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Art Education Victoria Leading Visual Arts Education
AEV Response to the draft Australian Curriculum: The Arts: Foundation to Year 10
AEV CONSULTATION PROCESS
AEV provided a comprehensive consultation process for members and other visual arts education stakeholders at the AEV Annual General Meeting, the ACU, the McClelland Gallery in Frankston, and Monash Gallery in Wheelers Hill. Shorter consultations also took place as part of VCE Programs in galleries and schools in Geelong, Wangaratta, Moorabbin and at the Dax Centre, University of Melbourne. A draft submission was prepared including some input from forums as time progressed, and this was posted on the AEV website for comments and or endorsement. AEV was mindful of the current Victorian AEU work bans, but decided we had to prioritise this national consultation opportunity for the benefit of visual arts education. Unfortunately, four forums that were planned in Victorian government schools were cancelled because of teacher’s honoring the AEU bans and many AEV members sent apologies because of the bans AEV submission prepared by Marian Strong, Executive Officer, on behalf of Art Education Victoria in consultation with AEV members, via face to face forums, meetings and the AEV website. Submitted on behalf of The Council of Art Education Victoria, Inc. The following educators endorsed this AEV submission by either signing forms at AEV consultation forums and meetings, by emailing and by electing to provide their name and school / institution on the AEV online consultation site. A number of tertiary academic staff have also played a key role in this consultation and their names and positions have been highlighted. It should also be noted that the strength of this submission comes from the broad range of respondents prepared to publicly endorse this AEV submission. Respondents offering their public endorsement include specialist Art teachers – primary, secondary and post-‐compulsory, ‘Arts’ teachers, primary classroom teachers, Media and Music teachers, middle years teachers, Heads of departments, pre-‐service teachers, co-‐ordinators, gallery educators, librarians, teachers from all three sectors: catholic, independent and government, and teachers from rural and regional Victoria as well as tertiary art lecturers involved in teacher education. The following list has been pasted from the data as collected online Nicole Wassell President, Art Education Victoria Graham Nash Secretary, International Society for Education through Art Alda Hubbard Head of Arts Domain
Angela Gargano Teacher Librarian Annette Osborne Art Teacher at Braemar College, Woodend Annie Barton Visual Art Teacher Annie Quail Presbyterian Ladies’ College April Hinton Frankston High School Ashley Capes Media Teacher 7-‐12 Barbara Jaffe Art Teacher Brianah Walsh Teacher Bridget McDermott Head of Visual Arts, Mount Scopus Memorial College Brittany Stueven St Peter’s College Bryan Smith Nagle College Bairnsdale Cameron Lynch St Peters College Carla Edgerton St Peters School Caterina Poliski Head of Art, Melbourne Grammar School Charlotte Clemens Lecturer In Art Pedagogy For Secondary Schools, Victoria University Chelsea Barrett St Peters College Christine McDonald Head of Visual Arts, Frankston High School Concettina Inserra Pre-‐Service Teacher Craig Hall Visual Arts Teacher Danielle Edwards Berwick Secondary College David Lawrence Teacher David Lloyd Healesville High School Deanne Lawn Mullum Primary School Visual Art Teacher Deborah Round Dee Zabel Zart Art Delise Oldfield Warrnambool Art Gallery, Secondary Education Officer Dr Julie Heron University of Ballarat Dr Mark Sekrig Lecturer In Art Education, Victoria University Duncan Watson Visual Art Teacher Elizabeth Mutimer Arts Co-‐ordinator Emma Woods St Peters College Emma Wouters Faye Jones Benalla East Primary Fiona Gallagher St Peters College Cranbourne Gail Frost Geelong Gallery Educator Gaye Kershaw Visual Art Specialist P-‐6, Darley Primary School
Geoff Baker Art, Media and Visual Communication Teacher, Santa Maria College, Northcote
Geoffrey Edwards Director of Arts Organisation Georgina Ruzyla Kallista P.S Sassafras P.S Geraldine Burke Monash University Faculty Of Education: Art Education And Studio Arts Gillian Nix Our Lady of Sion College, Box Hill, Victoria Gina Goss St Peter’s College Cranbourne Glenda Mccabe Classroom Teacher; Senior School Team Leader Glenys Van Dorssen St Peters College Greg Hayes H. Ferguson Dale Warrandyte High School Hannah Roberston Frankston High School Heather Landman St Margaret’s School Helen Kostiuk Visual Arts Coordinator, Strathmore Secondary College Helen Kuriata Mckinnon SC Helen Phelan Glendal P.S.
Jacinta Harding Accountability Coordinator Jacinta Pope Family Support Worker James Watt Teacher Of Visual Arts James Murnane Pre-‐Service Teacher Jan Phillips VCE Art And Studio Arts Teacher, Haileybury College Jan Roker Zart Art Jane Gibbs Williamstown High School Jennie Harland Art Coordinator Jennifer Schwab Part Time Art and Studio Arts Teacher Jenny Corcoran Teacher Jeremy Howe St Peters College Cranbourne Jess Gibson Mobile Art and Craft Teacher Jessica Chakman St Peter’s College Joan Hanger Joel Wolter Art Co-‐ordinator John Bolton St Peters John Irving Head Of Art John McCabe Mazenod College John Watson Visual Art Teacher Jolenta Kirkwood Avila College Head of Visual Arts Judy Gaskell Our Lady of Sion College Judy Woods Belgrave Heights Christian School Juley Karis Mornington Secondary College Justine Siedle Art Teacher .04FTE Geelong Grammar, Toorak Campus Jutta Snyder Arts Teacher Prep to 6 Kara Patrick Pre-‐Service Teacher Katalin Young Visual Art, Auslan, French and Generalist Teacher Kath Widdicombe Canterbury Girls' Secondary College Kevin Cooper St. Peter's Kim Wootton Frankston High School Kirsty Zahra Visual Arts Teacher Kristy Harvey Head of Art, Belmont High School Kymberley Peace Middle School art Teacher Lara Karasavvidis Buckley Park College, Arts Coordinator Leanne Jenion Art Teacher Leeanne Hahnel Art Specialist Leyla Tas Student Teacher Linda Howell Art Teacher Linda Studena Student, Australian Catholic University Lise Mizzi Vermont Secondary College Lorinda Mutsaers Marist-‐Sion College, Art Teacher. Lorraine Dole Caulfield Grammar School Louise Atchison Art Teacher Louise Overberg St Peter's College Luisa Jakubicki St Peter’s Cranbourne Lynn Keating Art Teacher Frankston High School Maree Griffiths Art Teacher Margaret Peppard CRT Marika Borlase Senior Art Teacher Loreto Toorak Marina Sipos Teacher, Our Lady of Sion College Marjolyn Willis Avila College Marjorie Van Dorssen Teacher
