# The Arts · Years 7–8 band · optional Days 11–20

Two short blocks per form: Dance 11–12, Drama 13–14, Media Arts 15–16, Music 17–18, Visual Arts 19–20. These original tasks do **not** claim comparative cultural study or any First Nations cultural content. No copying a community’s designs, dance or music, no filming classmates and no public upload. Offer a private willing audience, quiet sound and accessible gesture/mark-making. Staff records the actual work or performance on the [observation card](print/observation-card.pdf); a plan is labelled a plan.

### Day 11 · Dance: echo with a change · AC9ADA8D01, AC9ADA8C01
**Kit:** clear flat or tabletop movement space, four-count cue. 0–2: Model a comfortable two-gesture phrase. 2–4: Learner chooses intent such as “question then answer.” 4–10: Pair choreographs and **performs** an echo: second mover repeats but changes one element (level, timing or direction); willing viewer names what changed. 10–12: Check: choreographic device and intended reading are observed, not presumed. **Routes:** full-body; seated/hand; assisted prop gestures. **Response move:** if echo is exact, select one visible variation. **Home:** describe how repeating with a change can shift meaning.

### Day 12 · Dance: reflect, refine, perform · AC9ADA8D02, AC9ADA8P01
**Kit:** Day 11 phrase and private viewer feedback. 0–2: Recall safe range. 2–4: Choose one technical/expressive adjustment from feedback. 4–10: Rehearse twice, perform privately to willing viewer, ask what was visible and compare with intent; record an observed change. 10–12: Check: written plan alone is not performance. **Routes:** move; seated gesture; supported prop direction. **Response move:** if feedback is vague, ask which beat/element changed. **Home:** share only if learner wants.

### Day 13 · Drama: an obstacle creates action · AC9ADR8D01, AC9ADR8C01
**Kit:** invented scene: two people must deliver a message before a fictional event, but the sign has two times. 0–2: Set goals and respectful audience. 2–4: Choose an obstacle and a clarifying question. 4–10: Improvise 45 seconds, freeze at obstacle, then replay with a different decision; audience identifies shift in tension. 10–12: Check: enacted role, not just explanation. **Routes:** live role; puppets; voice/narrator with partner. **Response move:** if action stalls, add a specific choice under time pressure. **Home:** invent a safe fictional obstacle and two responses.

### Day 14 · Drama: a different perspective changes scene · AC9ADR8D02, AC9ADR8P01
**Kit:** Day 13 scene or fresh invented lost-prop scenario. 0–2: Name one character’s incomplete information. 2–4: Swap perspective or status without stereotyping. 4–10: Rehearse and perform two short versions to willing audience; ask which detail changed their understanding. 10–12: Check: staff sees a deliberate performance choice and reflection. **Routes:** act; tabletop figures; narrated script enacted by partner. **Response move:** if versions are identical, change one line/gesture clearly. **Home:** explain why a character might misunderstand another.

### Day 15 · Media Arts: frame a fair notice · AC9AMA8D01, AC9AMA8C01
**Kit:** original invented notice facts: room B, 3 pm, change due to maintenance; paper/collage or school-approved object-only camera. 0–2: Name intended audience. 2–4: Choose hierarchy: what must be read first? 4–10: **Produce** a two-frame paper/digital notice: first attracts attention, second gives all facts; peer locates time/room, maker revises one crop/label. No real names/faces/logos. 10–12: Check: actual work exists; storyboard alone is planning. **Routes:** draw; movable cut-outs; object-only photo under staff. **Response move:** if frame hides a fact, restore it. **Home:** critique an invented notice in learner copy.

### Day 16 · Media Arts: responsible presentation · AC9AMA8D02, AC9AMA8P01
**Kit:** Day 15 work and a consent checklist. 0–2: Distinguish original fictional material from someone else’s image. 2–4: Ask what a viewer may infer. 4–10: Present privately to willing viewer, invite one question, revise misleading emphasis and say why no identifying image was used; no upload. 10–12: Check: presentation and revision were actually observed. **Routes:** printed frames; private screen; audio-described paper work. **Response move:** if “it is just art” excuses omission, compare audience interpretation with the facts. **Home:** explain why a caption can correct a misleading frame.

### Day 17 · Music: layer two rhythms · AC9AMU8D01, AC9AMU8C02
**Kit:** two eight-beat grids, quiet body/object sounds, optional [original layered cue](audio/layered-eight-beat.wav) and [text/tactile alternative](audio/TEXT-ALTERNATIVE.md). 0–2: Hear/read two contrasting layers. 2–4: Choose where layer B enters. 4–10: Compose, mark and **sound** an original two-layer eight-beat pattern with a partner or approved device, then repeat; note one interaction. 10–12: Check: staff hears actual layers; notation alone is a score, not performance. **Routes:** soft tap; voice; accessible sound source/partner. **Response move:** if layers mask each other, use silence or offset. **Home:** describe two simultaneous everyday sounds without recording.

### Day 18 · Music: revise for intended effect · AC9AMU8D02, AC9AMU8P01
**Kit:** Day 17 pattern. 0–2: Name intended effect (calm, urgency, question) without claiming a culture/style. 2–4: Choose one change in dynamics, tempo or entry. 4–10: Perform original and revised versions for willing listener, ask which sounded more like intent and why; record the actual heard change. 10–12: Check: audience interpretation may differ, but action/choice must be audible. **Routes:** voice; quiet taps; approved digital instrument. **Response move:** if only written labels differ, rehearse a clear quiet sound change. **Home:** notice how repeated sound and silence affect attention.

### Day 19 · Visual Arts: positive and negative space · AC9AVA8D01, AC9AVA8C02
**Kit:** scrap paper, graphite, safe pre-torn shapes, adhesive; no blades. 0–2: Show own original two-shape example. 2–4: Choose idea “crowded/open” or another non-personal contrast. 4–10: Make a small original composition where empty space matters; try two layouts, photograph only work if school policy permits, then choose one. 10–12: Check: actual art made and a visual decision explained. **Routes:** draw; collage; direct partner’s placement with consent. **Response move:** if space is accidental, ask how moving one shape changes reading. **Home:** find negative space in a familiar object, no copying an artwork.

### Day 20 · Visual Arts: curate one change · AC9AVA8D02, AC9AVA8P01
**Kit:** Day 19 work and a small process card. 0–2: Choose private audience and display spot. 2–4: Name one layout decision and one viewer question. 4–10: Revise or make a second mini version, place work with a two-sentence process note for willing viewer and discuss interpretation. 10–12: Check: complete [Arts B](ASSESSMENT.md); staff records displayed artwork and learner explanation separately. **Routes:** physical display; tactile description; private verbal tour. **Response move:** if note says only “I like it,” ask what visual choice changed. **Home:** display only if learner chooses.

## Evidence boundary

The Day 15/20 paper checks assess reasoning about a fresh work. They do not replace observed dance, drama, media production/presentation, heard music or an actual visual artwork. The [staff key](TEACHER-KEY.md) and [observation card](print/observation-card.pdf) distinguish `observed`, `work seen`, `plan only` and `not assessed` without treating a learner’s access route as a deficit.