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Each section contains a criteria for assessment as well as some imagery or links of my own experiences with the arts.

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The Arts Learning Area in The Curriculum

Attempting some self portait photography as part of my journey into Photography, 2018

Attempting some self portait photography as part of my journey into Photography, 2018

The Australian Curriculum separates the arts learning area into distinct disciplines, or forms: Dance, Drama, Media Arts, Music, and Visual Arts. This separation enables students the opportunity to “create, design, represent, communicate and share their imagined and conceptual ideas, emotion, observations and experiences” across different mediums (ACARA, 2025). The disciplines represent different means by which these opportunities can be expressed, almost as if learning a separate language, with students becoming literate in each medium (Dinham, 2022, p. 31-33). We see examples of this literacy in the curriculum where students practice the technical skills necessary to engage in the mediums of Dance (ACADAM006) and Visual Arts (ACAVAM111) (ACARA, 2025). The disciplines are again separated into “making” and “responding” strands, allowing students to practice both creating and reflecting critically on the arts medium, increasing engagement and resulting in more satisfying arts experiences (Dinham, 2022, p. 19). This making and responding process also encourages students to consider different perspectives or contexts (cultural, historical, social) by which art can be interpreted or explored (ACARA, 2025). Students in years 5-6 might be asked to perform with other students, reviewing and interpreting the meaning of the performance and key events that took place to convey the narrative (ACADRM035) (ACARA, 2025).

The unique structure of each discipline within the curriculum allows each medium to be tailored to students' developmental stages. In Dance, for example, younger students (F-Y2) “become aware of their bodies, learning about body bases, parts and zones used in dance,” whereas older students (Y5-6) “combine movements that use body parts and actions with those involving body zones and bases” (ACARA, 2025). The physical progression of the dance curriculum fosters the development of kinaesthetic intelligence, one of Gardner’s seven Multiple Intelligences (Dinham & Chalk, 2022, p. 66). In contrast to Dance, early primary students in Media Arts focus on becoming aware of how “ideas can be communicated through selecting and organizing elements,” and later primary students (Y5-6) explore “structure, intent, character, and settings by incorporating different perspectives and genre conventions in their compositions” (Australian Curriculum, 2025). Exploring different perspectives and understanding intent in Media Arts composition will enable students to “traverse digital culture with confidence” (Sinclair et al., 2017, p. 129), and develop skills that align with the general capabilities of fostering creative and critical thinking, intercultural understanding, ICT capability as well as personal and social capability (ACARA, 2025). By separating the arts into these five distinct forms, the curriculum fosters both technical skills and literacy in each form as well as providing a mechanism for students to deeply engage in the form through critical reflection across different contexts and perspectives (ACARA, 2025). The multi-strand approach to art provides students arts literacy across forms. Art literacy is achieved by understanding both the language of the form and background knowledge of the form including the social, cultural, and political contexts through which the form is or has been expressed (Dinham, 2022, p. 33). The division of the arts in this manner maximises the potential for learners to engage in, and with, the different forms, contexts, and general curriculum capabilities in the F-10 curriculum.

Why Are the Arts Presented as an Essential Learning Area?

Portrait Photography with a more handsome subject, 2018

Portrait Photography with a more handsome subject, 2018

The arts are presented as an essential learning area in the curriculum because of the numerous benefits they provide. The rationale in the curriculum gives the following statement, arts “play a major role in the development and expression of cultures and communities, locally, nationally, and globally” (ACARA, 2025). Dinham (2022, p. 3) goes further claiming the arts are integral to human existence stating the arts are “one of three key drivers to the evolution of humankind”. The forms previously discussed offer unique ways for students to communicate with others and experience their world in different contexts (Dinham & Chalk, 2022, p. 33). The skills built by the arts allow students to develop not only technical skills but “collateral benefits” across other areas of the human experience (Winner et al., 2013, p. 20). Cognitively, arts education enhances critical thinking and creativity, general capabilities that are becoming increasingly sought after in the modern world. As children engage in artistic pursuits and education they develop their ability “to pay attention to sensory information” (Dinham & Chalk, 2022, p. 97), this sensory stimulus is a gateway to cognitive development without which, children can be compromised in their ability to learn. Arts-based initiatives such as Singapore’s “School of Arts” have shown the cognitive benefits of an Arts-based curriculum, with 44% of the first cohort graduates scoring in the top 5% of students taking the IB diploma exam (Winner et al., 2013).

The arts foster the social and emotional development of students. Collaborative artistic projects such as a group performance (regardless of discipline) require students to learn to communicate, negotiate and form relationships of trust, offering practical ways of experiencing belonging, being, and becoming (Dinham & Chalk, 2022, p. 128). At the same time, the arts offer a space for children to develop their emotional intelligence through the creation of, and response to different art and art forms. This engagement with art allows children to shift perspective, to a character for example, developing their capacity for empathy (Dinham, 2022, p. 88). The capacity of the curriculum to deliver authentic arts experiences enhances is a well-researched means of enhancing students' social and emotional development (Gibson & Ewing, 2020, p. 5). Culturally, the arts enable students to experience through different contexts in which they can connect to their own culture as well the wider human experience. In one of the most linguistically and culturally diverse nations on earth, it is a necessity that students develop the skills and knowledge to connect with this multicultural society and foster their own sense of identity among it (Sinclair et al., 2017, p. 2). The arts provide a means of intercultural communication and understanding by providing a “means to connect imaginatively with the lived experience of peoples in different kinds of societies past and present” (Sinclair et al., 2017, p. 42). Being exposed to artwork and cultural products from different cultures will also enable students to develop skills and opportunities to connect in an increasingly connected world (Dinham, 2022, p. 89).

Personal Experience with the Arts & Advocating for Arts Education

Cat's Cradle by Kurt Vonnegut, the book that changed my course in Life

Cat's Cradle by Kurt Vonnegut, the book that changed my course in Life

Up until I was 23 years old, I was not passionate about the arts, other than the music I was listening to at the time. I hadn’t really read a fiction book since I was 14. After arguing with a friend about the point of fictional books and reading he lent me a book called Cat’s Cradle by Kurt Vonnegut, a science fiction novel about a man-made weapon that has the capacity to bring about the apocalypse. I couldn’t put the book down. I still view that book as a major turning point in my life. I kept reading, mostly science fiction, but I also dove into other areas, like philosophy. Because of this experience and the books that followed I became interested in further education. I left the navy and went to university to study computer science because of the passion that these artistic works had kindled.

For me, art was the missing piece of the puzzle to understand the “why” of education. I was an average student in my schooling years, but I had the capacity to perform well when I had a passion about the subject, that is still true today across all the different facets of my life. Passion is hard to attain in abstract fields like mathematics, but if we understand the why, we can be motivated to understand the how. While I don’t have the fluency or technical skill to look at a painting and analyse what Da Vinci may have felt when he painted the Mona Lisa, or why some people love Pollock, I recognize that the arts have an unparalleled capacity to bring out a subjective passion in people that can inspire them to achieve more. My views on arts education have shifted greatly since my own schooling. Now, as I prepare to become an educator, I recognize the importance of enabling students to express their creativity through, and engage with, the arts. The act of attempting to engage in the arts can at the very least, open one’s mind to different perspectives, or might be enough to keep someone going one more day. At the other end of the scale, art might provide someone the spark that shifts their life in a new direction or creates a great work to further inspire. If Jules Verne had not been such a great artist would von Braun and Tsiolkovsky pursued the dream of sending a man into space? To paraphrase Plutarch, “the mind is not a vessel to be filled, but a fire to be kindled”, in my opinion, and experience, nothing can kindle the fire of the mind like art.

