Teachers Guide Lower Secondary Arts

Arts
Lower Secondary
Teacher Guide
Papua New Guinea

Department of Education
Arts
Issued free to schools by the Department of Education
Published in 2006 by the Department of Education, Papua New Guinea
© Copyright 2006, Department of Education, Papua New Guinea
All rights reserved. No part of this publication may be reproduced, stored in a

retrieval system or transmitted by any form or by any means electronic,
mechanical, photocopying, recording or otherwise without the prior written
permission of the publisher.
ISBN 9980-935-09-x
Acknowledgments
The Lower Secondary Arts Teacher Guide was written, edited and formatted
by the Curriculum Development Division of the Department of Education.
The development of the teacher guide was coordinated by Antonia
Manahave.
Teachers, inspectors, tertiary educators, community members,
representatives from non-government organisations and the Arts Subject
Advisory Committee have developed this teacher guide through meetings,
workshops and consultations.
This document was developed with the support of the Australian
Government through the Curriculum Reform Implementation Project.
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Lower Secondary Teacher Guide
Contents
Secretary’s message....................................................... iv
Introduction ...................................................................... 5
Teaching and learning...................................................... 6
Assessing Arts ............................................................... 15
Arts requirements........................................................... 25
Arts units ........................................................................ 26
Grade 10 units................................................................ 75
Recording and reporting................................................. 99
Resources .................................................................... 104
References................................................................... 109
Glossaries .................................................................... 110
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Arts
Secretary’s message
This teacher guide is to be used by Arts teachers when implementing the
Lower Secondary Arts syllabus throughout Papua New Guinea.
The arts are a means through which students can express and share their
ideas and feelings and experiment safely with new and original ideas. This
teacher guide encourages teachers to provide opportunities for students to
express their creativity and engage with new and modern ideas, while still
understanding and valuing the traditional art forms of Papua New Guinea.
There are many ideas and teaching and learning strategies that teachers
can use to make their arts lessons more interesting, exciting and enjoyable.
Teachers are encouraged to work closely with the community to maintain
cultural practices and values and to develop positive attitudes and
appreciation of the cultural heritage through the arts.
I commend and approve the Arts Teacher Guide for use in all schools with
Grades 9 and 10 students throughout Papua New Guinea.
DR JOSEPH PAGELIO
Secretary for Education
iv
Introduction
The purpose of this teacher guide is to help you to implement the Arts
syllabus. It is designed to stimulate you to create exciting and meaningful
teaching programs and lessons by enabling you to choose relevant and
purposeful activities and teaching activities. It will encourage you to research
and look for new and challenging ways of facilitating students’ learning in
Arts.
The teacher guide and the syllabus must be used side by side. The syllabus
states the learning outcomes for the subject and each unit, and outlines the
content and skills that students will learn, and the assessment requirements.
The teacher guide provides direction for you in using the outcomes approach
in your classroom using a step by step approach. Although the syllabus
provides the assessment tasks at the end of each unit, the outcomes
approach requires you to consider the assessment requirements early in
your planning. This is reflected in the teacher guide.
This teacher guide provides examples of teaching and learning strategies for
Arts, sample programs for each unit, elaboration of suggested activities and
content, detailed information on how to mark assessment tasks and the
resources needed to teach Arts. The section on recording and reporting
shows you how to record students’ marks and how to report against the
broad learning outcomes.
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Arts
Teaching and learning
How students learn

What I hear I forget.
What I hear and see I remember a little.
What I hear, see and discuss I begin to understand.
What I hear, see, discuss and do, I acquire knowledge and skill.
What I teach to another, I master.
(Active Learning Credo statement by Silberman, 1996)
In support of this are the findings that we remember:

• 20% of what we hear
• 40% if what we see
• 90% of what we see, hear, say and do or what we discover for ourselves.
A student-centred approach to learning

Different students learn in different ways. Some students learn best by
writing, others by talking and discussing, others by reading and others by
listening. Most students learn by using a combination of these. All students
learn skills through practicing and repetition. You need to use a variety of
teaching and learning strategies to cater for the different ways your students
learn.
Teaching and learning strategies

To assist and encourage students to learn, you perform certain tasks. These
are referred to as teaching strategies. You need to engage students directly
in learning but there are times when you have to take charge of the learning
in the class and teach particular concepts or ideas.
Teaching strategies include:
• group work
• role play/drama
• skills practice
• research/inquiry
• class discussions/debates
• problem-solving activities
• teacher talk, instructions, explanations, lectures or reading aloud
• directed question and answer sessions
• audio-visual presentations
• text books or worksheets
• directed assignments
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• demonstration and modelling

• guest speakers
• classroom displays.
Using groups as a teaching and learning strategy

Using groups is an important strategy in Arts as students learn from each
other, not just from the teacher. Group work encourages students to
participate in achieving a shared goal and collaborative learning. In deciding
whether to use groups or not, you need to consider:
• your intended outcomes
• the extent to which the outcomes can be achieved by a group
• the lesson content
• the time allocated for the completion of the task
• the classroom setting
• available materials and resources
• the structure of the group based on gender, ability, cultural background
and student preferences.
Groups work well when:

• the group decides upon their goal, timelines and tasks
• students realise that success depends on the achievement of the whole
group, not individuals
• the task is broken into subtasks which must be completed to successfully
complete the overall task
• the whole class is involved in the activity
• everyone has a role to play, e.g. performances
• membership of small groups is changed regularly to provide a variety of
learning experiences for all students.
Strategies for organising and managing groups:

• mixed-ability groups–the more able learners in the group can help the
others to master the work so that the teacher need not teach some parts
• same-ability groups–the teacher can leave the groups of faster learners
to get on with the work on their own. She/he can give extra help to
individual learners in the slower groups.
• using group leaders–some teachers appoint faster, more able learners
as group leaders who can help slower learners.
Developing skills
Principles and procedures
Students need to develop skills to help them learn. Skills development

should happen as a part of students’ learning experiences and the learning
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Arts
and practicing of skills needs to occur in the context of the units being
taught.
Skills learning tends to be most effective when:
• students go from the known to the unknown
• students understand why it is necessary to gain mastery of specific skills
• skills are developed sequentially at increasing levels of difficulty
• students identify the components of the skill
• the whole skill and the components of the skills are demonstrated
• there are frequent opportunities for practice and immediate feedback
• the skills being taught are varied in terms of amount and type, according
to the needs of students
• the skill is used in a range of contexts.
To teach skills effectively you need to include learning activities that span
the range from teacher-directed to student-centred learning, use groups of
different sizes ranging from the whole class to small groups and use a range
of teaching strategies which use higher order skills as your students
progress.
Bloom’s taxonomy of skills
Bloom's Taxonomy is a way to classify skills, activities or

questions as they progress in difficulty. The lower levels
require less in the way of thinking skills. As you move up
the hierarchy, the activities require higher level thinking High level
skills.
Evaluation
value
Synthesis review
Low create evaluate
level Analysis hypothesise judge
analyse invent
Application compare design
apply distinguish compose
Comprehension demonstrate contrast
explain illustrate differentiate
Knowledge identify
state discuss
write describe
list recognise
select
Language skills for Arts
Students need to learn how to speak and listen, read and write, view and
observe. Students can learn oral language skills through, for example:
• discussions
• oral and written reports
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• role-playing
• performances
• script reading
• singing.
Providing opportunities for students to listen is very important especially in

the performing arts. Guest speakers, CDs, tapes, radio, television, stories
read aloud and performances are listening resources. When students have
listening experiences as a regular part of classroom activities, their ability to
listen and their comprehension will improve.
Place of vernacular in Arts

Maintenance of the student’s language is something that continues at Lower
Secondary as stated in the Department of Education’s Language policy in all
schools. At times it will be appropriate to use vernacular, Motu or Tok Pisin
to explain concepts or ideas. Vernacular can be used to describe and
illustrate those things that do not have English translations. It would also be
appropriate to use the vernacular, Motu or Tok Pisin when singing or
performing plays.
Writing skills
Students must be able to choose the right word to get the message across
and be able to put the words together in a way that makes sense to the
reader. The ability to write well using appropriate vocabulary and Arts terms
takes a lot of practice and writing skills and techniques should be
emphasised in Arts.
Thinking and questioning skills
Arts assists students to analyse and think critically about the information they
come across. By processing information rather than rote learning, students
are more likely to understand and retain what they have learnt. Students
must be involved in the process of thinking instead of simply accepting the
end products of someone else’s thoughts. The ability to think critically can be
taught effectively by asking the types of questions listed below:
• what do you notice/see/find?
• what difference do you ...?
• what similarities do you ...?
• which ones belong together? why?
• why don’t these belong to this group ...?
• what could have happened if ...?
• what would ... be like if ...?
• how would you ...?
• what explanation would you give for ...?
• is this always so?
• does evidence of ... change the original explanation?
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Arts
• how can this be tested/checked?

• suppose ...what would happen?
• what makes you think this would happen?
• what would be needed for that to happen?
• is there a different explanation?
• if … happened, what would happen next?
Teaching and learning strategies for Arts

Here are teaching and learning strategies which can be used to make
learning more meaningful and interesting in Arts. You should vary your
lessons by using different teaching strategies, making sure that the ones you
use for the lesson are suitable for your lesson outcomes. Many of these
strategies work together, for example using class discussions about open-
ended stories helps students with ideas and decisions for drama scripts.
Artefacts
Artefacts are objects made by humans. They can be from the past or
present. By examining these students are able to gain an insight into the
culture and lifestyles of people from particular cultural groups or times.
Artefacts such as traditional instruments, masks or bilas can be used when
looking at traditional arts.
Brainstorming
This is a technique in which a class or group meets to record all the

information already known on a topic, to develop new ideas or to stimulate
creative thinking. Participants ‘let the ideas come into their heads’, write
them down, sort them and decide which require further research.
Brainstorming is a useful way of determining and activating prior knowledge
of a topic. This strategy could be used in units 9.1, 9.2 and 10.3
Classroom displays
Classroom displays of art works provides a focus for the unit being taught.
They can stimulate learning by providing a record of the art work that has
been completed as well as encouraging students to evaluate and to respond
to art works.
Charts
Helping students use charts to organise information in various groupings

under different headings, is valuable. It not only helps them to make sense
out of a previously unrelated mass of data, but it is a crucial step in the
process of developing a store of concepts to use in making sense of their
experiences. Charts (for example, on topics such as musical notation) are a
powerful teaching aid and of considerable help in getting students to think
about and organise information.
10
Diagrams
Diagrams are employed in a variety of situations. They may be used to

illustrate processes such as making a mono-print. They can show how
something complex like a kiln operates. They can show the stages in the
creation of a particular design. The best diagrams are clear, with all the
necessary details and labels to identify features and explain processes
Flow charts
A flow chart is a diagram showing a series of step-by-step operations which

make up a particular process. The main elements of the process are shown
in picture form and are linked by arrows to indicate how one operation leads
to the next. A flow chart can be used in Arts for example to show stages in
the development of a mono-print or graphic design.
Cultural activities
Through participation in cultural activities, students are provided with a

variety of opportunities that give them insight into their own culture or that of
others. Programming should take into account local cultural events as well
as national events. This strategy could be used, for example, in the
integrated unit when students develop music and costumes for a cultural
event.
Evaluation
The evaluation process in the arts often requires students to make decisions
about the value or quality of art works. Evaluation of ones own art works
helps students improve future work. For example, as part of the design
process students evaluate their draft designs to select and make their final
product.
Discussions
Discussions provide opportunities to express ideas and feelings and listen to

others, to look at issues from other perspectives. However they are not
practical with more than 20 students. If class discussions are going to be
used in a large class, the class should be divided into two or more groups.
Guest speaker or visitor
A guest speaker or visitor is a person who is invited to share his/her

knowledge and skills with the students. This may be a local artist, a teacher
from another class, a parent, a member of the local community or a
representative from a group or organisation.
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Arts
Investigating issues
Issues can be drawn from any field eg society, environment, beliefs, or

culture. It must be stressed that the essence of an issue is that there are
different, often opposing views, most of which are based on reason.
Here are some examples of possible discussion questions to decide on a
performance about an issue.
• What would happen if …?
• What is ‘good’ and ‘bad’ about …, ‘right’ and ‘wrong’ about ..., ‘fair’ and
‘unfair’ about ..., ‘just’ and ‘unjust’ about … ?
• What should those with authority and power do about …?
This strategy could be used in the enrichment option in unit 9.1.
Learning games
Learning games such as warm- up activities for performing arts involve

students in simulated experiences to develop concepts and understandings.
Learning games can be made up by teachers or students.
Models
Models provide demonstration of a concept in concrete form. Models can

include items made from dough or clay, mobiles, murals, dioramas.
Open-ended stories
Open-ended stories may be used effectively in Arts eg to tell a story where

the students act out the ending.
Photographs and pictures
Photographs and pictures are visual texts. They can be used to develop
numerous skills such as observing, classifying, grouping, comparing and
contrasting. Photographs allow art work to be recorded for a later date.
Students can take/use photographs as a means of gathering and recording
information. Computer technology enables photographs to be stored and
reproduced in various ways.
Problem solving
A particularly relevant teaching and learning strategy for Arts topics is

problem solving. Students can be involved in identifying and working
towards solutions to design problems.
The purpose of learning through the application of problem solving skills is to
link conceptual understandings with practical experiences. It is important that
students be given opportunities to apply problem solving techniques to a
range of contexts.
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The teacher’s role is to:

• assist students identify problems that are relevant and solvable
• organise learning that develops skills in problem solving
• choose learning activities which encourage responsible actions.
Reflective learning
Reflection is the act of thinking about what has been learnt or done.
It often involves putting learning into a new context, interpreting what has
been said or done for different applications or a new situation. Teachers
need to provide time both during and at the end of any learning experience
for students to contemplate the content and processes in which they have
engaged. This time needs to allow for individual, small group and whole
class reflection. As a result of reflective learning students may develop
flexibility and creativity.
Research
One of the best ways to learn about any subject is to think of the questions
you want answered or what you want to know and inquire about the things
which interest you. This means doing your own research to find the answers.
The same applies to your students.
There are a number of steps involved in doing research and the best results
are achieved if students do things in the right order and ask the following
questions.
Defining
• What do I want to find out?
• What is my purpose?
• What are the key words and ideas of this task?
• What do I need to do the task?
Locating
• Where can I find the information I need
• What do I already know?
• What do I still need to find out?
Selecting
• What information do I really need?
• What can I leave out?
• How relevant is the information I have found?
• How reliable is the information I have found?
• How will I record all the information?
Organising
• How can I best use this information?
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Arts
• Do I need to use all the information?

• How can I best combine information from different sources?
Presenting
• How can I present this information?
• With whom will I share this information?
• How does the audience affect my presentation?
Assessing
• What did I learn from all this?
• Did I achieve what I set out to achieve?
• How did I go with each step of the information process?
• How did I go with presenting my information?
• Where do I go from here?
Role-play
Role-play involves taking on and acting out roles of real or imaginary
individuals in varied, non-threatening simulated situations in order to clarify
values and develop empathy with other people. Role-play is possible with
most arts topics in the study of arts issues.
• Explain the role-play to the whole class so that they begin from a
common understanding of the situation
• Cast beginning students with learners who are competent and relaxed.
Acceptance of the role-play by some will give others more confidence.
• Avoid placing students in their usual life role as this can be self-defeating
and will limit possible experiences for the students
• Be prepared to intervene where necessary
• Stop the drama after main behaviours and points have been observed
• Debrief role-play participants. This is an essential step as it helps players
out of their roles. They must be disassociated from the role, both in their
own eyes and the eyes of other students.
Task cards
Task cards are teacher-defined activities or pieces of research work
presented in a written form and assigned to individual students or groups.
They are a method of directing student learning. Teachers can devise task
cards to direct activities on an aspect of a topic.
Using the internet for investigations

The Internet encompasses a number of facilities including the World Wide
Web and electronic mail (e-mail). It is both a useful source of information on
many topics and a means of communicating with people in other places.
Specific skills are required to access information on the Internet and more
importantly to critically evaluate and validate such information.
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Assessing Arts
Assessment is an important part of teaching and learning. It is used to:
• evaluate and improve teaching and learning
• report achievement
• provide feedback to students on their progress.
Assessment in Arts measures students’ achievements of the unit learning

outcomes described in the syllabus. It is an ongoing process of identifying,
gathering and interpreting information about students’ achievement of the
learning outcomes and can be integrated into the students’ normal learning
activities.
Assessment for learning

Assessment for learning is often called formative assessment and is
assessment that gathers data and evidence about student learning during
the learning process. It enables you to see where students are having
problems and to give immediate feedback which will help your students learn
better. It also helps you plan your program to make student learning, and
your teaching more effective. Often it is informal and students can mark their
own work or their friends. An example is a quick class quiz to see if students
remember the important points of the previous lesson.
Assessment of learning
Assessment of learning is often called summative assessment. It is used to
obtain evidence and data that shows how much learning has occurred,
usually at the end of the term or unit. End of year examinations are
examples of summative assessment. It is usually done for formal recording
and reporting purposes.
Assessing Arts units

In the Arts Syllabus, the unit outcomes, which link to the broad learning
outcomes, are assessed through specified assessment tasks using a range
of assessment methods. Assessment criteria for each unit outcome provide
clear indications of how, and to what extent, the achievement of the learning
outcomes may be demonstrated. Performance standards, marking guides
and assessment criteria help with the marking process and ensure that
assessment is consistent across schools.
Students must complete the assessment tasks for the unit. You will expand
each task and provide clear guidelines to students for how the task will be
completed and how the criteria will be applied.
When you set a task make sure that:
• the requirements of the task are made as clear as possible to the student
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Arts
• the assessment criteria and performance standards or marking guides

are provided to the student so that they know what it is that they have to
do
• any sources or stimulus material used are clear and appropriate to the
task
• instructions are clear and concise
• the language level is appropriate for the grade
• it does not contain gender, cultural or any other bias
• materials and equipment needed are available to students
• adequate time is allowed for completion of the task.
Feedback
When you assess the task, remember that feedback will help the student
understand why he/she received the result and how to do better next time.
Feedback should be:
• constructive so that students feel encouraged and motivated to improve
• timely so that students can use it for subsequent learning
• prompt so that students can remember what they did and thought at the
time
• focused on achievement, not effort. The work should be assessed, not
the student
• specific to the unit learning outcomes so that assessment is clearly
linked to learning.
Feedback can be:

• informal or indirect – such as verbal feedback in the classroom to the
whole class, or person to person
• formal or direct– in writing, such as checklists or written commentary to
individual student either in written or verbal form
• formative – given during the topic with the purpose of helping the student
know how to improve
• summative – given at the end of the topic with the purpose of letting the
students know what they have achieved.
Tests
A test is a formal and structured assessment of student achievement and
progress which the teacher administers to the class.
Tests are an important aspect of the teaching and learning process if they
are integrated into the regular class routine and not treated merely as a
summative strategy. They allow students to monitor their progress and
provide valuable information for you in planning further teaching and learning
activities.
Tests will assist student learning if they are clearly linked to the outcomes.
Evidence has shown that several short tests are more effective for student
progress than one long test. It is extremely important that tests are marked
and that students are given feedback on their performance.
16
There are many different types of tests. Tests should be designed to find out
what students know and about the development of thinking processes and
skills. Open questions provide more detailed information about achievement
than a question to which there is only one answer.
Principles of designing classroom tests
Tests allow a wide variety of ways for students to demonstrate what they
know and can do. Therefore:
• students need to understand the purpose and value of the test
• the test must assess intended outcomes
• clear directions must be given for each section of the test
• the questions should vary from simple to complex
• marks should be awarded for each section
• the question types (true/false, fill-in-the-blank, multiple choice, extended
response, short answer, matching) should be varied.
Tests should:
• be easy to read (and have space between questions to facilitate reading
and writing)
• reflect an appropriate reading level
• involve a variety of tasks
• make allowance for students with special needs
• give students some choice in the questions they select
• vary the levels of questions to include gathering, processing and
applying information
• provide sufficient time for all students to finish.
Who assesses?
Teacher assessment
Assessment is a continuous process. You should:

