Grades 9 to 12

Visual Arts
Manitoba Curriculum
Framework
Gr ades 9 to 12
Visual Arts

Manitoba Curriculum
Framework

2015
M a ni t o b a E d u c a t i o n a n d A d v a n c e d L e a r nin g
Manitoba Education and Advanced Learning Cataloguing in Publication Data

Grades 9 to 12 visual arts [electronic resource] : Manitoba

curriculum framework

Includes bibliographical references.

ISBN: 978-0-7711-6087-5

1. Art—Manitoba—Curricula.
2. Art—Study and teaching—Manitoba.
3. Art—Study and teaching (Secondary)—Manitoba.
4. Arts—Manitoba—Curricula.
5. Arts—Study and teaching—Manitoba.
I. Manitoba. Manitoba Education and Advanced Learning.
707.12

Copyright © 2015, the Government of Manitoba, represented by the Minister of

Education and Advanced Learning.

Manitoba Education and Advanced Learning

School Programs Division
Winnipeg, Manitoba, Canada

Every effort has been made to acknowledge original sources and to comply
with copyright law. If cases are identified where this has not been done, please
notify Manitoba Education and Advanced Learning. Errors or omissions will be
corrected in a future edition.

All images found in this document are copyright protected and should not
be extracted, accessed, or reproduced for any purpose other than for their
intended educational use in this document.

Any websites referenced in this document are subject to change. Educators

are advised to preview and evaluate websites and online resources before
recommending them for student use.

Print copies of this document (stock number 80709) can be purchased from
the Manitoba Learning Resource Centre (formerly the Manitoba Text Book
Bureau). Order online at <www.mtbb.mb.ca>.

This resource is available on the Manitoba Education and Advanced

Learning website at <www.edu.gov.mb.ca/k12/cur/arts/visual/index.html>.

Disponible en français.

Un document pour le programme d’immersion française et un document pour

le programme français sont également disponibles.

Available in alternate formats upon request.

Contents

Acknowledgements v The Centre of the Butterfly 13

The Wings of the Butterfly 13

Introduction 1 Essential Learning Areas 15

Purpose 1 Recursive Learnings 16

Background 1 Guide to Reading the Visual Arts Framework 18

Content 2
Grades 9 to 12 Visual Arts Learnings 19

Overview 3 Making 21

What Is Visual Arts Education? 3 VA–M1 22

Why Is Visual Arts Education Important? 3 VA–M2 24

What Is Quality Visual Arts Education? 6 VA–M3 26

The Learning Lens 6 Creating 29

The Curriculum Lens 8 VA–CR1 30

The Learning Environment Lens 8 VA–CR2 32

The Assessment Lens 9 VA–CR3 34

Visual Arts Education in Manitoba Schools 10 Connecting 37

The Visual Arts Learning Landscape 11 VA–C1 38

VA–C2 40
VA–C3 42
The Visual Arts Framework 12
Responding 45
The Visual Arts Framework Butterfly 12
VA–R1 46
The Butterfly as Graphic Organizer 12
VA–R2 48
The Butterfly as Metaphor 12
VA–R3 50
VA–R4 52

Contents iii
 Appendix 55
Appendix: Conceptual Framework for
Learning Growth in Visual Arts Education 57

Glossary 69

Bibliography 77

iv Grades 9 to 12 Visual Ar ts: Manitoba Curriculum Framework

Acknowledgements

Manitoba Education and Advanced Learning gratefully acknowledges the contributions of the following individuals in the development
of Grades 9 to 12 Visual Arts: Manitoba Curriculum Framework.

Principal Writer Joe Halas Winnipeg School Division

Art Consultant

Contributing Writers Pauline Broderick Faculty of Education

Professor/Instructor University of Manitoba

Wendy McCallum School of Music

Professor Brandon University

Julie Mongeon-Ferré Curriculum Development and Implementation Branch

Project Co-leader/Consultant Bureau de l’éducation française Division

Francine Morin Faculty of Education

Professor, Department Head University of Manitoba
Curriculum, Teaching and Learning

Beryl Peters Development Unit

Project Co-leader/Consultant Instruction, Curriculum and Assessment Branch

Development Team Brad Bamford Lord Selkirk Regional Comprehensive Secondary School
Teacher Lord Selkirk School Division

Lana Clouston Armstrong Isaac Beaulieu Memorial School

Teacher Sandy Bay Education Authority

Reid Edgeworth Oak Park High School

Teacher Pembina Trails School Division

Paulette Fournier-Jones École St-Joachim

Teacher Division scolaire franco-manitobaine

Acknowledgements v
 Development Team Briony Haig Elmwood High School
(continued) Teacher Winnipeg School Division

Amy Karlinsky Winnipeg Technical-Vocational High School

Teacher Winnipeg School Division

Sonia Lanctôt-Blanchard École Lansdowne

Teacher Winnipeg School Division

Margaret (Pegi) McGillivray Margaret Barbour Collegiate Institute

Teacher École Scott Bateman Middle School
Kelsey School Division

Pilot/Review Team Stacey Abramson Maples Collegiate

Teacher Seven Oaks School Division

Julia Dennis Stonewall Collegiate

Teacher Interlake School Division

Gabrielle Doll Seine River School Division

Visual Arts Support Teacher

Shireen Douma Dakota Collegiate

Teacher Louis Riel School Division

Linda Ducharme Collège Jeanne-Sauvé

Teacher Louis Riel School Division

Jill Ferris W. C. Miller Collegiate

Teacher Border Land School Division

Kristina Karlsson Balmoral High School

Teacher Independent Schools

Dawn Knight Fort Richmond Collegiate

Teacher Pembina Trails School Division

Tara Leach Neelin High School

Teacher Brandon School Division

vi Grades 9 to 12 Visual Ar ts: Manitoba Curriculum Framework

 Pilot/Review Team Ryan Loeppky Blumenort School
(continued) Teacher Hanover School Division

Marie-Claude McDonald Division scolaire franco-manitobaine

Arts Education Coordinator

Margaret (Pegi) McGillivray Margaret Barbour Collegiate Institute

Teacher École Scott Bateman Middle School
Kelsey School Division

Bertrand Nayet Collège Louis-Riel

Teacher Division scolaire franco-manitobaine

Penny Osis Lac du Bonnet Senior High School

Teacher Sunrise School Division

Bryce Peterson Nisichawayasihk Neyo Ohtinwak Collegiate

Teacher Nisichawayasihk Education Authority

Catharine Teichroew Westwood Collegiate

Teacher St. James-Assiniboia School Division

Mike Thwaites Sisler High School

Teacher Winnipeg School Division

Adrienne Zajac West Kildonan Collegiate

Teacher Seven Oaks School Division

Landscape Photographer Stan Milosovic Winnipeg

Manitoba Education and Jean-Vianney Auclair Bureau de l’éducation française Division

Advanced Learning Staff Assistant Deputy Minister
School Programs Division and Bureau
de l’éducation française Division
Carole Bilyk Development Unit
Coordinator Instruction, Curriculum and Assessment Branch

Louise Boissonneault Document Production Services Unit

Coordinator Educational Resources Branch

Acknowledgements vii
 Manitoba Education and Darryl Gervais Instruction, Curriculum and Assessment Branch
Advanced Learning Staff Director School Programs Division
School Programs Division and Bureau
de l’éducation française Division
Susan Letkemann Document Production Services Unit
(continued) Publications Editor Educational Resources Branch

Gilbert Michaud Curriculum Development and Implementation Branch

Director Bureau de l’éducation française Division

Julie Mongeon-Ferré Curriculum Development and Implementation Branch

Project Co-leader/Consultant Bureau de l’éducation française Division

Aileen Najduch School Programs Division

Assistant Deputy Minister

Beryl Peters Development Unit

Project Co-leader/Consultant Instruction, Curriculum and Assessment Branch

Diana Turner Development Unit

Manager Instruction, Curriculum and Assessment Branch

Lindsay Walker Document Production Services Unit

Desktop Publisher Educational Resources Branch

viii Grades 9 to 12 Visual Ar ts: Manitoba Curriculum Framework

Introduction

Purpose Background
The purpose of Grades 9 to 12 Visual Arts: Manitoba In 2003, Manitoba Education developed a draft position
Curriculum Framework (the Visual Arts Framework) is to statement on The Arts in Education (Manitoba Education
and Youth) as an initial step in renewing provincial
QQ support, nurture, and inspire the learning growth of all curricula for the arts. The draft statement was distributed
visual arts learners to education stakeholders, with an invitation to provide
QQ support the novice and inspire the veteran visual arts feedback about the proposed direction for curriculum
educator renewal. Responses were published in 2004 in Responses
QQ provide direction for learning design, assessment, and to The Arts in Education Survey: Summary Report
evaluation (Manitoba Education, Citizenship and Youth). The
responses to The Arts in Education position statement
QQ set out the philosophical and pedagogical foundations for guided subsequent development of arts curricula in
visual arts learning Manitoba.
QQ present the four essential learning areas of the visual
arts curriculum In January 2011, the Western and Northern Canadian
Protocol for Collaboration in Education, Kindergarten
QQ provide guidelines for visual arts education programming to Grade 12 (WNCP) prepared Guiding Principles for
and implementation and for course development WNCP Curriculum Framework Projects in response to
the significant changes in the ways people live and work
in today’s world. The Visual Arts Framework reflects the
WNCP guiding principles that aim to meet the needs of
today’s creative economies and societies.

Introduction 1
 In September 2011, Manitoba Education published the Content
finalized versions of the Kindergarten to Grade 8 arts
education curriculum frameworks: The Visual Arts Framework addresses the purpose, nature,
QQ Kindergarten to Grade 8 Dance: Manitoba Curriculum and importance of quality visual arts education in Manitoba
Framework of Outcomes schools from Grades 9 to 12. It explains the use of the
butterfly as a metaphor for learning within the visual arts
QQ Kindergarten to Grade 8 Drama: Manitoba Curriculum learning landscape and for representing the interconnected
Framework of Outcomes parts of the visual arts curriculum. The curriculum
QQ Kindergarten to Grade 8 Music: Manitoba Curriculum consists of four essential learning areas, which are further
Framework of Outcomes elaborated by recursive learnings, and realized through
QQ Kindergarten to Grade 8 Visual Arts: Manitoba enacted learnings. Ideas for inquiry questions are also
Curriculum Framework of Outcomes included to support the enacted learnings. The appendix,
glossary, and bibliography provide further support for the
In September 2014, Manitoba Education and Advanced visual arts learnings.
Learning posted draft versions of the Grades 9 to 12
curriculum frameworks for dance, dramatic arts, music,
and visual arts education. The underlying philosophy of the
Kindergarten to Grade 8 arts education frameworks was
extended to the Grades 9 to 12 frameworks. Key common
features include the four interconnected essential learning
areas, the recursive learnings, and a learner-centred,
socio-cultural, complexivist learning philosophy.

2 Grades 9 to 12 Visual Ar ts: Manitoba Curriculum Framework

Overview

What Is Visual Arts Education? Why Is Visual Arts Education Important?

Visual arts education draws from a broad field of visual Visual arts education develops important disciplinary and
arts practices that include drawing, illustration, work cross-curricular competencies for learning and living well
in paper, canvas, wood, and other materials, painting, together in an interconnected world. Research indicates
sculpture, architecture, ceramics, installation art, digital art, that well-designed visual arts education contributes to
printmaking, photography, filmmaking and video-making, learning engagement, self-efficacy, and a wide range of
animation, craft, urban art, media arts and emerging positive academic, social, and emotional effects. Visual
technologies, folk art, textile art, calligraphy, stained glass, arts education offers learners diverse, unique, and
jewellery, graffiti, mosaic, graphic art, environmental powerful ways of perceiving and making meaning about
and industrial art (Markus et al.; Mittler; National Art the world.
Education Association), and other forms that are not yet
known, envisioned, or articulated (Gude, “New School Art Visual arts education is important because . . .
Styles” 7). These practices offer multiple ways for learners
1. The visual arts have intrinsic value.
to engage with, connect with, and respond to their world
through various approaches and in diverse visual arts The visual arts are a vital, integral part of all human
education contexts. experience, culture, and history, and have expressed
and enriched life since the beginning of time. The
Visual arts education is not just about learning the visual arts help develop understanding of self and the
language and practices of the visual arts, “it is about world. They profoundly engage body, mind, and spirit
addressing who we are as people, embracing difference, to communicate ideas and feelings that often cannot
encountering numerous cultures, interacting and be expressed by any other means.
collaborating with others, and inviting response” (Sansom
215–216, referring to dance education, but also applicable 2. Visual arts education develops creative, critical, and
to visual arts education). ethical thinking.
Creative processes, imagination, and innovation
developed through visual arts education are important
for both artistic and everyday creativity.* Critical and
creative thinking are uniquely positioned in visual arts

* See Glossary.

