Week 13 Drama 3

Drama 3: Teaching-in-role & Mantle-of-the-expert

In our finial Creative Arts workshop this semester, we focused on teaching-in-role and mantle-of-the-expert as two effective teaching strategies we could use in our future teaching. When I was in Year 10, the teaching-in-role strategy had been used in Literacy class by my teacher. The teacher dressed as a witch and taught us about Macbeth. That teaching strategy made us felt very different from the sterotypes of teaching and learning, hence I agree that involving the ‘teaching in role’ strategy would help engaging and focusing students’ interest and attention on the lesson. It would also encourage students’ higher order thinking about the lesson content.

A picture of Macbeth and three witches.

As the teacher models in the class and teachs in role, students could be enabled to “walk in someone else’s shoes and at the same time confirming the importance of their own understanding and experiences” (Ewing, R. & Simons, J., 2004, p. 31). Both teaching in role and mantle of the expert are useful activity to encourage students’ interests in learning, but I would like to do teaching in role more than mantle of the expert in my future teaching since the idea is more common and easier to be accepted by students from different ages and levels of abilities.

References:
Ewing, R. & Simons, J. (2004). Beyond the script: Drama in the classroom, take two. Newtown, NSW: PETA.

Week 12 Drama 2

Drama 2: Play-building

In this workshop, we focused on scaffolding and sequencing learning experiences in drama. We began the workshop with the pretext Green Children. We did a serial of activities to comprehend the pretext including still image, group mapping, role-walking, hot-seating and ritual enactment. There was a strong continuity rbetween the role-walk activity and hot seating activity and they were the parts I felt most engaging.

As students created a map of an imaginary town where people brought the two green children to, students used their prior knowledge of community, science and economics aspects. Then in role walking, students explored deeper about their roles in particular situations as well as the connection between their roles and the green children. While communicating with other people about their roles, students could collect information from other roles to comprehend the story and their relationship with others. This links into the KLA requirement that students learning to make drama need to “take on and sustains roles in a variety of drama forms to express meaning in a wide range of imagined situations” (Board of Studies, 2006, p. 26). To further expand students understanding of a particular situation, three students were picked to sit on the hot seat in the front of the class and the rest of us questioned their characters in role. These sequenced activities encouraged students’ imagination of different situations, critical thinking and oral skills. A student-centred activity like hot-seating “changes the dynamic in the classroom because the teacher is not providing an evaluating feedback loop” (Ewing & Gibson, R., p. 56). Activities like role-walk and hot-seating are very helpful to build students’ creativity and literacy comprehension during playing and making drama.

References:

Gibson, R. & Ewing, R. (2011). Transforming the curriculum through the Arts. Palgrave Macmillan: Melbourne.

NSW Board of Studies. (2006). Creative Arts K-6 Syllabus. Sydney: BOS.

Week 11 Drama 1

Drama 1: Programming Drama

Our first Drama workshop was extremely useful for us to do with Literacy in future teaching. It was about programming drama. Programming drama is defined in Transforming the Curriculum as “a term used to describe the use of a range of theatre strategies to enable participants to make meanings” (Ewing & Gibson, 2011, p.236). In the tutorial, Victoria introduced this topic with a picture book named Voices in the Park by Anthony Browne. This picture book had been previously used in our EDUP1001 or EDUP2002 as a Literacy teaching resource, but I did not thought about combining Drama and Literacy by using this particular picture book before this tutorial. The reason was the book had four different voices and points of view, I thought it would be difficult to manage an activity covered any type of Creative Arts. Hence it was very necessary for us as preserved teachers to learn how to use drama strategies to develop critical literacy and thinking skills across the primary curriculum.

