Maya’s Popping Words

Maya's Popping Words

MAYA'S POPPING WORDS

Learning Description

Using Maya Angelou’s poem, “I Love the Look of Words,” students will create gestural and full-body enactments of the poem and explore new and high-powered words.

 

Learning Targets

GRADE BAND: 4-5
CONTENT FOCUS: THEATRE & ELA
LESSON DOWNLOADS:

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"I Can" Statements

“I Can…”

  • I can think about words metaphorically and identify new and unfamiliar words.

Essential Questions

  • How and why do we expand our vocabulary with new words?

Georgia Standards

Curriculum Standards

Grade 4:

ELAGSE4RL4 Determine the meaning of words and phrases as they are used in a text, including those that allude to significant characters found in mythology (e.g., Herculean).

Grade 5:

ELAGSE5RL4 Determine the meaning of words and phrases as they are used ina text, including figurative language such as metaphors and similes.

Arts Standards

Grade 4:

TA4.PR.1 Act by communicating and sustaining roles in formal and informal environments.

Grade 5:

TA5.PR.1 Act by communicating and sustaining roles in formal and informal environments.

 

South Carolina Standards

Curriculum Standards

Grade 4:

ELA.4.AOR.8.1 Determine an author’s use of words and phrases in grade-level literary, informational, and multimedia texts: a. distinguish between literal and nonliteral meanings of words and phrases (e.g., take steps); b. explain the meaning of commonly occurring similes, metaphors, and idioms.

Grade 5:

ELA.5.AOR.8.1 Determine an author’s use of figurative and technical language in literary, informational, and multimedia texts: a. recognize and explain the meaning of figurative language, including similes and metaphors, in context.

Arts Standards

Anchor Standard 3:  I can act in improvised scenes and written scripts.

 

Key Vocabulary

Content Vocabulary

Metaphor - An implied comparison of unlike objects.

Simile - A comparison of unlike objects that uses ‘like’ or ‘as.’

Literal - Having a meaning that is exactly what the word or words say; the original meaning.

Figurative - Having a meaning that is not exactly what the word or words say, but that applies their original meaning in a different way.

Poem - A piece of writing in which the words are chosen for their beauty and sound and are carefully arranged, often in short lines that rhyme.

Arts Vocabulary

Voice - An actor’s tool, which we shape and change to portray the way a character speaks or sounds.

Body – An actor’s tool, which we shape and change to portray the way a character looks, walks, or moves.

Gesture - A specific physical movement, especially of the hands or arms, intended to convey meaning.

Act - To pretend to be or do something imaginary; bringing an idea or character to life.

Facial Expressions - Conveying thoughts and feelings through the face and eyes.

 

Materials

 

Instructional Design

Opening/Activating Strategy

Warm Up
Have students stand up and alternate between intervals of random sound and movement and intervals of stillness and silence:  5, 10, 15, 20 seconds (i.e., 5 seconds of random sound and movement, then 5 seconds of absolute stillness and silence, etc.).  Have students sit down to reflect on the feelings evoked by each.  “How does it feel to speak and move?  How does it feel to be silent for an extended period?  When in your life do you have to maintain silence?  Why?”  (Reflection can be with a partner, in a small group, or in the full group.)

 

Work Session

Connect the stillness and silence of the Warm-Up to the story of Maya Angelou, told selectively from information gleaned from the Poetry Foundation page (according to teacher comfort).  Suggested script:

“Maya Angelou was a famous poet.  She was an African-American woman born in 1928 in St. Louis, Missouri.  She would grow up to become the Poet Laureate, or the official poet, of the United States, and to earn many awards and honors.  She is also the first African-American woman to be pictured on a quarter.  But when she was 8 years old she stopped talking.  She had been mistreated by someone in her family, and she spoke up.  But she felt that speaking up had caused more trouble, including violence, and so she stopped speaking.  She remained mute for five years.  During that time, she read a lot, and developed a passion for reading and a love of words.  Many people tried to get her to speak, but none were successful until a teacher named Mrs. Flowers, when Maya was 12 ½, convinced her of the importance of the spoken word, and Maya began to speak again.  Maya Angelou died in 2014 at the age of 86.”

