Myp Drama 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, September 2017
Published on behalf of the International Baccalaureate Organization, a not-for-profit

educational foundation of 15 Route des Morillons, 1218 Le Grand-Saconnex, Geneva,
Switzerland by the
International Baccalaureate Organization (UK) Ltd

Peterson House, Malthouse Avenue, Cardiff Gate
Cardiff, Wales CF23 8GL
United Kingdom
Website: www.ibo.org
© International Baccalaureate Organization 2014
The International Baccalaureate Organization (known as the IB) offers four high-quality
and challenging educational programmes for a worldwide community of schools, aiming
to create a better, more peaceful world. This publication is one of a range of materials
produced to support these programmes.
The IB may use a variety of sources in its work and checks information to verify accuracy
and authenticity, particularly when using community-based knowledge sources such as
Wikipedia. The IB respects the principles of intellectual property and makes strenuous
efforts to identify and obtain permission before publication from rights holders of all
copyright material used. The IB is grateful for permissions received for material used
in this publication and will be pleased to correct any errors or omissions at the earliest
opportunity.
All rights reserved. No part of this publication may be reproduced, stored in a retrieval
system, or transmitted, in any form or by any means, without the prior written permission
of the IB, or as expressly permitted by law or by the IB’s own rules and policy. See
http://www.ibo.org/copyright.
IB merchandise and publications can be purchased through the IB store at

http://store.ibo.org.
Email: [email protected]
International Baccalaureate, Baccalauréat International and Bachillerato Internacional

are registered trademarks of the International Baccalaureate Organization.
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 1
Arts in the MYP 2

Programme model 2
Nature of the arts 4
Thinking creatively 5
Arts across the IB continuum 7
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
MYP eAssessment 53
Appendices58
Related concepts in arts 58
Arts glossary 60
MYP command terms for arts 62
Selected reading 63
Arts guide
Introduction
Purpose of this guide
This guide is for use from September 2014 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 (May 2014), 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 (TSMs) are available in the programme resource centre (https://resources.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 Middle Years Programme Assessment procedures.
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 1
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 engagement—essential
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
Programme (CP).
2 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 3
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.
4 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:
• questioning—often generating new and unusual further questions from the original question
• responding to ideas, questions, tasks or problems in a surprising way
• challenging conventions and one’s own and others’ assumptions
• thinking independently
• seeing possibilities, problems and challenges positively
• visualizing alternatives
• using imagination to examine possibilities
• considering other perspectives than one’s own
• playing with ideas and experimenting
• responding intuitively and trusting one’s intuition
• anticipating and overcoming difficulties, modifying one’s ideas in the process
• recognizing when an original idea has value and pursuing it
• seeking unusual solutions.
Thinking creatively in the arts

To create one’s own world in any of the arts takes courage.
Georgia O’Keeffe
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 5
Thinking creatively
creativity of the artist is what compels them to write, create, paint, play, structure, compose—injecting
their personal signature into their work—ultimately 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 realization—through the artist’s 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.
6 Arts guide
Arts in the MYP
Arts across the IB continuum
Thinking of education as a preparation for something that happens later can

overlook the fact that the first sixteen or eighteen years of a person’s 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
Diploma
Programme
Literature
Dance Film and
performance
Middle Years
Arts
Programme
Primary Years
Programme Arts
Figure 2
IB continuum pathways in the study of the arts
Arts guide 7
Arts across the IB continuum
MYP arts also helps to prepare students for overall success in the DP and the CP 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.
8 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 9
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
Visualizing the arts objectives
Demonstrate
understanding of the
role of the art form Use knowledge
Demonstrate to purposefully
knowledge and inform artistic
understanding of decisions
the art form
Knowing and
Construct
meaning understanding Demonstrate
and transfer acquisition and
learning development
of skills and
techniques
Developing
Create an Responding skills
artistic
response
Demonstrate
application
of skills and
techniques to
Presenting create art
a critique of Thinking
artwork creatively
Demonstrate
Develop a clear and exploration of
imaginative artistic ideas to a point
intention Demonstrate a of realization
range and depth of
creative‑thinking
behaviours
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
Visualizing the arts objectives
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
Planning a progression of learning
Throughout the programme, students should engage with the curriculum and demonstrate their
understanding at increasing levels of sophistication.
Year 1 Year 3 Year 5

