Course Profile
Comprehensive Arts, Grade 9 open, Public
Unit 2
Course Profiles are professional development materials designed to help teachers implement the new Grade 9 secondary school curriculum. These materials were created by writing partnerships of school boards and subject associations. The development of these resources was funded by the Ontario Ministry of Education. This document reflects the views of the developers and not necessarily those of the Ministry. Permission is given to reproduce these materials for any purpose except profit. Teachers are also encouraged to amend, revise, edit, cut, paste, and otherwise adapt this material for educational purposes.
Any references in this document to particular commercial resources, learning materials, equipment, or technology reflect only the opinions of the writers of this sample Course Profile, and do not reflect any official endorsement by the Ministry of Education or by the Partnership of School Boards that supported the production of the document.
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Public District School Board Writing Team - Comprehensive Arts
Lead Board
Upper Canada District School Board
Management Team
Eleanor Newman
Brenda King
Dorothy Stewart
Dona Cruickshank
Course Profile Writing Team
Ron Dodson, Avon Maitland DSB
June Boag Coleman, Avon Maitland DSB
Kristine Flaherty, Upper Canada DSB
Christine Jackson, Toronto DSB
Daryl Ouellette, Upper Canada DSB
B.J. Reid, Upper Canada DSB
Unit 2: History, Culture, and the Arts
Activity 1 | Activity 2
| Activity 3
Unit Developers
Ron Dodson, Avon Maitland DSB (Project Leader)
June Boag Coleman, Avon Maitland DSB
Kristine Flaherty, Upper Canada DSB
Christine Jackson, Toronto DSB
Daryl Ouellette, Upper Canada DSB
B.J. Reid, Upper Canada DSB
Development Date: June 1999
Students use the creative process to demonstrate their understanding of the history and culture of a specific time period, through examination of works in a minimum of three art forms. Students use the aesthetic critique process and reflect on their own work and that of others.
Strand(s): Theory, Creation, Analysis
Overall Expectations: LTV.01X, .02X, LCV.04X, LAV.01X, .02X, .03X.
Specific Expectations: LT1.04X, .06X, .07X, LC1.07X, LA1.03X, .04X, .05X, .06X, .07X, .08X.
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Activity 1 |
Revealing History and Culture through the Arts |
150 - 225 minutes |
|
Activity 2 |
Revelations |
450 - 525 minutes |
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Activity 3 |
Reflection and Evaluation |
75 - 225 minutes |
· Technology, such as word processors and CD/tape recorders, removes physical, academic, and information-processing barriers often encountered by students with special needs and will allow further enrichment for advanced students.
· This unit has a Canadian context and teachers are encouraged to provide students with examples from a broad range of art forms including visual arts, drama, dance, and music. The collection of arts samples should be diverse, both in historical context and cultural representation. It is important to establish the Canadian context within the unit and to foster an awareness of the rich cultural diversity in Canadian society as a whole.
· Health and safety issues should be addressed according to the class situation (allergies, ventilation, appropriate clothing, WHMIS, etc.).
· The teacher should access resources from the available arts specialists in the school or community where needed and appropriate.
· The ongoing use of a sketchbook and/or journal is highly recommended.
· All special needs students with behavioural, communication, intellectual, physical, and multiple exceptionalities should be accommodated. An appropriate Individual Education Plan should be devised in consultation with the Special Education and Student Services resource persons.
· Education assistants, learning buddies, and/or peer tutors can assist those with communication exceptionalities. This could include assistance with writing, clarifying instructions, or audio/video recording pertinent parts of an activity.
· ESL/ELD students can be given simplified written instructions and activity-specific vocabulary. Opportunities should be available for the ESL student to participate in discussions and to share personal examples and experiences from their birth culture where appropriate.
· Appropriate modifications to the space should be made to allow those with physical and multiple exceptionalities to participate to their potential. Creative movement should be encouraged and matched to student abilities.
