Scope and Sequence

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Primary Years Programme

Visual arts scope and sequence

Primary Years Programme Visual arts scope and sequence

January 2004

International Baccalaureate Organization 2004

Previously published as draft in 1999

Organisation du Baccalaurat International

Route des Morillons 15 Grand-Saconnex, Genve

CH-1218 SWITZERLAND

PYP curriculum documents: visual arts IBO 2004 8.1

The arts in the Primary Years Programme

The arts provide:

a means of communication

opportunities for becoming skillful

a means of expression of both emotional and intellectual perspectives

exposure to other cultures and other times

a means of accessing other disciplines

a vehicle for wondering, reflecting and consolidating.

The arts are important areas of learning in the Primary Years Programme (PYP). Students will learn the disciplines of visual arts, music and drama, as well as learning about the arts (the skills and processes involved) and through the arts (artists, perspectives, themes and ideas using the arts). In all areas of learning, the PYP teacher values imagination, creativity and original thinking. This may be especially evident through the arts. The creative disciplines of visual arts, music and drama are closely connected to each other, as well as having strong links to other disciplines. The creative process is seen as a driving force in learning through inquiry.

The arts are built into the curriculum as essential areas of learning, not added on as optional extras. Students are required to be exposed to all three arts (visual arts, music, drama) in the PYP. Specialist teachers are not necessarily required, although some teachers may have specific responsibilities in the arts. School organization needs to take into account the value that the school places on the arts in the PYP. Visual arts, music and drama are significant disciplines in their own right and are also important sign systems for interpreting and understanding the world. Students are encouraged to consider the arts as a means of communication and as an expressive language.

Effective implementation of the arts in the PYP involves full participation of all teachers in the collaborative planning of units of inquiry. In practice, teachers will develop a programme of inquiry with authentic connections while maintaining the integrity and essential character of the disciplines. There is a natural connection between the arts and the organizing theme: How we express ourselves. However, students understanding of the central ideas of many units of inquiry within other organizing themes can be developed through investigation in the arts, and the arts should be integrated where possible into other areas of the curriculum.

Creativity is at the heart of the arts. It allows for innovation, interpretation, research, analysis and transfer. Learning through the arts has a positive influence on self-esteem and creative development, which needs to carry over to all aspects of learning. Valuing imagination and celebrating original thinking promotes initiative and a lifelong love of learning.

Learning through the arts provides strong links to the student profile. From an early age, students have the opportunity to develop genuine interest, to give careful consideration to their work, to become self-critical and reflective. They are provided with opportunities to communicate about their creative work and to share their understanding with teachers, peers and families. Students are encouraged to develop responsible attitudes and find appropriate ways to take action through the arts, in order to make a difference in and to the world. Appropriate action could involve presenting, exhibiting, celebrating, communicating and sharing in a variety of ways.

The arts are not mere diversions from the important business of education; they are essential resources.

Elliot W Eisner, The Role of the Arts in Cognition and Curriculum, in Arthur L Costa (ed). 2001. Developing Minds: A Resource Book for Teaching Thinking (3rd edn).

Association for Supervision and Curriculum Development (ASCD).


Visual arts inquiry

To plan visual arts inquiry, teachers must consider the following questions.

What do we want students to learn?

What do teachers need to learn about this topic?

How best will students learn?

How will we know what students have learned?

What do we want students to learn? The visual arts scope and sequence framework identifies the major expectations considered essential in the PYP. These expectations are arranged into four strands: creative processes, elements of art and design, visual arts in society and reflection and appreciation. Each of the strands is addressed separately, although in practice they are interactive and interrelated elements.

In creative processes, students explore, develop and express their ideas using visual arts. In elements of art and design, students consider the practical and theoretical aspects of art and design: line, shape, form, colour, texture and pattern as well as balance, emphasis, rhythm, unity, variety, repetition, proportion, tension, contrast and space. They also understand the importance of taking care of tools and materials and are aware of health and safety aspects associated with using a variety of tools and materials. Visual arts in society looks at the role visual arts play in their own society and in diverse cultures, both historical and contemporary. In reflection and appreciation students study and appreciate artworks from a range of cultures and media (including their own work) to develop their understanding of the principles of art and design in the world around them.

Visual arts as a discipline includes the development of creative skills, verbal and non-verbal expression, an awareness of the perspectives of others and aesthetic appreciation. Visual arts enable students, including EAL students, to communicate in powerful ways that go beyond their spoken language ability. Through visual arts, students can begin to construct an understanding of their community, their environment, their own feelings and emotions and to develop their cultural awareness.

Art and design is not just a subject to learn, but an activity that you can practise: with your hands, your eyes, your whole personality.

Quentin Blake, Childrens Laureate. 1999. Quoted in The National Curriculum Handbook for Primary Teachers in England.

Department for Education and Employment, and Qualifications and Curriculum Authority.

What do teachers need to learn about this topic? The visual arts scope and sequence document should be seen as a framework to demonstrate how a balanced visual arts programme could be put into practice in a school. We are aware that resources, staff numbers and expertise, facilities and scheduling issues vary from school to school and all have an impact on the implementation of a visual arts curriculum. For this reason, the specific expectations in the document are very general. This allows teachers, both generalist and single-subject, to develop, adapt or change the activities and assessments to suit their individual circumstances.

Visual arts are a part of everyday life. They are a form of non-verbal communication that allows us to convey our ideas, feelings and emotions. Visual arts contribute to personal, social and physical development. Fine motor control is developed in the use of media and tools. Wherever possible, teachers should try to include visual arts in their teaching activities, not just in designated visual arts sessions.

Visual arts inquiry

8.4 PYP curriculum documents: visual arts IBO 2004

Teachers can use the eight key concepts and related questions (Figs 5 and 6 Making the PYP happen) to guide their own inquiry. Sample questions have been provided to show how this can be done. The teacher may link each of the questions to one or more concepts. Some of the sample questions have been linked to an appropriate concept as examples. By engaging in inquiry themselves, teachers will not only achieve a deeper understanding of visual arts but will also be a model for their students by assuming the role of teacher as learner.

