For Choice in Education
Class Three
Class Three
In Class Three the developmental task is to learn to work with others, recognising that this requires cooperation, team work, rules, roles and tools. Teaching and curriculum content should provide a balance of subjectivity and objectivity as children learn that meeting basic human needs requires people to pull together and support each other in order to harness nature and her resources. This is balanced with the need to maintain a careful stewardship of nature.
Child development and leitmotif for this class |
| An experience of separation from a naive acceptance of the adult world begins to occur in the ninth year and takes place at around nine years of age, i.e. in Class 3. Unconsciously at first, the children may begin to question the teacher’s authority (and that of significant adult others), which they have hitherto accepted unquestioningly almost like a law of nature. They now want to know whether what the teacher says really is securely based on real experience of the world and of life. On the whole this question remains at the subconscious level and is rarely put forth verbally, except in a growing tendency to criticise and challenge. The children now want to know that their admiration and trust is justified. This means that new teaching methods and relationships are called for. Many children at this age experience an emergent insecurity regarding the relationships between self and other and this often expresses itself as a demand for certainty and also for boundaries. This can be met by showing the children that human societies have rules and that the relationships between people and the divine world can be regulated and that people have responsibilities for each other and for the stewardship of the creation. In mythical terms, the loss of paradise is a call to work, to work together to make it work. Rules are experienced as natural laws or divine gifts.
Between the ages of nine and twelve, rhythmical memory is at its strongest. The teaching method should draw on the child’s natural interest in the world and structure the content rhythmically. Adapted from Avison and Rawson, 2014 In class 3 the developmental task is to learn to work with others, recognising that this requires cooperation, team work, rules, roles and tools. Teaching and curriculum content should provide a balance of subjectivity and objectivity as children learn that meeting basic human needs requires people to pull together and support each other in order to harness nature and her resources. This is balanced with the need to maintain a careful stewardship of nature. The psychological and social challenge of the ‘Rubicon’ requires individuals to enter a new relationship to self and community that is no longer based on uncritical family acceptance and blood ties. This can be a painful experience of a loss of inner security and identification as children turn the question of purpose and identification towards the community and the natural world. They discover that human cooperation is the basis for a new sense of security and structure through cultural rules (measurement, syntax) and codependency, and the meeting of mutual needs as a basis for future economic thinking. |
Curriculum Themes |
Narrative Themes |
| Archetypal practical life and living. Stories from the Abrahamic tradition. |
Musical Themes |
Qualities:
Topics: Seasonal and farming. Songs for rhythmic activities. Songs with different moods for a variety of activities. |
Artistic Themes |
| Beginnings of perspective (foreground/background), diagrammatic elements, Painting – forms emerging from colour.
Materials: wax sticks and blocks, thick (Lyra) pencils, coloured chalks, watercolour paints, beeswax/organic plasticine/clay. |
Physical Themes |
| How to be in the body in ways that free up the mind to engage with new complexities and abstractions. body geography, throwing and catching, skipping, string games, coordinating hands and eyes. |
Library |
| The Shortest Day, Susan Cooper and Carson Ellis (Walker Books, 2020)
