CONTENT OUTLINE
Arts in Education activities in teaching
TOPIC 1: INTRODUCTION TO ARTS IN
EDUCATION
 Concept and learning theory
 Importance of art in education
TOPIC 2: Children, Senses and Arts
 Basic needs related to physical,
emotional, spiritual, intellectual, social,
and aesthetic of children and
adolescent
 Development of sensory in children
 Importance of sensitivity / awareness
of senses in teaching and learning
TOPIC 3: Rhythm, colour and space
 Conducting creative exploratory based
activity with the aim to create
expression and presentation of ideas
through:
- Rhythm
- Colour
- Space
 Conducting activities on awareness of
senses and art
TOPIC 4: Knowledge and Basic Skills on
Arts in Education
 Visual Art
 Musical Art
 Movements
TOPIC 5: Exploratory based activities,
obtaining experiences and expression
through art
 Exploration
 Obtaining experiences
 Expression
TOPIC 6: Application and Management of
and learning
 Exposure to the concept of integration
- Concepts and the various definition of
integrations
- Issues and challenges of integration
- Content integration of unit various
skills, process and strategies
pertaining the subjects
- 5P integration
 Exposure to themes and associations
 Integration of Visual Arts and
Movement in a creative manner for
English language in the primary
schools*
 Generating a lesson plan by
incorporating elements of visual arts,
music and the movement in the
process of teaching and learning
English language in the primary
school*
 *-Involve of all chapterssssssssss
 1. Introduction to Arts in Education
1.1 Concept and learning theory

Concept
 The arts are a way of learning, of exploring, of responding, of revealing and demonstrating, of
imagining, depicting, and making meaning. They belong in the school curriculum, as they belong
in the minds and hearts of all lifelong learners.( David Booth)

Aim and Objectives

 to enable the child to explore, clarify and express ideas, feelings andexperiences through arange
of arts activities
 to provide for aesthetic experiences and to develop aesthetic awarenessin the visual arts, in
music, in drama, in dance and in literature
 to develop the child’s awareness of, sensitivity to and enjoyment of visual, aural, tactile and
spatial qualities in the environment
 to enable the child to develop natural abilities and potential, to acquiret, and to practise the skills
necessary for creative expression and for joyful participation in different art forms
 to enable the child to see and to solve problems creatively through imaginative thinking and so
encourage individuality and enterprise
 to value the child’s confidence and self-esteem through valuing self-expression
 to foster a sense of excellence in and appreciation of the arts in local,regional, national and
global contexts, both past and present
 to foster a critical appreciation of the arts for personal fulfilment and enjoyment.

1.1.2 Multiple Intelligences Theory (Howard Gardner)

Verbal related to words and language; producing language with sensitivity to the nuances,
Linguistic order, and rhythm of words.
Logical includes deductive or inductive reasoning; recognizing and manipulating abstract
Mathematical relationships
Musical deals with the recognition of tonal patterns, environmental noise, and sensitivity to
rhythm and beats; responsiveness to the emotional implications and elements of music.
Visual spatial relies on the sense of sight and the ability to visualize an object; creating visual-spatial
representations of the world, and transferring them mentally or concretely.
Bodily includes physical movement and awareness and/or wisdom of the body; the body is
Kinesthetic used to solve problems, make things, and convey ideas and emotions
Interpersonal Deals with person-to-person relationships and communication: working effectively with
others; understanding people; and recognizing their goals, motivations, and intentions.
Intrapersonal Involves self-reflection and metacognition; understanding one’s own emotions, goals,
and intentions.
Naturalistic Involves the capacity to recognize flora and fauna, make distinctions in the natural
world, and use this ability productively.
Existentialist deals with the ability and tendency to consider questions about life, death, and basic
truths

This theory provides support for a much larger role for the arts in the school curriculum.
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Application in the classroom
 Teachers should encourage students to use their individual strengths, which may be in music,
movement, or drawing (Fowler, 1990).
 Teachers must provide various learning opportunities to meet the needs of their students’ different
learning styles.
 Teachers should try new ideas, approaches, and techniques so they move “out of the box” and create
an environment that inspires problem solving
 Using this model to plan curriculum ensures that a variety of intelligences are used throughout the
classroom and that children’s different ways of learning are supported through appropriate activities.
 For example, when a project is developed by a group of children, they can choose how they will
share the information they have collected. They may use a
 Dramatic presentation, a mural, a dance performed to music, or a computer presentation. Providing
options from different intelligences supports the varied ways children learn while building on their
personal strengths.
 creativity may not be a generalizable attribute for children but rather exists in specific domains and
not in others. For example, a child may be creative in storytelling by using oral language in descriptive
ways. However, that child may not demonstrate creativity when making music with a melody
instrument (Han & Marvin, 2002). Gardner (1983) suggested that educators should be asking how
the child is creative and identifying individual domains of strength rather than assuming a child is
creative across all areas
1.1.3 Constructivism Theory (Lev Vygostky)

 must be studied in the social and historical context in which it occurs.

 socially meaningful activity as the way we learn about ourselves as we interact with others.
 Vygotsky’s zone of proximal development (ZPD) is a well-known concept. He believed that a gap
exists between the child’s level of actual development (what can be done independently) and her
potential level of development (what can be accomplished with assistance). He further explained
that this gap could be filled by the supportive collaboration of an adult or capable peer. This
interpretation recognizes the importance of support, guidance, and interactions as children move
toward their potential (Dixon-Krauss, 1996).
 Appropriate social interactions with both adults and peers can enrich and expand the creative
possibilities for young children participating in the arts
Collaboration in Constructivism Theory

 is a tool used to assist children in working together on projects, sharing ideas, clarifying thinking,
and mediating problems. In the search for information, the teacher poses questions, guides thinking,
and challenges the children to think in new ways.
 For example, in a collaborative group, the students work together to determine how to combine
pieces of fabric and make a classroom quilt. Small cooperative groups work well in the early
childhood classroom and support the development of independent
 Instruction can be planned to provide practice in the zone of proximal development for individual
children or for groups of children. For example, hints and prompts that helped children during the
assessment could form the basis of instructional activities.
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 Cooperative learning activities can be planned with groups of children at different levels who can
help each other learn.
 Scaffolding (Wood, Bruner, & Ross, 1976) is a tactic for helping the child in his or her zone of
proximal development in which the adult provides hints and prompts at different levels. In scaffolding,
the adult does not simplify the task, but the role of the learner is simplified “through the graduated
intervention of the teacher” (Greenfield, 1984, p. 119).
 For example, a child might be shown pennies to represent each sound in a word (e.g., three pennies
for the three sounds in “man”). To master this word, the child might be asked to place a penny on
the table to show each sound in a word, and finally the child might identify the sounds without the
pennies. When the adult provides the child with pennies, the adult provides a scaffold to help the
child move from assisted to unassisted success at the task (Spector, 1992). In a high school
laboratory science class, a teacher might provide scaffolding by first giving students detailed guides
to carrying out experiments, then giving them brief outlines that they might use to structure
experiments, and finally asking them to set up experiments entirely on their own.
 exercises and classroom applications of constructivism will allow children to, at an early age or a
late age, develop the skills and confidence to analyze the world around them, create solutions or
support for developing issues, and then justify their words and actions, while encouraging those
around them to do the same and respecting the differences in opinions for the contributions that
they can make to the whole of the situation. Classroom applications of constructivism support the
philosophy of learning which build a students' and teachers' understanding.
Implication of constructivism theory in classroom

 Hands-on activities are the best for the classroom applications of constructivism, critical thinking
and learning. Having observations take place with a daily journal helps the students to better
understand how their own experiences contribute to the formation of their theories and
observational notes, and then comparing them to another students' reiterates that different
backgrounds and cultures create different outlooks, while neither is wrong, both should be
respected
 Allowing constant conversation between the students and teacher. This engagement creates a
discourse of comfort wherein all ideas can be considered and understood and the students then
feel safe about challenging other hypotheses, defending their own, and supporting real-world
situations with abstract supporting data
 Use teaching strategies that require students to make a construct. (Presenting information is not
enough.) Students must apply, use, or process the information.
 Ensure that all students are participating in making constructs; holding them accountable for
their learning.
 Ensure the tasks require students to process the information at a high level on Bloom's
taxonomy: Evaluation, synthesis, analysis etc.
 Require the students to make a product that is used to diagnose learning errors and omissions.
E.g. speaking to a partner, matching cards, written work etc.
 Require students to check for their own, and each other's learning errors and omissions.

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1.1.4 Hoka-hoki theory (Ned Hermann)
People learn in many different ways. The brain is the source of who we are and how we learn. Ned
Herrmann combined research on right brain/ left brain differences with research on the Triune brain to
create a metaphorical model that illustrates that each person basically has four brains when it comes
to the process of thinking and learning. Depending on which quadrants we engage, our learning
processes can be very different. Brain dominance leads to thinking style preferences, which impact
what we pay attention to and how and what we learn best.

Models of Thinking

Ned Herrmann
compass personality type
Upper (cerebral) right D imaginative, synthesising, artistic, holistic and conceptual modes.

The lower (limbic) right C interpersonal, emotional, musical, spiritual and the "talker" modes.

The lower (limbic) left B controlled, conservative, planned, organised and administrative in nature.

The upper (cerebral) left A analytical, mathematical, technical and problem solving.

Importance of hoka-hoki theory

 allows students to see the full potential of the brain and their abilities and to take an honest look
at where their preferences
 avoidance's are without confining themselves to simply one style or label as a thinker and learner.
 preferences are wonderful and knowing our preferences can give us powerful information about
who we are and what type of work we might enjoy
 having a certain thinking or learning style does not excuse us from interacting with a world of
varying styles. We need to understand how to communicate and learn from and teach others
with different styles.
Application in New Technologies:

 Technology has added an array of possibilities for teaching and has made it easier than ever to
create assignments that encourage all four thinking styles.
 The "A" learner has access to current research information on the web.
 The "B" learner appreciates the practical application that computer software and simulations
provide.
 The "C" learner is able to communicate with both classmates and teachers through email and
chat rooms.
 the "D" learner can create his/her own learning with software presentation tools like Power Point
and Inspiration.

