POSITION PAPLR

NATIONAL IOCUS GROUP

ON
ARTS, MUSIC, DANCL
AND THLATRL
J.7
First Edition
Mach 2006 Chaitra 1928
PD 5T BS
National Council of Educational
Research and Training, 2006
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1he need to integrate art education in the ormal schooling o our students now requires urgent
attention i we are to retain our unique cultural identity in all its diersity and richness. lor decades
now, the need to integrate arts in the education system has been repeatedly debated, discussed and
recommended and yet, today we stand at a point in time when we ace the danger o losing our
unique cultural identity. One o the reasons or this is the growing distance between the arts and
the people at large. lar rom encouraging the pursuit o arts, our education system has steadily
discouraged young students and creatie minds rom taking to the arts or at best, permits them to
consider the arts to be useul hobbies` and leisure actiities`. Arts are thereore, tools or enhancing
the prestige o the school on occasions like Independence Day, lounder`s Day, Annual Day or
during an inspection o the school`s progress and working etc. Beore or ater that, the arts are
abandoned or the better part o a child`s school lie and the student is herded towards subjects
that are perceied as being more worthy o attention.
General awareness o the arts is also ebbing steadily among not just students, but their guardians,
teachers and een among policy makers and educationalists. During a child`s school lie each
student is gien inormation about dierent subjects such as history, literature, sciences etc. and
they are then able to make a choice o whether they would like to specialize in dierent streams
o learning such as humanities, science or commerce. I the child is not gien any exposure to the
arts we are not giing the child the option to study arts at higher secondary stage.
lurthermore, we now lie in times where our perception o arts stems rom what we see
and hear around us in the name o arts. Our young people are constantly bombarded with isuals
rom the worst o Bollywood, songs and accompanying music ideos that titillate, and een
exonerate iolence and hatred. Art in schools is oten equated with sketches o Disney cartoon
characters such as Mickey Mouse or Donald Duck, and theatre becomes a re-enactment o
teleision soaps. Len schools and school authorities encourage arts o this nature and take pride
in putting up eents that showcase songs and dances and plays that border or ulgarity. In this
climate o ignorance and lack o awareness regarding the richness and diersity o the arts in
India, we can no longer aord to ignore the importance o the arts and must concentrate all
possible energies and resources towards creating cultural and artistic awareness amongst the students
o the country beore we come to the sorry realization that we are a culturally illiterate society.
Arts in India are also liing examples o its secular abric and cultural diersity. An understanding
o the arts o the country will gie our youth the ability to appreciate the richness and ariety o
artistic traditions as well as make them liberal, creatie thinkers and good citizens o the nation.
Arts will enrich the lies o our young citizens through their lietime, not merely during their
school years.
LXLCUTIVL SUMMARY
i
During the discussions o this locus Group oer the past seeral weeks we hae obsered the
ollowing broad responses to our determined recommendation to make art education an integral
and compulsory component o the school curriculum at par with any other subject:
1here seems to be irtually no opposition to the idea o making arts an important component
o learning more as an extra curricular actiity, but there is considerable suspicion and opposition
to the idea o making it a subject that eery student must study much in the manner that a
child is studies math, geography, history or other subjects.
Many hae said that the un` o learning will be lost i music, dance, arts and theatre to be
a part o the school curriculum.
Others are o the opinion that arts are important or the personality deelopment o a child,
but must not be pursued in school. 1hose who hae an aptitude or the arts must pursue
them outside the school system and o their own ree will.
Repeated recommendations or integrating arts education in the school curriculum hae not
been implemented so ar, and i we continue to relegate the arts as a mere extra curricular actiity,
or as a tool to teach other subjects, we may ace the prospect o urther artistic and cultural ruin.
I, arts education is not introduced as a subject in school curriculum, it will continue to be an
amusing, entertaining ringe actiity alone, to be indulged in i and when there is time to spare
rom other more useul` actiities. Students will not be aware o the rich and aried artistic
traditions in the country, o the ibrant and eer eoling nature o creatie arts, and will continue
to learn only the occasional song or dance o dubious worth.
1his group realizes the challenges acing the introduction o arts education as a subject in
mainstream curriculum, and submits the ollowing recommendations with the knowledge that
these are but the irst steps towards ensuring that India can and will be a country that respect,
protects and propagates its artistic traditions. \e hae started an ongoing process, which we hope
will be enriched and taken urther by the inputs rom dierent sources.
Broadly speaking, this locus Group strongly recommends the ollowing steps:
Arts education must become a subject taught in eery school as a compulsory subject ,up to
class X, and acilities or the same may be proided in eery school. 1he our main streams
coered by the term arts education are music, dance, isual arts and theatre. Special emphasis
may be gien to Indian traditional arts, which currently ace the threat o being drowned out
by so called mainstream and popular arts.
1eacher education and orientation must include a signiicant component that will enable
teachers to eiciently and creatiely include arts education.
School authorities must acknowledge in practice that arts are to be gien signiicance in the
curriculum and not just restricted to being so-called entertaining or prestige-earning actiities.
1hey must permit and actiely encourage students to study the arts.
Public campaign and adocacy to promote arts education as a releant subject must be

undertaken. 1he mind set o guardians, school authorities and een policy makers needs to
be jolted to accept that the arts will enrich the deelopment o our young minds.
Lmphasis should be gien on learning than teaching in arts education and teachers should
hae participatory and interactie approach rather them instructie.
Resources or research deelopment and trainting must be allocated. More material on arts
education should be made aailable or arts education teachers including electronic media
aids.
1he group also recommended that there should be a unit o arts education haing aculty in
dierent areas o arts to empower the teachers, states and deelop materials.
Ms. Shubha Mudgal (Chairperson)
39 B MIG llats
Motia Khan, Paharganj
New Delhi - 110 055
ava
4, Ganesh Bhawan
11th Road, Khar ,\,
Mumbai - 400 052
Members
Mr. Ieisal Alkazi
S-268, Greater Kailash II
New Delhi - 110 048
Ms. Maya Rao
A-30, lriend`s Colony ,Last,
New Delhi - 110 065
Dr. Prabhjot Kulkarni
Principal
Maharishi Valimiki College o Lducation
Geeta Colony
Delhi - 110 092
Prof. Bhuleshwar Mate
Dean, School o lumanities
Department o line Arts
Assam Uniersity, Dorgakona
Silchar - 88 011
Assam
MLMBLRS OI NATIONAL IOCUS GROUP ON
ARTS, MUSIC, DANCL AND THLATRL
Dr. Suneera Kasliwal
Reader, laculty o Music
Uniersity o Delhi
Delhi - 110 00
Prof. C.V. Chandrashekhar
L-51, lort Indraprastha
45, Kalashetra Road, 1hiruanmiyur
Chennai - 600 041, 1amil Nadu
Prof. Gulam Mohammad Sheikh
B-, Niharika Bungalow
Pratapganj, Vadodara - 390 002, Gujarat
Mr. L.A. Rasheed
Principal
Got. Raja Rai Verma College o
line Arts
Maelikara, Alapuza - 690 101, Kerala
Ms. Prerana Shrimali
C-, Ground lloor
Delhi Police Apartments
Mayur Vihar Phase I
Delhi - 110 091
Prof. Manisha P. Patil
l-3, Sai Visawa` Apts
6, Nawab Layout, 1ilaknagar
Nagpur - 440 010, Maharashtra
i i
Ms. Rati Basu
1eacher
Patha Bhawan, Visa Bharati
Shantiniketan - 31 235
\est Bengal
Mr. Ashok Ranade
Gyan Dei
Shahitya Sahwas, Kala Nagar
Kelkar Marg, Mumbai - 400 051
Maharashtra
Dr. Sunil Kumar
Reader
Department o Llementary Lducation ,DLL,
NCLR1, Sri Aurobindo Marg
New Delhi - 110 016
Dr. Jyotsna Tiwari (Member Secretary)
Lecturer in Art Lducation
Department o Lducation in Social Sciences and
lumanities ,DLSSl,, NCLR1
Sri Aurobindo Marg
New Delhi - 110 016
Invitees:
Dr. Ashish Ghosh
Mr. Girish Joshi
Dr. Pawan Sudheer
Dr. Asha Singh
Dr. Tripurari Sharma
Mr. Suwarn Rawat
Ms. Amrita Lall
Ms. Preeti Bhatnagar
Ms. Sanju Jain
Dr. Suchita Raut
Dr. Sushma Srivastava
Mrs. Neela Sarkar
Ms. Jayalaxmi Lshwar
Ms. Geetha Chandran
Mr. Keval Arora
Ms. Maloyshree Hashmi
CONTLNTS
ecvtire vvvar, ...iii
Mevber. of ^atiova ocv. Crovp ov .rt., Mv.ic, Davce, ava 1beatre . . . ri
1. AR1 LDUCA1ION IN SClOOLS : AN OVLRVIL\ ...1
2. S1A1US Ol 1LAClING - LLARNING AND LVALUA1ION Ol AR1 LDUCA1ION ...3
3. AIMS Ol AR1 LDUCA1ION : A VISION lOR 1lL lU1URL ...4
3.1 Pre-primary Stage ...5
3.2 Primary Stage ...5
3.3 Upper Primary Stage ...5
3.4 Secondary Stage ...6
3.5 ligher Secondary Stage ...
4. AR1 LDUCA1ION AND I1S IN1LGRA1ION IN SClOOL CURRICULUM ...
4.1 Learning through the Arts: Integration o Arts in Lducation ,Stage-wise, ...9
5. CURRICULUM Ol AR1 LDUCA1ION ...9
5.1 Pre-Primary Stage ...9
5.2 Primary Stage ...11
6. CURRICULUM Ol VISUAL AR1S ...12
6.1 Upper Primary Stage ...12
6.2 Secondary Stage ...15
6.3 ligher Secondary Stage ...1
. CURRICULUM Ol PLRlORMING AR1S ...18
.1 Drama ...18
.2 Music ...25
.3 Dance ...26
.4 1ime Allocation ...28
x
8. LVALUA1ION IN AR1 LDUCA1ION ...28
8.1 Pre-primary Stage ...28
8.2 Primary Stage ...29
8.3 Upper Primary Stage ...29
8.4 Secondary Stage ...29
8.5 ligher Secondary Stage ....29
9. AR1 LDUCA1ION AND 1LAClLR LDUCA1ION IN INDIA ...29
10. S1RA1LGILS lOR IMPLLMLN1A1ION ...33
11. RLSOURCL MA1LRIAL lOR AR1 LDUCA1ION 1LAClLR AND SClOOLS ...35
Referevce. ...38
1
J. ART LDUCATION IN SCHOOLS:
AN OVLRVILW
1bere i. a ac of veaiatiov ava creatirit, erer,
rbere, e.pecia, iv .cboo.. 1be art. are vi..ivg frov
ovr ire. ava re are girivg ra, to rioevce.
\ehudi Menuhin
Since independence, arious policy documents o the
goernment hae mentioned art education as an area
o immense importance or the oerall deelopment
o students. As early as 1952-53, the report o the
then Lducation Commission emphasised the release
o creatie energy among the students so that they
may be able to appreciate cultural heritage and
cultiate rich interests, which they can pursue in their
leisure and, later in lie`. 1his has been described as
one o the main unctions o secondary education,
which recommends that subjects such as art, crat,
music, dance, etc. should be proided a place o
honour in the curriculum.
It was urther recommended that eery high
school student should take one crat, which is
considered to be necessary at this stage, eery student
should deote some time to work with the hands
and attain a reasonably high standard o proiciency
in one particular crat, so that, i necessary, they may
support themseles by pursuing it. But it is not on
economic grounds only that this recommendation
was made. By working with the hands, the adolescent
learns the dignity o labour and experiences the joy
o doing constructie work. 1here is no greater
educatie medium than making, with eiciency and
integrity, things o utility and beauty. It deelops
practical aptitudes, acilitates clarity o thinking,
proides an opportunity or cooperatie work and
thus enriches the personality o the student.
1he Kothari Commission Report o 1964-66
emphasised that in an age which alues discoery
and inention education or creatie expression
acquires added signiicance. Adequate acilities or
the training o teachers in music and the isual arts
do not exist. 1he neglect o the arts in education
impoerishes the educational process and leads to a
decline o aesthetic tastes and alues.` It
recommended the Goernment o India to appoint
a committee o experts to surey the present
situation o art education and explore all possibilities
o its extension and systematic deelopment. It also
recommended the establishment o Bal Bhaans in
all parts o the country with substantial support
rom the local community. Another
recommendation was Arts departments at the
uniersity leel should be strengthened and research
in these ields should be encouraged.
