Delivering Authentic Arts Education 4Th Edition Judith Dinham Full Chapter

Delivering Authentic Arts Education 4th
Edition Judith Dinham

Visit to download the full and correct content document:
https://ebookmass.com/product/delivering-authentic-arts-education-4th-edition-judith-
dinham/
Fourth edition
Delivering
Authentic Arts
Education
Judith Dinham
Copyright 2020 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-202
Delivering
Authentic Arts
Education
Fourth edition
Delivering
Authentic Arts
Education
Judith Dinham
Delivering Authentic Arts Education © 2020 Cengage Learning Australia Pty Limited
4th Edition
Judith Dinham Copyright Notice
This Work is copyright. No part of this Work may be reproduced, stored in a retrieval
system, or transmitted in any form or by any means without prior written permission of
Head of content management: Dorothy Chiu the Publisher. Except as permitted under the Copyright Act 1968, for example any fair
Senior content manager: Fiona Hammond dealing for the purposes of private study, research, criticism or review, subject to
Content manager: Jessica Brennan certain limitations. These limitations include: Restricting the copying to a maximum of
Project editor: Sutha Surenddar one chapter or 10% of this book, whichever is greater; providing an appropriate notice
Editor: Julie Wicks and warning with the copies of the Work disseminated; taking all reasonable steps to
Proofreader: Anne Mulvaney limit access to these copies to people authorised to receive these copies; ensuring
Permissions/Photo researcher: Wendy Duncan you hold the appropriate Licences issued by the Copyright Agency Limited (“CAL”),
Cover designer: Linda Davidson supply a remuneration notice to CAL and pay any required fees. For details of CAL
Project designer: Linda Davidson licences and remuneration notices please contact CAL at Level 11, 66 Goulburn
Text designer: Lisa Howard Design Street, Sydney NSW 2000, Tel: (02) 9394 7600, Fax: (02) 9394 7601
Cover: Getty Images/Dan Kenyon; Getty Images Plus/iStock/real444; Getty Images Email: info@copyright.com.au
Plus/iStock/AlexandraPetruk; Getty Images/DigitalVision Vectors/VasjaKoman; Getty Website: www.copyright.com.au
Images Plus/iStock/ChrisGorgio; Getty Images Plus/iStock/Skarin; Getty Images
Plus/iStock/ChrisGorgio; Getty Images Plus/iStock/Nosyrevy For product information and technology assistance,
Cenveo Publisher Services in Australia call 1300 790 853;
in New Zealand call 0800 449 725
Any URLs contained in this publication were checked for currency during the
production process. Note, however, that the publisher cannot vouch for the ongoing For permission to use material from this text or product, please email
currency of URLs. aust.permissions@cengage.com
National Library of Australia Cataloguing-in-Publication Data

Acknowledgements Creator: Dinham, Judith, author.
Chapter opener images Title: Delivering authentic arts education / Judith Dinham (author).
Edition: 4th edition
Chapter 1 - Alamy Stock Photo/Cristiano Fronteddu; Chapter 2 - ISBN: 9780170420594 (paperback)
iStockphoto/Wojciech Kozielczyk; Chapter 3 - iStockphoto/Highwaystarz- Notes: Includes index.
Photography; Chapter 4 - Alamy Stock Photo/Bill Bachman; Chapter 5 - Getty
Images/Caiaimage/Lukas Olek; Chapter 6 - Alamy Stock Photo/Dinendra Haria;
Chapter 7 - Getty Images/Al Seib; Chapter 8 - Alamy Stock Photo/Christina Kennedy; Cengage Learning Australia
Chapter 9 - Alamy Stock Photo/christopher jones; Chapter 10 - Alamy Stock Photo/E. Level 7, 80 Dorcas Street
D. Torial; Part 3 (Unit of Inquiry) - Getty Images/Alistair Berg South Melbourne, Victoria Australia 3205
Cengage Learning New Zealand

Unit 4B Rosedale Office Park
331 Rosedale Road, Albany, North Shore 0632, NZ
For learning solutions, visit cengage.com.au
Printed in China by 1010 Printing International Limited.

1 2 3 4 5 6 7 23 22 21 20 19
v
Brief contents
PART 1 THE ABC OF ARTS EDUCATION
Chapter 1 Putting you in the picture – the rationale and context
for arts education............................................................... 02
Chapter 2 The features of authentic arts education......................... 29
Chapter 3 Being an effective teacher in The Arts.............................. 62
Chapter 4 Children at the centre........................................................ 92
Chapter 5 Planning, pedagogy and assessment for authentic
arts learning.......................................................................126
PART 2 TEACHING IN THE ARTS

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

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

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

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

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

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

Safe music practices and practicalities.............319 communicate using elements and principles
Safe practices..................................................319 of visual language.......................................... 353
Locating music................................................319 Exploring 3D form and space....................... 354
Instruments......................................................319 Sharing and displaying artworks.................. 356
Music library....................................................319 Visual arts appreciation: responding................ 356
Music centre or listening post...................... 320 Viewing visual art........................................... 356
Sharing music with children.......................... 320 Understanding visual arts contexts and
Online resources: Songs............................... 322 motivations..................................................... 357
Online resources: Music education............. 323 Guided visual arts appreciation................... 360
Summary.............................................................. 324 Linking visual arts to other subjects................. 361
Go further............................................................ 325 Dance............................................................... 361
Learning activities............................................... 325 Drama.............................................................. 361
Further reading................................................... 325 Media arts....................................................... 361
References........................................................... 326 Music................................................................ 361
Cross-curriculum............................................ 361
Chapter 10 Visual arts 327
Safe visual arts practice and
Guiding principles for visual
practicalities........................................................ 361
arts education..................................................... 328
Classroom snapshot: Discovering how the
Describing visual arts.................................... 328
composition of a painting contributes to its
Visual arts in school education..................... 330 meaning........................................................... 362
Engaging with visual arts................................... 331
Safe practices................................................. 364
Mixing colours................................................ 364
Student participation..................................... 332
Arranging still-life and subjects for
Supporting diverse learners......................... 333 observation..................................................... 365
Visual arts in the Australian Curriculum........... 334
Using visuals................................................... 365
Assessment in Visual arts.............................. 335
Acquiring art materials.................................. 366
Foundations of visual arts literacy:
Online resources: Visual arts education...... 368
concepts, knowledge and skills........................ 336
Summary.............................................................. 369
Elements of visual arts................................... 336
Go further............................................................ 370
Design principles........................................... 337
Learning activities............................................... 370
A closer look at colour – one of the Further reading................................................... 370
elements.......................................................... 338
References........................................................... 371
Classroom snapshot: Compare two ways of
teaching about colours................................. 338
Colour mixing using the warm and
cool paint colour system............................... 342
PART 3 UNITS OF INQUIRY
At a glance: Warm and cool paint colour
system.............................................................. 343 How this section works........................................374
Varying the units of inquiry................................ 375
Conventions for representing the
Understanding the learning experiences........ 375
spatial world in 2D......................................... 344
Patterns around us...............................................376
Symbols, metaphors and different
Guide to the learning experiences for
realms.............................................................. 346
Patterns around us...............................................376
Materials also communicate......................... 346
Unit plan options for Patterns around us......... 377
Visual arts praxis: making.................................. 347
Glossary............................................................... 408
Representation............................................... 348 Index......................................................................410
At a glance: Subjects for observational
activities.......................................................... 349
Formalism........................................................ 350
Expressionism................................................. 351
Social commentary and narrative................ 352
xii
Guide to the text

As you read this text you will find useful features in every chapter
to enhance your study of authentic arts education and help you
understand how the theory is applied in the real world.
CHAPTER OPENING FEATURES
Chapter one 66 PART 1 The ABC of arts education
PUTTING YOU IN THE PICTURE – The first thing required is some lateral thinking. Consider the way the arts penetrate
everyday life: music, gigs, festivals, interesting murals and sculptures in the park, art exhibitions,
THE RATIONALE AND CONTEXT home decor, concerts, fashions, cinema, dance shows on TV, product packaging, musicals,
FOR ARTS EDUCATION photography, jewellery designs, computer games, street artists and buskers. The list goes on.
Now map the different ways you engage in the artistic and cultural dimensions of living. You may
Identify the key concepts that the chapter will

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

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

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

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

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

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

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

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

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

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

374
Learn how to plan quality primary arts programs

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

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

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

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

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

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

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

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

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

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

Cengage is pleased to provide you with a selection of resources that
will help you prepare your lectures and assessments. These teaching
tools are accessible via cengage.com.au/instructors for Australia
or cengage.co.nz/instructors for New Zealand.
MINDTAP
Premium online teaching and learning tools are available on the MindTap platform - the personalised
eLearning solution.
MindTap is a flexible and easy-to-use platform that helps build student confidence and gives you a clear
picture of their progress. We partner with you to ease the transition to digital – we’re with you every step of
the way.
The Cengage Mobile App puts your course directly into students’ hands with course materials available on
their smartphone or tablet. Students can read on the go, complete practice quizzes or participate in
interactive real-time activities.
MindTap for Dinham’s Delivering Authentic Arts Education 4th edition is full of innovative resources to
support critical thinking, and help your students move from memorisation to mastery! Includes:
• Dinham’s Delivering Authentic Arts Education 4th edition eBook
• Lesson plan templates
• Video Activities and more!
MindTap is a premium purchasable eLearning tool. Contact your
Cengage learning consultant to find out how MindTap can transform
your course.
INSTRUCTOR’S GUIDE
The Instructor’s guide includes: • Instructor notes on using the Units of Inquiry
• Chapter objectives • Tutorial activities.
• Key terms
POWERPOINT™ PRESENTATIONS
Use the chapter-by-chapter PowerPoint slides to enhance your lecture presentations and handouts by
reinforcing the key principles of your subject.
ARTWORK FROM THE TEXT

Add the digital files of graphs, tables, pictures and flow charts into your course management system, use
them in student handouts, or copy them into your lecture presentations.
xviii Guide to the online resources
FOR THE STUDENT
GO FURTHER RESOURCE
Deepen your understanding of the chapter content by asking your instructor for your Go Further resource,
which includes:
• Lesson plan templates
• Worksheets
• Additional Units of Inquiry
• Key people glossary.
MINDTAP FOR DELIVERING AUTHENTIC ARTS EDUCATION 4TH EDITION

MindTap is the next-level online learning tool that helps you get better grades!
MindTap gives you the resources you need to study – all in one place and available when you need them.
In the MindTap Reader, you can make notes, highlight text and even find a definition directly from the
page.
If your instructor has chosen MindTap for your subject this semester, log in to MindTap to:
• Get better grades
• Save time and get organised
• Connect with your instructor and peers
• Study when and where you want, online and mobile
• Complete assessment tasks as set by your instructor
When your instructor creates a course using MindTap, they will let you
know your course key so you can access the content. Please purchase
MindTap only when directed by your instructor. Course length is set by
your instructor.
Introduction xix
Introduction
A world without the arts would be a grey of negotiating the world of knowledge in the
and tuneless place. The arts are so seamlessly digital world parallel the way artists work and
woven into the fabric of our everyday lives that so researchers are increasingly interested in the
it is easy to overlook the extent to which they arts as a way of gaining insight into these types
contribute to the quality of our lives. Music of cognition (Bourriaud, 2002).
accompanies our everyday activities as we plug Similarly, the unprecedented growth of forms
into our mobile devices while taking an early of communication that rely on visual formats –
morning run or working out in the gym, or such as websites, videos, PowerPoint ®, digital
listen on the radio while driving. A night out to images and Skype™ – mean that visual literacy
a dance club, concert hall, cinema or theatre, is becoming a critical functioning skill. This is so
immerses us in the worlds of dance, music, much so that an Australian Government agency
media arts and drama. We watch TV shows observed that ‘artistic and visual literacy are
where interior stylists decorate homes with increasingly as important to success in work and
neutral shades of wall paint offset by ‘pops of life as numeracy and language skills’ (Ozco &
colour’, and we employ the same visual arts skills DEST, 2004, p. 4).
to choose the colours and textures in our own Across the world, the growth of the
homes. The retail world of fashion, jewellery, knowledge society has commentators
magazines, furniture and advertising engages remarking that success in this economy requires
our senses through the quality of visual design. creative and innovative thinkers more than the
Our urban environment is enlivened by music, workers we needed for the industrial world.
public artworks such as murals and sculptures, In the USA, research shows that 97 per cent
and interesting architecture. Our digital world of of employers surveyed believe that creativity
YouTube videos and computer games depends is increasingly important in the workplace –
on media arts skills. though 85 per cent seeking employees with such
The arts are not only part of what we see skills reported having difficulty finding them.
and hear around us, but also influence the The report concludes that ‘it is clear that the
way we think and the way we see ourselves. arts … provide skills sought by employers of the
Participating in the arts is an important third millennium’ (Lichtenberg, Woock & Wright,
dimension of children’s development because 2008, p. 17).
artmaking activates complex thinking processes Globalisation of economies and global
through the abstract nature of music, the issues like migration and climate change have
embodied materialisation of thought through blurred the boundaries of societies. Fostering
dance and drama, the externalisation and connections and relationships across and within
abstract representation of ideas by drawing, cultures has placed greater emphasis on cultural
and the multidimensional weaving of sensory understanding and building people’s sense of
experience in media arts creation. The arts identity and connection. Once again, the arts
are also integral to the way we build our personal attract attention because of their capacity to
and cultural identities through traditional meet these needs.
songs and national anthems; dance, paintings, The arts bring pleasure, joy, comfort and
drama and movies that tell our stories; and understanding into people’s lives. They allow
iconic architecture that presents us to the world. people to express who they are and to find
The arts have always been part of human meaning in their world. In the same way that
life, but in our contemporary world their role prehistoric people drew on cave walls and
is changing as the digital revolution transforms toddlers draw on bedroom walls, we know that
the way we think of and structure information, expressing ourselves artistically through dance,
knowledge, experiences and understandings. drama, media, music and visual art is a primary
The interactive, relative and navigational ways and deeply human need.
xx Introduction
Is this book for you?

