K–6 Visual and Performing Arts Curriculum Guide:Examples of Integrated Lessons

i

ii

Foreword

On behalf of the county superintendents of the State of California, we are pleased to introduce

this K-6 Visual and Performing Arts Curriculum Guide: Examples of Integrated Lessons

developed by the Los Angeles County Office of Education in partnership with the Los Angeles Unified School District as part of the (CCSESA) Arts Initiative and the Curriculum and Instruction Steering Committee (CISC) Visual and Performing Arts Subcommittee.

The California County Superintendents Education Services Association (CCSESA) is an organization consisting of the county superintendents of schools from the 58 counties in California working in partnership with the California Department of Education. The Curriculum and Instruction Steering Committee (CISC) is a subcommittee of CCSESA, consisting of county office associate superintendents, focusing on curriculum, instruction, and professional development. The Visual and Performing Arts (VAPA) Subcommittee includes regional arts leads representing all 11 service regions geared at strengthening support and service in arts

education to California school districts. Through the CCSESA Arts Initiative and the CISC VAPA Subcommittee, county superintendents and their staffs are building capacity to advocate and increase visibility for arts education in California public schools. One area of this work is in the development of K-12 arts education curriculum resources aligned to the Visual and Performing Arts Framework for California Public Schools.

We appreciate the collaborative work and leadership of VAPA consultant for Los Angeles County Office of Education and Region 11 Arts Lead, Geraldine Walkup, and the LAUSD Arts Administrative Team of Richard Burrows, Director of LAUSD Arts Education Branch, and Robin Lithgow, LAUSD Elementary Arts Coordinator. We also wish to acknowledge the expertise and commitment of the writing team of teachers and arts specialists that contributed to this document. And we extend special thanks to Patty Taylor, CCSESA Arts Consultant, who contributed greatly to the development and finalization of the document as well as the CCSESA/CISC Visual and Performing Arts regional leads who provided input for this project. It is our hope that this will be a tool for schools and districts as they implement the Visual and Performing Arts Content Standards and gather evidence of student learning in the arts disciplines of dance, music, theatre, and visual arts.

Sarah Anderberg

Director, CCSESA Arts InitiativeCalifornia County Superintendents Educational Services Association

Francisca Sanchez

Chair, Visual and Performing Arts SubcommitteeAssociate Superintendent, San Francisco Unified School District

iii

ContentsIntroduction ................................................................................................... v

Acknowledgments ...........................................................................................vii

GRADE/SUBJECT LESSON TITLE PAGE

KINDERGARTEN 1

Dance/English Language Arts “I Can Make Alphabet Shapes!” ................................... 3Music/History-Social Science “Sing When It’s Your Turn” ......................................... 6Theatre/Math “Measuring Time and Change With The Very Hungry Caterpillar” ........................................ 8Visual Arts/Science “Plant Shapes: Showing the Diversity of Nature” .............10

GRADE 1 13

Dance/Science “The Water Dance” ................................................15Music/English Language Arts “Recite and Memorize With Rhyme, Rhythm and Melody” ..... 18Theatre/History-Social Science “The Golden Rule and The Boy Who Cried Wolf”..............20Visual Arts/Math “Still Life Arrangement” ..........................................22

GRADE 2 25

Dance/English Language Arts “Let’s Make a Sequence!” ........................................27Music/Science “Describing Pitch Through Movement and Comparison” .....29Theatre/Math “Problem-Solving in Measurement and Storytelling” .........34Visual Arts/History-Social Science “Color and Personality: How We ‘See’ History” ...............37

GRADE 3 41

Dance/Math “From Fractions to Rhythm” .....................................42Music/Science “What Does It Sound Like and Why: Exploring Musical Instruments” ................................45Theatre/English Language Arts “Discovering the 5 W’s With Nobiah’s Well” ...................47Visual Arts/History-Social Science “Geography of Landscapes” ......................................50

GRADE 4 53

Dance/History-Social Science “Dancing Maps” .....................................................55Music/Math “Fractions and Music” .............................................59Theatre/English Language Arts “Characters and the World in Relation” ........................63Visual Arts/Science “Earth Moves” ......................................................67

GRADE 5 71

Dance/Science “Circulation Dance” ...............................................73Music/English Language Arts “Music Can Communicate a Story” ..............................76Theatre/History-Social Science “The Causes of the Colonist Rebellion” ........................80Visual Arts/Math “Illusion of Space” .................................................83

GRADE 6 87

Dance/Math “Mathematical Reasoning and the Creative Process” .........89Music/History-Social Science “Mythology and the Music of Ancient Greece” ................91Theatre/Science “Theatre as a Tool in Environmental Activism” ................97Visual Arts/English Language Arts “Cultural Artifacts” ..................................................101

References .................................................................................................104

Glossary .....................................................................................................105

Blank Templates................................................................................................. 107

Best Practice in Art Integration .............................................................................. 117

iv

v

Introduction

“During the past quarter century, literally thousands of school-based programs have demon-strated beyond question that the arts can not only bring coherence to our fragmented world, but through the arts, students’ performance in other academic disciplines can be enhanced as well.”

— Ernest L. Boy, President of the Carnegie Foundation for the Advancement of Teaching

The K-6 Visual and Performing Arts Curriculum Guide: Examples of Integrated Lessons was

developed to provide elementary classroom teachers with a realistic and useful tool for creat-ing arts integrated lessons. The connections made between disciplines are based on mutual con-cepts being taught. The guide includes standards-based lessons in dance, music, theatre, and visual art, integrated with science, history-social science, math and language arts. The lesson design is based on the principles of Understanding by Design by Grant Wiggins and Jay McTigue. Subjects and standards are chosen based on shared concepts or big ideas, from which essential questions are formed.

Recently there have been a growing number of publications that address how to create and teach integrated lessons. They provide information on criteria for integration, approaches to developing lessons, models of integration, and oftentimes samples of the lessons themselves. One example of such literature is the Curriculum Resource Guide, which can be located at

www.ccsesaarts.org. Depending on the author and state of origin, a variety of terms are used to represent the same idea. Therefore, it is necessary to identify the definition of integration that guided that particular document. The authors of the K-6 Visual and Performing Arts Curricu-lum Guide: Examples of Integrated Lessons used the following definition of integration because equal attention is given to those subjects featured in the lessons.

Arts Integration is instruction combining two or more contents, wherein the arts consti-tute one of the integrated areas. The integration is based on shared or related concepts, and instruction in each content area has depth and integrity reflected by embedded assessments, standards, and objectives.

—Southeast Center for Education in the Arts (SCEA), University of Tennessee

Integrated instructional design requires that lessons include an opening, teaching strategies, materials/resources, closure, and assessments. The lessons included in this guide provide addi-tional strategies to strengthen the teacher’s delivery of the lesson and increase student learn-ing. All the necessary components of a strong integrated lesson are included in the template. Please note that these lessons are not units of study and should be taught with this in mind.

Assessment

It is crucial that elementary teachers realize the importance of assessing students in the arts. The information gathered through ongoing assessment will inform the teacher of the level of knowledge and skill his or her students have mastered and what topics need to be re-addressed.

The guide includes a formative assessment at the end of each lesson in the form of open-ended questions that teachers can use to easily assess the targeted standard. To access more informa-tion on arts assessments, please go to the CCSESA Arts Initiative Website at www.ccsesaarts.org. Click the Toolbox tab and you will find the Arts Assessment Guide developed by the San Diego County Office of Education.

An Unfinished Canvas: Arts Education in California: Taking Stock of Policies and Practices

A cluster of research studies sponsored by the William and Flora Hewlett Foundation and con-ducted by SRI International have addressed the many barriers that exist in offering sequential standards-based arts education to California students. The reports also point to many chal-lenges in implementing visual and performing arts in California public schools, citing particular needs at the elementary school level. To access the study, please go to www.hewlett.org to find copies of the report.

vi

vii

Acknowledgments

The California County Superintendents Educational Services Association acknowledges the following dedicated educators for their contribution to the K-6 Curriculum Guide.

National Consultant

Karen L. Erickson, Director, Creative Directions

Consultants

Richard Burrows, Director, Arts Education Branch Los Angeles Unified School District Robin Lithgow, Elementary Arts Coordinator Los Angeles Unified School District Geraldine Walkup, Visual and Performing Arts Consultant Los Angeles County Office of Education

Los Angeles Unified School District Writing Team Olivia Armas, Elementary, Visual Arts Teacher Susan Marcena Massarak Aslan, Elementary, Classroom Teacher Megan Deakers, Elementary, Dance Teacher Melanie Dubose, Elementary, Classroom Teacher Ginny Gaimari, Elementary, Theatre Teacher Katy Hickman, Elementary, Theatre Teacher Addie Lupert, Elementary, Music Teacher Ginny Marrin, Elementary, Dance Teacher Denise Godinez Gonzalez, Elementary, Dance Teacher Juanda Marshall, Elementary, Music Teacher Julia Norstrand, Elementary, Theatre Teacher Rosie Ochoa, Elementary, Dance Teacher Ellen Robinson, Elementary, Visual Arts Teacher Margarita Vargas, Elementary, Classroom Teacher Sonia Villegas, Elementary, Classroom Teacher Raissa White, Elementary, Theatre Teacher Mary Whiteley, Elementary, Classroom Teacher

Los Angeles Unified School District Arts Specialists Julie Corallo, Secondary, Music Content Expert Shana Habel, Elementary, Dance Adviser Dr. Steven J. McCarthy, Elementary, Theatre Specialist Luiz Sampaio, Elementary, Visual Arts Specialist Steve Venz, Elementary, Music Specialist

Graphics/Layout LACOE Communications/Graphics Unit

viii

1

Grade K Lessons

2

3

G

RAD

E K

CON

TEN

T IN

TEG

RATI

ON

TI

TLE

OF

LESS

ON

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NCE

/ELA

I C

an M

ake

Alp

habe

t Sh

apes

!

ES

SEN

TIA

L Q

UES

TIO

N

INTE

GRA

TED

STU

DEN

T O

BJEC

TIVE

How

do

danc

ers

and

wri

ters

use

line

s?

Stud

ents

will

be

able

to

use

lines

to

wri

te le

tter

s of

the

alph

abet

, an

d cr

eate

sha

pes

wit

h th

eir

bodi

es.

Des

crip

tors

D

AN

CE

ELA

Standards

1.1 Build t

he r

ange a

nd c

apacit

y t

o m

ove in a

varie

ty o

f w

ays.

1.4

W

rit

e u

ppercase a

nd low

ercase letters o

f the a

lphabet

independently

attendin

g t

o t

he f

orm

and p

roper s

pacin

g o

f

the letters.

Student O

bjectiv

es

Students w

ill be a

ble

to m

ake t

he s

hapes o

f t

he letters o

f t

he

Students w

ill be a

ble

to w

rit

e a

nd r

ecogniz

e t

he letters o

f t

he

alp

habet w

ith t

heir

bodie

s u

sin

g s

traig

ht a

nd c

urved lin

es.

alp

habet.

Assessm

ent

Were s

tudents a

ble

to m

ake t

he “

shapes” o

f t

he letters o

f t

he

Were s

tudents a

ble

to r

ecogniz

e a

nd w

rit

e (

form

) the letters o

f

alp

habet w

ith t

heir

bodie

s u

sin

g s

traig

ht a

nd c

urved lin

es?

the a

lphabet?

KEY

KNO

WLE

DGE

Pr

ior

Know

ledg

•

Body

Aw

aren

ess

•

Line

s: C

urve

d, s

trai

ght,

zig

zag,

hor

izon

tal a

nd v

erti

cal

• Sp

atia

l Aw

aren

ess:

Per

sona

l Spa

ce

• Le

tter

for

mat

ion:

upp

erca

se a

nd lo

wer

case

lett

ers

• Ab

le t

o fr

eeze

the

ir b

ody

• Ba

sic

loco

mot

or m

ovem

ents

(e

.g.,

wal

king

, ho

ppin

g, j

umpi

ng,

gallo

ping

)N

ew C

once

pts

• Th

e bo

dy m

akes

sha

pes

usin

g st

raig

ht a

nd c

urve

d lin

es.

• Li

nes

form

lett

ers.

New

Voc

abul

ary

Shap

e, li

ne,

stra

ight

, cu

rved

, zi

gzag

, tr

avel

, au

dien

ce,

free

ze

Lett

ers,

alp

habe

t, li

ne,

curv

ed,

stra

ight

, zi

gzag

SKIL

LS

Pr

ereq

uisi

te S

kills

•

Basi

c ph

ysic

al c

ontr

ol o

f th

e bo

dy

• Ab

le t

o tr

avel

thr

ough

spa

ce w

ith

cont

rol

• Ab

le t

o id

enti

fy a

typ

e of

line

•

Able

to

reco

gniz

e th

e al

phab

et

•

Able

to

utili

ze a

pen

cil a

nd p

aper

N

ew S

kills

•

Use

s th

e bo

dy a

s a

tool

to

crea

te a

var

iety

of

shap

es

• Ab

le t

o re

cogn

ize

that

line

s m

ake

lett

er s

hape

s

•

Able

to

wri

te le

tter

for

ms

MAT

ERIA

LS/R

ESO

URC

ES•

Alp

habe

t M

over

s by

Ter

esa

Benz

wie

• D

rum

or

mus

ic (

Sugg

este

d M

usic

: Er

ic C

happ

elle

. M

usic

for

Cre

ativ

e M

ovem

ent,

Vol

. I -

IV)

• Pe

ncils

and

pap

er

Grade K Lessons

4

New

Voc

abul

ary

Shap

e, li

ne,

stra

ight

, cu

rved

, zi

gzag

, tr

avel

, au

dien

ce,

free

ze

Lett

ers,

alp

habe

t, li

ne,

curv

ed,

stra

ight

, zi

gzag

SKIL

LS

Pr

ereq

uisi

te S

kills

•

Basi

c ph

ysic

al c

ontr

ol o

f th

e bo

dy

• Ab

le t

o tr

avel

thr

ough

spa

ce w

ith

cont

rol

• Ab

le t

o id

enti

fy a

typ

e of

line

•

Able

to

reco

gniz

e th

e al

phab

et

•

Able

to

utili

ze a

pen

cil a

nd p

aper

N

ew S

kills

•

Use

s th

e bo

dy a

s a

tool

to

crea

te a

var

iety

of

shap

es

• Ab

le t

o re

cogn

ize

that

line

s m

ake

lett

er s

hape

s

•

Able

to

wri

te le

tter

for

ms

MAT

ERIA

LS/R

ESO

URC

ES•

Alp

habe

t M

over

s by

Ter

esa

Benz

wie

• D

rum

or

mus

ic (

Sugg

este

d M

usic

: Er

ic C

happ

elle

. M

usic

for

Cre

ativ

e M

ovem

ent,

Vol

. I -

IV)

• Pe

ncils

and

pap

er

PH

ASE

LE

SSO

NSt

uden

t En

gage

men

t 1

. D

iscu

ss t

he li

nes,

sha

pes

and

form

s of

the

alp

habe

t le

tter

s. (

e.g.

The

lett

er “

L” h

as t

wo

stra

ight

line

s.)

(5

-10

min

utes

) 2

. Lo

ok a

t yo

ur b

ody

and

disc

uss

the

lines

and

sha

pes

you

see.

(e.

g. C

an y

our

bodi

es c

urve

like

the

lett

er “

C”?

Can

your

bod

y cr

oss

like

the

lett

er “

X”?)

3.

Read A

lpha

bet

Mov

ers

by T

eres

a Be

nzw

ie:

Focu

s on

the

bod

y ill

ustr

atio

ns a

nd h

ave

stud

ents

poi

nt o

ut t

he li

nes,

sha

pes

and

form

s.

Aest

heti

c Ex

plor

atio

n 4

. “S

ilent

Alp

habe

t”:

Teac

her

will

pro

mpt

stu

dent

s by

cal

ling

out

a ra

ndom

lett

er.

Stud

ents

will

phy

sica

lly r

espo

nd b

y cr

eati

ng

(1

0 m

inut

es)

the

lett

er w

ith

thei

r bo

dy.

Teac

her

will

em

phas

ize

and

enco

urag

e st

uden

ts t

o “f

reez

e” t

he s

hape

of

the

lett

er u

ntil

a m

usic

cu

e or

dru

mbe

at is

giv

en.

Teac

her

may

cal

l out

as

man

y le

tter

s as

nee

ded

for

stud

ent

expl

orat

ion.

Teac

her

scaf

fold

s st

uden

ts b

y as

king

que

stio

ns:

Wha

t pa

rt o

f yo

ur b

ody

is c

urve

d? S

trai

ght?

Wha

t le

tter

are

you

for

min

g w

ith

yo

ur b

ody?

Is it

cur

ved?

Str

aigh

t? C

urve

d an

d st

raig

ht?

Zigz

ag?

Cre

ativ

e Ex

pres

sion

5

. Co

ntin

uing

the

“Si

lent

Alp

habe

t” s

tude

nts

will

now

cho

ose

thei

r ow

n le

tter

to

dem

onst

rate

wit

h th

eir

body

. Te

ache

r w

ill p

rom

pt

(30

min

utes

)

st

uden

ts w

hen

to c

hang

e to

a d

iffe

rent

lett

er u

sing

mus

ic c

ues

or a

dru

mbe

at.

6.

The

teac

her

choo

ses

a st

uden

t to

“un

free

ze.”

Tha

t st

uden

t w

ill lo

ok a

roun

d th

e ro

om a

nd s

ay a

lett

er t

hey

see.

All

stud

ents

should

rem

ain

frozen w

ith t

heir

letter s

hape u

ntil p

rom

pted t

o c

hange. (

e.g. W

hat letter d

o y

ou s

ee? W

ho is m

akin

g w

hat

lett

er?

Is t

he le

tter

cur

ved?

Str

aigh

t? C

urve

d an

d St

raig

ht?

Zigz

ag?)

7.

Teac

her

will

mod

el h

ow t

o tr

avel

a c

hose

n le

tter

aro

und

the

room

:

•

Choo

se a

lett

er.

• Cr

eate

it w

ith

your

bod

y.

•

Free

ze t

he le

tter

sha

pe a

nd t

rave

l (ex

ampl

es f

or t

rave

ling—

wal

king

, sl

idin

g, j

umpi

ng).

8.

Stud

ents

will

cho

ose

thei

r ow

n le

tter

to

trav

el t

hrou

gh s

pace

. Co

ntin

ue t

o us

e m

usic

or

drum

beat

cue

s to

let

stud

ents

kno

w

when t

o f

reeze a

nd m

ove.

9.

Repeat a

s n

eeded f

or u

nderstandin

g.

10.

Stud

ents

are

sea

ted

in a

cir

cle,

eac

h w

ith

a pe

ncil

and

pape

r.

Grade K Lessons

5

Cr

eati

ve E

xpre

ssio

n 11

. O

ne a

t a

tim

e st

uden

ts w

ill t

ake

turn

s en

teri

ng t

he m

iddl

e of

the

cir

cle

and

perf

orm

a le

tter

of

thei

r ch

oice

. Te

ache

r gu

ides

(3

0 m

inut

es)

stud

ents

thr

ough

the

sam

e pr

oces

s of

tra

velin

g th

eir

lett

er:

(c

ont.

)

• Ch

oose

a le

tter

.

•

Crea

te it

wit

h yo

ur b

ody.

• Fr

eeze

the

lett

er s

hape

and

tra

vel.

12.

The

audi

ence

(re

mai

nder

of

stud

ents

in t

he c

ircl

e) w

ill o

bser

ve t

he p

erfo

rmer

and

wri

te t

he le

tter

the

y se

e on

the

ir p

aper

.

13

. Te

ache

r w

ill a

sk s

tude

nts

ques

tion

s ab

out

the

lett

er.

(e.g

. W

hat

lett

er d

o yo

u se

e? Is

the

lett

er c

urve

d? S

trai

ght?

Cur

ved

and

St

raig

ht?

Zigz

ag?

)

Re

flec

tion

14

. Pa

ir s

hare

que

stio

n: W

hat

is y

our

favo

rite

lett

er s

hape

? W

hy?

Stud

ents

find

a p

artn

er a

nd t

ake

turn

s di

scus

sing

the

ir f

avor

ite

(1

0 m

inut

es)

lett

er s

hape

.

15.

Jour

nal p

rom

pt:

Stud

ents

dra

w w

ith

thei

r bo

dy m

akin

g th

eir

favo

rite

lett

er.

16.

Ope

n-en

ded

ques

tion

s: (

e.g.

Wha

t di

d yo

u le

arn

abou

t le

tter

s? W

hat

lines

did

you

see

? W

as it

eas

y or

dif

ficul

t to

cre

ate

your letter s

hape? W

hy?)

Co

nnec

tion

s

Ex

tens

ions

H

ave

stud

ents

add

sou

nds

to t

heir

lett

ers.

Beg

in t

o fo

rm w

ords

wit

h ea

ch s

tude

nt r

epre

sent

ing

a le

tter

wit

h th

eir

body

.

D

iffe

rent

iati

on

Revi

ew a

nd m

odel

loco

mot

or a

nd n

on-l

ocom

otor

mov

emen

ts.

Cont

inue

to

use

the

Alph

abet

Mov

ers

book a

s a

refe

rence a

nd v

isual aid

.

Grade K Lessons

6

G

RAD

E K

CON

TEN

T IN

TEG

RATI

ON

TI

TLE

OF

LESS

ON

MU

SIC/

HIS

TORY

-SO

CIA

L SC

IEN

CE

SIN

G W

HEN

IT’S

YO

UR

TURN

ESSE

NTI

AL

QU

ESTI

ON

IN

TEG

RATE

D S

TUD

ENT

OBJ

ECTI

VE

Why

do

both

mus

icia

ns a

nd s

tude

nts

Stud

ents

will

tak

e tu

rns

chan

ting

and

ca

re a

bout

tak

ing

turn

s?

sing

ing

an e

cho

patt

ern.

D

escr

ipto

rs

MU

SIC

HIS

TORY

-SO

CIA

L SC

IEN

CE

Stan

dard

s 2.

1 U

se s

ingi

ng v

oice

to

echo

sho

rt m

elod

ic p

atte

rns.

1.

1 Fo

llow

rul

es,

shar

ing,

tak

ing

turn

s.St

uden

t O

bjec

tive

s Th

e st

uden

ts w

ill c

hant

and

sin

g fo

llow

ing

an e

cho

patt

ern.

Th

e st

uden

ts w

ill d

emon

stra

te a

n ab

ility

to

take

tur

ns.

As

sess

men

t

Stud

ents

will

sin

g fo

llow

ing

an e

cho

patt

ern.

St

uden

ts w

ill li

sten

, an

d re

spon

d w

hen

it is

the

ir t

urn.

KEY

KNO

WLE

DGE

Prio

r K

now

ledge

N/A

N

/A

N

ew C

once

pts

Echo

sin

ging

Taki

ng t

urns

.

Ca

ll an

d re

spon

se

N

ew V

ocab

ular

y

Ec

ho

Co

py/r

epea

t

Ch

ant

Re

spon

d

Sin

g

Pic

nic

SK

ILLS

Pre

requ

isit

e Sk

ills

Keep

ing

a st

eady

bea

t Ex

peri

ence

tak

ing

turn

s

U

sing

sin

ging

voi

ce

N

ew S

kills

Ec

ho s

ingi

ng

Ta

king

tur

ns w

hen

sing

ing

Call-

and-

resp

onse

sin

ging

Lear

ning

to

liste

n an

d re

spon

d at

the

app

ropr

iate

tim

e

M

ATER

IALS

/RES

OU

RCES

Mak

ing

Mus

ic G

rade K

“G

oin

g o

n a

Pic

nic

”

CD 7

-1,

Card

s w

ith

pict

ures

of

picn

ic it

ems,

Spe

ech

Piec

e “G

oin’

on

a Be

ar H

unt”

Grade K Lessons

7

PH

ASE

LE

SSO

N

War

m-u

p 1

. Te

ache

r si

ngs

“Hel

lo b

oys

and

girl

s.”

Stud

ents

sin

g ba

ck “

Hel

lo,

Mrs

. ..

.”

(5

min

utes

) 2

. “L

et’s

pla

y a

taki

ng-t

urns

gam

e. I’

ll be

the

lead

er fi

rst.

Lis

ten

to m

y cl

appi

ng p

atte

rn a

nd t

hen

echo

wha

t yo

u he

ar.”

3.

Teac

her

then

giv

es in

divi

dual

stu

dent

s th

e ch

ance

to

be t

he le

ader

.

N

ew C

once

pt

4.

Ask

why

it w

as im

port

ant

to t

ake

turn

s du

ring

the

gam

e, a

nd t

hen

ask,

“W

hen

else

do

you

take

tur

ns?”

(dr

inki

ng f

ount

ains

, ra

isin

g

(15

min

utes

)

ha

nds

to s

peak

.) D

iscu

ss w

hy w

e ne

ed t

o ta

ke t

urns

for

the

se a

ctiv

itie

s.

G

oing

on

a Be

ar H

unt

5.

“Now

we

are

goin

g to

do

an e

cho

chan

t.”

Dis

cuss

mea

ning

of

an e

cho.

6.

Gui

de s

tude

nts

to r

epea

t an

d ac

t ou

t ea

ch s

ente

nce,

ech

oing

the

tea

cher

.

Revie

w/Applicatio

n

Goi

ng o

n a

Picn

ic

(10

min

utes

) 7

. “L

et’s

list

en t

o th

e so

ng t

o fin

d ou

t w

hat

they

are

bri

ngin

g to

the

pic

nic.

” Di

scus

s pi

cnic

s an

d w

hat

item

s ar

e br

ough

t to

a p

icni

c.

8

. Ec

ho-t

each

the

firs

t tw

o ph

rase

s of

the

son

g.

9

. “I

n th

is s

ong,

inst

ead

of c

opyi

ng w

hat

I say

, yo

u ar

e go

ing

to r

espo

nd b

y an

swer

ing

my

ques

tion

.”

10

. G

uide

the

cla

ss t

o si

ng t

he s

ong,

and

kee

p th

e st

eady

bea

t on

the

ir la

ps f

or t

he fi

rst

two

phra

ses

of t

he s

ong.

Tea

cher

sin

gs t

he

ques

tion

, “D

id y

ou b

ring

the

____

(na

me

of p

icni

c it

em)?

” Th

e ch

ildre

n si

ng t

he a

nsw

er,

“Yes

, I b

roug

ht t

he _

____

_.”

11.

Tea

cher

pas

ses

out

pict

ure

card

s of

pic

nic

item

s to

eac

h st

uden

t.

As

sess

men

t 1

2. G

uide

the

cla

ss t

o si

ng t

he s

ong

agai

n. T

ell t

he s

tude

nts

that

whe

n it

’s t

heir

tur

n, t

hey

shou

ld s

ing

the

answ

er t

o th

e qu

esti

on.

(5 m

inutes)

Cl

osin

g 13

. Re

peat

the

act

ivit

y w

hile

mar

chin

g ar

ound

the

pic

nic

blan

ket

and

keep

ing

the

stea

dy b

eat.

(5 m

inut

es)

14.

At t

he e

nd,

enjo

y an

imag

inar

y pi

cnic

. Ta

ke t

urns

in p

assi

ng p

rete

nd f

ood.

15.

Dis

cuss

the

ess

enti

al q

uest

ion:

Why

do

both

mus

icia

ns a

nd s

tude

nts

care

abo

ut t

akin

g tu

rns?

Why

is it

impo

rtan

t to

tak

e tu

rns

in

our c

lassroom

and d

urin

g m

usic

?

Co

nnec

tion

s Re

ad t

he s

tory

Hap

py B

irth

day

Moo

n by

Fra

nk A

sch.

Ex

tens

ions

D

iffe

rent

iati

on

Grade K Lessons

8

G

RAD

E K

CON

TEN

T IN

TEG

RATI

ON

TI

TLE

OF

LESS

ON

THEA

TRE/

MAT

H

Mea

suri

ng T

ime

and

Chan

ge W

ith

T

he V

ery

Hun

gry

Cat

erpi

llar

D

urat

ion:

50

min

utes

ESSE

NTI

AL

QU

ESTI

ON

IN

TEG

RATE

D S

TUD

ENT

OBJ

ECTI

VE

H

ow d

o th

ings

cha

nge

over

tim

e?

The

lear

ner

will

dem

onst

rate

kno

wle

dge

of

cale

ndar

to

show

mea

sure

men

t of

tim

e an

d

chan

ge b

y us

ing

thei

r bo

dy t

o sh

ow a

ctio

n, o

bjec

ts

an

d th

e id

eas

of t

ime

and

chan

ge.

Des

crip

tors

TH

EATR

E M

ATH

Standards

Crea

tive

Exp

ress

ion

M

easu

rem

ent

and

Geo

met

ry

2.1

Perf

orm

imit

ativ

e m

ovem

ents

, rh

ythm

ical

act

ivit

ies,

and

1.

2 De

mon

stra

te a

n un

ders

tand

ing

of c

once

pts

of t

ime

(cal

enda

r).

thea

tre

gam

es (

free

ze,

stat

ues

and

mir

rors

).

1.3

Nam

e t

he d

ays o

f t

he w

eek.

Stud

ent

Obj

ecti

ves

The

lear

ner

will

use

the

ir b

ody

to s

how

act

ion,

obj

ects

and

the

T

he le

arne

r w

ill d

emon

stra

te k

now

ledg

e of

cal

enda

r to

sho

w

ideas o

f c

hange a

nd t

ime.

m

easurem

ent o

f t

ime a

nd c

hange.

As

sess

men

t F

orm

ativ

e Te

ache

r O

bser

vati

on

For

mat

ive

Teac

her

Obs

erva

tion

KEY

KNO

WLE

DG

E

Pr

ior

Know

ledg

e B

ody,

voi

ce,

min

d, p

anto

mim

e

Cal

enda

r, w

eek,

cha

nge,

tim

e

N

ew C

once

pts

I kno

w I

can

use

my

acto

rs’

tool

s by

mys

elf

and

wit

h ot

hers

to

I

know

tha

t ca

lend

ars

mea

sure

tim

e.

sh

ow id

eas

(lik

e ch

ange

), s

ymbo

ls (

like

cale

ndar

) an

d ch

arac

ters

.

N

ew V

ocab

ular

y Tr

ansf

orm

, ch

ange

Sea

sons

and

com

pari

sons

Grade K Lessons

SKIL

LS

P

rere

quis

ite

Skill

s D

ram

a se

eds

into

obj

ects

.

Cou

nt t

o 30

.

N

ew S

kills

I w

ork

wit

h pa

rtne

rs t

o sh

ow a

cha

ract

er d

oing

som

ethi

ng t

o

I ca

n co

unt

off

seve

n da

ys o

n a

cale

ndar

to

show

a w

eek

and

I can

an o

bjec

t. I

wor

k in

a g

roup

to

show

the

day

s of

the

wee

k.

tel

l wha

t ca

n ch

ange

in a

wee

k (l

ose

a to

oth,

rai

n, b

aby

born

, ca

r

b

reak

s, n

ew s

hoes

, et

c.).

MAT

ERIA

LS/R

ESO

URC

ESCh

art

pape

r to

con

stru

ct c

alen

dar,

The

Ver

y H

ungr

y Ca

terp

illa

r by

Eri

c Ca

rle,

20

12”

x 12

” sq

uare

s of

pap

er f

or e

xten

ded

cale

ndar

act

ivit

y

9

PH

ASE

LE

SSO

N

Openin

g

1. Students e

nter t

o “

mornin

g” m

usic

from

Pee

r G

ynt

as t

houg

h (p

anto

mim

e) t

hey

are

wak

ing

up v

ery

hung

ry.

Teac

her

narr

ates

Gat

heri

ng/W

arm

-up

an e

xplo

rati

on. Th

ey lo

ok f

or s

omet

hing

to

eat

in t

he “

kitc

hen.

” Th

ey g

o “o

utsi

de”

to fi

nd s

omet

hing

to

eat

in t

he “

gard

en.”

(5 m

inutes)

2.

Stud

ents

gat

her

into

sta

ndin

g ci

rcle

and

sin

g da

ys-o

f-th

e-w

eek

song

s. H

alf

can

sing

whi

le t

he o

ther

s co

unt

to s

ee h

ow

many d

ays t

here a

re in a

week. S

wit

ch.

Re

view

ing/

3

. St

uden

ts s

it in

cir

cle

for

disc

ussi

on.

Sam

ple

ques

tion

s:

Prev

iew

ing

Wha

t ar

e ac

tors

’ too

ls?

How

hav

e yo

u ch

ange

d si

nce

you

wer

e a

baby

? H

ow d

o pe

ople

cha

nge?

Wha

t ki

nd o

f fo

od h

elps

you

gro

w?

Vo

cabu

lary

H

ow is

a d

ay d

iffer

ent

from

a w

eek?

Wha

t do

we

use

to m

easu

re t

ime?

Wha

t do

we

use

to m

easu

re a

mon

th?

(10

min

utes

)

Re

view

voc

abul

ary:

cha

ract

er,

sett

ing,

act

ors’

too

ls,

body

, vo

ice,

imag

inat

ion,

cal

enda

r, w

eek,

cha

nge.

New

voc

abul

ary:

tra

nsfo

rm

Exp

lori

ng C

reat

ing

4.

Dra

ma

seed

s in

to f

ood

and

obje

cts

from

the

sto

ry.

Expl

orin

g (5

min

utes)

Im

prov

isin

g/

5. Read t

he s

tory t

o s

tudents.

In

vent

ing

6. Ch

art

cale

ndar

to

follo

w T

he V

ery

Hun

gry

Cate

rpil

lar’

s jo

urne

y fr

om e

gg t

o bu

tter

fly.

(A

littl

e ov

er t

hree

wee

ks!)

(Sto

ry)

(10

min

utes

)

Sha

ring

/ Re

flec

ting

7

. Sh

are-

Invi

te s

even

vol

unte

ers

to c

ome

up a

nd s

tand

in a

line

. Ask

wha

t th

e se

ven

mig

ht b

e? T

hen

ask,

if C

harl

otte

is W

edne

sday

,

Play

mak

ing

who

is _

____

____

_? (

Poin

ting

to

the

stud

ent

just

bef

ore

or a

fter

.) T

hen

have

stu

dent

hol

d th

e bo

ok a

nd in

vite

vol

unte

ers

(1

5 m

inut

es)

to c

ome

up a

nd b

e th

e ob

ject

s in

the

sto

ry o

n th

e sp

ecifi

c da

ys.

On

Satu

rday

he

eats

too

muc

h; s

tude

nts

can

deci

de h

ow t

o “o

verd

o”

it.

Repe

at t

his

wit

h se

ven

mor

e vo

lunt

eers

and

obj

ects

. Ex

tend

by

assi

gnin

g a

cate

rpill

ar t

o “e

at t

hrou

gh”

the

frui

t an

d fo

od.

Exte

nd

cale

ndar

wit

h us

e of

pap

er s

quar

es o

rgan

ized

on

the

floor

(w

hen

runn

ing

out

of s

tude

nts

to u

se a

s da

ys).

8.

Wal

k ab

out-

Stud

ents

spi

n ch

rysa

lises

aro

und

them

selv

es a

nd g

esta

te q

uiet

ly a

s te

ache

r co

unts

off

the

day

s an

d w

eeks

.

Repla

y P

eer

Gyn

t m

usic

. At

the

end,

all

craw

l out

and

bec

ome

butt

erfli

es.

Refle

ctin

g/As

sess

ing

9.

Stud

ents

sit

in c

ircl

e fo

r re

flect

ion.

How

are

you

like

The

Ver

y H

ungr

y Ca

terp

illa

r? W

hat

is s

hort

er,

a da

y or

a w

eek?

(5 m

inutes)

What c

hanged in y

our lif

e in t

he last w

eek?

Co

nnec

tion

s Sc

ienc

e (n

utri

tion

, tr

ansf

orm

atio

n)

Ex

tens

ions

D

iffe

rent

iati

on

(CRR

E) (

SP.E

D)

(EL

)

Grade K Lessons

10

G

RAD

E K

CON

TEN

T IN

TEG

RATI

ON

TI

TLE

OF

LESS

ON

VISU

AL

ART

S/SC

IEN

CE

Plan

t Sh

apes

: Sh

owin

g th

e D

iver

sity

of

Nat

ure

ESSE

NTI

AL

QU

ESTI

ON

IN

TEG

RATE

D S

TUD

ENT

OBJ

ECTI

VE

H

ow d

o sc

ient

ists

and

art

ists

sho

w

Stud

ents

will

und

erst

and

how

the

art

ele

men

t of

wha

t th

ey k

now

abo

ut n

atur

e?

shap

e ca

n be

use

d to

sho

w t

he p

arts

of

a pl

ant.

Des

crip

tors

VI

SUA

L A

RTS

SCIE

NCE

Stan

dard

s 2.

3 M

ake

a co

llage

wit

h cu

t or

tor

n sh

apes

/for

ms.

2

c. D

iffe

rent

typ

es o

f pl

ants

and

ani

mal

s in

habi

t th

e ea

rth.

As

a

basis

for u

nderstandin

g t

his

concept s

tudents k

now

how

to

iden

tify

maj

or s

truc

ture

s of

pla

nts

and

anim

als

(e.g

., s

tem

s,

leav

es,

root

s, a

rms,

win

gs,

legs

).Student O

bjectiv

es

Students w

ill create a

collage u

sin

g o

rganic

shapes.

Students w

ill id

entif

y m

ajor s

tructures o

f c

om

mon p

lants.

Asse

ssm

ent

D

id s

tude

nts

use

orga

nic

shap

es t

o fo

rm o

ne w

hole

pla

nt s

hape

W

ere

the

stud

ents

abl

e to

iden

tify

the

par

ts o

f a

plan

t by

nam

e

an

d co

rrec

tly

labe

l the

iden

tifie

d sh

apes

? (

root

, st

em,

leaf

, flow

er/f

ruit

, se

ed)?

KEY

KNO

WLE

DGE

Prio

r K

now

ledge

Nam

es o

f c

olo

rs a

nd g

eom

etric

shapes

Know

of d

ifferent t

ypes o

f p

lants a

nd t

rees

New

Con

cept

s A

rtis

ts u

se o

rgan

ic s

hape

s (n

ot j

ust

geom

etri

c) t

o m

ake

art

Pla

nts

have

six

mai

n pa

rts.

a

bout n

atural objects.

New

Voc

abul

ary

Org

anic

/nat

ural

sha

pe,

free

-for

m s

hape

, co

llage

, te

ar,

obse

rve

Nat

ure,

pla

nt p

arts

, ro

ot,

stem

, le

af,

frui

t, fl

ower

s, s

eed,

ear

th

SK

ILLS

Prer

equi

site

Ski

lls

Glu

ing

wit

h gl

ue s

tick

or

liqui

d gl

ue

Cop

y w

ords

fro

m c

hart

to

pape

r. L

abel

ing.

New

Ski

lls

Tea

r in

divi

dual

sha

pes.

Pas

te s

hape

s to

put

tog

ethe

r on

e w

hole

Id

enti

fy p

lant

par

ts.

im

age o

f a

ny p

lant s

hape.

MAT

ERIA

LS/R

ESO

URC

ESM

agaz

ines

, co

nstr

ucti

on p

aper

: gr

een,

bro

wn,

red

, ye

llow

; bl

ue o

r bl

ack

tag

pape

r; g

lue;

pen

cil;

oil

past

els;

cha

rt o

f pl

ant

wit

h pa

rts

labe

led;

a r

eal

pott

ed p

lant

; ar

t re

prod

ucti

ons

of p

lant

or

gard

en la

ndsc

apes

and

/or

bota

nica

l dra

win

gs (

bota

nica

lart

ists

.com

) an

d ex

ampl

es o

f co

llage

s (P

icas

so)

PH

ASE

LESS

ON

Stud

ent

Enga

gem

ent

1.

Teac

her

show

s st

uden

ts t

he r

eal p

otte

d pl

ant,

art

rep

rodu

ctio

n, c

olla

ge e

xam

ple,

and

cha

rt o

f pl

ant

part

s.(5

-10

min

utes

) 2

. Te

ache

r le

ads

disc

ussi

on o

n ho

w a

rtis

ts a

nd s

cien

tist

s sh

ow n

atur

e in

dra

win

gs o

r pa

inti

ngs.

3

. D

ispl

ay a

n ill

ustr

atio

n fr

om a

sci

ence

tex

tboo

k.

Grade K Lessons

11

PH

ASE

LE

SSO

N

Aest

heti

c Ex

plor

atio

n 4

. W

hole

cla

ss u

ses

real

pla

nt t

o id

enti

fy t

he p

lant

par

ts (

root

, ste

m,

leaf

, fr

uit/

flow

er,

seed

) an

d th

ese

sam

e pa

rts

in t

he a

rt(2

0 m

inut

es)

repr

oduc

tion

and

the

pla

nt c

hart

.

5

. In

sm

all g

roup

s st

uden

ts lo

ok t

hrou

gh m

agaz

ines

and

cut

out

pic

ture

s of

pla

nts.

Stu

dent

s cu

t th

e pi

ctur

es s

o th

at t

he p

arts

of

the

pla

nt a

re s

epar

ate.

The

y th

en p

aste

the

m u

nder

the

cor

rect

tit

le o

f th

e pa

rt o

n a

clas

s tr

ee m

ap.

6. Revie

w t

ree m

ap a

s a

whole

group a

nd d

iscuss.

Dem

onst

rati

on

7.

Teac

her

mod

els

tear

ing

each

indi

vidu

al p

lant

par

t se

para

tely

and

glu

ing

them

on

tag

boar

d to

cre

ate

a w

hole

pla

nt s

hape

.(5

min

utes

) 8

. O

il pa

stel

s ar

e us

ed t

o ad

d de

tail

to p

lant

par

ts (

e.g.

, le

af li

nes,

pet

al d

etai

l).

9.

Penc

il is

use

d to

labe

l the

six

dif

fere

nt p

arts

. Cr

eati

ve E

xpre

ssio

n 10

. St

uden

t te

ars

shap

es a

nd c

ompl

etes

col

lage

as

mod

eled

by

teac

her.

(30

min

utes

)

Reflec

tion

11

. Cl

ass

disc

usse

s Es

sent

ial Q

uest

ion

as a

who

le g

roup

.(1

0 m

inut

es)

Conn

ecti

ons

Read

Fro

m S

eed

to P

lant

by

Gai

l Gib

bons

; Th

e Ca

rrot

See

d by

Rut

h Kr

aus;

Flo

wer

Gar

den

by E

ve B

unti

ng.

Exte

nsio

ns

Mak

e a

colla

ge o

f an

ani

mal

and

labe

l the

par

ts.

