1. art and entertainment
2. books and literature

Appe ndix:
Sampl e Pr ogram s
Integrated unit for stage one
Excerpt from an integrated unit for stage 1 (kindergarten–year 1) English/Literacy/Arts/
Personal Development, written by Robyn Ewing.
Background
A kindergarten/year 1 composite class working on fairy tales used
Lauren Child’s (2003) Who’s Afraid of the Big Bad Book as the text
for close study over four weeks. At the same time they used a range
of other fairy tales (both traditional and alternative) in literature
circles. They used a range of visual arts and drama strategies to
develop their understandings of narrative text and to encourage
their own oral and written storying. Initially, the students’ story
writing was benchmarked using criteria for narrative writing. The
students’ writing was reassessed at the conclusion of the unit.
Suitability: years K–2.
Duration: 8–10 sessions approximately 25–40 minutes each.
Resources: Who’s Afraid of the Big Bad Book (Child); The Paper
Bag Princess (Munsch); The Princess and the Perfect Dish (Gleeson
& Greder); nursery rhymes; and a selection of other fairy tales
including versions of The Frog Prince; The Three Bears; Cinderella.
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Anticipated outcomes
It is expected that students will
• explore a range of well known and non-traditional fairy tales;
• become familiar with the structure of fairy tales;
• retell fairy tales and nursery rhymes;
• use their bodies and facial expressions to represent different fairy tale characters
and different moods, thoughts and feelings;
• recognise that words on a page have meaning and can be read aloud in different
ways to suggest different feelings;
• share their own fairytales with confidence orally and in writing;
• understand the different phases of a fairytale: orientation, complication, resolution;
and
• work cooperatively in small groups.
Program
Focus: Our feelings, moods and actions have an impact on those around us. Narratives
are an important way for us to communicate with each other about the things that are
important in our lives.
Session 1: As a whole group the class revisit the stories of Goldilocks and the Three
Bears and Cinderella. They take it in turns around the circle to add the next
sentence to build up the stories. It is important to demonstrate that there are
different versions and endings of the same stories.
Session 2: Students choose their favourite character from either fairy tale and walk in
role exploring this character. How do they walk? How do they walk when they are
happy? Worried? Afraid? Students in small groups take turns to look at each other
and guess who is being depicted. Students conclude the session by drawing large
pictures of their character (can be child-sized if older buddies can trace around the
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children). They think about adjectives that describe their character. The characters
are displayed around the room.
Session 3: Shared reading of Who’s Afraid of the Big Bad Book?
Discussion of the text, setting, the characters, etc.
Session 4: Students choose one of the characters in the story. In pairs, students sculpt
or paint each other as their chosen character at a critical moment in the story.
The teacher ‘taps in’ to the artworks and students respond with a brief comment
about how they are feeling at the depicted moment. Students add a thought or
speech bubble expressing their feelings at that particular point in the story. They list
characteristics of their character around their artwork.
Session 5: In small groups students choose a critical moment in either Goldilocks or
Cinderella to present as a freeze frame. The class view all the critical moments and
try to identify them. The teacher once again ‘taps in’ to find out how the characters
were feeling. The still images are recorded with a digital camera and the students
later add captions.
Session 6: Students read a range of fairy tales in small guided reading groups and discuss
the similarities of the structure of these stories. Back in a whole class group the
teacher collates their observations about narrative structure. She shares an alter­
native fairy tale (e.g. The Paper Bag Princess) so children can discuss the differences.
Session 7: Students think about how princesses, princes, dragons, fairy godmothers,
wolves, witches and other main ‘good’ and ‘bad’ characters are often depicted in
fairy stories. They write sentences or draw pictures to demonstrate how they are
usually portrayed. (E.g. ‘Witches usually …’ )
Sessions 8–9: In pairs students plan then write their own fairy tales. This includes
planning of characters, setting and sequence of story using frameworks provided
by the teacher. Those who need teacher help to scribe the stories complete their
illustrations first. The stories are edited if necessary. The students’ older buddies or
parents word process the stories and then these are published and final illustrations
completed.
Session 10: Students share their fairy tales with other classes before they are placed in
the library.
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Integrated unit for stage two
An excerpt from an integrated unit of work for stage two (years three
and four) written by Janelle Warhurst.
English, Creative Arts, Science, HSIE (see New
South Wales DET Connected Outcomes Unit The
Effects of Growth and Change)
Related texts: The Great Bear (Gleeson & Greder);
Arabella (Orr & Gamble); Storm Boy (Thiele) and
Swan Song (Thiele).
Anticipated outcomes will vary according to
rele­vant state syllabus documents but the unit
spans English (Talking and Listening, Reading and
Writing) and Creative Arts (both Visual Arts and
Drama).
Figure A.1 Blueback by Tim Winton
Literature Circles
Teaching and learning activities
Different roles are assigned
to children when they are
1 Read the text each day using Literature Circle
strategies (with parent helpers if available).
2 Discuss important events in each reading.
3 Ask students to take notes about the story.
4 Explicitly teach grammar, using Winton’s exemplary
language as a model for different kinds of verbs and
imagery, with exercises like this:
Find a description in Chapter One of Blueback which may
have imagery in it and which helps you to build up an
image in your mind about the setting of the book. You
may have found other quotes which help you to imagine
sharing a text in a small group.
This helps students take
responsibility for reflecting on
different aspects of a response
to a text. These roles include:
• leading the discussion;
• choosing a personally
meaningful image to share;
• identifying interesting or
challenging words;
• making connections with the
student’s own world; and
• developing a character
profile.
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both characters moving in the setting or events which are unfolding. Note down any
quotes you find and explain why they help you build up images.
5 Create a page of favourite images in an Interactive Whiteboard (IWB) notebook
using text from the book.