Mark Sinclair St Peter’s College, Cranbourne Mary Jyothi Verghese St Peter’s College, Cranbourne Mary-‐Ann Meade Teacher Visual Arts; Pastoral Teacher Megan Finnigan Year Level Coordinator and Art Teacher Melinda Dawson Leading Teacher -‐ Elearning Melissa Faulkner St Peter’s College, Cranbourne Melissa Bedford Monash University of Art Museum Michael Delaney Art Teacher Michelle Charman Teacher Michelle Green Head of Visual Arts Michelle Kollarics Visual Arts Teacher At St Peters College, Cranbourne Mrs Susan Bell Wesley College Glen Waverley Natasha Le Noel St Peter’s College Nerida Morrish Ouyen P-‐12 College Nicole Anderson Northern College of The Arts & Technology Nikki Fowkes Head Of Visual Art Patrick Hayes St Francise Xavier College Beaconsfield Paula Andreovski Hawthorn Secondary College Paula Rose Visual Arts Coordinator Penne Ebbage Head of Art Peter Brannan St Peter’s College Cranbourne Peter Horacek Caulfield Grammar School Phil Taylor Art Teacher Rachael Miller Head of Arts Rachel Embury Overnewton Anglican Community College Renee Gross South Oakleigh Secondary College Rhiannon Clark Teacher Rhonda Nadasdy Primary Visual Arts Specialist Robyn Price Head of Vis Arts Robyn Stansfield Our Lady Of Sion College Robyn Young St Peters College Ros Janas Arts Coordinator Roy Lee Head of Visual Arts Ruth Cronin Primary Arts Specialist/Library Sally Hill Melbourne Girls Grammar School Sally Mccredie Art Teacher, Bialik College Samantha Lynch St Peters College Sandra Jurberg Primary Art Teacher-‐Part Time Sarah Deed Avila College Sarah Merrigan Caulfield Grammar School Shane Mcfadyen Art Teacher Sharelle School Shawn Jordan Bairnsdale Secondary Shelley Mitchell Mobile Visual Arts Teacher Silvia Krambeck Stephanie Stott Arts Coordinator, Mornington Secondary College Steve Emmett Head of Art Sue Dunkley CRT Sue Horacek MLC Sue Ledsam VCE Studio Arts And VCD Teacher Susan Mcdonnell AP-‐ Senior School And VCD Teacher Suzanna Watterston Melbourne Girls Grammar School
Tania Do Berardino Zart Art Therese Saccuzzo Visual Art Teacher (Primary) Tina Thomas Art Teacher, Mornington Secondary College Tracy Lockley Teacher Urania Tokatlidis Visual Arts Teacher Valerie Crosse Art And Design Teacher Vivienne Hayes St Peter’s College Wendy Higgs Maranatha Christian School Yvette Nowell Primary Art Teacher Yvette Staple Art Teacher Zoe Keystone South Oakleigh College
AEV HAS IDENTIFIED KEY ISSUES IN THE DRAFT
The ARTS Rationale and Aims AEV believes it is crucial that the ARTS Rationale and Aims requires major improvements to provide the FOUNDATIONS for each individual subject. This means all the subsequent structures, band descriptions, subject specific achievement standards and elaborations will need major re-‐writing. We believe the current generic Arts rationale, aims, organisation and structures would seriously and negatively detract from the current provision of high quality visual arts education in Victoria. AEV believes there should be a rich aspirational curriculum structured to provide a clear developmental framework to underpin students deep learning as practitioners and audiences.
The Visual Arts The Rationale and Aims for Visual Arts requires a major re-‐write, to provide the fundamentals for coherent, structured curriculum elaborations and achievement standards. The current elaborations and achievement standards are totally inadaquate. They completely underestimate student abilities and the quality of current teaching and learning.
AEV’S RESPONSES TO THE ACARA SURVEY QUESTIONS THE ARTS RATIONALE AND AIMS p.3 of the draft
8. The rationale for the Arts learning area is clear about the nature and importance of learning in The Arts for all Australian students. NO COMMENTS:
The rationale is weak, outdated and under-‐represents the subject as a body of knowledge that is valued by students and teachers. The premise for the rationale for the Arts and the Visual Arts as a process-‐based enterprise is outdated, wrong and fails to enable teachers to deal with contemporary practices across the full range of artforms.
The arts rationale should start with introductory paragraphs that clearly and powerfully demonstrate the importance of arts education itself – see the opening sentence in the English rationale below. The Arts rationale should
• Start with introductory paragraphs that clearly and powerfully demonstrates the importance of arts education itself
• Compare the draft Arts Rationale to this following one. (This is the Australian Curriculum English Rationale, with ‘THE ARTS’ / ‘VISUAL ARTS’ substituted for ‘English’. We are not suggesting this to substituted, but the strength and importance of the message is considerably clearer and more powerful in communicating its importance)
THE ‘ARTS’ RATIONALE AND AIMS ‘The study of THE ARTS is central to the learning and development of all young Australians. It helps create confident communicators, imaginative thinkers and informed citizens. It is through the study of THE ARTS that individuals learn to analyse, understand, communicate with and build relationships with others and with the world around them. The study of THE ARTS helps young people develop the knowledge and skills needed for education, training and the workplace. It helps them become ethical, thoughtful, informed and active members of society. In this light it is clear that the Australian Curriculum: THE ARTS plays an important part in developing the understanding, attitudes and capabilities of those who will take responsibility for Australia’s future.
The Arts rationale should
• clearly define the way judgement and practical and critical reasoning is cultivated through
learning in the arts agencies beyond the self are mobilised students are initiated into the practices of artmaking and critical and
historical studies. The Arts rationale needs
• to strengthen the increasing sophistication of expectations in learning F-‐10 • an explanation of how students develop a body of knowledge about the arts and
develop understandings about how they are enculturated and develop agency • to clearly identify the importance and uniqueness of knowing practically and
conceptually in each subject The arts are referred to as a ‘communication’, ‘a reflection’, ‘a response to communities, countries and history’
• The arts are more than these generalist statements. • It must be explained how the Arts have a strong inspirational impact on identities,
and how individuals grow. • The arts have a stronger theoretical underpinning than vague references to
‘communication’, ‘reflection’ and ‘response’. The Rationale does not expand on the depth that each of these activities can be and the theoretical underpinning behind them.
• There is no mention of how these forms ‘engage students in critical and creative thinking’ (VELS introduction) and the role the arts play in society socially,
economically and culturally. This is how individuals and groups in Australia build their identity and relationships to others.
Emphasis on discrete language. • The document refers to each arts area having a discreet language, when in effect in
this document, they are all combined, particularly in the lower years. • How can the discrete language be maintained when this document emphasises the
generic teaching of these subjects as one? Emphasis on ‘practice’
• The arts have more diversity than that of ‘practice’ there are theoretical, philosophical, critical and creative underpinnings that are much wider than just the study of ‘practice’.
