(Download) NCERT Revised syllabus Of Arts-Education (Class 11 & 12)

 

SYLLABUS OF ARTS EDUCATION

2008

National Council of Educational Research and Training
Sri Aurobindo Marg, New Delhi - 110016

Contents

Introduction
Primary

•  Objectives

•  Content and Methods

•  Assessment

Visual arts

•  Upper Primary

•  Secondary

•  Higher Secondary

Theatre

•  Upper Primary

•  Secondary

•  Higher Secondary

Music

•  Upper Primary

•  Secondary

•  Higher Secondary

Dance

•  Upper Primary

•  Secondary

•  Higher Secondary

Heritage Crafts

•  Higher Secondary
  Graphic Design
   

•  Higher Secondary

Introduction

The need to integrate arts education in the formal schooling of our students now requires urgent attention if we are to retain our unique cultural identity in all its diversity and richness. For decades now, the need to integrate arts in the education system has been repeatedly debated, discussed and recommended and yet, today we stand at a point in time when we face the danger of loosing our unique cultural identity. One of the reasons for this is the growing distance between the arts and the people at large. Far from encouraging the pursuit of arts, our education system has steadily discouraged young students and creative minds from taking to the arts or at best, permits them to consider the arts to be ‘useful hobbies’ and ‘leisure activities’. Arts are therefore, tools for enhancing the prestige of the school on occasions like Independence Day, Founder’s Day, Annual Day or during an inspection of the school’s progress and working etc. Before or after that, the arts are abandoned for the better part of a child’s school life and the student is herded towards subjects that are perceived as being more worthy of attention.

General awareness of the arts is also ebbing steadily among not just students, but their guardians, teachers and even among policyV makers and educationalists. During a child’s school life each student is given information about different subjects such as history, literature, sciences etc. and they are then able to make a choice of whether they would like to specialize in different streams of learning such as humanities, science or commerce. If the child is not given any exposure to the arts we are not giving the child the option to study arts at higher secondary stage.

Arts in India are also living examples of diversity of its cultural fabric. Arts will enrich the lives of our young citizens through their lifetime, not merely during their school years. An understanding of the arts of the country will give our youth the ability to appreciate the richness and variety of artistic traditions as well as make them liberal, creative thinkers and good citizens of the nation.

Repeated recommendations for integrating arts education in the school curriculum have not been implemented so far, and if we continue to relegate the arts as a mere extra curricular activity, or as a tool to teach other subjects, we may face the prospect of further artistic and cultural ruin. If, arts education is not introduced as a subject in school curriculum, it will continue to be an amusing, entertaining fringe activity alone, to be indulged in if and when there is time to spare from other more ‘useful’ activities. Students will not be aware of the rich and varied artistic traditions in the country, of the vibrant and ever evolving nature of creative arts, and will continue to learn only the occasional song or dance of dubious worth .

Following is a set of recommendations suggested by the National Focus Group on Arts, Music, Dance and Theater, in the National Curriculum Framework-2005:

• Arts education must become a subject taught in every school as a compulsory subject up to class X and facilities for the same may be provided in every school. The streams covered by the term arts education are music, dance, visual arts and theatre, with a special emphasis on Indian traditional arts and crafts, which currently face the threat of being drowned out by so called mainstream and popular arts.

• School authorities must acknowledge in practice that arts are to be given significance in the curriculum and not just restricted to being so-called entertaining or prestige-earning activities. They must permit and actively encourage students to study the arts.

• Emphasis should be given on learning than teaching in arts education and teachers should have participatory and interactive approach rather them instructive.

Time Allocation in School for Arts Education

Pre primary stage

In pre-primary classes, usually total duration of working is 4 hours, five days a week. Although all the curriculum will be transacted through art forms, at least 1 hour each day should be allocated for experiential practice of art forms.

Primary and Upper primary stages

2 periods a week for activities of
drawing, painting and sculpture/ clay modelling.

2 periods a week for activities of craft.

2 periods a week for activities of music.

2 periods a week for dance activity.

2 periods a week for drama related activities.

For activity based subjects like arts and craft schools should allocate block periods, which is two periods of 40-45 minutes each. On an average, schools have 40 periods per week (for primary) and 48 periods in upper primary. Out of this,1/4 time should be allocated for arts education.

Secondary stage

During the secondary stage arts education as a compulsory subject requires equal time distribution as for other subjects. At least 6 periods (3 block periods) should be allocated for practical activities and 1 period should be allocated for theory.

Higher secondary stage

During the higher secondary stage arts education as one of the compulsory subject requires at least 8 periods (4 block periods) for practical activities and 2 periods should be allotted for theory paper.

The following age group and periods (approximate) allocated at different stages of school education are indicative of an ideal situation:

* Since the students will study any one of the above 5 subjects of arts education during classes IX-X.

Infrastructure

All schools should have the basic facilities to provide arts education,which will include trained teachers, resources to provide basic materials, separate space for conducting visual and performing arts.

Classroom Organisation

Classroom organization and the concept of space, specially for the activities in arts education is an integral part of the teaching-learning process. In an ideal situation, schools should have rooms especially allocated for art activities, whether for visual or performing arts. Where students can spread their work, sit at ease and interact with teachers and the peer group easily. A hall or a big room or even an open space for theatre activities in the school is a must since these activities require lot of space.