Overview 3
 education and are essential for learning in today’s learners’ repertoire of literacies needed to make
world. and communicate meaning in diverse and evolving
Visual arts education provides space and opportunities contexts. Ways of knowing in the visual arts are
for learners to explore and communicate complex unique and powerful affordances* and resources for
ideas and emotions. Learning in the visual arts invites making meaning that are not always possible through
open-ended, emergent, and dialogic thinking. When other representational forms.
learners seek possibilities, and envision and consider In this shifting and complex world, literacies are
alternatives, they develop capacities for tolerating interconnected and codependent. Since all literacies
ambiguity and uncertainty. Learners become aware contribute to meaning making in different ways, it is
that questions have more than one answer, that important for learners to develop a diverse range of
problems have multiple and sometimes unexpected literacies, including artistic literacies, from which to
solutions, and that there are many ways to convey choose, depending on meaning-making needs and
thoughts and ideas. contexts.
Through the visual arts, learners critically observe, A wide range of available literacies creates
analyze, and act in the world. Critical thinking opportunities for learners to make meaningful literacy
and reflection in visual arts education support the choices and to produce and consume new forms
development of ethical thinking. By identifying and of texts by combining and recombining literacy
discussing ethical concepts and issues related to resources.
visual arts education, learners apply ethical principles Visual arts literacy empowers learners with new
in a range of situations. meaning-making resources and facilitates ways of
3. Visual arts education expands literacy choices for knowing in other forms, such as print-based literacy
and numeracy.
meaning making.
In today’s multi-faceted world, literacy is defined as 4. Visual arts education contributes to identity
much more than the ability to read and write print construction.
text. The texts that fill the world of today’s learners “The ability to define oneself rather than allowing
are multi-modal and combine print, digital, physical, others to do it for us is one of the advantages offered
aural/oral, gestural, spatial, and visual texts, along with by the arts” (Canada Council for the Arts).
many more.
Through visual arts education, learners have profound
The visual arts discipline is considered an expressive ways to define themselves and to construct personal
form of literacy with a unique set of language, and artistic identities. Developing artistic identity as a
skills, knowledge, and practices. The visual
arts are important ways of knowing that expand * See Glossary.

4 Grades 9 to 12 Visual Ar ts: Manitoba Curriculum Framework

 member of a visual arts community promotes a sense beliefs. By engaging hearts and minds, the visual
of belonging, unity, and acceptance. arts cultivate empathy and compassion for self and
Learners explore, negotiate, and express personal others. Understanding how others think and feel is
and artistic identity through creating, consuming, and necessary for intercultural awareness and competency
responding to art. Learners examine the ways that and for navigating and negotiating the complexities
the visual arts reflect, shape, and comment upon of the world. These qualities are key to developing
societal and cultural beliefs and issues to develop leadership, social responsibility, and active democratic
understandings about social and cultural identity. citizenship.
The visual arts offer individual and collective means of 7. Visual arts education is essential for well-being.
self-expression—ways of illuminating the inner world Visual arts education can improve and enhance
and connecting to the outer, and ways of expressing social, emotional, physical, and spiritual well-being
the intangible. and resilience. Well-being and resilience are vital
5. Visual arts education develops communication and for positive interpersonal relationships and learning
collaboration competencies. engagement.

The visual arts provide unique and powerful tools and The capacity for visual arts education to deeply
processes for communication and collaboration that engage learners can enhance self-belief and self-
transcend time, place, language, and culture. The esteem, and sustain perseverance and commitment.
collaborative nature of visual arts education nurtures These qualities lead to improved school attendance
positive relationships and interactions. Learners are and successful learning.
able to communicate emotion and ideas through an The visual arts offer unique ways and safe spaces
expansive and powerful repertoire of non-verbal art for learners to examine and give voice to ideas and
language and practices. feelings that cannot be expressed by words.
Using visual arts tools and language, along with 8. Visual arts education supports sustainable
information and communication technology, development.
generates opportunities for learners to build and
deepen relationships with other learners, artists, and Visual arts education offers opportunities for learners
communities. to engage in issues of cultural, social, political,
environmental, and economic forms of sustainability.
6. Visual arts education develops intercultural Visual arts education plays an important role in
competencies. Manitoba’s goals for sustainable development. The
Through visual arts education, learners develop document Education for a Sustainable Future: A
intercultural understandings as they engage with Resource for Curriculum Developers, Teachers, and
and learn to value others’ cultures, languages, and Administrators (Manitoba Education and Training)

Overview 5
 highlights community and culture, the economic 10. Visual arts education fosters human flourishing.
viability of arts and cultural enterprises, and the Visual arts education brings joy to self and others; it
preservation and nurture of heritage and culture as illuminates, deepens, and enriches learning and life.
crucial sustainability issues. Cultural sustainability
and social well-being are essential and integrated
components of an equitable quality of life and a What Is Quality Visual Arts Education?
sustainable future for all Canadians.
Social and personal competencies developed Quality visual arts education is defined by understandings
through visual arts education foster leadership, and beliefs about education informed by current research,
social responsibility, and environmental and global theory, and practice. These understandings and beliefs
awareness, which are crucial for the successful future are brought into focus through the lenses of learning,
of sustainable development. curriculum, learning environment, and assessment.
9. Visual arts education is transformative learning. The Learning Lens
Learning in the visual arts has the potential to foster
The learning lens highlights key understandings about
transformative learning (Mezirow, “Transformative
learning that inform quality visual arts education practice.
Learning Theory” 19) and change the ways people
view the world. Transformative learning draws on Learning
new ways of knowing and being so that learners are
empowered to challenge assumptions and develop QQ is an active, embodied, and social process of
agency, identity, and self-direction for their lives. constructing meaning
Arts-based processes have powerful transformative QQ is recursive and shaped by the dynamic interaction of
potential “because they tap into embodied knowing, prior knowledge and new experiences
honor emotions, and create spaces for rehearsal QQ is uniquely constructed according to personal, social,
for action . . . . and imagining of alternative realities” and cultural ways of knowing
(Butterwick and Lawrence 44). QQ is personalized so that not everyone learns the same
The transformative power of visual arts education things at the same time
inspires learners to be leaders, innovators, and QQ is engaging when it is personal, relevant, and authentic
community builders, and to address critical challenges
of their times. QQ is meaningful when learners have opportunities to reflect
on and guide their own learning
QQ is both individual and group knowing so that individual,
personal knowing is enfolded in and unfolded from

6 Grades 9 to 12 Visual Ar ts: Manitoba Curriculum Framework

 collective knowing and experience (Davis and
Sumara, Complexity and Education 65)
is equitable and ethical when barriers* that limit learning
Disciplinary Ways of Knowin
QQ

are understood and eliminated

g an
QQ is shaped by relationships and interactions between
dB
Artistic and Cultural Co
multiple nested levels (Davis and Sumara, Complexity

mm
and Education 91) that include

ein
uni

g
QQ the individual learner
QQ communities of learners and educators
Curriculum Struc

ties
situated contexts t ur e
s
QQ

QQ curriculum structures
QQ artistic and cultural communities Situated Conte
QQ disciplinary ways of knowing
xts
and being
mu nities of Learners
(See adjacent illustration.) Com an

dE
The Artist Learn

d u ca
tors
er
* Barriers, biases, and power dynamics that limit prospects for learning may be
related to “sex, sexual orientation, gender identity, gender expression, race, ethnic
origin, religion, socio-economic background, physical or mental ability, or other
factors” (Ontario Ministry of Education, Equity and Inclusive Education in Ontario
Schools 6).

Overview 7
 The Curriculum Lens QQ afford a diverse and broad range of visual arts
experiences, participatory approaches, and ways of
The curriculum lens highlights essential aspects of quality thinking about, knowing, making, responding to, and
visual arts education that are illuminated through representing the visual arts
13 recursive learnings. Grades 9 to 12 recursive visual
arts learnings are developed, recombined, elaborated,
QQ afford opportunities for transformative learning
and transformed across novel and varied contexts so that QQ connect to the wider visual and other arts communities
learning becomes more sophisticated, more complex, QQ are integrated across essential learning areas to develop
deeper, and broader with time and new experiences. concepts and skills with meaning, coherence, depth, and
Recursive learning is more than repetition, iteration, competency
accumulation, or the notion of a spiral curriculum. The QQ may be assessed and evaluated using the Conceptual
word recursive comes from the Latin verb recurrere, which Framework for Learning Growth in Visual Arts Education
means “to run back” or “to return.” Through the process (see Appendix)
of returning and reflecting back on previous learning—“a
second looking—transformation, growth, development
occur” (Doll). The Learning Environment Lens

Recursive learnings in the Visual Arts Framework Quality visual arts learning takes place in diverse
environments that include physical, pedagogical, and
QQ focus on why visual arts learning is important, what social/cultural spaces in which learners and teachers learn
understandings and meanings visual arts language and live well together.
and practices can communicate, what the visual arts
can reveal about culture and identity, and what purpose Physical spaces
and meaning the visual arts have for individuals and QQ are safe, healthy, and appropriate
communities
QQ have sufficient material, structural, and technological
QQ build on prior visual arts learning in a reflective, resources
recursive process so that new possibilities emerge and
understandings and relationships grow over time and Pedagogical spaces
through experience
QQ are safe environments for risk taking
QQ are sufficiently rich and substantive to generate deep
conceptual understanding and learning QQ include opportunities to explore creativity, imagination,
flexibility, ambiguity, uncertainty, and student choice

8 Grades 9 to 12 Visual Ar ts: Manitoba Curriculum Framework

QQ include multiple approaches to visual arts education The Assessment Lens
QQ provide learners with opportunities to inquire, question, Assessment as part of teaching and learning is essential
dialogue, analyze, interpret, reflect, evaluate, and to quality visual arts education. Assessment enhances
construct and share meaning through multiple teaching and learning when it is designed to
perspectives
QQ include collaborative, diverse knowledge building as it QQ include purposeful assessment for, as, and of learning
works in the world (WNCP 9) (Earl, Katz, and WNCP)
QQ require sufficient time to explore all areas of the visual QQ ensure that assessment as and for learning is timely,
arts curriculum in substantive ways ongoing, and central to all visual arts learning
QQ ensure that assessment of learning is based on best and
Social/cultural spaces recent learners’ work and on most consistent patterns
QQ respect and value the diversity of all learners and all of learning over time, using shared and/or co-created
ways of knowing criteria
QQ support the emotional and social well-being of all QQ be equitable, fair, transparent, and clearly communicated
learners QQ be meaningful and congruent with curricular and learning
QQ promote interaction, collaboration, and a sense of goals
community QQ enable learners to construct and co-construct individual
QQ value the individual and collective voice and collaborative learning goals and criteria for
assessment
QQ support positive human relationships
QQ provide learners with multiple and various opportunities
QQ ensure equitable and ethical learning
and ways to demonstrate learning
QQ be varied and include a broad range of assessment tools
and strategies (e.g., portfolios, interviews, journals, logs,
conversations, observations, products)
QQ encourage rather than limit artistic and creative
development

Overview 9
Visual Arts Education in Manitoba Schools Full and half credits in visual arts education are based
on full implementation of the Visual Arts Framework. The
Manitoba offers a distinct framework for four arts Visual Arts Framework is considered fully implemented
education disciplines: dance, dramatic arts, music, and only if all four essential learning areas are explored in
visual arts. Schools have the flexibility to offer the number comprehensive, substantial, and interconnected ways. The
and combination of arts courses appropriate for their balance and weighting of the four essential learning areas
local context, resources, and needs. The number of arts are flexible and depend on the focus and situated context
disciplines and courses offered in a school will depend on of each visual arts education course.
available resources, allocated instructional time, staffing, Further information about course codes and credits can be
and the arts implementation approach used in the school. found in the Subject Table Handbook (Manitoba Education
The Visual Arts Framework provides flexibility for and Advanced Learning) and on the Manitoba Visual Arts
implementation of a variety of visual arts education Education website.
courses, strands, and approaches. Schools may offer arts Specialist education, pre-service and in-service education,
disciplines individually, in combination with each other, and other professional learning opportunities are important
and/or integrated with other subject areas. for quality arts education implementation.
Manitoba students can meet optional graduation credit
requirements by taking arts education courses designed
using the Grades 9 to 12 Visual Arts Framework. The
Conceptual Framework for Learning Growth in Visual Arts
Education (see Appendix) may be used to develop visual
arts courses, to plan for and assess learning in visual arts
education, and to distinguish course credits for each grade.

