Contemporary Teaching Leadership

102098
Jacinta McDowall 19025777

Report

1
 Contents

1 Cover page

2 Table of contents

3 Executive Summary

4 Background information

5-6 Comparative table

7-8 Recommendations

9-25 Reconstructed unit:

9 (a) scope and sequence

10 (b) concept map

11-13 (c) Assessment task and marking criteria

14-21 (d) Redesigned unit outline

22 References

23 Appendices of original documents

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 Executive Summary
Objective and Context

This report has been designed for the Visual Arts faculty at Burwood Girls High School, which is a comprehensive
secondary school for girls in Sydney’s inner west. The demographic of the school is highly diverse, with 70% of students
being from a language background other than English (LBOTE), including many international students. Socioeconomic
status of the school is relatively high, with 42% of students rated in the top quarter of the ‘Index of Community Socio-
Educational Advantage’ (ICSEA). The original unit was taught in a year 7 mandatory Visual Arts class, with many LBOTE
students, as well as gifted and Talented students over a 10 week period. However I was only present for the first 5
weeks, and will only be discussing those initial weeks in this report.

Goals

The original unit was vague, with no official unit outline, concept map, assessment task or scope and sequence. It also
lacked depth, as the content only related to a shallow understanding of practical components of clay tile making, with
no context or opportunity for student value. The reconstructed unit aims to: identify explicit outcomes; address the
literacy concerns; improve the sequencing of learning; offer students choice; promote inclusive learning; create
engaging and relevant tasks that students value.

Recommendations

The following recommendations are required to create an effective unit outline that will encourage the development of
students in a classroom made up of a high number of students from a LBOTE, as well as international students and
gifted and talented students. Therefore, the recommendations primarily focus upon explicit unit outcomes, sequencing
and assessment improvements, culturally responsive pedagogy, encouraging student engagement and improving
literacy skills.
* Create a structured unit outline that includes explicit outcomes and can be shared amongst the faculty
* Address the literacy concerns by incorporating reading and writing tasks
* Improve the sequencing of learning through backward mapping to ensure relevant and clear expectations

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* Use Inquiry based learning that offers choice and development through collaborative approaches

* Include culturally responsive pedagogies to encourage inclusion

* Provide multiple means of representation and expression for diverse learning needs

Background Information

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Burwood Girls High School, is a comprehensive
school for girls in secondary years 7 - 12, located in
Sydney’s inner west. It has a highly culturally diverse
population, with 70% of students from a language Reference: Statistics and tables above are retrieved from MySchool
background other than English, including many Website: https://www.myschool.edu.au/school/41153
International Students. Comparative Table
Area of Strengths of the area of Concerns of the area of Suggested Changes to counteract Research support for
considera consideration consideration concerns the changes
tion Students from Burwood Girls High School
suggested.
are rated higher than average in the ICSEA
NIL No form of literacy was with
Include 42% rated
literacy in the that
components top quarter in 2017. by
Understanding
Literacy included assist english language development Design (UbD).
for LBOTE students, as well as Lin. & Day Scherz.
increase appropriate visual art (2014)
terminology Grushka, K. (2009)

Strong focus on estimation, NIL NIL NIL

Numeracy measurement, proportion,
and other areas of
The schoolnumeracy
community has high expectations
explored
for students and staff, and consistently
achieve excellent academic results. The 2017
NAPLAN results demonstrate students were
above or substantially above the Australian
average in all areas tested.

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Critical & Elements of student choice *Expectations lacked *Create explicit expectations to UbD, Inquiry Based
Creative encouraged direction, causing confusion ensure students have a thorough Learning strategies
Thinking amongst students, rather understanding of outcomes, (IBL); Threshold
than allowing them to utilise developed through UbD Concepts.
opportunities for choice. *Offer students choice that McTighe & Wiggins.
*Content lacked depth, encourages engagement & (2005)
causing only a shallow form creativity, for example, use Inquiry Mangelsdorf. (2013)
of practical engagement Based Learning strategies Lin. & Day Scherz.
from students. *Include threshold concepts relevant (2014)
*No opportunity for to VA including the conceptual & Grushka, K. (2009)
engagement in historical or cultural framework, critical and Buchanan.,
cultural studies historical interpretations of art. Harlan., Bruce. &
Edwards. (2016)