Number of students in the classroom should be limited (to 30-35 students/ class) and manageable. This permits the teacher to pay personal attention to every student. If the class is large, it is advisable to divide them in different groups. This will enable the teacher to supervise them group-wise. The physical arrangements and facilities  in a classroom for any particular subject are dictated by the activities to be carried out.

Practices in classroom and outside

Some strategies for classroom and outside the classroom practices have been suggested for the schools and teachers. Teachers should try to conduct group activities so far it is possible. This will enable the children to share their resources; materials and a sense of cooperation and sharing will develop among the students.

Using local resources

Looking at the socio-economic and cultural diversity of the country, it would be all the more essential for the schools, parents and teachers to be able to use the local regional arts and craft traditions both visual and performing in the developmental stages of school education. Children are required to be made aware of the uniqueness and diversity of their own surroundings and environment. All the schools should provide experience to children to work with the community, beyond the fore walls of the school. Almost all the cities, towns, villages and families in India have local arts and crafts traditions, old monuments etc. around which the children can construct their own history. Artists, craftsmen, performers may be called to the school or they can be employed on part time basis by the schools to teach their art forms.

Workshops to be organized frequently

Schools may regularly organize workshops for one week or a fortnight where local artists can be invited to interact with the students and teachers. Workshops on art and crafts, theatre, music/singing, musical instrument making, pottery, leatherwork, folk dance, animation, puppetry and so on can be arranged for students’ experiential learning. In these workshops children and teachers from neighboring schools can also join. Workshops may also be conducted at the artists’ workplace.

Classroom interactions

It is essential for the teachers to interact with the students regularly and communicate by asking them about their interests, what they would like to do in the classroom rather than being prescriptive all the time. Knowledge sharing is another method to make the child feel important when he/she can share her/his experiences or works with other students in the class. Teachers too should share their learning experiences with children and participate in different activities. Teachers should also share their classroom experiences with other teachers within the school as well as with teachers of other schools. Art teachers of different schools can also have a forum to share their experiences for better teaching-learning and evaluation practices.

PRIMARY STAGE

When children enter primary school, they come with a relatively large aesthetic knowledge that comprises visual images, local music and songs, rhythm and body movements. They are capable of expressing and experimenting with different media, materials and forms of art. It is through this that they explore the natural and social environment around them as well as their own emotions and development. All children, irrespective of their different socio-cultural backgrounds, demonstrate a tendency to use the elements and materials of arts spontaneously without any pre-conceived ideas about them at the primary level. In fact the very experience of seeing or participating in an art activity gives inexpressible joy.

From early childhood the child uses creativity: to construct and reconstruct an endless variety of images. The child grasps the stubby crayon and attempts to express what she/he sees in terms of symbols – the stick — like man, the symmetrical house, the plane… children’s minds seem especially tuned to the use of metaphors and symbols. The very act of creating a work of art: a song, a play, a photograph or painting is itself a symbol of our desire to capture an idea, a mood or feeling and communicate it to others. At around eight years, the type of painting/drawing that the child does changes, as she/ he moves more and more towards realistic depictions and the process of capturing visual details, often with greater skills. No longer are the symbols that the child used earlier brought into play – there are no symmetrical houses, mountains, aeroplanes but a move towards a more visually realistic representation.

Thus, at the very outset of school education, children should be provided opportunities and granted the possibility to expand upon their creativity adding to their experiences through painting, craftwork, clay-modeling, singing, movement, recitation and story telling. Linking performance with language, mathematics and environmental studies will lead to an integrated approach in the teaching learning method. On one level integrating performing and visual arts with other subject areas will help the child to express  creatively and meaningfully. On another level interlinking them with different subjects is a well-tested pedagogic tool for the teacher to exemplify and illustrate terms and concepts.

Objectives

The objectives of learning through arts at the primary school stage would be:

•  To make the learners conscious about the good and beautiful in environment, including classroom, school, home and community through an integrated learning approach, which they enjoy.
•  To make children express freely their ideas and emotions about different aspects of life.
•  To develop all the senses of children through observation, exploration and expression.

Content and Methods

Children’s learning happens primarily  through the kinds of experiences that they have, it follows that the learning environment in schools should generate different experiences from which children can take their learning forward. Thus, the need is to create situations in which children can face and experience new and fresh ideas by expressing themselves through enactments, narration, body movements, singing, recitation, action play, games, drawings, conversation and informal talks.. The best way to do it is by adopting an integrated approach to learning wherein the boundaries between subjects is blurred and they all blend together. The focus is not so much on science, language and mathematics but on making sense of the immediate environment through a range of themes/ topics that connect children to their actual lived experiences. All the major arts and craft forms share a lot of dissimilarities as well as similarities that cut across them. The themes or content the children learn provide a framework and the required scope for dealing with a wide range of  issues depending on the socio-cultural contexts that inform children’s thinking within the classroom. For example, issues such as the natural environment, the elements, wild nature, tools that man uses, means of travel, family and relatives etc. can be used to further generate specific connections to subject areas of mathematics, science and languages.