"Role on the Wall"  was an easy-accessing activity that I found extremely helpful in developing students’ literacy comperhension and critical thinking skill. Victoria drew two simple frames of the two main characters in Voices in the Park on the whiteboard. Students were asked to write an adjective, poetic phrases, similes or metaphor to describe each character and post the sticky notes onto the frames. While students were thinking critically and analytically into the roles of certain characters, their literacy skills and banks of vocabulary would be developed. Since the sticky notes did not label students’ names, as they heard the teacher reading the answers out they would not feel awkward and be confident to express their ideas. Because “Role on the Wall” was a very helpful activity to develop students’ creativity, critical thinking and literacy, I had covered it in my EDUP2002 English: Learning to be literate Assessment 2 as a sample activity.

References:

Gibson, R. & Ewing, R. (2011). Transforming the curriculum through the Arts. Palgrave Macmillan: Melbourne.

Week 10 Visual Arts 3

Visual Arts 3: Encouraging Art Dialogue

This week, we looked at the different approaches to taking to children about their art and encouraging art dialogue. Robert Schirrmacher in Art and Creative Development for Young Children (1998) has identified six of the most common approaches used by adults to respond to children’s art, and in class we discussed how some are not suitable:

1. Complimentary

2. Judgmental

3. Valuing

4. Questioning

5. Probing

6. Correcting (Ewing & Gibson, R., 2011, pp. 136-137)

We found that teachers should not use these approaches which had negative effects on students’thinking and creating processes. Instead of those useless approaches, there were more questions and comments should be provided by teachers focused on:

The elements of design (Ewing & Gibson, R., pp.138-139):

l Line

l Shape

l Size

l Value

l Texture

l Colour

The principles of design (Ewing & Gibson, R., pp.139-140):

l Repetition

l Balance

l Rhythm

l Harmony

l Contrast

l Gradation

l Movement

l Emphasis

l Proportion

l Unity

Then for each group, Robyn provided us a piece of children’s paintings. As preserved teachers, we were required to ask students some appropriate questions based on the elements and principles of design, such as “How did you use different colours to make the patterns?” and “How did you use the colour you did in your painting to form unity?” These questions would engage students to think deeper about their artworks and the knowledge they have used unconsciously in the process of creating.

In the next section we participated in a painting activity and the uses of colours. Like what we did in last semester, but this time instead of dividing a piece of paper into 4 sections and only using a pair of complimentary colours, we painted monochromic, neutral, warm or cold and complimentary colours in the four sections. This activity was the one I engaged the most in this semester since Visual Arts is concerned with ‘creative manifestations of the human imagination’ (Lynn, 2002, p.7; Ewing & Gibson, R., 2011, p.130). While creating and expressing students’ own ideas in paintings, it was also a process of comprehension the elements and principles of design. My work can be view
below.

References:

Gibson, R. & Ewing, R. (2011). Transforming the curriculum through the Arts. Palgrave Macmillan: Melbourne.

Week 9 Visual Arts 2

Visual Arts 2: Child-based & Teacher-based

In this tutorial we learnt that assessment is “an ongoing process of gathering evidence of and making judgements about students’ needs, strengths and achievements. Assessment should not rely solely on quality of finished product, but pay particular attention at processes that combine to create that product” (Gibson, R., Art Tutorial 2). The attitudes and skills are important to the learning process and should be a focus of attention. That means teachers should not judge or measure students’ artwork in terms of right or wrong. This knowledge is very important and as preserved teachers, we should keep this idea in mind when we begin teaching in school and have assessments of children’s work. In my personal experience, when I was in Year 4, my teacher judged my drawing as ‘wrong’ and ‘disappointing’ because it was different from other students’ work. This experience had a large impact on my life and was one major reason made me did not want to continue further Art learning for the rest of my life. However now, this personal experience now become a power reminding me to be cautious in the way to approach assessment and encourage students enjoying the process of learning not focusing too much on the final results.

Psychological theories, much in vogue during the fifties and sixties, gave rise to arguments which made art, as a manifestation of the unconscious mind, a necessary process in achieving a balanced personality or in a more mechanistic sense an adjunct to the development of cognition (Messon, P., 1985; Heyforn, V.M., 1985, p.55). “Treasure boxes” as one way to process assessment, encourages students to decorate their own boxes, keep students’ artworks in their boxes. The idea is engaging students’ imagination of their private treasure boxes and hence, students would treat their artworks as pieces of treasure. I would like to do this activity in my future teaching since “treasure boxes” does not only fit a primary school setting, it also help students cherishing to their own work and Arts. Students could also display their treasure boxes to their parents so that parents could know what their children had gained from schools.