My Position on How The Arts Should be Implemented in Primary Learning

Kindling a different kind of fire on the Dampier Peninsula, 2018

Kindling a different kind of fire on the Dampier Peninsula, 2018

The value of arts education in Primary education is undeniable, with 89% of Australians believing the arts are important for children’s education and 2/3rds recognizing the major impact they have on child development (Dinham, 2022, p. 20). Some form of engagement in the arts should take place daily to maximize the benefits across the cognitive, social, cultural, and emotional domains (Winner et al., 2013, p. 20). This engagement does not have to be in a structured ‘Arts Lesson” it could be as simple as starting or ending the day with a short expression of emotion about the day with a technique that has been worked on during more structured arts lessons, from any of the five strands. This exposure allows students to develop their creative thought, connect with their emotional wellbeing, and further enhance and explore their literacy in their chosen medium. Just as reading has been emphasized as a daily activity for children, daily engagement in arts literacy affords students the opportunity to work on the curricular capabilities arts enable, while also developing the cognitive, social, emotional and cultural benefits mentioned previously (Winner et al., 2013, p. 20).

Integration of the arts across other curriculum areas not only benefits a student arts literacy but could act as an amplifier for their understanding of other disciplines. Acting out a historical scene or painting a chemical reaction might allow a student to better connect with that knowledge than reading about it in the relevant textbook, this “blurring” of curriculum boundaries aligns with the interdisciplinary nature of the world beyond school as well as the idea that we integrate knowledge in ways that work for us as individuals (Gibson & Ewing, 2020, p. 36). Keeping this integration of arts playful and authentic and not an ‘assessed part’ of the learning experience would be key, noting that play is the context by which children learn, organize, and make sense of their social worlds (ADGE, 2022, p. 67). Challenges to this approach, include the arts literacy of the teacher, the confidence of the teacher, resources, and the authenticity of the integration (avoiding a “handmaiden” approach or other common pitfalls (Dinham, 2022, p. 51)). Some of these challenges can be overcome by continuing professional development (possibly run by an arts specialist if available). Others may be integrating simple, or recycled materials to overcome resource shortages or using mediums that require few or no resources. Artistic members of the community may also be drawn on to help enable these experiences enabling different perspectives to be explored.

References

(ADGE), Australian Government Department of Education. (2022). Belonging, Being and Becoming: The Early Years Learning Framework for Australia (V2.0). In: Australian Government Department of Education for the Ministerial Council.

(ACARA) Australian Curriculum Assessment and Reporting Authority [ACARA]. (2025). Australian Curriculum.

Dinham, J. (2022). Delivering Authentic Arts Education. Cengage Learning Australia. http://ebookcentral.proquest.com/lib/deakin/detail.action?docID=30550636

Dinham, J., & Chalk, B. (2022). It's Arts Play 2e EB: Young Children Belonging, Being and Becoming Through the Arts. Oxford University Press Australia & New Zealand. http://ebookcentral.proquest.com/lib/deakin/detail.action?docID=7018679

Gibson, R., & Ewing, R. (2020). Transforming the curriculum through the arts / Robyn Gibson, Robyn Ewing. In Springer Nature eBook. (2nd 2020. ed.): Palgrave Macmillan.

Sinclair, C., Jeanneret, N., & O'Toole, J. (2017). Education in the Arts 3e. Oxford University Press. http://ebookcentral.proquest.com/lib/deakin/detail.action?docID=5199515

Winner, E., Goldstein, T. R., & Vincent-Lancrin, S. (2013). Educational Research and Innovation Art for Art's Sake?: The Impact of Arts Education. OECD Publishing Centre for Educational, Research Innovation. http://ebookcentral.proquest.com/lib/deakin/detail.action?docID=1336564

Since moving to Cairns in April last year I’ve become increasingly aware of the importance of the health of the Great Barrier Reef to the region. The Reef is recognized as an iconic world heritage natural wonder, an important cultural and spiritual site for Aboriginal and Torres Strait Islander People, and is also crucial to the North Queensland Economy. Threats to the existence and sustainability of the reef; Climate Change, Coral Bleaching, Water Quality, Invasive Species, and Coastal Development (GBRF, 2025).

The unit of inquiry learning will be centered around the health of the reef and the big idea for the unit will be “How can we protect, sustain, and continue to enjoy the Great Barrier Reef for future generations?”

Inquiry into the health of the reef will provide students with a unique place-based opportunity to explore how place dynamically shapes the people and the people dynamically shape the place (Taylor et al., 2015, p. 224; Gilbert et al., 2019, p. 475). It also provides a theme for students to explore the local issue across multiple perspectives (improving critical and creative thinking skills(Gilbert et al., 2019, p. 476) and it’s connections to global systems such as tourism and climate change (Taylor et al., 2015, p. 270). This inquiry will also allow students to examine the idea of sustainability as a contested notion, looking at the needs and wants of the different groups who live and work with the reef across the socio-cultural, economic, and environmental domains (Gilbert et al., 2019, p.469).

Unit Structure and Inquiry Questions

This inquiry unit could be adapted to different year levels, however would be better suited on the upper primary years (Y5-6). Inquiry questions, formed in partnership with the students could include;

  • What is the Great Barrier Reef and why is it so important to people and the planet?
  • What are the threats to the health of the reef?
  • How do different groups of people use and care for the reef and how has this changed over time?
  • Why do people disagree about how we should use the reef?
  • How would changes to the reef affect people who live in Cairns? What about people outside of Cairns?
  • What can people do locally and globally to help protect the reef?

These questions provide the “focus and direction” (Tudball et al., 2024, p. 102) to encourage students to explore the sustainability of the reef across different perspectives and contexts. The questions, also challenge students to reflect on their own lived experiences of the reef developing a deeper awareness, connection to place, and meaning for both sustainability in general and the sustainability of the reef itself (Gurner et al., 2013). The questions build on each other, with students asked to reflect on their own understandings of the reef before scaffolding the perspective shifts necessary to view the reef across different social, cultural, and economic concepts. This inquiry will offer students an opportunity to explore and reflect critically on the big ideas of the reef through the arts.

Part 2 - Responding to Paul Kelly

Paul Kelly is one of Australia’s most popular and enduring singer songwriters, being active since the 70s. The song was released in 2020 following the bushfire season now known as Black Summer. I selected this artwork because of the odd connection of singing “rock-a-bye baby” to my own children and realizing how strange and unfitting the lyrics are. As a Paul Kelly fan, I’d also advocate for Gravy Day (21st December) being part of the school calendar, but I think school finishes the week prior in most states.

The song is written as a lullaby with a very calming tone. However the lyrics, like the previously mentioned lullaby, aren’t exactly calming when you think about them. The lyrics describe Kelly’s lament of Australia’s inaction on climate change and wider sustainability initiatives. I believe Kelly’s intention here was to use a tragically ironic lullaby to awaken his audience to the very real threats facing our country and world. Kelly lists a number of issues in this song from species extinction (“count down the little things, the insects and birds”), to climate change (“Coz it’s only a matter of degrees”), as well as the acidification of oceans (“with acid seas rising”). Personally, I feel like it’s a haunting song. It’s very easy forget the huge effect that “a couple of degrees” has on the ecosystem; I remember hearing a story of a heatwave in Hopetoun, WA being relayed to me while I was at university, with 47 degree heat causing hundreds of birds to fall out of trees dead. Stories of environmental catastrophe are only becoming more common so Kelly’s lullaby, is a good perspective check on where one’s priorities should sit.