Grade K Lessons

12

13

Grade 1 Lessons

14

Grade 1 Lessons

15

Grade 1 Lessons

G

RAD

E 1

CON

TEN

T IN

TEG

RATI

ON

TI

TLE

OF

LESS

ON

DA

NCE

/SCI

ENCE

Th

e W

ater

Dan

ce

ESSE

NTI

AL

QU

ESTI

ON

IN

TEG

RATE

D S

TUD

ENT

OBJ

ECTI

VE

Why

is it

impo

rtan

t fo

r da

ncer

s an

d sc

ient

ists

to

Stud

ents

will

dem

onst

rate

an

unde

rsta

ndin

g

un

ders

tand

how

and

why

thi

ngs

chan

ge,

both

of

cha

nge

in t

he s

tate

s of

mat

eria

ls (

wat

er),

mov

emen

t an

d m

ater

ials

? an

d in

the

qua

lity

of t

heir

mov

emen

t.

D

escr

ipto

rs

DA

NCE

SC

IEN

CE

Stan

dard

s 1.

1 D

emon

stra

te t

he a

bilit

y to

var

y co

ntro

l and

dir

ect

forc

e/

1.1

Mat

eria

ls c

ome

in d

iffe

rent

for

ms

(sta

tes)

, in

clud

ing

solid

s,

en

ergy

use

d in

bas

ic lo

com

otor

and

axi

al m

ovem

ents

.

liq

uids

, an

d ga

ses.

As a

bas

is f

or u

nder

stan

ding

thi

s co

ncep

t:

a.

Stud

ents

kno

w s

olid

s, li

quid

s, a

nd g

ases

hav

e di

ffer

ent

propertie

s.

b. Students k

now

the p

ropertie

s o

f s

ubstances c

an c

hange

whe

n th

e su

bsta

nces

are

mix

ed,

cool

ed,

or h

eate

d.Student O

bjectiv

es

Students w

ill be a

ble

to v

ary a

nd c

ontrol the a

mount o

f e

nergy/ S

tudents w

ill be a

ble

to r

ecogniz

e a

nd u

nderstand t

he d

ifferent

for

ce u

sed

in m

ovin

g in

and

thr

ough

spa

ce,

and

in f

reez

ing,

or

for

ms

of w

ater

.

s

toppin

g t

heir

movem

ent.

Asse

ssm

ent

W

ere

stud

ents

abl

e to

var

y an

d co

ntro

l the

qua

lity

of t

heir

W

ere

stud

ents

abl

e to

des

crib

e th

e di

ffer

ent

form

s,

m

ovem

ent?

Wer

e th

ey a

ble

to e

xecu

te s

low

, sm

ooth

and

ligh

t

or

stat

es,

of w

ater

? Ca

n th

ey d

escr

ibe

mov

emen

ts a

s w

ell a

s qu

ick,

sha

rp m

ovem

ent?

Wer

e th

ey a

ble

wha

t ca

uses

wat

er t

o ch

ange

its

form

?

t

o m

ove e

asily b

etw

een s

mooth t

o s

harp m

ovem

ent?

KEY

KNO

WLE

DGE

Prio

r Kn

owle

dge

• G

ener

al a

nd s

elf-

spac

e

• W

ater

as

a liq

uid

• Sp

atia

l aw

aren

ess

•

Wat

er a

s a

solid

• Bo

dy c

ontr

ol

•

Eva

pora

tion

• Te

mpo

(fa

st/s

low

)

•

Leve

ls (

high

/low

)

New

Con

cept

s •

Ener

gy Q

ualit

ies,

or

Qua

litie

s of

Mov

emen

t •

Liq

uids

, so

lids,

gas

es h

ave

diff

eren

t pr

oper

ties

• M

ixin

g, c

oolin

g an

d he

atin

g ca

n ch

ange

the

pro

pert

ies

of a

substance

New

Voc

abul

ary

Ligh

t, S

moo

th,

Shar

p, E

nerg

y Q

ualit

ies

Solid

, liq

uid,

gas

, he

at,

cool

, m

elt,

eva

pora

te

16

SK

ILLS

Pre

requ

isit

e Sk

ills

• Ex

ecut

e ba

sic

loco

mot

or a

nd n

on-l

ocom

otor

mov

emen

ts.

• D

escr

ibe

how

wat

er c

an b

e a

solid

or

a liq

uid,

and

can

cha

nge

• M

ove

and

“fre

eze”

wit

h co

ntro

l and

spa

tial

aw

aren

ess.

bac

k an

d fo

rth

from

one

to

the

othe

r.

•

Exec

ute

basi

c m

ovem

ents

at

diff

eren

t te

mpo

s.

• D

escr

ibe

how

wat

er e

vapo

rate

s in

an

open

. co

ntai

ner

but

not

in

a c

lose

d on

e.

•

Chan

ge le

vels

whi

le m

ovin

g.

N

ew S

kills

Ex

ecut

e ba

sic

loco

mot

or a

nd n

on-l

ocom

otor

mov

emen

ts w

ith

D

escr

ibe

the

prop

erti

es o

f liq

uids

, so

lids

and

gase

s.

di

ffer

ent

mov

emen

t qu

alit

ies,

in p

arti

cula

r, li

ght,

sm

ooth

,

Desc

ribe

how

the

pro

pert

ies

of s

ubst

ance

s (w

ater

) change w

hen

and s

harp.

m

ixed

, he

ated

or

cool

ed.

MAT

ERIA

LS/R

ESO

URC

ES

•

Ice

cube

s (o

ne p

er s

tude

nt)

• Pa

per

cup

• A

glas

s of

wat

er

•

Penc

ils

•

Pape

r

•

Voca

bula

ry c

ards

/pos

ter

of 3

sta

tes

of m

atte

r

•

Dru

m o

r m

usic

(su

gges

ted

mus

ic:

“Eri

c Ch

appe

lle:

Mus

ic f

or C

reat

ive

Dan

ce,”

Vol

. I-

IV)

PH

ASE

LE

SSO

N

Intr

oduc

e 1

. Te

ache

r in

trod

uces

less

on b

y sh

owin

g st

uden

ts a

gla

ss o

f w

ater

: C

once

pt/E

lem

ent

• W

hat

am I

hold

ing?

How

do

you

know

? W

arm

-up/

Cent

erin

g

•

How

doe

s w

ater

mov

e?

(10

min

utes

)

•

Doe

s it

flow

? O

r m

ove

shar

ply?

• D

oes

wat

er a

lway

s ha

ve t

his

form

? Ex

plai

n?

2

. Te

ache

r sh

ows

stud

ents

ice

cube

s:

•

Wha

t am

I ho

ldin

g no

w?

How

do

you

know

?

•

Can

you

tell

me

how

the

se ic

e cu

bes

got

to t

his

form

?

3

. Te

ache

r te

lls s

tude

nts

that

the

for

m o

f w

ater

is c

hang

ed w

hen

it is

hea

ted

and

cool

ed (

e.g.

, Ic

e cu

bes)

. W

hen

wat

er is

kep

t

in a

fre

ezer

, th

e w

ater

cha

nges

fro

m li

quid

to

solid

.

Expl

orat

ion

4.

Inve

stig

atin

g w

ater

as

a so

lid:

Giv

e ea

ch s

tude

nt a

n ic

e cu

be.

How

doe

s th

e ic

e cu

be f

eel?

Did

you

not

ice

the

ice

cube

is m

elti

ng?

(Ex

peri

men

tati

on)

Do

you

know

wha

t ca

uses

ice

cube

s to

mel

t? C

an w

e st

op t

he ic

e cu

be f

rom

mel

ting

?

(10

min

utes

)

5.

Stud

ents

will

put

ice

cube

s in

the

ir o

wn

indi

vidu

al c

ups.

(Yo

u w

ill u

se t

hem

late

r, so

kee

p th

em o

n yo

ur d

esk

or in

a s

afe

area

.)

6

. M

ove

into

the

dan

ce s

pace

. As

k st

uden

ts t

o fin

d th

eir

own

“spa

ce b

ubbl

e.”

Expl

ore

“mel

ting

” w

ith

body

par

ts,

and

then

wit

h

the

who

le b

ody

(e.g

., m

elti

ng a

rms,

mel

ting

hea

ds a

nd s

pine

s).

Ask

stud

ents

, “A

t w

hat

spee

d do

es w

ater

mel

t?”

7.

Talk

abo

ut h

ow w

ater

mov

es (

flow

s, r

ushe

s, d

rips

, et

c.).

Cue

the

stu

dent

s to

tra

vel t

hrou

gh s

pace

usi

ng w

ater

imag

ery

and

clea

r

m

ovem

ent

cues

to

vary

the

stu

dent

s’ q

ualit

y of

mov

emen

t (e

.g.,

mov

e sm

ooth

ly t

hrou

gh s

pace

like

wat

er fl

owin

g in

a r

iver

, tr

avel

us

ing

quic

k sh

arp

“dri

ppin

g” j

umps

, sk

ip li

ghtl

y as

a g

entl

e ra

in).

Grade 1 Lessons

17

PH

ASE

LE

SSO

N

8

. Ex

plor

e ho

w t

hey

wou

ld u

se t

heir

bod

ies

to s

how

the

tra

nsfo

rmat

ion

of w

ater

to

ice.

Ask

the

m,

“How

qui

ckly

or

slow

ly d

oes

w

ater

tur

n in

to ic

e?”

Expl

ore

trav

elin

g th

roug

h sp

ace

usin

g w

ater

imag

ery,

and

“fr

eezi

ng”

slow

ly a

nd s

moo

thly

. Im

agin

e a

la

nd w

here

eve

ryth

ing

free

zes

quic

kly.

Tra

vel t

hrou

gh s

pace

and

pra

ctic

e fr

eezi

ng q

uick

ly a

nd s

harp

ly.

9.

Expl

ore

“fro

zen”

sha

pes

chan

ging

sha

rply

fro

m o

ne t

o an

othe

r. E

xplo

re “

froz

en”

shap

es t

hat

mel

t sm

ooth

ly in

to a

noth

er s

hape

.

Ex

plor

atio

n (

Expe

rim

enta

tion

)

cont.

Im

prov

isat

ion/

10

. U

se a

mus

ical

sel

ecti

on in

whi

ch fl

owin

g an

d pe

rcus

sive

sec

tion

s al

tern

ate

(see

Eri

c Ch

appe

lle’s

“Co

ntra

st a

nd C

onti

nuum

”).

Cr

eati

on

Dur

ing

the

“flow

ing”

mus

ical

sec

tion

, cu

e st

uden

ts t

o tr

avel

sm

ooth

ly a

nd li

ghtl

y th

roug

h sp

ace

to r

epre

sent

wat

er in

its

liqui

d (P

robl

ems

to S

olve

;

fo

rm. A

sk t

hem

to

chan

ge t

he q

ualit

y of

the

ir m

ovem

ent

whe

n th

e m

usic

cha

nges

, ex

ecut

ing

“fro

zen

shap

es”

that

cha

nge

shar

ply

Ch

oice

s to

Mak

e)

to r

epre

sent

the

sol

id s

tate

of

wat

er.

(2

0 m

inut

es)

11.

Use

ver

bal c

ues

and

imag

ery

(“It

’s g

etti

ng v

ery

cold

,” “

The

sun

is h

ot”)

to

prom

pt c

hang

ing

stat

es o

f w

ater

. Cu

e th

em t

o

“freeze” a

nd “

melt

” a

s t

hey m

ake t

he m

ovem

ent t

ransform

atio

ns.

Perf

orm

ance

/Sha

ring

12.

Div

ide

the

clas

s in

hal

f an

d pe

rfor

m f

or e

ach

othe

r.

(10

min

utes

)

If

tim

e pe

rmit

s or

as

an e

xten

sion

:

13

. D

ivid

e th

e ro

om in

to “

Liqu

id L

and”

and

“So

lid L

and.

”

14

. As

sign

hal

f of

the

cla

ss t

o re

pres

ent

wat

er a

s liq

uid,

and

the

oth

er g

roup

of

stud

ents

will

be

solid

.

15

. Pr

ovid

e flow

ing

mus

ic,

and

have

the

liqu

id g

roup

mov

e sm

ooth

ly.

16.

Prov

ide

abru

pt,

shar

p m

usic

, an

d ha

ve t

he s

olid

gro

up d

emon

stra

te c

hang

ing,

fro

zen

“ice

cub

e” s

hape

s.

17

. N

ow a

sk t

he s

tude

nts

to m

ove

betw

een

“Liq

uid

and

Solid

Lan

ds,”

mel

ting

in “

Solid

Lan

d” b

efor

e m

ovin

g to

“Li

quid

Lan

d.”

Agai

n,

have t

hem

focus o

n f

reezin

g a

nd m

elt

ing a

s t

hey m

ove b

etw

een t

he t

wo.

18.

Afte

r ea

ch p

erfo

rman

ce h

ave

stud

ents

refl

ect

on w

hat

they

saw

. W

hat

mov

emen

ts d

emon

stra

ted

the

flow

of

wat

er w

ell?

How

w

as ice d

em

onstrated?

Jour

nal P

rom

pt: S

tude

nts

retu

rn t

o th

eir

cups

whe

re t

hey

plac

ed t

heir

ice

cube

s. S

tude

nts

will

refl

ect

on t

he ic

e cu

be t

rans

form

atio

n.

Wha

t ha

ppen

ed?

Did

it h

appe

n to

eve

ry c

up in

the

sam

e w

ay?

Was

it s

olid

, liq

uid

or b

oth?

How

doe

s it

fee

l?

Co

nnec

tion

s

Exte

nsio

ns

Intr

oduc

e th

e w

ater

cyc

le.

Begi

n to

intr

oduc

e te

mpo

(sp

eed)

wit

h m

ovem

ent

and

how

tem

pera

ture

aff

ects

the

spe

ed o

f w

ater

transform

atio

n.

Read W

ater

Dan

ce.

Expl

ore

wat

er v

erbs

wit

h m

ovem

ent.

Wat

ch a

vid

eo o

f D

oris

Hum

phre

y’s

Wat

er D

ance

.

D

iffe

rent

iati

on

Revi

ew a

nd m

odel

loco

mot

or a

nd n

on-l

ocom

otor

mov

emen

ts b

efor

e le

sson

. Pr

ovid

e vi

sual

aid

s, lo

com

otor

and

non

-loc

omot

or

word c

ards o

r p

ictures.

Grade 1 Lessons

18

Grade 1 Lessons

G

RAD

E 1

CON

TEN

T IN

TEG

RATI

ON

TI

TLE

OF

LESS

ON

MU

SIC/

ENG

LISH

LA

NG

UA

GE

ART

S RE

CITE

AND

MEM

ORI

ZE W

ITH

RH

YME,

RH

YTH

M A

ND M

ELO

DY

ESSE

NTI

AL

QU

ESTI

ON

IN

TEG

RATE

D S

TUD

ENT

OBJ

ECTI

VE

W

hy is

it im

port

ant

to u

se r

ecit

ing

and

sing

ing

Stud

ents

will

dem

onst

rate

the

ir u

nder

stan

ding

of w

ays

to h

elp

us r

emem

ber?

to

mem

oriz

e by

sin

ging

a s

ong

and

reci

ting

a p

oem

fr

om m

emor

y.

D

escr

ipto

rs

MU

SIC

ENG

LISH

LA

NG

UA

GE

ART

S

Stan

dard

s 2

.2 S

ing

age-

appr

opri

ate

song

s fr

om m

emor

y.

Spe

akin

g ap

plic

atio

ns

2

.1 R

ecit

e po

ems,

rhy

mes

, so

ngs

and

stor

ies.

Stu

dent

Obj

ecti

ves

The

stu

dent

s w

ill d

emon

stra

te t

heir

und

erst

andi

ng o

f w

ays

to

The

stu

dent

s w

ill r

ecit

e a

poem

fro

m m

emor

y.

mem

oriz

e b

y s

ingin

g a

song f

rom

mem

ory.

As

sess

men

t

Can

the

stu

dent

s si

ng a

son

g fr

om m

emor

y?

Are

stu

dent

s ab

le t

o re

cite

“St

ar L

ight

Sta

r Br

ight

” fr

om m

emor

y?

KEY

KNO

WLE

DGE

Prio

r K

now

ledge

Rhythm

of t

he w

ords

N

/A

N

ew C

once

pts

Mem

oriz

ing

usin

g rh

yme,

rhy

thm

and

mel

ody

M

emor

izin

g us

ing

rhym

e

R

ecit

ing t

o b

ecom

e b

etter s

peakers

N

ew

Vocabula

ry

Practic

e

R

ecit

e

Tun

e

M

elod

y

R

hythm

Solo

SK

ILLS

Pre

requ

isit

e Sk

ills

Cla

ppin

g th

e rh

ythm

of

the

wor

ds

N/A

Can

sho

w t

he d

iffe

renc

e be

twee

n sp

eaki

ng a

nd s

ingi

ng v

oice

New

Ski

lls

Lea

rnin

g ho

w t

o us

e rh

yme,

rhy

thm

and

mel

ody

to m

emor

ize.

Le

arni

ng h

ow t

o pr

acti

ce r

ecit

ing

M

ATER

IALS

/RES

OU

RCES

Mak

ing

Mus

ic S

erie

s Fi

rst

Gra

de “

Wak

e M

e Sh

ake

Me.

” CD

9-4

“St

ar L

ight

Sta

r Br

ight

” CD

3-3

6

19

PH

ASE

LE

SSO

N

War

m-u

p S

tude

nts

are

seat

ed in

a c

ircl

e fa

cing

the

tea

cher

.

(10

min

utes

) 1

. Li

sten

to

this

son

g, “

Wak

e M

e Sh

ake

Me,

” an

d sh

ow m

e th

e st

eady

bea

t by

pat

ting

on

your

legs

.

a.

You

are

goin

g to

cla

p ha

nds

wit

h yo

ur n

eigh

bor

in a

mom

ent

but

first

let’

s pr

acti

ce in

the

air.

Fol

low

me

as I

clap

my

han

ds

together a

nd t

hen c

lap h

ands w

ith a

pretend p

artner.

b. Tu

rn a

nd f

ace

your

nei

ghbo

r as

you

r pa

rtne

r. D

o th

ese

sam

e m

ovem

ents

whi

le k

eepi

ng t

he s

tead

y be

at d

urin

g th

e so

ng.

2.

Wha

t th

ings

do

we

do in

the

mor

ning

to

get

read

y to

go

to s

choo

l? T

ell m

e fir

st,

then

sin

g it

to

me.

(G

ive

an e

xam

ple

to t

he

st

uden

ts,

such

as

first

spe

akin

g, t

hen

sing

ing

“I g

et o

ut o

f be

d.”)

Who

els

e w

ould

like

to

volu

ntee

r? (

Choo

se a

few

oth

er s

tude

nts.

)

New

Con

cept

3

. If

we

spea

k th

e w

ords

to

the

song

, “W

ake

Me

Shak

e M

e,”

it is

a p

oem

. Po

ems

are

spok

en a

nd o

ften

hav

e rh

ymin

g w

ords

.

(15

min

utes

) 4

. W

hen

we

reci

te,

that

mea

ns w

e pr

acti

ce s

ayin

g th

e w

ords

. It

hel

ps u

s to

get

bet

ter

at r

emem

beri

ng t

he w

ords

and

our

spea

king

. Pl

ease

rec

ite

“Wak

e M

e Sh

ake

Me”

aft

er m

e. L

et m

e kn

ow if

you

can

tel

l me

whe

re t

he s

tead

y be

at is

, ev

en t

houg

h

we

are

not

sing

ing.

(H

elp

stud

ents

to

disc

over

tha

t a

stea

dy b

eat

is t

here

and

can

gui

de y

ou w

hen

you

are

reci

ting

a p

oem

as

w

ell a

s w

hen y

ou a

re s

ingin

g a

song.)

5.

Rhym

es h

elp

us t

o r

em

em

ber s

ongs a

nd p

oem

s b

ecause t

he r

hym

ing w

ords s

ound s

imilar.

a.

Let

’s a

ll sa

y th

e po

em t

oget

her

from

mem

ory

whi

le w

e lis

ten

for

the

rhym

ing

wor

ds.

(Chi

ldre

n re

cite

fro

m m

emor

y.)

Wha

t

are t

he r

hym

ing w

ords?

6.

Whe

n yo

u ad

d th

e m

usic

, it

bec

omes

a s

ong.

a. T

he r

hyth

m o

f th

e w

ords

hel

ps u

s to

rem

embe

r th

e so

ng b

ecau

se it

is a

pat

tern

tha

t is

eas

y to

rem

embe

r. L

et’s

all

cla

p t

he

rhythm

of t

he w

ords. (

Guid

e s

tudents t

o c

lap t

he r

hythm

of t

he w

ords.)

7.

The

tune

mak

es it

eas

y to

rem

embe

r a

song

bec

ause

we

can

thin

k ab

out

wha

t th

e no

tes

soun

d lik

e.

a.

Let

’s a

ll hu

m t

he t

une

of “

Wak

e M

e Sh

ake

Me.

” (O

ptio

n: In

stru

ct s

tude

nts

to m

ove

thei

r ha

nds

up a

nd d

own

to s

how

w

hic

h w

ay t

he n

otes a

re g

oin

g a

s t

hey s

ing.)

8.

Why

is it

impo

rtan

t to

use

rec

itin

g an

d si

ngin

g to

rem

embe

r? (

Gui

de s

tude

nts

in a

dis

cuss

ion.

“It

will

hel

p us

...”

)

Rev

iew

/App

licat

ion

9.

Now

we

are

goin

g to

use

wha

t w

e ju

st le

arne

d to

mem

oriz

e a

new

poe

m a

nd s

ong,

“St

ar L

ight

Sta

r Br

ight

.”

(10

min

utes

)

a.

Rep

eat

afte

r m

e. F

irst

we’

re g

oing

to

use

the

stea

dy b

eat

to g

uide

us

as w

e re

cite

the

poe

m.

b. N

ext

let’

s lis

ten

for

the

rhym

ing

wor

ds in

the

poe

m,

“Sta

r Li

ght

Star

Bri

ght.

”

c. P

ractic

e r

ecit

ing t

he p

oem

wit

h y

our n

eig

hbor a

s y

ou c

lap t

he r

hythm

of t

he w

ords.

d. R

epea

t af

ter

me

to e

cho

the

song

, “S

tar

Ligh

t St

ar B

righ

t.”

e. Le

t’s

all r

ecit

e th

e po

em t

oget

her

by m

emor

y. N

ow le

t’s

all s

ing

the

song

tog

ethe

r.

Asse

ssm

ent

10.

Who

wou

ld li

ke t

o vo

lunt

eer

to r

ecit

e or

to

sing

one

of

the

song

s w

e le

arne

d to

day,

“W

ake

Me

Shak

e M

e” o

r “S

tar

Ligh

t St

ar B

righ

t”?

(1

0 m

inut

es)

(Tel

l the

stu

dent

s th

at if

the

y si

ng a

lone

, th

is is

cal

led

a so

lo.)

Clos

ing

11.

One

way

to

prac

tice

mem

oriz

ing

our

song

s an

d po

ems

is t

o pe

rfor

m t

hem

whe

n w

e ar

e ju

mpi

ng r

ope.

Let

’s a

ll st

and

and

pret

end

(5

min

utes

)

w

e ha

ve o

ur r

opes

wit

h us

. Le

t’s

jum

p to

the

bea

t as

we

perf

orm

the

se t

wo

song

s.

Co

nnec

tion

s

Exte

nsio

ns

Stu

dent

s w

rite

the

ir o

wn

sugg

esti

ons

for

rhym

ing

wor

ds in

son

gs s

uch

as “

Dow

n by

the

Bay

.” D

o a

clas

s ac

tivi

ty a

nd u

se a

gra

phic

o

rgan

izer

to

show

the

dif

fere

nces

am

ong

a sp

eech

, a

poem

and

a s

ong.

D

iffe

rent

iati

on

Grade 1 Lessons

20

Grade 1 Lessons

G

RAD

E 1

CON

TEN

T IN

TEG

RATI

ON

TI

TLE

OF

LESS

ON

THEA

TRE/

HIS

TORY

-SO

CIA

L SC

IEN

CE

The

Gol

den

Rule

and

The

Boy

Who

Cri

ed W

olf

D

urat

ion:

50

min

utes

ESSE

NTI

AL

QU

ESTI

ON

IN

TEG

RATE

D S

TUD

ENT

OBJ

ECTI

VE

How

doe

s ap

plic

atio

n of

the

“G

olde

n Ru

le”

affe

ct

The

lear

ner

will

und

erst

and

how

the

Gol

den

Rule

the

choi

ces

peop

le m

ake,

and

the

jobs

tha

t th

ey

affe

cts

com

mun

ity

life,

whi

le r

ealiz

ing

that

perf

orm

for

the

com

mun

ity?

so

me

char

acte

rs f

ollo

w it

and

som

e do

n’t.

D

escr

ipto

rs

THEA

TRE

HIS

TORY

-SO

CIA

L SC

IEN

CE

Stan

dard

s 1.

1 O

bser

ve a

nd d

escr

ibe

the

trai

ts o

f a

char

acte

r. 1

.1 (2

) Und

erst

and

the

elem

ents

of

fair

pla

y an

d go

od s

port

sman

ship

,

2.

2 Dr

amat

ize

or im

prov

ise

fam

iliar

sim

ple

stor

ies

from

cla

ssro

om

resp

ect

for

the

righ

ts a

nd o

pini

ons

of o

ther

s, a

nd r

espe

ct f

or

lit

erat

ure

or li

fe e

xper

ienc

es.

rule

s by

whi

ch w

e liv

e,in

clud

ing

the

mea

ning

of

the

3.3

Desc

ribe

the

rol

es a

nd r

espo

nsib

iliti

es o

f au

dien

ce a

nd a

ctor

.

“G

olde

n Ru

le.”

5.2

Dem

onst

rate

the

abi

lity

to w

ork

coop

erat

ivel

y. St

uden

t O

bjec

tive

s T

he le

arne

r w

ill k

now

tha

t so

me

char

acte

rs f

ollo

w t

he “

Gol

den

T

he le

arne

r w

ill u

nder

stan

d ho

w t

he “

Gol

den

Rule

” af

fect

s

R

ule”

and

som

e do

n’t.

com

mun

ity

life.

Asse

ssm

ent

Fo

rmat

ive

Teac

her

Obs

erva

tion

Form

ativ

e Te

ache

r O

bser

vati

on

KEY

KNO

WLE

DGE

Prio

r K

now

ledge

Ac

tors

’ to

ols,

cha

ract

er,

stag

e, p

lot,

pan

tom

ime

Ri

ghts

, re

spon

sibi

litie

s, c

omm

unit

y

New

Con

cept

s I

know

tha

t ch

arac

ter

trai

ts a

ffec

t ho

w w

e pe

rfor

m c

hara

cter

s.

I s

ee w

hat

happ

ens

whe

n th

e G

olde

n Ru

le is

not

use

d. I

know

th

at o

ther

s de

scri

be m

e ba

sed

on w

hat

I do.

N

ew V

ocab

ular

y A

udie

nce,

tra

it,

Aeso

p, m

oral

Repu

tati

on

SK

ILLS

Pre

requ

isit

e Sk

ills

I ca

n us

e pa

ntom

ime

and

impr

ovis

atio

nal s

kills

.

I c

an d

o di

ffer

ent

kind

s of

job

s.

New

Ski

lls

I no

tice

how

oth

ers

help

whe

n I a

m s

hari

ng s

omet

hing

wit

h th

e

I can

rec

ogni

ze a

nd d

escr

ibe

“Gol

den

Rule

” be

havi

or

cla

ss.

I thi

nk a

bout

wha

t m

y jo

b is

, as

a p

erfo

rmer

, au

dien

ce

in

mys

elf

and

in o

ther

s. I

noti

ce h

ow m

y ac

tion

s

m

embe

r, o

r ot

her

kind

of

wor

ker

on a

pro

ject

.

can

affe

ct o

ther

s, b

oth

posi

tive

ly a

nd n

egat

ivel

y.

MAT

ERIA

LS/R

ESO

URC

ES

W

ool,

yar

n, s

wea

ter,

kni

ttin

g

21

PH

ASE

LE

SSO

N

Openin

g

1. Students e

nter a

s s

heep o

r s

hepherd.

Gat

heri

ng/W

arm

-up

2.

Gui

ded

acti

vity

usi

ng s

ound

eff

ects

and

pan

tom

ime.

She

pher

ds t

hen

“she

er”

shee

p. S

wit

ch a

nd n

ew s

heph

erds

she

er n

ew s

heep

.

(5 m

inutes)

Ask a

ll t

o p

ick u

p t

he p

iles o

f w

ool and t

ake t

o “

spin

nin

g w

heel.

” S

tudents “

spin

” w

ool in

to y

arn. S

tudents t

hen s

it in c

ircle

and

knit

sw

eate

rs.

Mov

e ah

ead

in t

ime

and

stud

ents

are

sit

ting

nex

t to

pile

s of

sco

res

of s

wea

ters

the

y ha

ve “

knit

.”

Re

view

ing/

3

. St

uden

ts s

it in

cir

cle

for

disc

ussi

on.

Sam

ple

ques

tion

s: W

hat

are

you

goin

g to

do

wit

h th

ese

swea

ters

you

hav

e kn

it?

If y

ou s

ell

Pr

evie

win

g

th

em,

wha

t w

ill y

ou s

pend

the

mon

ey o

n? S

o ho

w d

oes

a pe

rson

mak

e m

oney

fro

m s

heep

? W

hat

does

a s

heph

erd

do?

Is it

an

Vo

cabu

lary

im

portant j

ob? W

hat a

re t

he j

obs p

eople

do in t

he t

heatre.

(5

min

utes

)

Re

view

voc

abul

ary:

act

ors’

too

ls,

char

acte

r, p

lot,

aud

ienc

e, r

ight

s, r

espo

nsib

iliti

es,

com

mun

ity

New

voc

abul

ary:

cha

ract

er t

rait

, m

oral

, re

puta

tion

, G

olde

n Ru

le

Exp

lori

ng/C

reat

ing

4.

Char

t—As

k st

uden

ts f

or j

obs

thei

r pa

rent

s do

and

wri

te t

hem

dow

n on

a c

hart

,dis

cuss

ing

the

impo

rtan

ce o

f th

e jo

bs a

s th

ey g

o Ex

plor

ing

(5 m

inut

es)

al

ong.

Stu

dent

s do

ges

ture

/act

ion

that

is a

par

t of

thi

s jo

b. P

erio

dica

lly a

sk w

hy j

ob is

impo

rtan

t; w

hat

happ

ens

if t

here

’s n

o

one

to d

o th

is j

ob?

Ask

if t

he p

eopl

e w

ho d

o th

ese

jobs

nee

d to

use

the

Gol

den

Rule

, an

d w

hat

that

mea

ns.

Wha

t is

som

ethi

ng

they

wou

ld s

ay a

t th

eir

job?

How

wou

ld t

hey

say

it?

Im

prov

isin

g/

5.

Wal

k ab

out—

Stud

ents

cho

ose

a jo

b fr

om t

he c

hart

and

do

thei

r jo

b in

a “

villa

ge.”

Stu

dent

s us

e di

alog

ue in

job

s th

at

Inve

ntin

g

de

mon

stra

tes

appl

icat

ion

of t

he G

olde

n Ru

le.

(Sto

ry)

(10

min

utes

) 6

. Re

ad T

he B

oy W

ho C

ried

Wol

f to

stu

dent

s. A

sk w

hy t

he b

oy d

ecid

ed t

o pl

ay a

pra

nk.

Dis

cuss

wha

t pe

ople

can

do

if t

hey

get

bored a

t w

ork. W

hat c

ould

the b

oy h

ave d

one?

Sha

ring

/Refl

ecti

ng

7.

Who

le c

lass

—Q

uick

ly c

ast

clas

s in

to B

oy,

Shee

p, W

olf

(who

com

es o

n at

the

end

) an

d to

wns

peop

le in

the

ir j

obs.

Des

igna

te (

or

Pl

aym

akin

g

ha

ve s

tude

nts

deci

de)

whe

re v

illag

e ar

ea s

houl

d be

and

whe

re p

astu

re a

rea

shou

ld b

e. N

arra

te s

tory

, st

oppi

ng t

o le

t ch

arac

ters

(15 m

inutes)

speak t

heir

min

ds.

Refl

ecti

ng/A

sses

sing

8.

Stu

dent

s si

t in

cir

cle

for

reflec

tion

. W

as t

he B

oy u

sing

the

Gol

den

Rule

on

his

job?

Wha

t w

ill h

appe

n to

him

and

his

job

? H

ow

(5

min

utes

)

w

ould

you

des

crib

e hi

s ch

arac

ter

trai

ts?

Wha

t ar

e th

e tr

aits

of

the

othe

r ch

arac

ters

? Th

e w

olf?

The

she

ep?

The

peop

le in

the

tow

n?

Co

nnec

tion

s

Exte

nsio

ns

Char

acte

r Bu

ildin

g—W

hy d

o pe

ople

lie?

D

iffe

rent

iati

on

(CRR

E) (

SP E

D)

Mul

tipl

e in

telli

genc

es (

EL)

Des

crip

tive

lang

uage

Grade 1 Lessons

22

Grade 1 Lessons

G

RAD

E 1

CON

TEN

T IN

TEG

RATI

ON

TI

TLE

OF

LESS

ON

VISU

AL

ART

S/M

ATH

EMAT

ICS

STIL

L LI

FE A

RRA

NG

EMEN

T

ES

SEN

TIA

L Q

UES

TIO

N

INTE

GRA

TED

STU

DEN

T O

BJEC

TIVE

How

do

arti

sts

and

mat

hem

atic

ians

use

St

uden

ts w

ill d

escr

ibe

how

art

ists

and

spac

e in

the

ir w

ork?

m

athe

mat

icia

ns u

se s

pace

in t

heir

wor

k.

D

escr

ipto

rs

VISU

AL

ART

S M

ATH

EMAT

ICS

St

anda

rds

3.2

Iden

tify

and

des

crib

e va

riou

s su

bjec

t m

atte

rs in

art

2

.4 A

rran

ge a

nd d

escr

ibe

obje

cts

in s

pace

by

prox

imit

y, p

osit

ion

(e.g

., la

ndsc

apes

, se

asca

pes,

por

trai

ts,

and

still

life

).

and

dire

ctio

n (e

.g.,

nea

r, fa

r, be

low

, ab

ove,

up,

dow

n, b

ehin

d,

in f

ront

of,

nex

t to

, le

ft o

r ri

ght

of).

Student O

bjectiv

es

Students w

ill id

entif

y v

ario

us s

ubject m

atters a

nd d

escrib

e t

he

Students w

ill know

that t

hey c

an d

escrib

e t

he locatio

n o

f an o

bje

ct

item

s a

nd p

osit

ions o

f a s

till life

artw

ork.

in r

eal space a

ccordin

g t

o its p

osit

ion in r

ela

tio

n t

o o

ther o

bje

cts.

Assessm

ent

Were s

tudents a

ble

to s

uccessfully d

escrib

e t

he c

om

ponents o

f

Were s

tudents a

ble

to s

uccessfully a

rrange o

bjects into a

still

a s

till life a

nd p

ortrait

?

lif

e a

nd d

escrib

e t

he s

till life u

sin

g p

osit

ional w

ords?

KEY

KNO

WLE

DGE

Prio

r Kn

owle

dge

The

re a

re d

iffe

rent

kin

ds o

f ar

twor

k.

Nam

es o

f so

lid s

hape

s

New

Con

cept

s R

ealis

tic

still

life

art

wor

ks c

an b

e di

ffer

ent

from

eac

h ot

her

The

des

crip

tion

of

an o

bjec

t’s

loca

tion

can

be

chan

ged

if t

he

based o

n t

he t

ype o

f o

bjects u

sed a

nd t

heir

pla

cem

ent.

object is m

oved o

r o

bjects a

round it a

re m

oved.

N

ew V

ocab

ular

y S

till

life,

Spa

ce

P

osit

ion,

pro

xim

ity

N

ear,

far,

belo

w,

abov

e, u

p, d

own,

beh

ind,

in f

ront

of,

nex

t to

, or

rig

ht o

f

SK

ILLS

Prerequis

ite S

kills

B

asic

observatio

n s

kills

Workin

g w

ith m

anip

ula

tiv

es

Workin

g in c

ooperativ

e g

roups

Workin

g in c

ooperativ

e g

roups

N

ew

Skills

O

ral com

munic

atio

n s

kills

in v

isual literacy

Intr

oduc

tion

of

the

first

sta

ge o

f ar

t cr

itic

ism

(de

scri

be)

Pla

nnin

g to

ach

ieve

a d

esir

ed g

oal

MAT

ERIA

LS/R

ESO

URC

ES G

eom

etri

c so

lid m

odel

s (e

.g.,

sph

eres

, cu

bes,

cyl

inde

rs,

pyra

mid

s, t

etra

hedr

ons,

etc

.),

plas

tic

mod

els

or r

eal f

ruit

, su

ch a

s or

ange

s, a

pple

s, g

rape

s, b

anan

as

23

Grade 1 Lessons

PH

ASE

LE

SSO

N St

uden

t En

gage

men

t 1

. Vi

ew e

xam

ples

of

at le

ast

two

genr

es (

e.g.

, la

ndsc

ape,

sti

ll lif

e) o

f m

aste

r ar

twor

ks.

(5

-10

min

utes

)

Ae

sthe

tic

2.

Thin

k pa

ir-s

hare

: W

here

are

spe

cific

obj

ects

pla

ced

in t

he m

aste

r ar

twor

ks?

Ex

plor

atio

n 3

. G

roup

dis

cuss

ion:

How

can

we

plac

e ob

ject

s to

mim

ic t

he s

till

life

of a

mas

ter

arti

st?

Teac

her

can

mod

el v

ario

us w

ays

of

(10

min

utes

)

po

siti

onin

g so

lid m

odel

s.

D

emon

stra

tion

4

. De

fine

new

voc

abul

ary:

land

scap

e, s

till

life;

rev

iew

dir

ecti

onal

wor

ds (

e.g.

, ne

ar,

far,

belo

w,

abov

e, u

p, d

own,

beh

ind,

in f

ront

of)

.

(5 m

inutes)

Cre

ativ

e Ex

pres

sion

5

. In

coo

pera

tive

gro

ups:

Stu

dent

s co

nfigu

re o

bjec

ts,

both

geo

met

ric

and

orga

nic

frui

t ob

ject

s, in

to s

till

life

arra

ngem

ents

.

(15 m

inutes)

Re

flec

tion

6

. Co

oper

ativ

e gr

oup

repo

rts:

Des

crib

e co

nfigu

rati

on o

f st

ill li

fe,

usin

g po

siti

onal

wor

ds t

o de

scri

be t

he a

rran

gem

ent.

(1

0 m

inut

es)

Co

nnec

tion

s

Ex

tens

ions

Sk

etch

con

tour

out

line

of s

till

life,

em

phas

izin

g pl

acem

ent.

D

iffe

rent

iati

on

(CRR

E) P

hysi

cally

exp

lore

obj

ects

in s

till

life

befo

re c

onfig

urat

ion

of s

till

life.

24

Grade 1 Lessons

25

Grade 2 Lessons

26

Grade 2 Lessons

27

G

RAD

E 2

CON

TEN

T IN

TEG

RATI

ON

TI

TLE

OF

LESS

ON

DA

NCE

/ELA

Le

t’s

Mak

e a

Sequ

ence

!

ES

SEN

TIA

L Q

UES

TIO

N

INTE

GRA

TED

STU

DEN

T O

BJEC

TIVE

Why

doe

s ou

r w

riti

ng n

eed

to b

e in

seq

uenc

e?

Stud

ents

will

be

able

to

use

the

conc

ept

of

Do

we

need

seq

uenc

e to

tel

l a s

tory

thr

ough

se

quen

ce in

bot

h w

ritt

en n

arra

tive

s an

d da

nce

mov

emen

t? H

ow is

seq

uenc

ing

used

and

app

lied

patt

erns

and

phr

ases

.

in

the

larg

er w

orld

?

D

escr

ipto

rs

DA

NCE

EL

A

Stan

dard

s 2.

1 Cr

eate

and

impr

ovis

e m

ovem

ent

patt

erns

and

seq

uenc

es.

2.1

(a)

Wri

te b

rief

nar

rati

ves

base

d on

the

ir e

xper

ienc

es;

mov

e

through a

logic

al sequence o

f events.

Student O

bjectiv

es

Students w

ill be a

ble

to c

reate a

movem

ent p

hrase in s

equence.

Students w

ill be a

ble

to d

escrib

e in w

rit

ten f

orm

their

mornin

g

events in logic

al sequence.

Assessm

ent

Were s

tudents a

ble

to c

reate a

sim

ple

sequentia

l m

ovem

ent p

hrase?

Were s

tudents a

ble

to w

rit

e a

bout t

heir

mornin

g a

ctiv

itie

s in a

logi

cal,

seq

uent

ial w

ay?

KEY

KNO

WLE

DGE

Prio

r Kn

owle

dge

Gen

eral

and

sel

f-sp

ace

Id

enti

fy s

eque

nce

and

logi

cal o

rder

.

B

egin

nin

g a

nd e

ndin

g

New

Con

cept

s S

ense

of

sequ

ence

Seq

uent

ial o

rder

in w

ritt

en f

orm

Com

bini

ng m

ovem

ents

New

Voc

abul

ary

Seq

uenc

e, m

ovem

ent

phra

se

F

irst

, th

en,

next

, fin

ally

, se

quen

ce

SK

ILLS

Pre

requ

isit

e Sk

ills

Exe

cute

bas

ic lo

com

otor

and

non

-loc

omot

or m

ovem

ents

. E

xecu

te c

lear

beg

inni

ng a

nd e

ndin

g sh

apes

.

W

rit

e c

om

ple

te s

entences.

N

ew S

kills

S

eque

nce

mov

emen

ts t

o cr

eate

a d

ance

phr

ase.

W

rite

abo

ut a

n ex

peri

ence

in s

eque

ntia

l ord

er.

Grade 2 Lessons

MAT

ERIA

LS/R

ESO

URC

ES

• lis

t of

loco

mot

or a

nd n

on-l

ocom

otor

wor

ds p

oste

d fo

r st

uden

t re

fere

nce

• pe

ncils

• pa

per

• m

usic

(su

gges

ted

mus

ic:

Eric

Cha

ppel

le;

“Mus

ic f

or C

reat

ive

Mov

emen

t,”

Vol.

I –

IV)

28

PH

ASE

LE

SSO

NSt

uden

t En

gage

men

t

(5-1

0 m

inut

es)

1.

Stud

ents

are

in a

n op

en s

pace

and

tea

cher

dem

onst

rate

s a

sim

ple

danc

e se

quen

ce.

•

Stre

tch

•

Jum

p

•

Sh

ake

•

Wal

k

•

Re

peat

dan

ce s

eque

nce

seve

ral t

imes

unt

il cl

ass

is c

omfo

rtab

le w

ith

mov

emen

t.

