Art Guide

Arts guide
For use from September 2014/January 2015
Arts guide
For use from September 2014/January 2015
Middle Years Programme

Arts guide
Published May 2014

Updated September 2014
Published on behalf of the International Baccalaureate Organization, a not-for-profit
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Website: www.ibo.org
International Baccalaureate Organization 2014
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MYP341
IB mission statement
The International Baccalaureate aims to develop inquiring, knowledgeable and caring young people who
help to create a better and more peaceful world through intercultural understanding and respect.
To this end the organization works with schools, governments and international organizations to develop
challenging programmes of international education and rigorous assessment.
These programmes encourage students across the world to become active, compassionate and lifelong
learners who understand that other people, with their differences, can also be right.
Contents
Introduction1
Purpose of this guide
Arts in the MYP
Programme model
Nature of the arts
Thinking creatively
Arts across the IB continuum
Aims9
Objectives10
Visualizing the arts objectives
12
Planning a progression of learning
14
Interdisciplinary learning
16
MYP projects
17
Written and taught curriculum
18
Requirements18
Planning the arts curriculum
21
Teaching and learning through inquiry
22
Subject-specific guidance
28
Assessed curriculum
35
Alignment of objectives and criteria
35
Assessment criteria overview
36
Task-specific clarifications
37
Arts assessment criteria: Year 1
38
43
48
eAssessment53
Appendices54
Related concepts in arts
54
Arts glossary
56
MYP command terms for arts
58
Selected reading
59
Arts guide
Introduction
Purpose of this guide
This guide is for use from September2014 or January 2015, depending on the start of the school year.
This document provides the framework for teaching and learning in arts in the Middle Years
Programme(MYP) and must be read and used in conjunction with the document MYP:From principles into
practice (May2014), which includes:

general information about the programme
the MYP unit planner, with guidance for developing the curriculum that is relevant for all subject
groups
detailed information about approaches to learning
advice that supports access and inclusion (including accommodations for students with learning
support requirements)
a statement on academic honesty.
In MYP publications, requirements appear in a text box like this one.
Additional resources
Teacher support materials (TSM) are available in the online curriculum centre (http://occ.ibo.org). The TSM
for arts contains support for developing the written, taught and assessed curriculum. It provides examples
of good practice including subject group overviews, assessment tasks and markschemes, as well as student
work with teacher comments.
An optional process of externally moderated assessment can lead to IB MYP course results for arts courses,
and these results can contribute to the awarding of an IB MYP certificate. More information is available in
the annual publication Handbook of procedures for the Middle Years Programme.
A range of publications that support the MYP are available at the IB store (http://store.ibo.org).
Acknowledgments
The IB gratefully acknowledges the generous contributions of IB World Schools and a global community of
educators who collaborate in the development of the Middle Years Programme.
Arts guide
Arts in the MYP
Programme model
Figure 1
Middle Years Programme model
The MYP is designed for students aged 11 to 16. It provides a framework of learning that encourages students
to become creative, critical and reflective thinkers. The MYP emphasizes intellectual challenge, encouraging
students to make connections between their studies in traditional subjects and the real world. It fosters the
development of skills for communication, intercultural understanding and global engagementessential
qualities for young people who are becoming global leaders.
The MYP is flexible enough to accommodate the demands of most national or local curriculums. It builds
upon the knowledge, skills and attitudes developed in the IB Primary Years Programme (PYP) and prepares
students to meet the academic challenges of the IB Diploma Programme (DP) and the IB Career-related
Certificate (IBCC).
Arts guide
Programme model
The MYP:

addresses holistically students intellectual, social, emotional and physical well-being
provides students opportunities to develop the knowledge, attitudes and skills they need in order
to manage complexity and take responsible action for the future
ensures breadth and depth of understanding through study in eight subject groups
requires the study of at least two languages to support students in understanding their own cultures
and those of others
empowers students to participate in service with the community
helps to prepare students for further education, the workplace and a lifetime of learning.
Arts guide
Arts in the MYP
Nature of the arts
The aim of art is to represent not the outward appearance of things, but their
inward significance.
Aristotle
The arts are a universal form of human expression and a unique way of knowing that engage us in effective,
imaginative and productive activities. Learning through the arts helps us to explore, shape and communicate
our sense of identity and individuality. A focus on the individual enhances our self-confidence, resilience and
adaptability. It encourages our sense of belonging and community through the recognition of identities.
During adolescence, the arts provide an opportunity for age-appropriate and holistic development of the
social, emotional, intellectual and personal intelligences of the student.
In MYP arts students have opportunities to function as artists, as well as learners of the arts. Artists have
to be curious. By developing curiosity about themselves, others and the world, students become effective
learners, inquirers and creative problem-solvers. Students develop through creating, performing and
presenting arts in ways that engage and convey feelings, experiences and ideas. It is through this practice
that students acquire new skills and master those skills developed in prior learning.
Development in the arts is a dynamic process, and not necessarily linear. The student moves freely through a
creative process towards a deeper understanding of the arts. MYP arts values the process of creating artwork
and the point of realization; the two elements combined tell us what students have experienced, learned
and attempted to convey. In MYP arts, the four objectives have equal importance and value. Although the
objectives can be addressed separately to scaffold learning, when used collectively they enrich teaching
and learning of the arts.
Thinking creatively fits naturally in MYP arts, but can easily become a focus in other subject groups too. This
objective is essential in modern education to address the need for student-centred learning and lifelong
learning, looking towards a modern context of flexible employment and a higher demand for innovation
and change in the workplace. As both an objective in the arts and an approaches to learning (ATL) skill
across the programme, heightened awareness of thinking creatively encourages students to develop
metacognitive skills and become self-regulated learners.
Arts in the MYP stimulate young imaginations, challenge perceptions and develop creative and analytical
skills. Involvement in the arts encourages students to understand the arts in context and the cultural
histories of artworks, thus supporting the development of an inquiring and empathetic world view. Arts
challenge and enrich personal identity and build awareness of the aesthetic in a real-world context.
Arts guide
Arts in the MYP
Thinking creatively
Every person has the ability to be creative. In a rapidly changing world, it cannot be assumed that the
knowledge and understanding that students develop during their formal education will be sufficient.
Learning to think critically and creatively enables us to analyse situations, revisit challenges, create possible
solutions, and innovate our way into a better future. Providing students with the tools for generating
creative thought and encouraging creative behaviours will allow students to develop their creativity across
all subject groups and foster lifelong learning.
Creativity is an MYP key concept, defined as the capacity to generate new ideas and consider existing ideas
from new perspectives, as well as the ability to recognize the value of an idea in order to solve problems or
innovate. It may be evident in process as well as outcome, solution or product.
There are many models of creative behaviours; lateral and divergent thinking are clear indicators of creative
thought processes.
Thinking creatively involves:

questioningoften generating new and unusual further questions from the original question
responding to ideas, questions, tasks or problems in a surprising way
challenging conventions and ones own and others assumptions
thinking independently
seeing possibilities, problems and challenges positively
visualizing alternatives
using imagination to examine possibilities
considering other perspectives than ones own
playing with ideas and experimenting
responding intuitively and trusting ones intuition
anticipating and overcoming difficulties, modifying ones ideas in the process
recognizing when an original idea has value and pursuing it
seeking unusual solutions.
Thinking creatively in the arts

To create ones own world in any of the arts takes courage.
Georgia OKeeffe
Creativity is the foundation of the arts; it permeates the skill and structure of artwork. Creativity is what
makes the audience pause to take a closer look at a work of art; to examine what it might be that thrills
the viewer, what excites the senses, what titillates the perceptions. When we stumble out of an exhibition
or performance, reeling with possibility, it is often not the mastery of skill that holds us enthralled, but the
magic; the innovation; the exploration of the unknown; a compilation of the familiar in a novel way. The
Arts guide
Thinking creatively
creativity of the artist is what compels them to write, create, paint, play, structure, composeinjecting
their personal signature into their workultimately making it their own through an idea in conception, an
individual perception, or a unique approach. It is curiosity, imagination, courage and determination. This is
creativity in the arts.
A course designed simply to teach students to play instruments, or solely to perform scripts to audiences,
will not meet the aims or requirements of the arts as an MYP course. While the acquisition and application of
skills is essential to the arts, practical skills alone are not enough. Students should be driven by their inquiry
and creativity to develop deep understandings within the subject. A supportive teacher will encourage the
learning process itself and acknowledge the courage it takes students to experiment creatively as part of
their process, regardless of the final product. A well-designed arts course enables students to develop not
only practical skills but also creative- and critical-thinking strategies. Teaching strategies should provide all
students with access to the curriculum.
The creative process is as important as the product, and students will approach the process differently.
There is rarely just one way to create art, and the process of creative thought and critical selection of ideas
and solutions will take many paths before a student can determine the most beneficial way of working that
suits him or her best. Students are encouraged to think creatively in the process of creating art without fear
of failure. Often a thorough and imaginative creative thought process will lead to a better product, but there
are times when unforeseen circumstances will prevail and the product will not reflect the creativity of the
process. The demonstration of creative thought is assessed regardless of the success or failure of that idea
at the point of realizationthrough the artists intention, process, commitment to the final product and
the impact that the product makes on an audience. Students should be encouraged and enabled to take
creative risks and explore ideas in the process and creation of the product through both conventional and
unconventional approaches.
While the practical approaches towards the creative process can often be recorded by the teacher in
classroom practice, the internal thought processes and the creativity that occurs outside of the studio or
rehearsal space needs to be recorded by the student in the arts process journal.
As thinking creatively in the arts is both an arts objective and ATL skill, arts teachers may design units of
work that focus on either the objective or the ATL skill, or both as appropriate.
Arts guide
Arts in the MYP
Thinking of education as a preparation for something that happens later can