In order to reach the aims In order to reach the aims In order to reach the aims
of arts, students should be of arts, students should be of arts, students should be
able to: able to: able to:
Objective A: Knowing and understanding
i. demonstrate awareness i. demonstrate knowledge i. demonstrate knowledge

of the art form studied, of the art form studied, and understanding of the
including the use of including concepts, art form studied, including
appropriate language processes, and the use of concepts, processes, and
ii. demonstrate awareness of appropriate language the use of subject-specific
the relationship between ii. demonstrate knowledge terminology
the art form and its of the role of the art form ii. demonstrate an
context in original or displaced understanding of the role
iii. demonstrate awareness contexts of the art form in original
of the links between the iii. use acquired knowledge or displaced contexts
knowledge acquired and to inform their artwork. iii. use acquired knowledge to
artwork created. purposefully inform artistic
decisions in the process of
creating artwork.
Objective B: Developing skills
i. demonstrate the i. demonstrate the i. demonstrate the

acquisition and acquisition and acquisition and
development of the skills development of the skills development of the skills
and techniques of the art and techniques of the art and techniques of the art
form studied form studied form studied
ii. demonstrate the ii. demonstrate the ii. demonstrate the
application of skills and application of skills and application of skills and
techniques to create, techniques to create, techniques to create,
perform and/or present art. perform and/or present art. perform and/or present art.
14 Arts guide
Planning a progression of learning
Year 1 Year 3 Year 5

In order to reach the aims In order to reach the aims In order to reach the aims
of arts, students should be of arts, students should be of arts, students should be
able to: able to: able to:
Objective C: Thinking creatively
i. identify an artistic i. outline a clear and feasible i. develop a feasible, clear,

intention artistic intention imaginative and coherent
ii. identify alternatives and ii. outline alternatives, artistic intention
perspectives perspectives, and ii. demonstrate a range and
iii. demonstrate the imaginative solutions depth of creative-thinking
exploration of ideas. iii. demonstrate the behaviours
exploration of iii. demonstrate the
ideas through the exploration of ideas to
developmental process to shape artistic intention
a point of realization. through to a point of
realization.
Objective D: Responding
i. identify connections i. outline connections and i. construct meaning and

between art forms, art and transfer learning to new transfer learning to new
context, or art and prior settings settings
learning ii. create an artistic response ii. create an artistic response
ii. recognize that the world inspired by the world that intends to reflect
contains inspiration or around them or impact on the world
influence for art iii. evaluate the artwork of around them
iii. evaluate certain elements self and others. iii. critique the artwork of self
or principles of artwork. 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:
• integrative—bringing together concepts, methods or modes of communication from two or more

subject groups, disciplines or established areas of expertise to develop new perspectives
• purposeful—connecting 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.
16 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 year 5)
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
Written and taught curriculum
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 1–3, 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
year 4 and MYP year 5).
All schools must ensure that:
• in MYP years 1–3, 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 1–3 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 1–3, 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
18 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
extra‑curricular arts courses often benefit a student’s overall experience, these activities do not count
towards the required minimum teaching hours unless they are clearly integrated in the school’s 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 In MYP years 1–3, if local circumstances impose scheduling constraints that
groups in MYP years prevent the programme’s designed implementation, schools can combine
1–3 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 school’s
responsibility to offer both visual arts and performing arts courses when
combining the arts into other subject groups.
Arts guide 19
Requirements
Structure of course Description
Intermittent course In MYP years 1–3, it is permissible to alternate the arts subject group with one
other subject group, provided that each subject group meets the required
(for example: the
minimum 50 teaching hours. The arts offered within an intermittent course must
arts subject group is
provide a range of both visual arts and performing arts units and must meet the
offered for the first
allocated minimum required hours in each art form across MYP years 1–3.
semester and design
subject group for the
second semester)
Modular arts course 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,
(for example; a
music and drama. The arts disciplines offered in a modular fashion must provide
variety of arts
a range of both visual arts and performing arts. Each module may, or may not be
disciplines per
taught by the same teacher, and the total hours in the subject group must meet
semester, trimester,
the minimum requirement of 50 hours. When reporting grades to parents, it is
quarter, term)
a school choice whether to report the student achievement levels for individual
arts disciplines or for the arts as a subject group.
Integrated visual Integrated arts courses should consist of integrated performing arts disciplines
arts/integrated or integrated visual arts disciplines. For example, a school may include music
performing arts 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
1–3, although not necessarily simultaneously. Schools are not permitted to
merge performing and visual arts together into one integrated course.
Discrete arts Students may engage in the arts through the study of discrete disciplines.
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 1–3,
• Visual art
although not necessarily simultaneously.
• Media
Students are usually offered a choice of the same disciplines in years 4 and 5 of
• Drama
the programme.
• Music
• Dance
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.
20 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 school’s 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.
Arts guide 21
Teaching and learning through inquiry
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 idea”—a 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.
22 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
transformation—a 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 non-
verbal).
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.
Arts guide 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 subject—its 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.
Related concepts in arts
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).
24 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 Key concept Possible project/study

