• QUESTION

   

  assessment task 

  WHAT DO I NEED TO DO?

  – During this unit you will engage in a total of 15 hours of arts experiences. You will engage in the three arts

  modes studied in this assignment for five hours each.

  – You need to provide two types of evidence of this engagement and they are written and digital files.

  WRITTEN EVIDENCE IN PORTFOLIO

  – The written evidence is proof of your engagement and will be included in your portfolio. Your engagement does not specifically require you to engage in paid tuition – but if you do, the receipts for these lessons would be evidence of engagement in the arts. You might take lessons in an art form from a friend or relative where there is no payment involved. Where this is the case you will need to create your own evidence by way of a journal where you write a paragraph for each session that you attend outlining how it related to the key arts elements. You may also engage in online tuition or purchase an inexpensive DVD/Book kit. In this case you will also create a journal as indicated above.

   

  DIGITAL FILES IN vUWS ASSIGNMENT BOX

  – The dance, music, media arts and visual arts sections of the portfolio all require documentation that shows

  hands on engagement and meaningful learning throughout the semester for five hours for each of your focus

  arts areas. You need to provide evidence that shows you either engaged in these activities or that represent

  artefacts you have developed as a result of your engagement. This includes short (1 to 2 minute) videos of

  17

  you conducting a dance, playing a musical instrument or acting in a dramatic production, a sound file of you

  playing an instrument, a series of photographs showing the development of a painting, sculpture, or other form

  of visual art artefact, a Photoshop collage or multimedia audio visual file (2 minutes only).

  – However, if one of your three focus areas is drama, there are three options. They include:

  1. Option A: Writing Directing and/or Performing a Drama Piece (video or written script as evidence)
  2. Option B: Participating in a Drama Workshop (video evidence)
  3. Option C: Attending Drama Performances (this can only account for half the 5 hours of drama)

  – You will also narrate/describe your learning in each of the three areas in your portfolio and the digital evidence should match the descriptions of your learning in the portfolio. You also need to complete a 500 word personal reflection on your learning and the role of the arts in early childhood and primary educational contexts. This reflection should include implications of your role as an educator.

   

  DETAIL OF REQUIREMENTS

  – Documentation of your experiences must show a progression of learning over the semester and give an overview

  of the understanding about the arts that you have developed through them.

  – For the three art forms you have chosen, you will show evidence of your engagement for five hours each.

  – Each of the art forms (Drama, dance, music, media arts or visual arts – the three you have chosen) should be

  established as a separate section of the portfolio and each should contain the following:

  – A contents sheet that lists the dates and times of your engagement in this art form,

  – The number of hours for each event and the total number of hours. No more than one page.

  – A description of what you did in this art form over the semester, and the benefits of learning in the art form

  for children from birth – 12 years. The key arts elements should be highlighted in your portfolio. Maximum 1

  page per art form.

  Evidence:

  – This may include invoices for lessons attended, signed letters from tutors with the number of hours of tutoring

  included, tickets for drama performances, or receipts from internet tutoring sites with a screen shot of each

  lesson. Where you engage in informal learning using DVDs/Books or other self-learning kits or with a friend or

  relative where you are not paying for tuition, you need to journal your engagement in the art form. For each

  session write a paragraph that shows the focus for the lesson, the relevant key art form element and how the

  lesson added to your understanding of the art form. Attach this evidence to your portfolio as an appendix.

  – Multimedia evidence of your engagement and progress in the three chosen art forms. This may be a sound or movie file of you playing an instrument, a short video of you engaging in a particular style of dance, photographs of visual arts artefacts you have created, a script you have written or short video of you acting in a stage drama or participating in a drama workshop. It could also include multimedia artefacts such as a Photoshop collage, music wiki or other multimedia file. You need to ensure that this evidence tallies with the evidence of attendance in the previous section and that the information about what you have done and learned is included in the description section of the portfolio.

   

  Finally you need to include a section on your overall critical reflection.

  – Critical reflection: This reflection requires that you:

  – Summarise what you have learned about teaching and learning through your experiences in the arts

  – Discuss the social, cultural and historical context of the arts in education and

  – Identify strategies that will assist you to meaningfully incorporate creative arts teaching into the early childhood and primary curriculum to support children’s creative development, individual learning styles, multiple

  intelligences, divergent thinking and communication. This section should be approximately 500 words.

  What do I need to submit?

  – You need to submit a creative arts portfolio that includes:

  – Evidence of 15 hours of engagement in the arts (five hours x three areas different to those in Assignment 1).

  This evidence consists of a journal and other digital files showing

  – Engagement in three arts forms (see below).

  – A description of your learning and skill development and the benefits of learning in these art forms for children from birth – 12 years. The key arts elements should be highlighted in your portfolio. (1500 words).

  – A 500 word personal reflection.

   

   

   

  Creative Teaching and Learning

   

   

  Music

   

   

  Contents

  Event/activity	Date	Hours
  Ukulele practice	25/04/15	2
  Ukulele practice song	26/04/15	1.5
  Ukulele practice song	27/04/15	1.5
  Total		5

   

   

   

   

   

   

   

   

  102105 Creative Teaching and Learning

  Music 1H 2015 Assignment 3 Presentation

   

  Surname

  First Name

  Student ID

   

  Title and description of music performance:

   

  Ukulele – All 5 hours consisted of practicing the basics of a Soprano type Ukulele and then learning simplistic ukulele versions of popular children’s songs. These songs are; ‘Hakuna Matata & You are my sunshine’

   

  Number of hours completed and what you did in these hours:

   

  The first two hours consisted of watching ‘beginners’ YouTube videos that were for learning the basics, such as how to do a finger stroke (also called strum) and 10 finger stroke as well as tuning the strings, the four strings G, C, E & A and its backwards order. The other 3 hours was watching various ‘how to’ YouTube tutorial videos of easy songs by various channels such as ‘The Ukulele Teacher’ and then practiced this repeatedly until I could do it completely.

   

  Clearly describe how your music presentation demonstrated your understanding of the key music elements:

   

  Practicing different songs on the ukulele helped me to see the different rhythm and tempo within the duration element, for example ‘Hakuna Matata’ was faster with my hands to do more notes in a shorter period of time whereas ‘you are my sunshine’ had lesser notes. Incorporating the music with singing at the same time created a more dynamic sound (Wright, 2012). The ukulele has a soft tone/colour element from strumming a string, as sounds softer as it is like a smaller styled guitar. As it originates from Hawaii, it gives off a simplistic yet joyous Island connection and sound (Dixon & McKay, 2014, p. 6). In terms of pitch, learning has shown that it’s definite, as the strings are smaller, and has given a higher pitched sound. When creating different notes in sync with the lyrics, this created an organized musical work structure (Wright 2012, p. 60).