Then in the next session of the tutorial, we focused on wheels we had started working from last week. Ms. Gibson handed us a viewfinder, and let us select a section of our wheels drawing. Then we enlarge that section in a large piece of paper. Students used various techniques to do artworks with limited resources, such as scrunching paper, cutting paper into different shapes and sticking them into different parts of the drawing. This activity encouraged students in using their creativity and imagination and using limited resources to create pieces of artworks.

This is a picture of half-finished product.

Reference:

Heyforn, V.M. (1985). The Artistic Creativity in The Aesthetic in Education, Malcolm Ross (Ed.)Pergamon

Week 8 Visual Arts 1

APPRECIATION OF ARTWORKS

I was very excited about my first Visual Arts workshop this semester since I really enjoyed this section last year. In all four areas of Creative Arts, Visual Arts, as a basic and common area involved in daily teaching, develops students' creativity and engagement in the process of learning. Dr. Robyn Gibson identified in the tutorial that ‘art appreciation does not aim to fill children with facts about art, but to develop their strategies of looking art and making sense of what they see’.

In this week’s workshop, my favourite activity is ‘Dinner Parties’ since I was picked to hold one pieces of artworks. There were five students were chosen to hold one painting which was not originally theirs. The rest of students in the class had to think critically and match each images to its corresponding students by asking simple ‘Yes or No’ questions. The New South Wales Creative Arts K-6 Syllabus mentioned that for appreciating visual arts, students at Stage 3 would learn to ‘communicate about the ways in which subject matter is represented in artworks’(NSW Board of Studies, 2007, p. 24).

 

In ‘Dinner Parties’, students, particularly Stage 3 students, would learn to focus on and think critically about the subjects and techniques used to represent in one image that made the image different from the other four artworks. This activity required students to conclude their key ideas in simple questions; hence students would develop their art criticism and oral presentation skills. It is a good idea for teachers to use Feldman’s Inquiry Method of Appreciating Art to guide students find out the key features in the paintings, just like what we did in the workshop.

The five printings for 'Dinner Parties'

Reference:
Ewing, R., Gobson, R., (2011) Transforming the Curriculum through the Arts. South Yarra: Palgrave MacMillon

New South Wales Board of Studies. (2006). Creative Arts K-6 Syllabus. Sydney: Author.

Week 7 Music 3

Music 3: Listening and Organizing Sound

In the final music workshop this semester we covered mainly three aspects that creating simple compositions, selecting music for listening activities with a specific musical focus and integrating music with other KLAs and technology.

Nancy introduced some extremely useful teacher’s resources including a book called ‘Jelly Beans And Other Suites ’, some Apple application and educational websites. “Jelly Beans And Other Suites” was a very helpful teacher’s resources that I would like to use in my future teaching. There were several reasons:

1.      The book had a CD for teacher to play in the class so that students could be engaged;

2.      The size of the pages was very large and the book got clear and big label for every details;

3.      The songs recorded in the book were not too hard, but since it needed students’ cooperation and higher ordered thinking of the concepts, it would be better used in Stage 3 classes;

4.      The songs were very enjoyable and would not be very hard to analyze the elements of Music in the songs. For example, we covered duration, tone colour , dynamics and structure in the class;

5.      Each section of the song that required different type of instruments was labeled in different colour so that students could be instructed by teacher easily.