Children should be made to work in small groups expressing through color, pattern and texture, line and tone, shape, form and space using pencil, pastel, poster color, watercolor, and different sizes of paper. This will encourage them to share resources and bring about a feeling of cooperation. Arts Education comprises what children learn in the curriculum through all the mentioned activities.

Arts Education should be brought into the classroom during the learning process in a natural way through various activities and games that are in context and relate to their real life experiences.Therefore teachers along with students can take part in various school activities throughout the year. This includes memorizing and reciting short theme oriented poems/rhymes focusing on different subjects such as colors, numbers, plants and animals, which will enhance the child’s cognitive understanding of its surroundings as well as augment language and communication skills. Setting these rhymes to tune and discovering in them their inherent rhythm will build on the child’s sense of time regulation/management in creative expression. Understanding the difference between sounds of animate and inanimate things in the child’s environment will develop in it a discerning ability facilitating the power to recognize.

In classes I and II children may be steered into learning short theme oriented poems/rhymes focusing on different subjects such as colors, numbers, plants and animals. This will enhance cognitive understanding of their surroundings as well as augment language and communication skills.

Activities comprising arts education taught in the initial two classes of elementary education are time-bound activities, providing exposure to creative communication, linguistic comprehension, identifying, recognizing and applying varying sounds in different contexts, communicating through gesture as well as exploring and expanding thematic understanding.

Therefore in classes III to V simple topics associated with what exists in the immediate environment of the students may be treated as source material for such interactions. At this stage emphasis on intonation and inflection creating variety in speech patterns could give story telling and enactment an added dimension. Enactment of stories that students narrate is significant group activity focusing on the necessity and importance of working as a team. This will give them the ability to discover emotional, personal and social aspects of life. They may also draw the stories they narrate/enact. This is also the stage when students should be encouraged to incorporate craftwork such as simple masks, puppets, headgears and other uncomplicated props may be made by them and used as a part of narration and enactment. Through making these simple masks the student could be introduced to the mask-making traditions in different regions of the country through pictures, audio-visual material or actual masks.

The country has a rich tradition of music and dance, which has the rhythm and spirit of harmony involving the entire community or village. Performed on different occasions these content-rich songs are a repository of oral traditions prevalent in regions. These themes vary from description of seasons to harvesting to child birth or marriage. Simple songs from these may be taken for learning in schools. Learning these traditional songs and dances, and expressing  themselves freely, the children will be able to appreciate and understand classical performances better when they grow up.

The national anthem, national song, songs in the form of simple compositions, poems from the textbook (in the mother tongue or Hindi) may be taught as group activity with movements. This would enable students to recognize pitch and timbre, understand volume,follow basic rhythm and be acquainted with different kinds of time cycles. Preliminary knowledge of melody and rhythm should be imparted through singing and movement.

Experimenting with different types of sounds produced through the body, through objects found in the immediate surrounding such as utensils, stones, paper, leaves, drums and whistles and environmental sounds would aid the student to associate common sounds heard outside the classroom with what is taught inside it. Games of music and drama can also be played. Use of regional language, common proverbs and maxims, riddles, indigenous games that have song, rhythm and movement inherent in them may be included in the curriculum. Themes such as festivals, fairs, market scenes, the traffic in the streets, the policeman at the crossroad are basic material for enactment. Short poems on themes such as these should be recited and sung along with improvised sound patterns and movements. These could become a part of enactment. These themes could also become topics for drawing. These activities will bring about a sense of beauty and aesthetics, social awareness and personal development.

Executing rhythmic patterns through body movements, singing, reciting, narrating and articulating sound patterns might also be related to the chapter on animals in Environmental Studies. These activities could thematically be expanded upon through moving together, sleeping and waking up as animals do and mimicking their
reactions to different sounds they hear. The ‘supposing we were…’game of mimicking something other than oneself helps increasing cognitive power as well as personal development. It is useful to  interlink activities of movement with those addressing space and speech because such integration would work towards total development, adding to the child’s insight. Activities like walks and gaits of different animals, producing their sounds and combining them with rhythmic beats by stamping feet, striking different parts of the body and articulating vocal sound patterns are methodical progression for children to discover their own bodies.

It is important for students to see performances of regional and urban theatre organizations, crafts and painting exhibitions, museums, monuments, parks and gardens, fields, trees and shrubs, visit melas and traditional market places or haats since this is what comprise their surroundings. They may also be taken to visit workshops of local artisans or crafts-persons in the community. This will become an opportunity to expose them to the social life and heritage of a community. These visits should be an illustrated extension of what they learn as a part of their curriculum. They could have interactive peer discussions along with the teacher about their observations. Different aspects of local theatre performances such as a play’s story, its characters, its music by way of sounds, singing and instruments used, and movement and dances as also props and costumes could become points for analytical discussions. Seeing music and dance performances other than what Bollywood has to offer and then comparing what they have seen with pop culture would become instrumental in expanding on cultural understanding. The aim must be to expose children to music and dance of different states and regions so that they comprehend and appreciate the diverse culture of the country. The students should be encouraged to interact with artist, performers, artisans and crafts-persons. These experts could be requested to have interactive participatory sessions in which their process and method of work could be explained. This would become an opportunity for the students to have hands on experience in understanding methods and work-processes used in creativity.

