DrafT ARTS NCCA Curriculum Guidelines Vol 3 - MOST.ie

2DraftCurriculum Guidelinesfor Teachers of Students withModerate General Learning DisabilitiesVolume 3

2B OOKDraft CurriculumGuidelinesVOLUME 3Arts EducationPhysical Educationfor Teachers of Studentswith Moderate GeneralLearning DisabilitiesSocial, Personal andHealth Education (SPHE)

National Council for Curriculum and Assessment,24 Merrion Square, Dublin 2.Tel: 01 661 7177Fax: 01 661 7180http://www.ncca.iee-mail: info@ncca.ie

2B OOKContentsVOLUME 3 ARTS EDUCATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1VISUAL ARTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3MUSIC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41DRAMA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91PHYSICAL EDUCATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .151SOCIAL, PERSONAL AND HEALTH EDUCATION (SPHE) . . . . . . . . . . . . . . . . . . . . . . .199

2B OOKArts EducationVISUAL ARTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3MUSIC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41DRAMA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .911

2B OOKVisual ArtsINTRODUCTION TO VISUAL ARTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5SCHOOL PLANNING FOR VISUAL ARTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9CLASSROOM PLANNING FOR VISUAL ARTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13VISUAL ARTS EXEMPLAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .373

2B OOKVisual artsIn making art, the processof making is as valuableas the final resultThe student’s own experienceand expression is centralto all of their workINTRODUCTIONVisual arts activities enable the student to makeconnections between the imaginative life and theworld and to organise and express ideas, feelings andexperiences in visual, tangible form. In drawing,painting, constructing and inventing, the studentassimilates and responds to experience and tries tomake sense of it.Visual arts education provides for creative andaesthetic experiences through exploring, investigating,experimenting, inventing, designing and making in arange of media. It promotes observation and ways ofseeing and helps the student to acquire sensitivity tothe visual, spatial and tactile world.The developmentof perceptual awareness helps the student withmoderate general learning disabilities to enjoy andinterpret the visual environment and can facilitatelearning in all areas of the curriculum. Initialexploration of materials and tools will be at asensory level and will require a high level of adultsupport. Early sensory investigation will overlap withthe exploration of materials in other curriculumareas, such as mathematics and science.Thedevelopment of manipulative skills will also have apositive influence on learning in other subject areas.By providing opportunities for self-expression, thevisual arts curriculum can also contribute to a senseof personal identity and self-esteem.The visual arts curriculum places equal emphasis onmaking art and looking at and responding to art. Itpresents a range of activities in perceiving, exploring,responding to and appreciating the visual world.Making art involves two-dimensional and threedimensionalwork in a range of media. In making art,the process of making is as valuable as the finalresult.The emphasis is on exploring andexperimenting with the expressive possibilities ofmaterials, tools and media and with the choices theyoffer for different tasks. Communicating about his/herwork and, when appropriate, the work of others iscentral to this process.The expressive or makingactivities are complemented by opportunities to seeand make a personal response to visual art forms ofdifferent styles and cultures.The role of the teacher during the art class is tochallenge, motivate and support the student toexpress understanding of his or her world in apersonal way.The teacher will also be alert toindividual needs and abilities and ensure that studentsare involved in a creative rather than a passive orimitative way.5

The visual arts curriculum• provides a medium for sensory exploration• allows the student to explore colour, texture,shape, form and space in two and threedimensions and to experiment with a range ofmedia• provides for creative and aesthetic experiencesthrough exploring, investigating, experimenting,inventing, designing and making in a range ofmedia• provides a framework within which to developexpression. It allows the student to respond in avariety of ways to what they see, hear, smell,touch and feel• allows the student gain an understanding ofsimilar and contrasting shapes and structures,rough and smooth textures, angular and curvedforms, drawn, painted and printed surfacedecoration, through their own making andthrough an introduction to the work of adultartists and designers• enables the student to develop spatial awarenessthrough making constructions on both large andsmall scales• enables the student to express and communicatetheir ideas, thoughts and feelings by using awidening range of materials• enables the student to develop social skills andlanguage• provides the student with opportunities to workindividually and collaboratively.OVERVIEW OF CONTENTThe curriculum suggests the following as accessiblemedia for expression through which the student canexplore, respond to and interpret the world visually:• Drawing• Paint and colour• Print• Clay• Construction• Fabric and fibreDrawingOnce the student becomes aware of the effectshe/she can create with mark-making, drawingbecomes a way of exploring and communicatingunderstanding of the real and the imaginary world.Access to a wide range of drawing materials, andtime to enjoy discovering their possibilities for visualexpression, are equally important. It is important torecognise that there will be some overlap in thedevelopment of drawing and writing.The randommarks and squiggles that can be seen in the student’searly drawings are also the foundation for his/herearly forms of writing, and vice versa.Paint and colourPaint is an ideal medium for developing the student’ssensitivity to colour. It has tactile impact, is fluid andeasily mixed and applied and its effects areimmediate. It is important that all students haveaccess to a wide range of paint and colouringmaterials and tools, and opportunities to exploretheir expressive possibilities. Colour awarenesspromotes sensitivity to and enjoyment of colour inthe student’s surroundings and is further enhancedwhen the student has opportunities to look at thework of other students and artists.Print-makingPrint-making activities provide additionalopportunities for extending the student’s range ofexpression, developing awareness of theinterrelationships between shapes and colours, andfor experimenting with cause-and-effect and pattern.They also draw attention to the use of print ineveryday objects.Activities range from simple singleimages to more purposeful compositions using avariety of colour, shape and media.ClayClay is a versatile, exciting medium for freeimaginative expression. Its plastic, malleable naturemakes it an ideal medium for learning about form.Students begin to understand its inherent possibilitiesfor three-dimensional expression as they model withit and change it. It also allows them to exploretexture and pattern. Other malleable materialsinclude Play-Doh and Plasticine.Working withmalleable materials promotes fine motor skills bystrengthening fingers and hands. Students should haveopportunities to see and if possible to handle ortouch pottery and sculpture; but it will be equallyimportant that they have sufficient opportunities toexplore clay without undue pressure to produce aparticular ‘finished’ product. Papier mâché is anadditional medium for expressing ideas in threedimensions. It complements work in clay and is anadditional way of exploring form.6

ConstructionStudents enjoy exploring materials and objects to seehow they were put together and how they work.Construction activities with a variety of threedimensionalmaterials allow students develop spatialawareness and awareness of the strengths,possibilities and limitations of materials.The ability tounderstand that a picture, symbol, sign or word canrepresent a real person is fundamental tocommunication and language.Activities in this areaenable the student to establish the link between areal item or person and the constructed work thatrepresents it.Fabric and fibreFabric and fibre are adaptable and enjoyable mediafor creativity and can be used to reinforceunderstanding of colour and tone, shape and texture.Students explore methods of changing the surface ofmaterials, creating new fabrics and constructing withfabric and fibre.Working with fabric and fibre offersopportunities to develop important fine motor skills,such as sticking, pasting or cutting with scissors.It offers opportunities for choice and control asdecisions are made about placing various items.Concepts and skills developmentThe visual arts activities suggested for the differentmedia help to develop awareness of the qualities ofline, shape, form, colour and tone, texture, patternand rhythm and spatial organisation and enable thestudent to use them purposefully.The student’sattention is drawn to them informally and in contextas they explore two-dimensional and threedimensionalwork.Through completing the strand units of the visual artscurriculum the student should be enabled toAn awareness of line• develop awareness that different movementsmake different marksexperiment with the marks that can be madewith different drawing instruments experimentwith the marks that can be made on a range ofsurfaces• begin to discover that lines can have a variety ofqualities and can make shapes• begin to discover that lines can have variousproperties and can create patterns, textures ormovement• examine the linear qualities of objects in theimmediate surroundings• begin to represent familiar figures and objectswith free lines and shapes• develop personal symbols (a schema) torepresent familiar figures and objects visuallyAn awareness of shape• become sensitive to shape in the visual and tactileenvironment• become aware of outline shape, silhouette andshadow shapes• experiment with shapes in compositionsin collage, print, drawing7An awareness of form• become aware of the three-dimensional nature ofform and of form in objectsform and volume in a toy, a box, an animal• observe objects from different angles• express understanding of form in clayhandle, feel, manipulate and begin to form clayand other malleable materials• make impressions in clay, dough or plasterAn awareness of colour and tone• develop sensitivity to colour in his/hersurroundings• recognise and mix primary colours and tones• distinguish between obviously light and darkcolours• begin to analyse colours and mix them morepurposefully• use colour expressively and to create effectsAn awareness of texture• identify materials through sensory investigation• explore a range of contrasting substances usingthe sense of touch• explore the relationship between how things feeland how they lookmake texture rubbings of natural andmanufactured objects• create variety in surface textures using a range ofmaterials and toolschange texture of paint by adding substances

An awareness of pattern and rhythm• become aware of pattern and rhythm in his/hervisual surroundingsflowers, leaves, shells, markings on a stone,railings, fields• become aware of repetition and patternin his/her workin the repeated use of lines and shapes• become aware of pattern in the work of others• use materials to create patternsAn awareness of space• develop awareness of how people and objectstake up space• examine simple structures in the visual andtextural environment• begin to make basic structuresbalance open and closed boxes on each other• begin to develop a practical understanding ofstructure through construction activities• use art media to record what he/she perceives orobserves• begin to show relationships between objects andfigures in drawings.8

2B OOKSchool planningfor visual artsSchool planning begins with acknowledging thecentral role of visual arts education in the student’sholistic development.This section examines twoaspects of the planning process and how they affectspecial schools and mainstream schools that cater forstudents with moderate general learning disabilities:• Curriculum planning• Organisational planningCURRICULUM PLANNINGThe issues that may need to be discussed as part ofthe school’s planning for the visual arts include thefollowing:The importance of visual arts education inthe school curriculumThe creative process students go through in makingart, the possible stages or patterns of development intheir art and the importance of visual arts educationas a way of complementing other areas of learningshould be among the topics discussed.The creativeprocess students go through in making art isemphasised, because a significant part of learning inart occurs in their approaches to the task in hand,and this may not be evident in the finished product.It will also be important that teachers identifyachievable goals and objectives for their particularstudent population. Planning should ensure that allstudents are enabled to participate in the visual artscurriculum.Ways of facilitating those with additionalphysical or sensory impairments will need particularattention, as this may have implications for resources.A broad and balanced curriculumPlanning should ensure that all students have accessto a broad developmental programme.Theme-basedactivities may provide opportunities for students toachieve the objectives of a number of strands in thesame activity.The school plan should also ensure thatthe student experiences a variety of materials,creative processes and techniques and that a balancebetween work in two-dimensional and threedimensionalforms is maintained. School planningshould also provide for opportunities to see, toreflect on and to appreciate art forms from our ownand other cultures, whether at first hand or inreproduction.The range of interests and aptitudes ofthe students will influence the selection of activitiesand topics. Levels of expertise and staff members’interests in the visual arts will be important factors inimplementing the programme. Enthusiasm among stafffor the visual arts can be encouraged through the9

provision of a wide range of interesting materials andfacilitating attendance at in-service courses andclasses.Students’ individual needsIn planning visual art activities, teachers need to bealert to individual needs and the ways in whichstudents• use and show understanding of the visualelements• handle and use materials• explore and control tools• communicate their feelings and responses tomaterials, different media, and different activities• evaluate and modify their work• demonstrate an understanding of the workof others.All students should have access to activities thatdraw on their creative and aesthetic potential.Activities may need be adapted to suit individualneeds and should be appropriate to the students’ability and age. Extra planning will be needed toenable students with visual or physical disabilities toparticipate to their full potential.This may require thesourcing of specific materials, for example dualcontroltraining scissors, which enable the adult toassist students as they cut.These may be of benefit tostudents who have difficulties with hand-eye coordination,muscle control, and backgroundforegrounddifferentiation. Some students may showsigns of tactile defensiveness when handling somematerials, for example wet sticky clay.All the adultsinvolved in facilitating the visual arts programme willneed to be fully aware of each student’s likes anddislikes. In any class, students may be working toobjectives within a range of levels. Some studentsmay need to have certain areas of learning brokendown further into smaller units, while others mayneed greater challenges in the same level of activity.They can be challenged to stretch the possibilities ofart activities to the fullest by adopting new methods,in directed and experimental tasks. Brief one-sessionart activities may be more suitable for a student witha short attention span, while for other students asustained exploration of one area may be moresatisfactory than a superficial exploration of several.With support, interest and praise for their efforts,students will respond enthusiastically to activities inthe visual arts programme.Planning for linkage and integrationActivities that integrate the visual arts with othersubjects should be planned to extend students’understanding of both art and other subjects.Integrated arts activities should be planned in paralleland should interact with other subjects, rather thanbe subsumed in them.Developing an assessment policyAssessment is an integral part of the teaching andlearning process in visual arts education: teacherscontinuously assess students’ learning and their ownteaching strategies as they observe, discuss and makejudgements on work in progress and on completedwork.As a way of observing teachers’ and students’performance, assessment makes an importantcontribution to the overall evaluation of the artprogramme’s effectiveness.It is important to have an agreed approach on howstudents’ performance is assessed. In the process ofmaking and responding to art, the student maydemonstrate qualities, such as inventiveness andimagination that may not be evident in a finishedpiece of work.Areas for assessment could includethe student’s ability to choose and use materials,tools, and media, his/her response to art works, thestudent’s approach to and level of involvement withhis/her work, and how he/she contributes and cooperatesin group tasks.10

ORGANISATIONAL PLANNINGDeveloping a shared sense of purpose forvisual arts educationThe school plan for visual arts is the sharedresponsibility of the principal and teaching staff. Boththe planning process and the written programme willprovide the teacher with a valuable policy documentand a clear sense of direction and purpose. Creatingand maintaining an attractive school environment bydisplaying works of art will allow the student todevelop ownership and pride in his/her work. It willbe important that students themselves are involved inthis process and that displays are regularly updated.Display need not always be confined to theclassroom walls. On occasion, the student’s art maybe used for graphic purposes—in newsletters, theschool calendar, on handbooks and school greetingcards.School policy will also identify how work will bestored for recording and assessment, for example inportfolios.Identifying support for implementationThe student’s interest in art can be stimulated byvisits to galleries, museums and exhibitions and,where possible, to artists and craftspeople at work. Itis important that they have a sense of the importanceof visually creative people in the community.Preparation and follow-up activities are essential toensure that they derive the maximum benefit fromany visit. Issues/questions regarding transport,wheelchair access, extra human resources neededand health and safety issues will need to beaddressed also.The primary school curriculum outlines manysources of support for implementing the visual artsprogramme.Among those identified are parents,artist-in-residence schemes, museums and galleries,craft centres, libraries, television and video,information and communication technologies, andeducation centres. Consideration must be given tothe fact that students with moderate general learningdisabilities often have more limited interaction withthe community than their peer group.Therefore, it isimportant to extend the learning environmentbeyond the classroom.11

2B OOKClassroom planningfor visual artsPLANNING AND ORGANISATIONAL ISSUESFOR THE TEACHERPlanning for differentiation in visual artsIt is important that teachers have someunderstanding of the stages of development in art,even if progress takes a long time to emerge, whichmay be the case with many students with moderategeneral learning disabilities. He/she needs to be ableto identify the stage that students are at in order toplan appropriate art experiences to meet individuallearning needs.Teachers may find it useful to accessBook 3:Visual arts where the stages of artdevelopment are outlined.The student with amoderate general learning disability will not alwaysdevelop at the same pace as his/her mainstreampeers. However the chronological stages outlined willprovide a useful baseline tool for understandingwhere the student is in his/her development. Book 1:Visual arts will also be useful for teachers of studentsat the earlier stages of development.Practical experience by teachers in handling materialsand tools is essential to understanding theirexpressive possibilities and the challenges they posefor students at the different stages.Teachers need toplan for a wide range of activities. Students need toexperience a balance between working on familiaractivities in which they express themselves withconfidence and new activities that present them withnew challenges.They will require plenty of practice todevelop new skills and may revisit topics and strandunits.The transition between stages is not alwaysclear; and while students often appear to ‘plateau’ ata particular stage of development, their experiencescan be broadened by providing them with access to awide range of media.Systematic planning by the teacher for thedevelopment of concepts, skills and attitudes, andtheir assessment within a lesson or unit of work, willbe vital for the success of the visual arts programme.Using materials and tools as stimulusFocusing on the visual and tactile qualities ofmaterials and tools can be an exciting starting pointfor an art activity. Students need to handle andmanipulate a wide range of materials in order tolearn to use them with confidence.The discoveriesthey make are a vital part of their development inmaking and responding to art and lead to increasingcontrol in using materials and tools.When they arepresented with new materials for the first time, it isimportant to allow students plenty of time toexplore their properties and to discover whatpossibilities they offer.13

LinkageLinkage in the visual arts occurs both within strandsand between strands and emphasises the inter-relatednature of art activities. It occurs• in the provision of complementary activities inmaking and looking and responding• in a mixed-media approach to developing a pieceof work that uses a variety of materials, forexample combining print, rubbings and paint in acollage• in exploring a theme through a number ofstrands.IntegrationWhile it is important that visual arts be regarded as asubject in its own right, it also presents new ways ofdeveloping skills in many other areas of thecurriculum. In particular, visual arts provides thestudent with opportunities todevelop fine-motor skills and hand-eye coordinationand to develop control of materials,tools and techniques• use scissors, brushes, rollers, glue-sticks• stay within the limits of a page or other specifiedarea• squeeze or roll wet and dry clay or papier mâché• control the amount of glue or paint that he/sheapplies to a sheet of paper• thread painted pasta to make necklacesdevelop mathematical skills• experience and explore colour, form, shape, space,texture, and pattern; imitate/copy/identify shapes;choose and name colours used/ to be used in activity;imitate/copy patterns, e.g. printing• recognise the need for ‘more’ or ‘less’; in addingwater to paste/paint• use one-to-one correspondence and recognisethe need for counting; distributing brushes andsheets of paper• match materials with their correct locations, forexample locating materials/returning materials duringtidy-up• copy a sequence of actions• develop spatial awareness through making smallscaleand large-scale constructions• explore ‘cause and effect’• develop problem-solving skillsdevelop communication and language skills• respond in a variety of ways to what he/she sees,hears, smells, touches and feels in another context• describe colours used, materials used, andprocesses involved• use language to make choices and express needsin relation to materials needed• use language to predict outcomes of activities• communicate about work in progress• recall past or finished activities using sequencingskills (first, next, then)• use language to communicate ideas, likes, and dislikesdevelop social skills by being provided withnew contexts in which they work individuallyand collaboratively• wait for his/her turn when materials are beingdistributed, take responsibility for distributingtools and materials• share materials• indicate own needs in relation to materials, showsensitivity to the needs of others, show othershow to do tasks• seek adult help, appropriately and as necessary• initiate activities• suggest solutions to problems• recognise the start and finish of activities• respond to requests to tidy up, take responsibilityfor tidying up• show pleasure and interest in tasks, give andreceive compliments, value and assess their ownand others’ achievements, identify own work,admire class displaysdevelop ICT skills• accessing art programs on the computer using theconventional mouse or other devices; rollerballs,touch-screens, concept keyboards.14

OVERVIEW OF VISUAL ARTS CURRICULUMConcepts and skills development• An awareness of lineThe concepts listed above and related skills arederived from the visual elements and will bedeveloped as work is completed on the strandsoutlined below.• An awareness of shape• An awareness of form• An awareness of colour and tone• An awareness of texture• An awareness of pattern and rhythm• An awareness of spaceDrawing • Making drawings• Looking and respondingPaint and colour • Painting• Looking and respondingPrint • Making prints• Looking and respondingClay • Developing form in clay• Looking and respondingConstruction • Making constructions• Looking and respondingFabric and fibre • Creating in fabric and fibre• Looking and responding15

Visual ArtsDrawingThe student should be enabled to• develop awareness thatdifferent movements makedifferent marksShow awareness that movementsresult in a mark; use fingers to draw insand, flour and mud, make random markswith an implement in sand or clay.Use grasp and push actions with chalks,wax crayons, thick marker pens/sturdypencilsScribble freely; make large and randomstrokes with a wide range of graphicmaterialsUse pincer grip to hold drawingmaterials and scribble with somedirection; scribble spontaneously in ahorizontal or vertical direction• experiment with themarks that can be madewith different drawinginstrumentsMake random marks, experimentingwith the sides as well as the ends ofgraphic materials in chunky stickforms; thick chalks, stubby wax crayonsUse art media that presentopportunities for fine motor control;colouring pencils and crayons of differentthickness: draw mainly dots, lines,squiggles, and circlesDiscover tones by varying the pressurewith sensitive materials and by usinglight and dark pencils, crayons, pastels,charcoalsExplore the mark-making possibilitiesof computer drawing tools• experiment with themarks that can be madeon a range of surfacesUse crayons, soft pencils, charcoal andchalks on a range of coloured paperWork on a range of surfaces;sugar paper, blotting paper, waxed paper,cardboardShow awareness of various media byadjusting marks and choosingimplements to suit a range of texturedand coloured backgrounds• discover that lines canmake shapesProduce continuous lines and imitatehorizontal, vertical and circular linesTrace over/copy, with necessary help;horizontal and vertical strokes, circles,wavy lines, zigzag linesImitate a cross drawn by adultDraw independently; circles, crosses,wavy lines, zigzag linesDraw, with help, around simpletemplatesUse a computer art program toexperiment with linesCombine lines and closed shapesProduce a range of shapes; circle,square, triangle16

Visual ArtsDrawingThe student should be enabled to• attribute meaning to ownmarks, drawings or scribblesCommunicate to adults or peers aboutthe marks and scribbles he/she makesPoint to self/object or answer ‘Daddy’when asked about his/her drawingName items on own drawingsConvey information by producingsimple pictorial forms; make a house• use a range of colouringinstruments to colour inpicturesCover a large page with colouredscribbles, using some controlColour within a clearly outlined objectwith gradually increasing motorcontrolCover a medium-sized sheet of paper,staying within the pageColour in a picture containing morethan one object with graduallyincreasing motor control• create drawings thatindicate the emergence ofsymbolic representationBegin to create symbols that arerecognisable; use a circle and lines torepresent a person, shapes and figuresappear to float in space on the pageDraw figures that include more details;arms, legs, hands, fingersInclude more complex detail in his/herdrawings; windows, doors and chimneyson houses/ nose, ears on figuresDraw figures that are grounded• look at and communicateabout his/her work and thework of other studentsLooking and respondingRespond to verbal and physical promptsof adult to experiment with drawingimplementsExpress pleasure/displeasure duringactivityRespond to adult’s reaction to his/herwork; smile when given praiseLooking and respondingCommunicate and interact with othersduring task, recognising similarities anddifferences in his/her own work and thatof peersIndicate likes and dislikesLooking and respondingReview his/her own work duringactivity/when task is completed;describe what is happening in thedrawing, indicate what he /she haschanged or would like to change ordevelop, decide what to include inpersonal portfolioRecognise that he/she has finished task;put completed sheet in his /her folderRecognise own work in class displaysRespond appropriately to commentsmade on his/her work17

Visual ArtsPaint and colourThe student should be enabled to• experiment with the fluidproperties of paintUse all available senses to explore arange of non-toxic paints; feel thesensation of paint on hands and fingersUse hands as tools for his/her work;by dripping, pouring, splashing, spreadingfingers and dragging through differentcolours and textures of paint to makemarks and printsExperience hand and feet beingpainted; using finger paints, watercolours,and powder paintObserve the different marks he or shemakes on paper• experiment with marksmade by paintExperiment with finger- painting ondifferent textures and colouredbackgrounds and using textured paint;thickened with sawdust, glue, sandUse large-motor movements, eitherrandom or circularUse fingers and tools to make marksin paint; sticks, sponges and a range ofbrushesUse rollers to make marks with painton a range of textured surfaces; moveroller backwards and forwardsControl thickly mixed paint with arange of brushes on painting surfacesof different shapes and sizes; makereasonable effort to stay within the limitsof the paper and keep the page steadyDevelop ‘grasp and push’ action withsturdy brushes/toy cars dipped in paint• develop awarenessof colourExplore colour with a variety ofmaterials and media; paint, crayons,chalks, coloured pencils, markers, usecolouring books where the colour appearswhen painted with waterMix colours to achieve a new colouror shade; mixing a range of primarycolours from a limited paletteUse a computer art program toexperiment with colour and to createimagesMix colours using a range ofsecondary colours. Begin to distinguishbetween lighter and darker colours;mix tints and shades by using white tolighten and the original colour to darkenSelect colours for drawings orpaintings; discussion about colour focuseson choices, not on the ‘proper’ use ofcolour18

Visual ArtsPaint and colourThe student should be enabled to• discover a range of painteffectsChange colours and tones of paint byadding liquids and colourChange texture of paint by scraping(comb painting) or by addingsubstances; impressing objects into thicklypainted surfacesExperiment with different kinds ofpaints and paint techniques; bubblepainting, wax-resist, comb-painting,string paintingExplore the use of paint on wet anddry surfacesExperiment with paint on differentsurfaces; a variety of coloured, smoothand textured papers, tissue, hand-madepaper, plaster of ParisApply paint effects to fabrics; paintingwith dyes, inks or fabric paints on textilesExplore blow/spatter/fold-over painting• colour shapes andpictures, developingcontrol over a range ofPaint cut-outs of simple shapes;covering shape completelyPaint large, clearly outlined shapes onpaper; staying generally within the outsidelimitsPaint a smaller area/picture; withincreasing control and co-ordinationimplements• paint from observationExperiment with self-portraits; observehis/her reflection in mirror; attention isdrawn by adult to eye and hair colourPaint portraits of classmates; usingsome colours appropriatelyPaint objects chosen for their colourpossibilities; flowers and other objectsfrom the nature table19

Visual ArtsPaint and colourThe student should be enabled toLooking and respondingLooking and respondingLooking and responding• look at and communicateabout his/her workRespond to the verbal prompts of theadult to experiment with materials andtoolsReact to various media; enjoys havinghand/feet in paintUse language to express needs inrelation to materials and toolsrequired for paintingRecognise that he/she has finishedtask; puts sheet to dry on painting trolleyCopy adult’s action/sequence ofactions with materials and toolsChoose and name colours for useReview work, recalling sequence ofoperations with prompts from teacherChange the picture as he/she worksDescribe what is happening in thepainting; the colours used, how he/sheenjoyed making them, his/her favouritepartDemonstrate an understanding thatdifferent techniques, tools andmaterials create different effects;choose to make marks with a spongerather than a brushRecall and describe activities alreadyengaged in; first, next …• look at and communicateabout the work of otherstudentsObserve other students as they workRecognise and select own work fromthat of othersCommunicate about another student’sworkCommunicate appropriatelyacceptance or rejection of suggestionsfrom peers and/or staff; exchangecompliments, express appreciation• look at and communicateabout the work of otherartistsHave experience of work of famousartists; use all their sense to explorevarious picturesShow preference for one paintingrather than anotherBegin to recognise the similaritiesbetween their work and the work ofartists; student’s work and work of artistare displayed side by sideAttend to detail in artist’s workObserve artist’s use of colour;bright/dark colours20

Visual ArtsPrintThe student should be enabled toMaking printsImpress objects into a slab of clay/Plasticine; sponges, Lego, bricks, endsof tubesMaking printsExplore ‘cause-effect’ printing further,beginning to organise the print markspurposefully with one or two paintcolours (limited colour range) to helpfocus on texture, shape and pattern.Making printsDiscover how simple prints could befurther developed (e.g. overprinting)• experiment with theeffects that can beachieved with simpleprint-making techniquesPrint with hands and feetExperiment with ‘cause-effect’ printingusing paint and natural/manufacturedobjects (using a limited colour rangeto focus on texture, shape, negativeshape, pattern); Lego bricks, sponges,natural materialsTake prints off surfaces; marbling,rubbingsOverprinting with contrasting colours andwith the same or contrasting shapesOverlapping or placing shapes side bysideUsing an expanding colour range tocreate more complex images• use a variety of printmakingtechniquesMake a variety of relief prints; fromtextured items pressed into a slab of clay,from his/her own marks made in the clay,from cut/torn pieces of thin polystyrene,potato, appleExperiment with ways of repeating andcombining examples of one or moreprintsMake pictorial rubbings; shapes placedrandomly under translucent paper andrubbed with the side of a dark crayon(Integration: Mathematics)Explore wax-crayon transfers usingpaper/wax-resist pictures; spongepainting over a wax crayon or candledesignMake a variety of relief prints;composing a relief print block using oneor more colours, creating a design for aprint by drawing thick and thin lines intoa slab of clay.Make repeating patterns with printingblocks on paper, card and fabricMake a variety of small-scale reliefprints; stamp printing:creating interesting patterns andrhythms by juxtaposing stampsMake pictorial rubbings by drawing,cutting out and arranging shapes(abstract or theme-based)Make pictorial rubbings of relief printblocksMake stencils; experiment with use ofrollers, brushes, sponges, spray paint, printinginks and stencils to create surface printsMake mono-prints, emphasising lineand shapeExperiment with increasingly complexrepeated patterns using blocks; makingoriginal printing blocks (carving potato,soap, string on wood) emphasising line,shape, texture, patternPrint with mask-outs; masking areas ofan inked surface from which prints havealready been taken and taking a furtherprintUse a widening range of print-makingtechniques to make theme-based ornon-representational prints;Christmas/Halloween motifsMake stencils; spray or sponge paintingover stencils cut to his/her designMake silk-screen printsUse computer experiments in shapeand colour to design a print21

Visual ArtsPrintThe student should be enabled toMaking printsMake prints for use on wrapping paper,storage boxes, book covers, fabric;choice of colour/shape is limited at thisstage in order to focus on simple patternmakingMaking printsMake posters for a school event; makebig, bold letters and numbers using awider range of colours and shapesMaking printsDesign and print cards and logos• make prints for functionaluses (as well as for theirown sake)Design and print T-shirts using ICT ordigital camera; pictures of studentsthemselvesLooking and respondingObjects are provided that stimulatestudent’s interest: visual and tactile;sand, water, pebbles, shells, feathers,leaves, petals, bark, twigs, fabrics—bytouching, handling and smelling, asappropriateLooking and respondingExplore a range of natural objects andmaterialsLooking and respondingSort, match and choose materials thatare soft, hard, shiny, make noise …Express pleasure/displeasure duringactivityRespond to adult’s reaction to his/herwork; smile when given praise, seek tobring work homeDemonstrate an understanding thatdifferent techniques, tools andmaterials create different effects;choose to make marks with a cardboardtube rather than a blockAttention is drawn to certain features;move hands over textured wall tile, smelland feel leather product, observe thecolours and textures of papier mâchémasksShow confidence and enjoyment in thecreation of picturesCommunicate and interact with othersduring task; recognise similarities anddifferences in his/her own work and thatof peers, accept or reject comments fromadults/peers about his/her workDescribe/communicate about theprint; line, shape, texture, pattern, whathe/she likes about the print, how he/sheenjoyed making themBegin to indicate likes/dislikes forcertain materialsParticipate in collecting interestingprinted objects for display; pottery, clothesPractise techniques and processes ofcause and effect in changing colour,texture, etc.Develop greater independence andawareness of appropriateness ofmaterialsLook at some examples of simpleprinted design in everyday use toinvestigate print-making techniques (aswell as for their own sake);commercially produced printed materials:party invitations, pottery, posters,wallpaper, fabrics with simple repeat orother design, packaging, wrapping paperCompare stencils and mono-printswith his/her work22

Visual ArtsClayThe student should be enabled toDeveloping form in clayExperience soft, malleable materials; bysqueezing, flattening, pinching, pounding,poking fingers into wet and dry clay orrolling soft dough/ pastry between handsor on a surfaceDeveloping form in clayTear/roll pieces from the clay and putthem together again with verbal orphysical assistance; rolling clayworms/snakes under his/her hands. Usehands to roll out and flatten clay. Cutout shapes using a range of shapecuttersDeveloping form in clayUse wooden pottery knife/cuttingimplements/ rolling pin with dough,Plasticine, or clay; cut out shapes usingtemplates/freehand, place hand on clayand cut around, copy actions of adult orother student, cut out own drawings touse as templates• explore and discover theproperties of clay(Integration: Mathematics)• change the form of a smallball of clayMake a variety of forms in clay; fat,twisty, squat, bumpyDistinguish between shapes that lie flatand shapes that are solid and stand bythemselves; copy adult in forming andbalancing shapes so that they stand upMould materials; form dough into ashape and give it a name, experiment inbalancing some of the forms created, altershapes already made by pinching orsquashing them in different waysMake a clay form and manipulate itwith fingers to suggest a subject;combine and re-form clay to makeabstract forms, turn a ball of clay into animaginary creature, make a variety of realor imaginary animals• experiment with anddevelop line, shape,texture and pattern in clayRoll out clay and use as a surface fordrawing; put hands on top of adult’s andexperiences the rolling movement, adultplaces hand on top of student’s, bothadult and student take turnsStudent observes how a line can bemade by moving a thin pointed toolacross the clay; stick, pencil, pen, end ofbrush, wooden pottery knifeExperiment with surface mark-making,texture and pattern on small, thickslabs of clay;communicate about the marks made,observe similarities and differencesbetween clay pictures and pencildrawings, explore texture and pattern byimprinting objects; thread spools, pieces ofbark, string, pine cone, buttons, fork, shellExperiment with line drawings using clay‘worms’; pressing pieces onto clay base inrandom order to investigate pattern, using‘worms’ as lines to create pictures: joining,breaking, turning the different piecesDraw lines and shapes using clay slipand slip trailer; observe the effect ofhis/her squeezing and moving, experimentwith different movement and pressure,observe the effect of heat/drying on thevarious colours usedExperiment with textural effects; bycutting pieces out of clay slabs, byadding pellets and coils of clay; pieces arebaked/allowed to dry out for students tohandle and examine again23

Visual ArtsClayThe student should be enabled toDeveloping form in clayExplore a range of media and theirimpact on clay; press sticks, lollipopsticks, feathers or buttons into the clayand investigate pattern and textureDeveloping form in clayMake representational objects; roll clayinto ball, and stick matchsticks into clay toproduce a hedgehogDeveloping form in clayMake clay figures, animals or birds (realor imagined) based on stories, songsor drama and decorate with feathers,shells, straws, and pipe-cleaners• make mixed-media piecesin both representationaland non-representationalmodes• work inventively andexpressively with clayUse self-drying clay to make smallpieces of jewellery (bracelets,necklaces); roll out small pieces of clayand pierce with a straw/pencil, adddecoration by making incisions, painting orvarnishingRoll out clay and shape it over adome-shaped wedge of newspaper tomake a base for a mask; draw, cut out oradd pieces of clay/mixed media to makehuman features, asking for adultassistance as necessaryWork inventively with cubes or oblongblocks of clay and add details tosuggest a solid structure; make ahouse, make a variety of buildings tosuggest a town• make simple clay potsMake pots from flattened clay bypulling the edges up to stand uprightand form the sidesMake clay pots using bowls/saucers asmoulds; pressing and squeezing the clayto fit the bowl, trimming the edges withwooden pottery knife, with verbal andphysical prompting as necessaryMake a pinch pot with self-drying clay;observe and copy adult actions withverbal and physical prompting asnecessary, feel and handle the finishedproduct, paint or varnish when dryMake pinch pot with verbal promptingonlyExperiment with making slab pots; rollout clay between battens, cut out tiletemplates with/without aid, wrap tilesaround box/tin, press together with fingersand by scratching clay, finish with dampsponge, decorate by making incisions orpaint and varnish when dryExplore pinch pots further; makeimaginative pinch-pot creaturesMake slab pots with verbal instructiononly; transform into figures by adding ahead and arms/lay flat to form the bodyof a monsterMake a coil pot; joining coils togetherwith fingers and thumbs; finishing it withincised decoration, or colour glaze orstains24

Visual ArtsClayThe student should be enabled toDeveloping form in clayExplore the technique of using papiermâché to make models; tearing paperstrips, covering balloons with physical andverbal assistance, making choices aboutpaint colour, sticking on cut-out eyes/nose/ears or mouth from magazinesDeveloping form in clayExplore the medium of papier mâchéfurther; using strip and pulp techniques,on plates and pots, making choices aboutpaint and pattern to decorate finishedproducts, on balloons to create real andimaginary creaturesDeveloping form in clayDesign or participate in large-scale andsmall-scale papier mâché forms andstructures; Halloween masks, Africanmasks, monsters, dinosaurs, animals fornativity crib/school drama, masks toillustrate stories, rhymes, songs, festivals• develop shape, texture,pattern and form withpapier mâché• look at, handle andcommunicate aboutnatural and manufactured3-D objectsLooking and respondingFeel and handle a range of naturalobjects that have interesting form andshape; smooth stones, fruit, tree branches,pine conesFeel and handle a range ofmanufactured objects; wooden bowls,moulded or carved toys, pieces of jewelleryCommunicate response to whathe/she can see/ touch/ feelLooking and respondingExamine a range of functional anddecorative pottery; look at pottery usedin school/at home/in restaurants, indicatepreferences for designs and colours, showunderstanding of uses when askedHave opportunities to watch adultsmaking pottery in school or inworkshop /pottery shop, look atvideos of pottery being formed, firedand glazedLooking and respondingExamine and observe different types ofpots when taken to galleries andmuseums; handle/touch artefacts andworks of art with care, identify materialsused communicate preferences forparticular pieces/decorationsExplore all elements of what he/shesees and touches; form, texture andtemperature of figurative and nonrepresentationalpieces of sculpture(figurines, wall plaques)Explore a range of masks; commercialmasks, theatrical figures, street theatremasks25

Visual ArtsClayThe student should be enabled toLooking and respondingLook at and feel his/her own workShow interest in the activityRespond to his/her finished pieceBegin to develop sense of ownershipSeek admiration for his/her workDisplay work with rest of classLooking and respondingIdentify materials and tools used.Communicate and interact with othersduring task; communicate enjoyment ofactivity, recognise similarities anddifferences in his/her own work and thatof peers, accept or reject comments fromadults/peers about his/her workLooking and respondingReview his/her own work duringactivity/when task is completed;articulate a problem and suggest possiblesolutions, identify the materials used,indicate what he /she has changed orwould like to change or develop, recallsequence of operations with prompts fromteacher• look at and communicateabout his/her work• look at and communicateabout the work of otherstudentsWatch other students as they workPick out own work from a collectionwhen askedShow curiosity about other students’workCommunicate and interact with othersduring task; recognise similarities anddifferences in his/her own work and thatof peers, accept or reject comments fromadults/peers about his/her workCommunicate appropriatelyacceptance or rejection of suggestionsfrom peers and /or staff; exchangecompliments, express appreciationRespond to questions about otherstudents’ work26

Visual ArtsConstructionThe student should be enabled toMaking constructionsHandle a range of textured papers todiscover their different properties;rough/smooth, warm/cold, shinyMaking constructionsTear and cut, with increasingindependence, a variety of papers;tissue, crepe, newsprint, reflective, sugarpaperMaking constructionsCollect, select and cut out picturesrelating to a theme for collage; people,objects, colours• experiment with theproperties of materialsused in creating 2-DcollageObserve adult spreading glueMake choices from a selection ofcoloured or textured papers/shapesand place them randomly, with verbalor physical assistance, onto gluedbackground to create a simple collageSort, arrange and rearrange itemswithin a set areaUse glue-stick or paste to fix materialsto sheet of paper/base, asking forassistance if requiredGather and investigate materials thatare the same colour for use in collage;paper, fabric, tissue, cotton wool, glitter,plastic, sweet papers, string, woolParticipate in making class collagerepresenting one colour only, using arange of mediaCut appropriately sized pieces ofpaper to fit space available and fix intoplaceMake choices and contribute to largescale2-D and 3-D collage; early workmay concentrate on colour/texture; laterwork could include a ‘metallic’ or ‘plastic’themeChoose and arrange materials tocreate patterns/desired effect• explore and experimentwith the properties andcharacteristics ofmaterials in makingstructuresTouch, feel, hold and play with 3-Dobjects; stack/arrange boxes, bricks,containers and other objects andcommunicate his/her response to howthings look and feel, build a tall tower withsmall, lightweight boxes: show awarenessand anticipation of structures that areabout to topple overExplore insides and outsides of boxesand containers using hands, feet, andwhole bodyExplore and experiment further withconstruction toys and equipment thatallow free play; group, balance and buildwith small and large components, arrangeand rearrange various structures, discoverthat the broad surface of a block is thebest base for building, build a structurewith bricks/ blocks/ boxes and give it aname; construct a ‘ bridge’ and crawl/drivea car under itGroup, balance and build with a varietyof materials; use large boxes to createspaces and props for drama, participatein setting up a wigwam/camping tentShow development of spatialawareness and awareness of thestrengths and possibilities of materials;identify whether the structure is delicatelybalanced or robust and solid, howmaterials can be joined, the tallest/lowest/ widest/ narrowest part of thestructure27

Visual ArtsConstructionThe student should be enabled toMaking constructionsParticipate in making nonrepresentationalstructures fromrecycled materials gathered; attend tohow materials are joined together, explorematerials that are used to join objectstogether and observe them being used:glue/ paste/ Sellotape/ string/ rope/,rubber bands, make choices from alimited selection of materials and decidewhere to place them, make choices aboutcolours/materials used to decoratefinished pieceMaking constructionsHave opportunities to work in a groupto create non-representational 3-Dstructures from solid shapes (boxes,polystyrene); choose materials, bynaming, signing or gesture, and activelyparticipate in manipulating materials,stacking, balancing, building, tying or gluingthem together, asking for assistance asrequired, selecting and sorting colours andmedia for decoration; painting, printingMaking constructionsCreate 3-D objects from 2-Dmaterials; make boxes from sheets ofcard to contain Mother’s Day presents• make non-representationaland representationalstructuresCollect and store materials for use inconstruction; explore and collect objectsin the school environment, respond torequests to bring in recyclable items fromhome: milk cartons, cardboard boxesParticipate in making representationaland imaginative structures withmaterials gathered; make acar/train/doll’s house using cardboardboxes, make a kite using a paper bagMake representational modelsindependently from a range of sources,choosing appropriate materials;designing and making imaginativedwellings: puppet theatre, castle, showingincreasing attention to detail and scaleand communicating about what functionsdifferent parts of the complex might serveDesign or participate actively inmaking an imaginative plaything fromrecycled objects; robot, dragon, totempole, puppets (using stories, pictures,drama, videos, films, televisionprogrammes, music, trips to museums/artgalleries as sources of inspiration)28

Visual ArtsConstructionThe student should be enabled toLooking and respondingRespond to sensory aspects ofmedia/tools; look at own reflection inbright reflective paper, explore the fluidand solid properties of glue, showdispleasure at the smellLooking and respondingUse language to communicate needs inrelation to materials or tools thathe/she requiresLooking and respondingDevelop greater independence andawareness of the appropriateness ofusing particular joining materials;choose to use Sellotape instead of glue• look at and communicateabout his/her workShow interest in his/her own work;seeking help appropriatelyRespond with pleasure or displeasureto the finished productShow confidence and enjoyment in thetask at hand; take the initiative inplanning an activity based on observationof adult/other students at work;communicate how he/she will usematerials:‘I’m going to make a dinosaur’Review his/her own work duringactivity/when task is completed; identifythe materials used, articulate a problemand suggest possible solutions, indicatewhat he /she has changed or would liketo change or develop• look at and communicateabout the work of otherstudentsRecognise own work in class displaysIdentify the work of peersCommunicate about his/her workwhen finished; identify the materials andtools chosen for the task, how the pieceswere put together, what he/she likes aboutthe workRecall and communicate about theactivities that the group engaged in andeach student’s role in the process; howconstructive problems were resolved, first… then …Communicate and interact with othersduring task; recognise similarities anddifferences in his/her own work andthat of peersUse digital camera to record progressand take pictures of the finishedproduct29

Visual ArtsConstructionThe student should be enabled toLooking and respondingParticipate in the open-endedexploration of structures that areeasily accessible and close at hand;doll’s house and furniture, toy buildings,model farms, train setsLooking and respondingInvestigate and recognise the materialsused in the creation of natural andmanufactured structures; participate insensory tour of the school building/publicbuilding: reach out and feel the texture ofbricks, stone, marble, glass, metal, cement,pebble dash, wood, make crayon rubbingsof the various materialsLooking and respondingBegin to explore how differentmaterials may be used in theconstruction of homes; own homes,homes of animals. (Integration:Geography—a sense of place)• look at and communicateabout structures in theenvironmentCommunicate response to whathe/she can see/ touch/ feelLook at and investigate structures inthe school environment; decide howmany pieces were used to make a table,a swing, a ladderExamine familiar structures around theschool and locality; identify materialsused to make them, how they move/workInvestigate commercially producedmask and puppets or those on displayin galleries/museums; take photographsof each other wearing masks,communicate about colour, texture,materials, make links with their owndesignsLook at photographs of natural andbuilt structures; look at interesting/unusual buildings, communicate aboutmaterials used, select structure fromenvironment as stimulus for group project30

Visual ArtsFabric and fibreThe student should be enabled toCreating in fabric and fibreInvestigate a wide variety of materials;look, feel, smell, pull, twist and smooth,hold fabric up to the light, listen to thesounds made when fabric is crumpled ortorn, respond negatively or positively todifferent texturesCreating in fabric and fibreGather together favourite pieces ofmaterials; discover how different texturesfeel and how they compare when puttogetherCreating in fabric and fibreIndependently sort and match fabricand fibre according tocolour/texture/strength/heat/ability toabsorb water/possible uses; fabrics thathave interesting textures: knobbly, shiny,glittering, silky, corded, wispy, and fibressuch as cotton, nylon, Lurex threads, wool,string, rope, raffia, grasses, straw andtwine• explore and discover thepossibilities of fabricInvestigate open-weave fabric; removingthreads of fibres from hessianMake scrapbooks of favourite swatchesof materials• make fabric collagesPlace fabric pieces on a gluedbackground; student makes guideddecisions, with adult offering a limitedchoice of collage items, and sticks fabricpieces on in a random fashionExplore collage, with the emphasis oncolourDevelop a colour theme using fabrics,fibres, beads, and buttons; use glue-stickor paste to fix materials to sheet ofpaper/base, asking for assistance ifrequiredMake non-representational collages,with the emphasis on textureDiscover the effects that can becreated by adding a variety of strings,ribbons, or large beadsDevelop awareness of colour, texture,shape; choose, arrange and rearrangematerials to create patterns31

