# data[].attributes.body
Australian Curriculum and Assessment Reporting Authority [ACARA]. (2017). The Australian Curriculum. Retrieved from https://www.australiancurriculum.edu.au/f-10- curriculum/science/structure/

Australian Institute for Teaching and School Leadership [AITSL]. (2011). Australian Professional Standards for Teachers.
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Cecil-Fizdale, S. (1991). The arts in early childhood. New York: Prentice Hall.

Churchill, R. (2011). Teaching: making a difference (4th ed). Milton Qld: John Wiley & Sons

Department of Education Employment and Workplace [DEEWR]. (2009). Belonging, being and becoming: The early years learning framework for Australia. Retrieved from https://www.education.gov.au/early-years-learning-framework-0

Dinham, J. & Chalk, B. (2017). It’s art play. South Melbourne: Oxford University Press.

Dinold, M & Zitomer, M. (2015). Creating opportunities for all in inclusive dance.

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DiScipio, T. (2013). Essential collaboration, Web 2.0 and social learning platforms for 21st- century education: using new technology to increase student engagement, build partnerships, and drive productivity. District Administration, 49(1), 56. Retrieved from https://librarysearch.swinburne.edu.au/primo- explore/fulldisplay?docid=TN_gale_ofa314144423&context=PC&vid=SWIN2&lang =en_US&search_scope=Blended&adaptor=primo_central_multiple_fe&tab=combine d&query=any,contains,21st%20century%20education,AND&query=any,contains,tech nology,AND&query=any,contains,partnerships,AND&sortby=rank&mode=advanced &offset=0

Duffy, B. (2006). Supporting creativity and imagination in the early years. Open University Press.

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Ewing, R. (2010). The arts and Australian education: realising potential. Australian Council for Education Research (58). Retrieved from http://research.acer.edu.au/aer/11/

Green-Gilbert, A. (2006). Brain-compatible dance education. National Dance Association.

Kennedy, J. (2014). Students with disabilities and the core arts standards: Guiding principles for teachers. Retrieved from https://www.nationalartsstandards.org/sites/default/files/Guiding%20Principles%20for%20Inclusion.pdf

Knudsen, M. (2016). Noah’s ark. Australia: Penguin Books.

O’Neal, L., Gibson., P, & Cotten, S. (2017). Elementary School Teachers’ Beliefs about the Role of Technology in 21st Century Teaching and Learning. Computers in the schools, 34(3), 192-206. Retrieved from https://www- tandfonlinecom.ezproxy.lib.swin.edu.au/doi/pdf/10.1080/07380569.2017.1347443?ne edAccess=t rue

Pelo, A. (2007). The language of art: Inquiry -based studio practices in early childhood settings. St Paul, MN: Redleaf Press.

Pica, R. (2013). Experiences in movement with music, activities, & theory (5th ed). Belmont, California: Cengage Learning.

Qi, Y & Qi, J. (2012). The significance of music in early childhood education: considerations for early childhood teachers and music educators.

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Russell-Bowie, D. (2012). MMADD about The Arts: An introduction to primary Arts education (3rd ed.). Frenchs Forest, N.S.W: Pearson Education Australia.

Sinclair, C., Jeanneret, N., O'Toole, J. & Hunter, M.A. (2017). Education in the Arts (3 rd ed.). South Melbourne: Oxford University Press.

West, N.T. (2006). Art for all children: a conversation about inclusion. Redmond, Wash: Exchange.

Wright, S. (1991). The arts in early childhood. Sydney: Prentice Hall.

Wright, S. (2011). Children, meaning-making and the arts (2nd ed.). Melbourne: PE.d.

Wright, S. (2012). Children, meaning-making and the arts. (2nd ed.). Pearson.

# data[].attributes.body
Year two (7-8)

Explanation of lesson

Collage to recreate an image using natural materials collected from outside. Begin by presenting example of finished art piece. Children share memories/ideas amongst the group/a friend. Use photo from home to copy image, then collect natural materials to creatively stick onto paper. Reflection and discussion about ideas, techniques and overall experience at the end.