The sample questions provided here should not be seen as definitive they are guidelines for teachers to use. When teaching young students, a lot of work has to be done on the how to aspects of visual arts. While it is acceptable to ask closed questions, they should contribute to the stages of understanding and help students to construct their own meaning.

Personal knowledge of the subject matter is of key importance. What teachers understand themselves will shape how well they select from activities, resources and texts available, and how effectively they teach. The teachers personal interest in, and development of, the discipline should be maintained through regular professional development, reading professional journals and regular contact with colleagues who share their commitment to teaching visual arts through inquiry.

How best will students learn? Visual arts are both active and reflective. Students should be given opportunities to reflect upon their work and the work of others as well as being actively involved in creating. Collaborative activities with other students (older or younger) are encouraged. This method of working is a two-way learning process. The older student is offered an opportunity to explain and verbalize his or her own learning to a younger student, and the younger student has a new experience.

Students should draw on a wide range of stimuli in their visual arts education: contemporary and historical literature, music, paintings, dance, their own imagination, real-life experiences, feelings and beliefs. Artworks develop naturally from stories. Introducing issues and stories through appropriate literature gives them meaning and allows the students to take ownership of them. Students should be given contact with artists as well as viewing their work. They should display their work informally as well as formally to help develop an awareness of the audience through practical application.

A PYP visual arts classroom provides an environment that stimulates and challenges students. Wherever possible and appropriate, links should be made with the schools programme of inquiry. Examples of how the scope and sequence can link with the Sample programme of inquiry 2003 have been included. The direct teaching of visual arts in a unit of inquiry may not always be feasible, but prior learning or follow-up activities may be useful to help students make connections between the different aspects of the curriculum. This makes the learning experience a more authentic one for the students. Collaborative planning with the homeroom teacher is especially important when single-subject teachers have responsibility for teaching visual arts in a school.

How will we know what students have learned? Assessment is an integral part of effective teaching and learning of visual arts. Assessment provides insights into students understanding, knowledge, skills and attitudes. These insights are necessary to plan further activities that address areas of concern to the teacher and the students. There should be ongoing formative assessments as well as summative assessments. Assessment activities should be carefully planned, and opportunities for students to self-assess using different methods should be included. Examples of assessments appropriate to the specific expectations are included in this document along with sample activities and key questions.

Visual arts learning is easiest to assess when the students are participating in visual arts activities and so one of the main strategies of assessment will be teacher observation of student performance. Every time a student is creating or reflecting on a piece of artwork, either their own or by others, they are participating in an activity that may be assessed. Teacher questions should be phrased so that students

Visual arts inquiry


are encouraged to try out new techniques and discuss them as they work and learn. The independent application of a taught technique to a variety of situations allows the teacher to ascertain whether students have transformed their new skills and knowledge into other settings. Student self-assessment will also give teachers an indication of how students feel about visual arts and their own strengths and weaknesses.

Record keeping should be simple and readily accessible to the teacher and the student. In addition to selected pieces of artwork, both in progress and completed, teacher observations, rubrics and self-evaluations can be used as examples of significant development and could be included in the students portfolio.

* See glossary for explanation of italicized terms.


Glossary of PYP visual arts terms

appliqu A technique of decoration in which fabric is attached to another material to make pictures or patterns.

architect A person who designs buildings and structures. artifact A man-made object, typically one that is of cultural or historical

significance. ceramics Articles made from clay. charcoal A black solid, used for drawing, formed when wood is burned in the

absence of air. collage A technique in which the artist glues material such as paper, cloth or

found objects onto a background. comic strip A sequence of drawings that tell a story. commercial signage Signs used in advertising and selling. contemporary art The art of today; the methods, styles and techniques of living artists. contour drawing A single line drawing which defines the inner and outer forms (contours)

of objects or people. creative process The process related to producing an artwork; starting with the original

idea and following it through to completion. drawing A sketch, plan, image or diagram created to develop an idea or as an end

in itself. EAL English as an additional language. folk art Relating to the traditional art of a culture or nation. gallery A place where art is exhibited and sold. gallery walk The opportunity to view work displayed in the classroom or other part of

the school (as if visiting an art gallery). illustration A picture in a book or newspaper. IT Information technology. Jack-o-lantern A carved-out pumpkin with a small light inside. Often used at

Halloween. keyhole mount A mount that shows only a small section of the picture or object on

display.



medium (plural media)

Materials commonly used to make artworks including 2-D media (ink, paint, paper) and 3-D media (clay, wood, metal and plastic).

memorabilia Objects collected for their historical interest, especially those to do with

memorable people, places or events. mobile A decorative structure, suspended in the air so that it can move freely. montage A picture made by combining elements such as photographs and

magazine cuttings, either whole or in part. mural A wall painting. native art The artwork associated with a country or region. negative space The area around the objects in a drawing or painting, often called the

background. It may also be a void or hole in a sculpture. painting The process or the artwork produced when using paint. pastel A crayon made with powdered colour, bound together with oil or resin. pattern An element of design in which lines, colours or shapes are used to show

real or imaginary things. It can be achieved by repeating a line, shape or colour.

photograph A picture made using a camera. positive space The objects in a work of art, as opposed to the background. poster A large printed picture, notice or advertisement. primary colour The colours that can only be derived from nature and not mixed

(red, blue and yellow). They can be used to mix all the other colours. printmaking Marking a surface with a coloured design or pattern. quilt A knitted or fabric bedspread with decorative stitching. rubbings A technique that transfers the textural quality of a surface to a piece of

paper by placing the paper over the textured surface and rubbing the top with a crayon, pencil etc.

sculpture A 3-D representation often made from carved stone or wood. sketch A form of drawing that is usually completed quickly without details and

without erasing. It may be used as a plan or reference for future work. sketchbook A pad of drawing paper for sketching on. source material Objects found in the locality that can be used as tools or media in making

artworks.



stamp An object to which paint or ink is applied and then pressed onto a surface resulting in a positive image. Can also be described as a printing block or plate.

statue A carved or cast figure of a person or animal, especially one that is life-

sized or larger. storyboard A planning tool for visually sequencing ideas to be incorporated into

story writing. tableau A silent and motionless group of people arranged to represent a scene. It

may be drawn, painted or dramatized (known as a tableau vivant or living picture).

technique A particular way or method of using tools or materials to achieve a

specific effect. textile Cloth or woven fabrics. texture An element of design that refers to the surface quality of an object, for

example, rough, smooth, soft. three-dimensional (3-D)

Artwork that produces a solid (3-D) product, for example, sculpture, model making, woodworking, needlecrafts.

tie dying A method of producing textile patterns by tying parts of the fabric to

shield it from the dye. two-dimensional (2-D)

Artwork that produces a flat (2-D) product, for example, painting, drawing, printing.

viewfinder A camera-like instrument for viewing and focussing. weaving A way of forming fabric by interlacing threads passing in one direction

with others at a right angle to them. word wall Word lists connected with particular topics on large charts prominently

displayed in a classroom.