• The arts are not just viewed through practice. Even so, in this document the notion of practice should be defined more clearly. The description of practice does no take into consideration he critical reasoning or risk taking that is valued in the production of creative outcomes or objects.
Based on a discussion of aesthetics. • It seems there is a return to the notion that any creative, intellectual or artistic
experience is based on visual aesthetics. • There needs to be a clear referencing to the way the visual and the aesthetic are
playing an increasing role in contemporary society. • There needs to be a discussion of how aesthetics can contribute to student growth
and personal understanding. And how aesthetics can place value on objects in society.
Personal Growth and Self Expression • The document needs to refer to the strong personal expression and self growth
that is integral to an Arts curriculum where through exploring ideas, materials and forms and then creating and developing artworks students undertake a journey of self expression and exploration. This is related to critical and creative thinking processes where the student relates themselves to the world around them through ideas, objects and art forms.
• The notion of art appreciation and critical theory adds to this journey of self expression where students are thinking, writing and discussing art works and ideas of culture, identity and history that art works express.
Diversity of Disciplines & Forms • Many current curricula and syllabuses in the arts in the country embrace the
diversity of disciplines and forms that are used to structure teaching and learning in the Arts.
• This rationale needs to provide the scope for these strategies to be explored and developed by teachers and students.
• As Design has a strong history in many curricula and syllabuses (particularly in Victoria) this curriculum needs to address design and its importance in our contemporary culture both locally and globally.
• There needs to be acknowledgement of the intention of the processes and language that designers use and it contribution to the exploration and development of arts works.
Technological Innovation • There needs to be reference to the use of technology that is embedded in many
arts forms and art works.
• There needs to be more evidence in rationale that promotes the use of technology in arts learning or in the curriculum. Without this reference to technology teachers and therefore students will not have an understanding of the innovation that technology provides in our contemporary world.
AIMS 9. The aims for the learning area clearly state the intent for the draft Australian Curriculum: The Arts Foundation to Year 10. NO COMMENTS:
• The many purposes of the arts need to be articulated, this version gives too much emphasis on one: personal expression
• There needs to be an explanation and emphasis on the artistic, cultural symbolic and economic impact the arts have in developing Australian identity.
• The practical and critical reasoning and risk taking that the arts cultivate needs to clearly demonstrated
• A huge emphasis is needed on the roles of the visual and aesthetic as key drivers in contemporary society
• Heavy emphasis on the arts practice and skills.
• The aims appear to place emphasis on arts practice that is based on the ‘process of making’ whether associated with creativity, imagination, technical, aesthetic and critical thinking or innovation in arts practice.
• The study of art is more than just practice and skill. • There are the theoretical underpinnings, historical and critical skills and knowledge
that comes through cognition and philosophy. • This is particularly worrying when the current VCE Art study design basis its
structure on theoretical research. • To another extent, Studio Arts investigates the structures that form artworks and
the processes that artists use. The definition of the word process is a much more developed area than the concept of ‘practice’
• The VCE Visual Communication Study focuses on the Design Process. It is clear that if we are going to prepare students for higher study post Year 10 that they will need the understandings and skills that will prepare students for this higher area of study.
‘Creativity, imagination, technical and aesthetic, critical thinking and practices’ • These are all combined into one statement. These are all important individual
concepts and skills that form a curriculum that has depth and rigor. To have them all appear in one statement in relation to ‘engagement’ and ‘practice’ diminishes their criticality.
• The independent strands of artmaking, art criticism, art history and art theory have all been rolled into one. Each of the areas of the Victorian VCE Studies call for an in-‐depth understanding in all these areas in making, criticism, history and theory in both art and design.
• There needs to be a ‘scaffolding’ of these crucial strands within the Visual Arts F-‐10. ‘Curiosity about’
• Students explore, investigate, are inspired, manipulate, develop from an inquiry based starting point. Inquiry based learning is currently a very strong pedagogy that has been developed in many subjects across the Victorian curriculum. Therefore it should be given more integrity than just a bland statement.
Aesthetic knowledge and communication • The definition of this is unclear. It appears to define aesthetics as the
communication and the sharing of knowledge and information. • Both these terms need greater clarification and explanation
‘Understanding of cultures’ • The reference to an understanding of cultures seems removed from an in-‐depth
study of artists, artworks, the audience and the artworld that can be interrelated and investigated.
• It has been reduced to engagement. • The engagement of students is only the starting point in any investigative process
or teaching strategy. • Further development of ideas, skills, use of materials and techniques is evolved
from this engagement. Engagement does not just commence this process but must be maintained and reinvigorated along the way.
ORGANISATION OF THE ARTS LEARNING AREA & CONTENT STRUCTURE p.4-‐8 10. The organisation of the learning area provides a coherent view of the key components and features of the Arts curriculum. NO COMMENTS:
• No. It is not coherent, it is confusing at best • The Arts is a curriculum title, a construct, not a coherent body of knowledge. It does
not follow that they have ‘close relationships’. • There is no evidence that they are or should be ‘used in interrelated ways’. Rather
research shows quite the opposite. • Page 4 DETAILS IMPLEMENTATION STRATEGIES NOT CONTENT STRUCTURE • THIS CURRICULUM SHOULD STOP TRYING TO CREATE A NEW ‘SUBJECT’ CALLED THE
ARTS! • The term is purely an ‘UMBRELLA’ and should be used as such.
11. The Content Structure for the learning area is appropriate. NO COMMENTS:
• THERE IS NO SUCH THING AS ‘ARTS’ CONTENT • There are clearly defined ‘bodies of knowledge’ IN ARTS FORMS OR ARTS SUBJECTS • The Arts subjects are NOT naturally interconnected, this is over emphasised and is
causing a supreficiality to this draft • It needs to be made clear that each Arts subject has a practical and conceptual body of
knowledge, (and histories and traditions…) that must be articulated as separate and unique, under this ‘Arts construct’
• Interconnectedness in hybrid and contemporary art develops FROM knowing unique qualities – this is NOT a reason to emphasise interconnected DELIVERY of art subjects.
• The organization of the content for the learning area is very unclear and presents an unsatisfactory view in respect of the structures that exist in many state curricula and syllabuses.
• The areas of ‘Learning In’ and ‘Learning Through’ the arts, and the accompanying diagrams misrepresent many of the processes and concepts that they represent. They also are easily confused and can be inappropriately tagged to the areas of ‘Making’ & ‘Responding’ to the Arts. In addition these areas are a poor representation of the variety and scope of the representation of these areas in the current art curriculum in Victoria.
‘The arts subjects are all interconnected, particularly through hybrid and contemporary arts’? • This concept of ‘hybridity’ is unclear. It seems to be linked with the ‘contemporary’
artform. • There is no definition of this in the glossary so there is an assumption that this
definition defines most art works created in a Post Modern context. • There is a suggestion that making artworks in one art form can use materials from
another? This is very undefined and confusing. If it is confusing for an art teacher, what hope does a primary generalist teacher have? The use of this term and that each art form can lend part of its techniques, subject matter and processes to another, that the arts are becoming watered down forms.
