Course Profile Exploring the Arts (AEA4O), Grade 12, Open, Catholic and Public
Unit 1: The Human Canvas
Time: 20 hours
Activity
1 | Activity 2 | Activity
3 | Activity 4 | Activity
5
Unit Description
This introductory
unit focuses on the elements, techniques, and principles common to all the arts
and the characteristics that make each art form distinct or unique. The human
canvas is a vehicle for the interconnection of the arts. Students work together
to establish understanding of personal and group dynamics. They engage in
individual and group activities to refine their personal strengths in the arts,
expand their basic skills in less familiar art forms, and apply their new-found
knowledge and appreciation. Students begin to recognize that all participants
have gifts to offer the classroom mosaic. Teacher-directed activities guide
students through an examination of common elements and basic terminology
intrinsic to all art forms. As part of their creative endeavours, students
begin to develop a portfolio of their works and become more familiar with
available technologies. In a culminating performance, students demonstrate
their understanding of the interrelationship of artistic elements, techniques,
and principles. Students enhance their personal faith journey and better
understand the journeys of others.
|
Activity |
Learning Expectations |
* Assessment Categories |
Tasks |
|
1.1 4 hours |
THV.01, TH1.01,
TH1.02 ANV.01, AN1.01, AN1.02, AN1.03 |
Knowledge/
Understanding
Thinking/Inquiry Communication |
Exercises and
discussion to explore the elements and principles of music, visual arts,
drama, dance |
|
1.2 2 hours |
THV.01, THV.03,
TH1.01, TH1.02, TH3.01, TH3.02, CRV.01, CRV.02, CRV.03, CR1.01, CR2.01,
CR3.03, ANV.01, AN1.01, AN1.02 |
Knowledge/
Understanding
Thinking/Inquiry Communication Application |
Exploration of the
similarities and differences inherent in the arts |
|
1.3 6 hours |
THV.01, THV.03,
TH3.01, CRV.01, CRV.02, CRV.03, CR1.01, CR1.02, CR2.01, CR3.02, CR3.03, ANV.01,
AN1.03 |
Knowledge/
Understanding Thinking/Inquiry Communication Application |
Conversion of one
art form to another by using similar content but different elements
appropriate to the art form, e.g., depiction of a painting (visual art) in an
improvisation (drama) |
|
1.4 2 hours |
THV.01, THV.03,
TH1.01, TH1.02, TH3.01, TH3.02, CRV.01, CRV.02, CRV.03, CR1.01, CR1.02,
CR2.01, CR3.02, CR3.03 |
Knowledge/
Understanding Thinking/Inquiry Communication Application |
Using one art form
to support another, e.g., incorporation of music to enhance the content,
theme, and style of a dramatic presentation |
|
1.5 6 hours |
THV.01, THV.03,
TH1.01, TH1.02, TH3.01, TH3.02, CRV.01, CRV.02, CRV.03, CR1.01, CR1.02,
CR2.01, CR3.02, CR3.03, ANV.01, AN1.01, AN1.02 |
Knowledge/
Understanding Thinking/Inquiry Communication Application |
A performance that
integrates the basic elements of the arts |
* Categories
highlighted in bold indicate the area(s) of emphasis.
Time: 4 hours
Through
teacher-directed discussion and exploratory activities, students develop an
understanding of the elements and principles in visual art, music, drama, dance
and media arts. Experiencing and appreciating each art form assists students’
development of personal interest in specific arts. While connecting each art
form to other arts, students also develop solidarity as a class by working
towards common goals. Personal interaction enhances students’ appreciation of
the human canvas as a basis for art.
Ontario Catholic
Graduate Expectations
CGE1b - participates
in the sacramental life of the church and demonstrates an understanding of the
centrality of the Eucharist in our Christian story;
CGE1d - develops
attitudes and values founded in Catholic social teaching and acts to promote
social responsibility, human solidarity, and the common good;
CGE2a - listens
actively and critically to understand and learn in light of gospel values;
CGE3e - adopts a
holistic approach to life by integrating learning from various subject areas
and experience;
CGE7j - contributes
to the common good.
Strand(s): Theory, Analysis
Overall
Expectations
THV.01 - describe
the concepts (elements, principles, styles, genres, and techniques) used in
various art forms;
ANV.01 - analyse and
interpret their own and others’ works of art or productions, demonstrating an
understanding of the process of critical analysis.
Specific
Expectations
TH1.01 - describe
the use of the elements, principles, and techniques (e.g., those related to
sound, light, musical rhythm, voice) in various productions or works of art,
using language appropriate to the relevant art forms;
TH1.02 - describe
the use of elements and principles that are common to various productions or
works of art (e.g., visual design in painting, dance, and drama; movement or
stagecraft in drama and dance);
AN1.01 - evaluate a
selected work of art or a production, following standard procedures in critical
analysis (e.g., describe their initial reaction, analyse the work using
appropriate terminology, and evaluate the effectiveness of the work);
AN1.02 - analyse
aesthetic features of a chosen work of art or a production;
AN1.03 - analyse how a specific work of art or production is used as a
vehicle for ideas, values, and ideologies.
·
There will be a
variety of levels of knowledge and experience of the arts in the class. Some
students may have little experience in the arts, while others may be very
skilled in one or more areas. This introductory unit provides an opportunity to
discover the possibilities within the class, and collectively devise a plan to
build on the strengths of each student.
·
Students are
encouraged to declare their arts skills so as to facilitate a number of
creative, exploratory activities.
·
The teacher may
wish to use CD listening resources and art slides in addition to various print
materials.
·
The teacher
should establish definitions of each of the arts.
·
The teacher
should prepare guidelines for safety procedures in the arts studio.
·
The teacher
should assemble materials and equipment in advance: sound samples, percussion
instruments, mural paper, paints etc., and audio-visual equipment.
