For Choice in Education
Class Two
Class Two
Children in Class Two are alert, active, energetic learners. Their developmental task is to learn the rules of the road, the codes of the ways and byways and the morality of exemplars, notably figures whose spirituality is still embedded in nature rather than urban society. The pictorial and linguistic elements of teaching should be cultivated to support children’s need to act increasingly out of inner images.
Child development and leitmotif for this class |
| “One of the main characteristics of children between the seventh and ninth year [age 6-8] is their desire to learn, without any need to form their own judgements. Memory, imagination, enjoyment of rhythmical repetition and a desire for universal concepts presented in pictorial form, come to the fore at this stage. Children retain a bias towards accepting the authority of the adult world, but this is not now a matter of imitation but of concentrating attention upon major role models; these affect the child largely through the feeling of their words or moral strength of their actions. A child’s inner question to the teacher is: ‘Can you see who I really am?’ and ‘Can you help me encounter the world?’. This determines the teacher’s position and relationship in regard to the child. These basic questions are answered in and through the lessons which aim not only to teach about experiencing the world but also to let the children actually experience the world. The teacher who succeeds in meeting these expectations set by the children will be accepted by them as an authority, something very different to attempting to control children as an authoritarian” Avison and Rawson, 2000
Children in Class 2 are alert, active, energetic learners. Their developmental task is to learn the rules of the road, the codes of the ways and byways and the morality of exemplars, notably figures whose spirituality is still embedded in nature rather than urban society. The pictorial and linguistic elements of teaching should be cultivated to support children’s need to act increasingly out of inner images. Still ‘hunter-gatherers’ (before they become sedentary farmers), this age group often requires strong group activities with a clear focus and a wide range of challenges. The teacher requires energy and presence to meet this. In the flow of nature, we follow archetypal human pathways and songlines that weave us into the world’s fabric. The writing flows, the reading murmurs, the numbers go up and down, fingers and feet adept - busy work for hungry children. |
Curriculum Themes |
Narrative Themes |
| Legends and stories of admirable people and noble deeds. Fables. Nature stories. Class library of appropriate graded readers and stories. Traditional-type stories and folk tales retold at an appropriate level. Verbal book reports. |
Musical Themes |
Qualities:
Topics: seasonal and nature, counting rhymes, times tables, significant people, fables. |
Artistic Themes |
| Simple representations of animals and people, side and front profiles, addition of details Painting atmospheres, and controlling colours and mixing
Materials: wax sticks and blocks, thick (Lyra) pencils, coloured chalks, watercolour paints (warm and cool primary colours), 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 |
| Last Stop on Market Street, Matt De Le Penaa and Christian Robinson (Puffin, 2015)
Julian is a Mermaid, Jessica Love (Walker Books 2019) Blueberry Girl, Neil Gaiman (Bloomsbury, 2010) The Tree Keepers, Gemma Koomen (Francis Lincoln Children’s Books, 2019) Winter Sleep, Sean Taylor, Alex Morss and Cinyee Chiu (Quarto, 2019) Backyard Fairies, Phoebe Wahl (Knopf Books 2018) A Big Mooncake for Little Star, Grace Lin (Little, Brown Young Readers, 2018) Where Do They Go When It Rains? Gerda Muller (Floris Books, 2010) Eyes that Kiss in the Corners, Joanna Ho (Harper Collins, 2021) Champion: The Story of Muhammad Ali, Jim Haskins (Bloomsbury, 2018) Little Sid: The Tiny Prince Who Became Buddha, Ian Lendler (First Second, 2018) Free as a Bird: The Story of Malala, Lina Maslo (Balzar and Bray, 2018) Benji, the Bad Day, and Me, Sally J Pla (Lee and Low Books, 2018) A Friend for Henry, Jen Bailey (Chronicle Books, 2019) Ada Twist, Scientist, Andrea Beaty (Abrams Books, 2016) The Turbulent Term of Tyke Tiler, Gene Kemp (Faber, 2015) The Amazing Life of Azaleah Lane, Nikki Shannon Smith (Raintree, 2020) Donovan’s Word Jar, Monalisa DeGross (Amistad, 2018) Make Way for Dyamonde Daniel, Nikki Grimes (Puffin, 2010) Crane Boy, Diana Cohn (Cinco Puntos Press, 2015) Old Enough to Save the Planet, Anna Talor and Loll Kirby (Magic Cat Publishing, 2021) Rachel: The Story of Rachel Carson, Amy Ehrlich (Houghton Mifflin Harcourt, 2008) Wangari Maathai: The Woman who Planted Millions of Trees, Franck Prevot (Charlesbridge Publishing, 2017) Little Whale, Jo Weaver (Hodder, 2018) Magnificent Homespun Brown, Samara Cole Doyon (Tilbury House, 2020) The Secret Kingdom: NEK Chand, a Changing India and a Hidden World of Art, Barb Rosenstock (Candlewick Press, 2018) Alaina and the Great Play, Eloise Greenfield (Alazar Press, 2021) Amazing Grace, Boundless Grace, Princess Grace, Caroline Binch and Mary Hoffman (Puffin) My Rows and Piles of Coins, Tololwa M Mollel (Houghton Mifflin, 1999) Five Creatures, Emily Jenkins (MacMillan, 2005) Old Mother West Wind, Thornton W Burgess (Otbebook Publishing, 2021) Seal Surfer, Michael Foreman (Anderson Press, 2006) The Building Boy, Ross Montgomery (Faber and Faber, 2016) Grandpa was an Astronaut, Jonathan Meres (Barrington Stoke) Winnie and Wilbur, Valerie Thomas and Korky Paul (OUP) Princess Smartypants, Babette Cole (Puffin) Under the Love Umbrella, Davina Bell (Scribble) Pedagogical Stories Morris Micklewhite and the Tangerine Dress, Christine Baldacchino (GroundWood Books, 2014) Desmond and the Very Mean Word, Desmond Tutu, Douglas Carlton Abrams (Candlewick Press, 2013) |