Some Strategies

• Activities need to be linked to ideas through which children can experience relationships and associations as well as to clearly see and understand the surroundings of which they are an integral part.

• Concepts of space, movement, language, speech, structure, visuals, sounds, teamwork and expanding existing material provide a variety of mediums for children to express experiences, reactions, ideas, thoughts and inner feelings.

• Involving all children and not just those who are more “active” in the mentioned activities will give them time and space to open up.

• Gender stereotyping must be avoided. Just as girls should be engaged in physically vigorous activities, boys can also participate in the more lyrical movements.

• Sharing individual activities encourages group activities among children and team spirit to work together.

• Each kind of material used in the learning process has its own individual possibilities and limitations. Identifying and understanding these is important since this is the base on which any learning process stands. Spending time in drawing out children’s responses and opinions helps in them becoming a part of the reflective process.

• This syllabus is a reference for teachers, which will facilitate them to create fresh exercises that would suit the group of children with whom the teacher is working.

                        Class III – V

Assessment

Assessment in the Arts can be made more meaningful and can reflect learning progress if and only if it moves away from the traditional notion of assigning grades and marks to art products. Assessment of the arts should not be examination based and competitive, it should be continuous and comprehensive. What is required is a shift towards adopting a more flexible, child centered and process oriented approach. Ideally, assessment should also be based on the knowledge of how young children learn, develop and express themselves. Assessment in arts education by and large is viewed by most teachers as complex and unique as compared to other learning areas, since the subject is more process oriented and activity based. Thus, assessment in arts needs to be criteria based and process based. Since arts education is integrated into the teaching learning processes at the primary stage whether it is integrated into languages, environmental sciences or mathematics, the teacher who usually teaches all these learning areas will also assess art related skills developing in the child while assessing progress and learning in other curricular areas. Both qualitative and quantitative assessment is required.

Criteria based Assessment

There is a need to develop indicators to assess children’s learning and progress, which applies to the arts as well. In arts education, the child’s observation, exploration, involvement and expression become decisive factors, on which the process of assessment and evaluation needs to be based. Since performance activity aims at an all-inclusive development in the child, the sense of joy in discovering the aesthetics of performance needs to be captured, apart from assessing the skill levels. Assessment of progress within the areas of singing, movement and rhythm must be indicative of its level of overall growth. The performance aspect in the form of song, movement and enactment becomes the medium to observe and study the link between individual and group activity. It is thus significant to look beyond immediate performance and not stop at a melody, a dance-step or an action taught.

As a teacher you may do assessment at three levels outlined below for six criteria, which have been identified and then further specified at three different levels as markers of progress.

Process Based Assessment

Since children’s participation in the arts is an integrated holistic experience, assessment should also be holistic. To realise this, assessment that includes both the process and product of art making is critical to understanding the child’s learning and progress. The art products of children provide only an impression of what the child has learnt during an art experience. It overlooks the learning of important components of artistry and other complex multi-level skills that are involved in the process of learning of the arts. The learning processes in the arts revolve around doing and making, using the body, voice, and symbols to imagine and to represent meaning through the integration of thoughts, sensations, symbols and gestures.

You will be interested to know that studies by experts in other countries have demonstrated that learning in the arts is as objective a process as computing mathematical problems. It involves the development of skills in execution, acquisition of a symbolic vocabulary, responding to materials and medium etc., which can be objectively assessed. The means of expression and the content of expression is a personal choice and this is what accounts for the variation in expression from child to child. Moreover, most of the aesthetic experiences manifest themselves through play, drawing, acting etc. which are externally observable behaviours which nevertheless have origins in subjective experiences.

General artistic processes such as discovery, pursuit, perception, communication, self and social awareness, skill, creativity, analysis and critique are common to all forms of art and need to be captured through a multiplicity of assessment methods. Some of the aesthetic processes that cut across the visual arts, crafts, music, dance and drama are  highlighted and explained in the following table. These are some of the processes that may be kept in mind while assessing children engaged in different forms of arts and also the ‘product’ that is finally assessed. You will be wondering what all these processes are and what they mean. We
have tried to give a brief explanation for your use in the following table 2:

The above mentioned processes are equally important in the assessment of arts. However, since there are so many processes the assessment might get complicated and over loaded. In order to help you, you may like to consider the following:

•  Over a period of two/ three months, a series of art activities covering all the processes may be planned.
•  The simpler processes of discovery, pursuit and perception could be focused on initially followed by more complex processes of communication, self awareness, skill use and critiquing could be taken up.
•  Children in classes I to III might exhibit processes of discovery, inventiveness and engagement, more readily than processes of analysis and critiquing. This should not be a cause for concern.
•  Children in classes IV and V, because of continuous exposure to art materials and media, will find their critical faculties better established. They may consciously be able to make a choice regarding what media is appropriate for a particular idea, how a set of symbols will communicate an idea effectively, how a certain style of execution can heighten the communicative value of the art work, how the inclusion of certain cultural elements heighten the effect of the art work, etc. These differences need to connect.

Let us now look at how the assessment can actually be done.