Part 2 - Responding to Alick Tipoti

Alick Tipoti (or Zugub traditionally) is a Torres Strait Islander artist from the Kala Lagaw Ya people. Growing up and being educated in the Torres Strait before attending ANU to study Visual Arts. His artwork explores themes of the Torres Strait Islander connections to sea country, sustainability, and culture across different mediums.

I selected this artwork for the artist’s connection to the subject, the striking visual style, and because it reinforces some of my own opinions about humans and their place. The central image of the artwork, and the only part of the artwork with colour, is a green sea turtle. This turtle is surrounded by other life that may be found in the region including other turtles, lizards, birds, a human, and a wild pig; mostly things that would pose a threat to an egg or young sea turtle. Humans are distinctly shown as part of the natural world of this sea turtle rather than the notion that humans are “given dominion”, or are above, the natural world and its processes. The intention of the work not only shows that people have been a part of this ecosystem for millennia but asks us to view the ecosystem and its processes from the perspective of the turtle. Perhaps this is attempting to mirror the shift in peoples perspectives when it comes to sustainability, recognizing that short term pain may lead to longer term benefits. Sea turtles are one of the animals that come to my mind first when thinking about sustainability and the pollution of the reef, I distinctly remember seeing imagery of turtles with their heads caught in plastic six-pack holders as a child. Beyond all this the artwork also provides some insight into Torres Strait Islander history and culture, the turtle is a source of sustenance not just for humans but the ecosystem as a whole, and the placing of the human within that process as an equal to any other subject in the work.

Part 2 - Making

Concepts

I’d like to focus my artwork on the contentious nature of sustainability, while also attempting to shift the audience’s perspective, or to lead them in one direction and redirect. I believe that the ability to catch people off guard might encourage some reflection on their preconceived ideas. Some initial ideas:

  • A digital media piece that displays “the Great Barrier Reef means x” with x rotating through something each user group might say about the reef; tourists, fish, culture, profits, beauty, ideal, etc
  • A visual arts piece of a humanized form of the reef with an octopus doctor giving a prognosis along the lines of “I’m sorry but we really need a to build some more high density fish schools to support the growing population”. This could highlight the concern of coastal development affecting the reef.
  • A digital media arts piece using a propaganda style poster, or ‘ransom note’ letter talking about invasive species such as the crown of thorns starfish or another threat. This artwork could utilize re-usable materials and may also be repeatable in a classroom setting.

I settled on the third of these based on my limited technical skills in the other forms.

Process:

I decided to go with the invasive species concept and use some WW2 propaganda style imagery that sticks in my mind . Personally the WW2 propaganda connection resonates with me due to my grandfathers’ involvement in the war. Using this as a base I decided to modernize the “poster” give it some animations and audio. I decided based on the crown-of-thorns starfish appearance that an alien-esque theme might work well. I used Canva and signed up for a 30 day trial to access some of the features. I sourced my imagery from open-source or public domain locations and got the audio from the ‘free music archive’.

Statement:

I wanted to subvert the audiences expectations, thinking that this might be an alien style arts piece, revealing the image of the starfish after some typical sci-fi alien invasion style text and sinister music. The invasive starfish works as a metaphor for the otherworldly invader we are all accustomed to from movies and stories, allowing people to make a connection. It invites viewers to consider what a real alien threat might look like. The reveal that these ‘aliens’ are already among us, doing damage to our reef may reveal the urgency of the situation to the viewer. I hope that the piece encourages people to reconsider their perception of what threats to our nation look like. People are often worried about threats to national security, but if a starfish destroys one of our most beloved ecosystems, the damage to the country’s economy and culture may be just as devastating.

Artwork

See artwork here or in files submitted with assignment

Song Attribution

HolzinaCC0 – A Fight in The Dark

Part 3 - Development For Primary Students

The reef and its connections provide plentiful opportunities to explore the key ideas across the Sustainability priority; systems, world views, and futures. The inquiry unit could also be developed to include other areas of the curriculum including the Arts and foundational HaSS ideas, as well as the general capabilities of critical and creative thinking and ethical understanding (ACARA, 2025). Based on the content I would suggest the unit is best aimed at upper primary students, years 5 and 6. The aim of the unit is to foster a critical view on how the reef is used, creative solutions to how it can be protected, and ethical engagement and discussion of how the decisions we make affect the users through a place-based, arts-integrated inquiry approach.

At year 6 the HaSS learning area emphasizes students understanding of concepts such as; continuity and change, cause and effect, interconnections, rights, responsibilities, as well as perspectives and action. By utilising a place-based approach this unit can “enrich and broaden” the students understanding of their social, cultural, and economic connection to the big idea (Preston, 2015). Within the framework of this big idea students can explore these concepts through open questions such as “what is the responsibility of the average person to protect the reef?”, before performing the necessary research, analysis and reflection to find and answer and finally communicate their conclusions in a meaningful way (ACARA, 2025) (ACHASSI122- 133). By engaging the local community students could be exposed to different perspectives through excursion or incursion on answers to their questions from local Aboriginal or Torres Strait Islander Groups, Tourism Operators, Scientists & Researchers, or government authorities. Students could be given the option to participate in an AuSSI linked project, directly exposing them to sustainability in action and kickstarting their understanding of the later civics and citizenship stream in HaSS (Henderson & Tudball, 2016). A number of curriculum descriptors could be

The five forms of the arts can be integrated with the above ideas across the making and responding strands. Arts can both challenge the preconceived notions of the learners as well as provide opportunities to integrate multiple ways of learning in a complex and contentious learning area such as sustainability (Lehtonen et al., 2020). An example of this in the classroom context may be utilising drama to explore the various stakeholder perspectives on the uses of the reef and how the impacts of decisions may affect them. Alternatively, learners might utilize dance and music to express the perspectives of creatures on the reef affected by decisions that humans have made exploring their bodily-kinaesthetic awareness and embodiment (Sinclair et al., 2017, p105) or utilize a community link to understand the cultural importance of the reef to the local Aboriginal and Torres Strait Islander peoples (Sinclair et al., 2017, p. 151). By integrating multiple forms of the arts into the unit we can display to learners that we value different approaches and intelligences in their sustainability education. The sense of place is more than just knowing where you are on a map, there are things that cannot be taught in a traditional intellectual way. By utilizing multiple art perspectives we deepen the learners sense of, and engagement to, their own sense of place as well as encouraging students to protect, care for, and conserve their environment (Everett et al., 2009).

Other curriculum areas that could be developed in this unit include; Aboriginal and Torres Strait Islander histories and cultures, ethical understanding, and critical and creative thinking. By engaging in the artwork, stories and possible visits from local ATSI peoples, students can begin to understand how the reef was interacted with pre and post European settlement as well as developing an idea of how important sea-country is to these peoples and their individual identities (Tudball et al., 2024p. 399-404). Ethically, this unit almost insists that students engage with diverse perspectives of conflicting reef user groups, challenging students to explore the moral, social, and economic problems, this could be furthered by asking them to make and justify ethical decisions about the future of the reef while reflecting and critiquing the decisions of their peers (ACARA, 2025). In a similar vein, students will be placed in situations in this unit that will require them to utilise the critical and creative thinking skills, exploring the big idea and conflicting perspectives before using their creative thinking skills to propose solutions and create art.

