Grade 8 Fine Arts Ontario Curriculum Standards

Visual Arts

Music

Drama

Dance

Creating and Presenting: apply the creative process to the composition of a variety of dance pieces, using the elements of dance to communicate feelings and ideas

create dance pieces to respond to issues that are personally meaningful to them (e.g., young people's relationship to authority, global warming [glacial melting, extreme weather events], recycling, land claims, bike lanes)

use dance as a language to communicate messages about themes of social justice and/or environmental health (e.g., possible solutions to bullying, poverty, racism, pollution, land claims, homelessness, war, deforestation, oppression, colonization)

determine the appropriate choreographic form and create dance pieces for a specific audience or venue (e.g., use a narrative dance structure for a primary class; use features of a site-specific outdoor space to structure a dance on an environmental theme)

use technology, including multimedia, to enhance the message communicated by the choreography in a dance piece (e.g., use lights and costumes to create a mood; project images on the dancers or a backdrop to illustrate a theme)

Reflecting, Responding, and Analysing: apply the critical analysis process to communicate their feelings, ideas, and understandings in response to a variety of dance pieces and experiences

construct personal and/or group interpretations of the themes in their own and others' dance pieces (e.g., the role of greed in deforestation, war, global warming, poverty) and communicate their responses in a variety of ways (e.g., through writing, discussion, oral report, song, drama, visual art, dance)

analyse, using dance vocabulary, their own and others' dance pieces to identify the elements of dance and the choreographic forms used in them (e.g., body: geometric shapes, stretched shapes; space: levels; time: duration; energy: percussion; relationship: opposition; choreographic form: theme and variation) and explain how they help communicate meaning (e.g., percussion and opposition are used to suggest conflict; theme and variation are used to explore a relationship between continuity and change)

identify and give examples of their strengths and areas for growth as dance creators, interpreters, and audience members (e.g., describe a suggestion they made to a peer about how to improve the first draft of a dance work, and evaluate their personal contribution to the success of the final performance)

Exploring Forms and Cultural Contexts: demonstrate an understanding of a variety of dance forms, traditions, and styles from the past and present, and their sociocultural and historical contexts

describe how social, political, and eco­nomic factors influenced the emergence and development of a dance form or genre of their choice (e.g., factors: funding to artists, the commercialization of dance, support for dance programs in schools; genres/forms: modern dance in the early twentieth century, the waltz in nineteenth-century Europe)

identify a variety of types of dances and relate them to their different roles in society (e.g., contemporary Aboriginal dance/folk dance contributes to ceremony/ritual; dance numbers in stage plays and movies provide entertainment; classical ballet offers scope for artistic expression and provides elite entertainment; disco dancing and solo performance allow creative self-expression; dances at parties or social events contribute to social bonding; jazz and hip hop make a social and/or cultural statement)

Creating and Presenting: apply the creative process to process drama and the development of drama works, using the elements and conventions of drama to communicate feelings, ideas, and multiple perspectives

engage actively in drama exploration and role play, with a focus on examining multiple perspectives and possible outcomes related to complex issues, themes, and relationships from a wide variety of sources and diverse communities (e.g., identify significant perspectives related to an issue and assume roles to give voice to the different perspectives; use improvisation to communicate insights about life events and relationships; develop and present anthology dramas, short scripts, or multi-role plays for a single actor)

demonstrate an understanding of the elements of drama by selecting and manipulating multiple elements and conventions to create and enhance a variety of drama works and shared drama experiences (e.g., use "a day in the life" to compare farming, fishing, or hunting practices at the beginning of the twentieth century to those of today; create sets to depict the physical setting of a drama using available materials; use knowledge of movement and blocking to achieve well-paced action and create visual interest)

plan and shape the direction of the drama by negotiating ideas and perspectives with others, both in and out of role (e.g., In role: use group improvisation to work out a time line of events in a drama story; Out of role: use the talking stick in group discussion about the best way to resolve the drama's central conflict)

communicate feelings, thoughts, and abstract ideas through drama works, using audio, visual, and/or technological aids for specific purposes and audiences (e.g., music/soundtracks to intensify audience reaction; video as counterpoint to action or to add details; costumes, props, fabric to establish character and setting; an audio recording of a soundscape to accompany and reinforce ideas and feelings in a mimed sequence)

Reflecting, Responding, and Analysing: apply the critical analysis process to communicate feelings, ideas, and understandings in response to a variety of drama works and experiences

construct personal interpretations of drama works, connecting drama issues and themes to social concerns at both the local and global level (e.g., create a web with the main idea of the drama in the centre and words describing personal and global connections leading out from the centre; explain in discussion or a journal entry why they disagree or empathize with the motivations of a character)

evaluate, using drama terminology, how effectively drama works and shared drama experiences use the elements of drama to engage the audience and communicate a theme or message (e.g., determine whether the use of contrasting comic and serious scenes strengthened the impact of the theme or weakened it; determine whether using a historical setting enhanced the presentation of a contemporary theme)

identify and give examples of their strengths, interests, and areas for improvement as drama creators, performers, and audience members (e.g., write a journal entry outlining the process they used to solve a given problem, what worked, and what they would do differently next time; develop and use rubrics and/or assessment charts to evaluate their contribution to group work)