VISUAL ARTS

Upper Primary
Objectives

At this stage of school education children can handle a little more complex materials and themes. So far whatever they have grasped developed and experienced earlier can be developed further. Following will be the objectives;

•  To work together on small an large projects
•  To encourage students for free expression and creativity.
•  To acquaint students with basic elements/principles of design.
•  Understanding the basic characteristics of different techniques, mediums and its practical applications.
•  To develop an insight towards sensibility and aesthetic appreciation.
•  To make children understand cultural diversity by recognizing different traditional art forms prevalent in the country.

Students who attain academic standards in the visual arts will be able to use the arts to think and learn independently, know themselves and the world around them, and communicate in the art forms studied. To ensure that students attain these standards and capabilities, they must be immersed in numerous opportunities to learn about, perform, create, and evaluate the arts.

Content, Methods and Materials

At upper primary stage, art education programme should comprise, handling of the materials for drawing, painting, collage, clay modelling and construction of puppets; creating artistic things by free expression method, learn simple concepts of visual arts, knowledge of works of well known artists both contemporary as well as historical etc. Emphasis should be laid on the use of learner’s own imagination and development of his/her own concepts and expression through observation and exploration. He/she should be enabled to develop a sense of organization and design becauseaesthetic arrangements permeating all life become source for joy and satisfaction. The activities from events of life around, nature and environment, human and animal figures, free hand sketching, designing of  book covers, cards, folders, tie and dyeing, printing and embroidery to create a textile etc. can easily be learnt at this stage. At this stage, children should develop a sense of perspective, proportion, depth, light and shade, tactile feeling by using different media like pencil, pastel, poster colour, watercolour, collage, pen and ink/ brush and ink, mixing mediums, linocut, computer as a tool of expression etc. They can also use different sizes and quality of paper. They should be encouraged to work together is small and large groups. The students should be given the opportunity to maintain the resources of the art room, taken to workshops, museums and exhibitions. The exercises done at this stage should be undertaken to provide context, with the purpose for exploration, having expression and evaluation of ideas and feelings where units of work are developed from themes and linked by a set of activities. The realization of context and purpose will enable pupils to see, respond and make meaningful works and relate their work to real world experiences having meaningful themes for the students’ learning experiences, which must be of interest to pupils, be relevant to their development and environment while providing a stimulating starting point. These themes or content can broadly be related to the following suggested fields to enable pupils to study a range of tangible and abstract subjects and issues. Few themes, which are not exclusive, are as follows:

i. Objects
ii. People
iii. Traditions
iv. Environment
v. Experiences

Objects:

Objects can tell us about place and time, the practices, habits and beliefs of people. By exploring objects from different areas and cultures, students may wish to investigate how materials and function affect design and appearance of objects. Pupils can also develop design concepts into utilitarian pieces or objects of beauty without a specific function.

People:

People are always curious about themselves and others. Throughout history, the human figure has inspired the works of many artists. Students may  wish to investigate appearances, personalities, moods and attitudes of individuals and or cultures.

Traditions:

Traditions reflect ideas, concepts, values held by different people in different parts of the country and the world. By looking at similarities and differences, students learn to respect and appreciate the diversity of cultures.

Environments:

The themes here use the senses as a starting point and requires the students to extend their observation and interpretation of objects and images from the world they live in. These themes would provide avenues for expression of the natural and man-made environments and would look at issues affecting the world.

Experiences:

The themes in this category would include events and experiences, either remembered, imagined or evoked through the use of stimulus materials. Pupils can explore ideas, concepts, memories and feelings, which may be universal and at the same time deeply personal. It would involve ideas about emotion, human condition, cultural values and identities.

Media:

The instruction of media examines how-

• Materials
• Methods

Techniques and stylistic qualities of each or combined media communicates the work that students make. Each medium possesses its own unique characteristics and qualities in application. Students should be encouraged to experiment with a range of media and be guided in aiming at the desired expression. They can mix different media for creative interpretation and communication of ideas. Students should thus be guided to think, understand, apply the qualities of the media in context to the objectives and effects desired rather than be solely trained on the technicalities of the media.

Development of skills among students is not possible inside the four walls of a classroom alone. Therefore, the teacher should give them chance by taking them in open surroundings.

Field Visits: School garden, public place like a community park, museum, monument, craft fair, local fair, a village pond. While at picnic, travel or tour, students can keep their sketchbook, paper, pencils etc. with them and make quick sketches too.

Outdoor Sketching: Sketching outside classroom is a fruitful activity for students. In school premises, trees, plants or any part of the school building can be sketched. Taking students outside classroom is a very challenging job for a teacher. The activities should be planned properly. Therefore, before taking the students out, they should be instructed properly regarding their conduct and the objectives of the activity.

Celebration of National Days: Teachers can encourage students to prepare posters, placards and invitation cards related to celebrations of national days like Republic Day, Independence Day, etc. Teachers can guide students in groups to research historic characters and events of significance.

