Australian Curriculum Version 9.0 / Foundation Year / Drama · checked 30 September 2026. Official workbook independent HTTP 200: 2,049,917 bytes; SHA-256 db446882d2c00cf7c085a03e250e2442fda6c44011fc114680c46c1dc7a822c3. Stored snapshot/import and actual Learning areas E/J cells agree. Exact descriptions/rows are not inferred from a theme.
| Exact code / source row | Exact description | Opportunity | Evidence boundary |
|---|---|---|---|
| AC9ADRFE01 / 20732 | explore how and why the arts are important for people and communities | Day 44 actual saved dramatic-text encounter; optional approved actual source. | Actual child response and documented purpose for this original text. Narrow classroom imagination use; no supplied human performer/community authority/full breadth. |
| AC9ADRFD01 / 20741 | use play, imagination, arts knowledge, processes and/or skills to discover possibilities and develop ideas | Days 41–50 imaginative substitution, role/place/action clues and tiny improvisation/development. | Own decisions/support observed, proposed versus actual improvisation separate. Adult-selected idea alone not child devising. |
| AC9ADRFC01 / 20751 | create arts works that communicate ideas | Days 41–50 child-devised tiny play, script/drawing or director-created artifact. | Child authorship retained with actual form/maker/support. Drawing/script is not child role/voice/movement enactment; words-only plan development/status explicit. |
| AC9ADRFP01 / 20760 | share their arts works with audiences | Days 47/49/50 optional freely willing viewing/sharing. | Actual own work and audience event recorded; intention/private reflection is not sharing. Paper sharing distinct from performed drama sharing. |
Primary Queensland Drama entry, Prep alignment and Prep performing-arts techniques/conditions. Fresh complete official indexed one-page alignment 230416, ©2023, and complete four-page techniques text 230142-01, October 2023 inspected. Alignment relates encountered-work responses and playful creation/sharing to the four descriptions. Techniques distinguishes devising, performance and short response; Drama uses role/place/action and improvised play, with separate expressive/performance evidence. Accessible modes/teacher observation, later components and neutral scribing/prompting can support evidence, under actual local safety rules. Longer is not necessarily better.
Direct independent requests to all three QCAA URLs returned 403; initial alignment web open restricted, then official search/open returned complete indexed text. Current PDF bytes/layout unverified, no usable screenshot pixels inspected. Indexed text is not a successful current PDF download/layout check. Receipts, pins. School checks current full documents/local implementation before reporting. No endorsement/QCAA instrument/full-standard attainment from these original short checks.
The ACARA Arts explanation, fresh primary page inspected, treats imagination, elements/conventions, making/responding and own meaning as arts practice. Our tabletop tiny-play adaptation is original/unpiloted; it does not claim all drama/performance skills or safe suitability for every child.
Integrated context, separate goals
W9 asks a real/practice-set question and separates representations from actual objects. Drama ordinary prop/fictional meaning is not data collection, a material test or a real route. W10 revisits actual samples and next choices. If no earlier actual Drama work exists, label a new version rather than invent before/after growth. No compulsory public show/conference.
| Exact context code / row | Exact description | Boundary |
|---|---|---|
| AC9EFLY02 / 72 | interact in informal and structured situations by listening while others speak and using features of voice including volume levels | Context only: actual spoken listening/interaction separately observed; AAC/director art access not automatically this spoken outcome. |
| AC9MFST01 / 17211 | collect, sort and compare data represented by objects and images in response to given investigative questions that relate to familiar situations | NOT OBSERVED from prop meanings/scenes. No investigative data sort/count/compare or exact pattern answer here. |
Judgement remains bounded
Own drawing/director-created artifact can communicate dramatic intent; acknowledging actual authorship does not assert child physical enactment. Source score/script/digital scene is actual work but depicted performance is unmade. Actual child/adult enactment, child's intention and real audience reading are different observations. FE01 saved-text encounter is narrow and conditional on actual response; broader people/community encounters require provenance/rights/authority, no fictional source. FP01 actual willing audience event conditional. One gesture/quiet/private route is valid; no neatness/volume/motor/disclosure criterion. Use a body of dated samples and local professional judgement.
Curriculum © ACARA 2010–present, CC BY 4.0 under current terms; Queensland © State of Queensland (QCAA) 2023, CC BY 4.0 with copyright exceptions. Original pack rights do not replace them.