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Senior Secondary

Arts Learning Sequence

Statement of Intention

Each section of this assignment plays a crucial role in enhancing my professional skills and refining my pedagogical approach as I transition into the role of a senior secondary arts educator. This statement of intention outlines the important pedagogical reasons and theoretical frameworks behind the content that has been included in the learning sequence and the how/why/when of its delivery. My Analysis of ICT and Website as Pedagogical Tools enables me to consider how to effectively incorporate technology into the curriculum and enhance my digital literacy. Ensuring I am well-equipped to prepare students for the technological challenges of 21-century world and, aligning with the Australian Institute for Teaching and School Leadership [AITSL] (2024) standard 2.6: “implementing teaching strategies for using ICT to expand curriculum learning opportunities for students”. The annotation and collection of relevant resources allows me to build a bank of readily available support materials that can assist me and other teachers to deliver meaningful learning experiences.  

 

This learning sequence has been designed as a digital resource that will assist both teachers and students in completing Unit 3, Area of Study [AOS] 1, Outcome 1, from the 2023-2027 Victorian Certificate of Education [VCE] Art Creative Practice Study Design. The learning sequence is designed to be delivered over six weeks, as the VCAA study design support materials note that this outcome should be completed early, because it will serve as a starting point for the Body of work that will be continued further throughout unit 3 and 4 (Victorian Curriculum and Assessment Authority, n.d.). On the student facing page, there are six tasks that act as guiding instruction to help students work through Unit 3, AOS 1, Outcome 1. These tasks are an outline of what would be covered weekly over the likely 2x 70-75 minute, and 1x 35-minute periods of class time. As explained on the teacher facing page, these tasks have been purposefully labeled as ‘task 1’ etc. instead of ‘week 1’ etc in order to cater to student’s diverse range of learning needs. Some students may work through the tasks faster and need to be extended. While other might work slower and need to be supported. This planned accommodation of different learning speeds is  inline with both the Victoria State Government Education and Training’s High impact teaching strategies [HITS] strategy 2 and 10 (Victoria State Government Education and Training, 2022) and the AITSL Professional Standards for Teachers: 1.5, 2.2 and, 3.2 (AITSL, 2024). These strategies and standards all relate to the need and importance of planning and adapting/differentiating content, delivery and process to provide the best learning opportunities for all students. 

 

The learning sequence includes a collection of worked examples/past students work, worksheets/assiting documents, explanations, prompts, rubrics and links to assist students in finding Artists/artworks including specific links that could familiarize students to a wide range of cultures and identities, particularly First Nations and Asian Artists. This will assist busy teachers and students in meeting ACARA’s Cross-curriculum priorities: Aboriginal and Torres Strait Islander Histories and Cultures, and Asia and Australia’s Engagement with Asia (Australian Curriculum, Assessment and Reporting Authority, 2024) and aid the development of cultural competency, an important element of 21-century learning and teaching (Bernhardt, 2015).

The learning sequence lends strongly to Wiggins and McTighe (2005) ‘Backward Design’, a backed teaching and learning method that involves starting with learning objectives and planning with these in mind. This method allows for clear goal setting, where both students and teachers are clear in what is required and can work towards this. I find this approach critical to my own learning and I will incorporate this method into my pedagogical toolbox.

 

Another theoretical framework which underpins this learning sequence is Vygotsky’s theory of the zone of proximal development [ZPD], which emphasizes the importance of providing learners with guided support to bridge the gap between what they can currently achieve independently and what they can accomplish with assistance (Churchill, 2021, p. 79). By breaking down complex tasks into smaller, manageable steps, the sequence ensures that students experience success at each stage, gradually advancing along the learning continuum. 

 

Through this assignment, I have developed a comprehensive resource that is adaptable, inclusive, and grounded in research-based pedagogical approaches, positioning me to deliver meaningful and impactful learning experiences in my future teaching practice.

ICT and Website as

Pedagogical Tools

This learning sequence has been designed as an online platform, offering flexibility and accessibility for all students, teachers, and other stakeholders such as parents. The ability to continuously update, add to, and modify the learning sequence ensures that the content remains dynamic and relevant. Students and teachers can access the platform from any device, whether in class, at home, or during holidays, providing invaluable flexibility in a post-pandemic world where remote and hybrid learning have become essential. This approach helps bridge learning gaps when students are away due to illness or other commitments, ensuring they stay engaged and up to date.

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The online platform supports flipped learning, allowing students to explore material at their own pace before classroom instruction, which can reduce the time spent lecturing and provide more opportunities for hands-on experiences. By enabling students to engage with content independently, the flipped classroom approach helps them come to class better prepared and more motivated for deeper learning activities (Jiang et al., 2022). This model, which relies heavily on technology (Tomas et al., 2019), is an effective way to motivate students, as “The most effective way to motivate students is by using technology-enhanced teaching methods that go beyond traditional lectures (Yıldız et al., 2022, as cited in Baig and Yadegaridehkordi, 2023, p.1).”