· Care should be taken to balance groups to allow for exceptionalities while respecting individual choices.
· Enrichment extensions should be available for gifted students in all activities.
· Assessment and evaluation procedures should be modified to allow for exceptionalities (i.e. more time given for written work, journals/reflections could be audio/video recorded).
· Materials, equipment and resources should be modified or adapted to student needs.
· Technological aids needed by students with special needs should be taken into consideration.
For success in this unit, students need the ability to work in large and small groups, to share their ideas and feelings, to make decisions, to assess their own progress in the arts, and to commit to a high level of achievement. Experience in elementary arts programs helps students become comfortable in the arts environment. A working knowledge of basic health and safety practices in the arts is important. Students are also expected to have a working familiarity with the language of aesthetic critique (Unit 1 - Activity 5) and the language of the arts (Unit 1 - Activity 3).
Teacher-led demonstration, “museum” walk, small group work, whole class discussion and instruction, group research, demonstration/presentation, personal reflection, evaluation, aesthetic critiques, sketch book/journal, brainstorming, response sheets, peer evaluation
Formative: sketchbook/journal, Appendix N - Discovery Critique worksheet, Appendix R - Peer Evaluation worksheet, Aesthetic Critique worksheet
Summative: sketchbook/journal, written work, Appendix Q - Revelations Rubric
In addition, teachers should consider a wide variety of diagnostic, formative and summative assessment and evaluation tools, such as checklists, journals, anecdotal reports, performances and presentations.
Colour reproductions of Lascaux cave paintings, votive figure (e.g., Venus of Willendorf), audio tape of primitive music (e.g., Kodo drums, didgeridoo), early dance (e.g., clip of tribal African dance from That's Dancin, Bravo TV, or a clip from Dancing, PBS), pictures of early native dance, TV, VCR, tape/CD player, chart paper, markers, open area (e.g., cafeteria or library) for the “museum” walk is optional.
Ancient Message. Synforest.
http://www.synforest.com
Bailey, Brooke. The Remarkable Lives Of 100 Women Artists. Holbrook, Ma.: Bob Adams Inc., 1994. ISBN 1-55850-360-9
Lascaux Revisited. Crystal Productions. Glenview, IL., 1994. ISBN 1-56290-147-8
The McMichael Canadian Collection. (Rev.) 1983. ISBN 0-7743-8058-6
Stewart, Marilyn G. Using An Art Museum. Worcester, Ma.: Davis Publications, 1999.
Totem Poles. Canadian Museum of Civilization.
http://www.cmcc.muse.digital.ca
Zuk, Wm. and D.I. Bergland. Art First Nations. Montreal: Art Image Publications Inc., 1992.
ISBN 2- 921370-91-3
Time: 150 - 225 minutes
In this activity, students explore and discuss the role of the arts within a given culture and time period.
Strand(s): Theory, Creation, Analysis
Overall Expectations: LTV.01X, .02X, LCV.04X, LAV.01X, .02X, .03X.
Specific Expectations: LT1.04X, .06X, .07X, LC1.07X, LA1.03X, .06X, .07X, .08X.
Sufficient copies of Appendix N and a familiarity with role-playing techniques are required. If the teacher uses the teacher-in-role strategy to introduce the students to the artworks, it is helpful to re-arrange the room to establish the appropriate mood and tone for a meeting of anthropologists. The teacher should give consideration to making his/her opening statements in role, as they are crucial in establishing the context and encouraging the students to adopt roles. The sketchbook/journal is an ongoing record of process and research. Early planning to gather samples/reproductions of art from early civilizations around the world (including the first peoples of Canada) is required.