Visual and Graphic Arts |
Indicative Content |
| Develop and embed classroom habits that enable children to work together with independence and responsibility to prepare and distribute materials necessary to the lesson.
Drawing (see also Form Drawing themes, and Maths ARLOs for Shape, Space and Measure) Children should draw with wax block 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. 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, showing either a full side or full frontal view of animals, human beings, plants and buildings. The children should have some freedom in the colours they chose and they (and the teacher) can add interesting details. Diagrammatic elements (e.g. numbers) can begin to appear in pictures. A calendar with an illustration for each month makes an excellent extended project. 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. Children should have the opportunity to admire and respect each other’s work. 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 Class discussion and selection of colour to create an impressionistic response to a story. In Class 1 the colours were often presented through colour stories. Now the narratives are drawn largely from the tales and fables as told in the Main Lesson, where the atmosphere/mood has been built up through the thoughtful use of adverbs, adjectives and verbs. The atmosphere created through the use of language is then brought to the painting experience via the choice of colours. At this point form is not a priority, rather the focus is an impression of an aspect of the story. Painting with watercolours on damp paper (wet-on-wet). Working with the primary colours but weaving them more extensively into and around each other than in Class 1, paint them:
Tonal work is experienced via the application of two shades of one colour (e.g. Golden Yellow and Lemon Yellow). The judgement of creating balance is also practised: how a larger or smaller area of a particular colour impacts on another (e.g. a strong red juxtaposed with a pale yellow) 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 can 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
For a six- to eight-year-old free drawing is an expression of inner feelings and sensations and drawings can give insight into a child’s developmental stage. More structured drawing activities can build children’s skills. Listening to stories engages children’s imagination and encourages them to create mental images of what they hear, with each child representing the words in their own unique way. Drawing brings balance to the focused act of careful writing. Illustrations bring the children’s written words to life; each piece of work becomes a meaningful whole, where intellectual and artistic meet. Painting Building on their previous experience, children explore the whole colour spectrum, discovering sequences of colours and blends. ‘Colour characters’ emerge from the colour stories, with their own moods and emotions. The structure or assignment given by the teacher prevents the painting becoming a purely sensory activity. 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 |
| The primal differentiation: one and the other; both equally valid, no value judgement |
Suggested ARLOs |
| Creative and Aesthetic |
Handwork: Knitting and crochet |
Indicative Content |
| The World is beautiful: From play, through beauty, to work
Project: Build on skills from Class 1 to build accuracy and rhythm. Teach purl stitch. Some schools continue knitting in class 2 and introduce crochet in class 3 Crochet Activities: To prepare for crochet, finger knit, e.g. a skipping rope. Teach children to have one ‘working hand’, which holds the hook, and one ‘helper hand’ which holds the yarn. Learning to tension the yarn is an important skill and essential to crocheting. Teach how to identify and count crochet stitches. It is important to give a visual description of each technique, using imaginative images, rhymes etc. Projects: Crochet a useful and aesthetically pleasing item:
Hand Sewing: Making up projects. Create a needle case – hand sewing on felt with seed stitch. Teacher shares a story at the end of the lesson which is related to the day’s work that has already been tidied away. This allows children to listen actively and which builds a connection between the physical work experience and sensory experience while also signposting the next lesson. |
Pedagogical Reasoning |
| Pupils have transitioned from the dreamy and rhythmic realm of knitting into the awake and focused action of crocheting. Now one hand is the main or “working” hand and one is the helping hand. |
Considerations for Decolonisation/Contextualisation |
| Stock a variety of skin tones for knitting
Consider the history and content of rhymes, stories, songs: 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 songs should be taken from a range of cultures around the world. |
Suggested ARLOs |
| Creative and Aesthetic, Handwork |
Narrative Material |
Indicative Content |
| See Fables, legends and noble deeds for narrative material across the year. Class library of appropriate graded readers and stories. Traditional-type stories and folk tales retold at an appropriate level. Verbal book reports. |
Pedagogical Reasoning |
| Developing children’s engagement with and enjoyment of reading. |
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 |
| Literacy, History, Visual and Graphic Art |
Fables, legends and noble deeds |
Indicative Content |
An exploration of the contrast of admirable qualities and human failings/foibles, cultivating mental imaging, imagination and identification.