Researchers (Kellet, 2000; Hennessy, 2000) argue that music is an area that can result in a confidence issue dependent on past experiences and/or musical training. With a teacher’s resource like “Jelly Beans And Other Suites”, “neither the teacher nor students would be required to read music or have any prior ability to play a musical instrument”(Ewing & Gibson, R., 2011, p. 117). The rhythm was easy for the teacher and students to follow. The teacher could point at each bar during the CD was playing, and students could use various percussion and melodic instruments, such as wood or metallic xylophones and triangles. Involving new technology like CD players in the process of teaching Music would be more engaging and provide students deeper comprehension of the elements of Music. During listening to the songs that professionally recorded in CDs could guide students to follow the rhythm, organise sounds and encourage students to play the instruments. Hence in the future, I would like to use technology properly in the classroom environments as a tool to engage students more in learning Creative Arts, particularly Music.

References:

Gibson, R. & Ewing, R. (2011). Transforming the curriculum through the Arts. Palgrave Macmillan: Melbourne.

Week 6 Music 2

Music 2: Performing – Singing and Moving

The music tutorial this week focused more on performing and sound-organising. One activity called ‘Beachcombing’ caught my full attention and made everyone in the class engaged. After listening and singing the song, students chose one instrument each and created own verses about the beach environment. Then students explored musical concepts of tone colour, duration and dynamics to creative their own sound story. The activity was design based on the Creative Arts K-6 Syllabus that:

MUS1.2: Explores, creates, selects and organises sound in simple structure.

I would like to use this actvity in my future teaching since the song “Beachcombing” built a positive and engaging learning environment for all the students to imagine and create. In Gulbenkian Report (1982) identified one contribution that music brought to education was

“Developing capacity for creative thought and action. Music stimulates creativity because making music involves experimenting with sounds and rhythm. Used creatively, music develops ‘elaborative, original, fluent, and flexible thinking’ (Cornett, 1999, p.322)” (Gibson, R. & Ewing, R., 2011).

Students used one instrument each group and made a statement to sing and perform. While students were creating song and lyrics, they had to use their prior knowledge of the particular environment and higher order thinking to establish connection between the song and their instruments. During performance, students understood and developed their knowledge about the instruments, singing and performing skills as well as the joy of playing music.

References:

Gibson, R. & Ewing, R. (2011). Transforming the curriculum through the Arts. Palgrave Macmillan: Melbourne.

NSW Board of Studies. (2006). Creative Arts K-6 Syllabus. Sydney: BOS.

Week 5 Music 1

PERFORMING & PLAYING

Before our first Music tutorial started, we reviewed the music concepts learnt from Creative Arts 1, which are:

l  Duration;

l  Pitch;

l  Tone Colour;

l  Dynamics;

l  Structure

We started with three world-known musical pieces to refresh our memories of the musical concepts and draw students’ prior knowledge to the class. The three music pieces were “Carnival of the Animals – The Swan”, “In the hall of the Mountain King” and “The Ice Dance”. Nancy also gave us a list of questions about music concepts to think while playing the music clip. After listening, students discussed and analysed how the music concepts had been used properly to perform and organise sound. This strategy is advised for teachers to use while teaching music in the class. It could engage students and help them to analyse and comprehend this music piece better through making a sequence of questions. For example,

“In the hall of the Mountain King”

l  Duration: How was the speed of the piece? Was it getting faster or slower?

l  Structure: What is the main piece of the song piece of the song? How many times could you hear in this piece?

l  Tone Colour: How was the cello played? (e.g. Tapping.) Is that different from using strings?

l  Dynamics: Was the music getting louder?

l  Pitch: How did the song make difference to you?

The questions based on the music concepts are useful to guide students build their comprehension of music. For Stage 2 students particularly, they need to learn to respond to music and “identify the use of musical concepts and musical symbols in a range of repertoire” (NSW Board of Studies, p. 25). Furthermore, the questions about music concepts are set for “developing the variety of children’s intelligence” (Gibson, R. & Ewing, R., 2011, p. 112). Robyn Gibson mentioned in Transforming the curriculum through the Arts that “music is another way of knowing and expressing ideas, moods and feeling. By using music, children can draw on additional avenues of learning.” The thinking process is vital for students to comprehend the music concepts beyond performing and playing.

