New+Jersey+(Keith+Tucker)

(Keith Tucker) Below is an edited (by me) version of the NJ stuff. Please take a quick note of the highlighted sections. I have removed all the “standards” listed for the “inferior” (non-theatre) arts. Below is a quick reference to my highlighted materials. My specific comments are highlighted in green. (Just noted that page numbers did not transfer in my "cut and paste" effort. Just scroll down and note highlights. OK?) A. Page 3: Useful conceptual plan and attainment expectations. (Their Big Idea?) B. Page 4 & 5: Four Standards to guide overall Arts Education and attainment standards at each major education level. C. Page 7: Beginning here is the breakdown of the standards (page 4) as they pertain to Theatre. These include content specifics and progress indicators for grade clusters. D.  Page 22: A glossary of terms: __This is something needed in our final product!__ Please note this.
 * New Jersey Summary **

** New Jersey Core Curriculum Content Standards ** ** for ** ** Visual and Performing Arts ** ** INTRODUCTION ** Creativity is a driving force in the 21st-century global economy, with the fastest growing jobs and emerging industries relying on the ability of workers to think unconventionally and use their imaginations. // The best employers the world over will be looking for the most competent, most creative, and most innovative people on the face of the earth ... This will be true not just for the top professionals and managers, but up and down the length and breadth of the workforce. ... Those countries that produce the most important new products and services can capture a premium in world markets // … (2007, National Center on Education and the Economy) Experience with and knowledge of the arts is an essential component of the P-12 curriculum in the 21st century. As the state of New Jersey works to transform public education to meet the needs of a changing world and the 21st century workforce, capitalizing on the unique ability of the arts to unleash creativity and innovation in our students is critical for success, as reflected in the mission and vision that follow: · Creates, reshapes, and fully participates in the enhancement of the quality of life, globally. · Participates in social, cultural, and intellectual interplay among people of different ethnic, racial, and cultural backgrounds through a focus on the humanities. · Possesses essential technical skills and abilities significant to many aspects of life and work in the 21st century. · Understands and impacts the increasingly complex technological environment. The intent and spirit of the New Jersey Visual and Performing Arts S tandards builds upon the philosophy and goals of the [|National Standards for Arts Education] __. __ Equitable access to arts instruction is achieved when the four arts disciplines (dance, music, theatre, and visual art) are offered throughout the P-12 spectrum. Thus, the goal of the standards is that all students have regular, sequential arts instruction throughout their P-12 education. __ (Here’s a good overall statement of concept, process and results) __ The expectation of the New Jersey arts standards is that all students communicate //at a basic level// in each of the four arts disciplines by the end of fifth grade, using the vocabularies, materials, tools, techniques, and intellectual methods of each arts discipline in a developmentally appropriate manner. Beginning in grade 6, student instruction in the arts is driven by specialization, with students choosing one of the four arts disciplines based on their interests, aptitudes, and career aspirations. By the end of grade 12, students are expected to communicate proficiently in one or more arts disciplines of their choice. By graduation from secondary school, all students should, in at least one area of specialization, be able to: · Define and solve artistic problems with insight, reason, and technical proficiency. · Develop and present basic analyses of works of art from structural, historical, cultural, and aesthetic perspectives. · Call upon their informed acquaintance with exemplary works of art from a variety of cultures and historical periods. · Relate various types of arts knowledge and skills within and across the arts disciplines by mixing and matching competencies and understandings in art-making, history, culture, and analysis in any arts-related project. The revised 2009 visual and performing arts standards align with the National Standards for Arts Education. In addition, they correlate structurally to the three arts processes defined in the [|2008 NAEP Arts Education Assessment Framework] : creating, performing, and responding. When actively engaged in these processes, students not only learn about the arts, they learn through and within the arts. The state and national standards are deliberately broad to encourage local curricular objectives and flexibility in classroom instruction. New Jersey’s revised 2009 visual and performing arts standards provide the foundation for creating local curricula and meaningful assessments in the four arts disciplines for all children. They are designed to assist educators in assessing required knowledge and skills in each discipline by laying out the expectations for levels of proficiency in dance, music, theatre, and the visual arts at the appropriate level of study. This organization of the 2009 visual and performing arts standards reflects the critical importance of locating the separate arts disciplines (dance, music, theatre, and visual art) as one common body of knowledge and skills, while still pointing to the unique requirements of individual disciplines. There are four visual and performing arts standards, as follows. The grade-band clusters for the 2009 visual and performing arts standards correspond to new federal definitions of elementary and secondary education, which may have implications for instructional delivery according to licensure. The expectations for student achievement increase across the grade band clusters as follows: (Here are Grade level (clusters) expectations (highlighted) “in a nutshell”): · ** Preschool ** : All students should be given broad-based exposure to, and be provided opportunities for exploration in, each of the four arts disciplines. The goal is that preschool students // attain foundational skills that progress toward // //basic literacy// in the content knowledge and skills delineated in the K-2 and 3-5 grade-level arts standards, as developmentally appropriate. · ** Grades ** **K-2 and 3-5** ** : ** All students in grades K-5 are given broad-based exposure to, and are provided opportunities for participation in, each of the four arts disciplines. The expectation at this level is that all students // attain // //basic literacy// in the content knowledge and skills delineated in the K-2 and 3-5 grade-level standards for the arts. · ** Grades 6-8 **** : ** In grades 6-8, student instruction focuses on one of the four arts disciplines, as directed by student choice. The expectation at this level is that all students // demonstrate // //competency// in the content knowledge and skills delineated for the selected arts discipline. · ** Grades 9-12 ** : Throughout secondary school, student instruction continues to focus on one of the four arts disciplines, as chosen by the student. By the end of grade 12, all students // demonstrate // //proficiency// in at least one chosen arts discipline by meeting or exceeding the content knowledge and skills delineated in the arts standards. The visual and performing arts are considered a “core” subject under the federal // No Child Left Behind Act // (NCLB-2001). Therefore, all visual and performing arts teachers must meet the “Highly Qualified Teachers” standards within their certificated arts discipline(s). State licensure is the initial gatekeeper for highly qualified status. · The [|Arts Education Partnership] provides research information and other guidance to assist in advocating for arts education at the national, state, and local levels. The Partnership also provides information on government funding at the federal and state levels, including the grant programs of two federal agencies: the U.S. Department of Education and the National Endowment for the Arts. · At the state level, the [|New Jersey Arts Education Partnership] was established in 2007 as a clearinghouse for information and best practices in arts education, and calls attention to the contribution arts education makes to student achievement. The report, [|//Within Our Power: The Progress, Plight, and Promise of Arts Education for Every Child//], is the NJAEP’s response to the New Jersey Arts Census Project, the most comprehensive survey ever compiled on the status of arts education in New Jersey’s public schools. · A Glossary of arts terms used in the 2009 visual and performing arts standards was designed to support implementation of the arts standards. Amdur, S., & Associates (Ed.). (2000). //Learning and the arts: Crossing boundaries// (proceedings of an invitational meeting for education, art, and youth funders held January 12-14, Los Angeles). Seattle, WA: Grantmakers in the Arts. Online: [] Asbury, C., & Rich, B. (Eds.). (2008). //Learning, arts, and the brain:// //The DANA foundation consortium report on arts and cognition//. New York: DANA Press. Consortium of National Arts Education Associations. (1994). //National standards for arts education: What every young American should know and be able to do in the arts//. Reston, VA: Music Educators National Conference. Online: [] Deasy, R. J. (Ed.). (2002). //Critical links: Learning in the arts and student academic and social development//. Washington, DC: Arts Education Partnership. Deasy, R. J. (Ed.). ( 2005). //Third space: When learning matters.// Washington, DC: Arts Education Partnership. Fisk, E. B. (Ed.) (1999). //Champions of change: The impact of the arts on learning//. Washington, DC: The President’s Committee on the Arts and Humanities & Arts Education Partnership. Kendall, J. S., & Marzano, R. J. (2000). //Content knowledge: A compendium of standards and benchmarks for K-12 education// (3rd ed.). Alexandria, VA: Association for Supervision and Curriculum Development. Literacy in the Arts Task Force. (1989). //Literacy in the arts: An imperative for New Jersey schools.// Trenton, NJ: Alliance for Arts Education. National Center on Education and the Economy. (2007). //Tough choices or tough times: The report of the New Commission on the Skills of the American Workforce.// San Francisco: John Wiley & Sons. Online [executive summary]: [] National Dance Education Organization. (2005). //Standards for learning and teaching dance in the arts: Ages 5-18.// Silver Spring, MD: Author. Online: [] New Jersey State Department of Education. (1996). //New Jersey Core Curriculum Content Standards//. Trenton, NJ: Author. New Jersey State Department of Education. (1999). //New Jersey visual & performing arts curriculum framework//. Trenton, NJ: Author. New Jersey State Department of Education. (2004). //New Jersey visual & performing arts curriculum framework.// Trenton, NJ: Author. New Jersey State Department of Education. (2008). //Standards clarification project.// Trenton, NJ: Author. Online: [] President’s Committee on the Arts & Humanities & Arts Education Partnership. (1999). //Gaining the arts advantage: Lessons learned from school districts that value arts education.// Alexandria, VA, & Washington, DC: Authors. Wiggins, G., & McTighe, J. (2005). //Understanding by design// (2nd ed.). Alexandria, VA: Association for Supervision and Curriculum and Development.
 * Arts Education in the 21st Century **
 * Mission: **// The arts enable personal, intellectual, social, economic, and human growth by fostering creativity and providing opportunities for expression beyond the limits of language. //
 * Vision: ** An education in the arts fosters a population that:
 * Intent and Spirit of the Visual and Performing Arts Standards **
 * Revised Standards **
 * // Organization of the 2009 Standards //**
 * Standards 1.1 and 1.2 **, respectively, articulate required knowledge and skills concerning the elements and principles of the arts, as well as arts history and culture . Together, the two standards forge a corollary to the NAEP Arts process of //creating//. Standard 1.1 includes four strands, one for each of the arts disciplines: A. Dance, B. Music, C. Theatre, and D. Visual Art; standard 1.2 includes a single strand: A. History of the Arts and Culture.
 * Standard1.1 The Creative Process: ** //All students will demonstrate an understanding of the elements and principles that govern the creation of works of art in dance, music, theatre, and visual art.//
 * Standard 1.2 ** **History of the Arts and Culture:** //All students will understand the role, development, and influence of the arts throughout history and across cultures.//
 * Standard 1.3 ** is rooted in arts performance and thus stands as a corollary to the NAEP Arts process of //performing/ interpreting //. Like Standard 1.1, standard 1.3 is made up of four arts-specific strands: A. Dance, B. Music, C. Theatre, and D. Visual Art.
 * Standard 1.3 Performing: **// All students will synthesize skills, media, methods, and technologies that are appropriate to creating, performing, and/or presenting works of art in dance, music, theatre, and visual art. //
 * Standard 1.4 ** addresses two ways students may respond to the arts, including (1) the study of aesthetics and (2) the application of methodologies for critique . Standard 1.4 provides a corollary to the NAEP Arts process of //responding//. This standard pertains to all four arts disciplines, and is comprised of two strands related to the mode of response: A . Aesthetic Responses an d B. Critique Methodologies.
