The EYLF's vision for children's learning is:

Belonging
Being
Becoming
The EYLFs philosophical learning outcomes for children birth-8 years are:
Outcome 1: Children have a strong sense of identity
Outcome 2: Children are connected with and contribute to their world
Outcome 3: Children have a strong sense of wellbeing
Outcome 4: Children are confident and involved learners
Outcome 5: Children are effective communicators
Knowledge processes and The Arts
How these processes can be applied to the teaching and learning of The Arts:
Experiencing

Conceptualising

Learn the metalanguage of disciplines such as

choreography, improvisation, tempo, form, space, lyrics,
Sharing knowledge of art forms, techniques,
and aesthetic appreciation
materials and media
Apply these terms in new situations
Offering personal opinions about particular
Describe your own applications of techniques or
art forms
skills in these terms
Displaying 'art'efacts, listening to music
Compare the use of space in different artworks
Learning a new technique to manipulate
or performances
material, sound, body
Identify cause and effect of particular materials
Visit an art gallery, theatre, music or dance
or techniques on different surfaces and people
performance
Understand how sequences of steps, musical
notes, brushstrokes can produce particular outcomes
Analysing

Applying

Use of line, colour, shape, form, space,

perspective, lighting and mood created from sound or
instrumental combinations
Identify combinations of matter that work or
don't work together
Identify elements of a play, a dance, a
performance, a concert, or an exhibition, and they
need to be organised
Experiment with different ways of
representing people, groups or events
Identify how particular artforms are
associated with specific cultural or social groups
Compare historical methods and perceptions
of art with contemporary ideas and practices.
Discuss 'value' in relation to art

Apply new skills in appropriate ways such as

dance steps, painting techniques, musical scores or lyrics,
and poems
Produce recognisable art forms
Show progressions of development through new
sequences or work
Experiment with new techniques or design
elements
Combine different forms of dance or music
Choose new forms of self-expression

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Stages of Development in Children's' visual expression

Manipulation ages approx 1-5

Random scribbling
Controlled Scribbling
Named Scribbling-the first intellectual connection between the
physical and cognitive functioning

Symbolic ages 5-8

Development of symbols
Schematic or diagrammatic symbolism

Visual Realism ages 8-11

Reasoning ages 11-14
Manipulation Stage:
At an early age children will begin scribbling. Scribbling is a kinaesthetic activity; kinaesthetic means you are
aware of the movements of your body.
At first children make no connection between the scribbling marks they make and the motor activity they are
engaging in. Later on a connection is made and children can most likely express what he/she is doing.

When children are capable of retaining a mental image this is when they can then name their scribbles - this
aligns with Piaget's 'intuitive thought' stage within the concrete operations period.
The first controlled scribble a child makes is that of the mandala (a circular shape).

Symbolic Stage:
Young children in the symbolic stage begin to make representational attempts. Shapes tend to be more
geometric and children most often create art that is based on their experiences.

Children often exaggerate in their art what is important to them and there is rarely a sense of proportion. They
also choose colours based on what they like and the colours emotional appeal.
Children also become more aware of their environment in this stage. They begin to use baselines at the bottom
of the page to draw houses and flowers on and the sky will often be represented by a coloured strip at the top of
the page

What can teachers do to encourage children?

Give them opportunities to scribble DO NOT try to show them ways of improving their scribbles
Don't be judgemental but be enthusiastic and encourage
Provide lots of opportunities for children to experiment and explore different materials.
Stress the importance of personal expression
Only use activities that allow for maximum creative input from the children. This means that you
shouldn't be using colouring in books, blackline master stencils or experiences that have a pre-determined
outcomes.
Exploration and play with materials
There are all sorts of materials that you can use and create for children to explore with. Here are some of the
possibilities:

crayons, chalk, textas, pencils, paint brushes in various sizes depending on age and skill level
painting - finger painting using paint, shaving cream, cake batter, paint mixed with sand.
painting using other materials, a sponge, a fly swatter, squirt bottles, roll on deodorant
bottles with paint in them, twigs and sticks, spatter painting (a wooden frame with mesh in it
and you place the paper underneath the frame and paint the mesh)

 printing
collage
goop (cornflour and water mixed together, it makes a fun really weird consistency)
soap flakes (beat soap flakes with water to get a really bubbly light mixture to play in)
toothpaste clay
clay
playdough
salt dough
jelly play
and many, many more
Sensory awareness development
TOUCH:

Use a 'feely bag' or 'mystery box' in which diverse things are placed, eg, a chamois, steel wool, a stone,
etc which are changed regularly

Messy play activities such as goop and jelly

Encourage children to bring in 'found objects, from nature and put them in a special place on a table

Collect nature materials to use in creative arrangements

Collect textures, bumpy, smooth, rough, slippery, fuzzy, furry, scratchy.

Make a collection of texture rubbings from the environment.