This book is for pre-service and novice primary school teachers. Experienced teachers who are
looking for a guide to contemporary arts teaching should also find it useful.
The Arts is a mandated learning area in both the Australian and New Zealand primary school
curricula. For the most part, generalist primary school teachers have the responsibility of providing
their students with good-quality arts learning opportunities that enable them to develop the
capabilities deemed necessary for success and fulfilment in our emerging world. This is a challenge,
but you have a pleasurable job to do – one that will bring you many rewards as well.
If you do not feel confident about teaching in the arts, be reassured that you have this capability
within you. It just needs to be harnessed and directed. Furthermore, opportunities such as
partnerships with arts organisations as well as access to professional networks and online resources
are providing more support than ever before. The purpose of this book is to support you in
developing your confidence, understandings and skills to initiate an authentic arts learning program
in the primary classroom. It does this by:
1 providing you with enough background information to appreciate the true nature of arts
education and its importance in the curriculum
2 encouraging you to recognise, celebrate and use your own creative and artistic capacities
(which may be dormant, but do exist) – and your pedagogical skills – to bring arts education
alive in your classroom, and for you to be the best teacher you can be
3 directing you to the range of options and support available to you through partnerships,
professional networks and online resources
4 reviewing the features of an authentic arts program and building the links between theory and
practice with sample lessons, supporting information pages, ideas for programs, suggestions
and guidelines – so that you can initiate an authentic arts education program, function
effectively in the classroom, and be confident that you will succeed.
Both the title of this book and the content refer to authentic arts education. What this means
is arts education that is genuine education – where children actually develop more sophisticated
understandings, skills and capabilities in the arts, which support satisfying self-expression and
appreciation. To be blunt, far too much of what passes for arts education is not much more than
busy work or a fun-time interlude in the ‘real’ work of education. Not that there is anything wrong
with having fun – but arts education also needs to be purposeful, stimulating and challenging
learning – and all education should be fun!
How this text is organised

The book is organised into three parts.
provides an overview of the contemporary context for arts education and then examines the
PART three interconnected elements of arts education in the primary school – the student, the
1 teacher and the curriculum.
PART looks specifically at teaching in each of the five Arts areas.

2
is a set of learning experiences on the theme of Patterns around us that can be implemented in
PART the primary school classroom. Additional themes, learning experiences and resources are located
3 on the book’s website, which you can access via http://login.cengage.com.
Introduction xxi
Pedagogical tools
As part of being a reliable resource for learning about and teaching in the arts, a number of
pedagogical features have been provided to assist your studies. The text makes regular references
to the Australian Curriculum. Even if the state where you live has developed its own curriculum, this
text is still relevant because the state-based curricula are derived from the Australian Curriculum
and the underpinning concepts and expectations are consistent. Icons in the text draw attention
to references made to the Australian Curriculum. Icons in the margin as well as the text highlight
references to the cross-curriculum priorities.
Each chapter begins with a set of bullet points outlining the key ideas in the chapter and has a
summary of the main points at the end. Subheadings are used throughout and you will be able to go
directly to the section you need at any time. At the end of each chapter are suggested activities for
you to consolidate and check your learning.
Throughout the book are At a glance boxes that can be quickly located as ready references for
key information – or photocopied and pinned up at your workstation.
The Classroom snapshots are boxed sections that offer examples of arts education in action in
the classroom and other learning contexts. You will see how the ideas discussed in the book are
enacted and translated into real-life classroom situations.
Online resources are provided in every chapter so you have reliable resources readily at hand
for teaching and your own self-education. These annotated lists of websites extend the value of the
book because you can continue to access up-to-date information.
Starter ideas throughout the text provide lists of ideas for practical implementation that illuminate
the concepts being discussed.
Icons for significant educators are in the margins as well as explanations for terminology highlighted
in the text in bold font. A glossary at the end of the book lists all these terms alphabetically.
The book has its own website where additional learning activities and resources expand the
material provided in the text. Templates such as those for unit planning or developing visual narratives,
which are in the book for reference, are also on the website so they can be downloaded for use.
All these features are intended to support your ongoing professional development as an educator
in the arts beyond the pre-service units you complete in your degree.
Terminology
While a glossary of terminology is included in this book, several terms used throughout the text
should be clarified here. ‘The arts’ is a collective term referring to dance, drama, music, visual and
media arts and other forms of artistic expression. When capitalised, The Arts is generally referring
to The Arts learning area in the Australian Curriculum. ‘Artworks’ and ‘artists’ are usually used in this
text as collective nouns to mean all products of the different arts areas and all creators. This is in
order to avoid cumbersome specification when meaning any and all art forms or creators. Therefore,
a musical performance is an artwork and a composer is also an artist.
The term ‘pre-service teachers’ refers to those who are studying to gain a teaching qualification.
Novice teachers are qualified teachers in the first years of their teaching careers. Throughout the
text, children and students are terms used interchangeably to refer to the young people you will be
teaching.
xxii Introduction
References
Australia Council for the Arts (Ozco) & Bourriaud, N (2002). Relational Aesthetics (rev. educators and executives aligned on the
DEST (2004). Request for tender for edn). Translated S Pleasance & F Woods. creative readiness of the US workforce?
the provision of national review of Buenos Aires: Adriana Hidalgo Editoria. New York: The Conference Board.
education in Visual Arts, Craft, Design Lichtenberg, J, Woock, C & Wright, M Retrieved from http://www.artsusa.org
and Visual Communications. FA/6416. (2008). Ready to innovate: Are
About the author xxiii
About the author

Associate Professor Dr Judith Dinham, School of Education, Curtin University
Judith Dinham has held senior university teaching and leadership positions in arts education
and artists’ education over a number of decades. At Curtin University she is the Director of
Learning and Teaching in the School of Education, having previously held the position of
Bachelor of Education Primary Program Co-ordinator.
She is a HERDSA Fellow, has an Edith Cowan University Fellowship for Teaching Excellence
and two Curtin University Excellence and Innovation in Teaching Awards.
She was the founding director of ProArts, a professional development provider for teachers,
as well as being an International Baccalaureate examiner for 10 years and a board member
for WAAPA and ARX. Her broad curriculum experience includes writing and presenting arts
education courses in Early Childhood, Primary and Secondary Education for universities,
the Curriculum Council, Professional and Graduate Education, Open University Australia
and the Botswana Government. Her research interests relate to pre-service education in the
arts. Judith Dinham is also a practising artist and exhibition curator. The monograph Judith
Dinham: An artistic journey describes her artistic practice.
Acknowledgements
The production of this fourth edition reflects an ongoing interest in Delivering authentic arts
education and the publisher’s commitment to keeping the text up to date and relevant for
each intake of pre-service teachers. I am indebted to Cengage and, most importantly, the
university lecturers around the country who make Delivering authentic arts education the
required text for the arts units. In relation to the preparation of this new manuscript, I would
like to acknowledge and sincerely thank colleagues, teachers, students, friends and family
who offered advice and assistance and, importantly, the reviewers listed below who provided
critical review of the content.
I would also like to thank those who made generous contributions of artwork, images and
ideas for inclusion in the book including Gill Treichel, Christine Latham, Sylvia Le Min Maslin
and Elizabeth Ford, as well as Stella Attwater, Isaac Beckmann, Noah Beckmann, Theda
Morrissey and Quentin Morrissey; and also Bayswater Primary School, Hale School, Edith
Cowan University and Curtin University for inclusion of certain photographs.
xxiv About the author
This book is intended for pre-service primary school teachers and as such I have especially
valued the contribution of past and present pre-service students. The stories of several
teaching experiences recounted by my students on their Blackboard Discussion Board bring
an immediacy to the matters being discussed and provide valuable insights.
A special thanks goes to my development editor, Jessica Brennan, who has guided me
through several editions of the book, and the whole wonderful team at Cengage who have
masterfully brought this book into being. It is always a pleasure working with such committed
and capable individuals.
Ideas float in a ferment and any number of fragments can take hold and grow into
arts creations and lessons. These in turn may suggest possibilities for interpretation by
someone else. I have willingly shared ideas with my students and colleagues and, while I have
acknowledged known sources in this text, I also want to thank all those who, with a teacher’s
instinct and collegial spirit, have generously contributed to the ferment that feeds us all.
Judith Dinham
2018
The author and publisher would like to thank the following reviewers, whose feedback shaped
this fourth edition:
Clare Britt Macquarie University

David Cleaver University of Southern Queensland
Peter Cook Southern Cross University
Helen Grimmett Monash University
Sue Harding University of South Australia
Victoria McTaggart Australian Catholic University
Robin Pascoe Murdoch University
Fiona Phillips Deakin University – Burwood
Louise Phillips University of Queensland
Beth Rankin Australian Catholic University
Helen Sandercoe La Trobe University
Jennifer Stevens-Ballenger University of Melbourne
Sara Warren Federation University
1
PART
ONE
THE ABC OF ARTS
EDUCATION The Arts is one of the mandated learning areas in the
Australian Curriculum and includes the subjects of Dance,
Drama, Media arts, Music and Visual arts. All students
from Foundation through the primary school years are
expected to have an education in The Arts subjects.
How this is achieved will vary across state and territory
jurisdictions and from school to school. Nevertheless, all
teachers have a role to play in delivering arts education
in a contemporary curriculum – even if the school has
specialist teachers. If you are preparing to be a generalist
teacher, it is possible that you may have a modest
background in the arts, lack confidence in your ability or
feel intimidated by the challenge. However, you will find
that you can deliver a worthwhile Arts program if you are
willing to try.
Part 1 of this book is an examination of the principles
of delivering good-quality arts education. It begins
with an exploration of the context and rationale for
arts education because you need some understanding
about why arts education is in the curriculum in order to
engage with arts learning intelligently. The rest of this
section is devoted to addressing the three key players in
education: the learner, the teacher and the learning area.
Understanding essential concepts in relation to each of
these three factors represents the ABC of arts education:
A Authentic arts
education.
B Being the
best teacher
C Children at
the centre.
you can be.
2
Chapter one
PUTTING YOU IN THE PICTURE –
THE RATIONALE AND CONTEXT
FOR ARTS EDUCATION
In this chapter you will discover that:
1.1 the arts are part of what it means to be human
1.2 the nature of arts education changes as society’s needs and values change – so arts
education today is different from arts education in the past
1.3 contemporary arts education research, policy and scholarship illuminate the nature
of arts education for the new era
1.4 arts education is in the curriculum to seriously contribute to developing children’s
capabilities to meet the challenges of the new era
1.5 implementing new educational practices and a meaningful program requires
dedication and forward-thinking approaches.
Chapter 1 Putting you in the picture – the rationale and context for arts education 3
1.1 THE ARTS ARE INTEGRAL TO HUMAN

EXISTENCE
The arts, such as painting and dancing, are forms of expression found in every culture. They are
integral to human society, and archaeologists go so far as to say that our artistic practices, along with
rituals and new technologies, are the three key drivers in the evolution of humankind (BBC News, 2000).
The oldest known images are hand stencils found in a cave in Sulawesi, Indonesia. These are
39 900 years old (Aubert et al., 2014), although other discoveries of paint pigments and tools
suggest that between 350 000 and 400 000 years ago Stone Age people were painting their
bodies for ritualistic and ceremonial occasions (BBC News, 2000). Evidence of decoration on
utilitarian ware signifies that, at some stage, an object’s function was augmented by attention
to its appearance. By the Bronze Age (3300–1200 BCE) artisans were employed to produce
ornaments and jewellery with no utilitarian role, meaning that objects were valued for their
artistry and beauty – and imbued with personal significance.
Artistic creations such as paintings, adornments, music, storytelling, enactments and dance
are primary and persistent ways in which humans communicate information, ideas or concepts
about the world as we understand it. In this regard, the earliest forms of artistic practices and
artefacts encapsulate key qualities that still hold true today:
• Art is an expression and communication of meaning.
• Art is engagement of our aesthetic sensibilities.
• Art is an integral part of our existence as a species.
The integral role of artistic expression across cultures and throughout history serves to
reveal much about the societies within which they were created – their needs and values, and
how people understood and made sense of their world. Much of the information gained by
archaeologists and historians about the beliefs and practices of civilisations and eras of the past
comes from studying their artistic pursuits.
In the codification of knowledge, artistic pursuits such as dance, drama, music and visual arts
have been formalised into disciplines with their unique histories, philosophical and theoretical
underpinnings, practices and fields of research. Media arts has naturally been established more
recently. These disciplines are referred to collectively as The Arts or the Creative Arts. For
educators, recognising the primacy of the arts in societies helps you to understand the role and
significance of The Arts in the school curriculum, and how this role has evolved and changed as
societal needs and values have changed.
1.2 THE EVOLUTION OF ARTS EDUCATION AS