 * Standard 1.4 Aesthetic Responses & Critique Methodologies: **// All students will demonstrate and apply an understanding of arts philosophies, judgment, and analysis to works of art in dance, music, theatre, and visual art. //
 * // Proficiency Levels and Grade Band Clusters //**
 * // Teaching the Standards //**// : //**// Certification and Highly Qualified Arts Educators //**
 * Education in the Arts: National and State Advocacy **
 * Resources **

Here’s the Standards breakdowns: ** Content Statement ** || ** CPI # ** || ** Cumulative Progress Indicator (CPI) ** || 2    ||||||||  The elements of theatre are recognizable in theatrical performances. ||  1.1.2.C.1 || Identify basic elements of theatre and describe their use in a variety of theatrical performances. || Theatre artists use precise vocabulary when staging a play. ||  1.1.2.C.2 || Express stage directions, areas of the stage, basic stage movements, and parts of a script using correct theatre terms (e.g., setting, costumes, plot, theme, etc.). || Creative drama and storytelling use voice, movement, and facial expression to communicate emotions. Creating characters is an act of intention in which actors play themselves in an imaginary set of circumstances. ||  1.1.2.C.3 || Distinguish between characters, actors, and the self by demonstrating respect for personal space, creative movement, and pantomime skills while interacting with others in creative drama and storytelling. || The technical theatrical elements and theatre architecture are inherent in theatrical design and production. ||  1.1.2.C.4 || Describe the use of the technical theatrical elements by examining examples of theatrical design in productions. || 5     ||||||||  The well-made play uses a specific, identifiable narrative structure (e.g., inciting incident, climax, dénouement, etc.). ||  1.1.5.C.1  || Evaluate the characteristics of a well-made play in a variety of scripts and performances. || The actor’s physicality and vocal techniques have a direct relationship to character development. ||  1.1.5.C.2  || Interpret the relationship between the actor’s physical and vocal choices and an audience’s perception of character development by identifying examples of vocal variety, stage business, concentration, and focus. || Time, place, mood, and theme are enhanced through use of the technical theatrical elements. ||  1.1.5.C.3  || Analyze the use of technical theatrical elements to identify how time, place, mood, and theme are created. || Sensory recall is a technique actors commonly employ to heighten the believability of a character. ||  1.1.5.C.4  || Explain the function of sensory recall and apply it to character development. || 8     ||||||||  Distinct pieces of dramatic literature and theatrical trends reflect cultural traditions and periods in history. ||  1.1.8.C.1  || Analyze the structural components of plays and performances from a variety of Western and non-Western theatrical traditions and from different historical eras. || Actors exercise their voices and bodies through a wide variety of techniques to expand the range and the clarity of the characters they develop. ||  1.1.8.C.2  || Determine the effectiveness of various methods of vocal, physical, relaxation, and acting techniques used in actor training. || Emotion and meaning are often communicated through modulations of vocal rate, pitch, and volume. ||  1.1.8.C.3  || Differentiate among vocal rate, pitch, and volume, and explain how they affect articulation, meaning, and character. || A team of artists, technicians, and managers who collaborate to achieve a common goal uses a broad range of skills to create theatrical performances. ||  1.1.8.C.4  || Define the areas of responsibility (e.g., actor, director, producer, scenic, lighting, costume, stagehand, etc.) and necessary job skills of the front and back-of-house members of a theatre company. || 12     ||||||||  Theatre and the arts play a significant role in human history and culture. ||  1.1.12.C.1  || Analyze examples of theatre’s influence on history and history’s influence on theatre in Western and non-Western theatre traditions. || Characters have physical, emotional, and social dimensions that can be communicated through the application of acting techniques. ||  1.1.12.C.2  || Formulate a process of script analysis to identify how the physical, emotional, and social dimensions of a character are communicated through the application of acting techniques. || Theatre production is an art, but it is also a science requiring knowledge of safety procedures, materials, technology, and construction techniques. ||  1.1.12.C.3  || Apply the basic physical and chemical properties (e.g., light, electricity, color, paint, scenic construction, costumes, makeup, and audio components) inherent in technical theatre to safely implement theatre design. ||
 * Content Area ** ||||||
 * Visual & Performing Arts ** ||
 * Standard ** ||||||
 * 1.1 **** The Creative Process: ** All students will demonstrate an understanding of the elements and principles that govern the creation of works of art in dance, music, theatre, and visual art. ||
 * Strand ** ||||||
 * C. **** Theatre ** ||
 * By the end of grade ** ||||
 * Strand ** ||||||
 * C. **** Theatre ** ||
 * By the end of grade ** ||||
 * By the end of grade ** ||||
 * NOTE: ** By the end of grade 2, all students progress toward BASIC LITERACY in the following content knowledge and skills in THEATRE. ||
 * NOTE: ** By the end of grade 5, all students demonstrate BASIC LITERACY in the following content knowledge and skills in THEATRE. ||
 * NOTE: ** By the end of grade 8, those students choosing THEATRE as their required area of specialization demonstrate COMPETENCY in the following content knowledge and skills. ||
 * NOTE: ** By the end of grade 12, those students choosing THEATRE as their required area of specialization demonstrate PROFICIENCY in the following content knowledge and skills. ||

