The previous chapters have explored the teaching methodologies and concepts related to different forms of the Arts, as well as methodologies for integration and organisation. However, in addition to being able to teach the Arts, we need to have in place a system for evaluating the teaching process to ensure the outcomes and goals we wish to achieve are met for the learners. There has been a great deal of research to identify specific teaching practices that can improve children’s outcomes. This chapter does not intend to analyse the validity or otherwise of these outcomes, as these are mandated by the various examination and education boards. In part, this is because it is difficult to isolate any specific technique or learning skill that works for individuals because all children have unique and individual learning styles. For these reasons, the focus of recent research has been to isolate general characteristics. This chapter looks at the application of reflective learning tools to enhance teaching of the Arts, as well as inclusion and diversity in the classroom (specifically disability). Its focus, therefore, is to separate teaching from subjective assessment of teachers.

This chapter will provide a foundation for the provision of quality visual arts educational experiences in early childhood and the primary years. Practical suggestions for planning a high-quality visual arts program are linked to recent theory in a way that helps you construct your own visual arts program. Visual arts concepts, language, elements and principles will be defined and explained, with examples of the progression in visual arts education from early childhood through the primary years. Practicalities such as classroom management, safety and materials are addressed and additional interactive material can be found through the icons.

In this chapter, we explore the unique nature of the Arts along with what the Arts ‘do’ for people. The differences between Arts education policy and its provision in practice will be presented with particular reference to the need for broad access to, and equity in, Arts education in primary and early childhood settings. The importance of an approach to Arts education that encourages and embeds learner agency, cultural diversity and gender equity is discussed, and the benefits of sustained ‘quality’ Arts education are presented. Your role in the provision of the Arts in early childhood and primary education is discussed and a ‘praxial’ vision for the Arts in education is presented.

This chapter will explore the fundamentals of drama, both as a skill and as a methodology for teaching other curricular requirements. It also offers practical activities and assessment practices, as well as theoretical underpinnings and methods to further develop teaching methodologies beyond this text. You will have the confidence and knowledge to engage learners of all ages and abilities to explore their own ideas through dramatic performance and to evaluate the performance of others. The key to drama is not only the development of skills, but also the ability to apply processes and value these processes as equal to the end product of a drama activity. The application of drama in literacy, numeracy and other areas of learning will be embedded throughout. A great deal of the focus on drama in the classroom in Australia is from a western perspective.

This chapter will explore the fundamentals of drama, both as a skill and as a methodology for teaching other curricular requirements. It also offers practical activities and assessment practices, as well as theoretical underpinnings and methods to further develop teaching methodologies beyond this text. You will have the confidence and knowledge to engage learners of all ages and abilities to explore their own ideas through dramatic performance and to evaluate the performance of others. The key to drama is not only the development of skills, but also the ability to apply processes and value these processes as equal to the end product of a drama activity. The application of drama in literacy, numeracy and other areas of learning will be embedded throughout. In Australia, much of the focus on drama in the classroom is from a Western perspective.

More than ever before, we are surrounded by many forms of media technologies, including film, television, the internet, games, print and audio. The Australian Curriculum focuses on media arts, which incorporates the creative use of these technologies as an art form. The aims, according to ACARA, are that students develop: enjoyment and confidence to participate in, experiment with and interpret the media-rich culture and communications practices that surround them; creative and critical thinking skills through engagement as producers and consumers of media; aesthetic knowledge and a sense of curiosity and discovery as they explore images, text and sound to express ideas, concepts and stories for different audiences; and knowledge and understanding of their active participation in existing and evolving local and global media cultures. In Media Arts, students use images, sound, text, interactive elements and technologies to creatively explore, produce and interpret stories about people, ideas and the world around them. They explore the diverse cultural, social and organisational influences on media practices, and draw on this understanding when producing and responding to media arts works.

The rapid development of international law post-World War II also coincided with greater reliance upon treaties as a source of international law. Treaties had always been recognised as a source of international law, and their status was confirmed in art 38 of the ICJ Statute. It was the development of the UN, with its emphasis upon international law and focus upon treaty-making as a means of not only peaceful resolution of disputes but also multilateral agreement between States on matters of common concern, that was the catalyst for a greater reliance upon treaties in the conduct of international relations. This chapter begins by examining the growth of treaty-making, before considering what a treaty is, including the nature of 'instruments of less than treaty status'. It then covers treaty negotiation, creation and entry into force; reservations, objections and declarations to treaties; and legal obligations arising once a treaty has entered into force. The chapter then turns to treaty interpretation, and then examines how treaties are voided or ended through invalidity, suspension or termination. The chapter concludes with a discussion of amendment and modification of treaties.

Law-making is not a straightforward process in international law. This chapter focuses on the various law-making processes and structures available for creating international law. It first considers the traditional sources of international law as set out in art 38(1) of the Statute of the International Court of Justice generally and the concept of hierarchy of norms and relative norms before considering each of the art 38(1) sources in turn. The chapter concludes by considering alternative sources of international law not covered by art 38(1): 'soft law' including that created by non-State actors, and the role of the UN in creating international law.

Human rights are commonly invoked by States and individuals alike. Most recently there has been a spate of cases with a State accusing another of acts of genocide. The Convention on the Prevention and Punishment of the Crime of Genocide (Genocide Convention) is the first human rights treaty which the General Assembly of the United Nations adopted in 1948. As an example, it gave South Africa the basis for accusing Israel of acts of genocide for their activities against Palestinians living in Gaza even though it had no immediate and direct interest in the situation. Since the Genocide Convention a host of other treaties have been adopted and ratified by States and the United Nations machinery for administering them is now complex and sophisticated, despite the traditional enforcement mechanisms that domestic lawyers are accustomed to having behind them.