2.

Teac

her

expl

ains

tha

t th

e pr

evio

us m

ovem

ent

was

a s

eque

nce

of m

ovem

ents

. D

iscu

ss w

hat

they

not

iced

abo

ut t

he d

ance

sequ

ence

. Ex

ampl

e: W

hat

mov

emen

t w

as fi

rst?

The

n? N

ext?

Las

t?

Aest

heti

c Ex

plor

atio

n

(10

min

utes

) 3

. Cr

eate

a d

iscu

ssio

n on

oth

er e

vent

s th

at h

ave

a se

quen

ce.

(e.g

., m

akin

g a

pean

ut b

utte

r sa

ndw

ich.

bru

shin

g yo

ur t

eeth

.)

4.

Teac

her

will

intr

oduc

e th

e ev

ent

of w

akin

g up

in t

he m

orni

ng.

(Wha

t do

you

do

first

whe

n yo

u w

ake

up in

the

mor

ning

?)

5.

As a

cla

ss,

crea

te a

flow

map

wit

h fo

ur s

eque

nced

eve

nts

from

stu

dent

res

pons

es.

Focu

s on

firs

t, t

hen,

nex

t an

d la

st.

6.

Onc

e flow

map

is c

ompl

eted

, al

low

stu

dent

s to

exp

lore

the

flow

map

thr

ough

mov

emen

t.

(Show

me h

ow

you w

ould

get o

ut o

f b

ed in t

he m

ornin

g. W

hat d

o y

ou d

o w

hen y

ou b

rush y

our t

eeth?)

Cre

ativ

e Ex

pres

sion

7

. U

sing

the

“w

akin

g up

in t

he m

orni

ng”

flow

map

; st

uden

ts a

re g

iven

the

tas

k of

usi

ng n

on-l

ocom

otor

and

loco

mot

or m

ovem

ents

at

(3

0 m

inutes)

each s

equenced e

vent.

8.

(Fir

st,

I jum

p ou

t of

bed

. Th

en,

I sha

ke o

ut m

y “s

leep

ines

s,”

etc.

) Ex

plor

e ot

her

diff

eren

t ou

tcom

es a

s st

uden

ts p

lug

in

di

ffer

ent

mov

emen

t w

ords

to

the

flow

map

.

9

.

Students w

ill use t

heir

“w

akin

g u

p in t

he m

ornin

g” m

ovem

ent s

equence t

o w

rit

e t

heir

narrativ

e. S

tudents s

hould

have f

our

sent

ence

s in

seq

uenc

e. S

tude

nts

shou

ld u

se s

eque

nce

wor

ds t

o be

gin

thei

r se

nten

ces

(firs

t, t

hen,

nex

t, la

st).

10.

Stud

ents

will

pra

ctic

e th

eir

“wak

ing

up in

the

mor

ning

” m

ovem

ent

sequ

ence

aft

er w

riti

ng t

heir

nar

rati

ve.

11.

Stud

ents

will

find

a p

artn

er a

nd r

ead

thei

r “w

akin

g up

in t

he m

orni

ng”

sequ

ence

.

12

. St

uden

ts w

ill t

hen

perf

orm

the

ir “

wak

ing

up in

the

mor

ning

” m

ovem

ent

sequ

ence

.

Re

flec

tion

As

a w

hole

gro

up,

ask

som

e re

flec

ting

que

stio

ns:

(1

0 m

inutes)

Were y

ou a

ble

to s

ee t

he s

equence o

f e

vents t

hrough m

ovem

ent?

What d

id y

ou n

otic

e w

hen y

ou w

ere w

rit

ing d

ow

n y

our “

wakin

g u

p in t

he m

ornin

g” s

equence? W

as it e

asy o

r h

ard t

o a

dd

movem

ent t

o y

our s

equence? W

hy?

Co

nnec

tion

s

Exte

nsio

ns

Dan

ce o

ut o

f se

quen

ce!

Hav

e st

uden

ts c

hang

e th

e se

quen

ce o

f ev

ents

.

Dif

fere

ntia

tion

Re

view

and

mod

el lo

com

otor

and

non

-loc

omot

or m

ovem

ents

. Pr

ovid

e vi

sual

s of

the

mov

emen

ts a

s w

ell a

s w

ord

card

s.

Grade 2 Lessons

29

Grade 2 Lessons

G

RAD

E 2

CON

TEN

T IN

TEG

RATI

ON

TI

TLE

OF

LESS

ON

MU

SIC/

SCIE

NCE

D

escr

ibin

g Pi

tch

Thro

ugh

Mov

emen

t an

d Co

mpa

riso

n

ES

SEN

TIA

L Q

UES

TIO

N

INTE

GRA

TED

STU

DEN

T O

BJEC

TIVE

How

do

we

desc

ribe

sou

nd?

The

stud

ent

will

be

able

to

dem

onst

rate

and

de

scri

be t

he r

elat

ions

hip

betw

een

pitc

h an

d si

ze.

D

escr

ipto

rs

MU

SIC

SCIE

NCE

St

anda

rds

4.2

Crea

te d

evel

opm

enta

lly a

ppro

pria

te m

ovem

ents

to

expr

ess

1.G

Stu

dent

s kn

ow s

ound

is m

ade

from

vib

rati

ng o

bjec

ts a

nd c

an

pitc

h, t

empo

, fo

rm,

and

dyna

mic

s in

mus

ic.

be d

escr

ibed

by

pitc

h an

d vo

lum

e.

Stu

dent

Obj

ecti

ves

The

stud

ent

will

be

able

sho

w p

itch

thr

ough

mov

emen

t.

The

stud

ent

will

be

able

to

dem

onst

rate

and

des

crib

e th

e

rela

tio

nship

betw

een p

itch a

nd s

ize.

As

sess

men

t

Stud

ents

use

mov

emen

t to

sho

w h

igh

and

low

. Th

e st

uden

t w

ill b

e ab

le t

o ph

ysic

ally

sho

w t

he r

elat

ions

hip

betw

een p

itch a

nd length.

KEY

KNO

WLE

DGE

Prio

r Kn

owle

dge

Reco

gniz

e lo

ud a

nd s

oft,

hig

h an

d lo

w.

Soun

d is

cau

sed

by v

ibra

tion

.

Sound is d

escrib

ed b

y v

olu

me.

N

ew C

once

pts

Stud

ents

can

des

crib

e pi

tch

wit

h m

ovem

ent.

Pi

tch

is t

he w

ay t

o de

scri

be t

he h

ighn

ess

and

low

ness

of

a so

und.

N

ew V

ocab

ular

y Pi

tch:

the

way

to

desc

ribe

the

hig

hnes

s an

d lo

wne

ss o

f a

soun

d.

Leng

th

H

igh

Pitc

h: t

he w

ay t

o de

scri

be t

he h

ighn

ess

and

low

ness

of

a so

und.

Low

SK

ILLS

Prerequis

ite S

kills

Students h

ave

sung

hig

h an

d lo

w n

otes

. Ex

peri

ence

com

parin

g lengths o

f o

bjects.

Stud

ents

hav

e ex

peri

ence

cha

ngin

g vo

lum

e w

ith

inst

rum

ents

and v

oic

e.

N

ew S

kills

Sh

ow h

igh

and

low

wit

h m

ovem

ent.

To

pre

dict

the

hig

hnes

s an

d lo

wne

ss o

f so

und

MAT

ERIA

LS/R

ESO

URC

ES

Re

sona

tor

bells

, bo

omw

hack

ers

and

soun

d sh

apes

Ba

lanc

e an

d m

otio

n FO

SS K

it

OR

4 se

ts o

f 5

PVC

pipe

s cu

t in

des

cend

ing

leng

ths

(5.5

, 5,

4.5

, 4,

3.5

inch

es)

and

1 do

wel

30

PH

ASE

LE

SSO

N

War

m-u

p 1

. Si

ng “

Hel

lo,

ever

yone

” us

ing

hand

sig

nals

to

show

hig

h an

d lo

w,

stud

ents

sin

g, “

Hel

lo,

Ms.

(M

r.)

____

____

_”

(5 m

inut

es)

Sing

“H

ow a

re y

ou t

oday

?” S

tude

nts

sing

“Ve

ry w

ell,

tha

nk y

ou.”

Plea

se P

orri

dge

2.

Gui

de s

tude

nts

to s

ing

the

song

and

use

han

ds t

o sh

ow t

he h

igh

and

low

sou

nds.

3.

Sing

“Ca

n yo

u si

ng a

hig

h no

te?”

in a

hig

h vo

ice.

Stu

dent

s re

peat

.

Si

ng “

Can

you

sing

a lo

w n

ote?

” in

a lo

w v

oice

. St

uden

ts r

epea

t.

New

Con

cept

4

. As

k th

e es

sent

ial q

uest

ion:

How

do

we

desc

ribe

sou

nd?

(1

5 m

inut

es)

5.

Revi

ew w

hat

we

alre

ady

know

abo

ut s

ound

. El

icit

pri

or k

now

ledg

e fr

om t

he c

hild

ren

that

sou

nd c

an b

e de

scri

bed

by v

olum

e

(lo

ud a

nd s

oft).

6.

“How

els

e ca

n w

e de

scri

be s

ound

?” V

ario

us a

nsw

ers

incl

ude

high

and

low

.

7

. “W

e ca

n de

scri

be s

ound

by

its

volu

me

and

pitc

h.”

Defi

ne t

he t

erm

s vo

lum

e (l

oud

and

soft

) an

d pi

tch

(the

hig

hnes

s an

d

low

ness o

f a

sound).

8.

Put

out

high

and

low

res

onat

or b

ells

. Pl

ay e

ach

once

. As

k th

e qu

esti

on,

“Do

they

sou

nd t

he s

ame?

” Ad

d a

mid

dle

bell.

9

. “W

hy d

o th

ey s

ound

dif

fere

nt?

This

is w

hat

we

are

goin

g to

exp

lore

tod

ay.

Why

do

diff

eren

t ob

ject

s pr

oduc

e di

ffer

ent

pitc

hes?

” R

evie

w/A

pplic

atio

n 10

. In

vite

the

stu

dent

s to

tes

t th

e so

unds

pro

duce

d by

tub

es o

f di

ffer

ent

leng

ths

in g

roup

s of

five

chi

ldre

n. R

emin

d th

e ch

ildre

n of

(1

5 m

inut

es)

the

ques

tion

, “W

hy d

o di

ffer

ent

obje

cts

prod

uce

diff

eren

t pi

tche

s?”

11.

Tell

the

grou

ps t

o pr

epar

e sh

ort

oral

pre

sent

atio

ns e

xpla

inin

g w

hat

they

hav

e di

scov

ered

.

12

. U

se t

he r

eson

ator

bel

ls t

o un

ders

core

the

stu

dent

s’ d

isco

very

tha

t pi

tch

is r

elat

ed t

o le

ngth

. (S

how

the

dif

fere

nce

in le

ngth

betw

een t

he b

ells a

nd p

lay t

hem

again

to f

urther r

ein

force t

he c

oncept.)

As

sess

men

t 13

. G

uide

the

chi

ldre

n to

use

the

tub

es t

o pl

ay p

atte

rns

of lo

w,

med

ium

and

hig

h (3

tub

es).

(As

k on

e st

uden

t to

pla

y. A

sk t

he o

ther

(1

5 m

inut

es)

four

to

resp

ond,

sho

win

g th

e hi

ghne

ss a

nd lo

wne

ss w

ith

thei

r bo

dies

.)

14

. Br

ing

out

five

boom

wha

cker

s. A

sk fi

ve c

hild

ren

to a

rran

ge t

hem

selv

es a

ccor

ding

to

pitc

h, h

igh

to lo

w.

Ask

five

new

chi

ldre

n to

arrange t

hem

selv

es f

rom

low

to h

igh.

15. Repeat t

his

activ

ity w

ith s

ound s

hapes.

16.

“Let

’s t

ake

the

high

est

and

low

est

boom

wha

cker

s an

d pl

ay a

gam

e.”

a. A

sk t

wo s

tudents t

o e

ach t

ake a

boom

whacker.

b. C

ondu

ct o

r as

k a

stud

ent

lead

er t

o co

nduc

t by

poi

ntin

g to

one

of

the

two

stud

ents

to

tell

him

/her

whe

n to

pla

y.

c.

Inst

ruct

the

res

t of

the

cla

ss t

o ph

ysic

ally

mat

ch t

he p

itch

of

the

soun

d as

the

boo

mw

hack

ers

are

play

ed (

mov

ing

hand

s

or b

odie

s h

igh o

r low

).

17.

Repe

at,

obse

rvin

g st

uden

ts f

or c

ompr

ehen

sion

. Th

en g

uide

the

stu

dent

s to

rep

eat

the

acti

vity

, th

is t

ime

wit

h th

eir

eyes

clo

sed.

O

bserve t

o s

ee h

ow

well t

he s

tudents a

re a

ble

to m

atch t

heir

movem

ent t

o t

he h

ighness a

nd low

ness o

f the s

ound b

ein

g p

layed.

Cl

osin

g 1

. Re

view

the

ess

enti

al q

uest

ion:

How

do

we

desc

ribe

sou

nd?

How

do

we

desc

ribe

the

low

ness

and

hig

hnes

s of

a s

ound

?

(5 m

inut

es)

How

can

we

show

thi

s w

ith

our

bodi

es?

2.

Sing

“G

ood

bye,

boy

s an

d gi

rls.

” St

uden

ts s

ing

“Goo

dbye

, M

s. (

Mr.

) __

____

___.

”

Co

nnec

tion

s

Exte

nsio

ns

List

en t

o th

e Ca

rniv

al o

f th

e A

nim

als

and

mov

e to

sho

w h

igh

and

low

sou

nds

(don

key,

cuc

koo

bird

).

Dif

fere

ntia

tion

Grade 2 Lessons

31

SOUNDS CAN BE HIGH AND LOW We hear high sounds and low sounds. Which pictures show animals or things

that make high sounds? Which pictures show animals or things that make low sounds?

DAY Activities: 1 Point to each picture, asking students to make the sound each picture represents. 2 Point to each picture, asking students to say high or low for each. 3 Ask students to name other animals or things that make high sounds.

4 Ask students to name other animals or things that make low sounds.

5 Ask students to draw two pictures, one representing a high sound and one representing a low sound.

“I am looking to see who is showing me their best effort!”

Grade 2 Lessons

32

WE CAN SHOW HIGH AND LOW SOUNDSWe can make high and low sounds with our voices.

DAY Activities: 1 Point to picture 1, asking students to move their voices up and down as you point.

2 Point to picture 3, asking students to move their voices up and down as you point.

3 Draw a picture on the board, then ask students to follow with their voices as you point.

4 Ask students to draw a picture they can follow with their voices. Let them practice it.

“I am looking to see who is showing me their best effort!”

Grade 2 Lessons

33

WE CAN SHOW HIGH AND LOW SOUNDS We can show high and low sounds by showing pictures of things that

are normally high and low in space.

We can show high and low sounds by putting pictures higher and lower on a page.

DAY Activities: 1 Point to the star and fish pictures, asking students to make a high and then a

low sound.

2 Ask students to follow the other pictures and make high, medium and low sounds.

“I am looking to see who is showing me their best effort!”

DAY Activities: 1 Point to the star and fish pictures, asking students to make a high and then a

low sound.

2 Ask students to follow the other pictures and make high, medium and low sounds.

“I am looking to see who is showing me their best effort!”

Grade 2 Lessons

34

G

RAD

E 2

CON

TEN

T IN

TEG

RATI

ON

TI

TLE

OF

LESS

ON

THEA

TRE/

MAT

H

Prob

lem

-Sol

ving

in M

easu

rem

ent

and

Stor

ytel

ling

D

urat

ion:

60

min

utes

ESSE

NTI

AL

QU

ESTI

ON

IN

TEG

RATE

D S

TUD

ENT

OBJ

ECTI

VE

H

ow d

o ac

tors

and

mat

hem

atic

ians

find

dif

fere

nt

Stud

ents

will

use

pro

blem

-sol

ving

ski

lls in

way

s to

sol

ve p

robl

ems?

m

easu

rem

ent

and

stor

y de

velo

pmen

t.

D

escr

ipto

rs

THEA

TRE

MAT

H

Stan

dard

s 1.

2 U

se b

ody

and

voic

e to

impr

ovis

e al

tern

ativ

e en

ding

s to

sto

ries

. M

easu

rem

ent

and

Geo

met

ry

1.

1 M

easu

re t

he le

ngth

of

obje

cts

by it

erat

ing

(rep

eati

ng)

a

nonstandard o

r s

tandard u

nit

.

1.2

Use

dif

fere

nt u

nits

to

mea

sure

the

sam

e ob

ject

and

pre

dict

w

hether t

he m

easure w

ill be g

reater o

r s

maller w

hen a

dif

ferent u

nit

is u

sed.

Stu

dent

Obj

ecti

ves

Stud

ents

will

app

ly p

robl

em-s

olvi

ng s

kills

and

kno

wle

dge

of p

lot

Stud

ents

will

und

erst

and

the

broa

der

use

of a

sta

ndar

d ve

rsus

a

an

d co

nflic

t to

dev

ise

new

end

ings

to

stor

ies.

no

nsta

ndar

d un

it o

f m

easu

rem

ent

in p

robl

em-s

olvi

ng.

Assessm

ent

KEY

KNO

WLE

DGE

Prio

r Kn

owle

dge

Pant

omim

e, C

hara

cter

, Se

ttin

g, P

lot,

Coo

pera

tion

M

easu

rem

ent

N

ew C

once

pts

I can

use

wha

t I k

now

abo

ut t

he b

egin

ning

and

mid

dle

of a

sto

ry

I kno

w t

he d

iffe

renc

e be

twee

n st

anda

rd a

nd n

onst

anda

rd u

nits

.

to

mak

e an

end

ing.

I kno

w t

hat

it t

akes

mor

e sm

all u

nits

tha

n la

rge

unit

s to

cov

er t

he

sam

e d

istance.

N

ew V

ocab

ular

y Co

nflic

t, A

lter

nati

ve,

Conc

ept

U

nit,

Dis

tanc

e, S

tand

ard,

Non

stan

dard

, Es

tim

ate

SK

ILLS

Prer

equi

site

Ski

lls

Pant

omim

e, im

prov

isat

ion

M

easu

rem

ent

N

ew S

kills

I w

ork

wit

h m

y cl

assm

ates

to

com

e up

wit

h al

tern

ativ

e I m

easu

re d

ista

nce

wit

h st

anda

rd a

nd n

onst

anda

rd u

nits

. I p

redi

ct if

endin

gs t

o s

torie

s.

the q

uantit

y o

f unit

s r

equir

ed t

o c

over t

he d

istance w

ill be large o

r

smal

ler,

depe

ndin

g on

the

siz

e of

the

uni

t.

MAT

ERIA

LS/R

ESO

URC

ESH

ow B

ig Is

A F

oot?

by

Rolf

Myl

ler,

“Ro

yal”

mus

ic (

i.e.

, H

ande

l or

com

men

sura

te c

ompo

ser

from

oth

er c

onti

nent

s);

char

t pa

per,

mar

kers

, a

leng

th o

f re

d bu

tche

r pa

per

to m

ake

a “c

arpe

t” t

aped

to

the

floo

r, v

ario

us s

tand

ard

and

nons

tand

ard

unit

s of

mea

sure

men

t (e

.g.,

rul

ers,

yar

dsti

cks,

pap

er c

lip,

bana

na,

cucu

mbe

r, c

ane,

str

ing,

sho

es,

etc.

)

Grade 2 Lessons

35

Grade 2 Lessons

PH

ASE

LE

SSO

NG

athe

ring

/War

m-u

p 1

. St

uden

ts e

nter

to

“roy

al”

mus

ic,

whi

le p

anto

mim

ing

carr

ying

“pr

esen

ts”

for

the

quee

n. S

tude

nts

show

wei

ght,

siz

e, a

nd

(10

min

utes

)

sh

ape

of t

he p

rese

nt b

y th

e w

ay t

hey

carr

y it

.

2

. G

uide

d ac

tivi

ty-“

Mea

suri

ng t

he R

ed C

arpe

t” C

hoos

e a

part

ner

who

has

a n

otic

eabl

y di

ffer

ent

shoe

siz

e th

an y

ou.

Your

job

will

be t

o m

easu

re t

he r

ed c

arpe

t us

ing

your

fee

t, h

eel t

o to

e, c

ount

ing

how

man

y “f

eet”

for

eac

h of

you

. Re

cord

the

find

ings

on

ch

art

pape

r. A

t th

e en

d, s

ee if

stu

dent

s ca

n gu

ess

who

has

the

big

gest

fee

t an

d w

ho h

as t

he s

mal

lest

, ba

sed

on t

he d

ata.

(Stu

dent

s ca

n m

easu

re o

ther

dis

tanc

es a

roun

d th

e ro

om if

the

y fin

ish

earl

y.)

3.

Stud

ents

“es

tim

ate”

: H

ow m

any

pape

r cl

ips

wou

ld it

tak

e to

mea

sure

a t

able

? H

ow m

any

penc

ils?

How

man

y ca

nes,

etc

.

D

raw

con

clus

ions

. Th

e sm

alle

r th

e un

it o

f m

easu

re,

the

mor

e th

e nu

mbe

r.

Revie

win

g/

4. Students s

it in c

ircle

.

Pr

evie

win

g

Re

view

voc

abul

ary:

pan

tom

ime,

cha

ract

er,

sett

ing,

plo

t, m

easu

rem

ent

(1

0 m

inut

es)

New

voc

abul

ary:

Sho

w a

nd d

iscu

ss s

tand

ard

and

nons

tand

ard

unit

s of

mea

sure

men

t. S

tude

nts

can

sort

sta

ndar

d fr

om

nons

tand

ard.

Sel

ect

whi

ch c

an m

easu

re d

ista

nce.

Dis

cuss

plo

t in

ter

ms

of b

egin

ning

, m

iddl

e an

d en

d.

Is

the

re a

beg

inni

ng,

mid

dle

and

end

on a

rul

er?

How

are

mea

sure

men

t to

ols

like

acto

rs’

tool

s? D

iscu

ss c

onflic

t in

ter

ms

of a

prob

lem

tha

t ne

eds

to b

e so

lved

. D

iscu

ss a

lter

nati

ves

as c

hoic

es t

hat

can

be m

ade.

(Sav

e co

ncep

t fo

r re

flec

tion

and

dis

cuss

ion.

)

Ex

plor

ing

5.

Char

acte

r w

alk-

Stud

ents

wal

k as

cha

ract

ers

from

the

sto

ry:

jovi

al k

ing,

hap

py q

ueen

ant

icip

atin

g he

r bi

rthd

ay,

all t

he k

ingd

om

(5 m

inut

es)

slee

ping

on

the

floo

r be

caus

e th

ere’

s no

suc

h th

ing

as b

eds,

the

pri

me

min

iste

r, t

he c

hief

car

pent

er a

nd t

he a

ppre

ntic

e.

6.

Gro

up a

ssig

nmen

ts-C

ount

off

stu

dent

s by

thr

ee o

r fo

ur s

o th

at t

here

are

thr

ee o

r fo

ur g

roup

s. T

ell s

tude

nts

thes

e w

ill b

e th

eir

actin

g t

roupes t

hat w

ill m

ake u

p t

he e

ndin

g t

o t

he s

tory.

Vo

cabu

lary

7

. Re

ad s

tory

to

whe

re t

he a

ppre

ntic

e is

thr

own

into

jai

l for

mak

ing

the

bed

too

smal

l for

the

Que

en. T

he la

st q

uest

ion

shou

ld b

e, “

Why

(10

min

utes

)

w

as t

he b

ed t

oo s

mal

l for

the

Que

en?”

Cha

rt t

he c

hara

cter

s an

d cl

arify

the

pro

blem

.

Impr

ovis

ing/

Inve

ntin

g

If

grou

ps a

re s

mal

l, t

he m

ost

impo

rtan

t ch

arac

ters

are

the

kin

g, t

he q

ueen

, an

d th

e ap

pren

tice

. N

ote

the

size

of

the

char

acte

rs in

the

(Sto

ry)

stor

y. S

tude

nts

may

use

pro

p st

anda

rd a

nd n

onst

anda

rd u

nits

in t

heir

impr

ovis

atio

ns. T

heir

tas

k: t

he c

hara

cter

s m

ust

rete

ll th

e w

hole

stor

y en

ding

wit

h a

prop

er-s

ized

bed

for

the

Que

en. T

hey

mus

t al

so a

nsw

er t

he q

uest

ion:

“W

hy w

as t

he b

ed t

oo s

mal

l for

the

Que

en?”

Th

ey s

houl

d us

e th

e w

ord

“uni

ts”

in t

heir

sto

ry. T

hese

gui

delin

es a

re p

oste

d fo

r st

uden

ts t

o re

fer

to.

Pl

aym

akin

g 8

. G

roup

s re

hear

se.

Teac

her

circ

ulat

es t

o fa

cilit

ate.

(20

min

utes

) 9

. G

roup

s sh

are

thei

r st

orie

s w

ith

mad

e-up

end

ings

.

Refle

ctin

g/As

sess

ing

10.

Stud

ents

sit

in c

ircl

e fo

r re

flec

tion

. W

hat

can

stud

ents

say

abo

ut w

hat

will

hap

pen

in m

easu

rem

ent

depe

ndin

g on

the

siz

e of

(5 m

inutes)

the u

nit

? W

hic

h g

roups h

ad a

lternativ

e e

ndin

gs t

hat s

eem

ed r

eally p

lausib

le? S

hare r

eal endin

g o

f s

tory. W

hic

h u

nit

s o

f

measurem

ent a

re t

he m

ost u

seful in

certain

sit

uatio

ns?

Jour

nal p

rom

pt:

Stud

ents

mak

e up

pho

ne c

onve

rsat

ion

dial

og w

here

in a

buy

er is

cal

ling

a se

ller

in a

noth

er c

ount

ry t

o or

der

a su

pply

th

at c

an b

e m

easu

red

in d

ista

nce

(fab

ric,

rop

e, b

oard

s, fl

agpo

les)

. Th

e se

ller

mus

t be

abl

e to

und

erst

and

how

muc

h he

mus

t se

nd.

Co

nnec

tion

s

Exte

nsio

ns

D

iffe

rent

iati

on

36

G

RAD

E 2

CON

TEN

T IN

TEG

RATI

ON

TI

TLE

OF

LESS

ON

VISU

AL

ART

S/H

ISTO

RY-S

OCI

AL

SCIE

NCE

Co

lor

and

Pers

onal

ity:

How

We

‘See

’ H

isto

ry

ES

SEN

TIA

L Q

UES

TIO

N

INTE

GRA

TED

STU

DEN

T O

BJEC

TIVE

How

do

arti

sts

and

hist

oria

ns p

ortr

ay h

isto

ric

hero

es?

Stud

ents

will

und

erst

and

how

col

or c

hoic

es c

an

expr

ess

the

pers

onal

ity

of a

his

tori

c fig

ure.

D

escr

ipto

rs

VISU

AL

ART

S H

ISTO

RY-S

OCI

AL

SCIE

NCE

St

anda

rds

5.2

Sele

ct a

nd u

se e

xpre

ssiv

e co

lors

to

crea

te m

ood

and

show

2.

5 St

uden

ts u

nder

stan

d th

e im

port

ance

of

indi

vidu

al a

ctio

n.

personality w

ithin

a p

ortrait

of a

hero f

rom

long a

go o

r t

he

recent p

ast.

Stu

dent

Obj

ecti

ves

Stud

ent

will

use

col

or t

o sh

ow a

n in

divi

dual

’s p

erso

nalit

y.

Stud

ent

will

kno

w a

bout

the

impo

rtan

ce o

f hi

stor

ic p

erso

nalit

ies.

Assessm

ent

Were s

tudents a

ble

to p

ain

t a

portrait

usin

g c

olo

r a

s a

means t

o

Were s

tudents a

ble

to e

ffectiv

ely

describ

e t

he p

ersonality t

rait

s

expr

ess

the

pers

onal

ity

trai

ts o

f a

hist

oric

figu

re?

of a

his

tori

c fig

ure?

KEY

KNO

WLE

DGE

Prio

r Kn

owle

dge

Prim

ary

colo

rs,

seco

ndar

y co

lors

, po

rtra

it,

feel

ing

His

tory

of

hero

(as

), lo

ng a

go a

nd r

ecen

t

New

Con

cept

s Po

rtra

its

can

conv

ey im

port

ant

info

rmat

ion

abou

t th

e su

bjec

t.

Her

oes

are

peop

le w

ho m

ade

a di

ffer

ence

.

New

Voc

abul

ary

Moo

d, p

erso

nalit

y, c

olor

exp

ress

ioni

sm (

feel

ing)

, Lo

ng a

go,

rece

nt,

char

acte

r, p

erso

nalit

y, t

rait

s, b

iogr

aphy

war

m a

nd c

ool c

olor

s, p

ropo

rtio

n

SK

ILLS

Pre

requ

isit

e Sk

ills

Basi

c dr

awin

g sk

ills

D

isti

ngui

sh f

act

from

fict

ion

Basi

c pa

inti

ng t

echn

ique

s

Be a

ble

to e

xpla

in h

ow t

he p

rese

nt is

con

nect

ed t

o th

e pa

st.

N

ew S

kills

W

ater

colo

r re

sist

tec

hniq

ue,

faci

al p

ropo

rtio

ns,

addi

ng

Inte

rpre

ting

info

rmat

ion

pers

onal

ity

to a

por

trai

t th

roug

h lin

es,

shap

e an

d co

lor

MAT

ERIA

LS/R

ESO

URC

ESO

il pa

stel

s or

cra

yons

, sc

ratc

h pa

per,

wat

erco

lor

sets

, w

ater

colo

r br

ushe

s, c

onta

iner

s, w

ater

colo

r pa

per,

pen

cil,

fine

por

trai

ts o

f he

roes

(e

.g.,

Geo

rge

Was

hing

ton,

Sit

ting

Bul

l, C

esar

Cha

vez,

Mar

tin

Luth

er K

ing)

.

Grade 2 Lessons

37

Grade 2 Lessons

PH

ASE

LE

SSO

NSt

uden

t En

gage

men

t D

ay O

ne

(10

min

utes

) 1

. Te

ache

r le

ads

stud

ents

in a

dis

cuss

ion

of d

efini

ng t

he c

hara

cter

of

a he

ro.

Appl

y to

a s

ugge

sted

per

son.

View

var

ious

por

trai

ts

(f

rom

sev

eral

eth

nic

back

grou

nds)

of

hist

oric

per

sona

ges.

How

do

colo

r ch

oice

s co

nvey

moo

d, c

hara

cter

?

2

. Te

ache

r re

view

s pr

imar

y an

d se

cond

ary

colo

rs a

nd in

trod

uces

war

m a

nd c

ool c

olor

com

bina

tion

s.

3.

Teac

hers

ask

s, “

How

are

col

ors

used

to

expr

ess

wha

t th

e ar

tist

is t

ryin

g to

con

vey

in r

egar

d to

the

per

sona

lity

of t

he p

erso

n

bein

g d

epic

ted in t

he p

icture?”

4.

Teac

her

asks

: “T

hink

of

a he

ro in

you

r lif

e.”

Aest

heti

c Ex

plor

atio

n 5

. St

uden

ts p

air-

shar

e to

sel

ect

a he

ro in

the

ir li

fe (

mom

, da

d, g

rand

pare

nt)

and

list

the

qual

itie

s of

tha

t pe

rson

.

(10

min

utes

) 6

. In

divi

dual

ly t

hink

and

wri

te d

own

wha

t co

lors

you

wou

ld u

se t

o ex

pres

s th

eir

pers

onal

ity

and

why

.

7

. W

hole

gro

up s

hare

s fin

ding

s.

D

emon

stra

tion

8

. Te

ache

r de

mon

stra

tes

the

less

on.

(3

0 m

inut

es)

• H

ow t

o se

t up

des

k fo

r pa

inti

ng

• H

ow m

ater

ials

will

be

dist

ribu

ted

• H

ow t

o dr

aw a

por

trai

t, u

sing

the

cor

rect

pro

port

ions

• H

ow t

o m

ix p

aint

: se

cond

ary,

war

m,

cool

col

ors

• H

ow t

o us

e w

ax r

esis

t

•

How

to

appl

y th

e pa

int

to p

aper

sur

face

Re

flec

tion

9

. St

uden

ts a

re in

stru

cted

to

wri

te in

a j

ourn

al w

hich

his

tori

c fig

ure

they

cho

se a

nd w

hy.

Student E

ngag

emen

t D

ay T

wo

(1

0 m

inut

es)

Stud

ents

rea

d sh

ort

sele

ctio

n (i

ndep

ende

ntly

or

chor

ally

) ab

out

a te

ache

r-ch

osen

her

o.

1

. Cl

ass

part

icip

ates

in c

reat

ing

circ

le m

ap/l

ist

of a

djec

tive

s re

fere

nced

in t

he r

eadi

ng.

2.

Stud

ents

are

led

to in

fer

emot

iona

l cha

ract

eris

tics

of

the

hero

.

3

. Te

ache

r-le

d di

scus

sion

reg

ardi

ng:

colo

r/m

ood.

Dem

onst

rati

on —

4.

On

over

head

tea

cher

dem

onst

rate

s ho

w t

o dr

aw a

por

trai

t us

ing

faci

al p

ropo

rtio

ns

Cre

ativ

e Ex

pres

sion

1

. W

ith

teac

her

guid

ance

stu

dent

s us

e pe

ncil

and

pape

r to

dra

w t

he o

utlin

e of

the

his

tori

cal fi

gure

the

y ha

ve c

hose

n, u

sing

the

(2

0 -3

0 m

inut

es)

corr

ect

faci

al p

ropo

rtio

ns.

(Rem

embe

r, t

he p

ropo

rtio

ns w

ill n

ot b

e as

acc

urat

e du

e to

age

and

ski

ll le

vel o

f th

e st

uden

ts.)

2.

Stud

ents

cho

ose

colo

r(s)

to

conv

ey t

he p

erso

nalit

y of

the

his

tori

cal fi

gure

.

3. Students r

edraw

the f

ace u

sin

g c

rayon o

n w

atercolo

r p

aper.

D

emon

stra

tion

D

ay T

hree

(1

0 m

inut

es)

1.

Teac

her

dem

onst

rate

s ho

w t

o m

ix c

olor

s an

d ap

ply

pain

t.

Cre

ativ

e Ex

pres

sion

2

. St

uden

ts p

aint

por

trai

t.

(30-

40 m

inut

es)

38

Grade 2 Lessons

Re

flec

tion

W

hat

lear

ning

will

you

tak

e aw

ay f

rom

thi

s pr

ojec

t th

at y

ou c

an u

se in

fut

ure

assi

gnm

ents

?

Co

nnec

tion

s M

ath

prop

orti

ons

Ex

tens

ions

D

ispl

ay e

ach

step

of

the

stud

ents

’ w

ork

(the

pro

cess

) an

d ha

ve t

hem

col

labo

rati

vely

giv

e ea

ch s

tep

a ti

tle

and

expl

anat

ion.

In

clud

e re

adin

gs o

f ot

her

cult

ural

her

oes

thro

ugho

ut t

he u

nit.

D

iffe

rent

iati

on

(EL)

Rea

d Th

e M

ixed

Up

Cham

eleo

n by

Eri

c Ca

rle

Vo

cabu

lary

Co

ol c

olor

s: C

olor

s su

gges

ting

coo

lnes

s: b

lue,

gree

n, a

nd v

iole

t.

Po

rtra

it:

A tw

o or

thr

ee-d

imen

sion

al a

rtw

ork

crea

ted

in t

he im

age

of a

per

son.

Prop

orti

on:

The

rela

tion

ship

in s

ize

of o

ne p

art

to t

he w

hole

, an

d of

one

par

t to

the

oth

er.

War

m c

olor

s: C

olor

s su

gges

ting

war

mth

: re

d, y

ello

w,

and

oran

ge.

39

Grade 2 Lessons

How to Draw a Face

1. Lightly draw an oval in pencil.

2. Lightly draw a liine down the middle.

3. Lightly draw a line across the middle.

4. Mark halfway between the dividing line and the bottom.

5. Mark halfway between #4 and the bottom.

6. Draw ears from the eyebrows to the bottom of the nose.

Hairline is approximately halfway between top of head and eyebrows.

Eyes have approximately one eye-width between them. Top edge of

eyes

Bottom edge of nose

Center of mouth

Neck starts behind ears.

Add details.

40

Grade 2 Lessons

41

Grade 3 Lessons

42

Grade 3 Lessons

43

Grade 3 Lessons

G

RAD

E 3

CON

TEN

T IN

TEG

RATI

ON

TI

TLE

OF

LESS

ON

DA

NCE

/MAT

H

FRO

M F

RACT

ION

S TO

RH

YTH

M

ESSE

NTI

AL

QU

ESTI

ON

IN

TEG

RATE

D S

TUD

ENT

OBJ

ECTI

VE

Why

is t

he c

once

pt o

f fr

acti

onal

equ

ival

ency

St

uden

ts w

ill d

emon

stra

te a

n un

ders

tand

ing

of

im

port

ant

to b

oth

danc

ers

and

mat

hem

atic

ians

? fr

acti

onal

equ

ival

ency

by

crea

ting

rhy

thm

ic

m

ovem

ent

phra

ses

and

nota

ting

tho

se p

hras

es

w

ith

mat

hem

atic

al e

quat

ions

.

D

escr

ipto

rs

DA

NCE

M

ATH

St

anda

rds

1.4

Expa

nd t

he a

bilit

y to

inco

rpor

ate

spat

ial a

nd t

ime

conc

epts

M

ath

Reas

onin

g 3.

1 Co

mpa

re f

ract

ions

rep

rese

nted

by

draw

ings

in

movem

ent p

roble

ms.

or c

oncrete m

ateria

ls t

o s

how

equiv

ale

ncy a

nd t

o a

dd a

nd

2.8

Crea

te,

mem

oriz

e, a

nd p

erfo

rm o

rigi

nal m

ovem

ent

sequ

ence

s

subt

ract

sim

ple

frac

tion

s in

con

text

.

w

ith a

partner o

r a

sm

all g

roup.

Stu

dent

Obj

ecti

ves

Wit

h a

part

ner,

stud

ents

will

cre

ate,

mem

oriz

e an

d pe

rfor

m s

hort

St

uden

ts w

ill b

e ab

le t

o w

rite

sim

ple

mat

hem

atic

al e

quat

ions

tha

t

ph

rase

s of

rhy

thm

ic m

ovem

ent.

sh

ow e

quiv

alen

cy,

and

add

sim

ple

frac

tion

s w

ithi

n th

e co

ntex

t of

those e

quatio

ns.

As

sess

men

t

Did

stu

dent

s su

cces

sful

ly c

reat

e, m

emor

ize

and

perf

orm

a s

hort

W

ere

stud

ents

abl

e to

suc

cess

fully

wri

te t

wo

mat

hem

atic

al

phrase o

f rhythm

ic m

ovem

ent?

equatio

ns u

sin

g e

quiv

ale

nt f

ractio

ns t

o r

epresent t

heir

rhythm

ic

pattern?

KEY

KNO

WLE

DGE

Prio

r Kn

owle

dge

•

Gen

eral

and

Sel

f-Sp

ace

•

Fra

ctio

ns a

s pa

rts

of a

who

le

•

Rh

ythm

ic P

erce

ptio

n

•

D

ance

Str

uctu

re:

Begi

nnin

g, M

iddl

e, E

nd

N

ew C

once

pts

•

Dur

atio

n an

d N

ote

Valu

e

• F

ract

iona

l Equ

ival

ency

•

Rhyt

hm

New

Voc

abul

ary

•

Dur

atio

n, N

ote

Valu

e, R

hyth

m

• E

quiv

alen

t Fr

acti

ons,

Equ

ival

ency

44

SK

ILLS

Prer

equi

site

Ski

lls

• Ab

le t

o co

unt,

mov

e an

d fr

eeze

to

a st

eady

bea

t •

Reco

gniz

e, n

ame

and

com

pare

uni

t fr

acti

ons

from

1/1

2 to

½

•

Able

to

mov

e at

dif

fere

nt t

empo

s •

Reco

gniz

e fr

acti

ons

of a

who

le a

nd p

arts

of

a gr

oup

• Ab

le t

o ex

ecut

e ba

sic

loco

mot

or a

nd n

on-l

ocom

otor

mov

emen

ts

• U

nder

stan

d th

at w

hen

all f

ract

iona

l par

ts a

re in

clud

ed,

the

resu

lt

•

Able

to

perf

orm

a d

ance

seq

uenc

e w

ith

a cl

ear

begi

nnin

g an

d a

is

equ

al t

o th

e w

hole

and

to

one

cle

ar e

ndin

g

New

Ski

lls

• Ab

le t

o ex

ecut

e m

ovem

ents

of

diff

eren

t du

rati

ons

wit

hin

a

• Co

mpa

re f

ract

ions

rep

rese

nted

by

conc

rete

mat

eria

ls o

r

dance s

equence

draw

ings t

o s

how

equiv

ale

ncy

• Ab

ility

to

crea

te a

nd m

ove

to a

rhy

thm

ic p

atte

rn

• Ad

d si

mpl

e eq

uiva

lent

fra

ctio

ns

•

Able

to

crea

te,

mem

oriz

e an

d pe

rfor

m a

n or

igin

al m

ovem

ent

sequence

M

ATER

IALS

/RES

OU

RCES

•

Pie

char

t •

Dru

m o

r ot

her

perc

ussi

ve in

stru

men

ts

•

N

ote

valu

e ch

art

• C

lean

, cl

ear

spac

e

•

Rh

ythm

car

ds

PH

ASE

LE

SSO

N St

uden

t En

gage

men

t 1

. In

trod

uce

conc

ept

of f

ract

iona

l equ

ival

ency

usi

ng a

sim

ple

pie

char

t or

oth

er c

oncr

ete

mat

eria

ls.

(5

-10

min

utes

) 2

. Pr

acti

ce c

ompa

ring

fra

ctio

ns t

o sh

ow e

quiv

alen

cy.

3.

Dis

cuss

how

mus

icia

ns a

nd d

ance

rs u

se t

he c

once

pt o

f eq

uiva

lenc

y. B

riefl

y in

trod

uce

the

conc

ept

of d

urat

ion

(how

long

so

met

hing

tak

es o

r la

sts)

and

mus

ical

not

e va

lue.

Foc

us o

n w

hole

not

e (“

wor

th”

four

bea

ts o

r co

unts

), h

alf

note

(“w

orth

” tw

o

co

unts

), a

nd a

qua

rter

not

e (“

wor

th”

one

coun

t).

Com

pare

not

e va

lues

as

frac

tion

s an

d eq

uiva

lent

fra

ctio

ns.

4.