Curriculum links
Use and experiment with different materials, techniques, technologies and processes to make artworks (ACAVAM107 - Scootle ) (ACARA, 2013).

What children will learn
-Spatial understanding and constructing shape in order, light and darkness, dissonance and chromatic harmony, symmetry and perspective (Sinclair et al., 2012)
-Language and social development through discussions, sharing resources and ideas to develop literacy and fine motor skills, higher order thinking and motivation to learn (Ewing, 2010; West, 2006)
-Personal development through art, making friends and creating disposition to learn (Ewing, 2010)
-Confidence through decision-making, risk-taking, experimenting, conceptualising, reflecting and interpreting (ACARA, 2013)
-Spatial awareness through decision making relating to shape and form, placement of features, angle, position and size (Dinham & Chalk, 2017)
-Different materials, techniques, styles and forms (ACARA, 2013)
-Sustained and concentrated participation (Sinclair et al., 2017)
-Hand-eye coordination and manipulative development essential for writing skills (Englebright Fox & Berry, n.d.; Wright, 1991)

Resources
Pencils, charcoal, chalk, markers and ink, sticks and natural materials found outside.

Learning environment
Wide range of resources provided for developing aesthetic awareness, inspiration and spiking creativity, self-expression and developing a range of skills/techniques (Sinclair et al., 2012). Environment that supports self-initiated and open-ended ideas to foster children’s imaginations (Dinham & Chalk, 2017). Supportive and non-judgmental learning through children guided to focused attention around creative expression using a wide range of mediums such as using texture, tone, colour, shape and line (Dinham & Chalk, 2017).
Sharing of ideas in supportive environment to foster children’s memories/imagination (Dinham & Chalk, 2017). Active questioning to support self-expression, creativity and imagination (Sinclair et al., 2012). Support inclusivity by sharing ideas as a group and receiving positive feedback from teacher (Dinham & Chalk, 2017).

Rationale
Develop skills and knowledge about a range of concepts and topics (Sinclair et al., 2017).

Pedagogical approaches
Responsive pedagogy used to demonstrate skills such as creative risk-taking, flexibility, preparedness to collaborate (Sinclair et al., 2017). Able to support and respond based on displayed learning needs.
Process-driven pedagogy to balance tasks, allocate time for reflection/action, group/individual work, and support inclusive practices with opportunies to contribute to discussions, demonstrate flexible and divergent/inquiry-based thinking (Russell-Bowie, 2012).
Self-expression: Convey meaning and memories, build self-worth through exploring and expressing emotions shared through art and peers; (Dinham & Chalk, 2017). Use imaginations, observations, experiences, and ideas through creative and personal representations (Dinham & Chalk, 2017; Wright, 2012).

Evaluation of the learning experience
Both teaching approaches are effective at supporting children’s learning however, could be improved by also integrating an emotional engagement-oriented approach as this allows for greater creativity and student control over learning (Dinold & Zitomer, 2015 (Green, 2006). A larger range of art materials would support new discoveries and creative combinations (Duffy, 2006). Additional needs could be supported with encouragement and assistance from teacher and other students to take creative risks (Dinold & Zitomer, 2015).

# data[].attributes.body
Toddlers (2-3)

Explanation of lesson
Movement based musical activity using scarves to support creativity. Warm-up dancing to song ‘Wave your scarf’ to teach different types of movement. Then demonstrate and prompt expression of emotions using scarves and the flow and force of movements in use of their bodies/props. Offer choice of scarves, maracas or their own bodies to free style dance to the music based on their strengths; this includes music relating to their interests and cultural backgrounds. Select last song to have a calming influence. Discussion emotions evoked and which songs are easy/difficult to dance to and the reasons why.

Curriculum links
Outcome 3; Learning dispositions such as cooperation and creativity (DEEWR, 2009).