References

  • [ACARA] Australian Curriculum Assessment and Reporting Authority. (2025). Australian Curriculum - Curriculum ID Where citing a specific identifier. In.
  • Everett, L., Noone, G., Brooks, M., & Littledyke, R. (2009). Education for Sustainability in primary creative arts education. In M. Littledyke, N. Taylor, & C. Eames (Eds.), Education for sustainability in the primary curriculum: a guide for teachers (1st ed., pp. 180–206). Palgrave Macmillan.
  • [GBRF] Great Barrier Reef Foundation. (2025). Threats to the Great Barrier Reef. Retrieved 06/04/2025 from https://www.barrierreef.org/the-reef/threats
  • Gilbert, R., Tudball, L., & Brett, P. (2019). Teaching Humanities and Social Sciences. Cengage. http://ebookcentral.proquest.com/lib/deakin/detail.action?docID=6135920
  • Gurner, E., Garden-Thompson, N., & Carey, M. (2013). Exploring connections to nature and sustainability through a process of experiential arts-based inquiry. Eingana, 36(1).
  • Henderson, D. J., & Tudball, E. J. (2016). Democratic and participatory citizenship: youth action for sustainability in Australia. Asian Education and Development Studies, 5(1), 5–19. https://doi.org/10.1108/AEDS-06-2015-0028
  • Lehtonen, A., Österlind, E., & Viirret, T. L. (2020). Drama in Education for Sustainability: Becoming Connected through Embodiment. International Journal of Education & the Arts, 21(19), 1–27. https://doi.org/10.26209/ijea21n19
  • Preston, L. (2015). The place of place-based education in the Australian primary geography curriculum. Geographical Education (Online), 28, 41–49.
  • Sinclair, C., Jeanneret, N., & O'Toole, J. (2017). Education in the Arts (3rd ed.). Oxford University Press. http://ebookcentral.proquest.com/lib/deakin/detail.action?docID=5199515
  • Taylor, N., Quinn, F., & Eames, C. (2015). Educating for Sustainability in Primary Schools: Teaching for the Future. Springer. http://ebookcentral.proquest.com/lib/deakin/detail.action?docID=2094920
  • Tudball, L., Brett, P., & Gilbert, R. (2024). Teaching Humanities and Social Sciences: Teaching and Learning Across Australia. Cengage. http://ebookcentral.proquest.com/lib/deakin/detail.action?docID=31743321
Bleached Coral Speciment

The big idea for this lesson sequence is the sustainability of the Great Barrier Reef, with the major question being; “How do we use the reef sustainably to ensure it’s there for future generations”. In order to put a physical connection to what be a more abstract idea I have chosen to use a sample of bleached coral as an artefact for this resource. Bleached coral provides a connection to place and affords students a gateway to the often-abstract and/or complex concepts of climate change (Lehtonen et al., 2020a; Shepardson & Hirsch, 2019). We often visualize coral as a bright, vibrant, living thing, the sight of the bleached coral artefact could prompt students to begin creatively imagining what it looked like in their own minds and conceptually understanding the existential impact these complex ideas have had on this once living thing. This thought process is reflective of a thought experiment in creative reuse, asking the learners to reflect on their attitudes about sustainability (Girak et al., 2019). Bleached coral is also low cost and accessible, making this inquiry unit available to students who may not have the resources to attend an excursion to the aquarium or the reef. Coral forms the foundation of the reef, without the coral, there is no ecosystem, so it is a great entry point for students to begin to explore some of the inquiry questions previously identified.

As a pathway to incorporating the Arts curriculum, students could utilize one of the 5 Arts disciplines to creatively express their imagined ideas about the corals existence prior to its demise. In the humanities, the coral could act as a cue to examine the different perspectives in the human-reef relationship such as local industries, Aboriginal and Torres Strait Islander uses, and provide some context on how the reef has changed over time. Science could also be brought into this unit, by examining what exactly coral bleaching is, and describing the process of the zooxanthellae being destroyed. The coral also provides a way of linking the unit to place, deepening students engagement and connections to their place, with many locals travelling to the reef or Fitzroy Island and walking on sharp coral beaches.

By beginning the unit with the foundation of the reef, coral, we give our students an opportunity to explore the concept of sustainability in a place based, transdisciplinary inquiry.

Lesson 1

  • Students discuss as a class the artefact, begin asking questions about the coral and describing it.
  • Focus on Sustainability and big idea provide scaffolding for the inquiry questions where required, with HASS inquiry skills utilized as well as creative and critical thinking.
  • Goals for the lesson, discuss the reef and develop inquiry questions as a class, use the time to discuss student’s personal connections to the reef

Lesson 2

  • Continue on the artefact, why did the coral bleach? What are the threats to the reef?
  • Explicit teaching about the mechanisms of coral bleaching,
  • Show a short film about the reef and the threats such as: https://www.youtube.com/watch?v=ELBrybrYrGo
  • Deliverable; Create a comic/storyboard or visual arts piece that shows the cause and effects of coral bleaching
  • Formative assessment utilizing “on-balance judgement” (Dinham, 2022) p157 to determine ambition v quality.

Lesson 3

  • Responding to an art work of any discipline from the perspective of different reef user groups
  • As a class teacher to model a response to an Artwork about the reef, before splitting the class into groups to craft in-character group responses to different artwork of user groups.
  • Groups to deliver an in-character response to their artwork detailing how it relates to their user group (stakeholders) and to present it to the class. Utililise research through books/internet to understand the perspective of their assigned stakeholder and it’s effect on the reef.
  • Focus on why the reef matters to each user group, how do they use it, are they using it sustainably? Ask the students to try to convince the class of the necessity of their roles use of the reef.
  • Summative assessment based on in-character group response to artwork based on student contribution and individual engagement/feedback (check through questions directed at each student)

Lesson 4

  • Building on lesson 3 discuss interconnections of stake holder groups and how reef users affect each other and the reef itself.
  • focus on HASS key concepts (roles, rights, responsibilities, interconnectedness, perspectives and action)
  • Students divide into groups with one user from each stakeholder group split up so there is a mix of users in each group. Based on the response to the artwork and research conducted in the last lesson. Students will, in character as their assigned stakeholder, debate the best use of the reef and resources in order to fulfill the aims/needs of their stakeholder group.
  • Deliverable, each group to present their idea of a sustainable reef to the class
  • Formative assessment through class observation and consultation
  • Prime students for next lesson, get them thinking about what kind of artwork they’d like to make

Lesson 5

  • Students to individually create a visual, media, or musical artwork to show their understanding of the interconnected nature of the reef its users and its fragility.
  • Students free to use their preferred discipline. Provide scaffolding where appropriate for learners who have struggled to come up with an idea.
  • May need more time for this lesson or have to organize finally whole school gallery walk in a break rather than lesson 6.

Lesson 6

  • This lesson is a gallery walk of the artworks that were created in the previous lesson.
  • This may be done in a common area of the school to enable a whole school approach to sustainability and provide a call to action.
  • Students who created the artworks are randomly assigned artworks to respond to so that all students have some feedback.
  • Assessment based on an on-balance assessment of their made artwork and how well crafted their response to the artwork is.

Lesson 4

Title: Perspectives of an Interconnected Reef and it’s Users.

Resource: The fragment of bleached coral + research conducted in previous lesson

Year level: 5-6

Lesson duration: 1 – 1.5 Hours

Learning Intention: In this lesson students will briefly research the different reef user groups and explore the interconnectedness of those groups and the reef. Students will critically reflect on the perspectives of each group and examine the contentious nature of sustainability through drama-based role-play and collaboration while using the artefact as an anchor to the consequences of unsustainable uses and care of the reef.

