Core Curriculum

Common Essential Learnings

Understanding the Common Essential Learnings: A Handbook for Teachers is a foundation document. It defines the Common Essential Learnings and provides an explanation of each. Teachers should refer to this document for more complete information on the Common Essential Learnings.

Arts Education offers many opportunities for incorporating the Common Essential Learnings into instruction. The purpose of this incorporation is to help students better understand the arts and to prepare them for future learning, both within and outside of the classroom. The decision to focus on a particular Common Essential Learning within a lesson is guided by the needs and abilities of individual students and by the particular demands of the module. Throughout a module, it is intended that each Common Essential Learning be developed to the extent possible.

The Common Essential Learnings are intended to be developed and evaluated within subject areas. Throughout the four strands of the Arts Education program, the three components (creative/productive, cultural/historical and critical/responsive) reflect an emphasis on the development of the Common Essential Learnings through their content and processes. Therefore, the inherent structure of the curriculum promotes the integration of the Common Essential Learnings into instruction. Foundational objectives for the Common Essential Learnings are included in the module overview charts for all four strands.

Incorporating the Common Essential Learnings into instruction has implications for the assessment of student learning. A module or lesson which has focused on developing Communication and Critical and Creative Thinking should also reflect this focus during assessment. Assessment strategies should allow students to demonstrate their understanding of the important concepts in the unit and how these concepts are related to each other and to previous learning. Questions or assignments can be structured so that evidence or reasons must accompany student explanations, demonstrations or products. If students are encouraged to think critically and creatively throughout a module, then the assessment strategies for the module should also require students to think critically and creatively.

Throughout this curriculum guide, the following symbols are used to refer to the Common Essential Learnings:

C	Communication
N	Numeracy
CCT	Critical and Creative Thinking
TL	Technological Literacy
PSVS	Personal and Social Values and Skills
IL	Independent Learning

Communication

In Arts Education, the teacher can further students' knowledge, skills, attitudes and abilities related to Communication by:

• incorporating vocabulary specific to a strand through planned activities that help students focus on what they know (or can see) and also provide a bridge between students' real-life experiences and their school learning (for example, expressing informed opinions on arts issues, learning from various types of books and other information sources)
• organizing instruction that allows students to bring forward prior knowledge and/or connect what they learn to other school learning (for example, a dance creation on an environmental theme, or a social commentary art project)
• creating opportunities for students to express their ideas in a variety of ways, allowing them to learn from other students' thinking and to demonstrate their present understanding (for example, through dance creations, art work, role dramas, interviews, essays, journal entries, photographic layouts, visits, discussions, letter writing or sound creations)
• creating opportunities for students to investigate, understand and apply the use of symbolic meaning in the arts
• encouraging students to use structures that help them relate and understand the concepts under study (for example, tasks which require students to categorize, order ideas, compare and contrast, discern cause and effect)
• planning lessons and designing assignments that stress the possibility and acceptance of many different ways to organize and many potential answers or explanations
• planning learning experiences that allow students to draw upon their first-language skills in order to further their understanding and to present this understanding to others
• having students use expressive language (spoken, written and non-verbal) in order to explore ideas carefully and conscientiously
• providing opportunities for students to use language in different modes (listening, speaking, reading and writing) for a variety of purposes and audiences, and in a variety of mediums, in order to strengthen their understanding in a strand
• providing opportunities for students to reflect (for example, through questioning, discussion and journal writing)
• casting himself or herself in the role of observer and listener in order to gather students' ideas and better plan future learning experiences
• having students use outlining (graphic and written), concept mapping and diagramming for the purposes of understanding ideas, experiences or material
• encouraging students to connect ideas gleaned from current investigations with prior knowledge and understanding
• having students identify critical issues in factual, editorial and argumentative messages in print and audio-visual media
• having students prepare thesis statements and other written constructions required for essay writing
• having students use the vocabulary and concepts of the arts to develop an argument or present information in formal public modes (e.g., essays, debates, etc.)
• providing opportunities for students to identify and understand persuasion and propaganda techniques, and explore the influence of media in shaping knowledge, culture and values.

