Arts – Teacher support material
Introduction
How to use this teacher support material
This teacher support material is designed to accompany the MYP Arts guide (published August 2008). It contains examples of assessed student work, and is intended to give practical help to support teachers’ understanding and implementation of the theory presented in the guide.
The teacher support material is divided into two sections.
· Assessed student work
· Appendices
The assessed student work section contains examples of assessed work for years4 and5. Please note that these are examples only. They have been included to demonstrate what teacher tasks and student work may look like, and do not form part of a mandatory curriculum for schools.
Teachers may wish to use these examples as a guide to creating appropriate arts tasks, or as an indication of the standard expected of students by the end of the final year of the programme.
The examples included are authentic student work and are presented in their original styles, which may include spelling, grammatical and any other errors. These examples have been anonymized where necessary (names may have been changed or deleted) and some may have been retyped to make them easier to read.
The examples of student work presented are divided into the five arts subjects that are included in the guide: drama, music, dance, film and visual arts. Where possible, two units of work and a discrete task have been included for each arts subject. In some languages, and in film and dance, this has not been possible; however, the arts teacher support material will be reviewed in the future, and the intention is to extend the examples provided.
For moderation, it is a requirement that at least one unit of work is submitted that has been assessed using the four assessment criteria. The second assessment may be from a second unit of work or from discrete tasks. Where the examples of units provided in the teacher support material do not have an assessment using criterionA, in most cases an example is given of how the unit could include this.
The appendices contain: frequently asked questions; samples of prompt questions relating to the objectives and developmental workbook; quick tips for moderation; and examples of completed moderation and monitoring of assessment forms.
Please note that the MYP Arts teacher support material is produced in four languages (English, French, Spanish and Chinese). If teachers are familiar with more than one of these languages, it may be worthwhile for them to look at the other language versions, as some examples of assessed student work are different for each language.
Thanks are due to the schools and students whose work has been used in this document, and to the experienced MYP practitioners who worked so carefully on all of the content.
Please note that the assessment criteria used in this material correspond to the MYP Arts guide (published August 2008), and are for first use in final assessment in the 2009 academic year (southern hemisphere) and the 2009–2010 academic year (northern hemisphere).
Assessed student work
To view the various elements of this example, please use the icons at the side of the screen.
Overview
Number / Type of task / Title / CriteriaInterdisciplinary
Example 1 / Unit of work / “Happenings”—a multimedia production / A, B, C, D
Drama
Example 2 / Unit of work / Brecht / B, C, D
Example 3 / Discrete task / Devising a piece of physical theatre / B, D
Music
Example 4 / Unit of work / Serial music / B, C, D
Example 5 / Unit of work / Study of vocal techniques / A, B, C, D
Example 6 / Discrete task / World music project / A
Film
Example 7 / Unit of work / TV ad production / B, C, D
Visual arts
Example 8 / Unit of work / Utopia/dystopia / A, B, C, D
Example 9 / Unit of work / Public sculpture / A, B, C, D
Example 10 / Discrete task / My story / A
Example 1: “Happenings”—a multimedia production unit
Background
Unit of work
Interdisciplinary
MYP year:5
“Happenings” was a multimedia interdisciplinary unit that combined three art forms—music, drama and visual arts—in a collaborative project spanning 14weeks. The focus of the unit was “How can the arts help define, develop and/or challenge our understanding of the communities we live in?”, which was derived from the area of interaction community and service. The theme “exile” was used by students to explore the concept of community, including its definition, borders and boundaries.
To answer this question, students were required to:
· investigate and integrate the different modes of thinking and learning from three art forms: music drama and visual arts
· explore the notion of art production and the conventions and modes of practice that divide and unite the arts
· explore the connections and basic conventions of the multidisciplinary art movements of “happenings”, performance art and Butoh
· investigate how a performance concept can be developed through various stages in devising drama
· consider the nature, function and interaction of the various production elements that are necessary to create a theatre performance
· explore in depth the theme “exile” and various related stimuli for their potential for performance.
The essential components of each art were: sound, movement and image.
The unit of work provided an opportunity for students to engage in and explore the role of the director/theatre maker from a beginning stimulus through to a devised “happenings” performance event. A strength of the unit was its multidisciplinary component, asking students to push ever further the boundaries of what they consider to be “theatre” or even more simply a “performance” event. The criterionB task is an example of how criterionB tasks included in a moderation sample need not always be evidenced using a video.
The following assessment information is presented in this teacher support material.
· CriterionA—research (“Establishing context”; “Establishing purpose”; “Establishing method”)
· CriterionB—“Establishing method” and developmental workbook evidence (“Creative portfolio”)
· CriteriaC andD—developmental workbook and evaluation (“Reflective essay”)
The teacher task for this unit included in this teacher support material provides detailed information for students about the unit of work and task-specific clarifications for criteriaA andB in the form of rubrics.
The video that is provided is as an indication that the performance took place in front of a live audience but is not used in order to determine the level awarded for criterionB.
Suggestions for other assessment tasks based on this unit
A task could be developed in this unit where students are required to view a “happenings” performance by a professional theatre company and write a critical review of this performance in the context of their own artwork. This could be assessed using criterionA.
Teacher task
Student work—research (criterion A)
Student work—developmental workbook (criteria B, C and D)
Student work—evaluation (criterion C)
Student work—final piece—video (criterion B)
Assessment
Criterion / A / B / C / DLevel achieved / 6 / 9 / 6 / 8
CriterionA: Knowledge and understanding
Maximum: 8
Achievement level / Level descriptor5–6 / The student is able to demonstrate good knowledge and understanding of the art form studied in relation to societal or cultural or historical or personal contexts.