overlook the fact that the first sixteen or eighteen years of a persons life are
not a rehearsal. Young people are living their lives now.
Ken Robinson
The IB continuum of international education provides a progression of learning for students aged 3 to 19. In
the IB Primary Years Programme (PYP), learning about and through arts is fundamental to the development
of the whole child, promoting creativity, critical thinking, problem-solving skills and social interactions. The
PYP arts objective strands of responding and creating encourage students to become more mindful of
their own artistic development and the role that arts play in the world. PYP arts provide students with the
opportunity to explore their own personal interests, beliefs and values and to engage in a personal artistic
journey.
MYP arts aims to build on what students learn and do in the PYP and other student-centred programmes
of primary education. MYP arts furthers an inquiry-based approach through similar objectives that
encourage students to continue their artistic development and learning. There are no prior formal learning
requirements.
MYP arts courses help specifically to prepare students for the study of visual arts, music, theatre, dance,
film and literature and performance in the IB Diploma Programme (DP) at either higher or standard levels.
Figure 2 shows the IB continuum pathways in the study of the arts.
Visual arts
Music
Theatre
Film
Literature
and
performance
Diploma
Programme
Dance
Middle Years
Programme
Primary Years
Programme
Arts
Arts
Figure 2
IB continuum pathways in the study of the arts
Arts guide
MYP arts also helps to prepare students for overall success in the DP and the IBCC through the use of
concepts and contexts, through developing creativity, subject-specific skills and ATL skills.
The knowledge, skills and attitudes that students develop in arts courses provide a meaningful foundation
for further study and help to prepare students for careers in any people-oriented field of employment.
Arts guide
Arts in the MYP
Aims
The aims of all MYP subjects state what a teacher may expect to teach and what a student may expect to
experience and learn. These aims suggest how the student may be changed by the learning experience.
The aims of MYP arts are to encourage and enable students to:

create and present art
develop skills specific to the discipline
engage in a process of creative exploration and (self-)discovery
make purposeful connections between investigation and practice
understand the relationship between art and its contexts
respond to and reflect on art
deepen their understanding of the world.
Arts guide
Arts in the MYP
Objectives
The objectives of any MYP subject group state the specific targets that are set for learning in the subject.
They define what the student will be able to accomplish as a result of studying the subject.
The objectives of MYP arts encompass the factual, conceptual, procedural and metacognitive dimensions of
knowledge.
Schools must use the objectives provided in this guide for years 1, 3 and 5 of the programme.
Each objective is elaborated by a number of strands; a strand is an aspect or indicator of the learning
expectation.
Subject groups must address all strands of all four objectives at least twice in each year of the MYP.
These objectives relate directly to the assessment criteria found in the Assessed curriculum section of this guide.
A Knowing and understanding

Through the study of theorists and practitioners of the arts, students discover the aesthetics of art forms and
are able to analyse and communicate in specialized language. Using explicit and tacit knowledge alongside an
understanding of the role of the arts in a global context, students inform their work and artistic perspectives.
In order to reach the aims of arts, students should be able to:
i.
demonstrate knowledge and understanding of the art form studied, including concepts, processes,
and the use of subject-specific terminology
ii.
demonstrate an understanding of the role of the art form in original or displaced contexts
iii.
use acquired knowledge to purposefully inform artistic decisions in the process of creating artwork.
B Developing skills
The acquisition and development of skills provide the opportunity for active participation in the art form
and in the process of creating art. Skill application allows students to develop their artistic ideas to a point
of realization. The point of realization could take many forms. However, it is recognized as the moment
when the student makes a final commitment to his or her artwork by presenting it to an audience. Skills are
evident in both process and product.
i.
demonstrate the acquisition and development of the skills and techniques of the art form studied
ii.
demonstrate the application of skills and techniques to create, perform and/or present art.
10
Arts guide
Objectives
C Thinking creatively
The arts motivate students to develop curiosity and purposefully explore and challenge boundaries.
Thinking creatively encourages students to explore the unfamiliar and experiment in innovative ways to
develop their artistic intentions, their processes and their work. Thinking creatively enables students to
discover their personal signature and realize their artistic identity.
i.
develop a feasible, clear, imaginative and coherent artistic intention
ii.
demonstrate a range and depth of creative-thinking behaviours
iii.
demonstrate the exploration of ideas to shape artistic intention through to a point of realization.
D Responding
Students should have the opportunity to respond to their world, to their own art and to the art of others. A
response can come in many forms; creating art as a response encourages students to make connections and
transfer their learning to new settings. Through reflecting on their artistic intention and the impact of their
work on an audience and on themselves, students become more aware of their own artistic development
and the role that arts play in their lives and in the world. Students learn that the arts may initiate change as
well as being a response to change.
i.
construct meaning and transfer learning to new settings
ii.
create an artistic response that intends to reflect or impact on the world around them
iii.
critique the artwork of self and others.
Arts guide
11
Arts in the MYP
Demonstrate
knowledge and
understanding of
the art form
Use knowledge
to purposefully
inform artistic
decisions
Knowing and
understanding
Construct
meaning
and transfer
learning
Create an
artistic
response
Demonstrate
understanding of the
role of the art form
Developing
skills
Responding
Presenting
a critique of
artwork
Demonstrate
acquisition and
development
of skills and
techniques
Demonstrate
application
of skills and
techniques to
create art
Thinking
creatively
Develop a clear and

imaginative artistic
intention
Demonstrate a
range and depth of
creativethinking
behaviours
Demonstrate
exploration of
ideas to a point
of realization
Figure 3
The MYP arts objectives
The visual representation of MYP arts objectives (figure 3) indicates how the objectives can be used when
designing units within the arts subject group. There are several ways in which the objectives may be used
in the arts.
The four objectives may be introduced separately to allow for a specific focus on one of the objectives. For
example, teachers might introduce a skill set at the start of the course, using objective B (developing skills)
to lay the foundation for furthering those skills in later units of work. Similarly, perhaps objective C (thinking
creatively) needs emphasis in advance of another unit in which this objective plays an important role, so
teachers might scaffold the approach to an objective for their students to reach the highest potential in
following units.
12
Arts guide
Objective A (knowing and understanding) and objective D (responding) complement each other in a unit of
study; a response may be an emotional reaction to an artwork, and an informed understanding of the art or
artist can provide the intellectual evidence to support the response. Similarly, the objectives B (developing
skills) and C (thinking creatively) can easily be paired in units of work as the practical ability to acquire,
develop and apply a skill set is enhanced and personalized through the creative thought process.
When all four objectives are addressed, a unit can meet all the aims of MYP arts. MYP arts units can easily
address all four objectives, especially in later years of the programme. The arts process journal is a very
practical tool to provide evidence of achievement against multiple criteria. For example, as students
develop, amend and periodically annotate their work throughout the course of a unit, the entries they
make in their process journal can provide evidence of their knowledge and understanding (criterion A) and
creative thinking (criterion C). In the same unit, teachers can design other summative assessment tasks in
which students develop skills (criterion B) and respond to art (criterion D).
In MYP arts, teachers are not required to assess all four criteria in every unit. However, units that assess all
four criteria through a range of associated assessment tasks increase efficiency, promote holistic learning,
and help to prepare students for MYP eAssessment in the arts.
Arts guide
13
Arts in the MYP
Throughout the programme, students should engage with the curriculum and demonstrate their
understanding at increasing levels of sophistication.
Year 1
In order to reach the aims
of arts, students should be
able to:
Year 3
able to:
Year 5
able to:
Objective A: Knowing and understanding

i.
demonstrate awareness
of the art form studied,
including the use of
appropriate language
ii.
demonstrate awareness of
the relationship between
the art form and its
context
iii.
demonstrate awareness
of the links between the
knowledge acquired and
artwork created.
i.
demonstrate knowledge
of the art form studied,
including concepts,
processes, and the use of
ii.
of the role of the art form
in original or displaced
contexts
iii.
use acquired knowledge

to inform their artwork.
i.
and understanding of the
art form studied, including
concepts, processes, and
the use of subject-specific
terminology
ii.
demonstrate an
understanding of the role
of the art form in original
or displaced contexts
iii.
use acquired knowledge to

purposefully inform artistic
decisions in the process of
creating artwork.
Objective B: Developing skills

i.
demonstrate the
acquisition and
development of the skills
and techniques of the art
form studied
i.
demonstrate the
acquisition and
form studied
i.
demonstrate the
acquisition and
form studied
ii.
demonstrate the
application of skills and
techniques to create,
perform and/or present art.
ii.
demonstrate the
ii.
demonstrate the
14
Arts guide
Year 1
able to:
Year 3
able to:
Year 5
able to:
Objective C: Thinking creatively

i.
identify an artistic
intention
i.
outline a clear and feasible

artistic intention
ii.
identify alternatives and

perspectives
ii.
outline alternatives,
perspectives, and
imaginative solutions
iii.
demonstrate the
exploration of ideas.
iii.
demonstrate the
exploration of
ideas through the
developmental process to
a point of realization.
i.
develop a feasible, clear,

imaginative and coherent
artistic intention
ii.
demonstrate a range and

depth of creative-thinking
behaviours
iii.
demonstrate the
exploration of ideas to
shape artistic intention
through to a point of
realization.
Objective D: Responding
i.
identify connections
between art forms, art and
context, or art and prior
learning
ii.
recognize that the world

contains inspiration or
influence for art
iii.
evaluate certain elements

or principles of artwork.
i.
outline connections and

transfer learning to new
settings
i.
construct meaning and

transfer learning to new
settings
ii.
create an artistic response

inspired by the world
around them
ii.
iii.
evaluate the artwork of

self and others.
create an artistic response

that intends to reflect
or impact on the world
around them
iii.
critique the artwork of self

and others.
In the case of arts objective B (developing skills), the objective strands and assessment criterion are the
same for all year groups. The increasing levels of sophistication are determined by the skill sets determined
by the teacher per unit of study. The expectations of the teacher will need to be made clear to students
through task-specific clarifications at the start of the unit. More information can be found in the MYP Arts
teacher support material.
The third strand of objective D (responding) requires students to provide a critical review or commentary
of their own artwork and that of others. In year 1, the assessment criterion strand refers to elements or
principles of artwork; the definition of the elements and principles of art can be found in the glossary of
this guide. In MYP year 5, a critique involves the skills of interpretation, analysis and evaluation. Students
may refer to external artworks and productions or to the work of their peers. Oral commentary is accepted
as a form of communicating a critique, among others.
The range of assessed skills, techniques, strategies and concepts, as well as the complexity of their
application, must increase as students progress through the programme.
Arts guide
15
Arts in the MYP
Interdisciplinary learning
Interdisciplinary teaching and learning is grounded in individual subject groups and disciplines, but extends
disciplinary understanding in ways that are:

integrativebringing together concepts, methods or modes of communication from two or more