1. The teacher introduces students to a variety
of sound samples, e.g., contemporary music, piano jazz (e.g., Oscar Peterson),
Hallelujah Chorus from Handel’s “Messiah”, Gregorian chant, birdsong, cars racing,
tribal drums, Beethoven, whale songs. Students may be invited to respond with
motion to the samples. A discussion follows focussing on these issues:
· When does sound become music? Are natural sounds music, or is music only created by people?
· In what ways did you respond to the samples? physically, emotionally, and spiritually?
The teacher presents a list of elements of music to the students: sound, rhythm, melody, harmony, texture, and timbre. Students retain a record of these definitions for future reference. The sound samples are replayed. Students identify the terms as they apply to the samples.
2. Students as a class identify the forms of art
and discover their principles and elements through discussion of these leading
questions:
· What is your first memory of music, visual art, dance, drama, and media art?
· Why have you remembered these first experiences?
· What was your favourite illustrated children’s book? Why?
· Can you recreate a song or dance you learned as a child?
· What art forms have you observed in religious ceremonies?
3. Exercise: The teacher divides the class in
half and gives percussion instruments, e.g., bongos, etc., to one half of the
class. Each student uses an instrument to create a rhythmic improvisation about
10 seconds in length. Each student performs the rhythmic improvisation in
sequence. The other group moves in rhythm to each of the beats. Following this,
all the instruments play together for approximately 20 seconds as the other
half of the class responds in movement. Then the teacher reverses the groups.
This exercise may be videotaped for later discussion.
4. With reference to the exercise in Strategy 3,
the teacher presents the elements of dance: space, shape, time, energy, and
weight. Students add these to their list of terms.
5. The teacher introduces students to a wide
variety of art forms (at least 25 samples on slides): visual art, sculpture,
architecture, and media art. On first viewing, students note the samples that
appeal to them; on second viewing, each slide is shown for five seconds, then
switched off. Students describe what they saw. The teacher reviews five or six
of the slides to invite discussion. Arts terminology is extracted from the
discussion. The following should be addressed: colour, line, rhythm, texture, shape,
form, value, space, pattern, contrast, harmony, unity, and emphasis. The slides
are shown once again, and students use a chart to record which element
predominates in each sample.
Sample Charts
|
Samples |
Colour |
Line |
Rhythm |
Texture |
Shape |
Form |
Value |
Space |
Pattern |
|
1. |
3 |
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|
|
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|
2. |
|
3 |
|
|
|
|
|
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|
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3. |
|
|
|
|
|
|
|
|
|
|
Samples |
Contrast |
Harmony |
Unity |
Emphasis |
|
1. |
|
|
|
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2. |
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3. |
|
3 |
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6. The activity concludes with a brief summary
discussion of how the arts are similar and how they are distinct and unique.
Discussion focuses on:
· how art is created on the human canvas;
· how our minds, souls, and bodies make art possible;
· how we learn to understand others through the individuality and universality revealed in the arts;
· how art forms help reveal and clarify the mysteries and wonders of creation;
· how the journey of Christ from birth to death to resurrection can be compared to each person’s journey.
Note: Each art form reflects an ideal combination of form, rhythm, beauty, and truth.
Students start an arts journal in which they record their reactions to discussions and assignments by applying critical thinking skills. For the first entry, students write a paragraph reflection on which art is most personally relevant, and which art is most relevant to one other student in the class.
7. Post terms and definitions in the classroom for continued reference.
Teacher observation
for formative assessment and feedback to students is ongoing.
|
Achievement Chart Categories |
Learning Expectations |
Assessment |
|
Knowledge/Understanding |
THV.01, TH1.02 |
List of terms |
|
Thinking/Inquiry |
ANV.01 |
Class discussion |
|
Communication |
AN1.01, AN1.02,
AN1.03 |
Teacher
observation |
The teacher could
use the following learning accommodations, where appropriate:
·
Provide scribes
for completion of written components of the activity.
·
Confirm oral
discussion by writing key points on a display board or overhead.
Books
Armstrong,
Tim. Colour Perception: A Practical Approach to Colour Theory. Parkwest
Publications, 1993.
Boal,
Auguste. Games for Actors and Non-Actors. London: Routledge, 1992.
Brommer,
Gerald F. Exploring Drawing. Worcester, MA: Davis Publications, 1987.
Brommer,
Gerald F. and Nancy Kline. Exploring Painting. Worcester, MA: Davis
Publications, 1996.
Beckett,
Wendy. 1000 Masterpieces of Western Arts. Willowdale: Firefly Books
Ltd., 1999.
Dell,
Cecily. A Primer for Movement Description. New York: Dance Notation
Bureau Press, 1977.
Fowler,
Charles. Music: Its Role and Importance in Our Lives. New York: Glencoe,
McGraw-Hill, 1994. (Textbook, Video, and CDs)
Grout,
Donald J. and Claude V. Palisca. A History of Western Music. New York:
W.W. Norton and Company, 1996.
Janson, H.W. and
Anthony F. Janson. History of Art. New York: Harry N. Abrams Inc., 1997.
Slides
Davis Art
Education Materials - Discovering Art History. Markham: Fitzhenry & Whiteside.
Software
Great Museums of
the World. Countertop
Software: Crystal Productions Inc., 1999.
Music CDs
Canadian
Brass
Ella and
Oscar (Oscar Peterson)
Messiah (Handel)
Side by
Side (Oscar Peterson and
Ihtzah Perlman)
Song of a
Seagull (Joni Mitchell)
Songs of Love and
Hate (Leonard Cohen)
Time: 2 hours
In this activity,
the students explore the similarities and differences inherent in the arts, the
human form being the vehicle. Students observe the human form in motion, and
then sculpt it in wire and clay. Working with a partner, students develop
respect for one another and for the dignity of the human person. They also
experience a linking of art forms as, assisted by music, they move from
movement to sculpture to photography.
