Organizing for Instruction

The view of fine arts education embodied in this IRP reflects the belief that instructional approaches should:

• emerge from and reflect the diverse experiences of people throughout the world
• allow all students to be actively involved in the fine arts through opportunities to create, respond to, and present dance, drama, music, and visual arts throughout their educational program
• reflect the variety of media and contexts through which people experience the fine arts

A balanced program in dance, drama, music, or visual arts should provide a range of experiences. In particular, teachers should ensure that they include artistic styles representative of the cultural make-up of the community. These experiences can serve as the basis for exploring concepts articulated by the fine arts curricula. A wider variety of experiences provides greater possibilities for students to refine their use of the skills and structures of the art form, their creativity and production skills, their perceptions and responses, and their knowledge of the role of the fine arts in society.

Making Connections Among Subject Areas

In the elementary years, learning and instruction often take place in an integrated manner and do not always stay within the boundaries of a particular subject. Learning in the fine arts, in particular, offers great potential for connections among subject areas: the common areas of learning in dance, drama, music, and visual arts build on and reinforce one another. These subjects also become richer and more relevant for students when linked to topics and skills in humanities, sciences, and applied skills subject areas.

Whatever the approach used to facilitate connections among these subject areas, it is important to maintain the integrity of each individual discipline. The Ideas for Exploring Common Areas of Learning chart suggests some of the ways the four fine arts subjects are connected to one another. The Connections to Other Subject Areas chart suggests some of the ways the four fine arts are connected to other curricular areas.

The four fine arts overlap in many areas, including: pattern, line, and form (e.g., choreographic form based on musical form) principles of design creative processes and structures fine arts as a means of expression and communication thoughts, images, and feelings evoked by and represented through the fine arts use of stagecraft and media rehearsal and performance process and etiquette use of metre, rhythm, and tempo use of one art form to enhance images in another (e.g., use of music in drama, use of visual arts design principles in dance sets and costumes) common fine arts themes (e.g., Festivals and Celebrations, Children's Entertainment, Musical Theatre, the Fine Arts in BC and Canada, the Fine Arts in the Media) texture and harmony roles and responsibilities relationships and dynamics materials and technologies use of space fine arts as a means of exploration (e.g., self, societal issues, ideas)

Social Studies	cultural and historical contexts of the fine arts; artistic contexts of culture and history fine arts as a means of expressing and maintaining cultural identity
English Language Arts	emergent process of notation and visual symbols relates to the emergent process of writing language learning strategies apply to learning the language of dance, drama, music, and visual arts communication story making, storytelling revision and editing process in writing = the creative process metre in poetry scriptwriting, lyric writing writing reviews and critiques multimedia productions
Personal Planning	careers and lifelong opportunities in the fine arts rehearsal and performance process and etiquette health, fitness, and safety issues fine arts as a means of expressing identity and maximizing potential co-operative working strategies and respect for the contributions of others respect for diversity
Science	anatomy and health classification skills and processes physical properties of colour, light, and sound chemical properties of materials experimenting, problem solving
Mathematics	patterns and forms spatial relationships sequencing, graphing, and fractions
Physical Education	anatomy, health, fitness, and safety issues the aesthetics of movement (e.g., figure skating, synchronized swimming, aerobics, gymnastics, rope jumping, martial arts, ski ballet body awareness
Second Languages	value of an additional language for learning the fine arts from those cultures language learning strategies apply to learning the language of dance, drama, music, and visual arts
Business Education	group dynamics; role and function of individuals within organizations or ensembles communication common elements of concert promotion and administration
Technology Education, Home Economics	costume, prop, and set design use of technology as a research and presentation medium use of fibres and textiles as materials for creation

Working with the Arts Community

All aspects of learning in the fine arts are greatly enriched when arts practitioners from the community are involved. Teachers are encouraged to provide these experiences for their students whenever possible.

The broad nature of fine arts as envisioned by this curriculum requires that students be exposed to a variety of art forms. It is particularly helpful to use experts from the community when presenting culture-specific art forms and contexts to avoid misrepresentation, offence, and misappropriation of culture. Community artists can also act as mentors for students, providing feedback for their work in dance, drama, music, or visual arts.

When working with guest arts practitioners, teachers should:

• familiarize themselves with school and district policies for involving guest instructors in the classroom (e.g., reference checks)
• arrange for a meeting to discuss appropriate learning outcomes and expectations, and to decide which areas of the curriculum are to be addressed
• ensure that age-appropriate material is used
• prepare students for the experience (e.g., discuss the expectations for process and etiquette, and provide relevant background information)
• determine the needs of the presenters (e.g., music, space, temperature, materials, lighting)
• debrief with students and guests

In the fine arts, students should also have opportunities to work as arts practitioners themselves, creating dance, drama, music, and visual art with or for use by peers, younger students, and the community at large. When students are working as choreographers, directors, conductors, or visual arts teachers, encourage them to consider the following:

• What are participants able to reasonably accomplish at that grade level (i.e., in terms of their experience and their physical, cognitive, and psycho-social development)?
• What safety factors must be kept in mind?
• Which warmup and cooldown activities need to be incorporated?
• Is the work appropriate for a school setting?
• Do you have a plan for working through and sequencing the various parts of the work?
• What are your criteria for success?

