Course
Profile Comprehensive
Arts, Grade 9 open, Public
Unit 1
Course Profiles are professional development materials designed to help teachers implement the new Grade 9 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 and Training. 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.
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Acknowledgments
Public District School Board Writing Team - Comprehensive Arts
Lead Board
Upper Canada District School Board
Management Team: Eleanor Newman
Brenda King
Dorothy Stewart
Dona Cruickshank
Course Profile Writing Team Co-ordinating Partners
Ron Dodson, Avon Maitland DSB Andy Ringlet, Renfrew County DSB
Susan Selby, Durham DSB Marg Stewart, Limestone DSB
Daryl Ouellette, Upper Canada DSB Helen Beck, Hastings & Prince Edward DSB
B.J. Reid, Upper Canada DSB Kit Rankin, Halton DSB
Anne Clifton, Halton DSB
Contributors
Peter Mansell, Steve Russell, Nancy Fader, Dave Hurley, Sue Brooks
Unit #1: Starting to Make Connections
Activity 1 | Activity 2
| Activity 3 | Activity 4 | Activity 5 | Activity 6
Time: 25 hours
Unit Developers
Ron Dodson, Avon Maitland DSB (Project Leader)
Daryl Ouellette, Upper Canada DSB
B.J. Reid, Upper Canada DSB
Susan Selby, Durham DSB
Development Date: April, 1999
Unit Description
In this unit, students will create a work by applying concepts and techniques which are specific to each arts discipline. Students will use the creative process to produce artworks that demonstrate innovative connections among the arts. Students will demonstrate the ability to conduct a step-by-step critical analysis of their own work and that of others. Students will describe and express, orally, visually and in writing, the elements and principles of the arts found in their own work and that of others.
Strands and Expectations
Strands: Theory, Creation, Analysis
Overall Expectations: LTV.03X, LCV.01X, LCV.02X, LCV.04X, LAV.01X
Specific Expectations: LT1.01X, LT1.02X, LT1.07X, LC1.02X, LC1.03X, LC1.04X, LC1.05X, LC1.10X, LA1.01X, LA1.03X
Activity Titles, Sequence and Suggested Time
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Activity #1 |
Exploring Our Own Creativity |
150 minutes |
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Activity #2 |
Introducing Connections Among the Arts |
150 minutes |
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Activity #3 |
Artspeak: Learning the Language of the Arts |
450 – 600 minutes |
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Activity #4 |
Creation of an Art Work |
300 – 450 minutes |
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Activity #5 |
Learning and Applying the Process of an Aesthetic Critique |
150 minutes |
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Activity #6 |
The Arts Connected |
150 minutes |
Unit Planning Notes and Accommodations
• Attention must be paid to the special
needs of ESL/ESD students and those with perceptual or physical
exceptionalities.
• Each period should include time for
warm-up and clean-up/wrap-up.
• The
teacher will need a slide projector, VCR, a sound system, chart paper,
markers, slides, audio and video clips.
• The knowledge and skills taught in
each activity depend upon the degree to which students master those of the
previous unit.
• Assessment and evaluation must be
clear, thorough and ongoing. To accommodate the needs of Special Education and
ESL/ELD students, demonstrations of achievement for an expectation may be
different or different opportunities provided.
• Reading levels must focus on arts knowledge
and not reading ability.
Prior Knowledge Required
Students will need the ability to make decisions in large and small groups, share their ideas and feelings, assess their own progress in the arts and commit to their highest possible level of achievement in as many arts areas as possible. Experience in elementary arts programs will help students become comfortable in the arts environment. A working knowledge of basic health and safety practices in the arts will be helpful.
Teaching/Learning Strategies
Games, brainstorming, whole group instruction and class discussion, small group instruction, group and individual presentation, analogy, response sheets, rhythm booklet.
Assessment/Evaluation
• Rubrics are provided for Activities
3, 4 and 6 and for the overall unit. See Appendices A - D, L and M.
• In addition, teachers should consider
a wide variety of diagnostic, formative and summative assessment and evaluation
tools, such as checklists, journals, anecdotal reports, performances and
presentations.
Resources
See Course Appendices A - D, L and M.
Activity #1: Exploring Our Own
Creativity
Time: 150 minutes
Description
Through ongoing team-building activities, the first unit introduces students to trust, leadership and team building. This unit is intended to increase awareness of the student’s own creative potential.