10 Grades 9 to 12 Visual Ar ts: Manitoba Curriculum Framework

The Visual Arts Learning Landscape
In the Visual Arts Framework, the landscape metaphor is
used to convey the understanding that learning is dynamic
and always in the process of being constructed. New ways
of thinking about curriculum involve a
shift in the images we use, away from knowledge pictured
as fragmented pieces put together, one piece at a time,
in a linear fashion on an assembly line, to an image of
knowledge as a complex organic network organized into
living fields, territories or “landscapes.” (WNCP 6)*

Visual arts education in Manitoba is conceived as a

learning landscape that represents a relational space.
In this space, the learner along with other learners,
educators, Elders, and the larger visual arts community
interact and learn together in the dynamic, complex, living
field of the visual arts. Knowing in the landscape of the
visual arts “requires a network of connections linking the
individual’s location in the landscape to the larger space”
(WNCP 20).
The visual arts landscape provides multiple locations for
diverse learners to enter, and offers various trajectories
along which to journey and to continue lifelong
transformative travels.

* Landscape Metaphor and Image

The Manitoba landscape photograph that appears as a background image on this page, and elsewhere in this document, is used with the kind permission of © Stan Milosevic.

The landscape metaphor illustrated by the panoramic Manitoba landscape represents current understandings about curriculum, as described above. The Manitoba landscape
image is used to place the Manitoba visual arts curriculum butterfly within diverse, authentic settings, contexts, and communities found within Manitoba. Placing the
curriculum butterfly within an authentic Manitoba landscape also acknowledges the dedicated efforts of many educators throughout Manitoba who have worked for many
years to build the armature that gives form to this curriculum so that the visual arts butterfly can take flight and flourish within the Manitoba landscape.

Overview 11
Th e V i s u a l A r t s F r a m e w o r k

The Visual Arts Framework Butterfly The Butterfly as Graphic Organizer

The visual arts curriculum butterfly image is a graphic
The Manitoba Visual Arts Framework philosophy, essential organizer comprising five interconnected parts: four wings
learning areas, and recursive learnings are represented and a main body in the centre of the butterfly to which each
graphically and metaphorically by the image of a butterfly. of the four wings is connected. Each wing represents one
of four essential learning areas into which the recursive
learnings of Grades 9 to 12 visual arts are classified.
The central area or body of the butterfly represents the
developing artist learner.

The Butterfly as Metaphor

The butterfly also functions as a metaphor for visual arts
education, alluding to transformation, self-actualization,
beauty, and resilience. The butterfly image may stimulate
many other associations by those who encounter this
Visual Arts Framework; such generative thinking is fitting
for a framework intended as an impetus to creative, critical,
and artistic learning.

12 Grades 9 to 12 Visual Ar ts: Manitoba Curriculum Framework

 The Centre of the Butterfly The Wings of the Butterfly
The centre of the butterfly represents the artist learner Each wing of the butterfly represents an essential
creating art in an active participatory space by engaging in learning area that highlights disciplinary practices and
authentic artmaking processes, connecting to multiple art competencies important for visual arts education. The four
and life contexts, and critically reflecting on and responding essential learning areas are
to perceptions within the art experience. In this central
relational space, learnings from all essential learning
QQ Making
areas of the visual arts curriculum develop and interact to QQ Creating
stimulate and sustain the growth of the artist learner. QQ Connecting
As learners grow as artists, they journey toward becoming QQ Responding
creative and artistically literate adults and citizens who will Although each essential learning area presents a distinct
enrich and transform their own lives and the lives of their set of recursive learnings, the areas are not intended to be
future communities. realized in isolation. Just as real wings work synchronously
with each other, the essential learning areas are intended
to function together by integrating the recursive learnings.
While the wings serve to organize and articulate the
recursive learnings, profound realization of these learnings
can occur only through authentic artistic activity.
Creating Visual arts language and practices (Making) are connected

aking to how they may be used to create art (Creating), what

M understandings and significance the language and

Ar t iesrt
practices can communicate through diverse visual arts and
life contexts (Connecting), and how critical reflection about
The
Learn Re
the visual arts transforms learning and develops identity
and agency (Responding).

g sponding
nectin
Con

The Visual Arts Framework 13

 Each of the four essential learning areas or wings contains
the following components:
QQ Essential learning area: Each essential learning area
begins with a statement of the overall learning intent of
the area or wing.
QQ Recursive learnings: Recursive learnings further
elaborate the essential learning areas across Grades 9
to 12. They are developed, recombined, elaborated, and
transformed across novel and varied contexts so that
learning across grades becomes more sophisticated,
more complex, deeper, and broader with time and new
experiences and applications.
QQ Enacted learnings: Enacted learnings represent
multiple and diverse ways to enact the recursive
learnings. They inform instructional design, teaching, and

ea
assessment. They are possible sources of evidence for

Ar
recursive learnings in the visual arts.

ing
QQ Inquiry questions: The inquiry questions, presented
from the learner’s point of view, are intended to provide
ng

s
i

arn
learners and teachers with ideas for possible entry points
and pathways into the study of the visual arts. Questions r n

l Le

a
are intended “to stimulate thought, to provoke inquiry,

Le
and to spark more questions—including thoughtful

ntia

ve
student questions” (Wiggins and McTighe 106).

rsi

gs
i n
Esse
n
cu e ar
Re
d L
a c te o n s
E n u est i
i ry Q
In q u
14 Grades 9 to 12 Visual Ar ts: Manitoba Curriculum Framework
Essential Learning Areas
The Visual Arts Framework identifies the following four
essential learning areas, along with a statement
summarizing the overall learning intent of each area:

Making
The learner develops Creating
language and practices
for making visual art.
aking The learner generates,
develops, and communicates
Creating M The learner develops
ideas for creating visual art.

The learner generates, language and practices

develops, and communicates for making visual art.

Ar t iesrt
ideas for creating visual art.
The
Learn Respo
Connecting
The learner develops understandings
ing nding
about the significance of the visual arts by
ect
making connections to various times, places,
social groups, and cultures. Conn The learner develops
The learner uses critical
reflection to inform
visual arts learning and
understandings about the
Responding to develop agency and
significance of the visual
identity.
arts by making connections
The learner uses critical reflection to inform visual arts to various times, places,
learning and to develop agency and identity. social groups, and cultures.

The Visual Arts Framework 15

Recursive Learnings Connecting (C)
The learner develops understandings about the
The recursive learnings that relate to the four essential
significance of the visual arts by making connections to
learning areas (M, CR, C, and R) in the Visual Arts (VA)
various times, places, social groups, and cultures.
Framework are identified below:
VA–C1 The learner develops understandings about
Making (M) people and practices in the visual arts.
The learner develops language and practices for making VA–C2 The learner develops understandings about the
visual art. influence and impact of the visual arts.
VA–M1 The learner develops competencies for using VA–C3 The learner develops understandings about the
elements and principles of artistic design in a roles, purposes, and meanings of the visual
variety of contexts. arts.
VA–M2 The learner develops competencies for using
Responding (R)
visual art media, tools, techniques, and
processes in a variety of contexts. The learner uses critical reflection to inform visual arts
learning and to develop agency and identity.
VA–M3 The learner develops skills in observation and
depiction. VA–R1 The learner generates initial reactions to visual
arts experiences.
Creating (CR)
VA–R2 The learner critically observes and describes
The learner generates, develops, and communicates ideas visual arts experiences.
for creating visual art.
VA–R3 The learner analyzes and interprets visual arts
VA–CR1 The learner generates and uses ideas from a experiences.
variety of sources for creating visual art.
VA–R4 The learner applies new understandings about
VA–CR2 The learner develops original artworks, visual arts to construct identity and to act in
integrating ideas and art elements, principles, transformative ways.
and media.
VA–CR3 The learner revises, refines, and shares ideas
and original artworks.

16 Grades 9 to 12 Visual Ar ts: Manitoba Curriculum Framework

 king Creating
MaThe learner develops language and practices The learner generates, develops, and
for making visual art. communicates ideas for creating visual art.
VA–M1 The learner develops competencies for VA–CR1 The learner generates and uses ideas
using elements and principles of artistic from a variety of sources for creating
design in a variety of contexts. visual art.
VA–M2 The learner develops competencies for VA–CR2 The learner develops original
using visual art media, tools, techniques, artworks, integrating ideas and art
and processes in a variety of contexts. elements, principles, and media.
VA–M3 The learner develops skills in observation VA–CR3 The learner revises, refines, and
and depiction. shares ideas and original artworks.

TheArtist
Learner
Connecting Responding
The learner develops understandings about the The learner uses critical reflection to inform visual
significance of the visual arts by making connections arts learning and to develop agency and identity.
to various times, places, social groups, and cultures. VA–R1 The learner generates initial reactions to
VA–C1 The learner develops understandings about visual arts experiences.
people and practices in the visual arts. VA–R2 The learner critically observes and
VA–C2 The learner develops understandings about describes visual arts experiences.
the influence and impact of the visual arts. VA–R3 The learner analyzes and interprets visual
VA–C3 The learner develops understandings about arts experiences.
the roles, purposes, and meanings of the VA–R4 The learner applies new understandings
visual arts. about visual arts to construct identity and
to act in transformative ways.

The Visual Arts Framework 17

 Guide to Reading the Visual Arts Framework
Making
VA-M

Recursive Learnings
Making
VA-M
The learner develop
s language
and prac
tices for
making
visual
art.
Essential Learning Area

In visual arts education,

there are four essential
Recursive learnings further elaborate the The learner develop
s language
Recursive Learnings and prac
tices for learning areas.
essential learning areas across Grades 9 to 12. making
visual
VA–M1 VA–M2 VA–M3 art.
They are developed, recombined, elaborated, and The learner develops competencies* The learner develops competencies The learner develops skills in
Each essential learning area
transformed across novel and varied contexts for using elements* and principles* of
artistic design in a variety of contexts.
for using visual art media, tools,
techniques, and processes in a variety
observation and depiction.
begins with a statement of
Recursive Learnings
so that learning across grades becomes more of contexts.
the overall learning intent of
VA–M1 VA–M2 VA–M3
sophisticated, more complex, deeper, and broader The learner develops competencies* The learner develops competencies The learner develops skills in
the area or highlighted wing
with time and new experiences and applications. for using elements* and principles* of
artistic design in a variety of contexts.
for using visual art media, tools,
techniques, and processes in a variety
observation and depiction.
of the butterfly.
of contexts.

Glossary

* See Glossary. Some key terms are defined

in the glossary.
Grades 9 to 12 Visual Arts Learnings 21

* See Glossary.

using elements and

etencies for
Grades 9 to 12 Visual Arts Learnings 21
s comp a variety of contexts by
velop

Making lea rner de tistic design

The ciples o
prin
fa r
in

???
Codes VA-M1 Inquir
y Ques
tions
The codes identify the
• arts education discipline
• essential learning areas QQ using visual arts vocabulary to identify and describe art elements
and principles, and their relationships for artistic design
QQ Which art elements, principles, or media could I use to convey the
message I want to communicate?
• recursive learnings QQ experimenting with art elements and principles, and their QQ Which art elements will help me draw the viewer’s attention to a
relationships in natural and constructed environments
particular area of my composition?
Example QQ selecting, combining, and manipulating art elements and principles
to solve artistic problems and challenges QQ How could I adapt aspects of another artist’s use of design elements
and principles and apply them to my own work?
VA–M1 QQ exploring contemporary approaches to designing, composing,
or structuring works of art and visual culture (e.g., using multiple QQ How could I manipulate art elements (e.g., value, form, balance) to
VA Visual arts discipline modes of mixed media, evolving technology, performance,
collaboration, non-traditional media)
communicate a particular feeling or mood (e.g., fear, love, anxiety, calm,
confusion, excitement, melancholy)?
M Making (essential
learning area)
1 Recursive learning
identification number

22 Grades 9 to 12 Visual Ar ts: Manitoba Curriculum Framework Grades 9 to 12 Visual Arts Learnings 23

Enacted Learnings Inquiry Questions

Enacted learnings represent multiple and diverse ways to The inquiry questions, presented from the learner’s
enact the recursive learnings. They inform instructional design, point of view, provide learners and teachers with
teaching, and assessment. They are possible sources of evidence ideas for possible entry points and pathways into the
for recursive learnings in the visual arts. study of the visual arts.