subject groups, disciplines or established areas of expertise to develop new perspectives
purposefulconnecting disciplines to solve real-world problems, create products or address

complex issues in ways that would have been unlikely through a single approach.
Interdisciplinary teaching and learning builds a connected curriculum that addresses the developmental
needs of students in the MYP. It prepares students for further academic (inter)disciplinary study and for life
in an increasingly interconnected world.
The MYP uses concepts and contexts as starting points for meaningful integration and transfer of knowledge
across subject groups and disciplines. Fostering interdisciplinary teaching and learning in the MYP (2014)
contains more information, including a detailed process for planning and recording interdisciplinary units.
MYP schools are responsible for engaging students in at least one collaboratively planned
interdisciplinary unit for each year of the programme.
MYP arts offer many opportunities for interdisciplinary teaching and learning. Possible interdisciplinary
units in this subject group could include inquiries into:

the arts as an expression of culture through history
the mathematical components of certain artworks
the biological effects of the arts
the artistic process in designing and marketing products.
Interdisciplinary learning can take place through large- and small-scale learning engagements. Authentic
interdisciplinary learning often requires critical reflection and detailed collaborative planning. However,
teachers and students can also make interdisciplinary connections through spontaneous learning
experiences and conversations.
All MYP subject group teachers are responsible for developing meaningful ongoing opportunities
for interdisciplinary teaching and learning.
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Arts guide
Arts in the MYP
MYP projects
MYP projects
The MYP community project (for students in years 3 or 4) and MYP personal project (for students in year5)
aim to encourage and enable sustained inquiry within a global context that generates new insights and
deeper understanding. In these culminating experiences, students develop confidence as principled,
lifelong learners. They grow in their ability to consider their own learning, communicate effectively and take
pride in their accomplishments.
Courses in arts help students to develop key approaches to learning (ATL) that lead to success and
enjoyment in MYP projects. In this subject group, students have important opportunities to practise ATL
skills, especially social skills and self-management skills. Creativity, communication and collaboration are
essential aspects of arts.
From their learning experiences in this subject group, students can find inspiration for their projects.
Often creative thinking in the arts prompts students to develop new ideas and directions that they might
choose to pursue in MYP projects. Developing an artistic skill may inspire students to further their personal
accomplishments in a particular field of study.
Arts offers many opportunities for learning through action. Inspiration from arts for community projects
and personal projects might include inquiries into:

the beneficial effects of the arts on the human condition
designing and leading arts workshops
writing or directing a production
learning a musical instrument.
Arts guide
17
Requirements
Teaching hours
Schools must allocate the teaching hours necessary to meet the requirements of MYP arts.
The MYP requires at least 50 hours of teaching time for each subject group in each year of the
programme.
This indicates that students must engage in 50 hours of structured learning in the arts in each year of MYP
years 13, and in years 4 and 5 of the MYP if they opt to continue to study the subject. This requirement may
be applied across various disciplines, as long as the number of hours meets the minimum requirement for
the subject group. In practice more time is often necessary to meet subject group aims and objectives and
to provide for the sustained, concurrent teaching that enables interdisciplinary study.
For students pursuing IB MYP course results that can contribute to the awarding of the IB MYP certificate,
arts courses should include at least 70 teaching hours in each of the final two years of the programme (MYP
year4 and MYP year 5).
All schools must ensure that:

in MYP years 13, students engage in a minimum of one visual arts discipline and one
performing arts discipline
the sum of arts subject group hours in MYP years 13 meets the minimum requirement of 150
hours, of which a minimum total of 50 hours must be dedicated to visual arts and a minimum
total of 50 hours must be dedicated to performing arts. The remaining 50 hours may be
allocated to any arts subject(s) at the discretion of the school.
Students must use the arts process journal in all MYP arts courses.
The MYP recognizes:

Visual arts as visual art and media
Performing arts as drama, music and dance
The requirement that students engage in a minimum of one visual art discipline and one performing art
discipline prevents schools from offering one integrated arts course. Modes of performance through visual
arts and performing arts offer students various opportunities to express emotion, idea and opinion through
entirely separate skill sets. These are too different to merge into one course.
Through structured learning in various art forms over the course of years 13, students have the greatest
exposure to visual and performing art forms and can best explore a variety of skills.
It is suggested that students studying an art form in year 5 will have engaged in structured learning in
the same art form in earlier years of the programme (students transferring from other schools may be
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Arts guide
Requirements
exceptions to this requirement); structured learning in the same art form indicates that the students have
engaged in a course of the same art form offered as part of the curriculum in the school in a previous year
of the MYP. Arts courses that focus only on preparing students for performance events through instruction,
practice and rehearsal are unlikely to meet the objectives. The practical aspects of dance, music and drama
must be planned carefully, along with attention to the guided development of students as they learn the
skills and behaviours that artists employ. Schools with performance-based courses should carefully review
their MYP arts courses in order to ensure that they are fully able to support the requirements of the subject
group.
Schools sometimes supplement the experiences of their students in MYP arts disciplines by offering
arts courses outside school hours or by staging concerts, productions and exhibitions. While these
extracurricular arts courses often benefit a students overall experience, these activities do not count
towards the required minimum teaching hours unless they are clearly integrated in the schools MYP arts
courses, address all of the subject objectives in a balanced way, and involve all students enrolled in the
discipline.
The arts process journal

The process journal is a generic term used to refer to the self-maintained record of progress that students
have made through the arts. The media for documenting the process can vary depending on student
preferences. It can be written, visual, audio or a combination of these and may include both paper and
electronic formats. Students may develop their own format and design, although schools can provide
templates or examples in order to support students work.
Students must show evidence of regular use of the process journal, though not necessarily weekly. Though
legibility is important, the recording of critical and creative thinking and reflection is more important than
neatness and presentation. All four arts objectives must be evidenced through the arts process journal.
Organizing arts in the school

The MYP recognizes:

visual art and media as visual arts
drama, music and dance as performing arts.

Structure of course
Description
Combined subject
groups in MYP years
13
In MYP years 13, if local circumstances impose scheduling constraints that

prevent the programmes designed implementation, schools can combine
teaching and learning for a subject group into one or more other regularly
timetabled/scheduled subject groups. Any subject group that is not taught
independently must continue to meet MYP requirements. It is still the schools
responsibility to offer both visual arts and performing arts courses when
combining the arts into other subject groups.
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19
Requirements
Structure of course
Description
Intermittent course
In MYP years 13, it is permissible to alternate the arts subject group with one
other subject group, provided that each subject group meets the required
minimum 50 teaching hours. The arts offered within an intermittent course must
provide a range of both visual arts and performing arts units and must meet the
allocated minimum required hours in each art form across MYP years 13.
(for example: the

arts subject group is
offered for the first
semester and design
subject group for the
second semester)
Modular arts course
(for example; a
variety of arts
disciplines per
semester, trimester,
quarter, term)
Students may study a consecutive variety of arts disciplines for a set period of
time each. These modules each focus on single arts disciplines, such as visual art,
music and drama. The arts disciplines offered in a modular fashion must provide
a range of both visual arts and performing arts. Each module may, or may not be
taught by the same teacher, and the total hours in the subject group must meet
the minimum requirement of 50 hours. When reporting grades to parents, it is
a school choice whether to report the student achievement levels for individual
arts disciplines or for the arts as a subject group.
Integrated visual
arts/integrated
performing arts
Integrated arts courses should consist of integrated performing arts disciplines

or integrated visual arts disciplines. For example, a school may include music
dance and drama in an integrated performing arts course. Students must
engage in both visual arts and performing arts over the course of MYP years
13, although not necessarily simultaneously. Schools are not permitted to
merge performing and visual arts together into one integrated course.
Discrete arts
disciplines
Students may engage in the arts through the study of discrete disciplines.
Students may study one or more disciplines each year. Schools must offer
both visual and performing arts disciplines over the course of MYP years 13,
although not necessarily simultaneously.
Visual art
Media
Drama
Music
Dance
Students are usually offered a choice of the same disciplines in years 4 and 5 of
the programme.
Schools that finish in MYP year 5 should always ensure that students are able to meet the year 5 arts
objectives by the end of the course.
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Arts guide
Planning the arts curriculum
IB World Schools are responsible for developing and structuring MYP arts courses that provide opportunities
for students to meet the aims and objectives of the programme. Each schools circumstances, including
local and national curriculum requirements, determine the organization of arts within the school.
MYP standards and practices require schools to facilitate and promote collaborative planning for the
purpose of curriculum development and review.
Arts objectives for years 1 to 5 of the curriculum provide continuity and outline a progression of learning.
These objectives guide teachers in making decisions about developmentally appropriate learning
experiences, including formative and summative assessments.
As they develop the vertical articulation of arts over the years of the programme, teachers should plan
increasingly complex units of work that encompass multiple objectives. However, within these units,
discrete tasks or smaller units of work might concentrate on specific objectives or individual strands.
Arts courses offer many opportunities to build interdisciplinary connections across the curriculum.
Horizontal articulation for each year of the programme should coordinate teaching and learning across
courses in arts, as well as identify shared conceptual understandings and approaches to learning (ATL) that
span multiple subject groups and help to create a coherent learning experience for students throughout
the year.
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21
Inquiry, in the broadest sense, is the process that is used to move to deeper levels of understanding. Inquiry
involves speculating, exploring, questioning and connecting. In all IB programmes, inquiry develops
curiosity and promotes critical and creative thinking.
The MYP structures sustained inquiry in arts by developing conceptual understanding in global contexts.
Teachers and students develop a statement of inquiry and use inquiry questions to explore the subject.
Through their inquiry, students develop specific interdisciplinary and disciplinary approaches to learning
skills.
Conceptual understanding
A concept is a big ideaa principle or notion that is enduring, the significance of which goes beyond
particular origins, subject matter, or place in time. Concepts represent the vehicle for students inquiry
into the issues and ideas of personal, local and global significance, providing the means by which they can
explore the essence of arts.
Concepts have an important place in the structure of knowledge that requires students and teachers to
think with increasing complexity as they organize and relate facts and topics.
Concepts express understanding that students take with them into lifelong adventures of learning. They
help students to develop principles, generalizations and theories. Students use conceptual understanding
as they solve problems, analyse issues, and evaluate decisions that can have an impact on themselves, their
communities and the wider world.
In the MYP, conceptual understanding is framed by prescribed key and related concepts. Teachers
must use these concepts to develop the curriculum. Schools may identify and develop additional
concepts to meet local circumstances and curriculum requirements.
Key concepts
Key concepts promote the development of a broad curriculum. They represent big ideas that are both
relevant within and across disciplines and subjects. Inquiry into key concepts can facilitate connections
between and among:

courses within the arts subject group (intra-disciplinary learning)
other subject groups (interdisciplinary learning).
Table 1 lists the key concepts to be explored across the MYP. The key concepts contributed by the study of
arts are aesthetics, change, communication and identity.
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Arts guide
Aesthetics
Change
Communication
Communities
Connections
Creativity
Culture
Development
Form
Global interactions
Identity
Logic
Perspective
Relationships
Systems
Time, place and space
Table 1
MYP key concepts
These key concepts provide a framework for arts, informing units of work and helping to organize teaching
and learning.
Aesthetics
Aesthetics deals with the characteristics, creation, meaning and perception of beauty and taste. The study
of aesthetics develops skills for the critical appreciation and analysis of art, culture and nature.
In the arts, the concept of aesthetics is perceived differently around the world and across cultures. Aesthetics
does not only address the rules and principles of beauty but should also include cultural perspectives and
perception through the senses.
Change
Change is a conversion, transformation or movement from one form, state or value to another. Inquiry into
the concept of change involves understanding and evaluating causes, processes and consequences.
The arts may be a reflection of change, or an inspiration for change. Change may be considered as external
to the arts or incorporated within an artwork. In the arts, change can also be termed as metamorphosis or
transformationa marked change, in appearance, form, nature or character.
Communication
Communication is the exchange or transfer of signals, facts, ideas and symbols. It requires a sender, a
message and an intended receiver. Communication involves the activity of conveying information or
meaning. Effective communication requires a common language (which may be written, spoken or nonverbal).
Communication is often regarded in the arts as a message between the artist and an audience, or between
performers. Without intended communication the arts become solely self-expressive.
Identity
Identity is the state or fact of being the same. It refers to the particular features that define individuals,
groups, things, eras, places, symbols and styles. Identity can be observed, or it can be constructed, asserted,
and shaped by external and internal influences.
In the arts we often explore the self and self-discovery through the concept of identity; however, identity
may also refer to the identity of a genre, style, movement, particular artist or place.
Other key concepts can also be important in arts. Creativity, culture, form, perspective, relationships, as
well as time, place and space, are all key concepts easily applied in arts units of study.
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23
Related concepts
Related concepts promote deep learning. They are grounded in specific disciplines and are useful for
exploring key concepts in greater detail. Inquiry into related concepts helps students develop more complex
and sophisticated conceptual understanding. Related concepts may arise from the subject matter of a unit
or the craft of a subjectits features and processes.
Table 2 lists the related concepts for MYP arts. Teachers are not limited to the related concepts listed in this
chart and may choose others when planning units, including from other subject groups.
Visual arts
Audience
Boundaries
Composition
Expression
Genre
Innovation
Interpretation
Narrative
Presentation
Representation
Style
Visual culture
Performing arts
Audience
Boundaries
Composition
Expression
Genre
Innovation
Interpretation
Narrative
Play
Presentation
Role
Structure
Table 2
The appendices contain a glossary of these related concepts for arts.
Global contexts for teaching and learning

Global contexts direct learning towards independent and shared inquiry into our common humanity and
shared guardianship of the planet. Using the world as the broadest context for learning, MYP arts can
develop meaningful explorations of:

identities and relationships
orientation in space and time
personal and cultural expression
scientific and technical innovation
globalization and sustainability
fairness and development.
Teachers must identify a global context for teaching and learning, or develop additional contexts
that help students explore the relevance of their inquiry (why it matters).
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Arts guide
Many inquiries into arts concepts naturally focus on personal and cultural expression. However, courses
in this subject group should, over time, offer students multiple opportunities to explore all MYP global
contexts in relation to the aims and objectives of the subject group.
Statements of inquiry
Statements of inquiry set conceptual understanding in a global context in order to frame classroom inquiry
and direct purposeful learning. Table 3 shows some possible statements of inquiry for MYP arts units.
Statement of inquiry
Many cultures consider balance

and harmony found in nature
to be the cornerstones of
aesthetics.
Symbols and conventions used

to convey meaning to audiences
are influenced by time and
space.
Key concept
Related concepts
Global context
Possible project/study
Aesthetics
World music
Composition
Arts appreciation
Personal and cultural

expression
Study of nature
Aesthetics
Design/scenography
Audience
Direction
Orientation in space and

time
Playwriting/interpreting script
Indigenous arts
Ritual
Graffiti
Developments in technology
can manipulate artists identity.
Identity
Popular culture
Visual culture
Media representation
Scientific and technical

innovation
The development of art and art

distribution through technology
Consumer art
Popularization of art
The process of artistic creation

can lead to self-discovery.
Identity
Self-portraits
Innovation
Characterization
Identities and relationships
Improvisation
Free expression
Social media has the potential

for global influence and can be a
vehicle for change.
Change
Boundaries
Artistic choices in a public arts

forum
Fairness and development
Propaganda
Advertising
Social messaging
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Statement of inquiry
Craftsmanship, medium and

tools must change along with
the times to stay relevant in
society.
Key concept
Related concepts
Global context

Change
Presentation
Globalization and
sustainability
Possible project/study
Exploration of various arts

medium and materials
Various forms of craftsmanship
Arts across the world
Arts through the ages
Pattern and repetition can

communicate motion.
Communication
Movement in art
Composition
Physical theatre
Personal and cultural

expression
Repetition and representation

sports art
Tessellations and mosaic
Iconic representations express

a recurring sentiment through
time and space.
Communication
Representation
Orientation in space and

time
Imagery icons in visual art and

media
Symbology
Stock characters
Formulaic storylines
Table 3
Example statements of inquiry
Inquiry questions
Teachers and students use statements of inquiry to help them identify factual, conceptual and debatable
inquiry questions. Inquiry questions give direction to teaching and learning, and they help to organize and
sequence learning experiences.
Table 4 shows some possible inquiry questions for MYP arts units.
Factual questions:
Remembering facts and topics
Conceptual questions:
Analysing big ideas
Debatable questions:
Evaluating perspectives and
developing theories
What artists can be

considered influential in
modern time?
To what extent does

the identity of the artist
impact the artwork?
When is process more

important than product?
Is everyone an artist?
How has the art form

changed over time?
When does art become

labelled as provocative?
What conventions or
elements can be identified
as specific to the genre?
In what ways can the arts

influence or even change a
society?
What is the relationship

between arts and
audiences?
Table 4
Examples of factual, conceptual and debatable questions
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Arts guide
Approaches to learning
All MYP units of work offer opportunities for students to develop and practise approaches to learning (ATL)
skills. These skills provide valuable support for students working to meet the subject groups aims and
objectives.
ATL skills are grouped into five categories that span the IB continuum of international education.
IBprogrammes identify discrete skills in each category that can be introduced, practised and consolidated
in the classroom and beyond.
While ATL skills are relevant across all MYP subject groups, teachers may also identify ATL skill indicators
especially relevant for, or unique to, a particular subject group or course.
Table 5 suggests some of the indicators that can be important in arts.
Category
Skill indicator
Thinking skills
Map the creative thought process in the arts process journal to generate
new ideas and questions.
Social skills
Work collaboratively in a production team with assigned roles and

responsibilities.
Communication skills
Listen actively and endorse the views or opinions of others.
Self-management skills
Plan the rehearsal schedule for a performance or plan the time needed to
create an exhibition.
Research skills
Create mood boards, sketches and/or storyboards, which translate an idea

into practice.
Table 5
Examples of arts-specific skill indicators
Well-designed learning engagements and assessments provide rich opportunities for students to practise
and demonstrate ATLskills. Each MYP unit explicitly identifies ATL skills around which teaching and learning
can focus, and through which students can authentically demonstrate what they are able to do. Formative
assessments provide important feedback for developing discrete skills, and many ATL skills support students
as they demonstrate their achievements in summative assessments of subject group objectives.
Table 6 lists some specific ATL skills that students can demonstrate through performances of understanding
in arts.
Approaches to learning
Thinking (critical thinking): identify problems and develop aims, goals and objectives in designing a
storyboard.
Research (media literacy): use a variety of technologies and media platforms to source information,
including social media and online networks.
Table 6
Examples of arts demonstrations of ATL skills
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27
How to use the guidance sections

The information in each guidance section is not prescriptive and is not intended to limit teachers in
the development of their arts courses.
The specific content of an MYParts course will differ according to the local or national conditions in
which an individual school is working.
Teachers should develop their courses using the MYParts aims and objectives as their prime points of
reference.
Copyright statement
Student work must contain no copyrighted material.
Students must respect intellectual property: copyright laws may restrict students selection, creation
or use of material.
In many cases, access to copyright-free music is available from internet or national bodies. If feasible
and appropriate, audio work might also involve collaboration with local musicians or other students
to help create original material for a soundtrack as part of a creative dialogue.
Guidance for dance

Dance within the MYP has a central rationale as an artistic, aesthetic, cultural and physical subject. It engages
students to express and communicate ideas and feelings; it encourages exploration of different times and
cultures. It facilitates the growth of creativity, reflection and communication skills through practical work
and the development of artistic understanding. It is a physically focused activity that develops kinesthetic
skills as well as skills that enable students to choreograph, rehearse and perform their own work.
Objectives in a dance context: Examples

These are examples only of the type of content, skills and processes that can be addressed through the
objectives, and the information is not prescriptive.
What might students know and understand in dance?

Different dance styles, techniques, choreographers, dancers and developments in the world of dance
Essential components of basic choreography such as variety, contrast, repetition, canon, unison,
mirroring and space
Terminology that will help students to communicate their knowledge and understanding and to
articulate their aesthetic response and critical awareness
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Arts guide
What skills might students develop in dance?

Physical control and kinesthetic skills (body memory, movement repertoire, balance, coordination and
so on) that will enable them to carry out their ideas effectively
The skills necessary to learn and perform dance choreography individually, in pairs and in groups
Planning processes in order to create a performance, for example, their own timeline of rehearsals and
meeting these deadlines, technical elements and costumes
How might students think creatively in dance?