6 Draw your favourite and most memorable images.
These images will then be transferred to a mural
using calico squares, tie-dying, batik, sewing and
appliqué. Many different textures of material are
added. Students collect other materials including
beads, leather and foil. (Parents who are artists can
assist with this.)
7 Write a letter from Dora to Abel while Abel is
at boarding school. Explain to Abel that the
developers have moved into Longboat Bay and
describe what they are doing.
8 Using the model from Into the Story (Saxton
and Miller, 2004, p. 32) group students and
Figure A.2 Memorable image
brainstorm theme-related words and ideas.
Themes of Blueback include family, conservation,
education, beauty and love. Create tableaux about
the themes; other class members can ‘tap in’ to
discover the meaning of each tableau.
9 Discuss the following questions in groups and write
your own extended answers:
a What do you think is the main message in the
book? What parts of the story help to get this
message across to the reader? (Read the section
of the book which talks about how Dora says
that the sea is sick. Why does she say this?)
b Write as much as you know about a blue groper.
Why did it have such a central role in Blueback?
Figure A.3 Main message
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c What is conflict? Look it up in the dictionary.
d What are the main conflicts or problems between characters in the book?
e Why must a narrative or story have conflict between characters?
f
Why does Abel say that there is nothing in nature as cruel as a greedy human
being?
10 Write and practise a drama about a significant event in Abel’s life, and have it ready
for the class.
11 Research in collaborative groups as follows the marine ecosystem of the Ningaloo
reef around which Blueback is written.
Computer assignment
You may do this homework with a group but each person must take responsibility for a
section so that one person is not doing it all. Start today!
Remember last Thursday when some of you started to make notebooks of marine
life for your mural panels? Why did you do this?
What was it helping you to do?
Was it helping you to create deep knowledge about what you were doing? Why do
you need this?
Also think about the marine life you have read about in Blueback or through your
research earlier this term for your speech. If, for example, you have been interested in
the life of a seahorse you may wish to study it for this homework. Your marine life may
be represented in our mural so please be specific about the textures of the covering
of the animal and threats to its survival which may help you with your mural panel
designs.
1 Research in detail one endangered marine animal or plant that is found in
the Ningaloo Reef in Western Australia. (Use internet or newspaper article as
resources.)
2 Write a description of what it looks like, feels like, how it behaves and what its
predators are. Describe its habitat, how it reproduces and why it is endangered.
3 Draw its life cycle.
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4 Create a picture that shows how the marine animal or plant exists in its ecosystem.
Draw arrows to its prey and predators, and include illustrations of where it is living.
5 How would the disappearance of this marine animal affect our lives or that of other
marine animals or plants?
6 Present your findings for all of the above questions in one of the following ways:
a digital photographs and explanations in a notebook or Powerpoint;
b your own drawings and hand written information; or
c a short video with you talking.
7 We’ll do our planning on Tuesday. Write each group member’s name next to the
section they will be responsible for.
Step One: Decide which marine animal or plant you will research: for example,
coral. (Tuesday in class)
Step Two: Decide who will be responsible for finding the information for each
question. (Tuesday in class)
Step Three: Decide on a time when you could possibly meet together outside
school time so that you can ask your parents. (Tuesday in class)
Step Four: Research the question you are responsible for at home for homework.
(Tuesday night and Wednesday night)
Step Five: Record your results in a table, as shown below.
Table A.1 Marine animal or plant project
Marine animal:__________________________________________________________________
What don’t we know?
Who will do
each question?
When will you do
each question?
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8 Using the lesson Creatures of the Sea from Exploring the Worlds of K-6 Drama
from Ancient Anna to the Cloth of Dreams (NSWDET 1998) develop and present
a performance about an underwater environment and make links with Human
Society and its Environment (HSIE).
9 Write your own marine animal narrative using rich imagery and verbs, remembering
to start with your own unique setting such as a rock pool. Remember your marine
drama and factors that have threatened your marine animal and its environment.
10 Listen to the Andrew Denton interview with Tim Winton. Write some questions and
answers of your own for an interview with Tim Winton and practise these in pairs.
Perform for the class.
11 Write letters to Tim Winton about your reaction to his book Blueback.
T e ach er e valuati o n
The most powerful activity in terms of student engagement with the book and an
indication of their love of drama was when students improvised their own marine
animals which they had extensively researched and told stories about them through
drama and movement. The students kept asking if they could do these over and over
again and we set them to the music of ‘Deep Sea Dreaming’ by Elena Katz-Chernin.
Students then wrote narratives which included descriptions of where the sea creatures
were located, such as in a cave or on a rock shelf. At about the same time the year
three students were participating in the NAPLaN Testing. Instead of giving them an
unrelated narrative to write in preparation as is often done, the students had enacted
their stories and these were published in a folder for the whole class to read.
Our class Blueback mural grew out of student fascination with images and themes
in the story. Drawings by groups of students reflected their interpretations of the
story and these were translated into a paneled mural using batik, tie-dye and appliqué
techniques. The text stimulus, mural stories and responses to various aspects of the
activity were recorded.
S t u d en ts’ r e s po n s es to th e making o f B lu eback mu r al
Talk about your answers to the following questions in small groups and write your
responses below.
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A Which of the techniques used, such as batik, tie-dying or appliqué did you find
most effective and why or did you use a combination of all techniques and how did
this help you?
B Write about the textures, materials and objects you have used to create your mural
panel.
C Why did you use each particular fabric? What other materials did you use and why?
D Did you sew or glue your pieces on to tell your story? How did this change your
panel?
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E How did you find the making of the mural helped you to interpret (understand)
Blueback?
F Which mural panel other than your own did you find meaningful and why?
Figure A.4 Main message
Figure A.5 Main message
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Unit for stage three English
Mahtab’s Story by Libby Gleeson: a unit of work
for stage three, written by Jenny Pickering, Curl
Curl North Public School.
Aim: To achieve outcomes in
reading,
writing,
talking
and
listening by engaging with the text
Mahtab’s Story through drama
and visual arts.