Strands and Expectations
Strands: Theory, Creation, Analysis
Overall Expectations: LTV.01X
Specific Expectations: LC1.02X*, LC1.03X, LA1.01X
Planning Notes
The teacher will need a VCR, sound system, tempera paint, cartridge paper, musical clips of a variety of styles, markers, "Why Man Creates" video and copies of the worksheet, newsprint and possibly a Rorschach print which can be created one day and left to dry for display and discussion the following day. It is helpful to warn students in advance to wear old clothing or bring paint shirts. For safety and health reasons, liquid tempera or tempera blocks should be used.
Teaching/Learning Strategies
Strategy 1: Name Game
• Students will form a circle.
• Student one will state his/her first
name directly accompanied by an action. (e.g. - Brent - clap)
• Student two will repeat student one’s
name and action followed by his/her own name and action.
• The class will continue around the
entire circle, adding names and actions. Help may be provided by the students
and/or teacher.
Strategy 2: What is It?
Distribute the following image, or a similar one of the teacher’s choice.
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• The teacher will ask the class what
the image represents to them. The teacher will elicit as many responses as
possible. There are no wrong answers.
• The teacher will lead a class
discussion on the nature of individual creativity.
Strategy 3: Channel Print (Rorschach Print)
• The teacher will provide or students
will create their own Rorschach print.
• The teacher will ask students what they
see and elicit as many responses as possible. There are no wrong answers. The
teacher will reinforce awareness of individual perceptual differences and
creativity.
Strategy 4: Music and Line
• Students will listen to two
contrasting music samples.
• For each sample, using a variety of
tools (e.g. chalk, sticks, markers), students will fill a piece of 12" x
18" newsprint with lines that are their interpretation of their responses
to the music.
• Teachers will encourage students to
see how the lines they produced were influenced by contrasting music styles.
(e.g. Phantom of the Opera theme vs Brahm’s "Lullaby"). This
can be reinforced by further examination of visual examples of the ways artists
and designers have used line in sculpture, architecture, painting or auto and
clothing design. Teachers will use the two samples to show how each discipline
evokes a different response in everyone.
Strategy 5: "Why Man Creates.”
• Students will view the video “Why Man
Creates,” complete the worksheet and discuss the essence of creativity, how it
relates to their own world and how, why or why not they create.
Assessment/Evaluation
Participation checklist
Diagnostic anecdotal assessments
Resources
Video: “Why Man Creates.”
Accommodations
Provisions for students with special needs will need to be made. For example, those who are hearing impaired may need to be seated closer to the television; other students may need extra time to complete the worksheet. Appropriate drawing tools should be considered for students with special motor skills needs.
"Why Man Creates" Worksheet
After viewing the video “Why Man Creates,” answer the following questions:
Edifice
What is an edifice?
Briefly outline the plot of the cartoon in this segment.
List five intentions, creations, or significant events mentioned in this segment.
Fooling Around
Provide two examples of how the producers of this video used creativity to help show how ideas are formed.
List some of the key words and phrases used in the dandelion segment to describe the creative process.
The Process
What should you do when something you’ve started isn’t working out as planned?
What did the artist in the video do?
Explain the importance of “faith” and “patience.”
The Judgement
Why do you think there are such strong reactions to the artists' work?
If you were the artist, how would you feel about some of these comments? How do you feel when you receive criticism about your work?
A PARABLE... (A story with a message)
What is the message behind the story of the ping-pong ball?
How does it connect to the experience of the artist?
The Search
What
is the message of this segment?
In
what areas of society and by what individuals is creativity used and needed?
Activity #2: Introducing Connections Among the Arts
Time: 150 minutes
Description
Using a variety of slides, audio and video clips, students will begin to become aware of the connections between and among the four arts disciplines.
Strands and Expectations
Strands: Theory, Analysis
Overall Expectations: LTV.01X
Specific Expectations: LT1.01X*, LT1.02X, LA1.03X*
Planning Notes
The teacher will need recordings, slides of paintings, sculptures, prints, photographs and architecture or alternate image sources such as old calendars, LIFE magazines, Internet sites for the Art Gallery of Ontario, the McMichael Gallery or the National Gallery of Canada, CDs from the National Art Gallery (London); and a Venn diagram.
Teaching/Learning Strategies
Strategy 1: What did you see/hear?
• The teacher will provide a variety of
artworks from the four disciplines, using video clips, recordings, slides or
reproductions of various artworks, such as paintings, sculptures, prints, photographs
and architecture.
• The students will record their
responses to the question “What do you notice first?” for each of the artworks
presented. This question applies equally to all. After several examples, the
teacher should check responses before proceeding to the remaining samples. The
students respond readily to the art forms if care is taken to select images
within their life experiences.