• always ask questions that are relevant to the outcomes and content
• use frequent formative tests or quizzes
• check understanding of the previous lesson at the beginning of the next
lesson through questions or a short quiz
• constantly mark/check the students’ written exercises, class tests,
homework activities
• use appropriate assessment methods to assess the tasks.
Frequency of assessment
You should schedule the specified assessment tasks to fit in with the
teaching of the content of the unit that is being assessed. Some assessment
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Arts
tasks might be programmed to be undertaken early in the unit, others at the

end of the unit. You should take care not to overload classes with
assessment tasks at the end of the term.
Judging student performance
Student achievement is recorded and reported against standards. You must

use the performance standards or marking guides provided in each unit of
this teacher guide when making a decision about the achievement of your
students in relation to the unit learning outcomes. The performance
standards describe the level at which the student has to be working to
achieve a particular standard or mark.
Students should always have access to a copy of the assessment criteria
and the performance standards so that they know what it is they have to
know and be able to do to get a good mark in a particular task. The
performance standards will help you in your marking and will help your
students improve their performance in the future. They are useful when
providing feedback to students as they explain what it is the student needs
to do to improve.
Moderation
To ensure that you are interpreting the performance standards correctly
when assessing your students, it is important to undertake subject
moderation of student work within your school and with teachers of nearby
schools.
To moderate student work, a common assessment task must be used and a
marking scheme developed so that all students complete the same task
under the same conditions, and all teachers use the same marking scheme.
Teachers can then compare (moderate) the students’ work and come to a
common understanding of the performance standards and the requirements
for a particular mark or level of achievement.
Moderation enables you to be sure that your understanding of the required
standards for levels of achievement is similar to the understanding of other
teachers and that you are assessing students at the appropriate level.
Self assessment and peer assessment
Self and peer assessment helps students to understand more about how to
learn. Students should be provided with opportunities to assess their own
learning (self assessment) and the learning of others (peer assessment)
according to set criteria.
Self and peer assessment:
• continues the learning cycle by making assessment part of learning
• shows students their strengths and areas where they need to improve
• engages them actively in the assessment process
• enables them to be responsible for the learning
• helps to build self-esteem though a realistic view of their abilities
• helps students understand the assessment criteria and performance
standards.
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Managing assessment tasks for Arts

Usually, the marking of assessment tasks is done by the teacher.
To reduce the amount of work it is necessary to develop a strategic
approach to assessment and develop efficiencies in marking.
In Arts there are a number of assessment tasks that may be new to teachers
and students. Below are suggestions on how to manage some of these
tasks to minimise marking or presentation time.
Develop efficiency in marking
Clarify assessment criteria: Plan the assessment task carefully, and ensure
that all students are informed of the criteria before they begin. Discuss the
performance or visual arts task and its criteria in class, giving examples of
what is required. Distribute a written copy of the instructions and the criteria,
or put them on the board. Making the assessment criteria explicit speeds
marking and simplifies feedback.
Supply guidelines on what is required for the task: This reduces the amount
of time wasted evaluating student work that is irrelevant.
Use attachment sheets such as marking guides: An assignment attachment
sheet, which is returned with the assessed work, rates aspects of the task
with a brief comment. Such a system enables each student’s work to be
marked systematically and quickly. This strategy can be applied to posters,
presentations and performances.
Assess in class. Use class time to carry out and to assess tasks.
Performances or art works, marked by you or the students, enables instant
developmental evaluation and feedback. Brief assessments of projects,
stages of the design process, or practical work take less time to mark and
are useful because they give immediate feedback to students on their
progress and allow you to mark the project in stages with minimum effort.
Feedback to the whole class. Feedback to the whole class can cut down on
the amount of individual feedback required. On returning assessed work,
emphasise the criteria for judging the work, discuss the characteristics of
good and bad answers, and highlight common strengths and weaknesses.
Set group-work alternatives. Assess one performance per group. The
student’s mark is the group mark, but may include a component based on
the contribution of the individual. A strategy for allocating an individual mark
includes each member of the group using criteria to evaluate the relative
contributions of individuals, with the marks averaged for the individual.
Set clear deadlines. Set aside a time for marking. Be careful about extending
this period through allowing students to hand in work late.
Shift the responsibility
Introduce self and peer assessment. Develop in students the skills to

evaluate their own work and that of their peers. With the students, use the
assessment criteria against which work is judged, highlighting strengths and
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Arts
weaknesses. Self-assessment increases the amount of feedback students

get. It can supplement or replace teacher assessment.
Treat each task differently
Every piece of work need not be evaluated to the same degree; a mark need
not be the outcome in every case; and every piece of student work need not
contribute to the final grade. Assessment is designed to enhance the
teaching and learning experience for the teacher and the learner, not just to
give marks.
Presentations and performances
Presentations and performances are very important in dance, drama, and

music, and presentations or displays of art works are important in the visual
arts. They provide opportunities for students to develop skills and confidence
when performing or presenting to an audience. When presentations and
performances are used for assessment purposes how the students present
or perform is as important as what they present.
Performances and presentations can be formal or informal. Class or group
performances must be timed and the purpose clearly defined. All participants
in the performance have a task to perform however, as part of teaching and
learning or formative assessment all members should have an opportunity to
perform different roles throughout the year Group presentations can be
shared among members thus allowing all members a turn at talking or
performing.
Group and individual oral presentations and performances can be very time
consuming both in their use of valuable lesson time and in marking. Too
often these presentations are repetitive and boring and the rest of the class
is not required to be actively involved in listening and responding to the
presentations.
The best approach is to allocate or allow students to choose from a variety of
topics, to develop clear criteria for presentations, and to require the rest of
the class (audience) to take notes, identify key points or write an evaluation
to enhance their learning.
Spotlighting uses individual student checklists. This method can be used to
focus on a few selected aspects of student performance or outcomes, for
example when assessing student performances in drama or music. It is best
to focus on five to six students at a time, systematically working through the
class over time. Focused questioning is a technique often used in
conjunction with spotlighting. With focused questioning teachers can gain a
deeper awareness as to whether or not students understand the concepts or
skills being taught.
Portfolios
Portfolios provide evidence for judgments of student achievement in a range

of contexts. In Unit 9.4 students are required to present a portfolio for
assessment purposes. Portfolios contain a specific collection of student work
or evidence. This collection of work should provide a fair, valid and
informative picture of the student’s accomplishments.
20
• Specify the pieces of work and keep the number of items selected by
students low. Two to three samples of the students best work is enough
for you to give a valid assessment of their achievement
• mark as you go. Ask that one of the pieces of work be completed at the
end of week three and mark it then. Do not leave the assessment of the
whole portfolio until the end of term
• use self-assessment. The student can self assess some of the samples
of work.
The portfolio does not have to be a folder or binder, it can be in the form of
an exercise book with the student marking the pages they want to have
marked as part of their portfolio, or art works that are contained in an art
folder the student has made.
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Arts
Planning and programming units

The main purpose of planning and programming is to help you to arrange
the presentation of the unit in an organised manner. This will help you to
know what to teach and when to teach it. It is strongly recommended that
you make plans with the other teachers who teach the same grade. By
planning together, you will all have better lessons and make better use of
your limited resources.
Points to consider when programming

• Which outcomes are students working towards?
• What is the purpose of this unit/topic/learning experience?
• Which learning experiences will assist students to develop their
knowledge and understandings, skills, and values and attitudes in the
subject?
• What are the indicators of student learning that you would expect to
observe?
• How can the learning experiences be sequenced?
• How do the learning experiences in the unit relate to students' existing
knowledge and skills?
• How are individual learning needs to be catered for?
• What are the literacy demands of this unit/learning experience?
• What authentic links can be made with the content of other subjects?
• How can school events and practices be incorporated into the program?
• Do the assessment methods address the outcomes and enhance the
learning?
• How can the assessment be part of the teaching and learning program?
The planning process
In this teacher guide, ideas for programming and organising each unit have
been provided. These have been arranged in steps to help you teach the
unit. The steps follow the thinking processes involved in the outcomes
approach.
Step 1 – Interpreting the unit learning outcomes
The first step is to read the unit description in the syllabus and then study the
unit learning outcomes to determine what students will know and be able to
do by the end of the unit.
You need to look at the action verb, concept and context of each learning
outcome. This will help you see what skills and knowledge are embedded in
the outcome. Remember the unit learning outcomes link to the broad
learning outcomes.
This teacher guide gives you a brief description of the main requirements of
each learning outcome.
22
Step 2 – Planning for assessment
It is necessary to study the assessment requirements of the unit early in your

planning to ensure that you teach the content and skills students need to
achieve the unit learning outcomes.
The assessment tasks are described in the syllabus. They indicate what
specific knowledge and skills students will need to demonstrate that they
have achieved the unit learning outcomes.
You will have to decide when to schedule the assessment tasks to allow
yourself time to teach the required content and time for students to develop
the necessary skills. You will also need time to mark the task and provide
feedback. Practical tasks may, for example, be broken into a series of stages
that are marked over several weeks as students progress with making their
product. It is not appropriate to leave all the assessment until the end of the
unit.
This teacher guide provides the performance standards and/or marking
guides which you must use when you are marking the tasks. This is to
ensure consistency with marks awarded to students in all schools in Papua
New Guinea. However you must develop clear and detailed instructions for
completing the task yourself and ensure all students know exactly what they
have to do.
Step 3 – Programming a learning sequence
This step requires you to develop a program outlining a sequence of topics

and the amount of time spent on each topic. You may follow the topics in the
order they are listed in the syllabus or you may cover the topics through
integrated activities or a thematic approach. If the unit involves a project for
example, you may plan to teach some theory at appropriate stages during
the project, rather than teaching all the theory before the students start the
project.
To develop your program you need to study the topics listed in the syllabus
and to think about the learning activities that will best provide students with
the opportunity to learn the content and practice the appropriate skills, and
how long the activities will take. You will have to think about some major
activities that last several weeks and smaller activities that may be
completed in a single lesson.
This teacher guide provides a sample program for each unit. It does not
provide individual lesson plans.
Step 4 – Elaboration of activities and content
Once you have mapped out your program for the term you must then
develop more detailed plans for each topic in the unit. All units require
students to be actively engaged in learning, not just copying from the board.
Make sure you develop a range of activities that suit all learning needs –
some reading and writing, some speaking and listening, some observing and
doing.
Browse through the text books and teaching resources you have access to
and list chapters, pages or items that you will use for each topic in your
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Arts
program. The text books should also provide you with ideas for activities
related to the topic. You may have to collect or develop some resources for
yourself.
Once you have sorted out your ideas and information you can then develop
your more detailed weekly program and daily lesson plans.
This teacher guide gives examples in each unit of some activities you might
like to use to ensure active learning. It also gives background information on
some of the content.
Remember that performing arts units and visual arts units

can be swapped around to make best use of available
resources. For example some classes in a school could do
Visual Arts 1 and 2, then Performing Arts 1 and 2, while the
other classes could do Performing Arts 1 and 2 then Visual
Arts 1 and 2.
24
Arts requirements
Grade Weeks Term Unit Essential resources for

activities and assessment
9 10 1 or 2 Performing Arts 1 Musical instruments, sound recordings,
and optional tape or CD player, videos of or access
enrichment to dance groups, examples of western
notation (Hymnals), movement charts.
9 10 1 or 2 Visual Arts 1 and Paint, brushes, glue. paper, printing

optional enrichment inks, examples of graphic designs,
cutting implements
9 10 3 or 4 Performing Arts 2 Musical instruments, tape or CD player,
and optional Videos of access to dance groups,
enrichment contemporary music recordings
9 10 3 or 4 Visual Arts 2 and Carving implements, fabric, fibres, wax,
optional enrichment wood off-cuts, traditional craft supplies
10 5 1 or 2 Performing Arts 3 PNG music recordings, musical
and instruments, tape or CD player
5
Option A, B, C, or D
10 5 1 or 2 Visual Arts 3 and Designs samples eg. logos, brochures,
5 letterheads, lettering guides
Optional A, B, C or D
10 5 3 Integrated unit Musical instruments, art experts,
materials for artworks, paint, fabric,
wood for framing, nails, printing
materials, paper, musical set, fibres for
making bilas.
10 5 4 Option A, B, C or D
Option unit A – Clay. cuttings & shaping implements,
Ceramics kiln for firing, pottery samples
Option unit B – Arts Samples of art works
sales & marketing
Option unit C – PNG Art show catalogues, profiles of artists
artists and musicians, newspaper articles
Option unit D – Materials for selected units
School developed
unit
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Arts
A guide to planning Arts units
9.1 Performing Arts 1
These learning outcomes link to the broad learning outcomes 1, 2 and 3.

Outcome 9.1.1: Students can use movements, gestures and sound to
communicate ideas.
This outcome requires you to teach students to use their bodies, voices and
music to express ideas in a variety of ways and to provide opportunities for
students to explore movements, body gestures, and voice and music.
Students need to practice using these performance skills to communicate
ideas.
Outcome 9.1.2: Students can demonstrate an understanding of musical
terminology and arrangements.
This outcome requires you to teach students the language of music,
including rhythmic grids and western music notation. You must provide
opportunities for students to create and perform through writing music and
singing.
Study the assessment requirements of the unit. These will tell you what
specific knowledge and skills students will need to demonstrate they have
achieved the learning outcomes.
Assessment task one requires students to perform dance steps and gestures
in time to rhythms. This task is seeking evidence that students can perform
expressive movements in time to rhythms. Their movement and body
gestures must convey recognisable ideas. Students must also be able to
develop and play rhythms that can accompany expressive movement.
Assessment task two is to perform a drama item that uses voice and body
gestures to communicate ideas in response to sounds or rhythms. This task
requires students to communicate expressively in response to sound and
rhythm. They must be able to convey ideas, messages and emotions using
voice and body.
Assessment task three requires students to write rhythms. This task is
seeking evidence that students can use rhythm grids and western notation
such as notes and time, correctly when writing a rhythmic composition.
Assessment tasks need clear instructions to help your students meet the
criteria to help you mark consistently and to help students see the relative
importance of different components of the task.
26
Example of clear task instructions for Assessment Task 1

Instructions
For the first part of this assessment task you must pair up with another student.
Each of you will need to play a short but varied rhythm using a musical instrument
from those available.
While you play, your partner must perform a series of dance steps and gestures in time to the
rhythm. Your rhythm and dance must be different from that of your partner and the total
performance should be no longer that five minutes. 30 marks
The performance standards for the assessment tasks are at the end of this
unit.
In this unit students have to learn about and practice creative and expressive
movement and musical terminology and arrangements. If students study the
enrichment option they will create and perform a dance or drama using
music.
Remember students do the enrichment option if they have completed all the
core unit requirements. It could take 10 weeks for students to complete the
core unit.
Sample program
Topics Activities Assessment
Week 1–2 Warm up and warm down exercises

Health and safety Practice safe body movements
Expressive Explore potential movements of body parts
movements using dance elements
Combine movements with sound
Compose movements using a theme,
sounds or musical instruments
Week 3–5 Warm up and warm down exercises Assessment task
Expressive Identify drama in the community eg imitate 1 (week 3)
communication or depict nature, spirits, and animals
Respond to sounds and rhythm using
movement, face and voice
Use body gestures and voice to
communicate ideas
Week 6–8 Rhythm activities –clapping, beating etc Assessment task
Music Writing rhythms 2 (week 6)
Introduce and practice using simple western
musical notation
Singing
Weeks 9–10 Choose an issue Assessment task
Enrichment option Select a means of conveying a message 3 (week 9)
about the issue
In groups create a dance, drama and music
or integration of two and three of them
about the issue
Rehearse and perform the dance, drama or
music
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Arts
Resources
Charts on human body systems eg skeletal, muscular, nervous, circulation and the
vocal chords
Recorded natural sounds eg wind, humming bird,
Charts or pictures of natural environment eg birds, mountains, sea, trees
Once you have completed your unit plan you will have to consider each topic
on more detail. For example, if you have allocated two weeks for a topic that
means you have ten lessons available (five lessons per week). You will have
to develop a plan for each topic that includes in more detail what you will
cover in each lesson. Your topic plan must include a sequence of student
activities and teaching points that contribute to the overall achievement of
the unit outcomes. Your topic plan should include what you think your
students will do in each lesson, but you must remember that the individual
lessons must flow logically, one from the previous and must be adjusted
according to how students are progressing through the topic. You may
develop outcomes for the topic and for each lesson, but these must be
related to the unit outcomes.
Topic: Expressive communication (weeks 3–5)
Lesson 1 Lesson 2 Lesson 3 Lesson 4 Lesson 5

Class performances Class performances Warm up activities Warm up activities. Warm up activities.
for assessment task for assessment task Identify and discuss Work in pairs create Demonstrate facial
1 1 elements of drama. a range of facial expressions to rest
Talk about and expressions to of class.
demonstrate illustrate different Warm down
examples of moods and activities.
expressive emotions.
communication. Warm down
Warm down activities.
activities.

Warm up activities Warm up activities Warm up activities Warm up activities Warm up activities
Play drama games Continue with drama Brainstorm ideas for Complete writing Form pairs and
that focus on the games task cards. These task cards. There select one task card
voice showing Warm down should be short should be one card each. Rehearse
differences in activities rhythm and for each student in movements and
volume, pitch and movement activities the class. sounds described on
emotion from nature such as Warm down the card.
Warm down animal movements, activities Warm down
activities wind and storm activities
sounds, to be
performed in pairs.
Start writing task
cards.
Warm down
activities
Warm up activities Warm up activities Discuss In pairs or small Rehearse actions for
Each pair performs Continues requirements of groups develop Assessment Task 2
drama activity for performances based drama assessment ideas for
class on task cards task 2 Assessment Task 2
Warm down Warm down Whole class
activities x2 activities develops marking
guide for peer
assessment
28
In dance, students explore various movements, dance patterns and perform

dance movements in response to musical instruments to communicate a
message. In drama the students explore acting, mimicking or imitating
animal and nature using simple body movements which express a message
or an idea. In music they learn about rhythm and musical notation and
should apply this knowledge when writing music or singing songs.
Dance – Expressive movement
Dance is a performance art in which the body is used to express ideas,

thoughts and feelings, usually to music. It is a form of expression that uses
bodily movements that are rhythmic, patterned (or sometimes improvised),
and usually accompanied by music. One of the oldest art forms, dance is
found in every culture and is performed for purposes ranging from the
ceremonial, liturgical, and magical to the theatrical, social, and simply
aesthetic. In Papua New Guinea traditional dances have evolved in tribes of
the provinces and are used for a variety of purposes such as ceremonies,
bride price, initiation, feasts, expeditions and funerals. In Europe, tribal
dances often evolved into folk dances, which became stylized in the social
dances of the 16th century European courts. Ballet developed from the court
dances and became refined by innovations in choreography and technique.
In the 20th century, modern dance introduced a new mode of expressive
movement. In Asia dance has always been a vital component of different
cultures.
Elements of dance
Body –What is the body doing?
• body parts: hand, feet, shoulders, bones, joints and so on
• body moves: bending, stretching, twisting, circling, rising, collapsing,
swinging, swaying and shaking
• locomotor steps: carry the body from one place to another – walk, run,
skip, gallop, jump, and so on.
Space – Where is the body moving?
• levels: high, medium, low
• directions: forward, backward, left side, right side, diagonal
• pathways: air and floor patterns.
Time – How fast does the body move?
• beat: movements have an underlying pulse
• accent: force – strong or light
• speed: fast, slow, increasing or decreasing
• duration: long, short
• patterns: combinations like eight steps, run, jump, turn.
Energy - How is the body moving?
• weight: heavy or light
• strength: tight or loose
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Arts
• flow: free-flowing, bound or in balance

• attack: sharp or smooth.
Dance activities
The following are examples of activities and ideas that may be used as:
• warm up activities at the beginning of lessons, as a way of reviewing
previously explored material;
• learning activities within dance and drama lessons related to the
exploration of the elements of dance or drama.
Moving to the beat

Dance elements used – time and space.
1. Divide the class in half.
2. Half class stand still and clap eight counts: 1, 2, 3, 4, 5, 6, 7, 8. The other
half of the class dance in time to the beat in general space.
3. Swap over the groups' activities and repeat.
Clap groups of:
• four beats
• two beats;
• accent a selected beat, and the walkers have to stamp on the accent –
for example, 1, 2, 3, 4, 5, 6, 7, 8, or 1, 2, 3, 4, 5, 6, 7, 8, 9, 10.
Group sculptures
Dance elements used – body awareness and relationships.
Class move in general space to music. Students may move in their own
ways to the music, or the teacher may specify the locomotor activity, such as
walking in zigzag pathways, skipping, tiptoeing.
4. Teacher stops music and gives a 'sculpture' or 'shape' instruction – for
example, "Form groups of five and create the shape of a cloud".
5. Teacher calls a 20 second countdown to a group, ending with the
instruction to "Freeze!”
6. Teacher and students comment on the sculptural shapes the groups
have created, such as:
− use of contrasting levels
− use of round/angular shapes.
A variety of shape stimuli can be used. Choose those appropriate to the
grade and level of the students. Ideas and examples include:
• land forms, for groups of six – such as New Ireland, Island of New
Guinea, Manus Island, Trobriand Island , Karkar Island
• forms of transport, for groups of seven – PMV, car, aeroplane, boat
• bridge shapes, for groups of nine – local bridge
• food forms, for groups of three or four – such as kaukau, fish, banana,
sago, pizza.
30
Responding to action words

Dance element used – energy.
Students use non-locomotor and locomotor movement to respond to a series
of action words, for example, jump, leap, hop, shiver, fall, collapse, spin, and
twirl.
Teacher encourages students to interpret the action words in various ways.
For example, "Show me how many ways you can 'collapse' with your whole
body and body parts. Can you collapse quickly? S–l–o–w–l–y? Collapse
because of a storm”.
Warm up different body parts

Dance element used – body awareness.
7. In a circle, students take turns at leading the class in isolating and
moving a body part. For example, flicking hands, shrugging shoulders up
and down, flexing and extending the foot.
8. The rest of class observes the leader, and then follows the leader by
repeating the action.
Incorporate locomotor activity with the body part isolation, such as walking
clockwise around the circle while flicking wrists.
Follow the leader