• Any Interconnectivity should have a strictly conceptual basis and be across any subjects, do not suggest restricting student associative learning
The following sentences on page 4 need to be deleted because they are about implementation and delivery, they are not about curriculum:
The Arts subjects are also interconnected, particularly through hybrid and contemporary arts. The curriculum enables exploration of the dynamic relationships between Arts subjects evident in works from diverse cultures. This might involve students making works in traditional or contemporary forms or using material from one Arts subject to support learning in another. TOO MUCH EMPHASIS ON INTERCONNECTIVITY: THIS IS AN IMPLEMENTATION ISSUE From Foundation to Year 6, students will have opportunities to experience and enjoy (WHAT!!! THIS IS DERISIVE – IS ‘experience and enjoy’ A FOCUS IN THE ENGLISH OR MATHS CURRICULUM?) learning in, learning through and learning about (Wrong order -‐ should be learning in, learning about and learning through) all five Arts subjects. From the beginning of secondary school (Year 7 or 8) students will continue to learn in one or more of The Arts subjects, with the opportunity to specialise in one or more subjects in Years 9 and 10.
• The states are responsible for implementation – it is ENTIRELY INAPPROPRIATE for a
CURRICULUM FRAMEWORK TO DICTATE HOW it is to be delivered. This document is about CURRICULUM not pedagogy or implementation .
(ACARA has repeatedly stated that they CANNOT include anything that dictates to the state and territories HOW TO IMPLEMENT this curriculum. That implementation is a state or territory prerogative)
• Top p.5 Again too much emphasis on personal expression in making… the last sentence in
the para is the crucial one They learn to generate and analyse ideas, make art works and express ideas, feelings and emotions through art form-‐specific skills and techniques. The curriculum examines the contemporary manifestations of each art form and how the world is interpreted through the social, cultural and historical contexts of an artwork.
• P. 5 Paragraph 2 is confusing and undermines learning and using subject specific terminology and therefore deep conceptual understanding. They should be learning and using subject specific terminology from Foundation.
• Generic arts terms applied to different arts subjects have different meanings, for example colour and tone have different meanings in visual arts to music.
• ‘Arts vocabulary’ is not used in specific ways. This is erroneous and confusing for teachers and students.
• Subject specific terminology is introduced and used in Foundation years now and it is necessary to sequentially develop or scaffold that learning.
Students learn to communicate their understanding in Making and Responding using Arts terminology. Arts terminology is introduced in the primary years where students learn that vocabulary is used in specific ways in each Arts subject. From the beginning of secondary school more Arts subject-‐specific terminology will be introduced to develop students’ vocabulary in the learning of each Arts subject.
• These are subtle, but crucial messages here that would relegate teaching in primary school
to this murky notion of an ‘arts subject’. 12. The inter-‐related strand structure of Making and Responding is appropriate for organising the curriculum content. NO COMMENTS:
• The organization of the content for the learning area is very unclear and presents an unsatisfactory view in respect of the structures that exist in many state curricula and syllabuses.
• The areas of ‘Learning In’ and ‘Learning Through’ the arts, and the accompanying diagrams misrepresent many of the processes and concepts that they represent. They also are easily confused and can be inappropriately tagged to the areas of ‘Making’ & ‘Responding’ to the Arts.
• In addition these areas are a poor representation of the variety and scope of the representation of these areas in the current art curriculum in Victoria. There are several areas in this section of the document that need further examination.
Making – using processes, techniques, knowledge and skills to make artworks. • Making in this document becomes a function without any reference to creativity
or innovation, which is expressed in the current VELS curriculum. • Making needs to specifically include thought and creativity. It needs the key
elements that are essential in the production of artworks.
• Making artworks needs to include reference to conceptual development and the roles of the artist, audience and artworld.
• Because it is so simplified there is little scope for development across the bands. • What about the thinking and inspiration and reflection that comes with creating
works of art? • There is too much focus upon techniques and skills in making. Art making at all
levels has moved beyond simple ‘busy’ activities, where students simply learn and apply skills to ‘craft’ an item. This definition current documents ignores ‘making meaning’ and the intentions of the maker.
• The practice of using a Visual Diary (or equivalent) which is an integral part of the current 7-‐10 curriculum in Victoria, becomes obsolete under this structure.
• There needs to be an explanation of the importance of developmental thinking processes behind an artwork. The Visual Diary provides the opportunity to develop their art language, literacy skills and an understanding of visualizing process. The current concept of Making does not allow students to develop their thought processes which often occurs in a Visual Arts Process diary.
Terminology • The words such as ‘elements, codes, conventions, viewpoints and practices’ that
are ‘specific to art forms’ seem to suggest that there is a semiotic structure that should be followed.
• This suggests a uniformity and conformity that defies the creativity and individuality that the arts offers.
• As words that exist ‘stand alone’ they are indefinable as they mean different concepts in different art forms.
Responding – exploring, responding to, analysing and interpreting artworks. • The use of the word ‘Responding’ again simplifies the area. • There needs to be reference to the research, critical and historical study
students undertake. • There needs to be reference to the value of literacy and the use of art language. • It offers little scope for the complex processes that a student can undertake in
the study of art and art writing. • At VCE level we have worked hard to increase the rigour and depth of the study.
There is concern where that the final VCE examination in many art studies exists as a written examination.
• The overall statements that are built into the content description for this area appear ‘reductionist’.
• The words ‘reflecting’, ‘responding’ and ‘considering’ are linked to the concept of self, artwork and art world. However, these strategies lack the framework that is required for this area of the Arts.
• It appears that the area of historical, critical study is reduced to ‘considering’ and ‘responding’ to artworks. There are gaps in this process. What does one do once they have ‘considered’ the art work. How do they then respond? Are they only considering artworks in the broader context of the world? How will students reflect on their own artworks when there is little reference to the structures of how art language is built?
• This area does not acknowledge the diversity of this area. It does not show any relationship between the agencies in the art world such as the artist, artwork
and audience. Where is the opportunity for meaning and interpretation of ideas and the expression of artists addressed?
• This does not build up the student ability for personal reflection and personal growth. Where is the ability to diversify teaching strategies to cater for different learning styles?
• This area requires an understanding where learning focuses on context, interpreting and critical, historical study combined with the study of aesthetics. The analysis and understanding that students undertake about artworks is both related to their own expression and the artworks of others. This research also draws on research into the purpose, functions and audiences that art works are created for and presented to. This study involves developing an understanding of the social, cultural, political, economic and historic contexts of art works. Students also can develop a consideration of the ways art works reflect, construct and challenge personal and cultural values.
Learning in the Arts – Diagram Page 6 • These words are loosely presented with no definition and no structure. • They are referential to the design process but it is unsure if a student were to
use them in the ‘Making’ or ‘Responding’ areas. They appear with a series of verbs underneath them that are not repeated or consistent with the rest of the document.