Intr

oduc

e rh

ythm

car

ds. A

set

of

rhyt

hm c

ards

con

sist

s of

: O

ne 8

x11

inch

she

et o

f co

lore

d pa

per

repr

esen

ting

a w

hole

not

e, o

r

four

cou

nts;

tw

o ha

lf-s

heet

s of

a d

iffe

rent

col

or w

orth

tw

o be

ats

each

; an

d fo

ur q

uart

er-s

heet

s of

yet

ano

ther

col

or w

orth

one

coun

t ea

ch.

Use

the

car

ds t

o sh

ow e

quiv

alen

cy.

5.

Take

one

who

le s

heet

, on

e ha

lf-s

heet

, an

d tw

o qu

arte

r-sh

eets

and

lay

them

in a

ny o

rder

on

the

floo

r. A

sk t

he s

tude

nts

to

de

term

ine

the

valu

e of

the

se f

our

shee

ts (

4 co

unts

, 2

coun

ts,

1 co

unt,

1 c

ount

= 8

cou

nts)

.

6

. Fo

cus

on a

gro

upin

g of

eig

ht b

eats

tot

al.

Look

at

each

indi

vidu

al r

hyth

m c

ards

as

a fr

acti

on o

f ei

ght

(the

who

le).

Wri

te

m

athem

atic

al sentences u

sin

g e

quiv

ale

nt f

ractio

ns t

o r

epresent t

he v

alu

e o

f t

he c

ards.

7.

Intr

oduc

e th

e co

ncep

t of

rhy

thm

usi

ng t

he c

ards

. U

sing

the

car

d se

quen

ce o

utlin

ed in

#5

or a

new

seq

uenc

e of

the

sam

e ca

rds,

ask

th

e st

uden

ts t

o sa

y th

e co

lors

of

the

card

s (m

ake

it a

rhy

thm

ic c

hant

), c

ount

out

the

car

d va

lue

(e.g

., 1

-2-3

-4,1

,1-2

,1),

cla

p th

e

rh

ythm

of

the

card

s, c

lapp

ing

only

onc

e fo

r ea

ch c

ard,

and

hol

ding

it o

ut f

or it

s fu

ll va

lue.

Var

y th

e or

der

of t

he c

ards

, or

rhy

thm

patt

ern,

and

rep

eat

the

colo

r, co

unt,

and

cla

p se

quen

ce.

Aest

heti

c Ex

plor

atio

n 8

. Ex

plor

e th

e fo

llow

ing

mov

emen

ts:

stre

tch,

tur

n an

d ju

mp.

Use

con

cept

s of

bod

y, s

pace

, ti

me

and

ener

gy t

o va

ry t

he m

ovem

ents

.

(10

min

utes

)

Fo

r ex

ampl

e, s

tret

ch o

n a

low

leve

l and

the

n on

a h

igh

leve

l; tu

rn s

low

ly,

chan

ging

leve

ls;

jum

p, c

hang

ing

dire

ctio

ns.

9.

Add

the

mov

emen

ts t

o th

e rh

ythm

pat

tern

s. T

he s

tret

ch w

ill c

orre

spon

d to

the

fou

r-co

unt

card

; th

e tu

rn t

o th

e tw

o-co

unt

card

; an

d

the

jum

p to

the

one

-cou

nt c

ard.

Pla

y w

ith

the

mov

emen

t in

diff

eren

t rh

ythm

seq

uenc

es.

Mak

e su

re t

he s

tret

ch is

alw

ays

a fo

ur-c

ount

m

ovem

ent;

the

tur

n a

two-

coun

t m

ovem

ent;

and

the

jum

ps o

ne-c

ount

eac

h. (

If th

e st

uden

ts a

re r

eady

to

do s

o, h

ave

them

cou

nt

th

e se

quen

ces

as e

ight

-cou

nt p

hras

es.)

Grade 3 Lessons

45

Crea

tive

Exp

ress

ion

10.

Ask

stud

ents

to

find

a pa

rtne

r. G

ive

each

gro

up t

heir

ow

n se

t of

car

ds a

s de

scri

bed

in #

5, a

nd a

sk t

hem

to

crea

te t

heir

ow

n

(30

min

utes

)

ei

ght-

coun

t ph

rase

.

11

. H

ave

them

wri

te t

wo

mat

hem

atic

al e

xpre

ssio

ns f

or t

heir

cho

sen

rhyt

hmic

phr

ase,

usi

ng e

quiv

alen

t fr

acti

ons.

12

. As

k st

uden

ts t

o re

peat

the

ir r

hyth

m s

eque

nce

twic

e us

ing

diff

eren

t st

retc

hes,

tur

ns a

nd j

umps

in t

he t

wo

sequ

ence

s. J

oin

the

tw

o se

quen

ces

toge

ther

to

crea

te a

rhy

thm

ic p

hras

e. M

ake

sure

the

beg

inni

ng a

nd e

ndin

g of

the

phr

ase

are

clea

r.

13. Perform

for e

ach o

ther.

Re

flec

tion

14

. D

iscu

ss w

hy it

is s

o im

port

ant

for

danc

ers,

cho

reog

raph

ers

and

mat

hem

atic

ians

alik

e to

und

erst

and

the

conc

ept

of f

ract

iona

l

(10

min

utes

)

eq

uiva

lenc

y.

Co

nnec

tion

s •

Ta

p D

ance

•

Wor

ld D

ance

(G

umbo

ot,

Rive

rdan

ce)

Ex

tens

ions

•

Cr

eate

16-

coun

t rh

ythm

ic p

hras

es u

sing

rhy

thm

car

ds.

•

Wri

te m

athe

mat

ical

equ

atio

ns w

ith

frac

tion

al e

quiv

alen

ts w

hose

sum

is a

lway

s 8/

8. C

onve

rt t

hese

equ

atio

ns in

to a

rhy

thm

.

•

Ad

d ei

ghth

not

es t

o th

e rh

ythm

car

d se

t.

Dif

fere

ntia

tion

•

Se

t th

e rh

ythm

pat

tern

as

a cl

ass.

Use

thi

s st

ruct

ure

to im

prov

ise

vari

atio

ns o

f th

e st

retc

h, t

urn

and

jum

p. Im

prov

ise

as a

group. P

erform

for e

ach o

ther w

ithin

the im

provis

ed s

tructure.

Grade 3 Lessons

46

G

RAD

E 3

CON

TEN

T IN

TEG

RATI

ON

TI

TLE

OF

LESS

ON

MU

SIC/

SCIE

NCE

W

hat

Doe

s It

Sou

nd L

ike

and

Why

?

Expl

orin

g M

usic

al In

stru

men

ts

ESSE

NTI

AL

QU

ESTI

ON

IN

TEG

RATE

D S

TUD

ENT

OBJ

ECTI

VE

How

do

the

attr

ibut

es o

f an

inst

rum

ent

Stud

ents

will

be

able

to

desc

ribe

and

dem

onst

rate

affe

ct t

he s

ound

? ho

w s

ound

is p

rodu

ced

on v

ario

us in

stru

men

ts.

D

escr

ipto

rs

MU

SIC

SCIE

NCE

St

anda

rds

1.5

Des

crib

e th

e w

ay s

ound

is p

rodu

ced

on v

ario

us in

stru

men

ts.

5.e

Colle

ct d

ata

in a

n in

vest

igat

ion

and

anal

yze

thos

e da

ta t

o

develo

p a

logic

al conclu

sio

n.

Stu

dent

Obj

ecti

ves

The

stu

dent

will

be

able

to

desc

ribe

and

dem

onst

rate

how

sou

nd

Stu

dent

s w

ill b

e ab

le t

o in

vest

igat

e m

usic

al in

stru

men

ts t

o

is

pro

duce

d on

var

ious

inst

rum

ents

. c

olle

ct d

ata

and

use

the

data

to

expl

ain

how

the

att

ribu

tes

of

t

he instrum

ents a

ffect t

heir

sound.

As

sess

men

t

The

stu

dent

s w

ill p

lay

and

desc

ribe

the

sou

nd o

f di

ffer

ent

T

he s

tude

nts

will

col

lect

dat

a co

mpa

ring

att

ribu

tes

of d

iffe

rent

instrum

ents.

instrum

ents a

nd c

hart t

heir

result

s.

KEY

KNO

WLE

DGE

Prio

r K

now

ledge

Pit

ch

S

tudents k

now

energy c

an b

e c

arrie

d f

rom

one p

lace t

o a

nother

Volu

me

b

y s

ound w

aves.

Students k

now

that m

any f

orces in p

hysic

al scie

nces a

re invis

ible

.

N

ew C

once

pts

The

re is

a r

elat

ions

hip

betw

een

mat

eria

l and

qua

lity

of s

ound

S

tude

nts

can

iden

tify

the

att

ribu

tes

(mat

eria

l, s

ize,

met

hod

of

(d

urat

ion,

vol

ume,

pit

ch).

sou

nd p

rodu

ctio

n) o

f a

mus

ical

inst

rum

ent

and

rela

te it

to

the

q

ualit

y of

sou

nd (

deca

y, v

olum

e, p

itch

).

New

Voc

abul

ary

Dur

atio

n, s

trik

ing,

sha

king

, hi

ttin

g, s

crap

ing

Dec

ay,

pitc

h, v

olum

e, le

ngth

, da

ta,

attr

ibut

e

SK

ILLS

Pre

requ

isit

e Sk

ills

Exp

erie

nce

play

ing

sim

ple

perc

ussi

on in

stru

men

ts.

Com

pari

ng a

nd c

hart

ing

com

pari

son

Students h

ave s

ung “

John K

anaka.”

N

ew

Skills

P

redic

t q

uality o

f s

ound b

ased o

n t

he w

ay t

he instrum

ent looks

Apply

data t

o a

logic

al conclu

sio

n t

hat t

hey c

an d

em

onstrate.

and is p

layed.

MAT

ERIA

LS/R

ESO

URC

ES M

akin

g M

usic

Gra

de 3

, “J

ohn

Kana

ka”

CD 2

-37,

ass

orte

d pe

rcus

sion

inst

rum

ents

, ti

mer

, m

easu

ring

tap

e

Grade 3 Lessons

47

PH

ASE

LE

SSO

N

War

m-u

p 1

. G

uide

stu

dent

s to

cho

ose

a pe

rcus

sion

inst

rum

ent

to p

lay

and

to s

it in

a c

ircl

e.

(10

min

utes

) 2

. Te

ache

r (o

r st

uden

t le

ader

) pl

ays

a si

mpl

e rh

ythm

pat

tern

. G

uide

cla

ss t

o re

peat

the

pat

tern

on

thei

r in

stru

men

ts.

3. G

uid

e s

tudents t

o t

ake t

urns p

layin

g indiv

idually a

nd t

o f

ocus o

n lis

tenin

g t

o h

ear t

he d

ifferent instrum

ent s

ounds.

N

ew C

once

pt

4.

Cont

inue

to

guid

e st

uden

ts w

ith

indi

vidu

al p

layi

ng u

ntil

you

see

that

the

stu

dent

s sh

ow a

war

enes

s of

the

dif

fere

nt s

ound

s.

(15

min

utes

) 5

. D

iscu

ss t

he s

ound

qua

lity

of e

ach

inst

rum

ent

(vol

ume,

pit

ch,

and

deca

y –

how

long

it la

sts)

, ho

w it

is c

reat

ed (

by s

trik

ing,

shak

ing,

hit

ting

, sc

rape

rs),

and

beg

in t

o co

mpa

re t

hrou

gh d

iscu

ssio

n.

6

. As

k th

e ch

ildre

n to

sor

t th

emse

lves

into

gro

ups

base

d on

inst

rum

ents

tha

t ha

ve s

imila

r at

trib

utes

. (T

hey

mig

ht s

ort

into

grou

ps b

y m

ater

ials

: m

etal

s, w

oods

, sk

ins;

by

the

way

sou

nd is

pro

duce

d: s

haki

ng,

stri

king

, sc

rapi

ng;

or s

ize

of in

stru

men

ts.)

7. Ask t

he g

roups t

o d

iscuss w

hy t

heir

instrum

ents a

re s

imilar.

8. G

uid

e t

he w

hole

cla

ss t

o c

ollaborativ

ely

chart t

he r

esult

s o

f t

heir

dis

cussio

ns.

9.

Ask

the

child

ren

to s

ort

them

selv

es in

a d

iffe

rent

man

ner

to fi

nd o

ther

qua

litie

s th

eir

inst

rum

ents

mig

ht h

ave

in c

omm

on.

10.

Add

thes

e ne

w r

esul

ts t

o th

e co

llabo

rati

ve c

hart

.Revie

w/Applicatio

n

11.

Arrange t

he s

tudents in s

mall g

roups a

nd d

istrib

ute a

few

instrum

ents t

o e

ach g

roup a

rbit

rarily.

Ask t

he s

tudents t

o c

om

pare t

he

(15

min

utes

)

in

stru

men

ts in

a v

arie

ty o

f w

ays.

How

the

y co

mpa

re m

ay b

e le

ft u

p to

stu

dent

s. G

ive

each

gro

up a

tim

er a

nd a

mea

suri

ng t

ape.

Tell

them

tha

t th

ey c

an c

hoos

e to

use

the

se t

ools

to

mea

sure

dec

ay,

note

mat

eria

l, s

ize,

and

the

man

ner

in w

hich

sou

nd is

pro

duce

d.

12.

Afte

r ei

ght

min

utes

hav

e th

e ch

ildre

n sh

are

thei

r st

rate

gies

and

the

n co

ntin

ue w

orki

ng t

o ex

pand

the

ir e

xplo

rati

on.

Assessm

ent

13. G

ive t

he g

roups a

n o

pportunit

y t

o c

hart a

nd s

hare t

heir

result

s.

(1

0 m

inut

es)

14.

Ask

the

ques

tion

, “W

hich

of

thes

e di

ffer

ence

s (t

hing

s do

ne d

iffe

rent

ly t

o pl

ay t

he in

stru

men

t) r

esul

ted

in d

iffe

rent

sou

nds?

”

15. G

uid

e t

he s

tudents t

o f

orm

groups a

gain

and c

hoose a

nother w

ay t

o d

em

onstrate d

iffe

rent w

ays s

how

ing t

he d

iffe

rent q

ualitie

s.

Ask t

he s

tudents t

o d

em

onstrate t

he d

iffe

rences t

hey m

ade (

thin

gs t

hey d

id d

iffe

rently

to p

roduce d

iffe

rent s

ounds)

while u

sin

g

the instrum

ents.

16. G

uid

e t

he s

tudents t

o t

ake t

urns c

onductin

g b

y p

oin

tin

g t

o t

he d

ifferent g

roups t

o s

how

them

when t

o p

lay.

Cl

osin

g 17

. Ac

com

pany

the

son

g, “

John

Kan

aka,

” as

king

the

dif

fere

nt in

stru

men

t gr

oups

to

play

at

diff

eren

t ti

mes

.

(5 m

inut

es)

18.

Gui

de t

he c

lass

to

deci

de w

hat

grou

p of

inst

rum

ents

will

pla

y on

whi

ch p

hras

e. T

he g

ame

rule

is t

hat

two

inst

rum

ent

grou

ps

w

ill pla

y instrum

ents w

hile t

he r

em

ain

ing s

tudents s

ing. R

otate g

roups.

Conn

ecti

ons

Exte

nsio

ns

Dif

fere

ntia

tion

Grade 3 Lessons

48

Grade 3 Lessons

G

RAD

E 3

CON

TEN

T IN

TEG

RATI

ON

TI

TLE

OF

LESS

ON

THEA

TRE/

LAN

GU

AG

E A

RTS

Dis

cove

ring

the

5 W

’s w

ith

Nob

iah’

s W

ell

D

urat

ion:

50

min

utes

ESSE

NTI

AL

QU

ESTI

ON

IN

TEG

RATE

D S

TUD

ENT

OBJ

ECTI

VE

H

ow d

oes

a ch

arac

ter’

s m

otiv

atio

n de

term

ine

Th

e le

arne

r w

ill in

fer

and

unde

rsta

nd a

cha

ract

er’s

wha

t ha

ppen

s in

a s

tory

? m

otiv

atio

n th

roug

h w

hat

they

say

and

do

and

by

ex

amin

ing

the

5 W

’s.

D

escr

ipto

rs

THEA

TRE

LAN

GU

AG

E A

RTS

St

anda

rds

1.2

Iden

tify

who

, w

hat,

whe

re,

whe

n an

d w

hy (

the

five

W’s

)

Lite

rary

Res

pons

e an

d An

alys

is:

3.3

Det

erm

ine

wha

t ch

arac

ters

in a

the

atri

cal e

xper

ienc

e.

are

like

by w

hat

they

say

or

do a

nd b

y ho

w t

he a

utho

r or

3.2

Iden

tify

uni

vers

al t

hem

es in

sto

ries

and

pla

ys f

rom

dif

fere

nt

illus

trat

or p

ortr

ays

them

.

perio

ds a

nd p

laces.

5.1

Use

pro

blem

-sol

ving

and

coo

pera

tive

ski

lls t

o dr

amat

ize

a

st

ory

or a

cur

rent

eve

nt f

rom

ano

ther

con

tent

are

a, w

ith

emph

asis

on

the

five

W’s

. S

tude

nt O

bjec

tive

s Th

e le

arne

r w

ill e

xam

ine

the

five

W’s

to

unde

rsta

nd a

cha

ract

er’s

Th

e le

arne

r w

ill in

fer

a ch

arac

ter’

s m

otiv

atio

n th

roug

h w

hat

they

motiv

atio

n.

say a

nd d

o.

As

sess

men

t

Form

ativ

e Te

ache

r O

bser

vati

on

Form

ativ

e Te

ache

r O

bser

vati

on

KEY

KNO

WLE

DGE

Prio

r Kn

owle

dge

Pant

omim

e, im

prov

isat

ion,

tab

leau

W

ho,

wha

t, w

here

, w

hen,

why

N

ew C

once

pts

I will

rel

ate

the

five

W’s

wit

h th

eatr

e vo

cabu

lary

:

I w

ill in

fer

a ch

arac

ter’

s m

otiv

atio

n th

roug

h w

hat

they

say

and

do.

char

acte

r (w

ho),

set

ting

(w

here

and

whe

n),

obje

ctiv

e/m

otiv

atio

n

(w

hy),

plo

t (w

hat)

. I w

ill a

lso

unde

rsta

nd h

ow t

he fi

ve W

’s a

ffec

t

a

char

acte

r’s

mot

ivat

ion.

New

Voc

abul

ary

Char

acte

r (w

ho),

Set

ting

(w

here

and

whe

n),

Obj

ecti

ve/M

otiv

atio

n Ch

arac

ter

(who

), S

etti

ng (

whe

re a

nd w

hen)

, O

bjec

tive

/Mot

ivat

ion

(w

hy),

Plo

t (w

hat)

(why

), P

lot

(wha

t)

SK

ILLS

Pre

requ

isit

e Sk

ills

Pant

omim

e, im

prov

isat

ion,

tab

leau

, w

alk-

abou

t Be

ginn

ing,

mid

dle

and

end

of a

sto

ry

New

Ski

lls

I will

con

tinu

e to

dev

elop

the

ir s

kills

in im

prov

isat

ion

in v

ario

us

I will

be

able

to

verb

aliz

e an

d w

rite

abo

ut t

he f

unct

ion

of t

he

grou

ping

s.

fiv

e W

’s in

a s

tory

.

MAT

ERIA

LS/R

ESO

URC

ESN

obia

h’s

Wel

l by

Donn

a W

. G

uthr

ie (

Illus

trat

ed b

y Ro

b Ro

th),

Afr

ican

mus

ic,

digi

tal c

amer

a, la

rge

vess

el/w

ater

jug

, an

d ph

otos

of

a de

sert

/dry

land

, a

hyen

a,

an a

ntea

ter,

and

a he

dgeh

og.

Stud

ents

sho

uld

brin

g w

ith

them

a h

eavy

har

dcov

er b

ook

(It

will

be

used

as

a pr

op).

Bub

ble

map

s of

the

five

W’s

.

49

PH

ASE

LE

SSO

N

O

peni

ng

1.

Wal

k-ab

out:

Students w

ill enter r

oom

and u

se t

heir

hardcover b

ook a

s a

water v

essel.

Show

your v

essel and m

odel how

Gat

heri

ng/W

arm

-up

you

wou

ld c

arry

it o

n yo

ur h

ead.

The

y w

ill c

arry

the

m o

n th

eir

head

s to

exp

erie

nce

how

the

cha

ract

ers

in t

he s

tory

wou

ld

(5 m

inutes)

feel in

their

daily t

ask o

f o

btain

ing w

ater f

or t

heir

fam

ilie

s.

• St

uden

ts w

ill w

alk

arou

nd w

hile

you

are

cha

ngin

g th

e de

scri

ptio

n on

the

wal

k.

•

“The

re is

a d

roug

ht a

nd it

is v

ery

deso

late

. It

is d

ry,

hot

and

dust

y. It

’s g

etti

ng h

otte

r….e

ven

hott

er t

han

that

….a

nd t

he w

ater

on y

our

head

is g

etti

n he

avie

r… a

nd h

eavi

er…

you

are

thir

sty…

..ev

en m

ore

thir

sty…

you

can

bar

ely

take

ano

ther

ste

p…et

c.”

Re

view

ing/

2

. Vo

cabu

lary

and

rea

lia s

houl

d be

exp

lore

d du

ring

the

less

on w

hen

each

con

cept

is in

trod

uced

.

Prev

iew

ing

Stor

y vo

cabu

lary

: dr

ough

t

Voca

bula

ry

Thea

tre

voca

bula

ry:

char

acte

r (w

ho),

set

ting

(w

here

and

whe

n),

obje

ctiv

e/ m

otiv

atio

n (w

hy),

plo

t (w

hat)

, pa

ntom

ime,

(5

min

utes

)

im

prov

isat

ion,

and

tab

leau

. E

xplo

ring

/Cre

atin

g 3

. Sh

are

Phot

os:

Realia a

re u

sed t

o h

elp

students v

isualize w

hat t

he a

nim

als

and e

nvir

onm

ent w

ould

look lik

e a

nd h

ow

the

Ex

plor

ing

anim

als

mig

ht m

ove.

(5

min

utes

) 4

. Pa

ir s

tude

nts:

Stu

dent

s st

and

in A

line

and

B li

ne f

acin

g on

e an

othe

r ab

out

four

fee

t ap

art.

Impr

ovis

ing/

Inve

ntin

g 5

. St

uden

ts im

prov

ise:

In li

nes

the

stud

ents

impr

ovis

e tw

o po

ssib

le s

cena

rios

bas

ed o

n th

e st

ory.

Do

not

use

the

char

acte

rs’ n

ames

.

(20

min

utes

)

Em

phas

ize

who

, w

hat,

whe

re,

whe

n, a

nd w

hy.

(Sto

ry)

• bo

y/gi

rl a

nd t

hirs

ty a

nim

al-

Anim

al a

sks

for

wat

er a

nd b

oy/g

irl n

eeds

to

be c

onvi

nced

to

shar

e it

.

•

boy/

girl

and

Mot

her-

Mot

her

is a

ngry

tha

t bo

y/gi

rl g

ave

wat

er t

o an

imal

s an

d he

/she

wan

ts t

o pe

rsua

de t

heir

mot

her

that

they d

id t

he r

ight t

hin

g.

6.

Stud

ents

impr

ovis

e: In

gro

ups

of f

our

or fi

ve t

he s

tude

nts

impr

ovis

e tw

o m

ore

poss

ible

sce

nari

os b

ased

on

the

stor

y.

Do

not

use

the

char

acte

rs’

nam

es.

Emph

asiz

e w

ho,

wha

t, w

here

, w

hen,

and

why

.

•

boy/

girl

and

thi

rsty

ani

mal

s- A

nim

als

com

e vi

sit

and

ask

for

mor

e w

ater

and

he/

she

has

none

to

shar

e.

•

boy/

girl

and

ani

mal

s-An

imal

s tr

y to

con

vinc

e hi

m/h

er t

o bu

ild a

wel

l and

the

boy

/gir

l doe

sn’t

bel

ieve

he/

she

is

capa

ble.

Sha

ring

/Refl

ecti

ng

7.

Teac

her

read

s st

ory

to c

lass

.

Pl

aym

akin

g 8

. St

uden

ts im

prov

ise:

Div

ide

the

clas

s in

hal

f. E

ach

grou

p w

ill im

prov

ise

thei

r sc

enes

sim

ulta

neou

sly.

(20

min

utes

)

•

H

ave

half

of

the

clas

s im

prov

ise

how

Nob

iah

mig

ht b

e tr

eate

d af

ter

he is

suc

cess

ful i

n bu

ildin

g a

wel

l for

the

vill

age.

Who

wou

ld

be a

ffected?

What m

ight t

hey b

e d

oin

g a

nd s

ayin

g?

Why m

ight t

hey b

e d

oin

g a

nd s

ayin

g t

hese t

hin

gs?

When m

ight t

hey b

e d

oin

g

an

d sa

ying

it?

Whe

re m

ight

the

y be

doi

ng a

nd s

ayin

g? W

hat

mig

ht t

hey

be d

oing

and

say

ing?

Hav

e th

em c

reat

e a

dial

ogue

.

•

Hav

e st

uden

ts p

erfo

rm f

or e

ach

othe

r. H

ave

the

grou

ps f

reez

e in

to t

able

aux.

Tak

e Pi

ctur

es!

Reflec

ting

/Ass

essi

ng

9.

Hav

e a

reflec

tive

dis

cuss

ion:

Ask q

uestio

ns.

(5

min

utes

)

•

Why

did

Nob

iah

give

the

wat

er t

o th

e an

imal

s?

•

Wer

e hi

s ac

tion

s (m

otiv

atio

n) r

ight

, w

hy o

r w

hy n

ot?

• W

hat

wou

ld y

ou h

ave

done

if y

ou w

ere

Nob

iah?

• W

hy d

id h

is m

othe

r be

com

e an

gry?

•

Wha

t w

ould

you

hav

e do

ne if

you

wer

e hi

s m

othe

r?

10

. St

uden

ts w

ill c

hoos

e a

clas

smat

e in

a p

hoto

as

a su

bjec

t to

ana

lyze

and

wri

te a

bout

the

five

W’s

. —

or

—

11.

Use

the

illu

stra

tion

fro

m N

obia

h’s

Wel

l to

use

as a

jou

rnal

pro

mpt

. St

uden

ts w

ill c

hoos

e a

char

acte

r in

Nob

iah’

s W

ell a

s a

subj

ect

to a

naly

ze a

nd w

rite

abo

ut t

he fi

ve W

’s.

Grade 3 Lessons

50

Grade 3 Lessons

Conn

ecti

ons

Can

be

conn

ecte

d to

less

ons

deal

ing

wit

h ch

arac

ter/

kind

ness

, em

otio

ns,

scie

nce

and

the

envi

ronm

ent.

Exte

nsio

ns

Div

ide

the

clas

s in

hal

f an

d ha

ve t

he g

roup

s im

prov

ise

how

Nob

iah

mig

ht b

e tr

eate

d if

he

was

n’t

succ

essf

ul a

nd h

is f

amily

was

str

uggl

ing

beca

use

they

had

no

wat

er. A

fter

the

less

on,

have

the

stu

dent

s ex

plor

e th

e sa

me

ques

tion

s fr

om p

arts

7 a

nd 8

.

Dif

fere

ntia

tion

(

CRRE

) Cu

ltur

ally

rel

evan

t lit

erat

ure

(SP

ED)

Use

s m

ulti

ple

inte

llige

nces

(EL

) La

ngua

ge d

evel

opm

ent—

desc

ript

ive

lang

uage

51

G

RAD

E 3

CON

TEN

T IN

TEG

RATI

ON

TI

TLE

OF

LESS

ON

VISU

AL

ART

S/H

ISTO

RY-S

OCI

AL

SCIE

NCE

G

eogr

aphy

of

Land

scap

es

ES

SEN

TIA

L Q

UES

TIO

N

INTE

GRA

TED

STU

DEN

T O

BJEC

TIVE

How

do

geog

raph

ers

and

arti

sts

port

ray

the

Stud

ents

will

stu

dy a

nd il

lust

rate

dif

fere

nt

ge

ogra

phic

al f

eatu

res

of a

reg

ion?

ty

pes

of g

eolo

gica

l fea

ture

s.

D

escr

ipto

rs

VISU

AL

ART

S H

ISTO

RY-S

OCI

AL

SCIE

NCE

St

anda

rds

2.3

Pain

t or

dra

w a

land

scap

e, s

easc

ape,

or

city

scap

e th

at

3.1.

1 Id

enti

fy g

eogr

aphi

cal f

eatu

res

in t

heir

loca

l reg

ion

(e.g

.,

show

s th

e ill

usio

n of

spa

ce.

dese

rts,

mou

ntai

ns,

valle

ys,

hills

, co

asta

l are

as,

ocea

ns,

lake

s).

Student O

bje

ctiv

es

Students w

ill create a

landscape t

hat s

how

s t

he illusio

n o

f space.

Students w

ill id

entif

y f

eatures o

f their

geographic

area/regio

n.

As

sess

men

t

Did

the

stu

dent

dem

onst

rate

kno

wle

dge

of h

ow t

o cr

eate

the

Ca

n th

e st

uden

t id

enti

fy g

eogr

aphi

cal f

eatu

res?

illu

sio

n o

f s

pace t

hrough t

he u

se o

f o

verla

ppin

g s

hapes a

nd

changes in s

cale

?

KEY

KNO

WLE

DGE

Prio

r Kn

owle

dge

Ove

rlap

ping

, re

lati

ve s

ize,

pla

cem

ent

Geo

grap

hy,

mou

ntai

ns,

dese

rt,

rive

r, m

ap

New

Con

cept

s Ar

tist

s do

cum

ent

land

scap

es in

var

ious

way

s.

Each

reg

ion

has

uniq

ue g

eogr

aphi

cal f

eatu

res

N

ew V

ocab

ular

y At

mos

pher

ic p

ersp

ecti

ve,

spac

e, d

epth

, fo

regr

ound

, m

iddl

e

Geo

grap

hic

feat

ures

(e.

g.,

mou

ntai

ns,

valle

ys,

hills

) gr

ound

,

ba

ckgr

ound

, la

ndsc

ape,

sea

scap

e, t

extu

re

Geo

grap

hic

regi

ons

(e.g

., c

oast

al,

valle

y, d

eser

t)

SK

ILLS

Pre

requ

isit

e Sk

ills

Expe

rien

ce w

ith

wat

erco

lor/

oil o

r oi

l pas

tels

M

ap r

eadi

ng

New

Ski

lls

Illus

trat

e sp

ace

in a

n ar

twor

k us

ing

fore

grou

nd,

mid

dle

grou

nd,

Iden

tify

geo

grap

hic

feat

ure

on a

map

. Id

enti

fy a

nd r

ecog

nize

and b

ackground.

geographic

al fe

atures in t

he local envir

onm

ent.

MAT

ERIA

LS/R

ESO

URC

ES O

il pa

stel

, w

ater

colo

r se

ts,

wat

erco

lor

brus

hes,

wat

erco

lor

pape

r #9

0 lb

., c

onta

iner

s fo

r w

ater

(su

gges

t co

ver-

ups

for

stud

ents

and

new

spap

ers

for

desk

s),

pict

ures

of

loca

l lan

dsca

pes,

imag

es o

f fin

e ar

t la

ndsc

apes

Grade 3 Lessons

52

PH

ASE

LE

SSO

N

Stud

ent

Enga

gem

ent

Day

One

(1

0 m

inut

es)

1.

Take

a w

alki

ng t

our

of s

choo

l cam

pus

or n

eigh

borh

ood.

Loo

k at

loca

l lan

dsca

pe.

2.

Iden

tify

geo

grap

hic

feat

ures

, if

pos

sibl

e, s

uch

as m

ount

ains

, hi

lls,

rive

rs (

or c

itys

cape

or

seas

cape

).

Aest

heti

c Ex

plor

atio

n 3

. Lo

ok a

t va

riou

s ar

tist

s’ d

epic

tion

s of

land

scap

es.

(1

0 m

inut

es)

4.

Thin

k pa

ir-s

hare

: W

hat

geog

raph

ic f

eatu

res

can

you

iden

tify

in t

he a

rtw

orks

?

5

. Id

enti

fy t

he f

oreg

roun

d, m

iddl

e gr

ound

, an

d ba

ckgr

ound

.

6

. D

iscu

ss d

iffe

renc

es in

sca

le,

deta

ils,

colo

r, a

nd p

lace

men

t.

D

emon

stra

tion

7

. G

uide

d pr

acti

ce:

Dem

onst

rate

dra

win

g a

fore

grou

nd,

mid

dle

grou

nd,

and

back

grou

nd in

a la

ndsc

ape.

Iden

tify

geo

grap

hic

(1

5 m

inut

es)

feat

ures

(e.

g.,

mou

ntai

ns,

valle

ys,

hills

, la

kes,

etc

.)

Cre

ativ

e Ex

pres

sion

8

. St

uden

ts o

bser

ve a

nd s

ketc

h a

land

scap

e fr

om t

he n

eigh

borh

ood

or c

reat

e an

imag

inar

y la

ndsc

ape

that

incl

udes

geo

grap

hic

(3

0 m

inut

es)

feat

ures

.

Re

flec

tion

In

divi

dual

jou

rnal

refl

ecti

on:

How

did

you

sho

w il

lusi

on o

f sp

ace?

Wha

t ge

ogra

phic

fea

ture

s di

d yo

u in

clud

e?

(10

min

utes

)

Stud

ent

Enga

gem

ent

Day

Tw

o

(10

min

utes

) S

tude

nts

revi

ew a

nd d

iscu

ss p

lace

men

t, s

ize,

sca

le,

colo

r, a

nd d

etai

ls o

f ge

ogra

phic

al f

eatu

res

illus

trat

ed in

art

rep

rodu

ctio

ns.

D

emon

stra

tion

T

each

er d

emon

stra

tes

how

to

appl

y w

ater

colo

rs o

r oi

l pas

tels

to

the

draw

ing

pape

r.

(10

min

utes

)

Cre

ativ

e Ex

pres

sion

1

. St

uden

ts r

edra

w t

he p

relim

inar

y dr

awin

g on

to t

he fi

nal d

raw

ing

pape

r.

(30

min

utes

) 2

. St

uden

ts u

se k

now

ledg

e of

sca

le,

plac

emen

t, d

etai

l, a

nd c

olor

to

com

plet

e pi

ctur

e.

Re

flec

tion

In

divi

dual

jou

rnal

refl

ecti

on:

Wha

t pr

oble

ms

did

you

expe

rien

ce?

Wha

t ri

sks

did

you

take

?

Conn

ecti

ons

Ex

tens

ions

S

tude

nts

wor

k co

llabo

rati

vely

on

a la

ndsc

ape

mur

al o

f th

eir

city

.

D

iffe

rent

iati

on

Lan

dsca

pe c

an b

e do

ne u

sing

col

ored

pen

cils

.

Vo

cabu

lary

A

tmos

pher

ic P

ersp

ecti

ve:

achi

eved

by

usin

g bl

uer,

ligh

ter,

and

dul

ler

hues

for

dis

tant

obj

ects

in a

tw

o-di

men

sion

al w

ork

of a

rt

O

bser

vati

onal

Dra

win

g Sk

ills:

Ski

lls le

arne

d w

hile

obs

ervi

ng fi

rsth

and

an o

bjec

t, fi

gure

, or

pla

ce

S

cale

: re

lati

ve s

ize,

pro

port

ion,

use

d to

det

erm

ine

mea

sure

men

ts o

r di

men

sion

s w

ithi

n a

desi

gn o

r w

ork

of a

rt

T

extu

re:

The

surf

ace

qual

ity

of m

ater

ials

, ei

ther

act

ual (

tact

ile)

or im

plie

d (v

isua

l)

Grade 3 Lessons

53

Grade 4 Lessons

54

Grade 4 Lessons

55

Grade 4 Lessons

G

RAD

E 4

CON

TEN

T IN

TEG

RATI

ON

TI

TLE

OF

LESS

ON

DA

NCE

/HIS

TORY

-SO

CIA

L SC

IEN

CE

DA

NCI

NG

MA

PS

ES

SEN

TIA

L Q

UES

TIO

N

INTE

GRA

TED

STU

DEN

T O

BJEC

TIVE

Why

are

map

s ne

cess

ary

in o

ur w

orld

? St

uden

ts w

ill u

nder

stan

d an

d de

mon

stra

te h

ow

W

hy is

the

key

, or

lege

nd,

impo

rtan

t on

a m

ap?

m

aps

are

used

in b

oth

danc

e an

d so

cial

stu

dies

.

D

escr

ipto

rs

DA

NCE

H

ISTO

RY-S

OCI

AL

SCIE

NCE

St

anda

rds

1.3

Dem

onst

rate

ran

ge a

nd u

se o

f sp

ace,

tim

e an

d

4.1

Stud

ents

dem

onst

rate

an

unde

rsta

ndin

g of

the

phy

sica

l and

fo

rce/

ener

gy c

once

pts.

hu

man

geo

grap

hic

feat

ures

tha

t de

fine

plac

es a

nd r

egio

ns in

Ca

lifor

nia.

Student O

bjectiv

es

Students w

ill be a

ble

to c

reate a

pathw

ay d

ance p

hrase g

oin

g

Students w

ill be a

ble

to identif

y t

he locatio

n o

f t

he s

tate

from

a li

ne o

n th

e flo

or t

o va

riou

s pl

anes

and

dim

ensi

ons

of s

pace

. ca

pita

l and

fou

r re

gion

s of

Cal

ifor

nia.

As

sess

men

t

Did

stu

dent

s su

cces

sful

ly c

reat

e a

danc

e ph

rase

usi

ng v

ario

us

Wer

e st

uden

ts a

ble

to id

enti

fy t

he s

tate

cap

ital

and

the

fou

r

pa

thw

ays?

Did

the

y su

cces

sful

ly r

epre

sent

the

var

ious

reg

ions

as

re

gion

s of

Cal

ifor

nia?

desig

nated in t

he instructio

ns?

KEY

KNO

WLE

DGE

Prio

r Kn

owle

dge

•

Coop

erat

ive

grou

p w

ork

•

Lo

cati

on o

f Ca

lifor

nia

wit

h re

spec

t to

our

nat

ion

and

the

wor

ld

•

Sp

atia

l aw

aren

ess:

per

sona

l spa

ce

•

Lege

nd/k

ey

New

Con

cept

s •

Fl

oor

desi

gn

•

M

appi

ng s

kills

•

Path

way

s

•

Regi

ons

of C

alif

orni

a

New

Voc

abul

ary

Path

way

, N

on-L

ocom

otor

Mov

emen

t, L

ocom

otor

Mov

emen

t,

Regi

on,g

eogr

aphy

, m

ount

ain,

des

ert,

coa

stal

pla

in,

valle

y,

Te

mpo

, Sh

ape

key/

lege

nd

SK

ILLS

Pre

requ

isit

e Sk

ills

•

Exec

ute

a va

riet

y of

loco

mot

or a

nd n

on-l

ocom

otor

mov

emen

ts

•

Wit

h te

ache

r’s

guid

ance

, be

abl

e to

labe

l the

map

of

Calif

orni

a

•

Cr

eate

gro

up a

nd in

divi

dual

sha

pes

wit

h th

e st

ate

capi

tal,

and

the

fou

r re

gion

s of

Cal

ifor

nia.

•

Mov

e us

ing

leve

l (hi

gh,

mid

dle,

low

) ch

ange

s

New

Ski

lls

•

Crea

te a

floo

r de

sign

•

Iden

tify

geo

grap

hic

regi

ons

foun

d in

Cal

ifor

nia,

and

whe

re

•

M

ove

wit

h in

crea

sed

awar

enes

s of

spa

ce,

tim

e, a

nd

they

are

loca

ted.

energy c

oncepts

56

MAT

ERIA

LS/R

ESO

URC

ES •

Ca

lifor

nia

Regi

ons

Map

. w

ww

.edu

plac

e.co

m:

Clic

k on

[O

utlin

e M

aps]

, cl

ick

on U

nite

d St

ates

, cl

ick

on C

alif

orni

a Re

gion

s •

Fr

adin

, D

enni

s Br

inde

ll. C

alif

orni

a: F

rom

Sea

to

Shin

ing

Sea.

Chi

cago

: Ch

ildre

n’s

Pres

s, 1

994.

•

Know

lton

, Ja

ck.

Geo

grap

hy F

rom

A t

o Z:

A P

ictu

re G

loss

ary.

Illu

stra

ted

by H

arri

et B

arto

n. H

arpe

r Co

llins

Pub

lishe

rs,

1988

. •

“C

alif

orni

a’s

Gol

d.”

VHS,

PBS

Los

Ang

eles

, 19

91-1

995.

•

Bu

tche

r pa

per,

cha

rt p

aper

or

lega

l-si

ze p

aper

wit

h a

blan

k m

ap o

f Ca

lifor

nia

alre

ady

draw

n or

pri

nted

on

the

pape

r (o

ne p

er g

roup

of

4-5)

•

Colo

red

penc

ils,

cray

ons

or m

arke

rs •

Si

dew

alk

chal

k, m

aski

ng t

ape

or b

lue

tape

•

Visu

al a

rt d

raw

ings

or

thin

gs t

o re

pres

ent

the

four

reg

ions

and

the

cap

ital

to

be p

lace

d on

a la

rge

map

(e.

g.,

cact

us d

raw

ing

for

the

dese

rt r

egio

n,

blue

tap

e to

run

alo

ng t

he c

oast

al r

egio

n, o

rang

e co

nes

for

the

mou

ntai

n re

gion

, dr

awin

gs o

f cr

ops

for

the

valle

y re

gion

, an

d bl

ack

dot

for

the

capi

tal)

•

Mus

ic (

pref

erab

ly w

itho

ut ly

rics

) w

ith

an e

xplo

ring

the

me:

The

me

from

“M

issi

on Im

poss

ible

” •

CD

Pla

yer/

iPod

•

Larg

e sp

ace

such

as

the

audi

tori

um o

r ou

tdoo

r sp

ace

PH

ASE

LE

SSO

N St

uden

t En

gage

men

t 1

. Be

fore

the

less

on,

draw

a m

ap o

f Ca

lifor

nia

wit

h ei

ther

sid

ewal

k ch

alk

(if

outd

oors

) or

cre

ate

the

map

wit

h m

aski

ng t

ape

or

(5-1

0 m

inut

es)

blue

tap

e in

a la

rge

spac

e (a

udit

oriu

m).

2.

Stud

ents

ent

er a

nd fi

nd t

heir

ow

n pe

rson

al s

pace

to

war

m u

p.

3.

Revi

ew k

ey s

ocia

l stu

dies

voc

abul

ary:

reg

ion,

mou

ntai

n, d

eser

t, c

oast

al p

lain

, va

lley,

cap

ital

.