Specific outcomes will vary
Figure A.6 Mahtab’s Story
by Libby Gleeson
according to relevant state sylla­
bus documents.
Table A.2 Outcomes—NSW English Syllabus
TS3.1 Communicates effectively for a range of purposes and with a variety of audiences to
express well-developed, well-organised ideas dealing with more challenging topics.
TS3.2 Interacts productively and with autonomy in pairs and groups of various sizes and
composition, uses effective oral presentation skills and strategies and listens attentively.
RS3.5 Reads independently an extensive range of texts with increasing content demands and
responds to themes and issues.
RS3.6 Uses a comprehensive range of skills and strategies appropriate to the type of text
being read.
RS3.7 Critically analyses techniques used by writers to create certain effects, to use language
creatively, to position the reader in various ways and to construct different interpretations of
experience.
RS3.8 Identifies the text structure of a wider range of more complex text types and discusses
how the characteristic grammatical features work to influence readers’ and viewers’
understanding of texts.
WS3.9 Produces a wide range of well-structured and well-presented literary and factual texts
for a wide variety of purposes and audiences using increasingly challenging topics, ideas,
issues and written language features.
WS3.10 Uses knowledge of sentence structure, grammar and punctuation to edit own writing.
WS3.11 Spells most common words accurately and uses a range of strategies to spell
unfamiliar words.
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WS3.12 Produces texts in a fluent and legible style and uses computer technology to present
these effectively in a variety of ways.
WS3.13 Critically analyses own texts in terms of how well they have been written, how
effectively they present the subject matter and how they influence the reader.
WS3.14 Critically evaluates how own texts have been structured to achieve their purpose and
discusses ways of using related grammatical features and con­ven­tions of written language to
shape readers’ and viewers’ understanding of texts.
Links: The themes of identity, survival, war, family, tolerance,
collaboration, resistance and turning a blind eye have been central
to the previous texts studied. They were Hana’s Suitcase by Karen
Levine and Rose Blanche by Roberto Innocenti. Both were set in
the Second World War while Mahtab’s Story is set in Afghanistan
between 1996 and 2001 as the Taliban ruled the country.
Notes: This unit of work has been supported by teacher’s notes
by Dr Susan La Marca.
Questions
1 Entering the story
What does the word ‘freedom’ mean to you? Discuss. (Students could also be
asked to form a tableau or frozen moment in groups of 3, 4 or 5 to illustrate
their understanding of ‘freedom’.)
Write a response. This response will be examined at the end of the story.
Background information: Find pictures and videos of Afghanistan and kite fighting.
Show maps of the area on Google Earth and Google Maps. Newspaper articles
about refugees can also be researched.
2 Chapter 1
Predicting: After the first paragraph ask the students to predict what is happening.
Where is Mahtab going? Why?
Point out: Short sentences = sense of urgency and tension.
Symbolism of the kite: Just note when a kite is mentioned. Fog = changes in her life
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3 Chapter 2
Show world map to locate Afghanistan and Pakistan.
Connecting the story to the students’ own lives: Read to ‘get dressed quickly’ at
the top of page 14. Ask students what they would bring if they had to leave
suddenly in the middle of the night and go to another country. They can only
take two precious items. (Students can actually bring these items from home
and show the class and explain why.) Record what they have and why.
4 Chapter 3
Sculpting in pairs: Mahtab at home before the war began and then in the truck.
Compare/contrast: Note the significance of the song, stories, sugar cubes and
counting backwards—all are to distract from the terror of what is happening
but also connect to their past life.
Hot seat: After reading page 34, one student is chosen to be in role as Grandma.
The rest of the class question her.
5 Chapter 4
Read to the end of page 43.
Hot seat: Mahtab, her mother and her father.
Writing in role: You are Mahtab. You have at last escaped safely from Afghanistan.
At last you have a chance to write to Grandma and tell what has happened and
about your thoughts feelings and experiences. Write your letter.
At the end of the chapter: Teacher in role as Mahtab’s mother and students ask
questions about their situation but the teacher also takes this opportunity to
explain some of the background about the war and the Taliban as well as what
might happen.
6 Chapter 5
Conscience Alley: Read to ‘… away from any visitor who comes’ on page 60. What
should they do now? Why? How? Mother walks along the alley as students tell
her what they should do and why. Once mother reaches the end of the alley
she will tell the class what she has decided to do and why.
Complete the chapter to find out what they decided to do.
Writing in Role: You are Mahtab’s mother. Write to your husband. You do not know
where he is but he has been gone for eight long months. You have made a
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decision about what to do and you want to tell him what it’s been like, why you
have made your decision and how you intend to follow it up.
7 Chapter 6
Connecting with the story: After reading the chapter, write about a memory you
never want to forget, one that you would close your eyes and think about if
something very bad or scary was happening to you.
8 Chapters 7–8
Writing in role as Mahtab: After reading the chapters, write a letter to your father
telling him about the journey.
Tapping in: Underline the sentence that best sums up the journey. Try to memorise
it. The class all close their eyes and listen to each sentence as the teacher taps
students in turn.
9 Chapters 9–13
Background knowledge: Find pictures and locations of detention camps such as
Port Hedland.
At this stage it is probably better to read the story uninterrupted but hot seating
and writing in role would again add to the students’ understanding.
10 Chapter 14 to the end of the story
Compare and contrast the symbolism of the kites at the beginning of the story with
the final scenes through discussion.
Art: Make kites from paper and satay sticks. On one side draw/paint/collage
symbols to show what kite-flying symbolised at the beginning of the story
(freedom, used for fighting, banned by the Taliban, had to be buried as they
represented the old ways, represent captivity, war, fear etc.) with the last part
of the story (freedom).