   

   

   

   

   

   

  Describe the benefits of learning music for children:

   

  0 to 2 year olds:

   

  At a young age, according to Susan Hallam (2010), music and learning the ukulele has the capacity to develop relaxation (Wright, 2012). This could be done by playing music for young children or giving child safe instruments with strings to start practicing and hearing different sounds with their own exploration. This allows them to make their own musical language and this encourages a sense of belonging (DEEWR, 2009).

   

  3 to 5 year olds:

   

  This age would be a great time to look at co-ordination and concentration (ACARA, 2011). Before playing a song children need to practice their musical talents by starting to read notes, listening to different sounds of instruments, for example what a string instrument is compared to what the brass family is. This allows children to be intrinsically motivated to share ideas, thoughts and questions in order to make connection and extend their learning (DEEWR, 2009, p. 38).

   

  5 to 8 year olds:

   

  Children may start mixing actual sounds of the musical instrument and also mix with contemporary and popular music, creating a cultural hybridity of music and connect children and the community and family closer (Art Syllabus, p. 89). One way children can use this with a Ukulele if by bringing a cultural song or popular song they know and compose a song together with intentional teaching from the educator in order to scaffold their individual learning (Wright, 2012).

   

  8 to 12 year olds:

   

  As children become more skillful in practicing instruments, using the ukulele as part of a band would influence both social skills and creativity within a group (Wright, 2012). In order to create a song children must read notes to play a song. This will help children with numeracy development by practicing numbers and pattern through a creative mean of communication and play (Gardner).

   

   

   

   

   

   

   

   

   

   

  Dance

   

  Contents

  Event/activity	Date	Hours
  Zumba dancing	28/04/15	1
  Zumba dancing	05/05/15	1
  Salsa Documentary	16/05/15	30min
  Zumba dancing	11/06/15	1
  Zumba dancing	13/06/15	1
  Zumba dancing	13/06/15	30min
  Total		5

   

  102105 Creative Teaching and Learning

  Dance 1H 2015 Assignment 3 Presentation

   

  Surname

  First Name

  Student ID

   

  Title and description of dance performance:

  Zumba Dancing & Salsa documentary- Dancing classes consisted of various dance styles and documentary focused on the Salsa origins and influence on today’s society and culture.

   

  Number of hours completed and what you did in these hours:

   

  The first two hours consisted of attending Zumba dance classes at a local RSL by a long term trained Zumba instructor. She mixed up different styles of dancing and music such as salsa, Sumba, hip hop and belly dancing. After an injury which put me off physical movement for a few weeks I watched a salsa documentary called ‘Salsa, eh!’ (2014) which discusses the origins of salsa originating from Afro Cuban mambo influence and bought into the western world, mixing a number of dancing styles. The last two hours of dancing Zumba was spent at my home going at my own pace and learning more styles of Latin dancing, including ‘calypso, merengue and reggaeton’ (ZUMBA). The last 30 minutes was on the stretching styled dance to cool down the body.

   

  Clearly describe how your dance presentation demonstrated your understanding of the key dance elements:

   

  I engaged in various elements, one being predominantly activity. When doing the altered styles of dance, I could see the different activities elements that define its style, for example, salsa uses a lot of turning, hip hop uses jumping, belly dancing uses twisting (Russell-Bowie, 2012).

  Being in a group I had to be aware of my surrounding space as one element, to ensure we don’t collide. Following the instructor and repetitive practice helped myself to learn to dance in unison with everyone. This also gave structure to the group as we learned together and suggested certain songs to dance on or off stage with the instructor.

  The relationship element with salsa dancing is mainly happy feelings and emotions. The various styles of dance also gave insight into fast and slow pace of time element, with belly dancing and stretching being slow and hip hop and merengue being fast. This time also relates to the dynamic where dancing consisted of starting and stopping in some body parts and working out the other in isolation.

   

  Describe the benefits of learning dance for children:

   

  0 to year 2 olds:

  While children are still developing to verbally communicate, dance is a mode of communication (DEEWR, 2009, p. 41). This allows young children to express themselves with rhythm as active participants according to their gender and culture (Malaguzzi, 1992).

   

  3 to 5 year olds:

  By teaching different type of dances from other diverse cultures will encourage respect and interest of different styles and their emotion behind it (Arthur et al, 2012). Dance sets a purpose for a strong and healthy wellbeing, with physical activity involving both traditional and contemporary styles (DEEWR, outcome 3).

   

  5 to 8 year olds:

  Children learning dance can create bodily kinesthetic awareness by Gardner (1983) concept will influence children to explore their body and express themselves through different dancing components (Chow, 2009). This kinesthetic awareness relates to the development of moving, time, space and relationship (Art Syllabus DAES 1.3)

   

  8 to 12 year olds:

  Dancing creatively will allow children at this stage to feel empowered (Wright, 2012).

  An example of doing this through Latin style dancing can be collaboratively creating their own dance as Zumba encourages to bring your own flavor in it. At this stage, performing will enhance confidence in their own uniqueness and continuum of different style of dance will influence cultural respect (Art Syllabus, Stage 3).

   

   

   

   

   

   

  Visual Arts

   

  Contents

  Event/activity	Date	Hours
  Graffiti Art- sketching	01/05/16	1
  Graffiti Art- stenciling	16/05/16	1
  Graffiti Art- canvas practicing	17/06/15	1
  Graffiti Art- canvas spray painting	23/06/15	1
  Graffiti Art- canvas spray painting	24/06/15	1
  Total		5

   

  102105 Creative Teaching and Learning

  Visual Arts 1H 2015 Assignment 3 Presentation

   

  Surname	First Name	Student ID

   

  Title and description of visual arts exhibition:

   

  Graffiti Art. This art experience consisted of 2 large canvases to create a ‘piece’, one of my previous late pet dog called ‘bubbles’ and the other my nickname ‘nat’. This was done with help of my partner who has had experience and interest in graffiti art. First we did sketching, then stenciling, then graphing.

  Tools needed were a sketchbook, pencils, box cutter or scissors, blank canvas, different colored spray paint, spray caps, gloves and permanent marker.

   

  Number of hours completed and what you did in these hours:

   

  5 hours completed in total, with each session lasting one hour while learning different fundamentals of spray painting. The first hour as a start off was sketching. Before creating the graffiti art, also called graphing or piecing, you need to sketch.  I practiced drawing names in various bubble writing styles with a pencil.

  The second hour was stenciling for the picture, also called ‘character’ for the piece. This consisted of tracing a photograph four times and carving out different layers for the different shades and colours of the photo.

  The third hour was practicing how to use the spray can by using cardboard to practice different strokes, caps and shapes with both a marker and spray can.

  The fourth and fifth hour was spent creating and spraying the piece on the canvases.