18 Grades 9 to 12 Visual Ar ts: Manitoba Curriculum Framework

Gr ades 9 to 12
Visual Arts Learnings
 Making
VA-M
The learner develop
s language
and prac
tices for
making
visual
art.

Recursive Learnings
VA–M1 VA–M2 VA–M3
The learner develops competencies* The learner develops competencies The learner develops skills in
for using elements* and principles* of for using visual art media, tools, observation and depiction.
artistic design in a variety of contexts. techniques, and processes in a variety
of contexts.

* See Glossary.

Grades 9 to 12 Visual Arts Learnings 21

 m p e te ncies for using elements and
o
lops c gn in a variety of contexts by

Making e ve
rner d stic desi
h e lea s of arti
T ciple
prin
VA-M1

QQ using visual arts vocabulary to identify and describe art elements

and principles, and their relationships for artistic design
QQ experimenting with art elements and principles, and their
relationships in natural and constructed environments
QQ selecting, combining, and manipulating art elements and principles
to solve artistic problems and challenges
QQ exploring contemporary approaches to designing, composing, or
structuring works of art and visual culture

22 Grades 9 to 12 Visual Ar ts: Manitoba Curriculum Framework

 ?? ?
Inquir
y Ques
tions

QQ Which art elements, principles, or media could I use to convey the

message I want to communicate?
QQ Which art elements will help me draw the viewer’s attention to a
particular area of my composition?
QQ How could I adapt aspects of another artist’s use of design elements
and principles and apply them to my own work?
QQ How could I manipulate art elements (e.g., value, form, balance) to
communicate a particular feeling or mood (e.g., fear, love, anxiety, calm,
confusion, excitement, melancholy)?

Grades 9 to 12 Visual Arts Learnings 23

 m p e te ncies for using visual art
o
e ve lops c , and processes in a variety of
er d chniques

Making a rn
h e le ols, te
T ia, to
d
me exts by
t
con
VA-M2

QQ identifying properties and potentialities of two- and three-

dimensional art media, tools, techniques, and processes for
artmaking (e.g., through research, experimentation, practice)
QQ experimenting with a variety of art media, tools, techniques, and
processes to develop intentions and preferences
QQ selecting and using diverse art media, tools, techniques, and
processes in varied ways to develop technical and creative facility
and to represent artistic intentions
QQ extending, integrating, and refining artmaking competencies using
QQ a variety of personally selected media (e.g., two- and three-
dimensional media, including mixed media, multimedia, and
digital media images and objects)
QQ a range of techniques and processes
QQ various tools and digital and virtual technologies

24 Grades 9 to 12 Visual Ar ts: Manitoba Curriculum Framework

 ???
Inquir
y Ques
tions

QQ What media are available for me to use for my work? What other
things could I use from outside the classroom?
QQ How could I expand my repertoire and knowledge of art media and
tools to increase my artistic potential?
QQ How will the way something is created affect how it is “read” by the
viewer? Would different materials result in different interpretations?
QQ How could I adapt a particular artist’s techniques to enhance my own
work?
QQ How can I use technology to help me communicate my ideas?

Grades 9 to 12 Visual Arts Learnings 25

 ion and depiction by

Making
VA-M3
Th e le
a rner d evelo
ps sk i l ls in observat

QQ selecting and using a variety of techniques for observing and

depicting various subjects
QQ extracting, isolating, and combining selected art elements to depict
observed and imagined subjects
QQ applying and transferring techniques of observational depiction to
represent a range of imagined or fictitious subjects
QQ applying and differentiating between realistic, expressive, and
abstract approaches (e.g., expressionistic, abstract, exaggerated,
cubist, new forms) to the depiction of various subjects

26 Grades 9 to 12 Visual Ar ts: Manitoba Curriculum Framework

 ?? ?
Inquir
y Ques
tions

QQ What depiction strategy or approach would be most effective for my

artistic purposes?
QQ In what ways could I best represent this subject for my purposes
(e.g., with bold lines, tentative lines, bright colours, cool colours,
proportionately, in distorted proportions, realistically, expressively,
abstractly)?
QQ How can I best capture or express the essence of my subject? How
could I abstract my subject without losing its essence?

Grades 9 to 12 Visual Arts Learnings 27

Creating
VA-CR
The learner genera
tes, develo
creating visual art. ps, and c
om munica
tes i deas fo
r

Recursive Learnings
VA–CR1 VA–CR2 VA–CR3
The learner generates and uses ideas The learner develops original The learner revises, refines, and
from a variety of sources for creating artworks, integrating ideas and art shares ideas and original artworks.
visual art. elements, principles, and media.

Grades 9 to 12 Visual Arts Learnings 29

 a variety of
a n d u ses ideas from
s
erate ual art by

Creating
VA-CR1
sou
r
lea rn
The ces for
er g
cre
e n
a tin g vis

QQ drawing inspiration from personal experiences and relevant

sources (e.g., feelings, memories, imagination, observations,
associations, cultural traditions, responses to current events, social,
political, historical, and environmental issues, curriculum studies,
experiences with works of art)
QQ exploring a wide range of resources and stimuli (e.g., art elements,
principles, and media, movement, images, sound, music, stories,
poetry, artifacts, technology, multimedia) to ignite ideas and
questions
QQ considering other arts disciplines (dance, dramatic arts, media
arts,* music) and subject areas to inspire ideas
QQ experimenting with diverse art elements, principles, media,
techniques, language, and practices
QQ engaging in collaborative idea generation (plus-ing)* as inspiration
and fuel for moving ideas forward

* See Glossary.

30 Grades 9 to 12 Visual Ar ts: Manitoba Curriculum Framework

 ?? ?
Inquir
y Ques
tions

QQ What strategies, techniques, or methods can artists use to come up

with ideas that might also be useful for me? Where can I look for
inspiration? What do I care about? What do I want to say?
QQ What (e.g., book, exhibit, event, news) could inspire ideas for my next
artwork?
QQ How could I apply the concept of plus-ing to generate ideas for
group or individual artwork?
QQ What favourite art, dance, drama/theatre, and/or music (e.g., street art,
steampunk dance, slam poetry/music) could I use to inspire ideas for
creating new artwork?

Grades 9 to 12 Visual Arts Learnings 31

 integrating ideas
o r ig in al artworks,
elops iples, and media by

Creating
VA-CR2
lea rner
The art ele
and
me
d e
n
v
t s , princ

QQ remaining open to emerging, serendipitous ideas and inspiration

QQ responding flexibly and creatively to challenges and opportunities
that emerge in the artmaking process
QQ engaging in cycles of experimentation and idea generation to
consider possibilities and test out and elaborate ideas
QQ analyzing and adapting creatively to evolving relationships between
form (media and design) and idea, intent, and/or purpose
QQ defining and solving creative challenges that emerge in the
artmaking process
QQ selecting, synthesizing, and organizing promising ideas, elements,
and media to develop original artwork and to support intention

32 Grades 9 to 12 Visual Ar ts: Manitoba Curriculum Framework

 ???
Inquir
y Ques
tions

QQ What additional sources could I examine to generate other ideas for

creating visual art?
QQ What questions could I ask about my initial ideas to develop additional
possibilities?
QQ What media and design choices are available to me, and how well do
they connect to my ideas or intent?
QQ In what ways could I experiment with my ideas to see whether they
will work and to find out what changes could be made?
QQ What can I do next to move my ideas forward in a new way?
QQ In what ways did feedback from my peers help my experimentation?

Grades 9 to 12 Visual Arts Learnings 33

 eas and
fines , and shares id
e

Creating
VA-CR3
le
r re v ises, r
arnetworks by
The inal ar
orig

QQ selecting and sharing artwork in progress for ongoing feedback

QQ analyzing, revising, and refining in response to critical self-
reflection and feedback from others
QQ reconsidering and/or confirming choices
QQ finalizing and sharing artwork with communicative intent and
audience in mind
QQ contributing creatively and constructively to the curatorial process
QQ documenting own artmaking processes and products for the
purposes of creating, maintaining, and sharing an art portfolio
QQ applying legal and ethical art practices (e.g., related to copyright,
intellectual property) when creating, consuming, and/or sharing art

34 Grades 9 to 12 Visual Ar ts: Manitoba Curriculum Framework

 ???
Inquir
y Ques
tions

QQ How will I document my artmaking processes and work (e.g., blog,

photography, video recording, written description, sketchbook, portfolio)?
QQ What are my options for presenting my artwork to others?
QQ What does the term intellectual property mean, and why should I be
concerned with copyright laws?
QQ How can I use the work of others (e.g., images, songs, print text)
as inspiration without copying their work or violating copyright or
intellectual property laws?
QQ What went well for me in this creative process? What changes and
improvements would I like to make, and why?
QQ What might I create next?

Grades 9 to 12 Visual Arts Learnings 35

Connecting
VA-C The learner develop
su
the visual arts by m nderstandings abo
aking conn
social groups, and c ections to ut the signific
ultures. various an
times, ce of
places
,

Recursive Learnings
VA–C1 VA–C2 VA–C3
The learner develops understandings The learner develops understandings The learner develops understandings
about people and practices in the about the influence and impact of the about the roles, purposes, and
visual arts. visual arts. meanings of the visual arts.

Grades 9 to 12 Visual Arts Learnings 37

 out people and
u n de rstandings ab
elops rts by

Connecting
VA-C1
lea rner
The tices in
pra
c
d
th
e
e
v
v i sua l a

QQ exploring a range of visual arts works, forms, styles, traditions,

innovations, and visual culture from various times, places, social
groups, and cultures (including First Nations, Métis, and Inuit)
QQ investigating contributors to visual arts from a range of contexts
(e.g., artist, designer, graphic artist, website designer, illustrator,
cartoonist, artisan, curator, conservation and restoration technician,
advocate, educator, historian, critic)
QQ engaging with local, Manitoban, and Canadian contributors
and contributions to visual arts (e.g., artists, art groups, events,
community and cultural resources, innovations) to expand learning
opportunities

38 Grades 9 to 12 Visual Ar ts: Manitoba Curriculum Framework

 ???
Inquir
y Ques
tions

QQ Why is it important to have an understanding of historical and cultural

contexts when studying or critiquing artwork?
QQ What information about context can help me determine what this
work is about?
QQ How does an artist’s context (e.g., race, gender, sexuality, social group,
culture, geographical location, social context) affect the kind of art
she or he makes?
QQ What research and findings about visual artists could enrich and provide
new ideas for my artwork?

Grades 9 to 12 Visual Arts Learnings 39

 n de rstandings about the influence
u

Connecting
VA-C2
and
le
The impac
r d e velops l arts by
arnet of the vi
sua

QQ examining ways that visual arts and artists influence personal

growth, identity, and relationships with others
QQ examining the impact of context (e.g., personal, social, artistic,
cultural, political, economic, geographical, environmental, historical,
technological) on visual arts and artists
QQ examining how visual arts and artists influence, comment on,
question, and challenge social, political, and cultural discourse and
identity
QQ exploring how visual arts and artists influence and are influenced
by other arts disciplines and subject areas
QQ exploring how new technologies and ideas can propel change and
innovation in art and visual culture (e.g., shifting definitions of art,
of “high” vs. “low” culture; changing status of women in society and
art; impacts of digital or social media in art practices)

40 Grades 9 to 12 Visual Ar ts: Manitoba Curriculum Framework

 ?? ?
Inquir
y Ques
tions

QQ What artmaking communities, traditions, or philosophies connect to my

own artistic practices, products, and ideas?
QQ What historical, social, cultural, and/or political events and issues have
influenced the artworks I am exploring or creating?
QQ How have media, social, and technological changes influenced my work
and the artworks I am studying?
QQ How have different styles of art influenced artistic and social
conditions in communities and cultures past and present?
QQ How can art challenge and change the way society and culture are
viewed?