Teachers and students should consider the following community resources for broadening the range of learning opportunities in the fine arts:

• professional studios, performance groups, galleries, and associations
• high-school, college, and university fine arts departments
• school and public libraries
• arts teachers' associations
• community, provincial, and national arts councils
• arts regulating and policy-making authorities
• cultural associations, artists, and performance groups
• Aboriginal artists and performance groups
• continuing education programs
• community and recreation centres
• arts periodicals and publications
• local radio and television stations (for access to audio-visual equipment)
• arts broadcasting (radio, television, film boards)
• arts and cultural festivals
• Internet web sites for the fine arts

Sensitive Content

As in other subject areas, the study of dance, drama, music, and visual arts can involve dealing with issues and topics that may be a source of special concern for some students or their parents (e.g., the arts in religious contexts, social pressure on adolescents, human sexuality, standards of personal behaviour, assertive communication). The following are some suggested guidelines for dealing with sensitive issues:

• Inform parents of the objectives of the curriculum before addressing any sensitive issues in the classroom and provide opportunities for them to be involved in their children's learning.
• Be aware of district policy and procedures regarding instruction involving sensitive issues (e.g., policy for exempting students from participation in classroom activities).
• Use the services of support systems and professional networks for teachers.
• Be aware of district policy and procedures regarding photographing or videotaping students for purposes of assessment or presentation.
• Be aware of federal copyright law and district licensing agreements for the reproduction of printed materials and the use of recorded music and videos.
• Avoid dealing with controversial issues until class members have had enough time together to become comfortable with one another and to have learned an appropriate process for addressing those issues.
• Obtain the support of the school administration before engaging in any potentially sensitive instruction.
• Inform an administrator or a counsellor when a concern arises.
• Be aware of provincial policy and legislation related to matters such as disclosure in cases of suspected child abuse.
• Be aware of warning signals for eating disorders, suicide, and child abuse (e.g., excessive perfectionism, compulsive exercising, depression, very low or high body weight, wearing loose clothing).
• Obtain appropriate in-service training, or consult with those in the school who have relevant expertise (e.g., the teacher counsellor), before beginning instruction in a new, unfamiliar, or potentially sensitive area of study.
• Establish a classroom environment that is open to free inquiry and to various points of view. Promote critical thinking and open-mindedness and refrain from taking sides, denigrating, or propagandizing one point of view.

Teachers are especially encouraged to consult with administrators and district personnel on the topic of touching. Fine arts teachers use touch frequently as a means of instruction to identify, encourage, aid in visualization, correct, and facilitate muscle memory. However, physical touch can be problematic in the public school system, where teachers feel especially vulnerable to misunderstanding and public censure. In addition, students who have experienced physical or sexual abuse, or whose cultural practices do not include touching by non-relatives, may respond negatively to touching in this context. When establishing guidelines for instructional touching, teachers and administrators may wish to consider the following points:

• Talk to students about the value of instructional touching and how it can help them in their learning.
• Demonstrate on your own body frequently so students will be aware that touching is one of your teaching tools.
• Ask students for their permission before touching them.
• Touch briefly, using the back of the hand, the flattened palm, or the fingertips.
• Never touch a student correctively unless others are present and watching.
• Where possible, stop short of touching, and mime the action parallel to the student's body.
• Learn to read students' non-verbal cues. Let students know they can talk to you privately if touching makes them uncomfortable.

Another concern is the appropriateness of musical, dramatic, and visual repertoire, whether as focus for response or stimulus for creation. While the fine arts curricula advocate opportunities for students to present, respond to, and discuss their own fine arts preferences, teachers should ensure that unsuitable or sensitive material (e.g., obscenities, images of violence, gender roles, cultural stereotypes) is not presented if an appropriate context has not been established. It is recommended that teachers review students' selections before allowing them to be presented, and prepare to focus discussion on any sensitive issues that may arise. In addition, materials for particular occasions or contexts (e.g., Christmas songs or plays, Halloween masks, ritual dances, national anthems, political protest scenes) may be religiously or culturally objectionable for some students. Teachers should ensure that repertoire offers a range of contexts and should be prepared to offer alternative strategies as required.

Gender Equitable Instruction

Creative expression through fine arts is appropriate for both girls and boys. The following are some suggestions for creating a positive learning environment:

• Include strategies and resources relevant to both male and female students.
• Assume that both females and males can be committed to personal expression in the arts.
• Encourage both girls and boys to participate in all dance, drama, music, and visual arts activities.
• Ensure that boys and girls are not stereotyped with respect to musical instruments, roles, styles of dance, leadership opportunities, and so on.
• Introduce the important contributions of both male and female artists and their works.
• Examine the images and roles of men and women portrayed in various art forms for sex-role and sexuality stereotyping.

Fine Arts Education and Students with Special Needs

Dance, drama, music, and visual arts can provide opportunities for self-expression appropriate for all students. Although sensory impairments, physical or intellectual disabilities, and other special needs may limit the extent to which some students can participate, teachers can develop creative ways to include all students in the study of the four fine arts subject areas. Sample strategies include:

• adaptation of materials, tools, and facilities to meet students' needs and abilities (e.g., modify choice of instruments, movement activities, visual medium)
• opportunities for students with hearing impairments to experience music and sound through vibration and vision
• opportunities for students with visual impairments to experience art through touch
• non-vocal opportunities for students to actively participate in music
• non-locomotor movement activities for students with physical disabilities

Most of the instructional and assessment strategies in this IRP can be used with all students, including those with special needs. Some strategies may require adaptations to ensure that those with special needs can successfully achieve the prescribed learning outcomes. Modifications can be made to the prescribed learning outcomes for students with Individual Education Plans. See Appendix C for further details.

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