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 Expects Struggles with Thinking Styles Assessment
 Precise, to the point, information  Expressing emotions  Working Solo
 Theory & logical rationales  Lack of logic  Clarifying issues
 Proof of validity  Vague, imprecise  Being challenged
"A"  Research references concepts or ideas  Analyzing data
Learner  Textbook reading  Putting things together
 Quantifiable numbers, data sets,  Making things work
problems  Technical aspects
 Opportunity to ask challenging questions  Using numbers, statistics
 Subject matter expertise  Explaining things
 An organized consistent approach  Risk  Having an order learning environment
 Staying on track, on time  Ambiguity  Planning things out
“B”  Complete subject chunks  Unclear  Attending to detail
 A beginning, middle, and end expectations/direction  Follow up
Learner  Opportunity to practice & evaluate s  Getting things done on time
 Practical applications  Being in control
 Examples  Learning materials
 Clear instructions/expectations  Production and organization of learning material
 Group discussion & involvement  Too much data and  Designing kinesthetic & tactile activities
 To share & express feelings/ideas analysis  Getting groups to work well together
 Kinesthetic, moving around  Lack of personal  Designing participation activities
 Hands-on learning feedback  Communication aspects
 Personal connection with teacher/group  Pure lecture, lack of  Facilitation/ group interaction
“C” participation
 Emotional involvement  Expressing ideas
Learner  A user-friendly learning experience  Listening and talking
 Use of all the senses  Working with people
 Being part of team
 Hands-on design
 Helping people
 Coaching
 Fun and spontaneity  Time management  Designing
 Playful, surprising approaches and deadlines  Taking risks
 Pictures, metaphors, overviews  Administration and  Having variety
 Discovery of the content details  Playing around
“D”  Freedom to explore  Lack of flexibility  Creating metaphors
Learner  Quick pace and variety in format  Seeing the big pictures
 Opportunity to experiment  Dealing with the future
 New ideas & concepts  Bringing about changes
 Developing new things
 Creating or finding visuals
 Having a creative learning environment

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 1.2 Importance of Art in Education
 Importance of imagination, emotion, expression and creativity

1.2.1 Importance of imagination of Art in Education

 imagination was thought of as a way for children to escape from reality, and once they reached
a certain age, it was believed they would push fantasy aside and deal with the real world
 understanding how children's cognition typically develops will also help scientists better
understand developmental delays and conditions such as autism
 imagination and role play appears to have a key role in helping children take someone else's
perspective, says Dr. Harris
 Through imaginary games and storytelling children are more likely to adapt learning habits,
develop their communication skills and improve their vocabulary.
 Imagination is essential in the learning process and can advance cognitive development. Young
children often learn about historical events, different cultures or people that they will never meet,
and imaginative play is a way for them to discover the world that surrounds them and collect
experiences.
 think outside the box and come up with innovative ideas
 Imaginary friends can also be used to help children cope with stress, Dr. Taylor says. "This is a
strength of children, their ability to pretend," she says. "They can fix the problem with their
imagination." who have imaginary friends are more creative, have greater social understanding
and are better at taking the perspective of others, according to Marjorie Taylor, a psychology
professor at the University of Oregon and author of the book "Imaginary Companions and the
Children Who Create Them."
How can you encourage your children to develop their imagination?
 Make up stories
 Creating your own stories is a great way to spark your children’s imagination and enjoy a family
activity, similar to reading a book. Start crafting a story and ask your children to fill in the details.
 Use props and toys to make it more interesting
 There are so many household items that can be used to create a story. From empty boxes that
can become cars and airplanes to dressing up like superheroes, all you need to do is foster
creativity in your children to help them grow emotionally and socially. Even small items that can
be found in kitchen cupboards or around the house can fuel your children’s fantasy and motivate
them to create their own story.
 Visit a museum or gallery
 a painting or a photo can be the beginning of a story for your children. Observe them and find
out what captures their attention. Images are a form of visual storytelling so you can build a story
around the artwork and fill in the gaps with your children.
 Learning the basic Origami techniques will allow your children to improve coordination and
concentration skills.
 Children have now access to a wealth of information and images online. They can see pictures
of extinct animals and watch documentaries recorded in distant counties with different cultures.
There are also a variety of quality TV programs. But since videos are already visualised stories,
it’s best to use these resources as a starting point for your own story and always spend time
discussing the content of the video with your children.

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1.2.2 Importance of Emotions
 feelings and feelings are defined as emotional states
 “Emotions are short-lived, feeling arousal- purposive-expressive phenomena that help us adapt
to the opportunities and challenges we face during important life events.”
 Positive emotions tend to broaden people’s attention and thinking, leading to exploration and
play, new experiences and new learning.
 positive emotion helps to undo the lingering effects of negative emotional arousal
 promotes building personal resources, such as social bonds built by smiles
 intellectual resources honed during creative play, and even when young animals practice self-
preservation maneuvers during rough-and-tumble play
 Far more neural fibers project from our brain's emotional center into the logical/rational centers
than the reverse, so emotion is often a more powerful determinant of our behavior than our
brain's logical/rational processes. It drives attention, which in turn drives learning and memory.
How can you encourage your children to develop their emotions?
 Schools should focus more on metacognitive activities that encourage students to talk about
their emotions, listen to their classmates' feelings, and think about the motivations of people who
enter their curricular world. For example, the simple use of why in a question turns the discussion
away from bare facts and toward motivations and emotions.
 Activities that emphasize social interaction and that engage the entire body tend to provide the
most emotional support. Games, discussions, field trips, interactive projects, cooperative
learning, physical education, and the arts are examples. Although we've long known that such
activities enhance student learning, we tend to think of them as special rewards, and so withdraw
them when students misbehave, or when budgets are tight, eliminate them altogether.
 School activities that draw out emotions—simulations, role playing, and cooperative projects, for
example—may provide important contextual memory prompts that will help students recall the
information during closely related events in the real world. This is why we tend to practice fire
drills in an unannounced, emotionally charged setting: in the event of a real fire, students will
have to perform in that kind of setting.
 Emotionally stressful school environments are counterproductive because they can reduce
students' ability to learn. Self-esteem and a sense of control over one's environment are
important in managing stress. Highly evaluative and authoritarian schools may promote
institutional economy, efficiency, and accountability, but also heighten nonproductive stress in
students and staff.
1.2.3 Importance of expression
 The process of a child creating a “masterpiece” they are doing so much more than just having
fun and playing. They are actually learning a lot through doing art activities and exploring their
creative side
 Pupils feel like they can freely express themselves, they can then begin to explore their interests
and strengths. This helps them think about who they are and who they want to grow up to be
How can you encourage your children to develop their expression in classroom?

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  Withhold judgment and allow for mistakes: Mistakes are important for learning. If pupils are
chastized for mistakes, they will feel hesitant and constantly second guess their decisions.
 See-Think-Wonder strategy: Ask pupils to take a look at their classmates’ artwork, think about
what they are and ask questions. This will in turn make them reflect about their own work.
 Ask thought-provoking questions: Ask questions that make pupils think about why they created
their artwork. This helps them understand their work and themselves better.

1.2.4 Importance of creativity

 Creative experiences can help children express and cope with their feelings.
 A child's creative activity can help teachers to learn more about what the child may be thinking
or feeling.
 Creativity also fosters mental growth in children by providing opportunities for trying out new
ideas, and new ways of thinking and problem-solving.
 Creative activities help acknowledge and celebrate children's uniqueness and diversity as well
as offer excellent opportunities to personalize our teaching and focus on each child
How can you encourage your children to develop their creativity?
 Creating well-organized classrooms,providing environments where children may take risks and
feel socially and emotionally supported, and where children have opportunities to explore and
create with varied materials
 promote strategies for encouraging risk-taking, problem-solving, and collaboration
 teachers need to be able to empower their students to take part and initiate their own learning
 You can provide them with some tools to enable their creativity – crayons, clay, notebooks, or
even just access to the library or internet (within reason). They can choose to create, or they
can choose to do some digging into a subject of interest to them
 Encourage collaboration in these times, but don’t force it. Allowing students the chance to follow
their own interests and passions is the whole point and they should be given some leeway in
what that looks like.
 Encourage discussion.
 It gets students thinking more critically about the material.
 It helps them learn to better communicate their ideas and opinions.
 It challenges them to listen to other students’ opinions and think critically about their contributions
and ideas.
 It gives them the opportunity to challenge each other intelligently and build off of each other’s
ideas.
 Students can take more ownership over their work by keeping a blog or making their own
educational videos on their smartphones. And they can work more collaboratively with the help
of social media.
2) Children, Senses and art
2.1 Basic needs related to physical, emotional, spiritual, intellectual, social and aesthetic of
children and adolescents

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2.2 Development of sensory in children

Axioms of Sensorimotor Play By Tom Bedard

 Children need to be able to transport whatever is in the table out of the table.
 Children will explore all spaces in any given apparatus, no matter how big or
small.
 Children will find all the different levels of play for any given apparatus.
 Children are naturally drawn to pouring, rolling, or sliding materials and objects
down ramps, chutes, and tubes.
 Children are compelled by nature to put things in hole