• It is unclear how these words are to be used in developing a course and how to create reportable standards for using these.
• They could be used in both strands but there needs to be extensive clarifications to develop their scope and sequence.
Learning Through the Arts – Diagram Page 7 • It is unclear how to use this structure; some of this appears as subject matter
and some of them are issue or theoretical based. • The diagram offers no firm idea of what is to be studied. Some of the
information is contextual (Eg: Cultures, Societies, Histories) and some is constructual (Pyschology and Evaluation). It seems to be a diverse range of concepts that would be difficult to structure into a curriculum. The need some formal representation. At present they are presented as questions which seem unclear as to how they are to be used. Are they definitions or frameworks or lens to which use the ‘Making’ and ‘Responding’ areas.
FURTHER SPECIFIC COMMENTS OFFERED FROM AEV MEMBERS DURING FORUMS
• Remove the diagrams! They are not helpful • Interpreting is much more appropriate than Responding • Responding is to weak, too shallow and art teaching and learning has moved
beyond this tem. • Responding does not work. It ignores the scaffolding of sequential learning that is
required for conceptual development. • Responding is inadequate for the practical and cognitive nature of the Arts • ‘Interpreting’ more clearly defines the intent within this structure • Exploring comes before experimenting • This does not build up the student ability for personal reflection and personal
growth.
• This structure should be FOR A SPECIFIC ART SUBJECT not for interconnected delivery p. 4
• Any Interconnectivity should be on a strictly authentic, conceptual basis. THE ARTS ACROSS FOUNDATION TO YEAR 10 p.9-‐10 13. The description of learning in The Arts across year-‐groupings is appropriate. NO COMMENTS:
• NO, they do not present a sequence of development of knowledge, understanding and skills.
• The descriptions of these bands bear no resemblance to the research that has contributed to the sequential development of student learning across all areas of the arts. They are general with some references to personal, emotional and cognitive development, which do not relate to specific arts learning.
• Top p.9: The Australian Curriculum: The Arts is based on the principle that all young Australians are entitled to engage fully in all the major art forms and to be given a balanced and substantial foundation in the special knowledge and skills base of each.
DELETE these words – this is an implementation issue MORE IMPORTANTLY this curriculum NEEDS TO RECOGNISE THE
IMPORTANCE OF THE VISUAL ARTS IN EDUCATING OUR VISUAL LEARNING MODES
Two-‐thirds of all information we receive is visual and 75%-‐90% of classroom learning comes through our visual system; We receive much of our information through our visual system…during short term memory the visual area of the brain is actively “thinking” about a specific feature of an object (e.g. color or orientation), to ensure that the information will be maintained and not forgotten. http://www.psychologicalscience.org
FIRST WE SEE – This curriculum needs to use to the information in the national report as well as other research into the importance of learning through visual modes
With the exception of music, the other arts subjects all rely on a developed visual aesthetic sense and knowledge of the visual arts
FOUNDATION TO YEAR 2:
• LAST SENTENCE: Students will learn about and experience connections between the art forms.
o Why? On what grounds or research? o These words must be deleted
• How can students make connections before they have begun to learn / have learned what an art form is?
• Students must begin to learn about the unique qualities of each art form from F-‐2 YEARS 3-‐6:
• In these years, learning in The Arts occurs both through integrated curriculum and The Arts
subject-‐specific approaches. • This sentence is in the wrong order at best! It is discouraging any deep subject specific
learning which students are capable of in Years 3 – 6.
• Students in these years increasingly recognise the connections between The Arts and with other learning areas.
• STUDENTS RECOGNISE CONNECTIONS BETWEEN THE ARTS ONLY IF YOU FORCE THEM TO BY WRITING THIS INTO THE CURRICULUM AT THIS STAGE!!
YEARS 7-‐10:
• Their interests extend well beyond their own communities and they begin to develop concerns about wider issues.
• THIS BEGINS AT MUCH EARLIER STAGES – IN PRIMARY SCHOOL • Increasingly they are able to work with more abstract concepts and are keen to explore the
nature of evidence and the contestability of ideas. • THIS BEGINS AT MUCH EARLIER STAGES – IN PRIMARY SCHOOL • Students explore and engage with art works including visual arts works, music, dance,
theatre and media arts works made by others. They make their own art works drawing on their developing knowledge, understanding and skills.
• THIS IS A RIDICULOUS STATEMENT TO BE ONLY INCLUDED AT YEAR 7 • AGAIN THIS BEGINS AT MUCH EARLIER STAGES – IN F – 2!! • In these years, learning in The Arts occurs both through integrated curriculum and The Arts
subject-‐specific approaches. • The band for 7 – 10 appears to be the most connected to the Arts. It discusses how the Arts
are linked to the student world. It is the only area where there are questions that students could pursue in their learning such as ‘What meaning is intended in a work/” or ‘What does the audience understand from this artwork’. It appears to be unusual to put these here where they may have been better placed in the content description area for ‘Learning through’ and ‘Learning in’ the Arts.
ACHIEVEMENT STANDARDS (p.11) 14. The explanation of the nature of achievement standards in The Arts is clear. NO COMMENTS:
• NO, again these are generic! • The sequence of achievement standards in each Arts subject describes progress in the
learning area, demonstrating a broad sequence of expected learning. • NO – learning in each subject is to be described, so that it can be assessed and reported
upon independently • AN ‘ARTS’ SCORE IS MEANINGLESS -‐ as teacher / student & parent experience shows here
in Victoria The achievement standards for The Arts reflect the distinctive practices of each subject along with aspects of learning that are common to all Arts subjects.
• NO Achievement standards should to be written for each arts subject
• AN ARTS STANDARD IS MEANINGLESS • The standards particularly in the Visual Arts are very brief and do not represent the detail
and content expressed in the Content Descriptions and Elaborations. Nor do they represent the broad variety of capabilities that the current standards and Performance Descriptors in Victoria currently describe.
• The standards are inconsistent with what they promise in the introduction. Words such as ‘quality of learning’, ‘broad sequence of learning’, ‘depth of conceptual understanding and sophistication of skills’ are present when these concepts are not reflected in the standards, as they exist.
DIVERSITY OF LEARNERS p.12 -‐13 15. The explanation of the ways in which the Australian Curriculum caters for the diversity of leaners (sic) is clear. NO COMMENTS: The way the current document addresses the ‘Diversity of Learners’ via the draft standards is superficial.
• It would be difficult to establish diversity using the standards in each subject and band, as they are so brief and generic as to render them useless.
• The diversity of learners is also not discussed in the Content Descriptions and Elaborations and it would be difficult for teachers to establish strategies to address these differences without strong foundations.