Dance elements used – relationships and space.
9. Students form pairs and chose one to be the leader.
10. While travelling in general space, the follower copies the leader's dance
movement. The aim of this activity is for the pair to work together, so the
leader's movement must be easy to follow.
11. On a teacher cue (such as a drumbeat or a clap), both stop and do a
jump turn to face the other way, with the follower becoming the new
leader.
12. Repeat.
Use this activity to explore spatial floor pathways. Ask the leaders to explore
various pathways – such as circular or zigzag – using a variety of locomotor
activities.
Name dances
Dance elements used – body awareness and space.
13. Individually, students write their first name in the air (that is, makes an air
pathway) using a different body part for each letter. For example, start
with chin, then use elbow, then head, then knee, and finish with bottom.
14. Repeat until student is familiar with that pattern.
15. Students get together with a partner and teach one another their name
dances.
Actions for letters game

Dance element used – relationships.
1. Students form a circle.
2. Teacher calls the alphabet in sequence.
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Arts
3. When a letter in students' names are called, they move into the centre
using a dance movement, connect with others with the same name
letters, and freeze.
4. When teacher gives a drum beat, the frozen students dance back to their
places in the circle keeping in time with the rhythm of the drum
5. Repeat for all letters, with students responding to all the letters in their
name. For example, a student named 'Robert' would have to dance in
and out six times.
Drama – Expressive communication
Drama is a performance art and is the re-enactment of real and imagined

events and situations through role playing and acting out.
A drama lesson usually has 4 parts:
• warm-up
• development of activities
• rehearsal and performance
• warm-down and reflection.
Drama activities
Actors always warm up before voice work. A tense body makes a tense
voice, which is less flexible and more likely to get tired. Ideally, they do a
general warm-up first then extra relaxation.
Being relaxed
Lie flat on your back on the floor, tense and then relax the muscles in one
part of your body at a time. Start by curling your toes up tightly, then
releasing them. Move on up your body. Lastly, screw up your face tightly,
and then relax it
Breathing deeply
Your voice is made by your breath vibrating your vocal cords. Your vocal
cords are in your voice box, in your throat. The more breath you have and
the better you control it, the more you can do with your voice.
Lie flat on your back on the floor. Put one hand on your chest and breathe
slowly and deeply in and out. Feel your hand rise and fall. Now put the other
hand just below your rib-cage. Breathe in again. This time, once your chest
has risen, try to make your other hand rise. If you feel dizzy, wait before
trying again.
Saving your breath

Forming the habit of breathing deeply takes practice. Lying down, draw a
slow, deep breath. Breathe out saying "Aaaah" for as long as you can.
Notice how the strength and quality of the sound change as you run out of
breath. Do it several times. Try to breathe out in a more even way so the
sound fades more smoothly and lasts longer.
32
Making sounds
Your lips and tongue shape your voice as it comes out of your mouth. This
exercise makes you think about sounds and how you make them. It helps
you to speak clearly and not trip over words that are hard to say.
Yawn, making a yawning noise as you do it. Make the noise continue until
you have breathed out completely. Do it again. This time change the noise
by making shapes with your mouth.
Voice projection
This exercise demonstrates to the students how important it is to project their
voices.
Place three branches or boxes in front of a row of students. One about 3
metres away from them – the second about 3 metres away, the third about
7–10 metres away (this can obviously be changed to suit the physical
environment of the class).
1. Ask each student to look directly at the first branch or box and say their
name and the name of their favourite animal.
2. Instruct the student to say the exact same things to the second branch or
box.
3. Would the student speak with the same volume to the second branch?
Of course not – the "person" is further away.
4. When asked to address the third branch or box, he/she obviously should
be projecting his voice as loud as he can.
5. After all the class has addressed the branches or boxes, let them know
they were really acting in a play just then – reaching the first three rows,
the middle rows, and the back rows of the audience.
Music
Music is the art of combining sounds to create beauty of expression and

feeling
Elements of music
Rhythm is a sequence of sounds and silences of different lengths usually
controlled by an underlying beat. When we listen to a piece of music or a
song, we feel a rhythm – a regular pulse or throb like the tick of a clock. This
beat or rhythm is what makes us tap our feet or nod our heads in time to the
music. Rhythms can be written down and to do this there are signs and
symbols used all around the world.
Pitch is the relative highness or lowness of the sound
Tempo is how fast or slow the music is moving
Volume is how loud or soft the music is.
Instrumentation is usually thought of in terms of the sort of instruments
playing and how many are playing at one time
Melody is different pitched sounds
Harmony combines sounds of different pitch
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Arts
Expression is brought about by musical controls such as loudness, smooth

flowing sound or short, sharp sounds
Timbre (tone colour) involves how the sound is made and how it is produced
by instruments
Form is how the piece of music is planned overall, e.g. in a piece of music
there may be repetition, an introduction, a verse and chorus.
Some common forms of music are overture, symphony and suite.
Style is about how the elements of music are organised. Style depends on
culture, the period, the composer, the instruments used to play the music.
Expression is the human emotion and expression that makes music
interesting.
Ideas for teaching about rhythm and musical notation

The steady underlying pulse in music is known as the beat.
Beats usually fall into groups of two or three combinations The rhythmic
pattern in music is the pattern that occurs by combining sounds and silences
of varying lengths.
Not all the sounds of music are regular, even though the pulse beat might be
regular. Some sounds (notes) are longer than others. The arrangement of
sounds (notes) into different lengths and patterns gives us the rhythmic
variations found in music. In written music the length of the note or sound is
shown by its shape, colour or pattern.
One type of notation is called grid notation because it uses a grid or graph to
indicate when notes should be played.
Each column represents a beat of equal length. Each box represents a

sound. There are two sound patterns happening at once in the grid above,
which represents two different instruments or types of sounds. The rhythmic
piece also has bar lines indicated by the darker lines. This divides the music
into bars of two beats each. The first beat of every bar should be a strong or
loud beat. The other should be softer.
You can draw some grid notations on the board and have students practice
clapping or beating the rhythm.
Then you can get students to notate a rhythm that you clap or beat.
Students can then use grid notation to write their own rhythms.
Activity: Counting through the rhythms

• Ask student to count as evenly as they can to 4 like this:
1 – 2 – 3 – 4, 1 – 2 – 3 – 4.
• Repeat the counting over and over again.
• Try to make sure each number is evenly spaced.
34
• Do not count like this: 1 ... 2 ... 3 4 ... or any other uneven time. It doesn't
matter how fast they count, but they should keep the numbers evenly
spaced.
• They are counting 4 beats in a measure, so each number is the value of
a quarter note.
• Now, while they are counting, clap your hands only when you say "1".
• Hold your hands together to simulate holding the note until you have said
4, then clap again on 1. You are now "playing" a whole note!
• The students are using hand claps as their "instrument."
• Now ask them to clap on each count. They are "playing" quarter notes.
• Continue to count 1 2 3 4, but clap an extra time between each count. It
might help to say "1 and 2 and 3 and 4 and" so you stay even. Once you
get this down you are clapping eighths! You've divided the note into eight
even pieces!
• The class can clap the rhythm that each student has written using grid
notation.
A different way of writing down sound lengths is to use a symbol for each
different note length to show when notes should be played. This is known as
western notation.
whole note – four beats long eighth note – half a beat long
half note – two beats long sixteenth note – quarter of a beat.
quarter note –one beat long
It's confusing to think of something being an eighth of a beat, and your

students may wonder why a note that is one beat long is called a quarter
note. Why wouldn't it be called a whole note, since it's a whole beat? It is
because notes are named based on the length of time they are played within
a measure, not based on how many beats they are.
You can tell your students to think of a measure as a whole orange, in that it
can be cut into quarters (4 pieces), eighths (8 pieces), and so on. A whole
note is called a whole note because it is played and held for a whole
measure. A quarter note is called a quarter note because a full quarter note
takes up exactly one quarter of a measure.
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Arts
When students understand why the notes are named the way they are, you
can show them a different version of the chart:
whole note fills a whole measure (semibreve)
half note played for half a measure (minim)
quarter note one quarter of a measure (crotchet)
eighth note eighth of a measure (quaver)
sixteenth note sixteenth of a measure (semiquaver)
These symbols have different names as shown. A one-beat note is called a

crotchet, a two-beat note is a minim, and a four-beat note is a semibreve.
It is not necessary to spend too much time on western notation. The syllabus
requires students to be able to use simple western musical notation only.
Many listening and movement activities involving rhythmic patterns should
precede the introduction of western notation.
Elements of western notation
Staff Five parallel, equidistant lines with spaces in between.
BAR LINE
Bar lines A vertical line placed in a STAFF to mark off MEASURES
Measure Part of a STAFF set off by BAR LINES

.
Clef Musical symbol that names lines and spaces. There are two :
TREBLE Clef and BASS Clef
Treble Clef
Bass Clef
– Also called the "G" clef because the loop at the bottom wraps
around the line on a staff for the 'G' note above middle 'C'.
Treble clef
– The Lines designate the following notes, in order from the
bottom, up: E, G, B, D, F – This is easily remembered by using
the mnemonic "Every Good Boy Does Fine"
– The spaces are for the notes F, A, C, E, in order from the
bottom up.
36
Bass clef – Also called the "F" clef as the dots are placed above and
below the line marking 'F' below middle 'C'.
– The lines are labelled G, B, D, F, A or
"Good Boys Do Fine Always"
– The spaces are called A, C, E G or "All cows eat grass"
Ledger
Lines added above or below the staff. In the picture (left)
lines
both notes with ledger lines indicate middle C.
.
All
C to C to C
together:
Pitch and melody

Melody is a series of different notes (pitch) that can be called a tune. The
pitch is joined to a rhythmic pattern that gives us the melody. Different
pitches are represented by seven letters of the alphabet:
C D E F G A B
Solfa scale
The solfa scale is used when students learn to sing scales: For example (C
scale)
C D E F G A B C
doh ray me fah so lah te doh
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Example of an activity
Clap the following rhythm thinking of the Christmas song "Jingle Bells. Sing
the following rhythm using the solfa scale.
Students write a simple four bar melody, which they sing individually and in
groups.
Using the voice as an element of music – teaching singing

Learning to sing is the result of many repeated attempts to imitate sounds
made by others.
Two essential components are:
• a good model to imitate (teacher/parent/ student)
• many opportunities for the student to hear his/her own voice individually,
enabling comparison with others.
Singing in tune, like other fine motor skills, can be developed only through
practice. An atmosphere which is constantly supportive and encouraging is
essential.
Selecting songs
When choosing songs to teach your class, consider whether a song has:
• a comfortable range
• suitable words
• melodic appeal
• emotional appeal
• rhythmic appeal
• a single melody line.
A good test of a song's appeal is whether you, the teacher, like it, can
remember the words and can sing it without too much difficulty. You should
check the content of lyrics so that no stereotyping or discriminatory language
is included. Some songs in the repertoire should be simple and easy to
learn, enabling students to feel a sense of achievement. Other songs should
be chosen because they are more challenging, and through practice will
extend the student’s vocal abilities.
Vary the character of the songs in the repertoire. Folk songs, national songs,
songs of respected composers, art songs and popular songs of good quality
should be included. Material selected should reflect the background of the
students involved. Teach many songs but give attention to perfecting a few
for special performances, working on expression, dynamics, clear diction,
simple instrumental accompaniments such as ukulele, guitar, keyboard (if
appropriate) and other voice parts.
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Create occasions for your students to perform. They could perform for the
principal, staff, students, parents, another school or the general community
at singsings. Frequent performances will heighten the student's motivation to
sing at their best, especially if they are recorded on audio or video.
It is very important that PNG students enjoy and are proud of singing songs
from their own culture (in tok ples) and from other cultures in Papua New
Guinea. Singing is a very enjoyable activity and it encourages students to
co-operate and make them feel that they belong to a community.
Teaching the song

Every song is a piece of art and should be appreciated as such. Therefore,
even the shortest songs should be performed musically, i.e. with correct
pitch, rhythm, diction and expression. The quality of the model provided will
directly affect the student's final performance. If the teacher lacks confidence
in singing, a melodic instrument may be used to assist with the teaching of a
melody. Add interest to music lessons by varying the method you use to
teach a song.
Parts of a singing lesson

Preparation – Before a singing lesson there are several things to be done:
• setting the outcomes eg students should understand the meaning of the
song and be able to sing it by themselves
• writing up the words of the song and simple notation
• deciding on instruments for the students to use eg simple percussion
instruments such as rattles, kundu
• integrating the lesson with dance and drama.
Teaching points should include:

• the words and their meanings – this is important for 'tok ples' songs
• the rhythm – common beats are 2, 3, 4, but some traditional songs have
irregular beats
• the tempo – whether the song is to be sung slowly, quickly or at a
moderate speed
• the melody– having the pupils hum the song while the teacher sings
• when to start – showing the pupils the correct time to start singing by
counting in the song and conducting the sound of the words
• after the song has been taught students should be able to perform the
new song successfully without assistance from a leader
• the teacher should listen to the student's performance checking for
accuracy and musicality
• the musical experience of the song should be extended to include
appropriate accompaniments and other additional parts.
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Arts
Enrichment option: Using Dance, Drama and Music to Become Aware of

Social Issues
Integration of dance, drama and music to create a

performance on a social issue eg HIV/AIDS, peer
pressure.
Students work collaboratively in groups. They talk
about an issue and present to the class.
The group creates a short play; composes songs
based on the issue accompanied with a music
piece. They rehearse and present to an audience.
Performance standards for assessment task one – Perform dance steps

and gestures in time to rhythms 30 marks
Assessment Very High High Satisfactory Low or no
criteria Achievement Achievement Achievement Achievement
Demonstrate Demonstrates Demonstrates Demonstrates Needs
expressive originality in originality in some originality considerable
movements in creating and creating and in creating and assistance to
response to developing a developing a developing a develop
rhythm wide range of range of few expressive expressive
expressive expressive movements in movements in
movements in movements in response to response to
response to a response to a selected sounds rhythm
wide variety of variety of and rhythms.
sounds and sounds and
rhythms. rhythms.
(less than 5
10 marks (9–10 marks) (7–8 marks) (5–7 marks) marks)
Use expressive Demonstrates Demonstrates a Demonstrates Has difficulty
movements to skilled use of a range of some expressive developing
convey an idea range of expressive movements to and/or matching
expressive movements to convey simple expressive
movements to clearly convey ideas movements with
very clearly complex ideas selected ideas
convey complex
ideas
(less than 5
10 marks (9–10 marks) (7–8 marks) (5–7 marks) marks)
Develop Demonstrates Demonstrates Demonstrates Has difficulty
rhythms to originality in originality in some originality developing
accompany creating and creating and in creating and and/or matching
expressive developing a developing a developing a rhythms with
movement wide range of range of few rhythms to expressive
rhythms to rhythms to accompany movements
accompany a accompany selected
variety of different expressive
expressive expressive movements
movements movements (less than 5
(5–7 marks) marks)
10 marks (9–10 marks) (7–8 marks)
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Marking guide for assessing the performance in assessment task two –

Perform a drama item that uses voice and body gestures to communicate
ideas in response to sounds or rhythms 30 marks
Criteria Mark
Demonstrate Degree of originality in drama /3
expressive
Response to sounds with drama actions /3
communication forms
in response to sounds Response to rhythms through drama actions /3
or rhythms
Development and refinement of drama actions /3
Drama actions show skill /3
/15
Use of facial expressions and body language /3
Use expressive Use of tone and pitch in voice /3

communication forms
to convey an idea Body gestures used to convey idea /3
Idea conveyed clearly /3
Interaction with audience /3
/15
9.1 Performance standards for assessment task three – write rhythms

using rhythm grids and western notation 40 marks
Assessment\Criteria Very High High Satisfactory Low or no
Achievement Achievement Achievement Achievement
Demonstrate the Uses correct Uses correct Uses rhythm Uses little or
ability to use rhythm rhythm grids rhythm grids grids for a no rhythm
grids to record for a rhythmic for a rhythmic rhythmic grids for a
rhythms. composition composition composition rhythmic
accurately and with few with some composition.
with skill with errors errors Uses it
no errors incorrectly
(20 marks) (18–20 marks) (14–17 marks) (10–13 marks) (under10)
Demonstrate the Uses correct Uses correct Uses western Uses little or
ability to use western western western notation for a no notation for
notation to record notation for a notation for a rhythmic a rhythmic.
rhythms. rhythmic rhythmic composition Uses it
composition composition with some incorrectly
accurately and with few errors
with skill with errors
no errors
(20 marks) (18–20 marks) (14–17 marks) (10–13 marks) (under10)
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9.2 Visual Arts 1
The learning outcomes of unit 9.2 need to be looked at carefully when

planning your program. Remember these units learning outcomes link to the
broad learning outcomes 1, 3 and 4.
Outcome 9.2.1: Students can produce arts works that communicate ideas in
the visual arts.
This outcome requires students to further develop their experiences in the
visual arts through painting, collage or mosaic and print-making. All work
produced needs to be presented for final assessment as a portfolio.
Outcome 9.2.2: Students can select and use materials and techniques to
create art works.
This outcome requires you to revise and/or demonstrate appropriate
materials and techniques for the creation of figurative paintings, collages,
mosaics, mono prints and graphic designs. Students must be provided with
opportunities to experiment with materials and techniques to produce their
own art works.
Outcome 9.2.3: Students can respond to and appreciate art works.
This outcome requires you to introduce aspects of arts appreciation through
display, discussion and evaluation of sample art works and through
developing criteria for peer assessment of students' own completed art
works.
Assessment task one requires students to create a figurative painting, a
mono-print and a collage or mosaic. They have to choose their best
examples of each and provide evidence of the creative processes
undertaken by presenting the experimental ideas and drawings developed in
a portfolio.
Each of these art works can be marked separately using the marking guide
and performance standards at the end of this unit.
Assessment task two is seeking evidence that students can identify and
apply elements and techniques of graphic design to design and produce a
poster using the design process.
During the course of the unit you will have to make sure students are taught
the necessary skills and given opportunities to apply them to different topics.
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Students will create three art works (one painting, one mono-print, one
collage or mosaic) and design and produce one poster.
All planning and process drawings and notes need to be presented in a
portfolio for each assessment.
Sample program
Topic/s Activities Resources Assessment

Week 1 Making and appreciating art Samples of art works
works Cardboard, paint etc for
safe practices construction and
arts portfolio decoration of portfolio
arts appreciation
Weeks 2–3 Figurative drawing and Paint brushes Assessment

Making painting using traditional Paint task 1
Artworks activities such as dance, Paper Produce one
gardening, fishing, canoe Pencils final painting
Figurative racing for inspiration. The and include
Painting emphasis of composition development
should be the human form work for the
portfolio
Weeks 4–5 Learning about and using Sheet of glass Assessment
mono-printing techniques (approximately 30cm x task 1
Making 30cm or larger)
Artworks Printing ink or oil paint Produce one
A4 paper final mono-print
Mono- Pencils and include
printing Paint brush or thin stick development
Personal resources e.g. work in the
book on print-making portfolio
Weeks 6–7 Collage techniques Cardboard for backing. Assessment
Construct a collage using Glue –PVA task 1
Making found material or Collected materials e.g.
Artworks Mosaic techniques shells, sand, sticks, leaves Produce one
Construct a mosaic using A4 paper final collage or
Collage or many small pieces of the Paper glue mosaic and
Mosaic same material Collected small materials include
e.g. seeds, broken tiles, development
bottle-tops, torn paper work for the
portfolio
Weeks 8–10 An introduction and Pencils Assessment

explanation of the design Coloured pencils task 2
Making process. Acrylic or watercolour or
Artworks Design brief for the poster tempera paint Complete poster
Design Design and complete a final and include
process poster development
work in portfolio
Graphic
Design
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Step 4 – Elaboration of content and activities
Art appreciation – analysing an art work

Studying and looking at the different ways artists approach art, can help
students in the development and creation of their own art works. It is
important that they develop the ability to know what to look for in an art work
and to be able to evaluate what they see. They should develop an
understanding of how different artists work and what techniques they use.
They should also gain an awareness of what makes a successful art work.
Describe the art work

The description of an art work should include the title, artist’s name, date of
the art work and a detailed description of what it contains including the main
subject matter or theme and what is in the foreground and background.
Someone who has never seen the artwork should be able to visualise it from
the description.
Analyse the techniques used

Students should discuss how the art work was made, including the
techniques, materials and equipment and process used.
Analyse the design elements and principles

Discuss how the composition of the art work is structured. What are the most
significant design elements and principles? How has the artist used these
design elements and principles to design the art work?
Discuss the meaning or intention of the art work

What was the artist trying to achieve? Was he/she trying to tell a story, or
make a comment or judgment? Was the artist wanting to capture images
from nature or the environment or was he/she creating their own images?
Students should look for clues, for example as the title and date of the art
work could have historical significance.
Evaluate the artwork