Ontario Catholic
School Graduate Expectations
CGE1d - develops
attitudes and values founded in Catholic social teaching and acts to promote
social responsibility, human solidarity, and the common good;
CGE2a - listens
actively and critically to understand and learn in light of gospel values;
CGE3e - adopts a
holistic approach to life by integrating learning from various subject areas
and experience;
CGE4b - demonstrates
flexibility and adaptability;
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;
CGE7j - contributes
to the common good.
Strand(s): Theory, Creation, Analysis
Overall
Expectations
THV.01 - describe
the concepts (elements, principles, styles, genres and techniques) used in
various art forms;
THV.03 - demonstrate
an understanding of safety and interpersonal skills within the arts;
CRV.01 - apply arts
concepts (elements, principles, genres, styles and techniques) in the creation
of a production or a work of art;
CRV.02 - identify
and apply appropriate techniques and technical effects, both traditional and
emerging, in the creation of a work of art or a production;
CRV.03 - apply
appropriate steps in the creative process (e.g., researching, exploring,
experimenting, executing, evaluating) in completing individual or group
projects;
ANV.01 - analyse and
interpret their own and others’ works of art or productions, demonstrating an
understanding of the process of critical analysis.
Specific
Expectations
TH1.01 - describe
the use of the elements, principles and techniques (e.g., those related to
sound, light, musical rhythm, voice) in various productions or works of art,
using language appropriate to the relevant art forms;
TH1.02 - describe
the use of elements and principles that are common to various productions or
works of art (e.g., visual design in painting, dance and drama; movement or
stagecraft in drama and dance);
TH3.01 - describe
safe practices that should be followed in each of the arts (e.g., labelling of
chemical products in visual arts);
TH3.02 - explain why
it is important that participants in an arts project respect each other's roles
and responsibilities within the project;
CR1.01 - identify
and use relevant arts concepts to create a work of art or a production in one
or more of the arts (i.e., dance, drama, music, media arts, visual arts);
CR2.01 - use a
variety of techniques (e.g., slow motion in dance) and technical effects (e.g.,
lighting, music, sound effects, special effects) appropriately within a group
framework (e.g., use ensemble techniques in music, design the lighting for a
dance production);
CR3.03 - document,
using a portfolio, their creative process in the creation or production of an art
work;
AN1.01 - evaluate a
selected work of art or a production, following standard procedures in critical
analysis (e.g., describe their initial reaction, analyse the work using
appropriate terminology, and evaluate the effectiveness of the work);
AN1.02 - analyse
aesthetic features of a chosen work of art or a production.
·
familiarity with
safety procedures
·
knowledge of the
elements and principles of design
·
skills in focus
and concentration
·
use of
photographic equipment, if applicable
·
The teacher
should review safety procedures with the students prior to beginning this
activity.
·
All materials and
equipment should be prepared in advance. A digital camera can be used
effectively to record the images.
·
The teacher should
be cognizant of students who are allergic to any materials used in this
activity.
·
The teacher will
need to present a demonstration of wire sculpture and clay techniques for
students unfamiliar with these processes. It may be necessary to enlist the
assistance of a colleague or community expert.
Before this activity
the teacher presents examples of five or more sculptures with varying points of
contact with the ground. Religious pieces such as Michelangelo’s Pieta
or Bernini’s Ecstasy of St. Teresa, and Canadian samples such as those
of Bill Reid, a Haida sculptor, are appropriate for inclusion. Other Inuit
sculptures, Rodin’s The Thinker, or Henry Moore sculptures at the Art
Gallery of Ontario are also appropriate.
1. Students draw a series of quick sketches
called gesture drawings. Gesture drawings are accompanied by musical
backgrounds selected by the teacher. The models are directed to adopt a
position reflecting the mood of the music during these one-minute gestures.
Students should be invited to fulfill the role of model. At least five sketches
should be done.
2. Students choose their most expressive gesture
drawing as the basis for a wire sculpture. Wire, about one metre long, is
distributed to each student to recreate the gesture drawing into a
three-dimensional sculpture. Students are encouraged to reflect the expression
of the original drawing.
3. The teacher provides instruction on sculpting
using clay. Using a small amount of clay (about a fistful), each student forms a
new sculpture based on their partner’s position. Focus should be placed on
movement, shape, and balance rather than on an exact reproduction. The
sculpture should not exceed 3 cm in thickness, and must be thoroughly dry
before being fired in a kiln.
4. Students respond to the following questions:
· Discuss the symmetrical/asymmetrical design of the sculpture. Is it in balance or out of balance?
· Consider the points of contact bottom of the sculpture and the surface on which it rests. How many points of contact do you see? What would happen if the points of contact were altered?
· A discussion and/or movement exercise about partner dance and dancing on pointe (tiptoe), turning in space (pirouette) etc. can provide an extension to this activity.
· Reflection: Describe in detail responses to the sculpting process at the various stages from beginning to end.
Teacher observation
for assessment and feedback to students is ongoing; students’ work, or a record
thereof, is assembled in the portfolio.
|
Achievement Chart Categories |
Learning Expectations |
Assessment |
|
Knowledge/Understanding |
THV.01, TH1.01,
TH1.02 |
Portfolio entries |
|
Thinking/Inquiry |
TH3.02, ANV.01,
AN1.01, AN1.02 |
Gesture drawings |
|
Communication |
THV.03, TH3.01,
CR1.01, CR3.03 |
Portfolio entries |
|
Application |
THV.03, CRV.01,
CRV.02, CR2.01 |
Gesture drawings |
The teacher could
use the following learning accommodation, if appropriate:
·
Adapt/substitute
materials used in the activity to accommodate physical challenges.
Armstrong,
Tim. Colour Perception: A Practical Approach to Colour Theory. Parkwest
Publications, 1993.
Boal,
Auguste. Games for Actors and Non-Actors. London: Routledge, 1992.
Brommer,
Gerald F. Exploring Drawing. Worcester, MA: Davis Publications, 1987.
