# The Arts choice menu · Years 5–6 band · Days 11–20

**Use:** One optional 12-minute block per day: two each for Dance, Drama, Media Arts, Music and Visual Arts. These are **original prompts**, not reproductions or claims about any community’s art. Provide opt-in presentation; avoid compulsory recording or public sharing. For creating/performance codes, collect an actual work or observe an actual action. A plan alone is useful preparation but is not a performed dance, drama, music or media production. Use the [arts process card](print/arts-process-card.pdf) and its [text alternative](print/TEXT-ALTERNATIVES.md). Private checks are separate.

### Day 11 · Dance: a pathway changes meaning · AC9ADA6E01, AC9ADA6C01
**Kit:** two clear floor/table routes: straight and curved. 0–2: Show a slow travelling gesture, with seated or upper-body option. 2–4: Ask whether direct or curved travel communicates urgency more clearly *to this audience*. 4–10: Learners create and perform two four-count movement phrases, changing pathway and level; peers name an observed change, then maker states intent. 10–12: Check that interpretation may differ and record actual choreography/performance. **Routes:** full-body; seated/hand; move or direct an assistive prop. **Next/home:** invent a safe four-count greeting gesture; no recording needed.

### Day 12 · Dance: revise with a partner · AC9ADA6D01, AC9ADA6P01
**Kit:** Day 11 phrases or fresh “arrive/leave” idea. 0–2: Recall a safe personal movement range. 2–4: Select a repeat or contrast device. 4–10: Practise twice, make one purposeful change in timing, and perform for a consenting partner or teacher; audience describes what changed. 10–12: Staff notes technical control *observed*, not assumed from a drawing. **Routes:** standing; seated/wheeled; hand/face gesture phrase. **Next/home:** show a phrase only if learner wishes; otherwise describe it.

### Day 13 · Drama: the missing key · AC9ADR6E01, AC9ADR6C01
**Kit:** invented scene: two people want the same locked supply box before a fair. 0–2: Read situation. 2–4: Choose characters with different goals and one respectful boundary. 4–10: Improvise a 30-second scene with a turning point; replay after changing one line to shift tension. 10–12: Check: Ask where the dramatic action changed; teacher observes enacted role choices. **Routes:** act; puppets; voiced narration with a partner moving figures. **Next/home:** tell a 3-line invented dilemma with no real names.

### Day 14 · Drama: rehearse a choice · AC9ADR6D01, AC9ADR6P01
**Kit:** fresh scene: a community event sign has two unclear directions. 0–2: Assign narrator, visitor, organiser. 2–4: Choose focus, space and voice/gesture. 4–10: Rehearse twice and perform to small willing audience; revise one cue after feedback. 10–12: Check that an actual performance occurred; a script is only preparation. **Routes:** speak role; use cue cards; animate a tabletop figure. **Next/home:** explain how one gesture could change a scene’s meaning.

### Day 15 · Media Arts: make a two-frame message · AC9AMA6D01, AC9AMA6C01
**Kit:** paper, thick pen, optional school-approved camera; invented public-service prompt “return shared equipment.” 0–2: Name audience: Year 5 peers. 2–4: Decide what frame one makes viewers expect. 4–10: Produce two photographed/printed or drawn frames with a deliberate crop and caption; show a partner who reads the sequence, then revise one frame. No real child faces, names or logos. 10–12: Check: Record the actual paper/digital media work; a storyboard without produced frames is planning. **Routes:** draw; collage; camera object-only with teacher oversight. **Next/home:** critique a fictional two-frame message in [learner copy](LEARNER-COPY.md).

### Day 16 · Media Arts: sound changes the reading · AC9AMA6E01, AC9AMA6P01
**Kit:** Day 15 frames, two safe sounds (paper rustle, pencil tap) or printed sound words. 0–2: Show same frame with two sounds. 2–4: Predict how the audience may read each. 4–10: Present the two-frame work with one **performed** sound choice, then swap sounds and ask a partner what changed. If no sound can be made, produce a captioned silent version and mark audio exploration planned. 10–12: Check responsible presentation: permission, no identifying media, audience control. **Routes:** produce sound; use agreed playback; captioned silent production. **Next/home:** explain why a sound effect might mislead an audience.

### Day 17 · Music: build a beat pattern · AC9AMU6D01, AC9AMU6C01
**Kit:** four-beat grid, pencil, quiet body/table sound; [arts card](print/arts-process-card.pdf). 0–2: Teacher performs `tap – rest – tap tap` or plays the optional [original four-beat cue](audio/four-beat-demo.wav) with its [text/visual alternative](audio/TEXT-ALTERNATIVE.md). 2–4: Learner predicts how moving the rest changes feel. 4–10: Create an original four-beat pattern using sound and silence, notate with marks, **perform** twice at a comfortable level, and ask a partner to echo. 10–12: Check whether notation matches heard pattern; a written grid alone is not aural evidence. **Routes:** tap; vocalise; operate a quiet assistive sound source. **Next/home:** teach a willing person the pattern; listening-only is okay at home.

### Day 18 · Music: vary expression · AC9AMU6E01, AC9AMU6P01
**Kit:** Day 17 pattern or fresh four-beat motif. 0–2: Listen to teacher’s slow/fast versions. 2–4: Choose tempo *or* loudness change, within comfortable sound levels. 4–10: Rehearse and perform two versions; partner names the audible difference and possible effect, maker says intended effect. 10–12: Staff records actual sound/performance; written adjectives are planning only. **Routes:** voice; object sound; accessible digital instrument already approved. **Next/home:** notice how a song’s pace affects your own attention; no copyrighted recording copied.

### Day 19 · Visual Arts: one material, two marks · AC9AVA6D01, AC9AVA6C01
**Kit:** recycled paper, graphite and torn-paper scraps; no blades. 0–2: Teacher shows a heavy mark and a light mark on own sheet. 2–4: Choose idea “busy/quiet” or learner’s own non-personal idea. 4–10: Make a small original artwork combining two mark textures and a deliberate space; document one trial mark, then revise. 10–12: Check: Learner points to a visual decision and how it changes meaning; keep actual work as evidence. **Routes:** draw; tear/collage; direct a partner’s mark placement with consent. **Next/home:** find a texture in packaging and describe it, no copying an artwork.

### Day 20 · Visual Arts: select and present · AC9AVA6C01, AC9AVA6P01
**Kit:** Day 19 work plus one new scrap border. 0–2: Name intended viewer: classmate, family or self. 2–4: Choose display orientation and title, or “untitled.” 4–10: Adjust one part, mount temporarily, present to a willing audience, and invite an observation rather than judgement; learner states material/process/idea. 10–12: Complete [Arts Check B](ASSESSMENT.md); teacher notes actual work and presentation separately. **Routes:** physical display; tactile description; private one-to-one presentation. **Next/home:** offer to display at home only if learner wants it.

## Evidence boundary

Arts Check A on Day 15 and Check B on Day 20 assess interpretation and process vocabulary. They do **not** replace observation of dance, drama, media creation/presentation, music or visual art. Record `observed`, `work seen`, or `plan only` on the [observation card](print/observation-card.pdf). A learner can access the ideas through a different modality while the evidence claim stays truthful.