References:

Gibson, R. & Ewing, R. (2011). Transforming the curriculum through the Arts. Palgrave Macmillan: Melbourne.

NSW Board of Studies. (2006). Creative Arts K-6 Syllabus. Sydney: BOS.

Week 4 Dance 3

DANCE 3: Space - General and Personal Space

In our last Dance workshop this semester, Nancy taught us about sensory learning and the use and effect of stimulus in a dance lesson.

SENSORY LEARNING: Teaching students to use their senses to develop imagination and their expression as well as stimulate creativity.

5 types of stimuli:

Then in the next session of the workshop, each student chose one type of stimuli and prepared the performance. The one that our group chose was the auditory stimulate, “Find Your Spark” from “Now is the Time – 170 ways to seize the moment”. The reason for selecting this type of stimuli and its resource was the literacy could be combined with multiple areas in Creative Arts. The contrast between light and darkness could be presented in Visual Arts; the sound could be played by musical instruments; the scenes in the story could be presented in Drama or Dance. “Becoming physically articulated and finding one’s own ways of moving can often improve a child’s abilities with spoken and written language” (Gibson, R. & Ewing, R., 2011). Through reading and brainstorming, students needed to present the written text into dance by focusing some key words, such as “ignites”, ”overshadows” and “threatens”. Those key verbs gave students some ideas to effectively use the elements of music and present the situation in story better. For example,

SPACE: spreading out, coming close to each other

DYNAMICS:

Opening arms – light of the spark;

Pushing (the person in the middle) down – darkness of the spark

Since this activity required students’ comprehension of the literacy, it could meet the Stage 3 KLA’s requirement that students “explore, select, organise and refine movement using the elements of dance to communicate intent” (NSW Board of Studies, 2006). As an activity focused on auditory stimuli, students need to think critically how to organise sounds and present the ideas effectively. In this case, the written text could be read out before the dance presentation. For example, in a Stage 3 Literacy lesson, auditory stimuli like listening to a written text could be combined with dance and help students develop their comprehension to the elements of Dance, Literacy and creativity.

References:

Gibson, R. & Ewing, R. (2011). Transforming the curriculum through the Arts. Palgrave Macmillan: Melbourne.

NSW Board of Studies. (2006). Creative Arts K-6 Syllabus. Sydney: BOS.

Week 3 Dance 2

HOW DO STUDENTS LEARN THROUGH DANCE?

We had a very different beginning p of our second dance workshop this week. Instead of Iris planning warm up activities as usual, two students in pair taught the class with some choreographed exercises. The idea of giving persevered teachers opportunity and hence gaining confidence through practising teaching was very good, since students could share and discuss their understandings of dance concepts with the whole class.

The aspects about students' cognitive learning through dance

The focus of this week’s dance workshop was cognitive learning, in the main section of this week’s workshop, students were divided into groups. Each group were provided a theme from the list of choreographic process and then students needed to create sequenced performance using symbols or gesture provided and reflect the idea of theme. The Arts in the New Zealand Curriculum identifies education is dance is ’fundamental to the education of all students’ and ‘dance is a significant way of knowing with a significant body of knowledge to be experienced, investigated, valued and shared’　(Gibson, R. & Ewing R., p.36). The topic of our group presentation was environment, thus we combined the symbols of various kinds of weather in group performance. During the process of ‘experiencing’ and ‘investigating’, we ‘valued’ and ‘shared’ ideas of cognitive learning, as well as developing our critical and logical thinking skills. We also notised that in this lesson dance was established a strong connection to students' experiences, it was easier for them to understand the concepts and elements of dance and hence make better reflections on their learning through dance. Students could also understand what they were learning and how they could learn more effective and get more engaged.

 Choreographic Process/ Recipe

Relative images of Environment, which were weather.

This is the Video of our group's sequence presentation."Environment and Weather".

Reference:

Gibson, R. & Ewing, R. (2011). Transforming the curriculum through the arts. Melbourne: Palgrave Macmillan.