4

. In

trod

uce

(or

revi

ew)

vari

ous

path

way

s —

cur

ved

lines

, st

raig

ht li

nes,

zig

zag.

•

In t

heir

ow

n pe

rson

al s

pace

, w

itho

ut t

rave

ling,

stu

dent

s vi

sual

ize

pain

ting

wit

h a

pain

tbru

sh a

nd t

heir

fav

orit

e co

lor

of p

aint

:

ho

rizo

ntal

line

s, v

erti

cal l

ines

, cu

rvy

lines

aro

und

thei

r bo

dy,

and

zigz

ags

on t

he fl

oor.

•

Now

use

oth

er b

ody

part

s to

pai

nt w

ith:

elb

ow,

head

, no

se,

toe,

sho

ulde

r, et

c.

5

. Tr

avel

pat

hway

s: d

ip y

our

feet

in t

he p

aint

and

pai

nt s

trai

ght

lines

aro

und

the

room

.

•

Call

out

diff

eren

t di

rect

ion

chan

ges

like

back

war

ds,

side

way

s, f

orw

ards

.

•

Repe

at w

ith

zigz

ag a

nd c

urvy

. Ae

sthe

tic

Expl

orat

ion

6.

Intr

oduc

e (o

r re

view

) th

e di

ffer

ence

bet

wee

n m

akin

g a

shap

e, n

on-l

ocom

otor

mov

emen

t an

d lo

com

otor

mov

emen

t.

(10

min

utes

)

•

Mak

e a

curv

ed s

hape

and

hol

d it

for

five

sec

onds

.

•

Now

des

cend

you

r cu

rved

sha

pe w

itho

ut t

rave

ling.

•

Mak

e a

shap

e w

ith

stra

ight

line

s.

• N

ow s

pin

your

sha

pe w

itho

ut c

omin

g ou

t of

you

r sh

ape.

•

Now

try

des

cend

ing

your

str

aigh

t sh

ape.

•

Nex

t m

ake

your

str

aigh

t or

cur

vy s

hape

and

tra

vel i

t ar

ound

the

roo

m/o

pen

spac

e w

itho

ut c

omin

g ou

t of

you

r sh

ape.

•

Nex

t tr

y m

akin

g yo

ur s

hape

, co

me

out

of y

our

shap

e an

d tr

avel

to

a ne

w s

pot

in t

he s

pace

and

fre

eze

in a

new

sha

pe.

7.

Stud

ents

bri

ng t

heir

indi

vidu

al m

aps

of C

alif

orni

a, a

lrea

dy la

bele

d w

ith

the

stat

e ca

pito

l and

fou

r re

gion

s an

d st

and

arou

nd

the p

erim

eter o

f t

he g

iant m

ap.

8. Ask indiv

idual students t

o p

lace t

he v

isual m

arkers f

or t

he f

our r

egio

ns a

nd t

he s

tate c

apit

al on t

he g

iant m

ap.

• La

bel e

ach

regi

on w

ith

an a

ssig

ned

char

acte

rist

ic:

Capi

tal =

beg

inni

ng g

roup

sha

pe,

Mou

ntai

ns =

hig

h pa

rtne

r or

indi

vidu

al h

eld

sh

ape,

Coa

st =

Loc

omot

or M

ovem

ent

nort

h to

sou

th o

r so

uth

to n

orth

, D

eser

t =

slow

tem

po,

Valle

y =

desc

end

to a

low

sha

pe

Grade 4 Lessons

57

Grade 4 Lessons

PH

ASE

LE

SSO

N

9

. H

alf

of t

he c

lass

(th

e ot

her

half

of

the

clas

s is

wat

chin

g ar

ound

the

per

imet

er)

expl

orat

ion:

• G

athe

r ar

ound

the

sta

te c

apit

al a

nd m

ake

a ta

ll na

rrow

sti

ll sh

ape

that

con

nect

s w

ith

one

part

ner.

•

Nex

t ha

ve t

hem

tra

vel w

ith

that

par

tner

on

a st

raig

ht p

ath

to t

he m

arke

r of

the

coa

stal

pla

ins.

•

Gal

lop

on a

cur

vy p

ath

(sym

boliz

ing

the

ocea

n w

aves

) al

ong

the

coas

tal p

lain

s.

•

Nex

t gl

ide

on a

str

aigh

t pa

thw

ay t

o th

e de

sert

and

red

uce

your

spe

ed t

o a

slow

tem

po w

alk

(rem

indi

ng y

ou o

f th

e he

at in

the

des

ert)

.

•

Nex

t tr

avel

to

the

mou

ntai

ns a

nd m

ake

a hi

gh s

hape

, sy

mbo

lizin

g th

e m

ount

ains

tha

t ar

e st

ill (

your

sha

pe c

an b

e co

nnec

ted

w

ith y

our p

artner o

r a

lone).

• Fi

nally

tra

vel o

n a

zigz

ag p

ath

to t

he c

entr

al v

alle

y an

d de

scen

d to

a lo

w le

vel s

hape

(sy

mbo

lizin

g th

e de

scen

t fr

om t

he

m

ountain

s t

o t

he v

alleys) t

o e

nd y

our d

ance p

hrase.

10.

Repe

at w

ith

the

othe

r ha

lf o

f th

e cl

ass.

Day

Tw

o: B

egin

wit

h sh

ort

path

way

war

mup

(sa

me

as fi

rst

day)

(10

min

.)

Fi

nish

Impr

ovis

ing

(10

min

.)

11

. D

ivid

e st

uden

ts in

to g

roup

s of

fou

r to

five

. Ea

ch g

roup

nee

ds t

o ha

ve a

larg

e m

ap o

n le

gal-

size

or

char

t pa

per

and

four

col

ored

pencils a

nd c

rayons o

r m

arkers.

12.

Hav

e st

uden

ts la

bel t

he s

tate

cap

itol

and

fou

r re

gion

s of

Cal

ifor

nia

wit

h th

e sa

me

sym

bols

tha

t th

e gi

ant

map

con

tain

s.

13

. Ex

plai

n th

at e

ach

grou

p w

ill b

e tr

avel

ing

thro

ugh

all o

f th

e fo

ur r

egio

ns o

f Ca

lifor

nia

by d

esig

ning

a p

athw

ay m

ap d

ance

.

•

Star

t at

the

sta

te c

apit

al a

nd h

ave

stud

ents

dra

w a

pat

hway

(st

raig

ht,

curv

y or

zig

zag)

to

the

first

reg

ion

they

wou

ld li

ke t

o

t

ravel to.

• Co

ntin

ue d

esig

ning

pat

hway

s un

til e

ach

grou

p ha

s tr

avel

ed t

o al

l fou

r re

gion

s.

14.

Inst

ruct

stu

dent

s to

pra

ctic

e yo

ur p

athw

ay d

ance

by

wal

king

thr

ough

you

r m

ap o

n th

e gi

ant

map

out

line.

Cr

eati

ve E

xpre

ssio

n 15

. Cr

eate

you

r da

nce:

(3

0 m

inut

es)

• D

ecid

e on

a b

egin

ning

gro

up s

hape

at

the

capi

tal

• A

loco

mot

or m

ovem

ent

to t

rave

l up

or d

own

the

coas

t

•

A lo

com

otor

mov

emen

t in

slo

w t

empo

for

the

des

ert

• A

high

par

tner

or

indi

vidu

al s

hape

for

the

mou

ntai

ns

•

A de

scen

ding

low

sha

pe f

or t

he d

eser

t

16. Practic

e e

ach p

art o

f y

our s

equence o

n t

he g

iant m

ap t

ogether w

ith y

our g

roup.

17.

Not

ate

your

cho

ices

on

your

gro

up m

ap n

ext

to e

ach

regi

on (

e.g.

, sp

iral

des

cent

to

a lo

w,

twis

ted

shap

e in

the

val

ley)

.

18

. M

emor

ize

your

dan

ce p

hras

e by

pra

ctic

ing

it a

s a

grou

p se

vera

l tim

es.

19.

Stud

ents

will

tak

e tu

rns

expl

aini

ng t

heir

gro

up d

ance

map

the

n pe

rfor

min

g th

eir

danc

e ph

rase

.

20

. Re

min

d st

uden

ts a

bout

wha

t it

mea

ns t

o be

a r

espe

ctfu

l aud

ienc

e.

21.

Audi

ence

will

be

wat

chin

g fo

r ea

ch m

ovem

ent

chan

ge a

t ea

ch r

egio

n.

Reflec

tion

In

you

r gr

oup

disc

uss

the

follo

win

g qu

esti

ons:

(1

0 m

inut

es)

•

Wha

t pa

thw

ays

did

you

see

in t

he d

ance

s?

•

Did

map

ping

out

the

pat

hway

s an

d re

gion

s he

lp t

o cl

arif

y yo

ur d

ance

?

•

D

id d

anci

ng t

he r

egio

ns a

nd c

apit

al o

f Ca

lifor

nia

help

you

to

rem

embe

r th

eir

loca

tion

s?

22

. Re

flec

t on

the

ess

enti

al q

uest

ion

wit

h a

part

ner

in t

heir

gro

up.

Shar

e w

ith

the

clas

s. (

Thin

k-Pa

ir-S

hare

)

23

. Re

flec

t on

the

ess

enti

al q

uest

ion

in a

per

sona

l jou

rnal

.

58

Conn

ecti

ons

Exte

nsio

ns

Red

raw

the

ir m

aps

wit

h a

key/

lege

nd t

hat

will

com

mun

icat

e th

eir

idea

s.

In

you

r sm

all g

roup

s (f

our

to fi

ve s

tude

nts)

labe

l the

cap

ital

and

fou

r re

gion

s of

Cal

ifor

nia

on a

n en

larg

ed o

utlin

ed m

ap o

f

Ca

lifor

nia

(pos

ter/

char

t pa

per)

. D

esig

n a

new

pat

hway

dan

ce s

tart

ing

from

the

sta

te c

apit

al a

nd t

rave

ling

to e

ach

of t

he r

egio

ns

thro

ugho

ut C

alif

orni

a on

a la

rge

floo

r pl

an o

f Ca

lifor

nia

(alr

eady

dra

wn

or t

aped

on

the

floo

r).

Crea

te a

mov

emen

t ch

ange

at

each

reg

ion

that

rel

ates

to

the

regi

on (

e.g.

, gr

oup

held

sha

pe in

mou

ntai

n re

gion

tha

t

sym

boliz

es m

ount

ains

). E

nd a

t an

y re

gion

.

Dif

fere

ntia

tion

Grade 4 Lessons

59

Grade 4 Lessons

G

RAD

E 4

CON

TEN

T IN

TEG

RATI

ON

TI

TLE

OF

LESS

ON

MU

SIC/

MAT

H

FRA

CTIO

NS

AN

D M

USI

C

ES

SEN

TIA

L Q

UES

TIO

N

INTE

GRA

TED

STU

DEN

T O

BJEC

TIVE

How

are

fra

ctio

ns u

sed

to d

ivid

e ab

stra

ct t

hing

s Th

e st

uden

t w

ill b

e ab

le r

ead,

wri

te a

nd p

erfo

rm

like

tim

e in

mus

ic?

rh

ythm

ic n

otat

ion

usin

g fr

acti

on c

once

pts.

D

escr

ipto

rs

MU

SIC

MAT

H

Stan

dard

s 1.

3 Re

ad,

wri

te a

nd p

erfo

rm r

hyth

mic

not

atio

n.

1.5

Expl

ain

diff

eren

t in

terp

reta

tion

s of

fra

ctio

ns;

for

exam

ple,

part

s of

a w

hole

, pa

rts

of a

set

, an

d di

visi

on o

f w

hole

num

bers

by w

hole

num

bers

. Ex

plai

n eq

uiva

lent

s of

fra

ctio

ns.

Stu

dent

Obj

ecti

ves

The

stud

ent

will

be

able

to

read

, w

rite

and

per

form

rhy

thm

ic

The

stud

ent

will

inte

rpre

t m

usic

not

atio

n as

fra

ctio

ns.

notatio

n u

sin

g f

ractio

n c

oncepts.

As

sess

men

t

Did

the

stu

dent

acc

urat

ely

wri

te a

nd p

erfo

rm t

heir

rhy

thm

? Ca

n th

e st

uden

t re

cogn

ize

mus

ic n

otat

ion

as f

ract

ions

?

KEY

KNO

WLE

DGE

Prio

r K

now

ledge

Steady b

eat

Whole

to p

art

Rhythm

ic s

peakin

g u

sin

g

Tah,

Ti T

i and

Res

t

New

Con

cept

s M

usic

not

atio

n Be

abl

e to

exp

lain

dif

fere

nt in

terp

reta

tion

s of

fra

ctio

ns

New

Vocabula

ry

Rest

Qua

rter

/tah

Eigh

ths/

ti-t

i

Be

at b

ox

Inte

rpre

t

SKIL

LS

P

rere

quis

ite

Skill

s M

ovin

g to

a s

tead

y be

at

Iden

tify

fra

ctio

ns a

nd w

rite

usi

ng w

ords

and

num

ber

sym

bols

N

ew

Skills

Readin

g r

hythm

s a

s f

ractio

ns

Inte

rpre

t, id

enti

fy a

nd m

atch

mus

ic a

nd m

usic

not

atio

n to

fra

ctio

ns.

MAT

ERIA

LS/R

ESO

URC

ESRh

ythm

Cha

rt (

To m

ake

over

head

), C

ircl

e W

orks

heet

“M

akin

g M

usic

Gra

de 4

,” “

Colle

ge H

ornp

ipe”

CD

5-1

, “T

urn

the

Beat

Aro

und”

CD

4-1

1, “

Litt

le

Bird

ie”

CD 4

-15,

Ass

orte

d Rh

ythm

Inst

rum

ents

60

PH

ASE

LE

SSO

N

W

arm

-up

1.

Echo

my

mov

emen

ts t

o th

e st

eady

bea

t.

(10

min

utes

)

•

Mak

e up

you

r ow

n m

ovem

ents

to

the

stea

dy b

eat.

2.

Echo

my

mov

emen

ts a

s I p

erfo

rm s

ome

rhyt

hms

wit

h m

ovem

ent.

(Cl

ap h

ands

and

/or

do o

ther

bod

y m

otio

ns t

o di

ffer

ent

rhyt

hms.

)

•

Mak

e up

you

r ow

n m

ovem

ents

to

the

rhyt

hms

that

I cl

ap.

3.

Follo

w m

y le

ad a

nd c

lap

as I

poin

t to

the

se h

eart

s on

thi

s ov

erhe

ad t

rans

pare

ncy

(Rhy

thm

Cha

rt).

The

y re

pres

ent

the

stea

dy b

eat.

(Tea

cher

poi

nts

to e

ach

hear

t sy

mbo

l, k

eepi

ng t

ime

wit

h th

e st

eady

bea

t. S

ee o

verh

ead

grap

hic.

Opt

iona

l-Pl

ay m

usic

to

acco

mpa

ny t

his

beat

act

ivit

y, o

ne p

iece

or

seve

ral.

“Co

llege

Hor

npip

e,”

“Tur

n th

e W

orld

Aro

und,

” “S

onat

a in

F M

ajor

for

Bas

soon

,”

“La

Peri

,” “

Fanf

are,

” an

d “L

ittl

e Bi

rdie

.”)

• (M

ove

to t

he n

ext

line.

) Th

ese

lines

als

o re

pres

ent

the

stea

dy b

eat.

As

I poi

nt,

clap

and

spe

ak t

hem

by

sayi

ng T

AH.

• (M

ove

to t

he n

ext

line.

) Th

e Z

sym

bol r

epre

sent

s si

lenc

e in

mus

ic.

We

call

it a

res

t. C

lap

this

line

but

do

not

clap

whe

n I p

oint

to

t

he r

est s

ym

bol.

• Th

is n

ext

line

uses

”be

at b

oxes

” be

caus

e so

me

of t

he b

eats

are

div

ided

. Cl

ap t

wo

tim

es w

hen

I poi

nt t

o a

divi

ded

beat

box

.

• Pl

ease

say

ti-

ti w

hen

you

clap

the

div

ided

bea

ts.

• U

nder

neat

h th

e di

vide

d be

at b

oxes

is a

new

way

to

show

a d

ivid

ed b

eat.

It s

how

s tw

o co

nnec

ted

lines

. Pe

rfor

m t

his

line

as I

p

oin

t t

o e

ach s

ym

bol on t

he s

teady b

eat.

• Th

is is

a r

hyth

m in

wri

tten

and

mus

ic n

otat

ion.

Cla

p th

e rh

ythm

as

I poi

nt,

base

d on

the

pre

viou

s lin

es.

N

ew C

once

pt

4.

Teac

her

asks

the

ess

enti

al q

uest

ion

- H

ow a

re f

ract

ions

use

d to

div

ide

abst

ract

thi

ngs

like

tim

e in

mus

ic?4

.

(20

min

utes

)

•

Defi

ne t

he t

erm

fra

ctio

n. (

Elic

it r

espo

nses

of

how

we

defin

e an

d in

terp

ret

frac

tion

s.)

• Ca

n w

e us

e fr

acti

on c

ircl

es t

o sh

ow h

ow t

ime

is d

ivid

ed in

to p

arts

?

5

. W

e ar

e go

ing

to c

reat

e m

usic

rhy

thm

s us

ing

our

circ

le w

orks

heet

(se

e w

orks

heet

gra

phic

). C

lap

num

bers

1-6

wit

h a

part

ner.

6.

Nex

t w

ork

wit

h a

part

ner

to m

ake

four

cir

cle

rhyt

hms

(num

bers

7-1

0).

If y

ou h

ave

frac

tion

cir

cles

use

the

m fi

rst

to c

reat

e

your r

hythm

s b

efore w

rit

ing t

hem

on y

our w

orksheet.

• Cl

ap y

our

circ

le r

hyth

ms.

• Ar

e w

e us

ing

frac

tion

cir

cles

to

inte

rpre

t ou

r m

usic

al p

atte

rns?

(ye

s)

•

If r

hyth

m is

sou

nd d

ivid

ed in

to f

ract

ions

, ho

w d

o m

usic

ians

inte

rpre

t th

is o

n pa

per?

• W

hat

lang

uage

can

the

y us

e? (

Rhyt

hmic

Not

atio

n)

•

Inte

rpre

t yo

ur c

ircl

e rh

ythm

s by

wri

ting

the

m b

elow

eac

h ci

rcle

usi

ng t

he r

hyth

mic

not

atio

n th

at m

usic

ians

use

. R

evie

w/Applicatio

n

7. P

erform

your r

hythm

wit

h y

our c

hoic

e o

f r

hythm

instrum

ents.

(5 m

inutes)

As

sess

men

t 8

. Re

ad a

nd p

erfo

rm s

omeo

ne e

lse’

s w

ritt

en r

hyth

m n

otat

ion.

(5 m

inutes)

Cl

osin

g 9

. Ta

ke t

urns

per

form

ing

your

rhy

thm

s to

a v

arie

ty o

f m

usic

. (C

hoos

e m

usic

wit

h a

stro

ng s

tead

y be

at a

s in

#3

abov

e.)

(1

0 m

inut

es)

Co

nnec

tion

s

Exte

nsio

ns

Expl

ore

how

equ

ival

ent

frac

tion

s ca

n be

use

d to

add

up

to o

ne m

easu

re (

e.g.

, 1/

8 +

1/8

+ 1/

4 +

1/2

= O

ne f

our-

beat

mea

sure

).

Dif

fere

ntia

tion

W

ork

one-

on-o

ne w

ith

stud

ent;

pai

r w

ith

stud

ent

lead

er;

part

ner

wit

h ch

ild t

o de

mon

stra

te t

o ot

hers

(EL

).

Grade 4 Lessons

61

Grade 4 Lessons

3. 4. 5. 6.

.

62

Grade 4 LessonsRHYTHM

63

Grade 4 Lessons

G

RAD

E 4

CON

TEN

T IN

TEG

RATI

ON

TI

TLE

OF

LESS

ON

THEA

TRE/

LAN

GU

AG

E A

RTS

Char

acte

rs a

nd t

he W

orld

in R

elat

ion

D

urat

ion:

120

min

utes

ESSE

NTI

AL

QU

ESTI

ON

IN

TEG

RATE

D S

TUD

ENT

OBJ

ECTI

VE

H

ow d

oes

the

way

the

cha

ract

er in

tera

cts

wit

h Th

e le

arne

r w

ill u

se im

prov

isat

ion

to d

emon

stra

te

the

sett

ing

and

situ

atio

n re

veal

the

cha

ract

er’s

ho

w s

etti

ng a

nd s

itua

tion

can

dri

ve a

cha

ract

er’s

tr

aits

and

mot

ivat

ion?

ch

oice

s an

d ac

tion

s.

D

escr

ipto

rs

THEA

TRE

LAN

GU

AG

E A

RTS

St

anda

rds

1.2:

Iden

tify

a c

hara

cter

’s o

bjec

tive

s an

d m

otiv

atio

ns t

o ex

plai

n 2.

2 (C

ompr

ehen

sion

and

Ana

lysi

s) U

se a

ppro

pria

te s

trat

egie

s

th

at c

hara

cter

’s b

ehav

ior;

2.1

Dem

onst

rate

the

em

otio

nal t

rait

s w

hen

read

ing

for

diff

eren

t pu

rpos

es (

e.g.

, lo

cati

on o

f in

form

atio

n);

of a

cha

ract

er t

hrou

gh g

estu

re a

nd a

ctio

n.

3.3

(Lit

erar

y Re

spon

se a

nd A

naly

sis)

Use

kno

wle

dge

of t

he s

itua

tion

and

sett

ing

and

of a

cha

ract

er’s

tra

its

and

mot

ivat

ions

to

de

term

ine

the

caus

es f

or t

hat

char

acte

r’s

acti

ons.

St

uden

t O

bjec

tive

s Th

e le

arne

r w

ill u

se im

prov

isat

ion

to s

how

how

cha

ract

ers

Th

e le

arne

r w

ill u

nder

stan

d ho

w s

etti

ng a

nd s

itua

tion

inte

ract

inte

ract

wit

h th

e se

ttin

g an

d si

tuat

ion.

to

dri

ve c

hara

cter

s’ c

hoic

es a

nd a

ctio

ns.

As

sess

men

t

Crit

eria

cha

rt f

or t

able

aux

and/

or a

/b im

prov

isat

ion

to e

valu

ate

Doe

s th

e st

uden

t sh

ow a

n un

ders

tand

ing

of t

he r

elat

ions

hip

of

achi

evem

ent

of o

bjec

tive

in t

heat

er.

sett

ing

and

situ

atio

n to

a c

hara

cter

’s b

ehav

ior

and

choi

ces?

Use

grad

e-le

vel w

riti

ng c

rite

ria

to a

sses

s pa

ragr

aph.

KEY

KNO

WLE

DGE

Prio

r Kn

owle

dge

How

to

repr

esen

t se

ttin

g w

ith

the

thre

e ac

tor’

s to

ols

“Tw

o Ti

cket

s to

Fre

edom

” (r

ecen

tly

read

)

Basi

c kn

owle

dge

of:

The

Civi

l War

, sl

aver

y an

d th

e U

nder

grou

nd

Railroad

N

ew C

once

pts

1.

Char

acte

rs m

ake

choi

ces

in r

espo

nse

to t

heir

set

ting

and

1

. Ch

arac

ter

trai

ts a

re r

evea

led

thro

ugh

thei

r ac

tion

s.

sit

uatio

n.

2.

Mod

ulat

ions

of

voic

e an

d di

ffer

ent

phys

ical

qua

litie

s, s

uch

as

2. C

hara

cter

s’ c

hoic

es a

nd a

ctio

ns a

re a

ffec

ted

by t

heir

set

ting

le

adin

g w

ith

diff

eren

t ce

nter

s, h

elp

to c

reat

e ch

arac

ters

in

and

situ

atio

n.

perform

ance.

N

ew V

ocab

ular

y Le

adin

g ce

nter

SK

ILLS

Pre

requ

isit

e Sk

ills

Wal

k-ab

out,

tab

leau

, a/

b im

prov

isat

ion

1.

Skim

min

g te

xt f

or in

form

atio

n

2

. Ad

ject

ives

, ad

verb

s, d

escr

ipti

on,

verb

s, n

ouns

N

ew S

kills

M

ovin

g w

ith

lead

ing

cent

ers

of t

he b

ody

Det

erm

inin

g ch

arac

ter

trai

ts f

rom

the

ir a

ctio

ns

64

MAT

ERIA

LS/R

ESO

URC

ESTw

o Ti

cket

s to

Fre

edom

: Th

e Tr

ue S

tory

of

Elle

n an

d W

illi

am C

raft

, Fu

giti

ve S

lave

s, b

y Fl

oren

ce F

reed

man

(or

any

sto

ry w

ith

rich

cha

ract

ers

in d

ynam

ic

interactio

n w

ith t

heir

envir

onm

ent)

PH

ASE

LE

SSO

N

Ope

ning

1

. N

ames

and

Ges

ture

s W

ith

Diff

eren

t Q

ualit

ies:

Stu

dent

s in

a C

ircl

e. (

May

do

one,

tw

o or

all

of t

hese

.) G

athe

ring

/War

m-u

p

•

Lead

er c

alls

out

an

emot

ion,

suc

h as

fea

r, an

d st

uden

ts s

ay a

line

fro

m t

he s

tory

or

appr

opri

ate

mad

e-up

line

, su

ch a

s

(10

min

utes

)

“Do

you

have

a t

icke

t?”

sim

ulta

neou

sly,

exp

ress

ing

that

em

otio

n. G

estu

res

may

be

impr

ovis

ed,

if de

sire

d.

•

Lead

er c

alls

out

a s

itua

tion

in a

n en

viro

nmen

t, s

uch

as “

It’s

mid

nigh

t an

d fr

eezi

ng,”

or

“You

mus

t hi

de y

our

real

iden

tity

,” o

r “Y

ou

ar

e su

spic

ious

of

stra

nger

s ar

ound

you

.” S

tude

nts

agai

n re

spon

d, s

imul

tane

ousl

y, t

o th

e di

ffer

ent

prom

pts.

• Si

lent

Scr

eam

(Vi

ola

Spol

in).

Lea

der

inst

ruct

s st

uden

ts t

o im

agin

e th

at t

heir

toe

s ar

e sc

ream

ing,

the

n th

eir

knee

s, t

heir

thi

ghs,

the

ir

st

omac

h, t

heir

che

st,

thei

r ne

ck,

thei

r he

ad.

Whe

n th

e w

hole

bod

y is

sile

ntly

scr

eam

ing,

inst

ruct

stu

dent

to

let

out

a re

al s

crea

m.

Th

e so

und

will

be

deaf

enin

g, s

o in

stru

ct t

hem

to

stop

upo

n th

e le

ader

’s s

igna

l.

Re

view

ing/

2

. Vo

cabu

lary

: Ci

vil W

ar;

slav

ery;

Und

ergr

ound

Rai

lroa

d

Prev

iew

ing

3. B

ubbl

e M

aps.

Pas

s ou

t bu

bble

map

s to

gro

ups

of f

our

or fi

ve.

Each

bub

ble

map

has

one

of

the

mai

n ch

arac

ters

in t

he c

ente

r

Voca

bula

ry

bubb

le.

The

grou

p fil

ls in

the

ir b

ubbl

e m

ap w

ith

adje

ctiv

es t

hat

desc

ribe

the

cha

ract

er in

dica

ted

on t

he b

ubbl

e m

ap.

The

mai

n

(10

min

utes

)

characters a

re E

llen

Craf

t, W

illia

m C

raft

, Th

e Co

nduc

tor/

Abo

litio

nist

(co

mbi

ne w

ith

“Gua

rd”

for

econ

omy)

, th

e Ch

ief

Offi

cer

(com

bine

wit

h Ya

nkee

Offi

cer)

, an

d th

e O

ther

Pas

seng

ers.

For

the

Oth

er P

asse

nger

s, in

divi

dual

cha

ract

er t

rait

s m

ay b

e

in

ferr

ed o

r im

agin

ed,

but

shou

ld b

e w

ithi

n ra

nge

of b

elie

vabi

lity.

Als

o, lo

ok a

t th

e ill

ustr

atio

n in

Ope

n Co

urt

book

for

clu

es

ab

out

char

acte

r tr

aits

. W

hat

does

the

fac

ial e

xpre

ssio

n or

bod

ily s

tanc

e re

veal

? E

xplo

ring

/Cre

atin

g 4

. W

alk-

abou

ts w

ith

Isol

atio

ns.

Lead

er d

irec

ts s

tude

nts

to d

evel

op c

hara

cter

tra

its

and

emot

ions

in t

heir

bod

ies.

For

exa

mpl

e:

Expl

orin

g

•

Lead

ing

wit

h th

e to

p of

you

r he

ad (

i.e.

, yo

ur f

ace

is p

oint

ed d

ownw

ard,

arm

s at

you

r si

des)

. W

alk

slow

ly a

nd d

elib

erat

ely.

(1

0 m

inut

es)

Lo

ok a

roun

d, b

ut k

eep

your

hea

d do

wn.

Whi

ch c

hara

cter

in “

Two

Tick

ets”

doe

s th

is f

eel l

ike?

• St

raig

hten

up,

put

han

ds o

n yo

ur h

ips,

and

jut

out

chi

n. W

alk

arou

nd.

Whe

n yo

u tu

rn t

o lo

ok a

t so

meo

ne,

mak

e th

e ch

in t

urn

wit

h t

he e

yes.

What c

haracter d

oes t

his

feel like?

• Cr

adle

one

of

your

arm

s. P

rote

ct t

he a

rm a

s yo

u w

alk

thro

ugh

a cr

owde

d tr

ain.

Peo

ple

are

jost

ling

you,

but

you

pro

tect

the

arm

. W

hic

h c

haracter?

• Le

ad w

ith

your

ste

rnum

. Fi

ll yo

ur u

pper

che

st w

ith

brea

th.

Expe

rim

ent

wit

h ar

ms

swin

ging

con

fiden

tly

at y

our

side

s or

cla

s

behi

nd y

our

back

. Ch

arac

ter?

• Co

ck y

our

head

to

one

side

. Cl

asp

hand

s ov

er s

tom

ach.

NO

TE:

Don

’t m

ake

this

a g

uess

ing

gam

e. If

som

e st

uden

ts c

all o

ut t

he c

hara

cter

s th

ey t

hink

the

se a

re,

it’s

fin

e, b

ut d

on’t

say

“Rig

ht” o

r “

Wrong.”

Grade 4 Lessons

65

Grade 4 Lessons

Im

prov

isin

g/

5.

Tabl

eaux

. G

roup

s re

form

to

repr

esen

t al

l five

cha

ract

ers

in a

sin

gle

grou

p. (

i.e.

, on

e m

embe

r fr

om e

ach

diff

eren

t bu

bble

map

In

vent

ing

(Sto

ry)

grou

p sh

ould

be

repr

esen

ted

in t

he T

able

au g

roup

). E

ach

grou

p cr

eate

s a

tabl

eau

repr

esen

ting

the

cha

ract

ers

in e

ach

sett

ing

of

(20

min

utes

)

th

e st

ory.

The

set

ting

s, in

the

ord

er t

hey

appe

ar,

are:

1)

The

pas

seng

er c

ar;

2) t

he C

hief

Offi

cer’

s of

fice;

3)

the

dock

at

Hav

re-d

e-G

race

; 4)

the

tra

in t

o Ph

ilade

lphi

a; 5

) ar

rivi

ng a

t th

e

bo

ardi

ngho

use.

Lea

der

tells

stu

dent

s th

at,

if t

heir

par

ticu

lar c

hara

cter

is n

ot in

tha

t sc

ene,

to

play

an

obje

ct o

r an

othe

r pa

ssen

ger.

Rem

ind s

tudents t

o s

how

their

character in a

n a

ttit

ude a

nd e

motio

n a

ppropria

te t

o e

ach s

ituatio

n.

• Le

ader

cal

ls o

ut e

ach

sett

ing,

and

the

stu

dent

s re

spon

d by

cre

atin

g a

tabl

eau.

Allo

w a

few

sec

onds

for

neg

otia

tion

and

the

n

ca

ll “F

reez

e!”

Hol

d ta

blea

u fo

r ab

out

five

seco

nds.

• W

hile

stu

dent

s ar

e in

tab

leau

x, a

sk,

“Wha

t is

you

r ch

arac

ter

feel

ing

righ

t no

w?

Wha

t is

she

/he

thin

king

rig

ht n

ow?”

“W

hat

is t

he n

ext

acti

on y

our

char

acte

r w

ill t

ake?

” (T

ell s

tude

nts

not

to c

all o

ut,

but

to a

nsw

er s

ilent

ly t

o th

emse

lves

.)

Sha

ring

/Refl

ecti

ng

6.

Impr

ovis

ed S

cene

s w

ith

Nar

rati

on a

nd A

/B im

prov

isat

ion.

Tea

cher

ass

igns

one

set

ting

to

each

gro

up.

(Whe

ther

you

wan

t ea

ch

Pl

aym

akin

g

se

ttin

g in

the

sto

ry r

epre

sent

ed is

opt

iona

l. T

wo

grou

ps c

ould

rep

rese

nt t

he s

ame

sett

ing

to s

how

how

it c

an b

e do

ne d

iffe

rent

ly.)

(2

5 m

inut

es)

Each

gro

up r

e-cr

eate

s or

mak

es a

new

tab

leau

to

repr

esen

t ch

arac

ters

in t

hat

sett

ing.

The

n ea

ch a

ctor

cre

ates

a li

ne t

o sa

y to

at

leas

t on

e ot

her

char

acte

r in

the

sce

ne a

nd a

t le

ast

one

spec

ific

acti

on. A

ctor

(s)

repr

esen

ting

obj

ects

or

min

or p

asse

nger

char

acte

rs w

ill c

reat

e a

narr

atio

n to

intr

oduc

e an

d en

d th

e sc

ene.

Beg

in a

nd e

nd t

he s

cene

wit

h a

tabl

eau.

The

em

phas

is

th

roug

hout

sho

uld

be o

n ex

pres

sing

cha

ract

er t

rait

s, m

otiv

atio

n an

d em

otio

ns.

This

ste

p ha

s th

ree

part

s:

•

Crea

tion

(im

prov

isat

ion)

: G

uide

d by

tea

cher

• Re

hear

sal

• Pe

rfor

man

ce

Refl

ecti

ng/A

sses

sing

7.

In

perf

orm

ance

s, t

he a

udie

nce

shou

ld b

e aw

are

of c

rite

ria

char

t fo

r ta

blea

ux (

still

ness

, si

lenc

e, c

lear

pic

ture

foc

us,

dyna

mic

(2

0 m

inut

es)

ener

gy)

and

for

a/b

impr

ovis

atio

n (l

iste

ning

, ca

use-

and-

effe

ct r

easo

ning

, co

ncen

trat

ion,

sta

ying

in c

hara

cter

).

8

. Au

dien

ce s

houl

d pr

ovid

e fe

edba

ck o

n co

nten

t of

tab

leau

x. A

sk:

• D

o th

e ac

tors

com

mun

icat

e at

leas

t on

e of

the

ir c

hara

cter

’s p

erso

nalit

y tr

aits

?

•

Is a

spe

cific

em

otio

n ex

pres

sed?

• Ca

n yo

u te

ll w

hat

a ch

arac

ter’

s re

lati

onsh

ip t

o ot

her

char

acte

rs a

nd t

he e

nvir

onm

ent

is?

• Ar

e th

ere

any

clue

s ab

out

wha

t th

e se

ttin

g is

?

9

. Af

ter

perf

orm

ance

s an

d th

eatr

e-sk

ills

crit

ique

, st

uden

ts s

houl

d in

divi

dual

ly w

rite

a p

arag

raph

abo

ut t

he c

hara

cter

he

or s

he

pl

ayed

in a

spe

cific

set

ting

. In

clud

ed s

houl

d be

:

•

An e

xpla

nati

on in

the

stu

dent

’s o

wn

wor

ds o

f th

e ch

arac

ter’

s im

med

iate

sit

uati

on a

t th

at m

omen

t —

How

is t

he e

nvir

onm

ent

affe

ctin

g th

e ch

arac

ter’

s fe

elin

gs a

nd b

ehav

ior?

•

The

stud

ent’

s ca

refu

lly c

onsi

dere

d as

sess

men

t of

the

gen

eral

per

sona

lity

or c

hara

cter

tra

its

of t

he c

hara

cter

she

pla

yed

• W

hat

the

char

acte

r w

ants

in t

hat

situ

atio

n (i

mm

edia

tely

) an

d w

hy t

hey

wan

t it

Co

nnec

tion

s So

cial

Sci

ence

(Ci

vil W

ar)

Ex

tens

ions

D

iffe

rent

iati

on

(CRR

E) A

fric

an-A

mer

ican

His

tory

(SP

ED

) (E

L) B

ubbl

e M

aps,

Tot

al P

hysi

cal R

espo

nse

66

G

RAD

E 4

CON

TEN

T IN

TEG

RATI

ON

TI

TLE

OF

LESS

ON

VISU

AL

ART

S/SC

IEN

CE

EART

H M

OVE

S

ES

SEN

TIA

L Q

UES

TIO

N

INTE

GRA

TED

STU

DEN

T O

BJEC

TIVE

Wha

t (s

cien

tific

, env

iron

men

tal)

idea

s do

art

ists

A

rtis

ts c

omm

unic

ate

idea

s by

man

ipul

atin

g ea

rth

com

mun

icat

e w

hen

they

wor

k w

ith

eart

h m

ater

ials

? m

ater

ials

to

sim

ulat

e na

tura

l ear

th p

roce

sses

.

D

escr

ipto

rs

VISU

AL

ART

S SC

IEN

CE

Stan

dard

s 2.

3 U

se a

ddit

ive

and

subt

ract

ive

proc

esse

s in

mak

ing

sim

ple

5.

0 (E

arth

Sci

ence

s) W

aves

, w

ind,

wat

er,

and

ice

shap

e an

d

sc

ulpt

ural

for

ms.

re

shap

e th

e Ea

rth’

s la

nd s

urfa

ce. A

s a

basi

s fo

r un

ders

tand

ing

this

conc

ept,

stu

dent

s kn

ow:

a) S

ome

chan

ges

in t

he E

arth

are

due

to

sl

ow p

roce

sses

, su

ch a

s er

osio

n; b

) M

ovin

g w

ater

ero

des

land

form

s,

reshapin

g t

he land b

y t

akin

g it a

way f

rom

som

e p

laces a

nd

de

posi

ting

it a

s pe

bble

s, s

and,

silt

, an

d m

ud in

oth

er p

lace

s.

Stu

dent

Obj

ecti

ves

Stud

ents

will

cre

ate

cera

mic

rel

ief

scul

ptur

es o

f la

ndfo

rms

Id

enti

fy f

acto

rs t

hat

resh

ape

land

sur

face

s.

usin

g t

he a

ddit

ive a

nd s

ubtractiv

e p

rocesses.

As

sess

men

t

Wer

e st

uden

ts a

ble

to d

emon

stra

te k

now

ledg

e an

d pr

oces

s of

Id

enti

fy a

nd d

escr

ibe

proc

esse

s of

land

res

hapi

ng.

incorporatin

g a

ddit

ive a

nd s

ubtractiv

e c

lay t

echniq

ues t

o a

relief s

culp

ture?

KEY

KNO

WLE

DGE

Prio

r Kn

owle

dge

2-D

imen

sion

al;

3-D

imen

sion

al;

scul

ptur

e, c

lay

tech

niqu

es s

uch

Pr

oper

ties

of

rock

s-H

ow r

ocks

are

mad

e (r

ock

cycl

e)

as

pin

ch,

coil,

sla

b, p

atte

rn

N

ew C

once

pts

Cont

empo

rary

art

– la

nd a

rt,

eart

h ar

t Ea

rth’

s la

nd s

urfa

ce is

con

stan

tly

bein

g re

shap

ed b

y na

tura

l for

ces.

Clay

is a

n ea

rth-

base

d m

ediu

m.

Artis

ts u

se e

arth in a

rtw

ork.

N

ew V

ocab

ular

y Ad

diti

ve,

Subt

ract

ive,

Rel

ief

Scul

ptur

e, T

extu

re,

Slip

, Sc

ore,

Er

osio

n, E

rosi

ve F

orce

s —

dep

osit

, si

lt,

mud

Gla

ze,

Kiln

SK

ILLS

Pre

requ

isit

e Sk

ills

Expe

rien

ce w

ith

clay

scu

lpti

ng t

ool

Iden

tific

atio

n an

d de

scri

ptio

n sk

ills

N

ew S

kills

M

anip

ulat

ion

of c

lay

thro

ugh

addi

tive

and

sub

trac

tive

pro

cess

es

Iden

tific

atio

n of

land

res

hapi

ng p

roce

sses

Grade 4 Lessons

67

MAT

ERIA

LS/R

ESO

URC

ES Im

ages

of

Robe

rt S

mit

hson

’s “

Spir

al J

etty

,” w

orks

by

Ana

Men

diet

a, M

icha

el H

eize

r’s

“Dou

ble

Neg

ativ

e”Ch

ris

Burd

en’s

“Ex

posi

ng t

he F

ound

atio

ns o

f th

e M

useu

m,”

imag

es o

f be

ach

or r

iver

ero

sion

(e.

g.,

befo

re a

nd a

fter

Lan

dSat

imag

es o

f M

issi

ssip

pi R

iver

)Im

ages

of

eros

ion

take

n fr

om a

sci

ence

tex

tboo

kEx

ampl

e of

cla

y ti

le w

ork

Penc

ils,

6x6

draw

ing

pape

r or

jou

rnal

s, c

lay,

cla

y to

ols,

rol

ling

pin,

sti

cks ½

inch

thi

ck,

glaz

e, c

anva

s cl

oth,

con

tain

ers

for

slip

, ne

wsp

aper

s, w

ater

or

wip

es (

sugg

est

cove

r-up

)

PH

ASE

LE

SSO

N St

uden

t En

gage

men

t D

ay O

ne

(15

min

utes

) 1

. Vi

ew a

rtw

ork

from

Sm

iths

on,

Hei

zer,

Bur

den.

• As

k st

uden

ts,

“Is

this

art

? W

hy?

Why

not

?”

•

Can

the

eart

h be

com

e a

canv

as?

• H

ow c

an L

and

Art

be a

ffec

ted

by e

rosi

on?

2.

View

Lan

dsat

imag

es o

f M

issi

ssip

pi R

iver

‘be

fore

’ an

d ‘a

fter

’ er

osio

n.

3

. Lo

ok a

t pi

ctur

es in

a s

tate

-ado

pted

tex

tboo

k th

at il

lust

rate

ero

sion

.