Related concepts
Global context
Many cultures consider balance • Aesthetics World music

and harmony found in nature • Composition Arts appreciation
to be the cornerstones of
• Personal and cultural
aesthetics. Study of nature
expression
Indigenous arts
Symbols and conventions used • Aesthetics Design/scenography

to convey meaning to audiences • Audience Direction
are influenced by time and
• Orientation in space and
space. Playwriting/interpreting script
time
Ritual
Graffiti
Developments in technology • Identity Popular culture

can manipulate artists’ identity. • Visual culture Media representation
• Scientific and technical
The development of art and art
innovation
distribution through technology
Consumer art
Popularization of art
The process of artistic creation • Identity Self-portraits

can lead to self-discovery. • Innovation Characterization
• Identities and relationships
Improvisation
Free expression
Social media has the potential • Change Artistic choices in a public arts
for global influence and can be a • Boundaries forum
vehicle for change.
• Fairness and development Propaganda
Advertising
Social messaging
Arts guide 25
Statement of inquiry Key concept Possible project/study

Related concepts
Global context
“Craftsmanship”, medium and • Change Exploration of various arts

tools must change along with • Presentation medium and materials
the times to stay relevant in
• Globalization and Various forms of craftsmanship
society.
sustainability
Arts across the world
Arts through the ages
Pattern and repetition can • Communication Movement in art

communicate motion. • Composition Physical theatre
• Personal and cultural
Repetition and representation
expression
sports art
Tessellations and mosaic
Iconic representations express • Communication Imagery icons in visual art and

a recurring sentiment through • Representation media
time and space.
• Orientation in space and Symbology
time
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: Conceptual questions: Debatable questions:

Remembering facts and topics Analysing big ideas Evaluating perspectives and
developing theories
• What artists can be • To what extent does • When is process more

considered influential in the identity of the artist important than product?
modern time? impact the artwork? • Is everyone an artist?
• How has the art form • In what ways can the arts • When does art become
changed over time? influence or even change a labelled as provocative?
• What conventions or society?
elements can be identified • What is the relationship
as specific to the genre? between arts and
audiences?
Table 4
Examples of factual, conceptual and debatable questions
26 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 group’s aims and
objectives.
ATL skills are grouped into five categories that span the IB continuum of international education.
IB programmes 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 ATL skills. 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
Arts guide 27
Subject-specific guidance
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 MYP arts course will differ according to the local or national conditions in
which an individual school is working.
• Teachers should develop their courses using the MYP arts aims and objectives as their prime points of
reference.
Copyright statement
Students must respect intellectual property: copyright laws may restrict students’ selection, creation
or use of material.
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
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
28 Arts guide
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
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
Arts guide 29
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
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.
30 Arts guide
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
media‑making 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
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 MYP arts curriculum.
Objectives in a visual art context: Examples

Arts guide 31
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
How to use the arts process journal

The use of an arts process journal encourages and records experimentation, and critical and creative
thinking. The journal’s 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.
32 Arts guide
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 school—and 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
• 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 intention—initial 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
Arts guide 33
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 school’s 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 work—he 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.
34 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 Level descriptor
The student does not reach a standard described by any

