Sample Bibliography On Australian Curriculum

When I was four years old I was introduced to a tall, petite, beautiful ballerina who spun around the room with elegance, and effortlessly captured the crowd with her stunning abilities. As a little girl, I sparkled with admiration and was inspired to be all she was, it was from that point on, that I ventured into an unknown world of art, strength and expression. Now being eighteen years old with about fourteen years of experience in the dance world, I have learned and developed the norms, values and practices of the culture, and the conflicting theory within it.

As an individual who’s been drawing and painting since before she could even hold a pen – apparently, I used to spill my grandma’s tea and make shapes with it – art has always been my favorite pastime. It’s tranquil and relaxing, and mixing paints is the most satisfying experience. Thus, it’s no wonder that the activity that I’m most invested in is art.

Australian Aboriginals used danced to communicate stories of the cultural spirits and legends, along with tell stories of the past, present and future with those in their community (Cheeky Dancers, n.d.). There is a sense of pride when they dance and pass on their history and culture to the generations after them (The age, 2013). Aboriginal people are proud of their heritage and dance allows them to express their thoughts and views of the world the way they see

Curriculum is designed to develop successful learners. Confident and creative individuals and active and informed citizens (MCEECDYA, 2008, p.13). In 2008, the Australian Government promised to deliver a fair and equitable curriculum for the national’s educational system, taking the task away from the State and Local Governments. The purpose of this was to create an even level of education throughout the country whether in Hobart of Cape York, and to ensure our nations position into the 21st century. This essay will demonstrate the Nation’s curriculum, its structure and development ready for its initial implementation in 2011.

‘For me, it is important that the work I make finds connection … but at the same time… calls into question our conversations of what dance is’ (Garry Stewart, 2010). Garry Stewart, the Artistic Director of Australian Dance Theatre (ADT) since 1999, began his dance training at the age of twenty, after leaving university studying social work. Through his explosive, energetic and electrifying style, his unique dance pushes drives boundaries empowering his works, which are technically demanding, frightful and exhausting, creating an intriguing performance. In his pieces ‘Birdbrain’ and ‘G’ a combination of classical ballet, contemporary dance and gymnastics is utilized throughout to create a fascinating performance. Stewart’s productions have toured

The two live dance works viewed this year were “Emergence”, performed by Sydney Dance Company, choreographed by Rafael Bonachela, performed at the Princess Theatre and a recorded dance performance titled “Image”, choreographed by Jason Northam and Liesel Link. The two dance performances substantiated were exceedingly diverse and dissimilar. The two performances juxtaposed their intentions and interpreted opposing elements through diversity in movement vocabulary, structural devices and form, performance skills and technical elements.

The Australian Curriculum basically makes sure that it is setting out the essential knowledge, understanding, skills and universal competences that are very essential for all Australian students. The Australian Curriculum makes sure that it defines the learning power of students as groundwork for their future learning, development and vigorous contribution in the Australian society. It makes obvious what every young Australians need to learn as they advance through their schooling. It is the basis for high worth teaching to come across the requirements of everyone of Australian students. Curriculum is intended to progress fruitful learners. Secure and resourceful persons and functioning and informed people (MCEECDYA, 2008, p.13). In 2008, the Australian Government swore to distribute a reasonable and just curriculum for the national's educational system, pulling the job away from the Local and State Governments. The drive of this was to generate a smooth phase of education all the way through the nation, and to also safeguard their countries locus into the 21st century. This essay will reveal the Nation's curriculum, its organization and development that had already been implemented for its initial opening in 2011.

Music is everywhere and has been a part of human existence for eons (Dinham, 2014, p. 265). Music has been a part of Australian schools for the last hundred of years, over the last fifteen years the application of music has seen a drastic change with the appearance of the internet and increase of accessibility. In spit of this the elements of music has not changed and forms the basis of music. When teachers or children sing they use those elements automatically (Dinham, 2014, p. 270). The curriculum has an expectation that children will learn to listen to music, compose and make music (ACARA, July, 2013, p. 93). There is a range of music that can be used to teach children; explore music concepts, by singing, playing instruments, by listening, composing songs or music, dancing or moving on music. Children, through participation and appreciation will discover about themselves form bonds with other children and become more aware of different cultures (Dinham, 2014, p. 266). Teacher’s participation, regardless of status, need to ensure that children are getting an education in music. The opportunities and experiences, to create, perform and record given to us as pre services teachers will be of a great help when facing the task of teaching children music in schools. Art education depends on how to motivated and support children, scaffolding their learning, and build on their enthusiasm to join the praxis of

Interwoven throughout the learning areas and general capabilities are Cross Curriculum Priorities which encompass Aboriginal and Torres Strait Islander histories and cultures, Asia and Australia’s engagement with Asia and Sustainability (ACARA, 2010c). All three priorities are significant in the current social and economic climate. The integration of these into the curriculum provides young Australians the opportunity to understand and engage in meaningful discussion of these contemporary issues.

The Australian Curriculum is not designed to stipulate the whole curriculum; rather it is a blueprint that defines what students across Australia should be taught throughout their schooling years (ACARA, n.d.-g). The Australian Curriculum will provide specific information for the content that is to be taught, the extent of understanding, level of knowledge and the achievement standards and skills that will be expected of students (Hill, n.d.). Individual schools, teachers and communities make decisions about which activities, events and community based traditions to include in the classroom which focus on personal development and character (Hill, n.d.).

Students will improvise and adapt the skills and knowledge they learnt through the example dance to explore their own emotions and display of these.

I used various sources in order to piece together my research for the paper. I had an interview with my mentor, David Mills who is the Artistic Director of Infinity Box in Seattle, Washington. The mission of Infinity Box is to, “use the power of theater to pose questions about the human consequence of science and technology. Combining quality storytelling with quality conversation is our way to provoke and foster a deeper and wider conversation about what it means to be human in our rapidly changing world.” Dr. Mills helped me to brainstorm how to translate my research into my actual project. He gave my ideas about how to incorporate the science aspects accurately and correctly into the dance.

Following Duncan, Humphrey developed a dance technique of fall and recovery to metaphorize human situation, expressing her concern for social justice. Also known as “the arc between two deaths,” the theory of fall and recovery is a reaction to space and gravity (Au 120). “Starting with basic physical resources like breath, weight, balance, and spatial orientation, the dancer moves between the ‘death’ of stasis and the activity of maintaining balance. As the body approaches an extreme of off-balance, it reverses or rebounds into another risky trajectory” (Siegel). The human body’s response to gravity in her dances produces expressive movements. For Humphrey, movements should be foremost of all the elements involved in a dance production.

Much of our exploration of dance improvisation involved delving into the eight movement “efforts” that Rudolf Laban developed, and these eight effort qualities can be categorized into four different groups: direction, weight, speed, and flow. For direction, movements can either be direct, which means there is intention and thought before every movement, or indirect, where the direction of one movement does not necessarily correspond to that of the next. For weight, movements can be either heavy, which can often be visible or the weight of the limbs and the awareness of gravity and the floor, or light, where a sensation of weightlessness or floating is often used. For speed, movements can either be quick, where movements rapidly progress from one to the next, or slow, where the urgency of time is neglected. For flow, movements can be either bound, where there is a sense of an imaginary outside force acting

Music from all over the world presents a range of musical theories. Some of these are documented in writing whilst others are transmitted orally. Discuss and give examples with reference to both Western and non-Western music.