The teacher introduces the unit by presenting students with reproductions of artworks and/or art works from early civilizations using items such as a reproduction of a cave painting (Lascaux), a votive figure (such as Venus of Willendorf), tapes of early music (such as Taiko or African drumming), video clips or pictures of dance (Kanata dance, African tribal dance, Peking Opera). The teacher leads the students through a series of directed questions (see Appendix N) that elicit speculation regarding the role of the artwork within its cultural and historical context. Alternately, the teacher may structure the examination and discussion of the object through role play, with the teacher assuming the role of a museum curator and the students assuming the roles of anthropologists who are attempting to discern the origins and cultural context of the object. The terminologies particular to each art form must be respected and used wherever appropriate.
The teacher leads students to suggest individually or in groups how the historical and cultural contexts are demonstrated through (by) the arts. Students record their observations, conclusions, and reflections in their sketchbook/journal. These may be drawn or written, in or out of role.
Sketchbook/journal reflections, Appendix N - Discovery Critique worksheet
· ·Colour reproductions of Lascaux or Alta Mira cave paintings, Lascaux Revisited video clips
· votive figure (e.g., Venus of Willendorf)
· audio tape of early music (e.g., Kodo drums, didgeridoo)
· video clip of early dance (e.g., clip from Road To the Stamping Ground - Jiri Kylian - Kultur Video (http://www.kulturvideo.com) or pictures of early tribal dance
· TV, VCR
· tape/CD player
· chart paper, markers
Education assistants, learning buddies, and/or peer tutors can assist those with communication exceptionalities. This could include assistance with writing, clarifying instructions or audio/video recording pertinent parts of an activity. ESL/ELD students can be given simplified written instructions and activity-specific vocabulary. Opportunities should be available for ESL students to participate in discussions and to share personal examples and experiences from their birth culture where appropriate.
Appendix N - Discovery Critique worksheet
Time: 450 - 525 minutes
Students critique and research a specific artwork carefully chosen from a number of works representing each of the arts and from a variety of historical and/or cultural sources. In small groups, students demonstrate their understanding of the people, the place, and the time from which the work originated by using a minimum of three of the arts.
Strand(s): Theory, Creation, Analysis
Overall Expectations: LTV.01X, .02X, LCV.04X, LAV.01X, .02X.
Specific Expectations: LT1.04X, .06X, .07X, LC1.07X, LA1.03X, .04X, .06X, .08X.
Early planning is needed to assemble a collection of varied art works from diverse historical and cultural backgrounds. The teacher is encouraged to create the atmosphere of a museum in the classroom or in an alternate setting (e.g., Resource Centre). Teachers comfortable with doing so are encouraged to use dramatic role-play concepts whenever possible. See the school drama specialist for assistance.
Materials needed include chart paper with focus questions (see Appendix N for ideas) to be posted at each museum artifact, coloured markers, and technological and print resources for student research. The teacher designates research time, schedules library and computer time, and plans for presentation time. The assistance of the teacher/librarian is important to aid research skills. The teacher should ensure that there are examples from at least three art forms in the students’ demonstrations. When planning the “museum” activity, teachers should ensure that there is a wide variety of time frames and cultures represented.
1. The teacher assembles a bank of eight to ten varied artworks, with representation from all four arts and a wide variety of time frames and cultures. (See the list of suggestions in Appendix O.) The teacher sets up a “museum” (display) in a classroom or alternate setting, such as a cafeteria or library. Focus questions in the areas of description, analysis, interpretation and judgment are displayed on chart paper at each artwork (see Appendix N for suggestions).
2. Students work in groups of three to five, visiting a minimum of two artifacts. They discuss the focus questions and record their responses on the chart paper. Duplicate responses can be check-marked by other groups and new ideas added. Students share their responses through group and/or class discussion which can be done in role with the teacher as curator and students as anthropologists.
3. In groups of three to five, an artifact is selected or assigned for further study. Each student completes the Discovery Critique Worksheet (Appendix N) and shares their responses within the group again. This can be done in role as anthropologists.
4. The teacher introduces the students to research skills and available resources. (This can be done in role as curator.) Each student group makes decisions about the organization of their research. The teacher uses the Revelations Rubric (Appendix Q). The student researches the historical/cultural period in which the artifact was created, recording the findings on the Research Chart (Appendix P). Student list all research materials used.