Jabari Jumps, Gaia Cornwall (Candlewick Press, 2020) The Name Jar, Yangsook Choi (Dragonfly Books, 2003) My Wandering, Dreaming Mind, Merriam Sarcia Saunders (Magination Press, 2020) One Plastic Bag: Isatou Ceesay and the Recycling Women of the Gambia, Miranda Paul (Millbrook Picture Books, 2015) The Lotterys Plus One, The Lotterys More or Less, Emma Donoghue (Macmillan, 2018) African Myths and Folk Tales, Carter Goodwin Woodson (Dover, 2010) Thunder Rose, Jerdine Nolen (Voyager, 2003) Buffalo Bird Girl: A Hidatsa Story, S. D. Nelson (Abrams Books, 2013) Someone Builds the Dream, Lisa Wheeler (Crown Books, 2021) Me and Momma and Big John, Mara Rockliff (Candlewick Press, 2012) The Boy who Harvested the Wind, William Kamkwamba and Bryan Mealer (Razorbill, 2019) The Best Beekeeper of Lalibela, Cristina Kessler (CreateSpace, 2018) We Are Water Protectors, Carole Lindstrom (Roaring Brook Press, 2020) Tasunka: A Lakota Horse Legend, Donald F. Montileaux (South Dakota St Historical Society, 2014) Encore, Grace! And Bravo, Grace! Mary Hoffman (Puffin, 2011) I Believe in Unicorns, Michael Morpurgo (Oberon Books, 2015) Chik Chak Shabbat, Mara Rockliff (Candlewick Press, 2016) Gittel’s Journey, Leslea Newman (Abrams, 2019) Stone Soup, Jon Muth (Scholastic, 2010) The Three Questions, Jon Muth (Scholastic, 2015) The Little Prince, Antoine de Saint Exupéry (Mariner Books, 2000) Michael Morpurgo (any) The Young King, Oscar Wilde My Side of the Mountain, Jean and George Craighead (Puffin Modern Classics) Finn Family Moomintroll, Tove Jansson (Sort Of Books, 2017) Charlotte’s Web, E B White (Puffin) A Bear Called Paddington, Michael Bond (Harper Collins, 2018) Beezus and Ramona, Ramona Quimby series, Beverley Clearly (Harper Festival, 2010) The BFG, Roald Dahl (Puffin) The Sheep Pig, Dick King Smith (Puffin) Trouble on the Farm, Chris Higgins (Bloomsbury) The Farm That Feeds Us: a year in the life of an organic farm, Nancy Castaldo (Words and Pictures) Farm Anatomy, Julia Rothman (Storey Publishing, 2011) Chickenology, Barbara Sandi and Fracesco Giubbilini (Princeton Architectural Press, 2021) Six Animal Adventures, Michael Morpurgo (Harper Collins, 2018) Katie Morag series, Mairi Hedderwick (Red Fox Picture Books) Pedagogical Stories Pansy Boy, Paul Harfleet (Barbican, 2015) |
Visual and Graphic Arts |
Indicative Content |
| Drawing
(see also Form Drawing themes, and Maths ARLOs for Shape, Space and Measure) Children should draw with wax blocks and stick crayons. The Blocks are used primarily akin to how one would employ a paint brush, IE to provide a foreground, simple buildings, a group of trees, but children should also have the opportunity to draw with chalk, chunky pencils (Lyra Ferby) etc. As children approach the Rubicon, they can become more critical of themselves and others, and concerned with how their drawings ‘look’. They often struggle to put down on paper what is in their imagination in a satisfactory way. Children begin to see perspective, and become aware of distance, dimension and shadow. The teacher needs to be aware of this potential challenge, in order to support children to have positive experiences of drawing that do not prevent them from enjoying the activity into the future. Guided drawing The teacher draws or crayons in large format, on a large sheet of paper pinned to the board. Images are drawn on a level appropriate for the children’s age and development. The children should have freedom in the colours they chose and they (and the teacher) can add interesting details. Some pictures may be diagrammatic (e.g. illustrating the relationship between volumes, linear measurements, weights etc), some may be part pictorial, part diagram (e.g. a crop diagram or compost pile). Drawings can include simple background/foreground, e.g. hills in the distance and a garden in the foreground, or a tree in the background, standing on the horizon line and people in the foreground. Free drawing Children should be offered plenty of opportunity to draw freely on a given theme, drawn from stories and real or imagined events. It is useful for children to have a ‘drawing book’ (A4 or A3 size) so that a child’s development across the year can be clearly seen. Line drawing is a developmental process that children need to freely experience as a way of interacting with the world. It is natural for children to narrate this kind of free expression as they draw. Guided and free drawing can be combined; the teacher begins a picture, and the children finish it in their own way. Children should often have the opportunity to admire and respect each other’s work. Painting By Class 3 the children should, with guidance, be able to select and use a range of colours to evoke different atmospheres. They should have achieved a level of technical competency which enables them to selectively use tone, composition, and the delineation and blending of paints to convey their intention. At this point they are ready to progress (psychologically and developmentally) to the painting of forms. These forms can be likened to the ‘discovery’ of figures in the embers of a fire or within cloud formations. Rather than being imposed upon a page, the shapes will emerge from out of the concentrations of colour in which the page is bathed. Initially this activity will involve one colour, gradually progressing to include a colour which is adjacent on the colour wheel. Children