Recommended resources

Teachers involved in developing the visual arts scope and sequence have suggested the following resources.

Barnes M. 2001. Starting Points in Art (A World of Display series). Belair Publications Ltd. Brooks MG. 1985. Images: Printmaking. Learnx Press Toronto. Martin E and Meyer V. 1998. Female Gazes. Seventy-Five Women Artists. Sumach Press. Murphy P, Neill W and Exploratorium (San Francisco). 1993. By Natures Design. Chronicle Books. Web sites

www.artkidsrule.com www.accessart.org.uk www.artkids.co.uk www.naturalchild.com/gallery


Visual arts scope and sequence overview

In addition to the following strands, students will have the opportunity to identify and reflect upon big ideas by making connections between the questions asked and the concepts that drive the inquiry. They will become aware of the relevance these concepts have to all of their learning.

Strand By the end of this age range, children aged 35 will: By the end of this age range, students aged 57 will: By the end of this age range, students aged 79 will: By the end of this age range, students aged 912 will:

Creative processes

use art to express themselves use a variety of different starting points for artwork

including the immediate environment and their own experiences (memories, imagination and dreams)

use different media to create and explore ideas produce 2-D and 3-D works of art.

recognize that art may be used for individual/group expression

recognize the different stages of the creative process (beginning, middle and completion)

be introduced to sketchbooks as a means of recording and developing their work

respond to the artwork of others as a starting point for their work

use a variety of media, including IT, to explore and express ideas.

recognize that other people express themselves using art, in a variety of styles

become more familiar with the different stages of the creative process, from generating the initial ideas to the completion of an idea or piece of work

continue to use sketchbooks as a reflective tool to record ideas and observations

use a variety of media, including IT, to explore and express ideas

produce 2-D and 3-D works of art that communicate ideas (thoughts, feelings, experiences) for specific purposes and to specific audiences.

become increasingly independent in the realization of the creative process

use sketchbooks as an everyday tool to reflect, to discover and to develop personal interests, and as a source of ongoing information

combine and use a variety of media, including IT, to explore and express ideas

incorporate visual arts (2-D and 3-D) into the PYP exhibition.

be introduced to the different elements in art and design and freely experiment with these

be introduced to a variety of tools, materials and techniques

begin to manipulate materials with a purpose.

develop an understanding that the choice of different tools and materials results in different outcomes

begin to be aware of the different elements of art and design and how these elements create specific effects, for example, colour to express emotion

identify elements of art and design and begin to describe how the elements are used by artists

sharpen powers of observation.

demonstrate understanding of the proper and controlled use of art tools, materials and techniques, singly and in combination

begin to discover the interrelationship between the different elements and principles of art and design.

continue to develop sensitivity, skill and understanding of the elements and principles of art and design

identify the elements and principles of art and design and use them in appropriate ways when producing and responding to works of art.

Elements of art and design

understand the importance of taking care of tools and materials and be aware of health and safety aspects associated with using a variety of tools and materials.

Visual arts in society

be exposed to and respond to a wide range of objects, images and artworks

be exposed to art forms associated with special events, festivals and holidays throughout the world.

be aware that individuals and cultural groups work with a variety of styles and purposes

investigate the purposes of objects and images in past and present cultures and identify contexts in which they were or are made, viewed and valued.

develop an awareness and appreciation that there are multiple perspectives in how artworks are made, viewed and valued

develop a sense of the chronology of art history be exposed to a range of contemporary art and artists describe how artists working in different styles and media

and in different historical periods have used the elements of art and design and/or tools, materials and techniques.

recognize individual, community and social uses of art compare works on a similar theme from various periods

and cultures be exposed to both western and non-western male and

female artists understand and appreciate career opportunities as an artist

and interview, research and share information about artists.

Reflection and appreciation

explore how art can be used as another language to express and communicate personal ideas, thoughts and emotions

begin to discuss their artwork and the artwork of others.

begin to understand that individual responses, thoughts and ideas are valued when viewing and reviewing their own and other artists works

identify the strengths and areas for improvement in their own and others artwork

become aware that different art styles were produced at different times in history

realize the importance of reflection and the influence this has on the development of their work.

use specific art vocabulary when discussing artworks develop skills in analysing, interpreting and evaluating

meaning in the artwork created by others and in their own work

be aware of art in their own and different environments take time to reflect on their artwork solve artistic problems.

appreciate art as a form of communication and as an expressive language in its own right

develop a sensitivity to artistic works be aware that people have used artwork as an expression

of their feelings or as a response to a situation develop a critical awareness of their own environment and

the place of art within it begin to think and behave like an artist.

PYP curriculum documents: visual arts IBO 2004

8.15

Subject: visual arts Age range: 35 years Page 1 of 3

Overall expectations Children will enjoy working both individually and in small groups. They will begin to develop an understanding of the varied functions and uses of different materials and tools. They will learn to choose the best materials and tools for a particular task and to care for them appropriately.

Children will have the opportunity to identify and reflect upon big ideas by making connections between the questions asked and the concepts that drive the inquiry. They will become aware of the relevance these concepts have to all of their learning.

For the purpose of this scope and sequence, the strands have been grouped as follows (adapted from Fig 12 Making the PYP happen): creative processes, elements of art and design, visual arts in society and reflection and appreciation.