Visual ArtsFabric and fibreThe student should be enabled toCreating in fabric and fibreMake puppets using fabric and mixedmedia with physical and verbalprompting from adult; sock puppets,paper bag puppetsCreating in fabric and fibreDress up a life-size drawing ofhimself/herself using old clothesCreating in fabric and fibreMake representational pictures, usematerials to represent what has beenobserved/experienced; self-portraits,landscapes, using pictures andphotographs as a stimulus• construct with fabricand fibreMake a costume for an imaginarycharacter by pinning/pasting/staplinglarge fabric strips together/to items ofold clothingMake large 3-D structures using fabric,fibre, and other mixed media;a scarecrow for school garden, props fordrama, imaginary characters from stories,songs, television• change the surfaceof fabricsMake random prints on fabric usingpaint, sponges, brushes, and foundmaterialsDraw, paint or print random or regularpatterns onto fabric using waxcrayons, fabric paints and inkMake resist patterns on fabric usingstencils and paint/dye; makecurtains/wall hangings for common area,backdrops for drama• experiment further withcolour, pattern and textureusing fabricExperiment with the technique of tiedyeing;knotting fabrics with string orrubber bands, with verbal and physicalassistance, dipping in dye and removingties when dry, reacting with interest to thecolours and patterns createdExperiment with different ways ofdyeing fabric; investigate tie-dyeingfurther, adding further ties for morecomplex effects, using two or morecolours, making home-made dyes fromfruit and vegetables/ other foodstuffs(coffee, blackberries)Experiment with batik; paint randompatterns with melted wax onto fabric(under adult supervision) and use homemadeor manufactured dyes to dye thefinished product (wax is brokenoff/removed by adult with warm iron)Explore batik further using melted waxto draw representational pictures andby using several stages of waxing anddyeingCreate patterned and printed designson fabric using more complexprocedures, such as silk-screenprinting; observe adult’s/artist’s use ofmaterials and tools, show awareness ofthe sequence of activities, participateactively in the procedure with verbalprompting from adult32

Visual ArtsFabric and fibreThe student should be enabled toCreating in fabric and fibreExperiment with overlapping andsticking strips of transparent crepepaper/Sellophane onto cut-out framesto create the effect of stained-glasswindows; holding the frames up to thelight to observe the colours created,display on windowCreating in fabric and fibreExperiment with tying and knottingfabric together; make a hanging ofmaterials he/she likes by joining themtogether, adding decoration with buttonsand sequinsCreating in fabric and fibreExplore weaving using a standard loomwith a string or yarn warp• create new fabricsExplore weaving, using strips of paperand fabric and a range of large-scalelooms; using irregular over-undermovements with his/her fingers throughplastic garden netting/ chicken wire,seeking verbal or physical assistance asnecessaryExplore weaving further using a widerange of fabric and fibre (string, plasticbags, ribbon, grasses) and looms(a bicycle wheel, old picture frames)Weave strips of paper through slit cardor paper to create a ‘mat’;using irregular over-under movementsand progressing to following a particularpattern such as weaving ‘ over-one,under-one’Discover how weaving can be furtherdeveloped; using two or more colours,weaving different patterns(over–two/under-one), incorporatingdecorative items into the fabricWeave thread/wool using a bodkin/needle through loosely woven fabrics;make a wall-hanging33

Visual ArtsFabric and fibreThe student should be enabled toLooking and respondingLooking and respondingLooking and responding• look at, handle andcommunicate about avariety of fabrics and fibresRespond positively or negatively todifferent materials and textures in thedressing-up box; bright, shiny, soft, rough,scratchy, warm, cool, fine or thickly wovenHandle and investigate a range ofeveryday materials; curtains, towels,dishcloths, ropes, items of clothing andtrimmings (lace, ribbon, cords, buttons,sequins)Have opportunities to handle differentfabrics and items of clothing;communicate preferences for differentcolours and patterns during shopping tripsto town/shopping centre• look at and communicateabout his/her workShow interest in his/her own work;seeking help appropriatelyMake a choice between pieces offabricsRespond with pleasure or displeasureto the finished productUse language to communicate needs inrelation to materials or tools thathe/she requiresShow confidence and enjoyment in thetask at hand; copy adult’saction/sequence of actions with materialsand toolsCommunicate about the colours usedto create shapes, textures andpatterns, about his/her favourite pieceCommunicate about his/her work;describe verbally/non-verbally how eachpiece was made, what materials and toolswere used, what part he/she enjoyed mostRespond appropriately to commentsmade on his/her workDecide what to include in personalportfolio.34

Visual ArtsFabric and fibreThe student should be enabled toLooking and respondingLooking and respondingLooking and responding• look at and communicateabout the work of otherstudentsRecognise own work in class displaysIdentify work created by otherstudentsIdentify colours and materials used byother studentsCommunicate and interact with othersduring task; recognise similarities anddifferences in his/her own work and thatof peers, participate actively in creatinggroup work, contribute to decision-makingprocessShow curiosity about other students’workRespond to questions about otherstudents’ workCommunicate with peers about thework in progressRecall and communicate about theactivities that the group engaged in andeach student’s role in the process;materials chosen, how constructiveproblems were resolved(Use digital camera to record progressof individual students and take picturesof the finished product for discussionafterwards)• look at and communicateabout fabric craftsHave opportunity to handle dressingupcostumes and masks made fromdifferent fabricsCommunicate response to whathe/she can see/ touch/ feel; showsurprise and pleasure at colour andmovement of a Chinese dragon costumeHave opportunity to handle/look atitems of clothing from differentcultures and different eras; explorewoven, knitted, embroidered and otherfabricsHave opportunity to explore craftworks in art galleries and see a weaverat workCommunicate responses to wallhangings /tapestries/collage work byartists, making links with his/her ownpieces of artShow preference for one craft itemrather than anotherAttend to detail in artists’ worksObserve artists’ use of colour;bright/dark colours35

PHYSICAL ACTIVITIES• Activities to develop hand-eye co-ordinationand manipulative skills• Develop control of materials, tools andtechniquesMATHEMATICAL SKILLS• Estimating• Measuring• Predicting• Investigating• Awareness of line, colour, shape, pattern, space and formPERSONAL AND SOCIAL SKILLS• Opportunities to interact, co-operate and participate ingroup projects and activities and with people in thecommunity• Looking at and responding to the work of othersDoes your visualarts curriculuminclude theseelements?COMMUNICATION SKILLS• Opportunities to communicate verbally and nonverballyideas, likes and dislikes, work in progress• Talking, listening, observing, classifying andrecording activities• Responding to photographs, pictures and3-D modelsUSE OF ICTVISITS TO OR FROM CRAFTS PEOPLEIN THE COMMUNITYAESTHETIC AND CREATIVE SKILLSWhat else might you include?• Opportunities to handle a wide range of visually stimulating materials• Opportunities to explore and develop the senses through the handling ofcraft pieces and the observation of works of art• Designing and making activities in 2-D and 3-D form• Visual discrimination and perceptual development• Trips to art galleries and exhibitions36

2B OOKV I S U A L A R T SCollageA visit to an art gallery/exhibitionEXEMPLARS37

E X E M P L A RV I S U A L A R T SCollageObjectives1. The student will explore a range of fabrics with avariety of patterns and textures and make choicesbetween different materials.2. The student will sort and arrange pieces ofmaterial on a given outline of a tree.3. The student will follow instructions to cut andpaste the collage pieces.4. The student will respond to his/her own workand communicate about the work of others.5. The student will list the steps involved in thecollage-making process.6. The student will attend to the visual, aural andtactile elements of the collage-making process.ResourcesSmall branches with leaves, a wide selection of paperand fabric, glue, crayons, brushes, scissors, large sheetsof paper, a digital cameraLesson preparationA nature walk is undertaken in the schoolgrounds/local park/local wood to observe thedifferent trees.This could be linked in with an autumnor spring theme. Students are encouraged to observeand feel the texture of the leaves and tree trunks.Bark rubbings may be taken and loose bark, twigs andleaves collected.A digital camera may be used to takepictures of the trees to use as a reference in thecollage activity.Making the collageIdeally, the art lesson will take place immediately afterthe walk. Students discuss the colours and texturesof the leaves and branches and choose between arange of small pieces of coloured, textured fabrics.Students may make individual trees or work togetheron a larger scale tree.They observe the teachercutting out an outline of a tree and model theprocess of arranging and sticking.They sort and rearrangethe pieces within the outline of their owntree trunks.They may choose to cut the material intosmaller pieces and may need some assistance withthis. Some may choose to incorporate the collectedleaves and twigs into their art piece.Concluding activityStudents respond to their own work, communicatingabout the colours and textures chosen and the stepsinvolved (first.., next.., then…). Photographs may betaken of the finished products and the student labelshis/her work, with or without assistance. Using thedigital camera, a class booklet may be made outliningthe different stages involved — the nature walk,exploring the textures, choosing, cutting and stickingthe materials and finally photographs of the studentsthemselves beside their works of art.38

E X E M P L A RV I S U A L A R T SA visit to an artgallery/exhibitionA visit to an art gallery may be used as a stimulus foran art project or as a follow up to work in theclassroom. Planned carefully, the trip can become avaluable learning experience.Before the visitIt will be important to visit the gallery beforehand inorder to• ensure that the exhibition includes pictures oritems to which the students can respond and relate.• check accessibility for wheelchairs, the availabilityof a toilet and changing facilities if necessary,refreshment area or an area to eat lunch, parking,distance from the bus stop, etc.• meet with arts officer and prepare the gallery forthe visit by briefing him/her on thecommunication and learning needs of thestudents and the numbers of students involved.• gain background information on the exhibition—purchase reproductions/postcards/ large posters,if available, of particular paintings for preparatoryand follow-up activities. Some galleries may allowteachers to take a limited number of photographsif the purpose of the activity is explained.• identify key paintings or exhibits.Students will also need to be briefed about what toexpect and to understand appropriate behaviour—norunning, touching paintings, appropriate noise level.They should have opportunities to examine thereproductions or photographs so that they knowwhat to look out for.39During the visitStudents take part in an activity to locate the keypaintings using the reproductions as a guide.They arealso given the opportunity to explore and respond toother pictures.The teacher will need to judge howmany works of art to examine and to watch out forwaning attention.The arts officer may say a fewwords about the different paintings or exhibits. Ifgiven permission, students may take a photograph oftheir favourite piece. Some students may find theexhibition too distracting and will need directedquestions on each exhibit to remain on task.Paintings—what colours can you see in the picture?Do the people look happy/sad? Is itsunny/rainy/windy? Are there flowers/trees? Whatelse is there?Sculpture—is it made of stone/wood/clay/metal?After the visit• Students could choose to focus on a particularexhibit or painting and with the teacher’s assistance,interpret it in his/her own way or copy it using thesame or different colours/media.This work couldbegin as soon as possible after the visit but bespread out over a number of sessions or weeks.• The teacher could focus on the style of aparticular artist, for example printing, usingparticular materials or fabrics or using animals orflowers as the stimulus.• Students could have experience of working onthe same size or scale as the artist.• Students could assist in preparing a display withphotographs, reproductions and their own writtenor drawn memories of the visit.• Students could write a ‘thank you’ letter to thegallery or arts officer.

2B OOKMusicINTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43SCHOOL PLANNING FOR MUSIC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47CLASSROOM PLANNING FOR MUSIC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53MUSIC EXEMPLARS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7741

2B OOKMusicMusic has the powerto evoke a natural responseINTRODUCTIONMusic is a highly motivating force for many studentswith general learning disabilities. It can help to elicitresponses from students whose interest is oftenquite difficult to arouse and is enriching and liberatingfor those who find academic work difficult. Enjoyingmusic, and enabling all students to participate to thebest of their ability in a wide range of music-makingactivities, will be central features of the musiccurriculum.The curriculum comprises three strandsas follows:• Listening and responding,• Performing• Composing.Students listen to and respond to a wide range ofmusic as they move along the musical continuum.Responses will occur in various ways, for examplemoving, playing percussion instruments, dancing,signing and verbalising.They will have opportunitiesto create music, using a range of sounds andinstruments, and to respond to a wide spectrum ofmusical experiences.The students will enjoyexploring sound, playing with simple musical ideas andexperiencing the satisfaction of working alone orwith others to create their own sounds.Song singing and the playing of instruments, pitchedand unpitched, constitute important vehicles formusical expression and creativity and are centralaspects of the music curriculum.Music is a hugely versatile subject area, comprisingmany and varied elements.The ways in which musicalactivities are structured and presented, in order topromote musical growth in individual students, willvery much depend on their varying needs and abilities.The main aim of the music curriculum is to developthe student’s musical potential, and to develop skillsthat students will carry into adult life, and to providerecreation, relaxation and entertainment. However,music may also be used to support the developmentof skills in other areas of the curriculum.Communication and languageMusic seems to have the unique power to evoke anatural response in students of all ages and abilities.It provides the student with an alternative form ofcommunication as well as opportunities for socialinteraction. It can provide some of the listeningexperiences the student needs to develop language.If the student is interested in the sound of music,he/she will be listening more carefully, and this is oneof the first steps towards using language.When43

students are at the early stages of languagedevelopment, music can encourage them to exploreand imitate sounds. Participating in simple one-to-onemusical games with an adult will give young studentsexperience of ‘conversation.’ Short-term memory isdeveloped through echo singing and clapping, whilethe rote learning of songs helps to extend thecapacity of long-term memory.When the studentbegins to use words, music will help to emphasiseintonation and rhythm and control breathing. Songs,jingles and rhymes expose the student to new words,phrases and concepts, for example songs aboutanimals, activities and the seasons.MathematicsMany aspects of the music programme can be linkedwith mathematical activity. Both listening andrecording activities can help develop one-to-onecorrespondence, sound-making allows students toexplore sequencing and patterns, and counting skillsare reinforced though number songs.SESEThrough listening to a wide range of music, studentsare enabled to develop some awareness of their ownand other cultures. Links with science are found inthe area of sound exploration. Music is an importantpart of our historical and cultural inheritance. Irishmusic can give students a flavour of the culture andtradition of this country, while music from othercountries can help to foster appreciation of thewider worldSPHEMusic develops social skills by providingopportunities for students to interact with theteacher and with each other. Participating in groupgames and activities enables the development of skillssuch as turn taking, co-operation, tolerance, and awillingness to work with others. Because this is anarea where students are likely to achieve success,musical activities can give them a sense ofachievement.Through allowing the student to seehis/her efforts valued and enjoyed by others, selfesteemand self-confidence are enhanced. Studentsalso develop a greater awareness of self throughlistening to and participating in action songs aboutthe body.Cross-curricular skillsMusic lends itself well to integration with othersubjects in the curriculum and can be used toreinforce skills and concepts learned in other areas.For example, in plucking the rubber-band strings of ahome-made guitar, the student is exploring musicalsound but is also developing muscular co-ordinationand the ability to perform fine-motor tasks.44OVERVIEW OF CONTENTContent strandsThe content is presented in three strands:• Listening and responding• Performing• ComposingListening and respondingThe Listening and responding strand places emphasison the student becoming an ‘active listener’. Forstudents with moderate general learning disabilities,becoming aware of the existence of sound in theimmediate environment and learning to make senseof sounds heard may be a starting point for manystudents.Further interest and attention is developed byencouraging the student to listen to range of soundsources, from ordinary household sounds to a varietyof percussion and melodic instruments, as well asmusic in different styles and traditions.Discriminating between various sounds and learningabout the musical elements is introduced in anenjoyable and informal way. Students are enabledto make choices, experiment and communicateabout music.PerformingThe Performing strand places emphasis on theimportance of active music making.While using thevoice to make music is encouraged and developed asfar as possible for students who vocalise andverbalise, many students will depend on usinginstruments in order to make music. Familiar songs,

hymes and melodies are used to informally build upfamiliarity with the musical elements and performingis seen as a joyful and non-stressful way of makingmusic as an individual, as a group or as a whole class.The excitement and status of performing for others isnot neglected, but a performance is seen as acelebration of each student’s individual achievementrather than a stressful effort to product a flawless‘production’. Performances should be recorded wherepossible, as many students will need this feedback inorder to remember and understand the event.Some students may reach the early stages of musicliteracy.This involves following simple symbolicpatterns for short, familiar rhythms.ComposingAll students should be enabled to experiencethe satisfaction of creating their own sounds.For some students this will necessitate physical helpfrom an adult.This will require sensitivity on the partof the adult in knowing when to step back and allowthe student to take over. Listening to a wide rangeof musical styles and playing a wide range of musicalinstruments will inspire students to make a firsttentative effort at filling in a gap, adding to a familiarsong or experimenting with making sounds of theirown. Electronic or battery operated instrumentsoften give a big reward for small effort and can bevery useful in enabling a student to experimentwith sounds.Graphic notation with attractive or recognisablesymbols relating to the song can be used to recordideas. Electronic recording that gives instant feedback(such as Big Mac or tape recorder) should also beused to encourage further effort.THE MUSICAL ELEMENTSMusical elements are the building blocks of music andare interrelated in any musical activity.A fulldescription of the musical elements is available in thePrimary Curriculum. Students with moderate generallearning disabilities would not be expected toarticulate these elements but should be guidedtowards developing and showing their understandingthrough listening, observing, singing, instrumentplayingand moving.PulseA sense of pulse can be developed by enabling thestudent to keep the beat of familiar songs ormelodies. Gradually, the student listens, plays or singswith an internalised regular pulse.DurationListening to, imitating, recognising and performingrhythm patterns in chants or songs develops thestudent’s sense of duration.TempoListening and responding to music that changes inspeed helps the student to develop a sense of tempo.Performing songs like ‘The Runaway Train’ could alsobe used to illustrate the power of tempo.PitchListening to and imitating short repetitive melodieshelps the student to develop a sense of pitch.DynamicsSetting the scene for songs will enable the studentsto develop a sense of dynamics. For example,darkening the room and pretending to sleep beforesinging a lullaby will enable the students tounderstand the need for playing or singing softly.Marching about with great enthusiasm will set thescene for loud music.StructureStructure is achieved through the use of repetition,pattern and contrast. Many group awareness songs havea very repetitive pattern with the inclusion of students’names.A sense of structure may also be developed bydiscriminating between verses and a chorus.TimbreStudents should be enabled to become aware of andrecognise sounds with a marked difference, such as adrum and a glockenspiel. Students will also need tonotice the difference between different voices.TextureTexture is concerned with layers of sound and withhow sounds are put together, ranging from a soloinstrument to several sound sources together.Listening to and participating in group performanceswill enable the students to develop a sense of texture.StyleAll musical activities in the curriculum lead towardsdeveloping each student’s individual sense of style andtaste and enable the student to develop an increasedawareness and enjoyment of making music.45

2B OOKSchool planningfor musicMuch of the advice in the mainstream curriculum isapplicable when planning for students with moderategeneral learning disabilities.The following sectionoutlines some additional aspects of planning that mayneed to be considered when planning for this groupof students.CURRICULUM PLANNINGThe purpose and nature of musicin the schoolA useful starting point for discussion is to considerthe nature of music itself and how it contributes tothe full and harmonious development of the studentand in particular the student with special needs.Theway in which music is defined affects the decisionssurrounding the content of the curriculum, theapproaches to teaching and assessing, the allocationof time, and the use of resources.Breadth, balance and coherenceAs the music curriculum allows for considerableflexibility for the school in teaching approaches andcontent suggestions, planning will address theindividual needs of the school, the teachers, and thestudents. Issues to be considered by each school willinclude decision-making about the suitability of47learning outcomes in each of the three strands fortheir students; ensuring that each new learningexperience uses previous knowledge as the basis forthe elaboration and progressive development ofmore complex skills and concepts, and providing forcontinuity and progression as students move fromteacher to teacher and from class to class. Issues tobe addressed by class teachers will include the rangeof listening excerpts, the repertoire of songs, gamesand instrumental music, recording techniques, and theextent to which students will be able to participate incomposing activities. For students with moderategeneral learning disabilities much of this activity willbe adult-led.Where the student is integrated into amainstream class, the teacher will need to considerhow he/she will be facilitated in participating inactivities with more able students.The primary school music curriculum should beregarded as an invaluable source of information forteachers and schools who are searching for suitablelistening material and information on a wide range ofresources.TimeThe quality of the learning experience is of fargreater importance than the quantity of timeallocated to it. For students with a limited attentionspan, work planned must be of short duration but

happen on a regular basis. Students need plenty oftime to practise and revisit skills. In devising a schoolplan it will be more useful to consider the timeallocated to music over a month or a term and toidentify opportunities for integration in advance.Teachers may also decide to concentrate on oneaspect at a time, for example dance, makinginstruments or concert performances.Approaches to teachingApproaches to teaching music can vary greatly fromschool to school; and while students benefitenormously form the different strengths of particularteachers, agreement should be reached at wholeschoollevel on the type of approaches to be taken inareas such as instrumental work and appropriatesinging and listening material. For example, whereolder students revisit activities, lateral progressionshould be ensured through the use of ageappropriatematerials. Sound-making activities mightinclude work with more unusual instruments, such asdidgeridoos.Multisensory approachesFor students with moderate general learningdisabilities it is recommended that lessons bedelivered in a multisensory manner.The school planmay highlight ways in which this can be done withregard to music. Points for consideration can includethe following:• ensuring that visual displays be made interestingand sufficiently clear to the student; use of colour,flipcharts, felt boards or magnetic boards formusical notation, balloons/moving puppets assignals to start/stop playing, overhead screensattached to computer, larger print/pictures forstudents with visual impairment• ensuring that music and sounds heard are of goodquality; good quality instruments andrecording/playing equipment, awareness of thevalue of feeling vibrations to the student withhearing impairment• enhancing musical activities by adding tactileexperiences; tactile spider for role play in ‘LittleMiss Moffat’, students being enabled to identifymusical instruments by touch• using taste or smell as an aid to understanding thecontent of rhymes and songs; smelling/tasting bunswhen learning ‘Five Currant Buns’, smellingflowers during a lesson with a garden theme suchas ‘In an English Country Garden’• using movement and dance to enhance the musicprogramme; students stretching up high for highpitched notes, body percussion, marching,waltzing, moving quickly or slowly with musicaltempo.It might be an idea, when drawing up a list of suitablesongs and musical excerpts for use in the school, toinclude some suggestions for multisensoryapproaches where possible.ORGANISATIONAL PLANNINGDeveloping a shared senseof purpose for musicDeveloping music in the school involves consultationand collaboration between all the partners ineducation. Good communication helps to develop acommon purpose and ensures the involvement ofboards of management, parents, teachers, specialneeds assistants, and other professionals from supportservices, such as speech and language therapists andeducational psychologists.There is a special need tosupport class teachers, whether in mainstreamschools or special schools, who face the sometimesdaunting task of teaching music to students who areat very different stages of development and who havemultiple disabilities.Planning for music in the school should• ensure that the curriculum meets the needs ofthe students• result from clear decision-making among the staff• seek to utilise the interest and aptitude ofindividual teachers to the full• provide real help and support for the teacher• involve review and evaluation• determine how the plan will be communicatedfully to the partners in the educational work ofthe school• be supported, facilitated and reviewed by theboard of management.48

The principal and teachersThe principal can provide the initial support formusic in the school by raising awareness of itsimportance as an integral part of a student-centredcurriculum. He/she should also ensure that• teachers are supported in their teaching bycolleagues within or outside the school. It may beuseful for mainstream principals to set up linkswith other schools where students are integratedand to liaise, where possible, with principals andteachers from special schools with a view tosharing ideas and expertise• all teachers in the school have the knowledge andskills to work with students with general learningdisabilities in the area of music, by encouragingteachers to participate in in-service training. Newideas, approaches and fresh perspectives can begained from guest speakers invited to addressmembers of the staff.Attendance at local, regionaland national meetings will also renew energy,interest and ideas• the school promotes a balance, keeping in mindthe particular learning needs of all its students, oflistening and responding, performing andcomposing activities• sufficient time is allocated to music education inall classes and that a timetable for specificresources is drawn up.The role of the class teacher will be to• devise a programme of work that seeks to meetthe musical needs of all the students in the class• establish a musical environment that embraces theschool’s approach to music and that links learningin this area with other areas of the curriculum• provide a range of musical activities through avariety of approaches• facilitate, motivate and respond to thestudents’ work• evaluate the programme and assess thestudents’ work• communicate information with parentsabout students’ progress.Since music is an essential aspect of an integratedand student-centred curriculum, the class teacher isgenerally the most suitable person to presentrounded musical experiences to the students.The teacher has the skills to plan, question, organiseand motivate students as well as an understanding oflearning and development. He/she also has a detailedunderstanding of individual needs and abilities.A member of the staff may have a special interestor expertise in music and may wish to takeresponsibility for the general organisation of theteaching of music in the school. Some special schoolshave access to music therapists.A music specialist isof course invaluable as a consultant, and if a teamteaching approach is adopted, he/she can spread skillsand knowledge and give support to teachers who areunsure of their musical ability.ResourcesTo implement the music curriculum, schools willrequire high-quality musical instruments andequipment.These may include• hardware and software, such as tape recorders,CD players, audio and video recordings, computertechnology and keyboards49• percussion instruments and melodic instruments• teachers’ books, song collections,‘ideas books,’approved web sites, etc.It is important to match the instrument to thedevelopmental and physical abilities of the students;and suitable instruments or adaptations for studentswith various conditions could be outlined in theschool plan.While every student is individual in theirabilities and limitations, broad guidelines may beuseful in establishing a starting point from which theteacher can work (for example padded handles onbeaters for students with limited gripping ability, largeplaying surface on drums or tambours for studentswith limited motor skills). It is possible to get (or tomake) visually stimulating instruments that will helpto motivate students with limited concentration skillsor a short attention span (for example transparentriver stick with colourful contents, finger cymbalswith puppet-like faces).Instruments may need to be adapted or selected tosuit the needs of individuals: for example, studentswith poor co-ordination may require a large playingsurface or an instrument that can be played with onehand only.A student who has a physical disability mayneed suitable support for an instrument, aninstrument that is sensitive to touch, or one that isspecifically adapted to his/her needs.A student with ahearing impairment will need an environment free ofbackground noise and access to instruments in whichvibrations can be felt, such as a drum or stringedinstrument. Students with visual impairments willbenefit from access to instruments that can be playedby touch. Graphic illustrations of songs or rhythmpatterns should be larger than usual or in tactileform. Keyboards and synthesisers give access to awide range of sounds and sound effects.The use of

uilt-in features can develop awareness of manymusical elements— pulse, tempo, rhythm, etc.—andbe used to explore rap, tango, salsa, or rock.Automatic accompaniments can also be usedeffectively by teachers or students with limitedperformance skills to add an extra dimension toclassroom singing.ICT allows many students to participate as fully aspossible in the music curriculum.Access to computerequipment and software, to switches and modifiedroller-balls, which help students to select andmanipulate sound, enable them to participate incomposing and performing activities.Advances inmusic technology open up a range of music-makingopportunities and experiences for students withmoderate general learning disabilities. Multimediatechnology offers high-technology support for arange of graphic, textual and sound sources that cangreatly enhance understanding in music.Throughusing CD-ROMs or the internet, students can haveopportunities to see and hear various instruments,especially those that may not be readily accessible forthem in their own environment, such as orchestralinstruments or traditional instruments from othercountries.They can experience the delight ofexploring sound through electronic media, acquiringskills and concepts at their own rate, recording theirimprovisations and compositions, and reviewing theirwork alone or in collaboration with others.Through the use of web sites, schools, classes andindividual students can share written, aural and visualaccounts of their musical traditions, performances,compositions or preferences in music. Liveperformances can be received and transmitted toother audiences, thereby stimulating immediate,focused listening and purposeful, active responses.Health and safety aspectsThe school plan should include guidelines forteachers on how to ensure the safety of the studentsduring all musical activities. Consideration may needto be given to the following:• Students with moderate general learningdisabilities often have attendant problems in theareas of balance and co-ordination.The schoolplan should include guidelines for teachers onhow to ensure the safety of the students duringmovement and dance activities.There may be aneed for the use of mats (to ensure a softlanding) or the allocation of classroom assistantsto monitor the movements of particular studentsto ensure their safety during these activities.Students who are extremely active or who havebehavioural difficulties will need plenty of space inwhich to move and may need individualsupervision. It may be necessary to allocate aspecific spacious area in the school for musicalmovement and dance, or to limit the number ofstudents involved at any time.• Safety in the transport, use and storage of musicalinstruments should be discussed. It may bedecided that transporting instruments betweenthe storage area (if instruments are storedcentrally) and the classroom should be theresponsibility of teachers and support staff only,or that specific criteria regarding the age or abilityof students selected for the task will be outlined.• Hidden dangers may be posed by the materialsused to make home-made instruments. Studentsmay be tempted to explore these instruments byputting them in their mouth or pulling them in anattempt to see what they contain. For instance,it will be extremely important that materials usedto make shakers are tightly sealed away so thatthere is no possibility of swallowing them. Bothhome-made and purchased instruments should beparticularly sturdy and well-made.• The plan should incorporate guidelines on thesafe use of electronic and technical equipment.Students with perceptual difficulties may notnotice an electric wire in their path if they areconcentrating on achieving a separate objectiveand may have difficulty remembering safetyguidelines, even if they are repeated often.Equipment should be stored safely once a lessoninvolving its use has been completed.• Teachers bringing their class on a musical outingshould be referred to the section of the schoolplan that deals with safety on school trips tooutside venues.50

Identifying support for implementationThere is also a wealth of information in the primaryschool curriculum on the many agencies in thecommunity that are available to offer support toschools: libraries, local music organisations,professional performers, community musicians andartists in residence, and national bodies.The mostimmediate group to be sought by any school will bethe parents and families of the students.Parents play a vital role in nurturing students’ interestand development in music throughout their schoolyears.They can also contribute effectively to music inschools by attending school or classroom events,playing the role of critical listeners or supportiveaudience members, or assisting in the supervision andmovement of students.The skills of parent-musicianmay be included when planning for live performances.All parents need to have effective channels ofcommunication with the teachers who work directlywith their children. One of the difficulties thatparents of students who attend special schools faceis that these schools are very often outside theirlocality, and students travel to and from school inbuses. One way of coping with this issue is to sendnewsletters home that give an outline of the workstudents will be covering in music. Lists of songs,including the words, might be included and from timeto time tapes made of students singing these songs.A book of photographs might also be made showingsome of the typical activities that may be undertaken,such as music and movement sessions, or studentssinging and acting out nursery rhymes. Many schoolsare developing their own web sites, and this providesan alternative method of informing parents andothers about developments in the area of music.51

2B OOKClassroom planningfor musicMuch of the advice in the mainstream curriculum isapplicable when planning for students with moderategeneral learning disabilities.The following sectionoutlines some additional aspects of classroomplanning that may need to be considered.CURRICULUM PLANNINGThe school plan in musicThis will include a rationale for music in the school,the aims and objectives of the curriculum within thethree strands, suggested approaches to teaching andassessing, the available resources, timetables, andother related school policy matters.The teacher willneed to refer to the school plan in designing his/herclassroom programme.Stages of development outlined in the music tablesshould not be seen as a ladder, with students startingat the first rung and progressing until they reach thetop. Neither are they check-lists against whichstudents are measured.The stated learning outcomesare there to help teachers support students’ learningby being aware of their interests and needs atdifferent stages in their development. Students of thesame age may show a marked variation in the pace atwhich they move through the learning outcomes.Some older students will continue to benefit fromactivities at the earliest stages, while youngerstudents will exhibit elements of later learning.53Needs of the students in the classIn planning a music programme for students withmoderate general learning disabilities, teachers willneed to take into consideration the fact that studentshave very individual learning needs. However, ofparticular relevance to this subject area will belimited attention span, lack of concentration, shorttermmemory difficulty, and a limited ability intransferring knowledge gained in one situation to anew and unfamiliar situation.The challenge forteachers will be to balance the student’s individualneeds with his/her right to a broad and balancedcurriculum.The previous section referred to ways inwhich instruments can be adapted to suit studentswith differing needs.Teachers may also need tomodify their approaches to teaching.Approaches to teachingThe teacher appears to be the most importantelement: enthusiasm, musical sensitivity and organisingability are just as important as musical ability,although where this is present in the teacher itmakes for efficient and imaginative teaching.If learning activities are to be made meaningful,relevant and achievable for all students, it is the roleof the teacher to find ways to respond to thatdiversity, and this is true whether or not the students

have special needs. Students learn best if they areactive participants in their learning and if content ismeaningful to them and related to existing knowledge.It is important to remember that, generally speaking,students with special educational needs respond toteaching approaches that are also effective for theirpeers.What will differ is the degree of assistance andsupport that may be given. It will be vital that sharedplanning meetings take place with all adults whowork regularly with the students, with each memberof the team being clear about his/her role in themusic lesson. Once a programme has been planned, aspecial needs assistant can facilitate theimplementation. Indeed many early musical activitiesare best done with a one-to-one relationship of adultand student. It may be useful to write down simpleguidelines for parents, classroom assistants orvolunteers, which can be used as reminders orprompt cards.Progress will occur where outcomes are clearly statedand focused teaching takes place. Because progressmay be slow, teachers and adults who work withstudents require a considerable amount of patience.Students with moderate general learning disabilitiesneed to go slowly through the stage during whichthey practise and re-experience what is presented tothem.The music corner, if it is well stocked andthoughtfully planned and arranged, can help cater forthis need.The mere availability of materials is notenough: adult interest and support is essential.Wherepossible, displays should enable students to interactwith them—instruments and books to handle andexplore and headphones for listening to recordings.ORGANISATIONAL PLANNINGPlanning a unit of workIn planning units of work for his/her class, the teacherwill be aware of the progress students have made inmusic skills, the songs they have learned previously, andmusic they have been exposed to.They should haveopportunities to work on a one-to-one basis with theteacher, other adult or student but also to participatein group or class activities. It is probably better for agroup session to be too short than too long. Eachteacher will recognise when concentration begins towane.This can vary from day to day and may dependon the mood of the group’s individual members.It will be important that the music session isorganised in a way that allows for uninterruptedexploration and minimises interruptions.Thereshould be a balance between activity initiated bystudents and activity initiated by the teacher.Thestudent should be comfortable and secure and notpositioned so that he/she is visually distracted bymovement or light.The teacher sits or stands so thathe/she can see clearly the face and eyes of eachstudent, and vice versa. Instructions given are clearlyspoken and routine checks made to ensure that thestudent has understood the exact nature of therequest. Students are facilitated in communicatingtheir response to musical activities through facialexpression, gesture, signing, or by selecting an objector picture. Opportunities should be given forstudents to develop anticipation skills; teachersshould provide an environment where musical cuesare given to indicate routine activities and in whichthe beginning and end of activities are emphasised.Some students will not readily concentrate for anylengthy period.Therefore, activities that are plannedwill be appropriate to the level of co-operation andconcentration that can be expected: sounddiscrimination and recall, and songs with repetitiveand predictable choruses.As students mature theyparticipate in sound-making activities with decreasingassistance or prompting from adults.Lesson planningA consideration of the following points will enablethe teacher to tailor the music lesson to the varyingneeds of the students.1. An interesting introduction to the lesson isimportant in order to motivate the students andfocus them as a group on the lesson to follow.2. The teacher should be ready to break down atask into more manageable units.3. What is being taught should be made clear by avariety of means (for example, body language andgestures, writing or drawing on the board,demonstrating on an instrument, putting words,music or pictures on paper or on a recording),making the lesson as multi-dimensional aspossible.4. It is important to give students something to focuson during listening experiences. The focus can thenbe varied during subsequent listening tasks (forexample,‘Can you hear drums in the music?’‘Listen for a boy’s name in the song’ ‘Is the musicfast or slow?’ ‘Name one instrument in the piece’).54

5. Give the students some descriptive language withwhich to describe music they are about to hearand encourage them to add to this after thelistening experience.6. Make the lesson as multisensory as possible (forexample, if there are flowers in the song bringsome in for the students to feel and smell; if thesong mentions food have them smell or taste thisfood as an introduction).7. Relate a song being learned or music being played tosomething in the students’ realm of experience ifpossible.When discussing the place of origin of a song orpiece of music it may be effective to relate thelength of the journey to that country to thelength of a journey the students have made (forexample, much further than Dublin).Work in other subjects on the country of originof various songs and music will help to make themusic more meaningful for the students.When discussing the ‘age’ of a piece of musicstudents may find it easier to understand if theteacher relates it to the age of someone they arefamiliar with (for example,‘older than yourgranny!’).8. Change activities often during a music lesson inorder to avoid a situation where students with ashort attention span lose interest.9. Be firm in transition from one activity to the next.10. Quite often frequent shorter lessons are moreeffective than more isolated longer lessons.11. Closed questions are effective with students whomay have difficulty understanding concepts inmusic.These can be gradually replaced by moreopen ones as their understanding develops (forexample,‘Is the music or sound loud?’ ‘ Is themusic/sound soft?’ ‘ Describe the music or sound’12. In compositional activities it is useful to give thestudents narrow boundaries within which to work,as this helps them concentrate and can result inmore divergent thinking on their part (forexample, a limited supply of percussioninstruments to choose from).13. Get students to use hand gestures to reflectchanges of pitch in songs and musical extracts.This will help them towards a greaterunderstanding of pitch differences.OVERVIEW OF MUSIC CURRICULUMConcepts developmentMusical concepts • A sense of pulse• A sense of duration• A sense of tempo• A sense of pitch• A sense of dynamics• A sense of structure• A sense of timbre• A sense of texture• A sense of styleThe musical concepts listed above are based on themusical elements and will be developed as work iscompleted on the strands and strand units of thecurriculum outlined below.StrandsStrand unitsListening • Exploring soundsand responding • Listening andresponding to musicPerforming • Song singing• Early Literacy• Playing instrumentsComposing • Improvising and creating• Communicating aboutand recordingcompositions55

CONCEPTS DEVELOPMENT INTHE MUSIC CURRICULUMMusical skills and conceptsStudents listen and respond to a wide range ofsounds and music.They have opportunities to be partof a music-making group, to participate in songs,chants and rhymes, and to explore and copy sounds.They show an understanding that sounds can bemade in different ways.They play manufactured andhome-made instruments and develop a range oftechniques.They experience how sounds and silencecan create different moods and effects.Theyimprovise and create their own compositions withgradually decreasing support, working individually andin groups.All students have opportunities toexperience and explore a wide range of musicalstyles and traditions from different cultures.All the musical activities enable the student todevelop an awareness of and sensitivity to the interrelatedelements of music (pulse, duration, tempo,pitch, dynamics, structure, timbre, texture and style).A full description of the musical elements is availablein the Primary School Curriculum. Students withmoderate general learning disabilities would not beexpected to articulate these elements but should beguided towards developing and showing theirunderstanding through listening, observing, singing,moving, and playing instruments.Through completing the strand units of the musiccurriculum the student should be enabled toA sense of pulse• show a steady pulse or beat by keeping time tothe music; marching, tapping, clapping• understand and differentiate between musicwith a steady pulse or beat and music withouta strong beat• discover and recognise strong and weak beats• discover two-beat time (like a march), three-beattime (like a waltz) and 6-8 time (like a jig); identifybeat in moving to musicA sense of duration• listen to and imitate patterns of long and shortsounds• listen to, imitate and perform simple rhythmpatterns that include silencesA sense of pitch• understand and differentiate between highand low sounds• understand and differentiate between highand low sounds, similar and different• imitate melodiesA sense of dynamics• understand and differentiate between loud andsoft sounds …getting louder, getting softer• select appropriate levels of loud and soft inperformingA sense of structure• understand ‘start’ and ‘stop’• understand beginning, middle and end• identify an obviously different or repeated sectionA sense of timbre• play with and explore a variety of sound-makingmaterials• differentiate between obviously different soundsand instruments; triangle, drum• classify sounds by the way they are produced• classify instruments by the way the sound isproduced• identify families of instrumentsA sense of texture• listen and respond to sounds from one sourceand from more than one source• recognise differences between single sounds andcombined sounds when listeningA sense of style• listen and respond to music in different styles.56

The student should be enabled to• listen to and identifyfamiliar sounds in theimmediate environmentfrom varying sourcesEnvironmental soundsBecome aware of and respond tofamiliar incidental sounds; look up whenfootsteps are heard/when name is called,get coat when bell is rung for home time,enquire by gesture or words aboutunfamiliar soundsExperiment with sound-makingequipment/toys.Track and locate thesource of sounds; participate in gamesof finding the sources of sounds withhidden musical toysMusicListening and responding: Exploring soundsEnvironmental soundsListen to, identify and communicateabout, with increasing awareness,sounds in the environment; use signs,words or pictures to identify real orrecorded sounds: telephone, ambulance,alarm clock, rain falling, car horns blowing,dogs barking, babies cryingEnvironmental soundsListen to and communicate about awidening variety of sounds, showing anincreased understanding of how soundsare produced; explore different methodsof making sounds: a rubber band stretchedacross a cardboard box/ marbles droppedonto a hard or soft surface/ a bottle that isfull of water, half filled or emptyParticipate in more challenging listeningactivities; ‘Kim’s game’: two/three soundsmade by adult, sequence repeatedomitting one sound; students identifymissing soundListen to and communicate aboutrecorded ‘sound stories’• describe sounds andclassify them into soundfamiliesRespond to and identify different typesof sounds made by humans; crying,laughing, talkingSort, by sound, containers of stones,sand, shells, pasta, riceRecognise and classify sounds usingdiffering criteria; people machines,weather, animalsClassify and describe sounds within anarrow range;different types of mechanical sounds:lawnmower, drillbird sounds: seagulls/pigeons/jackdaw/starling57

The student should be enabled to• recognise anddemonstrate pitchdifferencesEnvironmental soundsIdentify and match sounds that are thesame; sounds made by the same object orinstrumentIdentify sounds that are the same butdifferent; doorbells, school bell, telephoneringingMusicListening and responding: Exploring soundsEnvironmental soundsRecognise and demonstrate pitchdifferences; identify high, low and inbetweensounds made by different objectsor instrumentsExperience periods of silence beforesound is introduced to heightenawarenessEnvironmental soundsRecognise and demonstrate pitchdifferences; notes on a keyboardinstrument: higher than, lower than, same,different, repeated• recognise the differencebetween the speakingvoice and the singing voiceand use these voices indifferent waysVocal soundsUse voice in different ways; whisperwhen someone is asleep/pretending to beasleep, shout when running in playgroundImitate different ways of using voice;whispering, shouting, saying aaaahhh,singing aaahh, oooh into a microphone toencourage vocalisationVocal soundsDiscover the different kinds of soundsthat the singing voice and the speakingvoice can make; humming, whistling,muttering, hissingExperiment with voice changes tocreate different moods and meanings;make animal sounds during play: hissing,growling, miaowingVocal soundsExplore a range of sounds that thesinging voice and the speaking voicecan make during drama session;experiment with voice changes tocreate different moods and meanings;slowly descending or ascending singingsounds, nasal sounds, hissing sounds, bellylaughs,‘opera singing,’ and creating soundeffects in a sound story• recognise different voicesIdentify voices of adults and peers inthe school environmentIdentify pitch differences in differentvoices from recordings by verbalising/signing/ pointing to pictures; baby, boy,girl, man, womanIdentify television and radio charactersIdentify different types of singers;soloists, group/band, choir, male/femalesinger, favourite pop singerMatch photos of familiar adults in theschool environment with their voiceson tape; saying the same thing, forexample,‘good morning everybody’58

The student should be enabled to• use sound words and wordphrases to describe andimitate selected soundsVocal soundsMake sounds during play;vroom! vroom!Moo! Miaow! Woof!MusicListening and responding: Exploring soundsVocal soundsContribute sounds and sound wordsduring song singing; for example,‘OldMcDonald’Vocal soundsExplore the natural speech rhythm offamiliar words;double-decker, tractor, skipping ropeDublin, Cork,TipperaryImitate patterns of long or shortsounds vocally; boomchicka, boomchicka,rockachicka, boom• discover ways of makingsounds using bodypercussionBody percussionImitate adult tapping, clapping, slappingdifferent parts of the body; rubbingpalms together, tapping cheeks, shoulders,head, clapping hands, stamping feetBody percussionDiscover ways of making sounds inpairs and small groups; creating slappingand clapping sequencesBody percussionCreating more complex sequencesinvolving slapping, clapping, clicking;alternating left and right hands or feet,passing a clap or rhythm around a group59

The student should be enabled to• explore ways of makingsounds usingmanufactured and homemadeinstrumentsInstrumentsParticipate in making sounds using awide variety of home-madeinstruments (shakers, metal or woodenobjects) and manufactured instruments(triangle, tambourine, drum, chimebars, xylophone); imitate adult actions ofstriking or shaking, experiment by bangingon everyday objectsMusicListening and responding: Exploring soundsInstrumentsExplore further ways of makingsounds; blowing, plucking, striking orshaking in a variety of ways and with avariety of tools: striking or blowing acrossthe top of a bottle partly filled with water,varying the amount to achieve differenteffectsInstrumentsExperiment with a wider variety ofinstruments—manufactured untunedpercussion instruments (drum, jinglestick, triangle)Manufactured tuned percussioninstruments (chime bar, xylophone)Melodic instruments (tin whistle,recorder, guitar, keyboard, violin)Home-made instruments (shakers,metal or wooden objects, fibres, beads,pipes, comb-and-paper, kazoo, wobbleboards, drums made with materialsstretched over a tin, stringed instrumentsmade with rubber bands stretched over abox shape)• experiment with a varietyof techniques usingmanufactured and homemadeinstrumentsExperiment with different ways ofmaking sounds with an instrument;using a variety of beaters with a drum,striking loudly, softly, playing differentparts of the drum (e.g. rim, centre, side)Explore how the sounds of differentinstruments can suggest varioussounds and sound pictures; rustlingpaper to represent leaves in the wind,coconut halves to represent gallopinghorsesExplore how different instruments cansuggest various sounds and soundpictures;tin whistle to depict twittering birdsswanee whistle to depict falling or slidingglockenspiel to represent raindrops ordancing puppetwobble board to represent water or wavesshakers to represent hammering rainviolin to represent cats wailing60

