CBSE Curriculum forSecondary School Certificate Examination (IX-X) Art Education 2018-19
| ART EDUCATION (CBSE) | ||
| Rationale | ||
| Art education constitutes an important area of curricular activity for the development of the wholesome personality of the learners. Art is a process of fulfilment running through every aspect of life and it goes on in a creative, productive and joyful manner. Art education helps to explore various means of communication (verbal and non- verbal). It encourages to develop creative expression and sharpens senses through keen observation of the environment. It helps to discover preferences through exposition to variety of material and identify the personal form and style of expression. It develops awareness of various art forms in and around the environment and locality and develops skills in the use of various tools, instruments and other art materials in the process of experimentation and exploration. In the process of discovering space, organization, colours, forms, lines, texture, movement, sound, etc., learners develop a sense of organization and design which inculcates in them a sense of order with regard to their personal appearance, home, school and community. It also develops aesthetic sensibilities and respect for social values and cultural heritage. | ||
| The idea of creative art involves all the elements of commonly known art forms visual, performing and language arts, namely music, dance, drama, drawing and painting, modelling and sculpture, or construction work, pottery and ceramic work, poetry and creative writing and other connected craft forms. | ||
| Objectives | ||
| The objectives of art education are to : | ||
| • help learners to consolidate past experiences and knowledge; | ||
| • introduce learners to different media and techniques and their use for creative | ||
| and productive expression for common use; | ||
| • provide opportunities for development of awareness about folk arts, local specific | ||
| arts and other cultural components leading to an appreciation of national heritage; | ||
| • assist learners to use artistic and aesthetic sensibility in day-to-day life situation; | ||
| • enable learners to achieve a balanced growth as a social being in tune with our | ||
| culture through project work. | ||
| • get acquainted with the life and work of the local artists/artistes; | ||
| • use resourcefully locally available material to make different products (objects) | ||
| with the help of the community; | ||
| • refine the sense of appreciation of the beauty of nature through the basic elements | ||
| of art forms. | ||
| Approach to Art Activities | ||
| At the secondary stage, art education is closer to the local folk art and craft and folk theatre. Art is not only to always blindly copy the old masters or copying the teacher’s work in a rigid manner but to help learners express themselves in creative and imaginative ways. Creative arts cannot be a substitute of Work Education under | ||
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| which a few artistic activities may be conducted but the approach and product would | ||
| be different. | ||
| In the interest of the learner, as far as possible, all the media of creative arts may be placed before them to facilitate selection of one form or a combination of art forms. These are : | ||
| CBSE Visual Arts | ||
| 1. Two-dimensional or Pictorial | ||
| – Drawing and Painting | ||
| – Collage Making | ||
| – Printing | ||
| – Photography | ||
| – Computer graphics | ||
| 2. Three-dimensional | ||
| – Clay modelling and pottery | ||
| – Carving and sculpture | ||
| – Construction | ||
| Art is about creative expression of the learners, uniquely contributed by each one. Studying the works of famous artists of the past or present is undertaken to orient the learners to varied expressions. Replicating or copying either the Master or the teacher’s work will check the imagination of the students and therefore must be avoided in all cases. | ||
| Performing and Language Arts | ||
| • Music (Vocal, Instrumental) | ||
| • Movement and Dance | ||
| • Creative Drama and Puppetry | ||
| • Creative Writing and Poetry | ||
| Sources for Art Teaching | ||
| The arts programme in schools must reflect the ethos of the region. Artistic expression in music, poetry, dance theatre and in the creation of forms have been part of human life from the very beginning. It is an integral part of human existence. Exposure to the local environment and arts must be treated as an essential activity of the school art programme. | ||
| Besides individual expression, the arts provide an opportunity to the learners to study and appreciate the contributions made in the past and present. By learning to appreciate music, painting, dance and theatre, students develop aesthetic sensibility and sensitivity to understand people from other cultures. To build a harmonious society, a productive nation or a world, requires to make learners familiar with the tradition of arts of the local region. The strength and confidence gained from the familiar, will make it possible for her to respect and appreciate the culture and contribution made by others. | ||