Grades 9 to 12 Visual Arts Learnings 41

 out the roles,
u n de rstandings ab
elops s of the visual arts by

Connecting
VA-C3
lea rn
The oses, a
pur
p
d
nd
e v
er meaning

QQ exploring how art and artists make and communicate meaning and
create unique and new ways to know self and to perceive the world
QQ examining how visual arts can be a means of sharing diverse
viewpoints and of understanding the perspectives of others
QQ examining ways that visual arts reflect, interpret, and record
traditions, values, beliefs, issues, and events in society and culture
QQ analyzing the multiple roles and purposes of art for individuals and
society (e.g., celebration, persuasion, education, commemoration,
commentary, recreation, therapy, religious/artistic/cultural
expression)
QQ investigating leisure and/or career and other lifelong possibilities in
art (e.g., artist, media designer, designer, graphic artist, computer
graphics artist, website designer, illustrator, cartoonist, artisan,
museum curator, conservation and restoration technician, museum
educator, teacher, critic, historian, anthropologist, therapist,
volunteer, viewer)

42 Grades 9 to 12 Visual Ar ts: Manitoba Curriculum Framework

 ?? ?
Inquir
y Ques
tions

QQ What does this art communicate? Is there a message? Does there

need to be a message? Is it beautiful? Does art have to be
beautiful?
QQ How can contextual information about visual arts (e.g., historical,
biographical, cultural, political, social, geographical contexts) help me to
interpret the meaning and impact of art?
QQ Who gives this artwork meaning—the artist or the viewer, or both?
QQ Which local or regional art associations, artists, and resources could help
expand my art learning?
QQ How could I learn more about various visual arts roles and purposes
by connecting with local or regional artists and art professionals (e.g.,
visits to studios, in-person interviews, blogging, video conferencing, social
media)?
QQ What are my short- and long-term possibilities in visual arts for leisure
or career?

Grades 9 to 12 Visual Arts Learnings 43

Responding
VA-R
The learner uses cri
tica
to develop agency a l reflection to info
nd identity rm visu
. al arts
l earnin
ga nd

Recursive Learnings
VA–R1 VA–R2 VA–R3 VA–R4
The learner generates The learner critically The learner analyzes The learner applies new
initial reactions to visual observes and describes and interprets visual arts understandings about
arts experiences. visual arts experiences. experiences. visual arts to construct
identity and to act in
transformative ways.

Grades 9 to 12 Visual Arts Learnings 45

 io n s to visual arts
s in itial react

Responding
te
er g enera
a rn
le s by
The rience
e
exp
VA-R1

QQ suspending judgment and taking time to deeply perceive artworks

and art experiences before forming opinions, interpretations, and
evaluations
QQ making personal connections to previous experiences with visual
arts and other art forms
QQ expressing first impressions (e.g., thoughts, feelings, intuitions,
associations, questions, experiences, memories, stories,
connections to other disciplines) evoked by artworks and art
experiences as a starting point for critical analysis and reflection

46 Grades 9 to 12 Visual Ar ts: Manitoba Curriculum Framework

 ??
?
Inquir
y Ques
tions

QQ What is my first reaction to this art?

QQ What did I notice first about this work? What else did I notice?
QQ What personal connections can I make to this artwork? Of what
does it remind me?
QQ Have I seen or experienced art like this before? How does it
compare to other artworks or art experiences?
QQ How could I describe this artwork to someone not in the room?

Grades 9 to 12 Visual Arts Learnings 47

 rves and describes visual arts
obse

Responding
ly
r c r itical
e
e learn es by
Th rienc
e
exp
VA-R2

QQ discerning details about art elements, principles, techniques, and

media to inform analysis, interpretation, judgment, and evaluation
QQ using visual arts terminology to create rich, detailed observations
(e.g., art elements, principles, techniques, processes, media, tools)
QQ building common understandings and considering different
noticings about artworks and art experiences

48 Grades 9 to 12 Visual Ar ts: Manitoba Curriculum Framework

 ???
Inquir
y Ques
tions

QQ In the artist’s work I am viewing, how are elements, principles,

techniques, and media used and manipulated to make me notice
different parts of the composition or to create certain feelings,
moods, or reactions?
QQ What visual arts vocabulary can I use to describe the elements,
principles, techniques, and media in the work I am viewing or creating?

Grades 9 to 12 Visual Arts Learnings 49

 al arts
a n d in terprets visu
yze s

Responding
VA-R3
e
exp
e
l
Th rienc
e r a
earn es by
nal

QQ analyzing how art elements and principles function, relate, and are
manipulated, organized, and used for artistic and creative purposes
QQ connecting analysis evidence to initial reactions and personal
associations to form interpretations about meaning and intent
QQ examining a range of interpretations to understand that unique
perspectives and lenses (e.g., social, cultural, historical, political,
disciplinary) affect interpretation and appreciation
QQ refining ideas and igniting new thinking through listening to others,
critical dialogue, questioning, and research
QQ probing, explaining, and challenging interpretations, preferences,
and assumptions about meaning and quality
QQ generating and co-constructing criteria to critically evaluate artistic
quality and effectiveness

50 Grades 9 to 12 Visual Ar ts: Manitoba Curriculum Framework

 ??
?
Inquir
y Ques
tions

QQ What is the artist trying to communicate, and why?

QQ What do I wish to communicate about my own artwork, and why?
QQ What art elements help me to interpret artwork for meaning and
intent?
QQ How could I find out how others (e.g., people whose cultures, genders,
backgrounds differ from mine) might view and interpret this work?
QQ How can I know when my art or the art I am viewing is
effective?

Grades 9 to 12 Visual Arts Learnings 51

 u n d e rstandings about visual arts
w
ies ne to act in transformative ways by

Responding
VA-R4
lea r
The nstruc
to c
o
ti
ppl
ner adentity and

QQ justifying own interpretations, decisions, preferences, evaluations,

and possible changes in previous thinking
QQ recognizing and respecting that individuals and groups may have
different opinions, interpretations, preferences, and evaluations
regarding art experiences
QQ making informed judgments and choices for independent decision
making, evaluation, and action
QQ formulating ideas, beliefs, and values about visual arts, and
understanding how they inform a sense of being and agency in the
world
QQ applying beliefs and understandings about visual arts in purposeful,
autonomous ways to inform a sense of being and agency in the
world
QQ identifying ways that visual arts contribute to personal, social,
cultural, and artistic identity

52 Grades 9 to 12 Visual Ar ts: Manitoba Curriculum Framework

 ??
?
Inquir
y Ques
tions

QQ How does this work of art relate to me?

QQ Why do I prefer certain styles of art over others?
QQ How are my personal preferences for visual art changing with new
experiences?
QQ What could I change about my approach to art as a result of new
learning?
QQ How could new understandings about art affect my personal, social, or
school life?

Grades 9 to 12 Visual Arts Learnings 53

Appendix
Appendix:
Conceptual Framework for Learning Growth means “to run back” or “to return.” Through the process
of returning and reflecting back on previous learning—“a
in Visual Arts Education second looking—transformation, growth, development
occur” (Doll).
This conceptual framework can be used to describe
learning growth in visual arts education from Grades 9 Recursive learning facilitates deep, rich understanding,
to 12. It can be used to defined as the ability to recognize patterns that are a part
of larger theories and concepts, the ability to support
QQ design visual arts courses decisions and conclusions, and the recognition that
QQ plan for and assess learning in visual arts education understanding is sensitive to and dependent upon context
(Schwartz et al.). Research points to the importance of
QQ distinguish course credits for each grade
recursive learning, which involves “building and rebuilding
This conceptual framework is based on the recursive ideas in multiple contexts to achieve general principles
nature of visual arts learning, which is foundational to that can be applied to new problems” (Schwartz et al. 4) to
the four essential learning areas (Making, Creating, support learning growth over time.
Connecting, and Responding) and their associated
The recursive process is fed by ongoing reflection and
recursive learnings in the Grades 9 to 12 Visual Arts
critical questioning. Without critical reflection, recursion is
Framework.
no different than repetition. Critical reflection changes the
way recursive learnings may be understood and opens up
The Recursive Nature of Visual Arts Learning new learning pathways and new ways of perceiving and
knowing the world of the visual arts. Through the recursive
Learning in visual arts education is an ongoing, recursive process, learnings emerge, develop, shift, and change as
process. The recursive nature of learning means that the learners “develop new structures, new ways of assimilating,
Grades 9 to 12 learnings are developed, recombined, constructing and organizing the world” (Jardine 47).
elaborated, and transformed across diverse contexts and
in new ways so that learning becomes more sophisticated, The recursive process of learning is generative, emergent,
more complex, deeper, and broader with time and new non-linear, and complex. Complex learning cannot always
experiences. be defined in advance or replicated exactly. Such learning
does not always grow incrementally from simple to
Recursive learning is more than repetition, iteration, complex understandings, but rather can be characterized
accumulation, or the notion of a spiral curriculum. The word as an expanding, changing web of dynamic interactions,
recursive comes from the Latin verb “recurrere,” which relationships, and experiences.

Appendix 57
 Since rich, complex learning in the arts cannot easily Breadth of Learning
be defined or predetermined, a curriculum of recursive
learnings is appropriate for visual arts education: All learners need
opportunities for
A recursive curriculum, then, leaves room for students a wide range of
(or a class) to loop back on previous ideas, to run back or
visual arts
revisit what has gone before. Such a nonlinear approach to
curriculum represents a definite departure from the linear learnings and
lesson plans, course syllabi, and textbook constructions experiences to
educators have worked with and accepted for so long. A give them a
recursive curriculum is dialogical; its development is open, variety of
dependent on the ongoing interaction among teachers,
students, texts, cultures. (Doll)
resources and
affordances for
making meaning, solving problems, and making choices.
The Dimensions of Learning in Visual Arts Breadth is about curricular scope and includes a range of
tools, techniques, competencies, languages, practices, and
Because of the recursive, organic nature of visual arts experiences from all four essential learning areas in visual
learning and because visual arts education in Manitoba arts education (Making, Creating, Connecting, and
varies due to multiple factors, a flexible structure is Responding).
required for describing learning growth from Grades 9
to 12. The conceptual framework for learning growth in Breadth is defined by
visual arts education can be used to meet the challenges
of varying local contexts, available resources, instructional
QQ a wide range of diverse learning experiences, content,
time, staffing, learner background and experience, and the contexts, and applications
chosen visual arts education implementation approach. QQ an ever-expanding repertoire of techniques, strategies,
processes, practices, and resources
The conceptual framework is based on three
complementary and interrelated learning dimensions used
QQ a broad array of learning opportunities from all the
to describe learning growth in visual arts education from essential learning areas
Grades 9 to 12: breadth, depth, and transformation. QQ interconnectivity between the four essential learning
areas
A discussion of these dimensions of learning follows.
The metaphor of a growing tree is used to represent
the dimensions of breadth and depth of learning. The
dimension of transformation of learning is represented by
the cycle of metamorphosis from caterpillar to butterfly.

58 Grades 9 to 12 Visual Ar ts: Manitoba Curriculum Framework

Depth of Learning Transformation of Learning
Learners need to deeply Through transformation,
explore and develop learners develop
specialized, detailed, agency, identity, and the
sophisticated, and capacity to apply and
layered understandings integrate learning in new
about the visual arts. self-determined ways so
Expertise is developed that learning in all four
through depth of essential learning areas
learning in all four (Making, Creating,
essential learning areas Connecting, and Responding) becomes personally
(Making, Creating, Connecting, and Responding). relevant, meaningful, purposeful, and powerfully engaging.
Depth is defined by Transformational learning results in far-reaching changes
that profoundly influence and affect the learner’s identity
QQ many experiences and a deep body of knowledge and and subsequent learning:
expertise
Transformative learning involves experiencing a deep,
QQ understanding of big ideas, influences, concepts, structural shift in the basic premises of thought, feelings,
principles, and underlying structures and actions. It is a shift of consciousness that dramatically
and permanently alters our way of being in the world. Such
QQ learning in profound, complex, and multi-faceted ways
a shift involves our understanding of ourselves and our
QQ detailed, nuanced knowing self-locations; our relationships with other humans . . . ;
our visions of alternative approaches to living; and our
QQ learning with intensity and focus sense of possibilities for social justice and peace and
QQ efficiency, mastery, accuracy, and fluency in the personal joy. (Morrell and O’Connor xvii)
development of skills, techniques, and competencies
QQ expanding capacity for remembering and recall to
include synthesis, application, and innovation
QQ capacity for integrating learning and applying it to new
contexts
QQ capacity for connecting parts and recognizing patterns

Appendix 59
 Transformation is defined by Signposts for the Learning Dimensions
QQ capacity for critical reflection and dialogue Each of the three dimensions of learning (breadth, depth,
QQ empowerment and autonomy and transformation) is further described by three signposts.
The signposts do not represent a fixed chronological
QQ initiative, leadership, flexibility, and adaptability
sequence; instead, each signpost describes qualities
QQ personal application of learning for current and emerging and characteristics of increasing breadth, depth, and
needs and uses transformation of learning across and within essential
QQ identity construction and the capacity for agency learning areas in visual arts education.
QQ capacity to identify and challenge assumptions and
influences and to change thinking and behaviours
QQ capacity for building and rebuilding frames of reference
QQ seeing and knowing the world in new ways and from new
perspectives
QQ empathy and understanding of others’ perspectives
QQ cultural competency

60 Grades 9 to 12 Visual Ar ts: Manitoba Curriculum Framework

Signposts for Breadth of Learning in the Visual Arts
The following table shows the growth of the breadth dimension of learning in the visual arts at three points in time. At each
signpost, the dimension of breadth across and within essential learning areas increases in scope and variety.