As a result, in 1966 the Goerning Body o the
NCLR1 appointed a committee under the
Chairmanship o Shri K.G. Saiyidain to examine the
whole question o improement o art education in
schools. 1he Committee submitted its report in 196
with a set o recommendations emphasizing the aims
and objecties o teaching art in schools, the critical
role o art education in achieing the main educational
goal, and the necessity o art education at all stages o
education starting rom the pre-primary stage. Its
recommendations include planning o art education
on a much broader basis and training o art teachers
by teacher training institutes o the uniersities, so that
ater completion o courses at the art schools the
students can be admitted to proessional training in art
education at these institutes or becoming trained art
teachers or upper primary and secondary stages. 1he
Committee recommended to introduce art education
departments in teacher training institutes o the
2
uniersities. It also recommended that NCLR1 too
should hae an art education department at the
earliest.
1he National Policy o Lducation 1986
emphasized ostering among students an understanding
o the dierse cultural and social systems o the people
liing in dierent parts o the country as an important
objectie o school education. As a ollow up o the
1986 Policy, the Program o Action, 1992, gies an
illustrated iew on the cultural perspectie interlinking
education and culture in order to promote the process
o child personality deelopment particularly in terms
o discoering the inherent potentialities o the child`.
Right rom the pre-primary stage to the highest leel
o ormal education, a programme o action was
ormulated. Mutual participation, use o inexpensie
and releant material or cultural exposure, promotion
o the concept o cultural neighbourhood inoling
actie participation o the community, reorm o the
curriculum, motiation o teachers, and eorts to
encourage the young generation to participate in cultural
and allied actiities were some o the important eatures
o this document.
All the three preious National Curriculum
lrameworks ,NCls, o 195, 1988, and 2000
emphasized art education by deining its aims and
objecties in the school curriculum. 1he teaching o
the dierent arts-dance, music, painting, etc.-should
be based on the same undamental principle o
proiding students opportunities or perecting their
own capacities and helping and encouraging them in
the process. 1here was a paradigm shit in the objectie
o art education rom dignity o labour by working
on crats to deeloping aesthetic sensibility and ree
expression.
1hese NCls recommended that Art education
programme should concentrate on exposing the learner
to olk arts, local speciic art and other cultural
components, leading to an awareness and appreciation
o our national heritage. Actiities and programmes
and themes should also be chosen and designed so as
to promote alues related to other core components
like India`s common cultural heritage, history o
reedom moement and protection o enironment.`
Learning by doing and a wide exposure to art orms
is a must or sel-expression and widening o the
learner`s own experience. Art education should not be
ragmented. It should adopt an integratie approach
at all stages up to Class X.
In 1992, a committee was set up under the
Chairmanship o Pro. \ash Pal to look into the ways
and means to reduce the load o curriculum on students
and at the same time improe the quality o learning
including capability or lie-long sel-learning and skill
ormulation`. 1his committee brought out a set o
recommendations in the orm o a report, the crux
o which was learning without burden`. loweer,
practically the burden increased, leaing little scope or
sel-expression and creatiity.
India is not the only country where this problem
o art education exists. 1his is a worldwide
phenomenon, which was taken up by UNLSCO in
the year 2000 with an appeal by the Director-General
or promotion o art education and creatiity at school
leel as part o deelopment o a culture o peace. In
his address he said:
. vore baavcea iva of eavcatiov i. vor veeaea, ritb
.cievtific, tecbvica ava .port. ai.cipive., tbe bvvav .cievce.
ava art eavcatiov pacea ov av eqva footivg at tbe aifferevt
.tage. of .cbooivg, avrivg rbicb cbiarev ava aaoe.cevt.
vv.t be abe to acceae to a earvivg proce.. tbat i. beveficia,
vore broaa,, to tbeir ivteectva ava evotiova baavce. v
tbat re.pect pa, actiritie., a. a rita forv of creatirit,, are
ove of tbe factor. tbat ae.erre to be evcovragea iv tbe teacbivg
3
of tbe art.. .rt. teacbivg .bova .tivvate tbe boa, a. re
a. tbe viva. , .ettivg tbe .ev.e. iv votiov, it create. a
vevor,, rbicb .barpev. tbe .ev.itirit, of tbe cbia ava
vae. biv or ber vore receptire to otber forv. of voreage,
votab, .cievtific voreage. vrtbervore, it aereop.
ivairiava.` creatire facvt, ava airect. tbeir aggre..ireve..
torara. tbe .,vboic ob;ect of tbeir cboice.
2. STATUS OI TLACHING-LLARNING AND
LVALUATION OI ART LDUCATION
In the preious pages we hae seen that almost all
the documents on school education laid an emphasis
on the importance o teaching o art education. At
the same time it had been gien a secondary treatment
by the schools, teachers, parents, school
management and inally by the students who
otherwise enjoy art related actiities. 1he present
status o art education has become worst rom bad
in the last ew decades.
1here are seeral reasons or the present status o art
education. An ongoing study o NCLR1, An In-depth
Study o 1eaching-Learning Practices and Laluation
Procedure in Art education, obseres that all children
enjoy creatiity in their earlier stage o education but
by the time they reach class VI, they start losing interest
in art education.
One o the major reasons why art education has
been a neglected area in the majority o schools is
placing too much emphasis on the core subjects, which
hae a or malised procedure or assessment
throughout the year including tests and exams. Since
the assessment o art education is not relected in the
marks secured by students, neither teachers nor students,
not een schools, take it seriously.
Another major problem is the lack o trained
teachers or teaching art education subjects. Art
education teachers who hae undergone training in
arious isual and perorming arts in art colleges
or our or six years hae ery little to do with art
education in school, let alone methods o teaching
art in schools. 1hey are trained in their own
disciplines but not as educators, they lack training
in methods o teaching art to children in the age
group o 10 to 15 years. 1he teacher being the
ehicle o children`s education, there is a need or
the teacher to understand children`s psychology and
Suggestions or improement in the status o
arts education in schools:
Arts education should be made
compulsory up to Class X.
Non-examination based process oriented
ealuation should be done
Arts education should be an enjoyable,
experiential learning process or ree
expression o children.
Schools should proide time, space and
resources or arts education actiities
within and outside the school.
More awareness needs to be created
regarding arts education among dierent
beneiciaries.
Clear guidelines should be proided to
schools and teachers or eectie
implementation o arious dimensions o
arts education curriculum.
1eacher education and orientation at
dierent leels needs a drastic change.
1rained and specialized teachers should
take arts education classes rom upper
primary stage onwards.
4
to be aware o the pedagogy and teaching
methodology or art education. Art education is
an actiity-based subject, which does not require a
textbook, and this makes the role o teacher all the
more important. 1hey hae to be more alert, innoatie,
and creatie than any other teacher.
Another reason why art education is
languishing is lack o awareness about career options
in art among students as well as teachers. 1eachers
should be able to link art education with
proessional training and apprise the students o
aenues o deeloping these as a career or their
lielihood in uture. 1he art teacher should be able
to conince the school administration, parents, and
students o the arious aspects o art education which
students can apply in their day-to-day lie either as
artists or as connoisseurs.
3. AIMS OI ART LDUCATION:
A VISION IOR THL IUTURL
iteratvre, vv.ic, ava tbe art., a are vece..ar, for
tbe aereopvevt ava forerivg of a .tvaevt to forv
av ivtegratea tota per.ovait,.`
Rabindranath 1agore
Art education may be perceied as a tool or
deelopment o aesthetic sensibility among learners to
enable them to respond to the beauty in colour, shape,
orm, moement, and sound. Art education and
appreciation o one`s cultural heritage may go side by
side and reinorce the understanding o each other.
1he inclusion o art education in the curriculum
o school education as a compulsory subject up
to Class X has certain important objecties apart
rom contributing signiicantly to the oerall
deelopment o the child`s personality. Art
education enables students to ully experience the
joy o teaching-learning. It enables them to ully
appreciate and experience the beauty o the unierse
and helps in their healthy mental deelopment.
Other objectie o art education are to bring
children closer to their enironment, to teach them
about their cultural heritage, and to inculcate in
them respect or each other`s work.
1he experience gained earlier could be urther
strengthened at the secondary stage by enduring
participation o all children in actiities related to
music, dance, drama, drawing and painting,
puppetry, traditional arts and crats, health and
physical itness, etc. 1he National Curriculum
lramework or School Lducation, 2005, hopes that
experiences gained by learners at primary stage in
the area o ine arts will not only deelop enough
motiation and interest among them to pursue the
arious orms o art in the next stage o school
education, but also deelop aesthetic sensibility and
respect or tradition and heritage in them.
Unortunately, our education system has not
duly recognized what great educationists and
philosophers o India like Sri Aurobindo hae said:
Plato in his Republic has dwelt with extraordinary
emphasis on the importance o music in education,
as is the music to which a people is accustomed, so,
he says in eect, is the character o that people. 1he
importance o painting and sculpture is hardly less.
1he mind is prooundly inluenced by what it sees
and, i the eye is trained rom the days o childhood
to the contemplation and understanding o beauty,
harmony and just arrangement in line and colour,
the tastes, habits and character will be insensibly
trained to ollow a similar law o beauty, harmony
and just arrangement in the lie o the adult man..
5
3.J Pre-primary Stage
1he isual and perorming art orms should be
taught in a ully integrated manner at the pre-
primary stage. All subjects should be taught
through drawing, painting, clay modelling, role-
play, dance, story telling, singing, etc. 1he main
objecties o teaching through art education should
be the same as those o general education.
1he learning experience or the children at this
stage should be joyul and should not burden them
with a heay curriculum. 1hey should be taught
about their enironment, the basic alues applicable
in day-to-day lie, etc. 1he emphasis at this stage
should be on ree expression by the child.
At the pre-primary stage, the major objectie
o teaching through art orms is also to deelop all
the ie senses o the child. 1his area o the
curriculum should proide or experiences and
actiities that will contribute to all-round
deelopment o children`s personality and should
be commensurate with their leel o deelopment.
Speciically, the experience o learning through
music, drama, drawing, painting, and clay
modelling should be soothing to the child. 1he
selection o stories and anecdotes should be such
that they play an eectie role in strengthening the
child`s curiosity, imagination, and sense o wonder.
3.2 Primary Stage
At the primary stage, the orientation should be
towards art as a medium o sel-expression. Art
education should be aimed at promoting sel-
expression, creatiity, sense o reedom, and, thus,
psychological health.
3.3 Upper Primary Stage
1he experiences gained by learners at the primary
stage in the area o ine arts would hae deeloped
enough motiation and interest among them in the
subject. 1he curriculum at upper primary and
secondary stages needs to aim at deeloping learner`s
Objectives at the Pre-primary Stage
Lxperience joy,enjoyment
Arouse in the child certain elementary
sensitiities towards its enironment,
lelp children learn through playing reely
with natural materials such as clay, sand,
lower, leaes, etc.
lelp children learn through moement
and sound by singing and dancing together
and by exposure to natural enironment
to participate in the joy o sensing colours,
orms, and rhythms
Objectives at the Primary Stage
Lxperience joy,enjoyment
Make children conscious o the good and
the beautiul in their enironment, including
their classroom, school, home, and
community, through an integrated learning
approach that they enjoy
Make children express reely their ideas
and emotions about dierent aspects o
lie
Deelop all the senses o the child through
obseration, exploration, and expression
6
awareness and interest in a wide ariety o arts both
at the classical and olk leel so that the learner is
both the perormer and the recipient o the
perormance. Art education can proide the most
satisying medium o creatie expression which has
to be gien due importance in the best interest o
the society.
At the upper primary stage, art education
should emphasise enlarged cultural actiities, mainly
through students` own participation, community
help, and building up o certain core acilities.
3.4 Secondary Stage
1he secondary stage is apt or reining aesthetic
sensibilities and promoting social alues through
projects on conseration o the natural and cultural
heritage and through opportunities or studying Indian
culture, working with artists,artistes o the community,
organizing estials and celebrations o the community
at large, display o physical enironment and
surrounding landscape. Art education at this stage
should comprise study o isual and aural resources
and their exploration, projects to promote creatie
expression and exhibition o works in isual and
aural orms, inter-group inter-school art actiities, study
trips and interaction with artists in the community,
and exploration o traditional art orms including
theatrical arts o the community and neighbourhood.