* See glossary for explanation of italicized terms.

Content What do we want children to learn? How best will children learn?

How will we know what children have learned?

Notes for teachers

Specific expectations Sample questions Sample activities Sample assessments Resources and comments

The specific expectations may be addressed in any order or

combination.

Questions that address the key

concepts (Fig 5 Making the PYP happen) challenge learners and promote genuine understanding. Sample questions can be linked

to a key concept. Some examples are noted below in bold.

All activities encompass some, or many, of the specific expectations

and transdisciplinary skills (Fig 14 Making the PYP happen).

Assessments should be directly

related to the specific expectations. Children should be

given the opportunity to demonstrate their understanding

in a variety of ways.

Teachers should find ways to

ensure EAL learners understand tasks and expectations.

Creative processes Children will:

Children explore, develop and express their ideas using visual arts.

use art to express themselves How can you show yourself feeling angry/sad/happy/ frightened? function

Children engage in a variety of activities, some of them self-directed. Small groups of children work together, to make a large 3-D model. Children mix colours at a table, trying to match the colours of natural objects, and talking with their peers as they work. Children discuss the results.

The teacher makes anecdotal notes based on the skills the children are demonstrating. The teacher collects samples of their work to reflect childrens skills and from time to time collects comments from children. The teacher takes photographs of children working and with their work, as a reference for both children and teacher. The teacher will be aware of and recognize the stages of artistic development in the children. Tasks set will be at a level to reflect them and extend them.

When relevant, the teacher should talk to the children about their work and try to guide the discussion to reflect the childrens level of understanding. The teacher should also attempt to extend childrens understanding by thoughtful questioning.

An insects point of view

use a variety of different starting points for artwork including the immediate environment and their own experiences (memories, imagination and dreams)

How do you think this flower would look if you were the size of an ant? perspective Can you make a painting of your family? your visit to the dentist? your favourite holiday? a magical animal?

Imagine you are taking a close-up picture of a flower or piece of fruit, as if you were an insect landing on it. Draw anywhere on the paper.

Use keyhole mounts to isolate sections/parts of objects/ paintings. Samples of work to demonstrate development over a period of time can be collected and added to childrens portfolios.

Children work at a table where

there are clay boards, a range of tools, and lumps of clay. They squeeze the clay, pressing objects into it, smoothing and marking the surface.

The teacher continues to make notes as the children work, and discusses their responses based on the skills being developed. The teacher keeps a record of the childrens development. This can be supported by the childrens own comments.

Children may work on a particular topic or they may just enjoy their exploration of clay. They will be able to recycle their pieces when they have finished.

use different media to create

and explore ideas Which materials/tools would you like to use? form

A small group of children work with pieces of hessian, large plastic needles and threads, making patterns with the threads and gaining control over the tools.

Children who have more experience might work on a chosen or directed topic.

produce 2-D and 3-D works

of art. Children construct models

with large materials such as cartons, tubes and boxes. Following an outing, children take turns to construct a large model or collage that reflects the experience. Another group might make and decorate large or small books about the visit.

The units of inquiry What can I use this for? and Exploring materials in the Sample programme of inquiry 2003 have many opportunities to include visual arts.


8.16




Notes for teachers



combination.












Elements of art and design Children will:

Children consider the practical and theoretical aspects of art and design: line, shape, form, colour, texture and pattern as well as balance, emphasis, rhythm, unity, variety, repetition, proportion, tension, contrast and space. Children understand the importance of taking care of tools and materials and are aware of health and safety aspects associated with using a variety of tools and materials.

be introduced to the different elements in art and design and freely experiment with these

Can you make thick/thin marks with these materials? Are these materials the best ones for your task, and why? reflection What do you think the texture of this object is? Can you feel the texture of this piece of bark/cloth? What does it feel like? form What colours can you see?

Children use viewfinders or magnifying glasses to look more closely at source materials or artifacts.

The teacher assesses childrens responses through practical activities or written work. Children can work on a variety of tasks of different sizes and can select the most suitable tools for the job.

Some source material might require handling in order to discover its properties. The classroom will be set up with a variety of first- and second-hand source materials with work (both completed and in progress) displayed and labelled in a thoughtful manner. Art-related activities might be taking place in only one area of the classroom, particularly if there is limited space and the children are working on activities that require more messy materials.

be introduced to a variety of

tools, materials and techniques

If we are to create this piece, which materials/objects/tools do you think would be the most useful? Where do these materials belong? function Have you tried all these brushes before making up your mind which will be the most useful for your task? responsibility

Children work in groups or individually. They are involved in their tasks, either self-chosen or teacher-directed. They talk quietly when relevant. When difficulties arise, children attempt to solve their problems for themselves or discuss them with peers and then the teacher. They are supportive of their peers when discussing work and take time to make positive suggestions.

Children can distinguish a drawing from a painting, sculpture or photograph and can talk about the different materials the artist used. Children can look at each others work and accept that it demonstrates a wide variety of equally valid styles.

begin to manipulate

materials with a purpose.

Can you make all the colours in this ? Which colours do you need to mix together? What do you think happens if you mix them? Can we name the main colours we see?

Children brush one primary colour on one hand, then brush another colour on the other hand. They rub their hands together to mix them and observe what happens.

Children are able to make accurate predictions, for example, red and yellow make orange, as they increase their knowledge.

What kind of marks will these

make? What would you like to make with the clay?

Children explore materials by patting, stroking, poking, squeezing, pinching and twisting.

A variety of materials such as sand, plasticine, play dough and clay should be available for children to explore.


8.17




Notes for teachers



combination.












Visual arts in society Children will:

be exposed to and respond to

a wide range of objects, images and artworks

The class walks around the immediate environment, takes rubbings, records and sketches. Children find the art in natural objects, observing their colours, shapes and patterns.

Children can identify different colours, shapes, textures and other things of interest in artworks.

The teacher should ensure the children are aware that art is not only in museums but all around them.

Who do you think made this? Why do you think they made it? causation What makes this a pattern?

Children bring in something that has a pattern. They make a display with the collected objects and enhance the collection with items found in school.