Outcome 5; Verbally and non-verbally interactions for a range of purposes (DEEWR, 2009).

What children will learn
-Bodily kinaesthetic intelligence, fine and gross motor skills, coordination, decision making skills, spatial awareness, critical and creative thinking (Sinclair et al., 2012; Ewing, 2010)
-Awareness of space, momentum and physical strength (Dinham & Chalk, 2017) -Non-locomotor and locomotor movements (ACARA, 2013)
-Movement types and vocabulary, curved, straight and zigzag, squatting and kneeling, near and far, tempo (Dinham & Chalk, 2017)
-Muscular strength and endurance, cardiovascular endurance and flexibility (Dinham & Chalk, 2017; Wright, 2012)
-Neural integration of right and left sides to support tracking when reading, writing skills, pencil control and neural connections in the brain through cross-over body movements (Dinham & Chalk, 2017)
-Self-confidence, nonverbal reasoning, persistence, expressive skills, social tolerance and negating, creative thinking and problem solving (Sinclair et al., 2012)
-Social development and cooperation, listening and supporting others; support metacognition, creative problem solving, risk-taking and creativity, innovation and imagination (Ewing, 2010)
-Discover elements of dance relating to space and time, dynamics and relationships (ACARA, 2013)

Resources
CD with music, scarves and maracas.

Learning environment
Supports confidence by being supportive, non-judgmental, fun and welcoming. Demonstrate creative movements to put children at ease (Cecil-Fizdale, 1991). Box full of different coloured scarves and maracas for inspiration. Open-ended dance challenges to support laughter, enjoyment and balance (Dinham & Chalk, 2017).

Rationale
Supports fine and gross motor movements, confidence, social and emotional skills through dance (DEEWR, 2009).

Pedagogical approaches
Collaborative pedagogy allows for interactive and supportive learning, motivates and increases bonding through social dynamics (Ewing, 2010).
Child-centred, discovery approach to enable freedom to express and explore acquired knowledge and discoveries and spatial concepts through music/dance (Dinham & Chalk, 2017).
Use self-expression and aspects of aesthetic awareness to emphasise feelings and ideas through body movements and the use of stories or experiences to inspire creativity (Wright, 2012; ACARA, 2013).
Guided reflection supports inclusive practices to share associated experiences and feelings (Dinham & Chalk, 2017). Dancing and responding to cultural music supports self-expression and identity (Dinham & Chalk, 2017).

Evaluation of the learning experience
Supports inclusivity, however students with impairments need extra help to be involved such as allowing them to beat a drum or shake a maraca to feel the vibrations and enjoy the activity (Dinold & Zitomer, 2015). Educational, engaging and age appropriate by utilising interactions between movements, dance prompts/resources to support interactive learning in contrast to traditional teacher led discussion (Dinold & Zitomer, 2015).

# data[].attributes.body
Infants (0-2)

Explanation of lesson
Listen to instrumental, choral and jazz compositions in order to respond using a range of instruments and body beats to learn about different rhythms. Teacher demonstrates how to use instruments. Students are given an instrument and instructed, with guidance, to play along with music. Next mimic teacher to sound the beat with their hands, feet (stomping), tummy and mouths. Then invited to select their mode of participation based on personal preference/musical strengths. Discussion about their favourite song/instrument; praise for efforts

Curriculum links
‘Outcome 5: Effective communicators: express ideas using range of media’, use music to connect, express themselves and extend learning (DEEWR, 2009).

Resources
Bells, clave, maraca, and drums with a stick, and a CD player with songs.

