Curriculum Perspectives (2021) 41:175–185 https://doi.org/10.1007/s41297-021-00136-6 RESEARCH ARTICLE Ahead of its time? Reassessing what is core content in Visual Arts in the New South Wales Curriculum Karen Maras1 Received: 23 August 2020 /Revised: 13 January 2021 /Accepted: 19 March 2021 /Published online: 14 April 2021 # Australian Curriculum Studies Association 2021 Abstract The purpose of this article is to evaluate the extent to which Visual Arts syllabus content currently known as the ‘Conceptual Framework’ represents core concepts and principles for learning in Visual Arts K-12 in New South Wales (NSW), Australia. Set within the context of the NSW Curriculum Review, Nurturing wonder and igniting passion: designs for a new school curriculum (NESA, 2020), and in the absence of regular cyclic curriculum evaluation or reform of the Visual Arts syllabuses for over 21 years, this investigation evaluates the fit between existing curriculum content and requirements for new syllabuses in the revised curriculum. Drawing on theoretical and empirical research in Visual Arts education, this article examines how the conceptual framework and the principles underlying its function provide the conceptual foundations of understanding in art making and art interpretation as primary forms of practice in K-12. Discussion then examines how the framework meets the requirements for new syllabuses in the NSW Curriculum Review. It is argued that the conceptual framework (1) represents core concepts and principles for learning, (2) supports the development of praxis-oriented learning, and (3) sustains stable content over years of schooling which supports students to develop deep understandings of practice in art. The article concludes that the conceptual framework should be retained in the revised Visual Arts curriculum as it represents a conceptual core and principles for learning that are essential to teaching and learning in Visual Arts K-12 in NSW. Keywords Conceptual framework . Core concepts . NSW Curriculum Review . Principles for learning . Visual Arts K-12 Introduction curriculum content on essential concepts and principles for learning which sustain the integration of knowledge and skills This article investigates the question of how core concepts and in K-12 syllabuses. This article examines how well a concep- principles for learning should be represented in Visual Arts K- tual framework that represents core content in the current con- 12 in the revised curriculum in the state of New South Wales tinuum of learning in Visual Arts syllabuses in NSW provides (NSW), Australia. This question arises as a key focus in the a foundation for meeting these requirements in the revised reform of the NSW standards-based curriculum, a project im- curriculum due for implementation in 2024. plemented in 2020 by the New South Wales Educational The reason for this investigation is related to my long- Standards Authority (NESA), on behalf of the NSW standing involvement in curriculum development projects Government. This review represents a response to concerns and advocacy in Visual Arts at state and national levels in about an overcrowded curriculum and the degree to which Australia. This experience, complemented by teaching in cur- existing syllabuses support deep learning and conceptual rig- riculum and art education, and conducting research on the our that will equip students to meet that challenges of contrib- theoretical and ontological bases of understanding in Visual uting to and succeeding within the twenty-first century world. Arts, frames my ongoing commitment to ensuring that pro- The key strategy for addressing this issue is to re-focus posals for curriculum change for Visual Arts are grounded in research that sustains the intellectual value of learning in the subject. Recent involvement in discussions about the current * Karen Maras reform agenda and changes to syllabus development process- [email protected] es in NSW have highlighted for me tensions and potential 1 oversights in the enactment of this fast-paced curriculum School of Education, Faculty of Arts, Design and Architecture, change that may impact Visual Arts in a detrimental way. Of UNSW Sydney, Sydney, New South Wales, Australia 176 Curric Perspect (2021) 41:175–185 particular concern is the apparent lack of opportunity for Australian Government in 2008 for the purposes of devel- revisiting and updating the theoretical and empirical grounds oping and implementing the Australian Curriculum on which core concepts and principles for learning are identi- (Commonwealth Government Department of Education, fied in the subject. This discussion addresses this gap by Skills and Employment, 2020)(Savage&O’Connor, highlighting the contribution the existing conceptual frame- 