• The teacher will assist the students
in finding connections in their responses. For example, if the colours red,
yellow and orange are listed in their responses, they may be grouped as “warm
colours.”
• Students will see that some of the
commonalities they have discovered are very familiar to them and extend across
the arts areas.
Strategy 2: Common Connections
• The students, in groups or
individually will use a Venn diagram (see Appendices L and M) to list elements
for each area.
• The teacher will lead students to
find connections between the arts.
Assessment/Evaluation
Reports, including completion checklists, observation and anecdotal
Resources
See planning notes
Accommodations
Provisions for students with special needs will need to be made. For example, those who are hearing impaired may need to be seated closer to the TV monitor, other students may need extra time to complete the written work. Students with special language needs may need assistance in recording their responses.
Appendices
Blank and completed Venn diagrams (see Course Appendices L and M)
Activity #3: Artspeak: Learning
the Language of the Arts
Time: 450 - 600 minutes
Description
Students
will learn the key concepts, elements and principles specific to the four arts
disciplines. They will demonstrate their knowledge of the arts languages
through activities specific to each.
Strands and Expectations
Strands: Theory, Creation, Analysis
Overall Expectations: LTV.01X, LCV.02X
Specific Expectations: LT1.02X*, LC1.01X, LC1.04X, LC1.02X, LA1.03X*
Planning Notes
The teacher will need glue sticks, cartridge paper or sketchbooks, a variety of magazines, scissors and a sound system.
Teaching/Learning Strategies
Dance: The Language of Dance
The student will learn the concepts behind the elements of movement: time/energy, space (levels), shape, as well as composition and presentation skills.
The Elements of Movement
Time/energy; how long something takes
• The class experiments with ways of moving
quickly.
• The class experiments with ways of
moving slowly.
Space (levels)
• Explore high, medium and low levels
of movement.
• Experiment with movements that are at
the three levels: some low, some medium, some high.
• Experiment with transitions moving
between levels (high to low, medium to high, etc.)
Shape
• A small group of students will stand
in the center of the room and move (until the teacher requests they stop) in an
interesting shape. The observers will discuss the types of shapes they see (big
shapes, curved shapes, long shapes, symmetrical shapes).
Composition
• The students will create a 60-second
composition using the movement elements learned above. The students can be
grouped in small or large groups.
Presentation
• The students will present their
compositions to the class, followed by a class discussion.
Formative Assessment: The Rhythmic/Composition/Performance/Individual/Ensemble Rubric is an example of assessment which may be modified for use in all arts disciplines. Teacher observation and completion checklists are additional methods which may be used.
Drama: The Language of Drama
The students are discovering that the arts disciplines share some concepts and language. The following strategies build on some of the languages learned in Dance/Movement. The elements and principles of Drama which are used in the following strategies include:
Elements Principles
time movement/stillness
volume sound/silence
weight light/darkness
space proximity/distance
structure
tension
By varying the usage of these elements of drama, dramatic work can be produced which operates within a range of these principles as follows:
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Movement |
¬ Time ® |
Stillness |
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Sound |
¬ Volume ® |
Silence |
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Light |
¬ Weight ® |
Darkness |
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Proximity |
¬ Space ® |
Distance |
Introducing tension and creating a structure for dramatic work gives it purpose and form.
Strategy 1: Lead the class through the four sets of principles one at a time by varying the elements.
1. Movement/stillness. Standing, students spread out within the classroom. Move about. Move more quickly, more slowly, freeze. Class discussion: in what situations might quick movement be effective? Might frozen movement be effective?
2. Sound/silence. Sit facing a partner. Give students a topic about which to start a dialogue. Once students have begun, instruct them to vary their volume from shouting down to a whisper down to silence. Class discussion: In what situations might shouting be effective? Might silence be effective?
3. Light/darkness. Dramatic works use light/darkness both literally and figuratively. Voice, movement and the mood (of both the character and the scene) can all be varied within the range of light/darkness. Students stand, spread out. Move about. Vary the weight of the movement (light/heavy). Continue to move about but vary the mood of the movement (light/dark). Stop moving. Deliver the line “I am going to the store” in a “light tone,” in a “dark tone.” Class discussion: In what situations might light tones (moods) be effective? Dark tones (moods)? In what situations might light movement be effective? Might dark movement be effective?