What are the qualities of the art work? What does the student think are the
successful and unsuccessful elements of the art work? Do they like the art
work, if so, why? Do they dislike the art work and why.
Figurative painting
Group/class activity:
• discussion /demonstration or viewing of art works, slides, posters or
books
• subject selection /idea generation of image
• after subject selection students draft drawings of possible ideas by doing
thumbnail sketches.
• select best idea and create a larger drawing/s.
When students are happy with their final drawing they will transfer their
model drawing to produce a painting depicting figurative forms.
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Mono-print
The process and techniques of print-making is very complex but the purpose
is to obtain multiple copies of a single design. However, in mono-printing you
expect to obtain only one good print.
Equipment needed for each student includes brush, sticks, large glass,
printing ink (oil or water-based), roller, rags, old newspapers, a number of
reasonably sized sheets of glass, about 30cm x30cm, bread knives or
palette knives, spoons.
Observing samples of mono-prints

Students observe samples of types of mono-prints and other prints produced
by various artists. Briefly discuss and describe the techniques employed in
the artworks.
Creating a mono-print over a drawn surface

1. Set up the table.
2. Scoop printing ink on to the glass plate with a knife.
3. Spread the ink on the glass plate using a roller (inking the plate).
4. Draw a selected image on the glass plate using a sharp stick, or pencil
heads.
5. Carefully drop the print paper over the drawn surface.
6. Keep one hand pressed steadily over the paper. With the other hand
using the back of a spoon as a press rub gently and steadily over the
back of your printing paper.
7. Remove your paper carefully on one end to reveal your print.
8. Dry your print away from the work bench or table.
Note: A roller press can be used in place of the spoon in step 6 if available
Drawing over paper on inked surface

In this activity you may use a pre-drawn material or produce a fresh drawing.
1. Set up the table.
2. Scoop printing ink on to a glass plate with a knife.
3. Ink the plate with a roller.
4. Carefully drop printing paper over the inked surface.
5. If you are using a pre-drawn material carefully place that drawing over
the printing paper, with the image side facing you. Use fresh paper for
drawing over the printing paper.
6. Place your other hand over the pre-drawn material steadily while you
trace along the lines and shades or shapes of your image. If you are
using a fresh paper, draw directly over the fresh paper while it is resting
over the printing paper.
7. Carefully lift from one corner to reveal your print and remove gently.
Note: Teachers may decide to explore other mono-printmaking techniques

with their classes if time and expertise are available.
• Show correct methods of cleaning with water and oil based inks.
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Arts
• Remind students on the use of printing inks and solvents for cleaning.
Most are toxic (poisonous). It should not be deliberately inhaled or
swallowed. Care and safety rules must be observed including care of
tools and equipment used.
Making a collage
Collage is a form of art that is created through a process of gluing found
materials to create a picture on a two-dimensional surface. Pictures,
photographs, old calendars, magazines and leaves, grasses, sand or fabric
can all be used.
Materials that can be used for collage include cardboard for backing, glue
(PVA or wood glue), collected materials eg shells, sticks, leaves, old
newspapers, posters, fabric, sand etc.
Observing samples of collage

Observe and discuss samples of work in this technique by various artists.
Teachers may show some examples prior to the lessons. Leading questions
may include: e.g.
• Who created this work?
• What materials are used?
• What was the artist trying to tell us?
• When was it created?
Creating a collage
Teacher gives a brief for a collage work (an instruction) to create a collage
using found objects and glue. Students work individually with their collection
to produce an art work in collage.
Creating a mosaic
Mosaic is a process of producing pictures or patterns by cementing together
small pieces of stone, broken glass (bottles) of various colours, broken tiles
or pipes or other natural materials such as pieces of shells to a flat surface.
Almost any material that is permanent and reasonably light in weight can be
made into a mosaic.
Observing samples of mosaic

Students discuss mosaic works and artists. They can use reference books to
research famous mosaics in Papua New Guinea such as the creation of the
mosaic on the National House of Parliament, mosaics from thousands of
years ago such as Roman or Greek mosaics, or mosaic techniques used in
Asia. Students should look at examples of local mosaics such as in schools,
churches or buildings where possible.
The students may create a paper mosaic or a permanent mosaic, depending
on the availability of materials and whether or not they can be collected. A
permanent mosaic can be made with broken tiles, stones or glass using
cement or tar to hold pieces together.
A working design must be done before this activity.
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Paper mosaic
1. Develop design and transfer it to cardboard or paper
2. Cut coloured paper to desired strips, shapes and sizes
3. Assemble the coloured paper pieces to form the image covered
completely on the design to form the image.
4. Glue individual pieces, section by section to arrive at a complete art
piece as sketched.
Materials: Glue (PVA, Wood), coloured paper, brush, drawing cardboard, a
pair of scissors.
Permanent mosaic
*** Remember that permanent mosaic will be exposed to all weather
conditions and may be viewed by the public.
*** Safety in working with glass, stones, ceramics and tiles must be
emphasised including the safe and correct use of tools to break, cut and
shape permanent materials for creating the art work.
Materials for permanent mosaic: glass (from broken bottles), stone, pieces of
shell, ceramic or broken tiles, cement, marbles, wood, permanent glue or tar.
1. Break /cut tiles and ceramics to designed shapes and sizes.
2. Shape a board to desired size and create a frame to hold cementing
material/tar.
3. Transfer the working drawing onto the holding board.
4. Arrange the broken /shaped ceramic/tiles in their desired area of the
design to form the image.
5. Mix cement and cement the individual pieces to the board leaving small
gaps for cement to fill later.
6. Leave it to dry and add more cement to fill in the gaps.
The design process

A design is really what is created by the human hands. The term design is
used a lot in science and technological subjects. In art it is considered to be
the planning and sketching stages before the final product. You are not only
interested in the end product but in the initial stages of your students’
planning and preparation such as references consulted, brain storming and
sketches arranged in order of steps that lead to the final product.
The design process involves:
• doing some research into the best solution for the design brief
• doing drafts or initial sketches
• designing a product/article in response to the design brief
• making or creating the product
• appraising or evaluating the product to determine if it meets the
requirements of the design brief.
You provide a design brief, for example, create a poster to illustrate a Papua
New Guinea product. A design brief sets out the requirements for the
product or design. It should be simple and set out the requirements/
specifications clearly.
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Your students complete the following steps to create their poster.

1. Read and work out what is expected in the design brief.
2. Brainstorm to work out some images using pencil and a sketch book
3. Look for other information or ideas that is available eg newspaper,
books, images and written messages.
4. Generate more ideas from those reference and sketches, not forgetting
the letter types used.
5. Produce thumbnail sketches from ideas generated.
6. Select and produce the final idea.
7. Refine and produce a final poster.
8. Final presentation of the poster.
In producing the poster, the following elements must be considered:

• lettering, image, letter types and size, formatting, layout, balance and
relationship to particular audience they are targeting.
Elements of graphic design

A good design will:
• stop the viewer, hold their attention and make them want to read on
• show a good relationship between text and graphics
• be well organised
• show a good understanding of the purpose of the design
• communicate the message clearly
• have a clear concept.
Before designing a piece, students should think about what they like and
look for and what they don’t, when they are reading printed materials or
viewing a poster. Students should think about their own experiences as a
consumer and use them to guide them.
Line
A line is any mark connecting two or more points. Lines can have great
variety. Lines can be horizontal or vertical (stable), diagonal, zigzag or
curved. Each type of line has its own energy and rhythm which results from
the intervals between lines. At a mere suggestion of a shape, our eyes will
complete that shape in our mind. Below are various styles of lines:
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Horizontal Vertical Diagonal Curved Various weights solids and

broken lines
Lines can be used for different reasons:

• to organise information
• to direct the reader’s eye
• to separate items by outlining as with borders or by column grids
• to suggest an emotion i.e. jagged lines or curved elegant lines
• to create rhythm or patterns
• to highlight or stress words
• to connect
• to define a shape
• to create a graph.
When using lines in a design or document, they should be used in the

correct places and to serve a purpose. Unnecessary lines can be a
distraction to ideas.
Shape
Shape is defined as any element that determines form. It is anything that has
height and width. Unusual shapes will attract attention. When text is
arranged in a shape other than the usual rectangular columns it will add
interest to the layout and make it more dynamic.
There are three different classifications of shapes:
1. geometric – squares, triangles, rectangles make great building blocks for
design
2. natural – animal, plant, human – are irregular and fluid
3. abstracted – simplified versions of natural shapes
Shape organises elements. The

use of a shape can lead the
viewer’s eye through the design to
help the viewer understand the
concept. The example to the right
shows the change from a square
to a circle. The eye follows the
design looking for the beginning
and the end. Sometimes the eye is
drawn to the largest object or the
different object as with a group of
squares and one circle.
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It is easy to take the importance of shape for granted when we are designing
because we are used to seeing shapes of all sorts and in interpreting them
in everyday life. Use shape to hold the attention of the viewer and lead their
eye through the design. Train students to be sensitive to the shape created
by all the elements on the page.
Size
How big or small the elements are on the page is important in attracting
attention. Size can be used to organise information from the most important
to the least important. An example of this technique would be in an
advertisement with a large headline and smaller copy.
Size plays an important role in making a layout functional, attractive and
organised. Consider the following:
• print or type size needs to be very large if it is used on a poster or sign
• older persons or children who are learning to read require a larger type
size for ease of reading
• large objects advance and smaller objects recede into the design.
Space
Space is the distance or area around or
between things. When designing a
layout, consider not just which items will
go on the page, but also their
relationship to each other in their
placement on the page. White space is
one of the most important
considerations in graphic design. The
viewer’s eye needs to be able to walk
through the layout easily. White space
helps the reader’s eye follow the content
and focus on the focal points easily. If
there is to be a lot of print on a page,
allow sufficient white space to give the
eye a rest. When you put less space
between certain elements, it will serve to
tie them together. By using black and
white areas you will form positive and
negative shapes. It is often useful to give a 3–D look to a page. One way of
achieving this is to layer one object on top of another. When you use uneven
spacing between elements, it creates a dynamic page.
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Colour
Colour is the ultimate tool for communication. Colour will attract attention or
create a mood. Because colour can and is often misused, think carefully
about what the colour should do.
Proximity
When items are related to each other they should be grouped in closer
proximity. Items that are not directly related to each other should be
separated. The space between items to indicate the closeness or
importance of the relationship should be varied.
Alignment
To keep the entire page unified, every object should be aligned with the
edge of the page or with another object. Alignment is used to control the
edge and path for a reader to follow. If too many alignments are used, the
eye will become confused. Alignment creates balance.
Balance
Balance refers to an equal distribution of weight. It is essential to a
successful layout. Good balance occurs when all elements on a page look
like they are well grounded – not too heavy on the top or the bottom. There
are two approaches to balance – symmetrical and asymmetrical.
Symmetrical balance
communicates strength and
stability – it is more formal
and conservative. When
items are arranged evenly
around the axis of the page to
achieve a mirror image, this is
called symmetry.
Asymmetrical balance brings
contrast, variety, movement,
surprise and informality and
dynamics to a page.
Asymmetry is effective in
pieces used for entertainment
as well as information, and is
less formal than symmetry.
When dissimilar objects of the same weight are arranged on opposite sides
of the page, this is asymmetry. Asymmetry uses colour, value, size, shape
and texture as balancing elements. Dark areas look heavier for example, so
a small black shape would balance a large white shape.
Tension
Tension is achieved with the ignoring
of balance intentionally. Sometimes it
is used to communicate the feeling of
the design i.e. fear, discord,
break
uneasiness; sometimes it is used to
create interest by throwing a design
out of balance.
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Repetition
Repetition is a stronger form of being

consistent. Examples of elements that are
often repeated are: bullets, typefaces, lines
and colours. Repetition ties elements together
consistently.
Contrast
Contrast is used to attract the eye – to
exaggerate and emphasise. Using strong
black against white does just that. Contrast
can be added in many ways – ruling lines,
colours, space, and directions. It is an
important tool to communicate ideas and is
easy to use. Think in terms of large or small,
black or white, straight or crooked, thick or thin, smooth or rough. Choose
the combination that best represents the mood or idea which you wish to
communicate. Life without contrast would be boring. A design without
contrast would be boring as well.
Negative and Positive Space

Positive space dominates
the eye, whereas negative
space is more passive –
often the background. The
designer must always
consider the left over space
or background.
Unity
All the elements look like they
belong together. In design you can
use each element independently,
but the power lies in the
imaginative coordination of all the
elements. Unity plays a
fundamental role in any design. It is
achieved by using a grid with
grouping and repeating. Use a
consistent border, column width,
same space between columns,
same print and size, page
numbers, headers and footers.
When a grid is functioning properly,
the reader gets the feeling that the
design works together. Variety
keeps unified layouts from being
52
boring. Begin with a circle and then use circles and ovals in different sizes
and shapes. The elements are related and yet the variety adds interest. Use
unity to hold a layout together and variety to give it life.
Rhythm
Visual rhythm is created by repeating elements that are varied in a pattern.
Repetition unifies a piece. But without variation it becomes boring. A good
designer will balance rhythm and variation, giving the reader both repeated
elements to hold the piece together and variety to keep the interest. Rhythm
can communicate a mood or feeling. Using a regular repetition creates a
smooth even rhythm whereas abrupt changes in size or spacing add
excitement. Look at a variety of advertisements. They often use a fast
rhythm to catch and hold an audiences attention.
Harmony
Harmony refers to all the elements on
a page which work together to make a
cohesive unit. It is like a jigsaw puzzle
with all its pieces interlocking together.
This includes not only all the text and
graphic elements, but also the paper
and ink choice as well for printed
pieces.
Restraint
Simplicity in design often produces the strongest results. Refrain from
wanting to try everything every type of letter in one design. Too much on a
page confuses the reader and results in the message not being
communicated effectively. The result is not visually pleasing.
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Performance standards and marking guide
You must use these performance standards and marking guide for
assessing the tasks
Performance standards for assessment task 1 – Produce a figurative painting, a mono-print

and a collage or mosaic showing evidence of the creative process undertaken.
(3 art works – 25 marks each ) Total marks: 75
Criteria Very High High Achievement Satisfactory Low or no
Achievement Achievement achievement
Creativity Student has taken Student has used Student has relied Student has not
the techniques being some of the on copying from made much attempt
Develop works with studied and applied techniques studied some of the resource to meet the
evidence of original them in a way that is and has used source material. There is requirements of the
thinking totally his/her own. material as a starting little evidence of task.
The student’s point The student’s personal creativity,
personality comes personal style is but the student has
through strongly. evident in some of completed the
the work. assignment.
(5marks) (5 marks) (4 marks) (2–3 marks) (less than 2 marks)

Skills and techniques Process and final Process and final Process and final Student did not
work clearly work demonstrates a work demonstrates complete all
Select and use demonstrates skilful degree of skill limited skills but the requirements of the
appropriate use of learned art work was task. Lacked success
techniques and techniques completed in mastering skills
materials required.
(10 marks) (9–10 marks) (7–8 marks) (5–6 marks) (0 – 4 marks)

Composition and Work is expressive Works are Some examples of Works lack almost all
colour and detailed. expressive and expressive work with detail OR it is
Shapes, pattern, somewhat detailed. evidence of some unclear what the
Create visual impact shading, texture and Little use has been detail in most works. final work is
in a completed art appropriate use of made of pattern Message is not intended to be.
work through the colour are used to shading or texture. visually strong
use of composition create interest in the Communication of a
and colour. completed works. message is evident.
. Student has great
control and has
experimented.
(10 marks) (9–10 marks) (7–8 marks) (5–6 marks) ( 0 – 4 marks)
Marking guide and performance standards
You can use the following marking guide to mark the art works students
have completed for assessment task one. You can tick the appropriate box
and then look at the students’ overall achievement and give an on-balance
assessment. If, for example, the student gets a tick in the High Achievement
box for most components of figurative painting task, then you would give the
student a High Achievement and a mark for the figurative painting between
18 and 22.
54
Sample marking guide for assessment task one - Producing three artworks: a
painting, a mono-print and a collage or mosaic 25 marks each
Criteria VHA HA SA LA
Creativity originality of figurative painting 3
Develop works personal style 3
with evidence development of original ideas 3
of original innovative use of materials in painting 3
thinking. message communicated though creative ideas 3
originality of mono-print
personal style
development of original ideas
innovative use of materials in mono-print
message communicated though creative ideas
originality of mosaic or collage
personal style
development of original ideas
innovative use of materials in mosaic or collage
message communicated though creative ideas
Skills and use of techniques for figurative painting 3
techniques use of materials for figurative painting 3
Select and use skill development 3
appropriate safety requirements met 3
techniques use of techniques for mono-print
and materials use of materials for mono-print
skill development
safety requirements met
use of techniques for mosaic or collage
use of materials for mosaic or collage
skill development
safety requirements met
Composition composition of figurative painting 3 3
and colour balance 3
use of colour 3
Create visual contrast 3
impact in a visual impact 3
completed art catches the eye 3
work through message
the use of composition of mono-print
composition balance
and colour. use of colour
contrast
visual impact
catches the eye
message communicated
composition of mosaic or collage
balance
use of colour
contrast
visual impact
catches the eye
message communicated
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Arts
Performance standards for assessment task 2 – Produce a poster using

graphic design processes 25 marks
Criteria Very High High Satisfactory Low or no
Achievement Achievement Achievement achievement
Creativity Most of the Several of the The graphics Solely

graphics used graphics used are made by the dependent on
Develop works reflect an reflect a high student, but are creative ideas
with evidence of exceptional degree of based on from other
original thinking degree of student derived images sources. No
student originality and a or ideas of evidence of
originality and a personal style. others. Very personal
personal style. little personal originality
creativity
(5 marks) (5 marks) (4 marks) (2–3 marks) (under 2 marks)

The graphic The graphic The graphic The graphic
Skills and portfolio portfolio portfolio portfolio fails to
techniques includes all includes all includes some include required
required required required elements.
Select and use elements as well elements. elements. Graphics do not
appropriate as additional Graphics are Graphics are relate to topic.
graphic design information. clear and easily clear and are Skills required
techniques Graphics are understood in a easily are not evident.
very clearly neat logical understood. Lettering is
Communicate presented in a manner. All Lettering is often messy and
message neat logical lettering is well consistent but hard to read.
visually manner. All formed and sometimes not
lettering is very easy to read. easy to read.
well formed and Message Message can be
easy to read. communicated understood.
Message clearly through
communicated visual work
clearly through
use of
interesting
visuals
Completed Completed Completed Incomplete
Apply the design portfolio portfolio portfolio portfolio of
process to contains strong includes containing design process
produce a research, development of development of with little detail.
poster Many ideas to poster through poster through Sketches and
select from, research, ideas research, ideas thumbnail
thorough development, development, drawings
development of refinement of refinement of simplistic and
chosen idea. idea, final idea, final lacking in
Final presentation presentation exploratory
presentation and evaluation. and evaluation. thinking.
evident of Final poster Some sections No evaluation
exceptional contains all of process thin
degree of elements and poster not
understanding required. visually strong
of process. Evidence of Little if any
Evidence of evaluation evaluation
constructive
evaluation
You can use the following marking guide to mark the poster the students
have completed for assessment task two. You can tick the appropriate box
56
and then look at the students’ overall achievement and give an on-balance
assessment. If, for example, the student gets a tick in the Satisfactory
Achievement box for most components of the assessment, then you would
give the students a Satisfactory Achievement and a mark for each art work
between 12 and 17
Sample marking guide for assessment task two: Produce a poster using
graphic design processes 25 marks
Criteria V H S L
H A A A
A
Creativity originality of graphics
Develop works personal style
with evidence of development of original ideas
original thinking message communicated
Skills and clearly presented
techniques graphic design techniques used
design skills
Select and use formation of letters
appropriate easy to read lettering
graphic design format catches the eye
techniques composition of poster
balance
Communicate use of colour
message visually contrast
visual impact
material used
message communicated clearly
Design process design brief requirements met
Apply the design research undertaken
process to many ideas developed
produce a poster. refinement of chosen idea
poster design completed within time frame
evidence of constructive evaluation
presentation of portfolio
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Arts
These unit learning outcomes link to the broad learning outcomes 1, 2

and 3.
Outcome 9.3.1: Students can demonstrate an understanding of traditional
aspects of dance, drama and music.
This outcome requires you to encourage students to expand their knowledge
of traditional forms of dance, drama and music in their local communities.
Outcome 9.3.2: Students can develop skills in performing dance, drama and
music.
This outcome requires students to learn and develop basic skills when
creating a dance, a drama or in composing a musical piece. They must be
able to demonstrate a range of traditional skills in their performances and
teachers will closely assist students in developing these skills.
Outcome 9.3.3: Students can create and perform traditional dance, drama
and musical items.
This outcome requires you teach students about various traditional dance,
drama and music forms. You should provide opportunities for students to
create movements, plays, words/lyrics of a song and rhythms based on
traditional movements or music forms.
For assessment task one students create and perform traditional dance and
drama accompanied by traditional music.
During the course of the unit you will have to make sure students learn about
traditional movements and music forms and create and perform a dance, a
drama or a music piece based on these traditional forms.
Teachers and students are encouraged to make use of local experts in
developing traditional dance, drama and music forms.
The performance standards and marking guide for marking these
assessment tasks are at the end of the unit.
Assessment task two is a test on aspects of traditional dance, drama and
music. A sample test is provided on pages 69 and 70.
58
Sample program
Topics Activities Resources
Week 1–2 Compare and contrast traditional Traditional events

