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Course Profile Dramatic Arts, Grade 11, Open, Catholic and Public

Course Overview

Course Profiles are professional development materials designed to help teachers implement the new Grade 11 secondary school curriculum. These materials were created by writing partnerships of school boards and subject associations. The development of these resources was funded by the Ontario Ministry of Education. This document reflects the views of the developers and not necessarily those of the Ministry. Permission is given to reproduce these materials for any purpose except profit. Teachers are also encouraged to amend, revise, edit, cut, paste, and otherwise adapt this material for educational purposes.

Any references in this document to particular commercial resources, learning materials, equipment, or technology reflect only the opinions of the writers of this sample Course Profile, and do not reflect any official endorsement by the Ministry of Education or by the Partnership of School Boards that supported the production of the document.

Acknowledgments

Public and Catholic District School Board Writing Teams – Dramatic Arts

Lead Boards

Upper Canada District School Board

Catholic District School Board of Eastern Ontario

Management Team

Eleanor Newman

Dorothy Stewart

Jennifer Perkin

Course Profile Writing Team

Ron Dodson, Project Leader, Avon Maitland DSB

Allan MacDonald, Ottawa-Carleton Catholic DSB

Carolee Mason, Upper Canada DSB

Don McNeill, Catholic School Board of Eastern Ontario

Al Wright, Algoma DSB

Internal reviewers

Kathy Lundy, Toronto DSB

Bernard Smyth, Catholic DSB of Easter Ontario

Lionel Walsh, University of Windsor

The efforts of those enrolled in the Dramatic Arts AQ courses, University of Toronto, Stratford campus, summer 2000, are gratefully acknowledged.

Course Overview

Dramatic Arts, Grade 11, Open, ADA30

Course Developers

Ron Dodson, Project Leader, Avon Maitland DSB

Allan MacDonald, Ottawa-Carleton Catholic DSB

Carolee Mason, Upper Canada DSB

Don McNeill, Catholic School Board of Eastern Ontario

Al Wright, Algoma DSB

Course Description

This course requires students to create and present dramatic works using a variety of structures, styles, and staging techniques to tell the story of the human condition. The study of dramatic forms, including monologue, movement/dance drama, and readers’ theatre, culminates in the modern form of docudrama. Through an examination of Canadian docudramas, a unique kind of dramatic creation based on historical, social, and other sources, students reflect upon the Canadian mosaic. Students produce an original docudrama in which they use their unique voice within the complexity of human experience. Students use a wide variety of sources to develop and interpret appropriate roles and characters in original and adapted works. A variety of voice and movement techniques, the use of technology, and a strong understanding of audience enhance students’ individual and collective work. Students assume personal responsibility in their role-playing, analyse and appreciate dramatic creations, and develop communication and other skills applicable to a variety of careers.

How This Course Supports the Ontario Catholic School Graduate Expectations

In Dramatic Arts, students use the unique gifts that God has given to reach out to others on a faith journey from self to family, society, and God’s kingdom. Dramatic Arts and the Catholic faith focus on life issues to discover the role of the individual in relation to others and to God. The saving story of Christ inspires students to respect the dignity of self and others and to become loving, compassionate members of society working toward the common good. Role-playing in drama gives a chance for students to show empathy, tolerance, and understanding for others and is a means to self-discovery: to become the person God intended each of us to be. The social demands of group work in drama help the student recognize the uniqueness of the individual and diversity within the group. Participation in drama helps students to accept responsibility for his or her own actions and enables them to examine, critique, and reflect on the relationships and values depicted in the Gospel. The goal for educators is to assist young people to think compassionately and reflectively and act in a manner consistent with the values of Jesus Christ.

Course Notes

General Time Frames and Prerequisites

· This course is based on the Ministry of Education’s requirement of a minimum of 110 hours.

· Teachers should consider the time frames in this Profile as suggestions only and should vary the time frames to accommodate the experiences, abilities, and interests of students in the class, as well as the resources of the teacher, provided that all strands and expectations have been taught and assessed in accordance with Ministry of Education policies.

Course Organization and Progression

· Because the Learning Expectations for the Dramatic Arts Grade 11 University/College and Open courses are complementary, teachers may use this Course Profile in conjunction with the University/College course and, with modification, teach the units presented in it.

· The units begin by providing students with experiences in individual and group creative processes and presentations, and evolve from story forms generated from imagination into structured narrative texts. Students explore the relationship between “role” and “character” in these varied contexts, culminating in a docudrama created by a larger group, or the whole class, which consolidates the learning of the previous four units. Altering the order of the units may significantly change the learning.