   

  Clearly describe how your visual arts presentation demonstrated your understanding of the key visual arts forms and elements:

   

  While sketching, this helped me to focus on elements of both line and shape. Focusing on bubble writing and drawing, I demonstrated shape by developing a personal style to create different shapes. I also practiced lines to define the object together as if it was layered over each other (Wright, 2012).

  While stenciling the characters, I practiced the element of form by tracing numerous papers and carving out layers to allow the character to look 3D.

  The actual spray painting on canvas allows various colours and tones elements as the intentional choices of colour was to either make a part stand out or blend in, for example using red as a highlight, black to outline the letters as well as white to blend yellow and blue together (ACARA, 2011). The spray leaking and spraying over twice area created texture as you feel the thickness over the canvas.

   

  Describe the benefits of learning visual arts for children:

   

  0 to 2 year olds:

   

  The first two years of a child’s life learns significant amounts of information, including artistic aspects (Hoffnung, 2010). Children aged 0-2 can learn some graffiti techniques with ‘spray bottle painting’ by using dyed water in spray bottles to spray on large white paper. With the opportunity to experiment with different tools, this helps young children make meaning of the arts (DEEWR, outcome 5).

   

  3 to 5 year olds:

  In relation to graffiti art, children at this age can use their creative styles to develop unique dispositions (Arthur et al., 2014) by experimenting with drawing and cutting. Regular usage of this allows children to master technique of visual arts as well as show a caring attitude towards art (Wright, p. 44).

   

  5 to 8 year olds:

  At the stage of early childhood into primary children will benefit by being more detailed in the arts, by looking at colour and tone as well as specific techniques, in layering and drawing tools (Art Syllabus, p. 47). This will give children opportunity to become familiar, therefore applying the four stages of critique; describe, analyse, interpret and judge will enhance principles of the art form (Feldman, 1996).

   

  8 to 12 year olds:

  Doing graffiti art can also benefit by allowing children to draw or create a graffiti piece based on what is significant to them, socially and culturally. At an older age children can also work together depending on their interests or development stage, making a collaborative piece to make meaning (Art Syllabus, Stage 3). Older children can also discuss graffiti art and turning its negative outlook into positive with its multimodality and cultural material response (Edwards-Vandenhoek, 2015, p. 18).

   

   

   

   

   

   

   

   

   

  Analysis of Learning 500 words

   

  Through my arts experiences this semester I have learned the following about teaching and learning through the arts:

   

  I have learned that creative art is about expression. When developing skills at different paces and imaginative ways, it gives a sense of belonging within the self, school, family and community (Arthur et al, 2014). Children reply on their sense with representation of art being a major influence (Sturken and Cartwright, 2009).

  Everyone’s process of learning something new is unique as there is no one right way in teaching the arts. Resources and creative tools should be available to children in ways that are open-ended as well as intentional (Kearns, 2010).

  In relation to music, I have learned that learning a musical coming from no musical instrument background is difficult. It uses a lot of both cognitive function and fine motor skill, and in order to achieve this, it helps to add personal interests, for example picking a song that you connect to, or practicing in a group for support (Dow, 2011).

  From a dance perspective, it is a lot to do with repetitiveness. When learning steps and routine, continual practice at a step will help to maintain movement memory. Also dance is physical and emotional release, so should be emotionally releasing, weather its happy or angry feelings (Wright, 2012).

  In terms of graffiti art, this is something where one can send a message or emotional release. Graffiti has many steps before creating a well put together and final creation, therefore having an educator to support the process at a comfortable pace will benefit the end result.

   

  The arts have social, cultural and historical relevance in education – discuss:

   

  Music and dance have social relevance, as it is something that usually brings people together, whether it’s for a celebration or personal time like funerals (CHFC507A, 2011). This allows children to learn about music and dance and its different moments in life of usage.

  Visual art has many aspects of relevance in education. From a social lens, graffiti art is about preaching a message, for example when people make this art it usually shows someone’s name, in memory of someone, or created for an event (CHCFC508A, 2011). These give cathartic release, as I personally experienced through one of my art pieces.

   

  Culturally music and dance show immense amount of ethnic diversity (Edwards, 2013). Children are able to study the foundation of an instrument or dance and its origins, giving it deeper meaning and cultural awareness (Robinson & J Diaz, 2006). The ukulele is a Hawaiian tool that can be used with other ethnic instrument to demonstrate diversity (Dixon & MacKay, 2014). Zumba allows a range of ethnic difference from Latin to Arabic background (Luettgen, 2012). Graffiti art helps as we learn the subculture of hip hop. As it has been looked at differently depending on age, class and culture, graffiti art can be used in education from a positive light rather than vandalizing, and can educate how to respectfully display graffiti art (Chung, 2009). This brings debate and more acceptance of the new generation.

   

  Historically, dance and music have evolved from traditional styles and can teach students of the evolvement of both the ukulele and Zumba. The ukulele has become popular only recently so children can discuss and explore the new instrument from a new light. Zumba is a craze that has been popular over the past few years but brings movement from all areas of the world, which can be discussed and practiced with children both in early childhood and primary (Luettgen, 2012). In terms of visual arts, historical contexts can be learned through graffiti, for example the popularity of artist Banksy, who brings social commentary on political issues while creating political figures (Chung, 2009).

   

  The following strategies will assist me in incorporating the arts in to teaching and support children’s creative development, individual learning styles, divergent thinking and communication:

  Children are creatively unique and in order to learn something new, opportunities need to be given in ways that are open to everyone (Kearns, 2010). In order to learn something new in the arts, one has to fully understand the foundation and fundamentals, therefore strategies can be;

   

  -discussing what the arts are and each element, with practical experience to fully understand each ones historical and cultural origins and the foundations.

  -questioning about personal interests, for example graffiti art is looked at as an urban culture and those children of Indigenous background who do murals can connect their culture into the classroom for social inclusion (Hills, (Hill, 2012).

  -getting information from family to know the diverse background and development of each child (Robinson and Diaz, 2006)

  -allowing collaborative play by encourage group work to enhance collaboration of different styles (Kearns, 2010)

  -using both free play and intentional teaching when appropriate (Arthur et al, 2014)

  -allowing children to display their artworks in the classroom and with families in order for children to feel accepted and proud of their distributions

  -use Gardner’s multiple intelligences when suited to each activity for example in relation to musical-rhythmic investigate pitch, melody and rhythm (Anderman, 2009). Dance can use kinesthetic intelligence to control, manipulate and co-ordinate movement. Art practices visual-spatial intelligence to scaffold their movement through cultural objects (Wright, 2012, p. 94).

  References:

   

  Arthur, L., Beecher, B., Death, E., Dockett, S., & Farmer, S. (2012). Programming & Planning in Early Childhood Settings. South Melbourne, Vic: Cengage Learning Australia.