should be allowed to choose to sit or stand to facilitate a free and comfortable sense of physical movement when painting. Modelling Modelling with clay, wax or plasticine. Modelling animals. Working not by adding bits and pieces, but by working with a given amount of material as a whole lump that change be changed and shaped. Simple exercises to familiarise children with the material (e.g. create a sphere or a pyramid). Develop a picture of what is to be modelled through verbal description, or even asking children to act out the mood or form they are about to model. Describing what has been modelled (own work and work of others) through accurate observation and description of ‘what is happening’. E.g. is the form resting, swelling, reaching etc. |
Pedagogical Reasoning |
| Drawing
As children begin to see themselves as separate from the world, they are less able to fully immerse themselves in drawing without worrying about realism. Although they are becoming more independent in their drawing, they may still need reminders or guidance from the teacher. Some may not yet have sufficiently developed their own pictures and images, and may need considerable support. Painting The stories told in the history/literacy blocks ‘In the beginning’ contain metaphorical parallels with the children’s inner journey which can offer an aid for orientation and new steps at this challenging age. When children engage with these stories and experience their dramatic events in painting, it can help them to find resolution and satisfaction. Modelling Modelling is developed from the interplay of the hands, which together form an inner space. The hand feels the surfaces, becoming a kind of organ of perception and formation; in the process of modelling itself, the senses of form, movement and touch are especially active. The underlying principle is that it is a metamorphosis of form, working particularly with the formative forces that are at work within the nature of the developing child. |
Considerations for Decolonisation/Contextualisation |
| Stories and images should be inclusive of a range of people, taking into consideration: gender and family stereotypes, skin and hair colour/type, disability and age. Stories and songs should be taken from a range of cultures around the world. |
Suggested ARLOs |
| Creative and Aesthetic |
Handwork: Knitting and crochet |
Indicative Content |
| The World is beautiful: From play, through beauty, to work |
| Awareness of materials and trades: from sheep to finished garment
Activities:
Knitting and crochet: Some schools continue knitting in class 2 and begin crochet in class 3 Build on skills from Class 2 to build accuracy and rhythm. Consolidate basic stitches and practise learned techniques, e.g. changing colour, increase and decrease. Project: Making a garment, starting with a hat; variations using knitting and crochet Hand Sewing:
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Pedagogical Reasoning |
| Pupils create their first garment--a hat-- and learn that it protects and keeps them warm (on snowy days as flakes fall on their heads…) |
Considerations for Decolonisation/Contextualisation |
| Drop spinning various fibres offers the possibility of bringing stories from different countries Songs, stories and images should be inclusive of a range of people, taking into consideration: gender and family stereotypes, skin and hair colour/type, disability and age. Stories and songs should be taken from a range of cultures around the world. |
Suggested ARLOs |
| Creative and Aesthetic, Handwork |
Narrative Material |
Indicative Content |
| Stories of practical life and living - farming, trades etc - children’s literature. Stories that are rooted in craft. Non-fiction: nature and seasonal, e.g. an Edwardian lady’s diary, guides to the hedgerow, Children’s books on the natural world, animals of the forest, farmers and shepherds etc. Nature poetry, descriptive poetry with rhythm and rhyme, some longer and/or humorous poetry. |
Pedagogical Reasoning |
| Developing children’s engagement with and enjoyment of reading. Supporting the main lesson content. |
Considerations for Decolonisation/Contextualisation |
| Stories from around the world with a range of inclusive themes and characters. Stories that challenge gender and family stereotypes. Images should be inclusive of a range of people, taking into consideration: gender and family stereotypes, skin and hair colour/type, disability and age. |
Suggested ARLOs |
| Literacy, Geography, Social Science, Science and Technology, Visual and Graphic Art |
In the Beginning: pictures of how the world came to be |
Indicative Content |
| Stories from the Abrahamic (Hebrew, Islamic and Christian) tradition.