· Teachers may wish to introduce elements of the final evaluation (see Unit 5) earlier in the course, to help students prepare thoroughly. However, the major portion of the final evaluation must be done toward the end of the course and comprises 30% of the final mark in the course.

Teacher Preparation

· Teachers need to be familiar with contemporary theatrical forms and texts, especially docudrama, collective, and Canadian works.

· Teachers should be familiar with the profiles for ADA2O and ADA3M, as well as the Learning Expectations for Dramatic Arts, Grade 12, in order to ensure appropriate student preparation.

· Expectations are clustered around dramatic concepts, including role/character, social/cultural context, and collaborative creation, while each cluster is imbued with dramatic elements, principles, techniques, sources, and texts.

Appendices/Organizers

· The Appendices at the end of the Course Overview are designed to help teachers discover the way the Expectations are linked to the Achievement Chart, units, and activities of this Profile. When planning units, activities, and assessments, teachers should consult these organizers.

· Teachers are encouraged to consult the CODE (Council of Drama and Dance in Education) website (http://www.code.on.ca) for further resources, which have been designed to complement this profile.

· Tracking and teaching expectations in isolation is not recommended.

General Notes

· The prerequisite for this course is successful completion of one of Grade 9 or 10 Dramatic Arts, Open.

· This Open level course enhances all destinations; students will be prepared to take either an Open level or University/College course in Dramatic Arts in Grade 12.

· In this Profile, the symbol . indicates that the task or activity may be used as a portfolio activity.

· Students work from researched primary and secondary sources, as well as published dramatic texts, as they create and present dramatic works.

· To meet the course destination performance standards, students are provided with opportunities to develop their communication and collaborative skills, as well as demonstrate analytical and reflective strategies, through writing and speaking about their choices in creating dramatic works and their responses to their own and others’ dramatic work.

· The examples of docudrama given in Unit 5 are some which have emerged in Canada so far. As more docudramas are produced, these early examples will be enriched and contextualized by those which represent a wider cross-section of Canadian communities.

Key Framing Questions

The units have been developed from the Overall and Specific Expectations and have been framed by these Key Questions. The Unit Planning Notes supplement this list.

Unit 1: The Company and the Drama

· How does my awareness of the group and its goals heighten understanding of oneself?

· How is research of our issue actualized in the group?

· How does the interpretation of factual information in the development of the docudrama necessitate a sensitivity and awareness of people and their environment?

Unit 2: Exploring Story

· How does story capture human experience?

· How does movement portray both the literal and emotional aspects of reality?

· How does voice express the literal and emotional aspects of human experience?

Unit 3: Character in Context

· How can the interpretation of character be made accurate and real?

· How can group dramatization develop and influence an individual role?

· How do research, workshop and reflection develop a character in a monologue?

Unit 4: Exploring Text

· In what ways do imagination and physicality interpret experiences recorded by others?

· How does dramatic art make new meaning from text?

· How does drama reflect real experience?

Unit 5: The Docudrama

· How do students progress in their drama work from self to other, from person to character, and from real to imagined?

· How can the real world be represented in an artistic, dramatic form?

· How does artistic work move from stereotype to knowledge about people and events?

Assessment and the Role of the Portfolio .

Students keep a portfolio of their drama work throughout the course. It is a primary vehicle for students to demonstrate their learning, a stimulus for reflection and student-teacher conferencing, and a natural mode for analysis and planning. The teacher assesses and evaluates the student portfolio at significant points through the course. Teachers are aware of their responsibilities with regard to disclosure which may occur in the portfolio and the conditions of confidentiality which may be implied or explicit with the student.

Teachers should be aware that reflection does not always occur through writing. It may be oral, visual, kinetic, musical, or in another form. It may be conducted as a solitary activity, or within a group, both large and small. Although the written form is used often in this profile, teachers should look for appropriate, creative ways of addressing students’ learning styles to improve their learning.

Teacher Responsibilities

While the teacher is the primary planner and leader of the learning activities, and is responsible for them in all respects, s/he assesses the dynamics of each class and decides the degree to which the students may assume increased responsibilities. This requires professional judgement and varies with each class.

Health and Safety

Safe practices must be taught and practised throughout the course.