  Arthur, L., Ashton, J. & Beecher, B. (Eds.). (2014). Diverse Literacies in Early Childhood: A Social Justice Approach. Camberwell, Victoria: Australian Council for Educational Research Press.

  Australian Curriculum, Assessment and Reporting Authority. (2011). Shape of the Australian Curriculum: The Arts. Retrieved from ACARA website: http://www.acara.edu.au/verve/_resources/Shape_of_the_Australian_Curriculum_The_Arts_-_Compressed.pdf

  Australian Government Department of Employment, Education and Workplace Relations (2009). Belonging, being and becoming: The Early Years Learning Framework for Australia. Available from www.deewr.gov.au/EarlyChildhood/Policy_Agenda/Quality/P

  Chung, S. K. (2009). An art of resistance: From the street to the classroom. Art Education, 62(4), 25.

  Dixon, D., & McKay, J. (2014). Ukulele: The World’s Friendliest Instrument. Gibbs Smith.

  Dow, C. B. (2011). Start the day with dance and music. In One, two, what can I do?: Dance and music for the whole day (pp. 17-40). St Paul, MN: Redleaf Press.

  Edwards, L. C. (2013). Beginning the music and movement journey. In Music and movement: A way of life for the young child (7th ed., pp. 1-30). Boston, MA: Pearson.

  Edwards-Vandenhoek, S. (2015). You aren’t here Reimagining the place of graffiti production in heritage studies. Convergence: The International Journal of Research into New Media Technologies, 21(1), 78-99.

  2. M. Anderman & L. H. Multiple Intelligences. (2009). In Anderman (Eds.), Psychology of Classroom Learning (Vol. 2, pp. 635-638). Detroit: Macmillan Reference USA. Retrieved from http://ezproxy.uws.edu.au/login?url=http://go.galegroup.com.ezproxy.uws.edu.au/ps/i.do?id=GALE%7CCX3027800183&v=2.1&u=uwsydney&it=r&p=GVRL&sw=w&asid=1a6955c597dd315eee12450106997d4a multiple intelligences

  Hill, S. (2012). Homes and communities. In Developing early literacy: Assessment and teaching (2nd ed., pp. 57-79). South Yarra, Australia: Eleanor Curtain Publishing.

  Inspired Educational Solutions. (2011). CHFC507A: Use Music To Enhance Children’s Experience And Development (1.2 Version). Melbourne, Victoria: Aspire Learning Resources.

  Inspired Educational Solutions. (2011). CHCFC508A: Foster Children’s Aesthetic and Creative Development (1.2 Version). Melbourne, Victoria: Aspire Training & Consulting.

  Kearns, K. (2010). Birth to Big School (2nd ed.). Frenchs Forest, N.S.W: Pearson Australia.

  Luettgen, M., Foster, C., Doberstein, S., Mikat, R., & Porcari, J. (2012). ZUMBA®: Is the “fitness-party” a good workout. Journal of Sports Science and Medicine, 11(2), 357-358.

  Michele Hoffnung, R. J. (2010). Childhood. Australia: Wiley.

  New South Wales. Board of Studies. (2006). Creative Arts K-6: Syllabus. Retrieved from Board of Studies website: http://k6.boardofstudies.nsw.edu.au/wps/wcm/connect/ce607b51-27b2-45cb-b634-6522141e7c0a/k6_creative_arts_syl.pdf?MOD=AJPERES

  Robinson, K. H., & Jones-Diaz, C. (2006). Diversity and Difference in Early Childhood Education: Issues for theory and practice. Berkshire, England: Open University Press.

  Russell-Bowie, D. (2012). Dance education. In MMADD about the arts: An introduction to primary arts education. (3rd ed., pp. 203-240). Frenchs Forest, Australia: Pearson.

  Sturken, M., & Cartwright, L. (2009). Practices of Looking: An Introduction to Visual Culture (Oxford: OUP, 2009)

  Wright, S. (2012). Children, Meaning-Making and the Arts (2nd Ed.). Frenchs Forest, N.S.W: Pearson Australia.

  Online YouTube links:

  Dance documentary;

  https://www.youtube.com/watch?v=8g8vsaqEA_U&list=LLbTPVN7_faR-349QxQiUGvQ&index=19

   

  Ukulele videos;

  https://www.youtube.com/watch?v=uAiIJUxgxjw&list=LLbTPVN7_faR-349QxQiUGvQ&index=17

  https://www.youtube.com/watch?v=Y_qBwSr2WbY&index=16&list=LLbTPVN7_faR-349QxQiUGvQ

  https://www.youtube.com/watch?v=cZIV-1WJXYs&list=LLbTPVN7_faR-349QxQiUGvQ&index=15

  https://www.youtube.com/watch?v=Sn54XE5whnw&list=LLbTPVN7_faR-349QxQiUGvQ&index=14

  https://www.youtube.com/watch?v=gAScCO3Mb-w&index=13&list=LLbTPVN7_faR-349QxQiUGvQ

  https://www.youtube.com/watch?v=Y_E9zE4QXJg&index=1&list=LLbTPVN7_faR-349QxQiUGvQ

  https://www.youtube.com/watch?v=zWeNH6ua7Bg

   

   

   

  APPENDIX A: Journals

   

  (Music)

  Session 1- During these two hours I spent understanding the first steps of how to use a ukulele. First I watched a YouTube video on how to tune each string by tightening or loosening the strings. This helped me practiced the element of pitch as each had a high a lower sound to it and by listening to the video and my own I recognized the pitch and this helped as I could understanding the importance of learning to st strings in the correct pitch so the overall songs have a fluid tone.

   

  I also practiced strumming by watching numerous videos of how to strum. This help me see how people learn differently as some used their thumbs and some used their index fingers. I chose my index finger to my personal choice and focused on getting the right tone on colour of each chord ‘G, C, E & A’. After 20 minutes of trying to get a good sound and not pressing too hard I could move on to the strumming patterns.

   

  Strumming patterns is a form of rhythm with help with getting a beat and count, for example leaving my finger on the C major chord as an easier start and do the patterns from easier ‘down-down-down-down’ to trickier ‘down-down-up-up-down-up’. This gave understanding of strumming to make a pattern and holding a chord as multi-dexterous element of playing an instrument. This enhance by understanding of the element of beat.

   

  Session 2- This lesson I started on an easier song choice of Hakuna Matata. I first got my ukulele in tune. Then I make sure to watch a video on the chords that were used for that particular song (Which was C, F, G, D, G7 & A minor) this process was long as I had to memorize each chord, for example the first step of C I put my third finger of the third fret of the first string (to understand what fret is I googled ukulele sheets and graphs) which shows me where to put my fingers. This allowed me to understand its multimodal function.