Three Signposts for Breadth of Learning in the Visual Arts

Signpost 1 Signpost 2 Signpost 3

The learner makes connections within The learner expands connections The learner diversifies and extends
and among essential learning areas within and among essential learning learnings, experiences, and
through various learning experiences areas and develops an increasing connections. The web of dynamic
and contexts. At this emergent phase, repertoire of tools, techniques, interactions between essential
the learner develops a beginning competencies, strategies, processes, learning areas and relationships with
repertoire of tools, techniques, practices, and resources through new others in the community of learners
competencies, strategies, processes, learning experiences, contexts, and becomes increasingly interconnected.
practices, and resources through content.
initial learning opportunities from all
four essential learning areas.

Appendix 61
 Signposts for Depth of Learning in the Visual Arts
The following table shows the growth of the depth dimension of learning in the visual arts at three points in time. At each
signpost, the dimension of depth across and within essential learning areas becomes increasingly complex and sophisticated,
and integrates understandings from previous signposts.

Three Signposts for Depth of Learning in the Visual Arts

Signpost 1 Signpost 2 Signpost 3

The learner develops learnings in The learner consolidates, elaborates, The learner continues to develop
substantive and meaningful ways. and reinvests previous learnings. learnings in comprehensive, focused,
The learner has rigorous and multiple The learner explores learnings in and sophisticated ways to understand
opportunities to engage and interact new contexts and from different and apply new facets about learnings.
with targeted recursive learnings. perspectives to generate new Relationships between learnings and
possibilities and relationships. learning experiences become more
complex, profound, and integrated
with expanded contexts and new
perspectives.

continued

62 Grades 9 to 12 Visual Ar ts: Manitoba Curriculum Framework

 Three Signposts for Depth of Learning in the Visual Arts
Signpost 1 Signpost 2 Signpost 3

The learner focuses on principles, The learner explores new facets The learner synthesizes, generalizes,
concepts, structures, order, factors, of and builds new, layered and elaborates previous and new
variables, patterns, and details about understandings about principles, understandings to develop more
a learning phenomenon. concepts, structures, order, factors, complex, nuanced, subtle, and
variables, patterns, and details about abstract ways of knowing.
learnings.

The learner develops recall and The learner begins to internalize The learner internalizes and masters
is able to reproduce specialized specialized, authentic visual arts specialized, authentic visual arts
and authentic visual arts language, language, practices, vocabulary, language, practices, vocabulary,
practices, vocabulary, and expertise, and knowledge through expertise, and knowledge through
knowledge. inquiry and sustained engagement sustained, intense engagement
with recursive learnings. with recursive learnings in multiple
contexts.

The learner develops efficiency, The learner develops increasing The learner is a mature, full member
accuracy, and fluency in targeted efficiency, accuracy, and fluency in of a visual arts learning community.
recursive learnings. targeted learnings through experience The learner integrates and applies
and over time. detailed knowing and mastery of
visual arts learnings in own work, in
independent areas of inquiry, and in
understanding the work of others.

Appendix 63
 Signposts for Transformation of Learning in the Visual Arts
The following table shows the growth of the transformation dimension of learning in the visual arts at three points in time. At
each signpost, the dimension of transformation across and within essential learning areas becomes increasingly complex and
sophisticated, and integrates understandings from previous signposts.

Three Signposts for Transformation of Learning in the Visual Arts

Signpost 1 Signpost 2 Signpost 3

The learner synthesizes and applies The learner synthesizes and applies The learner synthesizes and applies
new learnings for current needs learnings for new self-directed learning learnings in flexible and adaptive ways
and uses and to make choices and goals and initiatives. for new and emerging needs and uses
decisions. and to make independent, informed
choices and decisions.

The learner develops strategies for The learner uses critical reflection The learner uses critical reflection to
critical observation, reflection, and and dialogue to analyze, interrogate, re-examine, build, and rebuild frames
dialogue to identify own and others’ challenge, reconsider, shift, and of reference. The learner experiences
assumptions, influences, values, and develop a range of assumptions, deep shifts in thought, feeling, and/or
beliefs. influences, preferences, interpretations, actions.
and learnings.

continued

64 Grades 9 to 12 Visual Ar ts: Manitoba Curriculum Framework

 Three Signposts for Transformation of Learning in the Visual Arts
Signpost 1 Signpost 2 Signpost 3
The learner develops new perspectives The learner integrates new perspectives The learner develops awareness that
and new ways of seeing and knowing and new ways of seeing and knowing understandings are always growing
the world. the world for learning and relationships. and shifting. The learner uses new
perspectives and new ways of knowing
the world to inform action and agency
and to alter own way of being in the
world.

The learner becomes conscious of The learner explores personal, social, The learner’s (for now) personal,
personal, social, and artistic identity. and artistic identity and roles, and social, and artistic identity informs
reflects and acts on beliefs and actions. own choices, actions, roles, and
assumed positions, and informs others’
perceptions of the learner.

The learner develops strategies to deal The learner draws from a range The learner seeks and initiates new
with challenges, to solve problems, and of strategies, choices, and critical opportunities for critical reflection,
to act on critical reflection for action and reflection for own decision making and action, and learning. The learner applies
agency. problem solving to direct own learning, detailed knowledge and mastery of
to consider alternatives, and for visual arts learnings to independent
individual and collective agency. areas of inquiry, to own and others’
work, and to inform future learning.

The learner develops awareness that The learner shares in the experiences The learner uses cultural competencies
one’s behaviour, attitudes, and values and cultures of others, values different to be a change agent for new
can have an effect on others. The perspectives, world views, and cultures, possibilities and to make a positive
learner recognizes and respects and uses new perspectives to inform difference in school and larger
different perspectives, world views, and learning and action. communities.
cultures.

The learner communicates and builds The learner builds on new experiences The learner is a full, mature member
connections between and among to strengthen communication and of a diverse, knowledgeable, and
different cultures and communities connections between and among cultures competent visual arts community.
through the visual arts. and communities through the visual arts.

Appendix 65
Using the Signposts for Breadth, Depth, and Transformation
At each grade, the recursive learnings are developed, consolidated, elaborated, recombined, and reinvested in new ways and in
different contexts with increasing breadth, depth, and transformation.
The following table suggests possible ways to describe visual arts learning growth from the beginning of Grade 9 to the
completion of Grade 12.

Learning Signposts for Breadth, Depth, and Transformation

(Grades 9 to 12 Visual Arts)
Grade 9 Grade 10 Grade 11 Grade 12
Signpost 1 Signposts 1 and 2 Signposts 2 and 3 Signpost 3

66 Grades 9 to 12 Visual Ar ts: Manitoba Curriculum Framework

Illustration of Possible Relationships:
Breadth, Depth, and Transformation
The learning signposts for breadth, depth, and At another point in time, with increased opportunities for
transformation of learning are intended to be flexible rather extending breadth of learning, the same Grade 10 learner
than fixed markers, depending on context of use. Breadth, could reach signpost 2 or 3 for breadth, but remain at
depth, and transformation are interrelated, but may develop signpost 1 for depth, as shown in the following illustration.
in a variety of ways and at different points in time.
For example, at one point in time, a Grade 10 learner may
reach signpost 1 for both breadth and depth of learning in
the visual arts, as shown below.

Appendix 67
 The learner could, similarly, demonstrate learning growth in the three dimensions of breadth, depth, and transformation at
different points in time and in different combinations, as illustrated by the network of potential connections below.

68 Grades 9 to 12 Visual Ar ts: Manitoba Curriculum Framework

Glossary
Glossary

The following terms are provided for clarification and asymmetrical balance
understanding of selected terminology used in Manitoba’s Balance in an asymmetrical composition that may be
Grades 9 to 12 visual arts curriculum and resources. These achieved by creating equal visual weight or effect between
terms are not intended to be exhaustive. Educators are different parts or elements of a composition (e.g., a large,
blue square on one side of an image, balanced by a pair of
encouraged to consult the recommended visual arts resources
small, bright red circles on the other side).
for additional and alternative terminology.
asymmetry
affordances The elements or parts of a composition that are different or
Opportunities and/or possibilities for individual action and unequal in size, shape, and/or position compared to other
agency (Chemero; Ovens and Godber; Withagen et al.). elements or parts; differing design of image on one half or
analogous colours side of a composition from that of the other half or side.
Colours located next to one another on the colour wheel background
(e.g., blue and violet, orange and red). The area in a composition that appears to be behind the
art forms subject; the elements in the composition that appear to be
Broad categories of art (e.g., visual art, dance, dramatic furthest from the viewer.
arts, music); classifications of action and materials by which balance
an artwork is made (e.g., printmaking, sculpture, drawing). A principle of design concerned with the balance of visual
artist statement weight carried by elements in an artwork; created when
A concise, written or spoken summary of an artist’s visual elements are symmetrically or asymmetrically
intentions, materials, processes, influences, background, arranged to produce the effect of equal visual weight or
and/or reasons for making an artwork; what an artist would importance, or harmonious design and/or proportion, by
like a viewer to know about his or her art. offsetting or balancing position, shape, colour, lightness,
and darkness.
art style
The qualities of an artwork that indicate its author or collage
context (e.g., time, place, culture, art media and technique, An art form using various and multiple media (e.g.,
situation, ideology, group of artists); recognized art styles fabric, organic materials, found objects, photographs,
include abstraction, impressionism, expressionism, realism, newspapers, printed text, illustrations, digital media,
and so on. painted or drawn areas) arranged on a flat surface.

art tradition
The cultural context in which art is made or used.

Glossary 71
colour contour line
The visual effect caused by the reflection or absorption A line that describes and defines the edges, ridges, or
of a specific wavelength of light; an element of design outline of a subject, shape, or form.
consisting of the properties of hue, value, intensity, and
temperature; the process of mixing, adding, and balancing contrast
hues in a composition. A principle of design that provides emphasis, visual
interest, and effect through juxtaposition of marked
colour intensity differences of one or more elements of design (e.g., colour,
Intensity of colour that results from using a pure (unmixed) shape, lightness, darkness) and a variety of differing
hue, using saturated (undiluted) colour, or from placing a elements in a composition.
colour next to its complementary colour.
cool colours
colour wheel Colours associated with water or ice (e.g., blue, green);
The circular arrangement of pure hues, based on how colours containing blue; colours that appear to recede
the paint pigments of primary colours mix to produce in comparison with warmer colours. (See also warm
secondary colours (red, violet, blue, green, yellow, orange), colours.)
and may also include tertiary colours. (See also primary
colours, secondary colours, and tertiary colours.) creative process
The ongoing process of exploring, generating, selecting,
competency developing, refining, reflecting, and communicating ideas
Consists of in and through art. (The creative process can apply to any
more than just knowledge and skills. Competency is domain, but here the focus is on visual art.)
the complex “know act” that encompasses the ongoing
development of an integrated set of knowledge, skills, cross-contour lines
attitudes, and judgments required in a variety of different Horizontal and/or vertical lines that move across a subject
and complex situations, contexts and environments. It to suggest form and volume.
involves the ability to meet complex demands, by drawing
on and mobilising psychosocial resources (including skills cross-hatching
and attitudes) in a particular context. Competencies A technique using two or more crossed sets of repeated
involve a mobilisation of cognitive and practical skills, parallel lines to create darker value, texture, and/or pattern
creative abilities and other psychosocial resources such as
in a drawing.
attitudes, motivation and values. (OECD 4)
curate
complementary colours
Performing the work of a curator; the work done in a gallery
Colours located opposite from one another on the colour
or museum to select artwork or artifacts, plan exhibitions,
wheel (e.g., red and green, orange and blue); colours that
and create displays for public viewing.
appear to intensify each other when juxtaposed.