(Note:  Teacher should become familiar with the story of Angelou’s childhood.  There are some details that are not appropriate for sharing in the classroom; teacher should be prepared to answer any questions that may arise.)

  • Introduce, or review, the difference between literal and figurative language, and the definitions of metaphor and simile.
  • Introduce the poem, “I Love the Look of Words,” by Maya Angelou.  Read it at least twice:  teacher reads it through once, then the class reads it through all together.
  • Discuss the dominant metaphor in the poem.  What two unlike things is Angelou comparing to each other?  How does this metaphor convey her feelings about her subject?  How do you respond to this metaphor?  What other similes and metaphors are found in the poem?  
  • First enactment:  Enact the poem with gestures.  
    • Drama instruction:  Define and discuss gestures as physical movements used to convey meaning.  
  • Define and discuss facial expression as the way we convey thoughts and feelings with our faces.  
  • Define and discuss enactment as the process of bringing something to life through acting.
  • First model with the opening three lines, using gesture and facial expression to represent the “popcorn,” “popping from the floor,” the “hot black skillet,” and “into my mouth.”  Then brainstorm gestures, facial expressions, and actions for the remainder of the poem.  Have students stand and enact the gestures as the teacher does a full reading of the poem.
  • Second enactment: Enact the poem with full body movement.  
    • Brainstorm ways to use the body to become both the leaping popcorn and the leaping words.  
    • Explore with the students ways to express phrases like “sliding into my brain,” “the words stay stuck,” “the weight of ideas,” and “the tracks of new thinking.”  
    • Have students stand and enact the full-body interpretation of the poem as the teacher does a full reading.
  • Third enactment: Enact the poem with “popping words.”  
    • Brainstorm new and interesting words with the students:  these can be vocabulary words, words they have encountered through their own reading, interests or conversations, or unfamiliar words they have heard that they are curious about.  
  • Final read-through:  Either the teacher reads, or the teacher assigns groups to read sections.  As the poem is being read, those not reading become words popping up randomly (e.g., “Armistice!”  “Melancholy!”  “Obtuse!” “Thermodynamic!” etc.), leaping up and speaking the words with energy and clarity.  

Drama instruction:  thinking about Angelou’s love of words, have students explore speaking their words with different feelings, altered voices, dialects, pitches, varying volume and pace, etc.

  • Reflect on the different processes.  “How did we bring the poem to life?  Which actions – gestures, facial expressions, full-body movements, popping words - did you feel best represented Maya Angelou’s purpose in writing the poem? How do you relate to this poem now?”
  • Distribute the Popcorn Box template.  Have students cut out the pieces and build the popcorn box.  Have students use dictionaries or other reference materials (in hand or online) to find interesting, unfamiliar words – words that were not used in the enactment - to write on the popcorn pieces; then have them crumble the pieces and put them in the popcorn box.  Use the boxes in pairs, small groups, or full class to explore new words.

 

Closing Reflection

Ask students, “How did we use our voices and bodies to bring the poem to life?”  “How did we creatively interpret the similes and metaphors in the poem?”  “How did we convey the theme of the poem?”  “How do you think Maya Angelou might have felt observing our lesson today?”

 

Assessments

Formative

  • Note students’ responses in discussion of silence and movement.
  • Note students’ understanding of metaphors and similes through their citing of examples from the poem.
  • Observe students’ use of body, voice, and facial expression in the enacted readings of the poem.

 

Summative

Assessment instrument – questionnaire:

Questions

  1. What is a metaphor?
  2. What is a simile?
  3. What is the central metaphor of “I Love the Look of Words”?
  4. Describe one way in which you enacted a phrase or section of the poem.
  5. List three of the words you wrote on your popcorn.
  6. Tell one interesting fact you learned about Maya Angelou.