MusicListening and responding to musicThe student should be enabled to• have opportunities to takeincreasing personalresponsibilityfor himself/herselfListen to songs requiring physical andvocal responses; adults singing/recordingsof nursery rhymes and action songs byvarious artistsListen to familiar musical cues;anticipate an activity, get excited whenprizegiving music is playedExperience music that requires thestudent to listen carefully and actively;listening to a song and joining in thechorus using an instrument/by singingListen to his/her own compositionsand the compositions of others;recordings or live performancesListen to and communicate aboutmusic in various styles and genres,including familiar excerpts, recognisingits function and context whereappropriate; music that tells a story,relaxation music, Irish music, popularmusic, film music, church music, classicalmusic, music from different culturesIdentify excerpts of familiar pieces ofmusic;‘name that tune’Have opportunities to listen to livemusical performances; school concert,local musical events, musicians invited intoclassroom• respond imaginatively toshort pieces of musicthrough movementImitate actions of adult, with physicaland verbal prompting; clapping, skipping,marching, waving(some instruments, like anklets/braceletsof bells, may be worn to enhance theeffects of movement. Attaching scarves orcoloured streamers to hands or feet canadd a visual dimension to movementsessions)Respond freely to familiar music;clapping, tapping, swaying, marching,dancing, rolling, tumblingMove alone/with a partner/as part of agroup; in a confined space, all around theroomRespond imaginatively to longer piecesof music in a variety of ways; moving,dancing, painting, creating a mime61

MusicListening and responding to musicThe student should be enabled to• communicate aboutpieces of music, givingpreferences, and illustrateresponses in a varietyof waysIndicate response by facial expressionsCommunicate wish for music tostop/continueChoose favourite song/excerpt to playduring free time/ at partyDescribe initial reactions to, or feelingsabout, his/her compositions and thecompositions of others (recording orlive performances), giving preferences;this music is exciting, sad, scary, lively/ Itmakes me feel happy, frightened, giddy,like jumping, dancing (It may help to givestudents help in their responses e.g. Doesthis music make you feel happy or sad?)• show the steady beat inlistening to live orrecorded musicDevelop awareness of a steady beatand pulse; marching, clapping, tappingthe beat with verbal and physicalprompting from adultMarching, clapping, tapping, skipping,dancing to the beat, individually and ingroups, without prompting; clap handswith a partner to a pulse of two beats ina barWatch a video of Irish dancing andlisten to the rhythm of the feetRecognise strong and weak beats,illustrating them through gestures; clapfor strong beat, tap knees for weak beat,raise hands on strong beatHave opportunity to observe tapdancerShow an understanding of pulse byreciting or singing rap songs andpoems; individually or as part of a group• recognise and show thedifference between fastand slow temposRespond to request to run, walk, skipReciting a rhyme quickly, slowly; doingactions for ‘Hokey Pokey’ quickly, slowlyResponding to fast or slow recordedmusic, getting faster or getting slower;drum beat, played quickly or slowly —students responding by running, walking,standing stillDiscover two-beat time, like a march,and three-beat time, like a waltz; byusing gestures to accompany music/bylistening and responding to marches withthe walking motion: left, right, left, rightMove appropriately to illustrate theslow, large steps of the giant, the small,quick steps of a mouseShow understanding of the differencebetween music we dance to and musicfor relaxation; make appropriate choicesfrom class CD collection62

MusicListening and responding to musicThe student should be enabled to• recognise and show thedifference between loudand soft soundsClose door gently when asked, coverears when music or sounds are tooloudUse loud voices in playground, softvoices during relaxation sessionDifferentiate between sounds atdifferent dynamic levels (loud and soft,getting louder and getting softer) usinginstruments; triangle: struck heavily tomake a loud sound, struck gently to makea soft soundAdjust volume on a tape recorder/CDplayer/televisionBegin to show control over the soundshe/she makes by singing appropriatelyfor various songs; lullabies, Christmascarols, party songs• recognise and show thedifference between highand low soundsImitate adult singing high and lowsounds; crouching down low while singinglow notes, jumping up high/stretching forhigher notesImitate high and low sounds using arange of instruments; playing extremenotes on a keyboard instrumentDemonstrate understanding by singinghigh and low notes appropriately insimple melodiesInitiate responses to high and lownotes heard by crouching or stretchingas appropriate• listen and respond topatterns of long soundsand short soundsEcho clapping; imitate adult in tappinglong and short rhythm patterns usinginstruments or different parts of the bodyParticipate in simple games; take a longstep for a long sound, short step for ashort soundPerceive the difference between longand short sounds; explore how aresonating instrument, such as a triangleor a bodhrán, makes a long sound oncestruck and observe how the sound isinterrupted and hence shortened whentouched by hand, participate inexploratory activities to discover howmaterials affect the length of a sound—wood/short, metal/longDistinguish between sounds ofdifferent duration (long or short) whilelistening to music; long drum roll versusshort, clipped drummingParticipate in musical games; adultclaps/plays a simple rhythm of short andlong sounds and looks at chosen memberof group, who then repeats the rhythm onhis instrumentImitate simple patterns on musicalinstruments/using computer programs63

MusicListening and responding to musicThe student should be enabled to• respond appropriately toobviously different sectionsin a pieceLie down on relaxation mat/sit quietlyduring quiet music, run/jump around toloud, lively musicRecognise obviously differentinstruments playing different sectionsParticipate in musical statues game;change direction with each change ofmusicRespond with imagination andcreativity to longer pieces of music;changing movement sequences orpatterns in recognition of a new section• identify obviously differentinstrumentsMatch two instrumentsLink a sound with the instrument thatmakes it; listen to sound and select realinstrument or point to picture from alimited selectionIdentify the sounds that particularinstruments make; identify sound madebehind a screen by verbalising, signing,selecting pictures of instruments (triangle,drum)Identify some families of instruments—orchestral (strings, brass, percussion)Identify some traditional Irishinstruments64

MusicPerforming: Song singingThe student should be enabled to• recognise and sing familiarsongs and melodies fromother sourcesParticipate in singing action songs,nursery rhymes, and songs aboutfamiliar activities; listening andresponding to own name in a song,vocalising, humming, signing, singing theend word in a phrase, performing actions,anticipating what will happen next in asong, asking for particular songs usinggesture/picture/symbolRecognise and sing with increasingvocal control and confidence a growingrange of songs and melodies;playground songs and games, folk tunes,action songs, popular tunes, themes fromtelevision and radioSing independently, with increasingawareness and control of pulse, tempo,pitch, diction and posture; keeping asteady beat and tempo, singing in tunewith an extended vocal rangeSing from memory a wideningrepertoire of songs with increasingvocal control, confidence, andexpression; action songs, folk tunes fromother countries, simple rounds/canons,call-and–response songs, simple hymns orcarols, ballads, folk songs, songs frommusicalsPerform familiar songs with increasedcontrol of dynamics, phrasing andexpression; pronouncing words as clearlyas possible, breathing at the appropriatepoints, maintaining correct singing posture• recognise and imitateshort melodies in echoes,developing a sense of pitchImitate adult singing simple melodiesor pitch sequences, gradually extendingthe range and number of pitches;humming, sung to one syllable (da da da)Simple tunes and singing games (basedon the pentatonic scale), learnedthrough imitation, without awarenessof the solfa names;‘See-saw, Marjorie daw’‘This Old Man’Recognise and echo short melodiesand musical phrases;students naming songs in response toinstrumental version, echoing each line ofa song as it is sung by ‘leader’, hummingmusical phrases after they have beenplayed on keyboard65

MusicPerforming: Song singingThe student should be enabled to• show the steady beat inlistening to oraccompanying songs orrhythmic chantsShow the steady beat (pulse) whensinging familiar action songs andrhymes; singing the tune while clapping,marching or tapping the beatShow understanding of the differencebetween beat and rhythm whenperforming familiar songs, singinggames, or rhythmic chants; marching tothe beat while clapping the rhythm orwords of a songOne group keeps the beat, another tapsthe rhythm, (each group led by adult‘leader’), while listening to the song ontapeShow greater control of pulse (steadybeat) and tempo while singing wellknowntunes; singing the tune whileclapping or tapping the beat and keepingthe correct tempomarching or dancing to the beatplaying percussion instruments toaccompany a song or musical excerpt• show, while singing,whether sounds movefrom high to low or fromlow to highFollow adult’s instructions and actions;crouching for low sounds, stretching up forhigh soundPerceive the shape of melodies asmoving upwards or downwards orstaying the same; follow adult’s hands,which move up and down during song/move hands, or bodies, up and down(independently) in response to individuallines from familiar songs/use counters todepict the shape of short pitch sequences(e.g. d,s,m) on individual A4 size picture ofground, sky and area in between, or on asimple three line stave on A4 card (or acombination of both)Perform familiar songs with increasingunderstanding and control of pitch(accurate intervals) and extendedvocal range; listen to recordings of theclass singing and take part in adult leddiscussion of how high and low notessound and how they could be improvedupon66

MusicPerforming: Song singingThe student should be enabled to• perform songs and rhymeswith a sense ofdynamic(loud/soft) controlwhere appropriateChange dynamics while singing, withverbal, or gesture based, promptingfrom adult; soft gentle singing for alullaby, loud, energetic singing for a marchor action song, loud and soft sectionswithin a song (e.g. one verse sung verysoftly)Select the dynamics (loud, soft) mostsuitable to a song; loud, energetic singingfor a happy or rousing song, soft singingfor lullabies or sad songsChoose the appropriate dynamic levelto emphasise changes of mood withina song; ‘In Dublin’s Fair City’,… sing softlyfor sad part (‘She died of a fever…’) andincrease volume to lift mood when itemerges that he ghost is still happilysinging ‘cockles and mussels’/ ‘Miss PollyHad a Dolly’, soft singing for part wherethe doctor ‘shook his head’, increase involume for doctor waving goodbye with hiswork finished and his bill on the way• engage in simple partsingingListen to recorded performances ofsongs, and notice obvious differencescreated between sections of songs invarious forms;verse and refrain, call and response,solo/chorusPerform, in groups, simple rounds intwo parts;‘Three Blind Mice,’‘Frère Jacques’(adult led with groups placed at adistance from each other)Perform simple call and responsesongs; students repeating lines inresponse to teacher’s singing,simple improvisations e.g.C:‘Where are you?’x2 (m,s,m – m,s,m)R:‘We are here’ x2 (m,d,m – m,d,m)Distinguish individual parts in a roundby singing, listening, moving, observingvisual cues; singing in unison ‘Row YourBoat’: the students walk in a circle,keeping time to the musicIn groups: the students begin walking astheir singing part begins and stop, in turn,as it finishesParticipate in add-on songs;‘Twelve Days of Christmas’,‘Hole in The Bottom of the Sea’Perform a vocal drone accompanimentto a song:on doh for ‘Pick a Bale of Cotton’Perform, as part of a group, two songssung individually and as partner songs(adult led with groups at a distancefrom each other);‘This Old Man’ and ‘Michael Finnegan’(Note:This will be very challenging for thestudents and, in many cases, may be toodifficult for them to achieve. It will,however, give them the idea that this typeof part singing exists and they may havefun trying it out).67

MusicPerforming: Song singingThe student should be enabled to• develop his/herperforming skillsBecome aware that others listen tothe sounds he/she makes; deliberatelymake and repeat sounds in order to gainor sustain attentionFollow structural cues within musicalpiece; e.g. remember to be ready to singwhen the drum roll stopsShow an awareness of the differentroles and contributions of eachmember of the groupLink songs and music to particularactivities; special songs for religiousceremoniesFollow signals of conductor; respond toinstructions to start and stop, sing/playquietly, faster, louderRehearse and present performanceswith an increasing awareness ofaudience and venueKnow when his/her turn comes to singin group performance; sign/sing hello in‘good morning’ song, develop anticipationof what happens nextShow anticipation of the importance ofa performance; handle costumes/propsfor Christmas concert, become aware ofthe excitement that builds up to aperformance, become aware of being thefocus of attentionDevelop the confidence to perform insmaller groups and as individuals;students given as much performanceexperience as possible in order to buildconfidenceSeek opportunities to perform(Some students will need a lot of support,confidence building and encouragementbefore they will actively seek opportunitiesto perform, while others may be inclinedto want to take over. It is important toobserve students and keep a balancebetween the aforementioned)Make good attempt to conduct a classperformance; know how and when to usesignals for start/stop, loud/soft, fast/slowMake good attempt to conduct a classperformance; individual students taketurns conducting the group for shortperiods, with adult conducting alongsideinitially, based on exaggerated gesturesfor fast/slow, loud/soft; individual studentsencouraged to take over and conduct asinging/percussion group for short periodsof time68

MusicPerforming: Early literacyThe student should be enabled to• match selected soundswith their pictured sourceLink sounds and songs toobjects/pictures/signs; adult hums‘Twinkle,Twinkle’ or ‘Please Porridge Hot’and the student chooses a picture/tactilesymbol of a star or a porridge bowl as theappropriate matching symbolChoose type of music from a picture,symbol (within a narrow range ofchoices); initiate the performance of aparticular song or musical extract bypointing to a picture or symbol (usingfamiliar pictures/symbols which havealready been connected to familiarsongs/music)Provide picture to ‘match’ familiarsong; choose a picture from a smallselection to be the designated ‘match’ fora familiar song or piece of music/draw apicture to match a song or musicalexcerpt• recognise and performsimple rhythm patternsfrom pictorial symbolsBecome aware that rhythm patternscan be represented by a pictorialsymbol; looking at/touching pictures thatdenote a short rhythm (large symbol for afull beat, smaller symbol for a half beat)while adult claps a simple rhythmVisually follow/point to pictorialsymbols that represent a short rhythmpattern; two large sheep and two smallfor ta ta titiFollow pictorial symbols to play shortrhythm on instrument; look at symbolsas beat is played on drum/tambourineIndependently tap familiar rhythmpatterns by following pictorialsymbols/graphic score; with practice andreinforcement students may be able tofollow simple rhythm patterns in thismanner e.g. two medium circles, two smallcircles, and one large circle representingta ta titi ta-a69

MusicPerforming: Playing instrumentsThe student should be enabled to• play simple percussioninstrumentsMake sounds using musicalinstruments; holding a suspendedtriangle and striking with a stick, shakinga tambourine, beating a drumPlay some percussion instruments withconfidence; playing long and short noteson the triangle, tambourine or drum;taking turns, alone or in small groups;begin to imitate some sounds and soundsequencesBegin to control the sounds he/shemakes; loud, quiet, watch carefully forstart and stop signalsParticipate in a music-making groupand discover different ways of playingpercussion and melodic instruments;letting the stick bounce on the chime barto create a long, vibrating soundclamping the sound on a triangle byplacing a hand on itscraping or striking a drumcovering a number of holes on a tinwhistle to eliminate squeaky soundsFollow cues; respond to conductor’s handsignals• use simple home-madeand manufacturedinstruments to accompanysongs, nursery rhymes orrhythmic chantsMake sounds on tuned and untunedinstruments on cue;When singing a traditional tune,‘Five FatSausages’ play a note on a melodicinstrument for ‘pop’ and beat drum on theword ‘bang’Begin to anticipate the structure of amusical piece; use home-made andmanufactured instruments to show thebeat or rhythm in accompanying songs orrhythmic chantsRespond to graphic cues to accompanysongs; for example symbols thatrepresent metal and wooden instrumentsColour code percussion players byattaching coloured streamers/stickers tothem and have students play only whenthe graphic symbols correspond to theircolour (holding up different coloured A4card to signal when different percussiongroups come in is a variation on this)Identify and perform simple two-noteor three-note tunes by ear or fromsimple notation; using tuned percussioninstruments (e.g. chime bars, glockenspiel,xylophone)70

MusicPerforming: Playing instrumentsThe student should be enabled to• use percussioninstruments withincreasing confidence andskill to accompany tunes,songs and chantsBecome aware of the differencebetween playing loudly/softly,quickly/slowly, high/low notesAttend to instructions for starting andstoppingBecome aware of other players in agroup; shake bells only when it’s time andwhen other bells are shakenPlay tuned and untuned instrumentswith control; starting/stopping at a givensignal, playing in turnExplore texture in music;play instruments in a group, graduallyadding one more instrument each timethe rhythm is playedPerform a range of playing techniqueson a wide selection of percussion andmelodic instruments; flicking, rolling,slapping or shaking a cabasa/playing atambourine against hand/arm/leg or bysimply shaking it, playing a drone orostinato on a xylophone with one or twosticks, knowing how to achieve a selectionof sounds on an electronic keyboard,playing drums using hand or beater71

The student should be enabled to• select sounds from avariety of sources tocreate simple sound ideas,individually and in groupsRepeat interesting sounds he/shediscovers; using vocal sounds, bodypercussion, manufactured instruments,home-made instrumentsBegin to structure the sounds he/shemakes; taking turns to vocalise or tocreate individual sounds, make changes tocreate various effectsMusicComposing: Improvising and creatingSelect sounds from a variety ofsources to illustrate a character or asequence of events; using sound effects,individually and in groups, to accompanygames, poems, stories: the three bears,each of the seven dwarfs, a giantExplore how sounds can createdifferent moods;use vocal sounds that are familiar to thestudents (e.g. whoop of joy, cry of pain,…)and discussdiscuss various instrumental soundse.g. low or soft violin sound/fast bangingon drum/ tinkling piano sounds/screeching sound on violin/soft rumble ondrum/ soft tinkling of bells…‘Does this sound make you feel likesleeping/dancing/marching/runningaway…?’Select different kinds of sounds(voice, body percussion, untuned andtuned percussion, simple melodicinstruments, electronic instruments) toportray a character, a sequence ofevents or an atmosphere throughsound;characters: a clown, an old man, a spysequences of events including soundeffects: a walk in the jungle, an accident, anature walk, breakfast timeatmosphere - happy/sad/cosy/frightening…Show students extracts of movies, wheremusic has been used to help set themood, and discuss/replicateSelect sounds for a range of musicalpurposes; to convey mood oratmosphere/for a particular occasion — aparty or festival, presenting a prize,relaxing at the end of the day72

The student should be enabled to• invent and perform short,simple musical pieceswith some control ofmusical elementsUse sound effects on cue toaccompany stories; shakes rainmakerwhen adult says ‘Suddenly it started torain’Uses sound effects to accompany songs;‘Old Mc Donald had a farm … and onthat farm he had ahorse (coconut halves) — fast, shortsoundslamb (vocal sounds)—softduck ( hand claps)— slowcow (cow bell)— long soundsMusicComposing: Improvising and creatingInvent and perform short musicalpieces with increasing ease and controlof musical elements;high/low, fast/slow, loud/soft, long/short,beginning, middle and end (e.g. perform thefollowing sequence: a high fast sound, a lowsoft sound, then a high, fast sound again)Illustrate, with prompts from adult, asequence of events in sound;Story of a storm:wind: vocal wind sounds (long)rain: rattling sounds with shakers (fast)thunder: booming drum (slow, loud)rain ceases: shakers (played more quietlyand slower)sun shines: tinkling triangle sound(short, soft)Invent and perform simple musicalpieces that show a developingawareness of musical elements;‘Under the Sea’— soft, high-pitchedsounds for little fish/ loud noisy sounds forsharks, soft, quiet sounds for jellyfish…Create own compositions; choosetactile/graphic symbols and sequencethem from left to right on large cardSeek to have compositions recorded;participate in discussions of the recordedcompositions of the class group, goingback over what each sound represents,relating them to pictures/familiar events• improvise new answers togiven melodic patternsSing new verses for familiar songs andrhymes;‘Hickory dickory dock, the (cat) ran upthe clock’Recall, answer and invent simplemelodic and rhythmic patterns, usingvoices, body percussion andinstruments; patterns that students haveworked on can be repeated at regularintervals during the day/ week (forminutes at a time) in order to reinforcestudents’ recollection of samePartake in improvised singingconversations; ‘How are you?’ — ‘Fine,thank you!’(initially the teacher will need toimprovise and lead this activity, encouragingthe students to eventually put their ownimprovisations to the ‘conversation’)Use computer software, selectingsymbols/pictures/patterns/sounds tomake ‘own’ tuneMake changes to their compositions;choose a different instrument toaccompany a song, decide that an eggshaker is a better instrument to representrain than a drum…73

The student should be enabled to• communicate abouthis/her work and the workof other studentsBecome aware of the sounds made byothers; looking, listening, feeling thevibration of sounds madeRespond to adult’s reaction to his/herwork; smile when praisedListen to and recognise his/her ownrecorded compositionShow appreciation/displeasure byexpression or gestureSign/select a picture/vocalise toindicate whether music is happy orsad, loud or quietMusicComposing: Communicating about and recording compositionsCommunicate about the music he/shehas created; how the instruments wereselected,how the sounds were made,how he/she enjoyed making them, whathe/she liked bestRecognise similarities and differencesin his/her work and that of peersAccept or reject comments fromadults/peers about his/her workListen to recording of groupcomposition; recognise section wherehe/she played their instrument,communicate about the sounds produced,show an awareness of similarities anddifferences in sound,discuss what changes might improve thecomposition…• record compositionsListen to and look at video orphotographs of performance; respondvocally, by gesture or by facial expressionUse a tape recorder, with assistance, torecord performances; know how torecord, rewind and replayUse a camera/camcorder, withassistance, to record performances ofcompositionsRecord a simple composition byordering picture cue cards to reflectsimple musical patterns/sound effectsRecord compositions usingcomputer/multimedia equipment; withappropriate software it will be possible toachieve a visual representation of musicand sounds recorded as they are playedbackMake pictorial representations of ownshort musical compositions; copysequence with help from adult74

VISITS TO OUTSIDE VENUES FORMUSICAL PERFORMANCESPERSONAL AND SOCIAL ACTIVITIES• Opportunities to communicate verballyand non-verbally• Development of listener-speaker relationship• Opportunities to interact in one-to-one and groupsituations• Opportunities to perform for class, school andcommunity audiencesINTEGRATION WITHOTHER CURRICULUM AREASUSE OF ICTPERFORMANCES FROMVISITING MUSICIANSMULTISENSORY APPROACHESCOMMUNICATION SKILLS• Development of auditory perception anddiscrimination• Development of listening skills andconcentration span• Opportunities for composition andimprovisation in sound, rhythm and melodyDoes your musiccurriculum includethese elements?What else might you include?AESTHETIC AND CREATIVE SKILLS• Experience of a wide range of melodicinstruments• Experience in the use of a variety ofhome-made and manufactured instruments• Response to music involving moving, talking,dancing, singing, composing, painting• Musical extracts and songs from a wide rangeof styles and genres75

2B OOKM U S I CExploring sounds: Percussion instrumentsListening and responding: Exploring soundsPerforming: Song singingComposing: Improvising and creatingListening and responding to musicPerforming: Playing instrumentsEXEMPLARS77

E X E M P L A RM U S I CExploring sounds:Percussion instrumentsObjectives• The student will listen to and participate insinging an action song by moving, vocalising orsinging some or all of the words.• The student will identify familiar instruments froma limited selection.• The student will listen to, copy or play a shortrhythm.• The student will show understanding of themusical elements - fast, slow, loud, quiet bytapping patterns with instruments or parts of thebody.• The student will listen to others and take turns ina group activity.ResourcesSelection of percussion instruments, picture symbolsor photographs of instruments, recording of musicwith strong beat, distraction-free environmentIntroductionStudents sit in a semi-circle facing the teacher, whoensures that they are positioned so that they are notdistracted by movement or light and can see theteacher’s face clearly.The session starts with anintroductory song or musical piece that is used eachtime as an aural cue to the activity that is to takeplace, for example a ‘hello/good morning’ song, whereindividuals take turns to sign or vocalise their name.Development: Song singingAdult sings and performs the actions to a movementor action song, for example ‘Heads, shoulders, knees,and toes’ and students are invited to join in by singingalong and imitating the actions.Adult repeats thesong, omitting the last word in sentences toencourage students to supply the missing words.Song is sung several times— loud/soft, fast /slow, veryfast/very slow— with the adult observing students’responses for understanding of these musicalelements.When students are familiar with the song, amore advanced activity would be where the studentsare asked to whisper the words as they do theactions and finally to perform the actions without thewords:‘Just think the words.’Body percussion activitiesStudents listen to recorded lively upbeat music andobserve and imitate adult’s actions: clapping hands,stamping feet, slapping thighs, tapping shoulders,tapping heads to the beat of the music. Individualstudents are chosen to be ‘teacher’ and make uptheir own body percussion: slapping cheeks, tappingknees, toes, etc.A student who has limited attentionskills may be chosen for such an activity: he/she willnot be able to wait on others and may enjoy thepositive attention or status such a role entails.78

Listening activity using instrumentsIntroduce percussion instruments that students arefamiliar with by playing a simple listening activity;students take turns to identify the noise made byinstruments behind a screen (a cut-out cardboardbox).They respond by naming, signing or pointing topicture symbols.As all the instruments are correctlyidentified they are placed on the floor in front of thestudents. Each student is asked to choose aninstrument, which they place quietly on their lap.Thisis followed by a few seconds of silence to heightenthe impact of the sound that follows.Adult chooses an instrument and plays a simplerhythm (ta, ta, ta or ta, ti-ti, ta), which students, inturn, copy with physical or verbal prompting by adult.When all have had a turn, students listen to adultonce more and copy the pattern together. Onestudent is then chosen to tap out his/her ownpattern.Adult repeats it to ensure that the studentshear it clearly and may choose to assist them byrepresenting each beat with a mark on a chalkboard.Student chooses other students to tap out therhythm.The activity is repeated with other students,with the adult being alert to the early warning signsof restlessness. It is suggested that an able student ischosen initially, who will tap a clear pattern and whois not shy of the limelight. Students with a limitedconcentration span are seated as near to the adult aspossible so that they may be gently prompted orrestrained if they try to play out of turn.ConclusionQuiet, calming Goodbye song: to show that the musicsession has come to an end, to allow students calmdown and return instruments to the basket.Assessment and recording strategiesThe teacher may wish to observe and record• reactions to the activity (changes in expression,vocalisation, etc.)• signs of increasing or decreasing interest inthe activity• signs of anticipation of the next step• the ability to identify instruments• preferences for individual instruments• the level of help required to perform stepsof activity• the level of interaction between students• the ability to take turns• the ability to repeat a pattern.Activity concludes with students listening to previousrecording of music and tapping out their ownrhythms with the instruments.They may beencouraged to play them fast, slow, quiet, or loud.79

E X E M P L A RM U S I CListening and responding:Exploring soundsMaterials and resourcesTape RecorderFamiliar adults in classroomCameraObjectivesThe students should be enabled to:• recognise different voices• relate these voices to their owners.Language developmentDiscussion begins with visits to the classroom by theadults whose voices are to be used in the lesson.Thestudents are asked to introduce themselves and toshake hands with the visitors to the classroom.Remembering the names of these visitors andanswering questions on their appearance (e.g.Whatcolour is Ms. …’s jumper? …) will facilitate languagedevelopment.MethodologyIntroductionChoose four adults who are prominent in the day-todayschool environment (e.g. secretary, nurse,caretaker, school principal, teacher or classroomassistant from another class…). Invite these adults tovisit the classroom and talk to the class. It may be anidea to spread the visits out, for example, have oneadult visit for ten minutes (approx.) each morning forfour mornings. Repeat the adult’s name often duringthe discussion in order to promote students’memory of the name.DevelopmentInvite all four back to the classroom at a given timeand take a photograph of each adult.Tape each ofthem uttering the same simple phrase, or a line froma familiar nursery rhyme. It may be an idea to ask thevisitors to exaggerate their pronunciation in differentways to ensure easier discrimination between voices.Play the tape back and have each visitor step forwardas his/her voice is being played.When the photographs have been developed theycan be used in conjunction with the tape to producea ‘sound lotto’ type exercise for the students. Displaythe photographs in the classroom and have thestudents take turns matching the voices on tape tothe photographs (and naming their owners).Closing ActivityTape the students themselves uttering a few simplewords (e.g.‘I am in school today’) and have theirclassmates identify who is on the tape. It will bevaluable for students to hear, and pick out, their ownvoices on tape.80

DifferentiationStudents with moderate learning disabilities may havedifficulty with visual discrimination. It may be helpfulto choose visiting adults who are as different aspossible in appearance. Making simple cloth or paper‘bibs’ in different colours for the visitors will helpstudents to distinguish visually between them and willgive them something visual with which to connecteach name and voice.Also having the adults visit withthe ‘tools of their trade’ will help students todiscriminate between them (e.g. nurse/medical bag,caretaker/hammer, secretary/letters).As students become familiar with the idea of relatingvoices to different people in their environment abank of photographs and voices can be built up.LinkagePerforming:The emphasis on different voices and vocal soundswill help the students become more aware of theirown vocal sounds and how these may be used inperformance activities.IntegrationSESE:This lesson can be integrated with work on thestudents’ understanding of their school environmentand the people therein.81

E X E M P L A RM U S I CPerforming:Song singingMaterials and resourcesSong:Old GoatThere was a goat who lived by a moat,Silly old goat he had three boats,One boat was pur-ple, one boat was greenOne boat was orange and fit for a queen.llll td’d’tl.tttt lsfm.llll td’d’tl.Ttttttllll(to be provided in staff notation)(Joan Earle)Items for role play: ‘Beard’ for goatObjectivesColoured boats(orange, purple, green)Hats for the boat ownersBlue paper or sheet for river(edged with brown paper toportray moat)Crown for queenThe student should be enabled to• recognise and sing familiar songs• recognise and imitate short melodies in echoes,developing a sense of pitch• play simple percussion instruments• connect sounds with visual elements duringsinging and role play.Language developmentLanguage development here will revolve around thestory in the song. Discussion can be held around thevisual elements involved in ‘acting out’ the story ofthe song (e.g.Where is the goat? How many boatsare there? Is that boat purple or green? Show me theorange boat…) The students’ attention can be drawnto the high note on ‘lived’ and the concept of highcan be reinforced by hand gestures from the teacher.This note can then be termed ‘high’ laying thefoundations for development of the musical languageof pitch.MethodologyIntroductionThe stimulus in the introduction to this lesson will bea picture relating to the story of the song whichshould be displayed in the classroom (the studentscould be involved in painting the picture and makingthe boats etc. during visual art lessons).The pictureshould be discussed briefly, and the story told, givingthe students something to relate the song to whenthey are singing it. Dressing the students as thevarious characters (three boat owners, one goat, onequeen) and discussing these characters can also serveas an introduction to the teaching of the song.82

DevelopmentTeacher says the words of the song with theappropriate emphasis on rhythm, encouraging thestudents to listen and to join in as they becomefamiliar with the words.This can be done line-by-linedepending on the ability levels of the students.Pointing to the characters and the visual elements(boat, river, moat) will help students to rememberthe lyrics. He/she sings the song again, with thestudents listening for the first few times. Graduallythey begin to join in.A ‘river’ is laid out on the classroom floor.Thestudents ‘float’ their boats up the river to the goatand hand over their boat once the appropriatecolour is mentioned in the song.The goat can thengive the orange one to the queen.The song is sungwith the students each time the story is acted out. Inthis way the words and tune of the song areconstantly being reinforced.Students can be asked to turn on a tap, shake a waterbottle (river sound) or make the sound of a goatwhile others are singing the song and acting out thestory.There are technological devices available whichallow one to play a recorded sound repeatedly usinga switch or similar device.The sound of waterrunning, or of a goat ‘baaing’ could be played, bydesignated students, at repeated intervals during theperformance, thus using sound to give the students agreater feel for the story. Students can also beencouraged to play simple percussion instruments toaccompany the song and performance.Concluding ActivityTeacher sings each line of the song and leaves out thelast word, allowing the students to sing this. Studentsmay like to take turns doing this on their own.Thisactivity lays the foundations for the ability to hearsound internally.Students may ‘perform’ for a neighbouring class.DifferentiationThe questions asked to prompt discussion of thepicture can be of varying levels of difficulty (e.g.‘Showme the goat’ rather than ‘What is that?’). Somestudents may be able to distinguish the differentcoloured boats while others may be challenged bysimply being asked to point out any boat in thepicture or scene. Students who lack the confidenceto dress up as a character and perform in front ofothers can play a percussion instrument, or make asound effect, while others are acting out the scene.Students with limited mobility can be asked to playthe part of the goat as this involves little movement.As there are many different parts to play in the classperformance of this song it should be possible toinclude every student in a way that will develop theirconfidence and self-esteem. It may be necessary toleave a gap between the lines (possibly filled byrepeating each line of the tune instrumentally) inorder to give students time to deliver their boat intothe hands of the goat.LinkageListening and responding:responding imaginatively to music through movement.Percussion:Clapping/tapping/playing percussion instruments tothe rhythm of the song.Providing appropriate sound effectsIntegrationVisual Art:Making the ‘props’ and costumes for theperformance.SESE:Discussing pictures of other scenes involving waterand boats.Taking a trip to a venue where thestudents can see boats on the river or sea. Have thestudents experiment with various objects to see ifthey will float in a basin of water.Communication and language:Language development connected with water, andwater based activities.Mathematics:Varying the number of boats on the ‘river’ and usingthem for counting tasks.83

E X E M P L A RM U S I CComposing:Improvisingand creatingMaterials and resources• Pictures of bus, people walking/feet, door,pegs/beads• Drums, shakers, woodblocksObjectivesThe student should be enabled to• select sounds from a variety of sound sources tocreate simple sound ideas• record compositions on electronic media• relate sound to pictures and to familiar dailyevents.Language developmentThe language development here will be based on adiscussion of what the students do in the intervalbetween getting off the bus/out of the car in themorning and sitting down to begin the day’s work inschool.There is no real emphasis in this lesson onmusical language as the concept of relating soundsmade in the classroom to their morning timeactivities will be challenging for the students and willprovide the focus of the lesson.84MethodologyThis lesson is based on four distinct activities, andaccompanying sounds and pictures, which can beadapted by individual teachers to suit the variousmorning routines of their students.IntroductionTeacher goes out to meet the students off the bus, orbring students who have already arrived out to meettheir classmates as they come off the bus. Studentsare encouraged to listen to the sounds around them,in particular the sound of the bus engine.Theirattention is drawn to the sound made by their feet asthey are on their way back to the classroom. Onceentering the classroom their attention is drawn to thesound of the door opening and closing.As they sitdown to start their work teacher asks them to listento the sounds made by (in this case) their jigsaws andconcrete activity materials (e.g. pegs, beads…) Thisactivity should be repeated over a few mornings.DevelopmentUse four simple, uncluttered, pictures to match thefollowing sounds:• The bus engine• Footsteps• The door• Beads/pegs rattling.Teacher brings the pictures out to the students in themorning and relates each one to the appropriatesound as it is being made.At music time he/shedisplays the pictures and initiates a short discussionaround them.‘Show me the …’ (e.g. bus) will workbetter initially than ‘What is this?’ In this way thestudents get used to the pictures and develop a senseof what each one represents. Introduce the idea of

making a sound to match each picture. Somestudents may quite easily make the engine sound.Alternatively a rumbling drum sound can be used.The students stamping their feet can be used torepresent the sound of students walking into school.A woodblock can be used to represent the sound ofthe door closing, and shakers to convey the sound ofthe students’ pegs/beads rattling as they go abouttheir work.It may be useful to isolate each sound and get thestudents to make this sound repeatedly, relating it tothe appropriate picture. In this way students gainpractice in relating sound to images, a concept whichmay be quite difficult for them.Concluding ActivityTeacher organises the class into groups, each with adifferent sound. Each group makes their own soundas the pictures are pointed to. In this way the classwill be performing a sequence of sounds to match asequence of events that is familiar to them in theirdaily routine.The sequence may be recorded on tape for furtherlistening and discussion based activities.DifferentiationThe lesson may be adapted to include fewer sounds,or more sounds.The content could be spread out over two or moremusic lessons, repeating and reinforcing what hasbeen covered in previous lessons and graduallyadding to it as appropriate.The students may be given narrow choices whenselecting sounds to match the pictures (e.g. an eggshaker and a drum…Which one sounds like thepegs/beads rattling?).Special needs assistants could bring individualstudents out, with pictures, to hear the buses arrivingin the morning and to follow the sequence of eventsmatching the pictures. In this way students gain morepractice in relating the pictures to the actual eventsmaking the sounds.Sounds selected could be broadened to include othermorning time sounds (e.g. the school bell, the soundof coats being unzipped in the cloakroom…)LinkagePerforming:students perform the composition for another classor outside group.Body percussion:students explore the sounds they can make withtheir feet.IntegrationVisual Art:Involve students in making a wall frieze depicting theseries of events relating to the composition.Mathematics:Count the numbers of students who come to schoolby various different means and make a simplepictogram based on these numbers.85

E X E M P L A RM U S I CListening and respondingto musicMaterials and resourcesVideo cameraPercussion Instruments(Cartoon videos, for follow up work))ObjectivesThe student should be enabled to:• recognise and show the difference between fastand slow tempos.Language developmentThe focus of the language development here will bethe musical language of fast and slow, relating to thetempo of the students' movements and percussionaccompaniment.MethodologyIntroductionThe students are brought to an open space wherethey can run, walk or stop as requested.A videorecording may be made of the students running,walking and stopping (staying still). It may be an ideato get small groups of students, or individualstudents, to perform the movements at any one time.The words ‘fast’ ‘slow’ and ‘stop’ are used asindicators of what the students are expected todo and repeated frequently to describe to the speedof movement.DevelopmentThe video is played in the classroom. Individualstudents are asked to say if the movement is fast,slow, or ‘stopped’.The teacher models the fast andslowing playing of percussion instruments for thestudents, having them join in as he/she plays.Theypractise stopping and being ‘silent’. Percussioninstruments are given to individual students one ata time which they play fast, slow or not at alldepending on what is happening in the video.Initially it may be necessary to model the speed ofplaying or prompt the students appropriately duringtheir playing. Gradually they progress to playingtogether in a small group, and eventually move to thestage where the class can play as a group.Closing ActivityTeacher plays a selection of fast and slow tunes forthe class and asks them to perform percussionaccompaniment.The words ‘fast’ and ‘slow’ are usedrepeatedly in relation to the music being played.Follow-up activityThe class may watch cartoon videos and discusswhether the music is fast or slow in relation to themovement of the characters (e.g.‘Tom and Jerry’cartoons, where the music speeds up as Tomchases Jerry).86

DifferentiationClosed questions are used as appropriate (e.g.‘Is itfast?’ in relation to the movement on video).Classroom assistants monitor students with poormotor skills as they move ‘fast’ and ‘slow’.A student with limited mobility may be given theresponsibility of blowing a whistle or banging a drum asthe signal to stop during the initial movement session.LinkagesPerforming:playing instrumentsIntegrationPhysical Education:Relay racing, involving different types of bodymovement.For more able students the fast and slow movementsduring the movement session can be made moredifficult than simply walking or running (e.g. devise asequence of fast movements which can be carried outby a relay teams–jumping, hopping, crawling etc.).Studying how the music in cartoons and films relatesto the action on screen is a more challenging activitywhich may be suitable for some students.87

E X E M P L A RM U S I CPerforming:Playing instrumentsMaterials and resources4 types of percussion instrumentTape or CD of a marching tuneA4 card in 4 coloursStrips of crepe paper (or coloured bands, bracelets)in four coloursObjectivesThe student should be enabled to:• show the steady beat in listening to oraccompanying songs or rhythmic chants• develop performing skills (follow signals of aconductor)• use percussion instruments with increasingconfidence and skill (attend to instructions forstarting and stopping, become aware of otherplayers in a group)• develop an understanding of texture in musicalaccompaniment (recognise differences betweensingle sounds and combined sounds).Language developmentNaming the different instrumentsNaming the colours, and discussing, briefly, otherobjects in the classroom that are the same colour asthe A4 cards can be used as a vehicle for expandingthe students’ vocabulary.MethodologyIntroductionTeacher shows the students the four types ofinstrument to be used and demonstrates how eachone is played. He/she plays the marching tune andstudents take turns playing the percussionaccompaniment.DevelopmentThe class is divided into four groups and a differentcolour designated to each group.The coloured stripsof crepe paper can be divided according to thecolour groups and the students wrap these aroundtheir wrists (with help, if necessary). Different typesof instruments are given to each group (e.g. redgroup/woodblocks…).When the card that corresponds to his/her colour isheld up, individual students make a sound with theirinstrument and stop when it is taken down. Eachgroup practices playing when their colour is held up.Teacher stresses the fact that they must stop whenthe card is taken down.The marching tune is played and the single cards heldup at different stages during the tune, prompting thedifferent groups to play their instruments at theircolour signal.Concluding activityStudents take turns holding up the cards, bringingthem to a clearer understanding of the idea of the‘conductor’ showing the group what to do.88

Follow-up activityAs the students become more practised inresponding to the colour card signal, two cards areheld up together, varying the instrumentcombinations and making the activity morechallenging for the students.Where possible, the helpof a classroom assistant may be enlisted, thusallowing students to work with combinations ofthree and four instrument/colour groups.DifferentiationTeacher works with two groups and two coloursinitially to get students used to the idea of playing inresponse to the colour card signal.LinkageListening and Responding:students show the steady beat in listening torecorded music.IntegrationSESE:The above lesson can be carried out usingoccupations as the signal for different groups to play(e.g. picture of nurse prompting ‘nurses’ to play theirinstruments).This type of music lesson can then beintegrated with work on occupations in SESE.Some students may find colour discrimination difficultand the lesson can be carried out using picturesymbols or actual objects (e.g. animal groupsresponding to toy animals held up … firemen, pilotsetc. responding to pictures of fire engines, planes….).In a group performance the percussion section canbe conducted in this way, with students accompanyingother students on tuned instruments.89

2B OOKDramaINTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .93SCHOOL PLANNING FOR DRAMA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .99CLASSROOM PLANNING FOR DRAMA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .103APPROACHES AND METHODOLOGIES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107DRAMA EXEMPLAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12391