Stimulating the senses sends signals to children’s brains that help to strengthen neural pathways
important for all types of learning. For example, as children explore sensory materials, they develop
their sense of touch, which lays the foundation for learning other skills, such as identifying objects by
touch, and using fine-motor muscles. The materials children work with at the sand and water table have
many sensory attributes — they may be warm or cool, wet or dry, rough or smooth, hard or soft, textured
or slimy. Discovering and differentiating these characteristics is a first step in classification, or sorting.
Cognitive development.
Even before children can speak, they are developing an understanding of things in their environment
by actively exploring them with all their senses. As they become more verbal, they are able to describe
similarities and differences in what they see, hear, taste, touch, and smell. For example, each time a
child explores sand, he is confirming his previous explorations and discoveries that sand is dry, gritty,
and so forth, and he will eventually notice other materials that share those same characteristics.
Social skills
Working closely together at the sand and water table gives infants and toddlers opportunities to observe
how peers handle materials, try out the ideas of others, share their own ideas and discoveries, and
build relationships.
Sense of self.
As they directly experience things themselves, children explore and communicate preferences, making
sense of the world around them. For instance, they discover that they enjoy the feel of dry sand or that
they have an aversion to slimy things. When caregivers acknowledge and accept their preferences,
children learn that their feelings and decisions are valid.
Physical skills.
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Children develop and strengthen new motor skills through shaping, molding, scooping, dumping and
splashing. These actions all support the development of small and large muscles. For instance, holding
a scoop to fill and dump sensory materials works many muscles used in other parts of the children’s
day, as when they hold a cup or spoon at mealtimes.
Emotional development
Calming for many children and can help them work through troubling emotions, such as anxiety or
frustration. For example, working with materials that require pressure and manipulation, such as play
dough, can help children release physical energy or tension. Likewise, sensory materials lend to
children’s expression of positive feelings, such as joy and excitement.
Communication skills.
Through their choice of materials and actions during sensory play, children have opportunities to
communicate both verbally and nonverbally. While splashing in the water table, a young toddler may
display a look of surprise as her hand makes contact with the water or squeal in delight as she is able
to make the water splash repeatedly. A caregiver’s responses to the efforts to communicate help
children know the message they are trying to convey has been received
2.3 Importance of sensitivity / awareness of senses in teaching and learning
(Environment)

 The environment consists of people, places, objects, and experiences. All of these elements can
have an impact on the development of young children. Children need real experiences as well
as sources of inspiration to develop creatively.
 For example, the young child who has been to a home repair center with his parents can collect
new ideas to use in the woodworking center. Or the child who has helped her dad prepare dinner
will have more ideas for creating snacks. Children can use these real experiences to enrich their
participation in the classroom.
 Young children’s worlds should be filled with interesting experiences that build on their level of
development. These should include many opportunities to experiment and combine a variety of
materials and objects in different ways, and should allow them to make choices and work on
projects across time.

In the classroom, an environment that will •Accepting mistakes

foster creativity should include the following •Providing opportunities to explore the
elements (Fleith, 2000): environment
•Providing time to think creatively •Looking at others’ views
•Rewarding creative ideas and products •Finding individual interests
•Providing choices in activities and materials •Questioning ideas and problems
•Encouraging sensible risks

2.3.1 Develop of aesthetic values

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  Can be defined as the means for organizing, thinking, feeling, and perceiving the world. Learning
to see and value these elements can help us have a richer life that includes an
appreciation for the beauty of things in our environment. This sensitivity to the environment
can be developed through the senses: sight, sound, touch, and taste. Sensory experiences
expand the way the world is viewed and understood.
 Young children learn to recognize and enjoy the beautiful things that exist in their
environment when provided with experiences that nurture the senses. Children love to
go on nature walks, during which they can touch moss, Pretend play in the Home Living
center relates to the kitchen she knows.
 Spider web, or hear birds singing. A teacher can help identify these features as the class
walks through the park, increasing children’s awareness of the special elements. Young
children are excited when a teacher brings a bouquet from her flower garden. They want
to explore the flowers through their senses by touching, smelling, and admiring the
arrangement. They may choose to represent the bouquet with paints in the art area, working to
match the colors they have seen.
 Young children should be allowed to determine what they find beautiful and experience it in a
way they find meaningful. The teacher and parent can help children question, wonder, and
enjoy the things around them. By drawing attention to the pattern of the footprints in the snow
or the stack of beautiful stones on a wall, adults help children “see” these wonderful elements
and help them be sensitive to their environment (Mayesky, 2006).
 should include opportunities for children to see and touch beautiful things. When a teacher
includes a poster of the painting, Mother and Child, by Mary Cassatt, on the board in the
classroom, some children will pose questions and enjoy the artwork. When an African drum
is added to the music center, some children will enjoy both the sounds it produces and the
texture of the tough leather that is strung around the opening. These thoughtful additions,
selected by a knowledgeable teacher, provide the stimulus for aesthetic development in
the primary school classroom.

3) Rhythm, colour and space

 There is nothing more important to childhood development than self-expression. A child must be
able to express what he or she wants and how he or she feels with freedom and safety. Children
that do not grow up in an environment of respect, love, and compassion often find difficulty
opening up to others as they grow up and often experience many different mental and emotional
pitfalls. It’s no secret that allowing your child to express his or her feelings, emotions, thoughts,
and creativity in a safe environment is one of the most beneficial parts to raising a child.
3.1 Conducting creative exploratory based activity with the aim to create expression and
action of ideas through
3.1.1 Rhythm
Rhythm - the repetition of a beat or sound in a regular or predictable pattern.

 Ask the children to close their eyes (or blindfold them) and listen. What sounds do they hear?
Where are they coming from? Compare indoor and outdoor sounds, or sounds in different rooms.
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 Can the children guess what room they are in from the sounds they hear? Have them listen to a
snowstorm.
 Make up "guess what's making the sound" games using sounds from odd things in the room,
musical instruments, children's voices, etc.
 Experiment with rhythms, using hands, feet, voices, rhythm sticks, and other instruments. Can
the children make a fast rhythm? A slow one? The rhythm of a horse galloping? A snail crawling?
Play "follow the rhythm." Can they copy a simple rhythm that you or another child plays? Can
different children play different rhythms at the same time? Beat out the rhythm of a familiar song.
 Form a symphony of sounds with real and unconventional instruments and give a "concert."
Alternate loud and soft sounds, slow and fast rhythms; let children take turns conducting; ask
different "groups" to play at different times or in different rhythms; alternate solos, trios, with "full
orchestra" passages; form a marching band; let children dance or sing to the music.

3.2.2 Colour
 One of the best ways that kids express themselves is through artistic means. Painting, finger-
painting, drawing, sketching, coloring, and writing all have been proven to provide a solid
outlet for many of the strong emotions that children deal with. Many psychologists and
therapists find stunning information about a child within the drawings or artwork of that child,
making creativity one of the most enlightening and though-provoking experiences of a child’s
life.
 Allowing a child to paint or draw with freedom and without boundaries is a critical component
to childhood development because it opens the mind and frees the spirit. Within a few
moments of coloring or drawing seemingly unrelated objects or shapes on a page, a child
can form thoughts and ideas that may be surprising to the parent. This process is incredibly
important in the development of communication skills, emotional skills, and psychological
awareness.
3.2.3 Space
 Building Expression
 A final example of a great way to promote self-expression in children is through the
building of objects. Dollhouses, model cars, and other objects that require construction
are great ways to promote natural progression and creativity within a certain set of
boundaries. As the child learns to follow the instructions for putting together the dollhouse
or model car, he or she becomes aware of the role of instructions and guidelines and is
able to employ creative techniques to produce the end result.
 Creativity through the guidelines of building an object, such as a dollhouse, is an important
facet of life for children to learn, as many of the real-life situations they will find themselves
in will call upon the skills learned through early childhood development.

4. Knowledge and basic skills of Arts in Education

4.1 Visual Arts
4.1.1 Introduction to Visual Basic Concepts

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PSV primary school curriculum includes four ' areas of activity, namely constructing pictures, creating
patterns and designs, creating sculptures and exploring traditional crafts. Students drill for viewing
subject to the same broader perspective on aspects of an aesthetic or even including research. Through
this understanding, students will be free to build your understanding of treasures: In the context of the
Heritage Art.

BASIC KNOWLEDGE
VISUAL ARTS

Four Field Activities Basic Design

- Draw
- Creating Pattern & - Elements of Design
Design - Principles of Design
- Forming &Constructing
- Knowing Traditional - Structure design
Crafts

4.1.2 Basic Design - Element Art and Design Principles

Art element consists of six basic elements that are important in the composition of a work of visual art.
Line An element of art defined by a point moving in space. Line may be two-or three-dimensional,
descriptive, implied, or abstract
Shape An element of art that is two-dimensional, flat, or limited to height and width.

Form An element of art that is three-dimensional and encloses volume; includes height, width AND
depth (as in a cube, a sphere, a pyramid, or a cylinder). Form may also be free flowing
Value The lightness or darkness of tones or colors. White is the lightest value; black is the darkest.
The value halfway between these extremes is called middle gray
Space An element of art by which positive and negative areas are defined or a sense of depth
achieved in a work of art.
Colour An element of art made up of three properties: hue, value, and intensity.
• Hue: name of color
• Value: hue’s lightness and darkness (a color’s value changes when white or black is added)
•Intensity: quality of brightness and purity (high intensity= color is strong and bright; low
intensity= color is faint and dull)
Texture An element of art that refers to the way things feel, or look as if they might feel if touched

4.1.3 Principles Of Art

Balance, emphasis, movement, proportion, rhythm, unity, and variety; the means an artist uses to
organize elements within a work of art

Rhythm A principle of design that indicates movement, created by the careful placement of
repeated elements in a work of art to cause a visual tempo or beat.