Exploring Forms and Cultural Contexts: demonstrate an understanding of a variety of drama and theatre forms, traditions and styles from the past and present, and their sociocultural and historical contexts

analyse the influence of the media on a wide variety of drama forms and/or styles of live theatre (e.g., introduction of digital storytelling, multimedia presentations, and dance-drama into drama forms; incorporation of technologies from different media to enhance sets, backdrops, and special effects; use of virtual role play to explore options for avatar characters)

identify and describe a wide variety of ways in which drama and theatre make or have made contributions to social, cultural, and economic life in a variety of times and places (e.g., by providing opportunities for personal enjoyment, celebration, and entertainment; by providing jobs; by attracting tourists; by communicating and teaching about a range of topics; by enhancing participants' life skills of communication and collaboration; by raising awareness of political, environmental, medical, and other social/global issues)

Creating and Performing: apply the creative process to create and perform music for a variety of purposes, using the elements and techniques of music

sing and/or play, in tune, music in unison and in two or more parts from a variety of cultures, styles, and historical periods (e.g., perform in large and small ensembles, prepare a solo, improvise in a drum circle)

apply the elements of music through performing, composing, and arranging music for a specific effect or clear purpose (e.g., create a jingle to advertise a product; improvise a simple melody over a 12-bar blues progression; arrange a piece of their choice from their method book for a quartet of mixed instruments)

create musical compositions in a variety of forms for specific purposes and audiences (e.g., write lyrics and a melody for a protest song based upon a current social issue; compose a melodic theme for a computer game)

use the tools and techniques of musicianship in musical performances (e.g., apply blend, articulation, phrasing, conducting patterns; maintain straight and relaxed posture when singing or playing; keep instrument, hand, arm, and/or mouth in playing position; use proper breath, bow, or stick control)

demonstrate an understanding of standard and other musical notation through performance and composition (e.g., interpret repeat signs such as D. C. al coda, d. s. al coda, d. s. al fine; interpret Italian terms and abbreviations for dynamics and tempo; use the notes of the chromatic scale; arrange a piece for a duet using notation software)

Reflecting, Responding, and Analysing: apply the critical analysis process to communicate their feelings, ideas, and understandings in response to a variety of music and musical experiences

express analytical, personal responses to musical performances in a variety of ways (e.g., use graphic organizers, journals, or reflection logs to record their responses; conduct or respond in an interview in which they describe a musical experience; analyse a performance in the way that a musical commentator on the radio might do it; depict scenes from Love Songs for a Small Planet by Alexina Louie or The Moldau by Smetana using visual arts)

analyse, using musical terminology, ways in which the elements of music are used in various styles and genres they perform, listen to, and create (e.g., use of form and dynamics in absolute music, such as the Symphony no. 40 in G minor by Mozart, and in program music, such as The Firebird by Stravinsky)

identify and give examples of their strengths and areas for improvement as composers, musical performers, interpreters, and audience members (e.g., set a goal to improve their performance skills, reflect on how successfully they attained their goal, keep a practice journal, record and analyse their own performances throughout the term)

Exploring Forms and Cultural Contexts: demonstrate an understanding of a variety of musical genres and styles from the past and present, and their sociocultural and historical contexts

analyse some of the social, political, and economic factors that affect the creation of music (e.g., historical events that inspired the composition of nationalistic music; the development of jazz, rap, and heavy metal, and their effect on culture; the social and/or cultural origins of folk songs, love songs, national anthems, and dance music; the economic purposes for commercial music played in stores; purposes and effects of Aboriginal activism through song)

compare and contrast music from the past and present (e.g., differences and similarities between music from various cultures and contemporary fusion forms; similarities and differences between traditional Aboriginal music and music sung and played by contemporary Aboriginal musicians; differences and similarities between dance music from the seventeenth century, Chopin waltzes, hip hop, and mariachi)