Numeracy

In Arts Education, the teacher can foster Numeracy by:

• using mathematical vocabulary (for example, square, cone, binary form, etc.)
• having students experience and demonstrate both quantitative and qualitative differences (for example, by comparing music with 3/4 and 4/4 time signatures)
• planning experiences which help students develop an intuitive sense of measurement (for example, bringing students' attention to their use of space during folk dancing so that they experience the concept of volume)
• providing opportunities for students to interpret and produce maps, graphs, charts and sketches in order to develop their understanding further in a particular strand
• designing learning experiences that develop spatial concepts such as scale, ratio, proportion, symmetry and distance (for example, examining structural elements of animal skeletons, buildings and sculptures)
• having students continue to examine mathematical applications in the arts (for example, through learning about pattern, geometric and technical drawing, compositional technique, architectural drawing, dance and music notation, spatial illusion, perspective, fractals and computer-generated imagery)
• having students use the concepts of probability (chance, risk, likelihood, odds, frequency, combination) to enhance understanding in the arts

• helping students understand that divergent thinking and reasoning often precede convergent thinking and solutions to problems
• helping students develop an awareness of the ways in which quantitative data can be presented in order to influence the uncritical reader, listener or viewer.

Critical and Creative Thinking

In Arts Education, the teacher can foster Critical and Creative Thinking by:

• guiding students' analysis of various arts experiences in order to deepen their understanding of the concepts being explored
• encouraging students to look for alternatives and give reasons for their decisions (for example, by asking, "How else could you show that idea or do that action? Is there anything you'd like to do differently? Why?")
• encouraging students to approach art works and performances thoughtfully by withholding their judgements until they have enough information to respond in an informed manner
• planning opportunities for students to engage in creative problem-solving processes
• allowing for differing expression and interpretation of assignments, and encouraging imaginative responses
• planning opportunities for students to think in images and to manipulate images for the solutions to a problem (for example, by setting a design or spatial problem)
• planning activities that require students to reflect upon and evaluate their own thinking and creative problem-solving processes
• providing opportunities for students to understand the role that human values play in critical thinking
• providing students with opportunities to reflect on how knowledge is developed, changed and evaluated in the arts (for example, by examining how artists document human experience and events)
• enabling students to understand the barriers to critical and creative thinking (lack of knowledge; fear of criticism and failure; loss of money, approval or power; etc.)

Technological Literacy

In Arts Education, the teacher can foster the development of Technological Literacy by:

• planning opportunities for students to explore all sides of an issue related to technological developments, suggest solutions and, where appropriate, take action
• planning opportunities for students to explore innovations in media technology, including their implications and influences on values, cultures and ideas
• integrating content from other subject areas in order to help students understand how technology shapes and is shaped by society (for example, integrating Science when studying the development of electronic musical instruments and synthesizers, or integrating Social Studies when studying the building of the pyramids)
• planning opportunities for students to explore how various forms of electronic media such as television, video, radio, audio recordings and computers affect the impact of the message
• enhancing students' perceptual abilities and awareness (for example, exploring visual information and its daily effects)
• critically examining the technical, social and cultural implications of present technology and of impending technological developments (for example, by having students participate in activities which examine technology and copyright issues)
• exploring how technology influences occupational roles within society and affects the workplace (occupational health, safety, unemployment, etc.)
• using media techniques, devices and technology to enhance specific learning situations.

Personal and Social Values and Skills

In Arts Education, the teacher can foster the development of Personal and Social Values and Skills by:

• providing varied cultural content
• planning opportunities for students to explore the themes, characters and conflicts of arts expressions (art works, plays, dances, musical compositions, stories, novels, etc.) in order to gain greater understanding of various cultures, develop understanding of people, and develop an awareness of discrimination or bias when present
• modelling and encouraging sensitive responses to the ideas, comments and creative expressions of others
• providing opportunities for students to respond to and build upon the ideas of others
• raising students' awareness of group dynamics in a co-operative problem-solving situation
• allowing students to participate in activities that help them develop empathy for others
• encouraging students to recognize the importance of fact finding, truth, prior experience, collaborating, problem solving, and respect for the views and rights of others
• encouraging students to function as fully rational, reflective, compassionate and creative participants in social situations and political processes
• providing opportunities for students to work toward an understanding of human rights and the eradication of prejudice, sexism, racism and other forms of discrimination.

Independent Learning

In Arts Education, the teacher can foster Independent Learning by:

• making instructional choices that reflect student needs and interests, and guiding students in the development of their own dance compositions, dramas, musical expressions and art works
• encouraging students to use many resources both inside and outside the school, including libraries, databases, the media, individuals and agencies
• planning experiences that lead to independent exploration and encouraging students to take risks as independent learners
• encouraging students to plan, monitor and evaluate their own learning experiences (for example, by using contracts and encouraging students to initiate conferences with teachers, peers or resource people outside the school)
• encouraging students to talk about arts expressions they have encountered outside of school in order to discover the relationship between these expressions and their class work
• providing time for students to share in class what they have discovered at home about a particular concept that was introduced in the Arts Education program
• encouraging students to recognize the inevitability of change due to advancements in technology and changes in society's values and norms
• encouraging student willingness to learn on an ongoing basis, within and outside of school.