Actiities, programmes, and themes should also
be chosen and designed to promote alues related
to India`s common cultural heritage, history o
reedom moement, and protection o
enironment. Learning by doing and a wide
Objectives at the Secondary Stage
Lxperience joy,enjoyment
Introduce the student to new media and
techniques and their use or creatie
expression and or making objects o
common use
Proide opportunities or deeloping
awareness about olk arts, local speciic
arts, and other cultural components
leading to an appreciation o national
heritage and cultural diersity
Lnable students to use their artistic and
aesthetic sensibilities in day-to-day lie
Get acquainted with the lie and work o
the local artists
Deelop creatie expression through
locally aailable material with the help o
community
Reine the sense o appreciation o the
beauty o nature and the basic elements
o art orms
Objectives at the Upper Primary Stage
Lxperience joy,enjoyment
Lnable learners to appreciate dierent art
orms and distinguish them
Deelop an iv.igbt towards sensibility and
aesthetic appreciation
Integrate the voreage of art with daily
lie and also with other subjects
Make learners more creatire
Make learners cov.ciov. o the rich
cultural heritage o the nation

exposure to art orms is a must or sel-expression

and broadening o the learner`s own experience.
Curriculum at this leel is dierentiated and
specialized and art education too should be treated
as a specialized subject. At the secondary stage, the
orientation o art education should be art a. a ra,
of vorivg.
Art education proides students non-erbal
ways o learning about and interacting with the
world. Art becomes a means o creating meaning
and knowledge construction. Artistic expression is
used as a process o inquiry and exploration o the
social realities, world o things, world o ideas,
world o emotions, and world o imagination. Art
education at this stage would inole use o media
and materials o the artists.
3.S Higher Secondary Stage
1his stage has the maximum challenges. Only a small
percentage o school-going student population reaches
this tertiary leel. lor classes XI-XII, the orientation
o art education would be arts as a discipline.
Art education or pursuing art as a discipline
means using it as a ehicle or exploring the
community`s cultural heritage, learning the language
o aesthetics, criticism, and art history, exploring
possibilities o a proessional career in the arts, and
preparing to enter the world o arts as a perormer,
creator, critic, or connoisseur.
4. ART LDUCATION AND ITS INTLGRATION
IN SCHOOL CURRICULUM
cievce i. tbe vo.t creatire forv of .rt.
Sir C.V. Raman
In due course o time, the arious education
commission reports and the National Curriculum
lrameworks or school education used dierent names
and terminologies or art education and merged them
with arious other areas. In the report o the
Lducation Commission o 1952-53, art education
was reerred to as line Arts, Crats and Music or
primary and SUP\ ,Socially Useul and Productie
\ork, or upper primary stages. It has also been
ariously termed as \ork Lxperience and the Arts
,Curriculum or 1en year School, 195, and Arts
o lealthy and Productie Liing ,NClSL, 2000,
and so on. ^or, tbere i. a veea to evpba.i.e tbe fact
tbat art eavcatiov iv tbe .cboo cvrricvvv .bova
bare it. orv iaevtit, ava it .bova be aaare..ea ov,
a. art eavcatiov, covpri.ivg of tbe rariov. ri.va
ava perforvivg art.. \ith this uniied approach,
there will be a paradigm shit in teaching objecties,
content, methodology, approach o learning,
ealuation, etc.
Art education should be one o the compulsory
subjects rom the pre-primary to secondary stages o
school education. In the ormal school system, art
education has two approaches. 1he irst approach
Objectives at the Higher Secondary Stage
Attain proiciency in the art orm
Prepare or pursuing proessional art
courses
Identiy works o dierent artists and
peror mers rom their own region,
country, and the world through art history
Deelop their own modes o expression
ater experimenting with dierent media
Retain enjoyment in the arts
8
Since this is an actiity-based, experiential
subject, it gies scope or obser ation,
imagination, and isualization in the process
o creatiity. Lery indiidual child has all types
o emotions, which need to come out o the
child`s inner sel, art education helps them in
this process.
is education through the arts, where learning takes
place using dierent arts orms ,isual as well as
perorming, tools in the teaching-learning process.
1his approach integrates art education with other
subjects as a two-way process. It integrates art
education with social sciences, languages, science,
and mathematics in the orm o content, where
inormation on the art orms are proided, and also
in the orm o actiities, projects, exercises, etc.
1he second approach is art education as a subject.
Learning through the arts should take place
throughout school education ,2-10-2, stage-wise.
\e isualize a ertical progress o child`s learning.
In the pre-primary stage or early childhood, learning
should take place only through drawing, painting,
role-play, mime, dance, moement, gestures, story
telling, singing, etc., where both the teacher and
the taught take part in the actiities. 1his should
continue to the next stage up to class III, where the
child enters ormal school system. At this stage,
the child should be gien suicient space and scope
or ree expression through all the art orms,
including the crats. In the late primary stage
Bal Sabha or the Children's Iorum
In an ideal situation, all the schools should hae a orum or children where their creatiity and artistic
talent can attain ull expression. 1his should be a weekly or ortnightly eent or hal a day ,probably on
Saturdays, and children should be allowed to isualize the theme, select the programmes, and organize
the eents, which teachers would be inited to attend. It should be a children`s programme, where they
can exhibit their weekly art and crat works, recite poetry composed by them, sing, dance, perorm
dramas selected ,or written, and practised by themseles. 1hese may not be eents with a lot o
paraphernalia, but simply organized, where the school proides space and time to children or sel-
guided creatie expression in arious art orms. Such practices are prealent in many schools and may
be adapted by other schools also.
,Classes IV-V,, schools may hae separate classes or
arts and crats, music, dance, and drama. At the upper
primary or the middle school stage, art education
should be a separate subject and this should continue
up to the secondary stage or Class X.
Art education should not be used by the schools
merely as a showcase actiity on dierent occasions
such as annual unction, inspection day, etc. Art
education should should be applied in actiities such
as arrangement o classrooms, galleries, halls,
corridors, etc. and designing o school diaries, cards,
school bags, etc.
9
4.J Learning through the Arts: Integration of Arts in Lducation (Stage-wise)
enironment and immediate surroundings,
be curious, and deelop imagination leading
to isualization
1o encourage the child to express reely and
spontaneously
1o deelop children`s psychomotor skills
1o deelop emotional expression,
communication, language skills, and creatie
expression
1o introduce children to the basics o
rhythm and melody
1o explore and distinguish dierent kinds
o sound, such as melodious and musical
Content, MethoJs, unJ Muteriuls
Children must be taught dierent poems or rhymes
in rhythm and melody, which they enjoy while
learning through action and song. 1hese poems
should hae themes rom their immediate
enironment and be based on pure notes, by which
0
10
20
30
40
50
60
70
80
90
100
pre primary classes I-III class IV-V upper
primary
secondary higher
secondary
performing arts visual arts
S. CURRICULUM OI ART LDUCATION
S.J Pre-Primary Stage
Children at this stage are in the age group o 3-5
years, who hae a lot o inquisitieness and a ery
high leel o energy. 1hey need aenues to release
this energy and it can be best utilized by inoling
them in creatie actiities. At this stage, all the
education should be through arts, be it drawing,
painting, clay modelling, singing, actions, or
moements.
1here is another National locus Group,
working on Larly Childhood Lducation and the
curriculum or this stage will be prepared ater
consultation with the Group.
Objectiues
Major teaching objecties at this stage o education are:
1o engage children in joyul actiities
1o help children to obsere their
1 0
they can deelop a sense or sounds. Children should
also be encouraged to explore dierent kinds o
sounds through commonly ound objects so that
they can distinguish between noise and music.
As or the plastic arts, children can use materials
that low reely, e.g., crayon, poster colours, earth
colours dipped in water, and chalk on loor or
blackboard. lor three-dimensional expression,
children can be gien clay or non-toxic plasticine
or any other malleable material to make simple
orms. Simple paper cutting, paper olding, and
arranging also may be gien.
Lery school or early childhood education
should hae a room well equipped with art
materials, where children can explore dierent
materials and use them or artistic actiities.
Bujkumuri Amrit Kuur ChilJ StuJy Centre,
Neu Delhi
Rajkumari Amrit Kaur Child Study Centre
,RAKCSC,, established as the Lady Irwin College
Nursery School in 1955, unctions as a laboratory
to the Department o Child Deelopment, Lady
Irwin College. Ler since then, the Centre has been
eoling and adapting to the changing needs o
society, oering a wide spectrum o serices or
the optimal care o young children. 1he centre oers
pre-school education, day care and ater-school
acilities or children o working parents, early
interention through home-based training
programmes or children with disabilities, and
amily support and counselling. Beginning 50 years
ago with only nine children, the Centre now has
250 children including approximately 40 children
with special needs in the age range o 3-6 years.
Children in the school are gien exposure to
dierse experiences through the medium o arts,
which hae the propensity o inoking spontaneous
responses in children. Curriculum is translated into
methods and time diisions that permit aordable
reedom or children to explore their desire or
moement, be aware o the rich linguistic
enironment, and be able to express in a warm and
responsie atmosphere. 1he emphasis in the Centre
is on using a mix o multiple strategies and methods
to engage children actiely in the process o
teaching-learning. \ith LCCL being the oundation
or initiating interest and orming attitudes towards
settings o learning it`s signiicance to proide joyul
contexts o expression and comprehension. 1he arts
are used in many orms and ways in the school.
Arts in the ECCE Settings, Especiully Theutre
It is well understood that the arts are integral to
children`s interests and actiities. Schools use many
ways to let children experience the art orms both
or expression and comprehension: decorating the
classroom with materials, working with artistes and
experts, and practising arts in classroom eeryday.
Decoruting the Clussroom uith Muteriuls
Lach class has a dolls house, where children get
amiliar sets to explore and become people they lie
with. It proides scope or play o antasy or the
children as well as displays the social context o
children's lie. 1he experience proides aluable
insight into the social-emotional areas o children`s
lie beyond school. Classrooms also hae arious
objects such as props, old sandals, purses, duppatta,
bags, walking stick, etc., which children can saely
handle. Children play and impersonate adults or
sheer joy o being the other`. Such opportunities
are basic to theatre as well as other actiities that
oster curiosity, conidence, and coniiality.
1 1
Working uith Artists unJ Experts
Besides learning the arts rom teachers organically
as part o the curriculum, children hae the
opportunity to work with proessional artistes. 1he
school has on its rolls a potter and a music teacher
who meet the children once a week. Children work
with them and watch them working on the kiln or
sing along with the music expert, and thus gain
knowledge about instruments and techniques. At
this stage, children are not expected to acquire
complex capacities but exposed to the joy o rhythm
and rhyme and o watching the creation o arteacts.
1hey learn to experiment in the medium, some o
which may be displayed at annual eents. 1he
attempt is to proide experience o arts using
materials and techniques and open aenues o
interest. It is borne in mind that the LCCL
curriculum impacts children`s relationship with the
enironment o learning in the later years o
schooling.
Arts us un EueryJuy Clussroom Pructice
1eachers o young children are adept at using arts
in eeryday transactions with children. Learning
numbers or languages is acilitated with the use o
colourul worksheets. Moreoer, each day begins
with song time`, when children choose or recite
rhymes and songs o their interest. Children also
supplement the musical experience with simple
instruments such as dhapli, pea pods, or a box with
pebbles. Similarly, the basket o props or the dolls
corner is a busy area o playing house-house. Such
areas sere to create interest in the arts in a ery
natural and organic manner.
The Ajter School Croup oj ChilJren
1here are children who come to the Centre ater
their regular school, as their parents are not ree
till they return rom oice. 1his group is in the
age range o 5-12 years. Crats, painting, and dance
are some o the main aternoon actiities. Children
are taken or art lessons to the nearby art school.
1hey participate in the annual eents and other
estiities. 1he caregier assists them in making cards
and participating in other related estiities on
arious estie occasions.
S.2 Primary Stage
Len at the primary stage, art education should be
integrated with all the subjects and used as a tool o
teaching dierent concepts, especially in classes I,
II, and III. At the same time, rom class I onwards,
children should be inoled in creatie actiities
through arious art orms and there should be a
proision o separate periods or isual and
perorming arts.
Objectiues
1o experience joy or enjoyment
1o make children conscious o the good
and the beautiul in their enironment,
including their classroom, school, home,
and community through an integrated
learning approach which a child enjoys
1o help the child reely express his,her
ideas and emotions about dierent aspects
o lie through dierent art orms
1o deelop all the senses o the child
through keen obseration, curious
exploration, and spontaneous expression
1o enable children to understand the body,
its moements, and its co-ordination
1o make children amiliar with their
immediately local or regional art orms
1o deelop a sense o rhythm through
breath as well as external expression
1 2
1o enable children to identiy dierent
orms o classical music and dance
Content, MethoJs, unJ Muteriuls
At this stage children should be encouraged to explore
and deelop their ideas by recording what they see
around them, trying out dierent materials, tools and
techniques, and engaging in actiities such as drawing,
painting, printmaking, collage, clay modelling, etc. 1hey
should be encouraged to work with colours, patterns
and textures, lines and tones, shapes, orms, and space
by using pencil, pastel, poster colour, watercolour,
paper, etc. Children should be made to work in small
groups and share the resources. 1his will bring the
eeling o co-operation while working together.