2B OOKDramaIt is well recognised that learning is a social activity:we learn by sharing and refining descriptions of ourexperiences. In drama, the teacher is trying to set upsituations within which his/her students can discoverand explore how and why people behave as they do,and thus are enabled to attend to and reflect on theirown behaviour. Drama, in focusing on an aspect ofhuman experience helps students to become awareof the emotional states of others and helps them todevelop their ability to create an impact onsituations.The appeal of drama to students of allabilities is that they are caught up in situations thatare fun and intriguing, all at the same time.They areengaged in active learning, in contexts that are live,dynamic, and likely to be remembered.Educational drama emphasises the active process ofcreating a story with an unfolding plot.Thisunderstanding of narrative—how events are linked—can help students with moderate general learningdisabilities to see patterns and sequences, as well asthe significance and implications of situations.Communication is central to drama, and it isimportant for teachers to be aware of the variousmodes of verbal and non-verbal communication, ofwhich language is only one. In dramatic activities astudent may reveal and express his/her thoughts andemotions through physical gestures and facialexpressions, which may give a clearer impression ofhis/her thoughts and intentions than words couldconvey. Drama has a particular contribution to maketo the development of communication and language.New vocabulary may be introduced in the dramacontext.Alternatively, the drama may be manipulatedso that a student is required to use a particularcommunication skill to obtain something. Drama mayalso provide the motivation to work on articulationskills and to organise ideas logically and concisely.One of the main aims in drama for students withmoderate general learning disabilities is to enable allstudents to make sense of their world and begin toexercise control over their environment.Thecreative, interactive approach advocated in drama willopen up a world of possibility and opportunity forstudents through the provision of sensory, perceptual,social, emotional and cognitive stimulation.The range of situations that students come in contactwith is important; it increases their self-confidence inthe world. It is particularly helpful for students withmoderate general learning disabilities, who can getused to a secure environment in the school and benervous of venturing out of it. Knowledge and skillshave generally been acquired through experience ofand interaction with the immediate environment.Drama provides the opportunity to reinforce theseskills in new settings. It can provide a93

eason and sense of urgency to use and applypractical skills, concepts and factual knowledge suchas counting and dressing skills.Targets from students’individual education plans may also be worked on inthe meaningful drama context—for example, socialinteraction skills, turn-taking—with drama helping toraise their self-esteem through experiencingsatisfaction, fun and enjoyment.Finding ways to motivate and empower students inschools is a central concern of all teachers. Part oftheir role in teaching drama is to help students toconsider ideas from different aspects, to demonstrateand explore the choices available to people in real-lifesituations.As a result of this informed experience andconsideration, students are better able to resolveproblems and issues. Drama functions as a way of‘playing at’ or practice of living.The drama curriculum enables students with moderategeneral learning disabilities to• experience how people behave in particularcircumstances by exploring a variety of socialsituations and interactions• explore and express a range of human feelingsand responses to situations through acting out arange of emotions in a structured experience• increase their perception of their environmentand develop an awareness of why and howthings happen• enhance their memory skills and to recollectpast experiences• explore choices and moral dilemmas• achieve a sense of responsibility and confidenceas decision-makers and problem-solvers in thereal world• play alongside their peers and begin to learnto compromise in order to sustain and developthe activity• extend, enrich and prompt the use of language insimulated real-life contexts where the use oflanguage arises out of a genuine need to speak• develop their ability to work in groups, trustingand relying on each other• appreciate and respond positively to the partplayed by others in the drama• experience anticipation and excitement throughthe use of the contrasting elements of drama, forexample, light and darkness, sound and silence,movement and stillness• respond to dramatic stimuli through movement,music and art• develop an imaginative response to varioussymbolic stimuli, such as toys, puppets, props,and dramatic characters and roles• affirm a positive sense of self-worth and selfesteemthrough engaging in drama.All students can participate in dramatic activities.There are no right or wrong answers. Drama placesthe students at the centre of the learning experience,and allows them to build their own bridges ofunderstanding. In structuring activities it will beimportant to ensure that all drama for these studentswill have a strong sensory component, as somestudents may always need to engage with drama on asensory level.There are endless opportunities fordeveloping sensory awareness through the use ofcostumes, props and the creation of atmosphere.94OVERVIEW OF CONTENTContent strand and strand unitsThe content of the drama curriculum is presented inone strand:Drama to explore feelings, knowledge and ideas, leadingto understandingThis is sub-divided into three strand units thatdescribe aspects of drama exploration, experienceand activity.The strand units are:• Exploring and making drama• Reflecting on drama• Co-operating and communicating in making drama.These are further explored through eight specifiedelements of drama.While these are not taughtformally, the students’ attention can be drawn tothese elements as they occur both naturally in thework and in structured drama sequences, where theteacher aims to provide the students with a specificexperience. Opportunities for developing dramaticappreciation and awareness are built in to everylesson, but learning about the elements of drama isinformal and in context.Exploring and making dramaDrama activities with students with moderate generallearning disabilities should be clear-cut, with anexplicit turn-taking structure and a predictablenarrative. Students are encouraged to relate to theteacher-in-role (TIR); teacher playing the role of acharacter in need is a particularly useful strategy forencouraging students to respond and show initiative,and it elevates their

status in a reversal of the usual relationship. Propsand objects within the drama also help students tomaintain focus; they should have a strong sensoryappeal and their use should be carefully paced,working towards more symbolic and representationaluse of items.These students develop the ability to make-believethrough being immersed within the group dramaexperience that requires commitment from everyoneto make it work—staff and students. Supporting staffmembers have a crucial responsibility in generating anappropriate atmosphere and modelling appropriateresponses. Students need to experience, anticipateand contribute to tension and excitement,interspersed with moments of calm.They also needopportunities to imitate others, to initiate actions,and to learn to adapt their behaviour in the light ofthe make-believe consequences.Drama seeks to teach students why people think andbehave as they do.Therefore, the teacher needs toselect appropriate content for the drama that willchallenge and extend students’ existing frame ofreference.The teacher working with students withmoderate general learning disabilities needs to find away to enable the group to become aware of andempathise with a basic emotional state (due to aparticular set of circumstances) and discover theconsequences.The teacher might also use theopportunities presented by drama to consolidate andapply conceptual and factual knowledge and practicalskills in context, as well as individual learning targets,for example, from communication and behaviourprogrammes. Interest levels should be sensitivelymonitored: too much stimulation can causeconfusion, while too little can cause interest to wane.Working in role can capture their interest andattention especially when accompanied by the use ofattractive, appealing props.Reflecting on dramaFor drama to be an effective learning medium,participants need to be enabled to engagemeaningfully with the themes and issues contained inthe material.This can be challenging on a cognitivelevel for students with moderate general learningdisabilities who have yet to consolidate understandingof representational thought and reasoning. For somestudents it will be a matter of enabling them toengage on a feeling level with the content of a dramain order to begin to perceive its meaning.Situations in drama need to have a relevance to reallife, so that students may begin to make connectionsand apply their experiences.While they may begin torelate to the content of the drama as it unfolds,reflecting afterwards is more challenging. It may bepossible for some students to begin to extractsignificance from the drama by relating to keymoments and concrete objects of reference such asprops and multisensory resources.Reflecting on drama enables students to develop anawareness of their own potential influence throughsituations in which they immediately discover theirimpact on others.Teacher-in-role is a particularlypowerful way of reinforcing this directly to students.Co-operating and communicatingin making dramaStudents require sensitive intervention by the teacherand supporting staff if they are to be enabled to makecreative and imaginative contributions to the drama.Challenges will need to be carefully paced to meetthe needs of all students within the group.At first, staff members may need to support, promptand model appropriate responses for students toimitate and gain confidence, and then aim to fade outthe amount of support required.The important pointis that staff members should be sensitive not todominate the activity.Teachers need to be aware of the level of socialchallenge in drama work, especially for somestudents, and aim to extend their ability to engage inthe group activity. For students at the early stages ofawareness, just being enabled to participate in adramatic group activity will be a valuable experiencefor them. Having their preferences interpreted inorder to influence the choice of costumes, props orthe course of the dramatic action will require aconscious policy and a watchful eye on the part of allstaff involved.95

The elements of dramaDrama is characterised by certain features that give itits unique power.These may be called the elementsof drama.They are:1. BeliefThe element of belief in drama depends on the abilityof the students to temporarily suspend their disbeliefand accept the fantastic, the wondrous, and the oftenseemingly impossible. In drama, a fictional world iscreated in which characters live out theconsequences of a particular situation.The degree towhich a student can enter into the imaginative worldand believe in or accept the fiction, will, to a greatextent, determine both the success of his/her dramaexperience and the learning experiences that willresult from it.The teacher plays an important role in building beliefin drama. He/she should be receptive to the students’responses, and this fluid engagement builds up beliefin the drama and allows it to take on its own life andsignificance.The student should be enabled to• become aware of a sense of occasion anddifference when experiencing make-believeactivities• experience and participate in the use of thecontrasting elements of light and darkness, soundand silence, and movement and stillness, to helpevoke an atmosphere of make-believe and fiction.2. Role and characterIn the early stages of playing the part of a characterin a drama, the student will do no more than ‘assumea role’, such as becoming a shepherd, a chef, ateacher, or a garda, exploring and developing what isstill a strong instinct for make-believe play. He/shemay assume one or two of the principal attributes ofthat role, such as changing the tone of their voice orstanding in a particular manner. Gradually, he/she willuse the ability to play at make-believe in order toenter fully into participation in drama and begin tounderstand the relationship between role andcharacter. Characterisation is an extension of roletakingand involves an attempt to assume thecharacteristics, desires, thought processes or physicalattributes of a particular person.The benefit ofcharacterisation is that the student learns to view thedrama world from the point of view of someoneother than himself/herself.This promotesunderstanding and empathy, which will enhance thestudent’s ability to understand people with apersonality different from his/her own.This can assistgreatly in exploring relationships, in developing anawareness of different registers of language and inusing non-verbal means to communicate.3. ActionAction springs from the interaction betweencharacter and situation and does not necessarilycontain physical movement. In drama, characters andsituations are chosen so that certain unresolvedconflicts, tensions, questions or choices result.Thenature of the engagement will vary with individualstudents’ stage of development. Once sufficient beliefis established in the situation (i.e. students arefamiliar with the fictional context and charactersinvolved) the teacher can develop and lead the storyto a point where ‘something happens’ and thestudents in or out of role are called upon to engagewith the action and attempt to resolve the problemor dilemma that has arisen.4. TimeAll dramatic action, like all human existence, takesplace in the dimension of time.Time helps to framethe action and to constrain it. It can also contributeto the element of tension. Students with moderategeneral learning disabilities will need considerablereinforcement of the concept of time.The teacherwill need to heighten the lapse of time throughproviding the students with concrete experiences ofevents while the drama is unfolding, rather than justnarrating the passage of time, such as eating a meal,going to bed, getting up and then finding thebeanstalk in the garden.The student should be enabled to• become aware of patterns and sequences in thedrama that indicate familiar activities and can helpthem anticipate what happens next• attend to and appreciate the significance of timein relation to how characters in the drama behave(when night falls, all the hens go to sleep but the foxis wide awake, getting ready to visit the farm)• develop an awareness of the significance of timein adding tension and urgency to the drama (if wedon’t find her before it gets dark, we’ll have to gohome and try again tomorrow).96

5. PlaceJust as drama takes place in the dimension of time, italso has a location: it happens somewhere.Thelocation helps the students know how to respondand behave in the drama.The student should be enabled to• become aware of the creation of a (make-believe)space through the use of props, objects orpictures• attend, respond to and participate in creating themain features of the drama location (what isneeded to make the café in our classroom)• experience tactile and sensory stimuli to evoke asense of place in the drama• look at, handle and appreciate the props andsignifiers that indicate the sense of place (rows ofgoods placed on a shelf to create a shop)• become aware of being part of a make-believespace or location and begin to participate in theaction, using appropriate language and gesturesfor that role• distinguish between the make-believe location andthe classroom (involve the students in creating thelocation and then tidying it away when the dramais over)• experience how the use of space and objects helpto create the ‘reality’ of the make-believe world(sheets of paper as stepping-stones across a stream).6. TensionTension arises when characters in the drama arefaced with conflicting needs, or want to take differentcourses of action. It is from a combination of theelements of action, role and character, time and place,that tensions derive, and this helps to drive theaction forward.The student should be enabled to• sense and experience the excitement andanticipation of a character faced with a choice,a dilemma or problem• participate in collective or individual role as thecharacter facing the choice or difficulty• become sensitive to the change in body language,tone and register when a character is facing adilemma or problem• experience the moment of tension in the drama(a ‘friendly’ stranger offers sweets to members ofthe group, who have to decide whether to takethem or not).7. SignificanceWith students with moderate general learningdisabilities, the teacher’s choice of signs, as well ashow they are used, is centrally important incommunicating meaning about the significance of thedrama.The signs chosen must be clear, uncluttered,and absolutely focused on the learning area of thedrama: for example, in Jack and the Beanstalk (seeexemplar) the drawings of a fireplace, door andwindow signify the layout of Jack’s kitchen, and thelighting of a candle signifies nightfall.The student should be enabled to• become aware of how objects, people, sounds,movements and changes in lighting can be used toenhance the significance of an event (everyonebows when the king enters the room; a bell tolls whenit is time for Cinderella to leave the ball)• become aware of how objects, people, sounds,movements and changes in lighting can be used torepresent or signify something else (the lights aredimmed to suggest nightfall; the character wears ahat, scarf and gloves to indicate cold weather)• participate in the selection of appropriate objectsto raise the status of an event or character(deciding to place a chair on a box so that the king isseen to be in a position of authority)• develop the ability to reflect on the significance ofevents as they occur in the drama (she wascarrying a big red bag: was that to … ?).8. GenreGenre refers to the form of dramatic expression—naturalistic, comic, tragic, absurd, etc. Naturalisticdrama is the genre that imitates most accurately thedetails of life and is the one that comes most easilyto students. However, genres may becomeinterwoven as a drama unfolds: for example, in Jackand the Beanstalk the kitchen scene is naturalistic, butJack’s encounter with the buyer of his cow borderson the comic.The student should be enabled to• experience, enjoy and participate in as manyforms of dramatic expression or genre as possible• begin to be sensitive to the differences in genre(for example, between comic and tragic).97

2B OOKSchool planningfor dramaEfficient planning by the school and teachers will becrucial for the successful implementation of thedrama curriculum. Much of the planning in themainstream curriculum will be applicable whenplanning for students with moderate general learningdisabilities.The following section outlines someadditional aspects of planning that may need to beconsidered when planning for these students.CURRICULUM AND ORGANISATIONALPLANNINGA whole-school approachWhen planning for drama, teachers should beconcerned to make learning a rewarding experiencefor their students and ensure that communicationskills, the ability to use language, the development ofproblem-solving strategies related to all aspects ofthe curriculum and to social situations, and the abilityto work both independently and as part of a teamare constantly reinforced and developed in the dramacontexts created. It is essential to create a supportiveclimate throughout the whole school where students’creative work is respected and valued.Although theimportance of engaging with new material is centralto students’ experience in drama, students withmoderate general learning disabilities may need torevisit knowledge and skills several times, applyingthem to familiar and new situations each time. Dramaprovides the opportunity for the same material to beconsolidated and extended through engaging in newcontexts, which are developmentally appropriate andrelevant to all students.Some teachers may be more confident in engagingwith drama than others and may be willing to take aleading role in sharing knowledge with other staffmembers.Time and resources might be organised tofacilitate sessions where ideas are discussed. Sharedteaching might be desirable in some situations.Agood supply of high-quality, well-chosen resources arerequired to support learning for students withmoderate general learning disabilities.Visual props areeffective in enabling students to achieve meaning.They are particularly useful to the teacher andstudent in changing from one role to another.Costumes and props that have been made forprevious activities and productions should be kept inthe school as a common resource.Make-believe playTo a great extent drama relies on make-believe play.Students with moderate general learning disabilitiesmay be developmentally capable of engaging in makebelievebut lack drive or initiative to sustain and99

generate the make-believe between themselves.Theuse of many well-structured drama in educationstrategies, such as teacher-in-role, clear signingtechniques and the use of collective role, can assiststudents in entering the fictional mode moreeffectively and easily. Some students may havedifficulty generating imaginary goals and sustainingmake-believe responses. In addressing this challengeschools will find excellent ideas in CurriculumGuidelines: Book1, which will enable the inclusion ofthese students within the drama activity.Planning what to teach in drama is relativelystraightforward. Issues will tend to be universal andhave application and relevance for all ages andabilities.The challenge for the teacher in terms ofplanning is more to do with how material is to beaccessed to meet a range of learning needs. Somemay be more engaged than others, and the teacher isfaced with the challenge of engaging all the studentseffectively. One possibility is to ‘stream’ dramaaccording to the students’ level of symbolicdevelopment, in order to have more homogeneousteaching groups.The alternative is to pitch activity sothat it meets the range of needs in an inclusive groupsome, if not all, of the time. It is possible to structurethe drama to include activity that can be enjoyed at arange of ability levels, and which neverthelesspromotes valuable learning for all concerned; forexample, physical tasks, drama games, music or artactivities may be contextualised within the drama.Organisational planningSpaceThe use of space is important, so that students havethe opportunity to• look, handle, feel, manipulate, listen and respondwith ease in different drama situations• work effectively in groups• use resources that specifically encourage an activeparticipation and exploration.Establishing an appropriate physical space is theresponsibility of the school.Although most dramaactivities can be conducted within the classroom, andindeed it is highly desirable to do so on occasion(especially if drama is to be integrated with othercurricular subjects as and when they are timetabled),there are also occasions when a dedicated space canallow students the freedom to work withoutdisturbing other groups close by. Students withadditional physical and sensory impairments will needparticular attention in this regard.The following points will need to be consideredwhen planning space and time for drama:• What is the usual student-teacher ratio? Arethere additional staff members or studentsavailable for drama? Does the ratio always staythe same? Is extra help available (students onplacement, older students, or students frommainstream schools)?• Be aware of other timetabling commitments andthe need to negotiate the use of the space withother staff.• Are there particular individual needs to be awareof ? Someone who dominates? Who uses signing?Are wheelchairs or extra assistance required tonegotiate the drama space? Are there studentswith sensory, visual or hearing impairment?• What is the effect of the size of the availablespace?• Are there any noise restrictions?• How are clothing and footwear changes to behandled (if required)?• Will all staff members need to be there for theduration of the lesson?• What time is needed to move the students fromone space to another?• Consider students’ ability to sustainconcentration (length of drama experience)• Allow sufficient time to warm up, get into thedrama, and come out of role at the end.Support staffSpecial needs assistants are an invaluable resource inany classroom where they support the activities ofthe teacher and learner.They can be a wonderfulresource when doing drama, and it is important thatthey are taken into account when planning for drama.It is important to bear in mind their personalcomfort levels with the activity. Putting a colleague inrole may help develop the drama, but for somepeople, working in role is a huge psychological hurdleand best left until they themselves feel ready toundertake the activity.When planning for supportstaff it is important to take into account:100

• whether they are comfortable playing a role• whether they are likely to over-support students• the use of a discreet, shared signalling system tobe used during the drama• their other duties of care for students.Subject specialistsWhile a teacher with special responsibility for dramamay usefully be able to support the rest of the staffin their use of drama in the classroom, and directthem towards resources, courses, conferences, andavailable literature in the field, it is important that thisperson does not become identified as the thespianon the staff and end up doing all the drama work inthe school. Drama should be a central part of thestudent’s learning experience and, since the contentof drama encompasses every aspect of the student’sexperience including learning in other curriculumareas, it is essential that it is fully integrated with allfacets of the student’s learning in school. Clearly, ifthe school is preparing to mount a production, suchas a musical, then it’s all hands on deck. Such sharingof skills and expertise among the staff will help easethe pressure on any one person and create aproductive and enjoyable learning experience for thewhole school community.The students, their parentsand others in the community can also help out withstage management, costume design, props and setdesign, publicity for the event, sound and lighting, etc.Extra-curricular drama experiencesTheatre-in-education groups can devise specificprogrammes for students with moderate generallearning disabilities, and this can be done on occasionin consultation with the school, considering the needsof a particular group of students. For example, a playcould be presented about the challenges faced bysenior students with moderate general learningdisabilities entering the world of work.Theatre trips are always a good idea for studentswith moderate general learning disabilities; teacherswill choose the play or production carefully in orderto meet the needs of their students.101

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2B OOKClassroom planningfor dramaMany of the issues raised in the mainstreamcurriculum guidelines are also relevant for teachersworking with students with moderate generallearning disabilities.The following are additionalconsiderations that may be useful when planningdrama for these students.CURRICULUM AND ORGANISATIONALPLANNINGChoosing content for dramaTeachers, by planning, provide settings within whichpurposeful work can take place in drama and inwhich they can capitalise on the richest resourceavailable to them: their own and their students’imaginations and initiative. Situations and stories thathave a choice or problem in them are the mostuseful for engaging students’ attention andparticipative responses.When working with studentswith moderate general learning disabilities, teacherscan explore everyday situations for drama activities,thereby affording the student an opportunity toexperience (or re-experience) and explore familiarsituations in new ways.In structuring a drama curriculum, content can bedrawn from the following areas:• curriculum material or topics such as bullying,friendship, language work, mathematics, SPHE, etc.103• elements of drama, such as pace, tension, timing,movement, rhythm, use of space, symbolisation,contrast (sound and silence, movement andstillness, light and darkness)• dramatic skills, such as mime, masks, using lightand sound, improvisation, physical drama• explorative drama strategies, such as storyboards,role-playing, narrating, collective role, etc.Establishing a clear context for themake-believeTo a great extent, drama relies on make-believeplay—on the ability to pretend to be someone orsomething else. Some students may only sense this orhave an emerging awareness of make-believe and findworking in the abstract quite difficult. Others maybecome easily confused between make-believe andreality and will require clear signals to indicate whenthe drama has actually started or stopped. It isimperative that the distinction is crystal-clear at alltimes.The use of many well-structured strategies for dramain education can assist students in attending andresponding to the fictional mode more effectively andeasily (for example, teacher-in-role, clear signingtechniques, and the use of collective role and shadowrole). It is important that students are not left feeling

ewildered throughout and after the dramaexperience.Strategies to engage students meaningfullywith the material• Plan the work so that it is well within the rangeof students’ experience and they can perceive itsrelevance to their own lives. (Seek a balancebetween core competence, academic progression,life skills, independence training, and activeenjoyment.)• Use sensory and creative strategies to maintainthe focus (props, visual, aural, sensory and tactilestimuli, repetition, manual signs and symbols,discussion and questioning to convey meaning).• Special needs assistants or staff members inshadow role can broadly retain control of thedrama without providing all the ideas.• Emphasise the affective, feeling and ‘doing’ aspectsof the drama experience.• Provide opportunities for all students tocontribute something, if they so desire.• Use simple props and visual, aural, sensory andtactile ‘hooks’ (cues) to support entry into theworld of make-believe.• Plan a clear focus and sense of purpose in theactivities.• Ensure that there are very clear transitionsbetween one activity and the next.• All signals must be clear and unambiguouslycommunicated.• Roles must be sincere and not ‘hammed up’(over- acted).They must be sufficiently defined toserve an identifiable purpose and to avoidconfusion.Easing into make-believeThe following guidelines will ease students gently intoworking in fictional environments:• Gently but concretely lead students in and out ofmake-believe (the fictional scenario).• The nature of the fiction should be concretelydemonstrated or physically explained ‘in process’(continuous checking and monitoring of students’security and engagement during the lesson).• Students should be helped into symbolism byworking from the concrete to the abstract.• The pace should be adjusted according to theneeds of students to gain as much as possiblefrom each situation, as opposed to rushingonwards and failing to sense, experience andenjoy the significance of events.• Roles should be signalled clearly (apron for cook,crown for king, etc.) and concretely demonstratedor physically explained before being entered into.• Continuously monitor the drama and students’engagement and responses to the process.• Provide plenty of opportunities for reflection andevaluation during and after the drama experience(verbal and non-verbal).Focusing on the taskIt is important to keep students with moderate generallearning disabilities focused and ‘on task’.This can beachieved in the following ways:• Divide the drama into relatively short episodes ofsequential activities, ensuring a structuredpresentation of information.• Employ a variety of active and static strategies toallow for the ebb and flow of energy (wherestudents can listen, respond, physically participate,etc.).• Allow those with a very short concentration spanto ‘come and go,’ and vary the stimulus regularly.• Use everything students offer if possible, andintegrate it into the unfolding story or drama.Seeing their ideas incorporated in the drama atsome point empowers the students.They begin tounderstand that they have the capacity toinfluence and affect events. (It is important to beparticularly sensitive to students’ non-verbalmodes of communication here for example, ashake of the head or a frown could be animportant comment on the action and should beacknowledged.)• Special needs assistants can support studentsduring the work, helping to keep them ‘engaged’but being careful not to dominate too much.• Use short sentences and functional language.• Limit the number of extended periods oflistening, and then reinforce by doing.• Use the elements of drama to create tension andgenerate a sense of urgency and enquiry.104

• Repeat drama episodes and stories until theybecome familiar and begin to accrue meaningthrough repeated experience.This will allowstudents to build up a group of associations thatwill make it easier for them to anticipate what ishappening and so to participate.• Adopt a ‘layering’ approach to experiencingdrama, where each session begins with arepetition of the last episode, and gradually addor layer new experiences to the unfolding drama(once the general framework is familiar, elementscan be varied to maintain interest and attention).• Use sensory, tactile, visual and aural props to gainand retain students’ attention.• It is important to have all props readily availableto avoid losing the attention of the students.• A record of the drama ‘so far’ can be kept as avisual or sensory stimulus and reminder for thestudents (the story line and main characterscould be put on a wall display or a specific areaof the room could be used to display the main‘props’ concerned with this drama). Students’work in art or emergent writing, or audio orvideo recordings, completed as part of theirdrama activity could be displayed or playedas well.Accommodating students with a diverserange of abilityIt is important to consider the individual needs, socialhealth and group dynamics of the students whenplanning:• Establish how diverse the range of the group is,particularly in terms of conceptual and symbolicunderstanding and social development.• Consider whether it would be more viable tocombine students of similar abilities from otherclasses.• Plan to meet the needs of all the students in thegroup at some point during the activity.• Decide which strategies will reach studentsof different abilities at the same time: music,song, ritual, physical activity, sensory stimuli,or drama game?• Identify aspects of learning in other subjects thatcan be integrated with drama (for example,greeting friends and family, attending and listeningto others) or something the students areinterested in (a favourite story or piece of music).• Plan to include topical content and issues andconcerns of particular interest to the students inthe content of the drama.• Ensure that the content is age-appropriate, or ifnot adapt it to make it relevant and accessible.• Are there particular friendship groups amongthe students that could be exploited inimprovised work?• Ensure that boys and girls work well together.• Take account of personality clashes among thestudents.• Be generally vigilant about the social health of thegroup in all drama activities.• In choosing content beware of the susceptibilitiesof the different students and avoid, or be carefulto accommodate, particular fears or obsessions.OTHER ISSUES TO CONSIDER1. Do not offer too many options: opening up toomany possibilities at the start will allow theactivity to sink into a formless operation, and thesession will lose its sense of direction. Somestudents may get confused and suffer frominformation overload (it is possible for studentsto experience sensory overload as well). It is acase of finding the middle ground between overprescriptionand burdening students with toomany options.2. The teacher may feel that his/her intervention instudents’ play and drama activities (after theprovision of the initial stimulus) will interfere withcreativity or self-expression.The opposite is true,particularly when working with students withmoderate general learning disabilities: thoselargely left to their own devices are unlikely tocreate drama that extends or challenges them, orprovides them with the opportunity to gain newinsights and understanding beyond what theyalready know.The teacher serves to challenge,arouse, motivate, give confidence andencouragement, co-ordinate and support studentsin their drama experiences.105

3. It is possible to have games and exercises whereonly one voice is heard at a time, but in fact it isdesirable and helps students who feel secureexperimenting with voice and speech (oftenconnected to movement) when surrounded bysound and when nobody is paying them anyparticular attention. But high noise levels must beunder complete control at all times. Every studentmust learn to come to an instant stop at anarranged signal.A game can be used to practiseresponding to this signal (traffic lights).Establishing the two golden rules in drama isvitally important: when the teacher or anotherstudent talks, others listen; and when they hear orsee the agreed signal, they respond immediately.The fewer the rules, the greater the likelihood ofimplementing them.An appropriate signal couldbe the teacher saying the word ‘freeze’ or keepingan arm in the air until the students respond.Students could raise their arms in the air as aresponse, signalling to the teacher that they arelistening and ready. Percussion instruments canalso be used to establish their attention.4. Much drama with students with moderate generallearning disabilities is physical. Expressive use offace, hands and the whole body is within thedomain of drama, as is a certain amount ofphysical contact between the students.Teachersneed to intervene when ‘push’ becomes ‘shove’and to remind students that we can let symbols,words and gestures do the work for us(communicating our feelings) in drama.PLANNING CROSS-CURRICULAR DRAMADrama, as an active learning strategy, aims to provideas many ‘hooks into learning’ or opportunities forstudents to engage with the content and skills in asmany different ways as possible. In this way, dramahopes to reach those learners who prefer to bephysically active or rhythmically engaged, for example,in order to learn more effectively. Drama ineducation affirms the notion that everything can betaught in several different ways.This is a particularlyimportant concept for students with moderategeneral learning disabilities. It attempts to providestudents with several different entry points to thelearning area in order to identify how best individualstudents learn.Drama provides an additional opportunity to developstudents’ emerging literacy skills (communicating,listening, reading and writing). For students whorequire an augmentative approach to communication,signs, symbols and objects of reference are used tomake the subject matter more easily accessible. Mostdrama activities provide the opportunity to activelygain students’ attention, and through the investigationand experience of a ‘human interest story’ they aremotivated to want to communicate.This desire tocommunicate can be harnessed within the context ofthe unfolding drama and expressed in many ways,including emergent reading and writing. For example,in a story about a young man who wanted to work ina restaurant, menus, recipes, order forms, bills,receipts etc. could all be used to create theappropriate atmosphere and work environment.Through the real-life drama setting of a restaurant,students can relate their emerging literacy skills tosociety. Once they are familiar with the routine ofrunning the restaurant, taking orders, making meals,writing the bills, etc., a crisis or problem could beintroduced to add tension to the drama.The extentof such a problem or dilemma would depend on theneeds and resources of the students but would allowthem to test their skills and knowledge in achallenging and new context, for example, how todeal with a rowdy customer, or a customer who hasno money to pay the bill; or the special needsassistant or teacher could play the role of ademanding customer who orders a meal that thechef doesn’t know how to make.What do we do?Can we find it in the recipe book and work it out?(The teacher could have recipe cards prepared thatfeature a core vocabulary and symbols to helpstudents decipher the ingredients and stages ofpreparation, etc.).The possibilities are endless.106

2B OOKApproaches andmethodologiesGAMES AND EXERCISESThere are many varied games that one can play withstudents of all ages.Games and exercises are useful• when beginning work with a new class• when the teacher or students have limitedexperience in drama• as part of a warm-up routine• as motivating introductions to a theme ortopic work• to allow students to take an active part inthe work• to help students understand the need forrules and codes of behaviour• to develop physical and mental dexterity• to inject energy into a lethargic group, or to calmdown an over-excited one• to help students learn how to manipulate spaceand time• to develop individual students’ confidence• to develop and build trust and co-operationbetween the members of a group or withinthe whole class.Warm-upsWarm-ups can be done at the beginning of a classand help to relax everyone physically and mentally,and reduce anxiety and inhibition. It is often a goodidea to start warm-ups with stretching, curling,bending, relaxing and a vocal warm-up to encouragemembers of the group to feel relaxed witheach other.Some practical guidelines1. Games and exercises can be done with the wholeclass at the same time or alternatively withsmaller groups; but care must be taken not tochoose activities that will attract the attention ofthe others who may not be involved, for example,where a lot of noise or movement is involved.2. Plan these activities carefully.3. Let the students see that the teacher is alsoinvolved.4. All games and exercises take time to build up andstudents may need to repeat them regularly untilthey have acquired the format of the activity.5. The atmosphere should be calm and uncritical.This helps build trust between the teacher andstudent.107

6. If a lesson isn’t going well for one reason oranother the decision may be taken not to continuewith it.Teacher tells or elicits from the studentswhat is going wrong. It is important that belief andvalue in the work is established in the early stages,or it will prove increasingly difficult to containproblems later on when sincerity is needed.7. Aim to be constructive with criticism withstatements such as ‘It isn’t easy to concentrate ifpeople are talking.’ Encourage students to beresponsible for their behaviour in class.To punishor embarrass an individual while doing the workwill probably do nothing to help his/herconcentration and may also destroy theatmosphere of the class. If a student is beingextremely difficult, teacher allows him/her tobecome a special assistant or to sit outside theactivity for a time, and hopefully they may wish torejoin later on. It is also important not to forcestudents to engage in an activity if they genuinelyappear not to want to.There may be manyreasons involved here.After an initial period ofobservation they may choose to participate quitewillingly when they see the fun and enjoymentthat pertains to this way of working.8. It will be important to choose the right time forengaging in drama work, and in particular withgames and exercises.Where there is flexibilitywith the timetable, these activities may beintegrated in the rest of the curriculum. It is farbetter to introduce drama work in short sessionsat first than to attempt one long block each week.Games1. Snake and snake charmerDone to Indian music with sitars or flutes if possible.Students sit in twos, opposite each other. One is thesnake, one the snake charmer.The snake charmers sitcross-legged and mime playing the flute.The snakesmake themselves very small: cupped hands in front,twisting and turning to the music.Then change roles.Note: Green tights could be used and decorated as asnake and put over the student’s arm.2. My name is MargaretA student takes a step forward into the centre of thecircle and claps four beats while saying ‘My name is…’.The others then repeat this, taking a step into thecircle and clapping four times while saying ‘Her nameis …’.Variation: A student performs a little action or gesture(such as a wave of the hand, a wiggle of the hips, or anod of the head) as they step forward and say ‘Hello,my name is …’.The other students repeat. Encouragethe use of vocal and facial expression.3. Kim’s game or the memory gameTeacher sets out a number of objects from the propbox on a tray or cloth.The group is given a minuteor two to concentrate and remember what is there.Objects are removed or covered and studentsattempt to recall them.Note:The number of objects on the tray can be limitedaccording to the ability level of the students.108Variation: Students whose language skills are notdeveloped could point to the objects (have the sameobject or a picture of it elsewhere in the room as apoint of reference for the student). Spatial awarenesscan also be developed if students are asked tocommunicate about the position of the objects onthe tray.4. The gloves that have a life of their ownAn old pair of gloves is used (they could be washingupgloves).They are magic.When someone puts themon, the magic begins.The teacher can decide what the magic propertiesare: for example, they make you big, small, happy,dance, jump, write, draw … and students respondaccordingly.Variation: A number of students can wear gloves atthe same time (but taking it in turns to call out amagic property).Note:This can also be played as the magic hat, shoes, etc.Background music to the movement creates anice effect.5. Musical bumps, freeze like this, statues,and musical chairsMusical bumps: Students dance to the music.When itstops, everyone flops down on the ground.Freeze like this: This game can be used to encouragethe development of any particular skill: standing witharms stretched out, standing on one leg, hands onhead, elbow on knee, etc. Students move around andrespond to the music. On a signal, the teacher says,‘Freeze like this …’ (and demonstrates a physicalposition). Students immediately look at the teacherand copy the image he/she is making.

Statues: This works in a similar way, only this timewhen the music stops everyone stops absolutely still,like a statue; anyone who moves is out.6. Game: Mirroring or image workStudents stand in pairs facing each other (A and B).A performs a simple movement, which B copies asexactly as he/she can.Then A performs another one,B copies again.All movements should be slow, so thatthe partner is enabled to reproduce the movement.Each movement should follow naturally from the last.The teacher urges students to be attentive, even tothe smallest detail of body movement or facialexpression. Swap roles, with B leading and Amirroring.Variation1. Students can be asked to make their movementshappy or sad, and the partner copies. If workingon a story, however, they could be asked to takeon some of the actions of a character (anger,disappointment).2. Students kneel down and face each other, withmusic playing in the background. One leads, theother following the same movements exactly.Improvised patterns may provide another wayin to make-believe activities: brushing the teeth,combing the hair, shaving for boys, doing theirmake-up for girls.The same exercise canbe repeated, exchanging roles of leader andmirror image.3. The exercise described above could be developedinto a simple improvisation. Students face eachother, and one begins a simple miming activity,such as eating an apple or making a cup of tea.The other responds by asking them questionsabout what they are doing, and a short dialogueensues.7. Dance patternsStudents stand in a circle, with the teacher in thecentre.The teacher starts a strong, easily repeatedmovement or dance pattern and vocal rhythm.Everyone picks it up.When the group has had enoughtime to practise it the teacher calls ‘Freeze.’ This isthe signal for the next person to come into thecentre, which the teacher then leaves, and startanother movement/dance pattern and vocal rhythm.The teacher can discreetly and positively offersupport in helping to keep these short and simple.8. Drums mimeThe class mimes accompanying the music withdrums.They sit or stand behind an imaginary drumkit (they may need to be shown a picture or a realdrum beforehand).They can do fancy flips etc. whileinterpreting the music.After a while the teacher calls,‘Spotlight on Martin.’ Martin continues playing as asolo drummer.The others fall on one knee, handextended in the direction of Martin to show him off.Everyone gets a solo turn.Note:This is best done to a piece of music with a good,strong rhythm. Different kinds of music will extend therepertoire.DEVELOPING GAMES INTO DRAMA1. The name gameAims:• to encourage students to initiate and respond toa greeting• to move confidently around the room or space• to practise attending to and responding to aninstruction• to foster a sense of group co-operation• to develop students’ social interaction skills• to provide students with opportunities to engagein physical contact with other students.MethodStudents are invited to move around the room,avoiding contact with each other. On a signal (‘Turnto the person/people nearest to you and say hello!’),students stop and look for the person or peoplenearest to them and shake hands.They can say helloand exchange names.Then the teacher calls ‘Walk,’and everyone begins to move around the room onceagain until the signal is given to say hello.Variation• The students walk around the room, stopping tosay hello and introduce themselves to everyonethey meet.• They can be invited to introduce their name andperhaps add a line to say what their favouritefood is. (Pre-verbal and non-verbal students canbe encouraged to communicate using signs and109

symbols to represent their favourite food; leaveplenty of props and pictures of food lying aboutto prompt students to communicate using therepresentational object.)• Once familiar with this game, students can beencouraged to greet each other with a sad, happy,scared, brave, excited or angry face and tone ofvoice. (Practise these first with the students andexplore occasions when people might experiencethese emotions.)• For a real challenge to students and to inject asense of humour and fun, they can be encouragedto greet each other in silly ways, such as shakingfingers (instead of hands), rubbing backs together(gently—a demonstration may be necessary first),touching knees, shoulders, hips, elbows, wrists,feet, etc.Note: Appropriate music can be played softly in thebackground. It will help students to move or walk moreeasily around the room, and may lessen the feelings ofself-consciousness on the part of some students.2. Follow my leaderAims:The student should be enabled to• encourage students to move with freedom,expression and confidence• encourage students to attend to and imitate anaction• provide students with an opportunity to exerciseresponsibility for others• ease students gently into the world of makebelieveplay• provide students with the opportunity to makesimple choices and to solve problems.MethodStudents are invited to form a line behind theteacher, and when the music starts, he/she leads themaround the room, wagging a finger, nodding or shakinghis/her head, wiggling his/her hips, jumping, hopping,turning, going around furniture (or under, over orthrough if desired), sliding along a bench, etc. Large,exaggerated movements are used but care is takennot to encourage them to wave their arms about (orat least not too wildly, so that they avoid injuringsomeone else in the line).Variation1. The student behind the teacher can become theleader, and so on to allow others the opportunityto lead.2. The line can become a train, with studentsholding on to the hand or waist of the person infront of them. (If they do not wish to hold eachother’s hands, an object can be placed in betweenand the teacher can suggest that these are themechanisms that connect the carriages of a traintogether.) The sound of a train can be added, orappropriate music played.The teacher can developthis game into ‘drama mode’ by beginning to pointout to students various objects on their ‘trip.’These can be real and concrete items that arevisible in the room at first (the teacher can placethese deliberately if desired before the activity)and later extended to looking at fictional objectsand people that one would expect to meet on ajourney through the school, on the students’regular bus route home, on the way to theswimming pool, to the seaside, through thecountryside, through the park, etc.The ‘train’ canbe stopped at any point if the teacher wishes todevelop the drama further. He/she may pause andpresent the students with a dilemma, for example,which direction to go in next.3. This game can be developed into an activitysimilar to ‘We’re going on a bear hunt’ (thelanguage and concepts can be changed toaccommodate the needs and resources of thegroup, for example,‘We’re going on a shoppingtrip’ or ‘We’re going to the swimming pool,’ etc.)The principle is the same, with students followingthe teacher through a series of obstacles in orderto get there.These can be narrated or sung ifdesired. Sensory and visual experiences can bebuilt in along the way to evoke the idea ofcrossing the river (a blue cloth on the ground gentlyshaken by the special needs assistant to suggestmotion, or students drink a sip of water), goingthrough the forest (leaves and smooth branches canbe rubbed against students’ faces or hands), the windis strong and howling(a fan blowing on the students’ faces as they pass by),we’re getting near the house and dinner is beingprepared (the smell of cut lemons, strawberries oronions), etc.The possibilities are endless.110

MOVING FROM STORY TO DRAMA WORKStorytellingStories of all types can be brought to life by beingtold dramatically, using gestures, sound effects, andthe various appropriate character voices. Props andpuppets can also be used to enhance the meaningand help establish or communicate meaning andmaintain students’ interest and attention.Storytelling can stimulate drama, and in turn, thedrama can generate further stories. Stories providethe opportunity to experience and explore differentenvironments and cultures and equally to encounterfamiliar situations in new contexts.Throughenactment, students can become increasingly familiarwith the pattern and sequence of events.The teachercan gradually find ways of approaching familiarmaterial that will deepen the students’ experienceand understanding of it.This is one of the most comfortable and easiest waysof moving into drama.Work can be confined to theclassroom or a corner of the school hall, with theclass sitting informally around the teacher or in astory corner in the classroom.Collective storytelling or story buildingStudents with moderate general learning disabilitiesneed plenty of stimulation in relation to creatingatmosphere and evoking mood and meaning. Props ofall kinds can be used to stimulate their attention andresponses.The elements of drama can also be used tohelp create the appropriate atmosphere, likedarkening the room a little to indicate the onset ofnightfall or a storm, or having to sit very still and quietwhile the lions drink water from the river before wecan get across to the other side. It is important not toneglect the opportunity of deviating from the mainstoryline (even in published texts) to provide studentswith opportunities to respond to the story and takedecisions and make choices themselves as participantsor as the characters who are undertaking the journeyor adventure.This will serve to empower and enablethem to participate more fully in the unfolding dramaand allow them to experience a sense of achievement,self-esteem and confidence in relation to their role insolving a problem or making a decision.Teachers should not be afraid to try to create theirown stories, which will be a much more productiveactivity by including the learning areas that they wishto concentrate on (for example, greeting people orproviding opportunities to purchase items from ashop, etc.).The teacher can start from an anecdoteor by telling the students about a very big house thathe/she has to visit, as the woman living there needshelp with cooking and cleaning, etc.This way of tellingstories allows the teacher to pause for responsesfrom the students, and to develop the storyaccording to these responses. For example, do youthink we should bring her a present? What would shelike? What do you like when people give you apresent? The story could then be diverted a little topause and allow the present to be bought.This couldinvolve simple mathematical skills (dealing withmoney, adding the cost of getting a drink as well foryourself, the shape of the present and how to wrap itfor the woman, etc.). Additional problems andtensions can be introduced as the students becomecomfortable and secure with the characters andcontext involved in the story. For example,‘no oneanswers the door when we knock …but look, thereis a note sticking out of the letter box … should weread it? … the woman needs our help …’.Sound stories: Before the teacher begins, students aretold that he/she is going to try to bring the story tolife and will need their help. Practise one or two ofthe sounds or movements that will arise in the storyfirst. It is wise to have a simple means of control builtin to the lesson.Teacher can use his/her hand or asimple arrow. He/she explains that when the arrow ispointing downwards, like the volume on thetelevision or radio, there will be no sound at all; asthe arrow begins to turn upwards, the soundincreases.When it begins to turn down again it fadesaway. Have a practice run first and remind them tokeep their eyes on teacher and the arrow, so thatthey will know when their help is required.Allowthem to make the sounds (and appropriate gestures),then fade it down and continue with the story. Ifpossible, let the students discover for themselveshow to make the sounds (and possible gestures),otherwise they will continue to copy teacher. If thereare concerns about the noise of a particular sound,either keep the arrow low or cut it out of the storyaltogether.The teacher may prefer to make uphis/her own stories and incorporate desired soundsthat he/she wishes the students to practise.Direct enactment: As the teacher tells (or retells) thestory, the students perform the actions (usually anon-verbal activity, although sounds and dialogue canbe used).A reasonably large space is required for thisactivity, although students can be asked to push backthe chairs and tables in the classroom. If there arelimited numbers of characters in the story, severalstudents may play each role (collective role), or thestory can be repeated several times to allow eachone to perform.The addition of costumes and handprops can enhance the students’ experience of thestory. If possible, they should be allowed to choose111

these for themselves.The costumes and props canform the basis for a wider discussion on thecharacters in the story: for example, why do youthink Cinderella is wearing a pink dress (why notgrey)? Why did you choose that prop for yourcharacter?Creative storytelling: The teacher calls out instructionsto get everyone warmed up, for example, themorning washing routine or working on a farm, andthe students respond to the instructions and dig thefields, sow the seeds, water the plants, or feed theanimals, as appropriate.The students are divided intogroups, put in different places throughout the room,and assigned their collective roles, such as the hens,the villagers, and the thieves.The teacher narrates thestory in a good, lively voice, and the students respondaccordingly. For example,‘down in the valley thevillagers worked on their farms all day (calls outvarious tasks the villagers perform) … After a whilethey sat down to rest. However, high up on the hillthe thieves (another group of students) were hiding,and from behind the trees they watched the farmerscarefully.They began to form a plan, and sneaked backinto their hideout to discuss it … Meanwhile thehens (the third group of students) were scratchingabout in their yard, looking for worms.Theystretched their long necks in the sun and shook outtheir dusty feathers, and chatted to one another.Thestory can be built up for a while, until night falls andthe villagers go to sleep, and the thieves sneak downthe hill to steal the farmers’ corn.The hens hearthem and screech out loud to alert the farmers, whocatch the thieves. If there are fears about the noiseor confusion when the farmers wake up to catch thethieves, simply adapt the story so that all the otherthieves get away and only one is left behind, etc.This approach can be used with well-known storiesor stories that the teacher or the students create.Use the original story to prompt you in a new direction:This is a very useful way to lead into drama. Using astory that the students are familiar with, teacherintroduces the idea that the main character tookanother route or made a different choice. Forexample, when Goldilocks went to the Bears’ housethere was no porridge, so she decided to go to thehouse next door, where the three little pigs live …or Little Red Riding Hood took the wrong path andgot totally lost, etc.The teacher can continue the taleor allow the students to interject and speculate onwhat happened. It will be important to introducechoices that the characters have to make (WillGoldilocks go home when there is no porridge in theBears’ house? Will she knock at the Three Little Pigs’door? Will Little Red Riding Hood speak to thestranger she sees in the distance? etc.), as thisincreases students’ involvement in the activity and itcan gradually move more easily into becoming adrama (i.e. where the action is slowed down andstudents get to explore the characters a little moreas they face decisions and challenges).112

DramaExploring and making dramaThe student should be enabled to• respond to music andmovement activitiesRespond to musical sounds/recordedmusic; participate in movement sessions,musical games: using movements that arespontaneous and unrehearsedRespond to music as a stimulus fordance; move freely and expressively, moveand dance in front of a mirrorExpress ideas imaginatively andcommunicate feelings through danceand movement; show awareness ofmusical time, rhythm, moodPerform a controlled sequence ofmovements; individual dance work/dancework with a partnerRehearse and perform more complex,clearly expressive movement• develop the instinctfor make-believe playinto dramaCan make-believe with regard toobjects; take part in small world playwith play mats, farm animals, etc., playwith and ‘talk’ to dolls, teddies, etc.Take part in action songs and rhymes;express emotions and interpret facialexpressions and gesturesBegin to show signs of co-operativeplayExpress ideas from experienceimaginatively when dressing up andacting out stories; represent objects,animals and people through movement,dance, mime, sound and gestureTake on a role and sustain role-playgenerated by the home corner,dressing up box; can maintain the makebelievethrough movement and actions—move from playing a chasing game tobeing tigers playing the same gameCreate and sustain imaginary contextsusing objects, activities, role-play torepresent meaning beyond theconcrete present; communicate withother participants in ways which sustainthe role-playMove from dressing-up play intomaking dramas about the dressed-upcharacters; can maintain the make-believeverbally, using appropriate vocabulary inspecific rolesExpress a view in a collective role (forexample as villager, worker, friend of acharacter); sign to teacher-in-role playingthe wolf that she is ‘bad’Use puppets and props tocommunicate feelings; use actions andlanguage to create and sustain imaginaryplay situationsShow an awareness of a variety ofroles; convey mood and differentiatecharacter types through voice and gesture,mime appropriate actions113