72 Grades 9 to 12 Visual Ar ts: Manitoba Curriculum Framework

depiction foreground
The process of making a representation of a subject, or What appears to be in front of other elements in a
communicating an idea visually; a representation of a composition and attracts attention first; the elements that
concept or subject in visual form. appear to be closest to the viewer; the area in a landscape
composition that is often closest to the bottom of the
depth picture plane.
The distance from front to back of a three-dimensional
artwork; an imaginary measurement from the viewer’s eye form
into the implied space created within two-dimensional (flat) An element of design referring to the properties of a three-
artwork; an illusion of depth created by using perspective, dimensional object, a geometric solid (e.g., sphere, cube,
overlapping forms, scale, colour, and placement of rectangular prism, cone, pyramid), or an organic form. (See
elements within a composition. also art form.)

elements of design found objects

Visual, tactile, and sensory parts of a composition, Everyday and non-standard objects used to create artwork.
including appropriated elements (e.g., elements
appropriated from other artworks, photographs, geometric shape
advertisements, consumer culture, television, the Internet, A regular, two-dimensional (flat), enclosed area on
books, media, historical documents); expressive elements geometric figures (e.g., square, triangle, rectangle, circle,
(e.g., manipulation, transformation, or representation of octagon).
time, space, and other elements); performative elements;
hatching
sensory elements (e.g., sight, smell, hearing, touch); multi-
Repeated, closely spaced parallel lines used to create
modal and hybrid elements (e.g., combinations of still
value, texture, and/or shading in a drawing.
images, moving images, print text, light sources, digital
media, found objects, sound, scent, and others); local, hue
regional, cultural, social, economic, religious, spiritual, Any colour in the light spectrum in its pure state.
digital, and other emerging elements; and line, colour,
value, texture, shape, form, and space. implied line
A row or column of distinct elements; a linear pattern that
everyday creativity creates a path for the eye to follow through a visual field.
Expressions of originality and meaningfulness in creative
product and process in the activities of everyday life, intensity
including work and leisure (Richards). The brightness or dullness of a pure colour or hue.

focal point line

A principle of design or part of a composition on which a An element of design; a mark made by pulling a drawing
viewer’s attention is focused; created by using elements tool (e.g., pencil) across a surface; a representation of the
such as contrast, directional lines, the unusual or edges or contours of a subject.
unexpected, isolation, convergence, location, recognizable
subjects, and so on.

Glossary 73
line character mixed media
The qualities of a line (e.g., direction, fluidity, thickness, The variety of materials or substances (e.g., paint,
straightness, brokenness, colour). Variations in line quality collage) used within one artwork. (See also media and
can add interest to a drawing and convey information and multimedia.)
emotion (e.g., a jagged contour line may convey that the
subject is furry, while a fluid line can indicate a calm mood). monochromatic
Having one colour. Variation is achieved by diluting the
line weight colour, or mixing tints and/or shades, to achieve lighter and
The heaviness or lightness of a line; can refer to the darker values of the same hue.
importance of a line (i.e., how much it stands out in a
composition). A line’s weight (how much it is noticed) mosaic
depends on its thickness, blackness (or brightness of Artwork created with small pieces of media (e.g., paper,
colour), or active (scribbled) character. tile, glass, beads, coloured stones, found objects).

media multimedia
The plural form of art medium; materials used to create The variety of media used in domains such as electronics,
an artwork (e.g., paint, clay, paper, fabric, charcoal, technologies, video, recorded music, and so on. (See also
organic and found materials). (See also mixed media and media and mixed media.)
multimedia.)
negative shape
media arts Areas around and between parts of a two-dimensional
Arts that involve communication technologies such as subject (e.g., the triangular shapes created between the
film, video, audio, digital, satellite, television, radio, the spokes of a drawing of a bicycle). Negative space and
Internet, graphic communications, interactive and mobile negative shape are often used interchangeably; however,
technologies, video games, animation, and emerging negative shapes are two-dimensional, while negative
technologies. spaces may include both two- and three-dimensional
forms.
medium
The singular form of two- or three-dimensional art materials negative space
or media used to create artwork. Areas surrounding or enclosed by a subject (e.g., the
spaces between and around the branches of a tree).
middle ground
The area in a composition that appears to be between the organic shape
foreground and the background; the elements that appear An object or a representation with irregular, free-flowing,
to be in the middle distance in the image. or ovoid contours; often a natural shape (e.g., a leaf, a
puddle).

74 Grades 9 to 12 Visual Ar ts: Manitoba Curriculum Framework

pattern principles of design
A principle of design in which one or more elements are Schema by which elements in artwork are planned,
sequentially repeated (e.g., a row of geometric shapes, a organized, and analyzed. Postmodern art principles
patchwork of alternating colours). include appropriation, juxtaposition, recontextualization,
layering, interaction of text and image, hybridity, gazing,
picture plane representing, and other overlapping and emerging hybrids
The actual surface (e.g., paper, canvas) used for a of visual form and conceptual artmaking strategies (Gude,
representational two-dimensional artwork. “Postmodern Principles”). Modernist principles of design
include harmony, variety, balance, contrast, proportion,
plus-ing
emphasis and focal point, unity, repetition, pattern and
“In collaborative idea generation, the act of accepting any
rhythm, and movement.
idea and adding to it . . . .” (Kelly 321).
repetition
positive shape
A principle of design in which one or more elements in a
An enclosed area that represents a two-dimensional
composition are repeated to create unity in the artwork.
subject rather than its surrounding area (e.g., the circular
shape of a pizza, rather than the triangular shape left by a secondary colours
missing slice). Positive shape and positive space are often Colours that can be made by mixing two primary colours
used interchangeably; however, positive space is more (e.g., yellow + red = orange; red + blue = violet; yellow +
inclusive, as it includes both two- and three-dimensional blue = green).
forms.
shade
positive space Black (or another neutral dark value) added to a colour
A two- or three-dimensional shape or form that represents to produce a darker value of the same hue (e.g., blue +
a subject rather than its surrounding space (e.g., the black = dark blue); to add darker values or shadows to an
branches of a tree, rather than the spaces between the area of a composition (e.g., adding cross-hatching in a
branches). Positive shape and positive space are often drawing).
used interchangeably; however, positive space is more
inclusive, as it includes both two- and three-dimensional shape
forms. An element of design; the two-dimensional, enclosed area
defined and described by elements such as colour, value,
primary colours line, and/or texture. Two-dimensional shapes may be
The three colours from which other colours may be mixed: representations of geometric objects (e.g., square, triangle,
red, yellow, and blue; cannot be created by mixing other circle, octagon) or organic objects with irregular or varying
colours. Electronic media may use other systems (e.g., contours (e.g., leaf, puddle).
cyan blue, magenta, yellow, and black [CMYK]).

Glossary 75
space unity
An element of design; the area or depth of field suggested A principle of design; created when elements are arranged
in an image (e.g., the space suggested in a landscape to give an artwork the feeling of coherence, integrity,
painting as a result of the use of linear perspective, colour, wholeness, and oneness.
overlapping forms, scale); the area around, between,
above, below, and contained within images or elements of value
an artwork. The lightness or darkness of a colour or hue.

symmetry variety
A mirror image; balance or repetition of one part of a form, A principle of design concerned with providing contrast,
image, or composition to another. or interrupting a predictable placement or pattern; used to
create tension or visual interest.
tertiary colours
Colours derived from mixing two primary colours unequally, visual art
equivalent to mixing a primary colour with a secondary A creative work experienced visually (e.g., painting,
colour (e.g., blue-green, red-violet). drawing, photograph); may also be tactile (e.g., sculpture,
collage), or include multimedia or drama (e.g., installation,
texture performance art).
An element of design; tactile quality, or how a material
feels to the touch (e.g., bumpy, furry, smooth); marks visual art tools
made to represent the surface quality of a subject (e.g., Items used to apply and manipulate art media. Artmaking
using repeated pencil marks to indicate fur); recreating a may require a wide variety of tools (e.g., paintbrushes for
surface quality by adding three-dimensional materials (e.g., painting, carving tools for relief printmaking, hammers and
textured paint, tactile collage materials). other woodworking tools for sculpture, computer software
for graphic design).
texture character
The quality of a texture (e.g., furry, smooth, bumpy, spiky). visual balance
See balance.
thumbnail sketch
A small, quick drawing used to describe an idea or a volume
gesture, or to plan a composition. The space within a three-dimensional form or a solid.

tint warm colours

White added to a colour to produce a lighter value of the Colours associated with heat or fire; colours containing
same hue (e.g., white + blue = light blue). yellow, orange, and red; colours that appear to recede in
comparison to warm colours. (See also cool colours.)
tone
Black and white (grey) added to a pure hue.

76 Grades 9 to 12 Visual Ar ts: Manitoba Curriculum Framework

Bibliography
Bibliography

Alberta Education. K–12 Arts Education Curriculum Bresler, Liora. Knowing Bodies, Moving Minds: Towards
Framework, June 2009 Draft. Edmonton, AB: Alberta Embodied Teaching and Learning. Dordrecht,
Education, 2009. Available online at <http://education. Netherlands: Kluwer Academic, 2004.
alberta.ca/media/1115263/arts_ed_framework.pdf>
(14 Apr. 2015). Butterwick, Shauna, and Randee Lipson Lawrence.
“Creating Alternative Realities: Arts-Based
Archer, Margaret S. The Reflexive Imperative in Late Approaches to Transformative Learning.”
Modernity. Cambridge, UK: Cambridge University Transformative Learning in Practice: Insights from
Press, 2012. Community, Workplace, and Higher Education. Ed.
Jack Mezirow, Edward W. Taylor, and Associates. San
Ash, Sarah L., and Patti H. Clayton. “Generating, Francisco, CA: Jossey-Bass, 2009. 35–45.
Deepening, and Documenting Learning: The Power
of Critical Reflection in Applied Learning.” Journal of Canada Council for the Arts. “Impact of the Arts on
Applied Learning in Higher Education 1 (Fall 2009): Canadian Life.” Arts Promotion. <http://canadacouncil.
25–48. Available on the Virginia Commonwealth ca/council/resources/arts-promotion/arts-promo-kit/
University website at <http://community.vcu.edu/media/ part2> (14 Apr. 2015).
community-engagement/pdfs/AshandClayton.pdf>
(26 Apr. 2015). Chemero, Anthony. “An Outline of a Theory of
Affordances.” Ecological Psychology 15.2 (2003):
Australian Curriculum, Assessment and Reporting 181–195.
Authority. Australian Foundation to Grade 10
Curriculum: The Arts. <www.australiancurriculum.edu. Csikszentmihalyi, Mihaly. Creativity: Flow and the
au/the-arts/introduction> (14 Apr. 2015). Psychology of Discovery and Invention. New York, NY:
Harper Collins, 1997.
Bain, John D., Roy Ballantyne, Jan Packer, and Colleen
Mills. “Using Journal Writing to Enhance Student Davis, Brent, and Dennis Sumara. Complexity and
Teachers’ Reflectivity during Field Experience Education: Inquiries into Learning, Teaching, and
Placement.” Teachers and Teaching: Theory and Research. New York, NY: Lawrence Erlbaum
Practice 5.1 (1999): 51–73. Associates, 2006.

Bibliography 79
 ———. “Complexity as a Theory of Education.” Guilford, J. P. “Creativity.” American Psychologist 5.9
Transnational Curriculum Inquiry 5.2 (2008): 33–44. (1950): 444–454.
Available online at <http://ojs.library.ubc.ca/index.php/
tci/article/view/75> (14 Apr. 2015). Hickey, Maud. “Creativity Research in Music, Visual Art,
Theater, and Dance.” The New Handbook of Research
Doll, William E. “Curriculum Possibilities in a ‘Post’-Future.” on Music Teaching and Learning. Ed. Richard
Journal of Curriculum and Supervision 8.4 (Summer Colwell and Carol Richardson. New York, NY: Oxford
1993): 277–292. Available online at <http://www. University Press, 2002. 398–415.
ascd.org/publications/jcs/summer1993/Curriculum_
Possibilities_in_a_%E2%80%9CPost%E2%80%9D- Jardine, David. Piaget and Education: Primer. New York,
Future.aspx> (19 June 2015). NY: Peter Lang, 2006.