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 Balance A way of combining elements to add a feeling of equilibrium or stability to a work of art.
Major types are symmetrical and asymmetrical.
Emphasis A way of combining elements to stress the differences between those elements.
Proportion A principle of design that refers to the relationship of certain elements to the whole and to
each other
Gradation A way of combining elements by using a series of gradual changes in those elements.
(large shapes to small shapes, dark hue to light hue, etc)
Harmony A way of combining similar elements in an artwork to accent their similarities (achieved
through use of repetitions and subtle gradual changes)
Variety A principle of design concerned with diversity or contrast. Variety is achieved by using
different shapes, sizes, and/or colors in a work of art
Movement A principle of design used to create the look and feeling of action and to guide the viewer’s
eye throughout the work of art

As a primary visual language, essential for communication and expression, drawing is as important as
the development of written and verbal skills. The need to understand the world through visual means
would seem more acute than ever; images transcend the barriers of language, and enhance
communications in an increasingly globalised world. Drawing as a reflection of children's inner
schematic representations, the developing organizational or conceptual systems by which they make
sense of diverse aspects of life
4.1.4 Approaches towards drawing

 Encourage teachers, schools and parents to raise their expectations and aspirations about what
children are capable of in terms of drawing skills. We know from experience that if we provide
space to develop skills, access to exciting materials and support in the form of the resources
below, children respond very positively and the quality of their work is of a consistently high
standard.
 Provide non-specialist teachers, facilitators, parents and careers with the skills and confidence
needed to help facilitate drawing. You really don’t have to be good at drawing to be a great
drawing teacher. The resources below will help you develop your approach.
 Provide specialist teachers, facilitators, parents and careers with lots of inspiration and ideas to
develop their teaching practice.

4.1.5 Creating Pattern and Design

 These activities provide opportunities for students to understand the various ways to produce a
pattern and apply it to other designs. Patterns and designs that can also be matched to any
revenue from other activities such as construction, crafts and so on. Patterns occur from a variety
of techniques and methods.
 The pattern is repeated arrangement structure based on the design made by a controlled or
independent, often patterns are available from:
i. Nature such as flowers, shells, wood, insects and animals.
ii. Man-made materials such as chairs, tables, appliances and scissors.
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iii. Geometry such as round, triangular and rectangular.
iv. Various items of traditional crafts such as kites, tops and dagger.

 There are various types of arrangement in a pattern. Among them are full, partial downloading,
fish scales angled bat, Ogre, brick and more. In the pattern, there are two techniques that are
well planned technique (see Figure 4.12) and the technique is not planned (see Figure 4.13).

Planned pattern Unplanned pattern

 Drawing  stamp  sprinkling  Institute and dye
 painting  print  Gust  alabaster
 folds and cutout  Collage  Fold  Attraction
 Calligraphy  Drops
These activities emphasize the development of students' perceptions of art in terms of form, space,
structure, balance and stability. Based on these aspects, students can understand more clearly when
they form and make the building a model. These activities also expose students to use a variety of
materials, tools and production techniques. It gives students the opportunity to interact actively with the
tools and materials.
4.16 Exploring Traditional craft

 Traditional crafts can be defined as a company or work of art that involves skill oriented
handwork and requires creativity and creative people who are inherited by their respective races.
In this area students are given exposure to the various types of craft
4.1.7 Types of Traditional Crafts

 domestic appliance  Batik  Self-defense tool

 toys  Art embroideries  Personal ornaments
 The martial  Pottery

4.2 Introduction to basic knowledge of the concept of music

 Music is an art that was established by the organization of sound in time ( Kamien , 2008) . The
core components of the sound of music consisting of peach , rhythm , and color tones. Musical
capabilities including sensitivity to sound ( auditory stimulus processing in terms of pitch , rhythm ,
and color tones that affect everyday life ) ; identify , produce , and reproduce the pitch, rhythm ,
and color tones to create, sing, and play musical instruments ; establish the relationship between
various auditory sound , pitch , rhythm , and color tones are heard ; appreciation of music ; and
sensitivity to auditory patterns (the ability to use the elements of music to communicate ideas ,
emotions , and concepts ) [ Gardner , 2004] . There are seven basic musical concepts in music
education
4.2.1 Concepts of music
 Rhythm
- Rhythm refers to the organization of music over time. Rhythm has a bit of pulses / second,
repeated continuously that divide music in unit time balanced . Rhythm also has a meter. Meter
is a bit organization based in a particular set of powerful and gentle pressure on specific patterns
of rhythm patterns. For example, the rhythm pattern generated in local meter.
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 - Rhythm also has a tempo. Tempo refers to the speed of a bit. A song can be played with the
tempo is fast or slow speed. Fast tempo may be associated with feeling energized and unexciting
slow tempo can be associated with a calm and gloomy mood.
 Melody
- The melody is a sound of music in a row or a series of musical tones that are combined to create
a comprehensive melody. The melody has a pitch . Pitch refers to the highs and lows of a sound
that can be produced by a musical instrument or voice. Every melody will start, move, and then
have the direction, design and sustainability. Melody can move upward , downward or pendulum
(undulating ) which can be notated in the score music
 Expression ( Dynamic and Mood )
- Dynamic expression in music refers to the strength or softness of sound in a song. For example,
a song can be played with a strong dynamic, softer, stronger and more pliable. And certain terms
used to indicate the signal dynamics in the song. The expression refers to mood of a song that
can be played for cheerful, happy or sad.
 Shape
- Shape song refers to the number of parts or half of a musical work . For example, binary form in
a song consists of two sections ( A and B )
 Harmony
- Harmony exists when more than one pic sounded at the same time. For example two or more
pitches sounded or played at the same time or two or more melodies played or played at the
same time. Examples choir singing voice that has two or four section of voice. Examples that
can be produced is harmonious melody with drones ( the same pitch is repeated throughout the
song ) ; melody and bordun( two pitch of ' dough ' and soh ' is repeated throughout the song ) ;
and melody and ostinato ( a melody or rhythm pattern that is repeated throughout the song ) .
 Color Tone
- Color tones is the quality of the sound produced from the musical instrument to distinguish a
musical instrument with others. For example different qualities of guitar tones trumpet , the sound
of children and adults , knocking stone and wood , the barking of dogs and the roar of the tiger .
Different colors ton known as timbre. The color tones can be described as dark or light. Different
timbre create different emotional impact. For example, the bass drum sound is dark and the light
tinkle sound.
 texture
- Texture refers to a layer of melody that is produced in a work. Monophonic texture contains a
melody line. For example, a song played by a musical instrument trumpet solo. Homophonic
texture composed of a layer of melody and chords. For example, the melody is played with
chords on the keyboard musical instrument. Polyphony texture consisting of several layers of
melody played simultaneously.
4.2.2 Introduction to basic skills in music through songs and creating lyrics activities,
percussion instruments and improvisation of instruments using rhythm, melody and
expression.
 Introduction to basic music concepts through methodology "Music sounds"
- “Music sounds "is an experimental music pioneered by Prof. Tan Hooi Beng in 1989. The
objective of the " Music sounds " is to show that music is universal and can be produced
by anyone without formal music learning and the ability to play a musical instrument ;
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 creating awareness that music can be produced from a sound environment using
everyday objects , body and voice ; and encourage creativity in music creation ( Tan ,
2008) .

- Teaching and learning “Music Sounds " is student-centered and controlled through
intelligence-based multi-angle theory of multiple intelligences Gardner. Step control
session in “Music sounds " ordinarily begins with warming events followed by the
introduction of the topic or identify the problem, exploratory hands- on activities, group
dynamics, show understanding , and evaluation sessions . Dimension control session P
& P " Music sounds " prioritizing the exploration of hands- on with the media for learning
musical concepts, implementation of educational activities associated with the creation of
the student , learning and development, continuing to strengthen the concept of the art of
music , collaborative learning , offering to demonstrate an understanding ,

Example: P & P basic concepts of music (the rhythm pattern , pitch , color tones , dynamics ,
and tempo ) based on the methodology of " Music sounds "

Step 1. Activities in the form of warm-up games. For example, the rhythm game "Cap Chili Cap”.
In this game, children are required to mention one word in the phrase sentence “cap chili cap
chilies cap cap cap" during the next turn is based on rhythmic patterns.

Step 2. The facilitator shows how to generate musical elements such as rhythm patterns, high
and low pitch , different color tones , loud and soft dynamics , and fast and slow tempo by using
everyday objects ( bottles and spoons ) . This session was followed by a demonstration of how
to arrange the elements of music to produce a music work.

Step 3. Children experience how to generate a rhythm pattern by using everyday objects and
play it on the pitch and tons of different colors to show understanding.

Step 4. Once you've mastered these skills, each group trying to produce a work collaboratively
to apply all elements of music (rhythm pattern, high and low , rich color tones , loud and soft
dynamics , tempo fast and slow ) are studied
Step 5. Students from each group expressed the results of each other's work to a friend and
facilitator to get constructive feedback.

Step 6. Students make a reflection about the activities.