Physical Safety

Preliminary activities must emphasize safety and respect. Equipment must be appropriate to student use; teachers must be aware of its proper uses and limitations. Hazardous materials must be handled in accordance with the approved safety procedures of Board of the Education and WHMIS.

Emotional and Social Safety

The teacher is responsible for establishing an atmosphere where students feel emotionally and socially safe. When topics arise which are personal in nature, the teacher must be prepared to deal with them in an appropriate manner and involve specialists where necessary. How students treat each other is also a priority, especially where the possibility of bullying, aggressive behaviour, and isolation exist.

Units: Titles and Times

Unit 1	The Company and the Drama	15 hours
Unit 2	Exploring Story	20 hours
Unit 3	Character in Context	25 hours
* Unit 4	Exploring Text	25 hours
* Unit 5	The Docudrama	25 hours

Unit Overview Chart

Act.	Expectations	Assessment	Focus
1	THV.02, THV.03, CRV.01, CRV.03, TH1.01, TH3.01, TH3.03, CR1.07 CGE1d, 2b, 2c, 4b, 4c, 5a, 5e, 5f, 7e	Knowledge/ Understanding Communication Application	Brainstorming, starting to research
2	THV.02, THV.03, TH3.01, CRV.02, CRV.03, CR1.01, CR1.07, AN1.02 CGE2b, 2c, 3c, 4b, 4c, 4f, 5a, 5e, 5g, 7f	Knowledge/ Understanding Application Communication	Using source material dramatically
3	THV.01, CRV.01, ANV.03, TH1.01, TH1.02, TH1.03, TH2.02, TH.2.03, CR1.01, CR1.02, CR1.07, CR1.08, AN2.02 CGE3b, 3c, 4b, 4d, 4f, 5a, 5e, 5f, 5g	Communication Application	Character development and advanced research
4	THV.02, CRV.02, CRV.03, CRV.04, CRV.05, ANV.01, ANV.03, TH1.01, TH1.02, TH1.03, TH2.01, TH2.02, TH2.03, TH3.02, CR1.02, CR1.06, CR1.09, CR2.01, CR2.02, CR2.03, CR2.04, AN1.03, AN2.02 CGE2a, 3d, 3e, 4a, 4b, 4d, 4f, 5a, 5e, 5f, 5g, 7j	Thinking/Inquiry Communication Application	Rehearsal process
5	THV.02, CRV.01, CRV.02, CRV.03, CRV.04, CRV.05, ANV.01, ANV.02, ANV.03, TH2.01, TH2.02, TH2.03, CR1.02, CR1.05, CR1.06, CR2.01, CR2.02, CR2.03, CR2.04, AN1.01, AN1.02, AN1.03, AN1.04, AN1.05, AN2.01, AN2.02, AN2.03 CGE3c, 3e, 4d, 4f, 5a, 5e, 5f, 5g, 7f, 7g	Thinking/Inquiry Communication Application	Production, assessment and evaluation

Teaching/Learning Strategies

This Course Profile was developed with units and activities encompassing all three arts strands: Theory, Creation, and Analysis. Teaching these activities provides students with multiple, rich opportunities to demonstrate their knowledge and skills. In Dramatic Arts, students work closely in large and small group situations. It engages the student’s head and heart in a dynamic, which gives the teacher opportunities to challenge the student in a variety of learning contexts and styles.

Assessment & Evaluation of Student Achievement

Percentages which break down the categories of the Achievement Chart in the Arts are not recommended in this Course Profile, as each school board or school may make its own decisions. However, teachers must relate all assessment and evaluation activities to the four categories of the Achievement Chart (Knowledge/Understanding, Thinking/Inquiry, Communication, Application) as they plan and implement their assessment practices.

This chart summarizes some of the assessment strategies which may be used in this course:

Personal Communication

Observation

Performance Assessment

Reflection

rubrics, checklists, journals, documentary evidence, portfolio entries

· self-assessment

· peer assessment

· individual student-teacher conference

· teacher-small group conference

· teacher-whole group conference

· teacher tracking

· peer observation

· video and still photo documentary

· writing-in-role

· selected journal responses

· text analysis

· collaborative problem solving, negotiating, and presenting

· commitment to role

· personal reflection through journal and other forms

· writing-in-role

· portfolios

Seventy per cent of the grade will be based on assessments and evaluations conducted throughout the course. Thirty per cent of the grade will be based on a final evaluation in the form of an examination, performance, essay, and/or other method of evaluation.