Traditional dance dances Local materials
Use elements of choreography to Local experts
create traditional movements Observation of local events
Perform dances based on Traditional musical instruments
traditional dance movements
Week 3–4 Compare and contrast traditional

Traditional drama drama forms
Write and perform plays or tell
stories based on traditional drama
forms
Week 5–6 Papua Compare and contrast traditional

New Guinea music music styles and instruments
Create music using traditional
instruments
Sing traditional songs
Weeks 7–10 Enrichment option
Refer to the syllabus content for guidance as to activities.
In this unit students learn about traditional dances, drama and music in their
own communities or own cultural settings and the traditional aspect of
acquiring skills in certain areas eg dancing is valued amongst the local
community and handed down from generation to generation. In some
communities these values are practised within a tribe, clan or family groups.
The main activity is to create and perform traditional dance movements,
drama and music.
Sample activities/assignments
• Collect photographs and illustrations of traditional dances from different
part of PNG.
• Arrange these pictures /illustrations into the four regions of Papua New
Guinea , label and paste onto a cartridge paper.
• Research, describe, compare and list various traditional dances.
• Performed by only children, women and children or by both men and
women in a selected community.
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• Explore, interview, collect, draw and display examples of traditional

costumes, accessories and musical instruments. Label these items using
their local vernacular, with a brief written description of each.
• Traditional dances:
− view a performance of a traditional dance
− list what happens in a traditional dance
− describe how the dance is organised using a choreography map.
Choreography for dance

This activity introduces the student to the concept of choreography, and the
process of writing or drawing on paper a record of a dance that they create.
Such a record helps in memorising and preserving the choreographed
sequence of movements which make up their dance, and in learning dances
created by other students.
The choreographic elements

• The body, with focus on body parts, actions, position of the body.
• Space, with focus on levels, directions, relationships, projection,
grouping and pathways.
• Time, through the use of accent, rhythmic pattern, duration and tempo.
• Energy, with focus on movement quality such as 'strong' and 'frantic'.
Dance consists of a combination of these elements. It is difficult to isolate
any one of them.
Sample activity
Observe a traditional dance or video of dance from other parts of the world.
Identify what is done in groups and what individually.
Identify the principal dance actions used during a two -minute sequence of
the dance you are observing. Discuss how these could be recorded on
paper.
Students create simple drawings to record the dance movements.
60
Teacher Demonstration: Sample choreography map
3 steps forward with

left hand to the side,
Start then right hand to
the side
3 large strides forward

with hands clapping
high above head with
each stride
2 Star jumps then

stop with hands
above head and
right heel raised
Step 1: Do an example on paper. Explain that a person moves from point A

to point B. In between these two points are countless movement possibilities
such as traditional movements, cartwheels, martial arts moves and simple
locomotor skills (walk, run, skip, jump, etc.). Create a sample map by
drawing a picture or symbol to indicate each separate movement in a
sequence of movements. After creating your example, show it to the class
and explain your choices.
One goal for your choices might be to choreograph a traditional dance, and
use your space well. Another might be to make a continuum of movement
that flows together logically from one motion to the next.
Step 2: Demonstrate studying and learning your example map. Put your
paper on the floor in your own personal space. Study your example in front
of them. Explain that your goal is to memorise it.
Step 3: Try to do the choreography without looking. If you must look it is OK.
Explain that the goal is to memorise and rehearse the choreography until it is
second nature (that it can be done without having to think about it)
Student choreography maps

Step 1: Working alone, each student should draw their own choreography
map of traditional dance movements
Step 2: Allow time for memorising and practising the choreographic
arrangements
Step 3: Share and combine maps
Have each student exchange their map with another student. Each learns
and interprets this new map.
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Dance cards
The purpose of this activity is to give students the opportunity to
choreograph a simple traditional dance and perform it,
Students need to know what each of the listed dance steps are. For
example, they would need to know how to do a particular traditional step if
you were to put it on the cards.
Materials Needed: Make dance cards by putting about 5–6 dance steps on
each card. Make each card a little bit different so that no two groups' dances
have identical steps. You could also add "make up a move of your own" to
give the students a chance to use their creativity.
Recommended music: Any traditional rhythm music with a clear, steady
beat.
Beginning dance formation: Students form groups. Each group receives one
dance card. Group members decide the order in which to do the steps.
Every member of the group should know the order well.
Give students time to practice and learn their dance. This is a wonderful
practice opportunity to perform for a small group of their peers or other
classes.
Give students options for the formations they may use when performing their
dance, facing each other, facing away from each other, all facing the same
direction. Remind them that they can use forward, backward and sideways
movements and that all dancers do not always need to be going in the same
direction. Be sure to remind them to plan on what to do with their arms.
Writing scripts for drama

Teachers should encourage students to write a simple script based on
traditional stories they have been told.
Below is an extract from the play Beware of the Conman by Albert Kaisava
taken from the Papua New Guinea School Journal, Junior 2, 2002
Note the way the script is structured and how is sets the scene and identifies
the characters. It also gives instructions to the actors and ideas for settings,
costumes and props.
Characters Henao (conman), Jebu (a boy), Goasa (a girl), Aunty Idau (fish
seller), vegetable seller, banana seller, peanut seller, other
sellers, policeman, customers.
Scene At the market

The sellers are setting up their stalls; Jebu and Goasa are
buying market food. Henao comes in.
Henao (Yelling through the loud speaker)

Now, listen here. As of today, I am the new City Ranger. All
market fees are now two kina.
Vegetable seller What happened to old Tau? He only use to charge us fifty toea.
Henao Old Tau is gone. This is my job now. So no complaints.
62
Jebu and Goasa look anxiously at Henao
Jebu That ranger is making a lot of noise with that loud hailer.
Henao (Still yelling through the hailer)

And anyone found littering will be fined two kina ON THE SPOT!
Is that clear?
Goasa Hey! Did you hear that? He’s even imposing a spot fine.
Jebu: Don’t worry about it. It’s not our problem. Look, there’s a lady
waving at us.
Goasa Where?
Jebu (Pointing)
Over there!
Goasa Yeah! It’s Aunty Idau.
Jebu Let’s go over and see her.
Goasa (Shaking hands with Aunty Idau)

Hello, Aunty Idau.! Are you OK?
Traditional music
There are hundreds of traditional songs and music in Papua New Guinea.
Each province has its own particular songs and dances for:
• specific ceremonial occasions such as marriage, death and mourning,
pig killing or buying, war and peacemaking, economic exchange,
payment or completion, farewell and welcome
• general or unspecified occasions
• work such as hunting and fishing(Chimbu, East New Britain, Milne Bay,
Morobe, New Ireland) , cutting trees/grass (Morobe, West Sepik), making
masks (Gulf)
• legend or historical events
• music performed inside communal or men’s house
• self amusement
• communicating sounds
• love song
• special groups such as women, men children
• music forms introduced from overseas
• modified Polynesian forms
• string bands/bamboo bands.
These songs are passed down from generation to generation and are
usually accompanied by instruments which have been made or adapted
from local materials.
The following is a list of instruments that are used in Papua New Guinea
music. A collection of these instruments can be made over time at your
school to provide the basic resources for listening and appreciation.
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Arts
• Vibrating instruments:
− garamuts made from wood or bamboo
− stamping tubes
− bamboo bands
− percussion tubes with lamella
− struck log/plan/beam
− xylophone
− penis gourd and belt
− struck shell
− coconut shell/branches/axe handle struck on ground or floor
− arrows struck against bow
− struck plastic container /tin
− jaw’s harp
− rattles (suspended seed pods, suspended shells, suspended crayfish
claws, strung coconut shells, brooms, split cane, fronds, containers)
− friction block
• drums:
− kundu
• string instruments:
− mouthbow
− monochord zither
− snapped bowstring
− string on bamboo resonator
− string band
• wind instruments:
− flute (end blown, side blown)
− panpipes (raft, bundle)
− whistle
− trumpet (end blown, side blown, conch shell)
− bullroarer
− mouth organ (harmonica)
• voice distorters:
− bamboo tube
− gourd
− split bamboo
− coconut shell.
Some of the most easily identifiable music of Papua New Guinea is based
on rhythm patterns which are unique to particular areas (e.g. garamut
drumming in Manus province). Your students are probably familiar with
music from their own region or province, but not aware of what music from
other provinces sounds like. It is important that students are given
opportunities to listen to a range of traditional music and become familiar
with music from provinces other than their own. Students are also expected
to perform traditional music or their versions of it. This is difficult to do
64
accurately. Villagers who are thoroughly familiar with their music traditions
should be invited to schools as guest speakers to demonstrate and instruct
groups of students on playing traditional music and instruments.
Students should learn traditional songs both from their own province and
other provinces. The story behind the song can be used for both drama and
visual arts and is often sung as people dance.
Suggested activities
Listening activities
Students listen to various traditional instruments (short recordings or live)
and try and identify which instruments is being played.
Compose rhythms
Students collect local objects that can be used to make music and rhythms.
Students create and write down rhythms for their instruments.
Playing instruments in groups

In groups, collect a variety of objects which can be modified and used as
instruments. Each group must collect objects and make them into the
following four types of instruments
• an instrument with strings
• a drum
• an instrument that can be blown
• percussion instruments
The group makes up a rhythm, and plays the rhythm using the four types of
instruments.
The group composes a song or rhythm using all four types of instruments.
Singing
Students learn and sing traditional Papua New Guinea songs from provinces
other than their own.
65
Arts
You must use the performance standards when marking the assessment
task.
Performance standards for assessment task 1 60 marks

Create and perform traditional dance and drama accompanied by traditional music

Demonstrate Student has Student has Student has Student has

knowledge of a demonstrated a very demonstrated a high demonstrated some demonstrated
range of traditional high level of level of level of limited
dance, drama and understanding and understanding and understanding and understanding and
music knowledge of knowledge of knowledge of knowledge of
traditional dance, traditional dance, traditional dance, traditional dance,
drama and music drama and music drama and music drama and music
forms using a wide forms using a range forms using some forms and is
range of examples of examples. examples. assisted by the
teacher. Few if any
examples used.
(20 marks) (18 – 20 marks) (14 – 17 marks) (10 – 13 marks) (0 – 9 marks)
Show creativity in Student has taken Student has used Student has relied Student has not
dance, drama and the traditional some of the mainly on copying made much attempt
music dance, drama and traditional dance; from some of the to show creativity.
music techniques drama and music traditional dance,
being studied and techniques studied drama and music
applied them in a and have used material. There is
way that is totally source material as a some evidence of
his/her own. The starting point The personal creativity,
student’s personality student’s personal
comes through style is evident in
strongly. some of the work.
Develop a range of Student Student Student Student

traditional skills in demonstrates a wide demonstrates a demonstrates some demonstrates limited
performing dance, range of traditional range of traditional traditional skills and traditional skills and
drama and music skills and techniques skills and techniques techniques in the techniques in the
throughout the in the presentation presentation of presentation of
presentation of of performance in performance in performance in
performances in dance, drama or dance, drama or dance, drama or
dance, drama and music music. music and with a lot
music. of help from the
teacher.
66
Note – This marking guide can be used progressively through the term as
students complete different activities
Marking guide for assessing the performance in assessment Task 1:

Create and perform traditional dance and drama accompanied by
traditional music 60 marks
Criteria Marks
Knowledge Research skills and identification of traditional dances, /4

drama and music from different areas
Demonstrate understanding and knowledge of a range of traditional /3
knowledge of a dance
range of traditional
dance, drama and understanding and knowledge of a range of traditional /3
music drama
understanding and knowledge of a range of traditional /3
(20 marks) music
identify similarities and differences between dances from /7
different areas
Creativity Originality when applying traditional techniques /4
Show creativity in
dance, drama and Improvisation and originality in adapting traditional /6
music movements, sounds, rhythms
Creativity in developing choreographed dance /6

(20 marks)
Originality in developing short plays or story telling /2
Creativity in developing music /2
Skills and Development and refinement of traditional skills /2

techniques
Safe movement practices /2
Develop a range of Body integrated with space, time and energy /2
traditional skills in
performing dance, Technical skills performed with expressiveness, clarity and /2
drama and music musicality
Technical skills performed with authenticity of style and /2
(20 marks)
tradition
Choreography skills /2
Facial expressions /2
Use of voice /2
Performance rehearsed /2
Performance skills and techniques /2
Total /60
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Arts
Assessment task two

Note that this test should be broken up into sections and can be done at
different times of the term when you are teaching the topic or skill. For
example the choreography question should be given to students as a
practical task when you are teaching them the topic choreography.
Question 7, which requires students to write a short script for a play, can be
done as an assignment or in class taking the whole lesson.
Sample test: 40 marks
Questions Marking guide

Question 1 2 marks One mark each for an example of a
Name two traditional instruments that are traditional instrument. Any traditional
commonly used in traditional dances in instrument from any area is acceptable.
Papua New Guinea Spelling IS NOT taken into account, eg
Koundoo drum should be marked as correct
a) because the student knows the name of the
b) traditional drum, but does not know how to
spell it. This question is assessing students’
knowledge of traditional instruments, NOT
spelling.
Question 2 5 marks Drawing should be clear and well constructed

Draw a traditional instrument and label the with details such as ornamentation, carving
parts shown
( 3 marks)
Parts labelled correctly. Labels can be in
English or tok ples (2 marks)
Spelling is NOT taken into account
Question 3 5 marks Drawing should be clear

Examples could be a feather, a leaf, a shell ,
Draw five examples of traditional bilas body paint, grass skirt, etc
Question 4 5 marks
A student observed a traditional dance from
his area and noted the following in his 5 marks for all correct
journal:
For example:
The dancers are standing in a line shaking The following two diagrams would be given 5
the rattles in their hands. With the beat of marks
the drum (slow beats) they begin to move.
They take three steps forward beginning with 7x o x o
the right leg and one step backwards with
the left leg, coming to a standing position
with their legs apart.
These movements were repeated faster as x
the beats of the drums got faster. o o
x
Choreograph (show) these basic movements 7
using simple diagrams, pictures or symbols
x –right leg
o – left leg
– direction
7 – standing position
– standing position legs apart
– standing position legs together
68
Question 5 8 marks For eight marks must:
Show a rhythm for a traditional dance in your include a key

area using the rhythm grid below show different beats
show repetition of the beats to make a
rhythm
be a traditional rhythm
Question 6
You are going to use the following short Answers:

story to write a short script for a play. Read Who would be the main character in the
the following story and answer the following play? Tabua 1 mark
questions.
What setting would you use to perform the
A True Warrior drama?
In a far away village lived a young warrior
and his sister, Tabua. Their parents had died Possible correct answers for 1 mark
a long time ago. A garden
a stage
One day, the warrior decided to go hunting. the classroom
“You work in the garden, Tabua, while I go the playground
to the forest,” said the warrior.” Be careful.
There are plenty of masalais around the What props would you need? 1 mark
area. When you see the sun go down, don’t
wait for me. Go home.” Possible correct answers for 1 mark (any one
‘I’ll do that”, promised Tabua. of these answers would get one mark)
That afternoon, there was heavy rain with A digging stick

lightning and thunder. But Tabua kept Kaukau
working very hard to finish planting her Bow and arrow
kaukau patch. She didn’t hear the masalai
coming. The masalai grabbed Tabua. She What costume would you need? 1 mark
struggled and screamed, “Aiooo! Aiooo!
Aiooo!” But it was no use. The masalai took Possible correct answers for 1 mark (any one
her away into the thick forest. of these answers would get one mark)
Costume for the masalai
Who would be the main character in the Costume for the warrior
play? 1 mark Costume for Tabua
None
What setting would you use to perform the
drama? 1 mark Would you need any special effects? If so,
what? 1 mark
What props would you need? 1 mark
What costume would you need? 1 mark Possible correct answers for 1 mark (any one
of these answers would get one mark)
Would you need any special effects? If so,
what? 1 mark Yes:
Sounds of rain, thunder
Lighting effects
Question 7 10 marks Script must include:

Write a script for a short play based on the Setting
story Characters
Directions for characters
Sound effects
Dialogue between warrior and sister
69
Arts
9.4 Visual Arts 2
These unit learning outcomes link to the broad learning outcomes 1, 3, 4

and 5.
Outcome 9.4.1: Students can plan and construct three dimensional art
works.
visual arts through creating three dimensional art works, either by carving or
construction. It requires you to revise/teach techniques of carving and
construction using a variety of tools and materials. You will need to teach
students which tools are appropriate for particular materials, and to provide
opportunities for students to plan what they want to make and apply
techniques and skills in a creative way.
Outcome 9.4.2: Students can be innovative in the use of materials to create
three dimensional art works.
This outcome requires you to encourage students to be innovative in the
selection, collection and use of a variety of materials for their carvings and
constructions. You will need to encourage students to use material in new
and interesting ways.
Outcome 9.4.3: Students can safely use tools, materials and techniques.
This outcome requires you to teach students how to use tools, materials and
equipment safely such as chisels, saws, carving knives and to teach
students what to do if there is an accident in the classroom, especially an
accident involving blood. Students need to know simple first aid and be able
to apply it to small accidents.
For the assessment task students construct and carve three dimensional art
works and develop a portfolio showing all the steps involved in the
development of their art works. They are required to plan, construct and
carve three dimensional forms using appropriate techniques and materials.
This task is seeking evidence that students can develop three dimensional
art forms. During the course of this unit you will need to give students
opportunities to practice the appropriate skills.
The performance standards and marking guide for marking the assessment
task are at the end of the unit.
70
Sample program
Week 1 Making and appreciating
three dimensional art works Samples of carvings,
safe practices sculptures, three
arts appreciation dimensional art works
2 or 3 weeks Revision of carving Carving tools such as Assessment

techniques vice, mallet, saw, chisel task
Selection of materials Materials for carving e.g. Produce a
Carving Plan and create carving timber carving and
stone include
soap development
packing foam work for the
wax portfolio.
2 or 3 weeks Construction using found Construction tools such Assessment

objects as glue, nails, wire, pliers, task(continued)
hammers Produce a
Construction Revision of construction Found materials such as: construction
techniques Drink cans, plastic art work from
Collection and selection of bottles, plastic bags, found materials
materials Styrofoam, straws, wire, and include
Plan and create construction bottle tops, cardboard development
boxes, cardboard tubes, work in the
seeds, broken tiles, shells, portfolio.
rocks
2 or 3 weeks Construction using fibres and Construction tools such as Assessment

fabrics glue, sewing implements, task
Fibres and thread, wool, scissors (continued)
fabrics Revision of construction Materials such as hessian, Produce a
techniques rice bags, felt, material construction
Collection and selection of from second hand art work from
materials clothing shops, fabric fibres and
Plan and create construction scraps fabrics and
Note: Items such as bilums include
and baskets made from development
fibres are three dimensional work for the
art works portfolio.
Enrichment
Carving
Carving is a technique where material is taken out of (carved) from the
original material until the desired form is achieved. This requires a degree of
planning, organisation and careful application of skill in the use of tools. It is
71
Arts
a slow process. As with all techniques, practice is important and students

can practice carving techniques using vegetables such as pumpkins or
kaukau before they try carving harder materials such as wood or stone.
Soft wood is a common material used for carving. This may include the
woods commonly used in the local area or others, eg driftwood, ebony, pine,
mangrove or bamboo.
Tools used for wood carving may include:
• vice, G clamps, round gauge,
• v-shaped gauge (used for tight or small corners, cutting grooves and
creating surface patterns)
• bent gauge (used for digging out)
• wooden mallet (used for removing more wood when working towards the
final shape)
• saw (used to remove surplus wood especially the outside of the shape
drawn)
• carbon paper (used to transfer carbon copy of desired shape onto the
wood)
• pencils for drawing
• chisels.
Tools used for finishing touches of the carving:
• flattish gauge (used to scrape the surface and burnish the wood)
• craft knife or blade, files or sandpaper (used to smooth the surface
edges)
• carving knives or blades (used to add decorative designs onto the
finished carving)
• shoe polish
Construction
Construction involves putting material together to form a three dimensional
art work. Students can nail, glue, tie, dowel, weld etc hard materials such as
timber or steel or scrap materials (e.g. scrap metal) to construct a sculpture
or they can assemble a combination of softer, different materials to form a
three dimensional art work.
Construction activities encourage the students to use materials three
dimensionally. This involves seeing things not only from the front as in flat
two dimensional work, but also from the sides and from behind as well.
Three dimensional items have height, width and depth, whereas two-
dimensional items have only height and width.
Materials that can be used to construct three dimensional art works include:
• wire
• cardboard
• paper
• stone
• wood
• shells
• plant materials such as pandanus
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• material
• plastic
• sand (for sand sculptures)
• fabrics and fibres.
The elements of design – line, shape, size, colour and texture should be
related to 3 dimensional art works. Students can apply the design elements
to three dimensional structures using abstract as well as realistic ideas.
Performance standards for the assessment task. 100 marks