Proposed follow-up activities

 Transferring music elements that are applied to everyday objects to the limb to
demonstrate an understanding of learning. Experimenting with limbs for hands- on to
produce various percussion body ( stomping feet , clapping hands , thighs , chest , arms ,
and back , slide or jump ) to apply the elements of music are studied as rhythm pattern ,
peach , color tones , dynamics and tempo

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  Move the musical elements that apply to everyday objects into a vowel sound. For
example, produce a series of rhythmic vocal sounds to describe a machine. Vowel sound
presentation may be accompanied by rhythmic movement.
 Moving elements are studied music at not berpic percussion instruments such as triangle ,
castanet , bells and wood tick tock to accompany the song . For example, playing a song
Playing with xylophone and bells on a specific rhythmic patterns and dynamics

4.3 Movements
4.3.1 Movement Concepts
 Movement concepts are basic to understanding efficient, effective movement. They assist
students in developing the structure of the content (the classification) and the language
(vocabulary)of the field. The classification used here includes body awareness, space, qualities
of movement, and relationships. The use of movement vocabulary is an essential part to learning
in physical education.These concepts are inherent in any movement, from the simplest of motor
skills to the most complex sport skills
4.3.2 Awareness of body
 Regular movement experiences help children to develop movement control, coordination and
strength. Children can move their bodies in many ways. By moving their body, children develop
movement control as they balance, crawl, run, jump and swing. Children also develop a sense
of where their body is in space, and improve their balance, coordination and strength
 Body Awareness refers to one’s awareness of their body parts or dimensions. Children who do
not have adequate body awareness often appear clumsy or awkward, and they frequently have
difficulty with gross & fine motor activities that require subtle changes in posture, strength, force
or dexterity.
 Body Awareness is the foundation upon which children learn to coordinate their body parts and
move through space and about objects in their environment.
 Body Awareness– what the body can do; the shapes it can make, how it can balance, the transfer
of weight, and flight
 Shapes the body makes
- Many shapes can be formed with the body, such as long and short, wide or narrow, straight or
twisted, stretched or curled, symmetrical or asymmetrical.
 Balance or weight bearing
- Balance demands that different body parts of the body support the weight or receive the weight.
Different numbers of body parts can be used as body supports and involved in movements. The
body is in a balanced position when its center of gravity is over its base of support.
 Transfer of body weight
- Many skills demand moving the body weight from one body part to another, such as walking,
leaping, rolling, etc.
 Flight
- The amount of time off the floor distinguished flight from the transfer of body weight. Examples
include jumping onto a climbing rope, hanging, and running
Activities for children

 Have your child close their eyes & touch body parts on command
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  Play Simon Says and: Have your child imitate your movements or respond to verbal directions
 Have your child do actions such as Point your tongue to the right , Shake the right leg, Bend the
right elbow
 Have your child touch body parts to objects such as touch your:
- Head to the wall
- Hands to the door
- Knees to the floor
- Nose/Ears/Mouth to the chair

4.3.3 Awareness of space

 Spatial awareness is the ability to be aware of oneself in space. It is an organised knowledge of
objects in relation to oneself in that given space. Spatial awareness also involves understanding
the relationship of these objects when there is a change of position. It can therefore be said that
the awareness of spatial relationships is the ability to see and understand two or more objects
in relation to each other and to oneself. This is a complex cognitive skill that children need to
develop at an early age. Spatial awareness does come naturally to most children but some
children have difficulties with this skill and there are things that can be done to help improve
spatial awareness
 Space - where the body can move
 General or personal
- General space(also known as playing area)is the total area used by all students. Personal space
is the immediate area surrounding a person, including the space within the natural body
extensions.
 Directions
- This refers to the desired route of movement, whether it is up or down, forward or backward,
right or left.
 Level
- This defines the relationship of the body to the floor or apparatus or height in space, whether it
is low, medium, or high.
 Pathways
- This trait describes the lines of movement in space, straight, curved, zigzag, or other
combinations.
 Planes
- Planes are somewhat specific pathways defined as circular, vertical, and horizontal

Activities for children

 By discussing locations of objects i.e. the kettle is in the kitchen on top of the counter to the
right of the toaster.
 An object may be hidden in the child's bedroom and instructions given to the child of where to
find it.
 Parents could discuss which objects are closer or further away from the child and compare the
relationship of the distance between several objects and the child.

20
  They could play the "Robot Game" where the child pretends to be a robot and the parent gives
directions such as "turn left" or "stop at the door" or "turn right".
 Playing games such as "Simon Says" helps with spatial awareness as well as using equipment
such as tunnels to crawl through or outdoor climbing frames.
 Use jigsaw puzzles, tessellation games and arranging 2D and 3D shapes.
 Model making using pictures as a guide to build the models.

4.3.4 Quality of movement

 How the body moves(Many of the qualities of movement require the application of mechanical
principles.)
 Time or speed
- This quality deals with the speed and duration of the movement, moving to a constant rhythm or
accelerating or decelerating.
 Force
- Force is the effort or tension generated in movement. Learning how to generate, absorb, and
direct force is an important outcome.
 Flow
- This factor establishes how movements are purposely sequenced to create continuity of
movement, usually in terms of interrupted (bound) or sustained (free) flow. Interrupted flow stops
at the end of a movement or part of a movement. Sustained flow involves smoothly linking
different movements or parts of movements.
4.3.5 Relationships
 with whom and/or to what the body relates
 Near-far
- close to the body/object or a distance away from the body/object
 Above-below
- in a position higher than the body/object or lower than the body/object
 Over-under
- similar to above and below
 In front-behind
- forward of the body/object or in back of or to the rear of the body/object
 On-off
- engaged in an activity or suspension of an activity
 Together-apart
- simultaneously or separately
 Leading-following
- position at the front or to go after someone or something
 Mirroring-matching
- parts are reversely arranged in comparison with someone/thing or parts are similarly arranged
in comparison with someone/thing
 Unison-opposites
- when two or more parts work togetheror when two or more parts work contrary toone another
 Together-apart
- in association with another/thing or away from one another/thing
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  Symmetrical-asymmetrical
- having corresponding points/proportions or lacking corresponding points or proportions
 Those who have a positive attitude to physical activity may have higher self- esteem, improved
health and well being, good social skills, are more willing to take risks and are also more likely
to maintain an active and healthy lifestyle
4.3.6 Basic movement skills
Inside there are 3 basic movement skills of Locomotor , Non Locomotor and manipulation movement

 locomotor
- Locomotor change support site is flat and quiet . This movement is divided into two uneven
rhythmic locomotor, rhythmic locomotor

- Even Rhythmic locomotor- weight transfer in the same tempo . Example : Run, run , jump , jump
and jump on one leg .
- Uneven Rhythmic- transfer weight to one or more movements in different tempo . Example :
Gallop , skipping and sliding .
 Non locomotor Movement
- Is a movement that involves weight remains in the same place but turning around a horizontal
or vertical axis . This movement does not change the support site . Example : tighten , balancing ,
curled up and stretched.
 manipulative movement
- Technique manipulation tools refers to a person's ability to give and receive power from an
object . Examples : Throwing , catching , hitting , rolling, dribbling , kicking , bouncing , volleyball

Non locomotor Movements Locomotor Movements Manipulative movement

 Walking or running.  Swaying  kicking a ball
 Jumping or hopping.  stretching  coloring with a crayon or picking
 Galloping or marching.  swinging up a small object.
 Skipping.  Balance  Twirl
 Bend  Dribble (feet)
 Turn
 Kick
 catch

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5. Exploratory based activities, obtaining experiences and expression through art

 Arts in Education provides opportunities for children and young people to explore different angles
they see, hear , touch , move and think with each activity learning . It provides an additional way
to learn to read, write and calculate even encourage them to give a range of views and their
language to think creatively, imaginatively and critically. It also gives children the fun and
excitement in the classroom and teach students how to deal productively with the resources of
imagination , what their responsiveness and feel through the variety of languages such as
phrase" As rich as words and as lyrical as music , as stimulating as colors and as active as
moving "
5.1 Exploration

 Exploration means to find something that is not known yet which is exploring ways to carry it out.
In other words venture is intended to use a variety of materials and methods to learn and solve
problems. Exploring experience is a learning situation. During this process occurs not
encouraged teachers to assess ongoing activities. Instead, the teacher only acts as a facilitator
or mentor and guide students to find something more specific about themselves by making
experiments, researching and creating a variety of ideas and materials. The aim is to make
students a really more imaginative. There are many ways to explore. Students can have
exploring esperience through various activities such as exploring the surrounding noise to be
associated with the music , engage in visual art using a variety of tools and materials, and various
other physical movements .
Ways to explore

 Inquiry
 Manipulation
 Curiosity
 Find
 Create
 Do experiment
 Search for knowledge
 Review
5.1.1 Exploring instruments and material
 There are various ways a student can explore the equipment and materials for learning in
visual arts, music and art movements. For example in the art movement of students are
encouraged to explore the experience of equipment after master the activity- floor activities .
Students can try a variety of ways to move over the bar , hanging above the bar or move
from one part to another part of uneven bars . After students adapt the situation,try to use
the actual equipment
 In the art of music, one can explore musical material such as cans, bottles, cups aluminum,
and plastic bags to produce color and pitch tones to produce a variety of sounds . A person
can also explore a variety of ways to play a musical instrument to produce a unique sound,
such as playing the trumpet in muted or played violin with the bow or with a finger stick, and
produce a variety of big box sounds using voice.
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  In the visual arts, students can try a variety of food color to make a cake, colored drinks such
as coffee water to produce works other than acrylic paintings, watercolors, poster paint and
others. Such material exploration results will give a visual impact that may be more
pronounced and distinctive than the proper materials.
5.1.2 Ideas and Content
 In this section students are encouraged to find an original idea by making experiment tools
and materials. In the visual arts, students are encouraged to explore ideas and content in the
field of drawing activities like collages using various materials such as grain, plastics and so
on.
 In the art of music, students can also explore how to produce environmental noise using
vocal sounds,. For example, students can explore how to produce the sound of birds fly with
plastic bags and sound.
 In the art of movement, students can explore movements based on themes suchas how a
farmer work.. Students need to explore creative movement skills locomotor and non-
locomotor and manipulative because the ordinary a farmer like the plowing, planting, and
harvesting. In this exploration students will get an idea of the sequence of movements to
demonstrate the relevance of the theme.
5.1.3 Exploring ways on usage, modification and manipulation
 Guidance teachers is important at this stage. Students can get help teachers to implement a
behavior or improve their style of acting that have been watched or they are learning as
encouraged in Vygotsky's theory. Pupils use and efficiency level is ready to explore ways of
processing an activity to more challenging levels.
 In the art of movement, students can try to manipulate their bodies can do gymnastics or
movement activities with more challenging. The experiences of students will imitate the
movements of gymnastics after watching it. Students will perform actions such as making
handstands, car wheels, rolls and so on.
 In the art of music, students can learn the technique of playing an instrument or singing
properly. Students can also learn how to manipulate the music and not music to produce
optimum performance and agility in playing an instrument with the guidance of teachers.
 In the visual arts, students can manipulate host of activities such as incorporating a variety
of activities to shape the course of drawing. This means the work of painting for example, the
types of activities such as collage, stamp, ,painting and others. In another sense, the media
has been mixed media creativity of pupils. In addition, the trans- formations multimedia tools
is used to give more space to the creativity of students.
 Multimedia technology offers high-tech support for a range of graphic,textual and sound
sources which can greatly enhance understanding in music. Through using CD-ROMs or the
internet, children can have opportunities to see and hear various instruments, especially
those whichmay not be readily accessible for them in their own environment, such as some
orchestral instruments or traditional instruments from other countries. Children can
experience the delight of exploring sound through electronic media, acquiring skills and
concepts at their own rate,recording their improvisations and compositions, and reviewing
their work alone or in collaboration with others.