Stories which explore the mythical creation of the world, the founding of human settlements, the formation of states and the development of systems of worship for a particular people. |
Pedagogical Reasoning |
| The stories give a narrative image of the evolution of human settlement, the formation of states, systems of worship and the concept of the belief in human rule on behalf of God. They include themes of divine creation, a single figure of authority, the loss of innocence, the need for laws to structure human society and the concept of obedience. |
Considerations for Decolonisation/Contextualisation |
| Comparative creation and stories about the first human beings and societies from different cultures, with powerful female characters, and main characters with different skin tones, facial features and hair types, e.g. Mother Creator stories from China |
Suggested ARLOs |
| Literacy, Social Science, Visual and Graphic Art |
Function of language: understanding the main parts of speech - nouns, verbs, adjectives and adverbs |
Indicative Content |
| Recognise and characterise nouns, verbs, adjectives and adverbs. Become aware of the difference between a statement, a question and a feeling sentence; a command and a suggestion. Explore the creation of a nuance of feeling, communicative intent and intonation. |
Pedagogical Reasoning |
| To develop an aesthetic appreciation of some of the subtleties of language function and the effect of form. |
Considerations for Decolonisation/Contextualisation |
| Consider the importance of accepting vernacular and dialect (both regional and ethnic) English (contractions, idioms, slang, phrasal verbs etc). Promote an understanding that there are many Englishes, all equally valid in context, and that only written English has a standard form. Ensure example sentences feature a wide range of people and challenge stereotypes. |
Suggested ARLOs |
| Literacy |
Form Drawing: Loops and crossings |
Indicative Content |
| Combine the basic forms to create more complex shapes and movements, involving loops and crossings to make larger integrated forms (e.g. Rangoli or wallpaper patterns). Symmetry in two axes. Dynamic movements and living flexible forms are possible, often inspired by natural forms. Multiplication tables and number bonds can be shown in graphic form. |
Pedagogical Reasoning |
| Linearity is an archetypal quality as old as humanity related to orality, expressing directional movement in space and time. Walking, talking (storylines, songlines) and drawing are all linear. Children need the opportunity for free linear drawing, rather than drawing from observation or imagination because the dynamic movements are embodied and not yet filled with mental content. Form drawing or dynamic drawing is an activity that transforms bodily movement in space into inner movement in ways that transposes the external orientation into inner orientation, weaving the three dimensions (up/down, right/left and behind /in front) into a dynamic relationship between point and periphery, centre and circumference. It is a creative process, free hand requiring control and sense of proportion that builds on archetypal forms, point, line, surface and volume. |
Considerations for Decolonisation/Contextualisation |
| Include patterns from a range of cultures, ensuring that these are accurately referenced. |
Suggested ARLOs |
| Maths (Shape, Space and Measure), Visual and Graphic Art (form drawing) |
Fluency in the Four Operations (whole numbers) |
Indicative Content |
| Developing long form written methods for all four operations. Simple number patterns and puzzles. Odd and even numbers. Prime numbers. Abundant, deficient and perfect numbers (the sum of the factors adds up to more or less than the number itself, or is equal to the number).