Create a three dimensional carving, construction from found objects, and construction
using fibres and fabrics.
Skills and Always makes Always makes Sometimes makes Inappropriate choice
techniques appropriate choice of appropriate choice of appropriate choice of of tools used to
tools to complete the tools to complete the tools to complete the complete the task.
task. Materials choice task. Materials choice task. Poor use of materials
Select and reflects an extensive reflects an high level Material choice
safely use understanding of the of understanding reflects a satisfactory
appropriate materials’ properties of the materials’ level of Skills and techniques
tools, properties understanding of the applied to a low
techniques and Skills and techniques materials’ properties standard
materials applied to a very high Skills and techniques Skills and techniques
standard applied to a high applied to a
standard satisfactory standard
(30 marks) (25–30 marks) (20–24 marks) (15–19 marks) (0–14 marks)
Detailed notes and Notes and sketches Some notes and Limited notes and
Design process sketches for for original ideas sketches for ideas sketches generated.
innovative or original generated. Planning generated. Art works and
ideas generated includes such things Some evidence of portfolio not
Plan and Detailed planning as time-line, planning the carving completed within
produce three includes such things materials and tools or construction time frame
dimensional art as time-line, needed, costs Art works and
works. materials and tools Art works and portfolio completed
needed, costs portfolio completed
All art works and within time frame
portfolio completed
within time frame
(25–30 marks) (20–24 marks) (15–19 marks)
(30 marks) (0–14 marks)
Creativity Works are expressive Works are expressive Some examples of Works lack almost all
Demonstrate a and detailed. Shapes, and somewhat expressive work with detail OR it is unclear
sense of texture and detailed. Little use evidence of some what each final work
composition appropriate use of has been made of detail in most works. is intended to be.
and creative materials are used to pattern shading or Message is not
originality to create interest in the texture. visually strong
communicate completed three Communication of a
ideas dimensional art message is evident.
works. Student has
great control and has
experimented.
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Arts
Use the following marking guide to mark each of the three dimensional art
works students have completed for the assessment task. You can tick the
appropriate box and then look at the students’ overall achievement for each
task and then give an on-balance assessment for the unit. If, for example,
the student gets a tick in the Very High Achievement box for most
components of the three art works then you would give the student a Very
High Achievement and a mark between 90 and 100.
Students should have access to a copy of the marking guide.
Marking guide: Create a three dimensional carving, construction from

found objects, and construction using fibres and fabrics.
Skills and Selection of tools
techniques Safe use of tools
Safety requirements met (such as the wearing
Select and protective clothing)
safely use Selection of materials
appropriate Understanding of properties of materials
tools, Application of skills and techniques of carving
techniques and Application of skills and techniques of
materials construction
Design Detailed notes and sketches

process Many ideas developed
Refinement of chosen idea
Plan and Planning (include time-line, material and tools
produce three needed, costs)
dimensional art Three dimensional art work completed within
works time frame
Evidence of constructive evaluation
Presentation of portfolio
Creativity Innovative or original ideas

Expressive and detailed work
Demonstrate a Shapes and texture of materials create interest in
sense of the completed three dimensional art works.
composition Experimentation with materials
and creative Message communicated clearly
originality to
communicate
ideas
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Grade 10 units
Remember these learning outcomes link to the broad learning outcomes 1, 2

and 4.
Outcome 10.1.1: Students can create and perform either contemporary
dance, drama or musical items.
performing arts through performing contemporary dance or drama or music
items. Students should be provided with opportunities to experiment with
and explore contemporary styles of dance, drama or music and to create
performance items.
Outcome 10.1.2: Students can respond to and appreciate artistic
expressions.
This outcome requires you to revise art appreciation and how to apply the
elements of appreciation when observing a performance. You must provide
opportunities for students to be part of an audience so that they can respond
to performances, reflect on and evaluate the performance they have seen or
heard.
Assessment task one requires students to create and perform either a
contemporary dance, drama or music item either individually or in a group.
Assessment task two is the evaluation of a dance, drama or music
performance where students are required to watch or listen to a
performance. It includes:
• individual and group reflection on the process used by the performers
• individual and group reflection on the effectiveness of the medium in
conveying meaning
• students making an individual judgment or expressing an opinion on the
quality or value of the performance.
The performance standards and marking guide for marking these

assessment tasks are at the end of the unit.
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Arts
Weeks 1– 5
This unit should be used as an opportunity for students to specialise in either
contemporary dance, drama or music. This means that different groups of
students in your class may be exploring and experimenting with different
performance items at the same time. For example one group may be
working on a dance sequence, another group developing a comedy routine
and another group playing in a string band.
After an introduction to elements of contemporary dance, drama and music,
your role as a teacher is to assist groups with skills development in their
chosen specialisation, for example, helping the drama group with skills such
as improvisation, characterisation, mime and theatre skills. Ideas and
information for supporting skills development can be found on the following
pages. Students should be encouraged to use their performance item to
explore a significant social issue such as HIV/AIDS or domestic violence.
As different groups perform their dance, drama or music items, other
students should be watching and evaluating using arts appreciation
techniques for assessment task two.
Contemporary drama techniques
Improvisation
Improvisation means making up movements, actions and/or words as you go
along. With improvisation you have little time to think. Sometimes you may
have a minute or so, other times you have to respond immediately to
another character or situation.
The main qualities need for good improvisation are quick reactions, co-
operations with others and being able to accept what other people do and
build on it to keep the improvisation going. Improvisation is most vivid when
performers do not plan ahead, but really listen to other performers and
respond spontaneously to what has happened just before.
Improvisation can be used to write plays and in dance. A group of people
decide on a subject, then think of scenes or dance movements to improvise
that show different views of it or raise questions.
Characterisation
Improvisation can be used to develop characters which audiences find
believable. Actors can make up names, personalities, what the character
would wear, what they would carry. When an actor has a part in a play
he/she has to search for clues about the role. Actors look at the cast list,
stage directions, what other characters say about them and what the
character says and reveals. When creating a particular character actors
have to think about aspects such as age, sex, height, weight, movement,
body type, expressions, voice and how the character talks as well as
personality characteristics.
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Learning lines is crucial for the success of a play. The cast must know their
lines before they can act freely, move about and make eye contact. Words in
a play must be looked at in context. This means who says them, to whom,
why, what leads up to them and what is said or done next. Each speech
must be said in a way that is consistent with other things a character says or
does.
Activity
• Form groups and select a character for each person in the group.
• Practise your character then present the character to the whole class.
Characters could include a lapun man/meri; tall person; fat businessman;
police officer; doctor; frightened child.
• Discuss the different ways your peers in other groups chose to play the
same character.
Mime
Mime is movement with meaning. In mime you can create an image in your
imagination and use your body to re-create the image for the audience.
Good mime depends on the sharpness of the mime artist’s past observations
and the accuracy in recalling the observations. When you mime something
you select from your memory what you will try to reproduce. Only the
essential details of what you want to convey should be selected and the
minimum number of movements used to communicate the details to the
audience. For example to mime being a cat all that is needed is the
suggestion of licking a paw and using the paw to wipe an ear. To produce a
successful mime you need to break the action into steps and practice with
precision, pace and pause.
There are three types of mime:
• action mime – observation and reproduction of everyday activities
• character mime – miming actions with a sense of the thoughts and
feeling of a character
• dramatic mime – miming actions with a sense of the thoughts and feeling
of a character in interaction with other characters
Costume can be very helpful in mime, because it can remind the audience of
the type of person represented. Mime artists usually only choose one or two
items of apparel to portray their character, for example a hat or a jacket.
Activity
Students mime the following actions as themselves – drinking from a bottle,
throwing and catching a ball, walking with a sore leg, knocking on a door.
They then mime the same actions as an old man/meri, a child.
Production components
Sets
When it is not in use a stage is just an empty space. When a play is on, a
special acting area is usually created on the stage. This defined and
decorated area is known as the set. It may represent a particular place, or
just provide different levels and spaces for performers to work on and in. The
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Arts
easiest sets are either boxes or screens. In a box set, panels make three
sides of the room. The audience looks in from the fourth side. Panels or
banana leaves joined together and covered on both sides form screens
which stand up on their own. With different scenes on each side, you can
turn it around for a quick scene change. This is a cheap and easy way to
make a set. Painting extra scenes on cheap fabric or newspaper and pinning
them to the screen can give you additional sets very quickly. Backdrops are
painted cloths hung across the stage as scenery. They can be raised or
lowered by ropes. Seen from a distance, paint tricks used on the wood and
canvas of the set can look like stone, water or any other material. Texture
such as hessian, wallpaper or torn paper can also be added to the panels to
create an atmosphere.
The play’s author nearly always gives some clues about what the set should
be like. He/she may describe a room in detail or give a general idea such as
‘a sunny oval’. Within the needs of the plot the director knows what style of
set is required. A set can be a neutral space which comes to life with actors,
costumes and lights; it can be symbolic with colours and shapes being used
to suggest meaning; it can be realistic; or a replica.
Props
Props (properties) are all the things required to decorate the set and be used
by performers. They can be made, borrowed, hired or improvised. Not all
sets require realistic dressing. A play can be performed with very few props
used imaginatively, for example a few boxes on stage can be used as
chairs, tables, steps, shelves, hiding places. Personal props are used by
performers to help build a character. Sometimes these are mentioned in the
script. Some props are crucial to the plot, such as glasses and drinks for a
party scene, a murder weapon in a thriller.
Many props can be made from paper mache (strips of paper and glue
moulded into shapes) or from everyday things painted and decorated to
make them look different or expensive.
Activity
• Students work in pairs.
• Each selects one prop from the list and uses it as an item of central
importance in an improvisation. Remember they must establish who they
are, where they are and what they are doing to get what they want. All
these decisions will influence the way they use the prop.
Props: book, a bunch of flowers, a belt, a cooking pot, a pair of scissors, a

newspaper, a shoe, a towel, a key, a ball.
Costume
Costumes are part of the overall design of a dance or drama production.
They complete the impression made by the set, influence the way
performers feel and move and help create the mood of the performance.
Costumes can be made from second-hand and junk materials such as
bedspreads, braid, feathers, lace, fake fur, hats, laplaps, leaves or pasta.
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Lighting
Lighting in the arts is very special. Usually the main lights (house lights) dim
when a performance is about to start. Then the stage lights come on
creating a mood. Good lighting makes the best of costumes and set. Bad
lighting can spoil the whole effect.
Sound
In a theatre or stage space there is no natural background noise. Any
sounds or music needed to create atmosphere must be chosen and made.
Some noises eg the crack of thunder, may be an important part of the script.
In a musical show, singers and musicians must be heard clearly as they sing
or play. The main sources of sound are microphones, amplifier, speakers,
CD player, cassette deck and mixer. Sounds are called ‘live’ if they are made
during the performance such as someone singing or playing music. Pre-
recorded sounds are made on a tape and played back at the right moment.
The director
Although a performance seems spontaneous, it is usually carefully planned
and rehearsed. It is the director’s job to bring all the elements together
smoothly. The director:
• makes decisions about sets, costumes and acting style
• holds meetings with set designers and other technical production people
• holds auditions for roles
• schedules and conducts rehearsals
• works with the performers
Working with performers is the most demanding aspect of the director’s role.
He/she usually has a fairly clear idea about how the characters should
develop. However, performers cannot be forced to produce what the director
wants. A director must be aware of all the different techniques that can be
used in rehearsal and choose those which encourage an appropriate
performance style.
The director’s most important role is to be outside the action and judge
objectively how it comes across and if it could be improved. From a distance,
the director sees the impact various groupings and movements will have on
an audience.
The stage manager

The stage manager oversees all that happens during preparation for a
performance, such as gathering props and building the set, to make sure it is
all going according to plan. During the performance he/she takes charge
backstage and makes sure the set, props and performers are ready and in
the right place.
Suggested activity
Students form groups and write, rehearse and perform a play which must
include elements of dance and music. The theme could be decided by you
or the class or students could decide on their own theme.
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Sample ideas:
• a happy event, or sad event or scary event that happened in your
community
• a current issue
• dramatisation of a book or poem studied in English
• a myth or legend
• a traditional story
• a personal experience.
Contemporary Dance
Modern or contemporary dance has a variety of forms such as waltz, tango,
salsa, rock and roll, disco, hip-hop and break dancing and techno but it does
not necessarily involve learning steps (like, for example, ballroom). It often
concentrates more on finding freedom of movement in the body.
Contemporary dance can tell a narrative, convey an emotion, deal with an
issue or explore a theme. It can also be "pure dance", simply a connection of
dancer and movement, or an interpretation of rhythm or music.
Creating a contemporary dance
Activity
Students will visualise a memorable event and draw a picture that projects
the most important aspects of their memory. They then choose three aspects
to express by creating meaningful movements for them. Allow all students to
build their own movement story or phrase. Then ask them to vary the
movements in several different ways: change the tempo, dynamics, etc.
Encourage the students not to discuss the story from which the movements
were derived. The individual stories now take a back-seat to the group
choreography as the movements become important for themselves. Do a
brief performance of the pieces with no music.
After all of the individual pieces are choreographed, place the students in
groups of three or four and let them choreograph short dance pieces using
movements from each of their initial choreographies as a basis for the
dance. Inform them that it is now the movement that becomes important,
their own individual experiences are no longer the focus of the dance.
Encourage them to vary their movement using repetition, stillness, change of
order, etc. The pieces should be no longer than three minutes in length.
Every student should take an active role in creating the works and each
student’s original movements must be incorporated into the final dance. The
students may incorporate music at this point.
Learning the macarena

Recommended music: Macarena by Rio Los Mar
Beginning dance formation: Lines
(4 wall line dance, 16 counts)
1. Place R fist in front of face
2. Place L hand around R wrist
3. R hand across chest on L shoulder
4. L hand across chest on R shoulder
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5. R hand out in front as base of T

6. L hand on top of T
7. R hand on R shoulder
8. L hand on L shoulder
9. R fist on R hip
10. L fist on L hip
11. R hand straight up
12. L hand straight up
13. R and L hands in and out
14. Repeat
15. Repeat
16. Quarter jump to the left
Begin Again
Variations
After students have learned the 'traditional' Macarena, they could be asked
to create a new dance created using a theme of their own choice. They
would need to create hand gestures and/or non-locomotor movement which
relate to their chosen theme.
Contemporary music
In the broadest sense, contemporary music is any music being written in the
present day. In the context of classical music the term applies to music
written in the last half century or so, particularly works post-1960
There are many forms of contemporary or modern music such as:
Rhythm and blues

Rhythm and blues (R&B or RnB) is a popular music genre combining jazz,
gospel, and blues influences. It was first performed by African American
artists. It began in the late 1950s in the Memphis and Detroit areas of the
United States. The instruments used are guitar, bass guitar, keyboard
drums, horn section and vocals.
Rock and Roll

Rock and roll (also known as rock 'n' roll), is a defined genre of music that
originated in the United States in the 1950s, and quickly spread to the rest of
the world. It later evolved into the various sub-genres of what is now called
simply 'rock'. From the mid 1950s to the current time, rock has been one of
the most popular forms of music in the western world. The heart of rock and
roll is the rhythm, which is basically a boogie woogie blues rhythm with an
accentuated backbeat, almost always on snare drum. Rock and roll is
typically played with an electric guitar, an electric bass guitar, a drum kit, and
sometimes a piano or keyboard. In the rock and roll style of the early 1950s,
the saxophone was often the lead instrument, replaced by guitar in the mid
1950s.
Hip Hop
Hip hop refers both to a musical and cultural genre or movement that was
developed by African Americans predominantly in urban communities over
the last quarter-century. Since first emerging in New York City in the
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seventies, hip-hop has grown to encompass not just rap music, but an entire
lifestyle that consistently incorporates diverse elements of ethnicity,
technology, art and urban life.
In 1983 former Black Spades gang member Afrika Bambaataa and the Soul
Sonic Force released a track called Planet Rock. Instead of rapping over
disco beats, the crew invented a funky new electro sound, taking advantage
of the rapidly improving drum machine and synthesiser technology. Many
credit the sensation caused by the track as the defining moment in hip hop
music.
Heavy metal
Heavy metal is a genre of rock music that emerged as a defined musical
style in the 1970s, having its roots in hard rock bands which, between 1967
and 1974, mixed blues, jazz, and rock to create a hybrid with a thick, heavy,
guitar-and-drums-centred sound, characterised by the use of highly-
amplified distortion.
Heavy metal began gaining popularity in the 1970s and 1980s, at which time
many of the now existing sub-genres first evolved. Heavy metal has a large
world-wide following of fans known by terms such as "metalheads" and
"headbangers".
Folk music
Folk music, in the original sense of the term, is music by and for the common
people.
Folk music arose, and best survives, in societies not yet affected by mass
communication and the commercialisation of culture. It normally was shared
by the entire community (and its performance not strictly limited to a special
class of expert performers), and was transmitted by word of mouth.
During the 20th and 21st centuries, a revival of folk began and the term folk
music took on a second meaning: it describes a particular kind of popular
music which is culturally descended from or otherwise influenced by
traditional folk music. Like other popular music, this kind of folk music is most
often performed by experts and is transmitted in organised performances
and commercially distributed recordings. However, popular music has filled
some of the roles and purposes of the folk music it has replaced.
World music
The term "world music" refers to any form of music that is not part of modern
mainstream Western commercial popular music or classical music traditions,
and which typically originates from outside the cultural sphere of Western
Europe and the English-speaking nations. The term became current in the
1980s as a marketing/classificatory device in the media and the music
industry, and it is generally used to classify any kind of non-Western music.
In musical terms, "world music" can be roughly defined as music which uses
distinctive ethnic scales, modes and musical inflections, and which is usually
(though not always) performed on or accompanied by distinctive traditional
ethnic instruments, such as the kora (African lute), the steel drum, the sitar
or the digeridoo.
Although it primarily describes traditional music, the world music genre also
includes popular music from non-Western urban communities (e.g. South
African "township" music) and non-European music forms that have been
influenced by other "third world" music (e.g. Afro-Cuban music). Examples of
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popular forms of world music include the various forms of non-European

classical music (e.g. Japanese koto music, Hindustani raga music, Tibetan
chants), eastern European folk music (e.g. the village music of Bulgaria) and
the many forms of folk and tribal music of the Middle East, Africa, Asia,
Oceania and Central and South America.
World music is generally agreed to be traditional, folk or roots music of any
culture that are created and played by indigenous musicians or that are
closely informed or guided by indigenous music of the regions of their origin.
Over the 20th century, the invention of sound recording, low-cost
international air travel and common access to global communication among
artists and the general public has given rise to a related phenomenon called
"cross-over" music. Musicians from diverse cultures and locations could
readily access recorded music from around the world, see and hear visiting
musicians from other cultures and visit other countries to play their own
music, creating a melting pot of stylistic influences.
Country music
Country music, also known as country and western music or country-
western, is a blend of popular musical forms originally found in the Southern
United States. It has roots in traditional folk music, Celtic music, blues,
gospel music, and old-time music and evolved rapidly in the 1920s.
Activities
• Listen to a variety of contemporary music on the radio for a set period of
time. Write down the songs that are played and classify them. Discuss
the most popular type of songs and why they are popular.
• Students select a contemporary song to learn and perform, either as a
class or in groups.
• Write a rhythm and put words to it, hip-hop style.
• Write lyrics to a contemporary tune.
• Make up a class top-ten hit parade. Divide the class into ten groups with
each group singing one of the songs in a count-down performance.
• Hold a disco night and select and arrange the music
• Research a famous person or group that has influenced modern music
such as the Rolling Stones, John Lennon, Elvis Presley
• Research a contemporary music style.
• Compose a modern song and lyrics. Write the music for accompanying
instrument/s such as a percussion instrument, drum, guitar or piano.
Appreciation and evaluation of performances

There are a number of ways you can help students appreciate the
performing arts, and evaluate what they hear or view.
When watching a dance performance, you can encourage students to:
• identify the purposes of the dance
• re-tell the story
• identify how movements are used to create meaning
• discuss the way the dance is structured and the effects used to create
tension, comedy, suspense etc
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• discuss how the dancers portray their character or give meaning to their
movements
• evaluate the audience response.
When watching a drama performance, you can encourage students to:

• identify the purposes of the drama
• re-tell the story
• identify how language is used
• discuss the way the drama is structured and the effects used to create
tension, comedy, suspense etc
• discuss how the actors portrayed their character
• discuss and write about the drama expressing their own observations
opinions and feelings
• evaluate their own reaction to the drama
When listening to music or songs you can encourage students to:

• describe and discuss music in terms of pitch, rhythm, harmony
• identify and describe distinct musical features
• listen to the performance of a composition and talk about the way an
identified musical element was used to help create musical meaning
• listen and follow a score of a group composition and evaluate the
performance according to the score or notes
• listen to different performances of a piece of music or songs and use
stated criteria to give reasons for their preferred performance
• evaluate their own reaction to the music
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10.1 Performance standards for assessment task one 40 marks