Festivals, special days: Festivals, rituals, holidays, birthdays of national leaders are important occasions. Students can be asked to research about their significance, history and importance. They can interview their families and community members about their past memories of celebrations. Dances, songs, drama, and food festivals can be organized in collaboration with artistic decoration of classroom with the help of the teacher. Visit to a Museum, Gallery, Exhibition, Monuments, a Religious sites: Information regarding man, animals and birds, culture, art, science, etc., from prehistoric to space age can be found in different museums. It has a utility and correlation with all subjects and students can benefit immensely if trips can be arranged. Students should be taken to exhibitions. It is an opportunity to expose them to modern and traditional forms of art. While seeing and discussing the exhibited works, students become aware of different art forms, their origin, technique of preparation etc. Exhibitions can also be organized in school premises where students can display their own works in rotation. Religious sites are an excellent place to develop a sense of respect, pride and awareness towards sculpture, scriptures as well as architecture, traditions and historic information.

Class VI

Class VII

Class VIII

Secondary Stage

Objectives

At the secondary stage of school education students will have the choice of opting for one of the following arts education subjects: arts, music, dance or theatre. The experience of free and creative expression, acquaintance with the basic elements of arts and design at upper primary stage, have helped the students develop required aesthetic sensibility and skills in different media and techniques, which should enable them to select visual arts as medium of expression at secondary stage of school education.

•  Joyful experience
•  To refining aesthetic sensibilities based on earlier experiences.
•  To expose the learner to the cultural diversity of the country through folk art forms, local specific arts and other cultural components leading to an awareness and appreciation of national heritage.
•  To develop a perspective of artistic and creative expression through experimentation with different tools, techniques and medium in two and three dimensional visual art forms. values for social and cultural harmony leading to global peace.

Content, Materials and Methods
Two Dimensional or Pictorial arts:

•  Drawing and Painting
•  Collage making
•  Print making
•  Photography and computer Graphics (Wherever possible)
•  Rangoli/ Mandna/ Wall painting (State/region specific traditional art forms)

To express original experiences freely and spontaneously, learning to observe; development of sense of perspective, proportion, size, depth, light and shade, tactile feeling, season, time, mood etc. are some of the components children at this stage must learn. Basic knowledge of human body and its proportion, compositions based on various themes, knowledge of local/traditional art forms, sense of perspective in addition to class VIII can be included in the syllabus. They may be given projects leading to creative expression and experience, participate in inter-group, inter-school art activities, taken to study trips, given chance to interaction with artists in the community, explore traditional art forms in the community and neighborhood. Promoting values related to other core components in education like India’s common cultural heritage, history of freedom movement, national identity, constitutional obligations, current social issues and protection of environment, still life etc. may be given for compositions. Students during two years of secondary stage must be allowed to work in at least 3 mediums using pencil, pastel, water or oil based colour, collage, linocut, pen and ink, mixed mediums.

Three Dimensional Arts

•  Sculpture (using locally available materials)
•  Clay modelling
•  Terracotta
•  Carving and relief work
•  Papier mache
•  Mask making
• Construction (using waste materials)
•  Pottery (If possible)
•  Installation

Plaster of Paris, different types of clay, Papier Mache, sketching practice, making of armature, pottery (hand made) and ceramic work may be included for three dimensional expression. They can be encouraged to make useful products like pottery items for the school or home.

Theory of Arts
Suggested activities for class IX

At this stage, theory should be included alongwith the practical study. In theory, students can be made aware about contemporary artists, their style of working, paintings, sculptures, relief works in architecture of various periods. Art history to come as various isms and style – then leading on to more information on artist who specially interest the child – rather than impose study of work of certain artist etc. It would be advisable if a sense to critically analyze art works, as how and why works of art, craft and design change over in various times and from one place to another can be developed among them. They can also review their own and other’s work and express their own views about it by seeing and observing original works  and reproductions, going to galleries and museums, and using the Internet. Community based project work can also be given to them.

Suggested activities for class IX

Suggested Activities For Class X

Learning Outcomes for classes VI-X

•  Demonstrate safe and proper use, care, and storage of media, materials, and equipment.
•  Students reflect on, revise, and refine work using problem solving and critical thinking skills.
•  Demonstrate evidence of reflection, thoughtfulness, and care in selecting ideas and completing work.
•  Identify and apply criteria for assessment in their work, in peer critiques, and in self assessment.
•  Demonstrate respect for their work and the work of others.
•  Students observe, select, and utilize a range of subject matter, symbols, and ideas in their work.
•  Demonstrate refined observational skills through accurate rendering of representational objects and subject matter from life.
•  Utilize new interests, current events, or personal experiences as subject matter in the work.
• Generate symbols and subject matter and borrow ideas from an artist’s work in order to communicate ideas.
• Students understand and apply elements and principles of design effectively in their work.
• Apply elements (line, shape, form, texture, color, value, and space) and principles (repetition, variety, rhythm, proportion, movement, balance, emphasis, and unity) in work that effectively communicates their ideas.
• Identify and discriminate between types of shape (geometric and organic), colors (primary, secondary, complementary, intermediates, neutrals, tints, tones, shades, and values), lines (characteristics, quality), textures (tactile and visual), and space (background, middle ground, foreground, placement,
  perspective, overlap, negative, converging lines positive, size, color), balance (symmetrical, asymmetrical, radial) and the use of proportion, rhythm, variety, repetition, and movement in their work and the works of others.
• Students develop and apply skills using a variety of two dimensional and three dimensional media, tools, and processes to create works that communicate personal meaning.
• Discriminate between visual characteristics of a variety of media and selectively use these in their work.