4. Proximity/distance. Students stand and spread out around the space. Each student secretly selects another student to “trail” at a distance (constant movement is essential). They must stay as far away as possible from their secret partner while still keeping them in sight. Next, they secretly select a different partner to “trail” as closely as possible. Class discussion: In what situations might close proximity be effective? When might distance be effective?
Formative Assessment: In a small group (2-3 students), create a 60-second presentation which illustrates the effective use of the following principles of drama:
• movement/stillness
• sound/silence
• light/darkness
• proximity/distance
Students will select a “tension card” (for example, being stuck in elevator, interview with the principal, coming home after curfew) to give purpose and form to their presentation. Other situations may be suggested by the teacher or the class.
Music - The Language of Music
Strategy 1: The teacher will introduce the concept of rhythm and why it is important:
• There are examples of natural
pulses/beats everywhere, such as sporting events ( the chant: stomp, stomp,
clap...), cars: (tune up), trains: (chugga, chugga...), road "rumble
strips": (rrrrrp, rrrrrp), subway wheels: (clack, clack, scrrreeeee...)
• The heartbeat is a natural
phenomenon. A resting heart beats at approximately 72 beats per minute. In
music, a pulse is the same as a beat and a quarter note represents one beat, so
the heart beat would equal 72 quarter notes per minute.
Strategy 2: Students will complete a rhythm booklet which includes the following musical concepts as required: notes and rests, dotted notes, time signatures, time values of notes and rests.
Formative Assessment:
Students will compose an original work with the following requirements:
• it must be eight (8) measures
• there must be one part for each
performer
• all parts must line up evenly under
one another
• students must complete a rough draft
of the score on 11" x 14" paper
• there must be a variety of rhythms
(no two measures can be the same!), notes and rests
• students must complete a neatly
organized and legible copy of the score on chart paper
• the score must be written in standard
musical notation
• there must be specific performance
instructions on the score - dynamics, tempo...
The students should be encouraged to create and bring in their own unique non-pitched instruments to rehearse, perform and discuss their original rhythm compositions for the class
Visual Arts: The Language of Visual Arts
Elements: Line, Colour, Shape/Form, Value, Texture, Space
Principles: Variety/Contrast, Emphasis, Rhythm/Movement, Balance, Unity, Proportion, Pattern
The teacher will select a slide(s) or reproduction(s) (e.g. Thunderbird with Inner Spirit by Norval Morrisseau, The Tangled Garden by J.E.H. MacDonald, The West Wind by Tom Thomson, Lake & Mountains by Lawren Harris, A Merchant Of Pense by Joe Fafard, S.S. Imogene With Crew On Ice by David Blackwood or works by Mary Pratt or Emily Carr) to illustrate the elements and principles of design. Each term will be defined clearly. Students will select from magazines and/or newspapers the best examples to illustrate each of the elements and principles. In either a sketchbook or notebook, students will visually present and/or list, define and include examples of each under the appropriate heading. Students may also draw or paint appropriate examples depending on their interest and skill level. As an alternate activity, if there are available resources such as post card reproductions, old calendars etc., students could, in groups, select the best examples for each of the elements and principles, allowing for discussion and agreement. Presentation to the class allows for peer confirmation and teacher verification of suitable choices.
Assessment/ Evaluation
Participation checklist
Anecdotal assessment
Rhythmic/Composition/Performance/Individual/Ensemble rubrics which may be adapted for any art form
Appendix
A: Rhythmic/Composition/Performance/Individual/Ensemble rubric
Activity #4: Creation of an Art
Work
Time: 300 - 450 minutes
Description
Students will create an individual or group project incorporating a minimum of two arts disciplines. Students will demonstrate their knowledge of language specific to each while showing commonalities.
Strands and Expectations
Strands: Theory, Creation, Analysis
Overall Expectations: LCV.01X, LCV.04X
Specific Expectations: LT1.01X*, LT1.02X, LC1.02X, LC1.04X*, LA1.13X
Planning Notes
The materials necessary for each of the strategies in this unit vary according to the project chosen. The emphasis should be based on proper and safe technique as well as the proper methods for each art form (e.g: in Visual Arts, cleaning brushes and general routines). Presentation of the art work and the aesthetic critique in small groups will facilitate time management while providing ample opportunity for process. Students will need a very basic knowledge of the use of waterbased paints, such as tempera, minimum brush technique and the term "tableau,” as would be acquired in elementary school. Teachers should try, whenever possible, to place the creation of art in an appropriate historical, artistic and social context.