Creating and Presenting: apply the creative process to produce art works in a variety of traditional two- and three-dimensional forms, as well as multimedia art works, that communicate feelings, ideas, and understandings, using elements, principles, and techniques of visual arts as well as current media technologies

create art works, using a variety of traditional forms and current media technologies, that express feelings, ideas, and issues and that demonstrate an awareness of multiple points of view (e.g., create a collage that shows contrast between two points of view or a cause-and-effect relationship; create an art work on a current event or issue, using the conventions of sequential art or comics, or using found images and text to express a point of view in the style of a contemporary artist such as Martin Firrel, Jenny Holzer, or Barbara Kruger)

demonstrate an understanding of composition, using multiple principles of design and other layout considerations such as compositional triangles to create narrative art works or art works on a theme or topic (e.g., a figure drawing of a historically influential person that makes use of the whole paper or space to create a sense of unity and balance, with a single word or motif in the background; an abstract painting in which movement is created by using line, value, colour, and/or shape; a stop-motion animation that tells a simple story and that demonstrates the principle of movement through sequential images in which the character or object moves in relation to the frame)

use elements of design in art works to communicate ideas, messages, and understandings for a specific audience and purpose (e.g., an illustration for a children's book that uses colour and rhythm to appeal to its audience; a short movie or animation that uses space, time, and framing to highlight a contemporary issue; a portrait of a person made from junk-food or brand packaging to communicate an opinion, in the style of Giuseppe Arcimboldo's series of allegorical portraits made from fruit, vegetables, and other unlikely objects such as pots and books)

use a variety of materials, tools, techniques, and technologies to determine solutions to increasingly complex design challenges (e.g.,<ul><li>drawing: create a pastel composition or flipbook that combines or contrasts styles of two artists or styles from two cultures</li><li>mixed media: make a series of small artist trading cards [ATCs] in a variety of media, illustrating a contemporary issue or topic</li><li>painting: make an acrylic painting of a magnified section of a sketch or an image that is seen through a viewfinder or frame, then make changes to the painted surface with oil pastels to create a personal interpretation of the image</li><li>printmaking: make a series of two-colour softoleum, linoleum, or block prints that are variations on a social theme and that are printed on papers of different colours and textures [magazine paper, coloured bond paper, newsprint, tissue paper, handmade paper]</li><li>sculpture: make a sculptural portrait of a hero or favourite person out of papier mâché or plaster bandage that captures what the person means to them</li><li>technology: create a short movie from an animated image sequence or video, using editing software to create suspense, a feeling of speed, or a sense of the passage of time)</li></ul>

Reflecting, Responding, and Analysing: apply the critical analysis process to communicate feelings, ideas, and understandings in response to a variety of art works and art experiences

interpret a variety of art works and identify the feelings, issues, themes, and social concerns that they convey (e.g., hold a mock debate between artists on a topic such as the emotional impact of realist versus expressionist styles of art; compare art works in different artistic media that express a common theme, such as wartime suffering in the art work of Käthe Kollwitz and Francisco Goya; interpret images of social issues that are explored in historical art works, contemporary art works, and media arts)

analyse ways in which elements and principles of design are used in a variety of art works to communicate a theme or message, and evaluate the effectiveness of their use on the basis of criteria generated by the class (e.g., the use of colour and exaggeration in Balinese masks to evoke feelings of fear; the use of line, colour, and shape in the work of Daphne Odjig and Norval Morrisseau to represent spiritual ideas; Molly Bang's use of colour, size, and asymmetrical balance in Picture This to reinforce a mood or narrative; substitution of fur for a ceramic textural surface in Beyond the Teacup by Meret Oppenheim)

demonstrate an understanding of how to read and interpret signs, symbols, and style in art works (e.g., Horse and Train by Alex Colville as an allegory of the impact of the industrial age; the style of an artist or director of a film who is using compositional framing, point of view, and selective focus to guide the attention of the viewer or audience; the purposes of logos, icons, and images in advertisements; symbolic reuse and transformation of popular images or iconography as a form of commentary ["culture jamming"]; use of traditional Aboriginal symbols in contemporary art)

identify and explain their strengths, their interests, and areas for improvement as creators, interpreters, and viewers of art (e.g., organize and participate in a non-competitive art show that documents the stages of the artistic process from artists' statements, concept drawings, and photos of works in progress to the final art works; select, critique, and organize a display of personally meaningful images from their own portfolios; use feedback to evaluate the effectiveness of their own art works)

Exploring Forms and Cultural Contexts: demonstrate an understanding of a variety of art forms, styles, and techniques from the past and present, and their sociocultural and historical contexts

identify and explain some of the ways in which artistic traditions in a variety of times and places have been maintained, adapted, or appropriated (e.g., art works support or challenge personal and societal beliefs or practices; migration or contact with other cultures has an influence on the forms and styles of art and architecture; art styles of other times and places have sometimes been appropriated by artists to create hybrid art works that explore, represent, or challenge ideas)

identify and analyse some of the social, political, and economic factors that affect the creation of visual and media arts and the visual and media arts community (e.g., the influence of love, loss, anger, or war on creative expression; collaboration within production teams or artistic communities; effects on artists of changes in government, changes in the amount of government funding, the creation of arts festivals, and the availability of exhibition opportunities; influence of location, era, and changes in technology on art and architecture)