5. Students demonstrate their new understanding of the history and culture of the particular time period by combining aspects of two or more of the arts. Some suggestions are:
· a series of tableaux with movement transitions, accompanied by music
· a rhythmic composition with movement and special lighting effects
· poster, chant, music, or movement
· sculpture with dance interpretation
· choral speaking with movement
After sufficient planning time, the student groups demonstrate their "revelations". The work is assessed by the teacher and the students, who assess a minimum of two groups' demonstrations using the Peer Evaluation (Appendix R).
Appendix N - Discovery Critique worksheet
Appendix P - Research Chart
Appendix Q - Rubric: Revelations
Appendix R - Peer Evaluation
Refer to Appendix O - Bank of Artworks/Artifacts
TV, VCR, tape/CD player, recorder
Assistance from a teacher/librarian in teaching research skills is encouraged. Education assistants, learning buddies, and/or peer tutors can assist those with communication exceptionalities. This could include assistance with writing, clarifying instructions, audio/video recording pertinent parts of an activity and assisting with research. ESL/ELD students can be given simplified written instructions and activity-specific vocabulary. Opportunities should be available for ESL students to participate in discussions and to share personal examples and experiences from their birth culture where appropriate.
Assessment and evaluation procedures should be modified to allow for exceptionalities (i.e., more time given for written work, journals/reflections could be audio/video recorded).
Time: 75 - 225 minutes
Students summarize their cognitive and affective learning in this unit individually and in groups.
Strand(s): Theory, Analysis
Overall Expectations: LTV.01X, .02X, LAV.01X, .02X.
Specific Expectations: LT1.04X, LA1.05X, .06X, .07X, .08X.
The teacher distributes a class set of blank cards (3" x 5" or 4" x 6") and Appendices P (completed in activity 2) and S.
Each student group uses a blank card to create a name plate including name and brief historical context for each artifact in the “museum”. Students then re-organize the museum by date. The teacher and students discuss the Research Charts (Appendix P).
Summative testing (see below)
Personal reflection: Appendix N
Group process Self-Evaluation: Appendix S
· characteristics of the society/culture
· traditions
· values
· symbols (icons)
Extension: Timeline Explosion - To enrich this activity, students may prepare an extended timeline by visually placing studied time periods or objects into an existing timeline or prepare a new one including those objects studied. Students could further develop the timeline by investigating other developments and features of the time periods studied such as architecture, industry, education, politics, technology and/or social structure.
Students demonstrate their personal understanding by responding to a variety of questions such as:
· Which period appealed to you the most and why?
· With which artifact do you identify and why?
· What surprised you?
· “Culture is something that evolves out of the ... elements ... most truthfully expressed in the ... arts.” (Thor Hansen). Comment on the relevance of this statement in view of your research and class discussions.
Optionally, teachers can use testing for content and/or checklist completion.
Students complete a self-evaluation - Appendix S - Group Process Self-Evaluation.
A Popular History of the Arts. London: Marshall Cavendish Books, 1984.
Brewer’s Theatre (1st Edition). ISBN 0006270043X
Albani, Emma. Forty Years Of Song. London: Mills and Bonn Ltd., 1911.
Amtmann, William. Music in Canada 1600-1800. Montreal: Habitex Books, c1975.
Baker, Georgian Daniel. A Handbook of Costume Drawings.
Bensen, Eugene et al. English-Canadian Theatre. ISBN 0-19-540583-8
Bensen, Conolly, eds. Oxford Companion to Canadian Theatre. ISBN 0-19-540672-9
Brillarelli, Livia, Cecchetti. A Ballet Dynasty.
Brown, Russell John, ed. Oxford Illustrated History of Theatre. ISBN 019212997X
Brockett, Oscar G. History of the Theatre (7th ed.). ISBN 02050164838
Brommer, Gerald. Discovering Art History. Worchester, MA.: Davis Publications, 1988.