   

  Session 3- As a last session I continued to practice a new song with ‘you are my sunshine’ where strumming had different functions called muted strum, also called palm mute or chunk. I continued my being repetitive and giving over the chords until I memorized them without pausing. This was the most challenging as it uses both music and cognitive intelligence (Gardner).

   

  (Dance)

  Session 1- As the first session of dance, it was a process of learning the different styles of dance (such as hip hop and salsa) and being repetitive to learn the routine. A constant element used was space, as we danced in choreography styled dances and learning to move either in synchronization or in variety and transition.

   

  Session 2- Going in the second I recognized how the moves last weeks were quicker to learn this week and dance in unison with the group. The instructor also added in new songs and in particular used more fitness styled movements with the dance, for example wave hands in the air followed by a squat to the beat of the music.

   

  Session 3- This time was spent watching a mini documentary (due to injury) on YouTube called Salsa, Eh! (2014) as a follow up from Zumba style of Latin influence. This talked on Salsa and it origins from Afro-Cubans and Puerto Ricans (particularly after World War 2) in which they had mambo influenced style turned into salsa. This was then brought to the Western world and became a big and new style. Salsa is mainly partner dancing, but is not always specific. It is open to add style such as hip hop for freedom and personal touches to a routine. This type of dancing also uses gymnastics to be physically prepared, hence why warm up is very important. Once one is warmed up, the next step is learning the counts with the beat of the music.

   

  Session 4- After recovery I spent time at home doing Zumba with at home DVD’s, where I could go at my own pace. I first did the warms up dances, which involved traveling, jumping and turning activity elements.

   

  Session 5- This session I took on practicing the cool down phase in a dance styled way, for example waving hands slowly above the head and below. This focuses o the elements of dynamics as I practiced the movement in a slower motion, which could be used as a calming technique with children.

   

  (Visual Arts)

  Session 1- The first step consisted of the sketching process. Before actually getting into the spray part, you need a sketch. Usually to draw name or bubbles writing which is called piecing using pencil or pen. The sketch helps visualize the stroke. There are two types of sketching which are sketching piece and character but character is more detailed. Everyone has different styles or letters/pictures.

   

  Session 2- During this time I found a picture or character that I wanted to use to stencil and then traced this 4 times. I used 4 layers and used a cutter (and sometime scissors) to take out the colours I will use in layering. The carving/cutting was difficult but the rips gave a naturalistic affect, working to my advantage.

   

  Session 3-
  Before the spray painting, one needs to know the style of caps, which I learnt through the process. The different colored dots of the spray lid have different sizes, which there is a clear, grey, pink and black dot.
  -Ghost cap- which is an outline cap to outline writing

  -Fat New York cap- used to fill in/ coloring in (small cap)
  -Stock caps (the ones already on) are in the middle or as called testers to do things general application.

  I then practiced the strokes, doing short/long duration of spray, spraying from a distance or close and spraying over stencils.

   

  Session 4- This session I actually got to do the spraying on the canvas, which had specific learning steps (outline, fill, blend, highlight, outline and add on). We first started with the initial outline of the word. To then fill this in I colored the bottom half blue and the top half yellow. I the blend the two colours with white in the middle. Once this was done I highlighted red to give it a burst of strong colour and then outline in black to see the word clearer. We then did add on, like the dog paw and the blue bubbles on top. The last step consisted of the stencil, which was tricky to place the stencil in order and directly on top so the placement was correct.

   

   

  Session 5- After the first piece, I the did my second piece by being more specific, adding more dimension and adding more colour and tones. Trying to look at the sketching and the spraying it was difficult, and didn’t come out on the canvas as was intended to but learn that mistakes are what make the piece unique and interesting, for example the dripping effects made texture and that dotted splats added form.

   

   

   

   

   

   

   

   

   

   

   

   

   

   

   

   

   

   

   

   

   

   

   

   

   

   

   

  Creative Teaching and Learning

   

   

   

   

   

   

   

   

   

   

   

   

   

   

   

   

   

   

   

  Music
  

  Contents

  Event/activity – Music   Learnt to play acoustic 6 string guitar	Date	Hours
  Participated in online guitar tutorial – lesson 1 available on youtube. Retrieved from https://www.youtube.com/watch?v=orp7WHibnaU   Introductory lesson conducted by Ravi. Good, clear instructions. Demonstrated holding and tuning guitar and song keys. Learnt to play chord of A major and B, E chords and basic strumming technique. Checklist to remember – hand position, good posture, cross legs, prop guitar higher and push neck forward. Learnt the positioning of frets and fingers.	9 May	1 hour
  Guitar practice session Strum A, B and E chords G Major and strum D and G chords	12 May	30 minutes
  Participated in online guitar tutorial – lesson 2 available on youtube. Retrieved from https://www.youtube.com/watch?v=gw3nVrrDn24   A, E, G and D – four chords strummed together, “looped” together. Learnt E minor chord. Improving with changing chords and different rhythms produced from different strumming techniques. 1, 2, 3, 4 timing. Learning to read guitar chords on graphs to match fingers on strings to build repertoire.	16 May	1.5 hours
  Guitar chord practice A, E, G, D chord and practice of C major chord and A minor Learning simple songs with basic chords	24 May	30 minutes
  Tutorial with experienced guitar player – my son. Combined minor chords and practiced with my son’s electric guitar (supervised at all times).	31 May	1 hour
  Guitar practice session Strumming practice and tempo. Using thumb pick and broke a guitar string.	6 June	30 minutes
  Service of guitar – restring at Anthony’s music store (ongoing care of instrument)	13 June	30 minutes
  Total		5.5 hours

  102105 Creative Teaching and Learning

  Music 1H 2015 Assignment 3 Presentation

   

  Title and description of music performance:

   

  I engaged in 5.5 hours of combined tutorial lessons and guitar practice and learnt to play basic acoustic guitar and play simple songs.

   

  “The reason guitar is the most popular instrument on the planet is because it’s the quickest and easiest instrument to learn how to play guitar” (Ravi, 2015, online tutorial).

   

  Clearly describe how your music presentation demonstrated your understanding of the key music elements:

   

  As I learnt to play the guitar, I became aware of musical elements including duration, pitch, tone colour, dynamics and structure. The importance of tone colour as an element highlighted the necessary and correct placement of my fingers on the strings, as they would produce a very clear sound or flat/dull sound. The rhythm or duration helped me keep time and enabled me to perfect my strumming technique while stroking the strings.

   

  Describe the benefits of learning music for children: (refer to Wright 2012, the EYLF and the NSW K-6 arts syllabus)

   

  0 to 2 year olds:

   

  The benefits of learning music can be used effectively during transition time. The Early Years Learning Framework (EYLF) in Belonging, Being and Becoming (DEEWR, 2009) lists outcome 1 as Children have a strong sense of Identity as effective routines help predicted transitions run smoothly (DEEWR, 2009). Children can “openly express their feelings and ideas” through music (DEEWR, 2009, p. 21).