The Adaptive Dimension

Special Needs Students

The Adaptive Dimension is an essential part of all educational programs. Like the Common Essential Learnings, the Adaptive Dimension is a component of Core Curriculum and permeates all curriculum and instruction. For more complete information, refer to the Saskatchewan Education document The Adaptive Dimension in Core Curriculum (1992). The Adaptive Dimension is defined in this document as:

... the concept of making adjustments in approved educational programs to accommodate diversity in student learning needs. It includes those practices the teacher undertakes to make curriculum, instruction, and the learning environment meaningful and appropriate for each student (p.1).

A wide range of diversity can be accommodated by using practices such as the following:

• Alter the pace of the lesson to ensure that students understand the concept being presented or are being challenged by the presentation. One of the most basic adaptations that can be made to assist students is to give them sufficient time to explore, create, question and experience as they learn.
• Monitor the use of vocabulary. It is possible to use advanced and simple vocabulary in the same sentence: "Pat was proficient or good at playing the game". This helps to satisfy the basic requirements of some students, while expanding the vocabulary of others.
• Introduce attempts to increase rate of performance only when the student has achieved a high level of accuracy.
• Alter the method of instruction to meet the needs and learning style of the individual.
• Alter the manner in which the student is required to respond to the teacher and/or to the instructional approach.
• Alter the setting so that the student may benefit more fully from the instruction.
• Change the materials so that they enhance rather than impede learning.
• Have advanced or challenging tasks available for students who have become proficient.
• Use interactive techniques which allow close monitoring of the student's progress.
• Encourage as much student participation as possible in both planning and instruction.
• Modify evaluative procedures in order to maximize the amount of relevant information received from each student.
• Remember that the less rigid the setting and the approach, the easier they are to adapt.
• Use support systems extensively (methods and personnel); adaptation is not possible without them.

The Adaptive Dimension includes all practices the teacher employs to make learning meaningful and appropriate for each student in the class. Because the Adaptive Dimension permeates all teaching practice, sound professional judgement becomes the critical factor in decision making. The Arts Education curriculum allows for such flexibility and decision making.

Special Needs Students In Arts Education Classes

When there are students with special needs or designated disabilities in the Arts Education classroom, teachers may need to seek professional advice and other forms of support. Consultative services regarding special needs students may be obtained through local school systems, community resources and the Special Education Branch of Saskatchewan Education. The Education Act defines students with designated disabilities as those persons who are visually impaired, hearing impaired, trainable mentally retarded, severely learning disabled, orthopedically disabled, chronically health impaired, or socially, emotionally or behaviourally disabled.

In Arts Education, as in other subjects, there are adaptive techniques and other technical aids that can assist teachers in meeting the needs of students who face special challenges. Some students may require modified visual art tools or materials, a brailler, a voice synthesizer, a personal amplification system, or computer-assisted instruction to derive maximum benefit from Arts Education.

Of particular concern in dance or music might be a student with a chronic physical disability or hearing impairment. These students may achieve the foundational objectives related to the cultural/historical and critical/responsive components of the program with few adaptations or with the same adaptations that are required in other subjects. However, to help the student achieve the foundational objectives related to the creative/productive component, the teacher may require further support. For example, through consultation with a resource person, the teacher could find ways to encourage the student who is physically challenged to create expressive movements to the best of his or her ability. The teacher might discover new ways to encourage a student with a severe hearing impairment to create music with computers and to use different vibration sources (such as the voice, homemade and traditional instruments, or found objects) to create unique sound compositions.

An adaptation for a student with a visual impairment in the creative/productive component of visual art could involve the use of three-dimensional materials such as clay or wood rather than two-dimensional materials. When learning to respond to visual art that has been created by others, this student might require electronic assistance or braille resource books. The student might rely on interviews, research and the sense of touch when discussing art works.

Arts Education is an exciting and unique way of discovering and knowing about the world and human experience. With innovative adaptations and strong support, every Saskatchewan student can realize the tremendous benefits of an Arts Education.