Brommer,
Gerald F. and Nancy Kine. Exploring Painting. Worcester, MA: Davis
Publications, 1996
Dell,
Cecily. A Primer for Movement Description. New York: Dance Notation
Bureau Press, 1977.
Grout, Donald J. and
Claude V. Palisca. A History of Western Music. New York: W.W. Norton and
Company, 1996.
Time: 6 hours
Students use a particular art form as a
starting point and convert one art form to another. Initially students respond
to music by converting it into movement. This leads to an understanding of
motif, as students find concrete ways of expressing abstract concepts. Students
learn about performance elements as they produce background music and movement
phrases. Finally they form tableaux vivants (living scenes), bringing
classic paintings to life. This convergence of art forms helps students develop
a holistic approach to life as they integrate the various forms of art.
Ontario Catholic
School Graduate Expectations
CGE2a - listens
actively and critically to understand and learn in light of gospel values;
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;
CGE3e - adopts a
holistic approach to life by integrating learning from various subject areas
and experience;
CGE4b - demonstrates
flexibility and adaptability;
CGE5e - respects the
rights, responsibilities, and contributions of self and others.
Strand(s): Theory, Creation, Analysis
Overall
Expectations
THV.01 - describe
the concepts (elements, principles, styles, genres and techniques) used in
various art forms;
THV.03 - demonstrate
an understanding of safety and interpersonal skills within the arts;
CRV.01 - apply arts
concepts (elements, principles, genres, styles and techniques) in the creation
of a production or a work of art;
CRV.02 - identify
and apply appropriate techniques and technical effects - both traditional and
emerging - in the creation of a work of art or a production;
CRV.03 - apply
appropriate steps in the creative process (e.g., researching, exploring,
experimenting, executing, evaluating) in completing individual or group
projects;
ANV.01 - analyse and
interpret their own and others' works of art or productions, demonstrating an
understanding of the process of critical analysis.
Specific
Expectations
TH3.01 - describe
safe practices that should be followed in each of the arts (e.g., labelling of
chemical products in visual arts);
CR1.01 - identify
and use relevant arts concepts to create a work of art or a production in one
or more of the arts (i.e., dance, drama, music, media arts, visual arts);
CR1.02 - use arts
concepts associated with one art form in the production of another art form
(e.g., use a Greek chorus in a dance production);
CR2.01 - use a
variety of techniques (e.g., slow motion in dance) and technical effects (e.g.,
lighting, music, sound effects, special effects) appropriately within a group
framework (e.g., use ensemble techniques in music, design the lighting for a
dance production);
CR3.02 - conceive
and execute, individually or as a group, a production that integrates selected
art forms (e.g., a website art production incorporating music);
CR3.03 - document,
using a portfolio, their creative process in the creation or production of an
art work;
AN1.03 - analyse how
a specific work of art or production is used as a vehicle for ideas, values and
ideologies.
·
knowledge of arts
elements and principles
·
familiarity with
how each of the arts contrasts and complements the others
·
The teacher
should assemble resources: music selections, drawing supplies.
·
Background:
· Strategy 3 begins by showing the image by Piet Mondrian, Broadway Boogie Woogie. Mondrian worked with basic colours, lines and shapes. Let the students know that Mondrian looked down from the Empire State Building to see lines and shapes as a stimulus for his art. A connection can be made between visual arts and music. A modern dance pioneer, Jose Limon was originally a painter by trade. He was greatly influenced by Auguste Rodin, the sculptor (e.g., sculpture entitled The Burghers of Calais). His particular technique (Limon technique) was rooted in sculpture, with emphasis on the hands. The Limon technique can be used as a warm-up for the visual artist or the musician, since it focuses on the hands and fingers.
· In Strategy 5, the teacher could mention that Hirschfeld’s cartoon style is blended with Gershwin’s “Rhapsody in Blue” in Disney’s Fantasia 2000. Some suggest that the purists were greatly offended at the bridgement (adaptation of music to animation) of the cartoons and the music, but it worked famously.
· Hand/arm isolation gestures are body gestures which focus on the use of hands and arms in isolation, e.g., reaching for an imaginary rope, directing traffic, performing tai chi.
· The teacher may show excerpts of musicals and dances on video. These excerpts should show movement out of stillness to emphasize how a portrait can come to life. La La La Human Steps and Cirque de Soleil are two examples. These show movement out of stillness to emphasize how a portrait can come to life. The music for several Cirque de Soleil performances is available on CD.
1. The teacher introduces this exercise by
telling students to listen for auditory cues, e.g., change in tempo,
introduction of a new instrument within the music, that would lead them to move
in and out of the performing space. Students then listen to a piece of
instrumental music. On second listening, they move into the performance space
and take a static position in response to the cues. Students are encouraged to
enter and exit whenever they feel the motivation, according to an established
cue. Students stay in their final positions within the performance space to
discuss what cue prompted them to enter and exit the space. This discussion
leads to an introduction of motif, and how motif is found in many art forms.
The teacher may choose to give some examples of motif at this point.
2. As a result of Strategy 1, students have
naturally ended up in certain areas of the performance space. Groups of three
to four are established as a result of their final positions. Each group is
given a different piece of art work with basic lines and shapes, e.g., works by
Miro, Mondrian and selects a different line or shape of the art work to which
they will move. For example, Person A chooses the swirl, Person B chooses the
dots, Person C chooses the zig-zag. Students are given time to become familiar
and comfortable with their line or form. Each group presents their movement
interpretation with 30 seconds of teacher-selected background music. As each
group presents, the remaining students become active participants by
interpreting what they see through drawing. Students should be encouraged to
recall the elements and principles from Activity 1. These movement patterns
could be videotaped as a basis for a music video and critical reflection. The
teacher leads a discussion as to whether the music provided contrast or harmony
to the movement interpretation. Extension: As a physical warm-up later on in
the unit, these drawings could be displayed in the classroom. Newly formed
groups could re-create the lines and shapes of each others’ works.