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5.2 Obtaining experiences
 Experience in the visual arts, music and art movements will generate children's learning in
various fields. For cognitive development, children use art to express their thoughts and ideas.
Art movement involving a deep kinesthetic awareness, by using different parts of bodies and
sharpening perception as in aesthetic experience. Art music involving sensitivity to sound
processing that is played or played music in terms of pitch, rhythm, and color tones as an
aesthetic experience.
 to the development of visual expression and to the child’s personal response to creative
experience. Making art involves two and three-dimensional work in a range of media.
Appreciating promotes understanding of the inherent qualities in art works and aesthetic
enjoyment. In developing the programme, the expressive or making activities are balanced
with opportunities to see and to make a personal response to visual art forms of different
styles, periods and cultures. Regional craft traditions and their modern developments, as part
of the national heritage.
 Activities that make this experience will provide opportunities for children and young people
to solve problems, make experimentation, explore, take risks, create creative, make
judgments and make wise choices. There are various ways to gain experience
 During the process of making music the child experiences satisfaction and a sense of
achievement as he/she performs or creates, alone or as part of a group. The child develops
technical and artistic skills, involving muscular co-ordination and sensitive movement, as well
as skills of perseverance and self-discipline that are essential to self-expression
 For example in the art of movement , the pupils have been taught with various locomotor
activities , non-locomotor and manipulative activities . The experiences gained from these
activities can also be practiced in real games and in everyday life.
5.3 Expression
 plans are in the game are set to experience in the skill level of the students expression
 There are different forms / ways of expression that can be born by man to express his feelings.
Among them are:
- feelings
- verbal
- reaction
- emotions
- Non-Verbal
- Idea
 This expression can be digested in the visual arts, art movements and art music.

 Express feelings through mud expression, ideas, different information through visual arts,
creative activities, music and movement.
 The feeling is a concept that is difficult to be described, but it is very similar to the study of
emotion. The feeling is the body as a reaction to stimuli that it is not ready for it or provide a
source of benefit and possible harm to someone. In the art of music, the expression of feelings
of sadness and joy can be generated through the tone of the music played. For example the

25
 music played with gusto in major tone will produce a happy expression mud while the music is
playing in the minor tone will slowly mecerminkan mud sad.
 In the art of movement, mud can be demonstrated by the quality of the movement. For example,
happy mood posed by the movement of a bird flying hovering looking for food use soft-power
light. Mood in anger can also be shown by stomping feet with heavy-power is as strong as a
gorilla raging
 In the visual arts such as painting work for example will show the use of different colors. Colors
such as red impact that is angry, while the blue gives a quiet and soft mood. These effects result
from rough brush strokes and aggressive reflect the mud like mad while gently soothing strokes.
Examples of activities Language Subject

 Exploration - In this section, students are challenged to use the senses of sight, hearing, smell,
taste and touch are actively collecting material for the composition. Students can explore the
surroundings to hear the sound and dialogue, observing the movement of a subject. For example,
explore the activities at the night market to hear the dialogue between the seller and the buyer,
the sound around the night market and observe the movement of traders and hawkers during
business activities, smell and feel the atmosphere surrounding the food sold. Students are
encouraged to record the sound, speech, and movement is observed through their creativity.
 Activities of experience - this operated through various intelligences to allow students to use
various intelligence capacity to solve problems and create products. Students display materials
collected and make connections with the natural sounds based on existing experience. Students
can apply the basic concepts of music, visual art and movement are studied to produce their
composition.
 Expressed through art - Collectively, the students decided the title composition, content
composition, and how to arrange the material composition of the collected material and aesthetic
trends expresses through visual art, music and movement.
 Art music
- Exploring with improvised materials such as plastic barrels, bells, and voices to imitate the
sound around the night market
- Creating rhythmic dialogue is exchanged between solo and chorus to describe ordering food
- the night market
- Creating the lyrics for the songto describe the atmosphere at the night market
- Playing percussion instruments such as bells, tinkle, kastenet and maracas to accompany
the dialogue or song
 Art movements
- Presents atmosphere at the night market through acting and dancing involving movement
and gestures locomotor and non-locomotor (cooking, serving, buying) and apply the
elements of movement like the movement tempo (fast / slow); level movement (high, low,
medium); steps and rhythm of movement.
 Visual arts
- Describe the atmosphere at the night market through a variety of design techniques
(drawings, paintings, and collage)
- Make appropriate props for the show at the night market atmosphere

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Examples of activities for Science

 Exploration - In this section, students will explore the world of domestic animals. Students
can explore dietary patterns, habitats and the animal sounds. During the exploration process,
students can recognize the sounds of animals and observing the movement of the animal.
Students are required to present a form of animal movements and produce sound through
their creativity.
 Activities of experience - this part, students gain experience through visual documentation,
real experience and surf the internet. Students will also gain experience through the senses.
Then, students will look for materials and collect information in the form of portfolio and
reports.
 express through art - In this section, students will express themselves about art, animal
shapes, colors through visual arts, music and art movements.
 Art music
- Exploring the voice and body percussion to produce animal noises-
- Creating a rhythm pattern sounds of animals in the group to show the animals represented
collaboratively
- Creating the lyrics for a song about eating patterns and habits of animals.
- Playing percussion instruments such as bells, xylophone and wood block to accompany the
songs are created.
 Art movements
- To demonstrate the movements of animals when searching for food in the yard in the village.
This movement can be presented in the form of acting, playing rolesnvolving locomotor
movements , non- locomotor and applying the level of movement and the concept of rhythm
and tone .
 Visual arts
- Describe the atmosphere of domestic animals in the village by applying the molding
technique , drawing and coloring various animal masks . This activity can be combined with
the skills to create a collage .
Examples of activities for the course Design and Technology

 Cajon come from work of art creative design carpentry among students can give a shift in
motivation diversify teaching and learning environment. Cajon use in the classroom to shape the
students in the class to carry out activities that stimulate cognitive.
 Exploration - Cajon is based on students' sensitivity to materials and equipment that will be used.
Through the senses of hearing, sight and touch wood and students to explore the appropriate
equipment is used depends on whether the shape cajon desire to be generated. Hardwood
plywood is selected and aligned with the needs of the equipment available and appropriate. A
student-centered exploration allows students to make their own decisions based on guidance
received from the teacher.
 Activity gain experience - Trials and adaptations of the variety of wood plywood thickness and
thinness give students a sound product of varying and diverse. Such experimentation allows
students to shape the design of which will be produced Cajon. For example layout process snare