SOCIETAL NEEDS AND VALUES SHIFT
Arts subjects such as visual arts and music have been in the primary school curriculum for about
two centuries, while others, such as media arts, are obviously more recent additions. You may
wonder why arts subjects are in the curriculum at all, but there has never been one immutable
reason why these subjects (or any subjects) are taught in schools.
The prevailing circumstances of a society and its history, beliefs and values create the climate
for education. Educational theories and research evidence give form and dimension to the nature
of schooling and the curriculum, while political and economic imperatives set expectations
and demands. All these features collectively provide the drivers for education. Since the
circumstances of society are always evolving, so too the nature of a subject like arts education
changes in accordance with the needs and perceived benefits at that point in time.
4 PART 1 The ABC of arts education
You may have thought that subjects like music or drama are included in the curriculum to
make learning in other subjects more interesting or to provide some relief from more ‘serious’
subjects, but this isn’t the case. When you consider the level of investment in arts education
through teacher education, curriculum and teaching resources, infrastructure such as performing
arts auditoriums, or art equipment and musical instruments, you can deduce that an educational
return for this investment will be expected. What we discover is that a contemporary education
in the arts is expected to return those dividends in terms of the development of children’s
capacity to live successful and fulfilled lives in the 21st century. In this text, we learn what that
means.
Since education in the arts is evolving to meet contemporary needs, we can expect that the
way we were educated in the arts is not necessarily the model for teaching in today’s classroom.
To understand the evolution of contemporary arts education imperatives and practices, we begin
by reviewing the changing rationale for arts education over past decades.
Reasons for arts education in the past

At the end of the 18th century, the Industrial Revolution began supplanting the agrarian economy
with a manufacturing-based economy. Naturally, this required a new kind of workforce for the
emerging manufacturing industries, so education for the masses became widespread. Visual arts
was introduced into the curriculum as a vehicle for developing the manual dexterity and technical
drawing skills required for factory-based production. This was the style of visual arts education
valued by this society.
The development of the field of psychology in the early part of the 20th century and the
revolutionary and influential philosophies of John Dewey spearheaded a new conception
John Dewey of education that placed child development at the centre. The awakening of creative capacities
(1859–1952) through self-expression became the impetus for arts education and the nature of the curriculum
changed accordingly.
In the 1960s President Kennedy determined that the USA would put a man on the moon
within a decade, and the ‘space race’ ensued. This ambition focused on scientific education with
its attendant emphasis on empirical knowledge and academic rigour. The school curriculum
evolved to privilege the knowledge content of each discipline. In this educational environment,
art educators looked to what formed the knowledge base of arts education. Driven by the J Paul
Getty Trust, ‘discipline-based’ arts education emerged. It included aesthetics, art criticism and
art history – along with the usual artmaking processes. This curriculum was widely adopted in
Australian secondary schools in the 1980s and its influence is still evident today.
How changing times shaped a National Curriculum

Framework in Australia
At the 1989 Australian Education Council meeting, Ministers of Education agreed that a
framework for national collaboration was required to meet emerging schooling challenges. In its
Hobart Declaration, the Council identified 10 shared national goals that led to the development
of the National Curriculum Framework, which is the precursor to today’s Australian Curriculum
(MCEETYA, 1989).
This was at a time when the paradigm of economic rationalism prevailed and, in this context,
education’s primary role was understood in terms of developing citizens who would contribute
to society through their participation in the growth of the economy as workers and consumers.
It was determined that education in a range of areas improved children’s chances of being
employed, and that this breadth of education was best achieved by organising the curriculum
into eight key learning areas – including The Arts. The growth of cognitive science – which was
changing how we conceived of the mind, learning and intelligence – provided the framework for
the establishment of learning areas (Efland, 2002) and the existing arts subjects were brought
together with the newly introduced Media arts under the umbrella of The Arts.
In the Australian Government’s 1994 cultural policy, Creative Nation, ‘The Arts’ were also seen
as an identifiable market commodity. Here the ‘creative industries’ were viewed as a broad division
of the economy where jobs could be found for some and others could participate as consumers.
The National Curriculum Framework had a mixed reception. While many claimed that grouping
the separate arts subjects together into The Arts learning area diminished them individually, it
also meant that, for the first time in the primary school, developing children’s capabilities and
understandings in The Arts was seen to be as relevant as developing their capabilities and
understandings in the other nominated learning areas. This represented a significantly different
conceptualisation of subjects like music, visual arts and drama, which had often been treated as
optional extras – a Friday afternoon class if children had been good.
Introduction of the Australian Curriculum as

part of a reform agenda
As we have seen, the curriculum evolves in response to prevailing circumstances, values and
emerging needs. For today’s society, these are related to global forces: the digital revolution, the
growth of a knowledge economy, shifting economic power, the changing nature of work, increasing
international mobility and displacement, increasing engagement with different cultures through
globalised economies, growing concern for disenfranchised youth and fragmenting society, as
well as environmental and sustainability concerns.
The Melbourne Declaration establishes new educational goals

In Australia, for several decades now, the incumbent ministerial council on education has guided
the curriculum response to emerging needs. In December 2008, Australia’s Ministerial Council
on Education, Employment, Training and Youth Affairs (MCEETYA) set out the educational goals
for the coming decade in its publication, Melbourne Declaration on Educational Goals for Young
Australians (2008). The document’s Preamble acknowledges that complex environmental, social
and economic pressures, as well as the ongoing rapid advances in information and communication
technologies, are placing new demands on Australian education (MCEETYA, 2008, pp. 4–5). The
Melbourne Declaration then declares that the aspiration of ‘a high quality of life for all’ (p. 4)
will be determined by the country’s ability to compete in the global knowledge and innovation
economy. To this end, two goals for education are identified (MCEETYA, 2008, p. 7):
1 Australian schooling promotes equity and excellence.
2 All young Australians become:
a successful learners
b confident and creative individuals
c active and informed citizens.
The Melbourne Declaration guided the development of a new national curriculum, the
Australian Curriculum, to address these goals and provide equity of opportunity for all Australians
through a common curriculum.
Designing the Australian Curriculum to meet

new educational goals
In 2009, the newly established Australian Curriculum, Assessment and Reporting Authority
(ACARA) embarked on developing the Australian Curriculum. Like its predecessor, the curriculum
is organised around discipline-based learning areas, with The Arts learning area maintaining
the same five arts subjects: Dance, Drama, Media arts, Music and Visual arts. Additionally, the
Figure 1.1 The Australian Curriculum has three dimensions: learning areas, general capabilities and cross-curriculum
priorities
© Australian Curriculum, Assessment and Reporting Authority (ACARA)

2010. CC BY 4.0 https://creativecommons.org/licenses/by/4.0.
Australian Curriculum mandates that all children should be educated in all five arts areas every
year from Foundation through the primary years of schooling.
Besides nominating learning areas, the Australian Curriculum identifies ‘general capabilities’,
which are the knowledge, skills, behaviours and dispositions regarded as essential for the
21st century, along with three cross-curriculum priorities that are to be addressed in each learning
area. This three-dimensional model (as shown in Figure 1.1), comprising learning areas, general
capabilities and cross-curriculum priorities, aims to address the changing nature of our world and
to frame a coherent approach to education that will prepare children for their future.
The development of the Australian Curriculum has been a phased process, including a rewrite
after the Donnelly and Wiltshire review in 2014 (Donnelly & Wiltshire, 2014). The Curriculum was
fully implemented in 2016 and since then ACARA has turned its attention to ongoing refinements.
Responsibility for its implementation rests with states and territories, and despite the goal of a
national curriculum, local variations and hybrid models have emerged. For example, in Victoria,
Visual Communication Design is an additional Arts subject; and in Western Australia an ‘adopt
and adapt’ approach has resulted in the nomination of ‘core’ and ‘additional’ content for each Arts
subject and a reduction in the number of Arts subjects each school must offer (Chapman, Wright
& Pascoe, 2016). Nonetheless, the Australian Curriculum provides the overarching framework.
The overall structure, content, purpose and expectations about arts education remain consistent.
The ‘learning area’ curriculum model is also used in New Zealand, but there The Arts learning
area embraces dance, drama, music-sound arts and visual arts. The International Baccalaureate
is an alternative curriculum available in both Australia and New Zealand. It too has a strong arts
education component and is often adopted by international, alternative and private schools. In
all of these models, the curriculum is designed to meet current and emerging needs as they are
perceived in the different jurisdictions.
Associated educational reforms

The Australian Curriculum was one arm of a broader education reform agenda. In 2009, the Council
of Australian Governments (COAG) formalised the education of pre-schoolers by endorsing
Belonging, Being and Becoming: The Early Years Learning Framework (EYLF). This milestone
document, which forms part of the National Quality Framework for Early Childhood Education and
Figure 1.2 The policy and curriculum framework that sits around teaching
Ministerial Council for Education, Early

MCEECTYA Childhood Development and Youth
(2008) Affairs
Melbourne declaration on
educational goals for young
Australians
Sets goals for Australian education
for the following decade
Australian Children’s Australian Curriculum,

ACECQA Education and Care Assessment and
Quality Authority ACARA Reporting Authority
National quality framework for

early childhood education and care Australian Curriculum
The Early Years Learning Framework – The Arts learning area
(EYLF)
VectorStock/bspsupanut
Australian Institute of Teaching
AITSL and School Leadership
Australian professional
standards for teachers
Care (http://acecqa.gov.au), outlines the principles, practices and learning outcomes for
education in the early childhood sector.
The curriculum developments have been complemented by the creation of the Australian
Institute of Teaching and School Leadership (AITSL) and its introduction of the Australian
Professional Standards for Teachers (2012), which outlines the knowledge and skills teachers are
expected to demonstrate.
This triumvirate, as shown in Figure 1.2, represents major educational reforms undertaken
to meet the future needs of contemporary Australian society, as described in the Melbourne
Declaration. The Arts are part of this future.
1.3 RESEARCH AND POLICY BEHIND RECENT

DEVELOPMENTS
Our rapidly changing world is reshaping the way we think and act, the way we gain, structure
and use information, knowledge, experience and understandings, the way we work, and the way
we envision ourselves and our place in the world. In this context, the arts and their educational
significance have been gathering momentum.
Across knowledge-based economies, innovation is regarded as the ‘engine room’ of growth.

Qualities like creativity, flexible thinking and problem solving – which are inherent characteristics
of artistic thinking – are recognised as relevant to a post-industrial economy (Winner, Goldstein &
Vincent-Lancrin, 2013).
There is also a growing awareness of the role played by the arts in creating social cohesion
and wellbeing (Pearce, 2017). In the same vein, a rich cultural and creative life is now conceived of
as a human right for each individual (Warwick Commission, 2015).
International research and policy directions

In recent decades, as governments, researchers, think tanks, educators and professional
bodies grappled with the demands of our rapidly changing world, interest in the arts and their
educational relevance gathered momentum.
In 1999, the International appeal for the promotion of arts education and creativity at school
was launched at the 30th session of the General Conference of UNESCO. Various projects and
publications were initiated in countries around the world and these prefaced UNESCO’s first
World Conference on Arts Education: Building creative capacities for the 21st century, held in
Lisbon in 2006. The themes of this conference reflected a belief in the cultural significance
of the arts, the major role that the arts play in the development of creativity and the need
for radical rethinking about the nature of arts education. The subsequent publication Road
map for arts education (2006) aimed to develop a consensus on the importance of arts
education in the belief that ‘creative and cultural development should be a basic function of
education’ (UNESCO, 2006, p. 3). The second UNESCO World Conference, held in 2010, built
on previous work with the publication of the Seoul Agenda: Goals for the development of arts
education, with the view that ‘Arts education has an important role to play in the constructive
transformation of educational systems that are struggling to meet the needs of learners in a
rapidly changing world’ (UNESCO, 2010, p. 2). Since then, budgetary cuts at UNESCO have
seen the winding back of the organisation’s financial contribution to its arts education agenda,
but its initiatives have continued through UNESCO Chairs and Observatories in the field and
groups such as the International Network for Research in Arts Education (INRAE) (O’Farrell,
Schonmann & Wagner, 2014) and the World Alliance for Arts Education (a unification of the
International Drama/theatre and Education Association [IDEA], International Society for
Education through Art [InSEA], World Dance Alliance [WDA] and International Society for Music
Education [ISME]) (Buck, 2014).
Figure 1.3 The President of Portugal welcoming delegates to

UNESCO’s first World Conference on Arts Education, Lisbon, Creativity and flexible
Portugal, 2006 thinking skills
In the USA, the President’s Committee on
the Arts and Humanities commissioned a
major suite of research projects to examine
the impact of the arts on learning. The
results of this research are described in
Champions of Change (Fiske, 1999) and
point to the importance of the arts on
both the quality of learning generally
and the development of the flexibility,
imagination and ‘tough-minded thinking’
deemed necessary to contribute to the
‘economy of ideas’ – and the future growth
of American society (Fiske, 1999, p. iv). The subsequent publications Critical Links (Deasy,
2002), a compendium of 62 arts education research studies, and Critical Evidence: How the
arts benefit student achievement (Ruppert, 2006), a synthesis of 10 years of research, and
other follow-up research (Catterall, 2009; Catterall, Dumais & Hampden-Thompson, 2012)
continued the survey of the benefits of the arts in education. A growing field of neuroscientific
research is producing evidence that frames the significance of arts education in physiological
terms (Zeki, 1999; Heath, 2000; Ione, 2012; Ehrlich, 2015; National Endowment for the Arts, 2015),
as well as showing the neural underpinnings of affective responses and their relationship to
learning (Immordino-Yang, 2011).
In the UK, the National Advisory Committee on Creativity and Cultural Education reported in
All Our Futures: Creative cultural education (National Advisory Committee, 1999) that a national
strategy for creative and cultural education was essential for Britain’s economic prosperity and
social cohesion. The report led to the creation of Creativity, Culture and Education (CCE) to carry
forward the recommendations of the report. The positive difference the CCE projects made to
children’s lives and achievements was evidenced in Creative Partnerships: Changing young lives
(CCE, 2009) and a subsequent critical review of how cultural value was understood, researched
and evidenced in the CCE archive (Thomson et al., 2015).
In the USA, the National Center on Education and the Economy released Tough choices
or tough times: The report of the New Commission on the Skills of the American workforce
in 2007 and a revised version in 2008, claiming that the standard testing strategy adopted to
improve schooling outcomes was misguided because it did not promote the type of teaching
that developed the creative and critical thinking skills needed for success in the emerging
economy.
This range of research has had wide exposure and general acceptance across the Western
world. While there are differences of opinion about details, the consensus is that creative, flexible
thinkers are required for the new era. The development of creativity is consistently identified as
a cornerstone function of arts education (UNESCO, 1996; National Advisory Committee, 1999;
Robinson, 2001; National Review of Visual Education, 2006) and so learning in the arts has drawn
attention.
Culture, community and wellbeing