3. Within the same groups, students recreate
their movement pieces once again. Another group is now responsible for creating
the background sound effects to enhance the movement piece. The sound is to be
created with body sounds, either vocal or percussive. For example, Group A
creates sound for Group B, Group C creates sound for Group D, etc. The teacher
can assess the students’ knowledge of the basic elements and principles of what
they have seen. The following questions are suggested for reflection and
assessment purposes:
a) Identify a specific group and
explain how two dance elements were demonstrated (e.g., space, shape, time,
energy, weight).
b) How were line, texture, form,
colour, and value made clear in the presentation from your group?
c) How did you use one art form
and convert it to another?
d) How effective was this
conversion?
4. Students sit scattered around the classroom.
They mirror the teacher as s/he creates a series of hand/arm isolation gestures
for 16 counts which demonstrate symmetrical and asymmetrical design. Students
individually create a movement phrase of sixteen counts in which they press,
grab, bring in, reach out, etc. A graceful flow between gestures is required.
Once students have created their own, they teach their “movement phrase” to a
partner. The two students combine the two movement phrases to create a phrase
of 32 counts. A metronome may be useful to monitor the count. As these movement
phrases are being presented, the audience provides an undercurrent of sound by
humming in varying tones. When completed, the teacher leads a discussion on the
effect of the various phrases and why the particular sound patterns were chosen
as accompaniment.
5. The teacher displays some of the students’
works created in Strategy 4. These serve as the visual stimulus for a physical
warm-up as music from Fantasia 2000 is being played. Discussion and
demonstration is held to show how movement can come out of stillness and to
introduce how a portrait can come to life. Students are shown slides of art
representing groups of people, e.g., Seurat’s Sunday Afternoon on the Island
of La Grande Jatte or any painting which portrays many people and has
diversity or conflict such as The Third of May by Goya, Third Class
Carriage by Daumier, The Raft of the Medusa by Jacques-Louis David, The
Last Judgement by Michelangelo, or Lamentation Over Christ by
Giotto. It may be appropriate to learn about the history of the paintings in
order to anticipate what people would do. The objective is to bring the
painting to life using the steps involved in Appendix 1.1. In groups, students
rehearse bringing the painting to life and present to other groups. Peer
assessment may be included to promote critical and analytical thinking.
Teacher observation
for formative assessment and feedback to students is ongoing; students’ written
work is assembled in the portfolio for assessment and conferencing.
|
Achievement Chart Categories |
Learning Expectations |
Assessment |
|
Knowledge/Understanding |
THV.01, CR3.03 |
Answers to
questions |
|
Thinking/Inquiry |
CRV.02, ANV.01,
AN1.03 |
Reflection |
|
Communication |
CRV.01,
CR1.01, CR2.01, CR3.02, CR3.03 |
Movement piece |
|
Application |
THV.03, TH3.01, CRV.02,
CRV.03, CR1.02, CR2.01, CR3.01, CR3.03 |
Movement phrase |
The teacher may use
the following learning accommodation, where appropriate:
·
Adapt/substitute
materials used in the activity to accommodate physical challenges.
·
Find ways to
involve a student with physical difficulties in the movement part of the
activity, e.g., wheelchair movement.
Books
Armstrong,
Tim. Colour Perception: A Practical Approach to Colour Theory. Parkwest
Publications, 1993.
Boal,
Auguste. Games for Actors and Non-Actors. London: Routledge, 1992.
Brommer,
Gerald F. Exploring Drawing. Worchester, MA: Davis Publications, 1987.
Brommer,
Gerald F. and Nancy Kinne. Exploring Painting. Worchester, MA: Davis
Publications, 1996
Beckett, Wendy.
1000 Masterpieces of Western Arts. Willowdale: Firefly Books Ltd., 1999.
Dell,
Cecily. A Primer for Movement Description. New York: Dance Notation
Bureau Press, 1977.
Video
Fantasia 2000
Music
Bernstein,
Leonard. “Symphonic Dances” from West Side Story
Bernstein,
Leonard. Overture to “Candide”
Debussy.
“Prelude to Afternoon of a Faun”
Rodgers,
Richard. “Waltz from Carousel”
Stravinsky. “The
Rite of Spring”
Time: 2 hours
This activity shows
how the arts support one another. Students adapt the written word to the spoken
word, learning how to add character, tone, and expression. The use of music,
costume, and props further enriches the dramatic experience as students present
a dramatic scene. Students discuss rituals of everyday life and rituals of
worship to develop an understanding of the importance of ritual, and how ritual
is expressed in the arts. This concluding discussion also explores a variety of
ways in which the arts support one another.
Ontario Catholic
School Graduate Expectations
CGE1b - participates
in the sacramental life of the church and demonstrates an understanding of the
centrality of the Eucharist in our Christian story;
CGE2a - listens
actively and critically to understand and learn in light of gospel values;
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;
CGE3e - adopts a
holistic approach to life by integrating learning from various subject areas
and experience;
CGE4b - demonstrates
flexibility and adaptability;
CGE5e - respects the
rights, responsibilities and contributions of self and others;
CGE7j - contributes
to the common good.
Strand(s): Theory, Creation, Analysis
Overall
Expectations
THV.01 - describe the concepts (elements, principles, styles, genres and
techniques) used in various art forms;
THV.03 - demonstrate an understanding of safety and interpersonal skills
within the arts;
CRV.01 - apply arts
concepts (elements, principles, genres, styles and techniques) in the creation
of a production or a work of art;
CRV.02 - identify
and apply appropriate techniques and technical effects - both traditional and
emerging - in the creation of a work of art or a production;
CRV.03 - apply
appropriate steps in the creative process (e.g., researching, exploring,
experimenting, executing, evaluating) in completing individual or group
projects.