Strand |||||| A. History of the Arts and Culture || By the end of grade |||| Content Statement || CPI # || Cumulative Progress Indicator (CPI) || 2    ||||||||  Dance, music, theatre, and visual artwork from diverse cultures and historical eras  have distinct characteristics and common themes that are revealed by contextual clues within the works of art. ||  1.2.2.A.1  || Identify characteristic theme-based works of dance, music, theatre, and visual art, such as artworks based on the themes of family and community, from various historical periods and world cultures. || The function and purpose of art-making across cultures is a reflection of societal values and beliefs. ||  1.2.2.A.2  || Identify how artists and specific works of dance, music, theatre, and visual art reflect, and are affected by, past and present cultures. || 5     ||||||||  Art and culture reflect and affect each other. ||  1.2.5.A.1  || Recognize works of dance, music, theatre, and visual art as a reflection of societal values and beliefs. || Characteristic approaches to content, form, style, and design define art genres. ||  1.2.5.A.2  || Relate common artistic elements that define distinctive art genres in dance, music, theatre, and visual art. || Sometimes the contributions of an individual artist can influence a generation of artists and signal the beginning of a new art genre. ||  1.2.5.A.3  || Determine the impact of significant contributions of individual artists in dance, music, theatre, and visual art from diverse cultures throughout history. || 8     ||||||||  Technological changes have and will continue to substantially influence the development and nature of the arts. ||  1.2.8.A.1  || Map historical innovations in dance, music, theatre, and visual art that were caused by the creation of new technologies. || Tracing the histories of dance, music, theatre, and visual art in world cultures provides insight into the lives of people and their values. ||  1.2.8.A.2  || Differentiate past and contemporary works of dance, music, theatre, and visual art that represent important ideas, issues, and events that are chronicled in the histories of diverse cultures. || The arts reflect cultural morays and personal aesthetics throughout the ages. ||  1.2.8.A.3  || Analyze the social, historical, and political impact of artists on culture and the impact of culture on the arts. || 12     ||||||||  Cultural and historical events impact art-making as well as how audiences respond to works of art. ||  1.2.12.A.1  || Determine how dance, music, theatre, and visual art have influenced world cultures throughout history. || Access to the arts has a positive influence on the quality of an individual’s lifelong learning, personal expression, and contributions to community and global citizenship. ||  1.2.12.A.2  || Justify the impact of innovations in the arts (e.g., the availability of music online) on societal norms and habits of mind in various historical eras. ||
 * Content Area ** ||||||
 * Visual & Performing Arts ** ||
 * Standard ** ||||||
 * 1.2: History of the Arts and Culture: ** All students will understand the role, development, and influence of the arts throughout history and across cultures. ||
 * Standard ** ||||||
 * 1.2: History of the Arts and Culture: ** All students will understand the role, development, and influence of the arts throughout history and across cultures. ||
 * NOTE: ** By the end of grade 2, all students progress toward BASIC LITERACY in the following content knowledge and skills in DANCE, MUSIC, THEATRE, and VISUAL ART. ||
 * NOTE: ** By the end of grade 5, all students demonstrate BASIC LITERACY in the following content knowledge and skills in DANCE, MUSIC, THEATRE, and VISUAL ART. ||
 * NOTE: ** By the end of grade 8, all students demonstrate COMPETENCY in the following content knowledge and skills for their required area of specialization in DANCE, MUSIC, THEATRE, or VISUAL ART. ||
 * NOTE: ** By the end of grade 12, all students demonstrate PROFICIENCY in the following content knowledge and skills for their required area of specialization in DANCE, MUSIC, THEATRE, or VISUAL ART. ||

** Content Statement ** || ** CPI # ** || ** Cumulative Progress Indicator (CPI) ** || P  |||||||| Dramatic play provides a means of self-expression for very young learners. ||  1.3.P.C.1 || Play roles observed through life experiences (e.g., mom/dad, baby, firefighter, police officer, doctor, and mechanic). || 1.3.P.C.2 || Use memory, imagination, creativity, and language to make up new roles and act them out. || 1.3.P.C.3 || Participate with others in dramatic play, negotiating roles and setting up scenarios using costumes and props. || 1.3.P.C.4  || Differentiate between fantasy/pretend play and real events. || 1.3.P.C.5 || Sustain and extend dramatic play during dramatic play interactions (i.e., anticipate what will happen next). || 1.3.P.C.6 || Participate in and listen to stories and dramatic performances from a variety of cultures and times. || 2   ||||||||  Plays may use narrative structures to communicate themes. ||  1.3.2.C.1  || Portray characters when given specifics about circumstances, plot, and thematic intent, demonstrating logical story sequence and informed character choices. || Actors use voice and movement as tools for storytelling. ||  1.3.2.C.2  || Use voice and movement in solo, paired, and group pantomimes and improvisations. || Voice and movement have broad ranges of expressive potential. ||  1.3.2.C.3  || Develop awareness of vocal range, personal space, and character-specific vocal and creative movement choices. || 5     ||||||||  A play’s effectiveness is enhanced by the theatre artists’ knowledge of technical theatrical elements and understanding of the elements of theatre. ||  1.3.5.C.1  || Create original plays using script-writing formats that include stage directions and technical theatrical elements, demonstrating comprehension of the elements of theatre and story construction. || Performers use active listening skills in scripted and improvised performances to create believable, multidimensional characters. Actors create a sense of truth and believability by applying performance techniques that are appropriate to the circumstances of a scripted or improvised performance. ||  1.3.5.C.2  || Demonstrate how active listening skills, vocal variety, physical expression, stage business, sensory recall, concentration, and focus affect meaning in scripted and improvised performances. || 8     ||||||||  Effective scripted and improvisational performances require informed, supported, and sustained choices by actors, directors, and designers. Techniques for communicating a character’s intent vary in live performances and recorded venues. ||  1.3.8.C.1  || Create a method for defining and articulating character objectives, intentions, and subtext, and apply the method to the portrayal of characters in live performances or recorded venues. || Dramatic context and active listening skills inform development of believable, multidimensional characters in scripted and improvised performances. Mastery of physical and vocal skills enables