Personal Elements of self *Collaborative group work *Encourage positive relationships IBL; Culturally
& Social management encouraged and communication was not through student collaboration with Responsive
Capabiliti encouraged. Social peers Pedagogies.
es awareness was not * Self management can also be Grushka, K. (2009)
developed. For example, improved through the incorporation Lin. & Day Scherz.
students did share tools and of more culturally rich and engaging (2014)
resources for clay tiles material to ensure students feel
unless specifically instructed value and purpose in their work.
to

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 Indirectly complied with a *A unit outline was not *Create a unit outline that clearly UbD.
Understan unit outline, as syllabus and supplied, therefore meeting demonstrates prescribed outcomes, Mangelsdorf. (2013)
ding by lesson outline was the prescribed outcomes and can be shared amongst faculty. McTighe & Wiggins.
Design discussed prior to each was difficult for myself and *Include: (2005)
lesson. However a more mentor teacher to judge. -Relevant assessment tasks that
professional approach *Assessment tasks were not align with the unit
would have been to supply provided, nor a scope & -Scope & sequence to ensure it fits in
an actual hard or electronic sequence or concept map, with the faculty’s yearly plan.
copy. causing the unit to be vague -Concept map to help create
and lack purpose. effective planning

Recommendations
Reconstruction of the unit is required to achieve an effective unit outline with relevant tasks that align with explicit
learning outcomes. By incorporating UbD principles into the unit, inquiry based learning and threshold concepts can be
achieved, as well as the promotion of a culturally inclusive learning environment.

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The original unit was vague, with no official unit outline, concept map, assessment task or scope and sequence. With
such limited information on the structure of the unit, planning for the Visual Arts faculty yearly objectives would be
extremely difficult, as would the assessment of the development of student skills, academic outcomes and achievement
of threshold concepts.

Creating a unit outline that clearly demonstrates prescribed outcomes and can be shared amongst the faculty gives
teachers and students direction and structure (Mangelsdorf, 2013). A scope and sequence is important to ensure a unit
aligns with the yearly course outcomes, and has been developed in the reconstructed unit from NESA (2018) Advise on
Programming and Assessment. A concept map has also been developed which is a useful tool to assist teachers in
thoughtful planning, encouraging teachers to envision how to draw upon students prior knowledge and prepare them for
future subjects (Cervantes., Hemmer. & Kouzekanani. 2015).

Original unit concepts have been purposely altered in the development of a structured unit outline that focuses on
explicit syllabus outcomes that students can achieve through engaging and relevant tasks. This is acquired through the
utilisation of the Understanding by Design (UbD) framework (McTighe & Wiggins, 2005), which encourages the
sequencing of learning tasks and academic outcomes to be highly relevant.

Backward mapping has been utilised to develop both formative and summative assessment tasks, ensuring they align
with the unit outcomes (Mangelsdorf, 2013). These include writing tasks that contribute to the development of students
literacy skills, which was outline in the comparative table as an area of concern, having not been included in the original
unit. The assessment tasks have been developed through Inquiry based learning strategies, offering students multiple
means of expression when presenting their research and ideas, including the use of writing, collage and sketching. This
approach also follows the Universal Design for Learning framework, enabling diverse learners to develop self
management skills, whilst simultaneously lessening the intimidation of assessment (CAST, 2018).

Explicit assessment instruction has also been provided to students in the reconstructed unit, including both hard copies
and efficient discussion time to ensure all students have a thorough understanding of expectations. This is extremely
beneficial to students with lower language proficiency (Lin. & Day Scherz. 2014). Formative assessments of fortnightly
marking and feedback in students V.A.P.D’s has also been included for additional observation of student learning
achievement.

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Although the original unit attempted to create an environment inwhich students were self-managed and actively
involved in constructing understandings, the lack of structure and depth of the content caused students to become
disengaged, and creativity and critical thinking to dwindle. The year 7 students need to know that their leaning matters
and value the content in order to experience academic engagement (Farinde-wu., Glover. & Williams., 2017).