Specific
Expectations
TH1.01 - describe
the use of the elements, principles and techniques (e.g., those related to
sound, light, musical rhythm, voice) in various productions or works of art,
using language appropriate to the relevant art forms;
TH1.02 - describe
the use of elements and principles that are common to various productions or
works of art (e.g., visual design in painting, dance and drama; movement or
stagecraft in drama and dance);
TH3.01 - describe
safe practices that should be followed in each of the arts (e.g., labelling of
chemical products in visual arts);
TH3.02 - explain why
it is important that participants in an arts project respect each other’s roles
and responsibilities within the project;
CR1.01 - identify
and use relevant arts concepts to create a work of art or a production in one
or more of the arts (i.e., dance, drama, music, media arts, visual arts);
CR1.02 - use arts
concepts associated with one art form in the production of another art form
(e.g., use a Greek chorus in a dance production);
CR2.01 - use a
variety of techniques (e.g., slow motion in dance) and technical effects (e.g.,
lighting, techniques in music, design the lighting for a dance production);
CR3.02 - conceive
and execute, individually or as a group, a production that integrates selected
art forms (e.g., a website art production incorporating music);
CR3.03 - document,
using a portfolio, their creative process in the creation or production of an
art work.
·
Students must be
familiar with the basic elements and principles of all of the arts.
·
Students must be
familiar with the interrelationships among the arts.
·
The teacher
provides a poetry or short prose selection.
·
The teacher
provides one-page scripts for two or three characters. Students work in groups
of two or three. A different script is provided for each group.
·
Students are
advised they must provide three pieces of music and three different props
and/or costumes.
·
The teacher may
choose to present a variety of recordings to stimulate the final discussion.
1. The teacher distributes copies of a poem or
short prose selection. As a whole class, students read it through at a
comfortable speed. Then they read it:
· with excitement;
· with depression.
Students examine concepts of tone, pace and expression as modes of interpretation of their written selection.
2. Students
supply three selections of music from three contrasting genres, e.g., country,
world music, classical, rap, new age, or jazz, to complement a dramatic scene.
These pieces may be either recorded or original. In groups of two or three,
students examine the group’s one-page script. The teacher leads the students
through a variety of ways of presenting a particular scene, with an emphasis on
blocking techniques. Students prepare their scene, staging it in three
different ways according to the music selected. Each group presents the three
scenes with the chosen music. Use of a different prop or costume must accompany
each of the three scenes to enhance the contrast between each scene. This
exercise provides opportunity for self and peer assessment using the checklist
in Appendix 1.2.
3. The teacher leads a discussion on how the
arts support one another. Students answer the following questions:
a) How did music, props, and
costume enhance and change the scenes?
b) What other art forms would you
use to enhance a scene?
c) What other art forms would you
use to enhance a poetry presentation?
d) What art forms combine in
opera and musical theatre?
e) What is ritual and how are
rituals expressed through the arts?
f) How and why are art forms
used to enhance the Eucharistic celebration and other forms of worship?
g) How do art forms portray the
life hereafter as part of salvation history?
h) What elements of the arts
would you use to create a TV documentary?
i) How do music videos use the
arts?
Appendix 1.2 can be
adapted for assessment of both products and performances. It is useful for self
and peer assessment.
|
Achievement Chart Categories |
Learning Expectations |
Assessment |
|
Knowledge/Understanding |
THV.01, TH1.01,
TH1.02, CR3.03 |
Answers to
questions |
|
Communication |
TH3.01, TH3.02,
CRV.02, CRV.03, CR1.01, CR3.03 |
Teacher
observation |
|
Application |
THV.03, CRV.01,
CRV.02, CR3.02, CRV.03, CR1.01, CR1.02 |
Scripted scenes |
The teacher may use
some of the following learning accommodations, where appropriate:
·
Adapt suggested
texts to the student’s reading level.
·
Allow additional
time where necessary for completion of reading and writing activities and
rehearsal.
Books
Armstrong,
Tim. Colour Perception: A Practical Approach to Colour Theory. Parkwest
Publications, 1993.
Boal,
Auguste. Games for Actors and Non-Actors. London: Routledge, 1992.
Brommer,
Gerald F. Exploring Drawing. Worchester, MA: Davis Publications, 1987.
Brommer,
Gerald F. and Nancy Kinne. Exploring Painting. Worchester, MA: Davis
Publications, 1996.
Beckett,
Wendy. 1000 Masterpieces of Western Arts. Willowdale: Firefly Books
Ltd., 1999.
Dell,
Cecily. A Primer for Movement Description. New York: Dance Notation
Bureau Press, 1977.
Grout, Donald J. and
Claude V. Palisca. A History of Western Music. New York: W.W. Norton and
Company, 1996.
Music
Recordings of Gregorian chant, Medieval masses,
classic hymns, and modern songs of liturgical praise
Recordings
of famous operas and musicals (e.g., Carmen, West Side Story, Les Miserables)
Recordings of
instruments from diverse cultures (e.g., steel drums, zither, shakuhachi,
bodhran, bagpipes)
Time: 6 hours
This activity is a
culminating performance task for students to demonstrate their knowledge and
skills by creating a human canvas that integrates the basic elements of the
arts. This human canvas is a group assignment requiring thorough preparation,
careful presentation, detail, and co-operation. Performances are taped for
assessment, discussion, and reflection. Students discuss their contributions to
the group project and their success in integrating a number of art forms within
one presentation.
Ontario Catholic
School Graduate Expectations
CGE1d - develops
attitudes and values founded in Catholic social teaching and acts to promote
social responsibility, human solidarity, and the common good;
CGE2a - listens
actively and critically to understand and learn in light of gospel values;
CGE3e - adopts a
holistic approach to life by integrating learning from various subject areas
and experience;
CGE4b - demonstrates
flexibility and adaptability;
CGE5a - works effectively
as an interdependent team member;
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.