2015). This K-10 curriculum comprises content in subjects work makes to understanding the ontological constraints that arranged in eight key learning areas that supports the in- are essential to learning in Visual Arts. Furthermore, this eval- tegration of three cross-curriculum priorities and seven uation seeks to confirm that the conceptual framework con- general capabilities. It was expected that all jurisdictions tinues to provide a foundation for a praxis-oriented approach would implement the Australian Curriculum in all key to understanding art in which the integration of knowledge learning areas. and skills supports deep learning. Despite several attempts to achieve a national curricu- lum in Australia, NSW has largely maintained indepen- dence from national reforms. NSW maintains a Aim and structure of this article standards-referenced curriculum comprising six stages of learning K-12 and eight key learning areas. Since the I will argue that the conceptual framework in Visual Arts 1990s, this curriculum has been subject to successive re- already meets the core curriculum review requirements and views, most of which have resulted in the maintenance of provides a strong basis on which to review, refine and enhance the existing structure (Hughes, 2019). As Hughes (2019) the academic rigour and quality of Visual Arts education in describes, with the ratification of the National Education NSW. In doing so, I will, firstly, contextualise this investiga- Agreement, all states and territories approved the imple- tion in the curriculum context in Australia. Second, a brief mentation of the national curriculum in 2009. There was outline of the conceptual framework as currently defined in increased pressure on NSW to comply with the mandate to Visual Arts will be provided. Third, the current situation of the implement the national curriculum although this was an NSW Curriculum Review and its requirements will be de- uneasy settlement (Reid & Price, 2018). Reluctance to scribed (NESA, 2020). Fourth, I will provide a theoretical implement the Australian Curriculum in NSW was account that examines the social ontology of art as a knowl- grounded in serious concerns about the quality and rigour edge domain. Fifth, a brief overview of research on children’s of the national proposals, especially the lack of an over- art understanding during early to late childhood reveals how arching framework, and coherence, consistency and se- core art concepts are implicated in conceptual advance in quencing in subjects (BOS, 2010). In 2014, the Board of Visual Arts. After defining principles for learning in Visual Studies, Teaching and Educational Standards NSW Arts, I then discuss how the conceptual framework meets the (BOSTES) (which became NESA in 2017) commenced requirements of the NSW Curriculum Review. An analytical an ‘adopt and adapt’ process in which Australian discussion of the significance of the framework to learning Curriculum content was incorporated in NSW syllabuses and teaching content then follows. The article concludes with (BOSTES, 2014a, 2014b). Between 2014 and 2018, a sys- the proposition that the conceptual framework should be tematic programme of curriculum renewal in all subjects retained in the NSW Visual Arts syllabuses as it satisfies the K-10 and those that extend to years 11 and 12 then en- key priorities of the NSW Curriculum Review. sued. The Creative Arts key learning area, which includes the subjects of Visual Arts, Music, Dance and Drama, was exempt from this process. The decision not to adopt or Curriculum context in Australia adapt the Australian Curriculum: The Arts (ACARA, 2015) in NSW was grounded in concerns about the lack Responsibility for school education, policy and curriculum of quality and coherence in the national curriculum provi- in Australia is distributed among the federal government sion in The Arts, and low levels of comparability with and six state and two territory governments. The existing NSW curriculum and syllabi raised by stake- Australian Federal Government has traditionally had re- holders during consultation on the Australian sponsibility for policy oversight and the distribution of Curriculum: The Arts (Board of Studies NSW, 2011; education funding to states and territories. Responsibility BOSTES, 2014c). However, despite regular cyclic evalu- for the enactment, reform and evaluation of curriculum ation and renewal in all other learning areas, the Creative falls to state and territory authorities, each with different Arts subjects have not been evaluated or updated for over priorities and curriculum histories. After several attempts 21 years. The last comprehensive revision of the suite of to achieve national consistency in Australian education Creative Arts syllabuses