The publication The WOW Factor: Global research compendium on the impact of the arts in
education (Bamford, 2006) surveyed a range of research to identify the attributes of effective
arts education worldwide. One feature of this survey was the role of the community in achieving
effective arts education. The notion of cultural institutions, artists and others contributing their
resources and expertise to provide an enhanced educational experience in the arts has been
widely accepted and implemented.
The view that cultural vitality is essential for sustaining a healthy society (Hawkes, 2002)
and that the arts are significant for developing understanding and respect among cultures
represents another thread of interest in the role of the arts in education. In a rapidly changing
and fractured world, surveys show that the arts are increasingly seen as critical to social cohesion
and understanding other people and cultures. The Australia Council for the Arts’ National
Participation Survey (2017) of over 7500 people found that 64 per cent of respondents believed
this, whereas in the 2013 survey only 36 per cent felt the arts had any significant impact on
their empathy for others. A recent poll in the USA that surveyed the perceptions of over 3000
Americans found 72 per cent agreed that ‘the arts unify our community regardless of age, race
and ethnicity’ and 73 per cent agreed that the arts help them ‘understand other cultures better’.
Eighty-one per cent of respondents regarded the arts as ‘a positive experience in a troubled
world’ (Americans for the Arts, 2018).
To promote and celebrate the arts’ unique role in progressing cultural diversity, social
cohesion and dialogue, UNESCO, at its 2011 General Conference, proclaimed the fourth week in
May as International Arts Education Week.
In recent years, ‘wellbeing’ has increasingly been regarded as a factor to be measured when
evaluating a society’s progress – and to be considered as a factor that informs public policy
decisions (Smithies & Fujiwara, 2015). In accordance with this thinking, The Cultural Value Project
(2013–15), launched in the UK by the Arts and Humanities Research Council, set out to explore
the value of arts and culture to individuals and society with the aim of establishing an effective
framework for valuing and evaluating cultural engagement, beyond economic value. The Warwick
Commission’s report Enriching Britain: Culture, creativity and growth (2015) characterises the
UK’s vibrant cultural and creative industries as an ecosystem that plays a major role in societal
wellbeing, economic success, national identity and general influence. It also notes that, as
budgets tighten, there is a declining engagement in arts education in schools and asserts that
this is misguided in economic terms and in terms of societal wellbeing.
Research points to strong evidence that arts education plays a crucial role in children’s
sense of wellbeing (Winner, Goldstein & Vincent-Lancrin, 2013; Clift & Camic, 2015; Thomson
et al., 2015), and that the arts achieve positive outcomes, in particular, for marginalised
groups: disadvantaged students, students at risk, students from refugee backgrounds and
Indigenous students (Fiske, 1999; Bamford, 2006; CCE, 2009; Catterall, Dumais & Hampden-
Thompson, 2012).
The growing field of brain research has provided physiological explanations for many of the
reported values of the arts. For example, researchers have been able to show that the arts have
‘cognitive and emotional effects which are closely related to human psychobiological health
and wellbeing’ to the extent they are now proposing a ‘biopsychological science of the arts’
(Christensen & Gomila, 2018, p. xxvii).
Arts education for sustainability

In 1987, the United Nations’ World Commission on Environment and Development published
CROSS
SUST CURRICULUM
PRIORITIES
the report Our common future that, for the first time, linked CCP sustainable development to
education. Further research, reports and policy followed. In 2002, the United Nations proclaimed
2005–14 as the Decade of Education for Sustainable Development. The subsequent report,
Shaping the Education of Tomorrow: 2012 report on the UN decade of education for sustainable
development, specifically examined the kind of learning processes that emerged over the
decade (UNESCO, 2012).
As the discourse in this field developed, the earlier focus on ‘environmental education’ evolved
into ‘education for sustainability’. This reflects a clearer appreciation of the human dimension
and the interplay between the four pillars of social, ecological, economic and political systems
in the achievement of sustainable ways of living (Taylor, Quinn & Eames, 2015). The concept of
sustainability has also embraced the understanding that culture sustains societies through social
cohesion (Hawkes, 2002), and that human rights, social justice, Indigenous knowledge and ethical
action are factors in the achievement of sustainable outcomes.
General observations about pedagogical approaches that develop the knowledge, attitudes
and behaviours underpinning sustainable living practices have highlighted the special relevance
of arts education (Blewitt & Cullingford, 2004; Carr, 2004; UNESCO, 2012; Everett et al., 2015).
This is an emerging field of research within arts education (Strauch-Nelson, 2012; Tereso, 2012;
O‘Gorman, 2015), and was the theme for a special issue of the International Journal of Art &
Design Education in 2016 and for the sixth World Alliance for Arts Education Summit held in
Hangzhou, China, in the same year.
Australian research and policy perspective

In Australia, as the demands and influence of globalisation, the knowledge economy, sustainability
and the impact of technology have been unfolding, research and policy development has echoed
overseas themes.
In 1995, the Senate report Arts Education reviewed the level and status of arts education in
schools (SERCARC, 1995). The Australia Council for the Arts (Ozco), the Australian Government’s
arts funding and advisory body, has played an ongoing role in gathering data and promoting
research about the arts in Australia. By developing Education and the Arts Strategy in 2004, it
reflected a growing sense that the whole community had an investment in arts education. Ozco
then commissioned a suite of research projects to create an Australian evidence base for the
impact of arts participation on students’ learning and development. These research projects,
summarised in Education and the Arts Research Overview (Hunter, 2005), show that generally arts
participation can have a positive effect on students’ development. The 2005 policy statement,
Imagine Australia: The role of creativity in the innovation economy (Prime Minister’s Science
Engineering and Innovation Council, PMSEIC), linked economic development with a shift towards
the creative industries. This report also noted that ‘to be globally competitive, Australia needs
to formulate a comprehensive approach to fostering creativity’ (PMSEIC, 2005, p. 5). In Building a
Creative Innovative Economy: Opportunities for the Australian and New Zealand creative sectors
in the digital environment (2009), the Cultural Ministers Council proposed an intergovernmental
approach to identifying opportunities in the digital context for the creative sectors.
Fostering a culture of creativity and innovation in schools is also reinforced in the National
education and the arts statement issued by MCEECTYA. In this statement, it was observed that
(MCEECTYA, 2007, p. 3):
Schools that value creativity lead the way in cultivating the well-informed
and active citizens our future demands: where individuals are able to
generate fresh ideas, communicate effectively, take calculated risks and
imaginative leaps, adapt easily to change and work cooperatively.
The Australian Council of Educational Research’s Evaluation of School-based Arts Programmes

in Australian Schools (Bryce et al., 2004), the National Review of School Music Education (DEST,
2005) and the National Review of Visual Education’s From behind the mask: Revealing visual
education (2006) – along with other research, reviews, reports and policy statements – show a
clear pattern of interest in arts education and its role in contemporary society.
CROSS
With regard to CCP sustainability education, The Adelaide Declaration on National Goals CURRICULUM
PRIORITIES
SUST
for Schooling in the Twenty-first Century (MCEETYA, 1999) listed environmental education as
one of the goals and, the following year, the government outlined a national action plan for
environmental education (Department of Environment and Heritage, 2000). A later document,
Educating for a Sustainable Future: A national environmental education statement for schools
(Department of Environment and Heritage, 2005), responded in part to the United Nations’
Decade of Education for Sustainable Development (2005–14) initiative and outlined a nationally
agreed framework for sustainability education across the curriculum. In the development of the
Australian Curriculum, sustainability was listed as one of the three cross-curriculum priorities.
Research and commentary about the arts’ role in this has been pursued in the Australian context
(Tarr, 2008; Littledyke, Taylor & Eames, 2009; Taylor, Quinn & Eames, 2015).
Evolving understandings about the arts

The way that the arts function and the way that their role in our lives – and therefore in education –
continues to shift and change is the basis for much contemporary scholarship and research.
The theory of aesthetic education proposed by philosopher Bennett Reimer in the

1960s, for example, aimed to unite the arts around their common engagement with the affective
Bennett Reimer
1932–2013 (or feelings) domain of learning. This philosophy cast a long shadow. Project Zero, which was
established in 1967 at the Harvard Graduate School of Education (partly as a result of Reimer’s
work), researches learning, thinking and creativity in the arts. It embraced new developments in
cognitive psychology and brain research and has been instrumental in positioning the arts as forms
of cognition (ways of knowing). The widely influential work done by Howard Gardner, a past
Howard Gardner
Director, on developing the concept of multiple intelligences has contributed to understanding
(b. 1943) the particular nature of the arts. In due course, Reimer recast his conception of aesthetics as
a form of cognition (1992). Peter Abbs has also been influential in the evolution of ideas about
aesthetics and its place in contemporary arts education. Theorists including Arthur Efland and
Elliot Eisner are among those who have contributed significantly to the explanation of the
Elliot Eisner
arts as forms of cognition. Other works, including Project Zero’s identification of ‘studio habits
(1933–2014) of mind’ (Hetland et al., 2007) and the New Zealand work Like Writing Off the Paper (Holland &
O’Connor, 2004), have addressed the particular nature of learning in the arts. In Chapter 2 we
cultural pluralism explore the nature of arts learning in more depth.
The recognition that
The growth of multiculturalism led scholars to recognise that the arts, as they occurred in
different cultures
have parallel different cultures, could not be easily explained using a Western aesthetic framework where
and equally valid ‘high’ art was distinguished from ‘low’ art. As it became increasingly evident that the arts in
frameworks for different cultures stemmed from alternative traditions and that arts were embedded in people’s
valuing their cultural
products. everyday lives, the concept of cultural pluralism, or relativity, filtered into contemporary arts
thinking. The work of scholars such as the influential ethnomusicologist David P McAllester
supported the adoption of a social anthropological approach to understanding and describing
David McAllester
the arts in education.
(1913–2006) Philip Alperson coined the term praxial philosophy as a way of positioning the arts within a
range of different social, psychological and cultural frameworks. This philosophy is articulated
praxial by David Elliott in his book Music Matters: A new philosophy of music education (1995). Social
philosophy movements like feminism also strengthened the social framing of the arts, with leading scholars
A term coined by
like Griselda Pollock (1999) developing theoretical innovations and new intellectual frameworks
Professor Philip
Alperson. It refers to for thinking about the arts in the context of feminism, gender, ethnicity and culture.
the positioning of the Similarly, the scholarship of Kerry Freedman has contributed significantly to the field of
arts within a range
visual culture, which positions the visual arts in a social context and embraces any medium
of different social,
psychological and that has a key visual component. This envisioning of visual arts opened the door for media arts
cultural frameworks as products, such as comics and advertising, to be viewed and critiqued as art forms (Freedman &
a basis for determining Hernández, 1998; Freedman, 2003). From an arts criticism perspective, Edmund Feldman
their natures and
intrinsic value. (1994) highlighted the arts as forms of social practice and developed models (procedures) for
systematically appraising artworks.
visual culture
Embraces any Creativity is a cornerstone feature of arts practice, yet what this means and how it can be
medium that developed has challenged scholars for years. Profitable approaches have been to use indicative
has a key visual descriptions of the profiles of people considered to be creative, the ‘habits of mind’ or dispositions
component. This
includes products
associated with creative activity and the nature of creative processes. Researchers including
such as comics and Lowenfeld and Brittain (1975), Sternberg (1988), Abbs (1989), Csikszentmihalyi (1990), Gardner
advertising. The (1993), and Winner and Hetland (2001) are among those who have contributed significantly to
articulation of visual
this work.
culture opened the
door for media arts On the international stage, Australian scholars and researchers have made valuable
products to be seen contributions to understanding, theorising and conceptualising arts education. Examples of
as art forms and
collective efforts can be seen in compilations of research and thinking around different ideas such
for visual arts to be
understood in this as Children, Meaning-making and the Arts (Wright, 2003) and Literacy in the Arts: Retheorising
context too. learning and teaching (Barton, 2014).
Complementing this range of scholarship and research are the contributions of educationalists
like Dorothy Heathcote (Heathcote & Bolton, 1995), who brought new understandings about
pedagogy to drama education through practice-led research. Similarly, Rudolf Laban transformed
dance education and scholarship while Carl Orff, Kodály Zoltán, Shinichi Suzuki and Émile Jaques-
Dalcroze have been highly influential figures in the development of music education for children.
Other luminaries include Allen P Britton, Jane Bonbright, Elliot Eisner and Al Hurwitz, who have
contributed much to the international advancement of arts education through their publications
for teachers, along with their research, advocacy and professional leadership. Institutes such as
the Getty Center, Ford Foundation, Hewlett Foundation and Project Zero also play a significant
role internationally through their funding and promotion of the arts.
1.4 DEVELOPING CHILDREN’S CAPABILITIES FOR

