. 48

taught through The Arts Ch 2, p. 54 Music and communication Ch 9, p. 291

Talking about a painting Ch 4, p. 119 Compare two ways of teaching about

Working towards a unit of inquiry plan Ch 5, p. 134

the program Ch 4, p. 117 Composing requires