0
of the descriptors below.
The student:
i. demonstrates limited knowledge of the art form
A Knowing and studied, including concepts, processes, and limited
use of appropriate language
1–2
understanding ii. demonstrates limited knowledge of the role of the
art form in original or displaced contexts
iii. demonstrates limited use of acquired knowledge
At the end of year 5, students should to inform his or her artwork.
be able to:
The student:
i. demonstrate knowledge and
understanding of the art form i. demonstrates adequate knowledge of the art
studied, including concepts, form studied, including concepts, processes, and
processes and the use of 3–4 adequate use of appropriate language
subject-specific terminology ii. demonstrates adequate knowledge of the role of
the art form in original or displaced contexts
ii. demonstrate understanding
of the role of the art form in iii. demonstrates adequate use of acquired knowledge
original or displaced contexts to inform his or her artwork.
iii. use acquired knowledge to The student:
purposefully inform artistic
decisions in the process of i. demonstrates substantial knowledge of the art
creating artwork. form studied, including concepts, processes, and
5–6 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.
The student:
i. demonstrates excellent knowledge of the art
form studied, including concepts, processes, and
7–8 excellent use of appropriate language
ii. demonstrates excellent knowledge of the role of
iii. demonstrates excellent use of acquired knowledge
to inform his or her artwork.
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 (1–8), divided into four bands that generally represent limited (1–2); adequate (3–4);
substantial (5–6); and excellent (7–8) 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.
36 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
Arts assessment criteria: Year 1
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.
0 The student does not reach a standard described by any of the descriptors below.
The student:
i. demonstrates limited awareness of the art form studied, including
limited use of appropriate language
1–2 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:
i. demonstrates adequate awareness of the art form studied, including
adequate use of appropriate language
3–4 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:
i. demonstrates substantial awareness of the art form studied, including
substantial use of appropriate language
5–6 ii. demonstrates substantial awareness of the relationship between the art
iii. demonstrates substantial awareness of the links between the knowledge
38 Arts guide
The student:
i. demonstrates excellent awareness of the art form studied, including
excellent use of appropriate language
7–8 ii. demonstrates excellent awareness of the relationship between the art
iii. demonstrates excellent awareness of the links between the knowledge
Arts guide 39
Criterion B: Developing skills

Maximum: 8
The student:
i. demonstrates limited acquisition and development of the skills and
1–2 techniques of the art form studied
ii. demonstrates limited application of skills and techniques to create,
perform and/or present art.
The student:
i. demonstrates adequate acquisition and development of the skills and
ii. demonstrates adequate application of skills and techniques to create,
The student:
i. demonstrates substantial acquisition and development of the skills and
ii. demonstrates substantial application of skills and techniques to create,
The student:
i. demonstrates excellent acquisition and development of the skills and
ii. demonstrates excellent application of skills and techniques to create,
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.
The student:
i. identifies a limited artistic intention
1–2
ii. identifies limited alternatives and perspectives
iii. demonstrates limited exploration of ideas.
The student:
i. identifies an adequate artistic intention
3–4
ii. identifies adequate alternatives and perspectives
iii. demonstrates adequate exploration of ideas.
The student:
i. identifies a substantial artistic intention
5–6
ii. identifies substantial alternatives and perspectives
iii. demonstrates substantial exploration of ideas.
The student:
i. identifies an excellent artistic intention
7–8
ii. identifies excellent alternatives and perspectives
iii. demonstrates excellent exploration of ideas.
Arts guide 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.
The student:
i. identifies limited connections between art forms, art and context, or art
and prior learning
1–2
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:
i. identifies adequate connections between art forms, art and context, or
art and prior learning
3–4
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:
i. identifies substantial connections between art forms, art and context, or
5–6
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:
i. identifies excellent connections between art forms, art and context, or
7–8 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.
42 Arts guide
Assessed curriculum

Maximum: 8
i. demonstrate knowledge of the art form studied, including concepts, processes, and the use of
appropriate language
ii. demonstrate knowledge of the role of the art form in original or displaced contexts
iii. use acquired knowledge to inform their artwork.
The student:
i. demonstrates limited knowledge of the art form studied, including
concepts, processes, and limited use of appropriate language
1–2 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:
i. demonstrates adequate knowledge of the art form studied, including
concepts, processes, and adequate use of appropriate language
3–4 ii. demonstrates adequate knowledge of the role of the art form in original
or displaced contexts
iii. demonstrates adequate use of acquired knowledge to inform his or her
artwork.
The student:
i. demonstrates substantial knowledge of the art form studied, including
concepts, processes, and substantial use of appropriate language
5–6 ii. demonstrates substantial knowledge of the role of the art form in
original or displaced contexts
iii. demonstrates substantial use of acquired knowledge to inform his or her
artwork.
Arts guide 43
The student:
i. demonstrates excellent knowledge of the art form studied, including
concepts, processes, and excellent use of appropriate language
7–8 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.
44 Arts guide