Children can explain what the main elements of a pattern are.

Children look at the role visual arts play in their own society and in diverse cultures, both historical and contemporary.

be exposed to art forms

associated with special events, festivals and holidays throughout the world.

What happens in your house/ street/town at special times? How do you think art helps us to celebrate? connection

The teacher should encourage parents to bring in artworks and patterns that are special to their culture or country of origin.


Children will:

Who am I? explore how art can be used

as another language to express and communicate personal ideas, thoughts and emotions

How would you describe the way in which this painting is constructed/designed?

Children describe their feelings, likes and dislikes. They respond to mood and colour in objects and images. They explain how their likes and dislikes can change.

The unit of inquiry Who am I? in the Sample programme of inquiry 2003 has many opportunities to include visual arts.

Children study and appreciate artworks from a range of cultures and media (including their own work) to develop their understanding of the principles of art and design in the world around them.

begin to discuss their artwork

and the artwork of others. The class talks about the

illustrations in a selection of picture books.

Children can identify features in the artworks they see, for example, colour, line and shape. They can explain to the rest of the group which parts are significant to them and how they are linked to their own experiences.


8.19


Overall expectations Students will use first-hand source materials, including their immediate environment and their imagination as an inspiration for their work. They will exhibit an increasing ability to concentrate on and complete a piece of artwork. They will discover and develop their own preferences and individual interests, which will contribute to the development of understanding and artistic vision. They will continue to explore the use of a wide variety of materials, tools and media and will draw on their increasing knowledge and skills to express their ideas, observations and feelings. Students will be exposed to and will respond to both western and non-western artifacts and artworks and will become familiar with the process of reflection and how to appreciate their own and others artworks.

Students will have the opportunity to identify and reflect upon big ideas by making connections between the questions asked and the concepts that drive the inquiry. They will become aware of the relevance these concepts have to all of their learning.


* See glossary for explanation of italicised terms.

Content What do we want students to learn? How best will students learn?


Notes for teachers



combination.







related to the specific expectations. Students should be





Creative processes Students will:

Students explore, develop and express their ideas using visual arts.

recognize that art may be used for individual/group expression

What are some of the special events you celebrate? form What are some of the ways you dress/decorate to celebrate special events? connection

The class collects and displays images of group/regional/ national/international celebrations, for example, the Olympics, the World Cup, United Nations Day.

The unit of inquiry Celebrate! in the Sample programme of inquiry 2003 has many opportunities to include visual arts.

recognize the different

stages of the creative process (beginning, middle and completion)

Do you think you could tell a story without using words? How would you begin your story? How do you know when your story has finished? function

Students create a simple storyboard or comic strip that tells a story with a beginning, middle and end. The class assembles a collection of early storybooks, comic strips from newspapers and magazines, comic books and picture books in any language, to demonstrate the different stages of the creative process.

Students present their stories with clear evidence of sequencing (beginning, middle and end).

be introduced to sketchbooks as a means of recording and developing their work

Why do you think people design/invent something? Where do you think people get their inspiration? How do our needs dictate what we design/invent? causation

The class looks at the work of Leonardo da Vinci and other artists and their use of sketchbooks to record their original ideas and create new inventions. Students design extraordinary vehicles in unusual/extreme/ imaginary environments in their sketchbooks.

Students can show and share their own sketches with appropriate explanations.


8.20




Notes for teachers



combination.












Creative processes (cont.) Students will: respond to the artwork of

others as a starting point for their work

Students develop a time line focused upon a particular invention, for example, phone, camera or car. They compare and contrast: old and new; then and now.

Students can discuss, draw and identify changes over time. They can give possible reasons for the developments they have noticed.

How can you build on existing ideas, designs or inventions? Do you think it is possible to improve upon designs over time? reflection The teacher uses examples of

futuristic or fantasy machines to promote a discussion or as a starting point for student inventions. Students use a working drawing to construct a 3-D model of a fantasy machine using found and recycled materials.

Students do a gallery walk of the display. Inventions must present process, problem/ solutions and their product using appropriate vocabulary. The students who are viewers prepare and ask questions.

The unit of inquiry Going places in the Sample programme of inquiry 2003 has many opportunities to include visual arts. These videos and books have been recommended by teachers: Back to the Future directed by Robert Zemeckis. Star Wars directed by George Lucas. Chitty Chitty Bang Bang by Ian Fleming. Charlie and the Chocolate Factory by Roald Dahl. 20,000 Leagues Under the Sea by Jules Verne. The Lorax by Dr Seuss.

use a variety of media,

including IT, to explore and express ideas.

Which materials do you think can be recycled into art? function, responsibility How do you think we can use recycled materials to create artworks? change

Students collect different items of rubbish or find objects from the immediate environment for use as art materials. They sort them according to colour/texture/ shape. Students make new containers by painting/appliquing on old shopping bags/boxes/cylinders. They produce wrapping paper by printmaking/stamping on newspaper. Students create mobiles or sculptures using wire, wood, tin cans and found objects.

The unit of inquiry Reduce, reuse, recycle in the Sample programme of inquiry 2003 has many opportunities to include visual arts. Caution should be exercised in handling any waste materials. Gloves and facemasks may be appropriate.

Elements of art and design Students will:

develop an understanding

that the choice of different tools and materials results in different outcomes

How does your choice of drawing tool change your result? function Do you think there might be ways to combine different media (pencil with paint, paint with pastel, chalk with charcoal)?

Sculptures at the exhibition

Students consider the practical and theoretical aspects of art and design: line, shape, form, colour, texture and pattern as well as balance, emphasis, rhythm, unity, variety, repetition, proportion, tension, contrast and space. Students understand the importance of taking care of tools and materials and are aware of health and safety aspects associated with using a variety of tools and materials.

begin to be aware of the different elements of art and design and how these elements create specific effects, for example, colour to express emotion

Who do you think will look at your work? Who is your audience?

Students are arranged in groups of four. One student is the sculptor and the other three are the medium the sculptor uses. Each group is given a subject, for example, victory, fear, peace, joy. The sculptor uses all members of the group to create a tableau. They all remain still on the command, Freeze! One by one the sculptures are unfrozen so that they can walk the gallery and talk to the sculptors about their sculpture.