4

. Sh

ow a

n ex

ampl

e of

a r

elie

f sc

ulpt

ure

(Lor

enzo

Ghi

bert

i’s “

Bron

ze D

oors

for

the

Bap

istr

y of

the

Flo

renc

e Ca

thed

ral”

5.

Thin

k pa

ir-s

hare

: Co

mpa

re a

nd c

ontr

ast

the

art

and

natu

re —

How

are

the

se w

orks

sim

ilar

or d

iffe

rent

?

D

emon

stra

tion

6

. Te

ache

r: d

efine

and

dem

onst

rate

; ro

lling

a s

lab,

mak

ing

slip

, us

ing

addi

tive

and

sub

trac

tive

pro

cess

es t

o re

plic

ate

eart

h

(20

min

utes

)

su

rfac

es,

such

as

rock

s, w

ater

and

ear

th.

7.

Allo

w t

ime

for

stud

ents

to

expe

rim

ent

wit

h cl

ay.

Giv

e ea

ch s

tude

nt a

sm

all c

lum

p of

cla

y an

d le

t th

em p

ull,

rol

l, a

nd p

inch

it,

and

mak

e te

xtur

es in

the

cla

y by

eit

her

mak

ing

mar

ks o

r pr

essi

ng o

bjec

ts in

to t

he c

lay.

8.

Teac

her

asks

: “H

ow w

ill y

ou u

se a

ddit

ive

and

subt

ract

ive

met

hods

to

repl

icat

e la

ndfo

rms?

”

Aest

heti

c Ex

plor

atio

n 9

. H

ave

stud

ents

ske

tch

at le

ast

thre

e dr

awin

gs t

hat

repr

esen

t ea

rth

surf

aces

aff

ecte

d by

ero

sion

. Di

scus

s te

xtur

es,

patt

erns

and

the

(1

5-20

min

utes

)

fa

ct t

hat

som

e ar

eas

need

to

be h

ighe

r (a

ddit

ive)

and

som

e ar

eas

low

er (

subt

ract

ive)

in t

he c

ompo

siti

ons.

Let

stu

dent

s kn

ow t

hey

will be p

ickin

g o

ne t

o m

ake into a

ceram

ic t

ile.

Grade 4 Lessons

Addit

ive

Subtractiv

eSubtractiv

eSubtractiv

eAddit

ive

Addit

ive

68

Re

flec

tion

10

. Th

ink

pair

-sha

re (

will

als

o be

refl

ecti

on a

t en

d of

less

on).

Wha

t ea

rth

proc

esse

s w

ere

arti

sts

emul

atin

g? W

hat

idea

s m

ight

th

ey b

e ex

pres

sing

? St

uden

t En

gage

men

t D

ay T

wo

(1

5 m

inut

es)

Disc

uss

wit

h th

e st

uden

ts t

he t

hem

e of

the

pro

ject

. “W

e ha

ve d

iscu

ssed

and

look

ed a

t ar

t an

d na

ture

bot

h af

fect

ed b

y th

e na

tura

l

fo

rces o

f w

ind a

nd w

ater t

hat c

ause e

rosio

n a

nd t

he r

eshapin

g o

f the e

arth.”

1. Show

tw

o im

ages f

rom

previo

us d

ay (

art/nature).

2.

Sum

mar

ize

disc

ussi

on f

rom

pre

viou

s da

y.

3

. N

ow w

e ar

e go

ing

to r

ecre

ate

land

form

s, u

sing

the

add

itiv

e an

d su

btra

ctiv

e cl

ay t

echn

ique

.

4. Pass o

ut d

raw

ings f

rom

yesterday.

5.

Pass

out

pre

-cut

tile

s. S

tude

nts

put

thei

r na

me

on t

he b

ack

of t

he t

ile.

D

emon

stra

tion

6

. D

emon

stra

te h

ow t

o ro

ll cl

ay s

hape

s in

to r

ocks

and

how

to

rem

ove

clay

to

mak

e w

ave

shap

es,

etc.

(1

5 m

inut

es)

7.

Dem

onst

rate

how

to

atta

ch p

iece

s of

cla

y to

the

tile

s by

usi

ng s

lip.

Cre

ativ

e Ex

pres

sion

8

. H

ave

stud

ents

cho

ose

the

draw

ing

they

are

goi

ng t

o re

crea

te o

n th

eir

tile

.

(30

min

utes

) 9

. Pa

ss o

ut a

pie

ce o

f pa

per

the

sam

e si

ze a

s th

e ti

le (

6 x

6).

10.

Hav

e st

uden

ts r

edra

w t

he c

hose

n dr

awin

g, m

akin

g im

prov

emen

ts t

o th

e de

sign

if n

eces

sary

.

11

. H

ave

stud

ents

rec

reat

e th

eir

draw

ing

onto

the

cla

y ti

le,

usin

g th

e su

btra

ctiv

e an

d ad

diti

ve m

etho

d.

12

. H

ave

stud

ents

cov

er t

iles

wit

h pl

asti

c if

the

y di

d no

t ge

t fin

ishe

d.

13

. Le

ave

the

finis

hed

tile

s un

cove

red

unti

l the

y dr

y.

Reflec

tion

Jo

urna

l pro

mpt

: H

ow d

id y

ou u

se t

he a

ddit

ive

and

subt

ract

ive

proc

ess

in y

our

artw

ork?

Crea

tive

Exp

ress

ion

Day

Thr

ee

(30

min

utes

) 1

. Al

low

tim

e fo

r st

uden

ts w

ho d

id n

ot c

ompl

ete

thei

r ti

le.

2.

Expl

ain

to s

tude

nts

the

next

ste

ps t

hat

will

tak

e pl

ace

afte

r til

es a

re fi

red

(gla

zing

). Y

ou w

ill n

eed

to m

ake

arra

ngem

ents

to

fire

tiles if

a k

iln is n

ot a

vailable

at y

our s

chool.

Re

fect

ion

Jour

nal p

rom

pt:

Wha

t ch

ange

s w

ould

you

mak

e if

you

wer

e to

des

ign

a ne

w t

ile?

Why

?

Day

Fou

r –

Nex

t W

eek

1.

Dem

onst

rate

how

to

glaz

e ti

les

2.

Hav

e st

uden

ts g

laze

tile

s C

reat

ive

Expr

essi

on

Jour

nal p

rom

pt:

Wha

t ea

rth

proc

ess

wer

e th

e ar

tist

s em

ulat

ing?

Wha

t ea

rth

proc

esse

s w

ere

you

emul

atin

g?

(30

min

utes

)

Exte

nsio

ns

1.

Stud

ents

can

obs

erve

and

rec

ord

eros

ion

in t

heir

nei

ghbo

rhoo

d by

tak

ing

pict

ures

, dr

awin

g a

pict

ure,

or

desc

ribi

ng in

a j

ourn

al.

2.

Indi

vidu

al t

iles

can

be c

ombi

ned

to c

reat

e a

clas

s ti

le m

ural

.

3

. M

ake

tile

s la

rger

/thi

cker

and

use

in a

com

mun

ity

scho

ol g

arde

n as

ste

ppin

g-st

ones

or

deco

rati

ons.

4. W

ork w

ith a

com

munit

y a

rtis

t t

o h

elp

create t

he t

ile m

ural.

D

iffe

rent

iati

on

Colla

bora

tive

gro

ups/

SDAI

E te

chni

ques

Grade 4 Lessons

69

Inst

ruct

ions

for

mak

ing

a sl

ab t

ile:

1.

Plac

e a

ball

of c

lay

on a

clo

th-c

over

ed b

oard

.

2

. Pl

ace

one ½

-1

inch

sla

t (d

epen

ding

on

the

wid

th o

f th

e ti

le y

ou a

re g

oing

to

use)

on

each

sid

e of

the

cla

y.

3

. U

se a

rol

ling

pin

to p

ress

dow

n th

e cl

ay,

mak

ing

it a

sla

b. R

oll t

o an

eve

n th

ickn

ess.

4.

Cut

into

6x6

squ

ares

(cu

t an

ext

ra in

cas

e a

stud

ent

need

s on

e).

5.

Cov

er w

ith

plas

tic.

G

laze

– S

ee in

stru

ctio

ns o

n gl

aze.

Rec

omm

end

natu

ral c

olor

s.

Voca

bula

ry

Addi

tive

–Add

ing

or c

ombi

ning

mat

eria

ls

Ca

rvin

g–A

met

hod

in w

hich

mat

eria

l is

cut

away

Cera

mic

s–Ar

t of

mak

ing

obje

cts

of c

lay,

whi

ch a

re h

arde

ned

by fi

ring

at

a hi

gh t

empe

ratu

re

G

laze

–In

cera

mic

s, a

thi

n, g

loss

y co

atin

g fir

ed in

to p

otte

ry

Sc

ore–

Repe

ated

scr

atch

ing

of a

cla

y su

rfac

e at

the

are

a th

at a

noth

er s

core

d pi

ece

of c

lay

will

be

atta

ched

Slip

–A m

ixtu

re o

f cl

ay a

nd w

ater

tha

t is

use

d to

att

ach

two

scor

ed p

iece

s of

cla

y to

geth

er

Su

btra

ctiv

e–Re

mov

ing

or t

akin

g aw

ay f

rom

the

ori

gina

l mat

eria

l

Re

lief–

Carv

ing,

mol

ding

, m

odel

ing,

or

stam

ping

in w

hich

a d

esig

n pr

ojec

ts f

rom

the

bac

kgro

und

surf

ace

Grade 4 Lessons

70

71

Grade 5 Lessons

72

Grade 5 Lessons

73

Grade 5 Lessons

G

RAD

E 5

CON

TEN

T IN

TEG

RATI

ON

TI

TLE

OF

LESS

ON

DA

NCE

/SCI

ENCE

Ci

rcul

atio

n D

ance

D

urat

ion:

Thr

ee 5

0-m

inut

e le

sson

s

ES

SEN

TIA

L Q

UES

TIO

N

INTE

GRA

TED

STU

DEN

T O

BJEC

TIVE

Why

is t

he c

once

pt o

f fl

ow s

o im

port

ant?

St

uden

ts w

ill b

e ab

le t

o di

agra

m a

nd p

erfo

rm a

Why

is it

impo

rtan

t fo

r da

ncer

s to

cre

ate

a

com

plex

dan

ce s

eque

nce

that

refl

ects

how

blo

od

m

ovem

ent

sequ

ence

tha

t fl

ows?

lo

ws

thro

ugh

the

circ

ulat

ory

syst

em,

Why

is b

lood

flow

vit

al t

o ou

r ci

rcul

ator

y sy

stem

? fi

nclu

ding

the

lung

s (r

espi

rato

ry s

yste

m).

D

escr

ipto

rs

DA

NCE

SC

IEN

CE

Stan

dard

s 2.

1 Cr

eate

, m

emor

ize

and

perf

orm

com

plex

seq

uenc

es o

f

Life

Sci

ence

s: 2

b St

uden

ts k

now

how

blo

od c

ircu

late

s th

roug

h

m

ovem

ent

wit

h gr

eate

r fo

cus,

for

ce/e

nerg

y, a

nd in

tent

. th

e he

art

cham

bers

, lu

ngs,

and

bod

y an

d ho

w c

arbo

n di

oxid

e

2.

4 D

emon

stra

te p

rinc

iple

s of

opp

osin

g w

eigh

t an

d fo

rce/

ener

gy,

(CO

2) a

nd o

xyge

n (O

2) a

re e

xcha

nged

in t

he lu

ngs

and

tiss

ues.

bala

nce

and

coun

terb

alan

ce,

or c

anti

leve

r.

Stu

dent

Obj

ecti

ves

Usi

ng t

he c

once

pt o

f flow

, st

uden

ts w

ill b

e ab

le t

o di

agra

m a

nd

Stud

ents

will

be

able

to

com

plet

e a

diag

ram

tha

t tr

acks

the

pe

rfor

m a

com

plex

dan

ce s

eque

nce

that

refl

ects

how

blo

od

bloo

d flow

thr

ough

the

cir

cula

tory

sys

tem

, in

clud

ing

the

lung

s

flow

s th

roug

h th

e ci

rcul

ator

y sy

stem

, in

clud

ing

the

lung

s

(res

pira

tory

sys

tem

).

(respir

atory s

ystem

).

As

sess

men

t

Wer

e st

uden

ts a

ble

to s

ucce

ssfu

lly d

iagr

am,

crea

te a

nd p

erfo

rm

Wer

e st

uden

ts a

ble

to s

ucce

ssfu

lly c

ompl

ete

a di

agra

m

th

eir

phra

se?

Did

the

y su

cces

sful

ly e

xecu

te t

heir

mov

emen

t

repr

esen

ting

the

flow

of

bloo

d th

roug

h th

e ci

rcul

ator

y sy

stem

?

w

ith

cont

inuo

us fl

ow?

KEY

KNO

WLE

DGE

Prio

r Kn

owle

dge

•

Able

to

wor

k co

oper

ativ

ely

in g

roup

s •

W

hole

-gro

up b

rain

stor

m o

n “W

hat

do w

e kn

ow a

bout

the

•

Spat

ial A

war

enes

s: P

erso

nal S

pace

hu

man

cir

cula

tory

sys

tem

s?”

N

ew C

once

pts

•

Flow

•

Body

Sys

tem

s

•

Se

quen

ce

•

H

uman

Ana

tom

y

•

Re

lati

onsh

ips:

mee

t an

d pa

rt

•

Hea

rt C

ham

bers

•

Coun

terb

alan

ce

•

Ba

lanc

e

New

Voc

abul

ary

Flow

, Se

quen

ce,

Bala

nce,

Cou

nter

bala

nce,

Exp

and,

Ci

rcul

ator

y Sy

stem

, Re

spir

ator

y Sy

stem

, H

eart

, Pu

lse

Cont

ract

, D

esce

nd

SKIL

LS

Pr

ereq

uisi

te S

kills

•

Sp

atia

l Aw

aren

ess

Sequ

ence

of

the

bloo

d flow

thr

ough

the

cir

cula

tory

sys

tem

and

•

Part

ner

Wor

k

re

spir

ator

y sy

stem

N

ew S

kills

•

Co

mpl

ex s

eque

nce

•

Mov

ing

wit

h flow

74

MAT

ERIA

LS/R

ESO

URC

ES•

Cir

cula

tion

and

res

pira

tion

dia

gram

, w

ww

.mac

mil

lanm

h.co

m/s

cien

ce.

Go

to g

rade

5,

Chap

ter

1, L

esso

n 5

“Sci

ence

in M

otio

n”•

Dia

gram

of

hear

t an

d lu

ngs

• S

teps

of

the

danc

e se

quen

ce (

one

per

grou

p of

4-5

) lo

cate

d in

Impr

ovis

atio

n Se

ctio

n•

Bla

nk p

aper

for

eac

h gr

oup

to d

iagr

am t

heir

dan

ce•

Lar

ge s

pace

PHA

SE

LESS

ON

In

trod

ucin

g 1

. Br

ains

torm

the

impo

rtan

ce o

f se

quen

ce a

nd fl

ow.

Con

cept

/Ele

men

t 2

. Br

ains

torm

: “W

hat

do w

e kn

ow a

bout

the

hum

an c

ircu

lato

ry s

yste

m?”

Intr

oduc

e th

e ci

rcul

atio

n an

d re

spir

atio

n di

agra

m.

War

m-u

p/Ce

nter

ing

• Sh

ow t

he c

ham

bers

of

the

hear

t, h

ow b

lood

com

es in

, go

es t

o th

e lu

ngs,

leav

es a

nd c

omes

bac

k (w

ith

fres

h ox

ygen

) to

the

bod

y.

(15

min

utes

)

•

Dis

cuss

the

impo

rtan

ce o

f th

e se

quen

ce a

nd t

he fl

ow.

3.

Expl

ain

that

we

will

exp

lore

the

con

cept

of

flow

in m

ovem

ent

and

com

pare

it t

o th

e flo

w o

f bl

ood

in t

he c

ircu

lato

ry s

yste

m.

4. Jog in p

lace o

r j

um

p r

ope f

or t

wo m

inutes.

• H

ave

stud

ents

tak

e th

eir

puls

e fo

r 30

sec

onds

.

•

Reco

rd a

nd c

ompu

te t

heir

pul

se r

ate.

•

Expl

ain

that

you

r pu

lse

is c

ause

d by

the

sto

ppin

g an

d st

arti

ng o

f th

e bl

ood

as it

rus

hes

thro

ugh

your

art

erie

s.

•

Puls

e po

ints

are

the

spo

ts o

n yo

ur b

ody

whe

re a

n ar

tery

is n

ear

the

surf

ace

of t

he s

kin.

• O

ne p

ulse

poi

nt is

insi

de o

f yo

ur w

rist

ben

eath

you

r th

umb.

• An

othe

r is

on

the

side

of

your

nec

k be

neat

h yo

ur e

ar a

nd s

light

ly f

orw

ard.

5.

Mak

e co

nnec

tion

s be

twee

n pu

lse

(exp

and

and

cont

ract

) an

d th

e he

art

mus

cle.

• In

a c

ircl

e ex

plor

e th

e id

ea o

f ex

pand

and

con

trac

t.

• O

pen

your

bod

y in

to a

gia

nt X

, ex

pand

ing

in b

oth

dire

ctio

ns.

• Im

agin

e yo

ur le

gs h

ave

root

s in

to t

he fl

oor

and

your

arm

s ar

e re

achi

ng t

owar

d th

e ce

iling

.

•

Clos

e yo

ur b

ody

into

a t

ight

bal

l, m

akin

g yo

ur b

ody

as s

mal

l as

poss

ible

.

•

Now

imag

ine

you

are

the

hear

t ex

pand

ing

as it

fills

wit

h bl

ood

and

cont

ract

ing

its

mus

cles

, sq

ueez

ing

the

bloo

d an

d pu

mpi

ng

t

he b

lood o

ut.

6.

Expl

ore

diff

eren

t w

ays

of e

xpan

ding

and

con

trac

ting

,wit

h a

part

ner

usin

g co

unte

rbal

ance

(pu

ll/pu

sh):

•

Expa

nd a

nd c

ontr

act,

con

nect

ing

both

han

ds.

• Ex

pand

and

con

trac

t, li

nkin

g el

bow

s, a

rm t

o le

g, e

tc.

Ex

plor

ing

7.

Expl

ore

diff

eren

t w

ays

of e

xpan

ding

and

con

trac

ting

, m

aint

aini

ng a

con

tinu

ous

flow

: (

Expe

rim

enta

tion

)

•

Expa

nd a

nd b

alan

ce o

n on

e le

g, c

ontr

act

into

a t

wis

ted

ball.

(1

0 m

inut

es)

• Ex

pand

and

rea

ch o

ut t

o a

neig

hbor

nex

t to

you

.

•

Cont

ract

and

des

cend

to

a lo

w le

vel o

n th

e floo

r.

• Ex

pand

and

con

nect

to

anot

her

neig

hbor

nex

t to

you

.

• Co

ntra

ct in

to a

par

tner

sha

pe.

•

Expa

nd a

nd c

onne

ct t

o an

othe

r gr

oup

of t

wo

so y

ou h

ave

a gr

oup

of f

our.

•

Cont

ract

into

a g

roup

sha

pe.

Grade 5 Lessons

75

8.

Keep

ing

a co

ntin

uous

flow

, ex

pand

and

tra

vel t

o a

new

spo

t in

the

roo

m.

Cont

ract

and

tra

vel t

o yo

ur n

ext

spot

.

9

. In

trod

uce

the

idea

of

mee

ting

and

par

ting

.

Ex

pand

and

tra

vel t

o a

new

par

tner

.

Co

ntra

ct b

ack

to y

our

own

spot

.

Re

peat

, m

eeti

ng a

dif

fere

nt p

artn

er.

Im

prov

isin

g

Day

Tw

o: (

Prob

lem

to

solv

e;

Repe

at w

ith

expl

orat

ion

impr

ovis

ing

to

finis

h up

dia

gram

s

Choi

ces

to m

ake)

(1

0 m

inut

es)

(2

5 m

inut

es)

10.

Div

ide

into

gro

ups

of f

our

to fi

ve s

tude

nts.

11. G

ive e

ach g

roup t

he s

teps o

f t

he d

ance s

equence.

12.

Stud

ents

will

dia

gram

the

ir d

ance

by

labe

ling

the

step

s an

d dr

awin

g ar

row

s to

indi

cate

the

flow

(in

clud

e a

sam

ple

diag

ram

).

•

Step

1:

The

grou

p w

ill b

egin

in t

wo

diff

eren

t sp

aces

in t

he r

oom

(tw

o da

ncer

s in

one

spo

t, t

wo-

thre

e in

ano

ther

spo

t).

• St

ep 2

: Tr

avel

tog

ethe

r to

mee

t at

the

hea

rt (

the

cent

er o

f th

e sp

ace)

and

cre

ate

a se

quen

ce o

f ex

pand

and

con

trac

t,

stayin

g in t

he c

enter.

• St

ep 3

: Pa

rt a

nd t

rave

l in

part

ners

or

trio

s (i

f it

’s a

gro

up o

f fiv

e) t

o th

e tw

o lu

ngs

and

crea

te a

bal

ance

and

cou

nter

bala

nce

sequence d

uet o

r t

rio

in t

he lungs.

• St

ep 4

: Tr

avel

bac

k to

the

hea

rt (

cent

er o

f th

e sp

ace)

to

mee

t ag

ain

and

repe

at t

he e

xpan

d-an

d-co

ntra

ct s

eque

nce

stay

ing

in t

he c

enter.

• St

ep 5

: Pa

rt t

oget

her,

tra

velin

g ou

t of

the

hea

rt t

hrou

gh t

he a

orta

, th

en s

epar

ate

to a

n in

divi

dual

spa

ce,

sym

boliz

ing

dif

ferent p

arts o

f t

he b

ody.

Co

mpo

sing

Da

y Th

ree:

Rep

eat

13. A

fter

dia

gram

min

g th

eir

danc

e, s

tude

nts

will

cre

ate

thei

r da

nce

usin

g th

eir

diag

ram

to

rem

embe

r th

e se

quen

ce.

(1

5-20

min

utes

) ex

plor

atio

n to

use

as

war

m-u

p

14.

Stud

ents

pra

ctic

e re

peat

ing

thei

r se

quen

ce t

o m

aint

ain

a co

ntin

uous

flow

in t

heir

dan

ce (

sym

boliz

ing

the

bloo

d flow

). P

erfo

rmin

g/Sh

arin

g 15

. Ea

ch g

roup

per

form

s th

eir

danc

e an

d sh

ares

the

dia

gram

of

thei

r da

nce.

(15 m

inutes)

16. Rem

ind s

tudents a

bout w

hat it m

eans t

o b

e a

respectful audie

nce.

17. Audie

nce w

ill be w

atchin

g f

or e

ach s

tep o

f t

he d

ance s

equence.

18.

Can

use

chan

ce m

usic

. Ca

n pe

rfor

m o

nce

wit

h m

usic

, on

ce w

itho

ut m

usic

, or

use

tw

o di

ffer

ent

mus

ic c

hoic

es.

Co

nnec

tion

s Ph

ysic

al E

duca

tion

: W

hy d

oes

our

hear

t be

at f

aste

r w

hen

we

exer

cise

?

Exte

nsio

ns

D

iffe

rent

iati

on

Grade 5 Lessons

76

Grade 5 Lessons

G

RAD

E 5

CON

TEN

T IN

TEG

RATI

ON

TI

TLE

OF

LESS

ON

MU

SIC/

ENG

LISH

LA

NG

UA

GE

ART

S M

usic

Can

Com

mun

icat

e a

Stor

y

ES

SEN

TIA

L Q

UES

TIO

N

INTE

GRA

TED

STU

DEN

T O

BJEC

TIVE

H

ow d

oes

mus

ic’s

pow

er t

o in

spir

e af

fect

St

uden

ts w

ill s

how

the

ir u

nder

stan

ding

of

how

tem

po

an

art

ist

like

a w

rite

r’s

cont

ribu

tion

to

soci

ety?

an

d dy

nam

ics

in m

usic

com

mun

icat

e id

eas

by

wri

ting

a n

arra

tive

.

D

escr

ipto

rs

MU

SIC

ENG

LISH

LA

NG

UA

GE

ART

S

Stan

dard

s 4.

1 Id

enti

fy a

nd a

naly

ze d

iffe

renc

es in

tem

po a

nd d

ynam

ics

in

Wri

ting

Str

ateg

ies

cont

rast

ing

mus

ic s

elec

tion

s.

1.1

Crea

te m

ulti

ple-

para

grap

h na

rrat

ive

com

posi

tion

s:

Esta

blis

h an

d de

velo

p a

situ

atio

n or

plo

t.

Des

crib

e th

e se

ttin

g.

Present a

n e

ndin

g.

Student O

bjectiv

es

Students w

ill show

their

understandin

g o

f h

ow

tem

po a

nd

Students w

ill w

rit

e a

narrativ

e inspir

ed b

y a

n instrum

ental

dynam

ics in m

usic

com

munic

ate ideas b

y w

rit

ing a

narrativ

e

sele

ctio

n.

based o

n h

ow

these e

lem

ents o

ccur in a

music

al sele

ctio

n.

As

sess

men

t

Did

the

stu

dent

s re

spon

d at

var

ious

tem

pos

and

dyna

mic

s

Doe

s th

e st

uden

t na

rrat

ive

dem

onst

rate

tha

t th

e st

uden

t

based o

n t

he m

usic

?

cle

arly

understands t

he c

orrect w

rit

ing p

rocess a

s w

ell a

s t

o u

se

sp

ecifi

c m

usic

ele

men

ts a

nd m

ood

of t

he m

usic

for

insp

irat

ion?

KEY

KNO

WLE

DGE

Pr

ior

Know

ledg

e D

ynam

ics

Step

s fo

r w

riti

ng m

ulti

-par

agra

ph c

ompo

siti

on.

Elem

ents

of

Tem

po

narr

ativ

e co

mpo

siti

on.

N

ew C

once

pts

Lear

n ho

w t

empo

and

dyn

amic

s in

mus

ic c

an c

omm

unic

ate

Vi

sual

izat

ion

ideas a

nd m

ood.

N

ew V

ocab

ular

y D

ynam

ics

— L

oud

to S

oft

Plot

Tem

po —

Spe

ed (

Fast

to

Slow

) Se

ttin

g

Endi

ng

Narrativ

e

SKIL

LS

Pre

requ

isit

e Sk

ills

Reco

gniz

e fa

st,

slow

, lo

ud a

nd s

oft

Know

ledg

e of

the

for

mat

for

mul

tipl

e pa

ragr

aph

narr

ativ

e

com

posit

ions

N

ew

Skills

Bein

g a

ble

to b

ase a

narrativ

e o

n a

music

al sele

ctio

n

77

MAT

ERIA

LS/R

ESO

URC

ESM

akin

g M

usic

, Fi

fth

Gra

de,

“The

Riv

er,”

a s

uite

by

Virg

il Th

omps

on C

D 6

–13

, “I

nfer

nal D

ance

” fr

om “

The

Fire

bird

Sui

te”

by S

trav

insk

y CD

8-2

8, C

D

Play

er,

Mus

ic E

lem

ents

Cha

rtEx

ampl

e of

Nar

rati

ve G

raph

ic

PH

ASE

LE

SSO

N

War

m-u

p D

ay O

ne

(5 m

inut

es)

1.

We’

ll be

gin

toda

y w

ith

an a

ctiv

ity

base

d on

mus

ic e

lem

ents

. Yo

ur in

stru

ctio

n is

sim

ply

to m

ake

your

hands m

ove b

ig a

nd

sm

all a

ccor

ding

to

the

mus

ic t

hat

you

hear

. Pl

ease

clo

se y

our

eyes

whi

le li

sten

ing

and

mov

ing

to t

he m

usic

. Te

ache

r w

rite

s on

th

e bo

ard:

han

ds,

big

and

smal

l. T

each

er p

lays

30

seco

nds

of t

he fi

nale

fro

m “

The

Rive

r,”

a su

ite

by V

irgi

l Tho

mps

on (

CD 6

-13

in

the

Fif

th G

rade

Mak

ing

Mus

ic).

(Th

is is

an

inst

rum

enta

l pie

ce w

ith

obvi

ous

shor

t se

ctio

ns o

f lo

ud a

nd s

oft

mus

ic.)

2.

Cont

inue

wit

h th

e ac

tivi

ty b

ut n

ow o

pen

your

eye

s to

see

how

you

r cl

assm

ates

are

mov

ing.

(Le

ave

the

mus

ic p

layi

ng f

or o

ne

m

ore m

inute s

o t

he s

tudents c

an o

bserve e

ach o

ther.

)

New

Con

cept

(3

0 m

inut

es)

3.

A co

mpo

ser

wri

tes

mus

ic t

o co

mm

unic

ate

idea

s. W

hen

we

hear

mus

ic it

insp

ires

idea

s in

us.

Wha

t di

d yo

u he

ar in

the

mus

ic

that d

eterm

ined w

hen y

ou w

ould

mov

e yo

ur h

ands

big

or

smal

l? (

Lead

stu

dent

s to

not

ice

that

the

loud

ness

and

sof

tnes

s in

the m

usic

were t

he m

usic

ele

ments m

ost o

ften c

hosen t

o g

uid

e t

he s

tudents a

s t

o w

hen t

hey w

ould

move t

heir

hands.)

Wha

t ar

e so

me

exam

ples

tha

t sh

ow t

hat

how

each s

tudent m

oved t

heir

hands w

as u

niq

ue t

o t

hat s

tudent? (

One s

tudent m

ight

have m

ade t

heir

hands look lik

e t

hey w

ere h

old

ing a

big

ball t

o indic

ate “

big

” w

hile a

nother s

tudent m

ight h

old

both h

ands

up t

o re

flec

t w

hat

they

fel

t w

as “

big”

in t

he m

usic

.)

4

. H

ow d

oes

mus

ic in

spir

e id

eas,

moo

d an

d im

agin

atio

n? W

e ar

e go

ing

to t

alk

abou

t tw

o el

emen

ts t

hat

a co

mpo

ser

uses

to

com

mun

icat

e id

eas

and

moo

d in

mus

ic.

Dyn

amic

s de

scri

bes

the

loud

ness

and

sof

tnes

s in

mus

ic.

Tem

po d

escr

ibes

the

spe

ed o

f

the m

usic

.

5.

Whe

n yo

u he

ar m

usic

at

the

mov

ies,

wha

t is

the

con

nect

ion

betw

een

the

elem

ents

, dy

nam

ics

and

tem

po,

and

the

moo

ds a

nd

id

eas

that

the

y in

spir

e in

the

sto

ry?

Gui

de t

he s

tude

nts

to m

ake

a co

nnec

tion

bet

wee

n th

e m

usic

ele

men

ts,

moo

d, a

nd id

eas

(e.g

., s

low

-sad

-lea

ving

fri

ends

. Se

e Ch

art)

.

6

. W

e’re

now

goi

ng t

o cr

eate

a s

tory

bas

ed o

n el

emen

ts in

the

mus

ic a

nd t

he m

ood

that

the

y cr

eate

. W

e ar

e go

ing

to t

alk

abou

t

what c

om

es t

o m

ind w

hen y

ou lis

ten t

o t

his

music

.

• Te

ache

r en

cour

ages

fur

ther

dis

cuss

ion

abou

t se

ttin

g, p

lot,

cha

ract

ers,

end

ing

and

sequ

ence

.

•

Teac

her

uses

a g

raph

ic o

rgan

izer

to

disp

lay

stud

ent

idea

s (S

ee C

hart

of

exam

ple)

. R

evie

w/A

pplic

atio

n 7

. I’

d lik

e yo

u to

vis

ualiz

e a

stor

y w

hile

the

mus

ic is

rep

laye

d. P

ay p

arti

cula

r at

tent

ion

to h

ow t

he d

ynam

ics

and

tem

po e

lem

ents

(1

5 m

inut

es)

in t

he m

usic

influ

ence

you

r st

ory.

(Te

ache

r m

ay o

pt t

o gi

ve t

he s

tude

nts

the

oppo

rtun

ity

to r

epea

t th

e pr

oces

s on

the

ir o

wn

wit

h a

ne

w m

usic

sel

ecti

on.

“Inf

erna

l Dan

ce”

from

“Th

e Fi

rebi

rd S

uite

” by

Str

avin

sky

in M

akin

g M

usic

Fif

th G

rade

CD

8-28

is s

ugge

sted

.)

8. W

rit

e a

rough d

raft o

f a

narrativ

e c

om

posit

ion b

ased o

n t

he ideas w

e h

ave d

iscussed t

oday.

Day

Tw

o

(10

min

utes

) 9

. D

ivid

e in

to p

airs

and

dis

cuss

the

ele

men

ts o

f dy

nam

ics

and

tem

po w

hile

the

mus

ic is

pla

ying

.

Grade 5 Lessons

78

Grade 5 Lessons

As

sess

men

t 10

. W

ork

on y

our

final

dra

ft.

(Whi

le t

he s

tude

nts

wor

k on

the

ir fi

nal d

raft

, th

e te

ache

r sp

eaks

wit

h ea

ch s

tude

nt in

divi

dual

ly t

o

(25

min

utes

)

se

e if

the

stu

dent

can

sho

w t

hat

thei

r st

ory

is a

n ap

prop

riat

e m

atch

wit

h th

e dy

nam

ics

and

tem

po e

lem

ents

as

wel

l as

the

mood o

f t

he m

usic

.)

Cl

osin

g 11

. W

ho w

ould

like

to

shar

e th

eir

stor

ies?

(Te

ache

r ch

oose

s a

few

stu

dent

s to

sha

re t

heir

sto

ries

.)

(15

min

utes

) 12

. Le

t’s

liste

n to

the

mus

ic a

nd r

eflec

t on

the

sto

ries

we

have

jus

t he

ard

as w

e lis

ten.

13.

Tell

the

stud

ents

abo

ut t

he id

eas

the

com

pose

r in

tend

ed t

o co

mm

unic

ate

whe

n th

ey w

rote

the

mus

ic.

Co

nnec

tion

s

Ex

tens

ions

Re

peat

the

sam

e pr

oces

s w

ith

anot

her

piec

e of

mus

ic.

Lear

n th

e m

usic

sym

bols

tha

t re

pres

ent

dyna

mic

s an

d te

mpo

.

D

iffe

rent

iati

on

79

MUSICELEMENTS

MoodOR Emotion

Idea or InspirationAbout

DYN

AM

ICS LOUD Angry

TriumphantHeroic

A Storm

Winning a MedalRescuing

SOFT Sad

HappyRelieved

Losing a PetFinding a PetArriving Home

TEM

PO

FAST ExcitedHappyAnxiety

Racing

DancingVisiting

SLOW Peaceful

Sad

Boredom

Flower GrowingAfter a FireDoing the Same Thing

Grade 5 Lessons

80

Grade 5 Lessons

G

RAD

E 5

CON

TEN

T IN

TEG

RATI

ON

TI

TLE

OF

LESS

ON

THEA

TRE/

HIS

TORY

-SO

CIA

L SC

IEN

CE

The

Caus

es o

f th

e Co

loni

st R

ebel

lion

ESSE

NTI

AL

QU

ESTI

ON

IN

TEG

RATE

D S

TUD

ENT

OBJ

ECTI

VE

H

ow c

an e

xam

inin

g a

mom

ent

of c

onfl

ict

thro

ugh

The

lear

ner

will

use

tab

leau

to

dem

onst

rate

the

ir

tabl

eau

help

us

unde

rsta

nd it

s ca

uses

,

unde

rsta

ndin

g of

the

con

flic

ts t

hat

occu

rred

dur

ing

effe

cts

and

impl

icat

ions

? th

e Re

volu

tion

.

D

escr

ipto

rs

THEA

TRE

His

tory

-Soc

ial S

cien

ce

Stan

dard

s 1.

2 U

se b

ody

and

voic

e to

impr

ovis

e al

tern

ativ

e en

ding

s to

sto

ries

. 5.

4.1.

Und

erst

and

how

pol

itic

al,

relig

ious

, an

d ec

onom

ic id

eas

and

inte

rest

s br

ough

t ab

out

the

Revo

luti

on (

e.g.

, re

sist

ance

to

im

peri

al p

ower

, th

e St

amp

Act,

the

Tow

nsen

d Ac

ts,

taxe

s on

tea

,

Co

erci

ve A

ct.)

Stu

dent

Obj

ecti

ves

The

lear

ner

will

use

tab

leau

, di

alog

ue,

and

impr

ovis

atio

n to

Th

e le

arne

r w

ill b

e ab

le t

o un

ders

tand

how

the

unf

air

dem

ands

understand t

he c

auses o

f a

popula

r u

pris

ing.

of a

governm

ent c

an lead t

o p

opula

r u

pris

ing.

Assessm

ent

Rubric

Rubric

KEY

KNO

WLE

DGE

Prio

r Kn

owle

dge

Tabl

eau,

impr

ovis

atio

n, b

ody,

voi

ce a

nd im

agin

atio

n, a

nd c

hara

cter

St

uden

ts n

eed

to k

now

abo

ut t

he N

ew W

orld

and

the

col

onis

ts

re

lati

onsh

ip w

ith

the

Indi

ans.

Wha

t br

ough

t on

dem

ocra

tic

idea

s

in

col

onia

l Am

eric

a? H

ow w

as t

he B

osto

n Te

a Pa

rty

a re

sult

of

this

dem

ocratic

thin

kin

g?

N

ew C

once

pts

A ta

blea

u is

a f

roze

n im

age

that

com

mun

icat

es a

tho

ught

, id

ea,

Pe

ople

nee

d to

fee

l em

pow

ered

. It

is im

port

ant

that

indi

vidu

als

or a

concept.

are involv

ed in d

ecis

ions t

hat a

ffect t

hem

.

I can

cre

ate

a ch

arac

ter

wit

hin

a hi

stor

ic t

able

au t

o he

lp m

e I w

ill u

nder

stan

d th

e id

ea o

f em

pow

erm

ent

and

caus

e an

d ef

fect

.

un

ders

tand

the

cha

ract

er’s

tho

ught

s an

d m

otiv

atio

ns.

N

ew V

ocab

ular

y Ta

blea

u, f

roze

n, f

ocus

, le

vels

, de

tail,

pan

tom

ime

Tari

ff,

prot

est,

pet

itio

n, b

oyco

tt,

repe

al,

empo

wer

men

t

SKIL

LS

P

rere

quis

ite

Skill

s W

alk-

abou

ts,

spac

e bu

bble

, pa

ntom

ime

A/B

impr

ovis

atio

n,

Und

erst

andi

ng c

ause

and

eff

ect,

dou

ble

bubb

le t

hink

ing

map

creatin

g d

ialo

gue

Sum

mariz

ing a

nd r

esearchin

g

N

ew S

kills

Ex

plor

ing

char

acte

r th

roug

h ta

blea

u an

d di

alog

ue

Appl

ying

kno

wle

dge

from

his

tory

tex

t to

cre

ate

tabl

eau

and

dial

ogue

Crea

ting

a h

isto

rica

l tab

leau

tha

t fr

eeze

s a

mom

ent

in h

isto

ry

MAT

ERIA

LS/R

ESO

URC

ESPi

ctur

es o

f th

e Bo

ston

Tea

Par

ty,

hist

ory

text

, an

d pa

trio

tic

mus

ic

81

PH

ASE

LE

SSO

N

Ope

ning

1

. St

uden

ts m

arch

into

pat

riot

ic m

usic

. Su

ch a

s: Y

anke

e D

oodl

eG

athe

ring

/War

m-u

p 2

. St

uden

ts f

orm

a c

ircl

e fir

st f

ollo

wed

by

two

para

llel l

ines

fac

ing

one

anot

her.

(5

min

utes

) 3

. M

usic

will

sto

p. S

tude

nts

will

pla

y a

thea

tre

gam

e en

titl

ed “

Wes

t Si

de S

tory

.” (

This

gam

e is

pla

yed

to h

elp

the

stud

ents

expe

rien

ce b

eing

an

oppr

esse

d gr

oup,

and

exp

erie

nce

bein

g an

agg

ress

ive

grou

p.)

a.

Students in p

arallel lines w

ill posit

ion t

hem

selv

es a

cross t

he r

oom

from

each o

ther a

couple

of

feet in f

ront o

f the s

idew

all.

b. T

here

is li

ne A

and lin

e B

. Th

e m

iddl

e pe

rson

in li

ne A

sta

rts

mak

ing

a no

ise

wit

h a

mov

emen

t. E

very

body

in li

ne A

copie

s

the m

ovem

ent a

nd s

ound o

f t

he p

erson in t

he m

iddle

as lin

e A

walk

s s

low

ly t

ow

ard lin

e B

.

c. L

ine

B stands t

here w

ith t

heir

hands t

o t

heir

sid

es. O

nce lin

e A

gets d

irectly

in f

ront o

f lin

e B

, line B

starts b

ackin

g u

p u

ntil

they a

re b

acked u

p t

o t

he o

pposit

e s

ide w

all.

d. T

his

proc

ess

is r

ever

sed

wit

h lin

e B

takin

g t

he lead.

Re

view

ing/

S

tude

nts

sit

in t

heir

line

s fo

r di

scus

sion

. Th

e gr

oup

talk

s ab

out

how

the

y co

oper

ated

wit

h th

eir

grou

p to

cha

lleng

e th

e op

posi

ng

Pr

evie

win

g g

roup

. SA

MPL

E Q

UES

TIO

NS:

How

did

it f

eel t

o fa

ce a

gro

up o

f pe

ople

and

hav

e to

ret

reat

? H

ow d

id it

fee

l to

be t

he a

ggre

ssor

? Do

Vo

cabu

lary

y

ou f

eel t

hat

you

shou

ld b

e in

volv

ed in

dec

isio

ns t

hat

affe

ct y

ou?

How

did

you

use

you

r bo

dy,

voic

e an

d im

agin

atio

n to

inti

mid

ate

(1

5 m

inutes)

the o

pposin

g lin

e?

Revie

w t

able

au a

nd d

ialo

gue.

4.

In g

roup

s of

fou

r th

e st

uden

ts w

ill r

evie

w t

heir

Soc

ial S

tudi

es T

extb

ooks

and

exa

m p

ictu

res

of t

he B

osto

n Te

a Pa

rty.

The

y

sh

ould

ans

wer

the

fol

low

ing

ques

tion

s ab

out

the

illus

trat

ions

: W

ho d

o y

ou s

ee in t

his

im

age? W

hat

are t

hese p

eople

doin

g?

Whe

n m

ight t

his

be h

appenin

g? W

here

mig

ht t

his

be h

appenin

g? W

hy d

o y

ou t

hin

k t

hey a

re d

oin

g t

hese t

hin

gs? H

ow a

re t

hey

doin

g t

hese t

hin

gs?

5.