Pass around favourite objects and discuss the way they feel

Do a nature walk around the playground and feel a tree

Take off shoes and walk with a partner on the lino, carpet, concrete, grass

Footprinting, handprinting, fingerprinting (be careful of slipping and the mess

Pretend you are holding a pineapple, a kitten, a brick, an echidna, etc

Collect and use textured objects for collage activities

SMELL:

Close eyes and smell a range of things from perfume, a flower, pencil shavings, pepper, etc

Sensory responses can trigger 'emotional recall' of some place or experience, eg the bakery, chemist,
garage, hospital, butcher's, hairdresser's

Some environments have particular smells, eg a gym, the swimming pool, your kitchen, think about
what your favourite meal smells like, etc.

HEARING:

Go on a listening walk holding hands with a partner-encourage drawings or paintings of what was
heard-predominant sound

Close eyes and listen for sounds in the environment-identify them

How many sounds can water make?

Listen to different types of music-paint to music, eg Mozart, Bach

What colours would different sounds have?

Have a range of mystery sounds for the children to identify

SIGHT:

Try 'looking walks' in the neighbourhood, the playground. Make it a time for looking and touching
when children really feel the textures around them.

Collect objects from your walk and examine them for colour, texture, shape,

patterns.

Observation games, eg, change objects in the room and get them to identify which ones are gone. Rows
of objects-close eyes and alter their positions or remove,

Get an ants-eye view of the world-draw it; a birds-eye view, etc

Look at the world through cellophane papers and observe how it changes

Explore glass prisms for rainbows, etc

Observe the way a flower changes over a week and do drawings/paintings of it.

You can encourage children to have creativity and enjoyment of visual arts through:

allowing them freedom and time to explore and discover, what they can do and create with paper, paint,
glue and other art materials.

allowing them to produce art without their work being compared with others, their 'mistakes'
corrected or a value judgement being placed on the process they go through or the outcome that is
represented in a product.

allowing them to create without being asked in advance what they are planning to create or comments
on what you the teacher think they are making. Young children rarely plan in advance what their
finished product will look like.

allowing them to use what ever colours and materials they choose without being quizzed on why they
chose them or being asked to be neater in the creating. Comments such as these inhibit creativity

Aesthetic awareness
Aesthetics is defined for this subject as an area of the arts that is concerned with feelings and responses to the
world in which we live. When children are the given the opportunity to sense, view and explore the beautiful
things surrounding them, they begin to appreciate their different environments and the elements within it
(Edwards, 2006).

Parson (1987) presented a theory of stages in the development of the arts.

Stage 1- an interest in colour favourites, pictorial representation, personal connection to the subject and
enjoyment of painting

Stage 2- the viewer likes a painting because it is beautiful and has realistic qualities

Stage 3- the viewer 'sees' the feelings the work of art produces regardless of beauty or realistic qualities

Stage 4- the viewer is aware of his/her ability to interpret a painting

Stage 5- judgement is individual but the viewer feels the need for discussion and inter-subjective
understanding

Inter-subjective understanding means drawing on prior knowledge and resources in order to gain a deeper
understanding and discuss the artwork
Parson, M. (1987).How we understand art: A cognitive development account of aesthetic experience.
Cambridge, MA: Cambridge University Press.

Primary Colours
Primary colours are colours that cannot be made from mixing other colours. The three primary colours are Red,
Blue, and Yellow.
White is also primary colour, but is not considered a colour rather it is considered a tint.

Secondary Colours
Secondary colours are colours that can be made by mixing primary colours. They are Green, Orange and Purple.
Reflection -What art 'speaks' to you? What do you like and why?
Go and visit an art gallery (it can be a virtual gallery online or even the attached PowerPoint, but try to get to a
'real' gallery if at all possible). Choose three pictures that 'speak' to you out of the collection for whatever reason
and in your reflective journal, briefly reflect on why those particular artworks impacted on you. Was it the
colour? What it represented? The emotion it provoked? For those that visited a gallery, how did the art gallery
make you feel? How would children feel there? Why is it important that we understand what art we as teachers
appreciate? How can that help the students we teach?
Meaning
Colour
Emotion
Children might feel quite overwhelmed and confused, dependent on the art on display. It is

Our own understanding of the art we appreciate is important to encourage children to view their own world with
enthusiasm and create meaning from what they see, hear, touch, feel and think. If we dont show an
appreciation for the elements association with art, it would be difficult to provide learning opportunities that
allow children to develop in this way. However, we need to remember, that each of us develops our own
meaning from what we see, and it may be entirely different to what a child experiences. There is also probably
a different meaning that the artist painted the picture, and what message they hope to send
Drawing, Printing and Painting
Some ideas for experimenting clay and construction with older children may include:

Clay activities - pinch, coil and slab techniques.