Cantin, Paul. Alanis Morissette: You Oughta Know. Toronto: Stoddart, c1997.
Chalmers, Graham. Celebrating Pluralism: Art Education And Cultural Diversity. Los Angeles, Ca: The Getty Education Institute For The Arts, 1996.
Cohen, Aaron. International Encyclopedia Of Women Composers. 2nd ed. New York: Books and Music, c1987.
Hume, Helen D. The Art Teacher’s Book of Lists. Toronto: Prentice Hall Canada, 1998.
Johnston, Denis W. Up the Mainstream: The Rise of Toronto’s Alternative Theatres.
Kallmann, Helmut. A History of Music in Canada, 1534-1914. Toronto: University of Toronto Press, 1960.
Kimball, Kathleen. The Music Lover’s Quotation Book. Toronto: Sound and Vision, 1990.
Kurath, Gertrude Prokosch. Dance And Song Rituals Of Six Nations Reserve, Ontario. National Museum of Canada. Bulletin 220, Ottawa, 1968.
Kuzmich, Natalie. Musical Growth, a Process of Involvement. Toronto: G. V. Thompson Publishers, 1986.
Lawler, Lillian B. The Dance In Ancient Greece. Middletown, Connecticut: Wesleyan University Press, 1965.
Lundy, Charles and David Booth. Interpretation Working with Scripts. Academic Press Canada, 1983. ISBN 0 7747 12104
Machlis, J. and K. Forney. The Enjoyment Of Music. (Text And Recordings.) New York: W.W. Norton, 1990.
Morgan, Barbara. Martha Graham: Sixteen Dances In Photographs. New York: Morgan and Morgan Inc., 1980.
Randel, D.M. The New Harvard Dictionary Of Music. London: Harvard University Press: 1996.
Rudin, John. Commedia Dell’Arte. ISBN 0415-047706
Schafer, R. Murray. The Thinking Ear. Toronto: Arcana Editions, 1988.
[Contains The Composer in the Classroom: 1965 by BMI Canada Ltd.]
Strickland, Carol and John Boswell. The Annotated Mona Lisa. Kansas City: Andrews and McMeel, 1994.
Warner, Mary Jane. Toronto Dance Teachers 1825-1925.
Windreich, Leland. Dance Encounters.
All Media Guide
http://www.allmusic.com/mus_Styles.html
Art Gallery of Ontario
http://www.ago.on.ca/
Bravo New Style Arts Channel
http://www.bravo.ca 416.591.5757
Council of Drama and Dance in Education (CODE)
http://members.home.net/4drama
Dance Collection Dance
http://www.web.net/dancecol/
145 George St., Toronto M5A 2M6 (416) 365-3169
National Film Board
http://www.nfb.ca
150 John Street, Toronto, ON, (416) 973-3012, fax (416) 973-9640; sales information 1-800-267-7710
Ontario Arts Council
http://www.arts.on.ca/
Playwrights Union of Canada
http://www.puc.ca
Royal Ontario Museum
http://www.rom.on.ca/
Smithsonian Institution
http://www.si.edu/resource/faq/nmah/music.htm
Shaw Festival
http://www.shawfest.com
Stratford Festival
www.stratford-festival.on.ca
Assessment and evaluation procedures should be modified to allow for exceptionalities (i.e., more time given for written work, journals/reflections could be audio/video recorded). Journal reflections could be recorded on audio/video or could include visual components such as drawings or photographs.
Note: Some of the terminology used in the following questions should be reviewed with students on an “as needed” basis. See Unit 1 for further details.
· What was your initial reaction to the artifact?
· Describe to a friend who was absent exactly what you saw and/or heard.
· What tools, instruments, materials, and other resources were used to create this artifact?
· What elements of the arts are evident?
· What principles of the arts are evident?
· Why did the creator of this artifact use these elements and principles?
· What does this artifact communicate to you?