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| A creative expression essentially depends on the approach to create opportunities | ||
| for learners to explore, imagine and communicate the same in an art form they feel confident to use. Availability of material and experts closer to the school or community can be accented. | ||
| A. VISUAL ARTS | ||
| CBSE SYLLABUS | ||
| When the school(s) can provide art teachers in different media the following syllabus | ||
| may be adopted. Activities in terms of Materials/Media and Techniques. | ||
| Two-dimensional or Pictorial Activities | ||
| • Study of visual resources and means of creative expression. | ||
| – Study of lines, strokes, colours, shades, tones, textures, etc. while organizing two dimensional space with two dimensional and three dimensional shapes and forms. | ||
| – Sketching from nature and surrounding. | ||
| – Creative use of colours to show space, atmosphere, subjective moods. | ||
| – Creative use of perspective in spatial relationship. | ||
| – Study of calligraphic strokes of Devnagari and Roman alphabet (Scripts). | ||
| – Use of contrast as an expressive element of art. | ||
| – Study and use of various media and techniques to the extent of their availability. | ||
| – Pencil, charcoal, water colour, crayon, oil colours, poster colour and gouache, acrylic colour and other unconventional sources of colours such as vermillion, yellow and red earth, rice flour, and tools like painting brushes for water colours and oil colours, Painting surfaces such as papers of various kinds and quality, like smooth, rough, thick, thin, etc., canvas, hardboard, simple marking cloth pasted on paper, etc. | ||
| – Collage and mosaic work with a variety of coloured papers and coloured | ||
| printed pictures/photographs from magazines and newspapers. | ||
| – Printing : Mono printing, Printing with wood-cut blocks, lino-cut and metal foil : serigraphy (silk screen), self-made stencil, etc. | ||
| – Basic knowledge of computer graphics. | ||
| Three-dimensional or sculptural activities | ||
| • Study of basic forms in clay | ||
| – Study of various materials such as clay, plaster of paris, soft-stone, wood (blocks, twigs and branches, roots, etc.), metal scraps, plastic sheets, wire thread, papers and cardboards, vegetables and other throw-away available materials. | ||
| – Study of natural and man-made forms, human figures, birds, animals, vegetation and other objects like household items, buildings or as desired by the students. | ||
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| – Objects of day-to-day use in groups and in different settings and arrangements. | ||
| CBSE Assignments | ||
| Assignments in two and three-dimensional subjective forms and utility and functional art and craft forms in different media and techniques. Painting, murals, graphics, clay modelling, wood-carving, soft-stone, plaster of paris, block of brick constructions, collage mobils, applique, pottery and ceramics, masks, and puppets, textile designing (including tie-dye and batik, and block printing) poster designing, lay-out illustrations and photography, etc. | ||
| Correlating Art Activities with Other School Activities | ||
| • Construction of puppets and their costumes and improvised puppet stage or | ||
| theatre, correlation with Home Science and Arts (Drama) subjects. | ||
| • Aesthetic organization of the physical environment by enhancing the surrounding area, i.e., landscaping including plantation of trees and other flowering plants and vegetables, etc., correlating with Agriculture, Home Science and Environment Studies activities. | ||
| • Constructing stage setting props such as curtain, backdrops, stage lighting, improvised furniture sets, etc., designing utility (crafts) items; correlating with Work Education activities. | ||
| • Designing the school magazine and bulletin boards, making posters for school functions, and greeting/invitation cards, stage scenes for music, dance, drama performances, etc., correlating with applied Art activities. | ||
| Note: These activities and other group activities may emerge in project form at individual levels also. | ||
| Group Activities | ||
| • Organization, display and exhibitions of students’ periodical and sessional work. | ||
| • Organizing inter school art exhibitions to widen their interaction and horizon. | ||
| • Planning and organizing festivals and celebrations of the community, cultural evenings, musical concerts, film shows and other performances including regional and folk (traditional art forms). | ||
| • Participating in study visits to museums, botanical gardens, zoological garden, art galleries and art institutions, etc., for greater awareness of the environment and cultural variations. | ||
| Theoretical Understanding of Art and Culture | ||
| • Short notes on important aspects of Indian art and culture based on Social Science. | ||
| Such writing may be based on reproduction of art work printed in Textbooks. | ||
| • Contribution made by any one contemporary artist. | ||