Accommodations

· Teachers must be aware of and sensitive to the diverse learning styles and abilities of their students. Accommodations must be implemented to promote success for all students.

· An extensive list of possible accommodations is contained in the Unit Curriculum Planner (Ministry of Education, 1999), which is available in all Ontario schools and from DSB offices.

General Resources

· Resources may be obtained from a wide variety of sources. See the Planning Notes for each unit.

· Teachers should be familiar with resources in their local and regional communities, including those not directly related to drama, such as the art gallery, museum, or people, such as police officers, social workers, and others.

· Canadian resources should be used wherever possible.

· Gender balance should be considered when choosing resources and texts.

· In addition to universities, colleges, and other institutions that offer AQ or ABQ courses for teachers, the provincial drama and dance subject association, CODE (Council of Drama and Dance in Education), offers many valuable resources, including a newsletter (“Touchstone”), a journal (Contact), a listserve (CODEnet), a website (http://www.code.on.ca), an annual conference, and regional coordinators throughout the province. Often, Management Board and general members are available to conduct workshops in a variety of formats.

· Many professional arts organizations have an education officer who provides resources for teachers at minimal cost. The Ontario Arts Council (OAC), Theatre Ontario, and local arts councils are also valuable resources.

· Note: The URLs for the websites have been verified by the writers prior to publication. Given the frequency with which these designations change, teachers should always verify the websites prior to assigning them for student use.

Teaching Resources

Resources that are appropriate to the entire course are included in Units 4 and 5.

OSS Considerations

This course profile has been developed to assist in the implementation of The Ontario Curriculum, Grades 11 and 12 The Arts, 2000. When using this material, teachers and administrators must take careful note of the applicable sections of Ontario Secondary Schools, Grades 9 to 12, Policy and Diploma Requirements, 1999; The Ontario Curriculum, Grades 11 and 12, The Arts, 2000; The Ontario Curriculum, Program Planning and Assessment, 2000; and Choices into Action: Guidance and Career Education Program Policy for Elementary and Secondary Schools, 1999.

Appendix CO1

Dramatic Arts Open: ADA3O

This chart represents one way of relating the Learning Expectations in this course to the Achievement Chart categories, represented by K = Knowledge, T = Thinking, C = Communication, A = Application. Each Overall and Specific Expectation is referenced according to its primary verb. Dialogue with colleagues may result in different interpretations of these relationships. This chart may be used when planning units, organizing assessment and evaluation and as a reference when using the Ontario Curriculum Unit Planner. Expectations in bold are assessed in Unit 5 as part of the final evaluation. The number represents how many times the Expectation is taught in the unit.