By modifying the unit from being focused solely on structural components of clay tile making, culturally responsive
strategies have been utilised to ensure the school demographic, which consists of 70% of students having a language
background other than English (LBOTE)(My School, 2018.), are considered throughout the stages of planning. This is
actioned through the incorporation of several threshold concepts which are highly relevant to the Visual Arts classroom.
These include: the critical and historical interpretations of art; conceptual framework - focusing on the world and artist;
understanding of how art can be influenced by culture; and how an artist creates meaning through the use of signs,
symbols and textures. These concepts place a heavy focus on cultural expression, which create meaningful connections
for students and promotes positive engagement (Lin. & Day Scherz. 2014). This is highly advantageous for student
development, as it builds on students prior knowledge to create new and richer meaning inwhich tasks have context
and value (Grushka, 2009).

Inclusion of critical and historical investigations of muralist artists and movements welcomes student discussion on
social and political factors presented in cultural murals, in an open and respectful class discussion. This enhances
meaning for students as they connect real-world issues with the content. It encourages students to open up about their
own experience, and learn from each other in a social environment (Cervantes. et al., 2015).

Enabling students to research content that they themselves identify with, promotes a genuine curiosity amongst
learners, and encourages a deeper understanding of context (Farinde-wu. et al., 2017). This is a vital step in the success
of any practical project, as it enables students to analyse and reflect on their work throughout the practical art making
course. It also gives meaning to their art, creating depth and value (Grushka, 2009). However, the original unit did not
allocate any aspect of research into the task, but instead commencement of the practical component was initiated
immediately. Although this allowed more time for students to develop their clay tiles, the lack of value or understanding
of purpose caused students to go off task and lack confidence of their design.

In order to engage students in class activities and develop their deep understanding of content, a unit outline must be
thoughtfully developed with specific outcomes that align to the syllabus. By utilising an Understanding by Design
approach to planning, I have created a unit outline that identifies explicit outcomes of the Visual Art year 7 mandatory
course, and aligns with the subjects listed in the yearly plan. By improving the sequencing of learning through UbD,
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students will develop essential skills in relevant tasks prior to initiating a practical component. Inquiry Based Learning
strategies and threshold concepts have been included in the unit to develop students personal and social capabilities
and critical and creative thinking, inwhich effective strategies encouraging collaborative work and student choice.
Culturally responsive pedagogies have also been utilised to create inclusivity for a diverse classroom, and encourage a
deeper connection for students to engage in tasks and value their learning.

Reconstructed Unit
(a) Scope and Sequence

Year 7 Term 1 Term 2 Term 3 Term 4

Practice Portrait in Words Clay Mural Altered Environments Insights and Local Sites
Artmaking,
Critical and A structural exploration of An exploration of the A postmodern exploration of A subjective exploration of
Historical painting and collage properties of sculptural site-specific and installation art printmaking and drawing
Studies techniques, procedures and forms in the creation of practices that interact with the conventions to represent personal
conventions to make non- clay tiles for a school environment. A study of artists, views about sites in the local
representational portraits mural. A study of how installation and site-specific environment. A study of artists who
incorporating text, signs and different cultural beliefs works and the practice of have responded to the landscape
symbols. A study of the use of and meanings can be documenting temporal works in personal ways.
text in artworks and how represented through the through photographic and video
artists communicate meaning use of a range of textures, forms.
using signs and symbols. signs and symbols.

Forms 2D – painting 3D - assemblage of relief 2D and 4D - photography, 2D – drawing and printmaking

sculpture installation, video

Frames Structural cultural postmodern subjective

Conceptual Artist, Audience artwork, world artwork, world, audience artist, world, audience
Framework

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 Year 7 Term 1 Term 2 Term 3 Term 4

Key Artists/ Xu Bing, Rosalie Gascoigne, Antoni Gaudi, Diego Rivera, Robert Smithson, Christo, Andy Howard Arkley, John Brack,
Examples Barbara Kruger, Jenny Holzer, Banksey, Keith Haring, Goldsworthy, Fiona Foley. Margaret Preston, Mandy Martin.
Paul Boston. Angela Schewer

Outcomes 4.1, 4.2, 4.3, 4.4, 4.5, 4.6, 4.7, 4.1,4.2, 4.3, 4.4 4.5, 4.6 4.1, 4.2, 4.3, 4.4, 4.5, 4.6, 4.7, 4.1, 4.2, 4.3, 4.4, 4.5, 4.6, 4.7, 4.8,
4.8, 4.9, 4.10 4.8, 4.9, 4.10 4.9, 4.10
4.7, 4.8, 4.9, 4.10

Reference: Term 2 amended, scope and sequence from ‘Advice on Programming and Assessment’, NESA (2018).