Earl, Lorna M., Steven Katz, and Western and Northern Kaufman, James C., and Robert J. Sternberg, eds. The
Canadian Protocol for Collaboration in Education Cambridge Handbook of Creativity. New York, NY:
(WNCP). Rethinking Classroom Assessment Cambridge University Press, 2010.
with Purpose in Mind: Assessment for Learning, Kelly, Robert. Educating for Creativity: A Global
Assessment as Learning, Assessment of Learning. Conversation. Calgary, AB: Brush Education, 2012.
Winnipeg, MB: Manitoba Education, Citizenship and
Youth, 2006. Available online at <www.wncp.ca/ Kelly, Robert, and Carl Leggo, eds. Creative Expression,
media/40539/rethink.pdf> (5 May 2015). Creative Education: Creativity as a Primary Rationale
for Education. Calgary, AB: Brush Education, 2008.
Fook, Jan, and Fiona Gardner. Practising Critical
Reflection: A Resource Handbook. Berkshire, England: Kincheloe, Joe L. Critical Constructivism. New York, NY:
Open University Press, 2007. Peter Lang Publishing, 2005.

Gude, Olivia. “New School Art Styles: The Project of Art ———. Critical Pedagogy. New York, NY: Peter Lang
Education.” The Journal of the National Art Education Publishing, 2008.
Association 66.1 (2013): 6–15.
Kincheloe, Joe L., and Danny Weil, eds. Critical Thinking
———. “Postmodern Principles: In Search of a 21st and Learning: An Encyclopedia for Parents and
Century Art Education.” Art Education 53.1 (2004): Teachers. Westport, CT: Greenwood Publishing
6–14. Group, 2004.

80 Grades 9 to 12 Visual Ar ts: Manitoba Curriculum Framework

Lucas, Patricia. “Critical Reflection: What Do We Really Manitoba Education and Advanced Learning. Manitoba
Mean?” Collaborative Education: Investing in Provincial Report Card Policy and Guidelines:
the Future—Proceedings of the 2012 Australian Partners for Learning, Grades 1 to 12. Winnipeg, MB:
Collaborative Education Network (ACEN) National Manitoba Education and Advanced Learning, 2014.
Conference, 29 Oct.–2 Nov. 2012. Ed. Matthew Available online at <www.edu.gov.mb.ca/k12/assess/
Campbell. Deakin University Australia, Geelong, docs/report_card/index.html> (24 Apr. 2015).
Victoria. Perth, Australia: ACEN Incorporated, 2012.
163–167. <http://acen.edu.au/2012conference/ ———. Manitoba Visual Arts Education. <www.edu.gov.
wp-content/uploads/2012/11/ACEN-2012-National- mb.ca/k12/cur/arts/visual/index.html> (14 July 2015).
Conference-Proceedings.pdf> (16 July 2015). ———. Subject Table Handbook: Student Records
Manitoba Education. Kindergarten to Grade 8 Dance: System and Professional School Personnel System,
Manitoba Curriculum Framework of Outcomes. September 2014–August 2015. Winnipeg, MB:
Winnipeg, MB: Manitoba Education, 2011. Available Manitoba Education and Advanced Learning, 2014.
online at <www.edu.gov.mb.ca/k12/cur/arts/dance/ Annual publication available online at <www.edu.gov.
framework_k-8.html> (7 July 2015). mb.ca/k12/docs/policy/sth/index.html> (23 Apr. 2015).

———. Kindergarten to Grade 8 Drama: Manitoba Manitoba Education and Training. Education for a
Curriculum Framework of Outcomes. Winnipeg, MB: Sustainable Future: A Resource for Curriculum
Manitoba Education, 2011. Available online at Developers, Teachers, and Administrators. Winnipeg,
<www.edu.gov.mb.ca/k12/cur/arts/drama/ MB: Manitoba Education and Training, 2000. Available
framework_k-8.html> (7 July 2015). online at <www.edu.gov.mb.ca/k12/docs/support/
future/> (23 Apr. 2015).
———. Kindergarten to Grade 8 Music: Manitoba
Curriculum Framework of Outcomes. Winnipeg, MB: Manitoba Education and Youth. The Arts in Education:
Manitoba Education, 2011. Available online at Draft Statement, October 2003. Winnipeg, MB:
<www.edu.gov.mb.ca/k12/cur/arts/music/ Manitoba Education and Youth, 2003. Available online
framework_k-8.html> (7 July 2015). at <www.edu.gov.mb.ca/k12/cur/arts/draft_statement.
pdf> (23 Apr. 2015).
———. Kindergarten to Grade 8 Visual Arts: Manitoba
Curriculum Framework of Outcomes. Winnipeg, MB: Manitoba Education, Citizenship and Youth. Responses
Manitoba Education, 2011. Available online at to The Arts in Education Survey: Summary Report.
<www.edu.gov.mb.ca/k12/cur/arts/visual/ Winnipeg, MB: Manitoba Education, Citizenship and
framework_k-8.html> (7 July 2015). Youth, 2004. Available online at <www.edu.gov.mb.ca/
k12/cur/arts/summary_report.pdf> (23 Apr. 2015).

Bibliography 81
 ———. Rethinking Classroom Assessment with Purpose National Art Education Association. “Definition of Visual
in Mind: Assessment for Learning, Assessment as Arts.” About Us. <www.arteducators.org/about-us>
Learning, Assessment of Learning. Winnipeg, MB: (24 July 2015).
Manitoba Education, Citizenship and Youth, 2006.
Available online at <www.edu.gov.mb.ca/k12/assess/ National Coalition for Core Arts Standards (NCCAS).
wncp/index.html> (14 Apr. 2015). National Core Arts Standards: A Conceptual
Framework for Arts Learning: Dance, Media Arts,
Markus, Janet, Melissa Middleton, Katherine Yamashita, Music, Theatre and Visual Arts. Dover, DE: State
Arleen McCallum, and Janet Williamson. Art Works. Education Agency Directors of Arts Education
Toronto, ON: Emond Montgomery Publications, 2011. (SEADAE), 2014. Available online at
<www.nationalartsstandards.org/content/conceptual-
Mayer, Richard E. “Fifty Years of Creativity Research.” framework> (14 Apr. 2014).
Handbook of Creativity. Ed. Robert J. Sternberg.
New York, NY: Cambridge University Press, 1999. ———. National Core Arts Standards: Dance, Media Arts,
449–460. Music, Theatre and Visual Arts. Dover, DE: SEADAE,
2014. Available online at <www.nationalartsstandards.
Mezirow, Jack. “Transformative Learning: Theory to org/> (14 Apr. 2014).
Practice.” New Directions for Adult and Continuing
Education 74 (1997): 5–12. New York City Department of Education. Blueprint for
Teaching and Learning in Visual Arts, Grades
———. “Transformative Learning Theory.” Transformative PreK–12. Rev. ed. New York, NY: New York City
Learning in Practice: Insights from Community, Department of Education, 2015 Available online
Workplace, and Higher Education. Ed. Jack Mezirow, at <http://schools.nyc.gov/offices/teachlearn/arts/
Edward W. Taylor, and Associates. San Francisco, CA: blueprint.html> (23 July 2015).
Jossey-Bass, 2009. 18–32.
New Zealand Ministry of Education. The Arts. 26 Sept.
Mittler, Gene A. Art in Focus, Teacher Wraparound Edition. 2013. New Zealand Curriculum Guides: Senior
Woodland Hills, CA: Glencoe/McGraw-Hill, 2006. Secondary. <http://seniorsecondary.tki.org.nz/index.
Morrell, Amish, and Mary Ann O’Connor. “Introduction.” php/The-arts> (15 Apr. 2015).
Expanding the Boundaries of Transformative Learning:
Essays on Theory and Praxis. Ed. Edmund O’Sullivan,
Amish Morrell, and Mary Ann O’Connor. New York,
NY: Palgrave, 2002. xv–xxi.

82 Grades 9 to 12 Visual Ar ts: Manitoba Curriculum Framework

Ontario Ministry of Education. Equity and Inclusive Pratt, Sarah S. “Complex Constructivism: Rethinking the
Education in Ontario Schools: Guidelines for Policy Power Dynamics of ‘Understanding.’” Journal of the
Development and Implementation: Realizing the Canadian Association for Curriculum Studies 6.1
Promise of Diversity. Toronto, ON: Queen’s Printer (2008): 113–132.
of Ontario, 2014. Available online at <www.edu.gov.
on.ca/eng/policyfunding/inclusiveguide.pdf> Québec. Ministère de l’Éducation, du Loisir et du Sport.
(15 Apr. 2015). “Arts Education.” Quebec Education Program:
Secondary Cycle Two. Québec, QC: Québec
———. The Ontario Curriculum, Grades 9 and 10: Ministère de l’Éducation, du Loisir et du Sport, 2007.
The Arts. Rev. ed. Ottawa, ON: Ontario Ministry of Available online at <http://www1.mels.gouv.qc.ca/
Education, 2010. Available online at <www.edu.gov. sections/programmeFormation/secondaire2/index_
on.ca/eng/curriculum/secondary/arts910curr2010.pdf> en.asp?page=arts2> (15 Apr. 2015).
(15 Apr. 2015).
Richards, Ruth. “Everyday Creativity: Process and Ways
———. The Ontario Curriculum, Grades 11 and 12: of Life—Four Key Issues.” The Cambridge Handbook
The Arts. Rev. ed. Toronto, ON: Ontario Ministry of of Creativity. Ed. James C. Kaufman and Robert
Education, 2010. Available online at <www.edu.gov. J. Sternberg. New York, NY: Cambridge University
on.ca/eng/curriculum/secondary/arts1112curr2010.pdf> Press, 2010. 189–215.
(15 Apr. 2015).
Ryan, Mary Elizabeth. “Reflective Practice in the Arts.”
Organisation for Economic Co-operation and Development Literacy in the Arts: Retheorising Learning and
(OECD). The Selection and Definition of Key Teaching. Ed. Georgina Barton. New York, NY:
Competencies: Executive Summary. Paris, FR: OECD, Springer International Publishing Switzerland, 2014.
2005. 77–90.
Ovens, Alan, and Kath Godber. “Affordance Networks and Sansom, Adrienne. “My Body, My Life, and Dance.” Dance
the Complexity of Learning.” Complexity Thinking in in a World of Change: Reflections on Globalization
Physical Education: Reframing Curriculum, Pedagogy and Cultural Difference. Ed. Sherry B. Shapiro.
and Research. Ed. Alan Ovens, Tim Hopper, and Joy Champaign, IL: Human Kinetics, 2008. 209–228.
Butler. New York, NY: Routledge, 2013. 55–66.
Saskatchewan Education. Arts Education 10, 20, 30: A
Parsons, Jim, and Larry Beauchamp. From Knowledge to Curriculum Guide for the Secondary Level.
Action: Shaping the Future of Curriculum Development Regina, SK: Saskatchewan Education, Sept. 1996.
in Alberta. Edmonton, AB: Alberta Education, 2012. Available online at <https://www.edonline.sk.ca/
Available online at <http://education.alberta.ca/ bbcswebdav/library/curricula/English/Arts_education/
media/6808607/knowledge_action.pdf> (15 Apr. 2015). Arts_Education_10_20_30_1996.pdf> (15 Apr. 2015).

Bibliography 83
 Saskatchewan Learning. Visual Art 10, 20, 30: Curriculum
Requirements. Regina, SK: Saskatchewan Learning,
Nov. 1996. Available online at <https://www.edonline.
sk.ca/bbcswebdav/library/curricula/English/Arts_
education/Visual_Art_10_20_30_1996.pdf>
(15 Apr. 2015).
Schwartz, Marc S., Philip M. Sadler, Gerhard Sonnert, and
Robert H. Tai. “Depth Versus Breadth: How Content
Coverage in High School Science Courses Relates
to Later Success in College Science Coursework.”
Science Education 93.5 (2009): 798–826.
Sternberg, Robert J., ed. Handbook of Creativity.
New York, NY: Cambridge University Press, 1999.
Sternberg, Robert J., and Todd I. Lubart. “The Concept
of Creativity: Prospects and Paradigms.” Handbook
of Creativity. Ed. Robert J. Sternberg. New York, NY:
Cambridge University Press, 1999. 3–15.
Western and Northern Canadian Protocol for Collaboration
in Education (WNCP). Guiding Principles for WNCP
Curriculum Framework Projects. Jan. 2011. Available
online at <www.wncp.ca/english/subjectarea/projects.
aspx> (15 Apr. 2015).
Wiggins, Grant, and Jay McTighe. Understanding by
Design. 2nd ed. Alexandria, VA: Association for
Supervision and Curriculum Development, 2005.
Withagen, Rob, Harjo J. de Poel, Duarte Araújo, and
Gert-Jan Pepping. “Affordances Can Invite Behavior:
Reconsidering the Relationship between Affordances
and Agency.” New Ideas in Psychology 30 (2012):
250–258.

84 Grades 9 to 12 Visual Ar ts: Manitoba Curriculum Framework

 Printed in Canada
Imprimé au Canada