Other activities that can be done at the end of the book
1 Interviews and Circle within a circle
Interview: Students are in pairs. Student A is the interviewer while student B is
Mahtab. Students use their knowledge of the story and other background
information to interview Mahtab about her family’s journey. Give students ideas
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for questioning: Why did you … ? What happened when … ? How did you feel
when … ? What if … ? Explain … Describe … Students swap roles.
Circle within a circle: The teacher is in role as the producer of a current affairs
program (e.g. Sixty Minutes) and has set up a meeting with the production team
and journalists to discuss what they are going to do for a story about Mahtab’s
family’s journey from Afghanistan to Australia. Students remain in their pairs. All
student As form an inner circle with the teacher/producer while all student Bs
sit in a circle around the outside. The students in the outer circle simply listen in
while the students in the inner circle discuss everything they have learnt about
Mahtab’s journey. The teacher should ask questions and guide the discussion
so that students bring out the important themes, issues and ideas in the story.
The students then swap places and the activity is repeated.
2 Readers’ theatre
Demonstrate by taking an important moment in the story and turning it into a
script for a short play using the descriptions, actions and direct speech already
in the text as well as using your own words and actions to add meaning. (See
attached script from pages 3 and 4.)
In groups, students rehearse then perform the readers’ theatre for the class.
Emphasise use of voice and facial expression with some actions.
Teacher chooses sections or crucial events in the story. Divide the class into groups
and have them write the script and then perform their piece. Alternatively,
students may themselves choose the events they consider crucial to use for
readers theatre.
3
Written review
Give students headings to help plan their written review. Brainstorm content.
Headings might include:
What is the story about? (Journey, escape, survival, hope.)
Why is the story told? (Inspiration of Nahid.)
Who’s in it? (Characters.)
Connections to other stories? (The effect of war on children, families and society.)
Issues in Australia?
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How is the story told? (Language—short sentences to build tension and long
sentences to describe dreams.)
Symbolism? (Kites, shell, dirt, bracelet, tarpaulin.)
Contrasts? (Freedom versus imprisonment/captivity.)
Distractions in bad times? (Counting, song, sugar cubes’ stories.)
Irony? (Australia promises freedom but characters are again imprisoned in the
detention centre.)
Reader’s Theatre script for pages 3 and 4 of Mahtab’s Story
C ast: U n cl e Wa h i d, Fa h ad, Rez a, Mah tab, Leila , Nar r ato r
Fahad and Reza are running around with their kites. Mahtab and Leila are sitting watching.
FAHAD: Watch out Reza, I’m going to get you. I’m going to cut the string and bring your
kite down!
REZA: No way Fahad. I can run faster and move my kite to get yours and it will fly off
into the sky, across the city and it will be lost for ever.
Uncle Wahid races across, grabs the strings, hauling them to his chest swiftly. His hands
are torn on the glass on the string.
UNCLE WAHID: (Screaming.) You must never, never, never play this way again. You are
putting the whole family in danger. You will be killed and your fathers and your mothers
and your brothers and your sisters and your cousins. What do you think you are doing?
You have been told everything has been changed and you are to never, never, never to
play like this again.
NARRATOR: Everything had changed.
Mahtab and Leila look on fearfully holding hands.
The boys are crying, snivelling and shrunken. They take a shovel and dig a hole. They fold
up the kites and bury them. Uncle Wahid looks sternly on. They kick dirt over the kites.
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They then walk with Uncle Wahid who now puts his arms around their shoulders, pats
them and and guides them back into the house. The boys sniff and sob.
FAHAD: I love that kite. That is the only fun we have now. Why must I destroy it?
REZA: There’s no fun anymore. Now my kite has gone what is there to look forward to?
Winter is the best time because it’s kite fighting time. Fahad and I are the best. Now we
can’t even do it at home let alone with all the other boys. (Sob.)
UNCLE WAHID: I’m sorry I was so angry but I was so afraid when I saw what you were
doing. You know the Taliban have banned kite fighting. It will bring our home to their
attention. They will want to punish all of us if the rules are broken.
They lie on their beds sobbing. Leila and Mahtab look on sadly then comfort the boys.
Uncle Wahid walks slowly and sadly from the room.
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Unit for stage four Visual Arts
Extract from a unit of work for stage four Visual Arts, written by Alexandra Cutcher, Banora
Point High School
Specific outcomes will vary according to relevant state syllabus
documents.
Table A.3 Stage four Visual Arts
Outcomes
Specific content focus for stage four
A student: 4.1 uses a range
of strategies to explore
different art-making
conventions and procedures
to make artworks;
Students learn about:
Students learn to:
•• the field of visual arts and design as
comprising conventions;
•• activities, traditions and customs
shaped by different values and beliefs;
•• investigate the field of visual arts and
design and approximate some conventions,
activities, traditions and customs of the field
to make art;
•• the pleasure and enjoyment in
making artworks;
•• reflect on and interpret actions and choices,
and document these in their diaries;
•• the function of the artist to make
artworks—images or objects;
•• make images and objects (artworks)
that approximate an approach to artistic
practice;
•• the material, physical and virtual form
of artworks intentionally made by
artists;
•• make artworks using a range of 2D,
including drawing, 3D and/or 4D forms,
materials and techniques and various
investigations of the world;
•• belief, value and meaning in artmaking in the structural frame;
•• investigate and employ a range of
conventions including codes, symbols and
signs and consider how communication is
embedded in the material and conceptual
organisation of artworks and offer a way
to develop representations of ideas and
interests in the world in the making of art;
•• belief, value and meaning in artmaking through the cultural frame;
•• investigate how notions of cultural identity
form artistic practice, and consider the
effects of science and technology, politics,
economics and social issues upon artmaking;
•• feeling, emphasis, imagination and
experience in art-making in the
subjective frame;
•• investigate how the unconscious, intuition
and imagination can be explored as
a source of ideas for art-making and
consider how artworks can be regarded as
expressive and unique objects;
•• challenging assumptions about art
and power through the postmodern
frame; and
•• Investigate how artworks can be modified,
reinterpreted and/or appropriated from a
variety of sources using parody, irony and
ideas that challenge the mainstream and
conventions of art; and
•• how artworks may be differently
interpreted by artists, writers, critics,
historians and other audiences.