By experimenting with the artistic processes involved in making dance
By initiating, exploring and developing projects of interest to them
By experimenting with freestyle dance and improvisation
How might students respond to, or through, dance?

By developing dance choreographies inspired by external productions
By transforming a sociopolitical message to movement
By developing a performance sensitive to art practices and artworks from various cultures
Guidance for music

Music in the MYP gives students access to musical experiences that allow for the development of thinking
skills, intuitive skills, practical abilities, communication and the ability to relate to others. Engagement
with existing and emerging music from the local community and from around the world allows students
to understand the significance of music to the cultures of the world and, by engaging in practical work,
to develop understanding of how the act of making music is a significant and universal aspect of human
expression.
Objectives in a music context: Examples

What might students know and understand in music?

Traditions and musical heritage from different parts of the world, for example, popular music, the
music industry, musical theatre, developments in music technology
Current and emerging musical practices
Methods of recording and communicating musical ideas such as various notation systems
What skills might students develop in music?

Their ability to develop and carry out performances
Skills, techniques and processes to create their own music, finding ways to capture it in performance,
notation, recording or presentation
An ability to experiment with sound sources, improvisation, practice and rehearsal routines
How might students think creatively in music?

By experimenting with the artistic processes involved in making music
By initiating, exploring and developing projects that are rewarding and challenging
By creating their own music or improvising sections added to published musical scores
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How might students respond to, or through, music?

By developing their own musical style inspired by a particular genre or artist
Through participating in listen and respond activities
By creating music that demonstrates their exposure to various musical cultures
Guidance for drama

Drama in the MYP engages students in an active relationship with theatre and encourages autonomous
learning and exploration. It encourages the growth of creative, reflective and communication skills through
practical work. Emphasis is placed on the artistic process and the students understanding of this process
as an essential component to their artistic development through continuous investigation, planning, goal
setting, rehearsing, performing, reflection and evaluation.
Objectives in a drama context: Examples

What might students know and understand in drama?

Theatre from a variety of performance practices, genres, movements or styles
The context and conditions from which drama emerges
The language of drama, the production elements, and how they interplay in developing and
communicating ideas and feelings through drama
What skills might students develop in drama?

The various artistic processes involved in making drama, that is, the processes involved in
transforming a performance concept into live action
The various planning processes and methods of structuring the actual making of drama such as
brainstorms, storyboards, scripts, rehearsal schedules and techniques
The production elements to translate ideas into dramatic form, for example, dramatic writing,
direction, costume, lighting, scenery, use of masks, sound and so on
How might students think creatively in drama?

Through storyboarding narratives, designing sets and props, interpreting text visually
By improvising scenarios and creating collaborative drama
Through creative writing, character design and creating alternative endings to performances
How might students respond to, or through, drama?

A stimulus and/or a personal concern could be interpreted using a dramatic form, style or genre, for
example, a text, a song, a photo, a newspaper article and so on
By developing a performance to address a particular theme, concern or issue within a context
By reviewing theatrical performances and production elements encountered
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Arts guide
Guidance for media

Through learning about media and how to create media, students have the chance to understand better
the power of media as a tool for expression and investigation. Imagery in film and media tells a story that
immediately crosses cultural boundaries to speak in a universal language. Media also allows students to
develop planning and organizational skills within a highly motivating context.
Objectives in a media context: Examples

What might students know and understand in media?

The role that that key directors and film-makers in media play in society, and a cultural and historical
awareness of this
The relationship between media and audience
How screen language can be used to express ideas
What skills might students develop in media?

Skills and techniques in scripting, cinematography, sound recording and editing to create film
The skills to work independently and collaboratively in defined roles and responsibilities
How soundtracks and diegetic and non-diegetic sounds are an integral component of the total media
experience
How might students think creatively in media?

Through the planning processes for making media (for example, treatments, storyboards, scripts, shot
logs)
By engaging in all the production phases and experimenting with the artistic procedures in the
mediamaking process
Through developing their own personal signature styles in creating media
How might students respond to, or through, media?

By initiating, exploring and developing projects in response to current affairs
By experimenting with various styles and genres in representation of an issue
By critiquing the work of various film-makers or other media makers
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Guidance for visual art

Visual art has contributed to all cultures and societies throughout time. Experience in a wide range of visual
art activities adds a creative and cultural dimension to student development that will benefit them for
the rest of their lives. While traditional practices in the arts (for example, painting, sculpture, ceramics and
architecture) have historically provided cultural records, contemporary practice and access to technology
have given the tools of visual art a very broad palette. Digital technology, time-based art, installation and
performance, to name but a few, add to traditional practice and bring an extra dimension and meaning to
the students experience in the visual art. The process of making ideas a reality using the skills and practices
of visual art is an integral part of the substance of the MYParts curriculum.
Objectives in a visual art context: Examples

What might students know and understand in visual art?

Art styles, movements, artists practices, and specific artworks
The use of specialist terminology and principles required by the visual art form being developed, for
example, the vocabulary of expressionist painting
The language of visual communication
What skills might students develop in visual art?

Technical skills, skills of observation and practical aspects of visual art that allow students to
incorporate ideas into their own work
Skills to investigate and respond to art styles, art movements, artists practices and specific artworks
Knowledge of existing visual art practice(s) to influence and shape their artwork
How might students think creatively in visual art?

Through creative approaches to art-making
Through manipulation of medium and tool to influence the presentation of artworks
By developing series of visual images to document thought processes in the creation of art
How might students respond to, or through, visual art?

Use of stimuli or a personal concern that can be interpreted using an art form, style or genre
By developing an artwork in response to the works of a particular genre, style or artist
By deconstructing the elements of art in an artwork and reconstructing them differently
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Arts guide
How to use the arts process journal

The use of an arts process journal encourages and records experimentation, and critical and creative
thinking. The journals form will vary from one art form to another; teachers and students may explore
different possibilities that suit the arts subject and their personal requirements. Teachers may leave the
format to student choice in the interest of differentiation or they may prescribe activities to be documented
in a particular way.
Some teachers may choose to use the same arts process journal across several arts subjects with their
students, a practice that may contribute to students ability to see the transference of processes across arts
disciplines. Teachers should provide greater guidance in the earlier years of the programme as needed
provided this guidance does not prevent students from taking personal ownership and responsibility for
their journals.
Care must be taken to ensure that the arts process journal is not just a diary of events, neither is it a formalized
portfolio of best works; rather it is an evolving record of the artistic intentions, processes, accomplishments
and journey of the student artist.
Evidence supporting student development in all four objectives must be included in the arts process
journal for internal assessment. Students must use the arts process journal in all MYP arts courses.
The arts process journal

The following examples provide guidance about the arts process journal in classroom practice. Please note
that this is not an exhaustive list; teachers may use alternative formats or structures for the arts process
journal.
Formats

Electronic/digital, non-interactive: document, filmed or recorded
Interactive website, blog, wiki, portfolio, podcast
Embedded reference material (for example, on essay formats submitted electronically)
Paper version
In the use of electronic/digital media, students are advised to keep hard copies of their work as potential
backup.
Structure

One process journal may be shared by all arts disciplines, or one per individual arts discipline
depending on the structure of the arts in a schooland used in all years of the MYP arts course.
A process journal may be used each year or may follow a student through several years of the
programme.
Uses

A working, living document that shows evolution of thoughts and ideas over time
A tool for reflecting and supporting assessment of all strands of all criteria
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Evidence used for assessment of all four objectives of MYP arts
A place to generate questions, investigate and incorporate selected, edited and/or annotated research
A place to practise, experiment and document process
A place to document creative thinking
Contents

Artistic intentioninitial and developing
Notation of ideas: written, musical, visual, aural, oral, etc
Time planning, action plans, envisaging and expressing possible alternatives
Notes or artifacts from inspirational visits outside the classroom to exhibitions, performances, etc
Notes, Mind Maps, colour boards, mood boards, sketches, photos, links, etc
Outline of student process and development
Feedback consideration of self and others
Bibliographies
Effective use of information and communication

technology in arts
Information and communication technology(ICT) involves the use of computers, its applications and
communication facilities in teaching and learning activities. Therefore, the use of ICT goes beyond MYP arts
and extends to all the teaching and learning in all subjects across the curriculum. The effective use of ICT is
an ATL skill and, as such, schools must ensure that a whole-school approach is in place to allow students to
develop information technology literacy and become competent users of computers.
Depending upon the schools resources, ICT should be used whenever appropriate:

as a means of expanding students knowledge of the world in which they live
as a channel for developing concepts and skills
as a powerful communication tool.
ICT is most appropriately used in arts classrooms for the digital recording of a process or product. For
example, a student might use his or her mobile phone camera to record evidence of a particular rehearsal or
verbal reflection on a piece of workhe or she should then make use of ICT facilities to edit this recording
for inclusion in his or her arts process journal. Alternatively students may record their product as a work in
progress, which could then be uploaded onto a forum through which they might receive feedback from
their peers. The arts process journal might take the form of a blog, providing easy access for the students
teacher and for accessing their abilities to express themselves through the digital medium as opposed to
solely through written forms. More examples can be found in the Arts process journal section and in the
teacher support material (TSM) that accompanies this guide.
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Arts guide
Assessed curriculum
Alignment of objectives and assessment criteria
In the MYP, assessment is closely aligned with the written and taught curriculum. Each strand from MYP
arts has a corresponding strand in the assessment criteria for this subject group. Figure 4 illustrates this
alignment and the increasingly complex demands for student performance at higher achievement levels.
Achievement level
A Knowing and
understanding
The student does not reach a standard described by any

of the descriptors below.
12
The student:
i. demonstrates limited knowledge of the art form
studied, including concepts, processes, and limited
use of appropriate language
ii. demonstrates limited knowledge of the role of the
art form in original or displaced contexts
iii. demonstrates limited use of acquired knowledge
to inform his or her artwork.
34
The student:
i. demonstrates adequate knowledge of the art
form studied, including concepts, processes, and
adequate use of appropriate language
ii. demonstrates adequate knowledge of the role of
the art form in original or displaced contexts
iii. demonstrates adequate use of acquired knowledge
56
The student:
i. demonstrates substantial knowledge of the art
substantial use of appropriate language
ii. demonstrates substantial knowledge of the role of
iii. demonstrates substantial use of acquired
knowledge to inform his or her artwork.
78
The student:
i. demonstrates excellent knowledge of the art
excellent use of appropriate language
ii. demonstrates excellent knowledge of the role of
iii. demonstrates excellent use of acquired knowledge
At the end of year 5, students should