DramaExploring and making dramaThe student should be enabled to• respond to sensory stimuliin drama activitiesDevelop awareness of sensory stimuliin drama activities; be enabled to use allhis/her senses to become aware ofcostumes and props, become aware of achange in classroom environment whenprops are set upRespond to sensory stimuli in dramaactivities; show interest in particularprops and costumes, show preference forone material over anotherExplore and communicate aboutsensory stimuli in drama activities;experiment with props and costumes,seek to wear a favourite costumeReact appropriately when sensorysignals are used at the start/keymoments/finish of dramaMake choices between a variety ofmaterials and textures while choosingcostumes and helping to create propsand masksShow interest in wearing stage makeupand assist fellow students inapplying sameExplore how he/she can use own bodyto tell a story in drama; use speech andmovement to create effects— to illustratethe effect of the wind through the trees• develop the ability to playin role as an integral partof the actionBecome aware that he/she is caught upin a make-believe situation and accepta notional or general role; accept andparticipate with assistance in playing anotional or general role such as a brotheror friend of a characterParticipate in a short routine withdecreasing assistance; imitate asupporting adult pouring a drink for ateacher-in-rolePlay the part of a parent or teacherwhen playing house or schoolCarry out a short familiar routine;pretend to buy a cup of tea in therestaurant, hand over a coin and hold outhand to receive the cupDevelop the ability to play in role as anintegral part of the action; take ondifferent roles in a puppet dramaUse the ability to play at make-believeto enter fully into participation indrama; adopt the role of thehelper/waiter…Use his/her emerging awareness of thedifferences in people in order todevelop an understanding of therelationship between role andcharacter; increase audibility and tone ofvoice when playing the role of aking/judge/reporter114

DramaExploring and making dramaThe student should be enabled to• experience how the use ofspace and objects can helpto create the reality of themake-believe worldBe responsive to the teacher’s use ofan object; a hat, a cloak, a box oftreasureBecome aware of the creation of a(make-believe) space through the useof props, objects or pictures; look atand handle goods placed on a shelf tocreate a ‘shop’Experience tactile and sensory stimulito evoke a sense of place in the drama;smell or feel seaweed/ pampas grass/sand, listen to taped sounds of the seaduring a drama about a seaside holidayExperience how the use of space andobjects can help to create the realityof the make-believe world; a table andchair represent a king’s or queen’s throne,a ruler becomes a saw or a magic wand,imagine what is happening in a certainspace if chairs and objects are arrangedin a certain wayBecome aware of being part of amake-believe space or location andbegin to participate in the action, usingappropriate language and gestures forthat role; stepping gingerly onto sheets ofpaper, which represent stepping-stonesacross a streamDistinguish between the make-believelocation and the classroom; is involvedin creating the location and then tidying itaway when the drama is overExperience how context is built and adrama reality created through the useof space and objects; set out differentobjects to represent aspects of aroom/scene (what is needed to make acafé in the classroom), explore thelimitations and possibilities of movementinside this given spaceUse a widening range of materials andprops and explore how props can beused to create a make-believe world;imagine PE mats as magic carpets that flyto different placesShow sensitivity to the positioning andgrouping of others; work in groups in agiven space without intruding into thespace of other groups115

DramaExploring and making dramaThe student should be enabled to• develop awareness of howhe/she, as part of a group,helps to maintain focus inthe dramatic actionEncounter cause-effect situations withimmediate consequences; give teacherin-rolea present, who is promptlydelightedUse objects and props in a familiarsequence within the drama; put a doll ina cardboard box for a bed and cover witha blanket while helping teacher-in-role tolook after her new babyActively take part in short, whole-classperformances; follow and be reactive tothe teacher-in-roleRespond to questioning about his/herrole in the drama; indicate ‘yes’/ ‘no’ inresponse to the question ‘Was x happywhen you helped him?’Use movement, voice and gesture in acontrolled manner in order to conveymeaningSustain, in role, an intended emotion;fear, anger, sadnessCollaborate in actions with othersShow recognition of a key moment inwhich he/she was involved; during avideo replay of the drama• respond to change inatmosphere in dramaactivitiesBecome aware of a sense of occasionand difference when experiencingmake-believe activitiesNotice a change in atmosphere;tense at a sudden crescendo of voices andpercussion instruments at a key momentof a drama gameExperience and participate in the useof contrasting elements of light anddarkness, sound and silence andmovement and stillness, to help evokean atmosphere of make-believe andfictionAnticipate a change in atmosphere;show signs of anxiety at the sight of ateacher-in-role playing the wolf creepingup on Little Red Riding HoodContribute to a change in atmosphereby responding appropriately to a cueor signal; tip toe quietly past the sleepinggiant played by a student-in-role, dim thelights at a particular place in a familiardrama sequence, create a drum-roll toannounce the arrival of the king116

DramaExploring and making dramaThe student should be enabled to• have opportunities to takeincreasing personalresponsibilityfor himself/herselfBecome aware of patterns andsequences in the drama that indicatefamiliar activities and can help him/herto anticipate what happens nextAttend to and appreciate thesignificance of time in relation to howcharacters in the drama behave; whenJack’s mother calls him in for his dinner,the student in role moves to the diningareaof Jack’s houseDevelop an awareness of thesignificance of time in adding tensionand urgency to the drama; if we don’tfind her before it gets dark, we’ll have togo home and try again tomorrow/whennight falls, all the hens go to sleep but thefox is wide awake, getting ready to visitthe farmSense and experience the excitementand anticipation of a character facedwith a choice, a dilemma or problem;participate in collective or individual roleas the character facing the choice ordifficultyBecome sensitive to the change inbody language, tone and register whena character is facing a dilemma orsituationExperience the moment of tension inthe drama; a friendly stranger offerssweets to him/her and to other membersof the group, who decide whether or notto take themConsider what might happen next,discuss possible outcomes• develop an awareness ofsignificance in dramaBecome aware of how objects, people,sounds, movements and changes inlighting can be used to enhance thesignificance of an event; everyone bowswhen the king enters the room, a belltolls when it is time for Cinderella toleave the ballBecome aware of how objects, people,sounds, movements and changes inlighting can be used to represent orsignify something else; the lights aredimmed to suggest nightfall, the characterwears a hat, scarf and gloves to indicatecold weatherParticipate in the selection ofappropriate objects to raise the statusof an event/character and addsignificance to the drama; deciding toplace a chair on a box so that the king isseen to be in a position of authorityDevelop the ability to reflect on thesignificance of events as they occur inthe drama; she was carrying a big redbag: was that to ...?117

DramaThe student should be enabled to• sustain interest for theduration of the dramaSustain interest on task for theduration of moments of activeparticipation; show excitement onhearing his/her name mentioned, takehis/her turn with assistance, listen andclap hands when the tune of a favouritesong is adapted in the drama, look whena favourite staff member enters thedramaExploring and making dramaIndependently seek to help teacher-inrolein the dramaAnticipate own action or rehearsedresponseWatch others, take turn independentlyand then resume watching the actionMake observations on specific roleplaysituations and recall the ‘story’ inthe right sequence using appropriatevocabularyReflecting on drama• develop the ability toreflect on the action as itprogressesExperience the immediateconsequence of an action within thedrama; become aware of what happenswhen he/she makes a loud noise andwakes up the sleeping boy/girl played byteacher-in-roleMake guided choices during the courseof the drama; consider what bears shouldput in their picnic baskets, what Jackshould do next …In preparing for a drama whichinvolves a hospital scene, reflect onappropriate behaviour when visitingpeople in the hospital—how do weshow we care?Show sensitivity to the needs andfeelings of others; explore ways ofhelping the sick old man in therestaurant/café118

DramaReflecting on dramaThe student should be enabled to• experience therelationship betweenstory, theme and lifeexperienceExperience the consequences of anaction that replicates a real-lifesituation; comfort teacher-in-rolepretending to cry, who then instantlycheers up, shake the hand of teacher-inroleplaying a special visitorRelate with some assistance to acharacter in need; with prompting, showthe lion/giant who can’t make friendssome of the strategies that the studentuses in making friendsShare insights gained whileexperiencing the drama; communicateabout how he/she felt when …, if motheror father would do things differently fromone of the characters in the dramaExplore issues with a practical, socialor moral dimension; is given the role ofan active moral agent such as helper,rescuer and encouraged to articulate,either in or out of role, the differencesbetween right and wrong• develop awareness ofbeing part of an audienceHave opportunities to attend adramatic performance (short play,puppet show, pantomime, etc.); inschool, in locality, a special trip to a bigperformanceRespond to the unfolding storyline;visually and/or aurally follow what ishappening, show pleasure/boredom/fright/excitement at the actionExperience, enjoy and participate in asmany forms of dramatic expression orgenre as possibleShow curiosity when he/she is broughtto see a dramatic performance; showanticipation and curiosity, ask about whatis happeningRelate to character in role; shout towarn of impending danger ‘Look out, he’sbehind you!’Behave appropriately with someprompting when he/she is part of anaudienceBe able to recall the characters in thedrama and explain their function in theunfolding plotRecollect a situation in the drama, theconsequences of an actionCommunicate about the order ofevents in the storyBegin to be sensitive to the differencesin genre; for example, between comicand tragic119

The student should be enabled to• develop the ability,out role, to co-operateand communicate withothers in helping toshape the dramaCo-operate in making and organisingprops and costumes for the drama;participate with an adult in paintingbackdrop, participate in placing props intheir correct placesShow interest in making and organisingprops and costumes for the drama andco-operate with others withdecreasing assistance; look with interestat the attractive costume materials, holdmaterial as an adult cuts it, help to cutmaterial with scissors, help anotherstudent or adult to paint and place propsDramaCo-operating and communicating in making dramaCo-operate independently with anadult or another student in making andorganising props and costumes;communicate about what materials to usefor costumes or where to place propsHelp teacher/other student prepare togo into role by assisting him/her inputting on a garmentHelp teacher to choose the locationfor the dramaMake a clear decision to influence thecontext for the drama; indicate wherethere will be a door on the façade of ahouse, help teacher create it usingmasking tape to outline details/stickcardboard door on façadeContribute ideas on the choice ofprops, costumes and musicWork, individually and in groups topaint the backdrop and various props,set out chairs for the audienceHave reaction interpreted that willinfluence the drama; choose costumeitems from dressing up box to be worn bythe teacher-in-roleExchange roles so that each memberof the group has a chance tocontribute to the drama120

The student should be enabled to• develop, in role, the abilityto co-operate andcommunicate withothers in helping toshape the dramaEngage in tasks within the drama thatrequire co-operation; take part infollow-my-leader drama gameParticipate in a drama performance;play a collective role: participate as amember of the crowd…DramaCo-operating and communicating in making dramaIn a drama about Noah and the Arktake turns making the sound of his/heranimalContribute ideas about what Jack cando to get away from the giantHelp others to decide how to dealwith the bully; contribute suggestionsParticipate in a drama performance;play a character role: recall rehearsedactions, show ability to improvise …Participate in a drama performance;play an individual role: carry out actionson cue from a narrator …Co-operate with others, in smallgroups, in making a scene betweenpuppets121

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2B OOKD R A M AExemplar scheme: Jack and the BeanstalkEXEMPLARS123

E X E M P L A RD R A M AExemplar scheme:Jack and the BeanstalkMethodStrategiesSTORY TO BE DEALT WITH EPISODICALLYSimple narration of section of story by teacher, followed by dramawork based on it.(i) Teacher-in-role – Mother/old man/Giant’s wife/Giant(ii) Class in role – collectively, individual roles, in pairs(iii) Guided imagery(iv) MimeMaterial/ResourcesLearning outcomesLanguage development(i) Working space containing table and chairs(ii) Apron, man’s hat, shawl, candle, cloth/bandage(iii) Seeds, pots, compost(iv) Pictures of cow, cottage, window, door, old-fashioned hearth, giantbeanstalk, crock of gold(i) Working co-operatively(ii) Communicating(iii) Negotiating(iv) Developing imagination(v) Language development(vi) Role-taking(vii) Awareness of passage of time through-out day• Listening skills• Negotiating skills• Responses in role through speech/gesture/sign.Linkage IntegrationSESE – Music, movement, poems.SPHEMathsArt124

E X E M P L A RD R A M AExemplar scheme:Jack and the BeanstalkTopic:Materials/ResourcesLearning outcomesStory based on Jack and the BeanstalkApron, candle, man’s hat, shawl, bandage/cloth.Pictures of – cow, kitchen, door, window, cottage, fireplace (old fashionedhearth) – all above with appropriate titles.Seeds for sowing, pots and compost.– Role-taking e.g. Jack, buyer (old man), Jack’s Mother, Mrs Giant, Mr Giant– Developing imagination– Working co-operatively– Communicating/negotiating– Use of mime– Planting of seeds: observing their growth– Awareness of different times of day: morning/breakfast,night time/bedtime– Awareness of seasons: springLanguage development,Listening skillsListening to narrativeJack listening to Mother’s instructionsJack listening for Giant’s footsteps.Negotiation skills– Role-playing in pairs – Jack and the old man– Jack and Mrs Giant– Eliciting appropriate responses in role– Gestures/activitiese.g.Jack driving cow to marketJack standing holding rope on cowMother throwing out beans in disgustJack closing windowMother lighting candleJack climbing the beanstalkJack gathering herbs for poultice and making of poultice125

MethodologyLinkagesPhysical activitiesStory telling/narrationTeacher-in-role as Jack’s Mother/old man/Mrs Giant/Mr GiantRole-taking – collectivelyIn pairsIndividuallyGuided Imagery – Jack’s journey to marketMime – milking cow, climbing beanstalkNature study – planting of seedsMaths – counting of beans, counting of coinsTime – showing breakfast time, afternoon and bedtime on clock, therebyleading to learning to read a clock (long-term aim)Language (reading) – Door, window, table, chairs, apron, hat, fireplace, beans,poultice, (written on pictures) etc.Curling, stretching, yawning on awakening, driving cow to market,‘climbing up’beanstalk.Nature study – planting of seedsArtwork – e.g. drawing of chairs, table, door etc.Scenes from story.Music/Jingle – to market, to market…Henny, Jenny, jingle… etc.126

E X E M P L A RD R A M AJack and the BeanstalkLesson 1ResourcesPre-context PreparationApronPicture of a cowPicture of a bucketYoghurt carton/cheese carton/milk cartonPictures of different types of houses including a cottage.The teacher tells the class he/she is going to begin a story called Jack and theBeanstalk. He/she shows pictures of an old cottage and of a cow with wordscottage and cow printed underneath. Short discussion based on the pictures.Teacher talkLet’s begin the story now:NarrationThere once was a boy called Jack who lived with his mother in a little housecalled a cottage.They had one cow that gave them lovely, fresh milk and Jackmilked her every morning and evening.Suspend narrationTeacher talkLet me pretend to be Jack’s mother and all of you can be Jack.ContractLet’s try it shall we?SigningShows apronTeacher talkI’ll wear this apron when I’m pretending to be Jack’s mother but when I takeif off I’m Teacher again.PracticePuts apron on; asks: Who am I?Takes apron off; asks: Who am I?Puts apron onTeacher-in-role (TIR)Jack! Get up out of bed and go out and milk the cow. I’m in the kitchenputting on the porridge for breakfast. Do you hear me Jack?127

Collective role as JackTeacher out of roleMimed activities in collectiverole as JackReflectionLinkagesTopics for discussionEncourages responses from all as Jack.Teacher takes off apronHelps class to mime getting up.Stretching/yawning/dressing/washing faces and hands/fetching bucket/goingto cow/patting cow/fetching stool/milking cow/talking to her/carrying heavybucket into kitchen.Did Jack get up when his mother called him? Was he kind to the cow?What do you think? etc.Various types of housesWhat kind of house do they live in?Where does milk come from?What products are made from milk?End of Lesson 1128

E X E M P L A RD R A M AJack and the BeanstalkLesson 2ResourcesApronTableChairsCereal boxesPictures of door/window/fireplace – open hearthMarmalade jarTea cartonSugar packetCoffee jarReviewingTeacher reviews work of previous lesson by well-posed questions and reminders.Shows apron and reminds them of its significance.Teacher talkLet’s set out Jack’s kitchen.Where will we put the table? Here?Setting out the drama placeDoes so with their helpAnd the chairs?(using space available)Ditto.Look at these pictures.Shows pictures of fireplace, window, doorWhere will we place the fire?… the window?… the door?Places themWe’ll pretend we have spoons and bowls for porridge.Now I’ll be Jack’s mother again and you’re coming in with the heavy bucketof milk.TIRDons apronGood lad Jack. Dip the jug into the bucket and put it on the table.Mimed activityEncourage all to fill the imaginary jug from the imaginary bucket and put it onthe table.129

MimeTIRTeacher mimes stirring porridge in a potThe porridge is just ready. Hold up your bowl Jack and I’ll fill it for you.Mimed activityInteraction responsesTeacher mimes filling bowls with porridge as students hold imaginary bowls.Encourages Jack to say ‘Thank you mother.’Help yourself to the milk out of the jug. Eat up now!Students and teacher mime eating porridge.Building beliefConversationTeacher out of roleDiscussionWas it cold outside when you were milking the cow? Was the sun shining?Was it raining?Encourage responses as JackTeacher removes apron.Various types of breakfasts nowadays vis-à-vis Jack’s.End of Lesson 2130

E X E M P L A RD R A M AJack and the BeanstalkLesson 3ResourcesReviewing• Apron• Table• Chairs• Pictures of door/window/fireplace – open hearth.• Teacher reviews work of previous lessons.• Sets up kitchen again.• Shows apron and reminds the students of its significance.• All seated at breakfast table.• Teacher dons apron.TIRJack – I’ve some bad news for you.TensionThis is the last food we have and we’ve no money to buy any more.The cowis all we have and I’m afraid we’ll have to sell her to get money for food. So,go straight outside and take the cow to the market and sell her. Make sureyou get a good price for her and buy some food for the dinner. Hurry backbefore it gets dark.Interaction/ResponsesJack, how much do you think she’s worth?Encourage responses as JackTeacher out of roleRemoves apronMime activityTeacher helps class to mime the following:• Untying cow• Finding a suitable (imaginary) stick to drive her to market emphasisingto Jack not to hit the cow but just tip her gently, to guide her safely along.131

Guided imageryClass responds to the following by moving around the room ‘driving’ the cow,responding appropriately to the images created (i.e. may sit/stand/or work asappropriate.)Jack! Guide the cow carefully here – look out for that big pot-hole! Don’t lether wander into that gap – she might fall into the little stream and you’d neverget her out. Look – she has started to eat the grass along the side of the road.Let her do that – and you can have a look around.See – there’s your cottage away behind you – its impossible to see yourmother from here and the cottage looks quite small from this distance.There’s another cottage over there – Oh! Look at the mother cat and herkittens playing in front of the door.Let’s all stand and have a good look around.There’s a farmer working in thefield just beside that cottage – that must be where he lives.Students stop to smell flowers, look at the stream, listen to birds etc.See the lovely green hills far away with the sun shining and the little streamgurgling beside the road here. Listen to the birds singing in the trees.Building beliefReflectionTo doOh! Look at the twig in that bird’s beak – they must be building their nests.Oh isn’t this a lovely day in spring!Why is Jack going to the market? Why does he have to sell the cow?What did Jack’s mother tell him to buy?Sow seeds in pots in classroom.LinkagesTopic for discussionMoney: buying/selling/shopping etc.Food for dinner: discuss favourite dinner etc.What might Jack buy?Caring for animals – cow/cat/kittens/dogsFarmer and his work in spring/four seasonsBirds – building nests in spring etc.End of Lesson 3132

E X E M P L A RD R A M AJack and the BeanstalkLesson 4ResourcesReviewingTeacher talkHat for old manPicture of stilePicture of beansPictures of a market.Teacher reviews work of previous lessonsReminds the students that Jack has stopped for a little rest on his way tomarket to sell the cow and is listening to the bird-song.Let’s go on with the story:NarrativeOh! Isn’t this a lovely day in spring! Look! There’s someone in the distancecoming towards you Jack. It looks like a man – yes! It’s an old man with afunny looking hat on his head. Look, he’s sitting down on a stile now. Let’s goand meet him.SigningTeacher tells the class he/she will pretend to be the old man when he/she putson a hatPracticePut on hat; asks: who am I?Takes off hat; asks: who am I?Teacher puts on hatTIRGood morning young manElicit responses as JackGood morning SirWhat’s your name?JackJack – that’s a fine nameYou can call me ‘Old Man’. Everybody does.Conversation ensues perhaps as follows:133

Conversation in roleWhere are you going Jack?To the marketWhy?To sell this cowWhy must you sell the cow?We need money for foodLook what I have here.These are magic beans. Look at the size of them, theshape of them and their strange colour.MimesHold out your hand Jack and I’ll put some on your palm. Feel them –wouldn’t you like to keep them Jack? Taste one – not so nice! That’s becausethey’re not supposed to be eaten – they’re meant to be sown in the ground.It’s springtime now and it’s just the right time for sowing seeds.You could have them for yourself Jack – but what would you offer me inreturn?… That’s a fine cow you have there.Tell me why I should give youthese magic beans for that cow.Teacher removes hatTeacher out of roleClassroom Assistant to helpTeacher talkEverybody, turn to the person near you.That person will be your partner.One of you will be Jack and the other will be the Old Man with the magicbeans. Old Man, put on your pretend hat.Teacher makes sure everybody in class knows which role they are takingbefore proceeding.Now, Old Man you must try to get Jack to agree to give his cow to you inreturn for the magic beans.Jack, how lovely it would be not to have to go on the long journey to themarket and maybe nobody there would be willing to buy your cow?Remember those beans are Magic!Now Old Man and Jack start your bargaining.134

Working in pairs In roleReflectionTeacher goes to each pair encouraging discussion; examining cow; Jack praisingcow’s milk-yield, resisting sale at first, finally agreeing.They shake hands to sealbargain.They part – Jack carrying beans and Old Man drives cow away.Whom did Jack meet? What was his name? What did he show Jack?What did he want Jack to give him?LinkagesTopics for discussionRhymeMarketBargainingStileTo market, to marketTo buy a fat pigHome again, home againJiggety-jigVerse 2 …hog…jiggety-jog.End of Lesson 4135

E X E M P L A RD R A M AJack and the BeanstalkLesson 5ResourcesReviewingApronTableChairsPictures: fireplace/window/doorTeacher reviews work of previous lessons, reminding the students of Jackselling the cow for magic beans.Sets up kitchen again.Shows apron and reminds the students of its significance.Teacher dons apron and looks out the window.TIRWhat's keeping Jack? He should have been home hours ago. I hope heremembered to buy the food for the dinner.Oh, I see him coming without the cow. I hope he got a good price for her. I'llput some turf on the fire and fill the kettle.Teacher out of roleRemoves apronMimed activityTeacher gets class to fetch sods of turf and bank up the fire; to go to the pumpand fill the kettle; place it on the fire having carried it carefully inside.Puts on apron.TIRAh! Here he is.Collective role of JackJack, where's the food?Teacher gets response from students as Jack.Do you mean to say you sold our good cow for a handful of beans? We can'teven eat them, you silly boy.What's so special about them?Elicits response re:‘Magic’ beans.What do you mean,‘magic’? I never heard such rubbish.Here! Give them to me.136

Teacher goes to window, mimes pushing up window; throws ‘beans’ out;closes the window.I'm tired and hungry and very disappointed in you Jack.Mimed activitiesLock the window now please. Wait for activity.Close the curtains. Wait for activity.Put the bolt on the door. Wait for activity.Put the guard in front of the fire. Wait for activity.I'm going to bed. Goodnight.Time of day (bedtime)Teacher out of roleReflectionLinkagesTopics for discussionFetches candle, and lights it.Walks slowly towards the ‘bedroom’. Blows out candleTakes off apronWas Jack's mother pleased with the magic beans?What did she do with them?Did they have anything to eat?Home-heating nowadays/long agoBoiling of kettle then and nowCandle vis-à-vis electricity for lightSafety-factors (candle-flame)Times of day.End of Lesson 5137

E X E M P L A RD R A M AJack and the BeanstalkLesson 6ResourcesReviewingNarrationSuspend narrationApronTableChairsPictures: fireplace/window/door• Teacher reviews work of previous lessons by well-posed questions.• Sets up kitchen again.• Shows apron and reminds the students of its significance.During the night the magic beans grew and grew.They grew so tall that theycovered the window and reached way up into the sky. It made the kitchenvery very dark.Guided imageryLet's pretend we're the beans in the ground where Jack's mother threw us.Mimed activityLet us curl up under the ground; we're beginning to stir and move bit by bit.We are now ready to BURST! through the earth.We're growing bigger andbigger stretching up towards the sun and waving in the breeze of the springmorning.Teacher-in-roleDons apronYawns and stretches as if waking up in the morning and walks into the kitchen.TimeWhy is it so dark here in the kitchen? This is morning-time. I'd better openthe curtains and let in the light.Teacher mimeOpens the curtains and looks startled.TensionJack! Wake up! Come quickly! There's something strange growing in front ofthe window! Oh do wake up! Come along Jack. Have a good stretch andyawn and hurry into the kitchen.138

Collective role of JackMimed activitiesTIR continuesActivityTeacher out of role and classout of rolePredictionTIRReinforcing storyEncourages Jack to wake up – stretching/yawning/rubbing eyes coming into thekitchen and responding to Mother as Jack.Look at the window! There's something strange there –what do you think it is? Let's go outside and have a look.TIR and class as Jack go towards picture of kitchen door and go ‘outside’Oh my goodness!Looks upwardsIt seems to go up and up – right up into the clouds!Teacher takes off apronTeacher questions the students about Jack's reaction to the magic beanstalk.What might happen next?Dons apronSo the beans were really magic - the old man told you the truth after all!LinkagesTimeComparison between fast growth of magic beans and the actual growth ofseeds sown by class following Lesson 3.End of Lesson 6139

E X E M P L A RD R A M AJack and the BeanstalkLesson 7ResourcesReviewingTeacher in roleCollective role of JackApronTeacher reviews work of previous lessons.Shows apron and reminds the class of its significance.Teacher dons apron.So the beans were really magic! The old man told you the truth after all, Jack!What will we do with this giant beanstalk?Maybe there is something to eat up in its branches.Would you try Jack? I'llguide you from here.Guided ImageryPull yourself up by your right hand and your right foot – now your left hand– catch that strong branch there.Class mimes activitiesTest it first to make sure it takes your weight – bring up your left foot.Have a little rest and tell me what you can see?Questioning in roleElicits responses in role as Jack.Can you see the stream sparkling in the sun Jack?Can you see the farmer in the field? Is the cat still sitting at the door? andthe kittens – are they still playing? All right Jack! Continue climbing but bevery careful.Continue guiding Jack for a short while.Teacher out of roleTakes off apron and invites the class to sit and listen to the story.Narration(to be readslowly and withmeaning)As his mother watched from below Jack continued climbing upwards. Soonhis mother could no longer see him as he disappeared into the clouds.Jack looked around him fearfully. He was tired from the long, long climb up.Turning around he saw a lovely little nook. He lay down to have a little restand fell fast asleep.140

ReflectionLinkagesHow do we know the beans were magic?Was Jack frightened climbing up the beanstalk?Did his mother go up with him?What did she do?Weather in springDanger climbing highDanger exploring unknown places on one's own.End of Lesson 7141

E X E M P L A RD R A M AJack and the BeanstalkLesson 8ResourcesReviewingTeacher out of roleSigningShawlPicture of giantTeacher reviews work of previous lessons ending with Jack asleep in nook high upin the beanstalk.Today we will meet new people in our story who live high up in thebeanstalk. First of all we will meet a lady who wears this shawl.Shows shawl.Do you remember each time I pretended to be Jack’s mother I put on theapron? Well, now, each time I put this shawl around my shoulders I willpretend to be the lady who lives in the beanstalk.PracticePuts on the shawl; asks – who am I?Takes the shawl off; asks – who am I?Teacher ensures class understands significance of the shawl before proceeding.Now, let’s find out what happens next in the story.NarrationWhen Jack woke up he found a very strange lady standing staring at him.Teacher dons shawlTeacher in roleWho are you? Where did you come from? How did you get here? Why didyou come?Elicits responses from class as Jack.Collective roleSo, your name is Jack. I’m very glad to meet you – you seem to be a kind boylooking after your mother. I wish I had a nice, kind son like you to help me.My name is Mrs Giant. I hope you are not frightened at how big I am – haveyou ever met a giant before?Elicits responses.142

Building beliefMy husband is Mr Giant – he’s even bigger than I am. Here is a picture ofhim. Isn’t he HUGE!Shows picture of Giant and elicits comments.He used to be a lovely, kind, and gentle person but now he has changedcompletely. He hurt his hand chopping wood for the fire a few weeks ago.Asplinter of wood stuck in his hand but I took it out and bathed it. However,his hand has swollen up and is all red and sore. He seems angry all the time.He shouts at me and frightens me – nothing pleases him, no matter what Ido or say. He storms out of the house, bangs the door and tramps so heavilythat the ground shakes and his voice is like thunder.Teacher out of roleReflectionLinkagesTeacher takes off shawl.• Whom did Jack see staring at him when he woke up?• Was he frightened?• Had he ever seen a giant before?• What did Mrs Giant tell Jack about her husband?• What happened to Mr Giant’s hand?• What effect did that have on him?Teacher explains to class that in the olden days there were no chemist shopsor doctors. Some people in the country had cures made from herbs androots of plants. Sometimes they made a *poultice by boiling up certain herbsand plants in a cloth and applying it while hot to a wound.*N.B. necessary for further lesson.Nature StudyHistoryFolkloreLanguage.End of Lesson 8143

E X E M P L A RD R A M AJack and the BeanstalkLesson 9ResourcesReviewingNarrationShawlTeacher reviews the story as far as the Giant’s wife telling Jack about the recentchange in Mr GiantReminds the students that Mrs Giant wears a shawl.Jack remembered that some time ago his mother had cured the cow’s sorefoot by putting on a hot poultice made from certain herbs, which Jack hadpicked in the fields.The cow had got a big nasty-looking thorn stuck in herfoot, which was very painful.After having the poultice on overnight the cow’sfoot got better. He wondered if a poultice would cure the Giant’s sore hand.Teacher in roleTeacher puts on shawlCollective roleThank you for telling me about the poultice Jack.Will you show me whichherbs to collect? The herbs you described are growing over here – will youhelp me to pick them? Here’s a big basket to put them in.Mimed activityTeacher places pretend basket in centre of space. Guides class inselecting/picking/placing herbs in basket.Let’s go inside to put on the big pot of water to boil.Will you carry in thebasket of herbs for me please Jack? Good lad. Help me put the herbs intothe pot and stir it for me.Would it be ready yet? It has been boiling for afew minutes now, so perhaps it’s ready.Elicits responsesSuitable mimed activitiesHelp me smooth out this cloth so that we can fill it with the boiled herbs.Fetch that big spoon; dip it into the pot and lift it out carefully onto thecloth. Now we’ll roll it up tightly and it’s all ready. Good!TensionOh! Do you hear that sound like thunder? That’s Mr Giant coming. Quick!Hide in this cupboard. He mustn’t see you or he will be very angry.144

Mimed activityTeacher and class out of roleReflectionDistancingLinkagesClass as Jack finds hiding place.Teacher removes shawl.I wonder how Jack is feeling now? Is he feeling frightened? Who is coming?Is Mrs Giant afraid too?Elicit their views on Jack’s situation in order to protect them from Jack’s fearof the giant.Modern-day medicinesAncient cures – folkloreEnd of Lesson 9145

E X E M P L A RD R A M AJack and the BeanstalkLesson 10ResourcesReviewingSigningCloth/bandageTeacher reviews work of previous lessons ending with Jack hiding from the Giant inthe cupboard.Shows cloth/bandage.Do you remember when I put on the shawl I pretended to be Mrs Giant?Well, now each time I wrap this cloth/bandage around my hand I shallpretend to be Mr Giant.PracticeI put the bandage on – who am I?I take the bandage off – who am I?Teacher ensures class understands the significance of the bandagebefore proceeding.Now let’s find out what happens next in the story.Teacher in roleTeacher puts on bandage.Fee Fi Fo FumWatch out everyoneHere I come!Teacher tramps heavily to table and sitsTeacher removes bandage – leaves it on chair.Teacher out of roleOh – the giant seems so angry – what should Jack do now, do you think?PredictionTeacher encourages suggestions.Teacher talkWell, let’s see what did happen in the story.146

NarrationSigningTeacher in roleClass:Collective role as JackTeacher out of roleMimed activitiesNarrationReflectionLinkagesJack couldn’t keep awake in the cupboard and so he fell fast asleep.While heslept Mrs Giant put the poultice on Mr Giant’s hand so when Jack woke upthe giant’s hand was better! Then Mrs Giant told Mr Giant about Jack andshe went over to the cupboard and brought Jack out telling him that thegiant was not angry or a bully any more.Teacher drapes bandage across arm.Jack – I want to say thank you for telling Mrs Giant about the poultice. Look!It has cured me. I am sorry I was such a horrible angry person – but the painwas very bad and it wouldn’t stop. Now – as a thank you gift I am giving youthis bag of nice, shiny gold coins.You will be able to look after your motherfor ever and ever.Teacher guides class as Jack climbs down beanstalk carrying the bag.Teacher removes bandage.Jack climbed back down the beanstalk and gave his mother the bag of goldcoins.They built themselves a lovely house and lived happily ever after.• Why did Mr Giant become a bully?• When did he change?• Is Mrs Giant happy now?• What did Mr Giant give Jack as a reward?• Was Jack’s mother happy to see Jack back with a bag of gold?BullyingSocial Skills – politeness/gratitudeMaths – counting coins.End of Lesson 10147

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2B OOKAppendix149

Basic propsand equipmentSIMPLE PROPS CAN HELP A STUDENT ATTENDTO, RESPOND TO OR ASSUME A ROLE.Basic equipmentCassette-player or CD-player and tapes or CDsStage blocksTable and chairsMirrorNotice-boardGood-quality make-up for special occasions.Costumes:to include masks, bags, coats, cloaks, animal costumes,domestic costumes (fire fighter’s helmet, nurse’s outfit,doctor’s outfit, etc.)Props:HatsScarves and shawlsGood masksCoats and cloaksUnusual long skirts, trousers, coloured exotic topsBagsPieces of flimsy, flowing fabricsOld sheetsPairs of glasses and sunglassesVariety of wearable pairs of shoesTelephonesClip-boardOld computerBellsNewspapersVase of (plastic) flowersHairbrushes and combsFootball rattleRubber glovesKnittingBooksPack of cardsDoll or teddy in shawlTea things (plastic): teapot, mugs, etc.Sweeping brushClockMirrors, masksOld television with inside taken outor a home-made frameWalking sticks.Character bags and sensory boxesFamiliar roles and characters can be introduced tothe students through the use of ‘a character bag’(for example, a garda, a teacher, a fire fighter, adoctor, a dentist, a nurse, a farmer, a cook, a cleaner,a refuse-collector, etc.).This character bag cancontain sets of clothes and tools characteristic ofthat role. If a specific character from a well-knownstory or television programme is being explored,personal effects can be added that might beassociated with that particular character and thatindicate their job, hobby, or personal habits, forexample, Little Red Riding Hood with her basket ofgoodies on her way to Grandma’s house, or thesunglasses and jewellery worn by a pop singer like‘Puff Daddy’ or Ronan Keating of Boyzone.150

2B OOKPhysical EducationINTRODUCTION TO PHYSICAL EDUCATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .153SCHOOL PLANNING FOR PHYSICAL EDUCATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .157CLASSROOM PLANNING FOR PHYSICAL EDUCATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . .161PHYSICAL EDUCATION EXEMPLAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .191GLOSSARY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .198151

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2B OOKPhysical educationFlexibility is essential in planninga programme that meets the needsof each particular school,class and student.Physical education enhances the body’s strength andphysical well-being and provides opportunitiesthrough which students can improve fine and grossmotor co-ordination, concentration and listeningskills, self-esteem, self-confidence, games skills,creativity and the ability to co-operate andcommunicate with others. It promotes the overalldevelopment of each student as a whole person. Eachstudent is challenged at his/her personal level. It isalso a highly sociable subject involving a high level ofappreciation and acceptance of others. Physicaleducation allows students with moderate generallearning disabilities to experience, practise and enjoymany physical skills.A positive experience in physicaleducation at school will motivate students toparticipate regularly in sports and physical activity asan adult.Because of the varied physical needs and abilities ofmany students with moderate general learningdisabilities, considerable flexibility must be exercisedin planning a programme that meets the needs ofeach particular school, class and student. Many ofthese students experience difficulties with basic coordination,balance, left and right orientation, rhythm,spatial and body awareness, listening and responding,language, concentration, and self-confidence.Theseskills can be addressed through the physicaleducation curriculum. Some students can show greattalent in this area and the teacher may need toaccess Curriculum Guidelines: Book 3 for moreadvanced activities while others may require physicalassistance to enable them to participate. Regularopportunities to practise skills and access to a widerange of stimulating equipment and apparatus willallow students to demonstrate progress andexperience success. It is important that all studentswill have access to the broadest possible curriculumin physical education.CURRICULUM CONTENTThe curriculum is divided into six strands:• Athletics• Dance• Gymnastics• Games• Outdoor and adventure activities• Aquatics.153

hythmic phrases. Some students will enjoy dance ata sensory level while others will come to understandthat dance is a medium for the expression of ideas,thoughts and feelings.AthleticsThe athletics strand examines the underlyingmovement associated with the activities of running,jumping and throwing. Each skill is appropriatelyadapted to challenge the potential of each student,while providing a sense of achievement.As he/shedevelops a greater sense of body awareness, theintroduction of objects of different shapes, sizes,textures and weights are explored. Students areencouraged to apply new skills in a variety ofcontexts.These enjoyable movement activitiesmotivate him/her to engage in more formal activitieslater on.DanceDance is a means of expression and communicationand can be both relaxing and exhilarating, offering funand enjoyment. Dance in education encourages thestudent to explore and appreciate movement and tobecome creative and expressive throughperformance.The process and exploration ofmovement is as important for the student asperformance, as it develops the aesthetic and artisticqualities of the student. Dance develops a heightenedsense of body parts, poise, space, shape, speed,energy, strength and form in relation to self andothers. Balance and co-ordination may be challengedwhile the student is stationary or moving. Enjoyingworking together and responding to the beat of themusic is an important aim of the dance curriculum.Simple movements can be performed to givenGymnasticsGymnastics seeks to promote the control andmanagement of body movements.The studentsexplore and experiment with movement on a varietyof appropriate surfaces and equipment. Somestudents will progress to sequencing bodymovements.The focus is on body actions such as jumping, turning,rolling, swinging, balancing and stretching and on thecontrol and management of body movements inincreasingly challenging situations.The qualities ofstrength, gentleness, firmness and stability areintroduced. Each task entails new challenges, whileconsolidating others and creating opportunities todevelop a greater sense of identity and selfawareness.GamesThis curriculum strand aims to provide the studentwith an opportunity to practise the skills involved inteam games.The key skills examined are sending,receiving and travelling.The games programmeprovides opportunities to use a selection ofequipment of varying size, shape, texture, colour andpace. Handling skills, hand-eye co-ordination, carryingand striking are explored through a variety ofselected activities.The skills acquired through gamesprovide the student with different ways to play andto enjoy interacting with others through co-operativeor competitive activities. Games develop the student’s154

physical fitness, balance, speed, agility, anticipation,spatial awareness and appreciation of the ability ofothers in the game.They develop an awareness ofteamwork and team spirit.Throughout the games programme students areprovided with opportunities to work individually, inpairs and as part of a group.With increased exposureto these activities students gain a greaterunderstanding of how games are played, thus leadingto a sense of achievement and satisfaction.Developing an understanding of games will enablestudents to appreciate and enjoy games asparticipants and spectators. Many special schoolsparticipate in inter-school games leagues, for examplefootball and basketball leagues, which allow studentsthe opportunity to develop further a sense of teamand school spirit and to socialise with a wider group.Outdoor and adventure activitiesOutdoor pursuits can cover a wide spectrum ofactivities, from the easily accessible pursuit of walkingto more adventurous and, in many cases, lessaccessible activities such as horse riding. Schools areencouraged to select activities that are suited totheir own particular circumstances and appropriateto the needs and abilities of the students.Thepursuits detailed in these guidelines focus onactivities that make the best use of the schoolenvironment and locality. Everyday activities such aswalking in the environs of the school can betransformed into sensory adventures, while findingone’s way to a familiar or unfamiliar place canbecome a challenging and stimulating orienteeringactivity. Many of these activities are team-orientatedand lead to the development of social skills.AquaticsThis strand is concerned with ways of introducingthe student to water and developing confidence inand around the water. It emphasises personal hygieneand safety throughout the programme.The key skillsexplored include achieving good breath control,relaxed floating, and regaining a standing positionfrom a back or front floating position.Theimportance of play in the development ofcompetence in the water is highlighted. Games,activities and music can be used as a means ofstimulation, learning, reinforcement and enjoyment.Specific techniques, including stroke learning, aretaught systematically.They improve the student’sphysical condition, improve self-discipline andconfidence and provide an opportunity to experiencerisk and a challenge. Students are encouraged toenjoy the benefits that aquatics have to offer withinschool and throughout their lives.Many students show great talent in this area andsuccess in sports days and competitions enhancestheir self-esteem.Aquatics provide an idealopportunity to foster links with other schools and toorganise joint activities. Opportunities for includingstudents in water activities within the localcommunity should also be explored.155

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2B OOKSchool planning forphysical educationIt is important that each school staff makes planstogether to implement an agreed programme forphysical education. In doing so, it will be necessary toassess the strengths and needs of staff members inrelation to physical education, and to assess thefacilities of the school in relation to the programmein order to make short-term as well as long-termplans for the future.Within this plan it may bepossible to share and develop the knowledge andtalents within the school staff and the localcommunity.The school plan should make provisionsfor an evolving physical education programme thatcan be continually assessed and developed to meetthe needs of all of its students.Mainstream curricula contain advice on planning,some of which is applicable when planning forstudents with moderate general learning disabilities.The following outlines some additional points thatneed to be examined in planning physical educationfor this group of students.The mainstream curriculum contains advice onplanning, much of which is applicable when planningfor students with moderate general learningdisabilities.The following outlines some additionalconsiderations in planning physical education for thisgroup of students.CURRICULUM ANDORGANISATIONAL PLANNINGBroad and balanced curriculumAs with other subject areas, teachers will be workingon a number of strands in physical education at thesame time. Decisions on the selection of strands willbe based on the individual needs of students.Also,the content in many of the strands will have similaraspects and use may be made of common keyteaching themes. Planning will ensure that thesestrands run consecutively and thus promoteconsolidation of learning. Each new learningexperience should build, where possible, onprevious learning.Planning for continuity, progression ofsubject content and student progressIt is essential to establish the experience of the classto date with particular reference to the skillsacquired and the work completed in the variousstrands. Liaison with the previous class teacher andconsulting the class records containing informationgained from previous assessment should provide theinformation necessary for building a new programmeto meet the needs of each student.A commonunderstanding of the language used in the recording157

of assessment will be necessary to ensureconsistency throughout the school.Integration of resourcesIt is important that the school plan makes the bestuse of physical and human resources within theschool as well as in the immediate community. In thisway the students’ learning opportunity is given themaximum support possible. Consideration should begiven to the best possible use of indoor and outdoorspace and appropriate equipment to best facilitatelearning through an active programme. Optimum useshould be made of any expertise or special interestamong the teaching staff in any aspects of the physicaleducation programme.There may be opportunities touse the expertise and facilities in the community, e.g.local coaches, swimming pools, athletics tracks, sportshalls or pitches. It may be useful to list these contactsand resources in the community in the school plan.TimeTimetabling is very important in school planning forphysical education.All classes need to have sufficientaccess to the physical education facilities of theschool and the use of facilities outside the school,such as swimming pools and sports tracks, may needto be planned. Students with moderate generallearning disabilities may present with a limitedattention span and some students may not bephysically able for a long session.These factors needto be considered when planning the length ofsessions.Safety issuesPlanning for the safety of students in the participationof the physical education programme is crucial.Thefollowing areas may be considered when planning forthe safety of students with moderate general learningdisabilities:• rules—students must be made aware of andadhere to the safety rules given by the teacherduring the lesson, for example instructions to ‘go’and ‘stop’ and ways of entering and leaving theplay area. Instructions should be given one at atime and repeated often. It will be important toaccompany all verbal commands or requests withvisual and physical demonstrations.• transport of equipment—students need to betaught how to lift, transport and store equipmentsafely and to co-operate in groups in doing so.• behavioural issues—some students will require a lotof support and supervision during class activities.A special needs assistant can be an invaluableresource when one-to-one support is desirable.• physical support—some students may needphysical support when practising certain skills, e.g.rolling or tumbling in gymnastics.• spatial awareness—some students need more spacethan others and it may also be necessary to limitthe number of students involved in an activity atany one time.The workspace should be unclutteredand potentially dangerous objects removed.• concentration—activities need to be changedregularly to engage the students fully in activelearning and thus minimise the scope foraccidents due to lack of concentration.• grouping—students can differ significantly intemperament, size, strength and ability. It isimportant to consider these issues when forminggroups for activities, especially competitive ones.EquipmentStrategies for the storage, maintenance, allocation andpurchasing of new equipment will need to bediscussed and formulated in the school plan.Acalendar outlining the physical education strands inthe year and a timetable for the shared use of thephysical education equipment may also be included.Provisions will need to be made for some studentswith special needs in the physical educationprogramme by modifying equipment. For example,larger targets and softer, brightly coloured, lighter andlarger balls may be used in the games strand toaccommodate the co-ordination and visual difficultiesof some students.The choice of equipment or layout of activities canalter the physical difficulty of a given task.Teachersmight consider the following:• Ball control: students may practise their strikingskills by using a ball which is suspended withstring from the roof or a pole or resting on astand (giant tee). Students with decreased abilityto grip may use a mitt with a Velcro attachmentto a bat/racquet handle. Developing the skill ofsending a ball may be facilitated by the use of aboccia style ramp or by creating a chute betweentwo benches.• Games: the size of the target/goal, the distancefrom the student to the target/goal or the heightof a basket may be altered.A rope resting on the158

floor or the use of a badminton net at a lowheight will allow students to participate in netgames.• Running: by using bollards to create threedifferent laps around the circumference of thegym all students may participate in running andjogging activities at their own level, with the moreable students running in the outer lap, etc.• Including all students: teachers should exploredifferent ways of including all students. Forexample, the use of a marked out ‘wing zone’ forstudents using a wheelchair which others may notenter or allowing a student to attempt a‘conversion’ when either team scores —knockingall or X number of skittles adds an extra point tothe team’s score.Special OlympicsSpecial Olympics Incorporated offers an excellentprogramme of sports training and athleticcompetition for all students with a learning disabilitywho are over eight years of age. Students may haveopportunities to take part in Area, Regional orNational events. Parents are encouraged to attendand become involved in these activities and to sharein their children’s achievements. For some studentswho are unable to participate in official competitions,SOI also offers a Motor Activities TrainingProgramme.This programme emphasises training andparticipation rather than competition and offers awealth of ideas for teachers on breaking activitiesdown into manageable steps.159