•• identify and describe the purpose, audience
and context for viewing artworks.
4.2 explores the function of
and relationships between
the artist—artwork—
world—audience;
4.3 makes artworks that
involve some understanding
of the frames;
4.4 recognises and uses
aspects of the world as a
source of ideas, concepts
and subject matter in the
visual arts;
4.5 investigates ways to
develop meaning in their
artworks;
4.6 selects different
materials and techniques to
make artworks;
4.7 explores aspects of
practice in critical and
historical interpretations
of art;
4.8 explores the function of
and relationships between
artist—artwork—world—
audience;
4.9 begins to acknowledge
that art can be interpreted
from different points of
view;
4.10 recognises that art
criticism and art history
construct meanings.
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A structural exploration of design concepts & conventions utilising
illuminated manuscripts & mosaics, which explore the postmodern
practice of appropriation, to create two visual hybrids
Artist
4.1, 4.2, 4.3, 4.4, 4.5, 4.6, 4.7, 4.8, 4.9, 4.10
Term 3
Faith, Hope & Fantasy
A structural & subjective exploration of the cultural aspects of the
medieval European world, using the procedures & conventions
of sculpture to explore beliefs about & meanings relating to
representations of Christianity
Architecture, gargoyles, Jeff Koons, Shona Wilson
3D—Ceramics, assemblage
Conceptual Framework
Outcomes
Year 8
Practice
Art-making;
critical and historical
studies
Key artists/examples
Forms
4.1, 4.2, 4.3, 4.4, 4.5, 4.6, 4.7, 4.8, 4.9, 4.10
World
Outcomes
Artwork
Cultural
World
Artist
Structural
Artwork
Conceptual Framework
Subjective
Pictures, Portraits & Words
Subjective
Frames
Frames
Term 4
2D—drawings, painting, lino printing
Forms
Audience
Postmodern
Audience
Postmodern
‘Venus of Willendorf’, Lascaux cave paintings; Aboriginal traditional
painting; the pyramids; Hypostyle Hall at Karnak; King Menkure & his
queen; Amenemheb of Thebes; Margaret Preston
Key artists/examples
Cultural
A cultural & postmodern exploration of Greek & Roman forms in the
style of John Wolseley, incorporating text, collage, appropriation. To
extend, an exploration of postmodern conventions of appropriation
and some humour through digital imaging and collage
A cultural & structural exploration of art history, linking relevant
examples to the Australian context. Beginning with prehistoric art and
painting techniques, students explore cultural practices and social
identity; design & printing techniques, procedures & conventions are
then employed, to make works exploring the culture of Egypt through
printmaking
Art-making;
critical and historical
studies
Structural
Heroes & temples
Stones, goddesses & tombs
Practice
Artwork
Structural
World
Cultural
Audience
Postmodern
Artwork
Structural
World
Cultural
4.1, 4.2, 4.3, 4.4, 4.5, 4.6, 4.7, 4.8, 4.9, 4.10
Artist
Subjective
2D—Drawing; collage; design; monoprinting
Audience
Postmodern
Medieval mosaics; illuminated manuscripts; Christian iconic painting;
Lin Onus, Kathleen Petyarre
4.1, 4.2, 4.3, 4.4, 4.5, 4.6, 4.7, 4.8, 4.9, 4.10
Artist
Subjective
2D & 4D—Painting, digital media, collage
Greek sculpture; Greek pottery; Greek architecture; Roman
architecture; John Wolseley; Victory of Samothrace; the Parthenon;
the Colosseum
Term 2
Term 1
Year 8
Table A.4 Banora Point High School, Visual Arts stage four, scope and sequence plan
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Students investigate these aspects of visual language, being introduced
to the structural frame, by critically exploring a range of artworks,
including Venus of Willendorf, Stonehenge, Lascaux cave paintings, ‘Five
Dreamings’, traditional Aboriginal rock art and bark paintings.
Introduction to the role of the audience (general public, critics and other
art specialists) in the interpretation of cultural artefacts and the analysis
of visual codes, symbols and signs
Students are introduced to visual language of the elements of design
(line, shape, tone, colour, texture, composition, pattern, space, size,
proportion etc.) as well as the conventions of codes, symbols and signs
through a variety of activities (worksheets, literacy exercises).
3 Artwork
1 Oral feedback from teacher in discussion;
2 Written feedback from teacher in diary assessment; and
3 Teacher observation of student processes and oral feedback.
Feedback:
1 Completed worksheets in the Visual Arts Personal Diary (VAPD), displaying rudimentary understandings of the elements;
2 Oral & written responses to discussion demonstrating understandings of the structural frame, the role of the audience in the analysis and
interpretation of artworks; and
3 Resolved design demonstrates understandings of visual language and the conventions of colour, line, shape & composition.
Evidence of learning:
Utilising symbols and signs from Australian Aboriginal rock art & bark
paintings, students create a graphic drawing, using the conventions
of design, specifically colour, line and shape (Inks, VAPD, pencils). The
drawings are to overlap in transparent layers in much the same way as
do Aboriginal rock art images.
2 World
1 Artwork; structural frame
artwork; structural frame
Sign & date
Critical & historical studies
Art-making
artwork audience; structural and cultural frames
Registration
Year 8, semester 1(a) teaching, learning & assessment activities
Table A.5 Banora Point High School, Visual Arts stage four, teaching, learning and assessment activities
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7 Artist
Artwork; Structural Frame
Audience; Structural Frame
(4) Oral feedback in discussion, reinforcement of concepts;
(5) (7) Written feedback—assessment of practical tasks;
(6) Observation of literacy task in the VAPD; and
(7) Peer assessment of lino unit.