 

This use of ICT and the designing of this learning sequence as a website directly aligns with ATSIL standard 2.6 : Implement teaching strategies for using ICT to expand curriculum learning opportunities for students. And standard 3.4: Demonstrate knowledge of a range of resources, including ICT, that engage students in their learning.

Learning Sequence

VCE Art Creative Practise

Unit 3

AOS 1 Outcome 1

In Unit 3 Outcome 1 students will:

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Develop personal ideas using research that examines one artwork and the practice of an artist, and produce at least one finished artwork using the Creative Practice. 

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This outcome will be assessed through:

 

A presentation of the research conducted by the student, using any one or a combination of the following: 

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  • a written report of 300–500 words with documented visual evidence 

  • an annotated visual report 

  • a critique presented in a digital format, such as an online presentation or interactive website 

  • an oral critique with documented visual and written evidence. 

 

AND 

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  • At least one finished artwork that responds to the ideas explored using the Creative Practice. 

Click here

What you are doing :

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select a contemporary or historical artist and artwork

 

identify the ideas explored by the artist and any issues that arise from the artwork or the practice of the artist.

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In response to this research, you must explore your

own ideas through the Creative Practice,

making at least one finished artwork.

Direct reinterpretations or appropriations of the original artwork should be avoided 

Remember 

You can create your response Artwork in a different art form than the artwork you research 

document your research, ongoing exploration and experimentation, as well as the further development and refinement of your ideas and technical skills

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explicitly apply the appropriate Interpretive Lenses using art terminology

​check out the glossary of command terms:

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https://www.vcaa.vic.edu.au/Documents/exams/GlossaryofCommandTerms.docx 

 The rubric and criterion you will be marked from

Screenshot 2024-10-06 at 6.41.39 PM.png

see further down for examples for each criterion 

Task 1 

getting started 

do you know what idea/s you want to focus on ?

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This PDF lists a variety of poteinal themes and prompts that could inspire the idea/s you might wish to focus on: 

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​https://bluelavaart.com/assets/art-themes.pdf

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​note: you do not have to choose from this pdf

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In your visual diaries, document a list or visual brainstorm of some potential areas of interest  

 

you can do this by hand or digitally using a platform like Canva 

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note: make sure a copy goes in your visual diary, whether its digital or handmade

Together as a class we will research and apply the interpretive lenses to an artwork/artist

Helpful questions to assist in your use of the Interpretive lens for this outcome

Structural Lens

  • Which artist, and which work, was your source of inspiration?

  • Does your subject matter respond to or resemble that of the artist(s)? If so, how?

  • Are there similarities or differences between the aesthetics of your work and the artists’ works?

  • Have you employed symbolism? Does this relate to the inspiration you took from the artist(s)?

  • What materials did you use? Has the artist(s) used the materials differently?

  • Have the techniques you used changed or developed?

  • Has your use of elements or principles taken inspiration from the artist(s)? If so, how?

  • Compare the processes used by the artist(s) to your own. Does the process change? Why?

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Personal Lens

  • Did the artist(s) work in isolation, or collaboratively? How has this influenced your use of them as inspiration?

  • Does the artist(s) have specific beliefs that are relevant to the work? Were they relevant to you?

  • Have your life experiences or those of the artist(s) influenced the work? If so, how?

  • Do you think that the specific beliefs of the audience will affect their response to the works? If so, how?

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Cultural Lens

  • How have the time periods in which the artist worked influenced them? How is this evident? Was it an influence on the way you used the inspiration?

  • How would an audience contemporary to you interpret the work differently to a previous audience? Why?

  • Is your response linked to social, ethical or political issues / views? If so, how?

  • Does the artist subscribe to a spiritual or philosophical ethos? Did you explore this in your work? If so, how?

  • Have economics or environmental concerns influenced your work? Did you have access to materials, or have you used found or repurposed materials?

  • Does your or the artist’s ethnic background bring art practices and visual elements to the work? If so, how?

  • Is gender reflected in the work? If so, how?

  • Does the artwork provoke an emotional response? If so, why?

  • How do these factors contribute to engagement and communication of meaning?

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source: https://www.vcaa.vic.edu.au/curriculum/vce/vce-study-designs/ArtCreativePractice/Pages/Assessment.aspx#GAA 

Task 2

Select three artworks that interest you in terms of the ideas that they convey, rather than the art form, techniques or style the artist worked in.

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1. Apply selected lenses to the interpretation of each artwork.

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2. List the ideas explored by the artist or suggested to you by your interpretation of

the work.

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3. Use written and visual brainstorming to come up with a range of ways that you could express some of these ideas.

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4. Brainstorm art forms, other than the one used by the artist in the original artwork that has inspired you, and consider how these art forms lend themselves to presenting the idea/s that you would like to focus on.