Create and perform a contemporary dance or drama or music item either individually or in a
group
Creativity Display originality Display originality Create dance or Unable to create

in developing a in developing a drama or musical dance or drama
Create range of creative creative dance or items or musical items
contemporary dance and drama drama movements without assistance
dance, drama or movements or or musical items.
musical musical items.
Performing skills Demonstrate a Demonstrate Demonstrate skills Has difficulty in

and techniques range of complex complex skills and and techniques demonstrating
skills and techniques with a with a degree of skills and
Demonstrate techniques with a high level of proficiency techniques
performance skills very high level of proficiency
in dance or drama proficiency
or music
Communicate Communicate Communicate ideas Communicate ideas Communicate

ideas complex ideas and and information through a limited ideas and
information effectively in a performance information in a
Communicate ideas effectively in a performance performance
through a performance
performance
Use the following marking guide to mark the contemporary dance or drama
or music item students have completed for the assessment task. You can
tick the appropriate box and then look at the students’ overall achievement
and give an on-balance assessment. If, for example, the student gets a tick
in the Very High Achievement box for every component of the assessment,
then you would give the students a Very High Achievement and a mark
between 36 and 40.
Students should have access to a copy of the marking guide.
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Marking guide: Create and perform a contemporary dance or drama or

music item either individually or in a group 40 marks
Creativity Improvisation and originality in using

contemporary sounds and rhythms
Create contemporary
dance or drama or Creativity in developing choreographed
music dance
Originality in developing short plays
Performing skills Development and refinement of dance

and techniques or drama or music skills and techniques
Technical skills performed with
Demonstrate expressiveness, clarity, musicality
performance skills in
dance or drama or Performance rehearsed
music Use of voice or body
Level of confidence
Performance skills and techniques
Communicate Meaning conveyed clearly through
ideas performance
Ideas sustained throughout the
Communicate ideas performance
through a Performance appropriate for the
performance audience
Performance changed in response to
feedback
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Performance standards for assessment Task 2

Evaluate a dance, drama or music performance 20 marks
Communicate Communicate Communicate Communicate Communicate

ideas about a complex ideas ideas and ideas about a limited ideas
range of and information information performance and information
performance effectively about effectively about about a
a dance, drama a dance, drama performance
or musical or musical
performance performances
reflect upon and Reflects upon Reflects upon Evaluates own Evaluates
evaluate both and evaluates and evaluates and others’ others’
their own and own and others’ own and others’ performance performance
others’ performance performance using agreed using agreed
performance carefully and fairly using a criteria criteria with
fairly using a range of agreed help
range of agreed criteria
criteria
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Arts
10.2 Visual Arts 3
These unit learning outcomes link to the broad learning outcomes 3, 4 and 5.
Outcome 10.2.1: Students can develop and practice ethical skills.
This outcome requires you to teach students to observe copyright and
traditional ownership of images, ideas and local customs and to respect
sacred totems, tattoos, etc which are of value to different cultural groups.
Outcome 10.2.2: Students can be innovative in the use of appropriate skills
and techniques.
This outcome requires you to encourage students to gain confidence in
using learned skills to produce work that exemplifies their own individual
style. Students need opportunities to apply graphic design skills and
techniques in creative ways.
Outcome 10.2.3: Students can explore and develop ideas to produce
designs.
This outcome requires you to encourage students to explore, experiment
and take risks in developing their ideas, and to provide opportunities for
students to make appropriate creative decisions.
For assessment task one students must use the graphic design process to
develop and produce a corporate identity portfolio.
Students may work using an existing business and redesign the existing
designs or the student can develop a corporate identity portfolio for an
imaginary business. All student design work needs to be original as there is
no place for direct copying of other works.
The assessment marking guide for marking the design is at the end of the
unit.
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Weeks/ Topics Activities Resources

Week 1 An introduction and revision A sketch book made from A4
The design process of the design process paper is adequate but A3
covering the 8 stages sketch book would be
(Teacher directed activity) preferable
Portfolio
Each student needs to make Student’s use own creativity
a folder to store all design for the type of folder suitable
works. to contain all works safely.
Students can do this in their
Design Brief Develop corporate identity own time.
(Graphic imagery required
for a business) through Collections of business cards,
discussion of requirements letterhead note paper and
such as logos, business examples of logos collected
cards, stationary and other from magazines and
items and look at examples. newspapers, card-board
cartons, labels, aluminium
Introduction to the design cans, travel brochures.
brief Further examples of
corporate identities can be
Weeks 2–4 Research found in the telephone
Make written notes on directory.
Plan ideas possible ideas.
Draw ideas in small quick
Thumbnail Drawings thumbnail sketches (9–12
drawings per one Collect business cards,
A4 page) or use appropriate examples of logos and
graphic design computer letterheads. Sort out and set
Develop selected drawing application up in a portfolio, students
idea should discuss, and write
Select 2–3 (2 on one A4 personal comments on
page ) drawings to further suitability of size, style, visual
Select final idea and develop develop and add details and layout. Encourage students
colours to include personal notes and
Complete final graphics Choose best ideas and comments throughout
develop to final standard for portfolio.
presentation (This could
include, for example 1
Evaluation of business card,1 logo and 1
portfolio letterhead)
Self and/or peer evaluation

of final graphics can be
recorded in a written
paragraph by the student for
their portfolio
Week 5 Finish any incomplete work
Presentation of portfolio for and arrange portfolio
assessment systematically for
assessment by teacher.
Weeks 6–10 The teacher selects the

Option A or B or C or D options and the activities
required to complete the unit
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What makes a good design?

There is no secret formula for drawing something that everyone likes and
agrees is a good design. It is up to the designer or the consumer, to make a
choice and decide what they like or dislike and what works best.
Good design will be a balance of many elements which include:
• Aesthetics – this is what a design looks like. It is an emotional response
based on how appealing an individual finds the design. Components
such as visual appeal, proportion, colour, texture, help determine
whether an item is judged to be aesthetically pleasing or not.
• Shape and form – the outline or outward appearance of an object. Colour
and material are not relevant to an object's shape or form.
• Proportion – balance. If a product is well proportioned, it is balanced. For
example, if it is too tall and skinny it will fall over, or look silly either by
itself or next to something else. Symmetrical balance means that one
side looks the same as the other. Asymmetrical balance means that one
side is different to the other. Either style can be used in good design.
• Colour – The colour used in a design can affect whether or not it is
aesthetically pleasing. The thoughtful use of colour can make a big
difference.
Sample design brief
Problem
A new business wants to develop its identity using a corporate design which
will be used for all aspects of the business.
Design brief
Design a corporate identity for a new business.
Specifications
• The design must be able to be used for all business communications and
transactions, for example:
− logos
− business cards
− calendars
− brochures
− uniforms
− letterheads.
• The design must look good and represent the business.
• Design time less than 5 weeks.
• Appropriate design.
• The design can be done manually or using a computer.
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Research
• Find examples of corporate identities such as Air Niugini, Coca-Cola.
• Discuss how corporate identities are used and why they are important.
• Display examples of corporate identities such as the school logo.
Investigations
• What type of business requires the corporate identity?
• What does it sell/trade/do?
• What type of design will best represent the business?
• Is there a graphic design computer application that will be suitable?
Drawings
• Thumbnail sketches – sketch a number of ideas or use a computer
graphics application to create drafts.
• Divide your paper into four even parts and do a different design in each
part.
• Choose the design you like best and draw it again in more detail.
Making
• Mark out your design using a grid or measurements.
• Use your design to make a number of different types of business
documents such as business cards and letter heads.
Evaluation/Testing
Consider the following questions and write an honest comment about your
product.
• Does your design represent the business?
• Does it look good?
• How could you have made it better?
See unit 9.3 for further elaboration of the elements of design.
Use the following marking guide to assess the graphic designs and design
portfolio students have completed. You can tick the appropriate box, look at
the performance standards and the students’ overall achievement and give
an on-balance assessment. If, for example, a student gets one tick in the
High Achievement box, seven ticks in the Satisfactory box and one tick in the
Low Achievement box, then, on balance you would give him/her a
Satisfactory Achievement and a mark between 30 and 41.
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Marking guide: Use the graphic design process to prepare a corporate

identity portfolio. Show all the steps undertaken. 60 marks
Skills and Selection of graphic design techniques
techniques Safety requirements met
Selection of tools and materials (drawing materials
Select and or computer program)
use Application of graphic design skills and techniques
appropriate Lettering well formed and easy to read
graphic Attention to detail
design Use of colour
techniques
and
materials
20 marks
Design Detailed notes and sketches

process Design brief requirements met
Research undertaken
Develop Many ideas developed
designs Refinement of chosen idea
which meet Planning (include time-line, material and tools
the needed, costs)
requirements Graphic designs completed within time frame
of the design Evidence of constructive evaluation
brief Reasons given for final choice of design
Presentation of portfolio
20 marks
Creativity Innovative or original ideas

Expressive and detailed work
Develop Shapes and texture of materials create interest in
designs with the completed graphic design.
evidence of Experimentation with designs
original Message communicated clearly
thinking Design reflects the corporate identity
20 marks
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10.3 Integrated Arts

This unit should be planned to coincide with cultural or special events in the
school or community. For example if the school holds a cultural day in term
one, then this unit should be taught in term one. If there is a cultural show in
the province in term two, then the unit should be taught in term two with the
students participation in the cultural show used for assessment purposes.
These unit learning outcomes link to the broad learning outcomes 1, 3, 4

and 5.
Outcome 10.3.1: Students can create and develop arts products in dance,
drama, music, or visual form.
This outcome requires you to give students the opportunity to use their skills
to produce quality art products which they exhibit or perform at a cultural
show or special event.
Outcome 10.3.2: Students can perform or exhibit art in various forms.
This outcome requires you to teach students the skills involved in organising
performances or exhibitions. Students must also be given the opportunity to
apply these skills in creative ways when participating in a cultural or special
event.
Outcome 10.3.3: Students can develop and practice ethical entrepreneurial
skills.
This outcome requires you to teach students to observe copyright and
traditional ownership of products produced in both the performing and visual
arts eg images, ideas and local customs, respect for sacred totems, tattoos,
music composition which are of value to different cultural groups or
individuals.
The assessment task requires students to plan, create, develop and perform
or participate in an integrated event either in groups or individually.
The marking guide for marking this task is at the end of the unit.
This unit is an integrated unit, combining elements of dance, drama and

music, and visual arts. It requires students to prepare for a cultural or special
event at the end of term, in which students either perform dance, drama and
music items or prepare and exhibit their art works.
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Arts
All students must be involved in the event either through a performance or

exhibiting their art works and must contribute to the organisation and
promotion of the event.
Different groups or individual students will be working on different activities
during the term. Some of your students will be spending time creating art
works and organising their art exhibition whereas others will be rehearsing
performance items. Your planning must allow you to coordinate the range of
classroom activities.
Sample program
Weeks/ Topics Activities Resources

Week 1 Brainstorming Experts from the
Cultural /special event What are cultural/special events? community
Identify special events such as the Musical instruments
Olympics, Carnivale, the grand prix, Paint
football grand finals in: Fabric
local communities and the province Other materials needed
other countries for traditional bilas
Week 2 Class/group meeting Framing and mounting

Planning a cultural/special decide on the type of activities to be materials
event held
Determine roles and responsibilities
for organisation of event
decide on the items, participants
and audience
keep written records
Weeks 3–7 Create, develop, refine Assessment

Working towards the performances and items Continuous assessment
cultural event Practice skills and rehearse for with each stage of the
performances eg dance, drama, development of the
choir, string bands, live bands performances and items
Refine artworks ,framing, assessed and feedback
numbering and costings given.
Class meeting to check on progress
Weeks 8–9 Rehearsals and preparation

Promotion of events
Week 10 Hold the event
Evaluation of the event
In this unit some students will organise and participate in a cultural or special
event where they will combine dance, drama and music in a special
performance, and others will organise an art exhibition. They could combine
with the other Arts classes and organise a large event, or they could
organise a smaller class event. It could be a fund-raising opportunity for the
school and an opportunity to include the local community.
All the skills and techniques in Grade 9 and Grade 10 should be used in the
planning, practising, rehearsing and performance or exhibition by all
students.
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Class meetings
Class meetings can be used for students to contribute to decisions about the
cultural event or special event.
• Consider possible ways of organising the class.
• Establish the ground rules and structures that will create a workable and
effective class meeting.
• Determine the roles within the class, eg chairperson, recorder.
• Agree on time limits for speakers.
• Explain what an agenda is and the need for one. Encourage students to
list points for discussion on the agenda by displaying on a classroom
wall:
− introduction
− purpose of meeting
− possible topics ...
− update from ...
• Focus on the main purpose of the meeting as a way of bringing about
action
• Implement decisions that are reached. It is important that students know
they have the power to bring about change.
• Include time for evaluation to see if decisions reached have solved
problems or resolved issues.
• Encourage everyone to speak clearly and listen attentively.
Presenting art work for display
Mounting and framing

• Mounting and framing are used to enhance a completed art work and
give it a professional look.
• When mounting or framing art, you need to consider:
− costs
− time
− material available
• Art works can either be mounted on top of the mount, or underneath it
(window mounting). The art work should be arranged on the mount board
in on of two ways:
− The side and upper borders are the same width and the lower border
is twice the width of the other borders (i)
− the lower border is slightly wider than the top of the mount, which in
turn is slightly wider than the sides (ii).
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Arts
i) ii)
Organising an exhibition
When students display their art works to others or the public, they are
presenting their images and ideas to an audience.
A successful exhibition needs a lot of preparation and planning. The
following points should be considered when mounting an exhibition of art
works.
• What is the purpose of the exhibition:
− to sell art works and raise money
− to showcase the art works done by students
− to raise money by charging an entry fee?
• What brings the exhibition together? Should there be a theme, style,
common medium?
• Who is the audience?
• What is left out of the exhibition is just as important as what is included.
Make decisions carefully about which works to include.
• How is the art work going to be displayed? If it is to be hung on walls, the
placing of different sizes and shapes of art work, and the display of three
dimensional art works need to be planned. If there is no wall space
available, can they be placed to advantage on the ground, or hung on a
fence?
• Ensure all works are mounted properly.
• Decide if the art works should have a title.
• Art works are generally classified in exhibitions by placing a label next to
them stating the artist, title, date and medium, and price if applicable.
• Invitations should be sent to the audience. It should show relevant
information about the show (eg fund raising exhibition), venue, date and
times the exhibition is open.
• The highlight of the exhibition is usually the opening. Organise for
someone important to open the exhibition.
• Care should be taken with the art works on display. The exhibition should
be constantly monitored.
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Organising a performance for a special event or concert

When students perform dance, drama and music to others or the public, they
are presenting their performance and ideas to an audience.
A successful performance needs a lot of preparation and planning. The
following points should be considered when organising a concert or
performance for a special event.
• What is the purpose of the performance:
− to sell tickets and raise money
− to showcase the performing arts skills of the students
− to contribute to a community or provincial event such as a cultural
show?
• What brings the performance together? Should there be a theme, style,
common idea?
• Who is the audience? Is the performance appropriate for the audience?
• What is left out of the performance is just as important as what is
included. Make decisions carefully about which acts, dances or musical
items to include.
• Where is the venue for the performance going to be? It there adequate
space for a stage or dance area? Will the audience be able to see and
hear the performance? Is there access to electricity if it is needed for
music etc?
• Invitations should be sent to the audience. It should show relevant
information about the show (eg fund raising concert), venue, date and
times of the concert or performance.
• The highlight of the exhibition is usually the opening. Organise for
someone important to open the concert or performance.
• Care should be taken with the props, costumes, bilas, works on display.
Ethical entrepreneurial skills

• Are there any reasons why particular dances or music are not
appropriate such as cultural taboos, copyright?
• Are paintings or art works offensive in any way?
• Are art works copies of traditional craft, artefacts or images?
• If it is a fund raising event, who is going to collect the money and how is
it going to be safeguarded and banked? Who is responsible for the
budget and accounting for the monies spent?
• How will prices be determined for admission and sale of items?
• Does the promotion and advertising truly describe the event?
• Will the audience get value for money?
Use the following marking guide to assess this unit. You can tick the
appropriate box, look at the performance standards and the students’ overall
achievement and give an on-balance assessment. If, for example, the
students gets two ticks in the Very High Achievement (VHA) column, most of
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Arts
their ticks in the High Achievement (HA) column, several ticks in the
Satisfactory column and one tick in the Low Achievement column, then, on
balance you would give the students a High Achievement and a mark
between 70 and 89.
Marking guide: Plan, develop, create and perform or participate in an integrated

event either in groups or individually 100 marks
Skills , techniques and Performance

processes Development and refinement of dance skills and
techniques
demonstrate skills, Development and refinement of drama skills and
techniques and processes in techniques
creating and presenting Development and refinement of music skills and
performing or visual arts techniques
items Choreography skills
Performance skills and techniques
Performance learnt and rehearsed
Presentation of performance
Safe movements practised
Attention to detail
Exhibition
Development and refinement of visual arts skills
(40 marks) and techniques
Safety requirements met (such as the wearing of
protective clothing )
Display and exhibition skills
Presentation of exhibition
Attention to detail
Knowledge and Participation in class planning

understanding Participate in identification of appropriate event
or exhibition
demonstrate knowledge Participate in identification of appropriate
and understanding of performance pieces and/or exhibition items
performing and visual arts Planning and preparation for event
events Research undertaken
Resources required identified
Stage or performance or exhibition areas
(40 marks) prepared
Costumes designed and produced
Art pieces mounted or framed and displayed
Audience identified
Marketing undertaken
Ethical entrepreneurial Initiative shown

skills Entrepreneurial skills
Apply entrepreneurial skills Ethical practices used
ethically Researched copyright or ownership where
required
(20 marks)
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Recording and reporting

All schools must meet the requirements for maintaining and submitting
student records as specified in the Grade 10 Assessment, Examination and
Certification Handbook.
Recording and reporting student achievement

When recording and reporting student achievement you must record the
achievement of the students in each unit and then, at the end of the year
make a final judgment about the overall achievement, or progress towards
achievement, of the broad learning outcomes. To help you do this,
descriptions of the levels of achievement of the broad learning outcomes are
provided in the Broad Learning Outcome Performance Standards.
When reporting to parents, the school will determine the method of recording
and reporting. In an outcomes based system, student results should be
reported as levels of achievement rather than marks.
Remember that the final school-based mark will be statistically moderated
using the external exam results. The students’ overall level of achievement
may change.
Levels of achievement
The level of achievement of the broad learning outcomes is determined by
the students’ performance in the assessment tasks. Marks are given for
each assessment task with a total of 100 marks for each 10 week unit, or 50
marks for each five week unit. The marks show the student’s level of
achievement in the unit, and therefore progress towards achievement of the
broad learning outcomes.
There are five levels of achievement:
1. very high achievement
2. high achievement
3. satisfactory achievement
4. low achievement
5. below minimum standard.
A very high achievement means overall, that the student has an extensive
knowledge and understanding of the content and can readily apply this
knowledge. In addition, the student has achieved a very high level of
competence in the processes and skills and can apply these skills to new
situations.
A high achievement means overall that the student has a thorough
knowledge and understanding of the content and a high level of competence
in the processes and skills. In addition, the student is able to apply this
knowledge and these skills to most situations.
A satisfactory achievement means overall that the student has a sound
knowledge and understanding of the main areas of content and has
achieved an adequate level of competence in the processes and skills.
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Arts
A low achievement means overall that the student has a basic knowledge
and some understanding of the content and has achieved a limited or very
limited level of competence in the processes and skills.
Below the minimum standard means that the student has provided
insufficient evidence to demonstrate achievement of the broad learning
outcomes.
Achievement level
Total Very High High Satisfactory Low Below

Achievement Achievement Achievement Achievement minimum
marks
standard
700 630 – 700 490 – 629 350 – 489 200 – 349 0 – 199
600 540 – 600 420 – 539 300 – 419 120 – 299 0 – 119
500 450 – 500 350 – 449 250 – 349 100 – 249 0 – 99
400 360 – 400 280 – 359 200 – 279 80– 199 0 – 79
300 270 – 300 210 – 269 150 – 209 60 – 149 0 – 59
200 180– 200 140 – 199 100 – 139 40 – 99 0 – 39
100 90 – 100 70 – 89 50 – 69 20 – 49 0 – 19
60 54 – 60 42 – 53 30 – 41 12 – 29 0 – 11
50 45 – 50 35 – 44 25 – 34 10 – 24 0–9
40 36 – 40 28 – 35 20 – 27 8 – 19 0–7
100
Sample format for recording Arts assessment task results over two
years
Grade 9
Unit Assessment task Mark Student
mark
9.1 1. Perform dance steps and gestures in time to 30
rhythms
2. Perform a drama item that uses voice and body 30

gestures to communicate ideas in response to sounds
or rhythms
3. Write rhythms using rhythm grids and western 40
notation
9.2 1. Produce a figurative painting, mono-print and
mosaic or collage 75
2. Produce a poster using graphic design processes
25
9.3 1. Create and perform traditional dance and drama
accompanied by traditional music 60
2. Test on traditional dances, drama and music 40
9.4 Construction three, 3 dimensional carving, 100
construction from found objects, and construction from
fibres and fabrics.
Total marks Grade 9 400
Grade 10
Unit Assessment task Marks Student
mark
10.1 1. Create and perform a contemporary dance or drama
or music item either individually or in a group 40
2. Evaluate a dance or drama or music performance
20
Option /School developed unit 40
10.2 Use the graphic design process to develop and

produce a corporate identity portfolio. 60
Option/School developed unit 40
10.3 Plan, create, develop and perform or participate in an

integrated event either individually or in a group 100
Total marks Grade 10 300
Total marks Grade 9 and 10 700
Broad learning outcomes and levels of achievement
Levels of achievement in Grade 9 and Grade 10 are recorded and reported

against the broad learning outcomes. There are five broad learning
outcomes in Arts. The performance standards for the levels of achievement
are described in the following table.
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Arts
Broad Learning Outcomes Performance Standards
BLOs Very High High Satisfactory Low Below