In addition to Core Curriculum components, various initiatives guide Saskatchewan Education's curriculum development. This curriculum suggests ways to incorporate Indian and Métis perspectives, gender equity and resource-based learning into instruction in the classroom. These initiatives, which are described in the following sections, have been integrated throughout this curriculum guide.

Indian and Métis Curriculum Perspectives

Inviting Elders to School

The integration of Indian and Métis content and perspectives in the kindergarten to grade 12 curriculum fulfils a central recommendation of Directions (1984). The document states:

Saskatchewan Education recognizes that the Indian and Métis peoples of the province are historically unique peoples and occupy a unique and rightful place in our society today. Saskatchewan Education recognizes that education programs must meet the needs of Indian and Métis peoples, and that changes to existing programs are also necessary for the benefit of all students (p. 6).

The inclusion of Indian and Métis perspectives benefits all students. When culture is reflected well in all aspects of the school environment, children can come to acquire a positive group identity. Appropriate resources also foster meaningful cultural experiences and promote the development of positive attitudes in all students. The awareness of one's own culture and the cultures of others adds to an appreciation of Canada's pluralistic society.

Saskatchewan Indian and Métis students come from varied cultural backgrounds and social environments. These include northern, rural and urban areas. Teachers will need to be aware of the diverse social, cultural and linguistic backgrounds of Saskatchewan Indian and Métis students. Cross-cultural communication, first and second language acquisition theory, and standard and non-standard usage of language are increasingly important for educators to know. Teachers can then utilize a variety of instructional approaches which build upon the knowledge, cultures, and strengths that Indian and Métis students possess. Instructional methods, materials and environments need to be adapted to meet unique student learning needs.

Teachers are responsible for integrating resources that reflect accurate and appropriate Indian and Métis content and perspectives. They also share responsibility for the evaluation of instructional materials for bias and to teach students to recognize such bias. These important actions ensure that all students are exposed to accurate information about Indian and Métis history, culture and values.

The following four points summarize the expectations for Indian and Métis content in curriculum and instruction:

• Curricula and materials will concentrate on positive images of Indian, Métis and Inuit peoples.
• Curricula and materials will reinforce and complement the beliefs and values of Indian, Métis and Inuit peoples.
• Curricula and materials will include historical and contemporary issues.
• Curricula and materials will reflect the legal, political, social, economic and regional diversity of Indian, Métis and Inuit peoples.

Inviting Elders to School

All cultures are enriched by people with valuable and unique knowledge. Such knowledge can expand students' insight beyond the classroom.

Indian and Métis Elders play an important role in the preservation of Aboriginal cultures. Their support of curriculum objectives can have a strong, positive influence on the growing identity of Indian and Métis students. Benefit extends to all students who thus acquire a heightened awareness and sensitivity that inevitably promotes well-being for all.

Protocol for approaching Elders with requests varies from community to community. The District Chiefs' Office, Tribal Council Office, Band Council, or Education Committee on a nearby reserve may be able to assist you. It is essential that you and your students complete the cycle of giving and receiving through an appropriate offering. The offering represents respect and appreciation for the knowledge shared. Prior to the Elder's visit, the nature of the offering must be ascertained as traditions differ throughout Aboriginal communities. In addition, it would be appropriate to offer honoraria and/or expense reimbursement to a visiting Elder.

To initiate the process, a letter should be sent to the local Band Council indicating the role the Elder would play within the program. The Band Council may then be able to provide the names of those who have the specified knowledge and skills that would meet your needs. It is recommended that expectations for learning outcomes be shared.

Friendship Centres across the province are active at the community level and often present cultural workshops and activities in co-operation with Elders and other recognized resource people.

Gender Equity in Arts Education

Expectations based primarily on gender limit students' ability to develop to their fullest potential. While some stereotypical views and practices have disappeared, others remain. Continuing efforts are required so that equality may be achieved for all students in the kindergarten to grade 12 system.

An educational environment free of gender bias can be facilitated through increased understanding and use of gender-balanced material and teaching strategies, and continued efforts to analyse current practice. Both male and female students need encouragement to explore non-traditional as well as traditional options.

In order to meet the goal of gender equity, new Saskatchewan curricula reflect the variety of roles and the wide range of behaviours and attitudes available to all members of society. The curricula strive to provide gender-balanced content, activities and teaching approaches. It is hoped that this will assist teachers in creating an environment free of stereotyping, enabling both girls and boys to develop their abilities and interests to the fullest.