Strand(s): Theory, Creation, Analysis
Overall
Expectations
THV.01 - describe
the concepts (the elements, principles, styles, genres, and techniques) used in
various art forms;
THV.03 - demonstrate
an understanding of safety and interpersonal skills within the arts;
CRV.01 - apply arts
concepts (elements, principles, genres, styles, and techniques) in the creation
of a production or a work of art;
CRV.02 - identify
and apply appropriate techniques and technical effects – both traditional and
emerging – in the creation of a work of art or a production;
CRV.03 - apply
appropriate steps in the creative process (e.g., researching, exploring,
experimenting, executing, evaluating) in completing individual or group
projects;
ANV.01 - analyse and
interpret their own and others’ works of art or productions, demonstrating an
understanding of the process of critical analysis.
Specific
Expectations
TH1.01 - describe the use of the elements, principles, and techniques
(e.g., those related to sound, light, musical rhythm, voice) in various
productions or works of art, using language appropriate to the relevant art
forms;
TH1.02 - describe
the use of elements and principles that are common to various productions or
works of art (e.g., visual design in painting, dance, and drama; movement or
stagecraft in drama and dance);
TH3.01 - describe
safe practices that should be followed in each of the arts (e.g., labelling of
chemical products in visual arts);
TH3.02 - explain why
it is important that participants in an arts project respect each other’s roles
and responsibilities within the project;
CR1.01 - identify
and use relevant arts concepts to create a work of art or a production in one
or more of the arts (i.e., dance, drama, music, media arts, visual arts);
CR1.02 - use arts
concepts associated with one art form in the production of another art form
(e.g., use a Greek chorus in a dance production);
CR2.01 - use a
variety of techniques (e.g., slow motion in dance) and technical effects (e.g.,
lighting, music, sound effects, special effects) appropriately within a group
framework (e.g., use ensemble techniques in music, design the lighting for a
dance production);
CR3.02 - conceive
and execute, individually or as a group, a production that integrates selected
art forms (e.g., a website art production incorporating music);
CR3.03 - document,
using a portfolio, their creative process in the creation or production of an
art work;
AN1.01 - evaluate a
selected work of art or a production, following standard procedures in critical
analysis (e.g., describe their initial reaction, analyse the work using
appropriate terminology, and evaluate the effectiveness of the work);
AN1.02 - analyse
aesthetic features of a chosen work of art or a production.
·
knowledge and
understanding of basic elements in all the arts
·
collaborative
group skills
·
participation in
previous unit activities exploring visual art, music, drama, dance
·
Access to an open
area for students to practise and perform is essential.
·
The teacher
should organize required materials, technology, and equipment available at the
beginning of this activity.
·
The teacher
should copy performance task, accompanying rubric, and criteria
checklist/planning sheet for distribution to the students, Appendices 1.3, 1.4,
and 1.5.
1. Introduce the Performance Task
The teacher distributes copies of the performance task and rubric for class discussion and clarification. Safety precautions and procedures should be reviewed, and available materials, technology, and equipment considered. Collaborative groups of five or six are formed.
2. Prepare for the Task
The teacher leads a review of the elements in all
the arts. A quiz can be used to evaluate knowledge and understanding. A
criteria checklist, Appendix 1.5, is distributed for groups to use during
Strategy 3. The class brainstorms a list of ways the performance task might be
developed. Some possibilities include:
· computer-generated animation with live music
· dramatic interpretation with supporting visuals
· live action/dance rendering of a painting
· slide show incorporating music, visual arts, and media arts
The teacher should present prompts as inspiration.
Recommended prompts include the following:
· Emily Carr – various works
· Lawren Harris – Lakes and Mountains
· Mark Rothko – Blue, Orange and Red (1961)
· Joseph Albers – Homage to the Square (1966)
· Ken Noland – Yellow Half (1963)
– Voice of Fire (1966)
· Edgar Degas – The Rehearsal
· Michelangelo – The Last Judgement
· Giotto – Lamentation Over Christ
Students may interpret a religious painting based on Creation, the Birth of Christ, The Way of the Cross, or the Resurrection. Their presentations could be considered for sharing at school or parish liturgies.
3. Plan, Design, and Rehearse
Students work in groups to plan, design, and rehearse the task. The teacher acts as facilitator and coach. Approximately four hours should be spent on this portion of the activity.
4. Perform
In groups, students present their performances. A visual record of each performance is made, either using a camcorder or still photography. The record should be done by the teacher or a student outside the group performing. Following the performance students should add to their portfolios a visual record of the group’s performance, a completed rubric self-assessing their individual demonstrations, and a reflection on their learning in response to these questions:
· In this activity what did I learn about the arts?
· How does my group’s performance demonstrate the basic elements of all the arts?
· In what ways did my group follow safe practices?
· How well did the members of my group respect each other’s roles and responsibilities? Where are improvements needed?
· How well did our group demonstrate social responsibility and concern for the common good? How can we improve?
This unit includes
assessment and evaluation of all categories in the achievement chart. The
emphasis should be placed on application. The performance task rubric should be
completed by the teacher, and can be used by individual students for
self-assessment.
|
Achievement Chart Categories |
Learning Expectations |
Assessment |
|
Knowledge/Understanding |
THV.01, CR3.03 |
Quiz |
|
Thinking/Inquiry |
CRV.01, CRV.02,
CRV.03, CR3.02, CR3.03, ANV.01 |
Portfolio entry |
|
Communication |
TH1.01, TH1.02,
TH3.01, TH3.02, CR2.01, CR3.02, CR3.03, AN1.01, AN1.02 |
Portfolio entry |
|
Application |
THV.03, CRV.01,
CRV.02, CRV.03, CR1.01, CR2.01, CR3.02 |
Performance Task |
The teacher may use some of the following learning accommodations, where
appropriate:
·
Adapt prompts to
accommodate the student’s specific needs.
·
Allow additional
time where necessary for completion of rehearsal, presentation, and the
portfolio.
Books
Armstrong,
Tim. Colour Perception: A Practical Approach to Colour Theory. Parkwest
Publications, 1993.
Boal,
Auguste. Games for Actors and Non-Actors. London: Routledge, 1992.