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 drum to certain parts of the Cajon produced. In addition, the size of the range should be identified
to provide comfort to play a Cajon when completed.
 Expressed through art - Cajon use in teaching can provide patterns and different atmosphere
compared with the prevalence of the practice. Diversity beats and beats produced from Cajon
built a space of expression through visual art activities, music and movement.
 Visual arts
- Cajon built will be guided by the images and illustrations of various types of means. It gives
an overview and guide to how Cajon will be generated from a variety of viewpoints. This
includes front, side and rear left and right.
- paintings or illustrations of Cajon produced creative, independent pupils produce a variety of
Cajon’s shapes
 Art Music :
- In the Cajon, activities can be carried out based on the lyrics of the song that guide how the
process of production and installation will be done cajon . Observations from the lyrics can
create an atmosphere of fun and make it a production process that is not boring.
- Repetition of the song lyric compositions back to the strengthening of the students in the
production process.
 Art Movement :
- Beats produced will drive the appearance of movement . The fast pace will produce
aggressive movements while the slower tempo will produce a gentle movement .
- The movement can be implemented to show the process of making a cajon and accompanied
by the rhythm produced by the cajon
6. Application and Management of Arts in Education activities in teaching and learning
6.1 Concepts and the various definition of integration
Arts Integration is an APPROACH to TEACHING in which students construct and demonstrate
UNDERSTANDING through an ART FORM. Students engage in a CREATIVE PROCESS which
CONNECTS an art form and another subject area and meets EVOLVING OBJECTIVES in both.
 Arts Integration is an APPROACH to TEACHING
- This definition begins with the assertion that arts integration is larger than an activity. Rather,
arts integration is an approach to teaching that is embedded in one’s daily practice.
- An “approach to teaching” refers to how something is taught rather than what is taught. Every
teacher has an approach to teaching, whether or not they are aware of it. Approaches fall
along a continuum from traditional, teacher-centered instruction to more progressive,
student-centered instruction. Ultimately, our approach is based on our beliefs about how
students learn. As an approach to teaching, arts integration relies heavily on the progressive,
student-centered end of the continuum.
- This approach to teaching is grounded in the belief that learning is actively built, experiential,
evolving, collaborative, problem-solving, and reflective. These beliefs are aligned with current
research about the nature of learning and with the Constructivist learning theory.
Constructivist practices that align with arts integration practices include:
 Drawing on students prior knowledge
 Providing active hands-on learning with authentic problems for students to solve in divergent
ways
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 Arranging opportunities for students to learn from each other to enrich their understandings
 Engaging students in reflection about what they learned, how they learned it, and what it
means to them
 Using student assessment of their own and peers’ work as part of the learning experience
 Providing opportunities for students to revise and improve their work and share it with others.
 Building a positive classroom environment where students are encouraged and supported to
take risks, explore possibilities, and where a social, cooperative learning community is
created and nurtured.
 Students construct and demonstrate UNDERSTANDING
- Constructing understanding of one’s world is an active, mind-engaging process. Information
must be mentally acted upon in order to have meaning for the learner.
- Arts integration provides multiple ways for students to make sense of what they learn
(construct understanding) and make their learning visible (demonstrate understanding). It
goes beyond the initial step of helping students learn and recall information to challenging
students to take the information and facts they have learned and do something with them to
build deeper understanding.
- Students’ visible demonstrations of learning serve as both formative assessments to guide
instruction and summative assessments to determine what students have learned. For
example, when students are challenged to work as choreographers to create a dance that
demonstrates how the seasons change, they must build their understanding of the
vocabulary and concepts shared by science and dance (such as rotate, revolve, cycles,
patterns, and change). Their dance will reflect their understandings and provide teachers
with a quick, effective means to determine whether individual students know the difference
between rotate and revolve, if a group understood the cyclical nature of the seasons, or if the
class has mastered how to demonstrate the concept of change through physical movement.
 Art Integration through an ART FORM
- Students can construct and demonstrate their understanding in many ways. Traditionally,
they are asked to communicate their learning through a report or on a test. However, when
they are involved in arts integration, their learning is evident in the products they create, such
as the dance, painting, or dramatization.
- Students can—and should—have opportunities to construct and demonstrate their
understandings in various ways. Nationwide, classrooms have become, and continue to
become, more culturally, economically, and academically diverse. And yet, a great deal of
instruction relies primarily, and sometimes exclusively, on speaking and writing as the way
for students to show what they know. Today’s research points to the power of learning
through a variety of senses or modalities. Teachers are encouraged to plan instruction that
engages students in visual, aural, and kinesthetic learning modalities so that students can
actively process what they are learning.
- The recognition of the arts as powerful modalities for learning is embedded in this part of the
definition. By their nature, the arts engage students in learning through observing, listening,
and moving and offer learners various ways to acquire information and act on it to build
understanding. They also offer a natural way to differentiate instruction as the arts offer
multiple modes of representation, expression, and engagement.3
- Additionally, the arts provide an authentic context in which students solve problems such as
those encountered by professional artists
 Students engage in a CREATIVE PROCESS.

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- The heart of arts integration is engagement in the creative process. Arts integration requires
that students do more than repeat (a song), copy (an art project), or follow directions. They
must create something that is original and of value.
- The creative process in the arts is a process not a single event. It includes many interacting
phases and each phase is related to every other.5There are many descriptions of the creative
process. The one provided here is a synthesis of ideas from many different sources. In this
diagram, the process is made visible as five open circles. 1) Students imagine, examine, and
perceive. 2) They explore, experiment, and develop craft. 3) They create. 4) They reflect,
assess, and revise, and 5) share their products with others. Arrows indicate the ways one
can enter the process and the myriad ways the phases interact
- When students engage in the creative process, they produce original work that
communicates their ideas, insights, points of view, and feelings. The creative process can be
“messy.” It is difficult to predict what will happen, be discovered, or emerge during the process.
Learners engage in inquiry and experimentation as opposed to following rigid, step-by-step
rules. Some ideas, once explored, do not work well, while other ideas that were not originally
considered, may surface as the perfect solution.
- If teachers are overly concerned with a “neat” process and product, they tend to make the
creative choices for students and direct the outcome. In these cases, the creative process is
present, but only for the teacher. It is the teacher’s or teaching artist’s responsibility to set a
creative problem or challenge for students to solve, but not to take over and solve the
challenge for the students
 which CONNECTS an art form and another subject are.
- A distinguishing aspect of arts integration is its interdisciplinary connections. Connections
are made between a specific art form and a specific curriculum area. For example, collage
can be connected to the study of geographical regions or choreography can be connected to
the study of life cycles. Connections can also be made between a specific art form and a
school’s concern or need. Schools often identify a focus for improvement that is sometimes
outside the formal curriculum. For example, the arts can connect to school concerns such as
character education/bullying, collaboration, habits of mind, or multiple intelligences.
- Both connections—to curriculum or a concern/need—are strongest when they are mutually-
reinforcing. In other words, by engaging in learning in one subject, learning in the other
subject is reinforced and extended, and vice versa. Rather than imagining connections as
two intersecting lines, mutually-reinforcing connections function as a cycle.
 and meets EVOLVING OBJECTIVES in both
- This final part of the definition underscores two ideas. First, arts integration requires teachers
to set objectives in both the art form and the other subject area. The dual objectives are
balanced; students are accountable for significant learning in both the art form and the other
subject.
- Second, just as objectives evolve and challenge students to deepen their understandings in
science, math, or language arts, objectives in the art form
- must also evolve if students are to remain challenged. A student does not learn to express
ideas through dance in one session. Objectives evolve and unfold over time as students’
experience and understandings develop. As students master each objective, they are ready
to take on the next, more challenging ones. Teachers monitor student progress and adjust
objectives to keep students challenged and interested within a unit or across a year. As
students’ mastery grows, so do their feelings of self-efficacy—the belief in oneself and one’s
ability to achieve.
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 - Teachers are familiar with the evolving nature of objectives in math, language arts and other
subject areas. They are less familiar with evolving objectives in the arts. Here is an example
in dance:
- The objective is for students to create and perform a movement phrase set to a piece of
music. This objective can begin with small groups of students choosing their movement
phrase from a limited set of options and where the teacher counts the beat aloud. Once
mastered, the objective evolves as students create their own movement phrase without pre-
set options and can recall and repeat it. The objective further evolves as students are able
to count the beat on their own. The objective evolves again as students are challenged to
refine the quality of their movements.
- The evolution of objectives can pertain to one specific experience with a dance or can evolve
as students have multiple experiences with dance across a school year
6.1.1 Issues and challenges of integration
 Ethnic Diversity
- People carry with them socially and individually derived representations of themselves,
either the way they view others, or their preferred modes for interactions. These types
of unconsciousness have a tremendous influence on people’s behavior and the ways
in which they interpret the environment. Therefore an ethnic diversity environment would
create challenges which might result in conflict, negotiation and self-reflection.
 Languages and culture
- Significantly different languages and religious traditions in one way or another have created
barriers among the Malaysians. Different ethnic groups live in a segregated physical
location, thus, it is not uncommon for young Malaysians to grow up in their specific ethnic
socio-cultural environment, be it Malay, Chinese or Indian. Each ethnic group would fight
for their right to practice their traditional cultures such as rituals, language, education
system, politics, economics and art

6.2 5P integration
6.2.1 Assimilation
Assimilation and accommodation are aspects of Piaget’s theory. In assimilation, children match
information, concepts, and skills arising from interaction with the environment with previously formed
mental structure
 Assimilation - adding to an existing schema
 The process of taking in new information into our previously existing schema’s is known as
assimilation. The process is somewhat subjective, because we tend to modify experience or
information somewhat to fit in with our pre-existing beliefs. In the example above, seeing a dog
and labeling it "dog" is an example of assimilating the animal into the child's dog schema.
 Roles of teacher
 The teacher as ‘concierge’
- the teacher adapts content and recommends the learning method. The teacher uses ‘soft
and personal instruction’ supervising the learning personally while delivering the teacher’s
knowledge and recommendations for further research
 The teacher as a ‘network administrator’
- the teacher guides the scientific process, accompanying the learner in the creation of a
‘personal information network’ so that they can perform the task by developing skills relating

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 to information and criticism. The teacher guides the learner to perform reflection on their
personal learning processes.
 The teacher as the ‘master artist’
- drew inspiration for this model from the studio (work space), an open space in which artists
create and where they can exhibit their works. In this learning style the students do not only
learn from the teacher’s skills as an expert and from their interaction with the teacher, they
also learn from the activities of their peers and from their interaction with the teacher. In this
manner collaborative learning is formed in which the students serve as sources, influence
and inspiration for each other
 The teacher as ‘curator’
- the teacher creates the learning space. Autonomous learning takes place in this space. The
teacher exposes the learners to major challenging sources of knowledge that can be
investigated, to find links and to create knowledge
6.2.2 Knowledge absorption
 The power of absorb knowledge
Roles of teachers
 Worksheets and flashcards work well for students who absorb knowledge visually, but for a child
who needs to hear the information in order to grasp it, traditional methods of teaching force him
or her to use a physical sense that is not as well-developed.
- Take geography as an example. If a teacher is instructing a class of kids about the fifty states
and capitals in the United States, it should be reinforced three different ways.
 For the visual learner, use maps and worksheets. For the auditory learner, create a song that
helps them remember what state and capital go together. For kinesthetic learners, activate the
body. Perhaps a teacher could do hand motions with the song, or do a map game on the floor,
where students have to hop from state to state as the capitals are called out.
 Make it Relevant
- Information is only stored permanently when it relates to day-to-day living. For example, math
concepts must be reinforced in real life examples or the student will have no reason to absorb
the information beyond the exam.
- History is one of the more difficult subjects to bring into the present, since it mainly deals with
past events, dates, and people. Finding strategies to bring it to life will help with learning.As
much as possible, history should be experienced through first-hand accounts, museums, field
trips and other enrichment activities.
 Use Several Different Angles
- For example, if a science teacher is lecturing on photosynthesis, the students will benefit
from hitting the same concept at different angles.
- First, the teacher explains the overarching concept. This provides framework and context.
Second, he explores each part of the process in greater detail. Third, he explains the whole
process again, this time encouraging students to ask questions. Fourth, he asks the students
to explain it back to him.
- Finally, he takes the process and inserts it into a relevant everyday situation that stretches
the students to apply the information in a real life example. As he reinforces the concept with
different angles, the brain is better able to organize the information. Trying to hit all of the
points in one explanation will overwhelm most students.
 Teach How To Learn
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 - “Learning” is an abstract concept to many.
- By helping students understand the art of learning, the techniques of learning, as well as the
different learning styles, they will be empowered by the process. It can be discouraging when
a new topic or theory is evasive or difficult.
- Students who understand how to learn will have more patience with themselves and others
as they grasp new material.