Learning Expectations	Ach. Chart	Unit
		1	2	3	4
Theory
THV.01 - describe connections between role play and character development;	C	1	3	2	1
THV.02 - demonstrate an understanding of various aspects of the elements, principles, and techniques of dramatic arts;	A	1	2	7	2
THV.03 - identify and describe a variety of dramatic sources, scripts, and types;	K, C	3	3		1
TH1.01 - identify and describe methods of creating, sustaining, and re-creating roles in a convincing way (e.g., methods involving research, observation, analysis, improvisation);	K, C	3	1	6	1
TH1.02 - describe the process of portraying a character in a script through voice, gesture, props, and the character’s relationships with other characters;	C	1	2	3	1
TH1.03 - demonstrate an understanding of subtext, motivation, and status in the development of a character;	A		1	4
TH2.01 - demonstrate an understanding of the techniques of voice production and projection;	A	1	1	3
TH2.02 - describe techniques of movement as they relate to the communication of roles/ characters and dramatic tension;	C	2	2	2	1
TH2.03 - identify and describe the elements of a dramatic setting (e.g., time, place, character, theme);	K, C	2		2
TH3.01 - identify primary and secondary sources of information and their functions;	K	1		2
TH3.02 - describe aspects of the structure of a script (e.g., setting, stage directions, dialogue);	C			1
TH3.03 - describe the origins and characteristics of different types of drama, including docudrama, anthology, and issues-based theatre.	C	1
Creation
CRV.01 - apply appropriate techniques to create and reinterpret a variety of roles/characters in individual or collective creations;	A	3	2	6	1
CRV.02 - use an ensemble approach to create and present drama;	A	1	3	2
CRV.03 - create, adapt, and script dramatic presentations, making appropriate use of research, improvisation, workshop techniques, and rehearsal;	A		1	6
CRV.04 - create and present dramatic works that demonstrate an understanding of audience perspectives and needs;	A	1	1	2
CRV.05 - use technology appropriately in the presentation of drama;	A		1	2
CR1.01 - create roles/characters, using a variety of appropriate techniques (e.g., writing-in-role; analysing a character’s motivation, background, and influences);	A	2	2	2	1
CR1.02 - apply appropriate voice and movement techniques in rehearsal and performance;	A		3	1
CR1.03 - interpret a variety of roles from a range of sources and scripts with an emphasis on contemporary Canadian playwrights (e.g., David French, Michel Tremblay, Ann-Marie MacDonald, Dennis Foon);	T				1
CR1.04 - recreate roles in performance, demonstrating commitment and insight into character;	A	4	1	1	1
CR1.05 - interpret and present a dramatic text, using only voice or movement techniques (e.g., techniques used in readers’ theatre or dance drama);	T, C	2	2	1
CR1.06 - demonstrate the ability to take responsibility, both as an individual and as a member of a group, when working in an ensemble to create a drama (e.g., generate ideas and consider others’ ideas, analyse suggestions, make artistic decisions) and to rehearse a drama (e.g., attend all rehearsals, be willing to step into any role if needed);	A	3	1
CR1.07 - demonstrate an understanding of the purposes and conventions of improvisation (e.g., improvise to develop a character or scene; act in both spontaneous and planned ways, as required; accept the circumstances of the improvisation);	A	3	1	4	1
CR1.08 - create and revise a script for a scene, using research, improvisation, and rehearsal appropriately;	A		1
CR1.09 - demonstrate an understanding of the purpose and conventions of rehearsal (e.g., rehearse to determine where revisions need to be made; treat others and their work with respect);	A		1
CR2.01 - identify community/audience interests and needs, using a variety of methods (e.g., researching, interviewing, surveying), and present dramatic productions that are suitable for specific audiences;	K			1
CR2.02 - identify and make appropriate use of ways of engaging the audience (e.g., use an appropriate language level for children’s theatre);	K, A		1	1
CR2.03 - identify different performance spaces in both the school and the community, and compare them with regard to effectiveness;	K		1	1
CR2.04 - use technology effectively (e.g., sound and lighting effects, music, slides, video) to help communicate theme, character, plot, and setting in the presentation of a drama.	A		1	1
Analysis
ANV.01 - analyse and evaluate the creation (i.e., the process) and the presentation (i.e., the product) of dramatic arts, using appropriate dramatic arts terminology;	K, T	2	2	1
ANV.02 - explain how dramatic arts represent, and contribute to, culture and society;	C	5	1	1
ANV.03 - explain how role playing and character development foster self and community awareness;	C	4	2	1
ANV.04 - analyse the personal, social, and career skills acquired through the study of dramatic arts;	T	1		1
AN1.01 - identify and use specific criteria to evaluate a dramatic presentation;	K, A	1	1	1
AN1.02 - identify and analyse the skills and concepts used to create and present a drama;	K, T		1	1
AN1.03 - analyse and evaluate the artistic choices made by the actors, director, designer, and technicians in a dramatic presentation;	K, T		1
AN1.04 - demonstrate an ability to review a theatre performance presented in the school, in the community, or on video;	A			1
AN1.05 - explain the connections between the theatre, themselves, and society (e.g., relevance of cultural rituals in the development of self-awareness; functions of issues-based theatre);	C	2
AN2.01 - analyse through journal writing, discussion, and questioning, the significance of what they have gained from their artistic experiences;	T		1	1
AN2.02 - explain some benefits of role play (e.g., role play can be used to resolve conflicts, create empathy, or clarify complex issues);	C	2	1	1	1
AN2.03 - explain connections between their own lives and universal truths expressed through drama (e.g., truths derived from the stories of Holocaust survivors, refugees, and heroes);	C		1	1
AN2.04 - explain how the communication skills they have developed through drama can be applied in a variety of contexts;	C	2		1
AN2.05 - research and describe postsecondary programs and careers in dramatic arts that are related to the personal, social, and career skills that they have acquired through their study of dramatic arts;	T, C	1		1
AN2.06 - explain how the communication skills they have developed through drama can be applied in a variety of contexts.	C	2

Ontario Catholic School Graduate Expectations

The graduate is expected to be:

A Discerning Believer Formed in the Catholic Faith Community who

CGE1a -illustrates a basic understanding of the saving story of our Christian faith;