Brommer,
Gerald F. Exploring Drawing. Worchester, MA: Davis Publications, 1987.
Brommer,
Gerald F. and Nancy Kinne. Exploring Painting. Wochester, MA: Davis
Publications, 1996.
Beckett,
Wendy. 1000 Masterpieces of Western Arts. Willowdale: Firefly Books
Ltd., 1999.
Dell,
Cecily. A Primer for Movement Description. New York: Dance Notation
Bureau Press, 1977.
Grout,
Donald J. and Claude V. Palisca. A History of Western Music. New York:
W.W. Norton and Company, 1996.
Janson, H.
W. and Anthony F. Janson. History of Art. New York: Harry N. Abrams
Inc., 1997.
Kallman, Potvin and
Winters, eds. Encyclopedia of Music in Canada. Toronto: University of
Toronto Press, 1981.
Slides
Davis Art
Education Materials - Discovering Art History. Markham: Fitzhenry & Whiteside.
Software
Great Museums of
the World. Countertop
Software: Crystal Productions Inc., 1999.
Music
Freedman, Harry. Keewaydin,
1971 (Festival Singers: Poly 2917 009)
Somers, Harry. Five
Songs from the Newfoundland Outports (Festival Singers: RCA LSC – 3151)
1. In your group, each person chooses a
character from the painting
2. Individually determine the character’s
internal and external aspects:
· How old is your character?
· How does s/he feel on this particular day?
· Why is s/he in this painting?
· How is your character similar to you? How is s/he different?
· What is his/her name?
· What is his/her status in society?
· What is his/her education?
· Does the character have a relationship with anyone else in the painting?
· How do s/he walk?
· How does s/he communicate? In dance/movement? In song? In speech?
3. Decide on the external gesture(s) or
manner(s) that will clarify your representation of this character.
4. Discuss with your group how each of you can
bring personal talents to this project so that your group effort reflects
solidarity.
5. As a group, rehearse making the painting come
to life. Use the checklist as a guide.
6. Perform.
Consider each
question in the assessment of your performance.
1. Does your performance demonstrate your
understanding of the principles related to the particular art form?
2. Do you use appropriate and effective
techniques related to the art form?
3. Is your work of art creative?
4. Do you clearly communicate your ideas?
5. Does your performance reflect critical
thinking?
6. Is there indication that your
product/performance has been rehearsed/polished?
7. Do you follow safe practices?
8. Does your group function smoothly?
9. Do you consider and respect the opinions and
efforts of all the participants in your group?
10. Does your group illustrate solidarity in
reaching consensus?
The Task
Your task is to
create a performance that illustrates and integrates the basic elements related
to at least three of the arts.
The Requirements
Your performance
must:
·
include elements
common to the arts selected;
·
illustrate the
unique features of each of the arts;
·
include
technique(s) specific to each of the arts;
·
contain some
live-action element;
·
be 3-5 minutes in
length.
Assessment and
Evaluation
Although you are a
member of a performance group, you will be assessed/evaluated individually.
1. Use the criteria checklist as you plan,
design, and perform.
2. The teacher will use the rubric to evaluate
your individual performance. You must complete the rubric, as self-assessment.
3. Your portfolio entries for this task are:
a) visual record of your
performance
b) completed rubric as
self-assessment
c) reflection on your learning by
answering these questions:
i) In this activity what did I
learn about the arts?
ii) How does my group’s
performance demonstrate the basic elements of all the arts?
iii) In what ways did my group
follow safe practices?
iv) How well did the members of my
group respect each other’s roles and responsibilities? Where are improvements
needed?
v) How well did our group
demonstrate social responsibility and concern for the common good? How can we
improve?
|
Categories |
Level 1 |
Level 2 |
Level 3 |
Level 4 |
|
Knowledge/
Understanding - knowledge and
understanding of concepts, principles, elements, and techniques TH1.01, TH1.02 |
- demonstrates
limited knowledge and understanding |
- demonstrates
some knowledge and understanding |
- demonstrates
considerable knowledge and understanding |
- demonstrates
thorough knowledge and understanding |
|
Thinking/Inquiry - critical
analysis CR1.02 - creative
thinking |
- uses thinking
and inquiry skills with limited effectiveness |
- uses thinking
and inquiry skills with moderate effectiveness |
- uses thinking
and inquiry skills with considerable effectiveness |
- uses thinking
and inquiry skills with a high degree of effectiveness |
|
Communication - use of artistic
techniques TH1.01 - effectiveness of
communication |
- communicates
with limited clarity, accuracy, and effectiveness |
- communicates
with some clarity, accuracy, and effectiveness |
- communicates
with clarity, accuracy, and effectiveness |
- communicates
with a high degree of clarity, accuracy, and effectiveness |
|
Application - use of knowledge
and skills CR3.02 - application of
the creative process |
- uses knowledge
and skills with limited effectiveness - applies the
creative process with limited insight and depth |
- uses knowledge
and skills with moderate effectiveness - applies the
creative process with some insight and depth |
- uses knowledge
and skills with considerable effectiveness - applies the
creative process with considerable insight and depth |
- uses knowledge
and skills with high degree effectiveness - applies the
creative process with a high degree of insight and depth |
Note: A student whose achievement is below Level 1
(50%) has not met the expectations for this assignment or activity.
As you plan,
design, and rehearse, check that:
·
you have included
elements common to the arts you have chosen to integrate;
·
your presentation
illustrates the unique features of each of the arts;
·
you have included
technique(s) specific to each of the arts;
·
your presentation
contains some live-action element;
·
your presentation
is 3-5 minutes in length;
·
you have followed
safe practices;
·
you have used the
rubric as a guide;
·
you respect one
another’s roles and responsibilities;
·
you work together
responsibly to achieve the common good.
When you have
completed your presentation, check that:
·
you have included
a visual record of your performance in your portfolio;
·
you have
completed a self-assessment of your individual contribution;
·
you have
reflected on your learning experience by answering the questions.
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