be able to:
demonstrate knowledge and
understanding of the art form
studied, including concepts,
processes and the use of
subject-specific terminology
ii. demonstrate understanding
of the role of the art form in
original or displaced contexts
iii. use acquired knowledge to
purposefully inform artistic
decisions in the process of
creating artwork.
Level descriptor
i.
Figure 4
Arts objectives and criteria alignment
Arts guide
35
Assessed curriculum
Assessment criteria overview
Assessment for arts courses in all years of the programme is criterion-related, based on four equally
weighted assessment criteria.
Criterion A
Knowing and understanding
Maximum 8
Criterion B
Developing skills
Maximum 8
Criterion C
Thinking creatively
Maximum 8
Criterion D
Responding
Maximum 8
Subject groups must assess all strands of all four assessment criteria at least twice in each year of
the MYP.
In the MYP, subject group objectives correspond to assessment criteria. Each criterion has eight possible
achievement levels (18), divided into four bands that generally represent limited (12); adequate (34);
substantial (56); and excellent (78) performance. Each band has its own unique descriptor that teachers
use to make best-fit judgments about students progress and achievement.
This guide provides the required assessment criteria for years 1, 3 and 5 of MYP arts. In response to
national or local requirements, schools may add criteria and use additional models of assessment. Schools
must use the appropriate assessment criteria as published in this guide to report students final achievement
in the programme.
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Arts guide
Assessed curriculum
Task-specific clarifications
The assessment criteria as published in this guide must be used when determining students achievement
levels for each criterion. However, specific expectations for each task must still be defined.
The MYP arts objective and assessment criterion B (developing skills) is the same for all year groups. The
increase in sophistication of skills is determined by the skill set developed through each unit, over the years
of study. It is expected that teachers plan carefully the skills they expect students to master over each year of
the programme in the MYP arts.
It is expected that, in any unit of study, students acquire new skills alongside those they have previously
mastered. This also allows for students with little or no prior knowledge in the arts to excel. The acquisition
of skills must be formatively assessed periodically to allow the teacher to monitor the progress a student
has made in acquiring skills for summative assessment in the unit. It is important that teachers specify the
expected skills and outcomes at the beginning of each unit so that students are aware of what is required
for summative assessment.
Teachers need to clarify exactly what the skills and techniques of the art form studied means in a given
assessment task. This might be in the form of:

a task-specific clarification of the criteria, using the published criteria but with some wording changed
to match the task
an oral discussion of the expectations
a checklist of skills addressed in the unit.
Arts guide
37
Assessed curriculum
Criterion A: Knowing and understanding

Maximum: 8
At the end of year 1, students should be able to:
i.
demonstrate awareness of the art form studied, including the use of appropriate language
ii.
demonstrate awareness of the relationship between the art form and its context
iii.
demonstrate awareness of the links between the knowledge acquired and artwork created.
Achievement level
0
Level descriptor
The student does not reach a standard described by any of the descriptors below.
The student:
12
i.
demonstrates limited awareness of the art form studied, including

limited use of appropriate language
ii.
demonstrates limited awareness of the relationship between the art form

and its context
iii.
demonstrates limited awareness of the links between the knowledge

acquired and artwork created.
The student:
34
i.
demonstrates adequate awareness of the art form studied, including

adequate use of appropriate language
ii.
demonstrates adequate awareness of the relationship between the art

form and its context
iii.
demonstrates adequate awareness of the links between the knowledge

The student:
56
38
i.
demonstrates substantial awareness of the art form studied, including

substantial use of appropriate language
ii.
demonstrates substantial awareness of the relationship between the art

iii.
demonstrates substantial awareness of the links between the knowledge

Arts guide
Achievement level
Level descriptor
The student:
78
Arts guide
i.
demonstrates excellent awareness of the art form studied, including

excellent use of appropriate language
ii.
demonstrates excellent awareness of the relationship between the art

iii.
demonstrates excellent awareness of the links between the knowledge

39
Criterion B: Developing skills

Maximum: 8
i.
ii.
Achievement level
0
Level descriptor
The student:
i.
demonstrates limited acquisition and development of the skills and

techniques of the art form studied
ii.
demonstrates limited application of skills and techniques to create,

12
The student:
i.
demonstrates adequate acquisition and development of the skills and

ii.
demonstrates adequate application of skills and techniques to create,

34
The student:
i.
demonstrates substantial acquisition and development of the skills and

ii.
demonstrates substantial application of skills and techniques to create,

56
The student:
i.
demonstrates excellent acquisition and development of the skills and

ii.
demonstrates excellent application of skills and techniques to create,

78
40
Arts guide
Criterion C: Thinking creatively

Maximum: 8
i.
identify an artistic intention
ii.
identify alternatives and perspectives
iii.
demonstrate the exploration of ideas.
Achievement level
0
Level descriptor
The student:
12
i.
identifies a limited artistic intention
ii.
identifies limited alternatives and perspectives
iii.
demonstrates limited exploration of ideas.
The student:
34
i.
identifies an adequate artistic intention
ii.
identifies adequate alternatives and perspectives
iii.
demonstrates adequate exploration of ideas.
The student:
56
i.
identifies a substantial artistic intention
ii.
identifies substantial alternatives and perspectives
iii.
demonstrates substantial exploration of ideas.
The student:
78
Arts guide
i.
identifies an excellent artistic intention
ii.
identifies excellent alternatives and perspectives
iii.
demonstrates excellent exploration of ideas.
41
Criterion D: Responding
Maximum: 8
i.
identify connections between art forms, art and context, or art and prior learning
ii.
recognize that the world contains inspiration or influence for art
iii.
evaluate certain elements or principles of artwork.
Achievement level
0
Level descriptor
The student:
12
i.
identifies limited connections between art forms, art and context, or art
and prior learning
ii.
demonstrates limited recognition that the world contains inspiration or

influence for art
iii.
presents a limited evaluation of certain elements of artwork.
The student:
34
i.
identifies adequate connections between art forms, art and context, or

art and prior learning
ii.
demonstrates adequate recognition that the world contains inspiration

or influence for art
iii.
presents an adequate evaluation of certain elements of artwork.
The student:
56
i.
identifies substantial connections between art forms, art and context, or

ii.
demonstrates substantial recognition that the world contains inspiration

or influence for art
iii.
presents a substantial evaluation of certain elements of artwork.
The student:
78
42
i.
identifies excellent connections between art forms, art and context, or

ii.
demonstrates excellent recognition that the world contains inspiration or

influence for art
iii.
presents an excellent evaluation of certain elements or principles of

artwork.
Arts guide
Assessed curriculum

Maximum: 8
i.
demonstrate knowledge of the art form studied, including concepts, processes, and the use of
ii.
demonstrate knowledge of the role of the art form in original or displaced contexts
iii.
use acquired knowledge to inform their artwork.
Achievement level
0
Level descriptor
The student:
12
i.
demonstrates limited knowledge of the art form studied, including

concepts, processes, and limited use of appropriate language
ii.
demonstrates limited knowledge of the role of the art form in original or

displaced contexts
iii.
demonstrates limited use of acquired knowledge to inform his or her

artwork.
The student:
34
i.
demonstrates adequate knowledge of the art form studied, including

concepts, processes, and adequate use of appropriate language
ii.
demonstrates adequate knowledge of the role of the art form in original

iii.
demonstrates adequate use of acquired knowledge to inform his or her

artwork.
The student:
56
Arts guide
i.
demonstrates substantial knowledge of the art form studied, including

concepts, processes, and substantial use of appropriate language
ii.
demonstrates substantial knowledge of the role of the art form in

iii.
demonstrates substantial use of acquired knowledge to inform his or her

artwork.
43
Achievement level
Level descriptor
The student:
78
44
i.
demonstrates excellent knowledge of the art form studied, including

concepts, processes, and excellent use of appropriate language
ii.
demonstrates excellent knowledge of the role of the art form in original

iii.
demonstrates excellent use of acquired knowledge to inform his or her

artwork.
Arts guide

Maximum: 8
i.
ii.
Achievement level
0
Level descriptor
The student:
i.

ii.

12
The student:
i.

ii.

34
The student:
i.

ii.

56
The student:
i.

ii.

78
Arts guide
45

Maximum: 8
i.
outline a clear and feasible artistic intention
ii.
outline alternatives, perspectives, and imaginative solutions
iii.
demonstrate the exploration of ideas through the developmental process to a point of realization.
Achievement level
0
Level descriptor
The student:
12
i.
presents a limited outline of an artistic intention, which may lack clarity

or feasibility
ii.
presents a limited outline of alternatives, perspectives, and imaginative

solutions
iii.
demonstrates limited exploration of ideas through the developmental

process, which may lack a point of realization.
The student:
34
i.
presents an adequate outline of a clear and/or feasible artistic intention
ii.
presents an adequate outline of alternatives, perspectives, and

iii.
demonstrates adequate exploration of ideas through the developmental

process to a point of realization.
The student:
56
i.
presents a substantial outline of a clear and feasible artistic intention
ii.
presents a substantial outline of alternatives, perspectives, and

iii.
demonstrates substantial exploration of ideas through the

developmental process to a point of realization.
The student:
78
46
i.
presents an excellent outline of a clear and feasible artistic intention
ii.
presents an excellent outline of alternatives, perspectives, and

iii.
demonstrates excellent exploration of ideas through the developmental

process to a point of realization.
Arts guide
Maximum: 8
i.
outline connections and transfer learning to new settings
ii.
create an artistic response inspired by the world around them
iii.
evaluate the artwork of self and others.
Achievement level
0
Level descriptor
The student:
12
i.
presents a limited outline of connections and may transfer learning to

new settings
ii.
creates a limited artistic response that is possibly inspired by the world

around him or her
iii.
presents a limited evaluation of the artwork of self and others.
The student:
34
i.
presents an adequate outline of connections and occasionally transfers

learning to new settings
ii.
creates an adequate artistic response that is inspired by the world around

him or her to some degree
iii.
presents an adequate evaluation of the artwork of self and others.
The student:
56
i.
presents a substantial outline of connections and regularly transfers

ii.
creates a substantial artistic response that is considerably inspired by

the world around him or her
iii.
presents a substantial evaluation of the artwork of self and others.
The student:
78
Arts guide
i.
presents an excellent outline of connections with depth and insight,

and effectively transfers learning to new settings
ii.
creates an excellent artistic response that is effectively inspired by the

world around him or her
iii.
presents an excellent evaluation of the artwork of self and others.
47
Assessed curriculum