Maximum: 8
The student:
The student:
The student:
The student:
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.
The student:
i. presents a limited outline of an artistic intention, which may lack clarity
or feasibility
1–2 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:
i. presents an adequate outline of a clear and/or feasible artistic intention
3–4 ii. presents an adequate outline of alternatives, perspectives, and

imaginative solutions
iii. demonstrates adequate exploration of ideas through the developmental
process to a point of realization.
The student:
i. presents a substantial outline of a clear and feasible artistic intention
5–6 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:
i. presents an excellent outline of a clear and feasible artistic intention
7–8 ii. presents an excellent outline of alternatives, perspectives, and

iii. demonstrates excellent exploration of ideas through the developmental
process to a point of realization.
46 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.
The student:
i. presents a limited outline of connections and may transfer learning to
new settings
1–2
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:
i. presents an adequate outline of connections and occasionally transfers
learning to new settings
3–4
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:
i. presents a substantial outline of connections and regularly transfers
5–6
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:
i. presents an excellent outline of connections with depth and insight,
and effectively transfers learning to new settings
7–8
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.
Arts guide 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.
The student:
i. demonstrates limited knowledge and understanding of the art form
studied, including concepts, processes, and limited use of subject‑specific
terminology
1–2
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:
i. demonstrates adequate knowledge and understanding of the art
form studied, including concepts, processes, and adequate use of
subject‑specific terminology
3–4
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:
i. demonstrates substantial knowledge and understanding of the art form
studied, including concepts, processes, and substantial use of subject-
specific terminology
5–6
ii. demonstrates substantial understanding of the role of the art form in
iii. demonstrates substantial use of acquired knowledge to purposefully
inform artistic decisions.
48 Arts guide
The student:
i. demonstrates excellent knowledge and understanding of the art
form studied, including concepts, processes, and excellent use of
subject‑specific terminology
7–8
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.
Arts guide 49

Maximum: 8
The student:
The student:
The student:
The student:
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.
The student:
i. develops a limited artistic intention that is rarely feasible, clear,
imaginative or coherent
1–2
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:
i. develops an adequate artistic intention that is occasionally feasible,
clear, imaginative and/or coherent
3–4 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:
i. develops a substantial artistic intention that is often feasible, clear,
imaginative and coherent
5–6 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:
i. develops an excellent artistic intention that is consistently feasible, clear,
imaginative and coherent
7–8 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.
Arts guide 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.
The student:
i. constructs limited meaning and may transfer learning to new settings
1–2 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:
i. constructs adequate meaning and occasionally transfers learning to
new settings
3–4
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:
i. constructs appropriate meaning and regularly transfers learning to new
settings
5–6
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:
i. constructs meaning with depth and insight and effectively transfers
7–8
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.
52 Arts guide
Assessed curriculum
MYP eAssessment
Students seeking IB MYP course results for arts courses must complete an ePortfolio in which they
demonstrate their achievement of the subject group’s objectives. For each assessment session, the IB
publishes a partially completed arts unit planner (including required assessment tasks) that teachers must
develop and deliver in their own contexts. The recommended teaching time for the ePortfolio unit is
approximately 20 hours.
The resulting portfolio of student work is marked by the student’s teacher(s), based on the school’s internal
standardization of judgments against MYP arts assessment 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.
Optional eAssessment in arts is offered in performing arts (dance, drama, music, integrated performing arts)
and visual arts (media, visual art, integrated visual arts).
Using partially completed unit planners

Partially completed unit planners contain the following completed sections, which must remain
unchanged in their development by schools.
• Global context and exploration