Gro

ups

of f

our

or fi

ve s

tude

nts

will

act

out

wha

t a

prot

est

mee

ting

mig

ht h

ave

been

like

bef

ore

the

Bost

on T

ea P

arty

. W

hat

mig

ht S

amue

l Ada

ms

have

sai

d to

get

the

gro

up t

o pr

otes

t ag

ains

t th

e Br

itis

h? T

hink

abo

ut a

n un

just

sit

uati

on in

you

r ow

n lif

e.

Ex

ampl

e: H

ow m

ight

you

fee

l if

your

fri

ends

do

not

do a

ll of

the

ir h

omew

ork

and

in r

etur

n th

e pr

inci

pal r

ewar

ds t

hem

wit

h ex

tra

tim

e at

rec

ess

and

a fie

ld t

rip?

You

, on

the

oth

er h

and,

tur

n in

all

of y

our

hom

ewor

k an

d th

e pr

inci

pal r

ewar

ds y

ou w

ith

mor

e

ho

mew

ork.

Thi

nk o

f ho

w u

njus

t it

was

for

the

col

onis

ts t

o pa

y m

ore

and

mor

e ta

xes

wit

hout

bei

ng g

iven

any

thin

g in

ret

urn.

In y

our

gr

oup,

com

e up

wit

h so

me

stat

emen

ts t

hat

the

colo

nist

s m

ight

hav

e vo

iced

to

prot

est

the

way

Kin

g G

eorg

e III

was

tre

atin

g th

em.

Exp

lori

ng/C

reat

ing

6.

In s

pace

bub

bles

stu

dent

s w

ill a

ct o

ut d

ress

ing

like

Moh

awk

Indi

ans.

The

y w

ill a

lso

pant

omim

e ro

win

g a

boat

. Th

ey w

illEx

plor

ing

(5 m

inut

es)

then

pan

tom

ime

dum

ping

the

box

es o

f te

a in

to t

he B

osto

n H

arbo

r. (

The

teac

her

will

gui

de t

he s

tude

nts

thro

ugh

thes

e

pa

ntom

imes

by

read

ing

the

corr

espo

ndin

g ev

ent

from

the

Soc

ial S

tudi

es t

ext)

Im

prov

isin

g/

7.

Stud

ents

will

get

into

gro

ups

of fi

ve o

r si

x. T

able

au: B

egin

ning

, m

iddl

e, a

nd e

nd.

Students w

ill fo

rm

a t

able

au o

f the b

egin

ning

Inve

ntin

g

of

the

Bos

ton

Tea

Part

y. (

Whi

ch m

ight

be

dres

sing

like

the

Moh

awk

Indi

ans

and

disc

ussi

ng p

lans

for

the

dum

ping

of

the

tea)

The

(Sto

ry)

(15 m

inutes)

mid

dle

of t

he B

osto

n Te

a Pa

rty.

(W

hich

wou

ld b

e ro

win

g ou

t to

the

har

bor

and

actu

ally

dum

ping

the

tea

. Th

ere

can

also

be

stud

ents

wat

chin

g fr

om t

he d

eck

eith

er c

heer

ing

the

colo

nist

on

or b

eing

ang

ry a

bout

the

col

onis

t ac

tion

s.)

Fina

lly,

the

end

of

the

Bost

on T

ea p

arty

(w

hich

mig

ht b

e th

e co

loni

st r

owin

g ba

ck a

nd a

few

col

onis

ts t

ryin

g to

rec

over

box

es o

f te

a fr

om t

he w

ater

.)

Grade 5 Lessons

82

Grade 5 Lessons

Sha

ring

/Refl

ecti

ng

The

crit

eria

for

the

tab

leau

x:

Pl

aym

akin

g A

. Th

e im

age

mus

t be

fro

zen

(15 m

inut

es)

B.

Ther

e m

ust

be le

vels

C.

The

imag

e sh

ould

hav

e fo

cus,

sho

w a

ctio

n, a

nd c

omm

unic

ate

the

thou

ghts

of

the

char

acte

r.

8

. St

uden

ts w

ill s

how

the

cla

ss t

heir

tab

leau

x. T

he t

each

er w

ill b

ring

to

life

vari

ous

char

acte

rs in

the

tab

leau

x. W

hen

the

st

uden

ts a

re b

roug

ht t

o lif

e as

the

ir h

isto

rica

l cha

ract

ers,

the

y w

ill s

ay a

line

of

dial

ogue

tha

t th

eir

char

acte

r m

ight

hav

e sa

id.

Refle

ctin

g/As

sess

ing

9.

Dis

cuss

ion

of h

ow it

fel

t to

act

out

his

tory

. W

ould

you

be

brav

e en

ough

to

stan

d

(10

min

utes

)

up

for

som

ethi

ng y

ou b

elie

ved

in?

Jou

rnal

Pro

mpt

: Do

a do

uble

bub

ble

map

. Ex

amin

e th

e pr

os a

nd c

ons

of t

he B

osto

n Te

a Pa

rty.

The

n w

rite

a le

tter

to

King

Geo

rge

III

t

ellin

g hi

m w

hy y

ou f

elt

it w

as im

port

ant

to p

arti

cipa

te in

the

Bos

ton

Tea

Part

y. (

Doe

s th

e st

uden

t un

ders

tand

the

rea

son

that

the c

olo

nis

t f

elt

that t

hey h

ad t

o t

ake a

ctio

n a

gain

st t

he B

rit

ish?)

Conn

ecti

ons

Exte

nsio

ns

Appl

y to

oth

er c

onflic

ts le

adin

g to

the

Rev

olut

iona

ry W

arD

iffe

rent

iati

on

(CRR

E) P

eopl

e fr

om d

iffer

ent

cult

ures

com

ing

toge

ther

for

a co

mm

on c

ause

(SP

ED) D

iffer

ent

mod

alit

ies

of le

arni

ng (E

L) G

raph

ic o

rgan

izer

s

83

Grade 5 Lessons

G

RAD

E 5

CON

TEN

T IN

TEG

RATI

ON

TI

TLE

OF

LESS

ON

VISU

AL

ART

S/M

ATH

IL

LUSI

ON

OF

SPA

CE

ES

SEN

TIA

L Q

UES

TIO

N

INTE

GRA

TED

STU

DEN

T O

BJEC

TIVE

How

do

arti

sts

crea

te il

lusi

on o

f de

pth

thro

ugh

St

uden

ts w

ill b

e ab

le t

o de

scri

be o

ne-p

oint

mat

hem

atic

al m

eans

? pe

rspe

ctiv

e in

mat

hem

atic

al t

erm

s

D

escr

ipto

rs

VISU

AL

ART

S M

ATH

St

anda

rds

2.1

Use

one

-poi

nt p

ersp

ecti

ve t

o cr

eate

the

illu

sion

of

spac

e.

2.1

Mea

sure

, id

enti

fy a

nd d

raw

ang

le,

perp

endi

cula

r an

d

para

llel l

ines

, re

ctan

gles

and

tri

angl

es b

y us

ing

appr

opri

ate

to

ols

(e.g

., s

trai

ghte

dge,

rul

er,

com

pass

, pr

otra

ctor

, dr

awin

g

softw

are).

Stu

dent

Obj

ecti

ves

Stud

ents

will

cre

ate

a dr

awin

g us

ing

one-

poin

t pe

rspe

ctiv

e to

St

uden

t w

ill u

se s

trai

ghte

dge,

rul

er o

r dr

awin

g so

ftw

are

to

cr

eate

an

illus

ion

of s

pace

. id

enti

fy a

nd d

raw

per

pend

icul

ar,

para

llel a

nd a

ngle

d lin

es.

As

sess

men

t

Did

the

stu

dent

cre

ate

a dr

awin

g th

at c

reat

es t

he il

lusi

on o

f

Did

the

stu

dent

acc

urat

ely

use

mea

suri

ng t

ools

to

draw

spac

e us

ing

one-

poin

t pe

rspe

ctiv

e?

perp

endi

cula

r, p

aral

lel a

nd a

ngle

d lin

es in

a o

ne-p

oint

perspectiv

e d

raw

ing?

KEY

KNO

WLE

DGE

Prio

r Kn

owle

dge

Back

grou

nd,

fore

grou

nd,

mid

dle

grou

nd

Iden

tify

and

use

of

mea

suri

ng t

ools

N

ew C

once

pts

One

-poi

nt p

ersp

ecti

ve is

a t

ool t

o cr

eate

illu

sion

of

spac

e in

M

easu

ring

too

ls c

an b

e ut

ilize

d to

cre

ate

one-

poin

t pe

rspe

ctiv

e

2-

dim

ensi

onal

art

wor

k.

draw

ing.

N

ew V

ocab

ular

y Pe

rspe

ctiv

e, il

lusi

on,

hori

zon

line,

van

ishi

ng p

oint

, co

nver

ging

An

gles

, pa

ralle

l lin

es,

perp

endi

cula

r lin

es,

rect

angl

es,

tria

ngle

s

SK

ILLS

P

rere

quis

ite

Skill

s Pe

ncil

or s

oftw

are

draw

ing

skill

s U

se o

f st

raig

hted

ge o

r ru

ler,

or

soft

war

e dr

awin

g ex

peri

ence

N

ew S

kills

Ab

ility

to

crea

te o

ne-p

oint

per

spec

tive

dra

win

gs

Abili

ty t

o qu

anti

fy o

ne-p

oint

per

spec

tive

dra

win

g th

roug

h th

e

us

e of

per

pend

icul

ar,

para

llel a

nd a

ngle

d lin

es.

MAT

ERIA

LS/R

ESO

URC

ESO

ne-p

oint

per

spec

tive

imag

es (

e.g.

, D

a Vi

nci’s

“La

st S

uppe

r”)

in t

rans

pare

ncy

form

, an

d fin

e ar

t re

prod

ucti

ons,

ove

rhea

d pr

ojec

tor,

cop

ies

of o

ne-p

oint

pe

rspe

ctiv

e dr

awin

g, p

enci

l, d

raw

ing

pape

r, o

r co

mpu

ter

wit

h dr

awin

g so

ftw

are,

tra

cing

pap

er

84

PH

ASE

LE

SSO

N St

uden

t En

gage

men

t 1

. In

a h

allw

ay o

r in

fro

nt o

f th

e cl

ass,

hav

e th

ree

stud

ents

, ab

out

the

sam

e he

ight

, st

and

at d

iffe

rent

dis

tanc

es in

a li

ne,

and

ask

(5

-10

min

utes

)

th

em t

o ho

ld a

pie

ce o

f ro

pe.

Hav

e re

mai

ning

stu

dent

s no

tice

tha

t th

e st

uden

t w

ho is

far

ther

aw

ay lo

oks

smal

ler

than

tho

se

standin

g c

loser.

Why?

2.

View

imag

es o

f on

e-po

int

pers

pect

ive

mas

terw

orks

(e.

g.,

Da

Vinc

i’s “

Last

Sup

per”

or

Verm

eer’

s in

teri

or s

tudi

es)

3.

Supe

rim

pose

sig

htlin

es t

hat

lead

to

vani

shin

g po

int

(e.g

., C

hris

t’s

head

in “

Last

Sup

per”

) ov

er m

aste

rwor

k. Ae

sthe

tic

Expl

orat

ion

4.

Thin

k pa

ir-s

hare

: W

hat

is t

he v

iew

er d

raw

n to

? W

hy?

(5

-10

min

utes

)

•

Wha

t ot

her

tech

niqu

es d

id D

a Vi

nci u

se t

o cr

eate

the

illu

sion

of

spac

e (o

verl

appi

ng,

colo

r)?

5.

Hav

e st

uden

ts u

se t

raci

ng p

aper

and

han

dout

of

a on

e-pe

rspe

ctiv

e dr

awin

g, la

bel s

ight

line

s to

van

ishi

ng p

oint

at

thei

r de

sk.

6.

Hav

e a

stud

ent

com

e up

and

dem

onst

rate

sup

erim

posi

tion

of

sigh

t lin

es t

o va

nish

ing

poin

t w

ith

a di

ffer

ent

artw

ork.

D

emon

stra

tion

7

. D

efine

and

dem

onst

rate

how

to

draw

an

inte

rior

one

-poi

nt p

ersp

ecti

ve d

raw

ing

wit

h an

gled

, pe

rpen

dicu

lar

and

para

llel l

ines

.

(10-

15 m

inut

es)

C

reat

ive

Expr

essi

on

8.

Stud

ent

crea

tes

orig

inal

inte

rior

dra

win

g us

ing

one-

poin

t pe

rspe

ctiv

e.

(20-

30 m

inut

es)

Re

flec

tion

9

. Pa

ir-s

hare

and

jou

rnal

pro

mpt

: H

ow d

id y

ou c

reat

e ill

usio

n of

dep

th?

(1

0 m

inut

es)

Co

nnec

tion

s D

iscu

ss o

ther

art

for

ms

that

incl

ude

the

use

of m

athe

mat

ical

ter

ms.

(O

riga

mi)

Ex

tens

ions

Fi

gure

s an

d co

lor

can

be a

dded

to

one-

poin

t pe

rspe

ctiv

e dr

awin

g.

D

iffe

rent

iati

on

Stud

ents

can

wor

k in

pai

rs w

ith

larg

er p

aper

.

Grade 5 Lessons

85

Grade 5 Lessons

Wall

Wall

Floo

r

Ceiling

Dir

ecti

ons

for

draw

ing

one-

poin

t pe

rspe

ctiv

e in

teri

or:

Pass

out

9x1

2 w

hite

dra

win

g pa

per.

Pl

ace

the

pape

r ho

rizo

ntal

ly (

land

scap

e).

1.

Hav

e st

uden

ts d

raw

a

2.

light

lin

e d

ow

n t

he m

iddle

of t

he p

aper (

horiz

ontally).

Mea

sure

to

the

mid

dle

of t

he li

ne a

nd p

lace

a v

anis

hing

poi

nt.

3.

From

the

van

ishi

ng p

oint

dra

w f

our

4.

light

lin

es t

o t

he f

our c

orners.

Thes

e w

ill b

ecom

e th

e gu

idel

ines

for

dra

win

g ob

ject

s in

the

roo

m.

5.

Dra

w a

ligh

t re

ctan

gle

in t

he c

ente

r of

the

pap

er.

6.

Now

they h

ave c

reated a

n interio

r.7.

Hav

e th

em a

dd o

bjec

ts b

y st

arti

ng a

t th

e va

nish

ing

poin

t an

d ke

epin

g pa

ralle

l 8.

to t

he g

uid

elines.

86

87

Grade 6 Lessons

88

Grade 6 Lessons

89

Grade 6 Lessons

G

RAD

E 6

CON

TEN

T IN

TEG

RATI

ON

TI

TLE

OF

LESS

ON

DA

NCE

/MAT

H

Mat

hem

atic

al R

easo

ning

and

the

Cre

ativ

e Pr

oces

s

ES

SEN

TIA

L Q

UES

TIO

N

INTE

GRA

TED

STU

DEN

T O

BJEC

TIVE

Why

is it

cri

tica

l for

mat

hem

atic

ians

and

St

uden

ts w

ill b

e ab

le t

o so

lve

a gi

ven

mat

h an

d a

chor

eogr

aphe

rs t

o m

aste

r pr

oble

m-s

olvi

ng s

kills

? gi

ven

chor

eogr

aphi

c pr

oble

m,

and

com

pare

the

pr

oces

ses.

D

escr

ipto

rs

DA

NCE

M

ATH

St

anda

rds

2.1

Inve

nt m

ulti

ple

poss

ibili

ties

to

solv

e a

give

n m

ovem

ent

M

athe

mat

ical

Rea

soni

ng:

1.3

Det

erm

ine

whe

n an

d ho

w t

o

proble

m a

nd d

evelo

p t

he m

ateria

l in

to a

short s

tudy.

break a

proble

m into s

imple

r p

arts.

2.

4 U

se a

var

iety

of

met

hods

, su

ch a

s w

ords

, nu

mbe

rs,

sym

bols

,

char

ts,

grap

hs,

tabl

es,

diag

ram

s, a

nd m

odel

s to

exp

lain

m

athem

atic

al reasonin

g.

Student O

bjectiv

es

Students w

ill be a

ble

to 1

) c

reate a

short d

ance s

tudy w

ith a

Students w

ill be a

ble

to u

se m

athem

atic

al reasonin

g s

kills

to

part

ner

base

d on

mul

tipl

e po

ssib

iliti

es f

or m

eeti

ng a

nd p

arti

ng;

solv

e a

com

plex

pro

blem

, an

d ex

plai

n th

e w

ay in

whi

ch t

hey

2) c

hart

the

var

ious

mov

emen

t po

ssib

iliti

es u

sing

any

of

a

reac

hed

thei

r an

swer

usi

ng a

ny o

f a

vari

ety

of m

etho

ds (

e.g.

,

nu

mbe

r of

met

hods

(e.

g.,

grid

, ch

art)

as

a pa

rt o

f th

e cr

eati

ve

wor

ds,

char

ts,

num

bers

, ta

bles

).

pr

oces

s; a

nd 3

) ex

plai

n th

eir

proc

ess

to o

ther

s.

As

sess

men

t

Did

the

stu

dent

s su

cces

sful

ly c

reat

e a

danc

e st

udy

usin

g va

riou

s

Did

the

stu

dent

s su

cces

sful

ly c

reat

e a

danc

e st

udy

usin

g

w

ays o

f m

eetin

g a

nd p

artin

g?

vario

us w

ays o

f m

eetin

g a

nd p

artin

g? W

ere t

hey a

ble

to

Wer

e th

ey a

ble

to s

ucce

ssfu

lly c

hart

pos

sibi

litie

s an

d ex

plai

n su

cces

sful

ly c

hart

pos

sibi

litie

s an

d ex

plai

n th

eir

proc

ess?

their

process?

KEY

KNO

WLE

DGE

Prio

r Kn

owle

dge

•

Impr

ovis

atio

nal p

roce

ss

•

M

athe

mat

ical

rea

soni

ng s

kills

•

Elem

ents

of

danc

e (b

ody,

spa

ce,

tim

e, f

orce

)

•

D

ance

str

uctu

re:

begi

nnin

g, m

iddl

e, e

nd

New

Con

cept

s •

Im

prov

isat

ion

to d

ance

stu

dy

•

Mat

hem

atic

al r

easo

ning

ski

lls

•

Ch

arti

ng m

ovem

ent

poss

ibili

ties

New

Voc

abul

ary

Dan

ce s

tudy

, du

et

SK

ILLS

Pre

requ

isit

e Sk

ills

Impr

ovis

e fr

eely

Ab

le t

o de

term

ine

whe

n an

d ho

w t

o br

eak

a pr

oble

m in

to s

impl

er

Cr

eate

sim

ple

danc

e st

udie

s w

ith

a be

ginn

ing,

mid

dle

and

end

part

s in

ord

er t

o so

lve

it

U

se e

lem

ents

/con

cept

s of

dan

ce t

o ex

plor

e m

ovem

ent

Ab

le t

o ex

plai

n th

eir

mat

hem

atic

al r

easo

ning

in s

olvi

ng a

giv

en

possib

ilit

ies

proble

m

90

N

ew S

kills

Fo

cus

on o

ne m

ovem

ent

prob

lem

, fr

om e

xplo

rati

on t

o da

nce

stud

y Ab

le t

o de

term

ine

whe

n an

d ho

w t

o br

eak

a pr

oble

m in

to

U

se a

ny o

f a

vari

ety

of m

etho

ds t

o ch

art

mov

emen

t po

ssib

iliti

es

sim

pler

par

ts in

ord

er t

o so

lve

it

Expl

ain

proc

ess

used

to

crea

te s

tudy

Ab

le t

o ex

plai

n th

eir

mat

hem

atic

al r

easo

ning

in s

olvi

ng a

giv

en

proble

m

MAT

ERIA

LS/R

ESO

URC

ES •

Larg

e, c

lean

spa

ce•

CD p

laye

r, v

ario

us m

usic

al s

elec

tion

s fo

r ex

plor

atio

n/im

prov

isat

ion

• C

hart

pap

er

PH

ASE

LE

SSO

N St

uden

t En

gage

men

t 1

. D

iscu

ss t

he m

athe

mat

ical

rea

soni

ng p

roce

ss (

e.g.

, th

at s

tude

nts

need

to

mak

e de

cisi

ons

abou

t ho

w t

o ap

proa

ch p

robl

ems,

(5-1

0 m

inut

es)

and

use

stra

tegi

es,

skill

s, a

nd c

once

pts

to h

elp

them

find

the

sol

utio

ns).

2.

Dis

cuss

the

cre

ativ

e pr

oces

s (e

.g.,

exp

lora

tion

, im

prov

isat

ion,

mov

emen

t ch

oice

and

dev

elop

men

t)

3

. Co

mpa

re a

nd c

ontr

ast

the

mat

hem

atic

al r

easo

ning

pro

cess

and

the

cre

ativ

e pr

oces

s.

4.

Assi

gn a

spe

cific

mat

h pr

oble

m,

whi

ch r

equi

res

stud

ents

to

use

the

mat

hem

atic

al r

easo

ning

pro

cess

. As

k th

em t

o ex

plai

n th

eir

reas

onin

g pr

oces

s us

ing

wor

ds,

num

bers

, sy

mbo

ls,

char

ts,

grap

hs,

tabl

es,

diag

ram

s or

mod

els.

Sha

re a

s a

clas

s or

in s

mal

l gro

ups.

Aest

heti

c Ex

plor

atio

n 5

. As

k st

uden

ts t

o ch

oose

a p

artn

er. A

s a

clas

s, e

xplo

re v

ario

us w

ays

to m

eet

and

part

. U

se c

once

pts

of b

ody,

spa

ce,

tim

e an

d fo

rce

to

(10

min

utes

)

cu

e an

d un

cove

r m

ulti

ple

mov

emen

t po

ssib

iliti

es (

e.g.

, tr

avel

qui

ckly

on

stra

ight

pat

hway

to

mee

t yo

ur p

artn

er,

mov

e sl

owly

away

on

a cu

rvin

g pa

thw

ay;

mov

e sm

ooth

ly t

owar

ds y

our

part

ner,

per

cuss

ivel

y aw

ay,

etc.

).

6

. As

k st

uden

ts t

o co

ntin

ue e

xplo

ring

wit

h th

eir

part

ner

to fi

nd m

ulti

ple

poss

ibili

ties

for

mee

ting

and

par

ting

. In

stru

ct t

hem

to

use

a gr

id,

tabl

e, d

iagr

am o

r ot

her

grap

hic

mea

ns o

f or

gani

zing

and

rec

ordi

ng p

ossi

bilit

ies.

Crea

tive

Exp

ress

ion

7.

Ask

stud

ents

to

mak

e m

ovem

ent

choi

ces

from

the

pos

sibi

litie

s ex

plor

ed a

nd r

ecor

ded,

and

to

deve

lop

them

into

a s

hort

(3

0 m

inut

es)

mov

emen

t st

udy

wit

h a

clea

r be

ginn

ing

and

endi

ng.

8.

Prac

tice

and

per

form

for

eac

h ot

her.

Ask

eac

h pa

ir t

o ex

plai

n ho

w t

hey

mad

e th

eir

mov

emen

t ch

oice

s fo

r th

eir

stud

y an

d sh

are

thei

r gr

id,

tabl

e, e

tc.

Re

flec

tion

9

. Re

visi

t th

e di

scus

sion

com

pari

ng t

he m

athe

mat

ical

rea

soni

ng p

roce

ss a

nd t

he c

reat

ive

proc

ess.

(10

min

utes

) 10

. As

k ea

ch p

air

to c

ompl

ete

this

sen

tenc

e: “

The

mat

hem

atic

al r

easo

ning

pro

cess

and

the

cre

ativ

e pr

oces

s a

chor

eogr

aphe

r us

es

are s

imilar b

ecause....”

Conn

ecti

ons

Com

pare

and

con

tras

t to

oth

er p

roce

sses

use

d in

sch

ool (

e.g.

, w

riti

ng p

roce

ss a

nd s

cien

tific

pro

cess

).Ex

tens

ions

Cr

eate

a “

Chan

ce D

ance

” an

d re

late

it t

o ex

peri

men

tal p

roba

bilit

ies

in m

ath.

D

iffe

rent

iati

on

In fi

ndin

g m

ulti

ple

poss

ibili

ties

for

“m

eeti

ng a

nd p

arti

ng,”

giv

e th

e st

uden

ts a

pre

-mad

e gr

id w

ith

mov

emen

t po

ssib

iliti

es f

or

“mee

ting

” lis

ted

acro

ss t

he t

op,

and

poss

ibili

ties

for

“pa

rtin

g” li

sted

dow

n th

e si

de.

Let

the

m m

ake

choi

ces

from

mat

chin

g

possib

ilit

ies o

n t

he g

rid

.

Grade 6 Lessons

91

Grade 6 Lessons

G

RAD

E 6

CON

TEN

T IN

TEG

RATI

ON

TI

TLE

OF

LESS

ON

MU

SIC/

HIS

TORY

-SO

CIA

L SC

IEN

CE

Myt

holo

gy a

nd t

he M

usic

of A

ncie

nt G

reec

e

ES

SEN

TIA

L Q

UES

TIO

N

INTE

GRA

TED

STU

DEN

T O

BJEC

TIVE

How

has

the

sig

nific

ance

of

mus

ic in

the

myt

holo

gy

The

stud

ent

will

des

crib

e th

e ro

le o

f m

usic

in t

he

of A

ncie

nt G

reec

e in

flue

nced

our

soc

iety

tod

ay?

myt

holo

gy o

f an

cien

t G

reec

e.

D

escr

ipto

rs

MU

SIC

HIS

TORY

-SO

CIA

L SC

IEN

CE

Stan

dard

s 3.

2 Li

sten

to

and

desc

ribe

the

rol

e of

mus

ic in

anc

ient

W

orld

His

tory

and

Geo

grap

hy:

Anci

ent

Civi

lizat

ions

civi

lizat

ions

(e.

g.,

Chin

ese,

Egy

ptia

n, G

reek

, In

dian

, Ro

man

).

Stan

dard

(s):

6.4

5.2

Iden

tify

car

eer

path

way

s in

mus

ic.

Expl

ain

the

sign

ifica

nce

of G

reek

myt

holo

gy t

o th

e ev

eryd

ay

St

uden

t ob

ject

ive(

s):

The

stud

ent

will

des

crib

e th

e ro

le o

f lif

e of

peo

ple

in t

he r

egio

n an

d ho

w G

reek

lite

ratu

re c

onti

nues

m

usic

in t

he m

ytho

logy

of

anci

ent

Gre

ece.

to

per

mea

te o

ur li

tera

ture

and

lang

uage

tod

ay,

draw

ing

from

G

reek

myt

holo

gy a

nd e

pics

, su

ch a

s H

omer

’s Il

iad

and

Ody

ssey

,

and f

rom

Aes

op’s

Fab

les.

Stu

dent

Obj

ecti

ves

The

stud

ent

will

des

crib

e th

e ro

le o

f m

usic

in t

he m

ytho

logy

of

The

stud

ent

will

des

crib

e th

e ro

le o

f m

usic

in t

he m

ytho

logy

of

ancie

nt G

reece.

ancie

nt G

reece a

s it r

ela

tes t

o t

he e

veryday lif

e o

f the a

ncie

nt

G

reeks.

As

sess

men

t

Doe

s th

e st

uden

t’s

mus

ic a

nd m

ytho

logy

pro

ject

refl

ect

an

Doe

s th

e st

uden

t’s

mus

ic a

nd m

ytho

logy

pro

ject

refl

ect

an

un

ders

tand

ing

of t

he r

ole

of m

usic

in G

reek

Myt

holo

gy?

unde

rsta

ndin

g of

the

rol

e of

mus

ic in

Gre

ek m

ytho

logy

and

as

it

pertain

s t

o t

heir

everyday lif

e?

KEY

KNO

WLE

DGE

Prio

r Kn

owle

dge

Role

of

mus

ic in

the

Uni

ted

Stat

es

Anci

ent

Gre

ek h

isto

ry

Scale

s

Ancie

nt G

reek m

ytholo

gy

U

nder

stan

ding

of

anci

ent

tim

elin

e

New

Con

cept

s Ro

le o

f m

usic

in m

ytho

logy

Ro

le o

f m

usic

in t

he h

isto

ry o

f G

reek

myt

holo

gy a

nd h

ow t

his

has im

pacted o

ur s

ocie

ty t

oday

N

ew V

ocab

ular

y M

usic

olog

ist

Cult

ure

Mod

es

Authentic

SK

ILLS

Prerequis

ite S

kills

N

/A

Research s

kills

N

ew

Skills

N

/A

N/A

92

MAT

ERIA

LS/R

ESO

URC

ESAn

cien

t G

reec

e Ch

art

#1-

Gre

ek H

isto

ry,

#2 M

usic

and

Myt

holo

gy,

Acce

ss t

o th

e In

tern

et f

or a

ll gr

oups

. O

ptio

nal:

equ

ipm

ent

to s

how

vid

eo c

lips

from

the

In

tern

et o

r an

anc

ient

Gre

ek m

usic

CD

. (M

usiq

ue d

e la

Gre

ece

Ant

ique

, M

elpo

men

: A

ncie

nt G

reek

Mus

ic,

Mus

ic o

f th

e A

ncie

nt G

reek

s),

Map

of

Gre

ece

Addi

tion

al B

ooks

:U

sbor

ne S

tory

of

Mus

ic b

y Ei

leen

O’B

rien

(19

98).

For

kid

s--M

usic

of

the

Wor

ld b

y An

drea

Ber

gam

ini (

1999

). F

or t

eens

--An

cien

t G

reek

Mus

ic (

Clar

endo

n Pa

perb

acks

) by

M.

L. W

est

(rep

rint

ed 1

994)

. Fo

r te

ache

r--M

usic

in A

ncie

nt G

reec

e an

d Ro

me

by J

ohn

G.

Land

els

(200

1).

For

teac

her

(mai

nly

abou

t w

ho p

laye

d it

and

whe

re,

and

for

who

m)-

-Apo

llo’s

Lyr

e: G

reek

Mus

ic a

nd M

usic

The

ory

in A

ntiq

uity

and

the

Mid

dle

Ages

by

Thom

as J

. M

athi

esen

(20

00).

For

tea

cher

(a

bout

Gre

ek m

usic

al t

heor

y)--

Mus

ic a

nd t

he M

uses

: Th

e Cu

ltur

e of

Mou

sike

in t

he C

lass

ical

Ath

enia

n Ci

ty b

y Pe

nelo

pe M

urra

y an

d Pe

ter

Wils

on (

2004

).

PH

ASE

LE

SSO

N

War

m-u

p P

ART

1 (

Day

One

)

(10

min

utes

) 1

. To

day

we

will

tra

vel b

ack

in t

ime

to le

arn

abou

t th

e ro

le o

f m

usic

in A

ncie

nt G

reec

e. W

e w

ill b

e m

usic

olog

ists

, pe

ople

who

stu

dy m

usic

in

cul

ture

s. M

usic

olog

ists

look

at

the

hist

ory

of m

usic

wit

hin

the

cult

ure

to fi

nd t

he w

ays

it im

pact

s th

e so

ciet

y. M

usic

olog

ists

als

o

ex

plor

e m

usic

the

ory,

the

rol

es o

f ph

iloso

phy,

sci

ence

, th

e ar

ts,

soci

olog

y, p

sych

olog

y, a

nd m

ath

in m

usic

al e

xpre

ssio

n. W

e ar

e go

ing

to

begin

wit

h a

gam

e t

o r

evie

w w

hat w

e h

ave s

tudie

d p

revio

usly

about t

he h

istory

of

the A

ncie

nt G

reeks in o

rder

to f

ram

e o

ur

work

.

2.

Plea

se w

ork

toge

ther

in g

roup

s of

tw

o’s

and

thre

e’s.

I am

goi

ng t

o di

stri

bute

a w

orks

heet

(#1

Dai

ly L

ife)

. W

hich

gro

up w

ill b

e

the

first

to

fill i

n at

leas

t tw

o an

swer

s in

eac

h ca

tego

ry?

(Fill

ans

wer

s in

on

a di

spla

yed

char

t w

hile

pla

ying

the

gam

e.)

Why

do

you t

hin

k it w

ill be m

ore m

eanin

gful to s

tudy t

he r

ole

of m

usic

in r

ela

tio

nship

to t

his

background?

N

ew C

once

pt

3.

Mus

ic g

ot it

s na

me

from

the

mus

es,

the

daug

hter

s of

Zeu

s an

d pa

tron

god

dess

es o

f in

telle

ctua

l end

eavo

rs.

Myt

holo

gy w

as v

ery

muc

h

(30-

40 m

inut

es)

invo

lved

in t

he d

aily

life

of

the

Anci

ent

Gre

eks.

The

fun

ctio

n of

mus

ic in

Anc

ient

Gre

ek s

ocie

ty w

as c

onne

cted

to

thei

r m

ytho

logy

.

4

. It

will

be

your

job

to w

ork

wit

hin

an In

tern

et r

esea

rch

grou

p to

dis

cove

r in

form

atio

n in

one

of n

ine

cate

gorie

s to

ans

wer

the

que

stio

n,

“H

ow is

mus

ic in

volv

ed w

ith

Anci

ent

Gre

ek m

ytho

logy

?” I

will

pas

s ou

t a

mus

ic m

ytho

logy

cha

rt fo

r yo

ur r

efer

ence

(#2

Mus

ic M

ytho

logy

).

Yo

u w

ill fo

rmat

you

r de

scrip

tion

s by

ans

wer

ing

thre

e qu

esti

ons.

Firs

t, “

How

is m

usic

invo

lved

wit

h an

cien

t G

reek

myt

holo

gy?”

The

n, “

How

did

this

aff

ect

the e

very

day life o

f th

e G

reek?”

and “

What

can w

e p

redic

t about

how

it

will im

pact

us in t

he futu

re?”

Revi

ew/A

pplic

atio

n P

ART

2 (

Day

Tw

o)

(25

min

utes

) 5

. To

day

each

of

our

grou

ps is

goi

ng t

o sh

are

wha

t yo

u un

cove

red.

“H

ow is

mus

ic in

volv

ed w

ith

Anci

ent

Gre

ek m

ytho

logy

?”

“W

hat

happ

ened

?” “

Why

did

it h

appe

n?”

“How

doe

s th

is im

pact

us

now

?” “

Wha

t ca

n w

e pr

edic

t ab

out

how

it w

ill im

pact

us

in

the

futu

re?”

(Te

ache

r gu

ides

the

dis

cuss

ion.

)

Ass

essm

ent

6.

Plea

se fi

naliz

e yo

ur g

roup

pap

ers

and

hand

the

m in

to

me.

(Te

ache

r w

ill d

eter

min

e ho

w w

ell t

he s

tude

nts

answ

ered

the

thr

ee

(15 m

inutes)

questio

ns.)

Cl

osin

g 7

. Le

t’s

wat

ch/l

iste

n to

som

e of

the

mus

ic o

f An

cien

t G

reec

e. (

opti

onal

vid

eos)

(1

0 m

inut

es)

http

://w

ww

.you

tube

.com

/wat

ch?v

=jA

AO

R-O

uykU

Ancie

nt G

reek m

usic

wit

h im

ages

http

://w

ww

.you

tube

.com

/wat

ch?v

=Lvg

tAH

V4m

zw&

feat

ure=

rela

ted

Reproductio

n o

f lyre a

nd p

ipes

http

://w

ww

.you

tube

.com

/wat

ch?v

=Y_9

4QbW

V440

&fe

atur

e=re

late

d “Song o

f S

eik

ilos” lyre

8.

Do

you

thin

k th

is m

usic

is a

uthe

ntic

? H

ow d

oes

this

mus

ic r

elat

e to

the

mus

ic o

f to

day?

Conn

ecti

ons

Geo

grap

hy:

refe

r to

the

map

of

Gre

ece.

Exte

nsio

ns

Dif

fere

ntia

tion

Grade 6 Lessons

93

GRE

EK A

NCI

ENT

HIS

TORY

AN

SWER

SH

EET

Ca

tego

ry

Po

ssib

le A

nsw

ers

Lo

cati

on

Amon

g hi

lls a

nd m

ount

ains

nea

r th

e M

edit

erra

nean

Sea

. Th

e ri

chne

ss o

f th

e so

il w

as li

mit

ed.

Hom

e/Ar

chit

ectu

re

Mos

t ho

mes

wer

e bu

ilt f

rom

sto

ne o

r cl

ay.

They

wer

e pl

anne

d ar

ound

a c

ourt

yard

, ha

d hi

gh w

alls

and

a s

tron

g ga

te.

Muc

h of

Greek h

om

e lif

e c

entered a

round t

he c

ourtyard.

Colu

mns

wer

e pr

eval

ent

in o

ther

arc

hite

ctur

e.

Wor

k Fa

rmer

s, s

hip

build

ers,

fish

erm

en,

trad

ers

Clo

thin

g an

d Fo

od

The

Gre

ek m

en w

ore

tuni

cs m

ade

of w

ool a

nd li

nen.

The

Gre

ek w

omen

wor

e w

ool a

nd li

nen

clot

hs t

hat

wer

e pi

nned

aro

und

them

in d

iffe

rent

sty

les.

All

wor

e le

athe

r sa

ndal

s. T

he G

reek

s at

e gr

ains

— m

ostl

y w

heat

, ve

geta

bles

, es

peci

ally

legu

mes

,

su

ch a

s be

ans

and

peas

. Th

ey a

lso

ate

fish,

con

sum

ed o

live

oil,

bre

ad a

nd w

ine.

P

hilo

soph

y/Sc

ienc

e Th

e G

reek

phi

loso

pher

s em

phas

ized

the

“qu

esti

on.”

Soc

rate

s’ p

hilo

soph

y liv

ed o

n th

roug

h hi

s st

uden

t Pl

ato,

who

ass

erte

d th

at(S

cie

nce w

as

the m

ost im

portant a

ctiv

ity w

as t

he s

earch f

or k

now

ledge. S

cie

nce w

as t

hought o

f a

s a

way t

o o

rganiz

e a

nd c

reate o

rder o

ut

cons

ider

ed t

o

of c

haos

. Th

e ph

iloso

pher

s po

sed

man

y qu

esti

ons

of p

hilo

soph

y, s

cien

ce a

nd m

athe

mat

ics

to c

ome

up w

ith

theo

ries

tha

t w

ould

enco

mpa

ss M

edic

ine,

an

swer

the

m b

ased

on

obse

rvat

ion

and

reas

onin

g.Astronom

y a

nd

Mat

hem

atic

s.)

Rel

igio

n/M

ytho

logy

Th

ere

wer

e 12

mai

n G

reek

god

s, m

ale

and

fem

ale

wit

h di

stin

ct p

erso

nalit

ies.

Myt

hs,

whi

ch w

ere

com

mun

icat

ed t

hrou

gh o

ral

tr

adit

ion,

exp

lain

ed t

heir

rel

atio

nshi

p to

hum

anki

nd.

G

over

nmen

t Th

e m

en o

f At

hens

met

eve

ry w

eek

to d

iscu

ss h

ow b

est

to g

over

n an

d fo

rmed

the

firs

t de

moc

racy

.

Educ

atio

n Th

is w

as a

bit

dif

fere

nt in

eac

h ci

ty.

Child

ren

wer

e sc

hool

ed b

y th

eir

mot

hers

unt

il th

e ag

e of

six

or

seve

n.

Spar

ta’s

edu

cati

on w

as f

ocus

ed o

n de

velo

ping

a s

tron

g ar

my.

Boy

s in

Ath

ens

wen

t to

sch

ool f

rom

7 t

o 14

yea

rs o

f ag

e. T

hey

lear

ned

read

ing,

wri

ting

, m

athe

mat

ics

and

poet

ry in

the

mor

ning

. Th

ey h

ad s

port

s an

d w

rest

ling

acti

viti

es in

the

aft

erno

on.

W

hen b

oys b

ecam

e 1

4 t

hey learned a

trade.

Gir

ls w

ere t

aught h

om

em

akin

g a

nd d

id n

ot g

o t

o s

chool.

Som

e g

irls

were e

ducated a

t

hom

e.

Sp

orts

Sp

orti

ng e

vent

s w

ere

held

to

hono

r th

e go

ds.

The

Oly

mpi

cs w

ere

held

eve

ry f

our

year

s to

hon

or Z

eus.

The

Oly

mpi

cs h

eld

such

importance t

hat w

ars w

ere s

uspended d

urin

g t

he t

ime t

hey t

ook p

lace.

En

tert

ainm

ent

Child

ren

play

ed a

var

iety

of

gam

es c

ente

red

mos

tly

arou

nd p

hysi

cal c

onte

sts

and

gam

es o

f w

it.

Adul

ts:

Poet

ry w

as h

eld

in h

igh

este

em a

s w

ere

conc

erts

and

the

atre

.

War

Fr

eque

nt c

onfli

cts

occu

rred

bet

wee

n th

e G

reek

cit

y-st

ates

. Pr

imar

ily p

art-

tim

e vo

lunt

eer

citi

zen

arm

ies

cond

ucte

d th

ese

war

s.

Grade 6 Lessons

94

Gre

ek A

ncie

nt H

isto

ry W

orks

heet

: W

rite

tw

o an

swer

s fo

r ea

ch c

ateg

ory.

Ca

tego

ry

Ans

wer

sLo

cati

on

Hom

e/Ar

chit

ectu

re

Work

Clot

hing

and

Foo

d

Philosophy/Scie

nce

(Scie

nce w

as c

onsid

ered

to e

ncom

pass

Med

icin

e,Astronom

y a

nd

Mat

hem

atic

s.)

Relig

ion/

Myt

holo

gy

Governm

ent

Educ

atio

n

Sports

Ente

rtai

nmen

t

War

Grade 6 Lessons

95

How

is m

usic

con

nect

ed t

o A

ncie

nt G

reek

myt

holo

gy?

Q

uest

ions

: H

ow d

id t

his

affe

ct t

he e

very

day

life

of t

he G

reek

?

W

hat

can

we

pred

ict

abou

t ho

w it

will

impa

ct u

s in

the

fut

ure?

1. P

hilo

soph

y

2. S

cien

ce

(Con

side

red

to

in

clud

e M

edic

ine,

Ast

rono

my

and

M

athe

mat

ics)

3. R

elig

ion/

M

ytho

logy

4. E

duca

tion

5. S

port

s

6. E

nter

tain

men

t

7. M

usic

al

I

nstr

umen

ts

How

is m

usic

invo

lved

wit

h A

ncie

nt G

reek

myt

holo

gy?

Grade 6 Lessons

96

Grade 6 Lessons

Que

stio

ns:

How

did

thi

s af

fect

the

eve

ryda

y lif

e of

the

Gre

ek?

Wha

t ca

n w

e pr

edic

t ab

out

how

it w

ill im

pact

us

in t

he f

utur

e?