Maximum: 8
i.
demonstrate knowledge and understanding of the art form studied, including concepts, processes,
and the use of subject-specific terminology
ii.
demonstrate understanding of the role of the art form in original or displaced contexts
iii.
use acquired knowledge to purposefully inform artistic decisions in the process of creating artwork.
Achievement level
0
Level descriptor
The student:
12
i.
demonstrates limited knowledge and understanding of the art form

studied, including concepts, processes, and limited use of subjectspecific
terminology
ii.
demonstrates limited understanding of the role of the art form in original

iii.
demonstrates limited use of acquired knowledge to purposefully inform

artistic decisions in the process of creating artwork.
The student:
34
i.
demonstrates adequate knowledge and understanding of the art

form studied, including concepts, processes, and adequate use of
subjectspecific terminology
ii.
demonstrates adequate understanding of the role of the art form in

iii.
demonstrates adequate use of acquired knowledge to purposefully

inform artistic decisions in the process of creating artwork.
The student:
56
48
i.
demonstrates substantial knowledge and understanding of the art form

studied, including concepts, processes, and substantial use of subjectspecific terminology
ii.
demonstrates substantial understanding of the role of the art form in

iii.
demonstrates substantial use of acquired knowledge to purposefully

inform artistic decisions.
Arts guide
Achievement level
Level descriptor
The student:
78
Arts guide
i.
demonstrates excellent knowledge and understanding of the art

form studied, including concepts, processes, and excellent use of
subjectspecific terminology
ii.
demonstrates excellent understanding of the role of the art form in

iii.
demonstrates excellent use of acquired knowledge to purposefully

inform artistic decisions in the process of creating artwork.
49

Maximum: 8
i.
ii.
Achievement level
0
Level descriptor
The student:
i.

ii.

12
The student:
i.

ii.

34
The student:
i.

ii.

56
The student:
i.

ii.

78
50
Arts guide

Maximum: 8
i.
develop a feasible, clear, imaginative and coherent artistic intention
ii.
demonstrate a range and depth of creative-thinking behaviours
iii.
demonstrate the exploration of ideas to shape artistic intention through to a point of realization.
Achievement level
0
Level descriptor
The student:
12
i.
develops a limited artistic intention that is rarely feasible, clear,

imaginative or coherent
ii.
demonstrates a limited range or depth of creative-thinking behaviours
iii.
demonstrates limited exploration of ideas to shape artistic intention that

may reach a point of realization.
The student:
34
i.
develops an adequate artistic intention that is occasionally feasible,

clear, imaginative and/or coherent
ii.
demonstrates an adequate range and depth of creative-thinking

behaviours
iii.
demonstrates adequate exploration of ideas to shape artistic intention

through to a point of realization.
The student:
56
i.
develops a substantial artistic intention that is often feasible, clear,

ii.
demonstrates a substantial range and depth of creative-thinking

behaviours
iii.
demonstrates substantial exploration of ideas to purposefully shape

artistic intention through to a point of realization.
The student:
78
Arts guide
i.
develops an excellent artistic intention that is consistently feasible, clear,

ii.
demonstrates an excellent range and depth of creative-thinking

behaviours
iii.
demonstrates excellent exploration of ideas to effectively shape artistic

intention through to a point of realization.
51
Maximum: 8
i.
construct meaning and transfer learning to new settings
ii.
create an artistic response that intends to reflect or impact on the world around them
iii.
critique the artwork of self and others.
Achievement level
0
Level descriptor
The student:
12
i.
constructs limited meaning and may transfer learning to new settings
ii.
creates a limited artistic response that may intend to reflect or impact on

iii.
presents a limited critique of the artwork of self and others.
The student:
34
i.
constructs adequate meaning and occasionally transfers learning to

new settings
ii.
creates an adequate artistic response that intends to reflect or impact on

iii.
presents an adequate critique of the artwork of self and others.
The student:
56
i.
constructs appropriate meaning and regularly transfers learning to new

settings
ii.
creates a substantial artistic response that intends to reflect or impact on

iii.
presents a substantial critique of the artwork of self and others.
The student:
78
52
i.
constructs meaning with depth and insight and effectively transfers

ii.
creates an excellent artistic response that intends to effectively reflect or

impact on the world around him or her
iii.
presents an excellent critique of the artwork of self and others.
Arts guide
Assessed curriculum
eAssessment
Students seeking IB MYP course results for MYP arts courses complete an ePortfolio in which they can
demonstrate their achievement of subject group objectives. The portfolio is marked by the students
teacher(s), following the schools internal standardization of tasks and judgments against the criteria for
year 5. Successful results can contribute to students attainment of the IB MYP certificate.
A process of external moderation assures accurate and consistently applied standards, as set forth in the
Guide to MYP eAssessment.
Arts guide
53
Appendices
Related concept
Definition
Audience
An individual or group who receive and/or respond to arts. Addressing this concept
includes examining strategies for engaging audience, different types of audiences
and how the audienceartist relationship affects and influences the arts.
Boundaries
The parameters that define a personality, a culture, an environment, civil law,

a skill set or a belief structure. The concept of boundaries can include: themes,
issues and concepts; the imagined or physical boundary between performance
space and audience; the subversive or provocative nature of the arts; the dividing
line between what is real and what is fictional; private and public space; the
relationships between characters.
Composition
The intentional organization or contrast, balance, arrangement or awareness

of the elements and principles of art for a particular purpose in the creation of
art. These may include tension and release, repetition and variety, unison and
harmony, sound and silence, theme and variation, and dynamics and energy.
Expression
The representation of feelings and emotions, ideas, thoughts, beliefs, values

and opinions in the process of visual or physical articulation. It can include signs,
symbols, semiotics or any other imagery to capture the artist intention. It is
something you do, create or play that shows what you think or feel. Expression
facilitates the communication of an idea.
Genre
Different artistic expressions that create a style when grouped by the same use of
techniques, in a distinctive manner regarding theme, content or practice.
Innovation
An altered interpretation or the experimentation of ideas, techniques and media. It

ensures originality and creativity by new ways of presenting ideas and unusual use
of media. The invention of new functions and ways of working.
Interpretation
The understanding of experiences and events mainly through the reference frame
of our own reality and contexts. The understanding of the meaning of an artists
creative work and artistic expressions.
An artists distinctive personal version expressed by stylistic individuality.
Narrative
A spoken, written or visual account of connected events; a story, which may be

fictional or non-fictional. The narrative may manipulate the viewpoint of the
audience: bias is persuasive narrative designed to deliver a particular mandate,
brief or point of view.
Play
Play can occur in an artistic process or product. In process, play is experimentation

playing with ideas, characters, and techniques. This may be structured or free
play. Improvisation is a structured approach to play, which often has the elements
of a game and may involve particular rules. In product, play can be a collective
creation of a theatre piece or a pre-existing piece of theatre that is authored and
documented and that is transformed into live action.
54
Arts guide
Related concept
Definition
Presentation
The choice of medium, tool, and exhibition or performance space that contributes
to audience understanding of the meaning or purpose of the art piece.
Representation
The description, depiction or portrayal of a person, group, place or item in a

particular way or as being of a certain nature. An image or likeness.
Role
The development, adoption and portrayal of a character. The performer has

to consider how to communicate the characters psychology, emotions and
physicality. This is concerned with examining situations, issues, concepts and texts
from the perspective of a role. Different approaches, ideas and texts can be used
to create and portray a character.
The individual roles of instruments can be harmonic, rhythmic or melodic.
Structure
This refers to the shape, timing and organization of the art and the factors that
determine how a piece or performance is shaped. It takes into consideration form,
function, narrative, melody, harmony, contrast, focus and the construction of
smaller parts to create a whole.
Style
A type of art characteristic of a group of people, person or period of time and

belonging to a shared tradition or set of conventions. Art conforming to an
established form.
Visual culture
A field of study that generally includes some combination of cultural studies, art
history, critical theory, philosophy, and anthropology, by focusing on aspects of
culture that rely on visual images.
Arts guide
55
Appendices
Arts glossary
Term
Definition
Artistic
development
Growth in an individuals knowledge, skills, processes and attitudes needed for

working with the arts.
Artistic intention
The intended or planned outcomes or goals for the artwork.
Artistic processes
The infinite number of ways that art is made and presented.
Audience
An individual or group who receive and/or respond to art.
Construct
meaning
Create an understanding about something; to infer and interpret facts, an opinion,

an idea or an event that has been read, viewed or listened to.
Context
The facts or circumstances that surround an event or situation.
Medium and tool
The materials and implements used in the creation of a piece of art. These may be
physical and/or digital.
Personal
signature
A feature of the work that is unique to the individual.
Point of
realization
The end point in the students work (final product) in the context of a unit of work
or task. The work may not be completely finished, but an end point has been
reached in the context in which it has been produced.
Process journal
A tool that allows students to manage and record the processes of their own art
experience and artistic development.
Process work
Planning, experimenting, brainstorming, research, visual reflection, written

reflection, rough drafts and any other evidence that indicates steps taken
throughout the process of working, and choices made towards the realization of
the finished artwork.
Product
The artwork that is the end point of the students work.
Production
The staging of performance work for presentation to an audience. Production

elements are set, lights, costume, make-up, sound, and stage management.
Recognize
The ability to identify through patterns or features.
Skill
An ability that has been acquired by training and/or experience.
Specialized
language
Terminology and vocabulary specific to a particular art discipline, art form, genre
and/or style.
Technique
The form used to show a skill. The particular way a skill is performed.
The elements of
art
Line, shape, space, form, colour, texture and value.
56
Arts guide
Arts glossary
Term
Definition
The principles
of art
Rhythm, movement, contrast, emphasis, balance, harmony, variety, unity, pattern

and proportion.
Transfer
Convey the passing from one place, person or thing to another; transfer learning
from one situation to another.
Arts guide
57
Appendices
MYP command terms for arts
Command term
Definition
Create
Evolve from ones own thought or imagination, as a work or an invention.
Critique
Provide a critical review or commentary, especially when dealing with works of art
or literature. (See also Evaluate.)
Demonstrate
Make clear by reasoning or evidence, illustrating with examples or practical

application.
Develop
Improve incrementally, elaborate or expand in detail. Evolve to a more advanced

or effective state.
Evaluate
Make an appraisal by weighing up the strengths and limitations. (See also