Curriculum - Learning outcomes & Assessment

HASS:

  • ACHASSI127 – Examine Different viewpoints on actions, events, issues and phenomena in the past and present
  • ACHASSI130 – Work in groups to generate responses and issues to challenges
  • ACHASSK120 – Types of resources (natural, human, capital) and the ways societies use them to satisfy the needs and wants of present and future generations
  • ACHASSK112 - The influence of people, including Aboriginal and Torres Strait Islander Peoples, on the environmental characteristics of Australian places

Drama:

  • ACADRM035 - Explore dramatic action, empathy and space in improvisations, playbuilding and scripted drama to develop characters and situations

Sustainability:

Focus placed on the first two key concepts, Systems and World Views with OI.2, 3, 4, and 5 as well as touching on OI.6 (Key Concept - futures)

Arts and /or Humanities and/or Sustainability concepts and understandings

  • Improvisation
  • Debate
  • Perspective (Viewpoints)
  • Contexts (Social, cultural, historical)
  • Evaluations (Judgement)
  • Contention
  • Sustainability
  • Interconnectedness
  • Stakeholder
  • Rights and Responsibilities
  • Traditional Owners
  • Business
  • Conservation
  • Government
  • Tourism
  • Non-Governmental Organisation

Ideas for assessment of students’ learning

During this lesson assessment will be mainly based on class observations and consultation with students (Formative Assessment). These observations will be how engaged they were with the perspective of their character. Did they represent that user groups needs and wants accurately? How did they resolve contentious uses of the reef, fishing versus tourism for example. Take notes on how well the groups collaborated, how they were able to problem solve and displays of systems thinking. Question the groups ‘sustainable reef’ proposals to ensure all perspectives were discussed and debated.

Prerequisite knowledge and/or links to previous/future lessons

In lesson 1 students explored the reef and began to form inquiry questions on why it matters, this opened them to different perspectives of user groups and provided some initial seeds.

In lesson 2 students explored coral bleaching, and cause and effect of unsustainable practices affecting the reef and consolidated this through the creation of a comic, storyboard or visual arts piece showing.

In lesson 3 students further developed their understanding of different perspectives of users on the reef and researched how those stakeholders interact with the reef, they examined the needs and wants of those groups.

In this lesson students will draw on their understanding of their perspectives established in lesson 3 to avoid unsustainable practices on the reef, while maintaining empathy for each user group and exploring the interconnectedness of how different user groups uses affect each other. These perspectives and empathy for other reef users will play into their making and responding strands in lessons 5 and 6 allowing them to understand the contentious nature of the sustainability.

Preparation and Teaching Resources required

  • The artefact (bleached coral fragment)
  • Role Cards (Printed)
  • Research notes from lesson 3
  • Prompt cards for debate
  • Paper for the students to record their proposals
  • The room space set up to facilitate discussion and dramatic play.
  • Whole class focus

    Show the class the bleached coral fragment, ask the class about it’s perspective if it could talk; “What do you think this piece of coral would say about sustainability if it had a human voice?”

    Cover perspectives, explain what it means to be in-character, articulate the learning intention and deliverables required at the end of the lesson.

    Learning activities

    • 1. Introduce the lesson (5 mins)
      • a. As above
    • 2. Group setup (5 mins)
      • a. Distribute role cards ensuring each group has a mix of users with competing interests (housing developers, marine biologists, tourism operators, fishing industry, human representation of natural life on the reef (fish, coral, etc))
      • b. Reiterate the learning intention, each group is a council tasked to come up with sustainable reef use forming a balance between different uses where possible
      • c. Give class 5 minutes to get into character, introduce themselves to their group and the perspectives of their stakeholder group.
    • 3. In Character Debate (20+ Minutes)
      • a. Use prompt cards or teacher input to drive the debate;
        • i. What problems is your group experiencing due to other reef users?
        • ii. What are the resources you require from the reef for your use?
        • iii. What will happen to the reef if “group a” continues using the reef in this way?
        • iv. What can we modify about your groups use to help protect the reef?
      • b. Teacher to circulate through the groups checking how debate progresses and prompt students where required
      • c. Ensure notes are taken by the group when outcomes are decided
    • 4. Group Proposal (5-10+ Minutes)
      • a. At the conclusion of the debate allow some time for groups to consolidate their notes and form a proposal for how they plan to enact their sustainable reef use plan to the class
    • 5. Presentations 15+ minutes
      • a. Student groups to present their group proposals to the class in character, detailing the needs discovered, how they conflicted, how they were able to resolve conflicts
      • b. Teacher to question proposals to ensure each stakeholder group has not been overlooked (cancel all fishing destroys an industry whereas move fishing to select areas/off the reef might be a better option)
    • 6. Reflection (5 minutes)
      • a. Students to reflect on the contentious nature of sustainability, why it is important to consider other perspectives through whole class questioning

    Lesson Conclusion

    Teacher to reinforce the nature of interconnectedness, why it is important to consider empathetically the different perspectives of user groups. The effects that human activity has on a place and how we balance that with sustainable outcomes. Ensure the class is prepped and thinking about what kind of artwork they’d like to make in the next lesson.

    Variations

    • a. Include Indigenous perspectives authentically, include a presentation from a local Aboriginal or Torres Strait Islander rather than assigning that role to a group.
    • b. Ensure quiter students are supported in character
    • c. Provide simplified roles where necessary or allow some students to act as scribes/chairs for their groups rather than direct dramatic participation. Scribes could achieve the learning outcomes by discussion with the teacher, or based on the group result.
    • d. Instead of writing the proposal students could create an artwork/mindmap of how the users will work to gether to achieve sustainable outcomes

THE LESSON

Lesson Introduction

Part 3 - Justification

This lesson sequence attempts to take a transdisciplinary approach to sustainability education with a focus on the Great Barrier Reef and it’s users. The sequence will engage year 5 and 6 students across several curriculum areas including the arts, science, humanities, and cross curriculum priorities of sustainability while also developing their general capabilities of critical and creative thinking, personal and social capability, as well as ethical understanding. The unit has a strong focus on perspective and the contentious nature of sustainability exploring systems thinking and cause and effect through dramatic play as different user groups and creation of arts artefacts such as the comic strip and final gallery pieces. This is all anchored by the artefact being a physical representation of what happens if sustainability is not achieved.

In a complicated world teaching sustainability authentically requires a real world problem explored through a transdisciplinary approach much like the way modern projects bring together people from different disciplines (Baumber, 2021; Dinham, 2022, p 16). Through this unit the students learn not only about the reef but begin to think about the reef as a complex system and its interconnections with different stakeholders; focusing on key aspects of the sustainability curriculum as well as other areas. The inquiry questions provide support for the students to explore the consequences of action, or lack thereof, and the causes and effects of decisions made in the sustainability space. By exploring the reef through different arts mediums, as well as utilising traditional research skills, multiple ways of knowing have been implemented into the lesson sequence, maximizing meaning and engagement for all students (Dinham, 2022 p 18). This transdisciplinary approach, “embracing the uncertainty and complexity of the real world” can enable transformative learning in sustainability education (Baumber, 2021).