actors to create dramatic action that generates a sense of truth and credibility. ||  1.3.8.C.2 || Create and apply a process for developing believable, multidimensional characters in scripted and improvised performances by combining methods of relaxation, physical and vocal skills, acting techniques, and active listening skills. || 12 ||||||||  Effective scripted and improvisational performances require informed, supported, and sustained choices by actors, directors, and designers. Theatre genres are created by combining complex narrative structures, technical theatrical elements, and thematic intent. ||  1.3.12.C.1  || Create plays that include well-structured plots and subplots, clear thematic intent, original characters, and technical theatrical elements appropriate to a variety of theatrical genres. || Presentation of believable, multidimensional characters in scripted and improvised performances requires application of specific physical choices, sustained vocal technique, and clearly motivated actions. ||  1.3.12.C.2  || Create and evaluate performances by citing evidence of specific physical choices, sustained vocal technique, and clearly motivated actions. ||
 * Content Area ** ||||||
 * Visual & Performing Arts ** ||
 * Standard ** ||||||
 * 1.3 Performance: ** All students will synthesize those skills, media, methods, and technologies appropriate to creating, performing, and/or presenting works of art in dance, music, theatre, and visual art. ||
 * Strand ** ||||||
 * C. **** Theatre ** ||
 * By the end of grade ** ||||
 * Strand ** ||||||
 * C. **** Theatre ** ||
 * By the end of grade ** ||||
 * By the end of grade ** ||||
 * NOTE: ** By the end of preschool, all students attain foundational skills that progress toward BASIC LITERACY in DRAMATIC PLAY AND STORYTELLING. ||
 * NOTE: ** By the end of grade 2, all students progress toward BASIC LITERACY in the following content knowledge and skills in THEATRE. ||
 * NOTE: ** By the end of grade 5, all students demonstrate BASIC LITERACY in the following content knowledge and skills in THEATRE. ||
 * NOTE: ** By the end of grade 8, those students choosing THEATRE as their required area of specialization demonstrate COMPETENCY in the following content knowledge and skills. ||
 * NOTE: ** By the end of grade 12, those students choosing THEATRE as their required area of specialization demonstrate PROFICIENCY in the following content knowledge and skills. ||

** Content Statement ** || ** CPI # ** || ** Cumulative Progress Indicator (CPI) ** || P    |||||||||| Each arts discipline offers distinct opportunities to observe, experience, interpret, appreciate, and respond to works of art and beauty in the everyday world. ||  1.4.P.A.1 || Describe feelings and reactions in response to a creative movement/dance performance. || 1.4.P.A.2 || Describe feelings and reactions in response to diverse musical genres and styles. || 1.4.P.A.3 || Describe feelings and reactions and respond in an increasingly informed manner to stories and dramatic performances. || 1.4.P.A.4 || Describe feelings and reactions and make increasingly thoughtful observations in response to a variety of culturally diverse works of art and objects in the everyday world. || Active listening with focus, intent, and understanding is an important component of full appreciation of the performing arts and the foundation for language development. ||  1.4.P.A.5 || Begin to demonstrate appropriate audience skills during creative movement and dance performances. || 1.4.P.A.6 || Begin to demonstrate appropriate audience skills during recordings and music performances. || 1.4.P.A.7  || Begin to demonstrate appropriate audience skills during storytelling and performances. || 2     ||||||||||  Each arts discipline (dance, music, theatre, and visual art) has distinct characteristics, as do the artists who create them. ||  1.4.2.A.1  || Identify aesthetic qualities of exemplary works of art in dance, music, theatre, and visual art, and identify characteristics of the artists who created them (e.g., gender, age, absence or presence of training, style, etc.). || 1.4.2.A.2 || Compare and contrast culturally and historically diverse works of dance, music, theatre, and visual art that evoke emotion and that communicate cultural meaning. || 1.4.2.A.3 || Use imagination to create a story based on an arts experience that communicated an emotion or feeling, and tell the story through each of the four arts disciplines (dance, music, theatre, and visual art). || 1.4.2.A.4  || Distinguish patterns in nature found in works of dance, music, theatre, and visual art. || 5     ||||||||||  Works of art may be organized according to their functions and artistic purposes (e.g., genres, mediums , messages, themes). ||||  1.4.5.A.1  || Employ basic, discipline-specific arts terminology to categorize works of dance, music, theatre, and visual art according to established classifications. || Formalism in dance, music, theatre, and visual art varies according to personal, cultural, and historical contexts. ||||  1.4.5.A.2  || Make informed aesthetic responses to artworks based on structural arrangement and personal, cultural, and historical points of view. || Criteria for determining the aesthetic merits of artwork vary according to context. Understanding the relationship between compositional design and genre provides the foundation for making value judgments about the arts. ||||  1.4.5.A.3  || Demonstrate how art communicates ideas about personal and social values and is inspired by an individual’s imagination and frame of reference (e.g., personal, social, political, historical context). || 8  ||||||||||  Contextual clues to artistic intent are embedded in artworks. Analysis of archetypal or consummate works of art requires knowledge and understanding of culturally specific art within historical contexts. ||||  1.4.8.A.1  || Generate observational and emotional responses to diverse culturally and historically specific works of dance, music, theatre, and visual art || Art may be used for utilitarian and non-utilitarian purposes. ||||  1.4.8.A.2  || Identify works of dance, music, theatre, and visual art that are used for utilitarian and non-utilitarian purposes. || Performance technique in dance, music, theatre, and visual art varies according to historical era and genre. ||||  1.4.8.A.3  || Distinguish among artistic styles, trends, and movements in dance, music, theatre, and visual art within diverse cultures and historical eras. || Abstract ideas may be expressed in