THE NEW ERA THROUGH THE ARTS
So far in this chapter, we have reviewed how the nature and purpose of arts education evolves
in accordance with society’s circumstances, values and perceived needs. We have traced this
loosely from the emergence of the industrial era through to now – the globalised digital era –
and seen how research and policy have been part of this process. Now we can consider some of
the dispositions and capabilities that our educational system aims to develop in today’s children
so they can be successful in the globalised, digital society – and observe how arts practices
contribute to this development.
Visual and multimodal communication skills

The exponential growth in visual forms of communication and their deep penetration into every
sphere of life prompts the observation that ‘the world as a text has been replaced by the world
as a picture’ (Mirzoeff, 2002, p. 7). The title of the National Art Education Association’s (USA)
publication Learning in a Visual Age: The critical importance of visual arts education (2009) echoes
this sentiment. In the Discussion Paper for the Australian Government’s 2006 National Review of
Education in Visual Arts, Craft, Design and Visual Communications (NRVE), it was observed that
the new graphics-based environment required not only technical skill but also ethical, aesthetic
and communicative judgement (Stankiewicz, 2004, pp. 88– 91, cited in NRVE, 2006), and that well-
designed art programs develop these types of skills.
Representing ideas in different formats (modes) has been shown to develop conceptual
understandings and influence knowledge production (Reid et al., 2016). Multimodal multimodal
communication, which draws on various combinations of text, image, sound, space and communication
Forms of
movement, is increasingly prevalent in today’s society, with web 2.0 technologies, software communication
for infographics, editing and lecture presentations and social media applications like Flickr that use different
and Snapchat playing a major role in the expansion and sophistication of these forms. As with combinations of text,
images, sound and
any form of communication, the development of the relevant literacy skills is critical to good
movement to convey
quality and effective communication. Since the arts involve communicating with images, sound, information.
movement, gesture and so on – and in various multimodal combinations such as those seen in
a film, dance or drama performance – they offer engaging and significant ways for children to
develop these skills. For example, by learning the conventions and codes of film-making, children
develop media arts literacy for communicating in a range of multimodal forms.
Navigational approaches to learning

Interactive systems, the hallmark of network technology, have a notable influence on the
way knowledge is constructed, presented and accessed by individuals today. In the digital
environment, we are more inclined to adopt a navigational way of relating to knowledge. This
involves seeking out and assembling information around particular purposes – and is seen as
akin to the way artists work (Bourriaud, 2006). In The Arts, the curriculum is not characterised
as a series of topics to be learned but as a ‘web of activities’ (Orr & Shreeve, 2018) through
which children forge a way to explore the world and convey their ideas. David Perkins from
Project Zero explains artistic (or studio) learning as an ‘import’ paradigm where knowledge
is used ‘right now in a serious way for a complex and significant endeavour’ (Hetland et al.,
2007, p. v). This he distinguishes from an ‘export’ paradigm traditionally associated with other
subjects, whereby information is learned so it can be applied at some later stage. Since the
navigational or ‘import’ feature of arts learning is aligned to the cognitive processes of the
digital world, arts education is regarded as offering a way of understanding and developing
such capabilities.
Similarly, the way artworks merge with, or counterpoint, the environment and contribute to the
experience of places is well aligned to the fluid nature of network contexts. Musical jam sessions
and other context-driven behaviours exemplify navigational engagement with knowledge and
experience.
Flexible thinking and problem solving

Arts learning is recognised as qualitatively different from other areas of learning. Efland (1995) and
Short (1995) argue that subjects such as maths and physics are ‘well-structured’ learning domains,
based on laws and theorems that can be applied to a variety of situations with predictability.
Conversely, The Arts are ‘ill-structured’ domains. In such domains, concepts vary in meaning from
one context to another and prescriptive solutions are not the norm.
In The Arts, open-ended explorations represent a key pedagogical method. By their
nature, open-ended tasks invite interpretation and innovative ways of working with the material
presented: design a Mad Hatter’s hat to express what you’re mad about. There is not one
solution to an open-ended challenge, but many solutions. This is not to suggest that anything
goes. Solutions are still subject to being critically scrutinised in the context of their intention
and execution within set criteria. This type of learning demands application of creative and
flexible thinking – skills that are increasingly valued in our rapidly changing world. An authentic
arts education program can provide children with opportunities to develop their dispositions as
flexible thinkers and problem solvers.
Negotiating learning relationships

There are other features of arts education that are seen as desirable in today’s world. The
dominance of the scientific and empirical approach to knowledge and learning in recent decades
has sidelined the emotional, social and cultural aspects of being in the world and of knowing
our world. The emergent networked and global world, with its emphasis on relationships, is
changing that.
Holland and O’Connor (2004) observe that the pedagogy, learning environments and
routines in the non-linear ‘structured chaos’ of authentic arts lessons allow for critical reflection
and deeper personal understanding to occur, and for more human and negotiated relationships
to exist. They also observe that the co-constructed nature of an arts learning environment, in
which teachers and children are inclined to experiment and learn from each other, promotes
mutually respectful and negotiated learning relationships that develop confident and creative
behaviours.
Collaboration and teamwork

In the digital, networked, globalised world, projects and product developments invariably
involve teams of people where each brings their specialised expertise to the enterprise. Today
there is a growing awareness that solutions to big problems and challenges are more likely to
come from insights that arise in transdisciplinary collaborations where individuals from different
disciplines, with different perspectives and ways of conceiving things, work together. In a recent
example, an Antarctic research project investigating the role of tiny ice crystals in climate brought
together scientists and artists. The scientists found the artists’ curiosity, the types of questions
they asked and their capacity to visualise concepts contributed significantly to the scientific
project’s outcomes. Likewise, Arthur I Miller’s book Colliding Worlds: How cutting-edge science
is redefining contemporary art (2014) discusses how new frontiers in art are being forged by
bringing together artists, scientists and ‘technologists’. This highlights the way traditional work
relationships are being redefined and how new understandings and art forms emerge from
transdisciplinary collaborations.
Working collaboratively requires certain skills, such as being open to ideas, flexible, able to
negotiate a position and able to remain goal focused. The evidence shows that having a project
focus is an effective way to promote meaningful collaboration (Morris & Miller-Stevens, 2016).
Learning practices in The Arts provide many engaging ways for children to do this as they work
together to devise scripts for plays, produce videos and choreograph dances. Similarly, many
art forms require teamwork. As children sing in choirs, play in orchestras and perform plays and
dances, they experience the benefits of being part of something that is greater than the sum of
its parts. In these activities they have concrete opportunities to learn the skills and develop the
dispositions of collaboration and teamwork needed for the emerging era.
Cultural competency
In a globalised world, establishing respectful and reciprocal relationships with people from
different cultural backgrounds is an important competency. Respect for diversity underpins
interacting, communicating, empathising and working with people whose worldviews and
cultural practices are different from our own.
In The Arts curriculum, children are exposed to the complexity, diversity and motivations
of people from different times and places when learning about the artists, cultural artefacts
and artistic traditions of different societies. Through their studies of arts practices, children
gain insights into the values, beliefs and customs of different cultures. When these studies are
pursued around themes such as ceremonies or domestic life, children have the opportunity to
compare and contrast different cultural contexts in concrete ways. When children’s own artistic
explorations in mosaics, for example, are prefaced by learning about Antoni Gaudí’s mosaics
in Parc Güell, Barcelona, Spain, or the Jãmeh Mosque of Yazd in Iran, or the Great Pavement of
Westminster Abbey in London, their endeavours are connected to the wider world of artistic
expression. In these experiences, children see how they belong, how others belong, what
unites us, what distinguishes us and what is possible when people passionately strive to create
something that speaks to our humanity.
Developing dispositions for thinking and acting

sustainably
The sustainable living imperative requires children to build capacities for thinking, valuing and
acting in ways that will achieve a sustainable future. The arts are especially relevant because of
the particular nature of creating and learning in the arts.
reflective Arts practice is reflective and reflexive, whereby the artist contemplates, acts and reviews
The reflective nature in a natural spiralling work cycle. From a sustainability perspective, this way of working allows for
of arts practice
means that the
new formations of self and other and the relationship to the natural world (Blewitt & Cullingford,
artist’s critical 2004).
contemplation of The arts engagement with the affective domain – the domain of feelings – means that
the artwork is a
significant part of
connections with the world, and the development of an attitude of caring and empathy, deemed
the work process. It necessary for a sustainable disposition, can be cultivated (Everett et al., 2015).
is an interrogation The active engagement and personal commitment (learning by ‘doing’ or ‘making’) that are
where judgements
are made about how
hallmarks of arts learning are also required for building sustainability dispositions because it is
well the artwork is recognised that action, as well as awareness, is important.
progressing towards Wonderment and curiosity about the perceived world and the world of ideas underpins
communicating the
artistic endeavours, to the extent that artists often describe their creative work as journeys
artist’s intention
and then decisions into understanding. This characteristic is well aligned with the aims of developing children’s
are made about how sustainability dispositions.
to move forward
The significance of mindfulness – paying close sensory attention to the world around us –
towards the goal.
is a feature of artistic practice. To draw an insect, children must closely observe every detail.
reflexive
One study showed that young children who drew, as well as observed, an animal recalled
The reflexive nature
of arts practice is more factual details than the children in the control group who only observed (Fox, 2010). This
the intuitive and requirement to see and relate to the subject at a deep and focused level draws children into
reactionary response. richer understandings.
It is an ongoing
dialogue with the From the earliest times, the natural world has been a source of inspiration for artists.
evolving artwork – Consequently, a wealth of artistic creations provide study resources for developing children’s
the artist’s action is aesthetic appreciation of the natural world (Carr, 2004). The traditions of cultural festivals
a reaction.
celebrating the natural world and its rhythms are also entry points to a heightened sense of
mindfulness and connection.
A number of early childhood centres adopt the Reggio Emilia approach to learning.
Developed in Italy by Loris Malaguizzi, it has an art specialist as a core member of the teaching
team and is based on understanding children as capable, inquisitive, autonomous and active
CROSS
learners. Reggio Emilia promotes an integrated approach to learning that is well aligned to
SUST CURRICULUM CCP sustainability precepts. Emphasis is placed on making connections between the affective
PRIORITIES
and the cognitive, and expressing ideas through arts activities like drawing and movement.
Connections are pursued in a full-circle approach to learning: children know where their art
materials come from, they participate in acquiring them, they are encouraged to use them
judiciously, they clean up and know what happens when they dispose of the materials. From the
beginning, they learn the consequences of their actions.
Instrumental and intrinsic benefits of the arts