Masks and puppets - clay masks, papermache masks, gypsonia masks. Finger, hand, paper bag and
paper plate puppets.
3D construction city.
Some ideas for experimenting with collage and fabrics with older children Attaching techniques and making aesthetic decisions.
Stain glass windows.
Mosaics.
Paper weaving.
Weaving and sewing with hessian.
It is important to remember which process you are using process or product as often with clay,
construction, collage and fabrics we can fall into the product approach. Try to remember to ask your
selves: What is the purpose of this experience? What skills are being learnt and developed? Is there
another way these skills could be learnt or developed upon that involved more creativity for the children
involved?
Introduction to music and movement
Music is an important part in developing the whole child.

There is a recognised Music intelligence.

There is research and evidence to show that music education can assist
in learning, creativity and development of the whole child.
Music can also be an alternative way of expression and a unique
means of communication.
Music can link to other subjects.

Children's development and music.

Babies - to pacify, play, stimulate, sleep.

Toddlers - to learn concepts, memory development, repetition,
physical development. Encourage listening and recognition of
differences. Expression of emotion (happiness, sadness, anger).
School - team work, stimulation, repetition and memory, links to other
subjects.
Adults - entertainment, expression of emotion (patriotism, religion,
love, aspects of life)
Music is a part of our lives
Music Intelligence - Educator, David Lazear defines Music
Intelligence in the following way:
If you are strong in this intelligence area you likely have a love of
music and rhythmic patterns.
You are probably very sensitive to sounds in the environment; the
chirp of cricket, rain on the roof, varying traffic patterns.

You may study and work better with music in the background.
You can often reproduce a melody or rhythmic pattern after hearing it
only once.
Various sounds, tones, and rhythms may have a visible effect on you-others can often see a change in facial expressions, body movement, or
emotional responses.
You probably like to create music and you enjoy listening to a wide
variety of music.
You may be skilled at mimicking sounds, language accents, and
others- speech patterns, and you can probably readily recognize
different musical instruments in a composition.
Music can also be an alternative way of expression and a unique
means of communication.

Brain Research.

Music can be used by the brain for:

Arousal - can affect the mood and response. Scary music, repetitive
music - create a trance, military music, lullabies etc. It can calm or
excite students.
As a carrier - the melody helps memory and recall; hence the power of
advertising jingles. Same can be done to learn certain rules, times
tables etc.
As a primer - research has shown that music can train the brain for
higher forms of thinking.
Richard Gill - The Value of Music Education
Music does not:

Describe
Narrate
Tell stories

Music DOES:

Evoke
Suggest
Imply
Opens a childs mind in extraordinary ways

Children must make their own music

They make it best through singing
Through singing is how we engage every child
Through singing is how we teach children to be literate to read and write
Through singing is how we teach children to analyse
Developmental Stages in music and movement
2 years olds:

rock, sway and move, enjoys clapping games, fingerplays and action
songs
listens to music and occasionally matches body movement to simple
musical beats

explores space by moving forwards, backwards, up and down

can move low to the floor or walk on tiptoes
experiments with voice and sings or hums at play
experiments with imitating rhymes and responds to music through
body movement

sings along to certain phrases of familiar songs

can establish and maintain a beat
is consistent in rhythmic responses and can accomplish sudden stops
or 'freezes'
enjoys listening to recorded music and responding or imitating the
motion of others
suggest words for songs
Is interested in rhythm instruments
claps in different tempos and at different levels when imitating an
adult

3 year olds:

4 year olds:

make suggestions for musical activities

has improved voice control and rhythmic responses
creates new rhythms
enjoys singing and is more aware of sounds and rhythms in the
environment
imitates movement of animals, machines or other familiar objects or
people
can learn longer and more complicated fingerplays and songs
combines creative drama with movement and singing
matches and classifies sounds according to volume and pitch
reproduces rhythmic patterns vocally and with instruments
memorises fingerplays, chants and action songs

5 and 6 year olds:

sings complete songs from memory

moves rhythmically to a regular beat and can keep time with music
has greater pitch control and accuracy
can learn simple dance steps and adapt them to rhythms
plays instruments with more precision and accuracy
understands changes in tempo and dynamics and uses music to
enhance dramatic play
enjoys group singing and musical games
can compare several sounds and pitches

Percussion rhythms, drumming, clapping

Elements of music

Duration
Pitch
Tone Colour
Dynamics
Structure
Texture

What is Duration?
Duration includes the rhythm, beat, tempo, accent, length of notes and time signatures, for example:

Rhythm (long and short notes, the patterns of sounds and silences)
Tempo (speed of beat; tempos can change in a piece of music)
Beat (underlying steady pulse, like the heartbeat of music).
Accent (first, strong, accented beat of each bar)
Rhythmic ostinato (repeated rhythmic phrase).

Rhythm is not constant, varies, follows the words, uses a symbol

system

Echo clapping.
Rhythmic notation, following specific music notation, minums,
crotchets etc(see readings)
Creating percussion charts or using commercially produced ones.

What is rhythm?

Rhythmic activities include;

What is tempo?

Tempo refers to the 'speed' of the music, the fast and slow parts of
music.

Hide the duster and give clues to the person seeking the duster by
singing faster or slower.
Songs that use tempo for effect eg, OkkiTokki.(Upbeat)
Listening to music and identifying tempo changes.