Critique.)
Explore
Undertake a systematic process of discovery.
Formulate
Express precisely and systematically the relevant concept(s) or argument(s).
Identify
Provide an answer from a number of possibilities. Recognize and state briefly a

distinguishing fact or feature.
Outline
Give a brief account or summary.
Present
Offer for display, observation, examination or consideration.
Use
Apply knowledge or rules to put theory into practice.
58
Arts guide
Appendices
Selected reading
Baldwin, P and Fleming, K. 2002. Teaching Literacy Through Drama: Creative Approaches. London, UK.
Routledge Falmer.
Bronson, PO. 11 February 2007. How not to talk to your kids: The inverse power of praise. New York Magazine.
Collins, J and Nisbet, A, (eds). 2010. Theatre and Performance Design: A Reader in Scenography. London, UK.
Routledge.
Craft, A. 2003. The limits to creativity in education: Dilemmas for the educator. British Journal of Educational
Studies. Vol 51, number 2. Pp 113127.
Csikszentmihalyi, M. 1996. Creativity: Flow and the Psychology of Discovery and Invention. New York, New York,
USA. HarperCollins.
Deakin Crick, R. 2009. Inquiry-based learning: Reconciling the personal with the public in a democratic and
archaeological pedagogy. The Curriculum Journal. Vol 20, number 1. Pp 7392.
Duncum, P and Bracey, T, (eds). 2001. On Knowing: Art and Visual Culture. Christchurch, New Zealand.
Canterbury University Press.
Ellis, S. 2009. Creative Learning Assessment (CLA): A framework for developing and assessing childrens
creative learning. In Proceeding of the international conference Can creativity be measured? Brussels,
2829 May 2009. Centre for Literacy in Primary Education. http://ec.europa.eu/education/lifelong-learningpolicy/doc/creativity/report/cla.pdf.
Evans, A and Carnaghan, C. 2009. Edexcel A2 Drama and Theatre Studies. London, UK. Pearson Education Ltd.
Georgii-Hemming, E and Westvall, M. 2010. Music educationa personal matter? Examining the current
discourses of music education in Sweden. British Journal of Music Education. Vol 27, number 1. Pp 2133.
Govan, E, Nicolson, H and Normington, K. 2007. Making a Performance: Devising Histories and Contemporary
Practices. London, UK. Routledge.
Green, SK and Hale, CL. 2011. Fostering a lifelong love of music: Instruction and assessment practices that
make a difference. Music Educators Journal. Vol 98, number 1. Pp 4550.
Hallam, S. 2010. The power of music: Its impact on the intellectual, social and personal development of
children and young people. International Journal of Music Education. Vol 28, number 3. Pp 269289.
Hartigan, P. 2012. Using theater to teach social skills. Researchers document improvements for children with
autism. Harvard Education Letter. Vol 28, number 1.
Jackson, N. 2005. Assessing students creativity: Synthesis of higher education teacher views. York, UK.
The Higher Education Academy.
Jalongo, MR. 2003. The childs right to creative thought and expression. Childhood Education. Vol 79,
number 4. Pp 218228. A position paper of the Association for Childhood Education International.
Kaufman, JC and Sternberg, RJ, (eds). 2010. The Cambridge Handbook of Creativity. New York, New York, USA.
Cambridge University Press.
Arts guide
59
Selected reading
Kay Beattie, D. 1997. Assessment in Art Education. Provo, Utah, USA. Brigham Young University.
Kershaw, B and Nicholson, H, (eds). 2011. Research Methods in Theatre and Performance. Edinburgh, Scotland,
UK. Edinburgh University Press.
Kozma, R. 2009. Transforming education: Assessing and teaching 21st century skills: Assessment call to
action. In Scheuermann F and Bjrnsson, J (eds), The Transition to Computer-based Assessment: New
Approaches to Skills Assessment and Implications for Large-scale Testing. European Commissions Joint
Research Centre.
Lavina, A. nd. Cultural predispositions and creativity in the curriculum.
Lehrer, J. 2012. Imagine: How Creativity Works. New York, USA. Houghton Mifflin Harcourt.
Mackey, S and Cooper, S. 2000. Drama and Theatre Studies. Cheltenham, UK. Stanley Thornes (Publishers) Ltd.
Mamet, D. 2010. Theatre. New York, New York, USA. Faber & Faber.
McWilliam, E and Taylor, P. 2011. Learning in and for the 21st century workplace. Adult Learning: Emerging
Challenges and Opportunities Conference presentation slides, Singapore, 56 November.
Morris, I. 2009. Teaching Happiness and Well-Being in Schools: Learning to Ride Elephants. London, UK.
Continuum International Publishing Group.
Nicholson, H. 2005. Applied Drama: The Gift of Theatre. Wilson, OM, (ed). 2010. Basingstoke, UK. Palgrave
Macmillan.
OWP/P Architects, VS Furniture, and Bruce Mau Design. 2010. The Third Teacher: 79 Ways You Can Use Design
to Transform Teaching and Learning. New York, New York, USA. Abrams.
Pitts, S. 2001. Whose aesthetics? Public, professional and pupil perceptions of music education. Research
Studies in Music Education. Vol 17, number 1. Pp 5460.
Pope, R. 2005. Creativity: Theory, History, Practice. London, UK. Routledge.
Prendergast, M and Saxton, J, (eds). 2009. Applied Theatre: International Case Studies and Challenges for
Practice. Bristol, UK. Intellect Ltd.
Robertson, S. 2011. Sue Miner: Championing literacy through drama. Scene Magazine. Issue 1. http://www.
ista.co.uk/downloads/SueMiner.pdf.
Robinson, K. 2011. Out of Our Minds: Learning to be Creative. Westford, Massachusetts, USA. Capstone Press.
Robinson, K. 2009. The Element: How Finding Your Passion Changes Everything. London, UK. Penguin.
Robinson, K, (ed). 1989. The Arts in Schools: Principles, Practice and Provision. London, UK. Calouste Gulbenkian
Foundation.
Robson, J and Jaaniste, L. 2010. Growing Future Innovators: A New Approach to Learning Programs for Young
People. Mt Lawley, Washington, USA. ARC Centre of Excellence for Creative Industries and Innovation. http://
www.cci.edu.au/sites/default/files/alawrence/Growing_Future_Innovators_online_report_Aug_2010.pdf
Runco, MA. 1993. Divergent thinking: Creativity research. Gifted Child Quarterly. Vol 37, number 1. Pp 1622.
Runco, MA. 1991. Divergent Thinking. Norwood, New Jersey, USA. Ablex Publishing Corporation.
Treffinger, DJ. 2011. Future problem solving program international: Catalyst for talent recognition
and development. Center for Creative Learning Inc. http://www.fpspi.org/PDF/FPSPI%20Talent%20
Development.pdf.
60
Arts guide
Selected reading
Treffinger, DJ, Young, GC, Selby, EC and Shepardson, C. 2002. Assessing creativity: A guide for educators.
Storrs, Connecticut, USA. The National Research Center on the Gifted and Talented, University of Connecticut.
Urban, KK. 2004. Assessing creativity: The test for creative thinking-drawing production (TCT-DP). The
concept, application, evaluation, and international studies. Psychology Science. Vol46, number3. Pp 387397.
Wagner, T. 2012. Creating Innovators: The Making of Young People Who Will Change the World. New York, USA.
Scribner.
Wakefield, JF. 1992. Creative Thinking: Problem-solving Skills and the Arts Orientation. Norwood, New Jersey,
USA. Ablex Publishing.
Online resources
http://www.iep.utm.edu/aestheti/
http://www.creativeeducationfoundation.org/our-process/what-is-cps
http://www.celt.iastate.edu/creativity/elements.html
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Art Guide

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What is the purpose of this guide?

What is the purpose of this guide?

What are the four high-quality and challenging educational programmes offered by the IB?

What are the four high-quality and challenging educational programmes offered by the IB?

Arts guide

For use from September 2014/January 2015

Middle Years Programme

Published May 2014

International Baccalaureate, Baccalaurat International and Bachillerato Internacional

Arts in the MYP

Nature of the arts

Arts across the IB continuum

Planning a progression of learning

Written and taught curriculum

Teaching and learning through inquiry

Alignment of objectives and criteria

Assessment criteria overview

Arts assessment criteria: Year 1

Arts assessment criteria: Year 3

Arts assessment criteria: Year 5

MYP command terms for arts

Purpose of this guide

general information about the programme

detailed information about approaches to learning

a statement on academic honesty.

In MYP publications, requirements appear in a text box like this one.

Arts in the MYP

addresses holistically students intellectual, social, emotional and physical well-being

empowers students to participate in service with the community

Arts in the MYP

Nature of the arts

Arts in the MYP

responding to ideas, questions, tasks or problems in a surprising way

challenging conventions and ones own and others assumptions

seeing possibilities, problems and challenges positively

using imagination to examine possibilities

considering other perspectives than ones own

playing with ideas and experimenting

responding intuitively and trusting ones intuition

anticipating and overcoming difficulties, modifying ones ideas in the process

recognizing when an original idea has value and pursuing it

seeking unusual solutions.

Thinking creatively in the arts

Arts in the MYP

Arts across the IB continuum

Thinking of education as a preparation for something that happens later can

Arts across the IB continuum

Arts in the MYP

create and present art

develop skills specific to the discipline

engage in a process of creative exploration and (self-)discovery

make purposeful connections between investigation and practice

understand the relationship between art and its contexts

respond to and reflect on art

deepen their understanding of the world.

Arts in the MYP

A Knowing and understanding

develop a feasible, clear, imaginative and coherent artistic intention

demonstrate a range and depth of creative-thinking behaviours

Arts in the MYP

Nature of the arts

Arts across the IB continuum

Planning a progression of learning

Written and taught curriculum

Teaching and learning through inquiry

Alignment of objectives and criteria

Assessment criteria overview

Arts assessment criteria: Year 1

Arts assessment criteria: Year 3

Arts assessment criteria: Year 5

MYP command terms for arts