We have seen that the attributes of artistic thinking and engagement are regarded as having
special relevance for functioning in the 21st century. This might give the impression that The
Arts’ role in education is mechanistic or instrumental, but it is not that simple. As we said at
the beginning, the arts have been part of our human existence since prehistoric times. They give
shape and dimension to our lives. So, while the arts are proving to be instrumentally beneficial
in terms of contemporary society’s needs, the experience of engaging in arts education is also
intrinsically beneficial to individuals.
Instrumental benefits
In much of the research and policy outlined earlier in this chapter, we see that governments or
their agencies tend to examine The Arts and arts education in terms of the contribution made
towards achieving broad learning, social and economic outcomes. They focus on the fact that
children’s involvement in the arts helps them learn better, socialise better and make better
contributions to society. These are instrumental benefits, in that they extend beyond the instrumental
immediate arts experience. benefits
The subject being
In the USA, attention to these instrumental values is essentially a function of the No Child studied is regarded
Left Behind policy, which measures educational outcomes using performance standards testing. as an instrument or
While the wisdom of this testing is challenged in a number of quarters, it nevertheless galvanised vehicle for achieving
benefits or outcomes
research in the USA aimed at determining the worth of arts education in this type of high-stakes in areas that don’t
testing environment. This research showed that (Fiske, 1999): relate particularly to
• students with high levels of arts participation outperformed ‘arts-poor’ students by virtually the subject itself.
every measure
• high arts participation made a more significant difference to students from low-income
backgrounds than for high-income students
• sustained involvement in particular art forms was highly correlated with success in
mathematics and reading
• learning in the arts had significant positive effects on learning in other domains.
Project Zero’s Reviewing Education and The Arts Project (REAP) contributed important
meta-analysis of the evidence about the transfer of arts learning to other areas of cognitive meta-analysis
achievement (Winner & Hetland, 2001). This work has continued with the Organisation for A statistical method
that involves
Economic Co-operation and Development (OECD) publication in which an extensive examination aggregating data
of the research concludes that the empirical evidence for many claims is promising but further from a range of
research is required to establish causal rather than correlational links. Instead, the meta-analysis independent research
studies to reveal
highlights the way arts learning ‘spills over’ to academic performance skills and skills in other
which claims have
areas of the curriculum. For example, the character analysis skills learned in drama spill over into a higher statistical
empathy and understanding the perspectives of others (Winner, Goldstein & Vincent-Lancrin, power.
2013).
In Australia, we regularly hear primary school arts education justified in terms of how it helps
children do well at school: integrating arts into the curriculum helps children understand maths
concepts, makes learning English more interesting, develops hand–eye coordination and allows
for different learning styles. This is all very encouraging; however, it is fundamentally misguided
to think of arts education’s primary role in this way.
Consider this: we value maths education because it develops children’s mathematical
knowledge and capacities. We want children to be maths literate and have no need to justify
maths in the curriculum on the grounds that it helps children perform better in music – even
though it does. Yet when it comes to arts education, these kinds of instrumental benefits are
regularly offered as the primary justification for its inclusion in the curriculum. Instead, it is
important to understand that, like maths (English, science and so on), learning in The Arts is
intrinsically beneficial for children’s development of an educated understanding of the world
(Hurwitz & Day, 2007; Winner, Goldstein & Vincent-Lancrin, 2013).
Intrinsic benefits
People are not usually motivated to paint or sing or dance because it will make them better at
maths or help them develop perseverance. Rather, there are other, more direct gains that come
from the very nature of being involved in the arts. These are referred to as intrinsic benefits. intrinsic benefits
We are drawn to the arts because of the aesthetic pleasure, emotional stimulation and vivid These are benefits
that relate directly
personal experience of the world they provide. The arts are a celebration of life and who we are: to the learning,
we sing and dance, go to concerts, listen to music on our mobile devices. We choose the movies experiences and
we want to see and the music we like to hear. We make choices about clothes, hairstyles and outcomes gained
in, and about,
adornments. Through these activities, we express who we are. the subject being
studied.
When we invite children to express their ideas and perspectives through imaginative arts
engagement we are inviting them into a creative space where they are free to explore and
communicate their ideas. In this way, we help develop their sense of self and place in the world
by affirming that the way they see the world actually matters – that they actually matter. In many
ways, the arts provide an important arena for the development and support of personal identity
and a sense of belonging.
Unlike distanced, discursive, analytical ways of understanding, arts practices are embodied
somatic ways of experiences that are deeply rooted in our sensory world. They represent a somatic way of knowing
knowing and communicating (Matthews, 1991). Children learn through practical experiences and
Knowledge that is
gained from the communicate ideas through colour, movement and sound. The artist Georgia O’Keeffe
body – the senses (1887–1986) said, ‘I found I could say things with colour and shape that I couldn’t say any other
and perception. way – things I had no words for’. Similarly, the celebrated dancer Isadora Duncan (1877–1927) said,
Hence, somatic
knowing is embodied
‘If I could tell you what it meant, there would be no point in dancing it!’
and experiential in When we enter imaginative spaces to exercise our creative powers, we usually find ourselves
nature. immersed in deeply satisfying experiences that bring new insights and perspectives, which enrich
our lives and contribute to our growth as individuals. The feeling of rapt absorption or captivation
we feel when deeply absorbed in an arts experience, as either creator or audience, removes us
from the habitual world and opens us to new ways of seeing and experiencing. We have all had
experiences like this where we have been completely absorbed in the experience, losing all sense
of time and place. In these moments, we can feel profoundly connected to the world (McCarthy
et al., 2004).
We turn to the arts to find solace and comfort. We do this as individuals by selecting songs to
play that suit our mood – and culturally, for example, by using music at funerals. In 15th-century
Italy, musicians were a regular feature in hospital wards because their music helped patients to
recover. Today there are fields of therapy such as music therapy and art therapy designed to
support emotional and physical healing. More broadly, engaging in the arts as either artist or
audience contributes to our sense of wellbeing.
Many individuals suggest that music is the only thing they care about, or talk about
finding themselves through art, or that they found their way through grief by singing. Such
statements signal that the arts offer a particular kind of experience that matters profoundly
to those who embrace it. What we see is that the arts, in and of themselves, are meaningful
in people’s lives.
Gaining all the benefits of an arts education

In Gifts of the Muse: Reframing the debate about the benefits of the arts (McCarthy et al., 2004),
the researchers analyse the extensive research literature about the effects of the arts. They
conclude that all benefits of arts engagement accrue through sustained personal involvement
in satisfying arts experiences. The instrumental benefits flow from the intrinsic benefits. For this
reason they recommend early exposure through well-designed arts education programs that
focus on creativity, expression and the development of artistic capacity (so children sing better,
become more accomplished painters and so on), complemented by critical reflection and analysis
of artworks.
Arts education curricula that focus on the intrinsic benefits of arts education and deliver all
benefits – intrinsic and instrumental ones – are already in place in Australia and New Zealand. By
working within their guidelines, good-quality education can be delivered.
AT A GLANCE
TEN THINGS YOU SHOULD KNOW ABOUT THE VALUE OF THE ARTS IN
CHILDREN’S EDUCATION
1 Research shows that an authentic program of arts 6 Education in The Arts is quantifiably different to
education develops the sorts of capabilities needed other learning areas and provides a crucial avenue
to successfully meet the particular challenges of for self-expression and self-validation. These have a
living sustainably in a globalised digital world and positive effect on a child’s identity formation, self-
knowledge economy. esteem and wellbeing.
2 The arts transport people into the world of 7 The exponential growth in digital forms of
imaginative experience that offers intense, revealing communication and their deep penetration into every
and meaningful experiences that bring insights. This sphere of life requires not only technical skill but
experience of captivation creates the sense of being also ethical, aesthetic and communicative judgement
connected to the world. that authentic arts education develops.
3 Authentic arts education develops children’s 8 Students with high levels of arts participation have
capabilities to act creatively, think flexibly and been shown to outperform ‘arts-poor’ students by
solve problems. These are recognised as critical virtually every measure. Sustained involvement in
functioning skills for meeting the challenges facing particular art forms has a positive effect on learning
us in the 21st century. in other areas of the curriculum and is highly
4 All benefits of the arts in schools – intrinsic and correlated with success in mathematics and reading.
instrumental, personal and societal – derive from an 9 Authentic arts education has proven benefits for
authentic and comprehensive Arts program. disadvantaged and disaffected students. Students
5 Authentic arts education has a proven capacity to from low-income backgrounds gain the most benefit
develop cultural understanding, community values, from sustained arts participation.
a personal sense of connection and empathy for 10 Arts participation has demonstrated significant
others. These social capabilities are important and positive effects on children’s willingness to
for social inclusion in a culturally diverse and participate in schooling and on their interest in
transforming world. learning.
1.5 NAVIGATING THE EXPECTATIONS FOR ARTS

EDUCATION IN THE SCHOOL CONTEXT
A clear message from our survey of how education evolves to meet contemporary challenges
is that the way you and I were taught is not necessarily the way you will approach the challenge
of teaching your students. We have seen that while the core values of subjects persist, new
conceptualisations and approaches to education are required to meet contemporary challenges
and prepare children for their emerging future. The Australian Curriculum: The Arts has been
designed with this in mind.
A varied picture of classroom practices

Eighty-nine per cent of Australians believe that the arts have an important part in children’s
education and 66 per cent believe they have a major impact on children’s development (Australia
Council for the Arts, 2014). Similarly, the majority of pre-service teachers, before embarking
on their teacher education studies, also instinctively believe that arts education is important
(Dinham, 2007). However, even though the Australian Curriculum: The Arts outlines a program
of arts learning to address the educational needs of today’s children, you will nevertheless see
classrooms where the approaches to arts education reflect values and needs from a bygone era
or where almost no attention is given to The Arts at all (DEST, 2005; Klopper & Power, 2011).
When classroom practices in relation to arts education were surveyed (National Review of
School Music Education, DEST, 2005; National Review of Visual Education, 2006), a rather patchy
picture emerged. Some schools and teachers were doing an excellent job, others were trying to
do the right thing but the activities, which may look like arts activities, were essentially not much
more than busy work (cutting and pasting, colouring in) and contributed little towards meeting
contemporary goals. Still others were doing nothing much at all. In other words, it is hard to
ascertain the value of The Arts education curriculum based on what you may see occurring – or
not occurring – in many classrooms. This may seem a little harsh, but unfortunately the history
of arts education in primary schools is characterised by an ongoing undercapitalisation on the
educational benefits.
This situation may be because some generalist teachers don’t have a clear understanding of
the role of arts in education in today’s classrooms and what authentic arts learning entails. They
may feel ill-prepared and lack confidence in their abilities. Furthermore, it takes time for new
ideas to take hold – and the dynamic, decentralised and complex nature of education means
there is never a straight line between the educational vision, policy development, curriculum and
teaching practice in every school or classroom. The degree to which the curriculum is enacted can
be influenced by macroeconomic and political forces, as well as local demographics, deployment
of resources such as staffing and professional development, the nature of school leadership and
priorities, teacher competence and confidence, pressures of a crowded curriculum, parental
expectations and the introduction of specific programs or strategies that can have unintended
consequences in terms of a balanced curriculum. We see, for example, that enthusiasm for turbo-
charging literacy, numeracy and, now increasingly, science has inadvertently led to a narrowing
of the implemented curriculum in some instances – resulting in curriculum areas such as The Arts
being sidelined.
Additionally, the uncertainties of a changing world generate countervailing views and
policies about how to prepare the next generation for success. While some wish to retreat to
old orthodoxies, new measures such as a focus on innovation can be constrained by traditional
frameworks or entrenched attitudes and practices.
Your role in creating a meaningful Arts program

As novice teachers going into schools, you will encounter a range of views and practices.
Hopefully you will find yourself in a school that has a positive and active Arts program based
on sound educational principles. Lucky you. Most of you are more likely to find a mixed picture.
Irrespective of where you end up, what you need to do is to work with the principles expounded
in this text and the Australian Curriculum: The Arts – or the state-based curriculum derived from
it – and focus on delivering an authentic Arts program to your students in your classroom.
The term ‘authentic’ is used in this text in the sense of meaning genuine learning in The Arts.
There is a view that, over the past decades, we have lost sight of the educational imperative
and ‘focused on making students happy, instead of challenging them with powerful, rigorous
and creative thinking’ (McWilliam cited in Lyell, 2009). In an authentic approach, the curriculum
is enacted through learning experiences that are educationally relevant, challenging and
transforming. Children will still be dancing, playing percussion instruments, making masks,
painting murals, performing dramatic pieces, singing, taking photographs, role playing and so
on. The critical factor is the way these experiences are designed and presented. We examine the
features of authentic arts education in Chapter 2.
As a new teacher, your responsibility is to look to the future: to become familiar with
contemporary thinking and understanding about the arts in education and to develop your
capabilities to deliver the program of arts education designed for today’s children. Linking up
Another random document with
no related content on Scribd:
essay being indicated.
ROBERT BURNS
It is pleasant to be able to let Dr. Holmes, who was present at the
Burns Festival, speak for himself and Lowell and Judge Hoar of Mr.
Emerson’s speech on that day. I have heard the Judge tell the story
of his friend’s success with the same delight.
“On the 25th of January, 1859, Emerson attended the Burns
Festival, held at the Parker House in Boston, on the Centennial
Anniversary of the poet’s birth. He spoke, after the dinner, to the
great audience with such beauty and eloquence that all who listened
to him have remembered it as one of the most delightful addresses
they ever heard. Among his hearers was Mr. Lowell, who says of it
that ‘every word seemed to have just dropped down to him from the
clouds.’ Judge Hoar, who was another of his hearers, says that,
though he has heard many of the chief orators of his time, he never
witnessed such an effect of speech upon men. I was myself present
on that occasion, and underwent the same fascination that these
gentlemen and the varied audience before the speaker experienced.
His words had a passion in them not usual in the calm, pure flow
most natural to his uttered thoughts; white-hot iron we are familiar
with, but white-hot silver is what we do not often look upon, and his
inspiring address glowed like silver fresh from the cupel.”
The strange part of all the accounts given by the hearers is that
Mr. Emerson seemed to speak extempore, which can hardly have
been so.
No account of the Festival, or Mr. Emerson’s part therein, appears
in the journals, except a short page of praise of the felicitous
anecdotes introduced by other after-dinner speakers.
Page 440, note 1. Here comes out that respect for labor which
affected all Mr. Emerson’s relations to the humblest people he met.
In the Appendix to the Poems it appears in the verses beginning,—
Said Saadi, When I stood before
Hassan the camel-driver’s door.
Page 441, note 1. Thomas Carlyle.