| • Knowledge of terms : Contour, texture, graphic, form, volume, space, tone, printmaking, collage, amateur, modelling in relief, mobil construction, applique, calligraphy, layout, poster and composition. | ||
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| B. Performing Arts | ||
| Music (Vocal) | ||
| • Theory | ||
| – Knowledge of the terms: Sangeet, Nad, Swar, Shudh, Komal, Teevra, Saptak, Mandra, Madhya Tar, Aroha Avaroha, Raga, Laya, Matra, Tal, Avartan, Sam Tal. | ||
| – Basics knowledge of notation systems. | ||
| – A brief introduction of Indian music | ||
| • Practical Activities | ||
| – National Anthem | ||
| – Songs for community singing | ||
| a) Five folk or tribal songs of different regions, indicating time of the year, occasion and the function with which they related. Writing down the same with its meaning and knowledge of its rhythm. | ||
| b) Five devotional songs (Bhajans, Shlokas, Hymns, Sufiana Kalam and Shabad Kirtan) | ||
| c) Three songs in regional languages other than mother tongue. | ||
| d) Three patriotic songs on the theme of universal love and amity. | ||
| To create proper sense of swara and laya through Talabadh and Alankaras. Introduction to the structure of any four of the following Ragas with : Bilawal, Yaman, | ||
| Kafi, Bhairav, Shankarabharan, Kalyani, Mayamalav gaud, Todi (accompaniment of | ||
| Tanpura and Tabla or Mrudang). The Teacher should communicate the characteristic features of the raga and its swaras pattern. The teacher may use references of popular songs for Raga association. | ||
| The following tals and their thekas-Kaharva, Dadra, Trital, Jhaptal & Aditala, Alankar | ||
| Talas. | ||
| CBSE Project Work | ||
| • To collect photographs of great musicians, with a write-up on their introduction, and all types of musical instruments (photographs/illustrations) and the artists who play them. (To be pasted in the scrap-book). | ||
| • To listen to music programme on Radio or T.V. and to write short description of the | ||
| performances (To be written in the scrap-book). | ||
| Music (Melodic Instrument) | ||
| • Theory | ||
| – Knowledge of the terms : Sangeet, Dhwani, Nad, Swar (Shudha, Komal, Teevra) Saptak (Mandra, Madhya, Tar) Aroha, Avaroha, Raga, Gat, Laya Matra, Tal, Avartan, Sam Tal, Khali, Laghu Dhrutham, Anu Dhrutham. | ||
| – Basic Knowledge of notation systems. | ||
| – Short notes on at least four musical instruments, their main components and the characteristics of the sound (music) they produce. | ||
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| • Practical Activities | ||
| – Tuning and playing of any one of the following instruments: Sitar, Sarod, Violin, Flute, Veena, Mandolin, Guitar (accompaniment of Tabla). | ||
| • The candidates playing musical instruments may be allowed to opt for community singing or for instrumental assemble based either on the ragas from the syllabus or light and folk dhun (Melodies). | ||
| • To create proper sense of swaras and layas through Talabadh Alankaras. | ||
| • The following ragas with descriptive details : Bilawal, Yaman, Kafi, Bhairav, Sharkarbharanam, Kalyani, Mayamalav gaud, Todi, Saveri (accompaniment of Tanpura and Tabla). | ||
| • The following five talas and their thekas : Kaharva, Dadra, Trital, Jhaptal, Adi Tala, | ||
| Alankar Tala | ||
| Creative Drama | ||
| This is the stage at which young people are to be introduced to theatre and related crafts to broaden their understanding of drama through literature. Their previous experience of creative drama will help in exploring the area as under: | ||
| • Theory | ||
| – Knowledge of the terms: Mime, play script, movement, characterization, stage, stage props, stage costumes, stage movements, stage lighting, one- act play, etc. | ||
| • Practical Activities | ||
| – Warming-up freeing activity in rhythmic movement and pantomime. | ||
| – Exercises in characterization. | ||
| – Exercises in speech dialogue delivery. | ||
| – Exercises in creation of plot and conflict based on: (i) episodes and happenings in day-to-day life situations: (ii) episodes from stories from textbooks or story books; (iii) short scenes from classical dramas. | ||
| – Stage Craft : Planning a stage with props and lighting placement, movement of character of a given play in drawing form or model form. | ||
| – designing of costumes for the characters of the play. | ||
| – Play-writing: unscripted play to be written down in the form of a script to be acted. | ||
| Note : Formal performance before an audience can be an incentive to good work at this stage. | ||
| Dance & Movement | ||
| Movement and rhythm, as expressed through dance, have long been the heart and soul of all cultures. Dance allows people to discover, explore and develop their natural instincts for movement, enabling students of dance to develop not only their motor skills but also their mental and emotional personalities. The purpose of this course is to enhance the appreciation and understanding of the different forms of dance and movement as practiced across cultures today, with specific reference to Indian context. | ||
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| • Theory | ||
| i. Dance as a form of nonverbal communication, exhibited through Gymnastics, | ||
