Arts · teacher-only checks… | Year 3 Subjects · T1 W3–4 · Assessment

Keep this separate from learner cards. Capture exact action/words | source or actual mode | help offered | next move without identifiable child data in this public pack. These short checks are formative, not a full achievement-standard judgement. Score 2 for independent evidence with access available, 1 after a model/prompt, 0 for not yet evidenced; not assessed if access, approval or opportunity was unavailable. Do not mark planning as an actual experiment, bodily movement, shared drama, sounded music or media-tool use. Recheck with the fresh task below.

Day	Observable check / acceptable response	If not yet, teach and recheck	Evidence limit
11	An observable expressive change in space or timing can convey an idea; a drawn token alone is not danced performance.	Offer fresh phrase ‘small → curve → pause’ and ask for one expressive safe variation.	Claim Dance movement only if a learner actually moves in an agreed accessible mode.
12	The scene has a recognisable situation and an intentionally changed action; asking avoids unsupported guessing.	Introduce a fresh character with a conflicting aim and ask for one revised line/action.	A written summary is drama planning until it is enacted or shared as a scene.
13	Wide versus close crop changes emphasis; code evidence requires actual media technology and a constructed work. Paper frames are planning.	Use a new triangle/square pair and request a different intended emphasis.	Without approved media technology, do not credit media production codes.
14	Six beats are accounted for and one pulse changes. A silent card can show composition choice but not sounded performance or a listening response.	Try a fresh four-pulse pattern and ask where a deliberate rest belongs.	Do not claim auditory listening if only a visual/tactile route occurred.
15	A reason ties line, scale or spacing to an intended meaning; neatness and copying a familiar logo are not criteria.	Give a new viewer who needs the arrow visible from farther away and revise scale.	A fictional viewer is not real audience research; actual feedback must be recorded separately.
16	Choreography and informal performance are evidenced by actual chosen bodily movement shown to a willing audience, not token marks alone.	Offer new ‘arrive → wait → return’ phrase and check an independent change in direction.	No movement/performance credit if the learner chose a paper-only route.
17	An enacted scene shows a role transition and an altered decision. Written dialogue without sharing is planning.	Give a fresh lost-ticket situation and ask learner to mark its viewpoint shift.	Do not assess extroversion or vocal volume as drama quality.
18	A coherent sequence communicates a chosen action when captured/organised using technology; share code needs an actual informal audience.	Use a new paper-only ‘take → repair → return’ idea and adjust frame order.	No media production or sharing claim from a paper-only storyboard.
19	Four call plus four answer pulses are ordered, with an intentional changed ending. Sounded performance only if sung or played, not from a silent strip.	Give a new call with two rests and ask for a contrasting response.	Do not equate a silent composition with performed music or claim heard evidence from a visual route.
20	A visual change such as larger arrow or clearer spacing relates to the stated purpose. Record real feedback only if actually received.	Change the sign's target from tray to door and ask which visual part needs revising.	Sharing can be private; ‘effective for all viewers’ needs broader real testing.

Fresh transfer: Day 20 uses a new situation within its subject. After a miss, use the named different scenario in the third column rather than rehearsing the same answer. Record support and a future teaching action. A specialist/local educator should review these prompts and each learner's current pathway before classroom use.