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2B OOKClassroom planningfor physical educationMuch of the planning advice in mainstream curriculawill be applicable for students with moderate generallearning disabilities, but the following points may alsoneed consideration.CURRICULUM ANDORGANISATIONAL PLANNINGIdentifying needs of studentsand planning targetsAt the beginning of each strand it is necessary toidentify the skills and learning needs of the studentsin order to plan and set learning targets for theseries of lessons.This may be done by observing thestudents displaying a range of skills and participatingin activities pertaining to the strand area. Skills in coordination,fine and gross motor skills, balance, spatialawareness, language and social integration andconcentration can be assessed. Reasonable targets,such as the type and level of skill and rate ofprogress, can be planned for and predicted. It will beimportant to take into account the pace at whichstudents work and the physical effort required tocarry out particular activities.DifferentiationThe ability of students with moderate generallearning disabilities in this subject area is diverse andwide ranging. Many students show talent in certainareas while others show significant needs and requireguidance through a progressive and systematicapproach to their participation and learning.It is the task of the teacher to assess and plan for thelearning needs of the different students within theclass and to provide all students with opportunitiesthat are appropriate to their ability but also challengetheir potential. In doing so, knowledge of skillprogressions and appropriate activity practices areimportant. Organisational and class management skillsare also required when planning for physical activities.It may be helpful to seek the ideas and the advice ofcolleagues and other professionals when planning andmaking these preparations. Such advice and expertiseis invaluable, and successful ideas and strategies couldbe recorded and used as a teaching resource withinthe whole school.161

Progress reportsProgress reports, made by the previous teacher orteachers and kept with the school records, will be ofgreat benefit.They may record the content and skillslevels that have been covered. Discussion with theprevious teacher or teachers may help to clarifyparticular difficulties and identify successful strategies.This information, together with the teacher’spersonal observation of the student will help toassess each student’s strengths and needs in planningappropriate content and methodologies.Support staffConsideration should be given to the optimum use ofof special needs assistants and/or any other ancillarystaff in the class for the benefit of the student(s) andthe teacher.There may be a number of ways for thisto take place:• support an individual or small group in activities• assist in the movement of equipment• help in the organisation of the class• assist an individual or small group in thereinforcement of skills• give necessary encouragement to an individual orsmall group.Ensuring the safety of studentsFull medical approval for planned physical educationactivities may need to be obtained for some students.Consultation with other professionals may also berequired in order to enable optimum participationfor students with low muscle tone or conditionswhich affect the heart and lungs. It will be necessaryto supervise these students carefully with activityceasing if changes in skin tone such as pallor, flushingor excessive sweating are noticed. Generallyhowever, short periods of regular exercise will beimportant for maintaining their overall well being.Atlanto-axial instabilityAtlanto-axial instability is present in a smallpercentage of people with Down’s Syndrome.This refers to laxity of the ligaments or musclessupporting the first two cervical vertebrae in theneck. Forceful forwards or backwards bending of theneck may dislocate the upper cervical vertebrae,causing damage to the spinal cord. Parents/guardiansof students with Down’s Syndrome should becontacted to check on their child’s status regardingthis condition.It is important to limit certain movements oractivities for students who• have been diagnosed as having atlanto-axialinstability• have not yet been assessed for this condition.The parents/guardians should be requested tocontact the family doctor or appropriate specialist todiscuss means of assessment for this.Activities which are to be avoided include:• certain gymnastic manoeuvres (forward rolls,backward rolls)• diving into the swimming pool or using the divestart to swimming races• the butterfly stroke in swimming• the high jump• soccer.It is important to stress that individuals withatlanto-axial instability still have a wide range ofphysical activities that they can safely pursue.Specialised equipmentWhere students are wheelchair users classroom staffmay need to be familiar with the correct use ofspecialised equipment such as hoists or ambulancyaids. Support from other professionals in the use ofsuch equipment may be required and the regularmaintenance of equipment organised.162

Physical educationAthletics: RunningThe student should be enabled to• walk, jog, run orwheelchair push in anon-competitive settingWalking, jogging or runningover distanceFollow a leader who is walking, joggingor running around the room/hall;staying inside the boundaryprovided/within marked boundariesShow some awareness of personalsafety; respond to teacher’s commands tostop or find a spaceShow some awareness of the safety ofothers; look for space while moving,change directions to avoid others orobstaclesWalking, jogging or runningover distanceWalk, jog, run or wheelchair pusharound the hall for short period oftime; spread out finding own space inactivity area, on hearing the word ‘go’move around the room attending to,looking up and avoiding contact withclassmatesStand in a designated area (highlightedby a pair of coloured footprints), andon hearing the word ‘go’/seeing agreen coloured flag move at pacethroughout the room, then return tothe designated starting area onhearing/seeing a different signalWalking, jogging or runningover distanceStart, stop and change direction inresponse to sounds, such as a whistleor verbal instructionsLead a group, running, jogging orpropelling own wheelchair around ahall/sports field/ running track forreasonable length of time; createdifferent laps of varying diameter —smaller lap towards the middle of therunning area, bigger lap around the edgeof the areaWalk, jog or run with a partner toincrease stamina, showing coordinationand balance• acknowledge startingcommands to participatein running activitiesMove and stop on command; stop andgo at the sound of a whistle, a tambourineTake up position behind a clearcommon starting point and showunderstanding of visual/auditorysignals; listen for the whistle, look at flagbeing waved, wait for signalShow understanding of appropriateverbal starting commands; take yourmark (move up to starting line), get set(standing still, looking ahead) go (leaveline to move as quickly as possible)—forstudents with hearing impairment it willbe important to use appropriate, clearsignals, e.g. move arm to usher athleteforward to take their marks, hand up withpalm forward to indicate ‘set’ and droparm from a high point to a lower point toindicate ‘go’163

Physical educationAthletics: RunningThe student should be enabled toSprintingShow understanding of signals forchange of pace; anticipate the signal andreact by changing pace of movement—listen for ‘go’ signal and run/jog/wheelchairpush towards a finishing point trying toreach it before a whistle/horn/flag signal isactivatedSprintingAttempt to increase own pace;walk/wheelchair push to finish point onhearing/seeing starting signal and put amark at the point he/she got to when thesignal was activated, increase pace andthen check this new mark with previousmark, keep check on progress each timeuntil finish line is reachedSprintingSprint distances of 10 to 20 m; practisereaction sprints, the standing start• participate in activities tochallenge moving at pace• participate in a relayRelaysOn signal carry a baton as quickly aspossible to a team mate at the otherend of the lane; anticipate the signal andreact by changing pace of movementRelaysParticipate in a team relay, in smallgroups, using various means oftravelling; running, hopping, skippingRelaysParticipate in team relays developingsimple techniques; passing with righthand and receiving with left hand,practising baton change-overParticipate in a pair relay using abeanbagShow ability to take turns; watch to seeother group members take their turn,move forward to take his/her own turn,wait for signal … and continue to the endOn signal run/move to pass baton tonext person waiting in line, wait in lineto receive baton from team mate164

Physical educationAthletics: RunningThe student should be enabled toHurdlingRun over flat markers; running over linesHurdlingHurdlingRun over low hurdles, evenly spaced,attempt to hurdle over the centre ofthe hurdle and advance directly to thenext hurdle without delay• hurdle over a variety ofobstacles at a controlledpaceWalk at a controlled pace towards lowlying obstacles and step over at thecentre of the obstacle (rope lying acrosstwo tins); line up and walk to obstacle,upon reaching obstacle make someattempt to raise leg/look to get supportand with support attempt to lift leg overobstacleRun over low hurdles, i.e. less than 20cm high, spread throughout the activityarea; take time to adjust steps onapproaching each hurdle (hurdles whichwill bend if pressure is applied on top andprovide no resistance to weight, e.g. twoblocks of wood with a can lying across)With support, step in and out ofhoops placed on floor between parallelbarsIndependently follow a leader to stepover a row of low lying hurdles; walktowards the hurdles and watch the leaderlift each leg one at a time over thehurdle, step closer to the hurdle and stepover hurdle without touching the top ofthe hurdle165

Physical educationAthleticsThe student should be enabled toJumpingIndependently followfootprints/shapes/carpet pieces onfloor; step/push from one point toanother with accuracy, independentlyfollow the direction of the piecesJumpingShow creativity in mixing short stepsand strides; create own pathways throughfootprints etc. placed randomly on thefloor, interchange between short steps andstrides at random while movingthroughout the roomJumpingPractise moving around the room andon reaching particular points in theroom perform a jump for height,followed by a jump for distance• develop the skill ofjumpingMake attempts to stride: with someprompting and visual demonstrationattempt to stretch legs to reach eachpoint while moving on footprints/shapes/carpet pieces around the room (distancebetween them can be gradually increased)Experience the sensation of bouncingon a trampoline/bouncy castleExplore various ways of taking off fromthe ground and landing; take off fromtwo feet to land on two feet, take off fromone foot to land on two feet on mat in anupright positionRespond physically to instructions tojump up/down/high/lowPractise skipping activities with andwithout ropes; attempt to skip using aone foot leading skip and then changingto a jump skip, interchange forwardskipping with sideways skipping atrandom, use skipping rope to skip whilestationary and while on the moveCrouch down low and then stretch uphigh while standing and holding onto aperson/stable objectExperiment with various ways ofjumping—jumping for height ordistance; reach up to punch a balloon,chase bubbles floating in the air and jumpto burst them, jump off the ground andout in front, jump on the spot, in soft playarea, into ball pool, climb onto small stepand jump downExplore skipping without a rope;attempt to skip around the room movinginto space, not making contact withothersFollow a leader to practise skippingboth forward and sidewaysInitiate swinging of skipping rope so asto step over rope as it comes downtowards feet166

Physical educationAthleticsThe student should be enabled toJumpingStanding long jumpJumpingStanding long jumpJumpingStanding long jump• explore the various waysof jumpingPractise pushing off two feet andlanding on two feet in a different spotPush off from two feet, using a strongarm swing forwards and upwardsPractise the standing jump for distanceand heightUsing wheelchair, see how far he/shecan travel with one rim pushLong jumpWalk towards a coloured line, onreaching line, push off with one foot toland near a different coloured line ontwo feetPush to line, at line give one rim pushsufficient to travel to differentcoloured lineHigh jumpMove at pace along a runway towardan upright and crossbar, take off fromone foot to reach over the low lyingrope/bar to land on a resilient areaLong jumpWalk towards a coloured line, onreaching line, push off with one foot toland near a different coloured line ontwo feetHigh jumpMove at pace along a runway,attempting to move along the middleof the runway and jump over thecentre of the rope/barDevelop a short approach run whentaking off from one foot; taking threesteps and jumping for distance andheight;practise developing strong arm swing,bring arms back and on the forwardupward swing feel heels lifting off theground and standing on tip toes, look atown action in a long mirrorLong jumpMoving at pace attempting to keep in astraight line, take off on one foot uponreaching a coloured line/strip of tapeand jump towards another line or stripof tape in front of bodyHigh jumpMove towards jump and attempt tojump over the rope/bar leading with aone foot take off and crossing over therope/bar in a prone position landing ona resilient mat167

Physical educationAthleticsThe student should be enabled toThrowingThrowingThrowing• experiment withappropriate objects andmethods of throwingGrasp, hold and release a range ofobjectsExperiment with throwing objectsaway from the body and with somedirection; at a wallExperiment with throwing a variety ofobjects—beanbags and balls ofdifferent size, weight and texture—intoa basketObserve a demonstration of anoverarm throw and make a reasonableattempt to complete the actionindependently; watch the demonstrationand attempt to copy movement, watchingown attempts in a mirrorAttempt to control the movement ofhis/her arm during an overarmthrowing action; try to lift arm up andover the shoulder, attempt to throw theobject out in frontUsing a target find ways to throwvarious appropriate objects as close tothe target as possible beanbag, tennisball, soft ball, medicine ballSelect a number of targets placed atvarious heights and distances andattempt to hit each object, payattention to the way the ball is heldand is being thrownSelect one throwing object, one at atime, from a variety of objects andexperiment with ways of throwing it inan overarm movement at a target/fordistanceExperiment with new throwing objectssuch as a frisbee/boomerangTake up a standing position and using afoam javelin throw it, from over theshoulder and out in front of the bodytowards targets at various heightsPractise using only the underarmthrow for all the targets and then theoverarm throw, discuss which throw ismore successful for the particular typeof targetWhat way are you throwing the object?Does the size/weight of the ball make adifference to the way you need to throwit?Develop overarm throwing actionusing a javelin; move at pace along therunway and on reaching the throwingpoint, put foot down (plant) to stopmomentum of body and release javelinusing an overarm throwExperiment with new throwing objectssuch as a shot put, a discusGrasp and hold a ball or shot putwhile trying to throw it in an overarmmovement at a targetTake up a position on a runway andwalk with the javelin held over theshoulder and on reaching the point tothrow from complete the throwingaction and release the javelin at atarget168

Physical educationAthleticsThe student should be enabled to• develop an understandingof the basic rules ofindividual athletic eventsUnderstanding and appreciationof rules of athleticsHave opportunities to play as part of ateam during a group throwing activity;be aware of others in the group, developawareness of taking turns and cheeringon team mates, attend to the atmosphereof excitement in team throwing eventsShow awareness of personal safety;listen to teacher’s signals, attempt to keepbetween designated lane lines so as notto impede on other athletesUnderstanding and appreciationof rules of athleticsShow an awareness of personal safety;practise safe landings, try to run in astraight lineUse equipment safely with directionfrom teacher; take turns on largeequipment, carry and place mats, tidy ownbeanbag away, know to look to check thatno-one is standing in the area into whichhe/she throws an objectShow awareness of others whileparticipating in a team event inthrowing (throwing for distance,throwing to knock objects that makenoise when knocked); wait in line totake a turn, when turn is finished handball or javelin to the next person in line,react to general atmosphere ofexcitement or disappointment at team’sperformanceUnderstanding and appreciationof rules of athleticsShow understanding of some of thebasic rules; taking off without crossing amarker in the long jumpMeasure an achievement; measuredistance/height of jumps, measure apartner’s standing long jumpSet personal challenges, with assistanceUnderstand how to mind ownequipmentShow understanding about being partof a team while playing throwinggames; go with the team to a certainpoint and line up to take turns, cheer onteam members throughout the game,communicate excitement ordisappointment as appropriate• show some awareness ofpersonal hygieneWash hands and face after exercise,with or without assistanceRemove warm clothes before exerciseTake shower after strenuous exercise169

Physical educationDanceThe student should be enabled to• explore the movements ofdifferent parts of the bodyExploration, creation andperformance of danceExperience how different parts of thebody can move; imitate teacher andshake fingers, wriggle toes, nod head,shake head, flex ankles, swing arms,blink eyesTeacher names a body part and eachstudent explores various ways ofmoving that body partExplore the ways in which the bodycan move in space; step, slide, roll,march, skip, strideExploration, creation andperformance of danceExplore the ways in which the bodycan move in space using simple bodyactions such as travelling (walking,running, skipping) and jumping, gestureand stillness; explore different ways oftravelling by walking: small steps, widesteps, fast walks, tired walks, happy walksUsing the stimulus ‘bubbles’, studentsimagine that bubbles are popping onvarious body parts and they mustburst them as soon as they appear(use of real bubbles can be introducedinitially)Exploration, creation andperformance of danceRespond imaginatively throughmovement to stimuli such as words,stories, poems, pictures, music; sprinkle‘magic dust’ on shoulder, leg, arm or head,bringing it to life and exploring how it canmove• explore and createmovement at differentlevelsImitate actions involving movement atdifferent levels; slide along a mat orfloor, rise from the floor to stretch up tallParticipate in activities involvingchanging patterns of movement; followthe group moving throughout the room ina curve pattern, follow a straight linechalked on the floor, follow zig-zagpatterns of movementUse different pathways and formdifferent shapes in space;travelling close to the floor following a zigzagpathwayCreate three body shapes at differentlevelsIntroduce a stimulus for example,‘weather’ to explore the levels ofmovement– high, medium and low. Talkabout the weather– look at the sunwhere is it, can you feel the heat of thesun, can you touch it, watch the rainfall, feel it on your face, what is fog,what do you know about snow, watchand listen to the wind blowing, whatIntermixing the levels at randomSnow falls to the ground (high to low) andbuilds up into the shape of a snowman(medium) sun comes out (high) and startsto melt the snowman (medium to low)snow turns into water and flows away (low)Ask students to think of ways ofworking through the levels by offeringthem a variety of stimuli– nature, gameof soccer, swimming etc.170

Physical educationDanceThe student should be enabled to• explore and createmovement at differentlevelsExploration, creation andperformance of danceExploration, creation andperformance of dancedoes it do to the trees, leaves andflowers?Sun is high in the sky–movements willinvolve reaching, leaping, stretching up ontiptoes or stretching fingers to reach highif using a wheelchairExploration, creation andperformance of danceWind is blowing hard and the trees areswaying – movement is at a high levelfog is closing in, must crouch down to findthe way or it is frosty outside, you are coldand shivering and hunching the shoulders– movement is in the medium rangesnow has fallen and is spreading alongthe ground coveringeverything–movements are at a low level• explore a range ofdynamics in movementImitate contrasting movements; tip toeacross the floor as if in bare feet, stampalong the floor as if wearing bigWellington boots, walk over bubble wrapstamping feet to burst the bubblesTip toe with the group around theroomMove suddenly or smoothly usingstrong or light movementsStrong, heavy movements could berepresented by feet stamping, punchingthe air, light, soft movements caninvolve taping lightly with finger or toes,fast and slow movements can involvestretching out quickly then curling upslowlyUsing the theme ‘animals’ in movementstudents go outside to watch a bird fly,look at the cows in the field, watch anature programme to see how thehunting lion moves, talk about howhe/she could use his/her body to movelike the animals; slow sustainedmovement of the lion creeping up on itsprey versus sudden, strong pounce of thelion trying to catch its prey/light, sustainedfloating actions of a bird in flight versus abird cleaning itself in a birdbath171

Physical educationDanceThe student should be enabled to• explore and communicatethrough simple bodymovement a range ofmoods or feelingsExploration, creation andperformance of danceExpressing fear, excitement, happiness;by crouching down and hiding, by jumpingup and down in the airExploration, creation andperformance of danceExpressing anger; stamping feet,punching the airExploration, creation andperformance of dancePortray the mood of various folkdances; happy,lively• create and performsimple dancesWith teacher’s guidance, perform ananimal dance: beginning in an animalshape, travelling though the jungle usingcurved and zig-zag pathways andconcluding by hiding behind a treeBegin to develop work with a partner;following a leader while imitating his/hermovementsCreate the shapes and actions of toycharacters in a storyCreate and explore in response to theselected stimulus of sport; imagine theyare dribbling, catching, kicking a ball,taking a penalty, reacting to score (useactivity appropriate to group)Perform a variety of selected Irishdances and folk dances• perform simplemovements to givenrhythmic and melodicphrasesMove to action songs and rhymes; onefinger, one thumb, Hokey PokeyImitate actions of an adult with thenecessary physical and verbalpromptingPerform simple singing games and folkdances; Skip to My Lou, Louby LouRespond freely to the music; selectingto clap, march, skip, wave armsDevelop poise, balance and coordinationwhile moving and stoppingBegin to show sensitivity in movementto music; pausing at obvious changes,knowing where to begin a folk dance,changing direction and type of action172

Physical educationDanceThe student should be enabled to• create short phrase ofmovement in danceshowing awareness of theexistence of the beginning,middle and end of aphrase of movementExploration, creation andperformance of danceImitate movement phrases such ascurling on a mat, standing up slowlyand then stretching up tall in responseto ‘shadow, shadow curled up small, Ican make you grow up tall’Exploration, creation andperformance of danceIdentify the sections of a dance asbeginning, middle and end; the toy storydance:beginning: toys wake upmiddle: toys greet each otherand danceend: toy maker/owner of toysreturns and toys freezeExploration, creation andperformance of dancePerform dances showing a clearbeginning, middle and endAlice in Wonderland dance: beginning:falling down the tunnel; middle: meetingthe characters; end: falling and waking upPerform folk dances and Irish dances,demonstrating knowledge of thecorrect steps and the correctsequence of movement• communicateunderstanding of danceUnderstanding andappreciation of danceHave opportunity to view dance onvideo/a live performance; communicatefavourite part of danceIndicate by verbalising or gesturing if therewere boys/girls in the danceUnderstanding andappreciation of danceHave opportunity to view dance onvideo/a live performance; communicatehow the dance began and finishedcommunicate how the dancers moved:fast, slow, softly, loudlyUnderstanding andappreciation of danceHave opportunity to view dance onvideo/a live performance; attempt touse some dance terminology to describethe performanceBreak the dance down and takemovements of particular body part likethe feet, e.g did they move quickly? Didthe feet come off the ground? Did thedancer take big and little steps?173

Physical educationGymnasticsThe student should be enabled toMovementShow awareness of own body andparticipate in basic movement actionswhile exploring both personal andgeneral space (ref. Glossary);imitate body movements made by theteacher: flex and extend arm or leg, reachout in different directions, stretch uptall/curl up small, make strong heavymovements by stamping feet, make light,soft movements, make fast and slowmovements: stretching out quickly andcurling up slowlyMovementDevelop the basic movement actionsof running, stopping, jumping, rolling,climbing, transferring weight, balancing,swinging, twisting and turning using avariety of body parts while exploringspaceMovementDevelop further the basic movementactions of balancing, rolling, turning,twisting, stretching, climbing andtransferring weight using a variety ofbody parts while exploring bothpersonal and general space• develop basic movementactions while exploringboth personal and generalspaceTransfer body weight with assistance;rock from side to side or from back tofront, lean onto/over a therapy roll/ball, rollsideways onto matDevelop body awareness throughvariations of direction, pathways, levels,shape, speed and effort;travelling slowly on two hands and onefoot following a curved pathway, travellingsideways on two hands and two feetkeeping the body low, supporting weighton one foot with the body in a stretchedposition and transferring weight to twohands and one foot with the body in acurled positionContinue to develop body awarenessthrough further movement variationsof direction, pathways, levels, shape,speed and effort; travelling on two handsand one foot, holding a stretched balancein that position and transferring weight totravel on two feet and two handsfollowing a zig-zag pathwayTravel at different levels;move by shuffling or wriggling from thesitting position, crawl on hands and knees,crawl on hands and feet174

Physical educationGymnasticsThe student should be enabled toMovementMovementMovement• link skills to produce ashort sequence ofmovementUsing all space follow a leader fromone area to another transferring weightfrom one foot to another by steppingon coloured footprints on the floorLink skills to produce a shortsequence of movement: linking twobasic movement actions;move from one mat to anotherthroughout the room, following a leaderand perform a variety of movementactions such as stretching/turning/twisting/jumpingContinue linking of movement skills onthe floor and using apparatus; balancingon a bench, jumping from the bench to amat and travelling across the mat by rollingBegin to develop work with a partner;following a partner’s sequenceShow control in take-off and flightSelect and link a range of movementactions to travel on the floor and onapparatus; rolling across a mat, movingonto a bench, travelling across it (hoppingor sliding) and landing to finish in astretched shapeShow increased control in take-off andflight• begin to transfer workonto apparatusTravel around, in and out of hoopsWalk, with support, the length of abenchStep from the floor onto a bench,stretch and then return to floorTravel backwards and forwards bysliding along a bench; in a sittingposition/lying downTravel along, across and around mats andbenches; imitate a pencil roll across a matPractise rocking and rolling activitiesleading to a forward roll across a matPractise and perform the forward rollwith controlBegin to practise and perform thebackward roll from initial rocking androlling activitiesDevelop the skill of balancing usingmats and benchesPractise and perform forward andbackward rolls with controlClimb the rungs of a ladder orclimbing framePerform sequences with a partner;leading/following/mirroring movements,moving from the floor to apparatus• show understanding of andappreciation of gymnasticsUnderstanding andappreciation of gymnasticsIdentify body parts used in movementDevelop awareness of others whenusing apparatusShow appreciation when other studentexecutes a good movementUnderstanding andappreciation of gymnasticsMove safely from floor to mat andfrom mat to floorShow understanding of how to absorbenergy to avoid shock when landing;keeping the back straight, bending the kneesUnderstanding andappreciation of gymnasticsDevelop the ability to lift, carry andplace apparatus safelyDevelop good body tension andposture through gymnastic positionsand movements175

The student should be enabled to• develop ball-handling skillsBall handlingBegin to develop ball-handling skillsTouch and handle a variety ofequipment of different shapes, weightsand textures; tennis ball, baseball,basketball, beach ball, beanbag or balloon– squeeze, rub, shake the object whilechanging it from hand to handExplore ways to move the objects; slideon a table top from side to side and backand forth, with flat palm move hand in acircular motion on top of a tennisball/football/beach ballInitiate grasping and releasing activities;pick up beanbags from a table and placethem in a hoop on the floor, pick up atennis ball and place it in a containerShow curiosity about the movement ofdifferent balls; push different types ofballs and watch them rollHave opportunities to participate insending activities; roll a large ball to apartner–track ball as it moves, wait withopen arms to receive the return passPhysical educationGames: Sending, receiving and travellingBall handlingDevelop and practise ball-handlingskills;rolling a small ball at a target chest,passing from a stationary position using alarge ballcatching a ball by cradling (scooping)bounce-passing from a stationary positionusing a large or small ballthrowing under-arm and over-arm at alarge targetthrowing over-arm to a partner using asmall ballreceiving (catching) a pass at variousheightsBall handlingDevelop further and extend ballhandlingskills;throwing and catching a large round oroval ball or a small ball while movingthrowing at or into a small target; e.g. abasket, a netbowling at a target; a bat, skittles, a goalgather a large oval over round ball or asmall ball off the ground while movingpassing a ball to a partner whilestationary or movingusing a chest pass, overhead pass, bouncepass where appropriatemoving to receive a ballroll a ball at a large target: take turns inramp bowling176

The student should be enabled to• develop ball-handling skills(continued)Observe and listen to demonstrationof an underarm throw; swing arm backand forth and carry out swinging action,pick up a ball or beanbag and throw itunder-arm into the air/at a targetPhysical educationGames: Sending, receiving and travellingObserve and listen to a demonstrationof an overarm throw; take a beanbagand attempt to throw it at a targetControl and hit a ball with a unihocstickKickingObserve teacher and others kicking aball around the room; attempt to kick astationary ball on the ground or attachedto a string, try to kick ball to a partner orat a targetKickingDevelop and practise kicking skills;KickingDevelop further and extend kicking skills;• begin to developkicking skillsParticipate in kicking activities withpeers; take turns kicking the ball at atarget (boundary created to control thedirection of the ball)Attempt to dribble the ball withhis/her foot; within defined boundariesthat prevent the ball rolling away dribblethe ball with his/her foot to a target zoneAttempt to dribble the ball with onefoot around a simple arrangement ofconeskicking a ball to a partner along theground using the inside and the instep ofthe footcontrolling the ball with the foot bytrapping or stopping itkicking a ball to a partner or at a targetalong the ground using the inside, instepand outside of the footdribbling a ball with the foot and trappingor stopping itkicking a round or oval ball from the handscontrolling a ball with the inside andinstep of the footpicking up a stationary or moving ball intothe hands, using the footdribbling a ball around obstaclespassing and shooting the ball at a targetkicking a ball on the ground or through theair and moving into position to receive a passkicking a ball through the air over a shortdistance to reach a partner, i.e. a kick passwalking or jogging with a balltaking a penalty kickdribbling and changing the pathway takenby turning or twisting177

The student should be enabled to• develop and practise arange of carrying andstriking skillsCarrying and strikingCarry a beanbag on different bodyparts; palm of hand, back of hand, head,shoulder, foot and try to move around theroomInvestigate a selection of racquets/batsand attempt to swing each racquet inturn; a wooden bat, a tennis racquet, abadminton racquet, a table/cricket batChoose a ball/beanbag and a bat andattempt to walk around the roomkeeping the ball/beanbag on the batExperiment with striking a ball with aracquet/bat; attempt to hit a ball sittingon an upright stand, attempt to hit a ballattached to a string, attempt to strike aball resting on a table and send it alongthe tablePhysical educationGames: Sending, receiving and travellingCarrying and strikingDevelop and practise carrying andstriking skills;carrying a beanbag on a small bat whilemoving slowly or quicklytossing the beanbag on a small bat or thehand while stationary, using forehand orbackhandalternating tossing and carrying abeanbag on a small bat or the handbouncing a ball on a racquet whilestationarystriking a softball along the ground with abat and retrieving itstriking a softball against a wall using thehand or batCarrying and strikingDevelop and practise a range ofcarrying and striking skills;striking a ball against a wall using thehand, allowing it to bounce once betweeneach strikebouncing a ball against the ground whilestationary or moving slowly, using thehand or a small bat with a short handlekeeping the ball off the ground using bodyparts above the waistdribbling or striking a ball for accuracyalong the ground using a hurley or hockeystickstriking a ball through the air at a targetusing a hurleydribbling a ball around obstacles using ahurley or hockey stickfisting a ball through the air to a partner,who catches and returns it using abounce pass or an under-arm throwvolley-passing/serving a ball178

The student should be enabled to• create and develop gamesCreating and playing gamesCreate and develop games in pairs;rolling a ball at a target, kicking a ball toa partner through a ‘goal’Physical educationGames: Sending, receiving and travellingCreating and playing gamesCreate and develop games in smallgroups; Pig-in-the-middle passing gamesCreating and playing gamesPlay small-sided (mini) versions ofgames;bench ball (a modified game ofbasketball)3v.3, 4 v.4 Gaelic football or soccer withmodified rules‘pair tennis’ – no net necessary• play simple playgroundgamesKeep the basket full, cat and mouseHot ball, frozen beanbag, chasinggames: fox and geese, stuck-in-the-mudChasing games, tunnel ball, roundersUnderstanding andappreciation of gamesUnderstanding andappreciation of gamesUnderstanding andappreciation of gamesDevelop movement skills relevant togames; running, jumping, chasing, skipping,rim pushing, changing directionDevelop control in movement skillsrelevant to games; changing speed,stopping and startingDevelop an understanding of the useof space; moving into space away froman opponent and seeking a passApply simple rules to games; wait in lineto take a turn, pass the ball to a partner,cheer on team matesApply simple rules to games; having 3opportunities to throw a ball at a targetbefore a partner takes a turnDevelop problem-solving and decisionmakingstrategies; watch the flight of aball through the air before receiving itHave opportunity to observe andparticipate in traditional Irish gamesApply simple rules to small-sidedgames; display basic teamwork, applysimple principles of defence and attack,know how to keep score179

Physical educationOutdoor and adventure activitiesThe student should be enabled toWalkingParticipate in short walks within oradjacent to the school grounds;discovery walks – finding out thedifferent types of areas existing in theimmediate environment:playground/canteen/assembly hall/carpark/gym, participate in quiet walk –What can you see? How many soundscan you hear? What do you smell? Whatdoes it feel like?WalkingParticipate in a group walk, takingturns to lead the group during thewalk; look at the various landmarks andcomment on those which are familiarWalkingShow interest and actively participatein walking activities; move to the front ofthe group, move ahead of the group, pointand vocalise to acknowledge and questionwhat is seen, independently touchobjects/react to sounds and sights duringthe quiet walks• undertake short walksaround a familiar areaReact to the new sights and soundsusing verbal and gestural expressions;observe specific objects of interest whenprompted, indicate familiar landmarkswith helpStay with the group while out walking;independently follow the direction of thegroup, stop to explore and then catch upwith the groupFind an object in a confined area of theschool site, given simple clues;participate in a treasure hunt, participatein a hunt for Easter eggs in class/schoolgroundsDiscuss the similarities and differencesbetween various landmarks on theroute and the type of surface beingwalked on; tarmacadam, grass, clay,wooden bridge etc.With some prompting, stay with thewalking group; show awareness of beingpart of the group, hold hands with a peer,catch up with the group when called180

Physical educationOutdoor and adventure activitiesThe student should be enabled toWalkingHave experience of short walksoutside the school; participate innature walks/picnic walks –showawareness of and curiosity about newsurroundings by actively looking aroundand reacting to new sounds, smell flowers,pick leaves, watch animals, feed ducks,draw adult’s attention to new landmarksWalkingHave opportunities to explore newroutes; participate in a walk to see newlandmarks such as signposts/stonewalls/gates/buildingsWalkingVisit the local park/participate in towntrails and follow designated paths• undertake short walksoutside of familiarenvironmentUndertake forest/park walks along themarked trails with appropriate tasksset for completion along the route;make bark rubbings, collectleaves/flowers/stonesObserve changing scenery whileexploring new routes; react to newsights and sounds, help to takephotographs, display photographs onbulletin boards/class wallsShow curiosity about newsurroundings when walking outside theschool; actively explore the environment –roll in the grass, pick up twigs, shufflethrough the leaves, point out things ofinterest, communicate likes and dislikes181

Physical educationOutdoor and adventure activitiesThe student should be enabled toOrienteeringBecome aware of changing directionwithin the school environment; haveattention drawn to changes of directionwhen moving around the school, listen andwatch teacher saying and pointing thedirection – turn left/turn right/go straighton – while moving from classroom toclassroom/canteen/gym and other placesaround the schoolOrienteeringFollow adult’s instructions for a changeof direction in familiar territory; withdecreasing help follow gestural/verbalinstructions on walks aroundschool/directional games in classroom andaround school, imitate gestures/words ofadult for going right/left/straight aheadOrienteeringCommunicate understanding aboutchanging directions; lead the way for thegroup, use gestures or words to indicatethe way forward on familiar routes,undertake to decide when the group willtake a right/left turn or to go straightahead in order to stay on the selectedroute, find his/her way independently to afamiliar destination• develop an awareness ofdirectional signs/symbolsWith decreasing assistance, follow theclass group as the direction of travelchangesGo to features in the classroomidentified by photographs or picturesBecome aware of visual or tactiledirectional signs in the classroom andaround the school; look at/feeldirectional signs such as a symbol of ahand with a finger pointing/an arrow, lookat signs that have a photograph of keydestinations and a hand/arrowShow interest in visual and tactile signsdisplayed around the school; point toand touch directional signs, vocalise inresponse to the sight of signs, becomeexcited on reaching each signEngage in activities to encourage thestudent to begin ‘to find the way’,i.e. identify the front, back, left or rightof the hallFollow directions; take three stepsforward, one step backwards, two steps tothe rightPlay ‘Hot or cold’ game to locate hiddenobjects in class/playground; followdirections, e.g. forward, backwards, left, rightFollow visual or tactile directional signsin the classroom and around theschool; with decreasing assistance followdirectional signs on the walls pointing theway to go, carry photograph of destinationand follow signs with that photographDevelop awareness of signs outsidethe school environment;observe and communicate about picturesof a variety of directional signs/symbols,which are in both writing and pictorialform— stop, go, no diving, no running,arrow, traffic lightsSelect/make a number of directionalsigns/pictures and place them inappropriate locations around theschool environment; give suggestionsabout where to place signs, for example,place sign ‘No running’ on the walls of theschool corridors, make decisions aboutwhat direction to point the hand or arrowIndependently follow visual or tactiledirectional signs; look at or feel thedirectional sign and then point or move inthe correct direction, match ownphotograph of a destination to a pictorialdirectional sign and actively seek to findthe wayShow awareness of signs outside theschool environment; follow signs for alocal church/shoppingcentre/museum/library182

Physical educationOutdoor and adventure activitiesThe student should be enabled toOrienteeringOrienteeringGo with a group and find examples ofselected symbols and signs whilefollowing a particular routeOrienteeringLook at a map of a shopping centre orpark and choose which route to takefirst, ground floor or first floor, follow thered/green/yellow route• develop an awareness ofdirectional signs/symbols• undertake adventure trailsOutdoor challengesParticipate with the necessary supportin a short indoor orienteering course;follow a ribbon connecting a starting pointto a number of controls(photographs/pictures of features) andfind different toys to interact with beforemoving on to the next one, attempt to getto each control in sequenceSafely complete an obstacle course setout indoors in a safe environment;stepping up, over, down, crawling, sliding,climbing, rolling wheeling over plank,salaaming between cones, reversingbetween two benchesOutdoor challengesParticipate in an indoor orienteeringcourse as part of a team; wait withteam members to take turns to find acontrol and bring it back to the team sothat the next student can go, cheer onfellow team matesFollow a path that involves negotiatingobstacles to reach a target object;safely complete an obstacle course(constructed indoors or outdoors usinglarge and small apparatus or naturalfeatures) by stepping, crawling, pulling,hanging, sliding through and under mazesor tunnels constructed with benches,mats, tyres etc. to find a specific object atthe endOutdoor challengesHave opportunity to participate in anoutdoor orienteering activity; follow theclear route set out, negotiate obstacles,recognise controls from photographs,discuss options for moving from onecontrol to the next, communicate thateach one is foundLead another student around anobstacle course; verbally or using signParticipate in as wide a variety ofadventure activities as possible; haveopportunity to try out challengingactivities at outdoor centres or speciallyequipped gymnasiums183

Physical educationOutdoor and adventure activitiesThe student should be enabled toOutdoor challengesUndertake simple co-operative (trust)activities; following a blind trail: thestudent closes his/her eyes and follows asimple short trail made with a cord (withone hand on the cord and led by atrusted adult)Outdoor challengesUndertake co-operative activities;follow a blind trail: one student is blindfolded/keeps eyes shut, another oneleads–giving simple instructions:‘ lift foot,bend down, crawl …’Outdoor challengesUndertake more challenging cooperative(trust) activities; follow a blindtrail: the student, blindfolded, follows ashort trail made with cord, with one handon the cord, passing over, under andthrough or around obstacles• undertake co-operativeactivitiesparticipate in a game of ‘stepping stones’:two students in each team standing in ahoop, both must step into the hoop infront, then one bends down to pick uphoop behind and place it in front of thehoop they are standing in, so that theycan step into it and thus move forward tothe finishing point• develop awareness of thesafety aspects of adventureactivitiesListen to instructions on safety,observe safety measures demonstratedRespond to instructions on safetyIndependently follow familiar safetyprocedures; anticipate and takeappropriate measures to ensure his/hersafety184

Physical educationOutdoor and adventure activitiesThe student should be enabled toCyclingCyclingCycling• produce the leg actioninvolved in cyclingSit on an exercise bicycle, feet onpedals (use of velcroed or shoetopped pedals to keep foot on thepedal); observe self in the mirror, attemptto produce the leg action involved incyclingExperiment with leg bicycle action ona tricycle (a tricycle where the pedalsmove forward as the wheels moveforward is preferable); move tricyclewith both feetSit on a bicycle with/without stabilisersand cycle around an enclosed area,following a route, path• control the directionof the bicycle around aset courseFollow the direction of a path thatruns between a set of cones; goingforward, turning and stoppingRandomly cycle around an area,negotiating obstacles to get to aparticular pointCycle bicycle along a designatedbicycle route within school grounds oraround a park185

Physical educationAquaticsThe student should be enabled to• enter and exit safelyfrom the waterCo-operate with a variety ofappropriate pool entry methods;hold out arms to be helped in from thesitting position (humpty dumpty assistedfall –ref. Glossary), walk down the stepswhile holding onto the handrail with adultattending, sit on the edge of the pool, rollonto the stomach and slide into the waterwith some helpRespond to request to enter and exitthe water by walking down the stepsor ladder holding onto the handrail, bystepping in from the poolside or bysitting, rolling and sliding in from theedgeCommunicate choice of exitEnter the water safely; by sitting, turningand slipping into the water, by jumpinginto the water, by diving in: surface orplunge dive (sitting, crouching, standing)Follow instructions of thelifeguard/pool supervisor/teacher toexit the water; on hearing the whistle orseeing the flag exit the water using thesteps or by pulling self onto the pool edge• become comfortable withactivities involvinginteraction with waterClimb out of the water; getting out withsupport, using stepsExperience the sensation of waterwithin the swimming pool environment;sit on the pool edge and kick feet and legsthrough the water (students who areextremely nervous could splash hands andfeet in a basin away from the edge of thepool and gradually move to the edge of thepool), move towards the steps, sitting onthe first one and gradually moving furtherin as confidence buildsShow interest in interacting with thewater while in the pool; splash, movethrough the water while holding onto siderail, swish hands along the water surface,use a cup to scoop water up and pourover shoulders, arms, hands, head,squeeze water out of a sponge and use to‘wash’ self, attempt to blow bubblesShow curiosity about the feeling ofwater against the body; independentlywalk through the water, swing the armsaround the body under the water, liftarms in and out of the water, jump upand down in the water, lift feet, take longstrides, then small steps, step on only thecoloured tiles on the bottom of the pool,move on tip toes/with shoulders underand over the waterStep in and place the face in the waterwith comfort: blowing bubbles while themouth is in the waterExperiment with objects that float andfind ways of moving them around thepool without touching them; blow atthe object, make waves using hands so asto move itLook at and imitate the actions of apartner under the water, with orwithout gogglesTuck knees up into the body and spinlike a ball using hands to activate themovementPick up lightweight objects from thebottom of the pool with the eyes open(with/without goggles)186

Physical educationAquaticsThe student should be enabled to• develop balance in thewaterParticipate in action songs to developmovement in the water; listen to thewords and attempt to imitate the actionsof the movements to nursery rhymes suchas moving around in a circle to ‘Ring aring a rosy’ and lowering the body into thewater for Humpty Dumpty’s fallWalk in shallow water; to a rhythm,changing direction on a heavy beat,making patterns, negotiating a person orobstacleJump, side-step or run across the pool;participate in relay races: students jumpor side-step or run across the pool• develop buoyancy andpropulsionObserve that some objects float andothers sink; blowing, nosing or headingobjects (ball, toy, ducks) around floatingobjectsIncrease ability to float in back floatposition; with decreased assistantsupport and buoyancy around the trunkPractise balance, rotation and recoveryexercises with and without float;regaining standing position from the proneor supine positionDevelop awareness of the buoyantproperties of water; lie back ontosupine (ref.Glossary) position with adultsupport under trunk and/or buoyancy aidaround trunk, try to achieve horizontalposition - ‘look at the ceiling’ – with armsrelaxedWith appropriate support, attempt toreturn to standing position from asupine position; tuck knees up to makea ball, lift head up and forward and placefeet on groundGrasp and hold a swimming float andattempt to float on frontAttempt to float independently onhis/her back or front; make a ‘star’formation with feet and legsWhile floating in either a prone orsupine position change from‘aeroplane’ shape into ‘star’ shapewithout putting feet on the groundrolling over from the prone or supinepositionfloating forming wide and narrow shapesin prone or supine positionlinking shapes to form sequences: fromstanding position fall into a prone position,rotate into a supine position and finish ina standing positionfloating in mushroom shapeturning through 360 degrees horizontallyor vertically187

Physical educationAquaticsThe student should be enabled to• explore use of arms andlegs to travel in waterHolding onto the handrail, lying in thesupine or prone position, kick legsthrough the waterHolding onto the handrail kick legs likea frogUsing a float, kick legs up and downUsing a float, kick legs like a frogAttempt to move through the water;lie in the supine position and attempt toscull (ref. Glossary) with hands, kicking feetas in the front crawl, in prone position usebreast stroke action with front crawl legPlay chasing games (e.g.What Time Is It,Mr Shark? Crows and Cranes)Play Simon Says game, where activitiesare matched to abilitiesLie supine in the water, kick feet andpush hands through the water; practisesculling in prone or supine position, headfirst, feet firstGlide forward or backwards along thesurface in a stretched position; push offwith feet from the edge of the pool andglide as far as possible, then kick legs orscull to cover more distanceGlide to the bottom of the poolDevelop a selection of swimmingstrokes; front crawl, backstroke, breaststroke, butterfly• participate in pair andgroup playWater-based ball gamesShow interest in playing with a ball inthe water;show enjoyment/anticipation whensending and receiving a large beach ball,gradually begin to send and receive largeand small light balls in the waterWater-based ball gamesExplore different ways of sending theball to a partner; throw, blow, carry,punchWater-based ball gamesAdult blows liquid bubbles from deck;students jump to burst bubbles beforethey land on the waterInitiate ball games in the water;play with large and small light balls in thewater, push around and follow a ballhimself/herself, play ball games with peerscatching ball with both handsPlay ball games with peers;throwing and catching a ball, includingusing a one-arm throwParticipate in an ‘over and under’game, where a ball is passed along aline over heads and under legsParticipate in a game of water pushball,water volley ball188