| figure skating, synchronized swimming and martial arts as well. | ||
| ii. Reasons for people to move and Dance: (include visual references) | ||
| a. for personal expression and social connection, | ||
| b. as a medium for sensing, understanding, and communicating ideas, feelings, and experiences, | ||
| c. a means to mourn, to celebrate, to heal, to give thanks, | ||
| d. to preserve cultural heritage and treasured legends, | ||
| e. demonstrate physical prowess, to assert individuality, to provoke and to entertain. | ||
| iii. Forms of movement and dance : | ||
| a. Formal, exhibitionistic dance with trained dancers (Classical traditions) | ||
| b. Reflections of or challenge to the social, cultural, religious traditions and | ||
| values (Folk or semi-classical or dance drama formats) | ||
| c. Various forms now seen in a theatrical context that have their roots in ancient temple dances (Ritualistic or festive dancing) | ||
| d. Entertainment (Cinematic/social) | ||
| iv. Definitions of dance through social, cultural, aesthetic, artistic and moral contexts. (participatory, social, performed for an audience, ceremonial, competitive or erotic, classical, folk or experimental) | ||
| v. Dance as a means of communication: elements of dance (content, vocabulary, skills and technique) | ||
| vi. Brief history of the evolution of dance (Indian/Western, Mythology/history, regional | ||
| differences, major exponents) | ||
| Practical | ||
| Introduction to the elements of costume, music form, instruments, distinguishing features, region and language of the following: | ||
| i. Major styles of classical dance – Bharatnatyam, Kathakali, Kuchipudi, Kathak, | ||
| Mohiniattam, Manipuri, Odissi, chhau and Sattriya. | ||
| ii. Tribal and folk dances of India: region-wise samples (need not to be exhaustive) | ||
| iii. Modern experimental dance (Indian and Western) | ||
| iv. Western styles: Ballet, Jazz, Salsa, Street, Funk | ||
| The teacher must use as much visual material in the form of videos, pictures, slide- shows etc as possible to impart the training. | ||
| Assignments: | ||
| i. Creation of a scrap book that documents the different dance styles | ||
| ii. Chart tabulation of music, costume, region, language association | ||
| iii. Identification of dance styles/exponents in quiz format | ||
| iv. Writing creative pieces (prose/poetry/drama) on dance | ||
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| Correlating Dance Activities with other school subjects | ||
| Understanding dance and its elements helps develop cultural sensitivity in students (Values Education) | ||
| Appreciation of the traditional forms of dance and movement enhance the capacity of preserving heritage (Heritage and Culture) | ||
| Delving into Dance history helps understand the period and context of society related to the art form (Social Sciences) | ||
| CBSE Hints for the Teachers | ||
| • Students should be encouraged to work individually as well as in small groups, girls | ||
| and boys working together. | ||
| • Learners should be encouraged to enquire about the technique, procedures and the work of master artists/artistes.333 | ||
| • Students should be encouraged and helped in handling new media and tools and meeting the new challenges in various problem-solving situations encountered by them | ||
| • Students should be encouraged to take the initiative and to critically evaluate | ||
| their work. | ||
| • Since the adolescents are prone to adult influence, adult activities and methods working, she starts imitating and idealizing the adult approach and attitude to her work. The teacher, at this stage should try to make the adolescent child aware of the originality and uniqueness of her own work and encourage her to develop her own methods and style of working as there exists a large variety and divergence in adults’ work. | ||
| • The teacher should develop friendly and empathetic relations with the students and should encourage them to know about the artistic activities of the local community. | ||
| • The teacher should organize studio/art room/theatre/stage with the help of | ||
| students. | ||
| • The teacher should organize visits of museums, historical places, exhibitions, botanical and zoological gardens, theatre and local drama activities, music and dance concerts, film shows, etc. | ||
| • The teacher should help children in the planning and organization of display and exhibitions, musical and other performances of master artists/artistes. | ||
| • The teacher should develop projects correlating art activities with other subjects | ||
| with the cooperation of other subject teachers. | ||
| • The teacher should encourage the use of improvised instruments and tools by the | ||
| students locally available. | ||
| • The teaching approach should be inductive and students should be encouraged to mobilize their own resources to solve their problems. Direct instructions in the techniques should be avoided. They should be encouraged to develop techniques and styles of their own through exploration of discovery of materials, media, tools and techniques. | ||
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