 

Answers

  1. An implied comparison of two unlike objects.
  2. A comparison of unlike objects using ‘like’ or ‘as’.
  3. Words = popcorn
  4. Possibly, “I used my hands to be the popping popcorn,” “I leapt in the air and shouted new words,” “I chomped with my teeth,” “I pretended to smell the butter on my fingers,” “I ran like I was on a track of new thinking,” etc.
  5. (student choice)
  6. Possibly:  She was the chief poet of the U.S., she stopped speaking as a child, a teacher got her to speak again, she won many awards, her picture is on a quarter, etc.

 

Differentiation

Acceleration

  • Assign groups to independently develop gestural or full-body enactments of sections of the poem, to present to the class.
  • Instruct students to follow up with a writing exercise, creating a short piece that includes all of the new words they wrote on their pieces of popcorn.  Have them read their written pieces with expression.

Remediation

  • Plan out the gestural and full-body enactments ahead of time, to be less dependent on brainstorming and student input.
  • Do leaping and popping more simply, in a seated position, or with a specific gesture of the arms alone, rather than with full body.
  • Brainstorm as a class a list of unfamiliar, interesting words, and write them on a board, for the students to use in the third enactment of popping words.

Additional Resources

*This integrated lesson provides differentiated ideas and activities for educators that are aligned to a sampling of standards. Standards referenced at the time of publishing may differ based on each state’s adoption of new standards.

Ideas contributed by: Barry Stewart Mann

Revised and copyright: February 2023 @ ArtsNOW

Grades 4-8:
Light and Sound

VISUAL ARTS

Light & Sound

Description

In this program, we investigated Light and Sound through STEM activities, visual art, music, and dance.

 

Learning Targets

“I Can…”

  • Explain reflection and refraction.
  • Explain how pixels work together to give off colors.
  • Describe how sound waves move and how frequency is related to the sound an object produces..
  • Show how lighting and sound affects a piece of choreography.
  • Demonstrated how transparent, translucent, and opaque work together in visual art.

Essential Questions

  • How can I obtain, evaluate, and communicate information about the nature of light and how light interacts with objects?
  • How can I obtain, evaluate, and communicate information about how sound is produced and changed and how sound and/ or light can be used to communicate?
  • How can I develop and use a model to compare and contrast how light and sound waves are reflected, refracted, or absorbed through various materials?
  • How can I develop and use a model to illustrate how transparent, translucent, and opaque materials work in relation to light?

Curriculum Standards

S4P1. Obtain, evaluate, and communicate information about the nature of light and how light interacts with objects.

 

  1. Plan and carry out investigations to observe and record how light interacts with various materials to classify them as opaque, transparent, or translucent.
  2. Plan and carry out investigations to describe the path light travels from a light source to a mirror and how it is reflected by the mirror using different angles.
  3. Plan and carry out an investigation utilizing everyday materials to explore examples of when light is refracted. (Clarification statement: Everyday materials could include prisms, eyeglasses, and a glass of water.

S4P2. Obtain, evaluate, and communicate information about how sound is produced and changed and how sound and/or light can be used to communicate.

 

  1. Plan and carry out an investigation utilizing everyday objects to produce sound and predict the effects of changing the strength or speed of vibrations.
  2. Design and construct a device to communicate across a distance using light and/or sound.

S8P4. Obtain, evaluate, and communicate information to support the claim that electromagnetic (light) waves behave differently than mechanical (sound) waves.

 

  1. Develop and use a model to compare and contrast how light and sound waves are reflected, refracted, absorbed, diffracted or transmitted through various materials. (Clarification statement: Include echo and how color is seen but do not cover interference and scattering.)

 

Arts Standards

VA4.CR.1 Engage in the creative process to generate and visualize ideas by using subject matter and symbols to communicate meaning.

VA4.CR.2 Create works of art based on selected themes.

VA4.CN.3 Develop life skills through the study and production of art (e.g. collaboration, creativity, critical thinking, communication).

VA5.PR.1 Plan and participate in appropriate exhibition(s) of works of art to develop the identity of self as artist.

VA5.CN.3 Develop life skills through the study and production of art (e.g. collaboration, creativity, critical thinking, communication).