In classes I and II, children may be gently guided
to see orms and colours and most o the time they
should be let with the material to experiment and
express whateer they obsere around them. At this
stage, ormal training is not required and too much o
instructions,guidance will hinder their expression. 1he
teacher should tell them more about eents o lie,
nature and enironment, and what they see and obsere
around them. Ater that, they may be encouraged to
explore and express their ideas in colour, shape, orm,
and space. lrom class III onwards, they may be gien
simple topics related to their day-to-day lie or
immediate enironment, taken to workshops o
local artists or cratspersons, exhibitions, local
monuments, airs or melas, etc., where they can be
exposed to the social lie and their socio-cultural
heritage. Also, these isits should be an illustrated
extension o whateer they learn in their
curriculum. 1eachers along with students can take
part in arious such school actiities throughout
the year.
1he national anthem, national song, and simple
compositions rom the textbook ,in their mother
tongue or lindi, may be taught with action and in
chorus. Patriotic songs, community songs, estial
songs, and traditional regional songs may also be taught.
Students should know to mark the basic beats.
Preliminary knowledge o rhythm and melody may
be imparted. Lxperimenting with dierent types o
sounds coming out rom the sel ,body, and the objects
ound around ,utensils, thread, leaes, drums etc., may
be encouraged.
In Classes IV-V, children may be taught to
distinguish between pitch, olume, timbre, and
duration. Games o music and drama can also be
played. Use o regional language, proerbs, lullabies,
etc. may be included in the curriculum. At this stage,
students may be made aware o shuddha or pure
notes and ikrit swaras. Basic alankars can be taught
along with the sargam practices. Simple
compositions rom the textbook, patriotic songs,
community songs, and estial songs in the regional
language may be taught. 1eachers may deelop
simple compositions based on themes,concepts
taught in the language or the enironment to create
awareness among children about their social context
and immediate enironment.
6. CURRICULUM OI VISUAL ARTS
6.J Upper Primary Stage
At this stage o school education, children can
handle more complex materials and themes. So ar,
whateer they hae deeloped and experienced can
take orm.
Objectiues
1hus, apart rom ree expression, the objecties will
shit to the ollowing:
1 3
Some Guidelines for Art Lducation at the Upper Primary Stage
Proportiov iv tbe covtet of reatiov.bip. of ob;ect.:
\hat is important or close to the experience o the child becomes large in size. lor example,
eyes ,seeing: isual,, hands ,eeling: tactile,, eet ,exploring: sensory-motor, become larger or
smaller according to their importance in relation to the other objects. A lower becomes larger
than the house because it is an object that can actually be grasped and is not oerpowering or
the child. 1he ears, hair, and mouth are not immediately important and so are oten omitted.
Known reality can become more important than seen reality. lour wheels o a cart,car may be
drawn though only two are seen in actuality. Both iewpoints are equally alid.
Metboa. v.ea:
Change o size and shape o paper changes the whole way o seeing things.
Use o ruler is discouraged. 1he aim is not precise architectural drawing but an expression o
the impression or gist o the object drawn. Steadiness o hand, sharp obseration, and
non-reliance on mechanical instruments are encouraged.
lill-in line drawings should be discouraged. Lines drawn should be dierent, e.g., one thin and
precise and the other thick, luid, and lowing, expressing mass orm rather than an outline. Line
is used as a language, a speciic element o picture making.
\orking together is a ery important part o class work. Sharing o ideas, arriing at mutual
agreement or disagreement, planning together should be encouraged. Groups may be ormed
with collectie responsibility. 1hese groups may be horizontal or ertical. Such actiities are ery
useul or conidence building, learning to share, and respecting others` iewpoints.
Materia. ava veaivv.:
Students themseles should be inoled in selecting the medium. 1his requires actie participation
and choice.
\hen they hae a choice in selecting the medium, they choose modes they are good at and thus
they are happy about the outcome.
Mixing o mediums can make their work more attractie. It helps them hae an understanding
o each medium, igure out similarities and dierences between mediums, and discoer new
ways o expression.
Collage using old colour magazines, newspapers, old calendars, etc. gies children a choice o
unlimited colours and shades. Also it does not inole much expense. It inculcates a deeper sense
o orm in children.
1 4
1o work together on small and large
projects
1o encourage students or ree expression
and creatiity
1o acquaint students with basic elements,
principles o design
1o teach the basic characteristics o dierent
techniques and mediums and their practical
applications
1o deelop orientation towards sensibility and
aesthetic appreciation
1o make children understand the cultural
diersity by recognizing dierent traditional
art orms prealent in the country
Content, MethoJs, unJ Muteriuls
At the upper primary stage, the art education
programme should comprise drawing, painting,
collage, clay modelling, making o puppets, creating
artistic objects by ree expression, simple concepts
o isual arts, knowledge o works o well-known
artists, both contemporary and historical, etc.
Lmphasis should be laid on the use o learners` own
imagination, deelopment o their own concepts,
and expression through obseration and
exploration. 1hey should be enabled to deelop a
sense o organization and design and to experience
the joy and satisaction in aesthetic pattern that
permeates all lie.
Actiities related to day-to-day eents o lie,
nature, and enironment may be learnt through drawing
human and animal igures, ree hand sketching,
designing book coers, cards, olders, ties, etc., and
dyeing, printing and embroidery to design textile, etc.
At this stage, children should deelop senses o
perspectie, proportion, depth, light and shade,
texture, etc. by using pencil, pastel, poster colour,
watercolour, collage, pen, brush, ink, linocut,
computer, etc. as tools o expression. 1hey can also
use dierent sizes and types o paper. 1hey should
be encouraged to work together in small and large
groups. 1hey should be gien opportunities to
maintain the resources o the art room and isit
workshops, museums, and exhibitions.
A Cuse StuJy oj Curmel Conuent Sr. Sec. School,
BHEI, Bhopul
Carmel Conent School not only encourages its
students to study the usual subjects but also emphasises
extracurricular actiities to deelop their creatie and
imaginatie aculties. 1he extra-curricular session starts
in April. 1his is the time when children are ree rom
their exams and are excited begin their new classes.
1his is the month when drawing and painting
competitions start. Students are proided with some
current topic. 1here is no restriction regarding the
medium, they are encouraged to use whicheer
medium they want or their expression o thought.
Ater the summer acations, July is an important month
or Carmel Conent School as the Carmel Day is
celebrated in July. On this occasion, the whole school
is decorated with paper items, lowers, and wall
hangings.
August is called the sisters` month. \ith
celebration o the estial o Rakhi, students are
taught to make dierent kinds o Rakhis in their
crat class. In September and October, the school
conducts science and crats exhibition. One can take
a look at the immense creatiity which the school
students display. 1he items displayed at the crats
section are all made by students in their classroom,
which include paintings, drawings, embroidery-
work, wall hangings, sot toys, paper bags, ceramic
works, etc. Various competitions, on the basis o
1 5
classes or groups, are also held at this time, including
pot-decoration, rangoli, alpana, mehendi, best out
o waste`, lower arrangement, photo raming,
lantern making, egetable caring, etc.
In December, students participate in either the
sports day or the annual unction, conducted
alternately. Students prepare all the costumes,
masks, stage sets, and dance programmes. 1he
month ends with celebration o the Christmas Day.
Students perorm arious cultural programmes and
enjoy with Santa Claus.
1hen comes the time to bid arewell to the
students o class XII. 1he loe o their juniors can
be seen in the act that een the initation cards are
made by class XI students, let alone the decoration.
Similarly, students get an opportunity to display
their loe or the teachers on the occasion o the
1eachers` Day.
In the prayer serice, which has to be perormed
by each class, students choose a topic and coney
their thoughts regarding that topic with the help
o songs, skits, and charts. 1his is a good way to
improe the imaginatie ability o the students.
Students are also encouraged to take part is
interschool competitions and bring laurels to the
school.
6.2 Secondary Stage
At the secondary stage, students will hae the choice
o opting or one o the ollowing art education
subjects-isual arts, dance, drama, or music.
Objectiues
Joyul experience
1o reining aesthetic sensibilities based on
earlier experiences.
1o expose the learner to the cultural
diersity o the country through olk art
orms, local speciic arts and other cultural
components leading to an awareness and
appreciation o national heritage.
1o deelop a perspectie o artistic and
creatie expression through experimentation
with dierent tools, techniques and medium
in two and three dimensional isual art orms.
Content, MethoJs unJ Muteriuls
Druuing unJ Puinting
1o express original experiences reely and
spontaneously, learning to obsere, deelopment o
sense o perspectie, proportion, size, depth, light and
shade, tactile eeling, season, time, mood etc. are some
o the main objecties o art education at this stage.
Basic knowledge o human body and its proportions,
compositions based on arious themes, knowledge o
local,traditional art orms, sense o perspectie, etc.
may be included in the syllabus o class VIII. 1hey
may be gien projects leading to creatie expression
and experience, participation in inter-group and
inter-school art actiities, study trips, interaction with
artists in the community, and awareness o traditional
art orms in the community and neighbourhood. Values
related to other core components in education, such as
India`s common cultural heritage, history o reedom
moement, national identity, constitutional obligations,
current social issues and protection o enironment,
etc., may be gien as topics or compositions. Students
during the two years o secondary education must be
allowed to work in at least three mediums using pencil,
pastel, water or oil based colour, collage, linocut, pen
and ink, and mixed mediums.
Sculpture
Plaster o Paris, dierent types o clay, papier mache,
sketching practice, making o armature, pottery ,hand
1 6
made,, and ceramic work may be included or
three-dimensional expression. Students may be
encouraged to make useul products like pottery
items or the school or home.
Theory
At this stage, theory should be taught along with
practical study. In theory, students can be made
aware o contemporary artists, their style o
working, paintings, sculptures, and relie works in
architecture o arious periods. Art history to
should be taught along with arious isms and styles,
ollowed by more inormation on artists who
specially interest the child, rather than imposing
the study o certain artists, etc. It would be adisable
to deelop among them a sense o critical analysis
o art works, how and why works o art, crat, and
design dier oer time and rom one place to
another. 1hey can also reiew their own and others`
works, obsere and express their iews on original
works and reproductions, isit galleries and
museums, and participate in Internet-community-
based project works.
Art-reluteJ Pructices ut Puthu Bhuuun,
Shuntiniketun
1ribaropav or the tree planting ceremony takes place
on the 22nd o Shraan eery year to mark the death
anniersary o Rabindranath 1agore. A sapling is
carried on a decorated palanquin in a procession o
dancers, cbatri bearers, and schoolgirls representing the
ie elements o nature. 1he area where the sapling is to
be planted is decorated by apava designs. Among Vedic
chants, songs, and inocations o the ie elements o
nature, the sapling is planted. 1he decorations and
jewellery worn by schoolgirls are made o leaes,
lowers, pearls, and buds.
aaar.bav or the ploughing ceremony is
perormed on the morning o the 23rd o brarav
eery year. 1he ceremony begins with ploughing
the area, which is decorated with apava designs.
1wo decorated bulls plough the ield amid Vedic
chants, recitations, and music. 1his occasion also
marks the start o a week-long programme called
Rabindra Saptaha. During this, eery eening, talks,
discussions and programmes related to arts, culture,
literature, rural reconstruction, education, etc. based
on 1agore`s philosophy are conducted by eminent
personalities.
Rabipvrviva is celebrated on the 26th o
barrav eery year, when students make rabi.
using innoatie materials and designs. 1he senior
students ensure that no wrist is let empty.
Independence Day on 15 August is celebrated
with songs and decorations with apava designs-
using leaes and lowers, or paints,powder or
liquid. In the eening, the area is decorated with
lamps and school and college students sing patriotic
songs.
1eacher`s Day on 5 September is celebrated by
students by taking classes, arranging exhibitions,
and decorating certain areas with alpana designs and
seasonal lowers and leaes. Sports eents with
combined participation o teachers and students and
a special programme by teachers or the students
are organised in the eening.
bipot.ar is celebrated on the 31st o Bhadra
eery year in Sriniketan. An exhibition o
handicrats is held. 1his vt.ar honours traditional
crats and cratspersons and is an alternate to
1i.raarva Pv;a.