Feedback:
audience; art history
audience; art criticism
Critical evaluation of each others lino printing works. Each
student selects one work to be examined by their neighbour (peer
assessment worksheet).
8 Artwork
Students complete literacy comprehension task from ‘The Visual
Arts’ text. Questions focus on the practice of art history (texts,
worksheets).
6 Artwork
(4) Discussion demonstrating understandings of stated aspects of conceptual framework;
(5) Work sample Egyptian design;
(6) Literacy task completed in book; and
(7) Work samples of lino prints.
Evidence of learning:
An exhibition is mounted in the classroom and students choose one
other work to critically analyse (peer assessment worksheet).
9 Artwork
Using the above design as a basis, students are introduced to the
conventions of printmaking by creating a black and white lino print
which is then manipulated by hand colouring techniques and repeat
printing. Students produce 4 x single print and one repeated print (4–6
repetitions), giving 5 prints in total. audience; cultural frame
Students explore aspects of Egyptian culture through the
examination of the pyramids, The Hypostyle Hall of the Temple of
Amon at Karnak, the sculpture of ‘King Menkure and his queen’
and the fresco of Amenemheb of Thebes. These discussions and
observations are focused through the dynamic of world—artwork—
audience and the cultural frame (texts, worksheets).
artwork
4 World
Students create a 15cm x 15cm design using symbols and signs evident
in Egyptian art in their VAPD, (worksheets, textbooks, coloured pencils). artwork; cultural frame
Sign & date
Critical & historical studies
Art-making
5 World
Registration
Year 8, semester 1(b) teaching, learning & assessment activities
Table A.5 Banora Point High School, Visual Arts stage four, teaching, learning and assessment activities (continued)
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artwork; postmodern frame
audience
artwork; postmodern frame
audience; art criticism; cultural frame
Students critically analyse the work of John Wolseley through
discussion and a literacy exercise (texts, worksheets).
2 Artwork
Students investigate aspects of Greek Sculpture, Greek architecture
and Roman architecture through the frames and critical/historical
studies in Artwise No. 1 and Artwise No. 2. Questions emphasise
elements of content (texts).
2 Artwork
audience; art history; cultural frame
Sign & date
Registration
Critical & historical studies
(1) Written feedback on mixed media task;
(2) Oral feedback during discussion and observation of works in progress; and
(4) Written feedback of diary work and postmodern exercise.
Feedback:
(1) Completed mixed media image;
(3) Completed literacy exercises in VAPD; and
(4) Completed figure in landscape works.
Evidence of learning:
Students manipulate 3 images of Greek sculpture (e.g. Venus de Milo,
Victory of Samothrace, Doryphorous), adding contemporary clothing
and landscapes. This is a postmodern interpretation of the classical
Greek sculpture. Students add missing body parts and backgrounds to
reinterpret each sculpture to a contemporary context. Humour, wit and
satire are to be encouraged (photocopies, inks, pencils, textas).
4 Artwork
Students create a mixed media work emphasising the elements of
line and shape in the style of John Wolseley. Two Greek sculptures,
one Greek temple and the Colosseum are appropriated in pen, using
overlapping and ink wash to complete the image. Text is then added by
hand and by collage. The image is a sensitive postmodern interpretation
of the classical, cultural ideas of Greece and Rome.
1 Artwork
Art-making
Year 8, semester 1(c) teaching, learning & assessment activities
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7 Artwork
Ceramic theory, safety and procedures.
6 Artwork; structural frame
(1) (3) Oral feedback in discussion;
(2) (3) (4) Written feedback in the assessment of written tasks, assignment;
(3) (5) Written feedback on the art making tasks;
(3) (7) Teacher observation of peer discussion and feedback in decoding artworks; and
(all) Oral feedback.
Feedback:
(1) Oral discussions regarding medieval culture;
(2) Written responses to architectural conventions in the diary;
(3) Pen and ink studies / written responses in the visual arts diary;
(4) Artworks (sculptures) demonstrating the evident understandings of structure, sculpture, visual language and symbolism; and
(5) Peer assessment / interpretation of each others’ work.
Evidence of learning:
Written and verbal analysis of their own work.
audience; structural frame
artwork; structural frame
Through the conceptual framework and the frames, Students examine
and analyse nonfigurative (preferably Australian) sculpture.
4 Assignment—CF, all frames
If materials permit, students create a sculpture of a gargoyle or fantasy
creature in clay.
5 Artist
Class discussion regarding their work and peer- and self-evaluation of
drawings in the diary.
Students investigate the conventions of medieval architecture—early
Christian & Byzantine, Romanesque and Gothic—using a range of
written materials from a historical/structural perspective. Emphasis is
placed upon the development of technology and its relevance for the
expression of cultural belief systems (Artwise No. 2, The Visual Arts,
Caves to Canvas, worksheets). This investigation forms the foundation
for the subsequent art-making activities. Notions of audience are
discussed.
audience; cultural and structural frames
2 Artwork
audience; cultural frame
They make written responses to these drawings, using the language
of the formal qualities of art; the writing is to appear on the drawing
themselves (self-assessment sheet).
1 Artwork
Students are introduced to the Medieval European world through the
cultural frame. Links are made to the ancient world studied last year.
Notions of cultural identity and cultural practices are discussed.
artwork; subjective and cultural frames
Students undertake a series of pen and ink studies exploring various
structures e.g. buildings, the body, trees etc in their diaries. Composition
is emphasised.
3 Artist
Sign & date
Art-making
Critical & historical studies
Registration
Year 8, semester 2a teaching, learning & assessment activities
Table A.5 Banora Point High School, Visual Arts stage four, teaching, learning and assessment activities (continued)
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artwork; structural and postmodern frames
artwork; postmodern frame
audience; structural frame
(1) (3) Oral feedback in discussions;
(3) Written feedback and assessment of body of work; and
(4) (5) Oral feedback of artworks in progress.