  Wright reiterates, “Expressive properties of music, such as these, communicate emotions” (2011, p. 13). The benefits of music effectively assist 0-2 year old children during transition time.

   

  3 to 5 year olds:

   

  The benefits of learning music can be linked to children as “active and creative music-makers in their autonomous instrumental music play” (Wright, 2013, p. 63). This freedom and exploration of music can be demonstrated in the EYLF (DEWWR, 2009) as outcome 2 states Children are connected with and contribute to their world (DEEWR, 2009) as children “explore the diversity of culture, heritage, background and tradition and that diversity presents opportunities for choices and new understandings” (p. 27). The diversity can be explored through cultural styles and types of music that can be included during music and movement time that is age appropriate for 3 -5 year old children.

  5 to 8 year olds:      Stage 1

   

  The benefits of learning music supports and invites children to learn about musical concepts. These elements include “duration, tone colour, pitch and dynamics”

  (Creative Arts K-6 Syllabus, 2006, p. 72). Wright (2011) reports that children “become involved in making and responding to music” (p. 71) in an environment which promotes musical experimentation. Children will be able to utilize their body and percussion instruments to “perform compositions” (p. 72). The musical experience is linked to the Creative Arts K-6 Syllabus and Support Document (Board of Studies, NSW, 2006) Outcomes and Indicators:-

  MUS1.1 Sings, plays and moves to a range of music demonstrating             awareness of musical concepts (p. 72).

  The music experience of singing and playing instruments is age and stage appropriate for 5-8 year old children.

   

  8 to 12 year olds:   Stage 3

   

  The benefits of learning music can be expressed in “multiple literacies” (Wright, 2011, p. 70) as all children learn and communicate in diverse ways. Music can therefore be viewed as “thought and feeling” (p. 70) being freely and inclusively communicated. The elements of tone colour and duration will be examined as children “organize sound, listening and performing and by exploring the relationship between musical symbols and sounds” (Creative Arts K-6 Syllabus, 2006, p. 89). Children will participate, create sounds and move their bodies to a variety of music that demonstrates the diversity of music styles and duration. The experience is linked to the Creative Arts K-6 Syllabus and Support Document (Board of Studies, NSW, 2006) Outcomes and Indicators:-

  MUS3.4 Identifies the use of musical concepts and symbols in a range of   musical styles (p. 89).

  The music experience of creating sounds and moving bodies is age and stage appropriate for 8-12 year old children.

   

   

   

   

   

   

   

   

   

   

   

   

   

   

   

   

   

   

   

  Dance

  Contents

  Event/activity   Attended DanceXS Studio and participated in adult beginner Ballroom and Latin dance classes. Mr Stefano Oliveri is the instructor and owner of the dance studio. He has appeared on the television show Dancing with the Stars and is currently a judge for New Zealand’s version of Dancing with the Stars.	Date	Hours
  Ballroom dance was the English slow foxtrot Dance:               Pace: 4/4 beat              28 – 34 beats/minute Rhythm: Slow step: 2 measures, faster step: 1 measure. Latin dance was the Samba Beat: 2/4 beat     Pace: 50-58 beats/minute Samba can be described as “one hundred different dances from Brazil”. (Stefano). It is fast and pulsating. More experienced female dancers changed shoes between the dances, whereas male dancers wore soft-soled black shoes.	Tuesday evening 28 April 7.00- 8.00pm	1 hour
  Ballroom dance was the Quickstep Rhythm: slow, slow, quick, quick slow, slow, quick quick Pace: Quickstep: 40 – 50 beats per minute Second dance was the Jive (Jitterbug) Rhythm: 1 or 2 steps are danced for every beat. Example with the basic step: 1, 2, 3+4, 5+6 Pace: 32-40 beats/minute The experience of dancing with an accomplished male dancer can make any female amateur look and perform to a higher standard. The additional steps increased each week as we built on existing choreography.	Tuesday evening 5 May 7.00-8.00pm	1 hour
  Ballroom dance was the Slow Waltz Rhythm: Step 1 and 4 always at the first beat. Mostly one step per beat Pace: 29-34 beats/minute Latin dance was the Cha-Cha-Cha Dance:       Pace: 30-34 beats/minute 4/4 beat Rhythm: One or two steps at each beat The Slow Waltz was difficult to manoeuvre as the constant turns gave me vertigo. I did enjoy the cha-cha-cha as the music supported the quick rhythm required.	Tuesday evening 12 May 7.00-8.00pm	1 hour
  Attended DanceXS Studio and participated in Salsa beginner lesson with Patrick (instructor)   “Salsa originates from Cuba and is a hot and sexy dance” (Patrick).   The below is retrieved from http://elbazdance.com/salsa/   Salsa is similar to Mambo in that both have a pattern of six steps danced over eight counts of music. The dances share many of the same moves. In Salsa, turns have become an important feature so the overall look and feel are quite different form those of Mambo. Mambo moves generally forward and backward, whereas, Salsa has more of a side to side feel.	Thursday evening 21 May 7.00-8.00pm	1 hour
  Ballroom dance was the English slow foxtrot Latin dance was the Samba   We continued to build on our existing skills and revisited the English slow foxtrot. As a class, it is evident that our skills, memory and competencies have improved. The diversity of the dances makes the lesson highly enjoyable.	Tuesday evening 26 May 7.00-8.00pm	1 hour
  Ballroom dance was the Quickstep Second dance was the Jive (Jitterbug)   Our last lesson and our group voted to revisit these classics. We ended our lesson with a freestyle dance that had us engaged, laughing and changing our dance partners frequently. The last song was a contemporary hit titled I Don’t Like It, I Love It by Flo Rida (feat. Robin Thicke & Verdine White). Every time I hear the song on the radio, it makes me want to break out and dance.	Tuesday evening 2 June 7.00-8.00pm	1 hour
  Total		6 hours

   

   

  102105 Creative Teaching and Learning

  Dance 1H 2015 Assignment 3 Presentation

   

  Title and description of dance performance:

   

  I engaged in 6 hours of dance lessons with a variety of ages and abilities in our adult beginner Ballroom and Latin dance classes.

   

  Clearly describe how your dance presentation demonstrated your understanding of the key dance elements:

   

  As I continued to attend dance classes, my confidence and ability improved. I was able to recognize the elements of dance that include action, timing, dynamics, space, relationships and structure. The dance classes were engaging and fun as we rotated partners often and danced in a formed circle. The importance of space and framing in ballroom dance is crucial as your partner guides and leads the dance (I being female, partner male). Latin is pulsating, dynamic, quick timed and full of action.