· Why do you think this artifact was created? List reasons why you came to this conclusion.
· What do you appreciate about this piece of arts history? What are your reasons?
· How successful has the artist been in communicating the central message of the piece?
· What questions do you have about the art form, the people, the place, and the time?
· Describe the role of the arts/artists in this time and place.
· What three statements might you make if you were asked about the people, time, and place when this artwork was created.
Notes:
· Wherever possible, works of local and community artists should also be considered.
· This list was created to reflect a blend of "popular" and "classical" artworks, and to reflect numerous periods of arts history. It is simply as a starting point and is not meant to be exhaustive or definitive.
· Teachers are encouraged to look beyond this list and use sources that reflect diverse ethno-cultural origins.
Pictures: Martha Graham, Mikhail Baryshnikov, Merce Cunningham, Alvin Ailey, Karen Kain, George Ballanchine, Evelyn Hart, Patrick Parsons, Robert Desrosiers, Rex Harrington, Danny Grossman, Peggy Baker, Shiva (Hindu deity of dance), folk dancers, Mardi Gras Carnival, traditional native dancers, Peking Opera, South Asian dance, Taiko drumming and movement, Chinese fan dance, Chinese ribbon dance, African dance
Video clips: West Side Story, Singing in the Rain, Tap Dogs (CBS/Fox, 1997), and Stomp Out Loud (HBO, 1998), The Erik Bruhn Prize (Kultur Video)
Objects: Castanets, ankle bells, pointe shoes, fan, hoop, tap shoes, tutu
Musical samples: Glenn Miller: “American Patrol”, Jive/Swing: “It Don’t Mean a Thing”, Kodo drumming, Andrew Lloyd Webber: “Phantom of the Opera”, Gregorian chant, Beatles: “Yellow Submarine”, Jimi Hendrix: “Star Spangled Banner”, Elgar: “Pomp and Circumstance”, Oscar Peterson: “Kelly’s Blues”, Gordon Lightfoot: “The Wreck Of The Edmund Fitzgerald”, Scott Joplin: “Maple Leaf Rag”, Stan Rogers: “Bluenose”, Celine Dion: “Une Colombe”, The Irish Descendants: “Everyone’s Sons and Daughters”, George Gershwin: “Rhapsody In Blue”, Beethoven: “Eroica - Symphony #3", Shania Twain: “God Bless The Child”, Leonard Cohen: “Suzanne”, Elvis Presley: “Jailhouse Rock”, Cole Porter: “In The Still Of The Night”, Aaron Copeland “Fanfare For The Common Man”
Videos: Robert Palmer: Addicted To Love, Michael Jackson: Black and White, Peter Gabriel: Diggin' in the Dirt
Musical Instruments: harpsichord, lyre, animal skin drum, pan flute, African tribal instruments (e.g., kalimba), classical guitar, marimba, aulos, carribean steel drum
Selections may also be made from the wide variety of musical styles practised around the world. The following list may help teachers get started on their own list: reggae, rhythm and blues, ska, hip hop, rap, jazz, big band, gospel, bluegrass, heavy metal, alternative, polka, pop, swing, motown, folk, country, new age, techno, disco
Reproductions/Sculptures: Van Gogh: Starry Night, Picasso: The Three Musicians, Venus of Willendorf, Andy Warhol: Marilyn Diptych, Edgar Degas: Ballet Dancers in the Wing, Henri de Toulouse-Lautrec: At the Moulin Rouge, Diego Velazquéz: Las Meninas, Winter Coat - Stretched Hide, Haida Totem Pole, Frank Lloyd Wright: “Falling Water,” Henry Moore: Mother and Child, Jackson Pollock: Autumn Rhythm, Moshe Safdie: “Habitat,” Michael Snow: Walking Woman series, Leonardo da Vinci: Mona Lisa, Raphael: School of Athens, Rembrandt van Ryn: Nightwatch, Carl Ray: Frolicking Loons, Bill Reid: Gold Bowl With Lid, Kenojuak Ashevak: Woman In The Sun, Mary Pratt: Split Grilse, Emily Carr: A Haida Village or Corner Of Kitwancool Village, Betty Goodwin: Collapsed Vest No. 1 or Untitled (Nerves No. 1), Joyce Wieland: Confedspread or Water Quilt, David Blackwood: S.S. Imogene With Crew On Ice, Daphne Odjig: The Indian In Transition, Norval Morrisseau: Windigo, Joe Fafard: A Merchant Of Pense, Frederick Varley: Liberation, Peter Anautuk: Woman Nursing Child.