Students can create a sculpture that captures aspects of a given subject. They explain how they used the other members of the group and what they think is effective.

The teacher will need to provide oral prompts so that the students have as much information as possible.


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Notes for teachers



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Elements of art and design (cont.)

Students will:

identify elements of art

and design and begin to describe how the elements are used by artists

From seed to flowerthe

fruits of your labour

sharpen powers of observation.

Students work through from simple contour drawing to focusing on detail. They use magnifying glasses and viewfinders to isolate one aspect and sketch a plant or animal at different stages and in different conditions. They examine fish/snake skin or butterfly wings under a microscope to enhance and focus on detail, or use keyhole mounts to focus on one aspect of the plant or animal.

The teacher works with each student to compile sketches into a book. This is used to help assess the students powers of observation.

Students should be aware of the concentration, patience and care needed to produce a careful observation. The units of inquiry Growing things and Animals and their babies in the Sample programme of inquiry 2003 have many opportunities to include visual arts. Collect photographs and images, of old and young animals, new and dying plants.

Visual arts in society Students will:

Celebration of light be aware that individuals

and cultural groups work with a variety of styles and purposes

What is the significance of light/earth in cultural celebrations around the world? perspective In what ways do you think people use light to show that they are celebrating? connection Can you find other signs of celebration?

Students look at a variety of lanterns and lamps from different cultures, for example, Chinese lanterns, Divali lamps, Jack-o-lanterns. Students talk about their purpose, their significance, and the ways in which they are made. Students develop designs for a lantern or lamp based on a class theme. They use appropriate construction methods and resources relevant to different cultures and seasons.

Students can articulate the significance of their lantern in an appropriate form.

The units of inquiry Celebrate and Home in the Sample programme of inquiry 2003 have many opportunities to include visual arts. Suitable materials for constructing lamps and lanterns include clay, rice paper, bread dough, pumpkins and wood.

Students look at the role visual arts play in their own society and in diverse cultures, both historical and contemporary.

investigate the purposes of objects and images in past and present cultures and identify contexts in which they were or are made, viewed and valued.

How does the setting of the artwork affect its size and content? Are the most important parts of your artwork given the most important space?


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Notes for teachers



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Reflection and appreciation Students will:

Students study and appreciate artworks from a range of cultures and media (including their own work) to develop their understanding of the principles of art and design in the world around them.

begin to understand that individual responses, thoughts and ideas are valued when viewing and reviewing their own and other artists works

What do you think a stranger would say your artwork was about? reflection Which part of your artwork makes you really happy? Is there anything you could change to make your artwork better? change

The class views a piece of public artwork (sculpture, mural, quilt) that tells a story about the community. They then discuss possible meanings in the artwork.

Students begin to use specific art vocabulary to describe artworks.

Use a variety of assessment strategies to accommodate each students different learning style and level of intelligence. Assessment should be drawn primarily from the students portfolio. Both teacher and student can build a profile of the students developing artistic understanding and skills.

identify the strengths and

areas for improvement in their own and others artwork

If you could make this artwork again, what would you change? What worked well in your artwork?

Students review their artwork from earlier in the year from their sketchbook or portfolios.

Students can discuss how they would use new knowledge and skills to change, improve or rework a previous piece of art.

Student-led conferences combined with the use of portfolios engage teachers, parents and students in setting learning goals together.

Now and then become aware that different

art styles were produced at different times in history

The teacher and students express their preferences and create a personal time capsule at the start of the year. The capsule will contain favourite pieces of artwork, memories, dreams and objects. Students are introduced to contemporary art. The class discusses how the artistic medium has changed. The class creates a gallery of selected images on a theme, for example, work, play, eating at home, city life, rural life. The class places these images on a decade time line.

The unit of inquiry What was it like when you were young? in the Sample programme of inquiry 2003 has many opportunities to include visual arts. Teachers should try to use grandparents or older members of the community as a resource for interviews, photographs and memorabilia. Visit sites, museums and galleries of historical importance in the area.

realize the importance of

reflection and the influence this has on the development of their work.


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Overall expectations Students will establish a foundation of self-awareness about their own interests and preferences in art. They will develop this interest by exploring and experimenting with a variety of tools, materials and techniques. Students will exhibit confidence in choosing tools and materials that are appropriate for their artworks and that reflect their growing individual creative vision. They will exhibit greater control and purpose in their use of a variety of media and tools. They will make initial sketches and will be aware that a piece of artwork requires thought, planning, effort and revision. They will discuss their work using specific art vocabulary and will be increasingly aware of the fact that other students and groups will produce work that varies in style and content. Students will search beyond the classroom for resources and begin to see links with other areas of the curriculum. They will respond reflectively to the artwork of others.



* See glossary for explanation of italicised terms.



Notes for teachers



combination.


concepts (Fig 5 Making the PYP happen) challenge learners and promote genuine understanding.

Sample questions can be linked to a key concept. Some examples

are noted below in bold.









Creative processes Students will:

Students explore, develop and express their ideas using visual arts.

recognize that other people express themselves using art, in a variety of styles

The class creates a montage of photographs and images from magazines. The montage includes clothing and accessories for different purposes from around the world. Students watch a video of a fashion show.

What do we notice about peoples clothing, jewellery and hairstyles? What does it tell us about their occupation, culture, nationality and financial status? connection What is fashionable (cool) today? perspective How do fashions change, and why do we think they change? change

Students make paper dolls and cut out clothing. They design an outfit for: a sports activity in a cold

country everyday dress in a hot

country a holiday costume.

Students can present a fashion show using their paper dolls.

The unit of inquiry Looking in the mirror in the Sample programme of inquiry 2003 has many opportunities to include visual arts. Students could also consider the design of furniture, jewellery and clothing in an historical context, for example, Dior, Wren, Hepplewhite, Gucci, Gap and other well-known (local) brands.

become more familiar with

the different stages of the creative process, from generating the initial ideas to the completion of an idea or piece of work

Students research the influences that inspire artists and architects, for example, the work of Antonio Gaudi, Norman Foster, Jorn Utzon. They look at architects sketches and initial ideas and see how they are developed into full-scale buildings.