Evaluation

Note: Art teacher are advised to maintain, process record diary (Log book type) to make note of interesting observations such as;
(1)Individuality / originality (2) Initiative (3) Sustainability

(4) Interest (5) Artistic ability (6) Skill of handling medium

(7) Artistic & social behavior (8) Joyfulness / maternal satisfaction (9) Involvement

Theory component to be given with practical.

History of Visual Arts

Unit I:

(A) The concept and meaning of visual Arts.

2-D Arts; Methods & techniques; Drawing, Painting, Still life, printing, lifem drawing, composition, collage, wall painting, posters, Alpama / Rangoli /
Mandra / Folk art forms etc.

Tribal computer Graphics: Animations

(B) 3-D Arts; Methods and techniques:
Relief work, clay modelling, Hand poetry, molding, sculpture, Terracotta construction with mixed materials.

3-D animation.

Folk / Tribal Art

(C) Visit to local Artists/ Art studios and Artisans.

•  Interview any local artist

(E) Elements of Arts:

Unit II: Art appreciation / brief history of Indian Art

A.      Sculptures:
         (Any 2 Sculptures of every period giving brief introduction).

•  Indus valley (They must have read in this till 8th standard).
•  Mauryan Period
•  Gupta Period
•  Folk Art
•  Modern / Contemporary

B. Paintings;

•  Ajanta and the mural traditions
•  Miniature Paintings
•  Contemporary Paintings
•  Folk Art]

C. Visit to Art / Craft museum / Art Galleries (report)

Visit / field trip to ; national / historical monuments
(report / photo coverage / pencil sketches)

Syllabus of Fine Arts for Senior Secondary Stage

A student may offer any one of the following courses:

Creative Painting
or
Sculpture
or
Applied Arts

Students may decide on their choice from among creative painting/sculpture/applied Art at the initial stage, but the practical classes in Drawing: Nature and object Study are compulsory and common for students of all the three subjects with the same objectives.

Under the heading ‘sessional work’, students of all the three subjects (painting, sculpture and applied arts) are also expected to work on group  activities such as murals in mosaic etc. for application of arts in school and the community.

The following art terminologies for all the three subjects are prescribed mainly for reference and general enrichment.

The syllabus for theory paper will be covered with two periods per week through both the terms of the year. The syllabus for practical will be covered with six periods per week through both the years. Sessional work will be  allotted two periods per week. The timetable is so framed as to allow the students to work continuously for minimum of two periods at a stretch.

Theory: An Introduction to Indian Art

This paper is compulsory and common to all the three Fine Arts
courses, thus it has not been repeated with all the three subjects separately, whereas only practical components for all the three subjects have been given separately.

Objectives

The objective of including an introduction to the history of Indian Art for the students is to familiarize them with the various styles and modes of art  expressions from different parts of India. This would enrich their vision and enable them to appreciate and develop an aesthetic sensibility to enjoy the beauty of art objects. The students will also have an opportunity to observe and study the evolution of the morphological mutations and synthesis with other styles and the rise of an altogether new style. The students should be made aware of art as a human experience. The teachers should be able to expose them to the wide range of artistic expressions, the media and the tools which were used.

The history of Indian Art is a long one. Hence the students would be acquainted with brief glimpses of the development of Indian painting and sculpture, as are required for concept formation. Examples included in the course of study are selected because of their aesthetic qualities and are intended mainly as guidelines.

Students should be taken for visits to Museums and a number of monuments. Group projects in different periods of Indian art must be assigned to them.

Class XI One Paper Time: 2 Hours 40

Marks

Unit 1: Beginning of Indian Art in Indus Valley culture
Unit 2: Buddhist, Jain and Hindu Art
Unit 3: Rock cut caves in south India
Unit 4. Artistic Aspects of the Indo-Islamic Architecture
Unit 1: Beginning of Indian Art in Indus Valley culture:

(2500 B.C. to 1500 B.C.)

Harappa, Mohanjo daro (Pakistan) and Lothal, Dholavira, Ropar, Kalibangan etc. in India.

Seal:

1. Bull (Mohenjo-daro)
   Stone, 2.5x2.5x1.4 cm
   (Collection: National Museum, New Delhi).

Decoration on earthen wares:

(i) Painted earthenware (Jar; Mohenjodaro)
(Collection: National Museum, New Delhi).

Unit 2: Buddhist, Jain and Hindu Art (3rd century B.C. to 8th century A.D.)