What children will learn
-Rhythm, duration and timing between beats (Dinham & Chalk, 2017).
-Develop aural discernment and listening skills; distinguish between sounds (soft and loud), dissonances and harmonies, rhythms and sequences, timbres and tones (Sinclair et al., 2012; Pica, 2013).
-Cognitive development and higher order thinking through attention and memory use, perceptual processing and quick sequential production, spatial awareness and temporal reasoning (Wright, 2012; Ewing, 2010; Sinclair et al., 2012)
-Express feelings and imagination through response to music (Dinham & Chalk, 2017)
-Hand-eye coordination, fine motor control, rhythm; breath control and muscles needed for oral language development (Dinham & Chalk, 2017)

-Social skills, develop a sense of belonging, confidence and friendships (Dinham & Chalk, 2017; Ewing, 2010)
-Artistic expression using body parts, instruments and kinaesthetic senses (Wright, 2012)
-Body awareness, creative problem solving and decision making (DEEWR, 2009)

Learning environment
Sense of community by encouraging assistance. Ensure instruments support musical strengths and challenge (Sinclair et al,. 2012). Sufficient instruments to support inclusive and shared learning environment. Encourage ideas to be expressed verbally and through music (DEEWR, 2009). Safe environment by modelling risk-taking and mistakes to engender confidence and positive engagement (Sinclair et al., 2012). Ensure that music relates to interests, enjoyment and reflects a broad cultural spectrum to support inclusiveness and participation (Sinclair et al., 2017).

Rationale
Highly sensory, interactive and enjoyable for infants.

Pedagogical approaches
Play-based learning to support creativity and imagination and make sense of their environment through creation of sounds (Dinham & Chalk, 2017).
Creation of musical patterns, movements and sounds to engage learning, reflect memories, imagination and considerations for aesthetic awareness (Dinham & Chalk, 2017).
Student-centred learning to choose, create, move, play and sing, envision future careers, relevant to current knowledge, interests, understandings and strengths (Sinclair et al., 2012). Self-expression through creating, experiencing and communicating emotions and ideas and creativity through experimentation with rhythm and sounds, supporting flexibility in thinking (Ewing, 2010; Russell-Bowie, 2012).
Generate ideas to express different feelings, moods and ideas (Dinham & Chalk, 2017).
Ask open-ended questions to facilitate self-expression and discussion (Sinclair et al., 2017).

Evaluation of the learning experience
May require assistance from parents and/or additional educators to achieve a sustainable music program especially for very young babies and infants with additional needs (Qi, 2012). Interactive whiteboard and short videos of children playing instruments could heighten abilities and extend imagination(Churchill, 2011).

# data[].attributes.body
Pre-school (4-5)

Explanation of lesson
Design posters about saving the planet based on prior knowledge and interest in animals. Topics include saving water, planting more trees vs deforestation, recycling, ecological transport options and reducing carbon footprint. Display basic poster and demonstrate making it on the interactive whiteboard. Create small groups based on shared topics of interest and learning strengths. Assisted computer research for poster inspiration. Map out design ideas using paper and coloured pencils. Groups use computers to create design. Then print it and display. Conclude with class reflection.

Curriculum links
Outcome 5: children express ideas/meaning using range of media (DEEWR, 2009).

Outcome 4: children develop range of skills; inquiry, experimentation, problem solving and researching (DEEWR, 2009).

What children will learn
-Ideas/technologies to construct meaning (ACARA, 2013)
-Communicate ideas through organising and selecting elements with ICT (Dinham & Chalk, 2017)
-Develop editing and computer skills (Dinham & Chalk, 2017)
-Creative problem solving, social skills (sharing, negotiating and communication) and high order thinking processes (Ewing, 2010; Wright, 2012)
-Hand-eye coordination and critical, creative thinking skills for literacy (Dinham & Chalk, 2017)
-Confidence and self-worth through creativity in a collaborative, supportive, small group environment (Ewing, 2010)
-Interpretation and production skills (Wright, 2011)

Resources
Computer, paper, pencils and example poster.

Learning environment
Ensure sufficient space, time, creative opportunity and resources (Wright, 2011). Well organised with clear instructions (AITSL, 2011); i.e. paper and pencils on every table and computers set up and ready to go.