Feedback:
artwork; all frames
audience; structural frame
Students examine self-portraits by a selection of Australian artists
(e.g. Whiteley, Hester, Robinson) in order to create an Australian
context for this artistic tradition. Students explore icons as both a cultural artefact and portrait
convention through discussion.
3 Artwork
They use scaffolds to analyse one example of each of the art
forms above in which the artist uses imagery and text to represent
experiences, ideas or perceptions of and about the medieval world.
2 Assignment: world
They are guided through a structural frame investigation of
conceptual framework relations by a series of questions.
1 World
Students are introduced to the medieval 2D art forms of icons,
illuminated manuscripts and mosaics.
artwork; cultural frame
Sign & date
Registration
Critical & historical studies
(1) Student responses to discussion, note making in diary;
(2) Assignment responses indicating understandings of the conceptual framework and the frames;
(3) Student responses to discussion, note making in diary;
(4) Self-portrait icon;
(5) Illuminated initial; and
(6) Evaluative responses in VAD.
Evidence of learning:
Students record evaluative responses in the diary.
6 Artwork
Students create an illuminated Initial in the style of a medieval
manuscript page, complete with a border. The work will also include at
least one animal and/or fantasy creature. Students utilise design skills,
with a particular emphasis on finish and presentation.
5 Artist
Text is added to the image at the end (using the literacy exercise on
belief systems from semester 1).
Students create a self-portrait from a digital photograph of themselves
in chalk pastel. Using collage, paint and ink, students complete a mixed
media icon/mosaic image on paper.
4 World
Art-making
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artwork; structural frame
artist
artwork; subjective frame
artist; cultural frame
audience; structural frame
Students examine and analyse the work of artists who create site specific
works (e.g. Goldsworthy, Christo, students work from Artexpress catalogues).
5 Artwork
Students write a 100-word statement about their own spiritual beliefs (or that
of a culture of interest) in a directed literacy exercise. They identify significant
descriptive adjectives and verbs.
3 World
Guided discussion and writing about the concept of the invisible (in this case,
the concept of things like faith, the spiritual, emotions, truth etc), how artists
have created material representations of intangible realities that are not of the
material/ physical world.
2 World
(1) (2) (5) Oral feedback in discussions;
(4) (6) Oral feedback on artworks in progress and assessment at end; and
(4) (6) Written feedback on artworks through peer assessment at end.
Feedback:
(1) Critical writing in art diary;
(2) Discussion responses, worksheets;
(3) Literacy task in diary;
(4) Body of work in diary;
(5) Critical writing in diary; and
(6) Three dimensional work.
Evidence of learning:
Students plan and create a sculpture / assemblage / site
specific / work / documented forms. Logistics and processes
will be planned in a very structured and thorough way.
6 Artist
Students discuss and write critically about selected examples.
artwork; cultural frame
Students examine the artworks of Australian artists who respond to spiritual
concepts in their art-making (e.g. Aboriginal forms, Hossein Valamanesh,
John Coburn, Arthur Boyd, John Wolseley, text reference, library: ‘Fire and
Shadow’).
artist
1 World
Students create a body of drawings and experiments,
collecting and developing personal images and symbols for the
beliefs written about in the last task (e.g. rubbings, scanned
images that are drawn on and cropped, gestural ink studies,
other types of expressive mark making). This should be a major
exploration of symbolism and materials.
artwork; subjective and structural frames
Sign & date
Critical & historical studies
Art-making
4 Artist
Registration
Year 8, semester 2c teaching, learning & assessment activities
Table A.5 Banora Point High School, Visual Arts stage four, teaching, learning and assessment activities (continued)
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Ap p e n d i x
Unit for stage five Visual Arts
Extract from a unit of work for stage four Visual Arts, written by Alexandra Cutcher, Banora
Point High School
Specific outcomes will vary according to relevant state syllabus
documents.
Table A.6 Stage five Visual Arts
Scope and sequence plan
Quality Teaching
All stage 4 & 5 programs have a historical emphasis. In this way significance is explored through the connections made
to the History syllabus, thereby making clear connections to students’ prior or background knowledge. It also enables
students to examine a wider variety of cultural knowledge. Each unit has been designed with sequenced learning
activities to build confidence, develop autonomy and manage increasingly complex materials, concepts and procedures.
Establishing this quality learning environment is enhanced by high and explicit expectations and the building of positive
relationships. Intellectual quality is a strong feature of these units through the diverse and increasingly rigorous skills the
students engage in, developing a deep knowledge and understanding about the world and the cultural practices of those
who have inhabited it. The students constantly engage in meta-language and higher order thinking skills to communicate
their ideas both visually and verbally and to critically analyse their own art practice and those of others. Problem solving,
communication, cultural knowledge and knowledge integration are significant features of this program.
Semester 1
Semester 2
Unit description
Truth, Beauty and Reason
The Renaissance: Fast and Loose
A cultural and structural exploration of
the ideology and artistic conventions of
the Renaissance in Europe. The focus this
semester will be on traditional Renaissance
techniques and concepts as well as the lives
and work of the Great Masters.
A postmodern and subjective exploration of
the ideology and artistic conventions of the
Renaissance. The focus in second semester
will be on appropriating and challenging these
ideologies and conventions.
247-248
Students learn about Classicism. They
will then examine the figure (proportions,
anatomy etc), the figure in the landscape and
the portrait. Devices such as allegory and
narrative in painting will be explored. The
notion of patronage will also be examined.
Students learn to examine Renaissance
artworks from a postmodern perspective.
They will then learn about artists who have
appropriated classical images in their artmaking.