• Key concept
• Related concept(s)
• Statement of inquiry
• A factual, conceptual and debatable inquiry question (indicative of additional questions that
may be developed and added to by teachers and students)
• Summative assessment task(s)
• Relationship between summative assessment tasks and statement of inquiry
Upon their publication, the IB unit plans are to be completed by the teacher responsible for teaching the
unit and managing the summative assessment. Where more than one teacher is involved, this should be
done collaboratively.
During the teaching period, teachers should support the learning process as usual, providing appropriate
formative feedback that guides students in developing and improving their work. Teachers are responsible
for using principled professional judgment when determining the nature and extent of feedback they
provide on students’ ePortfolio tasks. It is appropriate to provide general guidance rather than extensive
annotations, detailed edits, or extended critiques.
Arts guide 53
MYP eAssessment
In order to ensure fairness and to prevent undue influence, teachers’ feedback on ePortfolio tasks
must only advise students generally on how to approach and complete their work. As a shared
standard of good practice, teachers must provide only one round of formal feedback on candidates’
work for each task. Once students have submitted the final version of their ePortfolio for school-
based assessment, it cannot be retracted or redone.
Teachers must ensure that all student work submitted for eAssessment is prepared according to IB
requirements. In particular, students and teachers are responsible for understanding all IB academic
honesty requirements, especially those relating to authenticity and intellectual property. Teachers
must explain clearly to students and parents that all work submitted for school-based assessment—
including MYP ePortfolios—must be the candidate’s own authentic and individual work. Teachers
must use appropriate means to ensure that each candidate’s work is, in their professional judgment,
authentic. If a candidate does submit work for assessment that is not authentic, the school must
follow its internal policy for dealing with academic honesty issues.
Plagiarism and collusion are unprincipled breaches of IB regulations, potentially subjecting candidates
to consequences for academic misconduct. In addition, inauthentic student work can distort assessment
results and potentially disadvantage all students in the school’s cohort by unfairly skewing its moderation
sample.
When awarding criterion level totals, teachers must base their judgment of student achievement entirely
on the completed candidate work that is to be presented for moderation. Reported achievement levels
should not be influenced by the teacher’s previous experience with the candidate or by work that is not
represented in the candidate’s ePortfolio.
If more than one teacher is responsible for assessment, an internal standardization process should be
used to ensure that all candidates are marked to the same standard. Teachers are encouraged to keep a
record of their comments about the candidate’s work to explain the levels they have awarded (especially
where marginal judgments are made) as they help the examiner support the teacher’s judgments. Teacher
comments should be uploaded with work that is selected as part of the moderation sample. Once criterion
level totals have been submitted for all candidates, IBIS will select which ePortfolios must be uploaded for
moderation by the IB. The content of each ePortfolio is limited to the summative assessment task(s) required
by the IB’s partially completed unit planner for the relevant session.
Assessment tasks
The partially completed unit planner provides the summative assessment tasks (which will assess all strands
of all criteria) for the session.
An example of an ePortfolio summative assessment for MYP arts:
Task 1—Presentation (criteria A and D), an individual presentation of investigations into the work of master
artists, theorists/practitioners; critical appreciation of completed work by an artist studied in the unit and
the relationship between the work and its context
Task 2—Proposal (criterion C), a carefully chosen selection of process journal extracts to show evidence
of the student’s artistic intention and demonstrate a range of creative-thinking behaviours related to the
statement of inquiry
54 Arts guide
MYP eAssessment
Task 3—Process and product (criteria B and C), evidence of skills and techniques acquired, developed and
applied; exploration of artistic ideas; evidence of product created, performed or presented
Task 4—Commentary (criteria A and D), the student’s understanding of the unit and the possible application
to new settings; evidence of the application of investigation on the development of the student’s own
artwork; critical appreciation of the student’s own work and its impact on the world
ePortfolio process
Planning the unit
Teachers complete the unit planner according to their own local contexts and curriculum requirements. This
approach allows a teacher who is restricted to a particular teaching area for the duration of teaching the unit
to plan appropriately based on available resources. An example might be that two visual arts classes run
simultaneously for MYP year 5, one in a digital studio and one in a print room. Each teacher can complete
the content of his or her unit to allow for the use of those facilities and the general resources available, as
well as from his or her own background and the cultural context of the school.
Planning for assessment

It is essential that all summative assessment undertaken by the teacher is set against the criteria for MYP
year 5 as published in this guide in conjunction with the task-specific clarification published within Further
guidance for arts. Submissions will be student work only—background information, including the completed
unit planner or task-specific clarifications (used for the benefit of student learning) will not be submitted to
the IB.
The work produced for summative assessment must be the student’s own work. However, teachers play an
important role as students plan for and complete the required tasks. Teachers should ensure that students
are familiar with:
• the requirements of the type of work to be internally assessed

• the assessment criteria (students must ensure that the work submitted addresses the objectives
effectively).
If a student is not able to complete the work without substantial support, teachers should note the
circumstances and nature of support provided in their comments justifying the levels awarded.
Requirements for assessment