works of dance, music, theatre, and visual art using a genre’s stylistic traits. ||||  1.4.8.A.4   || Compare and contrast changes in the accepted meanings of known artworks over time, given shifts in societal norms, beliefs, or values. || Symbolism and metaphor are characteristics of art and art-making. ||||  1.4.8.A.5   || Interpret symbolism and metaphors embedded in works of dance, music, theatre, and visual art. || Awareness of basic elements of style and design in dance, music, theatre, and visual art inform the creation of criteria for judging originality. ||||  1.4.8.A.6   || Differentiate between “traditional” works of art and those that do not use conventional elements of style to express new ideas. || Artwork may be both utilitarian and non-utilitarian. Relative merits of works of art can be assessed through analysis of form, function, craftsmanship, and originality. ||||  1.4.8.A.7   || Analyze the form, function, craftsmanship, and originality of representative works of dance, music, theatre, and visual art. || 12  ||||||||||  Recognition of fundamental elements within various arts disciplines (dance, music, theatre, and visual art) is dependent on the ability to decipher cultural implications embedded in artworks. ||||  1.4.12.A.1  || Use contextual clues to differentiate between unique and common properties and to discern the cultural implications of works of dance, music, theatre, and visual art. || Contextual clues within artworks often reveal artistic intent, enabling the viewer to hypothesize the artist’s concept. ||||  1.4.12.A.2  || Speculate on the artist’s intent, using discipline-specific arts terminology and citing embedded clues to substantiate the hypothesis. || Artistic styles, trends, movements, and historical responses to various genres of art evolve over time. ||||  1.4.12.A.3  || Develop informed personal responses to an assortment of artworks across the four arts disciplines (dance, music, theatre, and visual art), using historical significance, craftsmanship, cultural context, and originality as criteria for assigning value to the works. || Criteria for assessing the historical significance, craftsmanship, cultural context, and originality of art are often expressed in qualitative, discipline-specific arts terminology. ||||  1.4.12.A.4  || Evaluate how exposure to various cultures influences individual, emotional, intellectual, and kinesthetic responses to artwork. ||
 * Content Area ** ||||||||
 * Visual & Performing Arts ** ||
 * Standard ** ||||||||
 * 1.4 Aesthetic Responses & Critique Methodologies: ** All students will demonstrate and apply an understanding of arts philosophies, judgment, and analysis to works of art in dance, music, theatre, and visual art. ||
 * Strand ** ||||||||
 * A. Aesthetic Responses ** ||
 * By the end of grade ** ||||||
 * Strand ** ||||||||
 * A. Aesthetic Responses ** ||
 * By the end of grade ** ||||||
 * By the end of grade ** ||||||
 * NOTE: ** By the end of preschool, all students attain foundational skills that progress toward BASIC LITERACY in CREATIVE MOVEMENT AND DANCE, MUSIC, DRAMATIC PLAY AND STORYTELLING, and VISUAL ART. ||
 * NOTE: ** By the end of grade 2, all students progress toward BASIC LITERACY in the following content knowledge and skills in DANCE, MUSIC, THEATRE, and VISUAL ART. ||
 * NOTE: ** By the end of grade 5, all students demonstrate BASIC LITERACY in the following content knowledge and skills in DANCE, MUSIC, THEATRE, and VISUAL ART. ||
 * NOTE: ** By the end of grade 8, all students demonstrate COMPETENCY in the following content knowledge and skills for their required area of specialization in DANCE, MUSIC, THEATRE, or VISUAL ART. ||
 * NOTE: ** By the end of grade 12, all students demonstrate PROFICIENCY in the following content knowledge and skills for their required area of specialization in DANCE, MUSIC, THEATRE, or VISUAL ART. ||

** Content Statement ** || ** CPI # ** || ** Cumulative Progress Indicator (CPI) ** || 2 ||||||||  Relative merits of works of art can be qualitatively and quantitatively assessed using observable criteria. ||  1.4.2.B.1  || Observe the basic arts elements in performances and exhibitions and use them to formulate objective assessments of artworks in dance, music, theatre, and visual art. || Constructive criticism is an important evaluative tool that enables artists to communicate more effectively. ||  1.4.2.B.2  || Apply the principles of positive critique in giving and receiving responses to performances. || Contextual clues are embedded in works of art and provide insight into artistic intent. ||  1.4.2.B.3  || Recognize the making subject or theme in works of dance, music, theatre, and visual art. || 5     ||||||||  Identifying criteria for evaluating performances results in deeper understanding of art and art-making. ||  1.4.5.B.1  || Assess the application of the elements of art and principles of design in dance, music, theatre, and visual artworks using observable, objective criteria. || Decoding simple contextual clues requires evaluation mechanisms, such as rubrics, to sort fact from opinion. ||  1.4.5.B.2  || Use evaluative tools, such as rubrics, for self-assessment and to appraise the objectivity of critiques by peers. || While there is shared vocabulary among the four arts disciplines of dance, music, theatre, and visual art, each also has its own discipline-specific arts terminology. ||  1.4.5.B.3  || Use discipline-specific arts terminology to evaluate the strengths and weaknesses of works of dance, music, theatre, and visual art. || Levels of proficiency can be assessed through analyses of how artists apply the elements of art and principles of design//.