Dance – often left to specialists outside the classroom – is a means by which children can explore the world through their whole bodies. For many learners who feel they lack the ability or the interest to pursue more academic subjects, this is where they need to be given opportunities to demonstrate their potential for success. This chapter focuses on forms and skills of dance and movement, methods for engaging children and the theoretical knowledge behind dance, as well as practical activities to use in the early childhood and primary classrooms. Linking to other Knowledge Learning Areas, as well as to wider school and curricular issues, this chapter aims to equip both the novice and the experienced educator in dance to confidently and knowledgably facilitate the learning and development of children. Personal and environmental health and safety issues will also be explored.

Wherever we are in society, we are surrounded by the Arts. This text has been designed by artists, and the words you read are just visual artworks representing the oral storytelling foundation of all societies. Its layout was designed by artists, using multiple media forms. You are reading it in an environment where the soundscape will hopefully allow you to concentrate. Your body is probably positioned to minimise discomfort and maximise efficiency, while communicating your current state of thought to all those around you (whether consciously or not). Surrounding you may be posters, objects, noises, people interacting with facial expressions, probably some communicating via Facebook, Instagram or other social media using increasingly advanced technologies. The Arts power our lives, yet too often we power down children as they enter formal education (preschool and upwards), stifle their natural forms of communication and interaction, and slowly destroy their ability to be creative and to think diversely.

This chapter explores much of the current research about the value and effect of the Arts in education and assists you to develop your own thinking about the importance of Arts education. This research is framed by an understanding of developing modes of engagement in Arts education, and a discussion of the importance of personal agency and Arts education as ‘praxis’. Finally, the notions of learning ‘in’ and ‘through’ the Arts are explored to enable you to understand the types of learning in which your students can engage.

Throughout this book, you have been challenged to look at the role the Arts play in society and in education. Various methodologies have been suggested and each specific Arts area has been broken down for you. The tools are now in place for you to organise Arts learning and teaching in your classroom. You also have reflective tools to apply to the learning and teaching you undertake. In this final chapter, we challenge you to imagine your Arts-rich classroom. What do you want the Arts to look like and how do you want your students to engage in them? These decisions will reflect your vision and rationale for teaching the Arts and your many experiences in working with the Arts as you have progressed through this book. These decisions are best made by the person who decides the ‘what’ and ‘how’ for their students every day: you.

If we approach Arts education as we might approach literacy, we would aim to develop Arts literacy in students. We would teach students the tools of language, ways of constructing meaning, vocabulary, structures, forms, genres and shaping cultural and social contexts. In literacy we allow children freedom to gain confidence and experiment with creative writing, but we also intervene when necessary to correct, guide and teach them explicit skills and knowledge. If we apply this approach to the Arts, rather than stand back and ‘let the child be free’, we can focus on developing proficiency in knowledge and skills as well as fostering creativity and imagination right from the start. As with any other Learning Area, child engagement and achievement in the Arts are determined by exposure to ongoing, sequential learning experiences. This chapter suggests ways in which teachers can achieve this in a way that is respectful of the needs and interests of the child.

In this chapter, we introduce and explain the key principles of integrated learning and outline ways in which it can be put into practice to provide quality Arts experiences, as well as quality learning in other areas. We suggest ways to achieve integrated learning that you can adapt to construct your own successful program. We also move beyond the concept of curriculum integration to look at child integration as it should be applied in the classroom. Schools do exclude, both intentionally and otherwise. We explore the justifications offered for, and ways to remove, these barriers to engagement in the Arts by all. We argue that everyone needs to experience the Arts equally, no matter what their background or what form of diverse learning is brought to the classroom. For some children, this is the only pathway to success. In the Arts, anyone can engage; everyone gets to live them.

The Australian Curriculum’s three cross-curriculum priorities are intended to give global, national, and local perspectives, providing students with the tools and language to be able to understand the world in which they live and to consider the future world they could inhabit.Within the Australian Curriculum, three cross-curriculum priorities have been defined: Aboriginal and Torres Strait Islander Histories and Cultures; Asia and Australia’s Engagement with Asia; and Sustainability. These three cross-curriculum priorities are not intended to be taught as separate Learning Areas; instead, they are about exploring relationships between subjects. They offer learning opportunities to add depth and richness to student learning in specific discipline content at the same time as developing knowledge, understanding and skills relating to the three priorities.

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.