Teaching/Learning Strategies
Students will create a work that includes at least two of the arts disciplines. Examples include:
• Music and Visual Arts: students will
select an expressive piece of music to which they paint lines on heavy paper
that expresses the mood.
• Music/Drama/Visual Arts: students
will create a “mythical beast” in modelling clay, write a descriptive poem
about the beast, record and dramatize the poem with suitable background music.
• Music/Visual Arts/Drama/Movement:
students will select a Canadian narrative painting such as Paul Kane’s Blackfoot Chief and Subordinates
and create a tableau. Appropriate music selection can set the mood. Teachers
may consider costuming as part of the assignment. Students will also create a
transition showing the movement before and after the moment of the painting.
Suggested extension: participants may be interviewed in role to demonstrate
their knowledge about the significance of the painting in Canadian history.
Assessment/Evaluation
“Create” Rubric
Resources
As required, based on students’ choices of works
Accommodations
Provisions
for students with special needs will need to be made.
Appendices
B: "Create" Rubric
C: “Steps in Aesthetic Critique”
Activity #5: Learning and Applying
the Process of an Aesthetic Critique
Time: 150 minutes
Description
Students will develop their critical skills by describing, analyzing, interpreting and judging their own work and that of others. Students will use the key concepts, elements and principles specific to the four arts disciplines learned in Activity #3. They will demonstrate their knowledge of the language through the use of the critical process.
Strands and Expectations
Strands: Theory, Analysis
Overall Expectations: LTV.01X, LAV.01X,
Specific Expectations: LA1.01X*, LA1.02X, LA1.03X, LA1.13X
Planning Notes
The teacher will select an artwork from a single discipline from Unit 1, Activity 1 for student response. Copies of “Steps in Aesthetic Critique” (see Activity #4) are needed.
Teaching/Learning Strategies
The teacher will use the following analogy to clarify the implications of quick decision-making in life and then apply these concepts to the arts. This is to avoid use of nebulous, thoughtless and negative judgements. Use the following analogy: a student has saved $50 to buy a sweatshirt. What process should s/he follow before making this purchase in order to avoid wasting hard earned money?
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Buying a shirt |
Steps in an aesthetic critique |
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Check it out! |
Describe |
What do I see? |
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Is it well made? |
Analyze |
How is it organized? |
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Is this the best shirt for me? |
Interpret |
What is artist communicating? |
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Will I buy this shirt? |
Judge |
Is it a successful artwork? |
The teacher will use language established in Activity 3 to lead students through the process of an aesthetic critique, using an artwork from one discipline from Activity 2. In small groups, students will apply the critical process to their own creations from Activity 4. Each member of the group will display their work and present their aesthetic critique orally to the group.
Assessment/ Evaluation
Accurate completion of “Steps in Aesthetic Critique”
Resources
Slide projector
Slides or reproductions of work for critique
Appropriate examples of artworks should be made; teachers should consult the resource centre, community resources and subject specialists within their school and board.
Accommodations
Provisions for students with special needs will need to be made. For example, students may need extra time to complete the worksheet task, etc.
Appendix
C: “Steps in Aesthetic Critique”
Activity #6: The Arts Connected
Time: 150 minutes
Description
Students
will learn the key concepts, elements and principles specific to the four arts
disciplines. They will demonstrate their knowledge of the language through
activities specific to each. Using resources encompassing the four disciplines,
students will identify and reinforce prior specific and common language.
Strands and Expectations
Strands: Theory, Analysis
Overall Expectations: LTV.01X
Specific Expectations: LT1.01X*, LT1.02X, LA1.03X
Planning Notes
The teacher will need a "Cirque du Soleil" video, Venn diagram (see Activity #2) and VCR. If a "Cirque du Soleil" video is unavailable, the teacher should locate an example of an alternate source which clearly illustrates the integration of the four arts, for example, a segment from a professional musical theatre production.
Teaching/Learning Strategies
Students will revisit their initial Venn diagram from Introducing Connections (Activity #2) and confirm or add to the connections made among the four arts areas. Students will view a segment from the "Cirque du Soleil" video and complete a Venn diagram listing terms/language from the four arts areas. Students will demonstrate their knowledge of the connections among the four arts areas by completing the middle section by the Venn diagram.
Assessment/Evaluation
Venn Diagram
Summative Rubric: The Arts Connected
Resources
"Cirque du Soleil" video, or suitable alternative (see Planning Notes above)
Accommodations
Opportunities for students with special needs must be explored by the teacher and be available.
Appendices
D: Rubric: The Arts Connected
L and M: Venn Diagram