(b) Concept Map

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 (c) Assessment Task
Assessment for Learning: Clay Mural Tile Design & Documentation

Context

Students in Year 7 have explored how artists use signs and symbols to communicate cultural meaning in mural
artworks. Through an investigation of mural procedures and relief sculpture techniques, students have developed a
range of personal textures, symbols and codes to represent their culture on 2 x clay tiles which will be mounted on the
schools east wall as a whole year mural representing cultural diversity.

The purpose of this activity is for students to demonstrate the construction of their personal signs and symbols and how
their clay mural design will represent their culture. Documentation of art processes are fundamental for success in
modern art and students will use this work to develop 2 x clay tiles which focus on composition and sculpture
techniques.

Outcomes
A student:

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4.5 investigates ways to develop meaning in their artworks
4.7 explores aspects of practice in critical and historical interpretations of art
4.8 explores the function of and relationships between the artist – artwork – world – audience
4.9 begins to acknowledge that art can be interpreted from different points of view

Description of activity

Students create a design for two clay tiles and document their process in their Visual Arts Process Diaries. Students consider how
the organisation of composition, shape, texture and scale can communicate aspects of their culture to an audience. Students link
aspects of famous murals they have studied in weeks 1 - 3 to particular visual qualities in their design and record their ideas and
planning in the form of sketches, collage and writing. The suggested duration of this assessment for learning activity is 2-3
lessons (60 minutes each).

Criteria for assessing learning

Students will be assessed on their:

1. investigation of different mural designs that represent culture, through the: documentation of research and ideas
in their V.A.P.D, including sketches, collage and text

2. understanding of how the cultural frame can be used to develop and arrange visual codes to communicate meaning
through the: manipulation of shapes, symbols and textures in a unified composition to communicate cultural identity

3. consideration of the conceptual framework to represent and communicate ideas about yourself to an audience
through the: experimentation of how different textures, signs and symbols may be interpreted by an audience

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(c) Marking Criteria

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 Range A student in this range:

High • investigates different mural designs and documents good quality research and ideas in their
V.A.P.D, in the form of sketches, collage and text.

• demonstrates a good understanding of how the cultural frame can be used to develop shapes,
symbols and textures to communicate cultural identity

• considers how audiences interpret signs and symbols and experiments with many visual textures
to communicate complex ideas

Satisfactory • investigates a range of mural designs and documents some research and ideas in their V.A.P.D, in
the form of sketches, collage and text.

• demonstrates an understanding of how the cultural frame can be used to develop shapes,
symbols and textures to communicate cultural identity

• considers how audiences interpret signs and symbols and experiments with some visual textures
to communicate ideas

Progressing • investigates a mural design and documents some or no research and ideas in their V.A.P.D, in the
form of sketches, collage or text.

• demonstrates a basic or no understanding of how the cultural frame can be used to develop
shapes, symbols and textures to communicate cultural identity

• considers how audiences interpret signs and symbols and experiments with a limited range of
visual textures to communicate simple ideas

Reference: Amended Assessment and Marking Criteria from ‘Advice on Programming and Assessment’, NESA (2018).