.vavaavea and Mabaa,a are held on the 8th
o Ahwin in the school premises. lor this, students
rom each class make small and large objects using a
1
wide ariety o materials. Student groups ,o eight
or more, decorate their stalls, design posters, and
keep account o their sales. Students also bring out
small magazines and publications o their creatie
writings and drawings, calendars and cards, objects
made rom commonly ound things, etc.
Celebration o Deba Dias o Maharishi
Deendranath 1agore starts with Pav.b |t.ar in
the last week o December eery year. On this
morning, a programme o songs, recitations, and
speeches is held at the Chatim 1ala. 1he area around
the Cbativ tree is decorated with apava designs
made by college students o Kala Bhaana. 1he
occasion celebrates the Brahmo Dharma. Pav.b
|t.ar is held or 3-4 days. In this, local artisans
and artists participate in cultural programmes and
exhibitions, and a air is held.
Celebration o the loundation Day o Visa
Bharti and a conocation o the schools are held on
the 8th day o the Pav.b month eery year. 1he
conocation area is decorated with a ery large
apava, made by school students oer a period o 3
to 4 days.
Cbri.tvt.ar or Christmas is celebrated on 24
December. In the eening, the Upasana lall ,or
Mandir, is decorated with candles and apava
designs. Singing o deotional songs and carols and
discourses on the estial are arranged on this
occasion.
Mabari.bi varav is held on the 6th day o
Magb, that is, the death anniersary o Maharishi
Deendranath 1agore. On this day, there cultural
programmes are held at the Upasana lall in the
morning and at the Chatim 1ala in the aternoon
or eening.
rivietav 1ar.bic |t.ar ,Annual lestial, is
held during the 23rd to 25th days o Magb. A
programme is held on the 23rd to celebrate the
oundation day o Sriniketan. Local artists and
artisans hold exhibitions. 1he area is decorated with
apava designs.
a.avt |t.ar ,Do or oi, is held on the 22nd
day o Pbagvv. On this day, students colour their
traditional dress with yellow colour, make
ornaments with Palash ,lame o the orest, lowers
and leaes, welcome Basant with song and dance,
and throw dry colours on each other.
Cavabi Pvrvabo is celebrated on the 10th o
March, when all school and college students and
teachers participate in cleaning up o the whole
ashram ,school and college, area as well as their
hostel areas.
On the last day o the Bengali year, the 30th o
Chaitra, a programme is held in the eening at the
Upasana lall ,Mavair,. On the Bengali New \ear`s
Day, which also celebrates the birthday o
RabindraNath, the 1st o Baishakh, a programme
o songs and recitations is held in the morning at
the Upasana lall. In the eening, a dance drama is
staged by the students o class IX. Students are
inoled in the stage and dress designing. Rehearsals
continue or a month beore the programme. Lery
\ednesday morning, upasana is held at the Upasana
lall ,Mavair,. Articles rom writings o
Rabindranath 1agore are read. Songs and Vedic
mantras are recited.
6.3 Higher Secondary Stage
At the higher secondary stage ,Classes XI and XII,,
ine arts can be one o the optional subjects and all
the schools should proide acilities or ine arts
subjects, depending on the resources aailable. 1he
curriculum o ine arts subjects, be it painting,
sculpture, or graphics, should inole 30 o theory
1 8
and 0 o practical work. 1he dimensions o
history o arts and aesthetics should be included in
the theory curriculum.
Objectiues
At this stage o education, emphasis should be on a
proessional approach towards the subject rather
than on creating awareness and knowledge, which
was generic in nature up to Class VIII. At this stage,
it should be taught as a discipline. 1he teaching
objecties here will be:
1o sharpen the skills attained earlier
1o deelop proessional skills in ine arts
1o deelop a perspectie o design
1o help students express themseles in their
preerred style and medium
1o deelop a historical perspectie o art
in the context o the world as well as India
1o retain the joy o the actiity
Content, MethoJs, unJ Muteriul
1he emphasis should be on exploring and
deeloping ideas drawn rom their imagination and
experience, rom their own obserations, and rom
their own collection in their sketchbook to suit
dierent purposes and audiences. Now, they should
be able to draw on an expanded range o materials,
tools, techniques, and processes ,or example,
drawing, designing, and print making,, mix and
adapt them to achiee eects, reiew their own and
others` work, use critical eedback to deelop their
work urther, and identiy art, crat, and design o
dierent times in western Lurope and the wider
world.
7. CURRICULUM OI PLRIORMING ARTS
7.J Drama
By nature children are inentie and willing to
suspend disbelie. In their own play, they dramatise
without adult help and experiment with ideas.
1hrough this play, children gradually come to grips
with the adult world. 1hey explore situations and
discoer how they eel.
Drama is a creatie actiity. It proides a
medium through which the indiidual can express
his,her ideas and reaction to the impressions he,
she receies and, by expressing them, learn to
ealuate and experience them. By this process, ague
impressions are brought into sharp ocus, puzzling
ideas are demystiied, and ragmentary ideas are put
in perspectie. Drama, like other creatie arts,
makes the indiidual examine what he is thinking
and eeling. Imaginatie obseration is stimulated
and our understanding o the world and ourseles
is extended and deepened. lrom the earliest times,
drama has ulilled this basic need o human beings.
Drama, in its true sense, is a sel-eoling art orm.
At the elementary leel in schools ,Classes I-
VIII,, drama is perceied as a way o learning, a
socializing actiity, and an art orm. As children
grow and moe to higher stages o school education,
drama takes the shape o an organized orm o
perorming art, with groups o children working
together or common goals. Drama ulils children`s
psychological need o ree expression and
imagination, builds their characters, and inally
through stories leads them to play production or
an inited audience.
Drama at Different Stages of School Lducation
XI - XII lormal and organized drama
IX - X Drama Drama as a perorming art}
VI - VIII Improisation
I - V lree play Llements o creatie drama}
Creatire arava iv it. trve.t ava aeepe.t .ev.e
cavvot be .tereot,pea. t. ie a rirer-ara,.
1 9
ov tbe vore-vaivg covvectiov.; covvectivg
rirer bav., covvectivg .tartivg poivt. ava
ae.tivatiov.; covvectivg tbrovgb ivprori.atiov,
actiov ava reactiov, ivitiatire ava re.pov.e,
tbivivg ava feeivg; reatiov. betreev peope,
iaea., ava erev cevtvrie.!
Julie 1hompson
7.1.1 Upper Primury Stuge
1he objecties o teaching drama at both primary
and upper primary stages are ery close to the
objecties o modern education ,new education,,
e.g., deelopment o creatie, aesthetic and critical
abilities, deelopment o communication skills,
social growth and cooperation, inculcation o socio-
What does a Child Gain from Participating in Creative Dramatics:
lirst and aboe all, the children gain enjoyment, or the ery word play, understood in its widest sense,
indicates enjoyment. Childhood is a time o playing, be it with peers, pets, adults, or with lie itsel, it is
through such a process o play that the child discoers and experiences the world in a structured
manner, step by step. 1here is a wide range o other beneits: drama proides an outlet or sel-expression
and helps the deelopment o imagination, creatiity, and artistic awareness, it increases social and
mental awareness ,particularly through role-play,, enhances the child`s luency o speech and expression,
leads to sel-knowledge, sel-respect, and sel-conidence. It gies children an opportunity to learn how
to co-operate with others and helps deelop orderly thinking and the ability to organise. Drama creates
and osters a sense o discipline. Children quickly learn how to co-operate each other in a team to
achiee collectie goals in a limited period o time. 1his requires listening, problem soling, and time
management skills, besides initiatie and resourceulness. Participation in drama improes physical
co-ordination and physical itness. It may also hae a therapeutic eect, and help children to deal with
their real-lie problems ,socio-drama,, or a cathartic eect, enabling them to act out the iolence and
rustration in them ,psychodrama,. It proides social and moral training, helps young people to mature
emotionally, and prepares them in a ery real, though playul, way or the complex roles o adult lie.
1he key to this eolutionary process is respect or the child, his,her eelings, emotional states,
belies, and also respect or the child`s ability to perorm tasks independently. 1eachers should neer
demonstrate how a role is to be enacted. 1elling children how to speak lines or make moes on stage
limits their imagination and stunts their deelopment. 1hey must hae the reedom to discoer their
own hidden impulses and potentials through play, thus motiating them or experiential learning. 1his
enables them to seek their own highly indiidual ways o expression. Aboe all, this is how they will
enjoy what they do.
2 0
cultural alues, and aboe all knowledge o the sel.
Children learn better in a state o relaxation, where
they not only enjoy learning but also construct their
own knowledge` through dierent experiences that
are unimaginable in a traditional classroom situation.
Objectiues
Main objecties o teaching drama at the upper
primary stage are:
1o deelop a sense o organization, the power
o obseration, and concentration in children
1o enhance imagination and support
sel-discoery
1o help children create and organize their
own ideas and perceptions through body
moements
1o impart understanding o human
relations and their conlicts
1o use drama as a technique in establishing
peace and harmony in the school
Content
Breathing exercises and physical moement
o body ,with music and without music,
Dierent kinds o theatre games and
exercises based on obseration,
concentration, trust, responsibility,
imagination, ocabulary, and language
Loud reading o stories and poem recitation
with expression
Narration and story telling
Basic understanding o dierent kinds o
sounds, rhythms, clappers, and other local
materials, creating human sounds with
ariations o pitch, note, etc.
Mime and pantomime
Simple perormances o short plays and skits
Visit to a local theatre show,perormance,
its appreciation and ealuation
Children should be encouraged to get inormation
about their own traditional and olk orms o
theatre. 1hey should be asked to watch Ramleela,
Rasleela, and other estial perormances in their
own regions and initiate discussions in the class on
dierent roles, characters, liestyles, problems,
attitudes, and interests, etc. that they hae obsered
and understood while watching these perormances.
MethoJology
Since drama inoles both indiidual and group
work, the methodology should be mainly the
workshop mode, where each child gets a chance to
participate in all that goes in a drama class. 1he
teacher`s role is that o a acilitator and motiator.
Children should be exposed to arious independent
tasks, which they take up indiidually as well as in
groups.
7.1.2 SeconJury Stuge
1beatre i. ove of tbe vo.t evricbivg eperievce. a
per.ov cav bare. ^ot ov, aoe. it riaev ove`.
eperievce ritb ife bvt it. bep. aereop .i. for
copivg vore effectire, ritb ife`. rea probev..
av certaiv tbat bvvav aigvit, ba. it. root. iv tbe
qvait, of ,ovvg peope`. eperievce.
Dr Lee Salk
Objectiues
Children at the secondary stage are in a period o transition,
they are, in act, adolescents and are in the process o
preparing or adult lie. lence, the objecties o teaching
drama should include catering to their changing
psychological needs, particularly, their search or their own
identity. 1he ollowing objecties should be kept in mind
while teaching drama to students at this stage:
2 1
1o oster sel-awareness and expression
1o create aesthetic awareness and deelop
imagination
1o enhance conidence in moement and
speech
1o strengthen concentration and logical
organization o ideas, thus deeloping the
power o analytical thinking
1o deelop tolerance and sensitiity towards
onesel and others in the society, to deelop
appropriate attitudes towards onesel and
others through creatie expression
1o understand inner and outer conlicts o
lie and help ind solutions
1o integrate learning experiences o other
subjects into drama
Content
Adanced 1heatre Games: mirroring groups and
leaders, enacting conlicting emotions ,laugh and cry,,
responding to music, memory games like action,
words, etc., story-telling, and role-play,
improisations o arious kinds with deelopment
o theme and story, etc.
Body Language: obseration and
understanding o dierent gestures and
postures used at dierent stages o human
lie and related to dierent strata o society,
using the body expressiely and as a speciic
character
Voice and Speech: exercises or oice
articulation, projection, and expression,
speech-related actiities ,loud reading with
expressions, to be taken rom language texts
in Lnglish, lindi, and mother tongue, etc.,
interesting news items and stories rom Indian
classics,olklore, etc., actiities o narration
and story-telling o the traditional kind
Aesthetic Appreciation: exposure to arious
theatre perormances by dierent groups,
analysis and reiew o perormances,
ealuation o one`s own growth through
daily relections, keeping record o one`s
obserations and experiences in a journal`
Play Making: creating a short theatre piece
rom a text or through improisation
Stage Crat: awareness and use o dierent
stage crats, iz. costume and make up,
sound and music, lighting and stage setting,
etc.
1heatre Ltiquette: exposure to dierent
stage productions and local perormances,
learning certain rules o sel-discipline to
be obsered during the play, such as taking
seats beore the play starts and aoiding
consumption o ood items, use o pagers
and mobile phones, etc.