• Page 13 – Diversity of Learners – English as an additional language or dialect. This section discusses how teachers would cater for EALD. Given the complexity of the document, and the inconsistency between the Content Elaborations and Descriptions, it would be difficult to develop a separate ‘strand’ or ‘standards’ for these learners. There needs to be clarity in the standards in each subject before this area can be addressed.
GENERAL CAPABILITIES p14 – 16 The relationship described between the learning area and each of the following general capabilities is evident in the curriculum content: GENERALLY: NO COMMENTS:
• The way these general capabilities are addressed in the draft are too general and need strong conceptual basis for their application in the Arts.
• It needs to be made clear how these would be applied. Would the teacher refer back to these descriptions for clarification? Do they provide clarification of teaching and learning strategies that embrace these capabilities?
• There needs to be more thought put into how these are addressed in each of the Arts subjects within the Content Descriptions and Elaborations.
• Careful consideration should be placed on how these capabilities should be assessed in the standards with descriptors.
• As a student progesses through each of the bands there should be representation of how the general capabilities are developed by the individual student and built upon.
• It should be noted that the General Capabilities apply to a complex network of learning including social, cognitive, imaginative and process based learning.
• Currently the adaptation of some of these general capabilities in the Victorian curriculum makes development unwieldy, with too many areas to address for the one Level at any given time.
Cross-‐curriculum priorities p17-‐18 The relationship described between the learning area and each of the following cross-‐-‐ curriculum priorities is evident in the curriculum content: NO 23. Aboriginal and Torres Strait Islander histories and cultures 24. Asia and Australia’s engagement with Asia 25. Sustainability COMMENTS:
• These areas with their specific descriptions need to be developed further in the Content Descriptions and Elaborations within each subject. At present they are removed and not integrated with the current curriculum.
LINKS TO OTHER LEARNING AREAS p.11 26. The links between The Arts and other learning areas are appropriate. NO, Insufficient COMMENTS:
• These are linked by concepts, knowledge, skills and techniques, however, only some Arts subjects are referred to in each link. These should be provided across in all Content descriptions and elaborations.
• They seem to be only linked by subject matter, techniques and processes not by concepts and underpinning theories, which are essential to the Arts.
• There are some subjects, which are named in some of the Links and others that are omitted. It is important that all of the Arts can be linked to other areas of the curriculum and are a driving force in the varying individual differences of students and learning styles.
IMPLICATIONS FOR IMPLEMENTATION p.21 27. The ways in which teachers can implement the Arts curriculum to support student learning are clear. 28. The ways in which teachers can implement the Arts curriculum to support assessment of student learning are clear. NO COMMENTS:
• There is little evidence in the band descriptions, content descriptions, content elaborations or standards to address the implementation of the Arts across the curriculum.
• The suggestions seem to be process based with little conceptual framework. They are aesthetic with unsupported links to a full arts curriculum. Many aspects of the arts curriculum can disappear under this implementation.
THE ARTS CURRICULUM The draft content descriptions across the five Arts subject areas (The following response is related to the Visual Arts only) 29. cover the important content for the learning area NO 30. are coherent as a set, that is clearly articulated across strands and band levels NO 31. are manageable in terms of implementation NO 32. provide flexibility for implementation NO
33. provide opportunities to explore connections between the art forms NO 34. enable teachers to cater for needs of all students NO 35. together with the achievement standards provide clarity about the depth of teaching and learning required. NO The achievement standards across the five Arts subjects 36. set challenging but realistic standards. NO 37. are consistent in pitch or level of expectation at each band level NO COMMENTS: Provides flexibility for teachers to create a curriculum that caters for all students needs.
• Refers to using tools and practical work but not to any theoretical component or literacy levels.
Use content from ‘across several year levels’ to teach and apply to the standards. • This could see a collapse of an arts program and the combining of several year levels in the
one class or several Arts subjects? This would be difficult for a generalist teacher to grasp when teaching primary arts. What happens in a school where there is a generalist teacher for Art and Technology? How is valuable learning provided when the teacher may be trying to teach content across several year levels in different arts areas. Where is the value of a rich Arts program in skills and concepts that schools have developed?
Organisation of program into bands to make best possible use for all students and make best use of resources.
• Again reference to broad standards so financial constraints are being considered above students. How is standardisation for testing achieved? How do schools adopt an arts program that is relevant to other students of the same ability at other schools? How is this structure adopted for reporting systems in school?
GLOSSARY p.136 38. The glossary is comprehensive NO 39. The glossary definitions are helpful NO COMMENTS Many of the unusual terms evident through the document are not defined in the glossary. Eg: words such as ‘hybrid arts’, ‘practice’. It would be valuable to include any definitions that teachers would need in developing curriculum material, and that are essential to the standards, are included in this document. THE VISUAL ARTS p.113
RATIONALE 1. The Visual Arts Rationale provides a clear foundation and direction for the draft Australian Curriculum. NO COMMENTS Until the Arts Rationale and Aims are re-‐written, and strengthened as we stated earlier, making detailed comments about the individual Visual Arts rationale is practically worthless. If we are to go ahead with this construct called ‘The Arts’ the rationale and aims for separate subjects must have clear connections, and must flow and develop from the central precepts.
Engage with traditional and emerging artmaking and critical practices. • There remains an emphasis on practice and art making when there is a strong culture of
historical and critical studies in Visual Arts. There is little acknowledgement of this when it is a part of all VCE Art studies: Art, Studio Arts and VCD.
Makes references to the place of Visual Arts in history and culture. • There is an acknowledgement of the place of Visual Arts in contemporary culture and
society but there should be an reference to its relationship to other histories and cultures. References to Visual Arts language.
• There is reference to exploration using visual arts language. This could be increased to make reference to the use of visual language in historical and critical studies and literacy.
‘Makers and viewers’ • These terms seem to be too simplified. The study of Visual Arts has more depth to making
and viewing art works. • There is little discussion of the place of digital technologies in this Rationale when digital
technology both as a product and in teaching learning is such an integral area. There is nothing discussed about the relationship of Art and Design when design has such a strong tradition in Victoria and the two studies are often intertwined. Many of the skills, processes and concepts that students learn in Visual Arts are reflected in design. Through design, students are able to demonstrate their visual arts knowledge and direct this to specific purposes and briefs.
AIMS p.113 2. The Visual Arts aims describe the intended learning in the subject. NO COMMENTS
• The aims seem to based on human, individual and personal growth. They are based on human experience. Some of the learning in Visual Arts can be based on this but not solely on this alone. Again there is no acknowledgement of the intellectual or philosophical processes of the subject. Student art making involves more than these superficial terms which again are based on aesthetic and practice. Does learning and knowledge acquisition come through enjoyment, curiosity and engagement? There is no further discussion as to how this initial ‘experience’ can be developed or extended. This may suit primary age students but not those who are serious about pursuing a career in the arts industry at VCE level.