Physical educationAquaticsThe student should be enabled toWater safetyShow understanding of basic hygieneprocedures; become aware of the needto shower, use the toilet before swimmingand wear a swim hatWater safetyFollow instructions about hygiene;walk through the foot spa, wear a swimhat, assist in keeping the pool anddressing rooms cleanWater safetyShow understanding of the need to beclean in and around the pool; tidy awayown clothes, independently wear flip flopsto walk around the pool area, shower,walk through the foot spa, put swim haton before entering the water• how awareness ofwater safetyKnow not to splash other studentsKnow not to push others in or underthe waterKnow who/how to ask for helpShow understanding of the rules of thepool; know not to run around the poolareaListen and attend carefully toinstructionsKnow how and where to summonassistance if requiredObserve the rules of the pool andunderstand how to stay safe in thewater; practise safe entry to the water,know that he/she can’t dive in the shallowendPractise treading waterSummon assistance in an emergencywhile maintaining own safety; drawattention to those who are not being safein the poolShow recognition of some of thehazards of water; depth, pollution,hypothermia189

PERSONAL AND SOCIAL SKILLS• Activities to develop confidence and improve self-esteem• Opportunities to interact, co-operate and participate in paired work and team activities• Opportunities to evaluate and appreciate own effort and that of others• Activities which develop an awareness of team spirit and fair play• Opportunities to interact with other schools and people from the community• Importance of health and safety issuesPLAY AND STRUCTURED ACTIVITIESAESTHETIC AND CREATIVE SKILLS• Opportunities to explore the movements ofdifferent parts of the body• Opportunities to explore different ways ofusing spaceMATHEMATICAL SKILLS• Estimating• Measuring• Predicting• Counting• Sequencing movement and actions• Spatial awareness• Directional languageDoes your physicaleducation curriculuminclude these elements?COMMUNICATION SKILLSATTRACTIVE, SAFE ANDAGE-APPROPRIATE MATERIALSUSE OF A WIDE RANGE OF APPARATUS• Activities to develop concentration and listening skills• Opportunities to communicate verbally and non-verbally• Teaching of vocabulary and language of physical educationPHYSICAL SKILLS• Body awareness and spatial awareness activities• Activities to develop hand-eye co-ordination• Development of gross and fine motor skills• Activities to develop strength and stamina, balance andco-ordination• Activities which challenge each student physicallyand increase his/her range of skillsWhat else might you include?190

2B OOKP H Y S I C A L E D U C A T I O NAthleticsAquaticsGymnasticsEXEMPLARS191

E X E M P L A RP H Y S I C A L E D U C A T I O NAthleticsTopic: ThrowingMaterials/ResourcesIndoor facility with high roofThrowing implements – tennis balls, beanbags, javelin,shot putMeasuring tapeLong rope with painted coloured segments of equaldistanceConesWhistle/bell/flagLearning objectives• the student will be introduced to the rules onsafety in throwing• the student will experiment with the overarm andunderarm throwing action.Safety NotesAppropriate ratio of staff to studentDesignate a ‘safe area’ for those who are notthrowingThrowing must only occur from the throw lineStudents collect thrown implements only underthe instruction of the teacherUse of key terms i.e.‘collect’ and the use of avisual signal where necessaryInvite students to throw when ready but alwaysensuring throwing area is clear.IntroductionWarm-upMoving throughout an area by walking, jogging orwheeling own chairMovement into space is with head up, looking wherehe/she is going and avoid coming into contact withother studentsGeneral body exercises, with a greater focus onthose body parts which will be most challenged.Discuss how students feel after the warm-up –warm, tired, want to take off jumpers, sticky…Compare how the students felt before warm-uptook place.DevelopmentThrowing activityObserve first, teach later.This observation time willallow the teacher to observe individual student skills.Each student to select their own ball or beanbag, thiswill allow the students to choose their preferred hand.With minimal interventions allow students to throwthe ball into the throwing area – it must be decidedhow many students can throw at any one time.Introduce key questions to get students thinkingabout what they are doing.Where did the ball go?How far did the ball go?Teacher/adult asks the student to try and throwfurther, this may elicit a change of body position,style of throw or student may take a run up beforethe throw.192

Did it go further?Yes or No –If the answer is yes, encourage the student to showyou how they throwIf no, consider a different throwHow are they throwing the ball?Light grasp with ball resting in the palm of the hand?Are they throwing out and up or out and down(encourage out and up for the overarm throw)?Are they rotating their trunk as they throw?What way are they standing?Square to the target or side on?Encourage a side on stance to the target, for those ina wheelchair, turn it at an angle so the student willhave room to lean back over the handle rather thaninto the back of the chair.Direct teaching could take place after the student isgiven an opportunity to explore.Now the entire group is given a clear visualdemonstration of the overarm throw action.Hold ball in the fingers, bring arm up and behind theshoulder, step into the throw with the leading footand release the ball in front of the shoulder, followthrough with the whole arm and fingers pointingafter the ball.ConclusionTeam ThrowEach member of a team takes turns to throw a ballThe distance of each throw is added together to givea team score and the team with the highest scorechooses the next game.Zone TargetThere are three areas marked out, each area is afurther distance from the one in front.Each zone is allocated pointsIf a ball lands on Zone 1 the team gets one point andso on.Place the numbers 1,2,3 in the respective zones.Spray paint the grass if outdoors and put a piece ofpaper on the in the zones if indoors.After each member of the team has thrownonce/then the points are added up.Example:1 ball in Zone 1 (1x1) = 1 point3 balls in Zone 2 (3x2) = 6 points1 ball in Zone 3 (1x3) = 3 pointsTeam Score 10 pointsIf necessary break group up into smaller units forthrowing so as to cater for teacher observation andguidance.193

E X E M P L A RP H Y S I C A L E D U C A T I O NAquaticsLevel: Mixed-ability groupGroup 1: students who are beginners,some fearful of waterGroup 2: students who are beginning to showconfidence in the water and a willingnessto learn to swim strokesGroup 3: students who are beginning todemonstrate correct arm andleg movementsLearning objectives• there is an adequate staff: student ratio• students do not enter the pool area unless alifeguard is on duty.Entry into water will depend on student ability andmight include any/all of the following:Hoist entry:Steps:persons who are familiarwith the equipment shouldoperate hoists.ensure there is a handrailalongside the steps.The student should be enabled to• develop confidence in the water (Group 1)• develop breath control, buoyancy and begin touse arm and leg movements (Group 2)• practise specific strokes (Group 3)• develop awareness of the need to be safe in andaround the pool area (Groups 1, 2 and 3)ResourcesSit, roll, and slide:Humpty dumpty entry:student sits on edge ofpool, leans to one side byputting hand down on thedeck, rolls over on to thestomach and then slidesinto the water at theshallow end.student sits on the edge ofthe pool and falls into thearms of the awaiting adult.Buoyancy aids/foam floatsWater toys (any intriguing floating objects)Balls (small and large)Cups/spongesSafety notesIt will be important to ensure that• buoyancy aids fit properly and are inflated• the water temperature is appropriateIntroductionStudents play simple games in separate areas of thepoolGroup 1: They sit on the side of the pool and kicktheir legs and progress to sitting on thesteps. Gradually they may work their waydown.An activity such as collecting floatingtoys may encourage the students to moveaway from the edge. Students use cups orsponges and respond to requests to pour194

water over stomach, back, shoulders, etc.Some students might begin to show awillingness to pour water/squeeze asponge over the back of their head.Group 2: each student tries to move a floatingobject such as a small plastic ball acrossthe pool without touching it (blowing,splashing and pushing the water with theirhands).They participate in relay games, forexample an over-and-under relay (ball ispassed over the head and under the legs ofa line of students).Group 3: students play relay games such as chin ball(each swimmer pushes a small ball withthe chin across the pool to another teammember while walking on the bottom andholding hands behind the back).They taketurns to submerge and collect objectsfrom the pool floor.Developmentpulled through the water—lying prone or supine—and practise the correct kicking technique.Group 3Practise arm and leg propulsion exercises thatdevelop a stroke, e.g. front crawl. Participate in relayraces across the pool, using legs only/arms only.Concluding activityRelay raceGroups 2 and 3 merge and are divided into twoteams. Each member of the team carries a float bywalking/swimming, with the necessary assistance,from one side of the pool to the other. First teamwith all team members and floats on opposite sidewins. Group 1 students might be involved inreceiving/gathering the floats although it is probablyadvisable for them to exit the pool area first as theymay not have been as physically active as students inthe other groups.Students exit the pool safely.Group 1Further water play activities —splish-splash (a bucketis placed floating in the middle of the circle ofstudents who attempt to sink it by splashing it full ofwater/using cups to fill it as fast as possible).Group 2Practise buoyancy and propulsion exercises—float,with/without assistance in a stretched shape, proneand supine positions. Students push off the side ofthe pool and glide a distance.They practise arm andleg movements —hold onto a float/bar at the side ofthe pool and kick like a frog. Student could take turnsto hold onto one end of a tube foam float and be195

E X E M P L A RP H Y S I C A L E D U C A T I O NGymnastics: TravellingResourcesSuitable indoor facilityMatsHoopsLearning objectivesThe student will• explore a variety of ways of travelling using handsand feet, varying direction, level and speed• experience the sensation of rolling• link skills to produce a short sequence ofmovement.Safety notesIt will be important to ensure that students• participate in their bare feet or withpomp style footwear—not runners or stocking feet• are encouraged to travel lightly in all travelmovements.Warm-up activities• Marching/jogging on the spot—on hearing orseeing a signal, students move around the room• Travelling through the room using a variety ofsmall and large steps.The use of coloured lines, orfootprint shapes spaced close together and farapart will help reinforce that there is a differencebetween the two types of steps• Travelling at pace around the room—on a signalthe student touches the ground or wall with onehand and then with two hands• Standing with feet slightly apart, the studentswings both arms in a circle backwards—armsshould circle close to the ears and the body withhead erect• Standing with feet astride, the student rotateshis/her hips• Sitting on the floor and stretching out legs andarms as wide as is comfortable—flexing andstretching ankles, then rotating anklesDevelopment of lessonFloorworkStudents practice travelling around the room usingfeet only, students initially encouraged to select theirown way of travelling asking them to put a name onthe way they are travelling-walking, skipping, hopping.Students now find a different way of travel on feet.Teacher should now take the opportunity tointroduce a clear demonstration to the students ofother forms of travel that may not have beenperformed and allow the students to experimentwith these. Challenge students to link together twoor three different ways of travelling on feet.Students explore travelling using hands and feet—move with feet close to hands, far away from thehands, to the side of the handsWhile travelling using feet only or hands and feet,students attempt to make a change of direction onhearing a signal. Some students will need support and196

this could come in the form of directional arrows onthe floor and walls or coloured lines on the floor,which they can follow.Apparatus workUsing hoops, students travel to the hoop using handsand feet, jump into and out of the hoop, and travelaway using a different combination of hands and feet.Some students will need to be prompted/remindedto use a different combination.Using mats, students observe teacher and attempt tocopy a demonstrated roll— roll across the mat indifferent ways, sideways, stretched out, tucked up.Using hoops and mats, students travel to the matusing feet only, roll sideways (stretched or tucked)across the mat and travel (using hands and feet) tothe hoop.Cool-DownThe students• slowly and lightly jog/run and then change towalking• breathe deeply while walking• walk around the room, circling arms slowlyforwards and backwards• stand on tip toes and stretch leg muscles• stretch arms up and over the head while walking• while walking, circle arms again forwards andbackwards.• stretch chest by clasping hands behind back• lie on a mat and relax.197

Glossaryapproach runbuoyancythe running action before a longjump is attempted, to ensure agood take-off when jumpingcapacity for floating lightlyon watersit, roll and slideSitting on the edge of the pool,rolling onto the stomach andsliding into the waterhumpty-dumptybounce passchest passX passes the ball to Y, allowing itto bounce once on its wayX holds the ball at chest leveland passes the ball through theair to YproneStudent sits on the edge of thepool and falls into the arms ofthe teacher/assistant who isalready in the poolto lie face downdynamicsfoam javelinfolk dancelevelsmedicine ballorienteeringoverhead passpathwayspool entrythe energy of movementlightweight javelin withdependable flight pattern, safefor class usethe dance associated with aparticular country, often part ofa traditional celebrationhigh, medium, lowweighted ball covered withsuede/leathermaking one’s way around adesignated courseX holds the ball above the headand passes it to arrive at chestheight of Ythe pathways made bymovements in the air or on thefloorhoistA piece of equipment that thestudent will sit in/lie on so thathe/she can be lowered into andlifted out of the waterpropulsionquoitreaction sprintsscullingspacesupinetransferenceof weighttravelswimming actions that drive thebody forwardrubber ringsprinting from various startingpositions, e.g. a sitting position,lying on face or back, standingwith back to starting line, etc.The emphasis is on reactingquickly to the command ‘go’a swimming skill by which thebody can be propelled , balancedand controlled in the waterpersonal space is that which iswithin one’s reach general spaceis termed as open spaceto lie on one’s backmove weight from one part ofthe body to anotherto move from A to B(walk/run/skip/roll/gallop/slide/using feet, hands and whole bodyactions, wheel/be wheeled inwheelchair)198

2B OOKSocial, personal and health educationINTRODUCTION TO SOCIAL, PERSONAL AND HEALTH EDUCATION . . . . . . . . . . . . . . . .201SCHOOL PLANNING FOR SOCIAL, PERSONAL AND HEALTH EDUCATION . . . . . . . . . . . .205CLASSROOM PLANNING FOR SOCIAL, PERSONAL AND HEALTH EDUCATION . . . . . . . .207SOCIAL, PERSONAL AND HEALTH EDUCATION EXEMPLARS . . . . . . . . . . . . . . . . . . . . . . .247199

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2B OOKSocial, personal andhealth educationThe involvement of parentsat all stages is essentialfor the effectiveness of anSPHE programmeIssues must be explored in areal-life context wherever possibleto encourage the transfer of learningSocial, personal and health education is concernedwith the personal development of the student andwith his/her health and well-being. It is, therefore, oneof the most important areas of the student’seducation. SPHE fosters in students a respect fortheir own dignity and that of others and promotes ahealthy life-style and a commitment to thecommunity in which they live.As SPHE has a moraland spiritual dimension, it is always developed withinthe context of the ethos or characteristic spirit ofthe school. SPHE is a shared responsibility, and theinvolvement of parents at all stages of theprogramme is essential for its effectiveness.While the formal introduction of SPHE marks a newdeparture for primary schools, special schools havelong recognised the need to promote personal andsocial development. Curriculum guidelines under thetitle ‘Towards Independence’ were issued in thenineteen-eighties, and many schools devised theirown programmes from this.These guidelines areintended to draw on the wealth of experience builtup by teachers and other professionals and unite thiswith the most recent thinking in this area ofeducation.SPHE, by its very nature, is an integral part of thestudent’s daily life. However, while much of theteaching in this area can be done informallythroughout the school day, the Primary School201Curriculum advises that learning is best facilitated ina combination of three ways: in a positive schoolclimate and atmosphere, through discrete time(a specific time on the timetable), and through anintegrated approach throughout a range of subjectareas.This approach would also be appropriate forstudents with moderate general learning disabilities.SPHE enables the student to develop the skillsnecessary for managing his/her life to the best ofhis/her ability, personally and socially.The age andstage of development of the student will be animportant factor in determining the emphasis of eachstudent’s scheme of work.SPHE is intrinsic to all areas of the curriculum and toevery facet of the student’s life. Issues cannot beexplored in isolation but must be seen as part of thedaily experience of the student. Every opportunityshould be taken to place learning in its functionalcontext. Students should be enabled to understandand use language appropriate to particular situations.SPHE AND RSERelationships and sexuality education (RSE) is now apart of SPHE. Schools may wish to choose RSEmaterials from other sources to supplement andcomplement these guidelines.Schools will also include other resources, such asStay Safe and Walk Tall, in their SPHE programme.

OVERVIEWMyselfMyself and othersMyself andthe wider worldSelf-identitySelf-awarenessDeveloping self-confidenceMaking decisionsTaking care of my bodyKnowing about my bodyFood and nutritionGrowing and changingAs I grow I changeNew lifeFeelings and emotionsSafety and protectionPersonal safetySafety issuesMyself and my familyMy friends and otherpeopleRelating to othersDeveloping citizenshipMy school communityLiving in the localcommunityMedia educationMYSELFSPHE involves fostering personal development byhelping the student to reach a greater understandingof himself/herself.The Myself strand promotes selfawarenessand self-esteem and is concerned withenabling the student to be as independent as possiblein catering for his/her personal care needs.This mayrange from becoming aware of the parts of his/herbody and their functions to developing anappreciation of his/her own abilities and talents. Forsome students this may lead to their being able toplay an active part in setting their own achievementtargets and goals.This area of learning is critical forstudents with moderate general learning disabilities.Building up individual personal profiles that emphasiseunique features, personal preferences and particularstrengths and abilities will encourage each student tolearn that he/she has an important part to play in thewhole scheme of things.The celebration of each student’s uniqueness shouldbe supported by the ethos and culture of the school.This type of work is especially important for studentswith moderate general learning disabilities, as itenhances the image of each student in the eyes ofparents, classroom staff, and all those who haveregular contact with the student.In the Myself strand, the student is also encouragedto build up an awareness of his/her own behaviourand learn strategies for managing that behaviour ifnecessary.There is also an emphasis on learning howto manage feelings and how to cope with new anddemanding situations. Self-worth and self-confidencewill be nurtured, with opportunities for choice andindependence being seen as essential learningexperiences.The ability to control one’s environment202

and to be as independent as possible within it isparticularly important for students with moderategeneral learning disabilities. Many students willdepend on the adults around them to createopportunities for independence.This is a significantresponsibility for parents, teachers, and all those whowork closely with these students.Through learning about food and nutrition studentscan establish self-help skills such as cookery and theability to organise meals and to develop healthyeating habits.Work on safety issues allows them tomake informed decisions about their actions and toseek help when and where necessary.MYSELF AND OTHERSIn the Myself and others strand, SPHE aims to enrichthe student’s awareness and understanding of his/herrelationship with others and to promote a sense ofbelonging and an understanding of interdependence.SPHE can enable the student to move towards aperspective where they begin to understand howthey influence and are influenced by the worldaround them. Students with moderate generallearning disabilities are likely to need particular helpin this area, as limitations in the area ofcommunication may impede their ability to interactwith others. In conjunction with work being done inthe subject area of communication and language,SPHE concentrates on enabling students to establishand maintain healthy relationships, resolve conflicts,enjoy the company of others, and learn how they canshow respect, care and consideration in their dealingswith others.Through SPHE, students can learn to appreciate therole of other people in their lives, to strive towardsan understanding of the feelings of others, and totreat people and their property with care andrespect.This area of the curriculum aims to developin the student an appreciation of the importance offamily, friends, school, and the community. It will alsoexplore social communication and the responsibilitythat goes with being part of a group, which are ofvital importance both at school and in work andleisure.MYSELF AND THE WIDER WORLDThe Myself and the wider world strand deals withbroadening the student’s ability to understand andinteract with his/her wider environment.Development in this area ranges from awareness ofbeing part of a class, school or residential group toawareness of being a member of the localcommunity.This area of the SPHE curriculum seeksto enable the student to take on responsibilitieswithin the school and home environment andattempts to give the student an insight into the roleof others in the wider environment. It can be difficultfor students with moderate general learningdisabilities to play an active role in the localcommunity, but their right to participate fully in allaspects of community life should be acknowledgedand encouraged.203

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2B OOKSchool planning forsocial, personal andhealth educationMainstream guidelines on SPHE give advice on thisaspect of planning, much of which will be applicablewhen planning for students with moderate generallearning disabilities.The following section outlinessome additional aspects of planning that may need tobe considered when planning for these students.CURRICULUM ANDORGANISATIONAL PLANNINGCreating a positive school climateand atmosphereThe issues of fostering communication, democracy,self-esteem and respect for individuality are wellcovered in the guidelines in this area which cater forstudents in mainstream settings. Enabling studentswith limited communication ability to have a say in anatmosphere of democracy can be a significantchallenge.To enable full participation some studentswill be dependent on adults to give them a degree ofresponsibility and control over their lives and topresent them with opportunities to make choices.However, sensitivity and respect by all staff membersfor the well-being and dignity of every student is abasic step in the direction of democracy.The value that students place on themselves isinfluenced by the way others behave towards them.The role of staff members in valuing all students iscrucial, particularly as some may have low selfesteem.Theapproaches, attitudes and expectations ofstaff members will be a determining factor in howwell the student progresses, not only in SPHE butalso in every other area of the curriculum.This is anissue that may need to be dealt with in a wholeschoolcontext.It is envisaged that a school RSE policy will have beendeveloped in each school in partnership with theparents or guardians, the principal, the teaching staff,the Board of Management, and, where appropriate,the students. School policy will reflect the core valuesand ethos of the school and the community it serves.Within this policy, and in consultation with parents,schools will decide themselves on the content andlevel of detail they wish to provide in their sexeducation programmes. It will be important toremember that students with moderate generallearning disabilities may be vulnerable to exploitationand may need clear, explicit teaching to help themunderstand socially acceptable behaviour. Forexample, they may need to learn what exactlyconstitutes ‘private’ or ‘inappropriate’ behaviour.It will be important that comprehensive and clearguidelines are given to all staff members involved inmeeting the personal and intimate needs of anystudent.The safety and dignity of the student are205

paramount. Staff members may need training in thisarea and a means of inducting new staff should beestablished. Some of the issues that may arise in thedrawing up of guidelines for good practice include:intimate care, physical contact, and responding toinappropriate sexual behaviour.THE IMPORTANCE OF HOME-SCHOOL LINKSSPHE cannot be separated from the student’s life inthe home or from the influence of the home.Effective communication between home and school iscritical in this area of the curriculum.The family playsa big part in the student’s education about relating toothers and is the starting point in enabling thestudent to develop a sense of belonging. Parents willbe able to identify particular self-care or behaviouralneeds for the home situation.Teachers will need tobe aware of strategies that work at home, andparents will also play a critical role in affirming andgeneralising skills that the student learns in school.Consistency of approach is extremely important forstudents with moderate general learning disabilities inall areas of learning, but SPHE has a special role inforging links between home and school.Parents and carers can contribute to the social,personal and health development of the student by• keeping themselves fully informed of the contentof the SPHE programme and of the approaches tothe teaching of it in school• encouraging their children to take care ofthemselves through good hygiene and healthyeating habits• providing frequent opportunities to make choicesand encouraging a sense of responsibility for theirown belongings• helping them to learn about the changes that takeplace in their bodies at various stages ofdevelopment• instilling in them a sense of care and respect forthemselves and for other people• encouraging and affirming them in their efforts.It is important to realise that some students may bein situations where they are being cared for outsidethe home, either full-time or part-time. In suchsituations the carers will need to be afforded allconsiderations that a parent would be given.This isone curriculum area where agreement between allthose involved with the education and care of thestudent is fundamental. Medical considerations maybe very important for some students, particularly inthe area of managing personal care needs.206

2B OOKClassroom planningfor social, personaland health educationAgain, much of the advice given in mainstreamguidelines on SPHE will also be applicable to classesfor students with moderate general learningdisabilities.The following extra issues may also needto be considered.FOSTERING INDEPENDENCEWhen caring for students whose needs are sodiverse there is often a temptation for staff membersto attempt to anticipate and fulfil the student’s everyneed. New staff members in particular may need tobe reminded that students will not achieve their fullpotential for independence unless challenged to doso. Opportunities should be provided for students tomake their own choices and have as much control aspossible in their daily lives. Good observation byadults working with the students will enable them todevelop an awareness of the pace at which they workand of the physical effort required, thus allowingthem space and freedom to do things for themselvesand sufficient time to respond.At times it may appear that an inordinate amount oftime is being spent on fostering independence withregard to routine care procedures, to the extent thatthe teacher wonders if the student’s care needs areadversely affecting their educational programme.Thisissue will need to be carefully thought out anddiscussed with parents and team members, with anemphasis on achieving a balance that will meet all theneeds of each individual student.PROVIDING INTIMATE PERSONAL CAREIt is essential that care in this area, where it isneeded, be given in a gentle and sensitive manner.Asfar as possible, the student should be allowed toexercise choice and should be encouraged to have apositive image of his/her body.The following aresome useful principles in setting the climate forintimate care:• Allow the student, wherever possible, to expressa preference regarding his/her carer, andencourage him/her to say if they find a particularcarer to be unacceptable.• Allow the student a choice in the sequence andtiming of care.While adhering to timetabling ofcare staff is important for the smooth running ofthe class or school, it will be important to ensurethat students do not miss out on important classactivities or celebrations.• Ensure privacy appropriate to the student’s ageand the particular circumstances.• Allow the student to care for himself/herself asfar as possible.207

• Be aware of and responsive to the student’sreactions.• When carrying out personal care away from theschool, the issue of privacy and safety are vitallyimportant.• Parents and staff should be aware that mattersconcerning intimate care must be dealt withconfidentially and sensitively and that the student’sright to privacy and dignity is maintained at alltimes. Diaries offer an invaluable way ofexchanging information between parents orcarers and school staff but should be treated asconfidential documents.OPPORTUNITIES FOR INTERACTINGWITH THE WIDER WORLDOne of the elements of the SPHE curriculum isenabling the student to develop an understanding ofhis/her place in the class, school, and localcommunity. It can be difficult for these students toplay an active part in the local community, as theyoften attend a school some distance from theirhome. In some instances, the community around theschool may have to act as a substitute for thestudent’s home community. For some students,helping parents to become aware of opportunitiesfor increasing their child’s interaction with their localcommunity may be of enormous benefit.Trips to eachstudent’s locality, if possible, can help to supportparents in their bid to broaden their child’sexperience of citizenship.208

The student should be enabled to• develop body awarenessSelf-awarenessDevelop an awareness of parts of ownbody; participate in play activities, mirrorgames, art activities such as makinghand/finger/foot prints, face paintingDraw attention to parts of own bodyfor fun or of necessity; make funnyfaces, show cut on elbowDevelop an awareness of the fivesenses through a range of sensoryexperiences; use various parts of thebody to explore movement, touch, taste,smell, texture, sights and sounds (sniffinteresting smells, turn volume of musicup or down)Begin to identify/label parts of the face;eyes, ears, nose, mouthSocial, personal and health educationMyself: self-identitySelf-awarenessDevelop body awareness by takingpart in dance, movement andswimming activitiesIdentify or name parts of the bodywhen requested; indicate parts of ownbody in response to action songs orgames, in response to verbal or gesturalrequestExplore through play and dramaactivities various facial features; makefunny, sad, happy, angry, frightened facesCreate a face/body; in art session usingcollage, using jigsaws/computer program,draw features on face template, completepartially drawn figure with verbal/physicalpromptingSelf-awarenessDevelop body image further throughage-appropriate activities such as keepfitactivities, step aerobics, yoga, dramaand various dance forms and begin to becomfortable with own changingphysical characteristicsDevelop a deeper awareness of thesenses through a wide range ofexperiences; projects on colour, sounds,smellRelaxation exercises; stretching, relaxing,listening to own breathingExperience hand/foot massage; withpermission from student and parent, usefoot spaComplete a jigsaw of a faceDecorate nails (nail varnish/transfers)or use glow-in–the-darktransfers/glitter gel to decorate faceand arms; party, fancy dressParticipate in ‘make-over’ sessionsin school/workshop; with visitinghairdresser/make-up artist or on a visitto a department store209

The student should be enabled to• become aware of thefeatures that make aperson special and uniqueSelf-awarenessShow pride in own features andinterest in those of others; pick out selfin group photograph, choose own namecard, respond to name at roll call, showoff a new haircut, anticipate and enjoy thefeeling of being special on one’s birthdaySocial, personal and health educationMyself: self-identitySelf-awarenessRecognise own name, gender, physicalfeatures; use name cards or photographsto indicate different members of group,identify gender by nameBecome aware of differences betweenand similarities with others in class;sort classmates or photographs ofclassmates according to gender, size, age,hair/eye colourSelf-awarenessDevelop further awareness of uniquefeatures such as, fingerprints, weight,shoe size, clothes sizeRecognise how he/she has changed;examine old photographs/videos210

The student should be enabled to• develop an awareness ofpersonal abilities, skillsand talentsSelf-awarenessHave opportunities to feel positiveabout himself/herself; share news abouttheir own lives, for example the arrival ofa new baby, a visit to somewhere/someone special, ability to play a newgameRespond to opportunities to displaypersonal abilities and talents; sing asong when asked, show a newachievement when prompted, put greatereffort into team game when encouraged,show pleasure when praisedBecome aware of own ability tocomplete tasks with help and becomeaware of the importance of cooperating;develop a sense ofachievement when participating in classevents, family events, or games: receiveawards, stars on work/chartInteract with teacher in planning newgoals; communicate desire or willingnessto learn new skillsSocial, personal and health educationMyself: self-identitySelf-awarenessBecome aware of things he/she can donowShow pride in demonstratingachievements to others; showing workin assembly/circle time, receiving praise, acertificateSeek out opportunities to show or tellabout special abilities or newachievements; show off skills to familymembers or visitors to classroom, drawattention to own work in classroom, makespecial effort when participating in groupgames, share his/her record ofachievement or progress file with othersBegin to recognise own strengths andlimitations and set simple personalgoals with adult helpShow interest in plans to improvehis/her own abilities and talents;indicate preference for certain tasks, showinterest in learning new skills,communicate that something is toodifficult/easy, strive to achieve goalsdecided upon, participate in goal-settingby helping to draw up a pictorial plan ofwork for himself/herselfSelf-awarenessRecognise that each person is a uniqueindividual and that this individuality isexpressed in many different ways;clothes we wear, interests pursued, musicwe listen toAppreciate and respect personalabilities, skills and talents; give andreceive feedback and praise, acceptsuggestions positively and recognise thathe/she needs support in certain areas,identify realistic personal goals andtargets and (with assistance) thestrategies required to reach theseDevelop a positive self-image andpresent himself/herself confidently in arange of situations; have opportunities tofeel positive about himself/herself – takingpart in a public performance, helpingyounger children at playtime/with classwork211

The student should be enabled to• recognise andcommunicate personalpreferencesSelf-awarenessCommunicate his/her likes and dislikesby expression, gesture or vocalisationindependently/ in response toquestioning; I like/don’t like … food, toys,games, music, television programme(Some may be dependent on staff to helpthem interpret their preference)Social, personal and health educationMyself: self-identitySelf-awarenessIndependently indicate personalpreferences and make independentchoices; be allowed to have reasonablecontrol over personal preferences for food,activities, and company, be givenincreasingly advanced opportunities formaking choices and decisions and forexpressing personal opinionsSelf-awarenessExpress personal opinions andpreferences with growing confidenceand listen to and respect the views ofothers.Recognise that people have manydifferent feelings, especially at puberty,and attempt to deal positively with andacknowledge his/her feelings indifferent situationsAcknowledge the opinions of othersand communicate about themIdentify and communicate personalpreferences, dreams and hopes for thefuture• develop awarenessof routine activitiesDeveloping self-confidenceDevelop confidence by understandinghis/her role in the immediateenvironment; understand what isexpected of him/her in familiar situations,become aware of the sequence of familiarroutines: put work away when dinner timeis signalledDeveloping self-confidenceShow understanding of his/her role infamiliar situations; anticipate familiarevents when given cues and actappropriately, follow instructions if notsure of what is expected, respond topraise when he/she is correctDeveloping self-confidenceAct appropriately in familiar andunfamiliar situations; demonstrate abilityto interpret familiar situations, begin togeneralise what is learned in familiarsituations to help him/her actappropriately in unfamiliar situations212

The student should be enabled to• become more self-reliantand independentDeveloping self-confidenceDevelop an ability to be self-reliant andindependent for some periods of theday; being undemanding and selfcontainedat certain times, attending tolessons/activities/leisure pursuits withoutconstant promptingBegin to play independently; choose ownactivity, sustain task involvement withsupport, ask for help when needed, playindependently for set period of time onown choice of activitySocial, personal and health educationMyself: self-identityDeveloping self-confidencePersevere in difficult tasks; attemptingnew tasks with enthusiasm, askingquestions to seek clarification,concentrating on self-chosen activity forshort/extended periodsUse a symbol/picture list to remindhim/her what to do each day/during aparticular activityDeveloping self-confidenceWork independently on activities;choosing own activity/resources, thinkingof own ideasBecome more independent andautonomous; offering opinions, makingcomplaints, developing his/her interests,knowing and asserting his/her rights• accept that makingmistakes and tryingagain are part of thelearning processObserve mistakes and how they arerectified; participate in using selfcorrectingtoys and computer programs,observe and participate in correctingaccidents such as when something isspilled, get dressed independently andthen seek help with items that are put oninside out or back to front, observingthings that go wrong in drama and roleplayingEnhance his/her own learning; askingfor help when needed, asking questions toseek clarification when required, taking anactive role in a project or event in theclass or school, recognising that makingmistakes and learning from them is animportant part of growing upReflect, with adult prompting, onhis/her own learning and experiences;recall, record and evaluate what has beendone in lessons, select pieces of work forthe progress file, assess own progresswith helpReflect on his/her experiences andlearning; use his/her record ofachievement/progress file/portfolio andconsider achievements, likes and dislikesas well as personal qualities and skills,reflect on his/her efforts and participate,with support, in setting personal targetsEnhance skills to improve learning;recognise where he/she is successful, solvesimple practical problems, realising thatmaking and acknowledging mistakes canprovide opportunities for learning213

The student should be enabled to• have opportunities to takeincreasing personalresponsibilityfor himself/herselfDeveloping self-confidenceRespond to opportunities to showself-reliance, independence andresponsibility; respond appropriately toknown cues for routine events, usecommunication system to communicatepersonal needs when prompted, respondto the challenge of new tasks that arepresented, hang up own coat/put away orcarry own schoolbag when asked, helpwith tasks around the classroom: tidyingup/replacing equipment/giving outdrinks/get dustpan and brush, wash cupSocial, personal and health educationMyself: self-identityDeveloping self-confidenceTake increasing personal responsibilityfor himself/herself; recognise and carrytheir own coat and bag and otherpersonal belongings, caring for ownbelongings, taking responsibility for his/herhomework, looking after school clothes,sharing or carrying out jobsindependently: carrying the register to theoffice/ tidying the art press/takingmessages to different parts of the school,borrowing and returning books from theclass library, learning to save money: beingpart of a savings scheme, having own useof small sums of moneyDeveloping self-confidenceShow a sense of responsibility and adesire to be self-reliant andindependent; take responsibility forcertain jobs around the home/at school:show visitors around the school, seek outnew challenges, learn from own mistakes,ask questions in order to learn aboutthings, use communication systemindependently to communicate needs anddesires, anticipate routine events andprepare for them independentlyContinue to develop skills forindependent living and becomeincreasingly responsible andautonomous; saving money, taking careof his/her own sports gear, tidying his/herown room, asserting his/her rights, beingable to make a complaint, knowinghow/where to ask for assistance214

The student should be enabled to• begin to learn how to copewith various changes asthey occurDeveloping self-confidenceRespond appropriately to changes inthe environment or changes inroutines; quieten/show curiosity whenstranger comes in, show reaction whenestablished routines change: changes instaff/activitiesLook for explanations about changesthat have occurred or are about tooccur; communicate anxiety about newsituations, ask why he/she is notswimming today as usualExperience deliberate changes inregular routines; dinner in thecanteen/restaurant/home economics roomrather than in the school dining-room orclassroomSocial, personal and health educationMyself: self-identityDeveloping self-confidenceBecome more confident in coping withchange and with situations that areunfamiliar; moving to a new class,outgrowing clothes/toys, losing a friend,making new friends, working with newgroups of classmates, moving house,relinquishing ‘baby of the family’ status toa new baby, joining a new club, taking upa new hobbyExplore different ways of coping withchange; seeking clarification, taking timeto adjustRecord changing seasons.Explore changes from babyhood to oldage; sorting photographs of people ofdifferent ages and discussing some oftheir differences: create, with assistance, atime-line of life, receiving visits frombabies, pregnant women and elderlypeople;Developing self-confidenceStudent is helped to prepare for andcope with change as he/she grows anddevelops, physically and emotionally;changing friends, family change, pubertyand growing up, moving to a differentschool, transitions within schoolWith support from family and staff,he/she begins to devise personal plansfor the future; think about vocationaland residential optionsHave opportunities to prepare for andcope with change and transition to theworld of work; prepare for and attendannual/transition review meetings, learnabout self-presentation skills; selectappropriate clothing/make-up for aninterview or for a job, practise interviewtechniques, use camcorder to video‘interviews,’ visit workshops to assesssuitability, participate in work experienceprogrammes(See SESE)215

The student should be enabled to• make real choicesMaking decisionsMake everyday decisions when givenopportunities for control; withprompting, about food/drink/playactivities/work tasksMake choices and express preferences;make choice when offered limited numberof objects, choose favourite toys orcomputer program, indicate preference fora piece of music or story, chooseclassmate/member of staff to work withSocial, personal and health educationMyself: self-identityMaking decisionsHave opportunities to participate inpractical problem-solving activities;making individual and group decisions inplanning art/drama activitiesMaking decisionsHave opportunities to participate inand make real choices and decisions;choosing an activity, use of leisure time,planning for an art activity, a concert, atrip to the shopping centre/ the cinema;budget and manage personal moneywith/without assistance from adult• begin to develop someawareness of factors thatmay influence decisions orchoices takenCo-operate with and showunderstanding of decisions made byothers; co-operate with teacher’s decisionnot to go out for a walk when he/she isshown that it is rainingDevelop an awareness of the effects ofeveryday choices on himself/herselfand of the effects such decisions mayhave on others; choosing to hang upone’s coat independently/sharing treatsand toys brings a smile and praise fromteacher, taking two sweets may meanthat another classmate gets noneBecome aware of and think aboutchoices and decisions that he/shemakes every day;What will I wear today?Which book will I choose from thelibrary?Identify sources of help in solvingproblems; a parent or guardian, a trustedfriend, a teacherDiscuss why and how adults can makedecisions and set boundaries for youngpeople; because they care for and lovethem, because they want to keep themsafe, because they know how to keepthem healthyIdentify some of the decisions he/shehas to make; how will I say no? Will I tellon my friend?Recognise that decisions haveconsequences and that not all peoplewill make the same decisions all the timeRecognise the important and legitimaterole that adults have to play in makingdecisions and setting boundaries foryoung peopleRecognise that opportunities toexercise choice can increase asresponsibilities are accepted and as thetrust of others is earnedExplore how others can influencedecisions; bullying, the effects of physicaland /or verbal aggression on others216

The student should be enabled to• show awareness of thebasic needs of his/herown bodyKnowing about my bodyIndicate, when prompted,hunger/thirst/tiredness/feelingsick/wet/dry/need to go to the toilet/haveclothes changed by vocalising or byusing gestures, pictorial or verbalcommunicationHave opportunities to participate inhealthy exercise and activity; swimming,PE programmeSocial, personal and health educationMyself:Taking care of my bodyKnowing about my bodyIndicate the basic needs of his/her ownbody; independently indicate needs byvocalising or by using gestures, pictorial orverbal communication in routine andeventually in non-routine situationsInitiate activities for keeping the bodyhealthy and well; seek out exercise andactivity, independently maintain correctpostureKnowing about my bodyAppreciate the need and understandhow to care for his/her own body inorder to keep it healthy and well;regular exercise and activity, adequatesleep and rest, balanced diet, correctposture, quiet time and relaxation: keepan exercise diary for a week/monthUnderstand and appreciate what itmeans to have a balanced life-style;having energy, being in good form, feelingenthusiastic, having a positive outlook,having friends, balancing work andrelaxationTry out different forms of exercise inschool and in the wider community;aqua- aerobics, step aerobics, relaxation toquiet calming music• explore and discuss thedifferent things the bodycan doShow awareness of ‘what my body cando’; walk, run, jump, sleep, swimShow further understanding of ‘whatmy body can do’; see, hear, move, feel,thinkIdentify further ‘what my body can do’;breathe, grow, heal, develop muscles217

The student should be enabled to• identify parts of the bodyand develop awareness ofthe private parts of his/herown bodyKnowing about my bodyIdentify by pointing to or verbalisingabout external parts of the body;assemble parts of the body using life-sizejigsaws /picturesIdentify differences between the sexes;look at pictures of boys/girls, participate inactivities where boys and girls areseparated and indicate bypointing/signing/verbalising boy or girlwhen asked; listen to and identify boys/girls talking on tapeDevelop awareness of the privateparts of his/her body; match items ofunderwear/ swimwear to correct part ofthe body on self/dollShow respect for his/her own bodyand that of others; being gentle, nottouching other people’s private partsSocial, personal and health educationMyself:Taking care of my bodyKnowing about my bodyDevelop awareness further, ofdifference between the sexes; use theappropriate toilet/changing room inschool/public place, recognising theappropriate word/symbol, name parts ofthe male and female body (usingappropriate anatomical terms wherepossible and in agreement with schoolpolicy)Draw or position parts of the body ona life size male and female humanoutline; discuss which parts of the bodyare private and cover these with theappropriate underwear, sort clothesaccording to the part of the body theycover, sort items of underwear fromlaundry basket of mixed clothes,independently pick out correct items ofunderwear when dressingRealise the importance of caring forand treating his/her own body, and thatof others, with dignity and respect;recognising that there are some parts ofthe body that must be covered in public,that there are some parts of otherpeople’s bodies that you should not touchKnowing about my bodyIdentify, independently, the privateparts of his/her body; use appropriateterms where possible to indicate pain etc.,to nurse/doctorShow appropriate awareness of theneed to cover parts of his/her bodyShow awareness that some types ofbehaviour are not appropriate in public218

The student should be enabled to• recognise and practise basichygiene and social skillsKnowing about my bodyTake part in daily personal careroutines, such as feeding, drinking,going to the toilet, washing, dressingand undressing. Respond to cues withvarying degrees of support; promptsfrom staff members, the presentationof objects, photographs or symbols; aseries of photographs beside thehandbasin reminds the student of thesequence involved in washing handsUsing the toiletSocial, personal and health educationMyself:Taking care of my bodyKnowing about my bodyTake part in and begin to maintainpersonal hygiene routinesindependentlyUsing the toiletIndicate the need, usinggesture/picture/word, to use the toilet,rather than being routinely taken to itat designated times. Respond toverbal/visual reminders to wash handsafterwardsKnowing about my bodyRecognise and practise good personalhygiene, know how it is maintained andunderstand its importance in socialinteraction; Follow basic hygienicpractices when eating or using the toiletWash hair and body in bath/showerTake proper care of teethKnow where to put dirty washingDevelop personal hygiene routines reshaving; explore toiletries available inshops, develop personal preferencesCo-operate with and attend to regularroutine of using the toilet; co-operatewith trusted helper, develop awareness ofbeing wet/dry, using toilet successfullyRespond to instructions/set cues forusing toilet; follow gestural, pictorial orverbal reminders to use the toilet, followroutine of using toilet at set times of thedayRespond appropriately to enquiryabout need for toilet; answer usingaction, gestures, pictures or wordsEatingDevelop ability to use knife, fork anddrink using a strawObserve basic hygienic practices andappropriate behaviour when eating.Brush teeth with gradually fadingpromptsDevelop awareness of hermenstruating needs; communicate if sheis in pain/blood is seen on her underwear,indicate the need for help in changingpad, independently change pads anddispose of them as necessaryDevelop personal hygiene routines remenstruation cycle and a knowledge ofthe range of toiletries/productsavailable; explore sanitary productsduring/following trip to chemist, listen tosimple account of what is happening,discuss the steps involved/sequencephotographs about the management ofmenstruation219

The student should be enabled to• recognise and practise basichygiene and social skills(continued)Knowing about my bodyEatingDevelop ability to use spoon, fork,drink from cup. Become aware of basichygiene practices when eating; noteating food that drops on the floor, nottaking food from another plateDressingDevelop basic skills in dressinghimself/herself and caring for clothes;co-operate with and attend to routineundressing and dressing procedures: stickout arm/leg on request, open and closeshoes/trousers/skirt usingVelcro/buttons/zips, put on/take off socks,jumpers, etc. after routine activity such asPE or swimming (with physical, gesturaland verbal prompting)Social, personal and health educationMyself:Taking care of my bodyKnowing about my bodyDressingUndress and dress himself/herself withgradually fading physical, gestural,pictorial or verbal prompting; getdressed or undressed without help,although initially, some items of clothingmay be put on inside outDeveloping basic skills in caring forclothes; hangs up own coat, removesjumper during art sessionWashingRespond to verbal prompts to showerand wash hair after swimmingExplore different toiletries and theirsmells; indicate where they should beused and their purposes, developpreferences for smellsKnowing about my bodyRealise how increased activity orinvolvement in physical activities canrequire increased attention to bodycare; sweating, body odour, skin problemsPersonal groomingIndependently look after his/herappearance and grooming needs; brushhair at appropriate times, brush teethafter a meal, choose/buy/care for clothesaccording to size, fashion, season,occasion: school, party, wedding,work-placeWashingWash/dry face and hands before andafter eating, after using the toilet, afterart sessionSelf-careSelf-careParticipate with some help or respondto reminders to take care of his/herappearance; independently get and use atissue if requiredBlow nose/brush hair, with helpRespond to verbal reminders to covermouth and nose when sneezing220

The student should be enabled to• take some responsibilityfor self-careKnowing about my bodyIdentify things that are good/not goodfor the bodyExamine some of the substances thatare taken into the body; food, medicine,tabletsSocial, personal and health educationMyself:Taking care of my bodyKnowing about my bodyRealise that each individual must takesome responsibility for self-careRecognise some people who areconcerned with health and welfare;doctor, nurse, speech therapist,pharmacist, optician, dentistKnowing about my bodyRealise that each individual has someresponsibility for his/her health andthat this responsibility increases ashe/she gets older; not remaining in wetclothes, eating a proper lunch, takingregular and appropriate exercise,balancing work and play, protecting skinfrom dangerous sun raysListen to stories about visiting thedoctor or going to hospital; explore andplay with doctor and nurse setsMeet and visit doctors, nurses anddentists; examine props, stethoscopes,plasters, bandages and uniforms,participate in role-playingBecome aware of how infectionspreads easily and the importance ofadhering to a code of hygieneIdentify and categorise a variety ofsubstances that are taken into or ontothe body as those that are helpful orharmful, illegal or legal; nicotine, food,alcohol, liquids, nose drops, sprays221