|
Pedagogical Reasoning |
| An early exploration of morality to support the children's developing sense of right and wrong. The children get a sense of the potential nobility of humanity as something to aspire to, set against the flaws and imperfections of the animals in the fables, who represent base desires and character traits which are all too human. |
Considerations for Decolonisation/Contextualisation |
| Inclusion of people of both sexes with admirable qualities from around the world. 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 |
| Literacy, History, Visual and Graphic Art |
Use of Language: doing, naming, describing and punctuating. |
Indicative Content |
| Children should be made aware, in an imaginative way, of the character of nouns, verbs, adjectives, adverbs and articles and of how the same word can have different functions depending on the syntax of a sentence (e.g. ‘open’ as both a verb and an adjective). They should be taught that punctuation follows spoken rhythms. Technical grammatical vocabulary should be ‘seeded’ - i.e. mentioned and briefly explained with no expectation that children will remember explicitly. |
Pedagogical Reasoning |
| Nouns and verbs are the basic conceptual building blocks of language - things which exist and possible actions. Children need to experience the archetypal qualities of names, actions and attributes in order to begin to categorise words in context. Punctuation creates the link between speech and text. |
Considerations for Decolonisation/Contextualisation |
| Ensure example sentences feature a range of people and challenge stereotypes (e.g. conscious choice of gendered pronouns). 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 |
| Literacy |
The Plane: symmetry and mirroring |
Indicative Content |
| Experimenting with previously experienced forms, adding and blending colour and exploring the metamorphosis of lines. Create symmetry and asymmetry, using mirroring, patterns and borders. Forms can incorporate objects that provide a three-dimensional and embodied element, e.g. creating patterns with natural materials. |
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 |
Suggested ARLOs |
| Maths, Visual and Graphic Art (Drawing) |
The Places and Values of Numbers |
Indicative Content |
| The aim of Class 2 maths is to become fluent in arithmetic. This involves firstly becoming fluent in the abstract manipulation of numbers - e.g. place value, number bonds, times tables, and the commutative nature of addition and multiplication. These processes are also consolidated in the accurate written form of horizontal equations (number sentences) of addition, subtraction, division and multiplication. For all of these, any of the three numbers in the sentence is missing, as opposed to ‘finding the answer’ after the = sign. These skills are then applied to solving simple, practical arithmetic problems.
Becoming familiar with telling the time in a simple way on an analogue clock - hours, half hours and quarters, days, weeks, months, seasons and years. |
Pedagogical Reasoning |
| The emphasis in the mathematical teaching method is on ‘guided discovery’, in preference to what may be termed ‘open-ended exploration’. The method focuses on providing a teacher led content aimed at developing individual ways of thinking and techniques. The fluency of numbers in number systems. Applying to equations (number sentences).
The content and presentation of material is founded on imaginative, practical situations. Opportunities are sought to work with the practical application of mathematical principles and phenomena. |
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) |
Modern Foreign Languages - Situational orality |
Indicative Content |
| Familiar and day-to-day activities in the target language. Building of variations around a common theme, e.g. questions with a number of possible answers. |
Pedagogical Reasoning |
| 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. The teaching takes place entirely in the target language so children can learn through participation in learning situations they basically understand through shared intentionality, the teacher modelling the activity and emulation. |
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 |
Home Surroundings: living in the local environment. |
Indicative Content |
| In a continuation, deepening and development of the content of the Class 1 block, stories of place and people continue to illustrate the variety of life in the local environment - human as well as environmental. Children have a more constructive engagement with the environment, building, making and caretaking, inhabiting and utilising the environment in a nomadic way.. |
Pedagogical Reasoning |
| As in Class 1, the children’s living connection to the local environment is developed through both imagination and experience. Through direct encounters and narrative experiences the teacher draws children’s attention to the impact of people on the natural, built and cultural local environment, and how local materials can and have been used to make useful things, further establishing foundations of science, history and geography. |
Considerations for Decolonisation/Contextualisation |
| Stories and direct experiences are inclusive of a wide range of aspects of the local environment, including all cultures which are represented there.