Given a set of criteria students can design a building that would blend in with the surroundings. They can use construction materials such as Lego to create their design in 3-D.

Teachers have suggested students use the computer programme SimCity to design new landscapes and buildings.

What makes a good design for a building? If we were to create a building to add to the school, what would we need to know before we started? responsibility How do we decide that a structure is successful?

Using nature as the source material, students make a sketch starting from an object, for example, a shell or a fir cone. They then use their sketch to design a building.

Consider pattern and shape in nature, for example, peacocks tails, snake markings, leopards spots and zebra stripes.

The teacher invites an architect

or designer to talk to the students. The teacher assists the students in preparing questions for the visitor.

Students can interview the visitor to discover more about how they work.

The unit of inquiry Architecture and design in the Sample programme of inquiry 2003 has many opportunities to include visual arts.

continue to use sketchbooks

as a reflective tool to record ideas and observations

How will you record your ideas? function Where can you find this shape in nature? form What source has the artist used as an inspiration? causation

Students use a magnifying glass to make sketches of shells, plants, pine cones and honeycomb. Students study photographs of shapes, forms and designs in nature.

Students can take a section of the first sketch and magnify a detail of the drawing.

Further examples of forms and patterns found in nature include spider webs, bird nests, beaver dams, beehives, ant nests, seeds and pods.


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Notes for teachers



combination.












Creative processes (cont.) Students will: use a variety of media,

including IT, to explore and express ideas

How do you think you can take one or more shapes and create an artwork that satisfies you? Can you find examples of pattern?

produce 2-D and 3-D works

of art that communicate ideas (thoughts, feelings, experiences) for specific purposes and to specific audiences.

How does this piece of music or poetry make you feel? perspective How can you express that in your artwork?

Students are given a stimulus such as a piece of music or a poem. They discuss the feelings and thoughts that it generates. They select an appropriate media to use to express their response to the stimulus.

Students can produce a piece of artwork in response to a stimulus such as a piece of music, writing, or a theme, for example, peace, rage, happiness, loneliness. They can explain how the stimulus inspired their piece of artwork.


The bamboo project demonstrate understanding

of the proper and controlled use of art tools, materials and techniques, singly and in combination

What shapes do you think make the strongest structure, and why? function Can you explain what makes an interesting design, and why? reflection

Students take bamboo sticks and join them with elastic bands to make different shapes. They combine these shapes to make larger-scale structures.

Bamboo can be purchased in different sizes. The smaller bamboo can be used for the experimental stages and large lengths of bamboo for outdoor structures. If bamboo is not available, try drinking straws, cardboard strips and pins.

begin to discover the

interrelationship between the different elements and principles of art and design.

How can the size, shape, adornment and placement of a structure reveal its function?

The class collects images of buildings and structures that show elements of design over time.


Students design a logo or badge for their class, school, town, club or team. The logo incorporates elements of design and symbolism.

Students can identify signs and symbols in their immediate environment. They design their own logos and can explain the significance of the symbols used.

Students experiment with

printmaking using repetition of pattern. They contrast colours and shapes and discover negative space and positive space.

The unit of inquiry Signs and symbols in the Sample programme of inquiry 2003 has many opportunities for including visual arts. This web site has been recommended by teachers to look at the use of signs, logos and symbols: www.haringkids.com


develop an awareness and

appreciation that there are multiple perspectives in how artworks are made, viewed and valued

Students explore storytelling through time using a variety of different visual arts forms, for example: hieroglyphs puppetry drama dance.

Students can tell a story using traditional or contemporary art forms, for example, hand puppets, shadow puppets or overheads, stick puppets, pop-up books, big books or masks.

Artworks from a variety of different cultural perspectives include: Indonesian shadow puppets Kabuki theatre (Japan) Australian Aboriginal art Vietnamese water puppets indigenous masks and

symbols.


develop a sense of the chronology of art history

How do you think colours were created before they were produced by modern technology (when viewing any ancient artwork)? How do you think they did it with the technology they had? function

Students create a piece of artwork using only natural or self-manufactured tools.

Students successfully use an agreed range of materials in their creations.

The teacher should create opportunities for groups of students to investigate and create stories. Collect and use an assortment of materials such as cloth, leather, wool and wood. Techniques such as tie dying or stamping can be used.


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Notes for teachers



combination.












Visual arts in society (cont.) Students will: be exposed to a range of

contemporary art and artists

The teacher invites a local artist to the classroom. The students have an opportunity to see the artists work and the methods used and to ask questions about the artwork produced.

The teacher should assist students in preparing questions for interviewing a visiting artist/puppeteer/ illustrator.

describe how artists

working in different styles and media and in different historical periods have used the elements of art and design and/or tools, materials and techniques.

The class collects and displays examples of different storytelling art within an historical context.

Reflection and appreciation Students will:

use specific art vocabulary

when discussing artworks The class builds a word wall

of artistic terms and their definitions. Students develop an ongoing glossary in sketchbooks as a reference point.

Students use appropriate art vocabulary.


develop skills in analysing, interpreting and evaluating meaning in the artwork created by others and in their own work

What do you think is happening (when viewing a piece of artwork or performance)? How do you feel when you look at it? reflection What do the colours and shapes remind you of? connection What colours, lines, and shapes do you see? What would you hear and smell?

Students view any art collection, for example, artwork in other classrooms, galleries, local collections, public artworks.

Students can state their preference for a specific work chosen from among several on a similar theme and explain their choice.

be aware of art in their own

and different environments Students use their sketchbooks

to draw art they see around them in their community, or on field visits.

Students become aware of the variety of art that can be found in the community and record it in their sketchbooks.

take time to reflect on their

artwork Why do you like your artwork? reflection Why dont you like it?

solve artistic problems. How do you think you could ?

Is there anything you would remove from your artwork to make it look better? change Is there anything you would add to your artwork to make it look better?

Students create a bubble effect using a sponge.

This aspect of reflection is ongoing during all the students artwork.