6.2.3 Value incalculation

• Value- the beliefs people have, especially about what is right and wrong and what is most
important in life, that control their behaviour.
• the beliefs people have, especially about what is right and wrong and what is most important in
life, that control their behaviour.
Criteria of value
- A value must be chosen freely.
- A value must be chosen from alternatives.
- A value must be chosen after considering the consequences.
- A value must be performed.
- A value becomes a pattern of life.
- A value is cherished.
- A value is publicly affirmed
 Value Calculation
- Value inculcation is building of values in our inner core.
- A process that happens unconsciously since we start learning, but it is conscious as we start
learning about values in schools.
- This happens when schools give us the moral education.
 Methods of Inculcation Values
- Presentation of example of self, as we know the individual learns through imitation. Therefore
teaching and behaviour of the taught should be full of values which are to be developed among
the individuals.
- The discussion of behaviour patterns and activities may be conducted in the classroom. This
develops habits of listening and speaking.
- Role playing activities may also help in developing values. Enacting a drama help an individual
to understand the behaviour expected.
- Film shows followed by discussion also help in value inculcation.
- Extension lessons and seminars on value education also prove beneficial.
- Value centred curriculum should be developed in order to inculcate values.
- Book exhibitions, use of mass media, value oriented magazines and value oriented projects also
help in development of values
 Role of Teachers in Inculcating Values
- In school, children are members of a small society that exerts a tremendous influence on their
moral development. Teachers serve as role model to students in school; they play a major role
in inculcating their ethical behaviour. Though there are rules and regulations, the educational
institutions infuse the value education to the children in an informal way. They play a major role
in developing ethical behaviour in children.
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  Accountability
- The children should be encouraged to be accountable for their own actions and should learn to
respect and treat others kindly.
 Role model
- The teachers are the first role model to the children outside their family. When the children sees
the model showing concern for others, motivating them for their good deeds and cooperating
and helpful with their academic issues, the children learn them by observing and imitate it with
fellow peers.
 Helping
- The children are taught basic morals and values in school. They should be taught by
emphasizing the idea through many activities, stories and tales, which will encourage them to
engage in more helping behaviours.
 Appreciation
- The teacher should appreciate the children for developing pro-social behaviour, especially for
any specific action they have done to help others.
6.2.4 Enrichment
 Enrichment means that the student is working on a topic in more depth or breadth than others.
The student keeps pace with the rest of his/her classmates but has more time to explore topics
of interest.
Townsend (1996) defines these two terms as follows:
 Enrichment - "learning activities providing depth and breadth to regular teaching according to
the child's abilities and needs". Enrichment activities are normally in addition to and different
from the regular classroom activities by way of offering challenge
Enrichment - advantages Enrichment- disadvantage
 Gifted and talented students, whose  Enrichment is a difficult term to
passions are many, can be well catered for define and is sometimes masked
in an enrichment programme that by the notions of extension, more
addresses a "repertoire of interests. and of the same, or busy work.
breadth of skills and strengths"  There is a common view that
(Department of Education, Victoria, 1996, enrichment is good for all
p. 33). students, and if that is the case,
 Enrichment also allows for varied grouping we must examine whether it is
with like-ability, similar-interest, and/or then an appropriate solution to the
same-age peers. learning needs of the gifted and
 Schools advocating an inclusive notion of talented.
giftedness may find enrichment an  When implemented, enrichment
appealing option in that it may sidestep both may simply be a homogeneous
formal identification and overt labelling solution, paying little or no
(Townsend, 1996). attention to the needs of individual
 When planned in close association with the students.
curriculum, enrichment avoids a  Enrichment is often provided in a
fragmented learning experience by keeping patchy, one-off fashion, short in
gifted and talented students connected – duration and lacking in "clear
albeit horizontally – to the general goals, adequate substance, and
classroom activities and topics of study. carefully planned teaching
 Enrichment may curb problems associated strategies" (Cox, Daniel, and
with intellectual frustration and boredom. Boston, 1985, cited in Townsend,
1996, p. 367).
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Roles of teacher in enrichment
 Enrichment is planned, purposeful engagement in learning
- Know what you want students to know and plan how to get there.
- Consider how you will know they have fulfilled the expectations by setting criteria for a
culminating activity.
- Explain assessment criteria with students before they begin work.
- Balance individual, small group and whole class instruction.
- Offer opportunities for heterogeneous groupings for gifted learners to work with age and social
peers as well as homogeneous groupings to provide time for gifted learners to work with
intellectual peers.
- Provide opportunities for students to demonstrate “stick-to-it-iveness” or intense concentration
when they have a passion for a topic or area of study.
 Enrichment is creation of concepts
- Consider how students relate what is learned to previous information and experience.
- Consider a KWL chart - ie:
o K = What I Know;
o W = What I want to learn;
o L = What I learned
 Enrichment is interrelationships
- Gifted learners have advanced ability to see connections between concepts and also
connections to the ideas of others.
- Teach use of graphic organizers, such as webbing or mind maps.
- Offer opportunities for students to investigate unique solutions or “off the wall” connections.
 Enrichment is presenting information in many different ways to appropriate audiences
- Expect students to go beyond completing an assignment and handing it in for the teacher to
mark.
- Other students are enriched when new and unique learning is shared.
- An audiences (classmates, other students, parents, community) encourages students to develop
and share
- Some students may need help in bringing investigations to a conclusion or keeping to a schedule.
Method for enrichment
 Independent study
- In an independent study, the student selects a topic of interest in any academic area where he
shows strength. The student and teacher work out parameters for process (how much time each
day, where research will take place, what materials will be needed, what other persons will be
involved, etc) and product (how will the student demonstrate what was learned, will the product
be shared, will it serve a real—life purpose, etc.) The independent study suits students who have
task commitment and who tend to finish regular work quickly and correctly.
 Study contract
- A teacher may use a study contract to keep a student working alongside her peers most of the
time while allowing her to make choices about what or how to learn. The study contract is used
when the student has already met some but not all outcomes for a particular unit. A menu of

35
 mutually-acceptable choices should accompany the study contract to ensure the student is using
her earned time wisely.
 Mentorship
- A student with heightened knowledge in a specific academic area may benefit from contact with
a specialist in this field. This is particularly the case in lower grades when the teacher cannot
keep up with the student’s capacity to learn the subject. A mentor may be a teacher of a higher
grade, a community member, an older student or an instructor at a local community college or
university. Mentorships vary in frequency of visits and may even take place online. Care must
be taken to ensure that the student and the mentor are compatible and that the arrangement is
agreeable to both parties.

6.2.5 Remedial
 Teachers should design appropriate learning activities in line with the focus of teaching. On the
basis of low starting point, small steps, diversified activities and instant feedback, teachers
should encourage pupils to participate actively during the learning process to help master the
skills and methods of collaborative learning. Diversified teaching activities such as situational
teaching, competitions, collation of information, discussion, oral reporting, games, topical
research, production of graphs/figures/models, role play, recording, visit and experiments may
help pupils enhance their interest in learning, stimulate their thinking and reinforce the
effectiveness of teaching.
 Teachers should exercise their discretion in the appropriate use of teaching aids. Appropriate
teaching aids not only help to enhance pupils’ interest in learning, but will also consolidate the
knowledge they learned, thus achieving the objective of teaching. Common teaching aids are
concrete objects, figures, models, word cards, number cards and audio-visual equipment such
as tape recorder, headset, wire free induction loop system and multimedia teaching aids, etc.
When designing and using teaching aids, teachers should first consider their practical use and
assess whether the aim of remedial teaching can be attained
 Finding Out The Main Reason Behind The Learner’s Weak
- Teachers are first required to find out the main reason behind the learner’s weak performance
and also to study those areas minutely where she needs to work upon in order to guide the slow
learner to perform well
 Interact With The Slow Learners More Often
- She needs to interact with the slow learners more often so that she can keep a record of every
movement of the learner and adopt ways in which the slow learner can be guided.
 Giving Extra Care And Practice
- Extra care and practice should be given to the slow learners as compared to their peers. If need
be the teacher can take extra classes or may allow the learner to come to her place so that she
may work out the areas of concern along with these learners. The teacher may utilize some of
her time to do a good deal of
 research in order to find out simple ways of helping these slow
- learners to study in an easy and simple way. She might set mock tests for the learners or give
them simple home assignments which are interesting and related to the lessons completed in-
side the classroom.
 Apply the theory of Multiple Intelligence
- By allowing the child to dabble in a range of activities at a youngage helps in success not only
boosts confidence but excelling in a certain area, whatever it maybe, allows the child to feel
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 socially accepted and ‘normal’. Additionally, sports can then also be used to teach various
mathematical computations and calculations, for instance.
 Peer Tutoring
- Peer tutoring is one of the most effective strategies for slow learners. Parents and teachers
should identify tolerant and caring peers and allow the slow learner to be taught alongside them
or through them. The more a child interacts with those of his age, the more successful he will
feel, eliminating the problem of self-confidence.

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