CGE1b -participates in the sacramental life of the church and demonstrates an understanding of the centrality of the Eucharist to our Catholic story;

CGE1c -actively reflects on God’s Word as communicated through the Hebrew and Christian scriptures;

CGE1d -develops attitudes and values founded on Catholic social teaching and acts to promote social responsibility, human solidarity and the common good;

CGE1e -speaks the language of life... “recognizing that life is an unearned gift and that a person entrusted with life does not own it but that one is called to protect and cherish it.” (Witnesses to Faith)

CGE1f -seeks intimacy with God and celebrates communion with God, others and creation through prayer and worship;

CGE1g -understands that one’s purpose or call in life comes from God and strives to discern and live out this call throughout life’s journey;

CGE1h -respects the faith traditions, world religions and the life-journeys of all people of good will;

CGE1i -integrates faith with life;

CGE1j -recognizes that “sin, human weakness, conflict and forgiveness are part of the human journey” and that the cross, the ultimate sign of forgiveness is at the heart of redemption. (Witnesses to Faith)

An Effective Communicator who

CGE2a -listens actively and critically to understand and learn in light of gospel values;

CGE2b -reads, understands and uses written materials effectively;

CGE2c -presents information and ideas clearly and honestly and with sensitivity to others;

CGE2d -writes and speaks fluently one or both of Canada’s official languages;

CGE2e -uses and integrates the Catholic faith tradition, in the critical analysis of the arts, media, technology and information systems to enhance the quality of life.

A Reflective and Creative Thinker who

CGE3a -recognizes there is more grace in our world than sin and that hope is essential in facing all challenges;

CGE3b -creates, adapts, evaluates new ideas in light of the common good;

CGE3c -thinks reflectively and creatively to evaluate situations and solve problems;

CGE3d -makes decisions in light of gospel values with an informed moral conscience;

CGE3e -adopts a holistic approach to life by integrating learning from various subject areas and experience;

CGE3f -examines, evaluates and applies knowledge of interdependent systems (physical, political, ethical, socio-economic and ecological) for the development of a just and compassionate society.

A Self-Directed, Responsible, Life Long Learner who

CGE4a -demonstrates a confident and positive sense of self and respect for the dignity and welfare of others;

CGE4b -demonstrates flexibility and adaptability;

CGE4c -takes initiative and demonstrates Christian leadership;

CGE4d -responds to, manages and constructively influences change in a discerning manner;

CGE4e -sets appropriate goals and priorities in school, work and personal life;

CGE4f -applies effective communication, decision-making, problem-solving, time and resource management skills;

CGE4g -examines and reflects on one’s personal values, abilities and aspirations influencing life’s choices and opportunities;

CGE4h -participates in leisure and fitness activities for a balanced and healthy lifestyle.

A Collaborative Contributor who

CGE5a -works effectively as an interdependent team member;

CGE5b -thinks critically about the meaning and purpose of work;

CGE5c -develops one’s God-given potential and makes a meaningful contribution to society;

CGE5d -finds meaning, dignity, fulfillment and vocation in work which contributes to the common good;

CGE5e -respects the rights, responsibilities and contributions of self and others;

CGE5f -exercises Christian leadership in the achievement of individual and group goals;

CGE5g -achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others;

CGE5h -applies skills for employability, self-employment and entrepreneurship relative to Christian vocation.

A Caring Family Member who

CGE6a -relates to family members in a loving, compassionate and respectful manner;

CGE6b -recognizes human intimacy and sexuality as God given gifts, to be used as the creator intended;

CGE6c -values and honours the important role of the family in society;

CGE6d -values and nurtures opportunities for family prayer;

CGE6e -ministers to the family, school, parish, and wider community through service.

A Responsible Citizen who

CGE7a -acts morally and legally as a person formed in Catholic traditions;

CGE7b -accepts accountability for one’s own actions;

CGE7c -seeks and grants forgiveness;

CGE7d -promotes the sacredness of life;

CGE7e -witnesses Catholic social teaching by promoting equality, democracy, and solidarity for a just, peaceful and compassionate society;

CGE7f -respects and affirms the diversity and interdependence of the world’s peoples and cultures;

CGE7g -respects and understands the history, cultural heritage and pluralism of today’s contemporary society;

CGE7h -exercises the rights and responsibilities of Canadian citizenship;

CGE7i -respects the environment and uses resources wisely;

CGE7j -contributes to the common good.

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