Page 441, note 2. Mr. Emerson here recalls his childhood and that
of his brothers, as in the passage in “Domestic Life,” in Society and
Solitude, that has been often referred to in these notes.
Page 443, note 1. Among some stray lecture-sheets was the
following on the scholar or poet:—
“Given the insight, and he will find as many beauties and heroes
and strokes of genius close by him as Dante or Shakspeare beheld.
It was in a cold moor farm, in a dingy country inn, that Burns found
his fancy so sprightly. You find the times and places mean. Stretch a
few threads over an Æolian harp, and put it in the window and listen
to what it says of the times and of the heart of Nature. You shall not
believe the miracle of Nature is less, the chemical power worn out.
Watch the breaking morning, or the enchantments of the sunset.”
SHAKSPEARE
The following notes on Shakspeare were written by Mr. Emerson
for the celebration in Boston by the Saturday Club of the Three
Hundredth Anniversary of the poet’s birth.
In Mr. Cabot’s Memoir of Emerson, vol. ii., page 621, apropos of
Mr. Emerson’s avoidance of impromptu speech on public occasions,
is this statement:—
“I remember his getting up at a dinner of the Saturday Club on the
Shakspeare anniversary in 1864, to which some guests had been
invited, looking about him tranquilly for a minute or two, and then
sitting down; serene and unabashed, but unable to say a word upon
a subject so familiar to his thoughts from boyhood.”
Yet on the manuscript of this address Mr. Emerson noted that it
was read at the Club’s celebration on that occasion, and at the
Revere House. (“Parker’s” was the usual gathering-place of the
Club.) The handwriting of this note shows that Mr. Emerson wrote it
in his later years, so it is very possible that Mr. Cabot was right. Mr.
Emerson perhaps forgot to bring his notes with him to the dinner,
and so did not venture to speak. And the dinner may have been at
“Parker’s.”
ALEXANDER VON HUMBOLDT

The Boston Society of Natural History celebrated the One
Hundredth Anniversary of the birth of Humboldt. Dr. Robert C.
Waterston presided at the Music Hall, where Agassiz made the
address. In the evening there was a reception in Horticultural Hall.
The occasion was made memorable by the Society by the founding
of a Humboldt and Agassiz scholarship in the Museum of
Comparative Zoölogy in Cambridge.
Poems by Dr. Holmes and Mrs. Howe were read. Professor E. J.
Young and Dr. Charles T. Jackson gave reminiscences of Humboldt;
Colonel Higginson, the Rev. Dr. Hedge and others spoke. Mr.
Emerson’s remarks are taken from an abstract given in the account
of the celebration published by the Society.
WALTER SCOTT
Although Mr. Emerson, in the period between 1838 and 1848
especially, when considering the higher powers of poetry, spoke
slightingly of Scott,—in the Dial papers as “objective” and “the poet
of society, of patrician and conventional Europe,” or in English Traits
as a writer of “a rhymed travellers’ guide to Scotland,”—he had
always honor for the noble man, and affectionate remembrance for
the poems as well as the novels. In the poem “The Harp,” when
enumerating poets, he calls Scott “the delight of generous boys,” but
the generosus puer was his own delight; the hope of the generation
lay in him, and his own best audience was made up of such. In the
essay “Illusions,” he says that the boy “has no better friend than
Scott, Shakspeare, Plutarch and Homer. The man lives to other
objects, but who dare affirm that they are more real?” In the essay
“Aristocracy,” he names among the claims of a superior class,
“Genius, the power to affect the Imagination,” and presently speaks
of “those who think and paint and laugh and weep in their eloquent
closets, and then convert the world into a huge whispering-gallery, to
report the tale to all men and win smiles and tears from many
generations,” and gives Scott and Burns among the high company
whom he instances.
Mr. Emerson’s children can testify how with regard to Scott he
always was ready to become a boy again. As we walked in the
woods, he would show us the cellar-holes of the Irish colony that
came to Concord to build the railroad, and he named these deserted
villages Derncleugh and Ellangowan. The sight recalled Meg
Merrilies’ pathetic lament to the laird at the eviction of the gypsies,
which he would then recite. “Alice Brand,” the “Sair Field o’ Harlaw,”
which old Elspeth sings to the children in The Antiquary, and
“Helvellyn” were again and again repeated to us with pleasure on
both sides. With special affection in later years when we walked in
Walden woods he would croon the lines from “The Dying Bard,”—
“Dinas Emlinn, lament, for the moment is nigh,

When mute in the woodlands thine echoes shall die.”
Perhaps he had foreboding for his loved woods, beginning to be

desecrated with rude city picnics, and since burned over repeatedly
by the fires from the railroad,—
“When half of their charms with Cadwallon shall die.”
Of this poem he wrote in the journal of 1845:—

“‘Dinas Emlinn’ of Scott, like his ‘Helvellyn,’ shows how near to a
poet he was. All the Birmingham part he had, and what taste and
sense! Yet never rose into the creative region. As a practitioner or
professional poet he is unrivalled in modern times.” Yet he
immediately adds, “In lectures on Poetry almost all Scott would be to
be produced.”
Page 463, note 1. Mr. Emerson took especial pleasure in the
passage in the Lord of the Isles where the old abbot, rising to
denounce excommunicated Bruce to his foes, is inspired against his
will to bless him and prophesy his triumph as Scotland’s deliverer.
Mr. Emerson, writing in his journal in 1842 of his impatience of
superficial city life, during a visit to New York, alludes to the renewed
comfort he had in the Lord of the Isles:
“Life goes headlong. Each of us is always to be found hurrying
headlong in the chase of some fact, hunted by some fear or
command behind us. Suddenly we meet a friend. We pause. Our
hurry and empressement look ridiculous.... When I read the Lord of
the Isles last week at Staten Island, and when I meet my friend, I
have the same feeling of shame at having allowed myself to be a
mere huntsman and follower.”
His boyish love for the Lay of the Last Minstrel remained through
life. As we walked on Sunday afternoons he recited to his children
the stanzas about “the custom of Branksome Hall,” and the passage
where the Ladye of Branksome defies the spirits of the flood and fell;
and the bleak mile of road between Walden woods and home would
often call out from him
“The way was long, the wind was cold,

The Minstrel was infirm and old,” etc.
Page 465, note 1. The Bride of Lammermoor was the only dreary
tale that Mr. Emerson could abide, except Griselda.
Journal, 1856. “Eugène Sue, Dumas, etc., when they begin a
story, do not know how it will end, but Walter Scott, when he began
the Bride of Lammermoor, had no choice; nor Shakspeare, nor
Macbeth.”
Page 467, note 1. Journal. “We talked of Scott. There is some
greatness in defying posterity and writing for the hour.”
SPEECH AT THE BANQUET IN HONOR OF THE
CHINESE EMBASSY
When the Chinese Embassy visited Boston in the summer of 1868
a banquet was given them at the St. James Hotel, on August 21. The
young Emerson, sounding an early note of independence of the
past, had written in 1824:—
I laugh at those who, while they gape and gaze,

The bald antiquity of China praise;—
but later he learned to revere the wisdom of Asia. About the time
when the Dial appeared, many sentences of Chinese wisdom are
found in his journal, and also in the magazine among the “Ethnical
Scriptures.”
REMARKS AT THE ORGANIZATION OF THE

FREE RELIGIOUS ASSOCIATION
In the spring of 1867, a call for a public meeting was issued by
Octavius B. Frothingham, William J. Potter and Rowland Connor “to
consider the conditions, wants and progress of Free Religion in
America.” The response was so large as to surprise the committee,
and Horticultural Hall was completely filled on May 30. Rev. Octavius
B. Frothingham presided. The committee had invited as speakers
the Rev. H. Blanchard of Brooklyn from the Universalists, Lucretia
Mott from the Society of Friends, Robert Dale Owen from the
Spiritualists, the Rev. John Weiss from the Left Wing of the
Unitarians, Oliver Johnson from the Progressive Friends, Francis E.
Abbot, editor of the Index; and also David A. Wasson, Colonel T. W.
Higginson and Mr. Emerson. The meeting was very successful and
the Free Religious Association was founded.
Mr. Emerson’s genial and affirmative attitude at this meeting was
helpful and important. He wished the new movement to be neither
aggressive towards the beliefs of others, nor merely a religion of
works, purely beneficently utilitarian. Doubtless there were many
young and active radicals strong for destructive criticism. Mr.
Emerson wished to see that in their zeal to destroy the dry husk of
religion they should not bruise the white flower within. His counsel to
young men was, “Omit all negative propositions. It will save ninety-
nine one hundredths of your labor, and increase the value of your
work in the same measure.”
Page 479, note 1. In the journal of 1837 he said, “Why rake up old
manuscripts to find therein a man’s soul? You do not look for
conversation in a corpse.” And elsewhere, “In religion the sentiment
is all, the ritual or ceremony indifferent.”
SPEECH AT THE SECOND ANNUAL MEETING OF

THE FREE RELIGIOUS ASSOCIATION
Page 486, note 1. Mrs. Julia Ward Howe writes of Mr. Emerson,—
“He knew from the first the victory of good over evil; and when he
told me, to my childish amazement, that the angel must always be
stronger than the demon, he gave utterance to a thought most
familiar to him, though at the time new to me.”[L]
Page 488, note 1. In the essay on Character (Lectures and
Biographical Sketches), he says, “The establishment of Christianity
in the world does not rest on any miracle but the miracle of being the
broadest and most humane doctrine.”
“The word Miracle, as pronounced by Christian churches, gives a
false impression; it is Monster. It is not one with the blowing clover
and the falling rain.”—“Address in Divinity College,” Nature,
Addresses and Lectures.
Page 490, note 1. Mr. Emerson’s doctrine was not to attack
beliefs, but give better: “True genius will not impoverish, but will
liberate.” In a letter to one of his best friends who had joined the
Church of Rome he said, perhaps in 1858: “To old eyes how
supremely unimportant the form under which we celebrate the
justice, love and truth, the attributes of the deity and the soul!”
Page 491, note 1. Dr. Holmes, in his tribute to his friend, after his
death, read before the Massachusetts Historical Society, said:—
“What could we do with this unexpected, unprovided for,
unclassified, half unwelcome newcomer, who had been for a while
potted, as it were, in our Unitarian cold greenhouse, but had taken to
growing so fast that he was lifting off its glass roof and letting in the
hail-storms? Here was a protest that outflanked the extreme left of
liberalism, yet so calm and serene that its radicalism had the accents
of the gospel of peace. Here was an iconoclast without a hammer,
who took down our idols from their pedestals so tenderly that it
seemed like an act of worship.”
ADDRESS AT THE OPENING OF THE CONCORD

FREE PUBLIC LIBRARY
The Town of Concord, in the year 1782, chose a committee of ten
leading citizens to give instructions to its selectmen. The third of the
seventeen articles proposed by them read thus: “That care be taken
of the Books of Marters and other bookes, and that they be kept from
abusive usage, and not lent to persons more than one month at one
time.” This indicates the root of a town library. A constitution of a
Library Company, dated 1784, is extant. In 1806 a Social Library was
incorporated, which was merged in the Town Library in 1851. The
books were kept in a room in the Town House which was open for
borrowers on Saturdays.
William Munroe, son of a Concord tradesman who vied with the
Thoreaus in the manufacture of lead pencils, after leaving the
Concord schools went into business, and later into the manufacture
of silk. His intelligence and force of character secured prosperity. He
loved Concord, and, to use his own words, “desired to testify my
regard to my native town by doing something to promote the
education and intelligence, and thus the welfare and prosperity of its
people.” He gave to Concord a lot of land in the heart of the town
and a building for a Free Public Library, which, with great care and
thoroughness, he had built thereon and duly furnished; and made
handsome provision for care of the land and the extension of the
building later. He added a generous gift for books of reference and
standard works. The town thankfully accepted the gift, placed their
books in it, and chose their library committee. On a fine autumn day
in 1873, the library was opened with public ceremonies. Mr. Munroe
in a short and modest speech explained his purpose; Mr. H. F. Smith,
on behalf of the new library committee, reported its action and the
gifts which had poured in; Judge Hoar received the property on
behalf of the Board of Corporation, and Mr. Emerson, but lately
returned with improved health from his journey to the Nile, made the
short address. Writing was now very difficult for him, but the
occasion pleased and moved him, and his notes on books and on
Concord, and the remembrance of his friends the Concord authors
but lately gone, served him, and the day passed off well.
Page 498, note 1. The Gospel Covenant, printed in London in
1646, and quoted by Mr. Emerson in the “Historical Discourse.”
Page 499, note 1. Major Simon Willard, a Kentish merchant was
Peter Bulkeley’s strong coadjutor in the founding of Concord. He
also is alluded to in the “Historical Discourse.”
Page 500, note 1. These extracts are from the diary of Miss Mary
Moody Emerson.
Page 500, note 2. This letter was written not long after the death of
John Thoreau, Henry’s dearly loved brother, and also of little Waldo
Emerson, to whom he became greatly attached while he was a
member of Mr. Emerson’s household.
Page 501, note 1. Mr. Emerson here speaks for others. He could
not read Hawthorne because of the gloom of his magic mirror, but
the man interested and attracted him, though even as neighbors they
seldom met.
Page 506, note 1. Mr. Emerson notes that this is an allusion to the
“Harmonies of Ptolemy.”
THE FORTUNE OF THE REPUBLIC
In 1863, during the dark days of the Civil War, before the tide had
fully turned in the field, while disaffection showed itself in the North,
and England and France threatened intervention, Mr. Emerson gave
a hopeful lecture, the basis of the present discourse, on the Fortune
of the Republic. After the war it was adapted to the new and happier
conditions. On the 30th of March, 1878, six years after Mr. Emerson
had withdrawn from literary work, and but four years before his
death, he was induced to read the lecture in the Old South Church,
in a course planned by the committee, to save the venerable
building. The church was filled, Mr. Emerson’s delivery was good,
and he seemed to enjoy the occasion. It was probably his last
speech in public, and so fitly closes the volume.
Page 513, note 1. This passage occurred in the early lecture:—
“It is the distinction of man to think, and all the few men who, since
the beginning of the world, have done anything for us were men who
did not follow the river, or ship the cotton, or pack the pork, but who
thought for themselves. What the country wants is personalities,—
grand persons,—to counteract its materialities, for it is the rule of the
universe that corn shall serve man, and not man, corn.”
Page 519, note 1. Here followed: “What we call ‘Kentucky,’ or
‘Vallandigham,’ or ‘Fernando Wood’ is really the ignorance and
nonsense in us, stolid stupidity which gives the strength to those
names.... It is our own vice which takes form, or gives terror with
which these persons affect us.”
Page 520, note 1. This refers to a young Massachusetts scholar,
of promise and beauty, whom Mr. Emerson had been pleased with,
as a fellow voyager. He soon was corrupted by politics. Coming up,
at a reception, to shake hands with Mr. Emerson he was thus
greeted: “If what I hear of your recent action be true, I must shake
hands with you under protest.” Soon after, this aspirant for power
attended the dinner given to Brooks after his cowardly assault on
Sumner; but the moment the Emancipation Proclamation had been
approved by the people, he became an ornamental figurehead at
Republican and reform gatherings.
Page 520, note 2. From the last scene of Cynthia’s Revels, by Ben
Jonson.
Page 521, note 1. “The one serious and formidable thing in Nature
is a will.”—“Fate,” Conduct of Life, p. 30.
See also “Aristocracy,” in Lectures and Biographical Sketches, p.
50.
Page 524, note 1. Ben Jonson, The Golden Age Restored.
Page 526, note 1.
She spawneth men as mallows fresh.
“Nature,” II., Poems.
See also the “Song of Nature,” in the Poems.