Students complete a portfolio of evidence from the body of work undertaken during the unit responding to
the prescribed summative assessment tasks.
Where a prescribed summative assessment task or the teaching context of the school results in students
working within groups or collaboratively, students must only be assessed for their individual contribution to
the submission. It is essential that the work of each student is clearly identifiable for the assessment process,
both to the teacher and to IB examiners.
When selecting evidence for group activities, care must be taken that each student features prominently
enough to allow for only his or her contribution to be assessed. Students and their contribution to an
activity must be clearly identifiable. The following examples show how this might be achieved.
Arts guide 55
MYP eAssessment
• Text evidence—students record their personal contribution, ensuring they carefully identify their
role in the development and any eventual outcome, paying particular attention to documenting their
individual approach, investigation and contribution made to the collaborative process.
• Video and photographic evidence—each student ensures that he or she is clearly identifiable, for
example, by wearing a coloured top that contrasts with other members of the group so he or she can
be recognized as the focus of assessment.
• Audio evidence—audio evidence is not generally recommended for collaborative or group work
because it is not possible to identify each individual contributor.
To allow for the flexibility of assessed work in subject/disciplines within the arts, this sliding scale establishes
the maximum limits of student work submitted as an MYP ePortfolio. Work exceeding the maximum must
not be considered in assessment by teachers or examiners.
Submission of the ePortfolio

Table 7 details the maximum submission time and/or page limits for MYP arts ePortfolios. Examiners will
not read, watch or listen to student work that exceeds these limits. IB-validated grades are based only on
student work presented within the maximum submission limits.
Submission maximum limits for the entire MYP arts ePortfolio
Audio/visual evidence Text/image evidence
0 minutes 30 A4 pages
3 minutes and 24 A4 pages
15 minutes 0 pages
Table 7
Maximum ePortfolio submission limits for arts
Arts subject-specific grade descriptors

Subject-specific grade descriptors serve as an important reference in the assessment process. Through
careful analysis of subject-group criteria and the general grade descriptors, they have been written to
capture and describe in a single descriptor the performance of students at each grade for each MYP subject
group.
Subject-specific grade descriptors are also the main reference used to select grade boundaries for each
discipline in each assessment session. During this process, the grade award team compares student
performance against descriptors of achievement at grades 2 and 3; 3 and 4; and 6 and 7 (other boundaries
are set at equal intervals between these key transitions). The grade award process is able to compensate
for variations in challenge between ePortfolio tasks and in standards applied to marking (both between
subjects and for a particular subject across sessions) by setting boundaries for each discipline and
examination session, with reference to real student work.
56 Arts guide
MYP eAssessment
Subject-specific grade descriptors tie eAssessment to criterion-related assessment and to MYP assessment
criteria and level descriptors, which put the programme’s criterion-related assessment philosophy into
practice.
Grade Descriptor
7 Produces frequently innovative and imaginative artistic intentions that lead to high-
quality artistic responses. Communicates comprehensive, nuanced understanding
of the art form studied including concepts, processes and contexts. Consistently
demonstrates sophisticated creative-thinking behaviours and exploration of ideas
through the creation and critique of the art of self and others. Frequently transfers
knowledge and applies skills and techniques, with independence and expertise, to
produce work in new settings.
6 Produces occasionally innovative and imaginative artistic intentions that lead to high-
quality artistic responses. Communicates extensive understanding of the art form
studied including concepts, processes and contexts. Demonstrates insightful creative-
thinking behaviours and exploration of ideas, frequently with sophistication, through
the creation and critique of the art of self and others. Transfers knowledge and applies
skills and techniques, often with independence to produce work in new settings.
5 Produces artistic intentions that generally lead to high-quality artistic responses.

Communicates good understanding of the art form studied including concepts,
processes and contexts. Demonstrates creative-thinking behaviours and exploration
of ideas, sometimes with sophistication through the creation and critique of the art of
self and others. Usually transfers knowledge, and applies skills and techniques, with
some independence, to produce work in new settings.
4 Produces artistic intentions that often lead to good-quality artistic responses.

Communicates basic understanding of the art form studied, including concepts,
processes and contexts. Demonstrates some creative-thinking behaviours and some
exploration of ideas through the creation and critique of the art of self and others.
Transfers some knowledge and applies some skills and techniques, with support, to
produce work in new settings.
3 Produces artistic intentions that often lead to acceptable quality artistic responses.
Communicates basic understanding of the art form studied, including some concepts,
processes and contexts. Begins to demonstrate some creative-thinking behaviours
and some exploration of ideas through the creation and critique of the art of self
and others. Begins to transfer knowledge and apply skills and techniques, requiring
support even in familiar settings.
2 Produces work of limited quality. Communicates limited understanding of the art

form studied, including some concepts, processes and contexts. Demonstrates limited
evidence of creative-thinking behaviours or exploration of ideas. Limited evidence of
transfer of knowledge or application of skills or techniques.
1 Produces work of a very limited quality. Conveys many significant misunderstandings

or lacks understanding of most concepts and contexts. Very rarely demonstrates
creative-thinking behaviours or exploration of ideas. Very inflexible, rarely shows
evidence of knowledge or skills.
Arts guide 57
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 audience–artist 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 artist’s
creative work and artistic expressions.
An artist’s 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.
58 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 character’s 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 59
Appendices
Arts glossary
Term Definition
Artistic Growth in an individual’s knowledge, skills, processes and attitudes needed for
development 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 Create an understanding about something; to infer and interpret facts, an opinion,
meaning 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 A feature of the work that is unique to the individual.