// || 1.4.5.B.4 || Define technical proficiency, using the elements of the arts and principles of design. || Artists and audiences can and do disagree about the relative merits of artwork. When assessing works of dance, music, theatre and visual art, it is important to consider the context for the creation and performance of the work (e.g., Who was the creator? What purpose does the artwork serve? Who is the intended audience?). ||  1.4.5.B.5  || Distinguish ways in which individuals may disagree about the relative merits and effectiveness of artistic choices in the creation and performance of works of dance, music, theatre, and visual art. || 8     ||||||||  Assessing a work of art without critiquing the artist requires objectivity and an understanding of the work’s content and form. ||  1.4.8.B.1  || Evaluate the effectiveness of a work of art by differentiating between the artist’s technical proficiency and the work’s content or form. || Visual fluency is the ability to differentiate formal and informal structures and objectively apply observable criteria to the assessment of artworks, without consideration of the artist. ||  1.4.8.B.2  || Differentiate among basic formal structures and technical proficiency of artists in works of dance, music, theatre, and visual art. || Universal elements of art and principles of design apply equally to artwork across cultures and historical eras. ||  1.4.8.B.3  || Compare and contrast examples of archetypal subject matter in works of art from diverse cultural contexts and historical eras by writing critical essays. || 12     ||||||||  Archetypal subject matter exists in all cultures and is embodied in the formal and informal aspects of art. ||  1.4.12.B.1 || Formulate criteria for arts evaluation using the principles of positive critique and observation of the elements of art and principles of design, and use the criteria to evaluate works of dance, music, theatre, visual, and multimedia artwork from diverse cultural contexts and historical eras. || The cohesiveness of a work of art and its ability to communicate a theme or narrative can be directly affected by the artist’s technical proficiency as well as by the manner and physical context in which it is performed or shown. ||  1.4.12.B.2  || Evaluate how an artist’s technical proficiency may affect the creation or presentation of a work of art, as well as how the context in which a work is performed or shown may impact perceptions of its significance/meaning. || Art and art-making reflect and affect the role of technology in a global society. ||  1.4.12.B.3  || Determine the role of art and art-making in a global society by analyzing the influence of technology on the visual, performing, and multimedia arts for consumers, creators, and performers around the world. ||
 * Content Area ** ||||||
 * Visual & Performing Arts ** ||
 * Standard ** ||||||
 * 1.4 Aesthetic Responses & Critique Methodologies: ** All students will demonstrate and apply an understanding of arts philosophies, judgment, and analysis to works of art in dance, music, theatre, and visual art. ||
 * Strand ** ||||||
 * B. Critique Methodologies ** ||
 * By the end of grade ** ||||
 * Strand ** ||||||
 * B. Critique Methodologies ** ||
 * By the end of grade ** ||||
 * By the end of grade ** ||||
 * NOTE: ** By the end of grade 2, all students progress toward BASIC LITERACY in the following content knowledge and skills in DANCE, MUSIC, THEATRE, and VISUAL ART. ||
 * NOTE: ** By the end of grade 5, all students demonstrate BASIC LITERACY in the following content knowledge and skills in DANCE, MUSIC, THEATRE, and VISUAL ART. ||
 * NOTE: ** By the end of grade 8, all students demonstrate COMPETENCY in the following content knowledge and skills for their required area of specialization in DANCE, MUSIC, THEATRE, or VISUAL ART. ||
 * NOTE: ** By the end of grade 12, all students demonstrate PROFICIENCY in the following content knowledge and skills for their required area of specialization in DANCE, MUSIC, THEATRE, or VISUAL ART. ||

** CRUCIAL: ** ** GLOSSARY ** ** Archetypal work of art ** : An artwork that epitomizes a genre of art. ** Art genres ** : Artworks that share characteristic approaches to content, form, style, and design. Each of the four arts disciplines is associated with different genres. ** Art(s) media ** : Artistic methods, processes, or means of expression (e.g., presentation mechanisms such as screen, print, auditory, or tactile modes) used to produce a work of art. ** Art medium(s) ** : Any material or technique used for expression in art. In art, “medium” refers to the physical substance used to create artwork. Types of materials include clay, pencil, paint, and others. ** Artistic processes ** : For example, expressionism, abstractionism/nonobjectivism, realism, naturalism, impressionism, and others. ** Balance ** : For example, in dance, complementary positions that are on or off the vertical, horizontal, or transverse axes. ** Basic Literacy ** : A level of achievement that indicates a student meets or exceeds the K-5 arts standards. Basic Literacy is attained when a student can: (1) Respond to artworks with empathy. (2) Understand that artwork reflects historical, cultural, and aesthetic perspectives. (3) Perform in all four arts disciplines at an age-appropriate level. (4) Draw similarities within and across the arts disciplines. ** Body patterning ** : For example, in dance, unilateral movement, contra-lateral movement //, // upper/lower body coordination, or standing or moving on two feet vs. one foot during movement patterns. ** Characteristics of a well-made play ** : Inciting incident, confrontation, rising action, climax, dénouement, and resolution. ** Choreographic structures ** : For example, AB, ABA, canon, call and response, narrative, rondo, palindrome, theme, variation, and others. ** Competency ** : A level of achievement that indicates a student meets or exceeds the K-8 arts standards. Competency is attained when a student can: (1) Respond to artworks with developing understanding, calling upon acquaintance with works of art from a variety of cultures and historical periods. (2) Perceive artworks from structural, historical, cultural, and aesthetic perspectives. (3) Perform in a chosen area of the arts with developing technical ability, as well as the ability to recognize and conceive solutions to artistic problems. (4) Understand how various types of arts knowledge and skills are related within and across the arts disciplines. ** Compound meter ** : Measures of music in which the upper numerator is divisible by three such as //6/8// or //9/8// time. ** Consummate works of art ** : Expertly articulated concepts or renderings of artwork. ** Discipline-specific arts terminology: ** Language used to talk about art that is specific to the arts discipline (dance, music, theatre, or visual art) in which it was created. ** Ear training and listening skill ** : The development of sensitivity to relative pitch, rhythm, timbre, dynamics, form, and melody, and the application of sight singing/reading or playing techniques, diction/intonation, chord recognition, error detection, and related activities. ** Effort Actions: ** “Effort actions,” or more accurately “incomplete effort actions,” specifically refers to nomenclature from Laban Movement Analysis—perhaps the most commonly employed international language of dance. The