Rationale
Develop technology skills to be active, expressive and informed members of society (O’Neal, Gibson & Cotton, 2017).

Pedagogical approaches
Inclusive pedagogy; awareness of backgrounds, interests and abilities to connect home, school, environment to ensure relevance and optimal learning (Dinham & Chalk, 2017). Collaborative pedagogy to support creativity with increased interaction and guidance (Sinclair et al., 2012).
Inclusive with small groups allowing for shared inputs
Self-expression of emotions and views on real life issues through group discussions to convey information creatively to reflect interests and strengths (Dinham & Chalk, 2017).

Evaluation of the learning experience
Requires computer skills which would disadvantage the less skilled (Wright, 2011). Limited resources (computers) could curb creativity due to stress from time constraints (Ewing, 2010).
Benefits are potential to be creative and build understanding about creating media arts, knowledge and views on a particular topic (Wright, 2011).

# data[].attributes.body
Foundation (5-6)

Explanation of lesson
Circle time: Discussion on components of drama and story making. Read Noah’s Arc (Knudsen, 2016). Ask students to name the animals and record answers on whiteboard. Discuss sounds and movements the animals make. Using their bodies, movement and voices students convey this and then select which animal and head bands with ears, they want. Using their imaginations, they make additions from the resource box, then act out their animal as the story is being read. Teacher indicates with hand commands when to start/stop to ensure learning focuses on developing their strengths in drama/acting. Reflection about their shared experience.

Curriculum links
Explore role and dramatic action in dramatic play, improvisation and process drama (ACADRM027 - Scootle ) (ACARA, 2013)

What children will learn
-Social skills through cooperating and negotiating, increase in brain synchrony through collaborative learning and bonding/developing relationships with peers (Ewing, 2010) -Sense of belonging/wellbeing through supportive learning environment, increased levels of confidence through opportunities for self-expression using voice, facial expression, movements and body gestures (Dinham & Chalk, 2017)
-Story making including dramatic tension, timing, sequencing of events, plot, location and characters which support literacy (Dinham & Chalk, 2017; ACARA, 2013)
-Expand vocabulary and improve listening and comprehension skills, creative problem solving and cognitive development (Sinclair et al., 2012)
-Hand-eye and whole-body coordination, motor control and spatial awareness which are essential for writing and physical development (Dinham & Chalk, 2017)
- Develop aesthetic awareness through experimenting with animal head bands and fabrics in (Wright, 2012)

Resources
Storybook, whiteboard and marker, animal head bands and material samples in box, scissors, glue and markers.

Learning environment
Ensure the learning space is safe, clear of furniture/clutter, supportive, inclusive and children feel comfortable to express themselves (Sinclair et al., 2012). Create inclusive environment by ensuring that children are all invited to sit comfortably together to express ideas and join in the activity (Sinclair et al., 2012). Large box of varied resources to ignite imaginations.

Rationale
Lesson about drama, acting and creativity through fun, practical means (Dinham & Chalk, 2017). Using self-expression, creativity and imagination to act out animal behaviour by negotiating meaning and experimenting with fabrics, feelings and emotions (Sinclair et al., 2012).

Pedagogical approaches
Collaborative pedagogy allows for student interaction and guidance through the learning task (Sinclair et al., 2012).
Holistic approaches re sharing of knowledge and reflection to engage students’ mind, body and spirit; meanings are developed from socio-cultural contexts outside the classroom to aid understanding (Dinham & Chalk, 2017; Ewing, 2010).
Both teaching approaches support inclusivity, discussion, creativity and self-expression through sharing ideas and knowledge in a supportive and collaborative environment as part of the learning process.

Evaluation of the learning experience
For additional needs such as movement restrictions, activity can be modified but still creative using the head band and animal sounds. Accommodate additional needs, rather than lowering expectations to ensure they feel included and empowered (Kennedy, 2014). Use of interactive whiteboard when reading could heighten interest/knowledge due to improved visibility and engagement (DiScipio, 2013).