Due to the units transdisciplinary nature a number of curriculum areas can be accessed through modifying focus on different domains. This planned sequence covers areas of science (ACSSU096, ACSHE100), HASS (ACHASSK113, ACHASSK120, ACHASSI130, ACHASSI127, the arts (across forms and strands) (ACADRM035, ACAVAM115, ACAVAM116), as well as the cross curriculum priority of sustainability, and several general capabilities previously mentioned. The unit could be expanded to further encompass Aboriginal and Torres Strait Islander Cultures and Histories or have a greater emphasis on the scientific aspects of Coral Bleaching and the biological impacts.

The bleached coral plays an important role in the unit, providing a blank canvas for imagination, a stimulus for connection, and an anchor for what is at stake based on decisions made about the reef and wider systems. This provocative artefact and its story will be used to kindle their interest in the topic, and enhance the students learning and engagement throughout the unit (Dinham & Chalk, 2022, p 115). The artefact also connects the students back to the place, with local students likely to have encountered coral fragments in the past, adding to their sense of place and fostering and understanding of their own roles within the local context and it’s connections to a more global context (Dinham & Chalk, 2022, p 126 ; Tudball et al., 2024, p 510).

The unit makes use of high impact teaching strategies such as collaborative learning, multiple exposures, questioning and metacognitive strategies asking students to reflect on their perspectives while exploring others (DoE (Vic), 2023). The focus of lesson 3 and 4 is asking students to step out of the cognitive processes that normally direct their attitudes towards sustainability and the humanities. By explicitly asking students to adopt roles they are unfamiliar with, such as the fisher, miner, or property developer, we ask them to form some empathy for those perspectives, as well as the perspectives of the natural world, environmental guardians, and scientists, that is necessary for the understanding of the complex connections and development of critical and creative thinking, and collaborative skills needed to craft the sustainable solutions to the problems of the modern world (Everett et al., 2009).

By utilising different arts disciplines, across the making and responding to strands, students are given multiple means by which to engage with the unit and be set up for success within the inquiry in an area that they may feel more comfortable. Performative arts, such as the explicit improvisational drama in lesson 4 can enhance understanding of sustainability concepts and while fostering social skills (Lehtonen et al., 2020b). The inclusion of varied options for how students are able to express their understandings of the concepts explored within the unit afford the students agency in finding their own ways of expressing who they are and how they fit within those concepts (Dinham, 2022, p 91). This creative freedom also offers teachers and learners a variety of entry points, and opportunities for differentiation, into ideas that may at first appear very complicated to students. The inquiry unit is shaped by the belief that all students have a right to express their informed perspectives, but should also attempt to understand the perspectives of those that they disagree with, a skill that is often overlooked in much modern discourse.

Assessment in the unit is takes multiple forms, with both summative and formative stlyes being utilised as well as the encouragement of ambitous projects for students through the use of on-balance judgements (Dinham, 2022, p 157). These assessment methods reflect that learning in sustainability, through the arts, and in the general capabilities is not always a recollection of facts but has to account for student’s ability to evaluate, consider alternatives, and begin to build capacities for thinking and acting sustainably (Dinham, 2022, p 157; ACARA, 2025).

References

Introduction and Rationale

Title: Exploring Text Types through Artistic Means

Level: Years 2 and 3

Rationale

Students in years 2 and 3 are beginning to write texts for a range of different purposes; to inform, entertain, or persuade. These different text types necessitate different language use and these students, as writers, are beginning to choose language that aligns with the purpose, structure and audience of a text (Clipson-Boyles, 2011, p. 78). As readers they are working their way through the different reading roles; codebreaker to analyst (Freebody, 2007, p 34). Utilising a cross-disciplinary inquiry approach to this topic aligns with Churchill’s (2021, p. 189-190) view that this approach offers a different way of knowing and affords greater meaning making and understanding to students that is only accessible through an arts based approach. It also allows students to work in a learning context that provides a “meaning making” experience beyond what they’d normally expect in the english curricular area (Dinham, 2022, p. 31). Students will be acting as maker/writer/performer and responder/reader/audience throughout the unit, allowing them to develop both artistic and english literacies in a complementary approach across the both the making and repsonding strands of the arts discipline. The unit will cover the four artistic learning processes, with children making, connecting, reflecting and inventing through each sequence (Dinham, 2022, p. 38). It is argued that the best way to devleop language skills across the oral, written, and visual domains is through the social context (Winch et al., 2020, p. 415) so group collaboration and discussion will be utilised throughout the unit. The arts provide students the opportunity to express the ideas of text types through diverse means such as dramatic performance, visual representation, and music providing a sense of agency to the students and engaging creativity as well as reinforcing the multiple means by which students may come to know and deepen their understanding of the different purposes of text. This approach also affords student the opportunity to explore the general capabitlity of creative and critical thinking. The use of the arts as a pedagogical approach encourages student reflection and critical thinking through a scaffolded approach such as the “4Rs”; reporting & responding, relating, reasoning, and reconstructing (Ryan, 2014). The unit of inquiry into text types is spread over 7 lessons. As literacy sessions are often scheduled daily it is assumed that this sequence will take place over 2 weeks with some room for adjustments if students need more time to work on elements of the sequence. Once the introductory lesson has been completed the remaining 3 sequences covering the text types could be completed in the order the teacher or learners decide.

Explanation (Plain Language)

In this unit students will utilise different arts mediums to explore different text types and the messages they are conveying. They will use language that is fit for the purpose of the text being informative, entertaining, or persuasive. Students will work in teams and individually to make and respond to different creative projects enhancing their Arts & English Literacies as well as their creative and critical thinking skills.

Arts Curriculum Links

Note – Direct quotes from Australian Curriculum website to “Other Curriculum Links”.

Visual Arts

AC9AVA2D01/AC9AVA4D01 - experiment with a range of ways to use visual conventions, visual arts processes and materials

AC9AVA2C01/AC9AVA4C01 - use visual conventions, visual arts processes and materials to create artworks that communicate ideas, perspectives and/or meaning

AC9AVA2P01/AC9AVA4P01 - share and/or display artworks and/or visual arts practice in informal settings

Drama

AC9ADR2D01/AC9ADR4D01 - use the elements of drama and imagination in dramatic play and/or process drama

AC9ADR2C01/AC9ADR4C01- create and co-create fictional situations based on imagination and/or experience

AC9ADR2P01/AC9ADR4P01 - share their drama in informal settings

Music

AC9AMU2D01/AC9AMU4D01 - develop listening skills and skills for singing and playing instruments

AC9AMU2C01AC9AMU4C01 - select and combine elements of music when composing and practising music for performance

AC9AMU2P01/AC9AMU4P01 - sing and play music in informal settings

English Curriculum Links

AC9E2LA03/AC9E3LA03 - identify how texts across the curriculum are organised differently and use language features depending on purposes

AC9E2LA08/AC9E3LA08 - understand that images add to or multiply the meanings of a text

AC9E2LA09/AC9E3LA09 - experiment with and begin to make conscious choices of vocabulary to suit the topic

AC9E2LY01/AC9E3LY01 - identify how similar topics and information are presented in different types of texts

AC9E2LY02/AC9E3LY02 - use interaction skills when engaging with topics, actively listening to others, receiving instructions and extending own ideas, speaking appropriately, expressing and responding to opinions, making statements, and giving instructions

AC9E2LY03/AC9E3LY03 - identify the purpose and audience of imaginative, informative and persuasive texts

AC9E2LY06/AC9E3LY06 - create and edit short imaginative, informative and persuasive written and/or multimodal texts for familiar audiences, using text structure appropriate to purpose, simple and compound sentences, noun groups and verb groups, topic-specific vocabulary, simple punctuation and common 2-syllable words