Stories challenge gender stereotypes and show a range of family structures, for example where plants and animals are anthropomorphised. Stories and direct experiences include the cultural space as well as the geographical one, e.g. local festivals. |
Suggested ARLOs |
| Social Science, Literacy, Geography, Visual and Graphic Art, Science and Technology |
Sustainable Living: The Home Environment |
Indicative Content |
| With the home base and heart firmly established in Class 1, the teacher works to deepen and extend the children’s knowledge and understanding of their local natural environment. Through directing children’s attention to particular aspects of that environment, the teacher develops their observation skills, supporting them to explore the area with purpose. The activities provided are similar to Class 1 – walking and spending time in nature, free play and craft activities – but the expectations are more explicit, and participation is expected. Children’s safe and appropriate use of tools and fire is further developed, and they are asked to anticipate possible risks. Connections between indoor and outdoor learning are strengthened, with the teacher preparing the children by supporting them to develop a mental picture of the activities they are about to do. The imagining of the characters in the fables of the narrative content of this year can be enlivened by connections to the footprints and other signs that animals leave behind them. Further expeditions to other local areas of interest can be undertaken.
Incidental discussions provide opportunities for accurate naming of parts of the body and the senses. |
Pedagogical Reasoning |
| The children of class two are still hunters and gatherers, before they become more sedentary farmers in Class 3. The activities that are offered are more structured and challenging than those in Class 1, but time is still dedicated to free play, bringing the children’s observation into activity. Children are participative observers and interpret what they see holistically and imaginatively with a self-referring inner logic which is the soil from which mature thinking will grow. |
Considerations for Decolonisation/Contextualisation |
| Cultivating respect for all plants and animals (even stinging nettles, brambles and weeds, insects and other less familiar creatures) is an important precondition for social and cultural diversity. |
Suggested ARLOs |
| Science and Technology, Geography |
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 develop 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. Practical technological competence and understanding are developed through handwork and tool use, e.g. in the outdoor curriculum. Children are given strategies to use and trusted people to contact if they feel sad, uncomfortable, embarrassed or upset about things they see or hear, even if those things are online. |
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 |
| An exploration of the contrast of admirable qualities and human failings/foibles, cultivating mental imaging, imagination and identification.
Stories of people who are admirable. These could include Saints from a variety of religions, or more modern people whose deeds set them above the ordinary, such as Wangari Maathai, Alia Muhammad Baker or Johnny Appleseed. Fables - short stories of animals, creatures, objects or forces of nature that are anthropomorphised and that lead to a particular moral lesson. They often have a comic element. Some schools use stories of the First Peoples of North America and explore traditions, spirituality and community – content that lends itself to the beginnings of ecological responsibility, creation stories and spiritual themes. |
Pedagogical Reasoning |
| An early exploration of morality to support the children's developing sense of right and wrong. The children get a sense of the potential nobility of humanity as something to aspire to, set against the flaws and imperfections of the animals in the fables, who represent base desires and character traits which are all too human. |
Considerations for Decolonisation/Contextualisation |
| Inclusion of people of diverse gender, sexuality and sex with admirable qualities from around the world. Stories from different cultures. |
Suggested ARLOs |
| SMSC, PSHE |
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 singing is still in unison, action songs are still important and recorders are played. Imitation is still a key factor. The range of music is slightly increased and rhythm and melody are made slightly more conscious. Song and dance combine for the Christmas pageant. Fine motor skills, listening, controlled breathing, social and spatial awareness are qualities which are enhanced through musical activities. |
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 2 the children experience the realm of fables through stories. The characteristic qualities of animals can be expressed through movement in Eurythmy. What the child hears in the story and sees in the gestures is transformed by an inner act of imagination which enlivens the thinking. The feeling realm of the child is engaged through the magic and imagery of the story and the child is able to express his/her thinking and feeling through the activity of movement. Leading the children into such artistic activities fortifies the will and strengthens the soul for future tasks.
The class 2 child starts to distinguish between I and You. Whilst still feeling very much part of the whole group, the children start to enjoy creating two circles weaving as two very distinct groups. Celtic poems, stories of Saints or fables (often enhanced by short music pieces) are used to facilitate the pedagogical ‘Casini’ and ‘We seek one another ‘ eurythmy forms. The children start to become aware of their part in the form and start to take on social responsibility: by being and becoming responsible for my own part, I am also responsible for the whole form.
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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