The student is able to demonstrate good knowledge and understanding of the elements of the art form studied.
The student is able to communicate a good level of critical understanding of the art form studied, in the context of his or her own work.
This work achieved level 6 because the student:
· demonstrates good knowledge and understanding of the societal and/or cultural contexts from which the multidisciplinary art movement “happenings” emerged.
(Supporting research evidence is extensive; however, only three pages have been included in the teacher support material owing to limitations of space.) It is very clear that the student has a strong understanding of the societal contexts from which the art movement “happenings” emerged. This is shown in the section “Establishing context”, and the research where he records the evidence for the context. He did not, however, fully investigate how he intends to develop this understanding in his performance work
· demonstrates good knowledge and understanding of the main conventions of the multidisciplinary art movement “happenings”. This is shown in the section “Establishing context” and in the section “Establishing purpose”, where he investigates different performance artists to develop his purpose. He does not, however, take that extra step in his performance concept to illustrate how he intends to explore these conventions to communicate his artistic intent/purpose.
The student would have achieved a higher level if he had:
· demonstrated how his new knowledge and understanding of the societal contexts of the multidisciplinary art movement “happenings” influenced the development of his performance concept
· explained how he will use the conventions of “happenings” to communicate his artistic intent/purpose
· explicitly evidenced the knowledge and understanding of the conventions of “happenings” and the interrelationship of the production elements in the task assessed using criterionA—this could have been further developed in the section “Establishing method”
· explored the intended impact the performance would have on an audience—this could have been further developed in the section “Establishing method”.
CriterionB: Application
Maximum: 10
Achievement level / Level descriptor9–10 / The student is able to elaborate an idea, a theme or a personal interpretation to a point of realization. There is evidence of purposeful expression and effective communication of artistic intentions.
Skills and techniques are applied at a high level of proficiency. The student shows an excellent ability to apply the artistic processes involved in creating art.
This work achieved level 9 because the student:
· clearly explores how the performance and production elements of “happenings” interact to convey his performance concept in the final section of his statement of artistic intent “Establishing method” and in the “Creative portfolio”
· shows an excellent ability to apply the artistic processes involved in the practical realization of a self-devised performance derived from a stimulus.
The student would have achieved a higher level if he had:
· explored a variety of directorial techniques and rehearsal systems in the application of the performance concept
· shown more clearly his work as a director/theatre maker using his developmental workbook.
CriterionC: Reflection and evaluation
Maximum: 8
Achievement level / Level descriptor5–6 / The student reflects critically on his or her artistic development and processes at different stages of his or her work.
The student carries out a good evaluation of his or her work. The evaluation includes an appraisal of the quality of work produced and an identification of some areas of improvement.
The student uses feedback in his or her artistic development with little guidance, which informs his or her own artistic development and processes.
This work achieved level 6 because the student:
· reflects critically on his artistic development and processes at different stages of his work in both the formal reflection and developmental workbook extracts
· evaluates the quality of his work in his reflective essay and engages with areas of improvement in his developmental workbook extracts.
The student would have achieved a higher level if he had:
· intentionally responded to feedback in the development of his work and evaluated the effect of this response—throughout the project, the art teachers gave feedback and critical appraisals of the work in progress, but nowhere does the student directly refer to these feedback sessions
· reflected critically and in depth on his artistic development, documented analysis of the process of working and articulated his response to these reflective processes, showing his continuous search for improving his artwork.
CriterionD: Personal engagement
Maximum: 8
Achievement level / Level descriptor7–8 / The student shows excellent commitment in using his or her own artistic processes.
The student actively demonstrates curiosity, selfmotivation, initiative and a willingness to take informed risks.
The student actively supports, encourages and works with his or her peers in a positive way.
The student is actively receptive to art practices and artworks from various cultures, including his or her own.
This work achieved level 8 because the student:
· displays a level of personal engagement that includes risk taking and a commitment to thoroughly immersing himself in the processes of devising an original “happenings” performance event
· shows clear evidence of supporting his peers by listening to their ideas.
Example 2: Brecht
Background
Unit of work
Drama
MYP year:5
Prior to the unit of work, students studied various styles of theatre, including the Stanislavski method, Ritual, Theatre of the Absurd, and Theatre of Cruelty. This unit lasted five weeks, with four50minute lessons a week. The aim was for students to explore current issues related to the area of interaction health and social education that have relevance in today’s society, for the potential they offer for performance, as well as studying Brecht’s “alienation technique”.
Students studied how the performance concept can be developed through various stages in devising drama and gained understanding of the principles and practice of Brecht’s “alienation technique” in devised issue-based theatre. Students explored aspects of this theory through improvisation, script writing, performance and contributions to the developmental workbook. The exploration of the issues related to health and social education was carried out during the process when the students were deciding which topic was the best to use for the scene they had to create and perform.
In order to help them prepare for the section of the unit represented in this teacher support material, students used the question, “How can we use dramatic techniques like Brecht’s 'alienation technique' to explore modern issues that are relevant to today’s society?” They were asked to apply knowledge and understanding of Brecht’s “alienation technique” in a group-devised workshop performance that culminated in a5 to 10minute presentation. This presentation was required to include elements of Brecht’s “alienation technique” such as narration, placards of information, breaking character, exposed wings, humour and humorous songs commenting on the action, alternative endings and stereotypical characters. Students were encouraged to use the traditional narrative form of exposition, complication, climax and dénouement to devise an original piece of issue-based theatre using Brecht’s “alienation technique”. The idea was for students to apply Brecht’s “alienation technique” in a modern setting and tackle modern issues in order to show the relevance of the technique in today’s theatre.