F-10 Curriculum (V8)
F-10 Curriculum (V9)
Tools and resources
Related links
Your search returned 43 results
Screenwriting is the act of writing what's known as a script or screenplay for film, television and web series. It involves a special set of rules that makes it different from a book or play. This module of Film It covers formatting, scene writing, script structure, themes, and character. Writing the script is part of ...
This federated search from the QAGOMA database features a selection of Aboriginal and Torres Strait Islander artworks from the collection. The searchable database provides artwork images, background information about the artist and the artwork, a map of major Indigenous regions in Australia, classroom activities, a glossary ...
An interactive music lesson where students will meet renowned Australian composer Elena Kats-Chernin and learn about her inspirations for composing and creating new works. Students will explore various stories and poems written by some of our incredible Anzac heroes and experience a performance of Elena’s Anzac inspired ...
This is a unit of work that uses the concept of rail safety and the setting of the rail network to explore character, roles and situations; there is a particular focus on bullying and the bystander effect. Learning opportunities for students include scripting, performing and revising their own drama. The resource includes: ...
This is an article about the impact and influence of hip-hop music on the youth of Yogyakarta in Java, Indonesia. The author highlights the strengths of a globalised hip-hop culture to nurture young Indonesian artists who incorporate Javanese colloquial language into their lyrics. There is also a video clip of performance ...
This is a sculpture by Rembarrnga artist Bob Burruwal (b1952) and Rembarrnga/Kune artist Lena Yarinkura (b1948) depicting spirit figures - male and female, young and old - standing near their camp dog. The sculpture is shown as an enlargeable image. This work was exhibited as a part of the second National Indigenous Art ...
This is a larrakitj (hollow funeral pole) sculpture created and painted by Yolngu artist Gulumbu Yunupingu. It depicts the universe ('Garak'); not only all the stars that can be seen with the naked eye but everything that exists beyond. The larrakitj is shown here in a colour image that can be enlarged and is accompanied ...
This is a photographic print by Barkindji/Paakintji artist Nici Cumpston (b1963) depicting Nookamka, a freshwater lake situated in the Riverland region of South Australia. The work is shown as an enlargeable image. Text onscreen gives information about the Murray-Darling River system’s degradation, and a description of ...
This is a painting by Mangala/Yulparija artist Daniel Walbidi (b1983) depicting his grandfather and grandmother’s country on his father’s side. The painting is shown as an enlargeable image. This work was exhibited as a part of the second National Indigenous Art Triennial, ‘unDisclosed’, at the National Gallery of Australia ...
Who are we and where do we belong? What and who decides our identity? People often ask these questions, and some may seek to discover the answers to them. In his dance piece entitled 'ID', choreographer Stephen Page explores what makes us similar, what makes us different and what gives us a sense of belonging. The clip ...
Discover the rich and beautiful world of Edwin Lee Mulligan's dreams, recorded in paintings and stories. In this clip on his work 'Ngarlimbah - it's about us', he tells one of his dreams of Country - his country, his mother's country and his father's country - the places, trees, mountains, rivers and creatures that connect ...
'Weaving' is a segment from a longer dance piece called 'Artefact', a richly spiritual work about breathing life back into objects from ancient times. Choreographer Frances Rings is a descendant of the Kokatha people of South Australia. The 'Weaving' segment was inspired by the traditional knowledge and practices of the ...
Music that introduces the news has to be not only dramatic and exciting but also neutral. It has to introduce war and disasters, as well as weddings and elections. It turns out, the music we associate with the news worldwide often originates from movies! So, what does an effective news theme often include? How would you ...
Get your clapping hands ready and join the Melbourne Symphony Orchestra as they play some music from the opera Carmen, by composer Bizet. Follow along with host Paul Rissmann and see if you can keep up with the orchestra! How does this piece of music make you feel? Why do you think it has that effect?
How important do you think it is to hear Australian stories told on stage? Listen as Hannie Rayson explains her early beliefs about where great drama comes from. After watching this clip, try writing a dramatic scene that takes place at a family barbeque.
Sometimes we come across musical phrases that catch on like wildfire. With every repetition, these phrases take on more meaning. Listen closely for this jazz lick that has appeared in many forms throughout music history. What other popular musical phrases can you think of? What meanings do they carry, and what could you ...
The Garrwa people live inland from the Gulf of Carpentaria, on either side of the border between the Northern Territory and Queensland. In this brief but beautiful animation, a Garrwa woman herds her pretty goats eastward.
Star Wars begins with the biggest B-flat chord you’ve ever heard! John Williams’s fanfare is so iconic that people usually recognise what they’re watching without even looking at the screen. So, what informs the music and makes it so powerful? What techniques can you apply in your own compositions?
AFL songs are among the most widely recognised and popular pieces of music in Australia, sung proudly year after year. Would it surprise you to find out they’re rarely original? Discover the early 20th-century origins of most of Australia’s football chants and the stylistic features that make them so effective in energising ...
Watch as Hannie Rayson describes her early desire to write multidimensional, complex roles for women in her plays. What was this in response to? Why is it important for audiences to see female characters as well as male characters driving drama in plays?