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 (d) Redesigned Unit Outline

KEY:
Original unit concepts Adjustments Additional notes
made
Original unit concepts Adjustments Additional notes
made

Visual Arts Stage 4, Year 7 Mandatory Course

Course Overview Term 2

UNIT TOPIC MAKING FORM INDICATIVE HOURS TIME ALLOCATION OUTCOMES

Clay Mural Relief Sculpture - Tiles 40 Term 2 4.1,4.2, 4.3, 4.4

4.5, 4.6
(20 hours reconstructed) 10 weeks
4.7, 4.8, 4.9, 4.10
(5 weeks reconstructed)

I will be discussing only

the first half of unit

FRAMES Subjective Structural Cultural Postmodern

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CONCEPTUAL Artist Artwork World Audience
FRAMEWORK

Learning Experience
MAKING CRITICAL STUDY HISTORICAL STUDY
❑ V.A.P.D drawing tasks Antoni Gaudi □ Modern Art
❑ Design for clay mural Diego Rivera □ Mexican Muralist Movement
sections Banksey □ Minoan Art
❑ Ceramic sculpture Keith Haring
❑ Measurement Angela Schewer
activities
Literacy Numeracy Aboriginal & Torres GIFTED & TALENTED Life Skills Resources
Strait Islander
Critical and historical Students explore Students explore the * Peer tutoring * modified *Projector -
interpretations of art aspects of numeracy links between cultural tasks Film/presentati
using the frames and through expression and * Extension Tasks on
aspects of the measurement, data spirituality, using the *Clay & Clay
conceptual collection, proportion, cultural frame and Tools
framework. Literacy measurements and conceptual framework. * Internet
and Visual Literacy timelines. Students Students are given *
skills are developed are expected to opportunity to explore Computer/lapto
through ideas and estimate, compare, their culture through ps
judgements about evaluate space, symbolic * Camera
artworks and are weight and angles. representations, as well
recorded using their as political and social
visual arts process statements.
diary.

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Content - Learning Experience

ARTMAKING - Practice. Students learn about: Students learn to:

❖ The pleasure and enjoyment in making artworks
❖ Artists working individually, in groups and in
collaboration with others
ARTMAKING - Conceptual Framework. Students learn Students learn to:
about:
❖ The world as the source of ideas and concepts to make
art
❖ The material, physical and virtual form of artworks
intentionally made by artists
ARTMAKING - Frames. Students learn about:
❖ Belief, value and meaning in artmaking in the subjective
frame.
❖ Belief, value and meaning in artmaking in the structural
frame.
❖ Reflect on and interpret actions and choices, and
document these in their diaries.
❖ Make informed personal choices to shape meaning
❖ Use their diaries to research and investigate the world,
for example: memory, fantasy, people, culture, social
and national identity, relationships, gender, politics,
religion, celebrations, events, the environment, theories,
issues about art.
❖ Make artworks using a range of 2D, including drawing,
materials and techniques and various investigations of
the world.
Students learn to:
❖ Use their imagination, intuitions, sensory and deeply felt
experiences and views of beauty in the development of
ideas in the making of art.
❖ Investigate and employ a range of conventions including
codes, symbols and signs and consider how
communication is embedded in the material and
conceptual organization of artworks and offer a way to
develop representations of ideas and interests in the
world in the making of art.

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 CRITICAL AND HISTORICAL STUDIES – Practice.
Students learn about:
❖ Artistic practices, conventions and the networks of
procedures that inform the approaches to art making of
different artists or group of artists
❖ How practice in the visual arts in different times and
places is conditioned by a range of interests.
CRITICAL AND HISTORICAL STUDIES – Conceptual Framework
Students learn about:
❖ How the world can be interpreted in art and the ways in
which ideas are represented
❖ Various artists, with a focus on what they do, where
they work, how and why they work and how they
develop their intentions
CRITICAL AND HISTORICAL STUDIES – Frames.
Students learn about:
❖ Belief, value and meaning about artworks from the
cultural frame
❖ Belief, value and meaning about artworks from the
subjective frame
❖ Belief, value and meaning about artworks from the
structural frame
Reference: ‘Visual Arts, Years 7-10 Syllabus’, NESA (2018).
Assessment
Students learn to:
❖ Explore and seek to explain the artistic practices of
selected artists/groups of artists identifying conventions
and procedures.
❖ Investigate a range of practices in the visual arts in
different times and places.
Students learn to:
❖ Recognize how artists interpret the world in the making
of artworks and how they seek to represent these
concepts through a range of styles and approaches.
❖ Investigate the role and work of selected artists including
groups of artists in different times and places.
Students learn to:
❖ Use their cultural and community identities and social
perspectives of interest to them in the development of
ideas and interests to represent the world in the making
of art.
❖ Identify and seek to explain how artists and audiences
use their imaginations, intuitions, sensory and deeply felt
experiences, and views of beauty in making and
responding to art.
❖ Identify and seek to explain how artists and audiences
can read artworks as images or texts by understanding
conventions including codes, symbols and signs and how
these are embedded in the material and conceptual
organization of artworks.
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 Making Component Critical /Historical Component
* Clay Tile Relief *Clay Mural Tile Design & Documentation 10%
* Informal formative assessment is *Students are to submit their V.A.P.D’s which must include evidence
used to ensure students are on task and of the development of their relief sculpture, including: design
can demonstrate an active start to their sketches, research on mural artists, and links to how their work
clay tile relief in week 5 represents their cultural.
* Demonstration of technical skills and link * Student must be able to justify how their design reflects their
to cultural frame culture, using textures, signs and symbols in their clay tiles
* Applied understanding of cultural and historical studies of mural
design