Students should be encouraged to isit
exhibitions, watch plays on stage, and appreciate
Indian olk orms as the audience. Local theatre
personalities may be inited to school or interactie
sessions with students and lectures or demonstrations.
1owards the end o the session, students should be
able to ealuate their own growth through an
objectie sel- appraisal procedure.
MethoJology
1he workshop mode should be adopted,
which is participatory in nature.
Group work should be encouraged or peer
learning and exploration.
Group consensus must be strictly adhered
to whereer required.
1eachers should hae the spontaneity to
change their stances rom a acilitator to a
manipulator and enabler.
2 2
1he teachers` role in a drama class o secondary education stage is ery crucial. 1eachers should be
igilant o their own ariation o moods. 1hey should also grow with the group by making sel-obserations
and relections. 1hey should maintain a record o their own eelings and emotions in a diary to become
better teachers eery day.
The Sensitiuity PyrumiJ through Drumu
1he highest goal o any art orm is sel-realisation`-knowing, obsering, awareness, and its growth-a liing
and growing conscious indiidual.
1o help learners strengthen their powers
o obseration, concentration, reasoning,
imagination, and analysis
1o get an understanding o dierent
dramatic modes
1o amiliarize learners with drama as an
art orm, comprehend its aesthetic alue,
7.1.3 Higher SeconJury Stuge
Objectiues
1o deelop sensitiity towards sel, others,
and also towards one`s own enironment
1o help learners understand thei r
own personal i ty through a deeper
understanding o sel
Self-realization (seeking truth)
Nature
and
other
surroundings
(creation)
Human relations and
bonds of love
Own and others' sensitivity
1. Aesthetic value (beauty and harmony)
2. Educative value (knowledge skills and
method)
3. Spiritual experience (highest) (including
fine and performing arts)
Art forms
Refinement of human natureevolving from lower to higher forms of energy. Refinement of human nature evolving from lower to higher forms of energy.
Self-realisation (seeking truth)
2 3
and deelop a sense o appreciation or it
1o expose learners to Indian art and culture
and deelop respect or it
1o prepare and equip learners or uture
lie or better adjustment and understanding
o human nature
Content
,A, Acting
1beatre Cave. ava vprori.atiov
Adance physical and mental exercises
selected or deelopment o body, image,
body balance, and the ie senses, yogic
discipline asanas and meditation
Concept o abhinaya, understanding the
concept o bhaa, rasa, and abhinaya
through practice
Lxercises in acial expressions, ariation o
body moements and play-reading
Lxercises selected or practising postures
and gestures
1oice ava peecb ;1beor, ava Practica)
Understanding the mechanism o oice
production and the respiratory system,
deelopment o breathing, learning the
correct way o breathing and the
mechanism o resonators
Deelopment o oice, olume, pitch, tone,
projection, octaes, etc.
Learning to identiy and aoid the dierent
errors in speech
Practising good speech-prose, poetry,
dialogue, dramatic text, etc.
,B, Dramatic Literature and Play Production
Dramatic structure, deelopment o
characters, play process, analysis o play,
reiew and critique
Production process
Short reiew o dierent kinds o theatre,
particularly Indian theatre
,C, Stage 1echniques
Understanding the basics o stage design,
the importance o costume designer and
stage maker, research and actual design or
a play
Discoering music and sound eects or
appropriate modes or a play
Lighting as a part o production design and
exposure to dierent lighting systems and
equipment
,D, 1heatre Management
Students should learn to design posters, tickets,
brochures, handouts, etc. or a speciic school eent.
Students at the higher secondary stage should be
encouraged to watch local stage productions, public
perormances, cultural estials, etc. and maintain a
relectie journal. 1hey should be able to ealuate
a stage production and gie their own opinion and
eedback on such a production or better theatrical
presentation. Students should be able to write their
obserations, experiences, and other details o their
sel-growth on a daily basis. 1hey should also be
able to relect on social issues, human nature, and
relations and keep a record o the same in a journal.
MethoJology
1. 1heoretical inputs are to be proided by
the teacher through discussion, interaction,
take-home assignments or projects, etc.
2. All practical work will be done through
the workshop mode, which has to be
participatory in nature.
Curriculum or children with special needs
would ocus on those learning goals which can easily
be achieed. Dierent dramatic modes and actiities
2 4
should be used keeping in iew the respectie
disability o each child.
or pb,.ica, cbaevgea cbiarev
Narration, story-telling, and speech-related
actiities
Sound and music
Puppetry
lormal drama with clear plan and instructions
or ri.va, cbaevgea cbiarev
Narration, story-telling, and speech-related
actiities
Sound and music
Playing musical instruments
or evotiova, ai.tvrbea ava vevrotic cbiarev
Role-play
Improisation
Drama for Children with Special Needs
lor the disabled child, the drama` experience is both educational and therapeutic. 1he creatiity o the
entire process o drama, using imagination to be someone else`, integrating dance, music, speech and
action, is oten let out` o the educational experience o the child with special needs. Drama has an
immense potential to break through our stereotypes about what a disabled child can or cannot do.
Deeloping a script,production in which their abilities can be used at ull stretch is the irst challenge.
low does one bring together children who are wheelchair-bound, hae restricted mobility ,due to
spasticity or orthopedic dysunction,, or suer rom isual impairment, speech deects, limited attention,
retention span, etc. on the same platorm and still make it a worthwhile experience or the audience
Choosing a story with animal characters usually works best, allowing the wheelchair to be transormed`
into lower petals or the wings o a bird .proiding opportunities or those who cannot speak to
dance or moe in their own way to the music, and giing simple dialogues to those who can master and
delier it with suicient chorus lines or all to pitch in!
lirst, one has to break the story into small sections that can be explained and repeated section by
section to the participants, so they can get amiliar with characters, situations, and the sequence in which
they ollow. 1he limited experience o the disabled child must be kept in mind. Not all o them are
een amiliar with the dierent animals and birds o our country-so an educational input is needed
or this as well. Only now can rehearsals begin.
It is better to rehearse small sequences separately so that they can be totally mastered by the cast
beore moing onto the next sequence. Slowly, oer a period o eight to nine weeks, will the play begin
to emerge and children will be happy to repeat and add onto the action. Also, humour, both physical
and erbal, is an essential ingredient o a children`s play. By the day o perormance they would all be
geared up, as this is oten their irst experience on stage and they would all be eagerly awaiting it!
2 5
Music and moement
Preparation o masks and puppets
7.2 Music
7.2.J Upper Primary Stage
Objectiues
1o deelop an appreciation or music
through knowledge o dierent notes and
rhythm ,tala,
1o distinguish dierent styles,orms o
ocal and instrumental music
Content unJ MethoJs
At the upper primary stage, students should be able
to deelop a sensitiity towards musical orms,
both ocal and instrumental. A thorough
knowledge and understanding o shuddha and ikrit
swaras, and ability to sing a ew alankars should be
taught. Students should be taught compositions
based on ragas, i.e., chhota khayal in ocal music
and drut gat in instrumental music. Also Carnatic
music should be taught according to capacity o
the teachers and students. Community songs, olk
songs, songs o national integration, deotional
songs, etc. can be taught. Learning traditional songs
or instruments rom members o amily and
community and perorming it in the class may be
encouraged. All the children should be gien
opportunity to enhance their perormance and
participate in dierent actiities, i.e., group singing,
orchestra, duets, trio, etc. may be encouraged at
this leel which may be deeloped by the students.
Music should not be restricted to the
conentional system and should hae a lot o scope
or innoations. 1he children should be made aware
o the arious contemporary musicians, ocalists,
and instrumentalists. 1hrough arious actiities and
projects, students at this stage should be encouraged
to make a pool o inormation about dierent
artists, collect their photographs and biographies,
etc. and display them in the classroom. 1eachers
teaching at this stage should explore the possibility
o inoling musicians o their community,region.
Audioisual material may be used and the teacher
should be able to teach students the basics o classical
ocal and instrumental music, which should also
be made aailable to them.
7.2.2 Secondary Stage
Music will not only lighten the burden o
curriculum on children but also reduce the conlicts
their mind and gie them opportunities to bring
out emotions rom inside. Creatie expression
through music enables students to maintain
emotional balance and harmony due to enhanced
aesthetic alues deeloped in them. At this stage,
the subject becomes a discipline,stream, which the
child can pursue or higher studies. 1his is a crucial
stage or linking school education to higher
education. Music teaching at this stage should be
linked with college education.
At this stage, theory and practice o the subject
become equally important. A historical perspectie
o the traditional musical orms needs to be
deeloped. In theory, students should be able to
deine dierent terminologies o the subject with a
clear understanding.
Content unJ MethoJs
At this stage, a basic sense o classical music can be
deeloped through tal, notation system, and singing and
playing. 1he ragas and swaras are patterned in such a way
that students should be able to recognize the qualities o
a raga and the part played by its swaras at this stage.
2 6
7.2.3 Higher Secondary Stage
Content unJ MethoJs
Vocal: melody instruments ,sitar, sarod, guitar,
iolin, lute, etc.,
1heory: shruti, swar
\orking knowledge o the notation system
Classiication o musical instruments
Contributions o musicians and their
biographies
Project work
7.3 Dance
1he teaching o dance as part o the ormal
curriculum proides a number o distinct
adantages, which are probably encountered only
in Indian system o dance practice.
Since classical dance is an aesthetic culmination
o moement, music, expression, literature,
mythology, philosophy, rhythm and ractions,
yoga and sadhana, i properly taught, it can gie
many adantages and, in act, can be a correctie
method or many o the problems currently being
aced in the ormal education system. Some o these
adantages are:
Dance proides complete awareness o the
body-how to stand, how to breathe, how
to hold the spine, how to walk, etc.
Dance enhances the sensitiity o a person.
In a society where eelings hae been mostly
suppressed and modes o expressing them
hae been ery ew, dance is a natural way
o expressing human eelings and creating
harmony within and without.
Dance improes concentration, mental
alertness, quick relex action, and physical
agility. It also helps in relieing stress.
1hrough dance training, memory sharpens.
It is through dance that one discoers that
the body also has its own memory. 1he
mind has to be trained in a manner to
memorize the moements o the body.
Its relation with the other arts gies a
broader dimension to the mind. No art can
be nurtured in isolation. Lery art has
relections o some other art. Dance also
has music as an integral part, and poetry,
painting, and sculpture are also closely
associated with dance. So the learning o
dance is not restricted to just body
moements, it is a complete experience o
the understanding o our cultural heritage.
7.3.J Upper Primary Stage
Ieurning Objectiues
1o gain practical knowledge and basic
understanding o dierent classical dance
orms and acquaintance with them through
moements
1o deelop an eye or aesthetics
1o deelop the oerall personality through
body and mind coordination
1o understand the cultural and literary
heritage in brie
Contents unJ MethoJ
Students should know the deinition o classical and
be able to dierentiate between the classical and
regional dance orms. 1hey should be able to
identiy all the seen classical dance orms o the
country geographically, describe each o them, their
history, and costumes. At this stage, students should
get amiliar with simple terms o dance, such as rasa,
hasta, abhinaya, etc. 1hey should also be able to
deelop aesthetics through experiences such as
attending dance perormances and isiting dance
2
institutions in the locality to understand the process
o learning. Students can also isit nearby
monuments, museums, and temples and write about
the dance orms relected in them.
During the upper primary stage, mythology
including stories rom Panchtantra, 1he Ramayana
and 1he Mahabharata can be introduced.
Imaginatie themes can be adapted using simple
dance moements and music.
7.3.2 Secondary Stage
In the curriculum o secondary education, one o
the art education subjects will be compulsory or
all the students or a period o two years. 1he dance
curriculum should include both theory and practice
in the ratio o 30:0.
Ieurning Objectiues
Building on the knowledge o basic dance
orms, which hae been introduced earlier
lamiliarity with the musical components
o dance orms
1o deelop an oeriew o the allied areas
o the dance orms, such as knowledge o
instruments, accompanying techniques,
costumes, stagecrat, concert and audience
etiquette, aesthetics, etc.
Pructicul
Basic ootsteps, positions, hand moements,
and mudras o the chosen classical dance
orm and their usages
Understanding o rhythmic time cycles
Simple combination o dance
Theory
A brie history o the classical dance orms o India
and the regions they originally belong to
Introduction to Bharat`s Natyashastra
Lie sketches o well-known dancers and musicians
Projects
Projects may include watching a ull-length lie classical
dance perormance and discussing it subsequently in
the group.