LEARNING IN THE VISUAL ARTS p.114 3. The two-‐strand structure Making and Responding is clearly explained for Visual Arts. NO 4. The viewpoints and practices through which students can access visual arts are clearly explained. NO COMMENTS
• This area of the document is rudimentary and has become confusing with the terminology for ‘Learning in Visual Arts’ and ‘Making’ from earlier in the document.
• Again there is a basis on engagement and learning about art only through the practice of making using techniques and skills.
• The definitions that were established in the earlier part of the document have been watered down further in attempt to give a scope to the document.
• There is a lack of understanding of the Visual Arts process cognitively and theoretically and no mention of the conceptual and cognitive development that can be achieved in the arts.
• Responding has been reduced to a have its foundations based on art making not the critical, historical study and research that can be achieved in both art making and art theoretical and historical study.
• There is confusion of the definitions of ‘perspectives’ and ‘viewpoints’. These appear to be thrown in. They do not link with any of the other Arts subjects who refer to ‘Elements’. They add to the complexity of the curriculum. Where do you address them? It is hard to establish where they fit in the content descriptions, elaborations, standards and ‘Learning in and through the Arts’. Is ‘practice’ associated with ‘Making’ and ‘Viewpoints’ associated with ‘Responding’? Therefore the framework of the curriculum has been reduced further but at the same time has increased in complexity.
• ‘Perspectives’ and ‘Viewpoints’ appear to be linked with labelled art forms. ‘Practice’ seems to be associated with art forms and the aesthetic or formal elements. In this case why is it only practice that is associated with the art elements and principles? Where the art elements and principles exist, they exist across the curriculum in creating and making artworks, historical and critical study. They are addressed in various ways using different approaches that are both practical and theoretical. Students discuss how artists use the elements and then use them and often reflect on their use in their art writing in the student visual diary.
• The term ‘viewpoints’ is currently used in the VCE art study when referring to commentaries and interpretations of art works.
• Viewpoints are not only about artworks but can relate the meanings that are said by the artist, critics and audience. They are not experiences but are connected to different ideologies and frames of reference that are linked to many of the areas that are mentioned in the ‘Learning through the arts’. They are used in debating and discussing areas of the visual arts and are not based on the individual but the relationship of the individual and their points of view to others in society and cultures both in contemporary and historical settings. They connect students to their art making and to relevant historical and cultural periods of art. They are studied extensively and interrogated by students in all aspects of an art curriculum whether it is practical, historical or theoretical and they link these areas cohesively.
• The depth, breadth and opportunity for a variety of approaches, that some areas of the Victorian curriculum provided has been reduced. Under the current proposed curriculum, students only explore, consider and investigate art works.
• Where is the complexity that is experienced with theoretical underpinning and structure where students research the art object its purpose and place in the world, its relationship to the artist, other objects and the audience in other societies, cultures and histories?
• This is the first reference to any critical or historical writing in the document. It does not cover the complexity and development research has achieved in the Visual arts and briefly summarises the area.
GENERAL COMMENTS ABOUT BAND DESCRIPTIONS
• These bands are supposed to describe the ‘sequential learning’ achieved in Visual Arts. There is little evidence of the development particularly between Foundation -‐ Year 2 to
Year 3 & 4 or Year 7 & 8 to Year 9 & 10. The variation may exist provided by one sentence. (Eg: From 7&8 to 9& 10 the only sentence added: “They develop autonomy’ (7&8) and ‘They investigate the way techniques and processes are embedded in materials, media and technologies. They will apply their understanding of aspects of practice to critical and historical interpretations of art.’ (9&10)
• The bands do not relate to the initial descriptions that are present earlier in the document. These are explained initially as ‘the nature of learners’ but they do not explain the cognitive, social and personal development of students in the Visual Arts area or link to the structure (or lack of) that has been established by many visual arts subjects. Although they are subject specific they do not relate to the structure in other subjects so there is no consistency between the arts.
• There is inconsistency across the Arts in each band with regard to the content elaborations and descriptions. The bands should be consistent across all arts subjects referring to cognitive, social, personal and conceptual learning. There should be references to the personal learning of the student tied in with creativity and the development of skills and concepts.
GENERAL COMMENTS ABOUT CONTENT DESCRIPTIONS AND ELABORATIONS
• The Content Elaborations are not structured to show the depth of knowledge and understanding that has been achieved in outcomes in existing curricula and syllabuses.
• The Victorian curriculum provides opportunity for teachers to develop an Arts program with scope and sequence because there are numerous opportunities to ‘unwrap’ and plan learning experiences.
• These descriptions and elaborations have reduced to unconnected outcomes that do not show the relationship between art making and critical and historical study. By separating the arts into two strands there is not that essential relationship in the arts that relates the creating of artworks to the investigation of how artists create works throughout history, in different cultures and in contemporary society.
• The outcomes will evolve into planning activities that are rudimentary and do not reflect student abilities and learning at the relevant bands. This particularly occurs in the initial two bands where there is terminology in the Descriptions that show no coherence in Visual Arts learning. They appear as a series of unrelated activities.
• There is no sequencing or balance within the bands. ‘Making’ and ‘Responding’ do not relate to one another, but exist as separate areas here.
• The descriptions in each area do not relate to the outlining of the strands of Making and Responding that have been outlined in the ‘Learning in’ and ‘Learning through’ the Arts.
• The Content Descriptions are not sequenced between the bands to show a development of student learning in the Visual Arts.
• By highlighting the key words between content descriptions and elaborations, it emphasizes that the relationship between the description and elaboration are often confusing. The elaboration appears to bear little coherence to the description. It does not seem to provide a structure for planning for teachers. Some of the examples provided in the elaboration are undefined and superficial and do not relate to the idea of ‘idea exploration’. These words need to be investigated and readdressed.
GENERAL COMMENTS ABOUT THE VISUAL ARTS STANDARDS
• The achievement standards currently do not explain what students should know and be able to do by the end of each band.
• They lack the conceptual and material rigour that has existed and has been extensively developed in many curricula.
• The standards for Visual Arts do not bear a close relationship between the content descriptions and elaborations.
• Teachers would have difficulty in forming consistent standards drawn on this brief example. There is an emphasis on ‘practices and viewpoints’ that only exist in the Visual Arts strands. There is no evidence of progression and sequencing between the bands. For example, there are 8 outcomes within one Band, which are not covered adequately in the standard.
• The Content Descriptions should be investigated carefully and then the standards should be drawn out from these.
• The standards have an emphasis on ‘practice’ and ‘aesthetics’. They do not justify the depth and variety that can be achieved in visual arts learning, reducing it to an engagement or a superficial recognition.
• There is concern that this is insufficient to prepare students for studies in Years 11 & 12 as there would be little evidence for teachers to measure the abilities of students both in practical and cognitive learning.