Achievement Achievement Achievement Achievement minimum
standard
1. Produce art Produces an Produces a range of Produces art works Produces art Has failed
works that extensive range of art works which which communicate works which to meet the
communicate art works which communicate ideas ideas and communicate minimum
ideas in the communicate and information information in both limited ideas and standard
performing and complex ideas and effectively in both the performing and information in the required.
visual arts information the performing and visual arts performing or
effectively in both visual arts visual arts with
the performing and help
visual arts
2. Demonstrate Demonstrates Demonstrates Demonstrates some Demonstrates Has failed

knowledge and extensive sound knowledge knowledge and some knowledge to meet the
understanding knowledge and and understanding understanding of, of performing and minimum
of, respond to understanding of, of, responds to and responds to and visual artistic standard
and appreciate, responds to and appreciates appreciates expression of one required.
performing and appreciates performing and performing and or two cultures
visual artistic performing and visual artistic visual artistic
expression of a visual artistic expression of a expression of one
variety of expression of a variety of cultures or two cultures and
cultures and wide variety of and historical historical periods
historical cultures and periods
periods historical periods
3. Use a range Independently Independently Uses a range of arts Uses a limited Has failed
of arts skills, selects and selects and applies skills and range of arts skills to meet the
techniques, proficiently applies a range of relevant techniques to and techniques to minimum
processes, a wide range of arts skills and develop original develop ideas with standard
conventions relevant arts skills techniques to ideas help required.
technologies and techniques to develop and refine
and materials develop and refine original ideas
safely to original ideas
develop and
refine original
ideas
4. Explore, Explores, Explores, Researches, Develops some Has failed

research, researches, researches, identifies and ideas to produce to meet the
identify and identifies and identifies and develops some documents and minimum
develop ideas to develops complex develops many ideas to produce designs with help standard
produce ideas, ideas to produce a ideas to produce a ideas, documents required.
documents and wide range of ideas, variety of ideas, and designs in one
designs in a documents and documents and or two contexts
variety of designs in a variety designs in different
contexts of contexts contexts
5 Demonstrate Demonstrates Demonstrates broad Demonstrates Uses ethical Has failed

an extensive knowledge and knowledge of, and entrepreneurial to meet the
understanding knowledge and understanding of, uses ethical skills with minimum
of, and practice understanding of, and practices entrepreneurial direction standard
ethical and uses initiative ethical skills required.
entrepreneurial when practicing a entrepreneurial
skills range of ethical skills
entrepreneurial
skills
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Steps for awarding final student level of achievement

1. Assess unit tasks using unit performance standards and assessment
criteria.
2. Record results for each task in each unit.
3. Add marks to achieve a unit result and term result.
4. Add term marks to get a year result.
5. Determine the overall achievement using the achievement level grid.
6. Report results using the broad learning outcome performance standards.
Example of reporting using the broad learning outcomes performance

standards descriptors
Student: Antonia
Subject: Arts
School-based assessment – High achievement
This means Antonia can usually:

Produce a range of art works which communicate ideas and information
effectively in both the performing and visual arts
Demonstrate sound knowledge and understanding of, respond to and appreciate
performing and visual artistic expression of a variety of cultures and historical
periods
Independently select and apply a range of relevant arts skills and techniques to
develop and refine original ideas
Explore, researches, identify and develop many ideas to produce a variety of
ideas, documents and designs in different contexts
Demonstrate broad knowledge and understanding of, and practices ethical
entrepreneurial skills
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Resources
Art becomes more interesting and meaningful when you use a variety of
resources and local materials in your teaching. There are local people in the
community – local artists, village leaders, and people with special artistic
skills and knowledge who can be invited to share their arts skills with your
students.
You should be always trying to adapt, improvise, make, find or write material
that will be useful for lessons. Arts can be taught without expensive
equipment by making use of what is around you, though there is some
equipment and materials that are essential to teach the Arts syllabus.
Materials and equipment for visual arts

• Paints
• Pencils
• Brushes
• Glue
• Paper
• Printing inks
• Cutting implements
• Carving implements
• Fabric
• Fibres
• Wax
• Wood off cuts
• Traditional craft supplies
• Design samples e.g. logos, brochures, letterheads, lettering guides.
Materials and equipment for performing arts

• Musical instruments
• Sound recordings
• Tape or CD player
• Videos of or access to dance groups
• Examples of western notation
• Movement charts
• Contemporary music recordings
• PNG music recordings
• Old clothes for costumes
• Everyday objects for props for plays
• Items for bilas.
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Selecting and using resources
Selecting and using appropriate resources for art lessons is a very important
part of your task. Resources can help students learn more effectively by:
• helping to gain and maintain interest in a lesson
• encouraging mental involvement and the use of different senses while
learning
• making learning more meaningful by linking in with previous knowledge
• catering for students who learn best through different senses – for
example, some students learn best through listening, while others learn
best through seeing, touching, tasting, or a combination of these four
ways
• helping in the recall of information
• making explanations of difficult concepts and skills clearer
• encouraging independent learning.
Types of art resources
Materials and artefacts

• Art works
• Text books, reference books
• Magazines
• diagrams, charts, posters
• Worksheets, information sheets
• Pamphlets, brochures
• Television and radio broadcasts,
• Video, film, film strips
• Audio recordings
• Computer software
• Pictures, photographs
• Models
• Newspapers
• Made or found objects.
Natural and human resources

• Theatres, museums, galleries, art and craft markets
• Natural environment sites – rivers, beaches, rock pools, forests, cliffs,
caves
• Crafts people, musicians and artists
• Community elders
• Teachers
• Parents.
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Arts
It is important to relate people to topics being taught. For example when

teaching Arts use a range of people such as a village string band, a local
carver, someone who is making craft items for sale at the market.
Use people who make good role models, for example a female artist rather
than a male artist. It is important for students to know about people who are
a success in non-traditional roles.
It is important to take students outside the school to expose them to the ‘real
world’. There is usually something in every topic which can be done outside.
General guidelines for selecting and using resources

The effectiveness of the resource very much depends on whether it is
suitable for the knowledge or skill to be learned and the attitude of the
students. Classroom organisation is the key to using resources successfully.
You need to:
• Prepare thoroughly. Make sure that you are familiar with the resource so
that you use it with confidence and assurance. If equipment is involved,
check that it is in working order, make sure that you know how to operate
it and that it is available when required.
• Use the resource at the right place and time in the lesson. The resource
should fit in with the flow and sequence of the lesson. It should serve a
definite teaching purpose.
• Should the resource be radio, film, video or television, introduce the
program by outlining the content. You might also set some questions to
guide listening or viewing. Follow-up after using the resource by
discussing and drawing appropriate conclusions.
Using the internet for classroom activities
Planning
• Where appropriate, incorporate computer sessions as part of planned
learning experiences.
• Be aware that computers can be time-consuming and may require
additional teacher support at unexpected times.
• Consider methods of troubleshooting, eg having students with computer
expertise designated as computer assistants.
• Design activities that provide the opportunity for students to access,
compare and evaluate information from different sources.
• Check protocols, procedures and policies of your school and system
regarding the use of the Internet.
Managing
• Ensure that all students have the opportunity to explore and familiarise
themselves with the technologies, navigation tools, e-mail facilities and
texts on the Internet It is likely that students will have varying degrees of
expertise in searching for information and navigating the internet.
Students will also have varying experiences and familiarity with the way
texts are presented on the World Wide Web.
• Ensure that all students have an understanding of how to access the
Internet and how to perform basic functions, eg searching, sending and
receiving e-mail.
106
• Students with more experience in using the internet may have

information that will benefit the whole class. Provide opportunities for
students to share their experiences, interests, information and
understandings. As well as planning lessons to instruct students in these
skills, pairing students, and peer tutoring on the computer can enable
more experienced students to assist other students.
• Ensure that students critically analyse arts information gathered on the
internet just as they would for any other text. They should be aware that
material posted on the World Wide Web is not necessarily subject to the
conventional editorial checks and processes generally applied to print-
based publications. When evaluating information students might
consider:
− the intended audience of the site
− bias in the presentation of information, or in the information itself
including commercial or political motives
− accuracy of information
− balanced points of view
− currency of information, including publishing dates
− authority of source or author (institution, private individual)
− ownership of the website (corporate, small business, government
authority, academic
− cultural or gender stereotyping.
• Ensure that software and hardware (computer, modem) are maintained
in good working order.
• Ensure that all students are given equal opportunities to use the
computer.
Assessing student work containing material from the internet

• Students can download large quantities of information from the internet.
By itself this information provides very little evidence of student effort or
student achievement. Students must make judgments about the validity
and safety of information when working from the World Wide Web. They
must consider the purpose of the text, identify bias, and consider the
validity of arguments presented and the nature and quality of the
evidence provided.
• When assessing student work that includes material drawn from the
internet, therefore, it is important to recognise how students have
accessed the particular information, what value they place on it and how
they have used it for the particular topic being studied in class. It is useful
to look for evidence of critical evaluation, and the development of
students’ capacities to access, manipulate, create, restore and retrieve
information.
Useful resource books

Bamford, A., 2004, The Visual Arts Book, Heinemann
Beam, M. T., Celebrate your own creative self
Blyth, A, 2002, Presto 1 – A Junior Music Series, Longman
Blyth, A., 1999, Presto 2 – An Intermediate Music Resource, Longman
Brown, D., 1990, Learn to Draw, Collins
107
Arts
Burton, B., 2003, Making Drama – A Drama Course for Junior Secondary
Students, Longman
Cochrane, S., Lukluk gen, Singapore National Printers
Darby, M., 1983, Printmaking – An Approach for Secondary Schools,
Government Printer, Melbourne.
DECS, Companion Document Series R–10 Arts Teaching Resource
Doolan, H., Classroom Arts,
Hoffert, B., 2001, Art in Diversity, Longman
Israel, G., 2002, Art wise 2 – Visual Arts 7–10, Jacaranda
Jane, S., 1999, Art is making, creating and appreciating 1, Jacaranda
Jane, S., 1999, Art is making, creating and appreciating 2, Jacaranda
Kanter, D., 2003, Art Escapes: Daily exercises and inspirations for
discovering greater activity and artistic confidence, North Light Books,
Ohio
Marshall, C., 2001, Interpreting Arts – A guide for students, Macmillan
NDOE, 1982, Expressive Arts – Dance Drama– Short Stories and Legends
for Use in Provincial High Schools
NDOE, 1982, Expressive Arts –Dance and Drama – Poetry for use in
Provincial High Schools
NDOE, 1987, Expressive Arts –What, Why, How
NDOE, 1990, Expressive Arts – Musical Instruments (struck, shaken,
scraped, stamped, plucked, rubbed), Grade 7 Teachers Resource
Book
NDOE, 1994, Drama Games – Grade 7 Expressive Arts, Teacher Guide
Resource Book
NDOE, 1991, Expressive Arts – Creative Movements –Dance Drama Level 3
for Provincial High Schools,
NDOE, 1992, Drawing Skills, Expressive Arts– Visual Arts –Level one
NDOE, 1994, Expressive Arts – Tie and Dye in 10 Easy Steps for Provincial
High Schools
NDOE, 1994, Faces and Figures, Expressive Arts – Teachers Resource
Book for Visual Arts unit Level 3
NDOE, 1996 reprint, Expressive Arts – The Rock Father and other plays for
use in Provincial and National High Schools
Nile, D., 1988, Papua New Guinea Music Collection, IPNG 008
Northern Territory Department of Education, 1985, Field Sketching
Royal Papuan Yacht Club, Yearly Exhibition Handbook.
Skull, J., Key terms in Art, Craft and Design
Stockley, M., 1991, Art Detective, Heinemann
Stockley, M., 1991, Art Investigator, Heinemann
Waswas, D., 2004, Luksave, Arts Show Catalogue
Webb, M., 1986, Riwain, Papua New Guinea Pop Songs
Webb, M., 1988, Paitim, Winim na Meknais – Construction and uses of
sound producing instruments from Papua New Guinea and other parts
of Oceania
Webb, M., 1990, Ol Singsing Bilong Ples, IPNG
108
References
Burrabooks, 1995, Evaluating the Arts Outcomes
Education Department, Western Australia, 1995, The Art Outcomes and
Standard Framework.
F.M.U, 2002, The state of Education in Papua New Guinea, NDOE, Waigani
I.E.A., 1998, The Arts Curriculum, IEA of PNG, Boroko.
Josephs, J., 2000, Education for All
Lenten, T., 1983, Praxis – A guide to Arts/Craft Curriculum Development,
Matane, P., 1986, A Philosophy of Education for Papua New Guinea,
Ministerial Committee Report, NDOE, Waigani
NDOE, 1982, Expressive Arts – Visual Arts Syllabus for Grade 9 and 10
NDOE, 1994, Expressive Arts – Dance and Drama Syllabus for Grade 9 and
10
NDOE, 1994, Expressive Arts – Music Syllabus for Grade 9 and 10
NDOE, 1994, Social and Spiritual Development – Expressive Arts–
Curriculum Statement for Provincial High Schools
NDOE, 1994, Social and Spiritual Expressive Arts Syllabus for Provincial
High Schools
NDOE, 1996 reprint, Expressive Arts – Musical Instruments – Grade 7
Teachers Resource Book
NDOE, 1999, National Education Plan, NDOE, Waigani.
NDOE, 2002, National Assessment and Reporting Policy, NDOE, Waigani
NDOE, 2002, National Curriculum Statement, NDOE, Waigani
109
Arts
Glossaries
Glossary for Arts
Accent Is the emphasis of certain beats in music by playing them louder

than other beats (strong beat)
Aesthetic Is finding beauty in objects or actions
Art Is the strand that focuses on making, displaying and assessing

images and objects and materials visual arts
Balance Matching shapes, weights, sounds–there is no difference in

shape, weight or sound
Balanced Giving each strand equal consideration in terms of teaching time

and students demonstration of outcomes (treating strands
equally)
Beat The on-going regular movement or pulse in music
Body percussion Sounds made by the body e.g. clap, stamp, click
Collage Art work made by sticking, pasting objects to create a new

composition on a background.
Composition Putting all the parts of a work together as a whole thing eg music
composition
Conflict Opposing ideas that cause disagreement or friction between

people
Contrast Showing difference in shapes, sounds, actions together
Craft Art objects made with hands
Creative Making, designing, inventing, producing, art works, dance and

drama or music that has never been before, (original)
Critical Expressing opinions about art works
Cumulative Building on earlier work so it gets better or bigger
Duration It is how long or short sound lasts
Dynamics It is changing from soft to loud, loud to soft music, slow to fast,
fast to slow
Element An important part of making or creating a art work, e.g. use of

lines, shapes, texture, colour in artworks
Focus Is aiming or looking towards one point
Generalist A teacher teaching all subjects
Improvise To make up in place of the real thing e.g. PVC pipes used as a
kundu drum
Integrate To join different things into one
Interact Discussing, talking, or working with others
Kinaesthetic Moving
110
Media Newspaper, books, film, radio, television
Melody Tune, sequence of sounds that are sung made of words and
phrases
Moving to sound Changing position in response to sound: sway, step, jump, etc
Music Is made up of sounds and silences
Notation Written symbols to show different sounds in music
Ostinato Pattern of sounds repeated over and over
Pattern Are formed when shapes are repeatedly drawn, painted,

stamped etc
Perspective Drawing on a flat surface showing the effect of distance of

objects: near, far
Pitch How high or low of a note of sound is
Present To display art, perform, or hand in written work
Repertoire Is collection, stock, repertory, reserve, store, repository, supply
Rest When there is silence, no sound in music which is part of the

piece of music.
Rhythm Regular, repeated pattern of beat underlying music
Round A song with singers starting at different times, usually

systematically
Script Written speech or actions of a play
Sequential Arranged in order
Shape External form or appearance or edge of person or object
Soundscape Story told using sounds
Space Area around a person
Styles Ways or manners of expressing ideas, writing or doing

something.
Symbol A sign or thing representing a sound, object, action
Technique A particular way of making an work
Tempo Speed of music, fast or slow
Texture Is the surface of an object
Three dimensional Is a solid, when a drawing on a flat surface shows the effect of
distance of objects
Tone Lightness or darkness of a colour
Tone colour Is how sound is made
Two-dimensional Something that is flat is two dimensional
Vocational Is something done to earn money
Volume Is the mount of sound
111
Arts
Assessment glossary
Syllabus outcomes, criteria and performance standards, and examination
questions have key words that state what students are expected to be able
to do. A glossary of key words has been developed to help provide a
common language and consistent meaning in the syllabus and teacher guide
documents.
Using the glossary will help teachers and students understand what is
expected in responses to examinations and assessment tasks.
Account Account for: state reasons for, report on. Give an account of:
narrate a series of events or transactions
Analyse Identify components and the relationship between them; draw

out and relate implications
Apply Use, utilise, employ in a particular situation
Appreciate Make a judgment about the value of
Assess Make a judgment of value, quality, outcomes, results or size
Calculate Ascertain/determine from given facts, figures or information
Clarify Make clear or plain
Classify Arrange or include in classes/categories
Compare Show how things are similar or different
Construct Make; build; put together items or arguments
Contrast Show how things are different or opposite
Critically Add a degree or level of accuracy depth, knowledge and

(analysis/evaluate) understanding, logic, questioning, reflection and quality
to(analyse/evaluation)
Deduce Draw conclusions
Define State meaning and identify essential qualities
Demonstrate Show by example
Describe Provide characteristics and features
Discuss Identify issues and provide points for and/or against
Distinguish Recognise or note/indicate as being distinct or different from; to

note differences between
Evaluate Make a judgment based on criteria; determine the value of
Examine Inquire into
Explain Relate cause and effect; make the relationships between things
evident; provide why and/or how
Extract Choose relevant and/or appropriate details
Extrapolate Infer from what is known
112
Identify Recognise and name
Interpret Draw meaning from
Investigate Plan, inquire into and draw conclusions about
Justify Support an argument or conclusion
Outline Sketch in general terms; indicate the main features of
Predict Suggest what may happen based on available information
Propose Put forward (for example a point of view, idea, argument,

suggestion) for consideration or action
Recall Present remembered ideas, facts or experiences
Recommend Provide reasons in favour
Recount Retell a series of events
Summarise Express, concisely, the relevant details
Synthesise Putting together various elements to make a whole
113

Teachers Guide Lower Secondary Arts

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Arts

Papua New Guinea

Issued free to schools by the Department of Education

Published in 2006 by the Department of Education, Papua New Guinea

© Copyright 2006, Department of Education, Papua New Guinea

All rights reserved. No part of this publication may be reproduced, stored in a

Teaching and learning...................................................... 6

Assessing Arts ............................................................... 15

Arts units ........................................................................ 26

Recording and reporting................................................. 99

Resources .................................................................... 104

Glossaries .................................................................... 110

Teaching and learning

How students learn

In support of this are the findings that we remember:

A student-centred approach to learning

Teaching and learning strategies

• demonstration and modelling

Using groups as a teaching and learning strategy

Groups work well when:

Strategies for organising and managing groups:

Principles and procedures

Students need to develop skills to help them learn. Skills development

Bloom’s taxonomy of skills

Bloom's Taxonomy is a way to classify skills, activities or

Language skills for Arts

Providing opportunities for students to listen is very important especially in

Place of vernacular in Arts

Thinking and questioning skills

• how can this be tested/checked?

Teaching and learning strategies for Arts

This is a technique in which a class or group meets to record all the

Helping students use charts to organise information in various groupings

Diagrams are employed in a variety of situations. They may be used to

A flow chart is a diagram showing a series of step-by-step operations which

Through participation in cultural activities, students are provided with a

Discussions provide opportunities to express ideas and feelings and listen to

Guest speaker or visitor

A guest speaker or visitor is a person who is invited to share his/her

Issues can be drawn from any field eg society, environment, beliefs, or

Learning games such as warm- up activities for performing arts involve

Models provide demonstration of a concept in concrete form. Models can

Open-ended stories may be used effectively in Arts eg to tell a story where

Photographs and pictures

A particularly relevant teaching and learning strategy for Arts topics is

The teacher’s role is to:

• Do I need to use all the information?

Using the internet for investigations

Assessment in Arts measures students’ achievements of the unit learning

Assessment for learning

Assessing Arts units

• the assessment criteria and performance standards or marking guides

Feedback can be:

Principles of designing classroom tests

Assessment is a continuous process. You should:

tasks might be programmed to be undertaken early in the unit, others at the

Judging student performance

Student achievement is recorded and reported against standards. You must

Self assessment and peer assessment

Managing assessment tasks for Arts