AC9E2LY07/AC9E3LY07 - create, rehearse and deliver short oral and/or multimodal presentations for familiar audiences and purposes, using text structure appropriate to purpose and topic-specific vocabulary, and varying tone, volume and pace

AC9E2LE04/AC9E3LE04 - identify, reproduce and experiment with rhythmic sound and word patterns in poems, chants, rhymes or songs

AC9E2LE05/AC9E3LE05 - create and edit literary texts by adapting structures and language features of familiar literary texts through drawing, writing, performance and digital tools

Other Curriculum Links

Critical and Creative Thinking

Students will be

  • inquiring into different areas for research, exploring the purposes of text and organising information and ideas into different structures
  • Generating ideas, improvising possibilities, and converting them into actions or art works
  • Reflecting on the purposes of text, as well as their work and the work of others and how it affects their choices in the future

Personal and Social Capability

Students will be spending a lot of time working collaboratively, fostering;

  • Social awareness & social management

Literacy

Students will practice both comprehending texts and composing texts across multiple mediums

Introductory Inquiry Lesson

Big Ideas: Types of Texts and Their Purposes

Duration: 1 Lesson (50 minutes)

Learning Objectives

  • Students can identify different text types and recall that each is used for a different purpose, to persuade, to entertain or provoke, or to inform.
  • Think about where they have seen these texts in their own lives
  • Begin building familiarity with the different text types

Lesson Plan

  • 1. Begin by reading to the class three texts, one informative, one imaginative, and one persuasive. See resources for examples.
  • 2. For each text, ask what the purpose of each one was and what makes you think that is the purpose
  • 3. Explicitly teach the three text types and their purposes;
    • a. Imaginative – to entertain
    • b. Persuasive – to convince
    • c. Informative – to teach or explain
  • 4. Brainstorm with the class about some features you’d expect to see in each type.
  • 5. Split the class into groups, distribute text cards for sorting. Students to read text cards and assign the text to a text type and explain why each card was sorted into which category as groups.
  • 6. As a class brainstorm the ways we might see these text types expressed in the arts and make connections back to the students lives;
    • a. Informative – Posters at school, picture books, educational songs
    • b. Persuasive – Advertising, sustainability posters, skits
    • c. Imaginative – Storybooks, cartoons, puppet shows
  • 7. Reflection – What’s the most important thing you learned about the text types and why?

Pedagogical Strategies Used

  • Collaboration
  • Explicit Teaching
  • Multimodal Learning
  • Gradual Release of Responsibility
  • Visual Scaffolding via Anchor Chart/Whiteboard

Resources

  • Text Cards for Sorting (Printed)
  • Anchor Chart (optional)
  • White board for brainstorming

Visual Arts/Media Arts

Title: Designing Educational Posters (Informative Texts)

Duration: 2 Lessons (~50 Minutes each)

Learning Objectives:

  • Identify techniques and features used in an informative text
  • Plan and use visual design elements to enhance the communication an informative text
  • Develop an understanding of how to inform (using) and identify and interpret (as audience) informative texts

Sequence of Learning

Lesson 1

  • 1. Reflect on Different text types from previous lesson with a focus on informative texts.
  • 2. Using an I do, we do, you do approach, explore different visual arts/media arts of different text types. This might include posters, paintings, or short videos.
  • 3. Utilise a whiteboard to categorise features of texts into each text type. This should remain up for the duration of the class
  • 4. Draft a quick example of what an informative poster may look like fro the class using elements discussed
  • 5. Students to break into small groups and discuss what they would like to create a visual/media arts piece on, provide a short time for this or provide prompt cards for students who are unable to determine a topic
  • 6. Students have the rest of the class to research or discuss their topic and draft their informative poster.

Lesson 2

  • 1. Refresher on the elements of an informative text and focus of today’s lesson
  • 2. Students to complete their work on A3 paper or digitally in assigned groups, deliverable should include;
    • a. Headings
    • b. Factual Statements (4 or more)
    • c. Visual Arts/Media Arts elements that complement the informative message
    • d. An accompanying statement (a paragraph or less) explaining their design choices
  • 3. Informal Gallery Walk, students are to display their finished works around the room as makers
  • 4. As responders, students are to individually write feedback about posters they found effective and reflect on what they found challenigng or what they might do differently next time.

Pedagogical Strategies Used

  • Visual Scaffolding – Whiteboard anchor chart for features of text & examples of visual/media arts for scaffolded design
  • Collaborative Learning – Students use HIT Strategy to create art pieces as a group, promoting socialization of ideas and engagement
  • Gradual Release of Responsibility - I do/we do/you do approach to provide modelling and scaffolding for the students (model breaking down elements of a poster and creation of a poster on a topic, scaffolding groups with anchor chart, before individuals write reflection and feedback)
  • Reflection – Thinking about the process and challenges and how they could improve next time

Differentiation

  • Prompts for students who are struggling to come up with topics
  • Providing student agency with choice on artistic medium and execution allowing for different levels of ambition leading into differentiated assessment strategies
  • Groups could be based on a number of factors and individual instructions could be tailored to each

Assessment

Blended assessment of summative and formative

Formative – Class observations & opportunistic questioning, on-judgement assessment of group deliverables based on effort, ambition, and final product

Summative – Reflection at the end of the gallery walk

Resources Required

  • Collection of visual/media arts examples of text types with a focus on the informative
  • Prompt Cards for students having trouble choosing a topic
  • Arts Materials
    • If focusing on visual arts -A3 paper for poster, coloured A4 for cutouts, could use watercolours, acrylic paints, textas or crayons depending on student choice, glue stick, scissors
    • If focusing on media arts – Laptops, cameras, audio recording equipment, and a software suite like Canva (free licencing for educational purposes) for visual or audio editing software (like Audacity) for audio editing.

Music

Title: Persuading through Rhythm and Rhyme

Duration: 2 Lessons (~50 mins each)

Learning Objectives:

  • Understand the features of persuasive texts
  • Experiment with rhythm, sound, and rhyme to enhance the persuasive elements
  • Create and perform a musical piece designed to persuade the audience
  • Reflect on the ways music can add meaning to a message

Sequence of Learning

Lesson 1

  • 1. Start by clapping in a rhythm and get the class to follow along. Modify the rhythm once the class has got into the routine, possibly changing the fourth beat in a bar, or cycle around the room asking students to modify the rhythm in their own way and then as a class copy it.
  • 2. Explicit teaching on body percussion techniques and how we can make basic rhythms or add emphasis to things, could use a chant like ‘Long-er Lunch, Less Home-work” – clap clap click clap clap stomp
  • 3. Conduct a warm-up activity using body percussions to continue practice - can use one of linked videos (resources section)
  • 4. Read a persuasive text to the class (example – Japanese Emperor describes his cat, second verse probably a good example for this age bracket)
  • 5. Break down the structure, elements, and techniques used in persuasive text:
    • a. Statement of opinion, evidence and reasons, conclusions
    • b. Emotive language, aimed at audience, evidence, rhetorical questions, analogy, humour, generalisations, etc
      • i. While doing this refer to the text and show where these elements were used
  • 6. Model the activity to the class, aim is to create a persuasive piece like a short chant or poem using percussive elements for rhythm and emphasis.
  • 7. In small groups the aim for the rest of the lesson is to create a poem/song/chant with at least 2 lines and must include
    • a. At least one opinion & at least one reason for opinion
    • b. Elements of persuasive text
    • c. Body percussion elements
  • 8. Examples;
    • a. “Eat more veg, feel the power, you’ll feel smarter every hour” click-clap-click repeated
    • b. “My dog is the best, he’s way better than the rest” claps and slaps