Beat is a constant pulse, compare to your heart beat.

It can go faster or slower but is constant

Tempo activities include;

What is beat?

What is Pitch?
The element of pitch includes high and low notes, melodies, melodic ostinato , chords, harmonies, and
rising and falling pitch, for example:
Melody (a series of pitched notes, a tune)
Harmony (different notes played together)
Definite pitch (sounds which can play a tune, eg xylophone, piano,
violin)
Indefinite pitch (sounds which cannot play a tune, eg triangle,
tambourine)
Melodic ostinato
What is tone colour?
Tone colour involves the quality of sound produced by different instruments and the ways these sounds
are made, for example:

Sound source material ( eg made from wood, metal, plastic, string, etc)
Sound production or how the sound is made ( eg sounds made by
hitting, shaking, blowing, plucking).
Sounds heard singly (unison)
Sounds played together (ensemble)

What is dynamics?
Dynamics refers to the volume of sound, such as:
Loud and soft sounds
Increasing and decreasing volume of sounds
Contrasting volumes to create character and expressiveness in a piece
of music
Dynamic activities include,

Echo songs
Echo tuned and untuned percussion instruments.
Listening to music
Follow hand gestures and graphic notation.

What is structure?
Structure refers to the way in which a piece of music is constructed, such as the number of large or small
sections, with whole sections repeated, or with recurring themes or short musical ideas, for example:
Is there an introduction, a bridge, a coda?
Does the song have verses and a chorus?
Are phrases repetitive or contrast
What is texture?

Texture is the density in the music. The "layers" created through the
sounds being organised
Monophonic- a single line e.g. one melody, vocal or instrumental
Homophonic- a melodic line plus an accompaniment
Heterophonic - two or more lines playing the same melodic line but
with slight differences in rhythmic/melodic/expressive execution
Polyphonic- many layers of melodic interest

Playing tuned instruments as accompaniment to singing, notation, pentatonic scales

Music Processes
Key Musical Outcomes

Performing
Composing ( Organising Sound)
Listening

Vocal music (chants, rhymes, songs)

Instrumental music (recorded or live)
Student composition
Draw from various times, places, cultures

Voice

Repertoire

Musical Instruments

Instrument families - brass, woodwind, string, percussion

Electronic, computer software
Use pictures, recorded examples
Explore homemade instruments

An Introduction to Pentatonic Scale

Below is an introduction to the pentatonic scales on the piano which shows you how composers begin to
compose and create melodies. Although you probably will never use this yourself it is important to understand
key notes and melodies and where they begin. To ensure you can teach children about pitch with confidence.
An Introduction to Pentatonic Scale
How to play Piano using the Pentatonic Scale
Duration: (4:36)
User: remo2012 - Added: 9/01/08
YouTube URL:http://www.youtube.com/watch?v=zIkIPU8JZtc
Then below in this video clip you can see what keys are used to create different pentatonic scales and what they
can develop into. Where it says Gb or Bb the 'b' means G'flat' or B'flat'. b means you lower the pitch one
semitone (refer back to the glossary in the previous reading, Music. Samples from preparatory level and level
3 /Jeffrey Leask). If it showed G# or F# this '#' means G'sharp' or F'sharp'. # means you raise the pitch one
semitone.
Orff experiences
Carl Orff was a German composer who was born in Munich. He died in 1982. Together with two women
GunildKeetman and TraudeSchrattenecker, Orff's ideas were developed into an innovative approach to music
education for children. Creativity and improvisation are the basis for all experiences that have an Orff approach.
Orff defined the ideal music for children as "never alone, but connected with movement, dance, and speech
not to be listened to, meaningful only in active participation." Orff said, "Experience first, then intellectualize."
Based on this ideal, the Orff approach builds understanding of concepts and skills through connecting students
with the music by experiencing it on all levels.
Have a look at this website and google others to see some examples of Orff experiences
http://www.classicsforkids.com/teachers/training/orff101.asp
Singing games, musical rhymes
Singing

Types of songs include,

Our voices are our most important resource as a teacher.

As our first instrument it is important not to underestimate its value.
In your class it is essential to sing, for and with children - don't be
embarrassed if you voice isn't like Alicia Keys, the children don't
mind, lead by example, to show children the enjoyment of music and
singing (even if you're not brilliant at it).
Use this fantastic tool that you all have.

Nursery rhyme and repetitive songs, eg. See saw.

Echo songs, question and answer songs, eg Polly put the kettle on.
Changing the words to songs eg baa baa pink sheep and adding in the
children's names eg Belinda put the kettle on or one for the master, one
for the dame and one for Belinda who lived down the lane
Adaptive songs, eg Wheels on the bus, bringing home my baby
bumble bee
Cumulative songs, eg Old Macdonald, She'll be coming round the
mountain.
Counting songs, eg 1,2,3, 4, 5 once I caught a fish alive.
Rounds, eg Row rowrow your boat.
Ballads, eg Waltzing Matilda.