The Arts Education curriculum endeavours to integrate the experiences and accomplishments of both female and male artists in an effort to overcome the discrepancies between male and female participation, achievement and reward. The work of female artists has not traditionally been recognized or valued to the same extent as that of male artists. This curriculum strives to make it clear that the work of both men and women is of equal value and importance in today's world.

The gender-equitable approach presented in the curriculum can be reinforced by teachers in two significant ways. First, teachers should select instructional resources which provide greater gender balance. Such materials reflect the current and evolving roles of women and men in society, portray both females and males in non-traditional roles, and provide opportunities for discussion about these pursuits.

The second measure teachers can take to improve equity significantly is to employ gender-equitable instructional and assessment strategies in Arts Education. Ensuring that both male and female students receive equitable treatment will enable students to learn and grow without facing artificial barriers or restrictions such as those imposed by gender bias.

In order to ensure gender equity in Arts Education the teacher should:

• have equally high expectations for both boys and girls in all four strands of the Arts Education program
• give equal emphasis to male and female artists and their work in all four strands
• portray the important contributions of both women and men when studying the arts of various cultures
• examine resource materials for gender-equitable content and bring to students' attention any gender-biased portions of material
• encourage questioning of stereotyped generalizations in the arts
• observe students to ensure that neither gender interrupts or takes ownership of an activity or project to the exclusion of the other gender
• expect that students will consider the ideas presented by both genders
• make sure that all discussion is in gender-fair language
• encourage co-operation between the genders
• ensure that both genders have comparable time and access to resources and equipment
• emphasize the arts as possible career choices for both women and men
• assume that both females and males can be committed to personal expression in the arts.

The following chart provides suggestions for achieving gender equity in the four strands.

Dance	Drama	Music	Visual Art
assume that dance is appropriate for both male and female students examine critically the roles of men and women portrayed in dances encourage both male and female students to experience a wide range of movements and movement qualities include dance activities relevant to both male and female students; for example, in an effort to include one gender, do not let its interests dominate the class to the detriment of the other gender	encourage students to become aware of the occurrence of both gender typical and gender atypical behaviour which may be embodied in the roles they assume within their dramas discuss and reflect upon the gender roles embodied in the roles students assume within their dramas study both male and female dramatic artists examine critically the roles of men and women in plays students view as audience	encourage both girls and boys to participate in all musical activities ensure that boys and girls are not stereotyped as to which instruments they should play study both male and female musicians and composers and their work examine lyrics and album covers for sex-role stereotyping	treat those art forms that have been viewed as traditionally female and traditionally male with equal dignity and seriousness treat all teaching strategies, media and activities as appropriate for both sexes; for example, embroidery and welding examine images of men and women portrayed in various visual art forms for sex-role stereotyping; for example, advertising images include the study of both female and male artists and their work

Resource-based Learning

Teachers can greatly assist the development of attitudes and abilities for independent, lifelong learning by using resource-based instruction in Arts Education. The teacher and teacher-librarian should plan units which integrate resources with classroom assignments and teach students the processes needed to find, analyse and present information.

Resource-based instruction is an approach to curriculum which encourages students to use all types of resources: books, magazines, films, video tapes, computer software and data bases, manipulable objects, maps, museums, field trips, pictures, study prints, artifacts, media production equipment, galleries, performing arts groups, sound recordings, arts organizations and community resource people.

Resource-based learning is student-centred. It offers students opportunities to choose, explore and discover. Students who are encouraged to make choices in an environment rich in resources, where their thoughts and feelings are respected, are well on their way to becoming autonomous learners.

The following points will help teachers encourage resource-based learning:

• Discuss the objectives for the unit or assignment with students. Correlate needed research skills with the activities in the unit, so that skills are always taught in the context of application. Independent learning is increased as students are encouraged to reflect upon and determine for themselves the abilities they need to complete a learning task. Work with a teacher-librarian, if one is available.
• Plan ahead with the resource centre staff so that adequate resources are available and decisions are made about shared teaching responsibilities.
• Use a variety of resources in classroom teaching, showing students that you are a researcher who constantly seeks out sources of knowledge. Discuss with students the use of other libraries, government departments, museums and various outside agencies. Students need an environment which allows some freedom to explore these resources.
• Ask the teacher-librarian, if one is available in the school, to provide resource lists and bibliographies when needed.
• Encourage students to seek assistance during the course of the assignment or unit.
• Participate in and help plan inservice programs on using resources effectively.
• Continually request good curriculum materials for addition to the school resource centre collection.
• Support the essential role of the school resource centre and the teacher-librarian in your talks with colleagues, principals and directors.