This abstract arithmetic work should be balanced by plenty of storytelling. |
Pedagogical Reasoning |
| Children develop fluency in abstraction. |
Considerations for Decolonisation/Contextualisation |
| Songs, stories and images should be inclusive of a range of people, taking into consideration: gender and family stereotypes, skin and hair colour/type, disability and age. Stories and songs should be taken from a range of cultures around the world. |
Suggested ARLOs |
| Maths, Visual and Graphic Art (Drawing) |
Made to Measure |
Indicative Content |
| The shift from nomadic to community living and the activities of practical life and living in other main lesson blocks provides a wealth of jumping off points for practical activities and investigations in measurement. Attention is given to weights and measures, money, and written arithmetical problems in a historical / cultural context. The content continues to be a confluence of the imaginative – pictorial, and the practical - realistic.
Progress is made in the measurement of time in conventional and smaller units (minutes, seconds) |
Pedagogical Reasoning |
| In Class 3 the mathematics curriculum indications mirror a significant developmental stage in the child’s changing consciousness. Measurement provides rules that govern oneself and the world. It is a social construct of objectivity which brings order and enables communication; law-giving which enables collective activity and enables translation from one context to another. For children entering the developmental challenge of the rubicon, the discovery of the practical need for the rules of standard measures has a parallel in a basis of rules for dealing with conflict, for fairness, in not cheating. The rules become a social constraint that is ultimately enabling.
The child’s increasing capacity to assimilate aspects of practical life combines with a growing awareness of new outer horizons alongside, or in tune with, an awakening sense of individual identity. |
Considerations for Decolonisation/Contextualisation |
| Understanding the history of standard measures, and the contributions of cultures and societies around the world to this. |
Suggested ARLOs |
| Maths, Visual and Graphic Art, Science and Technology, Social Science, Geography |
Modern Foreign Languages - Extended orality |
Indicative Content |
| Activities in the wider world, in the target language. Use of humour in verses, role-plays and scenes to act out. |
Pedagogical Reasoning |
| Linked to the wider curriculum themes of archetypal and practical life and living, children learn the language of these activities (farming, family life, cooking, gardening). Languages are learned using a natural approach that models the way children learn their mother tongue, adjusted to take into account their age. This means that the lessons remain in the realm of orality for the first three years so that the children have a solid basis in the language before literacy is introduced. |
Considerations for Decolonisation/Contextualisation |
| Songs, stories and images should be inclusive of a range of people, taking into consideration: gender and family stereotypes, skin and hair colour/type, disability and age. Stories and songs should be taken from a range of cultures around the world. |
Suggested ARLOs |
| Modern Foreign Languages |
Sustainable Living: Farming and building |
Indicative Content |
| The experience of the home environment expands into producing food and shelter. The emphasis moves to the completion of tasks through following a process within the context of the seasons; work, rather than free play. Activities are designed to make use of the materials that are naturally available in the environment. Plants are grown and harvested. The knife and fire skills that children have developed are now applied for a particular purpose, e.g. making bean poles or simple weaving looms, using the fire for cooking and dyeing. A wider range of tools are introduced, including for example forks and spades for weeding and making compost, a balance scale for measuring, and a drop spindle. There are a number of approaches to bringing the theme of building into the outdoor curriculum; all have value and the teacher’s choice will be dependent on the class, the climate, the local environment and their own confidence and skills. The first approach focuses on meeting the basic human need for shelter, and can incorporate learning about local vernacular architecture and building materials. Children work together with the teacher and/or with older pupils to create a structure, from an advanced den building to a kindergarten playhouse or school bicycle shelter. A more intellectual method is to reproduce houses from different societies in model form, which requires a basic understanding of the geographical and cultural context. Somewhere between these two is the idea of creating a ‘model village’ in the outdoor space, where children create small buildings with local materials and techniques (bark, woven materials, grass or reed thatch etc). These buildings can then be connected with roads and paths, bringing a social element to the project. |
Pedagogical Reasoning |
| The Rubicon transition in Class 3 is helped by the acquisition of a wide range of new practical experiences and skills, with work rather than play oriented goals. Children engage in communal tasks to meet basic human needs, harnessing the materials that are around them. They should experience nature as plentiful, that there is enough for everyone. But also that providing for themselves and others takes commitment, teamwork and persistence. |
Considerations for Decolonisation/Contextualisation |
| Having explored local traditions of farming and housebuilding, children can learn about some examples from other cultures (e.g. rice paddy field system, pastoralists in Biblical/Middle Eastern settings). |
Suggested ARLOs |
| Science and Technology, Geography, Social Science |
Stories of Archetypal and Practical Life and Living |
Indicative Content |
| Stories and practical experience of different trades, vernacular traditions of architecture and building (starting with the locality, but also looking at other cultures) and food production (including fishing, animal husbandry, horticulture and farming).