The following are further general comments made by individual teachers as posted on the AEV consultation website Seems as if the Visual art is being fragmented and reduced in time factor and lessens opportunity to access Practical Art Skills and Art History from year 7 to 10. Too much cross curriculum over works topics. Every subject becomes a sorry attempt at the Arts. Please give the Arts the significance they deserve in the development of whole, thoughtful, creative human beings. I have spent an entire life in the Visual Arts and constantly find much to learn. I cannot imagine how a generalist teacher will be able to narrow the focus on all Arts subjects to fit this restrictive prescription, without omitting huge chunks of invaluable material. It is extremely important for the future of Visual Arts in Schools that this draft is rewritten as there are serious flaws throughout the paper. I think AEV has presented a good response that's fair and reasonable.. I have attended several briefing sessions and a DEECD Strategic Partnership Program SPP Art Network meeting where the draft Art Australian Curriculum was examined. I support the recommendations put forward by AEV and hope these comments will be considered. Arts Educator P -10 The AEV have so much knowledge and are willing to contribute valuable understanding of the complex areas of the Arts and how it is best taught. ACARA should be listening to Arts teachers and AEV, they are experts in their field. I fully endorse Art Education Victoria response to the Australian Curriculum draft. If ACARA is really committed to the learning entitlements of students as a foundation for their future learning, growth and active participation in the Australian community, they will implement
the changes this response outlines. The dynamic wording given to English in the Nat Curric and the changing of the word \'English\' to \'The Arts\' immediately elevates the importance and legitimacy of our subject(s). Could we adopt a similar approach, after all, Visual Art is the one truly int... I am very concerned that the ACARA document only opts for \'one or more\' arts subject in Years 7 and 8. There should be two or more arts offerings so as to offer diversity within the arts. Where is the acknowledgement of multiple intelligences, why do designers of education continue to homogenise intellectual disciplines until the value of the experiences offered to developing individuals is such a greyed mush that they cannot indentify either their strengths or identify the niche that they can effectively fill, in a chaotic ever changing future. I am upset by this draft in the fact it has no detail to the individual arts subjects and there is no key wording to gain a deepened understanding of the visual arts curriculum. I am also appalled at the idea that their may not be an arts professor or professional whom is writing the curriculum I believe that the AEV response to the draft Australian Curriculum is considered and informed response to the document. What a superficial document this draft is. Full endorse AEV stand. Good luck It is apparent that in order to accommodate either the philosophical foundation of the national curriculum (draft), or to activate a crowded curriculum, the visual arts has been sidelined as a merely peripheral learning strand. It appears to be proposed as a radically truncated discipline with little or no regard for its intrinsic values. Point 11. Please insert the word \'intrinsic\' to stress the value and unique knowledge of separate arts areas The draft curriculum is too broad, generic and vague. There should also be very clear distinctions between visual art and visual communication, which does not seem to exist anymore. These two subjects are very separate from one another and require distinct separate curriculum. The document is too long, too confusing and needs to be adapted. There are some areas that dictate to schools time/subjects - this should be removed as it is up to the implementation of schools. There is also too much emphasis on cross curricular or integration The inclusion of history is valuable. So is the acknowledgement of Australian culture and identity which can be truly explored in the Arts, also global connections, technology, needs to be noted. Thank you AEV for all your hard work. So many basic foundations are of major concern. The documentation in it's current form is inappropriate as it presents a simple and uneducated understanding of Visual Arts and indeed all Art.
Following an excellent presentation at McClelland Gallery I fully endorse this response. I would like to thank Marion Strong for the passion and commitment she has demonstrated in trying to improve the quality of education in Australia, especially for the Visual Arts. I agree with Marion\'s (AEV) proposal. Indeed, the cultural sector has become a true economic force, contributing over $30 billion towards GDP per annum, exceeding the contribution of the agriculture, forestry & fishing industries. However, there are wider benefits that are not as easily quantified or identified. These benefits are seen in non-arts areas of our economy such as education, social cohesion, national imagination and health. p.8 Australia Council May 2012 The draft fails to consider the intellectual depth of art education. It undermines the value of the Arts in society. I would like a clear explanation on the role of writing in making and interpreting. I am in agreement with the AEV that many areas of the draft National Arts Curriculum are not appropriate or sufficient I fully endorse this response - clearly we can not let this Curriculum go ahead. I support the advise AEV has put to you about the Australian curriculum I believe all visually based subjects within the arts encorporate divergent and convergent thinking strategies which are beneficial to all other methodologies. Good Luck! art is amazing! The integrity of the Visual Arts as an individual area of study and practice is at stake as is the integrity of other Arts areas. The overall attempt called the Draft is a hastily and poorly assembled document which only highlights the lack of understanding and expertise of the writers who have attempted to extinguish the Arts as individual disciplines and an attempt hybridise the Arts into a poor excuse for the Arts, only making the Arts appear to be taught in Australian Schools. I agree with AEV perspectives. I am really concerned that there is so much emphasis on integrating other subjects such as Literacy, Numeracy, Science, etc, and that there will be no room or time to give Visual Arts the in-depth time that is required to learn skills, knowledge and practices that are unique to this area. Can we not leave the other subjects to the classroom teachers and leave the specialists to do their job, which is specialising? I write this with the utmost respect to all teachers, having been a generalist and I do understand that many subject areas are supported by the Arts as a natural part of learning. I see a lot written about other areas, but where is the content, skills and knowledge required to teach? Why do we not have a clear scope and sequence with core content that is flexible for each state but asks for fundamental concepts to be covered? Queensland developed a brilliant one in the early 2000s. I don't understand why the document seems to be so confusing. I fully endorse The response to the draft Australian Curriculum as set out by our representative, the AEV I love the documents the department/ACARA write which are then not staffed by Specialist trained teachers, and are not offered to all children, and therefore do not aim/intend to educate the whole child! The curriculum has no substance, is too theoretical and couched in language that is too
difficult to interpret. The draft needs a lot of work before it will be a plausible curriculum to cater for school student and teacher desires, resources, interest and expertise. the rational is unclear and the key knowledge of the Visual Arts isnt adressed An Australian curriculum should not have to be an impoverished one! I fully endorse AEV\'s response. Over the many years I have taught in secondary schools, I have witnessed junior Visual Art classes being progressively reduced to give more time to Literacy, Numeracy and other special programs. At my school, in spite of strenuous efforts by the staff, teaching junior Visual Art has become mere tokenism. We are all sick of having to constantly justify why it is important to teach the Visual Arts and this lumping together of the Arts disciplines, though not something new, is a great disappointment. We had hoped that the new national curriculum would recognise the value of what we do and reflect the importance of Visual Art for each Australian student. Congratulations (AEV) on your response to the draft Australian Curriculum. I am so disappointed with what has been proposed because I see it as a backward step/a dumbing down of all the wonderful gains that have been made to our Victorian curriculum. Your response is articulate, detailed and clarifies all the vital areas that need changing. I wholeheartedly support AEV's stance and hope that a satisfactory solution can be arrived at. We need to encourage rich and valuable thoughts. I especially like the inclusion of History, in particular Australian History and Culture.