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

Two **12-minute** blocks each for Dance, Drama, Media Arts, Music and Visual Arts. The short work is original and secular; no cultural dance, First Nations motif, copyrighted tune, third-party image, costume or real person is reproduced. Offer seated/small-space movement, quiet/private audiences and school-approved media/privacy rules. Choreographic plans, scripts, scores and storyboards are useful evidence, but performance, music-making or presented media is claimed **only if actually observed**. [Arts process page](print/arts-process-page.pdf), [original audio/text alternative](audio/TEXT-ALTERNATIVE.md), [learner copy](LEARNER-COPY.md) and [teacher key](TEACHER-KEY.md) support choices.

### Day 11 · Dance: draw a pathway with the body · AC9ADA8D01, AC9ADA8C01
**Kit:** original three-arrow card `straight / curved / pause`, clear personal space. 0–2: Choose safe seated upper-body or standing movement. 2–4: Predict how changing pathway while keeping the same start/end alters meaning. 4–10: Choreograph and, if willing, perform an eight-count route communicating “search, find, stop”; mark the actual sequence and safe range. A partner may direct rather than move. 10–12: Check: name the chosen pathway and what changed. **Routes:** seated arm/hand pathway; standing small-space route; tactile arrow choreography directed to a performer. **Response move:** distinguish plan from performed technique. **Home:** finger-trace a route silently.

### Day 12 · Dance: timing changes the message · AC9ADA8D02, AC9ADA8P01
**Kit:** yesterday's original eight-count pathway, no music needed. 0–2: Retrieve the start/end. 2–4: Compare two timings: four slow counts then four quick, versus even counts. 4–10: Rehearse one revision, perform to a willing audience if safe, and invite feedback on the intended idea without ranking bodies. Record what was actually presented. 10–12: Check: a different pace can change emphasis, but a paper count alone is not a performance. **Routes:** seated gesture; standing route; direct a peer and note feedback. **Response move:** if feedback is only “good”, request one observed timing detail. **Home:** mark slow/quick on eight boxes.

### Day 13 · Drama: an instruction is missing · AC9ADR8C01
**Kit:** original fiction: a gallery steward finds a blank label just before a made-up exhibition opens. 0–2: State no real gallery or object is represented. 2–4: Choose a goal and obstacle for the steward. 4–10: Improvise a 30-second scene using one pause, one question and a change of focus; private script/puppet direction is an alternative. 10–12: Check: what action made the obstacle visible? **Routes:** perform with peer; direct paper puppets; draft and voice/AAC the exchange. **Response move:** if only a plot summary is supplied, ask for an enacted dramatic beat before claiming performance. **Home:** write a different fictional obstacle.

### Day 14 · Drama: time jump changes the stakes · AC9ADR8C02, AC9ADR8P01
**Kit:** yesterday's scene; `before / after` card. 0–2: Recall the missing label. 2–4: Ask how the steward responds after learning the label was intentionally left blank for a visitor question. 4–10: Revise one line and stage a short before/after contrast for a willing audience; an adult can read a learner-directed script. 10–12: Check: name the changed motivation and one performance choice. **Routes:** live duet; seated puppet scene; directed reading with AAC/sign. **Response move:** if no revision is visible, underline the line/action that changed. **Home:** write a two-line alternative ending.

### Day 15 · Media Arts: fresh check A · AC9AMA8C01, AC9AMA8D01
**Kit:** new fictional public-information storyboard in [ASSESSMENT](ASSESSMENT.md). 0–2: Explain audience and privacy rules. 2–4: Give only check instructions. 4–10: Independent first response: choose frames and justify, with a tiny original layout. 10–12: Collect before discussing the teacher key. **Routes:** sketch panels; tactile frame cards; direct a text-only layout. **Response move:** if a real child's image appears in the idea, replace with invented icon/text after assessment. **Home:** no filming or posting.

### Day 16 · Media Arts: order and crop without a camera · AC9AMA8D01, AC9AMA8P01
**Kit:** three original line drawings: a closed gate, an information arrow, a clear open path; all fictional. 0–2: State these are drawings, not a real access guide. 2–4: Predict how changing order alters the viewer's inference. 4–10: Arrange a three-frame paper media work for a defined audience, add an accurate caption and present it privately to a peer; name what cropping omits. 10–12: Check: an arrow alone does not verify real accessible access. **Routes:** rearrange printed frames; raised/text frames; produce a text-only storyboard and share. **Response move:** if a plan is called published media, note whether an artefact was actually presented. **Home:** rearrange three invented symbols, no photo.

### Day 17 · Music: silence is a compositional choice · AC9AMU8D01, AC9AMU8C02
**Kit:** [original soft pulse](audio/layered-pulse.wav) or complete [silent/tactile grid](audio/TEXT-ALTERNATIVE.md), eight boxes. 0–2: Quiet volume/opt-out. 2–4: Hear or feel/read `tap – rest – tap tap – rest – tap – rest – tap`. 4–10: Compose a new eight-box pattern with at least two rests and one dynamic mark; notate it, then perform or direct a willing performer if appropriate. 10–12: Check: the score documents composition; sound/performance needs observation. **Routes:** gentle desk taps; silent raised tokens; written/AAC score and directed performer. **Response move:** if every box sounds, insert deliberate silence and discuss effect. **Home:** point a rhythm silently.

### Day 18 · Music: change texture for a purpose · AC9AMU8D02, AC9AMU8P01
**Kit:** yesterday's original pattern and two quiet timbre options (soft clap or table tap), no instruments required. 0–2: State audience preference may differ. 2–4: Predict how a second layer entering at box 5 changes texture. 4–10: Revise, document and optionally perform a two-layer eight-count piece for a willing audience; note what feedback actually said, not “everyone liked it”. 10–12: Check: a recording/score alone does not show live performance. **Routes:** soft sound; silent tactile two-row score; direct two performers using AAC/sign. **Response move:** if layers are indistinguishable, separate entries or timbres. **Home:** draw two rows of eight boxes.

### Day 19 · Visual Arts: line weight guides a viewer · AC9AVA8D01, AC9AVA8C02
**Kit:** plain paper and dark pencil; subject is an invented portable telescope silhouette, not a cultural object. 0–2: Observe three original example lines of different weight. 2–4: Choose what should be seen first. 4–10: Make two thumbnail drawings using thick/thin line and empty space; select one and state intended meaning. Tactile raised-line drawing may be learner-directed. 10–12: Check: a completed mark-making experiment is different from describing one. **Routes:** pencil drawing; tactile line tape with school-approved materials; digital-free directed line placement. **Response move:** if all lines compete equally, change one line and compare first glance. **Home:** draw a new non-copyrighted household silhouette.

### Day 20 · Visual Arts: fresh check B · AC9AVA8D02, AC9AVA8P01
**Kit:** new original mini-exhibit case in [ASSESSMENT](ASSESSMENT.md). 0–2: Explain quiet/private audience option. 2–4: Give task and access modes without showing the key. 4–10: Create a tiny visual choice and caption or direct a tactile layout; document a revision and what would be displayed. 10–12: Collect first response. **Routes:** pencil thumbnail; tactile shape arrangement; directed textual layout. **Response move:** do not claim curation/presentation occurred unless the learner actually showed a work with its process note to a willing audience. **Home:** no public upload or borrowed image.