Pictures and reproductions: Kabuki actor, Noh theatre costume, Stratford Festival stage, medieval pageant wagon, Globe theatre, Commedia Dell’Arte masks, Young Peoples Theatre, Marcel Marceau, La Scala Opera House interior
Video/Audio clips: Norman McLaren: Neighbours (National Film Board), Harron/Campbell: Anne of Green Gables, Stephen Sondheim: Sunday in the Park with George, Charlie Chaplin: Gold Rush
Objects: theatre posters and programmes, set design model, costume or property piece
Print: summary of or fragments from Everyman, a Shakespearean play, a Canadian play (e.g., The Kamagata Maru Incident), a Greek play (e.g., The Birds), an Ibsen play (e.g., A Doll’s House), a modern play (e.g., The Zoo Story)
Group: ______________________________
Culture: _____________________________ Historical Period:__________________________
Main characteristics of the culture: _________________________________________________
______________________________________________________________________________
______________________________________________________________________________
Traditions and values of the culture: ________________________________________________
______________________________________________________________________________
______________________________________________________________________________
Symbols and icons of the culture: __________________________________________________
______________________________________________________________________________
______________________________________________________________________________
Historical events: _______________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
Other interesting facts: ___________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
STUDENT NAME: __________________________________________________________________
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Criteria |
Level 1 |
Level 2 |
Level 3 |
Level 4 |
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Theory demonstrates general understanding of the history of the time |
- demonstrates limited understanding of the history of the time |
- demonstrates moderate understanding of the history of the time |
- demonstrates considerable understanding of the history of the time |
- demonstrates thorough understanding of the history of the time |
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demonstrates knowledge of the unique characteristics of a specific culture |
- limited knowledge of the unique characteristics of a specific culture |
- moderate knowledge of the unique characteristics of a specific culture |
- considerable knowledge of the unique characteristics of a specific culture |
- thorough knowledge of the unique characteristics of a specific culture |
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Communication uses 3 art forms in the demonstration |
- uses 3 art forms with limited effectiveness |
- uses 3 art forms with moderate effectiveness |
- uses 3 art forms with considerable effectiveness |
- uses 3 art forms with thorough effectiveness(or uses 4 forms effectively) |
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communicates and expresses ideas and information |
- communicates and expresses with limited clarity |
- communicates and expresses with moderate clarity |
- communicates and expresses with considerable clarity |
- communicates and expresses with thorough clarity |
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Creation demonstrates knowledge creatively |
- demonstrates knowledge with limited creativity |
- demonstrates knowledge with moderate creativity |
- demonstrates knowledge with considerable creativity |
- demonstrates knowledge with insightful creativity |
STUDENT NAME: __________________________________________________________________
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Criteria |
Rarely |
Sometimes |
Usually |
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Clearly conveyed information on history and culture |
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Used two or more art forms effectively |
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Communicated ideas |
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Demonstrated creativity |
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Student comments:
Teacher comments:
Student _________________________________________ Date _______________________
Group _______________________________________________________________________
_____________________________________________________________________________
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Rarely |
Sometimes |
Usually |
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I contributed ideas to the group |
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I communicated my ideas in a positive manner |
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I helped the group stay on task |
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I helped the group find resources |
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I encouraged the group members |
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I listened to group members and built on the ideas of others |
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