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source: Activity 6.4 in Art creative practice: VCE units 1-4. (Greenwood, 2023, P.194)

Finding Artists/Artworks

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note: you do not have to choose an artist or artwork from this list

Task 3 

select your chosen artist + artwork

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 begin/continue your research and documentation

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 working on your critique/presentation 

Task 5

refine/finalise presentation/critique and present - remember to reflect on feedback and document a self-refelction of your presentation/critique

 

continue devloping your response artwork 

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Task 4

plan your response artwork 

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start your response artwork 

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continue/refine presentation/critique

Task 6 

finalise your response artwork

 

submit your research (including reflections) and finished artwork

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criterion

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criterion 2

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criterion 3

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criterion 4

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Screenshot 2024-10-05 at 3.41.29 PM.png
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View Previous students Annotated folio/visual dairies and finished Artwork:

​https://www.ngv.vic.gov.au/exhibition/top-arts-2024/

Screenshot 2024-10-07 at 8.08.59 PM.png

Annotated Supporting resources

Artists Pages 

(Social media account/newsletter/website dedicated to showcasing living artists)

https://artists-pages.com/   

https://www.tiktok.com/@artists.pages  

 

Artists Pages is a Social media account/newsletter dedicated to showcasing living artists. Students and teachers can follow this account to actively engage with the expansion of their knowledge of contemporary living artists. Senior Students can use their existing (if they have them) social media accounts to effortlessly fill their feeds and for you pages with art and artists. Sharing this resource will help to engage adolescents by incorporating platforms they use regularly and bringing the visual arts to this aspect of their lives. 


 

 

VCAA Art Creative Practice support materials

https://www.vcaa.vic.edu.au/curriculum/vce/vce-study-designs/ArtCreativePractice/Pages/index.aspx

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The VCAA support materials provide planning guidelines, assessment advice, and sample learning activities, along with on-demand videos. These resources are designed to assist with effective planning, teaching, and learning of content across the whole study design and provide essential information about Unit 3. The VCAA support materials have been used all throughout this learning sequence, from the rubric, past student work, checklist, the list of useful links for critiquing and analysing, the command term glossary and the list of Interpretive lens questions.  

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Art Creative Practice: VCE units 1-4 textbook

Greenwood, D. (2023). Art creative practice: VCE units 1-4. Cambridge University Press.

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This textbook is a fantastic resource, crafted by an experienced art educator to support both teachers and students in navigating the 2023-2027 Art Creative Practice VCE Study Design. It offers a range of helpful materials, including written and video introductions for each unit and outcome, clear definitions, student examples, and activities designed to guide students and teachers through the study design while helping them develop their creative practice. Units 3, Outcome 1 is thoroughly explored in this textbook and an activity from the book is included in this learning sequence.

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Top Arts 2024

https://www.ngv.vic.gov.au/exhibition/top-arts-2024/

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The Top Arts 2024 exhibition, available on the NGV website, showcases exceptional Bodies of Work and visual diaries/folios that serve as great inspiration for students. These examples provide valuable insights into techniques and art forms that students can incorporate into their own creative practice. Whether visiting in person or through an online tour, both students and teachers can access the featured artworks and folios anytime on the website, including specific examples from the Art Creative Practice folios.

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References 

 

Australian Curriculum, Assessment and Reporting Authority. (2024). General capabilities. Retrieved September 30, 2024, from https://v9.australiancurriculum.edu.au/f-10-curriculum/f-10-curriculum-overview/general-capabilities  

 

Australian Institute for Teaching and School Leadership. (n.d.). Australian professional standards for teachers. Retrieved September 27, 2024, from https://www.aitsl.edu.au/standards 

 

Baig, M. I., & Yadegaridehkordi, E. (2023). Flipped classroom in higher education: A systematic literature review and research challenges. International Journal of Educational Technology in Higher Education, 20(61). https://doi.org/10.1186/s41239-023-00430-5

 

Bernhardt, P. E. (2015). 21st century learning: Professional development in practice. The Qualitative Report, 20(1), 1-19. https://doi.org/10.46743/2160-3715/2015.2097 

 

Jiang, M.Y.-C., Jong, M.S.-Y., Lau, W.W.-F., Chai, C.-S., Liu, K.S.-X., & Park, M. (2022). A scoping review on flipped classroom approach in language education: Challenges, implications and an interaction model. Computer Assisted Language Learning, 35(5–6), 1218–1249.

 

Tomas, L., Evans, N., Doyle, T., & Skamp, K. (2019). Are first year students ready for a flipped classroom? A case for a flipped learning continuum. International Journal of Educational Technology in Higher Education, 16(1), 1–22. https://doi.org/10.1186/s41239-019-0135-4

 

Victorian Curriculum and Assessment Authority. (2023). VCE Art Creative Practice Study Design. Retrieved September 27, 2024, from https://www.vcaa.vic.edu.au/Documents/vce/art/2023ArtCreativePracticeSD.docx

 

Victorian Curriculum and Assessment Authority. (n.d.). Planning: VCE Art Creative Practice. Retrieved August 1, 2024, from https://www.vcaa.vic.edu.au/curriculum/vce/vce-study-designs/ArtCreativePractice/Pages/Planning.aspx

 

Victoria State Government Education and Training. (2022). High impact teaching strategies (HITS). Retrieved October 1, 2024, from https://www.education.vic.gov.au/school/teachers/teachingresources/practice/improve/Pages/hits.aspx

 

Wiggins, G., & McTighe, J. (2005). Understanding by design (2nd ed.). Association for Supervision and Curriculum Development (ASCD).

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