term refers to any of eight broad classifications or categories of movement: gliding, floating, dabbing, flicking, slashing, thrusting, pressing, and wringing. Each effort action has a specific relationship to the elements of dance (i.e., time, space, and energy) and is paired with another effort action (gliding & floating, dabbing & flicking, slashing & thrusting, pressing & wringing). ** Elements of art ** : The compositional building blocks of visual art, including line, color, shape, form, texture, and space. ** Elements of dance ** : The compositional building blocks of dance, including time, space, and energy. ** Elements of music ** : The compositional building blocks of music, including texture, harmony, melody, and rhythm. ** Elements of theatre: ** The compositional building blocks of theatre, including but not limited to plot, character, action, spectacle, and sound. ** Exemplary works ** : Works representing genres of art that may be examined from structural, historical, and cultural perspectives. ** Formalism ** : The concept that a work’s artistic value is entirely determined by its form — the way it is made, its purely visual aspects, and its medium. The context for the work is of secondary importance. Formalism predominated Western art from the late 1800s to the 1960s. ** Historical eras in the arts ** : Artworks that share distinct characteristics and common themes associated with a period of history. ** Home tone ** : The first or key tone of any scale; the same as the tonic. ** Kinesthetic awareness ** : Spatial sense. ** Kinesthetic principles ** : Principles having to do with the physics of movement, such as work, force, velocity, and torque. ** Locomotor and non-locomotor movements ** : Locomotor movements involve travel through space (e.g., walking, running, hopping, jumping, leaping, galloping, sliding, skipping), while non-locomotor movements are performed within a personal kinesphere and do not travel through space (e.g., axial turns). ** Media Arts ** : For example, television, film, video, radio, and electronic media. ** Mixed meter ** : A time signature in which each measure is divided into three or more parts, or two uneven parts, calling for the measures to be played with principles, and with subordinate metric accents causing the sensation of beats (e.g., //5/4// and //7/4// time, among others). ** Movement affinities ** : The execution of dance phrases with relation to music. Dancers tend toward either //lyricism// (using the expressive quality of music through the full extension of the body following the accented beat), or //bravura// dancing (in which the dancer tends to accent the musical beat). Both are technically correct, but are used in different circumstances. ** Musical families ** : The categorization of musical instruments according to shared physical properties, such as strings, percussion, brass, or woodwinds. ** Music composition ** : Prescribed rules and forms used to create music, such as melodic line and basic chordal structures, many of which are embedded in electronic music notation programs, and which can apply equally to improvised and scored music. ** New art media and methodologies ** : Artistic works that have a technological component, such as [|digital art], [|computer graphics] , [|computer animation] , [|virtual art] , computer robotics, and others. ** Orff instruments ** : Precursors to melodic musical instruments, such as hand drums, xylophones, metalliphones, wood blocks, triangles, and others. ** Ostinato ** : A short melodic phrase persistently repeated by the same voice or instrument. ** Physical and vocal skills ** : For example, articulation, breath control, projection, body alignment. ** Principles of design ** : Balance, proportion, rhythm, emphasis, and unity. ** Proficiency ** : A level of achievement that indicates a student meets or exceeds the K-12 arts standards. Proficiency is attained when a student can: (1) Respond to artworks with insight and depth of understanding, calling upon informed acquaintance with exemplary works of art from a variety of cultures and historical periods. (2) Develop and present basic analyses of artworks from structural, historical, cultural, and aesthetic perspectives, pointing to their impact on contemporary modes of expression. (3) Perform in a chosen area of the arts with consistency, artistic nuance, and technical ability, defining and solving artistic problems with insight, reason, and technical proficiency. (4) Relate various types of arts knowledge and skills within and across the arts disciplines, by mixing and matching competencies and understandings in art-making, history, culture, and analysis in any arts-related project. ** Sensory recall ** : A technique actors commonly employ to heighten the believability of a character, which involves using sense memory to inform their choices. ** Technical proficiency and artistry in dance performance ** : Works executed with clarity, musicality, and stylistic nuance that exhibit sound anatomical and kinesthetic principles. ** Technical theatrical elements ** : Technical aspects of theatre, such as lighting, sets, properties, and sound. ** Theatrical genres ** : Classifications of plays with common characteristics. For example, classical plays, post modern drama, commedia dell’ arte, historical plays, restoration comedy, English renaissance revenge plays, and others. ** Utilitarian and non-utilitarian art ** : Art may be functional (i.e., utilitarian) or decorative (i.e., non-utilitarian). ** Visual communication ** : The sharing of ideas primarily through visual means—a concept that is commonly associated with two-dimensional images. Visual communication explores the notion that visual messages have power to inform, educate or [|persuade]. The success of visual communication is often determined by measuring the audience’s comprehension of the artist’s intent, and is not based aesthetic or artistic preference. In the era of electronic communication, the importance of visual communication is heightened because visual displays help users understand the communication taking place. ** Visual literacy ** : The ability to understand subject matter and the meaning of visual artworks within a given cultural context; the ability to communicate in a wide array of art media and express oneself in at least one visual discipline. ** Vocal placement ** : The physical properties and basic anatomy of sound generated by placing the voice in different parts of the body, such as a head voice and chest voice.