History of buildings, including buildings without plans, traditional building styles and materials. |
Pedagogical Reasoning |
| To understand how meeting basic human needs requires cooperation between people and between people and nature. A foundational understanding for economic life, stewardship of natural resources, models of social organisation and ultimately globalisation. Understanding tools as cultural artefacts. |
Considerations for Decolonisation/Contextualisation |
This main lesson block should always start with local ways of life, but there should be an emphasis on cross-cultural influences and co-operation through the influence of migration. Cultural influences can be explored through:
Vernacular building traditions from around the world can be explored, with an emphasis on how the environment and available resources influence architectural traditions, and what that means for people, i.e. the cultural meanings of shelter and housing. Care must be taken with accuracy of referencing when introducing content such as house-building styles from different cultures, e.g. naming the specific people who built/build a particular style of tipi, rather than a generic reference to ‘native Americans’ or ‘indigenous people’. Stories of female builders, farmers and other tradespeople should be included. |
Suggested ARLOs |
| Geography, Social Science, Literacy, Science and Technology, Maths (Shape, Space and Measure) Visual and Graphic Arts |
Media Education |
Indicative Content |
| Children’s attention should be drawn to the design of the pages of their books (particularly main lesson books), ensuring that these are created in an attractive, orderly and balanced way. As literacy skills are practised and developed further, children should have access to a rich and varied class and (where possible) school library, with a wide range of books in different styles and formats (fiction, non-fiction, picture books etc). Singing should be a daily activity (see musical themes for the year), and children will develop their skills on the chosen class instrument, such as a recorder or Choroi flute. Children will gain control of both primary and secondary colours through the medium of watercolour paint, and drawn images can become more complex. They will experience some of the processes involved in making and/or recycling paper in a practical way. Practical technological competence and understanding are developed through the ‘Practical Life and Living’ block, as well as handwork and tool use, e.g. in the outdoor curriculum. Through the characters in stories, children understand that people can say things which may not be true. Children are encouraged to talk about things that might make people (including themselves) feel sad, worried, uncomfortable or frightened. They are supported to understand what bullying is, and how to report it. |
Pedagogical Reasoning |
| Analogue processes help children understand things in the truest sense of the word. Once they are acquainted with analogue technologies and their potentials, the basis is created for them to be able to judge how and when digital techniques can be used sensibly, based on their own experience. Mastering the medium of writing forms the basis of all media competence. Reading is the basic and key qualification that develops and promotes media competence in general. Understanding the construction of images and music provide children with a basis for later judgement(s) of media. Alongside this practical competence is a focus on the development of dispositions and social and emotional skills which support children to later develop self control and regulate their use of media, and to treat people in the digital realm with respect and understanding. This can be followed through the PSHE/RSE curriculum, and the development of imagination and empathy as enhanced capacities through long term curriculum intent. In modern life, regardless of a school’s policy on media use at home, children will have direct and indirect exposure to media through family and friends. Potentially disturbing or dangerous content, or even seemingly harmless images leave an impression on the young child. Children need to be confident that they have safe spaces in which to discuss their feelings about whatever they may have seen or been exposed to. |
Considerations for Decolonisation/Contextualisation |
| Songs, stories and images should be inclusive of a range of people, taking into consideration: gender and family stereotypes, skin and hair colour/type, disability and age. Stories and songs should be taken from a range of cultures around the world. |
Suggested ARLOs |
| Technology, RSE, PSHE |
Spiritual, religious, ethical and moral education |
Indicative Content |
| Stories from the Torah – first five books of the Old Testament, are often used alongside a study and experience of Judaism. Judaism brought about human experience – e.g. festivals throughout the year, (Passover, Hanukkah, Sukkot (links to shelters), Rosh Hashanah etc.), Hebrew alphabet, Jewish traditions, life as a Jew in the UK today.