Young children are action orientated and love simple songs with actions and funny endings. Not only is this fun
but it provides opportunities to listen, respond, imitate and use their voices and bodies in ways that are creative
and uniquely theirs.
What is melody?

Melody or pitch refers to variation in sound, high, low sounds in some

form of order

Recognition of high and low sound. Simon Says.

Playing tuned instruments - recorder, xylophones, guitars.
Following simple/repetitive notation.
Following chords.

Melody activities include,

Singing Games
Singing games can be used as transitions to other activities and experiences, such as morning tea, going inside
or outside, packing up, moving on to another experience. They can be used for adventures and props can be
added for drama experiences eg. going on a bear hunt and wheels on the bus. They can be used to encourage
friendships, memory and activity eg. isn't it funny how bears like honey and duck, duck, goose.
On the blog write:

What were your favourite songs and instruments as a child and why did you enjoy them?
As a child, my favourite instruments were piano and guitar. I think I enjoyed the piano in particular because it
had some significance to me which I did not understand at the time, however I believe, enabled me to go into a
world of escapism after my dad died in an accident, that brought joy to my life. I remember favourite songs as a
younger child playing the piano, that implied thoughts and sounds like an Indian Wigwam song; a train; and rain
falling. During my early youth/teenage years I really enjoyed the music and harmonies of The Bay City Rollers
(remember them anyone?); ABBA; Fleetwood Mac; and Garry Glitter, Slim Dusty, and various classical artists.
I also liked Rolf Harris and his amazing wobble board with catchy songs with humorous verse.
What music and songs do you think children like to play with today and why do you think that is?
I think children today, are influenced by what they see and hear on television, and their favourite characters.
Music groups such as The Wiggles, and Hi-5, have made a huge impact on music and songs that children like to
play, possibly due to these groups engaging children in actions, fun, characters such as Dorothy the Dinosaur
that help children feel comfortable with interacting, dancing, movement and singing. Bob the Builder was also
a huge success for a time.
Has it changed? Why/why not?
I feel songs and music have changed. Although I remember medium metal music growing up, I dont recall
hearing some of the heavy metal sounds(such as screaming), that are produced today that to me is just not
music, but for much younger generations, is music. Maybe the music doesnt change, but we change our
tastes, knowledge, interpretation and understanding as we get older. I feel too, there are many songs that are

also nursery rhymes, that arent allowed to be sung as they are not politically correct anymore. I also wonder,
whether the concept of actions with songs is a newer experience for many children. When I learnt songs that are
associated with rhymes growing up, I dont ever remember doing actions to those songs. When I was providing
songs with actions for young children to engage in, during my previous employment, I was surprised to see the
number of children who did not know the actions, nor did many of their parents/carers.
What elements are common and why might this be?
Elements such as tempo, rhythm etc., are all still common these are standards that are across the board with
music. Without such elements, I doubt whether music would be engaging, as, apart from lyrics, it is often the
rhythm, sounds, tempos and instruments that help us to connect with a piece.

Soundstories
Sound stories

Write your own story

Keep your story between 8 to 12 phrases long.

Plot the story on a board

Explore many different instruments and sounds

Don't neglect sounds we can create with our bodies, our voices and with general objects (ie door
closing, clock ticking).

Use these different sounds to tell your story.

Record the composition in a graphic score - including dynamics and rhythmic notation.

Perform
Ideas for warming up in music
Mood music
Tongue twisters
This is my whispering voice
Say it different ways
Clap a rhythm
Finger plays
Name echo - match exact volume, pitch, dynamics, tempo, etc.
Simple songs with actions - "Heads, Shoulders, Knees and Toes; If You're Happy; One
Hammer".
Accelerated passing
Clicking name game
Listening to music
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Aims of listening to music:

Train learners to become listeners
Learners are taught to use their ears for the optimal perception of information
All learners can participate, regardless of their ability to perform music
Learners are exposed to a broad spectrum of music
Learners develop an appreciation and understanding of all types of music
Creating a sound collage:
Create a sound collage by applying musical concepts such as timbre, tempo and dynamics, and musical skills of
playing, listening, creating and notating
Use instruments, voices and body percussion to "tell" your story
Practice the sounds
Decide which graphic signs best depict the sounds used
Create the graphic score
Creating a listening map:

o
o
o
o
o

A listening map is like a road map which shows you where to go and what to watch out for
Decide how many sections you think are important to include in the map. For each section you fill into
your listening map use
Colours to show dynamic levels such as loud and soft
Graphics (lines and shapes) to show the rise and fall of the melody and rhythmic features as
being even or uneven, jumpy, flowing, smooth or jagged
Pictures to illustrate voices or instruments
Words and/or phrase to describe any musical features
Numbers to establish how many beat occur before a change
MODULE 3: Part 2
I have based this activity on The Gingerbread Man. I would read the story with the students, and if necessary
reread it, betting students to critically think about the sounds they sense they can hear within the story.
Some examples are:
1. When the old lady is mixing the batter, students could use bowls with sand or rice, and stir with plastic spoons
or sticks. Even using pens/pencils to draw continuous circles on paper can resemble the sound of mixing.
2. Rolling out the biscuit dough, could be accompanied with students rubbing two sandpaper blocks together, or
using their hands on a table to pat (indicating the thump of a rolling pin); then swish their hands across the desk
3. Spreading icing on the gingerbread could use a washboard to scrape cardboard across, or scraping a paddle
pop stick against a plastic bottle works well.
4. Two single dings on a triangle could signal the placement of the two raisin eyes.
5. Students can give 1 jump, to signify when the gingerbread man jumps down from the oven tray students
can think about how big/small; loud or soft their jump might be, in relation to how the gingerbread man would
sound.
5. For the cheeky gingerbreads cackle, students can discuss what they think a cackle might sound like, and use
their own voices to imitate this noise.
6. Cardboard tubes can be used with childrens voices to moo through; coconut shells can be used to clap
together for the horses hooves, as well as neighing voices; and a castanet or rubber band over a cardboard box,
can be used to imitate the final snap, when the fox eats the gingerbread man.
What is a philosophy?
Teaching philosophies are a statement of professional beliefs and values- also called a philosophy of teaching,
learning and leadership.
"Leadership emanates out of vision that is based in philosophy, values and beliefs, which in turn guides policy,
day to day operation and innovation. It is manifested through strategic planning that grows out of reflection."
(Rodd, J(2006) Leadership in Early Childhood, Allen & Unwin )
A philosophy consists of:
Sets of beliefs about teaching and learning.
evolve from different sources
teaching experiences, professional articles and research, curriculum experts, other teachers, personal
likes and interests, and teacher preparation courses all help shape philosophy
The learning outcomes in EYLF that should underpin teaching and learning in the early years are:
Children have a strong sense of identity

Children feel safe, secure, and supported

Children develop their emerging autonomy, inter-dependence,
resilience and sense of agency
Children develop knowledgeable and confident self identities
Children learn to interact in relation to others with care, empathy and
respect

Children are connected with and contribute to their world

Children develop a sense of belonging to groups and communities and
an understanding of the reciprocal rights and responsibilities necessary
for active community participation
Children respond to diversity with respect
Children become aware of fairness
Children become socially responsible and show respect for the
environment
Children have a strong sense of wellbeing
Children become strong in their social and emotional wellbeing
Children take increasing responsibility for their own health and
physical wellbeing
Children are confident and involved learners
Children develop dispositions for learning such as curiosity,
cooperation, confidence, creativity, commitment, enthusiasm,
persistence, imagination and reflexivity
Children develop a range of skills and processes such as problem
solving, inquiry, experimentation, hypothesising, researching and
investigating
Children transfer and adapt what they have learned from one context
to another
Children resource their own learning through connecting with people,
place, technologies and natural and processed materials
Children are effective communicators
Children interact verbally and non-verbally with others for a range of
purposes
Children engage with a range of texts and gain meaning from these
texts
Children express ideas and make meaning using a range of media
Children begin to understand how symbols and pattern systems work
Children use information and communication technologies
DOMAINS

OUTCOMES

INNER LEARNER

self-directed and reflective THINKER who

In 1 Uses own learning preferences and meta-cognitive processes to optimise
"Who am I and where am I learning.
In 2 Identifiesand actively develops their natural talents,
going?"

self-worth and learned skills to pursue and achieve their

personal goals.
In 3 Makes decisions and takes actions based on personal values and
principles that reflect empathy and integrity. In 4 Assesses their well- being
and takes action for healthy living.

In 5 Demonstrates resilience in pursuing choices and dealing with change. In

6 Explains how the past, present and future contribute to their own identity
and broaden life directions.

CREATIVELEARNER

A persevering and resourceful INNOVATOR who

"What is possible?"

Cr 1 Uses imagination and a variety of resources for self-expression and to

explore ideas and situations for the insights and opportunities they offer.
Cr 2 Translates innovative thinking into action and is willing to take risks
when challenged by setbacks.
Cr 3 Values originality and acts on new ideas with confidence.

COLLABORATIVE
LEARNER

An effective COMMUNICATOR and GROUP MEMBER who

Col 1 Listens attentively and considers the contributions and viewpoints of

"How do I connect with and others when sharing own ideas and opinions.
relate to others?"
Col 2 Uses constructive strategies to resolve conflict.
Col 3 Fulfils their responsibilities as a group member and actively supports
other members. Col 4 Uses appropriate language that is sensitive to audience
and culture within a range of contexts.

CONSTRUCTIVE
LEARNER
"How can I make a useful
difference?"