Page 526, note 2. In the earlier lecture was this passage:—
“The roots of our success are in our poverty, our Calvinism, our
thrifty habitual industry,—in our snow and east wind, and farm-life
and sea-life....
“There is in this country this immense difference from Europe, that,
whereas all their systems of government and society are historical,
our politics are almost ideal. We wish to treat man as man, without
regard to rank, wealth, race, color, or caste,—simply as human
souls. We lie near to Nature, we are pensioners on Nature, draw on
inexhaustible resources, and we interfere the least possible with
individual freedom.”
Page 527, note 1. In the “Historical Discourse” in this volume, Mr.
Emerson tells of the evolution of the town-meeting of New England
and its working excellence, and of the latter also in “Social Aims” and
“Eloquence,” in Letters and Social Aims.
Page 540, note 1.
For you can teach the lightning speech,
And round the globe your voices reach.
“Boston,” Poems.
Page 541, note 1.
I will divide my goods;

Call in the wretch and slave:
None shall rule but the humble,
And none but Toil shall have.
“Boston Hymn,” Poems.
Page 544, note 1. The following passages came from the earlier
lecture:—
“I must be permitted to read a quotation from De Tocqueville,
whose censure is more valuable, as it comes from one obviously
very partial to the American character and institutions:—
“‘I know no country in which there is so little true independence of
opinion and freedom of discussion as in America’ (vol. i., p. 259).”
“I am far from thinking it late. I don’t despond at all whilst I hear the
verdicts of European juries against us—Renan says this; Arnold
says that. That does not touch us.
“’Tis doubtful whether London, whether Paris can answer the
questions which now rise in the human mind. But the humanity of all
nations is now in the American Union. Europe, England is historical
still. Our politics, our social frame are almost ideal. We have got
suppled into a state of melioration. When I see the emigrants landing
at New York, I say, There they go—to school.
“In estimating nations, potentiality must be considered as well as
power; not what to-day’s actual performance is, but what promise is
in the mind which a crisis will bring out.”
“The war has established a chronic hope, for a chronic despair. It
is not a question whether we shall be a nation, or only a multitude of
people. No, that has been conspicuously decided already; but
whether we shall be the new nation, guide and lawgiver of all
nations, as having clearly chosen and firmly held the simplest and
best rule of political society.
“Culture, be sure, is in some sort the very enemy of nationality and
makes us citizens of the world; and yet it is essential that it should
have the flavor of the soil in which it grew, and combine this with
universal sympathies. Thus in this country are new traits and
distinctions not known to former history. Colonies of an old country,
but in new and commanding conditions. Colonies of a small and
crowded island, but planted on a continent and therefore working it in
small settlements, where each man must count for ten, and is put to
his mettle to come up to the need....
“Pray leave these English to form their opinions. ’Tis a matter of
absolute insignificance what those opinions are. They will fast
enough run to change and retract them on their knees when they
know who you are....
“I turn with pleasure to the good omen in the distinguished
reception given in London to Mr. Beecher. It was already prepared by
the advocacy of Cobden, Bright and Forster, Mill, Newman, Cairnes
and Hughes, and by the intelligent Americans already sent to
England by our Government to communicate with intelligent men in
the English Government and out of it. But Mr. Beecher owed his
welcome to himself. He fought his way to his reward. It is one of the
memorable exhibitions of the force of eloquence,—his evening at
Exeter Hall. The consciousness of power shown in his broad good
sense, in his jocular humor and entire presence of mind, the
surrender of the English audience on recognizing the true master. He
steers the Behemoth, sits astride him, strokes his fur, tickles his ear,
and rides where he will. And I like the well-timed compliment there
paid to our fellow citizen when the stormy audience reminds him to
tell England that Wendell Phillips is the first orator of the world. One
orator had a right to speak of the other,—Byron’s thunderstorm,
where
“‘Jura answers from his misty shroud

Back to the joyous Alps who call to him aloud.’
“The young men in America to-day take little thought of what men
in England are thinking or doing. That is the point which decides the
welfare of a people,—which way does it look? If to any other people,
it is not well with them. If occupied in its own affairs, and thoughts,
and men, with a heat which excludes almost the notice of any other
people,—as the Jews, as the Greeks, as the Persians, as the
Romans, the Arabians, the French, the English, at their best times
have done,—they are sublime; and we know that in this abstraction
they are executing excellent work. Amidst the calamities that war has
brought on our Country, this one benefit has accrued,—that our eyes
are withdrawn from England, withdrawn from France, and look
homeward. We have come to feel that
“‘By ourselves our safety must be bought;’
to know the vast resources of the continent; the good will that is in
the people; their conviction of the great moral advantages of
freedom, social equality, education and religious culture, and their
determination to hold these fast, and by these hold fast the Country,
and penetrate every square inch of it with this American civilization....
“Americans—not girded by the iron belt of condition, not taught by
society and institutions to magnify trifles, not victims of technical
logic, but docile to the logic of events; not, like English, worshippers
of fate; with no hereditary upper house, but with legal, popular
assemblies, which constitute a perpetual insurrection, and by making
it perpetual save us from revolutions.”
FOOTNOTES
[A] Mr. Emerson believed the “not” had been accidentally
omitted, and it can hardly be questioned that he was right in his
supposition.
[B] Vol. ii., pp. 424-433.
[C] The Genius and Character of Emerson; Lectures at the
Concord School of Philosophy, edited by F. B. Sanborn. Boston:
James R. Osgood & Co., 1885.
[D] Correspondence of Carlyle and Emerson, vol. i., pp. 260,
261.
[E] Epistle of Paul to Philemon, i. 16, 17.
[F] See the report of this speech in Redpath’s Life of Captain
John Brown. Boston: Thayer & Eldridge, 1860.
[G] “Review of Holmes’s Life of Emerson,” North American
Review, February, 1885.
[H] Richard Henry Dana; a Biography. By Charles Francis
Adams. Houghton, Mifflin & Co., 1890. In chapter viii. of this book
is a very remarkable account of John Brown and his family at their
home at North Elba in 1849, when Mr. Dana and a friend, lost in
the Adirondac woods, chanced to come out upon the Brown
clearing and were kindly received and aided.
[I] While waiting for the services to begin, Mr. Sears wrote some
verses. The following lines, which Mrs. Emerson saw him write,
were a prophecy literally fulfilled within three years by the Union
armies singing the John Brown song:—
“But not a pit six feet by two

Can hold a man like thee;
John Brown shall tramp the shaking earth
From Blue Ridge to the sea.”
[J] In the very interesting work The Influence of Emerson,

published in Boston in 1903, by the American Unitarian
Association.
[K] See note 3 to page 63 of the “Historical Discourse.”
[L] “Emerson’s Relation to Society,” in The Genius and
Character of Emerson, Lectures at the Concord School of
Philosophy, edited by F. B. Sanborn. Boston: J. R. Osgood & Co.,
1885.
*** END OF THE PROJECT GUTENBERG EBOOK MISCELLANIES
***
Updated editions will replace the previous one—the old editions

will be renamed.
Creating the works from print editions not protected by U.S.

copyright law means that no one owns a United States copyright
in these works, so the Foundation (and you!) can copy and
distribute it in the United States without permission and without
paying copyright royalties. Special rules, set forth in the General
Terms of Use part of this license, apply to copying and
distributing Project Gutenberg™ electronic works to protect the
PROJECT GUTENBERG™ concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if
you charge for an eBook, except by following the terms of the
trademark license, including paying royalties for use of the
Project Gutenberg trademark. If you do not charge anything for
copies of this eBook, complying with the trademark license is
very easy. You may use this eBook for nearly any purpose such
as creation of derivative works, reports, performances and
research. Project Gutenberg eBooks may be modified and
printed and given away—you may do practically ANYTHING in
the United States with eBooks not protected by U.S. copyright
law. Redistribution is subject to the trademark license, especially
commercial redistribution.
START: FULL LICENSE

THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg™ mission of promoting the

free distribution of electronic works, by using or distributing this
work (or any other work associated in any way with the phrase
“Project Gutenberg”), you agree to comply with all the terms of
the Full Project Gutenberg™ License available with this file or
online at www.gutenberg.org/license.
Section 1. General Terms of Use and

Redistributing Project Gutenberg™
electronic works
1.A. By reading or using any part of this Project Gutenberg™
electronic work, you indicate that you have read, understand,
agree to and accept all the terms of this license and intellectual
property (trademark/copyright) agreement. If you do not agree to
abide by all the terms of this agreement, you must cease using
and return or destroy all copies of Project Gutenberg™
electronic works in your possession. If you paid a fee for
obtaining a copy of or access to a Project Gutenberg™
electronic work and you do not agree to be bound by the terms
of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.
1.B. “Project Gutenberg” is a registered trademark. It may only

be used on or associated in any way with an electronic work by
people who agree to be bound by the terms of this agreement.
There are a few things that you can do with most Project
Gutenberg™ electronic works even without complying with the
full terms of this agreement. See paragraph 1.C below. There
are a lot of things you can do with Project Gutenberg™
electronic works if you follow the terms of this agreement and
help preserve free future access to Project Gutenberg™
electronic works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation (“the
Foundation” or PGLAF), owns a compilation copyright in the
collection of Project Gutenberg™ electronic works. Nearly all the
individual works in the collection are in the public domain in the
United States. If an individual work is unprotected by copyright
law in the United States and you are located in the United
States, we do not claim a right to prevent you from copying,
distributing, performing, displaying or creating derivative works
based on the work as long as all references to Project
Gutenberg are removed. Of course, we hope that you will
support the Project Gutenberg™ mission of promoting free
access to electronic works by freely sharing Project
Gutenberg™ works in compliance with the terms of this
agreement for keeping the Project Gutenberg™ name
associated with the work. You can easily comply with the terms
of this agreement by keeping this work in the same format with
its attached full Project Gutenberg™ License when you share it
without charge with others.
1.D. The copyright laws of the place where you are located also
govern what you can do with this work. Copyright laws in most
countries are in a constant state of change. If you are outside
the United States, check the laws of your country in addition to
the terms of this agreement before downloading, copying,
displaying, performing, distributing or creating derivative works
based on this work or any other Project Gutenberg™ work. The
Foundation makes no representations concerning the copyright
status of any work in any country other than the United States.
1.E. Unless you have removed all references to Project

Gutenberg:
1.E.1. The following sentence, with active links to, or other

immediate access to, the full Project Gutenberg™ License must
appear prominently whenever any copy of a Project
Gutenberg™ work (any work on which the phrase “Project
Gutenberg” appears, or with which the phrase “Project

Delivering Authentic Arts Education 4Th Edition Judith Dinham Full Chapter

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Delivering Authentic Arts Education 4Th Edition Judith Dinham Full Chapter

Uploaded by

Copyright:

Available Formats

Delivering Authentic Arts Education 4th

Edition Judith Dinham

National Library of Australia Cataloguing-in-Publication Data

Cengage Learning New Zealand

For learning solutions, visit cengage.com.au

Printed in China by 1010 Printing International Limited.

PART 2 TEACHING IN THE ARTS

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

Chapter 2 The features of authentic

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

Children learn by reviewing and Planning for cultural connection

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

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

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

Guide to the text

CHAPTER OPENING FEATURES

Chapter one 66 PART 1 The ABC of arts education

Identify the key concepts that the chapter will

CLASSROOM SNAPSHOT CLASSROOM SNAPSHOT

Explore authentic arts education in practice through

Stimulating creative thinking Ch 2, p. 48

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

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

The 5Rs reflective writing scale

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

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

the program Ch 4, p. 117 Composing requires

ABOUT ARTS EDUCATION consistent program of arts learning.

ONLINE RESOURCES: LEARNING MORE

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

FEATURES WITHIN CHAPTERS

Learn how to plan quality primary arts programs

UNIT PLAN OPTIONS FOR PATTERNS AROUND US LAND ART LA2

UNIT PLAN OPTIONS ARTS SUBJECTS COVERED LEARNING ACTIVITIES SEQUENCE

Curriculum – learning outcomes –

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

FEATURES WITHIN CHAPTERS 16 PART 1 The ABC of arts education

When you see Key terms marked in bold, study reflective

the Definitions nearby to learn important means that the

which children develop Bennett

their lives. CURRICULUM

The recognition that

their natures and FURTHER

FOR THE INSTRUCTOR

Guide to the online resources

ARTWORK FROM THE TEXT

FOR THE STUDENT

MINDTAP FOR DELIVERING AUTHENTIC ARTS EDUCATION 4TH EDITION

Is this book for you?

How this text is organised

PART looks specifically at teaching in each of the five Arts areas.

About the author

Clare Britt Macquarie University

1.1 THE ARTS ARE INTEGRAL TO HUMAN

1.2 THE EVOLUTION OF ARTS EDUCATION AS

Reasons for arts education in the past

How changing times shaped a National Curriculum

Introduction of the Australian Curriculum as

The Melbourne Declaration establishes new educational goals

Designing the Australian Curriculum to meet

© Australian Curriculum, Assessment and Reporting Authority (ACARA)

Associated educational reforms

Ministerial Council for Education, Early

Stimulating creative thinking Ch 2, p. 48

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

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

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

the program Ch 4, p. 117 Composing requires