Lesson 2

  • 1. Warm up using some of the creations from last lesson, get class involved using body percussion, rotate student leading the chants
  • 2. Refresh on elements of persuasive text
  • 3. Students to work individually on compositions this time, looking for 2-4 lines
    • a. Encourage the use of rhyme and rhythm
    • b. Provide fill in the blank style scaffolding where necessary example; “My ____ is superior, all ______ are inferior”, “
  • 4. Students to rehearse once they’ve written and perform their composition to the class
  • 5. Once all students have performed their composition, short reflection on things they found persuasive and if they’d change anything next time

Pedagogical Strategies Used

  • Modelling
  • Scaffolding
  • Gradual Release of Responsibility
  • Collaborative Learning
  • Mutimodal Learning
  • Open ended challenge
  • Differentiation (as below)
  • Spaced Repetition

Differentiation

  • Prompt cards for topics
  • Fill in the blank style scaffolding for students struggling
  • Provide or assign rhythm prompts (clap-snap-clap, stomp-stomp-clap)
  • Allow students to record if uncomfortable with live performance
  • Vary expectations based on knowledge of students
  • Extension – use certain elements such as humour, incorporate an instrument (maraca/tambourine/drum)

Assessment

Formative – Based on student engagement, audience response, understanding of persuasive features and quality of deliverables and reflection

Summative – performance based on persuasive elements used, body percussion techniques used and engagement

Resources Required

  • Body Percussion examples:
  • Prompt cards (printed)
  • Rhythm Prompts (printed)
  • Fill in the blank prompts (printed)
  • Instruments (for extension activity)
  • Recording equipment (for students not wanting to perform)

Drama

Title: Dramatically Expressing Imaginitive Texts

Duration: 2 Lessons (~50 mins each)

Learning Objectives

  • Understand the features of an imaginative texts including character, setting, narrative (sequencing, beginning, middle, and end), appropriate vocabulary to setting,
  • Explore the dramatic elements of role, character, relationships, situation, focus, audience, mood, and language
  • Collaborate on and perform a dramatic performance of an imaginative story

Lesson Sequence

Lesson 1

  • 1. Warm up using an activity from listed resources, for example use “Yes, Lets” in which students stand in a circle and all complete an action such as “swim like a fish, fly like eagles etc” as students suggest new actions class says “yes, lets” and acts out the new action. See Resources for more details
  • 2. Read class a short imaginative text such as “Zoo House” by Heath McKenzie or “Where the Wild Things Are” by Maurice Sendak for example.
  • 3. As a class discuss the key features of the story (narrative, character & setting) and textual elements and vocabulary. Utilise a white board to display the beginning, middle, and end of the story.
  • 4. Class divided into groups and randomly assigned themes by drawing straws or envelopes with details. Each group is to plan and write a short imaginative story in the theme with a beginning, middle, and end.
  • 5. In those groups students are to introduce and perform the beginning of their story for the class.

Lesson 2

  • 1. Warm up using a different activity from the listed resources, for example the emotional mirror where students are paired off. Each student speaks in gibberish but with a chosen emotion, the other student in the pair must copy the emotion in their own gibberish. Once the students are in sync the second student must change the emotion and vice versa until the warm up is complete.
  • 2. Brief recap of last lesson – imaginative & narrative elements, character, mood, audience
  • 3. In recap focus on how characters may act differently (voice, interactions, or movement) based upon their mood. Provide some visual demonstration using students, be an angry teacher, a happy teacher, a caring teacher and have the students guess the mood you are trying to portray.
  • 4. Students are to redivide into groups from last time, this time receiving a mood card (bossy, angry, sad, happy, uninterested, etc). Groups must alter their existing stories based on the mood of their characters. Explain that students must reflect the mood of their characters through their movements, interaction, and voice.
  • 5. Groups to rehearse their performances with a focus on portraying the correct mood.
  • 6. Students to then perform their stories to the rest of the class, at the end of each performance the audience is asked to guess which mood the characters were portraying.

Pedagogical Strategies Used

  • Collaborative Learning
  • Differentiation
  • Open Ended Tasks
  • Multimodal Learning
  • Spaced Repetition

Differentiation

Extensions

– include ‘random chance’ for characters in the story. If the story has students meeting an alien, roll a dice to see how the alien will react, angry vs friendly. Maybe the alien doesn’t speak their language, can they improvise a way to communicate?

Enablers

  • Provide students who are not willing to perform roles or have individual needs positions such as narrator, sound effects, or MC (introducing the other groups)
  • Provide visual representations of moods (such as emoji printouts) for students who don’t grasp the mood cards.
  • Provide individual guidance or small group guidance to students struggling to portray the assigned mood

Assessment

Formative assessment based on observation of:

  • Student understanding of structure and elements of imaginative text
  • Student use of dramatic elements and expression (role, character, relationships, mood, situation)
  • Engagement and quality of reflection as audience (responder)

Summative Assessment

Based on how well the students incorporated elements and structure of imaginative writing into their performance, check for:

  • Beginning, Middle, and End
  • Characters behave in a manner consistent with mood

Resources Required

  • Link for drama warm ups
  • Improv Encyclopedia
  • Mood Cards (printed)
  • Thematic Envelopes or Cup of Different length straws (for choosing themes)
  • Dice for extension activities
  • Emoji Printouts for Enablers
  • Short imaginative text for read aloud

Unit Assessment

Formative (Ongoing through Inquiry Unit)

  • 1. Teacher Observations (use a checklist or take notes for recording)
    • a. Check group work
    • b. Listen to discussions around the work
  • 2. Ask questions and note student responses
  • 3. Physical artefacts, check if students have applied the techniques studied into their notes, scripts, or rhythms relevant to the work they are creating
  • 4. Notes from reflections (could be used as an exit ticket)

Summative

Visual Arts

  • Use of visual arts to support the informative purpose
  • Accurate and Clear information presented

Music

  • The blending of persuasive language and alignment to chosen topic
  • Performance & creativity

Drama

  • Structure of story
  • Characters aligned with mood, story, setting
  • Performance and collaboration as a team

References

[ACARA] Australian Curriculum and Reporting Authority (2025). Australian Curriculum

Churchill, R. (2021). Teaching: Making a Difference, 5th Edition. John Wiley & Sons, Incorporated. http://ebookcentral.proquest.com/lib/deakin/detail.action?docID=6729416

Clipson-Boyles, S. (2011). Teaching Primary English Through Drama : A Practical and Creative Approach. Taylor & Francis Group. http://ebookcentral.proquest.com/lib/deakin/detail.action?docID=738698

Dinham, J. (2022). Delivering Authentic Arts Education. Cengage Learning Australia. http://ebookcentral.proquest.com/lib/deakin/detail.action?docID=30550636

Freebody, P. (2007). Literacy education in school: Research perspectives from the past, for the future.

Ryan, M. (2014). Reflexivity and aesthetic inquiry: Building dialogues between the arts and literacy. English Teaching, 13(2), 5-18.

Winch, G., Johnston, R. R., & March, P. (2020). Literacy 6e : Reading, Writing and Children's Literature. Oxford University Press Australia and New Zealand. http://ebookcentral.proquest.com/lib/deakin/detail.action?docID=5979416