# Arts · optional Years 9–10 Days 11–20

Ten **12-minute** original making blocks: two each in Dance, Drama, Media Arts, Music and Visual Arts. These are short creation opportunities, not each discipline's complete Years 9–10 program. They do not imitate community-owned motifs, cultural performance or a named artist. No public performance, recording, device, special art material, dance movement or loud sound is required. A directed, tactile, silent or notated route is valid evidence of choreography, composition, interpretation or design as specified; **actual performance is claimed only when it occurred**. Use the [clean learner cards](LEARNER.md#arts), [creative print/text aid](print/TEXT-ALTERNATIVES.md) and [quiet original audio or equivalent beat text](audio/TEXT-ROUTE.md). Rhythm: **0–2 idea; 2–4 model a choice; 4–10 A/B/C create/revise; 10–12 collect and give next move**. The two extra [fresh Arts checks](ASSESSMENT.md#arts-checks) are public formative prompts.

### Arts Day 11 · Waiting-room motif · Dance · AC9ADA10C01

**0–2:** Name “waiting, then choosing” as an abstract invented idea, not a real experience disclosure. **2–4:** Model eight count boxes with one long pause. **4–10:** A/B/C choreographs via safe opt-in movement, notation or direction. **10–12 evidence/next:** The motif should change time/space/shape to communicate a choice; note what was made versus performed. If all eight counts are identical, ask which one becomes a pivot. **Home:** silent count score.

### Arts Day 12 · Two-path dance revision · Dance · AC9ADA10C01

**0–2:** Fictional station queue only; no travel data. **2–4:** Model four-count approach/yield/return and one contrasted direction in the next four. **4–10:** A/B/C choreographs and revises a specific choice. **10–12 evidence/next:** Ask where the changed direction/level or pause alters meaning; distinguish a planned score from enacted rehearsal. If a learner copies an existing dance, invite an original abstract path. **Home:** paper pathway notation.

### Arts Day 13 · The wrong parcel · Drama · AC9ADR10C01

**0–2:** Roles and addressless parcel are fiction. **2–4:** Model goal, obstacle, pause and unanswered question as dramatic structure. **4–10:** A/B/C devises a 25-second scene in safe enactment, script or tabletop direction. **10–12 evidence/next:** Each role needs a goal that creates tension without an accusation; a question ending sustains the action. If scene becomes a claim about an actual person, return to invented roles. **Home:** six-line fictional script.

### Arts Day 14 · The second message · Drama · AC9ADR10D02

**0–2:** A new fictional note says “Please ask before opening.” **2–4:** Compare one old and one revised beat. **4–10:** A/B/C reflects on its own Day13 drama or directed rehearsal and changes line/action. **10–12 evidence/next:** A specific revision should show how the boundary changes intention, care or power; the teacher records whether the comparison came from actual performances or scripts. If revision is only “better”, ask which beat and why. **Home:** two-column old/new script note.

### Arts Day 15 · Single-frame inference · Media Arts · AC9AMA10D01

**0–2:** Three original paper frames, no real news or person. **2–4:** Show how a closed box first versus an empty table first can prompt different audience inferences. **4–10:** A/B/C experiments with crop/order and a full caption or audio description. **10–12 evidence/next:** Learner names a representation choice and one omitted context; do not claim an audience's actual response was measured. If captions rely on image alone, ask for a complete text description. **Home:** three-panel word storyboard.

### Arts Day 16 · Community notice mini-comic · Media Arts · AC9AMA10C01

**0–2:** The notice and “everyone agreed” are fictional. **2–4:** Model three functions: vague claim → evidence question → precise revised notice. **4–10:** A/B/C creates or structures three original panels with captions. **10–12 evidence/next:** The sequence should communicate why a representation changes, not merely repeat the same line; a text storyboard is design evidence, a made comic is produced-work evidence. If one frame silently blames a group, revise to source-focused language. **Home:** text-only storyboard.

### Arts Day 17 · Four-beat city cue · Music · AC9AMU10C02

**0–2:** Fictional stage cue, not a real crossing signal. Low-volume [original tone aid](audio/quiet-four-beat.wav) and [text route](audio/TEXT-ROUTE.md) are optional. **2–4:** Model four beat boxes, one short/one longer tone, two rests. **4–10:** A/B/C composes and notates an original cue or variation. **10–12 evidence/next:** The score has four timed positions, sound/rest and one intended effect; performance is not needed for composition evidence. If the notation cannot be replayed by another person, add a duration/dynamic label. **Home:** silent beat score.

### Arts Day 18 · Rehearsal-room response motif · Music · AC9AMU10C02

**0–2:** Use yesterday's own motif, not copyrighted music. **2–4:** Model an answer phrase with one rest and a changed dynamic or contour. **4–10:** A/B/C composes a second phrase and documents relationship to the first. **10–12 evidence/next:** Two aligned four-beat rows and an explained change evidence composition; mark actual rehearsal separately. If phrase two duplicates the first, ask which beat will respond differently and why. **Home:** paper two-row score.

### Arts Day 19 · Market-sign negative space · Visual Arts · AC9AVA10D01

**0–2:** Market/sign are fictional, not a wayfinding promise. **2–4:** Model one circle, one thick/thin line and different empty spaces. **4–10:** A/B/C experiments with two original compositions using scrap, raised shapes or directed placements. **10–12 evidence/next:** Learner identifies one manipulated visual convention and intended attention shift; actual viewer response is untested. If both versions are identical, move one element and compare. **Home:** a no-purchase two-sketch or tactile layout.

### Arts Day 20 · Park-path abstract print · Visual Arts · AC9AVA10C02

**0–2:** Imaginary path and abstract print, not an accessible real sign. **2–4:** Model bend, two contrast marks, one intentionally empty region. **4–10:** A/B/C creates a small original artwork or tactile composition, evaluates feedback and refines a visible choice. **10–12 evidence/next:** Keep first and revised version; describe why the change serves expression. If only a proposal was made, record it as a plan rather than a completed artwork. **Home:** optional paper artwork with complete description.

**Original resource rights:** © NeuroForgeIO Pty Ltd 2026, SubjectNest, [CC BY 4.0](https://creativecommons.org/licenses/by/4.0/). Credit author, source, licence and changes. No borrowed tune, image, character, choreography or cultural motif is embedded.