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Overall expectations Students will develop confidence in seeing themselves as artists and will have a growing appreciation of their individual artistic interpretation and vision. Their responses to tasks will demonstrate increased levels of technical detail and heightened levels of sophistication. They will continue to develop skills of observation and to seek out a variety of resources. They will be confident in the everyday use of sketchbooks for recording observations, ideas, pattern and colour. They will choose the appropriate materials for the task, building on previous skills and experiences when using a variety of materials. They will develop the skill of looking at artworks and artifacts from different periods and will draw conclusions and make predictions about their function. Students will work well, both alone and in groups, and will be sensitive to the work of others, suggesting modifications and discussing reactions constructively. They will be aware of the elements and principles of art and design and will develop a more critical stance to their own immediate environment.



*See glossary for explanation of italicized terms.



Notes for teachers



combination.












Students will:

Creative processes Students explore, develop and express their ideas using visual arts.

become increasingly independent in the realization of the creative process

What resource materials do people need to gather for the completion of an art project? Who do you need to speak to and who would you like to involve in the project? responsibility Can you anticipate the problems you may encounter as you work upon this project? reflection

Students create an artwork project of their own choice. They take responsibility for the initial generation of ideas and for the planning and creating stages that follow.

Students develop and describe a plan for a work of art. They identify the most appropriate tools, materials and techniques for the size and scope of the work and use them appropriately. Students can develop an appropriate rubric with teacher and student input. Through self-assessment, students can identify strengths and areas for improvement in their own work.

At this stage, students are responsible for accessing resources with support from teachers. The unit of inquiry Persuasion in the Sample programme of inquiry 2003 has many opportunities to include visual arts. An independent project such as this could be developed within any of the units contained in the Sample programme of inquiry 2003 at this age level.

use sketchbooks as an

everyday tool to reflect, to discover and to develop personal interests, and as a source of ongoing information

If possible, collect working drawings and examples of early designs from local manufacturers. Examples from the notebooks of da Vinci, Picasso, and Van Gogh show experimentation as a valuable creative process.

combine and use a variety

of media, including IT, to explore and express ideas

What media will be the best choice for the project?

incorporate visual arts (2-D

and 3-D) into the PYP exhibition.

The PYP exhibition gives students ample opportunity to apply artistic skills and knowledge in formulating their projects.


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Notes for teachers



combination.













continue to develop sensitivity,

skill and understanding of the elements and principles of art and design

How is colour used in posters, magazines, advertising and other forms of print media? function How do we recognize certain brands? causation

Students collect and display a variety of print, art posters and advertising. Students examine a variety of commercial art posters and flyers appearing in media such as magazines and newspapers in order to identify the elements/principles of design (this can be done in pairs, in groups, or as a class).

Given a range of materials, students create a poster that is assessed using an agreed set of expectations. Students are able to identify and utilize at least four elements and principles of design in their posters.

The units of inquiry Persuasion and I believe in the Sample programme of inquiry 2003 have many opportunities to include visual arts. The art of commercial signage or tagging can be a subject for study.


identify the elements and principles of art and design and use them in appropriate ways when producing and responding to works of art.

How do you think the principles and elements of art and design are applied? Which elements/principles appear in most posters? form



recognize individual, community and social uses of art

Can you think of ways in which communities acknowledge their heroes in public places? function

The class organizes a field trip to a city/town centre to investigate or view public art, for example, murals, statues and locations that are named after a famous local personality.

Students design and construct a model that will become part of a tableau that celebrates/ honours a selected group of heroes.

Field trips are a good way for students to explore public artworks before a unit of inquiry. Revisiting at the end of a study gives a point of comparison. The unit of inquiry Heroes in the Sample programme of inquiry 2003 has many opportunities to include visual arts. The teacher should assemble a large collection of images of celebrities and personalities from sport, politics, music, TV and movies.

compare works on a similar

theme from various periods and cultures

How do you think heroes have been depicted in historical settings?

Students should participate in Internet research if possible.

be exposed to both western

and non-western male and female artists

Can you find examples of women as the creators or subjects of hero art? How have native peoples depicted their heroes throughout time? perspective

understand and appreciate

career opportunities as an artist and interview, research and share information about artists.

The teacher invites local artists to visit the class. The students are given an opportunity to watch a variety of techniques and interview the artist.

Students can prepare questions before an interview, talk or demonstration and can reflect afterwards on what they have heard or seen.

Teachers should ensure a balance of male/female artists in a variety of roles within visual arts (fine artists, graphic designers, illustrators, fashion designers, jewellery makers, interior designers).


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Notes for teachers



combination.













Students will:


appreciate art as a form of communication and as an expressive language in its own right

Why do you think people visit art galleries? causation Why are there art galleries?

The class takes a visit to a local gallery or collection.

Students can explain their preference for specific artworks with reference to the artists intentions.

The unit of inquiry I Believe in the Sample programme of inquiry 2003 has many opportunities to include visual arts. Teachers should try and use a wide variety of art resources, including local galleries and collections, photographs, textiles, ceramics, folk art, weaving, manufacturing, transport, native art, churches, castles or old buildings.

develop a sensitivity to

artistic works

be aware that people have

used artwork as an expression of their feelings or as a response to a situation

Can you think of examples of artwork that represent times of: peace/war prosperity/depression rejoicing/mourning feast/famine.

Students develop a school mural or large piece of artwork for the schools public places, such as foyers or hallways.

Check safety regulations when placing work in hallways.

develop a critical awareness

of their own environment and the place of art within it

begin to think and behave

like an artist. How do you think works in a gallery are selected?

Students can be invited to leave a comment on peers work by using a Post-it note: I liked the way you Can you tell me how you ?

The teacher observes students discussing and viewing each others work. The teacher keeps anecdotal records, including vocabulary and appreciation of effort.

Teachers can promote sympathetic viewing by orally commenting as students work on materials.

The arts in the Primary Years ProgrammeVisual arts inquiryGlossary of PYP visual arts termsRecommended resourcesVisual arts scope and sequence overviewAge range: 35 yearsAge range: 57 yearsAge range: 79 yearsAge range: 912 years

Documents

Scope and Sequence