Teacher Feedback :

❑ Focus on the activity and expectations

❑ Use clear and explicit instructions
❑ Correct any misunderstandings
❑ Providing meaningful information to students about learning
❑ Identify and reinforce students’ strengths
❑ V.A.P.D fortnightly checks with written feedback

Week/ Teaching, learning and assessment activities ASSESSMENT FOR Frame/ RESOURCES
outco LEARNING Codes
mes EVIDENCE OF LEARNING/
FEEDBACK

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WK 1 Introduction to Mexican Muralist Movement Students demonstrate an
understanding of Visual Subjectiv V.A.P.D’s
● Have students recall their understanding of Modern Art Arts by participating in e
4.7 ● Discuss Mexican Muralist Movement, use What is a Mural? class discussion and a Cultural worksheets
4.8 worksheet. visual title page.
● Use PowerPoint “Mural Slides” Projector
● V.A.P.D : Title page “Murals and Ceramics” Students should The teacher collects
include; Movements, films, artworks they are aware of etc. V.A.P.D and marks P.Point
● Introduce Key artists: Antoni Gaudi, Diego Rivera, Banksey, students work providing Presentation
Keith Haring, Angela Schewer written feedback.
● Backwards by design: show students examples of clay
creations from last year, discuss unit outcomes and
assessments.

The inclusion of critical and historical studies in unit adheres to

syllabus and creates context for students practical art making

● Lightening Writing activity Literacy activity

* Students list all the terms they can remember that relate to the
Mexican Muralist Movement.
Time approx. 2 minutes depending on ability.
Activity demonstrates ability to recall knowledge and understanding
of the Mexican Muralist Movement to date, assisting with appropriate
terminology development.

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WK 2 How culture is portrayed through murals Structura Projector
Literacy activity l
4.7 ● Discuss the cultural framework using Diego Rivera’s work as an Verbal discussion of artist Cultural V.A.P.D
4.8 example and art practices. Written
4.9 ● Students choose 2-4 mural artist and describe at least two of responses.
4.10 their works and how it reflects the artist culture in their Teacher provides written
V.A.P.D’s. Choose from: Antoni Gaudi, Diego Rivera, Banksey, feedback in V.A.P.D.
Keith Haring, Angela Schewer
● Students gain inspiration from their study to form unique tile
designs. They will be made using clay and ceramic techniques.

Unit is centred around cultural representation and

interpretation

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Wk 3 Assessment task handout out ● Students actively Subjectiv Tile shape
4.2 ask seek advice on e templates
4.3 * Students receive assessment for learning task. Ensure due date is assignment Cultural
4.4 noted. Have extended Q&A time to ensure all students have a V.A.P.D
4.5 thorough understanding of expectations. ● students complete
Clay Mural Tile Design & Documentation drawing designs Assessment
on templates Task Outline
*Students commence work on clay mural tile design & documentation
1. create a design for two clay tiles and document process V.A.P.D ● Teacher provides Lead pencils
verbal feedback and felt tip
2. consider how the organisation of composition, shape, texture during pen
and scale can communicate aspects of culture to an audience. observations
throughout lesson Laptops
3. link aspects of famous murals studied in weeks 1 - 3 to
particular visual qualities in design and record ideas and planning in
the form of sketches, collage and writing.