   

  Describe the benefits of learning dance for children: (refer to Wright 2012, the EYLF and the NSW K-6 arts syllabus)

   

  0 to year 2 olds:

   

  The benefits of learning dance is linked to expression and flexibility as it embraces “multimodal and multisensory” (Wright, 2011, p. 85) features. The EYLF (DEEWR, 2009) embraces this learning outcome in 5 as Children are effective communicators. This is evident as young children “use the creative arts such as drawing, painting, sculpture, drama, dance and movement, music and storytelling to express ideas and make meaning” (p. 42). Dance and “movement is closely connected to the mind and the spirit” (Wright, 2011, p. 86) as children utilize their physical, cognitive, social/emotional and language domains of development to participate and enjoy dance. These benefits assist young children as “children are attuned to their body through their senses” (p. 87) and is connected to locomotor skills and co-ordination development for 0-2 year old children.

   

  3 to 5 year olds:

   

  The benefits of learning dance, as investigated by Gardner (1983) utilizes the multiple intelligences theory and encourages “bodily-kinaesthetic intelligence” (Wright, 2011, p. 87). This theory explains how children master their bodies, explore and discover movement. Children have the ability to understand, think, feel and do, all at once (Schiller, 2000). This exploration connects with EYLF outcome 3 as Children have a strong sense of wellbeing. This is evident as “children engage in increasingly complex sensory motor skills and movement patterns” (DEEWR, 2009, P. 32). The diversity and multiculturalism of dance styles can be incorporated for 3-5 year old children.

   

   

  5 to 8 year olds:      Stage 1

   

  The benefits of learning dance supports children to experience and engage in the elements of rhythm, duration and tempo. The dance activity will incorporate a popular song and dance, gangnam style that enables children to move their bodies as “they express ideas in the composition of dances” (Creative Arts K-6 Syllabus, 2006, p. 158). Dance and movement is an “authentic means of communication” (Wright, 2011, p. 93) that enables children to form “positive self-concept” (p. 95). The dance experience is linked to the Creative Arts K-6 Syllabus and Support Document (Board of Studies, NSW, 2006) Outcomes and Indicators:-

  DAS1.1 Performs dances demonstrating expressive qualities and control over        a range of locomotor and non-locomotor (p. 159).

  The dance experience promotes movement and expression and is age and stage appropriate for 5-8 year old children.

   

  8 to 12 year olds:   Stage 3

   

  The benefits of learning dance supports children to investigate the different types of dance in cultural contexts such as indigenous, classical, popular, folk or modern. The dance elements of action and dynamics will be highlighted in the dance. The dance activity will incorporate the Greek folk dance of Zorba that enables children to participate in a group dance where “cultural and historic contexts” (Creative Arts K-6 Syllabus, 2006, p. 177) have been incorporated. The dance experience is linked to the Creative Arts K-6 Syllabus and Support Document (Board of Studies, NSW, 2006) Outcomes and Indicators:-

  DAS3.1 Performs and interprets dances from particular contexts using a wide        range of movement skills and appropriate expressive qualities (p. 178).

  The dance experience promotes inclusion and cultural diversity and is age and stage appropriate for 8-12 year old children.

   

   

   

   

   

   

   

   

   

   

   

   

   

   

   

   

  Visual Arts

  Contents

  Event/activity	Date	Hours
  The event was The Sydney Morning Herald Spectrum Now event (presented by ANZ). The activity was Mystery model drawing sessions.
  Attended 3 x ½ hour drawing sessions Session 1 – voluptuous female model in burlesque costume Session 2 – circus ringleader female model in costume with handheld whip Session 3 – contortionist female in leotard	Thursday evening 12 March 6.00-7.30pm	1.5 hours
  Attended 4 x ½ hour drawing sessions Session 1 – elderly male in suit Session 2 – young female model in costume of robe with fan Session 3 – female model dressed in black body suit with top hat and cane Session 4 – female model in gypsy costume with head-dress and feathers	Saturday afternoon 14 March 2.00-4.00pm	2 hours
  Attended 4 x ½ hour drawing sessions Session 1 – female model with tattoos, costume of high shorts, singlet, ripped tights and boots Session 2 – voluptuous female model with soft hat, gloves, robe and necklace Session 3 – middle aged male model with trousers, hat, tie and suspenders (no jacket) Session 4 – elderly female model holding bouquet of roses	Thursday evening 19 March 5.30-7.30pm	2 hours
  Total		5.5 hours

   

   

  102105 Creative Teaching and Learning

  Visual Arts 1H 2015 Assignment 3 Presentation

   

  Title and description of visual arts exhibition:

   

  For visual arts, I attended the Mystery model drawing sessions held at The Domain that were conducted by the Art Gallery of New South Wales.

   

  Number of hours completed and what you did in these hours:

   

  I completed 5.5 hours of drawing at the free classes held during the Spectrum Now event. Art Gallery experts and curators were in attendance as they provided verbal instructions and advice on how to draw the human figure. Each half hour session consisted of a new model in costume and drawing materials were provided. Each attendee was supplied with a clipboard, good quality paper and lead pencils to draw with. Adults of all abilities were in attendance in the (Hendricks sponsored) Burlesque themed tent. The interior was opulent with rich velvet drapes and French style café chairs and small tables. The elements included line, form, colour, texture, pattern, shape, space and tone.

   

  Clearly describe how your visual arts presentation demonstrated your understanding of the key visual arts forms and elements:

   

  The elements of line were highlighted as one of the gallery experts were quoted as saying “act like a child, let your pencil flow” (Lena, personal communication, March 12, 2015). The experts continued to provide verbal advice whilst the attendees were focused on drawing and capturing form. Unnecessary details were omitted as the elements of shape, “loose lines”, tone and use of black pencil on stark A3 white pages were captured.

   

  “Each layered mark is part of your search, needs to be an observation, it is a           visual language, a personal mark on the paper, capture the movement and life     energy …..” (Kate, personal communication, March 19, 2015).

   

  Describe the benefits of learning visual arts for children: (refer to Wright 2012, the EYLF and the NSW K-6 arts syllabus)

   

  0 to 2 year olds:

   

  The benefits of learning to draw is for “creativity, self-expression, meaning-making or communication” (Wright, 2011, p. 37). The EYLF (DEEWR, 2009) connects this ethos in outcome 5, as Children are effective communicators. This is evident as young children “develop an understanding that symbols are a powerful means of communication and that ideas, thoughts and concepts can be represented through them” (DEEWR, 2009, p. 43). These benefits of drawing assists young children as communication is developing and making marks, is a significant point of development and identity (Wright, 2011). Drawing, painting and sculpture for 0-2 year old children promotes the visual arts and is age appropriate.