Outcomes
5.1, 5.2, 5.3, 5.4, 5.5, 5.6, 5.7, 5.8, 5.9, 5.10
Key practitioners /
examples
Giotto, ‘David’ by Donatello, Michelangelo,
Bernini and Verocchio; anatomical drawings
by Da Vinci and others; ‘The Tribute Money’
by Masaccio; ‘The Birth of Venus’ by Botticelli;
Several portrayals of the crucifixion (and/
or the resurrection); ‘Vetruvian Man’ by Da
Vinci; The Mona Lisa’ by Da Vinci. Any related
Australian example.
The Da Vinci Code by Dan Brown; ‘The Last
Supper’ by Da Vinci; various examples of ‘The
annunciation’, spiritual paintings by Colin
McCahon, John Coburn; mixed media works
in the Artexpress catalogues.
Art-making (forms)
Students will build a body of work that
includes drawings (figure, proportions,
anatomy studies), etchings (anatomy studies)
and paintings (portraits). The emphasis will be
on naturalism & technique.
Students will create a body of work around
the ‘Annunciation’ as a concept, from the
perspective of either Joseph or Mary. Works
will be 2-dimensional but utilise mixed media
techniques and appropriation.
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Table A.6 Stage five Visual Arts (continued)
Assessment:
Frames
Conceptual
framework
1
2
3
4
Body of work (drawings);
Body of work (etchings);
Body of work (portraits);
Visual arts diary: making activities; critical /
historical studies; presentation; and
5 Assignment—case study of a Renaissance
artist.
1 Body of work (the annunciation);
2 Diary-making activities—critical / historical
studies; presentation; and
3 Assignment—Powerpoint presentation on a
postmodern artist.
Subjective
Structural
Cultural
Postmodern
Subjective
Structural
Cultural
Postmodern
Artist
Artwork
World
Audience
Artists
Artwork
World
Audience
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(1) (2) (4) Verbal feedback in discussions;
(3) (5) Verbal feedback during art-making; and
(11) Written feedback when diary and body of work assessed.
Feedback:
(1) Critical analysis in diary;
(2) Critical analysis in diary and worksheets;
(3) Body of work (drawings);
(4) Body of work (etchings); and
(5) Etching theory in diary.
Evidence of learning:
Students then create a body of etchings, using plastic plates
and dry point techniques. These can be manipulated by hand
colouring and/or by digital techniques.
Students create several drawings based on the anatomical
drawings discussed; also from anatomy texts, skeleton.
artwork; cultural frame
Examination of Australian printmakers (etching).
Etching processes techniques and safety.
6 Artwork; structural frame
Guided discussion—students examine anatomy drawings of Michelangelo
and Da Vinci.
4 Artist
Students examine realism and figure proportions by examining ‘Vitruvius
Man’ by Da Vinci and other significant examples of Renaissance drawings,
paintings and sculptures. Students complete critical discussions and art
making using visual language. Classical ideals of beauty, idealism and truth
are also examined through revisiting Ancient Greece and Rome and making
links to the concepts of the Renaissance.
artwork; structural frame
Students compile a body of drawings in the diary that focus on
correct proportions. They explore life drawing; drawing figures
from Renaissance paintings and sculptures, etc. Tonal modelling
and form are also a focus.
2 Artist
1 Artist
Linking the Medieval to the Renaissance, students learn about the rise of
the individual artist and the beginnings of naturalism through the work of
Giotto. Discussions and analysis.
3 Artwork; structural frame
5 Artwork; structural frame
Sign & date
Critical & historical studies
Art-making
artwork; cultural frame
Registration
Unit 1: year 9 teaching, learning & assessment activities
Table A.6 Stage five Visual Arts (continued)
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artist
A case study of a Renaissance artist.
3 Assignment—world
artwork; all frames
Analysis of the use of perspective, depth and space; as well as the
placement of figures and composition.
(1) Oral responses / feedback in discussion;
(3) Oral responses / feedback during the development of body of work; and
(11) Written feedback of assessment of case study and bookmarks.
Feedback:
(1) Discussion responses; analyses and notes in diary;
(2) Body of work—figures in landscapes; perspective exercises; and
(3) Assignment responses.
Evidence of learning:
Examination of Renaissance portraits of the figure in the landscape (eg
‘Birth of Venus’; The Tribute Money’; ‘Creation of Adam’; The Last Supper’;
‘Virgin of the Rocks’; etc) Discussion is focused on visual symbolism,
allegories and narratives, critical analysis of examples.
artwork; cultural & structural frames
1 World
Body of work is created from technical exercises such as placing
cut out figures from the previous unit into a painted background,
perspective drawings (technical exercises).
artwork; structural frame
Sign & date
Critical & historical studies
Art-making
2 Artist
Registration
Unit 2: year 9 teaching, learning & assessment activities
Table A.6 Stage five Visual Arts (continued)
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(1) (4) Oral feedback in discussions;
(2) Oral feedback and advice during art-making;
(3) Oral feedback in evaluations; and
(all) Written feedback when visual arts diary assessed.
Feedback:
(1) (4) Discussion responses; analyses written analyses;
(2) Self-portrait; and
(3) Written & verbal evaluations in visual arts diary.
Evidence of learning:
Evaluation of self-portrait through an exhibition and peer
evaluation.
audience; structural frame
artist
artwork; cultural frame
Patrons and issues of power in the Renaissance world are discussed. Key
examples included the patronage of the Medici’s and the completion of the
Sistine Chapel.
4 World
Exploration of Renaissance portrait with a particular emphasis on the ‘Mona
Lisa’. Guided discussions and written analysis of Renaissance portrait
conventions. Examination of the process of commissions.
Students complete a detailed self-portrait of themselves in paint
from a digital photo of themselves posed as the Mona Lisa. The
background will be taken from either the original or some other
landscape the student devices. 3 Artwork
1 World
2 Artwork; structural frame
artwork; cultural & structural frames
Sign & date
Critical & historical studies
Registration
Art-making
Unit 3: year 9 teaching, learning & assessment activities
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