7.3.3 Higher Secondary
Objectiues
1o make an in-depth study o the chosen
dance orm
1o be able to articulate and communicate
about the dance to laypersons using the
dance ocabulary
Content
At this stage, the student should ocus on a detailed
study o the chosen dance orm ,nritta, nritya, and
abhinaya, and also the literary texts pertaining to
it. Llements o stagecrat, such as acoustics, lights,
sets, costumes, make up, etc., can be introduced.
lamiliarity with musical instruments associated
with the dance orm is also desirable.
Pructicul
Learning the undamentals o the traditional
dance orms
Understanding the musical ormats
associated with the dance orm and the
accompanying instruments
Theory
Detailed study o the Natyashastra and
introduction to Abhinaya Darpana
lamiliarity with poets and their works
associated with the respectie dance orms
Project
Presentation by each student through
lecture demonstration
A dissertation,documentation based on an
experience,interiew with an exponent o
dance
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Study o other trends in dance such as
modern dance, experimental dance, etc.
Introduction to teaching o dance
Attending perormances o arious dance
orms
7.4 Time Allocation
7.4.J Pre-primary Stage
In pre-primary classes, usually, the total duration
o working is our hours ie days a week. Although
the entire curriculum will be transacted through
art orms, at least one hour each day should be
allocated or experiential practice o the art orms.
7.4.2 Primary and Upper Primary Stages
lor classes I to V
2 periods a week or drawing, painting, and
sculpture
2 periods a week or crat
2 periods a week or music
2 periods a week or dance
2 periods a week or drama
lor actiity-based subjects such as arts and
crats, schools should allocate block periods, which
is two periods o 40-45 minutes each. On an
aerage, schools hae 40 periods per week ,at the
primary stage, and 48 periods ,at the upper primary
stage,, out o which one-ourth should be allocated
or art education.
7.4.3 Secondary Stage
During the secondary stage, art education as a
compulsory subject requires equal time distribution
as or other subjects. At least six periods ,three block
periods, should be allocated or practical actiities
and one period should be allocated or theory.
7.4.4 Higher Secondary Stage
At the higher secondary stage, art education as one
o the compulsory subjects requires at least eight
periods ,our block periods, or practical actiities
and two periods or theory. 1ime could also be
allocated in the orm o hal a day eeryday or art
and crats. 1his time could be used or workshops,
melas, community projects, etc.
8. LVALUATION IN ART LDUCATION
It has been suggested that ealuation in art education
has to be conducted periodically to assess the
progression o the child`s perormance and this
ealuation has to be done on a non-competitie,
non-comparatie basis. 1he ertical growth o the
child`s perormance is what needs to be assessed.
1he ealuation criteria will be deeloped or
dierent stages, or which a broad guideline is
proided here.
8.J Pre-primary Stage
,Reer to Laluation rom writing team paper,
At this stage, usually ealuation takes place in the
orm o descriptie reporting o an oerall progress
and behaiour o the child. At this stage o
education, usually language, numbers, and simple
ideas about lie are taught through art orms. 1hus,
participation o the child in all the actiities during
our hours o schooling should be assessed. It is
adisable that teachers emphasise ree expression and
25
75
Arts Education Others
2 9
creatiity throughout the year and also assess the
child in terms o his,her own progress rather than
judging him,her as compared to other children in
the class because competition kills creatiity among
the children. 1hey need more encouragement than
competition or sel-deelopment.
8.2 Primary Stage
lrom the primary to the higher secondary stage,
the process is ery important and the ealuation is
to be done throughout the year.
1he work o children should be assessed on a
three-point scale ,in eery term,
Learning to obsere ,obseration,
Spontaneity and ree expression
Interest in participation in dierent actiities
Group work participation o each child
8.3 Upper Primary Stage
1he work should be assessed periodically and
relected in the report card ,on a our,ie-point
scale,:
Participation o students
Social interaction
Understanding and deelopment o
sensibility o basic elements,principles o
art and design
Proiciency in handling the medium used
Lxperimenting in dierent mediums
8.4 Secondary Stage
Laluation is a continuous process with grades rom
each term:
Six complete works by the end o two years
Internal assessment beore board
examinations on all the work done during
the two years IX and X ,50 marks,.
Assessment by external examiner ,50 marks,
to be done ater seeing exhibition o
complete works and examination work ,six-
hour paper, in consultation with the
internal examiner
8.S Higher Secondary Stage
lormal ealuation ,on a ie-point scale, with marks
assigned as in case o other subjects:
Submission o portolio
Process orientation
Proiciency in handling the medium
Accuracy in obseration
Lxpression o the student`s indiiduality
Adequate depiction
Accuracy in depiction, sketching o objects
9. ART LDUCATION AND TLACHLR
LDUCATION IN INDIA
1eachers play a ery signiicant role in the early
lie o a child. Ater parents, teachers are the adults
with whom the child starts interacting at a ery
early age ,probably at the age o three years
onwards, and this is the stage o oundation o the
child`s learning and behaiour upon which he,she
builds his,her uture. \hile talking about the
proile o the child in a curriculum, it is equally
important to consider the proile o a teacher,
Lvaluation
No examination
Process oriented
Criteria based
Non-competitie
Continuous and compressie
3 0
teacher education, and the capacity building o
teachers in India in the present scenario.
1bere i. a .trovg veea for reravpivg teacber
eavcatiov ava capacit, bviaivg for teacber. iv tbe
covvtr, becav.e tbe teacber i. tbe e, per.ov rbo
ba. to trav.forv tbe cvrricvvv ava tbev trav.vit
it iv tbe ca..roov. Since the curriculum o art
education at the pre-primary and primary stages
has been largely integrated with the teaching o
dierent subjects, the art education component in
the teacher education and training-both pre-serice
as well in-serice-needs to be adequate. Since a large
number o schools hae one teacher to teach a class
in the primary stage, the teacher should apply
teaching-learning methods o arious isual and
perorming art orms to be more innoatie and
creatie. It is essential that teachers themseles are
creatie enough to create interest among children
to be more creatie. ,1he other National locus
Group on 1eacher Lducation will be consulted or
more suggestions and adice on this issue.,
Upper primary stage onwards, there is a need
or teachers specially trained in imparting art
education. 1he concern here is o lack o trained
teachers in the schools or art education like 1G1s
and PG1s or teaching other subjects, such as
language, mathematics, social science, and science.
1he art teacher may be a trained artist, but none o
the colleges,uniersities haing our-year degree
course in music, ine arts, dance, or drama trains
teachers. Students who wish to opt or teaching
the arts as a proession need to be trained as teachers
or at least one year, during which they can learn
dierent pedagogical issues, methods, and
approaches o teaching-learning and ealuation.
During the 1960s, RIL Bhopal and Ajmer
conducted one- and two-year courses or ine arts
and industrial crats, which were later on
discontinued. In today`s time, when there is more
scope or proessions related to isual and
perorming arts and more schools can oer art
education at secondary and higher secondary stages,
trained art teachers are all the more necessary.
It has been largely obsered that artist teachers in
the schools only teach students to copy their style
instead o encouraging them to be creatie and
deelop their own styles o expression. lere, the
group has three major suggestions:
1o increase the component o art education
in teacher education or arious stages
1o conduct extensie teacher orientation
programmes or in-serice teachers
1o deelop a one-year course or art
education teachers ater completion o their
proessional degree,diploma in any o the
isual or perorming arts and beore they
become teachers
1o increase the components o art education in
teacher education or dierent stages, the Group
has ollowing suggestions:
Ater higher secondary education, a two-
year training programme makes candidates
qualiied or primary teaching, but this is a
ery short period or understanding the arts
and will gie only a cursory knowledge.
So, schools must get resource teachers two
or three times a week or the primary leel.
lor primary teachers, it is important to
teach concepts o all subjects through art
orms. 1his needs to be imbibed in the
teacher education in such a way that the
teacher hersel becomes creatie and
innoatie in teaching drawing, painting,
paper cutting, mask making, role-play,
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improisation, singing, playing instruments,
body moements, and acial expressions,
and other art tools that can be used by the
primary teachers in classrooms.
In the teacher education curriculum or
upper primary and secondary stages,
aesthetics and appreciation o art and ilm
should be included. 1he teacher should be
able to use art orms as a teaching tool or
teaching arious subjects.
Case of B. Ll. Ld., University of Delhi
I Yeur {1998-99)
Practicvv covr.e.
PR 1.1 line Arts, Perorming Arts
PR 1.2 Crat, Participatory work
PR1.1 Perorming Arts
vairiava !or
Narration,speech
Mime and moement
Role play
Improisation
Poetry and music
Crovp !or
Sound and moement
Role-play
Improisation
Group singing,chorus
Group mime-with,without theme
\riting stories,plays
Preparing plays
!arv vp erci.e. ava Cave.
Stretching-lexibility
Breathing
Mirroring
laith-pushing, liting, diing
Space
Sense
Balance
Body postures
Machines
Cave .
Lye contact
lish ball
lreeze
Making alphabets
Making stories rom word chains
Making stories rom objects
Changing stations
Blindold and making chains ,blindold,
\hisper a word ,pass,
Blinking eyes
Pass a clap
Obseration
\ord game ,be quick,
I.\.-deote 1-2 sessions on each o the actiities.
G.\-1-2 sessions depending upon the progress
shown by students.
Prepare a ew dramas rom school texts-lindi,
Lnglish, Social science.
Content of Drama in Teacher Lducation: B. Ld.
A. Introduction to theory amiliarizing with
Indian theatre, arious olk orms, Greek
theatre, and Sanskrit drama. Students
should be encouraged to read a ew classics
like Oedipus Rex, Mrichhakattikam,
Shakuntalam, and stories rom 1he
Mahabharata and 1he Ramayana, and to
watch stage production o reputed theatre
groups or companies.
B. Dramatic moes: notation and story-telling,
drama games or concentration, obseration,
and imagination, and exercise or balance, use
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o space, language and expression
coordination, etc.
C. Speech-related actiities: conersations,
notation o stories or episodes, building up
story with an idea or object, story theatre-
reading story,poem,piece o prose with
two or three dierent characters.
D. Sound and music: creating sounds with one`s
own use o body, playing orchestra with a
combination o sounds ,group, in rhythm-
use o clappers, hands, whistle, stick, etc.
,local resources,.
L. Mime and moement: mime with recorded
music and own sounds, introduction to
pantomime.
l. Role-play: playing low- and high-status roles
with antastic, real, and imaginatie themes.
G. Improisation:
a, simple improisations based on
situation o daily lie, human relations,
nature, and surroundings
b, improisations based on objects,
costumes, and properties
c, improisations on characters,situations
like
a mother who lost her child in a
natural disaster ,earthquake,
tsunami, etc., or war
a girl who cowed not be sent to
school ater primary years
a group o boys trying to ind a
treasure in a haunted hous
children playing in a garden
lie at a railway platorm
an eening in the local bazaar or
mela
preparing or the arrial o a guest
in one`s school,home
d, playmaking or young children:
dramatic structure and the terms used
in it, iz., plot, character, prologue,
epilogue, conlict, dialogue, monologue,
arts, climax, scenes, tragedy, comedy,
etc., supportie sound and music
eects, light eects and special eects,
etc. to set the mood o the play,
exposure to a ull length play reading
and also its staging by a group,company
e, preparing a short play based on at least
two stories, one taken rom the olk
section and the other a modern story
l. Masks and puppetry: simple paper mask
and puppets-gloe and hand puppets,
inger puppets, preparing puppets rom
letoer materials at house, such as sweater,
socks, 1-shirt, rags, etc.
I. Simple stagecrat: set designing, costumes
and props, light designing, and special
eects
Moe o teaching drama: Drama,theatre is a
perorming art, hence, essentially the methodology
o teaching drama is participatory, leading students
to orm their own questions, explore their own
imaginatie worlds, ind their own areas o interest,
and deelop accordingly with the guidance o
teachers. Students should be ree to participate in
all dramatic actiities and create energy within them
or serious drama. Group sensitiity needs to be
deeloped by the teacher in the early part o the
course through continuous sharing exercises, the
knowledge o the sel, and understanding o one`s
own sensitiity.
lere, the teacher`s role is maniold as the
learning process inoles a lot o experimentation.
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1he teacher is a guide, enabler, motiator,
manipulator, acilitator, and teacher as part o a
whole group. 1he methodology o teaching drama
inoles the workshop mode`, which is based on
the principle o sel-learning`. 1he theory part
should be interactie in nature, where ree
atmosphere is proided to students to explore and
deelop their own understanding through the
aailable resources o books and journals.
Imposition and orced discipline should not be
exercised, rather, students should be gien complete
reedom to bring out their hidden potential through
sel-obseration and sel-discipline. Students should
be encouraged to write their own experiences and
eelings in a sel-relectie journal and assess their
won growth on a daily,weekly basis.