2. S

cien

ce

(

Cons

ider

ed t

o in

clud

e M

edic

ine,

Ast

rono

my

and

M

athe

mat

ics.

)

4. E

duca

tion

5. S

port

s

6. E

nter

tain

men

t

Pyth

agor

as d

isco

vere

d a

conn

ecti

on b

etw

een

mat

h ra

tios

and

mus

ic b

y di

vidi

ng a

str

ing

in h

alf.

He

then

pla

yed t

he long a

nd s

hort s

trin

gs t

o c

om

pare t

hem

.

See P

hilosophy f

or S

cie

nce a

nd A

stronom

y c

onnectio

n.

See

Relig

ion/

Myt

holo

gy f

or M

edic

ine

conn

ecti

on.

Mus

ic is

clo

sely

rel

ated

to

othe

r sc

ienc

es,

such

as

mat

hem

atic

s an

d ph

iloso

phy.

Thu

s it

was

one

of

the

impo

rtan

t su

bjec

ts in

you

ng p

eopl

e’s

educ

atio

n.

Mus

ic p

laye

d a

deci

sive

rol

e in

mor

al e

duca

tion

as

wel

l, b

eing

clo

sely

con

nect

ed t

o m

ytho

logy

.Bo

ys w

ere

taug

ht m

usic

at

scho

ol,

spec

ifica

lly t

o pl

ay t

he ly

re a

s w

ell a

s ot

her

inst

rum

ents

. G

irls

wer

e of

ten

taug

ht a

t ho

me.

Co

nseq

uent

ly,

all t

he c

itiz

ens

wer

e pr

ofici

ent

in m

usic

.Sp

orts

gam

es s

uch

as t

he O

lym

pics

wer

e pu

t on

to

hono

r th

e go

ds.

Mus

ic w

as a

lway

s pr

esen

t at

the

se

cerem

onie

s.

Mus

ic w

as p

rese

nt a

t th

e be

ginn

ings

of

dram

a. A

ccor

ding

to

Aris

totl

e, t

he d

ithy

ram

bs (

hym

ns)

perf

orm

ed in

ho

nor

of D

iony

sus

(the

god

) ev

olve

d in

to t

he G

reek

tra

gedy

.

Mus

icia

ns c

ompe

ted

for

priz

es in

mus

ic c

onte

sts.

met

mus

eum

.org

/exp

lore

/pub

lica

tion

s/..

./gr

eek/

divi

ded/

e-Ke

y-A

spec

ts.p

df K

ey A

spects o

f A

ncie

nt G

reece

http

://w

ww

.woo

dlan

ds-j

unio

r.ke

nt.s

ch.u

k/H

omew

ork/

gree

ce/s

choo

ls.h

tmht

tp:/

/ww

w.m

ythw

eb.c

om/

Myt

h Re

sour

ces

http

://a

ncie

nthi

stor

y.pp

pst.

com

/gre

ece.

htm

l Fr

ee p

ower

poi

nts

http

://w

ww

.bbc

.co.

uk/s

choo

ls/a

ncie

ntgr

eece

/tim

elin

e/in

dex.

shtm

l Ti

mel

ine

http

://m

embe

rs.a

ol.c

om/b

kdon

ncla

ss/G

reek

life

.htm

l#m

enu

Mee

t th

e G

reek

sw

ww

.his

tory

fork

ids.

org/

lear

n/gr

eeks

/ind

ex.h

tm

97

Grade 6 Lessons

G

RAD

E 6

CON

TEN

T IN

TEG

RATI

ON

TI

TLE

OF

LESS

ON

THEA

TRE/

SCIE

NCE

Th

eatr

e as

a T

ool i

n En

viro

nmen

tal A

ctiv

ism

D

urat

ion:

120

min

utes

ESSE

NTI

AL

QU

ESTI

ON

IN

TEG

RATE

D S

TUD

ENT

OBJ

ECTI

VE

H

ow c

an t

heat

re a

rtis

ts c

omm

unic

ate

the

conc

erns

Th

e st

uden

t w

ill u

nder

stan

d th

at t

he e

lem

ents

of

of e

nvir

onm

enta

l sci

enti

sts?

th

eatr

e, a

s w

ell a

s th

e el

emen

ts o

f na

ture

, pl

ay

a si

gnifi

cant

rol

e in

the

suc

cess

of

a

thea

tric

al p

rodu

ctio

n an

d th

e ha

bita

ts

requ

ired

to

supp

ort

natu

re.

D

escr

ipto

rs

THEA

TRE

SCIE

NCE

St

anda

rds

1.2:

Iden

tify

how

pro

duct

ion

valu

es c

an m

anip

ulat

e m

ood

to

5(e)

: St

uden

ts k

now

tha

t th

e nu

mbe

r an

d ty

pe o

f or

gani

sms

pers

uade

and

dis

sem

inat

e pr

opag

anda

; 5.

1: U

se t

heat

rica

l an

eco

syst

em c

an s

uppo

rt d

epen

d on

the

res

ourc

es a

vaila

ble

skill

s to

com

mun

icat

e co

ncep

ts o

r id

eas

from

oth

er c

urri

culu

m

and

on a

biot

ic f

acto

rs,

such

as

quan

titi

es o

f lig

ht a

nd w

ater

, a

area

s, s

uch

as a

dem

onst

rati

on in

his

tory

/soc

ial s

cien

ce o

f ho

w

rang

e of

tem

pera

ture

s, a

nd s

oil c

ompo

siti

on.

persuasio

n a

nd p

ropaganda a

re u

sed in a

dvertis

ing.

Stu

dent

Obj

ecti

ves

The

stud

ent

will

und

erst

and

that

the

ele

men

ts o

f th

eatr

e Th

e st

uden

t w

ill u

nder

stan

d th

at h

ealt

hy h

abit

ats

need

to

be

(lig

ht,

soun

d, b

lock

ing,

act

ing

tech

niqu

es)

can

man

ipul

ate

mai

ntai

ned

by p

rote

ctin

g in

dige

nous

org

anis

ms.

mood a

nd o

pin

ion.

Assessm

ent

Rubric

Rubric

KEY

KNO

WLE

DGE

Prio

r K

now

ledge

1. An u

nderstandin

g o

f s

ettin

g a

s t

he e

nvir

onm

ent o

f a

scene

1. A b

asic

understandin

g o

f t

he r

ela

tio

nship

am

ong o

rganis

ms

or p

lay

and a

bio

tic

ele

ments in a

n e

stuaria

l w

etla

nds h

abit

at

2.

Und

erst

andi

ng o

f co

nflic

t as

res

ulti

ng f

rom

opp

osin

g

2.

A ba

sic

unde

rsta

ndin

g of

the

eco

logi

cal h

isto

ry o

f th

e

objectiv

es a

nd m

otiv

atio

ns

Ballona W

etla

nds

3.

A ba

sic

unde

rsta

ndin

g of

the

fac

tion

s in

volv

ed in

the

con

flic

t

over t

he B

allona W

etla

nds (

or o

ther local w

etla

nd h

abit

at)

N

ew C

once

pts

Thea

tre

as a

too

l for

pol

itic

al a

ctiv

ism

Re

lati

onsh

ip a

mon

g sc

ienc

e, p

olit

ics,

and

the

atre

art

s

New

Voc

abul

ary

Acti

vism

, pr

opag

anda

, m

ood,

man

ipul

atio

n Ab

ioti

c, a

cidi

ty,

alka

linit

y, h

erbi

vore

, ca

rniv

ore

SK

ILLS

P

rere

quis

ite

Skill

s H

ow t

o us

e th

e to

ols

of t

he a

ctor

to

repr

esen

t ch

arac

ters

, In

tern

et r

esea

rch

hum

an a

nd a

nim

al

N

ew S

kills

Ab

ility

to

dete

ct a

nd c

ontr

ol m

ood

and

mes

sage

wit

h di

ffer

ent

To

com

mun

icat

e, a

s an

eco

logi

cal s

cien

tist

or

acti

vist

, yo

ur

choi

ces

in h

ow t

he e

lem

ents

of

thea

tre

(sou

nd,

light

, bl

ocki

ng,

co

ncer

ns t

o a

thea

tre

arti

st

and a

ctin

g) a

re u

sed

98

Grade 6 Lessons

M

ATER

IALS

/RES

OU

RCES

For

pre-

less

on b

ackg

roun

d, v

ario

us w

ebsi

tes

can

be c

onsu

lted

, su

ch a

s w

ww

.bal

lona

frie

nds.

org;

ww

w.t

ongv

a.co

m;

reco

rdin

gs o

f th

e so

unds

of

an

estu

aria

l wet

land

s en

viro

nmen

t; p

ictu

res

of d

iffe

rent

wet

land

s an

d se

vera

l of

estu

aria

l wet

land

s

PH

ASE

LE

SSO

N

Ope

ning

1

. Fo

rmin

g a

circ

le:

Stud

ents

ent

er t

o th

e so

unds

of

a w

etla

nds

habi

tat

(if

avai

labl

e).

Enco

urag

e st

uden

ts t

o ph

ysic

aliz

e an

yG

athe

ring

/War

m-u

p

responses a

s t

hey e

nter a

nd m

ake a

cir

cle

.

(1

0 m

inut

es)

2.

Wet

land

s So

unds

cape

: H

ave

a qu

ick

revi

ew o

f th

e el

emen

ts o

f an

est

uari

al w

etla

nds

habi

tat:

oce

an,

rive

r, b

irds

of

seve

ral

kind

s, r

ain

(in

win

ter)

, et

c. A

ssig

n ea

ch s

tude

nt a

sou

nd t

o m

ake,

and

the

n, o

n th

e le

ader

’s s

igna

l, a

ll m

ake

thei

r so

unds

to

geth

er t

o cr

eate

the

env

iron

men

t. P

oint

out

tha

t so

me

soun

ds w

ill b

e co

ntin

uous

(e.

g.,

the

ocea

n) a

nd s

ome

inte

rmit

tent

(e

.g.,

the

bir

ds).

Re

view

ing/

3

. Co

ver

the

new

the

ater

voc

abul

ary:

act

ivis

m,

prop

agan

da,

moo

d, m

anip

ulat

ion

Pr

evie

win

g 4

. Re

view

impo

rtan

t vo

cabu

lary

of

ecol

ogy:

eco

syst

em,

habi

tat,

nic

he,

inte

rdep

ende

nce

Vo

cabu

lary

5

. D

iscu

ssio

n. C

an t

heat

re in

flue

nce

our

opin

ions

? D

iscu

ss a

dver

tisi

ng.

Wha

t m

akes

an

effe

ctiv

e ad

vert

isem

ent?

Can

the

ater

(1

0 m

inut

es)

tech

niqu

es b

e ap

plie

d to

aff

ect

peop

le’s

opi

nion

s ab

out

mor

e im

port

ant

mat

ters

, lik

e th

e he

alth

of

our

plan

et?

Exp

lori

ng/C

reat

ing

6.

Gro

ups

of F

ive:

Cir

cle

Map

s. E

ach

grou

p is

giv

en a

larg

e sh

eet

of b

utch

er p

aper

. In

the

mid

dle

of e

ach

shee

t of

pap

er is

a

Expl

orin

g

la

rge

circ

le w

ith

one

of t

he p

olit

ical

fac

tion

s in

volv

ed in

the

str

uggl

e ov

er B

allo

na:

1) t

he r

eal-

esta

te d

evel

oper

s an

d co

rpor

ate

(3

0 m

inut

es)

inte

rest

s; 2

) th

e ac

tivi

st g

roup

s “F

rien

ds o

f Ba

llona

Wet

land

s”;

3) t

he e

colo

gica

l sci

enti

sts

(Gro

ups

2 an

d 3

mig

ht b

e

co

mbi

ned)

; 4)

the

oce

an a

nd r

iver

s; 5

) th

e bi

rds,

fish

and

pla

nts;

6)

ordi

nary

cit

izen

s w

ho w

ant

jobs

and

hom

es;

7) T

ongv

a

Nat

ive

Amer

ican

s (o

rigi

nal i

nhab

itan

ts o

f Ba

llona

); 8

) th

e po

litic

ians

. (N

ote:

Gro

ups

may

pre

pare

ahe

ad b

y do

ing

part

icul

ar

research o

n t

he interests o

f o

ne g

roup.)

Nic

he N

eeds

and

Rel

atio

nshi

ps:

In n

ew b

ubbl

es,

stud

ents

wri

te in

the

nee

ds a

nd/o

r de

sire

s of

the

ir p

arti

cula

r fa

ctio

n. D

raw

lin

es c

onne

ctin

g th

e ce

nter

bub

ble

to t

he o

ther

bub

bles

. If

tw

o ou

ter

bubb

les

conn

ect

in s

ome

way

, dr

aw a

line

con

nect

ing

them

.

Impr

ovis

ing/

7

. De

posi

tion

s. S

till

in t

he s

ame

grou

ps o

f fiv

e, s

tude

nts

conf

er a

mon

g ea

ch o

ther

abo

ut t

he m

erit

s of

the

ir p

arti

cula

r ca

se.

If ne

eded

,

Inve

ntin

g (S

tory

)

on

e pe

rson

in t

he g

roup

can

pla

y th

e at

torn

ey w

ho e

licit

s pl

eas a

nd c

ompl

aint

s fr

om t

he o

ther

mem

bers

of

the

grou

p,w

ho,

in r

ole,

(3

0 m

inut

es)

arti

cula

te t

heir

obj

ecti

ves

and

mot

ivat

ions

. En

cour

age

stud

ents

to

use

thei

r ac

tor’

s to

ols

to c

reat

e an

d m

aint

ain

a de

finit

e ch

arac

ter.

8.

Moc

k Tr

ial o

r H

earin

g. W

ith

the

lead

er in

rol

e as

Jud

ge, m

embe

rs fr

om t

he d

iffer

ent

fact

ions

tak

e th

e st

and

and

plea

d th

eir

case

s. T

he

mor

e ac

tual

res

earc

h th

at t

he s

tude

nts

have

don

e th

at g

ets

into

the

ir te

stim

ony,

the

bet

ter.

For

exam

ple,

the

Lea

st T

erne

, a w

etla

nds

bird

, mig

ht s

ay, “

The

only

pla

ce I

can

land

to

lay

my

eggs

is e

stua

rial w

etla

nds.

Gol

f cou

rses

and

par

ks d

on’t

hav

e th

e na

tive

gra

sses

tha

t

I n

eed

to s

urvi

ve.”

Or,

from

the

Pic

klew

eed,

a n

ativ

e Ba

llona

Wet

land

s pl

ant:

“Si

nce

my

root

s ha

ve b

een

cut

off f

rom

the

oce

an, I

ca

n’t

get

the

salt

tha

t I n

eed

to t

hriv

e an

d th

en c

ry o

ut o

f my

stal

ks t

o nu

rtur

e m

y ho

me.

I ha

ven’

t be

en a

ble

to c

ry fo

r th

e lo

nges

t ti

me,

an

d I’m

just

an

emot

iona

l wre

ck!”

The

Dev

elop

ers:

“Th

e Lo

s Ang

eles

are

a ne

eds

mor

e ho

mes

and

bus

ines

ses

to a

ccom

mod

ate

its

grow

ing

popu

lati

on a

nd c

ompe

te in

a g

loba

l eco

nom

y! B

esid

es, t

his

wet

land

s ar

ea is

just

a w

aste

land

; it’

s us

eles

s!”

The

Acti

vist

s/Sc

ient

ists

:

“W

etla

nds

habi

tats

sup

port

30

perc

ent

of a

ll or

gani

sms

on o

ur p

lane

t! M

any

of t

hese

org

anis

ms

are

links

in k

ey e

colo

gica

l sys

tem

s th

at

ulti

mat

ely

affe

ct t

he h

ealt

h of

the

ear

th a

nd it

s in

habi

tant

s. T

he w

etla

nds

are

beau

tifu

l, na

tura

l pla

ces

that

mus

t be

res

tore

d, p

rote

cted

an

d pa

ssed

on

to o

ur d

esce

nden

ts.”

The

Ton

gva

Nati

ve-A

mer

ican

s: “

Our

anc

esto

rs li

ved,

wor

ked

and

pray

ed o

n th

is la

nd fo

r th

ousa

nds

of

year

s. It

mus

t be

pre

serv

ed t

o ho

nor

the

hum

an h

isto

ry o

f thi

s reg

ion.

”

Th

e Le

ader

/Jud

ge m

aint

ains

con

trol

of t

he c

ourt

at

all t

imes

, dis

cour

agin

g cr

oss-

talk

bet

wee

n fa

ctio

ns. H

owev

er, f

or d

ram

atic

eff

ect,

a

Deve

lope

r’s t

esti

mon

y m

ight

be

inte

rrup

ted

by t

he p

lain

tive

cry

of a

bird

or

mou

rnfu

l sus

urru

s of

the

sta

rvin

g pl

ants

.

99

Grade 6 Lessons

Sha

ring

/Refl

ecti

ng

9.

Man

ipul

atin

g th

e El

emen

ts o

f The

atre

: Sel

ecti

on o

f Con

tent

and

Cho

ices

in F

orm

Pl

aym

akin

g

•

Rem

indi

ng t

he s

tude

nts

that

the

ir p

urpo

se n

ow a

s th

eate

r ar

tist

s is

to

crea

te a

pla

y t

hat w

ill persuade o

pin

ion in t

he

(3

0 m

inut

es)

En

viro

nmen

talis

ts’

favo

r, c

ull t

he c

hoic

est

argu

men

ts a

nd li

nes

from

the

impr

ovis

atio

n ab

ove

(a d

igit

al v

ideo

mig

ht b

e us

ed

to r

ecord t

hese).

• Ar

rang

e th

ese

stra

tegi

call

y to

cre

ate

a ki

nd o

f sc

ript

. (T

he d

egre

e of

act

ual d

ocum

enta

tion

of

this

“sc

ript

” w

ould

be

up t

o

the c

lassroom

teacher/le

ader.

)

• M

anip

ulat

e th

e or

der

of e

vent

s, a

nd u

se o

ther

plo

t de

vice

s to

ang

le t

he c

onflic

t to

fav

or t

he e

colo

gist

s

•

Incl

ude

elem

ents

of

soun

d an

d lig

ht,

if a

vaila

ble,

to

inte

nsif

y m

ood.

• Re

hear

se

•

Perf

orm

•

Vide

otap

e th

e pl

ay.

Refle

ctin

g/As

sess

ing

(1

0 m

inut

es)

10.

View

Vid

eo.

Dis

cuss

. D

oes

the

play

do

the

job

of p

ersu

adin

g vi

ewer

s to

sid

e w

ith

the

Envi

ronm

enta

lists

? If

not

, w

hat

can

be

ch

ange

d to

mak

e th

is h

appe

n, o

r w

hat

can

be d

one

to m

ake

it e

ven

mor

e pe

rsua

sive

? Ar

e th

e D

evel

oper

s’ in

tere

sts

repr

esen

ted

so u

nflat

teri

ngly

as

to d

emon

ize

them

? If

so,

is t

his

in t

he b

est

inte

rest

s of

the

Env

iron

men

talis

ts?

Dis

cuss

the

nee

d fo

r m

utua

l coo

pera

tion

bet

wee

n co

rpor

atio

ns a

nd e

colo

gist

s to

mak

e pr

ogre

ss in

pre

serv

atio

n.

Co

nnec

tion

s Po

litic

al s

cien

ce,

soci

al a

ctiv

ism

Ex

tens

ions

Fi

eld

trip

to

Ballo

na W

etla

nds

thro

ugh

“Fri

ends

of

Ballo

na W

etla

nds”

org

aniz

atio

n

D

iffe

rent

iati

on

(CRR

E) N

ativ

e Am

eric

an h

isto

ry (

SP E

D)

(EL)

Tot

al P

hysi

cal R

espo

nse

100

Grade 6 Lessons

G

RAD

E 6

CON

TEN

T IN

TEG

RATI

ON

TI

TLE

OF

LESS

ON

VISU

AL

ART

S/EN

GLI

SH L

AN

GU

AG

E A

RTS

CULT

URA

L A

RTIF

ACT

S

ES

SEN

TIA

L Q

UES

TIO

N

INTE

GRA

TED

STU

DEN

T O

BJEC

TIVE

How

doe

s a

wor

k of

art

rev

eal c

hara

cter

isti

cs

Stud

ents

will

be

able

to

com

pare

and

con

tras

t

ab

out

a cu

ltur

e?

wor

ks f

rom

var

ious

per

iods

and

cul

ture

s th

roug

h

th

e ef

fect

ive

use

of id

enti

ficat

ion.

D

escr

ipto

rs

VISU

AL

ART

S LA

NG

UA

GE

ART

S

Stan

dard

s 3.

3 Co

mpa

re,

in o

ral o

r w

ritt

en f

orm

, re

pres

enta

tive

imag

es/

1.2

Crea

te m

ulti

ple-

para

grap

h ex

posi

tory

com

posi

tion

s:

de

sign

s fr

om a

t le

ast

two

sele

cted

cul

ture

s.

a.

En

gage

the

inte

rest

of

the

read

er a

nd s

tate

a c

lear

pur

pose

.

b.

D

evel

op t

he t

opic

wit

h su

ppor

ting

det

ails

and

pre

cise

ve

rbs,

nou

ns a

nd a

djec

tive

s to

pai

nt a

vis

ual i

mag

e in

the m

ind o

f t

he r

eader.

c.

Conc

lude

wit

h a

deta

iled

sum

mar

y lin

ked

to t

he p

urpo

se

of t

he c

om

posit

ion.

Stu

dent

Obj

ecti

ves

Stud

ent

will

be

able

to

com

pare

imag

es f

rom

tw

o cu

ltur

es a

nd

Stud

ents

will

be

able

to

wri

te a

mul

ti-p

arag

raph

com

posi

tion

ex

plai

n ho

w t

he a

rt r

evea

ls t

he c

hara

cter

isti

cs f

rom

the

soc

iety

th

at e

ffec

tive

ly a

nsw

ers

the

esse

ntia

l que

stio

n.

in

whic

h it w

as c

reated.

As

sess

men

t

Did

the

stu

dent

s su

cces

sful

ly c

ompa

re im

ages

fro

m t

wo

Did

the

stud

ents

suc

cess

fully

wri

te a

mul

ti-p

arag

raph

exp

osit

ory

sele

cted d

iffe

rent c

ult

ures in o

ral and w

rit

ten f

orm

?

com

posit

ion c

om

parin

g t

wo m

asks f

rom

dif

ferent c

ult

ures?

KEY

KNO

WLE

DGE

Prio

r Kn

owle

dge

Elem

ents

of

art

(lin

e, c

olor

, sh

ape,

spa

ce,

text

ure,

val

ue),

med

ia

How

to

use

orga

niza

tion

al t

ools

(Ve

nn D

iagr

am)

in p

re-w

riti

ng.

N

ew C

once

pts

Art

obje

cts/

imag

es r

evea

l the

ir c

ultu

re t

hat

prod

uces

the

m

Acad

emic

lang

uage

str

engt

hens

com

pare

-and

-con

tras

t es

says

.

Ea

ch c

ultu

re h

as d

isti

ncti

ve c

hara

cter

isti

cs

In m

y op

inio

n…

Ther

e is

evi

denc

e of

…

New

Voc

abul

ary

Prin

cipl

es o

f ar

t (b

alan

ce,

repe

titi

on,

rhyt

hm,

prop

orti

on,

Evid

ence

, pr

edic

t, p

ersp

ecti

ve,

infe

rred

, su

mm

ariz

e

va

riet

y, e

mph

asis

, ha

rmon

y, u

nity

) ch

arac

teri

stic

s

SK

ILLS

Pre

requ

isit

e Sk

ills

Com

pare

/con

tras

t, c

onto

ur d

raw

ing

Para

grap

h fo

rm/

Venn

Dia

gram

N

ew S

kills

Lo

okin

g fo

r m

eani

ng

Id

enti

fy c

ultu

ral c

hara

cter

isti

cs

Wri

ting

exh

ibit

s st

uden

t’s

awar

enes

s of

aud

ienc

e an

d pu

rpos

e

MAT

ERIA

LS/R

ESO

URC

ESSl

ides

/tex

tboo

ks/t

rans

pare

ncie

s of

imag

es f

rom

tw

o cu

ltur

es,

jour

nals

, ar

t w

ord

bank

, Ve

nn d

iagr

am,

mar

kers

101

PH

ASE

LE

SSO

N St

uden

t En

gage

men

t 1

. Te

ache

r w

ill d

ispl

ay t

wo

mas

ks f

rom

dif

fere

nt c

ultu

res

and

ask

stud

ents

to

com

pare

/con

tras

t th

em o

rally

. Te

ache

r w

ill r

ecor

d

(10

min

utes

)

st

uden

t re

spon

ses

on a

larg

e cl

ass

bubb

le m

ap.

Teac

her

asks

stu

dent

s:

•

“How

wou

ld y

ou d

escr

ibe

each

mas

k?”

• “W

hat

art

elem

ents

are

the

sam

e?”

(tex

ture

, co

lor,

etc

.)

•

“Wha

t ar

t pr

inci

ples

are

dif

fere

nt?”

(ba

lanc

e, p

atte

rns,

etc

.)

•

“Wha

t do

you

thi

nk t

he m

asks

wer

e us

ed f

or?”

Aest

heti

c Ex

plor

atio

n 2

. St

uden

ts t

hink

-pai

r-sh

are

abou

t th

eir

init

ial o

bser

vati

on a

nd g

o de

eper

by

disc

ussi

ng:

(1

0 m

inut

es)

• W

hat

is c

ultu

re?

• H

ow a

re m

asks

use

d to

day

or in

the

ir o

wn

cult

ure?

D

emon

stra

tion

3

. Te

ache

r de

mon

stra

tes

how

the

col

labo

rati

ve t

eam

s w

ill w

ork

toge

ther

to

crea

te t

heir

ow

n Ve

nn D

iagr

am a

nd v

isua

l im

ages

.

(10

min

utes

) 4

. Te

ache

r dr

aws

a co

ntou

r dr

awin

g of

tw

o m

asks

one

on

each

sid

e of

the

Ven

n D

iagr

am.

5.

Teac

her

dem

onst

rate

s ho

w t

o re

cord

the

sim

ilari

ties

in t

he m

iddl

e of

the

map

and

the

dif

fere

nces

on

eith

er s

ide.

6.

The

grou

p w

ill b

e re

spon

sibl

e to

sha

re o

ut a

t th

e co

nclu

sion

of

the

less

on.

Cre

ativ

e Ex

pres

sion

7

. Ea

ch c

olla

bora

tive

gro

up r

ecei

ves

pict

ures

of

two

mas

ks,

from

dif

fere

nt c

ultu

res

and

a la

rge

shee

t of

but

cher

pap

er.

Stud

ents

will

(3

0 m

inut

es)

draw

larg

e Ve

nn D

iagr

am in

the

mid

dle

of t

he p

aper

.

8. Students w

ill draw

a c

ontour d

raw

ing o

f e

ach m

ask a

t e

ither s

ide.

9.

Stud

ents

will

fill

in t

he t

hink

ing

map

wit

h ob

serv

atio

ns t

hey

have

mad

e an

d w

ith

the

use

of a

rt w

ord

bank

.

10

. G

roup

s ta

ke t

urns

sha

ring

the

ir fi

ndin

gs w

ith

the

clas

s us

ing

acad

emic

lang

uage

dur

ing

the

pres

enta

tion

.

Reflec

tion

(3

0 m

inut

es)

Wri

te a

mul

ti-p

arag

raph

usi

ng a

var

iety

of

effe

ctiv

e an

d co

here

nt o

rgan

izat

iona

l pat

tern

s, in

clud

ing

com

pari

son

and

cont

rast

,

o

rder

of

impo

rtan

ce,

and

clim

atic

ord

er in

res

pons

e to

the

ess

enti

al q

uest

ion:

How

doe

s a

wor

k of

art

rev

eal c

hara

cter

isti

cs

a

bout a

cult

ure?

Co

nnec

tion

s W

hat

are

arti

fact

s fr

om o

ur c

ultu

re?

Ex

tens

ions

Co

ntin

ue e

xplo

rati

on o

f a

cult

ure

thro

ugh

its

wri

ting

s, a

rtw

ork,

his

tori

c fig

ures

, et

c.

D

iffe

rent

iati

on

Colla

bora

tive

gro

ups/

disp

lay

clas

sroo

m t

hink

ing

map

Grade 6 Lessons

102

Exam

ple:

Wor

d Ba

nkBala

nce

Cere

mon

yCo

lor

Cult

ure

Emot

ion

Expr

essi

onFa

cial

Fea

ture

Foca

l Poi

ntLi

neM

ater

ials

Pattern

Shape

Space

Sym

bol

Text

ure

Exam

ple

of A

ssig

nmen

t

Grade 6 Lessons

103

ReferencesAuthentic Connections: Interdisciplinary Work in the Arts. Consortium of National Arts Educa-tion Association (NAEA), 2002. http://www.naea-reston.org/

Arts Education: Art in the City School as Studio Integrating the Arts Applying Standards to the Arts. Kappa Delta Pi Record. 39, no.1 (Fall 2002).

Beane, James. Creating an Integrative Curriculum: Making the Connections. NASSP Bulletin: Curriculum Theory and Practice (November 1992): 46-54.

Bissinger, Kristen and Renfro, Nancy. Leap into Learning! Teaching K-7 Curriculum Through Cre-ative Dramatics and Dance. Austin, TX: Nancy Renfro Studios, 1990.

Critical Links: Learning in the Arts and Student Academic and Social Development. Edited by Richard J. Deasy. Washington DC: Arts Education Partnership, 2002.

DuFour, Richard. What is a ‘Professional Learning Community’? Educational Leadership 61, no.8 (May 2004): 6-11.

Erickson, Karen L. Integrated Units in a Dramatic Framework. Evanston, IL: Creative Directions, 1995.

Jacobs, Heidi Hayes. Interdisciplinary Curriculum: Design and Implementation. Alexandria, VA: Association for Supervision and Curriculum Development, 1989.

Manitone, Roberta D. and Sabine Smead. Weaving Through Words: Using the Arts to Teach Reading Comprehension Strategies. Newark, NJ: International Reading Association: 2003.

Stephens, Pamela and Walkup, Nancy. Bridging: “Curriculum Through Art, Interdisciplinary Connections.

Eloquent Evidence: Arts at the Core of Learning. http://www.nasaa-arts.org.

Arts Integration Framework, Research & Practice, A Literature Review. Arts Education Partnership. Washington, DC 2007. www.aep-arts.org.

Art Education January: The Journal of the National Art Education Association.Hawaii Alliance for Arts Education (2006). “An Essential Arts Toolkit.” http://hawaiiartsalliance.org/teaching_arts/arts_toolkit/arts_toolkit.html

California Department of Education (2004). Visual and Performing Arts Framework for Califor-nia Public Schools.

Hawaii Alliance for Arts Education (2006). An Essential Arts Toolkit. Retrieved September 3, 2008 from http://hawaiiartsalliance.org/teaching_arts/arts_toolkit/arts_toolkit.html

104

Glossary of Selected Termsacting - t. The process by which a person uses the entire of self-body, mind, voice, and emotions-to

interpret and perform the role of an imagined or assumed character.

actor-t. A person, male or female, who performs a role in a play or other entertainment.

actor’s position-t. The orientation of the actor to the audience (e.g., full back, full front, right profile, left profile).

additive-v. Refers to the process of joining parts together to create a sculpture.

background-v. The part of the picture plane that seems to be farthest from the viewer.

beat-m. A unit of measure of rhythmic time.

character-t. The personality or part an actor re-creates.

choreography-d. The art of composing dances, including shaping movement, structuring phrases, and revising and refining dances.

collage-v. An artistic composition made of various materials (e.g., paper, cloth, wood) and glued onto a surface.

composition-m. The creation of original music by organizing sound. It is usually written for others to perform.

conflict-t. The opposition of persons or forces giving rise to dramatic action in a play.

contour drawing-v. The drawing of an object as though the drawing tool were moving along the edges and ridges of the form.

counterbalance-d. A weight that balances another weight. The term usually refers to one or more dancers combining their weight in stillness or in motion to achieve an independent movement or design. A

limb moving in one direction must be given a counterweight.

creative movement-d. Dance based on improvisation; the free exploration of movement, usually stimulated by an emotional or narrative theme (e.g., anger, war) or the exploration of an element of movement-time, force, or space (e.g., finding ways of moving on various levels or with varying amounts or qualities of force or energy).

dance-d. (1) A unified work similar to a poem, a piece of music, a play, or a painting. Its structure has a beginning, middle, and end unified by a purpose or set of movement themes into a recognized form. Often, it is rhythmic or is accompanied by music. (2) The field of study including the functions of dance in society past and present, methods of choreography and performance, kinesiology, dance therapy, dance education, dance medicine, and other related studies.

dynamics-m. Varying degrees of volume in the performance of music.

elements of art-v. Sensory components used to create works of art: line, color, shape or form, texture, value, and space.

elements of dance-d. Sensory components used to create and talk about dance: force, space, and time. (See the individual entries in this glossary.)

elements of music-m. Form, harmony, melody, and rhythm as well as the expressive elements of dynamics, tempo, and timbre (tone color).

elements of theatre-t. The individual components used to create and talk about works of theatre: character, dialogue, music, plot, and theme.

force or energy-d. This element is characterized by the release of potential energy into kinetic energy. It utilizes body weight, reveals the effects of gravity on the body, is projected into space, and affects emotional and spatial relationships and intentions. The most recognized qualities of movement (i.e., ways in which to release energy) are sustained, percussive, suspended, swinging, and collapsing.

foreground-v. Part of a two-dimensional artwork appearing to be nearer to the viewer or in the front. The middle ground and the background are the parts of the picture that appear to be farther and farthest

away.

form-d. The organization or plan for patterning movement; the overall structural organization of a dance or music composition (e.g., AB, ABA call and response, rondo, theme and variation, canon, and the interrelationships of movement within the overall structure).

form-m. The organization and structure of a composition and the interrelationships of musical events within the overall structure.

form-v. A three-dimensional volume or the illusion of three dimensions (related to shape, which is two-dimensional); the particular characteristics of the visual elements of a work of art (as distinguished from its subject matter or content).

105

genre-d. A class or category of artistic endeavor having a particular form, content, or technique (e.g., ballet, modern, tap, jazz, Indonesian, East Indian, Bugaku). Each kind of dance is characterized by a recognizable technique, system, vocabulary of movement, composition, form, and way of performing.

genre-m. A type or kind of musical work, such as opera, jazz, mariachi.

genre-t. A category of plays characterized by a particular style, form, and content (e.g., tragedy, comedy, tragicomedy, melodrama, farce). In electronic media, genre refers to categories of films, videos, and other media that share narrative and stylistic characteristics, such as the Western or gangster film and slapstick comedy.

geometric-v. Refers to shapes with uniformly straight or curved edges or surfaces.

gesture-t. An expressive movement of the body or limbs.

improvisation-d. Movement created spontaneously, ranging from free-form to highly structured, always including an impromptu element of chance.

improvisation-m. Spontaneous creation of music.

improvisation-t. A spontaneous style in which scenes are created without advance rehearsing or scripting.

informal theatre-t. A performance focusing on small presentations, such as one taking place in a classroom. Usually, it is not intended for public viewing.

linear perspective-v. A graphic system used by artists to create the illusion of depth and volume on a flat surface. The lines of buildings and other objects in a picture are slanted, making them appear to extend back into space.

locomotor-d. Movement progressing through space from one spot to another. Basic locomotor movements include walking, running, galloping, jumping, hopping, skipping, sliding, leaping.

medium-v. A material used to create an artwork.

melodic and rhythmic form-m. The organization and structure of a composition and the interrelationships of musical events within the overall structure.

melody-m. An organized sequence of single notes.

middle ground-v. The area in a two-dimensional work of art between the foreground and the background.

mood-v. The state of mind or feeling communicated in a work of art, frequently through color.

motivation-t. A character’s reason for his or her actions or words in a play, film, television program, or video.

movement-v. The principle of design dealing with the creation of actions. It is a way, implied or actual, of causing the eye of the viewer to travel within and across the boundary of a work of art.

movement problem-d. A specific focus or task that serves as a point of departure for exploring and composing, usually with particular criteria.

narrative-t. Sensory development that has a beginning, middle, and end.

negative-v. Refers to the shape or space that exists or represents an area unoccupied by an object.

notation-m. Written music indicating pitch and rhythm for performance.

one-point perspective-v. A means of illustrating three-dimensional objects on a two-dimensional surface. Lines appear to go away from the viewer and meet at a single point, known as the vanishing point, on the horizon.

organic-v. Refers to shapes or forms with irregular edges or to surfaces or objects resembling things in nature.

pantomime-t. Acting without words through facial expression, gesture, and movement.

pattern-v. Lines, shapes, and colors repeated in a variety of predictable combinations.

perspective-v. A system for representing on a two-dimensional surface three-dimensional objects viewed in spatial recession.

pitch-m. The location of a note as to whether it is high or low.

plot-t. That which happens in a story: the beginning, which involves the setting, the characters, and the problem they are facing; the middle, which tells how the characters work to solve the problem; and the ending, in which the problem is resolved.

primary colors-v. The painting pigments of red, yellow, and blue. From those pigments all paint colors are created. Magenta, cyan, and yellow are primary hues to create all other hues used in printing and new media.

rhythm-d. The organization or pattern of pulses or beats, metered or unmetered, involving music or sounds made by the human body; the dance pattern produced by the emphasis and duration of notes in music.

106

rhythm-m. The combination of long and short, even or uneven sounds that convey a sense of movement in time.

sculpture-v. A three-dimensional work of art, either in the round (to be viewed from all sides) or in bas-relief (low relief, in which figures protrude slightly from the background).

secondary colors-v. Colors that are mixtures of two primary hues: orange, made from red and yellow; green, made from yellow and blue: and violet, made from blue and red.

sequence-d. The order in which series of movements and shapes occurs.

setting-t. The locale of the action of a play.

shape-d. The positioning of the body in space: curved, straight, angular, twisted, symmetrical or asymmetrical.

shape-v. A two-dimensional area or plane that may be open or closed, free form or geometric, found in nature or made by humans.

space-d. The immediate, spherical space surrounding the body in all directions. Use of space includes shape, direction, path, range, and level of movement. Space is also the location of a performed dance.

space-v. The emptiness or area between, around, above, below, or within objects. Shapes and forms are defined by the space around and within them.

spatial-d. Of or relating to space or existing in space.

still life-v. An arrangement or a work of art showing a collection of inanimate objects.

subtractive-v. Refers to a sculpting method in which the original material is removed (the opposite of additive).

tableau-t. A silent, motionless depiction of a scene created by actors, often from a picture. The plural is tableaux.

tempo-m. The pace at which music moves according to the speed of the underlying beat.

theatre-t. (1) The imitation or representation of life performed for other people; the performance of dramatic literature; drama; the milieu of actors, technicians, and playwrights; the place where dramatic performances take place. (2) Art that is focused on the audience and includes such activities as acting, directing, designing, managing, and performing other technical tasks leading to formal or informal presentations.

theatrical conventions-t. The established techniques, practices, and devices unique to theatrical productions.

theatrical experience-t. Events, activities, and productions associated with theatre, film and video, and electronic media.

theatrical games-t. Noncompetitive games designed to develop acting skills. They were popularized by Viola Spolin.

three-dimensional-v. Having height, width, and depth. Also referred to as 3-D.

time-d. An element of dance involving rhythm, phrasing, tempo, accent, and duration. Time can be metered, as in music, or based on body rhythms, such as breath, emotions, and heartbeat.

tone-m. Multiple meanings: a sound of distinct pitch, quality, or duration; a musical note; the quality or character of a sound; the characteristic quality or timbre of a particular instrument or voice.

vanishing point-v. In perspective drawing a point at which receding lines seem to converge. Usually located on the horizon line.

volume-t. the degree of loudness or intensity of a voice.

107

Blank Templates

108

G

RAD

E CO

NTE

NT

INTE

GRA

TIO

N

TITL

E O

F LE

SSO

N

ESSE

NTI

AL

QU

ESTI

ON

IN

TEG

RATE

D S

TUD

ENT

OBJ

ECTI

VE

D

escr

ipto

rs

Art

Dis

cipl

ine

Inte

grat

ed D

isci

plin

e

Stan

dard

s

Stud

ent

Obj

ecti

ves

A

sses

smen

t

KEY

KNO

WLE

DG

E

Pr

ior

Know

ledg

e

New

Con

cept

s

N

ew V

ocab

ular

y

DA

NCE

109

SK

ILLS

P

rere

quis

ite

Skill

s

New

Ski

lls

MAT

ERIA

LS/R

ESO

URC

ES

PH

ASE

LE

SSO

NSt

uden

t En

gage

men

t

(5-1

0 m

inut

es)

Aest

heti

c Ex

plor

atio

n

(10

min

utes

) Cr

eati

ve E

xpre

ssio

n

(30

min

utes

)

Refl

ecti

on

(10

min

utes

)

Conn

ecti

ons

Ex

tens

ions

D

iffe

rent

iati

on

110

G

RAD

E CO

NTE

NT

INTE

GRA

TIO

N

TITL

E O

F LE

SSO

N

ESSE

NTI

AL

QU

ESTI

ON

IN

TEG

RATE

D S

TUD

ENT

OBJ

ECTI

VE

D

escr

ipto

rs

Art

Dis

cipl

ine

Inte

grat

ed D

isci

plin

e

Stan

dard

s

Stud

ent

Obj

ecti

ves

A

sses

smen

t

KEY

KNO

WLE

DG

E

Pr

ior

Know

ledg

e

New

Con

cept

s

N

ew V

ocab

ular

y

MU

SIC

111

SK

ILLS

P

rere

quis

ite

Skill

s

New

Ski

lls

MAT

ERIA

LS/R

ESO

URC

ES

PH

ASE

LE

SSO

N

War

m-u

p (

____

__m

inut

es)

N

ew C

once

pt (

____

__m

inut

es)

Revi

ew/A

pplic

atio

n (

____

__m

inut

es)

A

sses

smen

t (

____

__m

inut

es)

Cl

osin

g (

____

__m

inut

es)

Co

nnec

tion

s

Ex

tens

ions

D

iffe

rent

iati

on

112

G

RAD

E CO

NTE

NT

INTE

GRA

TIO

N

TITL

E O

F LE

SSO

N

ESSE

NTI

AL

QU

ESTI

ON

IN

TEG

RATE

D S

TUD

ENT

OBJ

ECTI

VE

D

escr

ipto

rs

Art

Dis

cipl

ine

Inte

grat

ed D

isci

plin

e

Stan

dard

s

Stud

ent

Obj

ecti

ves

A

sses

smen

t

KEY

KNO

WLE

DG

E

Pr

ior

Know

ledg

e

New

Con

cept

s

N

ew V

ocab

ular

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116

117

118

119

120