   

  3 to 5 year olds:

   

  The benefits of learning to draw is reiterated by Rogers (2008), “Allow for children to view themselves as “agents with control” (p. 77) as drawing acts as a social connector, a means for appreciation and enables visual thinking (Wright, 2011). This connection is evident in EYLF as outcome 5 as Children are effective communicators. This is evident as children “use information and communication technologies as tools for designing, drawing, editing, reflecting and composing” (DEEWR, 2009, p. 44).

  The diversity of drawing experiences through the use of different tools, papers and resources can promote drawing and be incorporated for 3-5 year old children.

   

  5 to 8 year olds:      Stage 1

   

  The benefits of learning and engaging in the visual arts promotes the making, appreciating and resources that contribute to the diversity of art through “painting, drawings, sculptures, photographs, digital works and videos” (Creative Arts K-6 Syllabus, 2006, p. 20). The visual arts experience is linked to the Creative Arts K-6 Syllabus and Support Document (Board of Studies, NSW, 2006) Outcomes and Indicators:-

  VAS1.2 Uses the forms to make artworks according to varying       requirements (p. 21).

  Children have the opportunity to draw a vase of fresh flowers (still life) and to investigate the elements of line, form, colour, texture, tone and pattern to depict likeness and representation. This drawing experience is age and stage appropriate for 5-8 year old children.

   

  8 to 12 year olds:   Stage 3

   

  The benefits of learning and engaging in the visual arts promotes “delight, wonder, exploration, experimentation and learning” (Wright, 2011, p. 43). The elements of shape and space will be explored in the painting experience that examines “how concepts and materials are thought about, organized and assembled” (Creative Arts K-6 Syllabus, 2006, p. 44). The self-portrait painting experience is linked to the Creative Arts K-6 Syllabus and Support Document (Board of Studies, NSW, 2006) Outcomes and Indicators:-

  VAS3.3 Acknowledges that audiences respond in different ways to artworks        and that there are different opinions about the value of artworks (p. 45).

  The self-portrait painting experience promotes inclusion and cultural diversity and is age and stage appropriate for 8-12 year old children.

   

   

   

   

   

  Reflection

   

  Chenfeld defines a creative teacher as “a person who is open flexible, willing to try new things … and welcoming of new experiences” (1978, p. 39). With this ethos, the inclusion of the creative arts “equips children to become autonomous and active creators of the future” (Wright, 2011, p. 2). This flexibility, freedom and passion requires teaching pedagogies that are inclusive, supportive, emergent, developmentally appropriate and futures orientated to encourage creativity and meaningful engagement and exploration of the creative arts.

   

  As “Young children are action orientated” (Edwards, 2013, p. 3), these dispositions provide the ideal play based interactions for the creative arts of music, dance, visual arts, drama and media arts. Teaching strategies to support children’s creative development includes quality resources, quality experiences, adequate time, exploration, meaningful and interest based interactions, inviting environments, utilizing the “dynamic of natural playspaces” (Rogers, 2008, p. 76) to foster

  self expression, creativity, meaning-making and communication (Wright, 2011).

   

  The creative arts are the ideal opportunity for children to express meaning-making and to communicate. As each child learns differently and applies their sociocultural knowledge, children often use cross modal communication – visual, spatial, temporal and physical communication in the arts (Wright, 2011). Communication utilizes the senses and provides artistic freedoms as children use art as a language (Wright, 2011). Further, the importance of “providing an education that develops children’s knowledge and skills” (p. 70) supports ongoing meaningful engagement and ongoing learning being inclusive of sociocultural contexts (Arthur, Ashton and Beecher, 2014). The creative arts readily connect the diversity and inclusion of global perspectives, sociocultural and historic contexts and communities that readily embraces and celebrates differences and expression.

   

  “Children need opportunities to use the arts to depict and interpret which involves sensory, tactile, aesthetic, expressive and imaginative forms of understanding” (Wright, 2011, p. 5). By incorporating Gardner’s Multiple Intelligences (1973), these highlight the “musical, bodily-kinesthetic and logical-mathematical intelligences” that examine and explore these human experiences by incorporating the whole child (Gardner, 1973). In addition, Hallam (2010) reports that babies as young as two days old, have been shown to respond to music that contributes to their biological and sociocultural exposure. Our “Musical intelligence” (Wright, 2013, p. 62) has been positioned and developed from conception (Wright, 2013).

   

  As a future educator, I have become an advocate for the creative arts and admire the adoptive lenses of viewing “children as cultural citizens” (Wright, 2011, p. 160). By respecting the diversity of children’s intelligences and incorporating the art elements into the curriculum, we need to foster meaningful opportunities for children to engage with the creative arts to explore, create and to stimulate further thinking (Edwards, 2013) for lifelong learning.

  References

   

   

   

  Beach, N., Evans, J., and Spruce, G. (2011). Promoting an inclusive music classroom.        In Making music in the primary school: Whole class instrumental and vocal teaching (pp. 33-44). London, UK: Routledge.

  Board of Studies New South Wales, Creative Arts Syllabus K-6, 2000.

  Retrieved June 2, 2015, from

  http://k6.boardofstudies.nsw.edu.au/wps/portal/go/creative-arts

  Chenfeld, M. (1978). Teaching language arts creatively. New York: Harcourt Brace          Jovanovich.

  Department of Education, Employment and Workplace Relations (DEEWR)         (2009). Belonging, being and becoming: An early years learning framework           for Australia. Canberra.

  Edwards, L. C. (2013). Beginning the music and movement journey. In Music and             movement: A way of life for the young child (7^th ed., pp. 1-30). Boston, MA:   Pearson.

  Guitar lesson 1 (n.d.). Retrieved May 2015 from

  https://www.youtube.com/watch?v=orp7WHibnaU

  Guitar lesson 2 (n.d.). Retrieved May 2015 from

  Retrieved from https://www.youtube.com/watch?v=gw3nVrrDn24

  Miyazaki, K. (2010). Teacher as the imaginative learner. In K. Egan and K. Madej             (Eds.), Engaging imagination and developing creativity in education (pp. 33-  44). Newcastle upon Tyne, UK: Cambridge Scholars.

   

   

   

  Rogers, K. (2008). How do natural play spaces meet developmental needs and       interests. In S. Elliott (Ed.), The outdoor playspace naturally for children birth            to 5 years (pp. 76-93). Baulkham Hills, Australia: Pademelon.

  Russell-Bowie, D. (2012). Dance education. In MMADD about the arts: An           introduction to primary arts education. (3rd ed., pp. 203-240). Frenchs Forest,     Australia: Pearson.

  Schiller, W. (Ed). (2000). Thinking through the arts. London, UK: Falmer Press

  Wright, S. (2011). Children, meaning-making and the arts. Pearson Higher Education        AU.

   

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