J0. STRATLGILS IOR IMPLLMLNTATION
1here are dierent stages o implementing art
education, such as bringing in art education into
the main curriculum o school education, its
acceptance by dierent stakeholders, and its being
imparted eectiely in schools, which need to be
reiewed. 1here is a need to deelop a stage-wise
curriculum and detailed syllabi, teaching-learning
material, ealuation criteria, extensie pre-serice
and in-serice training or teachers, and guidelines
or schools on deeloping inrastructure. 1here is
also a need or sensitisation o the stakeholders-
the state directorates, examination boards, education
department, school management, principals,
teachers, and parents. Sensitiity towards the subject
will enhance the quality o education.
1he curriculum ramework deeloped by the
NCLR1 will proide a broad guideline to dierent
states about learning-teaching objecties and
content and methods o teaching isual and
perorming art orms at dierent stages o
schooling. 1o make the curriculum implemented
successully, arious strategies hae to be adopted
at dierent leels: states, examination boards,
education departments, directorates, school
management, school principals, teachers, and
parents.
Infrastructure
All schools should hae the basic acilities to proide
art education, which will include trained teachers,
resources to proide basic materials, separate space
or conducting isual and perorming arts.
Clussroom Orgunisution
In an ideal situation, schools should hae rooms
especially allocated or actiities related to both
isual and perorming arts. Actiities related to art
education need space where students can spread their
work, sit at ease, and interact with the teacher. A
careully planned, ully stocked, and well-equipped
art room contributes more eectiely in art
teaching. Some schools hae separate art
departments, as art departments require seeral
rooms. Some een hae separate exhibition halls or
display areas. On the other hand, in some o the
schools, classrooms are conerted into art rooms
during the allotted art periods. Students may be
encouraged to consider the classroom space as their
own, decorate it, and take the responsibilities or
maintaining it. An art room or a music room or a
hall or theatre is a must in schools. It should hae
illustrations, bulletin boards, space or storage,
display area, working area, slide projection acility,
computer, etc.
1he number o students in a classroom should
be limited and manageable. 1his permits the teacher
to pay personal attention to eery student. I the
3 4
class is large, it is adisable to diide them into
dierent groups. 1his will enable the teacher to
superise them group-wise. 1he physical
arrangements in a classroom or any particular
subject are dictated by the actiities to be carried
out.
1he arrangements in the music,dance room
should be done on similar lines. In an ideal situation,
schools should hae a separate room or music,
where the musical instruments, such as 1abla, Sitar,
1anpura, etc., may be kept or use by the students.
1he room can also be used or theatrical practice as
well as dance. Since singing produces higher olume
o sound, especially when a group is singing or
playing instruments, it requires either a soundproo
room or a room located in one corner o the school
building. 1he sitting arrangement has to be made
on the loor to accommodate the whole class.
\hether the room,hall is used or isual or
perorming arts, schools should hae a corner o
booksheles, containing books on arts orms,
artists, etc., which should be accessible to students.
Practices in Classroom and Outside
Some strategies or classroom and outside-the-
classroom practices hae been suggested or the
schools and teachers. 1eachers should try to
conduct group actiities so ar as possible. 1his will
enable children to share their resources and a sense
o cooperation and sharing will deelop among
them. Students right rom the pre-primary to
secondary stages should be gien opportunity to
keep their classrooms clean, display charts, posters,
and paintings, etc., which should keep changing at
regular interals. Display o students` works
encourages them to work more. 1eachers, including
the class teacher, art teacher, and subject teachers,
should gie opportunity to all children to display
their works.
Using Iocul Besources
Looking at the socio-economic and cultural
diersity o the country, it would be all the more
essential or schools, parents, and teachers to be able
to use the local regional arts and crat traditions in
the deelopmental stages o school education. As
mentioned earlier in this paper, we need to protect
our dierse culture and preent the local and regional
practices rom merging into one homogeneous
culture. Children are required to be made aware o
the uniqueness and diersity o their own
surroundings and enironment. All the schools
should proide their children opportunity to work
with the community beyond the our walls o the
school. Almost all the cities, towns, and illages in
India hae local arts and crats traditions,
monuments, etc., around which the children can
construct their own history. Artists, artisans, and
perormers may be called to the school, or they
can be employed on part-time basis by the schools
to teach the art orms. 1eachers in the school should
help build a small library or archie o materials,
posters, books, charts, audio-isual materials, etc.,
which can be used and managed by the students.
1eachers with the help o students can also deelop
materials or display.
Workshops to be OrgunizeJ Irequently
Schools may regularly organize workshops or a
week or ortnight, where local artists can be inited
to interact with the students and teach them the
arts or crats. \orkshops on theatre, music,singing,
making a musical instrument, pottery, leatherwork,
olk dance, animation, and so on can be arranged
3 5
or students` experiential learning. In these workshops,
children and teachers rom neighbouring schools can
also join. \orkshops may also be conducted at the
artists` workplace. \orkshops can also held be or
conseration o the cultural heritage or study o a
monument.
Clussroom Inteructions
It is essential or teachers to interact with students
regularly by asking them about their interests and
what they would like to do in the classroom rather
than being prescriptie all the time. Knowledge
sharing is another method to make the child eel
important when he,she can share her,his
experiences or works with other students in the
class. 1eachers too should share their learning
experiences with children and participate in dierent
actiities. 1eachers should also share their classroom
experiences with other teachers in the school as well
as teachers o other schools. Art teachers o dierent
schools can also hae a orum to share their
experiences or better teaching-learning and
ealuation practices.
JJ. RLSOURCL MATLRIAL IOR ART
LDUCATION TLACHLR AND SCHOOLS
Schools should maintain a small library haing
reerence material and publications rom dierent
goernment and non-goernment organisations in
printed and audio-isual media on arious art orms.
1hese may include teachers` handbooks, audio and
ideo cassettes, CD-ROMs, ilms, etc. depending
upon the resources aailable. Schools can also build
small resource centres, which they can share with
the community, or archies where dierent
material collected by students may be kept. 1his
resource centre or library or archie should be
accessible to all the students. lere, we hae tried to
gie some o the materials deeloped by dierent
institutions.
National Council of Lducational Research and
Training
1eachers` landbook o Art Lducation,
Class VI
Let us Sing 1ogether: Aao Mil Kar Gayen,
1999 Lducation
Sangeet Ka Lahrata Sagar, Vishnu
Digambar Paluskar ,lindi,
lindustani Shastriya Sangeet Ke Pramukh
Kantha Sangeetagya ,lindi,
Uttar Bharatiya Shastriya Kantha Sangeet:
Lk Adhyayan
Raja Rai Verma ,lindi,
Lk laya ek 1ala ,lindi,
Kala Shiksha Ki Shikshak Sandarshika
,Class V,
lun with Art and Crats
Research Studies and Monographs-
Orchestral larmony
Central Institute of Lducational Technology
Audio-isual material on isual and perorming arts
National Book Trust
Contemporary Art in India. A Perspectie
,Pran Nath Mago,
Indian lolk Arts and Crats ,Jasleen
Dhamija,
Indian Painting ,Siaramamurti,
1emples o North India ,Krishna Dea,
1emples o south India ,K.R. Sriniasan,
1ribal Lie o India ,N.K. Bose,
All About Photography ,Ashok Dilwali,
Art: 1he Basis o Lducation ,Dei Prasad,
Shiksha Ka Vahan: Kala ,Dei Prasad,
Low-Cost, No-Cost 1eaching Aids ,Mary
Ann Dasgupta,
3 6
Rabindranath 1agore: Philosophy o
Lducation and Painting ,Dei Prasad,
lindustani Music ,Ashok Ranade,
Musical Instruments ,B.C. Dea,
Perormance 1radition in India ,Suresh
Awasthi,
Bengali 1heatre ,Kironmoy Raha,
Creatie Drama and Puppetry in Lducation
,R. Contractor,
Ancient Indian Costume ,Roshen Alkazi,
llowering 1rees ,M.S. Randhawa,
limalayan 1raels ,Ram Nath Pasricha,
lindustani Music ,Ashok Da Ranade,
listory o Gujarati 1heatre ,lasmukh
Baradi,
1ansen: 1he Magical Musicial ,Ashok
Daar,
Center for Cultural Resources and Training
AuJio-uisuul Muteriuls
Odissi Dance, Part 1 and 2
Ramayana: Balakhanda
Bharatanatyam Dance, Part 1 and 2
Seraikella Chhau
Nati Dance-limachal Pradesh
Purulia Chhau
Mask Dances o \est Bengal
lolk Dances o Sikkim
Jaisalmer: 1he Golden City
Poetry on \alls: Vishnupur 1erracotta
1emples
\eaing 1ales o Cloth: Baluchari Sarees
Agra lort ,\orld Cultural leritage Site,
Agra Gharana, Part 1 and 2
Karinga: Land o Rising Sun
Raas Manipuri dance
Khajuraho ,\orld Cultural leritage Site,
Churches and Conents o Goa ,\orld
Cultural leritage Site,
Mahabalipuram ,\orld Cultural leritage
Site,
AuJiocussettes
Azaadi Ke Geet ,Songs o lreedom
Moement,
My Pledge to lreedom
Regional Songs, Part 1 and 2
Colour Slides
Slides on perorming arts
Slides on plastic arts
Culturul Puckuges
National Symbols
National llag ,1iranga,
National Anthem ,jana-gana-mana,
National Song ,ande mataram,
National Animal ,tiger,
National Bird ,peacock,
National llower ,lotus,
National Calendar
National Lmblem ,Ashoka Chakra,
lorts and Palaces o Madhya Pradesh
latehpur Sikri 1 and 2
1extile Designs 1 and 2
lorts, Palaces and laelis o Rajasthan
Purulia Chhau
1raditional 1oys
\orld Cultural leritage Sites- India 1, 2,
3 and 4
Art o Puppetry, 1 and 2
Kuchipudi Dance
Bharatanatyam Dance
Manipuri Dance
Kathakali Dance
Kathak Dance
Odissi Dance
Lxpressions in Lines
3
Musical Instruments o India 1 and 2
Architecture o Delhi
Cultural listory 1, 2, and 3
lorts o Maharashtra
\orld Natural leritage Sites - India 1 and
2
1raditional 1heatre orms o India - 1 and
2
Reports and Books
Kumbh City Prayag
1eeratharaj Prayag
National Seminar on Culture and
Deelopment
Publications Division
Basohli Painting ,M.S. Randhawa,
Buddhist Sculptures and Monuments
,Publication Diision,
5000 \ears o Indian Architecture
,Publication Diision,
lolk Metal Crat o Lastern India
,Meera Mukherji,
Indian Classical Dance ,Kapila Vatsyayan,
Liing Dolls: Story o Indian Puppets
,Jiwan Pani,
Looking Again at Indian Art ,Vidya
Dehejia,
Madhubani Painting ,Mulk Raj Anand,
Natarajan in Art, 1hought and Literature
,C. Siaramamurti,
Panorama o Indian Painting
,Publication Diision,
Selected Surrealistic Painting
,National Gallery o Modern Art,
Some Aspects o Indian Culture
,C. Siaramamurti,
1he Lye in Art ,Dr. Rajendra Vajpai,
\all Paintings o 1he \estern limalayas
,Mira Seth,
Dance Legacy o Patliputra
,Shoana Narayan,
Indian Cinema-A Visual Voyage
,National lilm Deelopment
Corporation,
Indian Classics: Malayalam ,G.S. Iyer,
Indian Muslims: lestials and Customs
,Dr Majda Asad,
Musical Instruments o India
,S. Krishaswami,
1he Language o Music
,V.K. Narayan Menon,
Documentary lilms and Indian Awaking
,Jag Mohan,
lilms Diision and the Indian
Documentary ,Sanjit Narwekar,
Reports
\ashpal Committee Report, 1993
Kothari Commission Report, 1966
Report o the Secondary Lducation Commission,
1952-53
NCLR1 Committee on Improement o Art
Lducation, 1966
3 8
RLILRLNCLS
Learning \ithout Burden
National Curriculum lramework or
School Lducation 195
National Curriculum lramework or
School Lducation 1988
National Curriculum lramework or
School Lducation 2000
National Policy on Lducation 1986
Programme o Action on NPL 1992
A Practical Guide or 1eaching K-12 Visual
Arts Ldited by John A. Michael, 1993
Design or Learning through the Arts` by
Prabha Sahasabudhe, presentation o paper
at IIC Asia, Project UNLSCO and Center
or International Art Lducation
Symposium IIC, New Delhi.