General Introduction to Art, during Mauryan, Shunga, Kushana and Gupta

periods:

Study of following Sculptures:

1.  Lion Capital from Sarnath (Mauryan period)
   Polished sand stone,
   3rd Century B.C.
   (Collection: Sarnath Museum, U.P.)
2.  Chauri Bearer from Didar Ganj (Mauryan period)
   Polished sand-stone
   3rd Century B.C.
   (Collection: Patna Museum, Bihar)
3.  Bodhisattva Figure from Taxila (Gandhara)
   Stone, 27.5 x 20 x 15 c. m.
   Circa 2nd Cent A. D.
   (Collection: Patna Museum, Bihar)
4.  Seated Buddha from Katra Tila, Mathura
   (Kushan Period)
   (Collection: Mathura Museum)
5.  Seated Buddha in Dharmachakra mudra from Sarnath (Gupta)
   Stone
   5th century AD
   (Collection: Sarnath Museum, U.P.)
6.  Jain Tirathankara
   Stone,
   5th Century A.D.
   (Collection: State Museum, Lucknow U.P.)

Introduction to Ajanta
Location, period, Dynasty No. of caves, difference between Chaitya and Vihara, Paintings and Sculptures, subject matters and technique.

•  Study of Following Painting and Sculpture:

1.  Padmapani Bodhisattva (Ajanta Cave No.1)
   Mural Painting
   5th Century A.D.
2.  Mara Vijaya (Ajanta Cave No.26)
   Sculpture in stone,
   5th Century A.D.

Unit 3: Rock cut caves in south India:

1. Mural Painting in India: continuity of Mural Tradition after Ajanta

1. Chalukyan–Pallava – Pandyan – Chola – Nayaka _ Vijayanagara
   Periods (Badami – Sitannavasal Kanchipuram – Thanjavur –
   Chidambaram – Hampi – Lepakashi).
2.  Kerala (Mattancheri, Padmanabhapuram, Panayannarkavu,
   Kottakkal)
   and Temple sculpture, Bronzes and Indo - Islamic Architecture:
   (6th century A.D. to 13th century A.D.)

2. Artistic aspects of Indian Temple architecture (6th Century to 14th Century): (Nagara and Dravida types) based on examples of Lakshman Temple (Khajuraho) Vimal Vanshi Temple (Mount Abu), Kailashnath of Kanchipuram.

•  Study of following sculptures from Rock cut monuments and temples:

1.  Descent of Ganga, Stone (Pallava, 7th Century A.D, Mahabalipuram Tamilnadu).
2.  Ravana shaking Mount Kailash, Stone (Rashtrakuta, 8th Century A.D.) Ellora, Maharashtra.
3.  Shiva Mahadeva/ Maheshmurti, Stone (Elephanta, 7th Century A.D.), Maharashtra.
4.  Dancing figures, Stone Sun Temple (Ganga Dynasty, 13 th Century A.D. Konark, Orissa).
5.  Mother and Child White marble (Vimla Shah Temple, Solanki Dynasty, 13th Century A.D. Dilwara, Mount Abu, Rajasthan).

3. Indian Bronze sculpture

1.  Introduction to Indian Bronzes
2.  Method of casting (solid and hollow)

•  Study of following south Indian Bronzes:

1. Nataraja (Thanjavur Distt., Tamilnadu)
   Chola period, 12th Century A.D.
   (Collection: National Museum, New Delhi.
2. Devi (Uma),
   Chola Period 11th Century A.D.
   (Collection: National Museum, New Delhi)

Unit 4. Artistic Aspects of the Indo-Islamic Architecture

1.  Introduction

•  Study of following architectures:

1.  Mandu/or Islamic Architecture of Gujarat
2.  Taj Mahal, Agra
3.  Gol Gumbaj of Bijapur.

Class XII

One Paper 2 Hours 40 Marks

Unit 1: The Rajasthani and Pahari Schools of Miniature Painting
Unit 2: The Mughal and Deccan schools of miniature painting
Unit 3: The Bengal School and Cultural Nationalism
Unit 4: The Modern trends In Indian Art
Unit 1: The Rajasthani and Pahari Schools of Miniature Painting (16th Century A.D to 19th Century A.D.)

Introduction to Indian Miniature Schools: Western-Indian, Pala, Rajasthani, Mughal, Central India, Deccan and Pahari.

(A) The Rajasthani Schools

• Origin and development of following schools in brief:
  Mewar, Bundi, Bikaner, Kishangarh and Jaipur, and main features of
  the Rajasthani schools

•  Study of the following Rajasthani paintings:
  Title / Set / Painter                                                                         School

    A Folio from Ramayana paintings of Sahibdin                                                                      Mewar

    One Court scene or Hunting scene or Festival scene Jagat Singh II                                      Mewar

    One Folio from Ragamala or Rasikapriya                                                                            Bundi

    One painting of Hunting scene in a Forest Kotah with Maharaja                                           Kotah

    Radha (Bani-Thani) by Nihal Chand                                                                                    Kishangarh

    Pabuji Ki Phad, Folk Scroll painting                                                                                    Bhilwada

(B) The Pahari Schools:

•  Origin and development of Basohli, Guler and Kangra schools in brief and main features of the Pahari schools
•  Study of the following Pahari Paintings:

Title / Set / Painter                                                                                     School

One Folio of Ramayana                                                                                                             Basohli
(Sangri – Early Phase)

One Folio of Gita Govinda of Jaideva by Manaku                                                                      Guler

One Krishna Lila or Bhagavata Purana Folio by Nain Sukh                                                        Kangra

One painting from Nayaka Nayika or Baramasa or Ragamala                                                     Guler or Kangra

 

 

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