A thoughtful PRODUCER and CONTRIBUTOR who

Con 1 Accesses information and tools from appropriate sources, analyses
these and applies the most relevant aspects to optimise results.
Con 2 Uses and justifies a variety of methods to plan, organise and complete
tasks, and continually reflects when evaluating the quality of their work.
Con 3 Participates in efforts to value diversity and social responsibility
through active and informed involvement in chosen areas within their family
and community.
Con 4 Identifies environmental and social issues within the local and global
community and takes steps to promote change.

The Arts can be linked to other areas such as:

Language- poems, chants and songs, actions

Literacy - soundstories, music as literacy, drama or dance linked to literacy
Maths - times tables, memory chants, actions
Use music activities as transitions to other activities/experiences.
Different styles of painting or sculpting linked into literacy or SOSE units of work eg Charlotte's web,
hungry caterpillar, rainforest, gold

The arts can provide support for social, emotional, physical, language and cognitive development

How confident am I with the arts-the skills, processes, concepts, appreciation, and arts literacy?

I believe a certain element of confidence must come from wanting to develop a connection with the arts
and the way in which I view the arts as an important and essential process for students learning. A
necessary part of being able to provide learning opportunities in the arts, is to have an understanding of
processes, concepts and knowledge of literacy and appreciation of the arts, to really gain an in-depth
knowledge, and for further development. While I feel confident in many areas of the arts, I would find it
difficult to pretend I am confident in many areas, as I believe we as teachers, continue to learn alongside
our students, and with new ideas, arts, skills, processes and concepts continuously developed, it is
important to continuously learn.
How can I improve my knowledge and skills in this area? Learning by doing; discovering areas and
skills that students already have that are different to mine; engaging in practical sessions; reading and
extending my knowledge and skills through videos; online presentations; courses; and other people
skilled in different areas is important.
Is it important that I have this knowledge? I believe it is essential to have some knowledge in these
areas to be able to competently provide relevant information for students, or to know who else to seek
assistance from. It is difficult to pass on relevant knowledge to encourage and develop students
knowledge, experiences and learning opportunities without it.
How have I learned about the arts to date? Why? The arts that I have learnt to date have been
entirely based on my own interests and opportunities provided throughout my schooling. Some of these
arts have engaged me in learning that I would not have experimented with, if the knowledge and
opportunities to experience them had not been given by the teacher. Others, have been developed with a
personal interest, some of which have been connected to experiences (or lack of), throughout my
informative years. An example of this has been through dolls. While as a small child growing up on a
farm, I had more of an interest in kittens and cats than dolls; however, in my adult years, the opportunity
presented to learn and make porcelain dolls which I took up with great interest.
How has my own learning shaped my attitude to the arts? My own learning has been mainly
product based learning, and this has shaped my attitudes to the arts. While I like to think of myself as
creative, I do believe my high school/early adult years were not as creative as they could have been.
What will I teach young children about the arts? I will guide young children to engage in
opportunities that enable them to explore and teach themselves and discover about a wide variety the
arts, through hands on learning, inspiring them to be creative, explore different styles and techniques and
different mediums that make art such as drama, music, to engage in all their senses.
What do I expect of young children and their capabilities in the arts?Some young children may not
have had any or very little exposure to the arts. As each child has their own unique talent, knowledge
and experience of art, the main expectations I will have of young children and their capabilities in the
arts, is that each child has their own unique talent, knowledge and experiences, and expect them to
engage in learning that is hands on, fun and fair, that caters for the diversity within the classroom and
encourage all children to experiment with opportunities for collaboration.
How have these expectations been shaped? Through my own changeable and developing knowledge
in the arts, and particularly through further readings; and this unit, my expectations have been shaped to
understand that being creative is not just about being able to create a product based object, guided by
others.

Bodily-Kinesthetic Intelligence or 'body or movement smart', can refer to learning by doing. This way of
knowing happens through physical movement and through the knowing of our physical body.
Body/kinesthetic awareness
Discovery of self through exploring the senses

sight,
touch,
hearing,
feeling.
Others
The body 'knows' many things that are not necessarily known by the conscious, logical mind, such as
how to ride a bike, how to dance, how to catch.
If you have a strength in this intelligence area you tend to have a keen sense of body awareness. You
like physical movement, dancing, making and inventing things with your hands, and role-playing.

You probably communicate well through body language and other physical gestures. You can often
perform a task much better after seeing someone else do it first and then mimicking their actions.
You probably like physical games of all kinds and you like to demonstrate how to do something for
someone else.
and movement
Personal space - space close the individual body
General space - space which is shared
Negative space - unoccupied personal space
Positive space - occupied personal space

Movement occurs Movement is around or along a spine or axis:

through space:
Slump
Walk
Shake
Run
Swing
Leap
Sway
Hop
Curl
Jump
Squirm
Skip
Stretch
Gallop
Turn
Slide
Spin
Twist
Rise
Drop
Wiggle
Bend
Flop
Teaching dance
Patterning - isolated movement
Sequence - combination of patterns that can be repeated
Copying group copies leader identically
Leading/following leader has back to group and group follows identically
Mirroring mirror image of the leader
Question and answer - leader demonstrates and group responds
Meeting and parting exchange of energies
Repetition repeating sequences
Movement is a combination of time and space
Some aspects of time which apply to movement are:
Beat or pulse - a regular, constant throb
Tempo - the speed of pulse
Pace - the rate at which an activity proceeds
Duration - the amount of time taken
Accent - an emphasis or stress
Syncopation - the delaying or speeding up of a beat
Aspects of time which apply to movement:

Climax - the high point

Bar - unit of count
Meter - the number of beats in a bar
Time signature - the sign indicating the grouping of pulses into equal time units
Phrase - a short passage forming part of longer passage or piece
Rhythmic forms - the shape, arrangement or proportion which provides the structure upon which
compositions are built
Musicality - the observance of dynamics in sound and movement

Discuss how we as educators can encourage imagination and dramatic play in children
As educators, we can encourage imagination and dramatic play by providing resources and materials that are
changeable, and either based on experiences that children have engaged in, or that provide for free creativity.
Such examples include a visit to childrens learning environments from the police, or children visiting a fire
station, then materials provided such as hats, boxes, paints- any resource that could develop creative
imagination-and pretend play.
We can also encourage imagination and dramatic play in children, by showing that we can be a kid within
show that we are prepared to lead by example, with our own imagination, play and self-expression, providing
visual, aural and tactile environments.
The range of ways to encourage imagination and dramatic play are really limited by our imagination, and the
imagination of the children in play. It is also possible to scaffold both, by building on to what we see in the play
children engage in.
Further, we can provide environments that encourage imagination and dramatic play with drama, music, stories,
songs, finger play, rhythm and rhyme to extend a childs skill development and knowledge.
Reflective Journal
In your reflective journal answer the following:
Think back to the beginning of the semester. Has your understandings of The Arts changed? If so, how?
Critically reflect on your own learning, previously, from additional reading and in this unit; if you had the
opportunity to effect change overnight about an issue around children and The Arts what would it be?
Think about the EYL framework in relation to The Arts. How can the EYLF be present within The Arts
curriculum and how do you see the EYLF's overarching influence impacting on your preparation of teaching The
Arts.
Have you seen any evidence of the overarching influence of EYLF in any of the schools or services you have
worked in and if so how?
Since the beginning of the semester, my understandings of The Arts, has altered dramatically. Although I was
aware of many elements within the arts, I had not really considered the advantages of empowering children with
opportunities to engage them in process based learning, rather than specifically product based learning and how
these opportunities impact on a childs freedom to explore and create in a safe environment.
If I had the opportunity to effect change overnight, I would ensure children had more opportunities to be creative
and learn through other curriculum areas, supported with The Arts. Many children learn product based arts in
schools; however, developing an awareness of the importance of process based learning is vital. Therefore, I
would embed other curriculum areas, into The Arts, rather than The Arts, as a part of other curriculum areas.

The EYLF can be supported within The Arts curriculum as areas such as outcome 1 and 5, are particularly
relevant to support a childs development in safe environments. The Arts assists children to feel a strong sense
of identity when they can be creative, and when opportunities are given to demonstrate their own cultural
identity. Learning outcome 5 also assists children to become effective communicators, through creative means,
that is their own creations. I have not yet seen evidence of the overarching influence of EYLF in any of the
schools or services I have worked in so far.
It is essential that teachers in the early years are attuned to the diverse needs of children.
How might The Arts assist you as a teacher with this?
And what would you need to consider when planning for The Arts?
How might you teach a program for diversity of children within The Arts?
I believe it is absolutely essential that teachers in the early years are attuned to the diverse needs of
children as these enable teachers to bring a greater level of relevance, vibrancy and learning for all
children and assists to develop an acceptance of all cultures within the classroom and outside of the
learning environment. When planning for diversity in The Arts, it is essential to ensure cultural respect
amongst the whole classroom is shown. Developing knowledge of the differences in cultures; what is
acceptable and what is seen as offensive is a great way to encompass an understanding that can be
addressed and followed within the classroom. This also is a great way to engage people from other
diverse areas in the community that can create collaborative partnerships and relationships between the
school, students, community and the teacher.
When planning The Arts for the diverse needs of children it is necessary to consider the cultures within
the classroom, families and community; and to provide teaching and learning that is relevant to cultures
and students.Respecting the cultures and diversity is essential. For example, it is important that I dont
assume I know what there is to know about dot painting, and need to work in collaboration with artists
and cultures that already have the prior knowledge. The learning environment needs to be welcoming,
and again, representing the cultures within the classroom. There are a number of ways a program for
diversity in The Arts can be taught, beginning with a story, music, dance, visit to a cultural performance,
exhibition or other activity, that progresses to make do sessions. It is important to ensure the cultures and
diverse needs of the students within the classroom are supported through use of The Arts, as well as other
cultures. It is surprising to see how many young children are unable to recognise the diversity with their
culture and family. Incorporating The Arts to cater for the diverse needs of children, also assists in the
development of peer and self-acceptance.