* students will later create these designs in 3D using clay

Structured: provide A4 templates tile shapes for students to choose

from, which they can glue into V.A.P.D’s.

Assessment task provided with clear outcomes

Wk 4 Clay Mural Tile Design & Documentation ● Teacher provides Subjectiv V.A.P.D
4.2 oral feedback e Laptop
4.3 ● Students continue working on their designs and recording during observation Cultural Pencils
4.4 documentation in their V.A.P.D’s of progress
4.5
● Students
successfully
research and
document ideas

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Wk 5 Construction of clay ● Students Subjectiv Clay
4.1 independently e tools
4.2 ● Teacher gives demonstration on how to use clay and clay tools utilize tools and Structura slurry
4.3 ● Students commence construction under teacher instruction. techniques to l Templates
4.4 ● Students must be aware of storage and reminded of safety. construct clay Plastic
4.5 ● Students cut and weigh their clay to approx. 500g form. storage
● Students roll out a slab using guide 5mm sticks
● Base of sculpture is cut out using cardboard templates under ● Teacher provides
teacher supervision. oral feedback
● Students are encouraged to explore several techniques before during observation
to create visually layered tiles of experiments
with construction
● Demonstrate and supervise packaging in airtight plastic bags
techniques.
with name tags.

Class to complete worksheets: ● Oral feedback is

provided as
● Clay and Tool Vocabulary
students are
● OH&S observed adding
● Test your knowledge detail to their
artworks
Assessment task, Clay Mural Tile Design & Documentation,
must be submitted

* Teacher ensures all students have submitted their V.A.P.Ds for

marking of their documentation.
* Teacher to give written feedback in V.A.P.D’s.

First half of unit ends

24
WK 6 -
10
Construction of clay continued until completion, including glazing and
application to school east wall

25
 References

ACARA. (2018). Retrieved from: https://www.australiancurriculum.edu.au/f-10-curriculum/general-capabilities/personal-

and-social-capability/

Buchanan, S., Harlan, M. A., Bruce, C., & Edwards, S. (2016). Inquiry based learning models, information literacy, and
student engagement: A literature review. School Libraries Worldwide, 22(2), 23-39.
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Cervantes, B., Hemmer, L., & Kouzekanani, K. (2015). The impact of project-based learning on minority student
achievement: Implications for school redesign. NCPEA Education Leadership Review of Doctoral Research, 50.

Farinde-wu, A., Glover, C. P., & Williams, N. N. (2017). It's not hard work; it's heart work: Strategies of effective, award-
winning culturally responsive teachers. The Urban Review, 49(2), 279-299.
doi:http://dx.doi.org.ezproxy.uws.edu.au/10.1007/s11256-017-0401-5

Grushka, K. (2009). Meaning and identities: a visual performative pedagogy for socio-cultural learning. Pedagogical
challenges for personalistation. 20:3. pp. 237-251. doi.org/10.1080/09585170903195860

Lin, S. & Day Scherz, S. (2014). Challenges Facing Asian International Graduate Students in the US: Pedagogical
Considerations in Higher Education. Journal of International Studies. 4:1 pp. 16-33. USA: Idaho State University

Mangelsdorf, N. (20013). Understanding by design. TLN Journal, 20:1, pp 38-39. Retrieved from: <https://search-
informit-com-au.ezproxy.uws.edu.au/documentSummary;dn=302937402730691;res=IELHSS> ISSN: 1444-128

MySchool. (2018). Retrieved from: https://www.myschool.edu.au/school/41153

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NESA. (2018). Retrieved from: http://educationstandards.nsw.edu.au/wps/wcm/connect/9665b01d-0411-43f6-aec5-
f82e8e36b34e/visual_arts_710_support.pdf?MOD=AJPERES&CVID=

Wiggins, G. & McTighe, J. (2005). Understanding by Design. 2nd Ed. Melbourne, Victoria: Hawker Brownlow Education

Appendices and Original Documents

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