signature
Point of The end point in the student’s work (final product) in the context of a unit of work
realization 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 student’s 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 Terminology and vocabulary specific to a particular art discipline, art form, genre
language and/or style.
Technique The form used to show a skill. The particular way a skill is performed.
The elements of Line, shape, space, form, colour, texture and value.
art
60 Arts guide
Arts glossary
Term Definition
The principles Rhythm, movement, contrast, emphasis, balance, harmony, variety, unity, pattern
of art and proportion.
Transfer Convey the passing from one place, person or thing to another; transfer learning
from one situation to another.
Arts guide 61
Appendices
MYP command terms for arts
Command term Definition
Create Evolve from one’s 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.
62 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 113–127.
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 73–92.
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 children’s
creative learning”. In Proceeding of the international conference “Can creativity be measured?” Brussels,
28–29 May 2009. Centre for Literacy in Primary Education. http://ec.europa.eu/education/lifelong-learning-
policy/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 education—a personal matter? Examining the current
discourses of music education in Sweden”. British Journal of Music Education. Vol 27, number 1. Pp 21–33.
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 45–50.
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 269–289.
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 child’s right to creative thought and expression”. Childhood Education. Vol 79,
number 4. Pp 218–228. 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 63
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 Björnsson, J (eds), The Transition to Computer-based Assessment: New
Approaches to Skills Assessment and Implications for Large-scale Testing. European Commission’s 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, 5–6 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 54–60.
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 16–22.
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.
64 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. Vol 46, number 3. Pp 387–397.
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
Arts guide 65

Myp Drama Guide

Uploaded by

Copyright:

Available Formats

Myp Drama Guide

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Myp Drama Guide

Uploaded by

Copyright:

Available Formats

Arts guide

For use from September 2014/January 2015

Published May 2014

Published on behalf of the International Baccalaureate Organization, a not-for-profit

International Baccalaureate Organization (UK) Ltd

© International Baccalaureate Organization 2014

IB merchandise and publications can be purchased through the IB store at

International Baccalaureate, Baccalauréat International and Bachillerato Internacional

Arts in the MYP 2

Written and taught curriculum 18

Purpose of this guide

• general information about the programme

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

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

Nature of the arts

Thinking creatively involves:

Thinking creatively in the arts

Arts across the IB continuum

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

Figure 2 shows the IB continuum pathways in the study of the arts.

Visual arts Music Theatre

• create and present art

A Knowing and understanding

In order to reach the aims of arts, students should be able to:

In order to reach the aims of arts, students should be able to:

In order to reach the aims of arts, students should be able to:

i. develop a feasible, clear, imaginative and coherent artistic intention

In order to reach the aims of arts, students should be able to:

i. construct meaning and transfer learning to new settings

Visualizing the arts objectives

Planning a progression of learning

Year 1 Year 3 Year 5

Objective A: Knowing and understanding

i. demonstrate awareness i. demonstrate knowledge i. demonstrate knowledge

Objective B: Developing skills

i. demonstrate the i. demonstrate the i. demonstrate the

Year 1 Year 3 Year 5

Objective C: Thinking creatively

i. identify an artistic i. outline a clear and feasible i. develop a feasible, clear,

i. identify connections i. outline connections and i. construct meaning and

• integrative—bringing together concepts, methods or modes of communication from two or more

• the arts as an expression of culture through history

• the beneficial effects of the arts on the human condition

All schools must ensure that:

The MYP recognizes:

• Visual arts as visual art and media

The arts process journal

Organizing arts in the school

• visual art and media as visual arts

Structure of course Description

Structure of course Description

Planning the arts curriculum

Teaching and learning through inquiry

• courses within the arts subject group (intra-disciplinary learning)

Aesthetics Change Communication Communities

Connections Creativity Culture Development

Form Global interactions Identity Logic

Perspective Relationships Systems Time, place and space

Related concepts in arts

Audience Boundaries Composition Expression

Arts in the MYP 2

Written and taught curriculum 18