The student should be enabled to• become aware of theimportance of food forgrowth and developmentFood and nutritionShow some understanding that foodhelps us to growSocial, personal and health educationMyself:Taking care of my bodyFood and nutritionShow some understanding that foodgives us energy for work and playFood and nutritionShow some understanding that foodhelps to protect against illness/keepsus healthy• explore a wide range of foodExplore a wide range of familiar andunfamiliar foods; attend to the range offood that is presented in school and athome, attend to the taste, smell,appearance and texture of a wide rangeof foodRespond to the texture, taste, smelland appearance of familiar andunfamiliar foods; experience bland v.strongly flavoured or moderately spicedfoods, sweet v. sour flavours, hot v. coldfood or drinkExperience food dishes from differentcountries; students eat their way ‘aroundthe world’(Link with SESE)Theme cookingShow an awareness of familiar foods;become excited when familiar foods arepresented, make a face in anticipation oftasting a sour item of food• explore food preferencesand their role in abalanced dietIndicate food preferences when asked;make choices between two or more itemsof food or drink, show preferences ordislikes by indicating desire for more/nomore when food is tastedExplore a range of foods (treats,snacks, fruit, vegetables) andcommunicate about the texture, smell,taste and their likes and dislikesSort foods, photographs, pictures andsymbols of foods into groups; thosethat you eat a lot of, those that youshould only eat a little ofDevelop food preferences and dislikesDevelop awareness that balance,regularity and moderation arenecessary in the diet; the food pyramid,the need for a balanced diet, food that isunhealthy for some people and not forothersCarry out a survey to find out foodpreferences within the groupDevelop an awareness of the types offood that contribute to good health;look at/make posters promoting healthyeating, respond to questions about healthyeating, pick out healthy choices of foodDifferentiate between a healthy and anunhealthy dietTry to adopt a healthy and balanceddiet; complete a food diary over a weekand communicate about his/her diet222

The student should be enabled to• discuss and explore somequalities and categories offoodFood and nutritionBegin to associate language labels withfamiliar foods; signing/verbalising/pointingto food items on requestIdentify hot and cold food and drinksParticipate in games of shop-keeping;home cornerSocial, personal and health educationMyself:Taking care of my bodyFood and nutritionShow an awareness of categories offood; using real food, replicas or pictures,indicate on request food that would beeaten at breakfast/dinner time, observethe sorting of food into categories such asfruit, vegetables, meat and sweet things;respond to a request to put all the fruitinto a basket or all the meat into therefrigeratorIdentify the effects of heating andcooling on food; melting chocolate/icecreamFood and nutritionSort food for storage after trip tosupermarket. Recognise the widechoice of food available and categorisefood into the four main food groupsand their place on the food pyramid;bread, potatoes, cerealsFruit and vegetablesMilk, cheese, yoghurtMeat, fish and alternativesExamine the dietary needs of his/her agegroup and other groups in society (babies,young children, adults)Identify some of the foods that arederived from plant and animal sources;foods that are grown, food that comesfrom animalsIdentify different types of shops thatsell food; vegetable shop, bakery,supermarket, etc.Participate in creating art or chartsrepresenting different categories offood• realise the importance ofhygiene when preparingfood to eatRespond to reminders to handle foodsafely and hygienically; wash handsbefore touching or eating foodRecognise and practise good hygienewhen dealing with food; clean hands,hair tied back, using clean dishclothsRespond to instructions on makinghealthy snacks or meals; step-by-stepinstructions using gestures, pictures orverbal instructionShow understanding of the importanceof proper food hygiene; Keeping certainfood in fridge, keeping food covered fromflies, washing fruit and vegetables beforeusing, defrosting food thoroughly, notchopping cooked and uncooked meat onthe same boardMake/participate in making healthysnacks and meals using safe andhygienic practices223

The student should be enabled to• develop awareness thathe/she is growingAs I grow I changeBecome aware that he/she is growing;observe/feel that old shoes are now toosmall, observe that hair/nails have grown,look at own or others’ baby clothes andsee how small they are, compare itemsused as a baby and items he/she usesnow (baby bottle/cup), look atphotographs or videos of younger self andyounger family and friends, show interestin record of own heightSocial, personal and health educationMyself: Growing and changingAs I grow I changeRealise that growth takes place inmany different ways and is unique toeach individualPhysical: growing out of clothes and shoesSocial: making new friends, joining clubs,playing or engaging in sports together, anincreasing ability to communicateIntellectual: developing new skills andabilitiesAs I grow I changeIdentify and discuss the changes that areexperienced in growing from child toadult; changing interests and leisureactivities, developing a widening circle offriends, increasing personal independence,increasing responsibility, coping with transferfrom primary to post-primary schoolDemonstrate understanding of thephysical changes taking place in boththe male and female body; growingheight and weight, increasing strength,growing from boy to man, growing fromgirl to womanIdentify and discuss the physical andother changes that occur in boys andgirls with the onset of puberty andunderstand that these take place atdifferent rates for everyone;Female: hormonal changes, changing bodyshape, development of breasts,appearance of pubic hair, onset ofmenstruation (periods)Male: hormonal changes, physical growth,enlargement of testicles and penis,appearance of pubic, underarm and facialhair, voice breaking, beginning of spermproduction, onset of nocturnal emissions(wet dreams)224

The student should be enabled to• develop awareness thathe/she is growing(continued)As I grow I changeSocial, personal and health educationMyself: Growing and changingAs I grow I changeAs I grow I changeRealise that these changes do notoccur at the same time butnonetheless are predictable andnatural and that being different isnormal; accepting his/her own bodyimage, being sensitive to the patterns ofgrowth and development in himself/herselfand other people• identify new skills andabilities acquiredBecome aware of the new skills thathe/she has acquired; listen to account ofthe new things he/she has learned, look atvideo account of own progress in school/athomeDemonstrate awareness of ownachievements and progress; show offnew skills when asked, look with interestand understanding at pictorial record ofown progressIdentify the skills and abilities acquiredand the interests/pursuits taken up inrecent years; developing sport skills,reading and writing skills, enjoy lookingback over old records of work, takeopportunities to show off new skills, seekto learn and master new skillsRecognise emotional changes that havetaken place since infancy; when I needsomething: what I did then and now• develop increasingresponsibilityShow awareness of the need tobecome more independent andresponsible as he/she grows older;know that he/she cannot demandattention all the time, show interest indoing things for himself/herself, show carefor othersRealise that growing up bringsincreased responsibilities forhimself/her and others; making ownlunch, putting away school clothes, helpingto feed a younger childRecognise that the ability to takeresponsibility for himself and othersincreases as he/she grows older; seekto take increasing responsibility for owncare needs/well-being/entertainment,make efforts to care for younger/less ablefamily members or friends225

The student should be enabled to• become aware of new lifeand birth in the worldNew lifeBecome aware of new life and birth inhis/her immediate environment;participate in activities to increaseawareness of new growth in springtime,have opportunities to see/hold babyanimals on farm/in zooObserve the care of new babies inreality or in pictures/videos; tenderholding, feeding, nappy-changing, carefulbathing: role-playing using dolls andassociated materials — bottles, soothersSocial, personal and health educationMyself: Growing and changingNew lifeShow awareness of new life and birthin the environment; point out newgrowth in springtime when asked, identifybaby animals in reality or inpictures/videosSort with/without prompting picturesand photographs into groups; male andfemale, young and oldBegin to identify the main phases ofthe human cycle; sequencephotographs/pictures of people ofdifferent ages: baby, young girl/boy,teenager, woman/man, old woman/man—know that granny/grandad is old and ababy is youngNew lifeShow some understanding of thereproductive system of both male andfemale adults (in consultation withparents)Explore the stages and sequence ofdevelopment of the human baby, fromconception to birth (in consultationwith parents); if possible have theopportunity to link feeling the shape of ababy in an expectant mother with seeingthat mother shortly afterwards with hernew babyIdentify the care that needs to betaken while waiting for baby to beborn; diet, rest, love and supportDeveloping awareness of human birth;that a baby grows and is nurtured in themother’s womb until ready to be bornShow awareness of the care needed bysmall babies; respond with tendernessand care to handling a small baby,demonstrate caring of baby doll withpromptingKnow that babies need love, regularfood and drink, warmth, nappychanging,careful bathing, medicalcheck-ups; show knowledge by helping tocare for sibling226

The student should be enabled to• identify and explore arange of feelingsFeelings and emotionsExpress a range of feelings in responseto particular experiences; showhappiness at seeing a familymember/friend, show excitement inanticipation of a trip in the bus, showsurprise at seeing something unusual,show fear of a particular situation, showfeelings of loss when leaving a favouriteperson/placeIdentify a range of feelings; respond torequest to show particular feeling by usingappropriate facial expression, pointing toanother person/photograph of personexpressing a particular emotionSocial, personal and health educationMyself: Growing and changingFeelings and emotionsIdentify a range of facial expressions,give words for feelings; imitate or guessemotions portrayed by body language andfacial expressions using pictures/otherstudentsExplore feelings through dramaactivities; explore situations through storylines: receiving a wonderful present/feeling left out of games/getting lost in thesupermarket/when my sister was born;communicate about feelings associatedwith these situations using facialexpression, pictures, signs or wordsFeelings and emotionsCommunicate about and explore awide variety of feelings and emotionsand the various situations where thesemay be expressed; ‘highs’ and ‘lows,’sports event, prizegiving, not winning aprize, moving away, not being chosen fora teamExplore appropriate behaviour whenfeeling; happy, sad, angry, frightenedRecognise and discuss how feelingsand emotions are affected by thephysical changes that take place atpuberty; being withdrawn when shy orembarrassedAppreciate the need for individualspace and privacy as he/she is growingand developing; a place to be quiet or tobe alone or undisturbed, the need forpersonal boundaries227

The student should be enabled to• develop awareness of thefeelings of othersFeelings and emotionsBecome aware of feelings of others;observe and recognise when someone ishappy, sad, excited, fearful (these feelingsmay need to be exaggerated by others tohelp the student to be aware of them)Begin to respond to the feelings ofothers; matching their emotions andbecoming happy/sad/excited becauseanother is happy/sad/excitedShow awareness that the actions ofone individual can affect the feelings ofanother; stop activity that is obviouslycausing distress in another, showtenderness towards student who isdistressed at the actions of anotherSocial, personal and health educationMyself: Growing and changingFeelings and emotionsShow sensitivity to the feelings ofothers; respond by showing concernwhen another is obviously unhappy, stayquiet when another tells him/her that theyare sad, laugh when another is obviouslyhappy, is helpful to others, treat otherliving things, including pets and animalswith care and concernIndependently adjust own behaviour toconsider the feelings of others; controlown excitement or noise level because itcauses a fearful reaction in anotherstudent/family memberFeelings and emotionsEmpathise with/take account of thefeelings of othersBe sensitive to the needs and feelingsof others and realise that the actionsof one individual can affect the feelingsof another; recognising, dealing withconsequences of moods/situations of otherpeopleFollow storyline in television serial andsuggest ways of dealing with emotions;jealousy, loyalty, being in love228

The student should be enabled to• express feelings in anappropriate wayFeelings and emotionsShow, for example, concern for othersin distress through facial expressions,gestures, or tone of voiceSocial, personal and health educationMyself: Growing and changingFeelings and emotionsRealise and explore the various waysfeelings can be expressed and dealtwith and choose which are mostappropriate and acceptable; affection:shaking hands/hugging, anger: crying,telling someone that I am angry, loss:crying, asking for help, hurt: angry, seekingan apologyIdentify people with whom it isappropriate to hug/kiss/shake handsIdentify significant people in his/her lifewith whom he/she can discuss feelingsand emotionsFeelings and emotionsExplore the various feelings thatchange as one grows; what made melaugh when I was younger, the things Iwas afraid of when I was younger, thethings that I find funny or that make mecry nowIdentify strong feelings and learn howto express and cope with thesefeelings in a socially appropriatemanner; love, embarrassment, shyness,success, happiness, excitement, frustration,jealousy, anger, rage, loss, resentment,being ‘put down’Discuss and practise how to expressand cope with various feelings in anappropriate manner; choosing theappropriate time to talk, talking anddiscussing rather than prolonging a conflictor disagreement by remaining silentKnow when it is appropriate to sharefeelings with othersIdentify and recognise the differencebetween needs and wants and cometo realise that some rewards orexperiences may be or should bepostponed until later; will I buysomething now/will I save for somethingmore expensive later?229

The student should be enabled to• develop awareness ofpeople/places that aresafe/unsafePersonal safetyDevelop an awareness of the feeling ofbeing safe with people; become awareof the difference between familiar peopleand strangers, become aware of safe andcomfortable ways of being touchedAttend to the difference betweenfamiliar and unfamiliar places; haveattention drawn to features of familiarplaces, have opportunities to visitunfamiliar placesSocial, personal and health educationMyself: Safety and protectionPersonal safetyRecognise and explore situationswhere students feel safe and thosewhere safety might be at risk; gettinglost, being left alone, being with peoplewho make him/her feel unsafe,inappropriate or unsafe touches, cominginto contact with unsafe or unknownsubstancesDifferentiate between familiar andunfamiliar places; respond to familiarlandmarks, react with increased interestwhen in unfamiliar placePersonal safetyIdentify situations and places that aresafe and those where personal safetymight be at risk; being in a supervisedplayground, going on an outing withfamily, going into unfamiliar places, gettinginto the family car v. a stranger’s car,feeling unsafe with people, bullies, largegatherings, being touched inappropriately,being asked to keep a difficult secret (onethat causes worry or makes him/her feeluncomfortable)• identify people in his/herclose environment whomhe/she can trustIndicate if feeling safe andcomfortable/unsafe and uncomfortablewith a person; relax when feeling safe,turn away/call for attention when feelingunsafeDevelop the ability to facially express,sign, or say ‘no’; have opportunities touse in making choices and in everydaysituations: assert self by sometimesrefusing to do things, use in the roleplayingof situations that require a ‘no’Identify people in his/her closeenvironment whom he/she can trust;pick out people with whom he/she feelssafe and comfortable using real people,photographs, videoPractise communicating ‘no,’ especiallyto adults, in a range of situationsIdentify people in the widerenvironment who can be called uponto help; garda, shop assistantsDiscuss and make displays of whohe/she can ask for help, and use roleplayingto ask for help in appropriatesituationsKnow when he/she can and shouldgive permission and when to withholdtheir permission from adults; aboutpersonal space or intimate careprocedures230

The student should be enabled to• develop strategies forkeeping safePersonal safetyDevelop the ability to draw attentionto self if feeling uncomfortable orunsafe; cry when feeling unsafe oruncomfortable with a stranger or familiarperson, make a fuss if being touched in away that is unfamiliar or uncomfortableBecome aware of the need to stayclose to carer when in unfamiliarplace; feel hand being held firmly, listen torequests to stay close, observe that he/sheis being closely watched, respond torequests to stay close when in unfamiliarplace; stay within boundaries outlined bycarer, come when called, look at carerregularly to see that he/she is closeSocial, personal and health educationMyself: Safety and protectionPersonal safetyDeal effectively with situations wherehe/she feels unsafe with a person;communicate ‘no’ independently andeffectively, get away from the person, getthe attention of othersUse role-playing to practiseassertiveness and ways of making safechoicesTake some responsibility for ownsafety when in unfamiliar place;independently stay close or within visualcontact of carer, refuse to talk tostrangers, knowing how and when to seekhelp, not wandering off on his/her own,knowing when to say ‘yes’ and ‘no’ tofriends or adults in different situationsPersonal safetyBegin to realise that as independenceincreases, responsibility for personalsafety increases, and that a strategy forkeeping safe with people has to bedeveloped and adhered to by eachindividual; being assertive, realising howand when to get help, telling people whoare trustworthy, making a telephone call,becoming familiar with emergencyservices and how to contact them, tellingsomeone where he/she is going at alltimes, adhering to the rules about unsafeplaces, not accepting lifts from strangers,making his her whereabouts known at alltimes, recognising local landmarks,recognising people who are responsible forkeeping him/her safe, knowing when totell a secret, learning and practising tospeak/write/sign or recognise personalinformation: name, address and telephonenumber231

The student should be enabled to• show understanding ofsafety rules whentravelling/out and aboutSafety issuesHave his attention drawn to safetystrategies for crossing the road, usingthe bus or being a pedestrian;visually/aurally track cars passing, watchothers stopping at edge of path, listen tosafety instructions, participate with fullhelp in practising safety strategiesSocial, personal and health educationMyself: Safety and protectionSafety issuesRespond to requests to stay closewhen in unfamiliar place; stay withinboundaries outlined by carer, come whencalled, look at carer regularly to see thathe/she is close, respond to ‘no,’ followsimple rules of behaviour when remindedRespond to visual or auditoryreminders to execute safety strategiesfor crossing the road, using the bus,or being a pedestrian; look for helpas needed, stop when the red man is seenat a pedestrian crossing, wait for thegreen manSafety issuesDevelop and practise strategies forkeeping safe when travelling; beingfamiliar with the rules for travelling on thebus, in a car, on a bike, crossing the roadwith an adultObey those responsible for safety inthe communityBe aware of potential travel hazardsand the need for responsible behaviourwhen travelling• show understanding ofsafety rules within theschool/work-placeHave his/her attention drawn to safetyroutines in the immediateenvironment; observe that people cantrip over bags and toys, listen to requestto stay close to his/her carer at assemblyor when out walking, respondappropriately to instruction that activity isdangerous, participate with full help infollowing class code of hygieneRespond to reminders to observesafety rules in the everydayenvironment; respond to gestural,pictorial or verbal reminders to storeschoolbag, operate brakes on wheelchairwhen stationary, wash hands beforeeating, use safety switch on electricsockets, line up without runningFollow safety rules when trying a newactivity or gameDevelop an awareness of healthand safety in the school, home andwork-placeUse safety rules independently in theeveryday environment; keep passagesfree of clutter, move about safely, practiseclass code of hygiene, follow safety ruleswhen using electrical equipmentRealise and understand that rules arenecessary in order to protect peopleand keep them safe; tidying away ownbelongings, following code of hygiene,queuing appropriately232

The student should be enabled to• develop awareness ofpossible dangers in theenvironmentSafety issuesBecome aware of possible dangers inthe home or school environment;develop awareness that certain kitchenand craft utensils are dangerous, becomeaware of the possible dangers of heatsourcesDevelop awareness that some thingsare dangerous to eat or smell; attend towarnings that some substances at homeand at school are dangerousSocial, personal and health educationMyself: Safety and protectionSafety issuesShow awareness of how accidentsmight happen at home and in school;show awareness that certain utensils andimplements can cause injury, show byexpression, actions or words that heatsources can be dangerousRealise that many substances used athome or in school are dangerous andthat permission should be soughtbefore exploring the contents; nevertouch, taste or smell unknown substancesSafety issuesCommunicate about dangers to selfand others in the home and schoolenvironment; identify items in the homeor school environment that are unsafe touse or play with, enquire about the safetyof using unfamiliar items if unsure,communicate by expression, gesture orwords about things that are sharp/hot, actto prevent injury to another personRecognise how accidents might becaused and what can be done toprevent accidents happening; wearingprotective headgear, not playing withdangerous equipment or machinery• develop awareness of basicsafety with regard tomedicine andunfamiliar substancesAttend to warnings not to touchmedicines; become aware that pills arenot sweetsDevelop an awareness of people whohelp you look after your health; meetand visit doctors, nurses and dentistsExamine props, for examplestethoscopes, plasters, bandages anduniforms and take part in mini-dramasRespond to unfamiliar substances withsuspicion and care; look to trusted adult togain guidance when presented withunknown substances, respond to instructionsnot to taste/smell certain substancesRespond to basic safety rules regardingmedicine; identify medicines in use at homeand in school, show awareness that medicinesmust not be touched without permissionIdentify some of the substances orthings that are put onto the body andtheir associated functions; plasters,ointment, cream or lotionsRead and listen to stories aboutvisiting the dentist or going to hospitalRealise that some substances used athome and at school are dangerous; askfor permission before exploring unfamiliarsubstances, identify dangerous substancesat home and in school, get adult’s attentionif he/she observes a sibling/studenttampering with a dangerous substanceIndependently observe basic safety rulesregarding medicine; become familiar withthe packaging of routine medicines, knowthat all medicines are kept safely in aparticular place, know that medicines mustnot be touched without permissionDistinguish between substances in thehome or school that are safe and233

The student should be enabled to• communicate abouthis/her own familyCommunicate about the members ofhis/her own family; show recognition ofclear photograph of family member,identify family members inphotographs/video, respond to questionsabout family members, list familymembers, using names or photographsIdentify and name/sign the people whoconstitute a family; Mammy, Daddy,sister, brotherSocial, personal and health educationMyself and others: Myself and my familyCommunicate about his/her position inthe family; youngest, oldest, in the middleIdentify members from the widerfamily circle and appreciate that allfamily units are different; grandparents,cousins, aunts, uncles, niece, nephewIdentify gender relationships withinhis/her family; group siblings intosisters/brothers, identify that sister is agirl, brother is a boyTell stories about family membersusing objects, pictures or wordsIdentify and talk about those who liveat home and recognise that homes andfamilies can vary; personal names, sex,position in family – ‘John is older thanme’, physical description, hobbies,characteristicsCreate individual family treesExplore and discuss different kinds offamilies, recognising that families varyin structure; single-parent, two-parent,step-parent, adoptive, foster, group homes,hostels• explore the things thatfamilies do togetherRespond to pictures or questionsabout daily routines at home; playing,sleeping, eating, going for walks, watchingtelevisionDevelop awareness of special familyoccasions/celebrations; show interest inand identify photographs/videos ofbirthday parties, weddings, Christmas,respond to questions about these eventsExplore the things that families dotogether: talking, eating, working,travelling, shopping, playing, participatingin leisure activities together, special familyoccasionsCommunicate about daily routines;what he/she ate for breakfast, televisionprogrammes watched, activities pursuedExplore what belonging to a familymeans; being cared about, havingparticular roles and responsibilities, beingsensitive to the needs of others in thefamily, having rules and boundaries, caringfor and supporting each other, having asense of belongingCommunicate about the ways in whichfamilies take care of, support and loveeach other234

The student should be enabled to• realise that each personhas a place and role withinthe familyIdentify resources used for commonhousehold tasks; sweeping-brush,washing machine, vacuum cleaner, fridgeExplore the roles that Mammy andDaddy play; free play in Wendy house,home cornerSocial, personal and health educationMyself and others: Myself and my familyRecognise his/her role and place in thefamily unit and the contribution madeby each member to the family; identifyjobs that Mammy/Daddy/siblings/student doShow awareness that roles may beinterchangeable; isolate a task andidentify all the family members who cando this jobExplore the skills that can belearned/practised at homeUse the correct resources incompleting common household tasks;dry dishes with tea towel, put clothes inwashing machine, use brush/vacuumcleaner to clean floorRecognise that each member has aplace and role in the family andcontributes to the effective functioningof the family unit; helping to mindyounger children, helping to keep thehome tidy, sharing and co-operating witheach other• identify behaviour that isimportant for harmony infamiliesHave understanding that his/herbehaviour can have a positive or anegative influence on the family; fightingwith siblings upsets Mammy and DaddyIdentify the behaviour that isimportant for harmony in families; love,listening, sharing, spending time together,adhering to family rules, honesty,forgiveness …Discuss possible changes in familyrelationships and expectations ashe/she grows and matures and howhe/she can cope with them, increasingindependence, conflicting opinionsUnderstand that families often undergoplanned or unplanned changes thatmay be pleasant or difficult; movinghouse, the arrival of a new baby, thedeath of one member, unemployment,new job, separation, illness, addictionDiscuss story lines of television serialand identify positive/negative behaviour235

The student should be enabled to• communicate abouthis/her friendsIdentify his/her friend/friends withinthe class; show interest in sharingactivities with particular peersSocial, personal and health educationMyself and others: My friends and other peopleDiscuss personal friends and whyhe/she enjoys being with them;independently seek to spend time withcertain friends, take action to make newfriendsIdentify activities that friends dotogether; playing, party time, outingsExplore the importance of friendshipand interacting with others and realisethat making and changing friends ispart of the natural process of growing;communicate about the qualities he/shelikes in his/her friend(s), why he/she enjoyseach other’s companyExplore activities that require morethan one person and activities that canbe engaged in by oneself• identify/become aware ofthe different aspects offriendshipShow awareness of how friends behavetogether; talking together, playingtogether, helping each other, sharingactivities and games, responding to afriend in needIdentify, explore and discuss qualitiesand skills associated with friendship;spending time together, talking, playingtogetherbeing sensitive to the feelings ofone’s friendsforgiving each other, trusting each otherListen to and ask questions aboutfriendship stories; discuss friends andfriendship, using and extending his/hervocabularyExplore the different aspects offriendship; loyalty, trust, keeping promises,forgiveness, resolving conflict, honestyExamine different types of friendships,‘best friend,’ boy-girl friendships, groups offriends, befriending someone in a difficultsituation for a short timeExplore the differences between boyand-girlfriendships and same-sexfriendships; talking about different things,having different interests, wishing toimpress his/her own sex and opposite sex236

The student should be enabled to• develop awareness thatfriends and other peoplemust be treated withconsideration and respectShow awareness that others areaffected by his/her response to them,respond to instructions on how toshow consideration and respect; adjustown behaviour: share toys with newstudent, show physical restraint in playingwith another studentSocial, personal and health educationMyself and others: My friends and other peopleKnow how to treat others with dignityand respect; respecting the personalbelongings of others, recognising andincluding the lonely child at play time,being fair and equitable when workingand playing with othersBegin to cope with disharmony in, orloss of, friendships; coping with rejectionfrom peer group/special friendPractise and recognise the importanceof care and consideration, courtesyand good manners with othersConsider problems that can arise infriendships and other relationships andhow these could be handled; jealousy,uncertainty, feeling left outRole-playing; practising courtesy andgood manners when dealing with others,play out situations of conflict betweenfriends• recognise and explorebullying behaviourDevelop awareness of bullyingbehaviour; show awareness ofwrongdoing if own bullying behaviour isidentified, respond by repelling bully or bycalling for help if being bullied/another isbeing bulliedKnow that bullying is always wrongand know what should be done if oneis being bullied or sees it happening tosomeone elseAcknowledge that friends often circulatein groups, which can be healthy orunhealthy; inclusive, friendly, supportiveteasing, taunting, being pressuredRecognise, discuss and understandbullying and its effects; what behaviourconstitutes bullying, how and why bullyinghappens, how it feels to be intimidatedand to intimidate others, the effect ofbullying on self and others, know thatbullying is always wrongExplore and discuss how individualscan deal with being bullied, knowingthat others are being bullied and beinga bully; who to confide in, when to tell,how to be assertive237

The student should be enabled to• form relationships withother students/adultsRecognise familiar people andassociate them with particularactivities; get coat and bag when busdriver arrives, take notice if new driverappears, go to dining area when lunchtime staff appearSocial, personal and health educationMyself and others: Relating to othersHave opportunities to developrelationships with others; interact withstaff members and other students in dailyroutines: work activities, circle time, PE,meal times, celebrationsShow understanding of the roles offamiliar people; principal, schoolsecretary, nurse, postmanMeet and interact with differentpeople, both in school and outsideschool; students from anotherclass/school administration/lunch timestaff, therapists (where applicable), shopassistantsShow understanding of different typesof relationships; strangers, friends,relatives, husband/wife, boy-friend/girlfriendInitiate and maintain social interactionwith peers and adults• develop effectivecommunication skillsGreet known people; signing orverbalising ‘hello’Establish and maintain eye contact withadultShow attention to speaker throughfacial expression and appropriatepostureCommunicate basic needs usingspeech, gesture or signing asappropriateInitiate and maintain social interactionwith adults; wait with interest for adult torespond, listen to adult and giveappropriate response(Adult models attentive listening andemphasises/demonstrates the need towait to talk)Attend to a topic in group situationand make appropriate response over anumber of turns; contribute todiscussions by responding appropriately(vocalising, using gestures, symbols orsigning)Learn to adopt appropriate verbal andnon-verbal behaviour to secure andmaintain the attention of a partner;establishing eye contact/using appropriatehead movements, gestures and facialexpression/ensuring audibility and clarity,tone of voice238

The student should be enabled to• use verbal and non-verbalbehaviour to performsocial functionsUse common salutations correctly;greeting strangers and familiarpeople/signing or saying goodbyeEngage in real and imaginary situationsto perform/practise different socialfunctions; using toy telephoneSocial, personal and health educationMyself and others: Relating to othersUse verbal and non-verbal behaviourto perform social functions; introducingoneself and others (make eyecontact/smile/shake hands whenintroduced), expressing thanks, makingrequestsUse language to perform commonsocial functions; expressing concern orappreciation, giving/receiving compliments,presenting own opinion to an individual orgroupPerform routine social functionsindependently; show visitor aroundschool/workplace-introducing him/her tostaff/students, make requests politely,express thanks, offer help• work co-operativelywith othersEngage in parallel activity with otherstudentShare toys/game with one another;take turns with one other student, withadult help, allow physical guidance whenneededDemonstrate ability to take turns,share equipment and play safely andco-operatively with peers in small andlarge groups; participate in activities thatrequire turn-taking skills: news time, circletime, parachute games in PE, music anddrama activitiesParticipate co-operatively in groupsituations; member of a basketball teamWork collaboratively in pairs/smallgroups; show respect for materials,his/her work and the work of othersTake turns in a small group withsupport from adult; follow a directionwhen asked, respond to ‘no’Show some understanding of the needfor rules in games and awareness ofhow to join in in different situations;follow simple rules of behaviour whenremindedEstablish purposeful relationships withothers in group activities and attemptto negotiate with them in a variety ofsituations; if other students wish to usethe same piece of equipmentShow understanding of agreed codesof behaviour; class or school’s goldenrules, communicate what is right andwrong, try to explain why239

The student should be enabled to• practise care andconsideration, courtesyand good manners wheninteracting with othersBecome aware of routine socialbehaviour; listen to other student talkingwithout interruptingAttend /respond to instructions andrequests expressed by familiar adultsand peersSocial, personal and health educationMyself and others: Relating to othersPractise care and consideration,courtesy and good manners wheninteracting with others; giving andtaking turns in listening and speaking,showing interest in what others have tosay, reacting appropriately when asked todo something by a trusted personListen and respond to the views andopinions of others when playing,working or making decisions aboutwhere to go and what to doExchange views and opinions withothers; discuss likes/dislikes, favouritetelevision programmes, ask another’sopinion, express agreement/disagreementin an appropriate manner, accept andreceive compliments• resolve conflicts with othersRespond to reminders that equipmentmust be shared; signs or says sorry toother student when promptedShow ability to resolve conflict; find anagreeable solution if another studentwants to take a favourite piece ofequipmentExplore and practise how to handleconflict without being aggressive;identify and discuss various responses:telling the truth, walking away, avoidanceLearn to apologise, without promptingfrom adult, and to accept apologiesfrom othersImitate verbal solutions provided byadultsRecall words/signs to use whenreminded240

The student should be enabled to• identify the groups outsidethe family to which he/shebelongsMy school communityBecome aware of being part of aclass/school; show recognition of ownclass, classmates and school, come whencalled by own teacher at assemblySocial, personal and health educationMyself and the wider world: Developing citizenshipMy school communityRecognise the groups to which he/shebelongs; identify own class/school fromphotographs, line up with own classmates,get ready when his/her group is called forreading, find own classroom, go todesignated area of the pool to join ownswimming groupMy school communityRecognise some of the differentgroups to which he/she can belong;family, class, school, village, town, city, clubRecognise/write the name and locationof his/her own school and identifythose who constitute the schoolcommunityExplore the ways in which the schoolpromotes a sense of belonging;celebrating the achievements ofindividuals, groups and teams within theschool: prizegiving days,‘student of theweek’ awards• realise that each person isimportant and has aunique and valuablecontribution to make tothe class/schoolParticipate fully in class/schoolactivitiesHave opportunity to shareresponsibility for certain classroomtasks; giving out cups/pencils, handing outart materialsPlay an active part in the life of theclass/school when prompted; respondto cues for class/school routines, carry outtasks in class and school with some help,take on jobs in the class or school:pouring out milk, delivering messagesShow awareness that others have avaluable part to play in the life of theclass and the school; show awarenessthat some tasks are the responsibility of aparticular adult or student, showappreciation of the contributions made byothers to class and school lifeSeek to play an active part in the life ofthe class and school; actively followclass/school routines, follow rules with fewreminders, take on responsibilities such asminding less able students/picking uplitter/doing messages for teacher, takepart in public performances: schoolconcert, represent the school at interschoolsports daysRealise that each person is importantand has a unique contribution to maketo the class and school; know who isresponsible for certain roles and tasks,allow other students to have the limelightat times: join with class/school incelebrating their achievements241

The student should be enabled to• develop understanding ofthe necessity for adheringto the class and schoolrulesMy school communityBecome aware of rules and routines inthe class and school; participate insharing equipment, sharing teacher’s time,playing/working co-operatively, takingturns, show some understanding of rulesregarding time/litterSocial, personal and health educationMyself and the wider world: Developing citizenshipMy school communityRespond to reminders to observerules and routines in the class andschool; respond to reminders to shareequipment, adjust own demands whenhe/she observes that teacher is busy,respond appropriately to turn-takingactivities, follow cues for routines aboutassembly/moving location within theschool/going home, respond to remindersabout litterMy school communityBe involved in drawing up theclassroom rulesIndependently adhere to rules androutines in the class and school, withgradually decreasing assistance; shareequipment and teacher’s time equally,play and work co-operatively, take turnsas appropriate, carry out familiar schooland class routines without reminders• explore and respect thediversity of students in theclass and schoolBecome aware of the varying needs ofother students; observe how those needsare accommodated by students andadultsShow awareness of the strengths andneeds of other students; accommodatethe needs of other students when asked,observe that others need teacher’sattentionAcknowledge the strengths and talentsof other students; givecompliments/praise to othersAccommodate the needs of anotherstudent; by signing for student withhearing/speech impairment242

The student should be enabled to• develop a sense of belongingto his/her local communityLocal and wider communitiesShow recognition of and identifyhis/her own locality; become excited onclass visits to own locality, showrecognition of photographs or videos ofown localitySocial, personal and health educationMyself and the wider world: Developing citizenshipLocal and wider communitiesBecome aware of the physicalcharacteristics of his/her own localityand the locality of other students;identify features in own locality whenshown photographs/video, name ownlocality when asked, identify otherstudents’ localitiesLocal and wider communitiesCommunicate about his/her ownlocality and the locality of otherstudents; use pictures, signs or words totell about features of own locality, askabout the locality of another, carry outfact-finding class trips to each student’slocality, take photographs or video of eachlocality or ask parents to supply these touse in class projectDevelop an awareness of people inother places; other schools, communities,other towns, other countriesBecome aware of his/her own cultureand show some recognition of festivalsand celebrations that are unique to thelocality, region or country; showawareness of Irish music, national flagand anthem, national feast days• begin to become aware oflocal identity and toparticipate in and enjoycelebrating local eventsBecome aware of being part of thelocal community; become familiar withthe people in his/her local community,attend local events, attend local religiousceremonies, attend a local club,participate in celebrating localachievements, such as success for thelocal football teamShow awareness of being part of thelocal community; recognise and identifylocal people, show recognition of familiarlocal areas, respond with interest to localevents, show excitement at going to localclub, respond to questions about localpeople and events, show awareness ofcelebrations of achievement in sportPlay an active part in the localcommunity; communicate with familiarlocal people, communicate to others atschool/work about local areas of interestor local events, Recognise, participate inand enjoy the celebration of local events243

The student should be enabled to• use facilities in his/herlocal communityLocal and wider communitiesBecome aware of and participate withfull assistance in using facilities in thelocal community; have the opportunity tobe accompanied to the localplayground/park beach/restaurant, visitlocal shops, use the escalator/lift at ashopping centre, look at books in the locallibrary, use toilet in these local facilities,use public transport (accompanied byadult)Social, personal and health educationMyself and the wider world: Developing citizenshipLocal and wider communitiesHave frequent opportunities to visitand use local facilities; library, swimmingpoolBecome familiar with the conventionalsigns used to indicate facilities in thelocal community; shop fronts, post box,bus stopLocal and wider communitiesUse facilities in the local community asindependently as possible; play an activepart in a local club, keep a savingsaccount in the local post office, bank orcredit unionBecome familiar with conventionalsigns for familiar facilities in ownlocality and wider locations; recogniseconventional sign for public phone/toilet/bus stop/wheelchair access in ownlocality and on trips to wider locations• become aware of rulesin the community thatapply to him/herBecome aware of rules in thecommunity that may concern him/her;become aware that boisterous behaviouris suitable in the playground but not inchurch/cinema/library, become aware ofthe need to keep the locality free of litterObserve appropriate community ruleswhen reminded; adjust behaviour inquiet places if necessary, use litter binswhen reminded, show care towardssmaller children when playingAdhere to community rules thatconcern him/her with graduallydecreasing prompting from adultsRecognise that each person has animportant contribution to make to thelife of the community; caring for thelocal environment, taking part in localenvironmental schemes: recyclinginitiatives(See SESE)• recognise those who havespecial responsibilities forlooking after people in thecommunityMeet and visit doctors, nurses anddentists; examine objects associated withtheir jobVisit the local library/swimming pooland meet the people who help run itIdentify those who have specialresponsibilities for looking after peoplein the community; gardaí, life guard,crossing wardenMeet people who work in the schooland local community; a nurse, a guard, afirefighter, doctor, lifeguard; visit places ofwork with prepared questions, takephotographs, make a book about the visit244

The student should be enabled to• develop awareness of thedifferent forms of mediaMedia educationIdentify favourite televisionprogrammes, videos and computergames; identify television charactersSocial, personal and health educationMyself and the wider world: Developing citizenshipMedia educationExplore popular stories and booksIdentify favourite televisionprogrammes, videos and video gamesand indicate reasons for preferenceBegin to use and explore the variouskinds of information technologyavailableMedia educationBecome aware of and learn about thedifferent ways in which informationcan be communicated; radio, television,Internet, CDsLocate TV guide/sports pages innewspapers/magazinesCommunicate with students fromanother school or country usinge-mail, with adult assistance245

ATTRACTIVE, MEANINGFULAND AGE-APPROPRIATEMATERIALSUSE OF ICTCOMMUNICATION SKILLS• Activities to develop concentration and listening skills• Opportunities to communicate verbally and non-verbally• Talking/listening/questioning /recording activities• Observation and classification activities• Examining photographs/pictures• Stories/projects about the student’s family, hobbies, interestsPLAY AND STRUCTUREDACTIVITIESPERSONAL AND SOCIAL SKILLS• Opportunities to interact, participate andco-operate in paired work and group projects• Activities to develop confidence and improveself-esteem• Opportunities to interact with people fromthe community• Planning and evaluating own work and that ofother students• Celebration of special dates and eventsMATHEMATICAL SKILLS• Estimating• Predicting• Investigating• Analysing• Sequencing• Time and chronology• Problem-solvingDoes your social,personal and healtheducation curriculuminclude these elements?What else might you include?PHYSICAL SKILLS• Activities to develop hand-eye co-ordinationand manipulation skills• Designing and making activitiesAESTHETIC AND CREATIVE SKILLS• Opportunities to explore and develop thesenses through the handling of a wide rangeof objects• Visual and auditory discrimination activities• Representing findings through drawings,collage, 3-D models246

2B OOKSOCIAL PERSONAL AND HEALTH EDUCATIONTopic: Knowing everybody in my classProject: ‘Living a healthy life’Topic: People I knowGrowing and Changing: Feelings and EmotionsEXEMPLARS247

E X E M P L A RSOCIAL PERSONAL AND HEALTHEDUCATIONTopic:Knowing everybodyin my classLearning objectives• The student will identify, by name andphotograph, those present in class.• The student will match each student and staffmember present with his/her photograph andprinted name.• The student will identify, by name andphotograph, classmates absent from school.MaterialsClear, close-up photograph of each student and staffmember in the classCards with the printed name of each studentA chart with a title ‘In School Today’A chart with a title ‘Absent From School Today’LessonSing a greeting song that names students and staffmembers.The teacher takes the photographs andplaces them, face down, on a table or on the floor inthe centre of the circle, or fans them (face down) inhis/her hand.In turn, each student picks a photograph, looksaround, and places it on the lap of the identifiedstudent/staff member.Where appropriate, studentscan pick out and distribute name cards in the sameway, adding them to the correct photograph.When all those present have been identified,attention is drawn to any photographs that are stillface down.Who is absent today? Whose photographis left? As these students or staff members areidentified, their photographs and name cards areplace on the ‘Absent From School Today’ chart.Then,each student and staff member places his/her ownphotograph and name card on the ‘In School Today’chart.ProgressionThis task can be made more difficult by cutting thephotographs into two or three pieces. Can thestudent identify the person in the photograph byhis/her hair or eyes only?The name cards can be cut so that the first letter isseparated from the rest of the name.Whose namebegins with N? Find the rest of the name.248

E X E M P L A RSOCIAL PERSONAL AND HEALTHEDUCATIONProject:‘Living a healthy life’Learning objectives• The student will identify ways of living ahealthy life.• The student will keep a record of the effortshe/she makes to live a healthy life.MaterialsResources to illustrate discussion about healthylifestyle, such as samples or pictures of healthy food,pictures/videos of good hygiene practice, illustrationsof forms of exercise/forms of relaxation etc.A booklet for each student’s record of his/herhealthy lifestyle.ProgressionThis lesson could be developed by enabling studentsto differentiate between healthy and unhealthypractices. Their chart might then include unhealthythings they ate, how they forgot to brush their teethbefore going to school, how they chose to take a liftin a car rather than walk, etc.LessonThe students’ awareness of how to live a healthy lifeis built up over a number of sessions, withdiscussions about how to be healthy in areas such as• food• hygiene• exercise• relaxation.Discussion sessions should be backed up withconcrete samples, pictorial representations and activeparticipation. Students keep a daily or weekly recordof the efforts they made to live a healthy lifestyle.249

LIVING A HEALTHY LIFEDATE:Healthy food I ate todayHow I washed and groomedmyself todayThe exercise I took todayHow I relaxed today250

E X E M P L A RSOCIAL PERSONAL AND HEALTHEDUCATIONMyselfLooking after my bodyLearning objectivesThe student should be enabled to• develop an awareness of the importance ofpersonal hygiene• identify verbally/by signing at least one reason whypersonal hygiene is important• recognise items used in personal hygiene routinesand indicate how he/she would use themResourcesPersonal hygiene productsMagazinesPictures/photographs outlining the steps involved invarious hygiene routinesLessonIntroductionDiscuss importance of personal hygiene:1. Health – germs, spreading infection, tooth decay2. Personal appearance – fresh body odour, shininghair, clear skinDevelopmentStudent discuss some personal hygiene routines andoutline, with prompting, the steps involved• Washing hands before eating/touching food/afterusing the toilet• Brushing teeth• Importance of frequent showers/baths, payingparticular attention to washing hair, hands,underarms, genital area, feet• Importance of changing clothes often, particularlyunderwear• Importance of washing face (pimples, acne)• Shaving (where appropriate)Activities1. Students identify personal hygiene products andmatch them to particular routines– soap,facecloth, towel, toothbrush, toothpaste,deodorants, talcum, shaving lotion, aftershave,shampoo, brush, etc.2. Students take turns to put picturecards/photographs of different routines insequence and list the steps involved.3. Students examine magazines for pictures ofpersonal care products which they cut out tocreate a group collageFollow-up activitiesArrange for a dental hygienist to visit the class.Plaque-disclosing tablets may be used to highlight theimportance of brushing teeth properly.Theimportance of flossing and changing toothbrushesregularly may also be covered in this session.Where feasible, students could go on an outing to achemist/supermarket/shopping centre to locate,examine and purchase personal care products.251

E X E M P L A RSOCIAL PERSONAL AND HEALTHEDUCATIONGrowing and changing:Feelings and emotionsLearning objectivesThe student should be enabled to• identify feelings of anger• explore appropriate behaviour when feeling angry.ResourcesPictures/photographs, which clearly depict a range ofemotions, video recordings of popular televisionserials, flipchart and pen.Lesson1. Teacher introduces session by discussing whatmakes him/her angry and how he/she feels inside.Elicit from students words or signs that describeanger: cross, mad, furious, etc.2. Introduce a clear photograph or picture ofsomeone who is angry, sad and afraid and usequestioning to see if students can discriminatebetween anger and other emotions:Show me the picture of the angryman/woman.How do you know that he/she is angry?How do people show that they are angry?What do you think could have made thisperson angry?3. Draw an angry face on the flipchart.Ask studentsto list out things that make them angry.Write/illustrate these situations on the flipchart.4. Discuss inappropriate ways of expressing anger—screaming, tantrums, etc.Where possible, allowstudents to watch sections of a recordedtelevision programme with which they are allfamiliar. Discuss the effect an angry outburst hason the different characters. Pause the recording atkey moments to allow students to observe facialexpressions and body language.5. Discuss strategies to cope with anger—talking tosomeone, walking away, punching a pillow, goingfor a walk/run, breathing deeply, counting to ten,relaxing, etc.Concluding activityA relaxation session: listening to quiet, calming musicwhile lying on individual mats, participating in a yogasession/stretching and relaxing exercises.Follow-up activities• Role-playing of appropriate/inappropriateexpressions of anger• Exploring other feelings such as shock, sadness,fear, disappointment, etc.• Visual arts: making faces expressing a range ofemotions.252

NCCA 2002