The practical-based Class 3 curriculum offers lots of opportunity for connection with the self, others and surroundings. A sense of citizenship (PSHE) is fostered through the study of practical craft skills – building, weaving etc., where in community, people contribute their skills to the benefit of others. |
Pedagogical Reasoning |
| Emotionally, there is a sense of loss of a previous unity of the world contrasting with a growing sense of wonderment which can lead to confusion and insecurity. Children are developing a sense of the inner life and a struggle to accept authority. Images from the Abrahamic tradition with its law and guidance can foster inner security during this unsettling period. The journey of the Hebrews is seen as mirroring the inner journey of children around this stage.
The curriculum includes active participation in shaping the surroundings and the environment (building, farming etc – also seen in the stories of the Torah). |
Considerations for Decolonisation/Contextualisation |
| Use of the Old Testament stories need not be obligatory. Other stories that match a struggle with authority and tie in to the themes will work as well. Look at what other texts are being used across this stage in other schools and countries, and for texts that are diverse in their representation of people, gender, sex, sexuality, religion and ethnicity. Traditionally used texts such as those by Jakob Streit below can present a strong Christian bias. Read through first to discern and select inclusive content. |
Suggested ARLOs |
| SMSC |
Under development!
Physical Education |
Indicative Content |
| The class |
Pedagogical Reasoning |
Considerations for Decolonisation/Contextualisation |
| All |
Suggested ARLOs |
| Physical |
Under development!
Music |
Indicative Content |
| The class teacher still leads the musical aspect of the lessons within the context of the season, activity and main lesson. The children may accompany their songs with simple use of percussion. Movement remains an important element of singing. Diatonic Choroi flutes are introduced. Music notation is encountered using imagery. In choral work, in classes 3 and 4 simple rounds and part songs are introduced. Basic notation is taught, often with a pictorial emphasis. |
Pedagogical Reasoning |
Considerations for Decolonisation/Contextualisation |
| All songs, stories and images should be inclusive of a range of people, taking into consideration: gender and family stereotypes, skin and hair colour/type, disability and age. Stories and music should be taken from a range of cultures around the world. |
Suggested ARLOs |
| Creative and Aesthetic, Technology |
Under development!
Eurythmy |
Indicative Content |
In Class 3 the children learn about the Creation of the World. At this stage of child development, children are moving out of the experience of the ‘we’ into the experience of the ‘I’. The children experience a stronger differentiation between themselves and their surroundings. They have an inner experience of a process of moving out of the unity of the class ‘sheath’ and beginning to stand on their own feet, finding their place in the world. The imagination reaches up to Heaven with the Creation stories and comes right down to earth with the House building main lesson. Pedagogical forms can bring these inner experiences into outer movement and help the children to make sense of their feelings. More complex geometrical forms, including the spiral, triangles and squares are moved. Rhythms become more distinct in poetry and music. The children learn to express large accurate Eurythmy gestures for the sounds.
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Pedagogical Reasoning |
Considerations for Decolonisation/Contextualisation |
| Music, stories and images should be inclusive of a range of people, taking into consideration: gender and family stereotypes, skin and hair colour/type, disability and age. Stories and music should be taken from a range of cultures around the world. |
Suggested ARLOs |
| Physical Education, Creative and Aesthetic |
Based on Steiner Waldorf Schools Fellowship® Ltd indicative curriculum for Steiner Waldorf Schools, The Art of Teaching