VA6.CR.1 Visualize and generate ideas for creating works of art.

VA6.CR.3 Engage in an array of processes, media, techniques, and/or technology through experimentation, practice, and persistence.

VA6.CR.6 Keep an ongoing visual and verbal record to explore and develop works of art.

VA6.PR.1 Plan, prepare, and present completed works of art.

VA7.CR.1 Visualize and generate ideas for creating works of art.

VA7.CR.2 Choose from a range of materials and/or methods of traditional and contemporary artistic practices to plan and create works of art.

VA7.CR.3 Engage in an array of processes, media, techniques, and/or technology through experimentation, practice, and persistence.

VA7.PR.1 Plan, prepare, and present completed works of art

VA8.CR.1 Visualize and generate ideas for creating works of art.

VA8.CR.2 Choose from a range of materials and/or methods of traditional and contemporary artistic practices to plan and create works of art.

VA8.CR.3 Engage in an array of processes, media, techniques, and/or technology through experimentation, practice, and persistence.

ESD4.CR.1 Demonstrate an understanding of the choreographic process.

ESD4.CR.2 Demonstrate an understanding of dance as a form of communication.

ESD4.PR.4 Understand and apply music concepts to dance.

ESD4.CN.3 Integrate dance into other areas of knowledge.

ESD5.CR.1 Demonstrate an understanding of the choreographic process.

ESD5.PR.2 Understand and model dance etiquette as a classroom participant, performer, and observer.

ESD5.PR.4 Understand and apply music concepts to dance. a. Demonstrate and create movement in response to a variety of musical selections. b. Demonstrate musicality while performing dance phrases.

ESD5.RE.1 Demonstrate critical and creative thinking in dance.

MSD.PR.4 Understand and apply music concepts to dance.

MSD.RE.1 Demonstrate critical and creative thinking in dance.

MSD.CR.2 Demonstrate an understanding of dance as a form of communication.

MSD.CN.3 Demonstrate an understanding of dance as it relates to other areas of knowledge.

ESGM4.CR.1a. Improvise rhythmic question and answer phrases using a variety of sound sources.

ESGM4.PR.2a. Perform rhythmic patterns with body percussion and a variety of instruments using appropriate technique.

EESGM4.RE.1c. Identify and classify (e.g. families, ensembles) classroom, orchestral, American folk, and world instruments by sight and sound.

ESGM4.CN.1b. Discuss connections between music and disciplines outside the fine arts.

ESGM5.CR.1 Improvise rhythmic phrases.

ESGM5.PR.2a. Perform rhythmic patterns with body percussion and a variety of instruments using appropriate technique.

ESGM5.RE.1b. Describe music using appropriate vocabulary (e.g. fortissimo/pianissimo, presto/largo/moderato/allegro/adagio, legato/staccato, major/minor), intervals (e.g. step, skip, repeat, leap), timbre adjectives (e.g. dark/bright), and texture (e.g. unison/harmony).

ESGM5.RE.1c. Identify and classify (e.g. families, ensembles) classroom, orchestral, American folk and world instruments by sight and sound.

ESGM5.CN.1b. Discuss connections between music and disciplines outside the fine arts

MSGM6.RE.1a. Recognize and describe musical events in an aural example using appropriate musical terminology

MSGM7.CR.1b. Improvise simple rhythmic and melodic variations

MSGM7.RE.1a. Recognize and describe musical events in an aural example using appropriate musical terminology

MSGM8.CR.1b. Improvise melodic embellishments and simple rhythmic and melodic variations.

MSGM8.RE.1a. Recognize and describe musical events in an aural example using appropriate musical terminology

 

Content Vocabulary

  • Reflection: the throwing back by a body or surface of light, heat, or sound without absorbing it.
  • Refraction: A change of direction that light undergoes by passing obliquely through one medium.
  • Sound: vibrations that travel through the air or another medium and can be heard when they reach a person's or animal's ear.
  • Sound waves: a vibration of waves by which sound is projected.
  • Pitch: the quality of a sound governed by the rate of vibrations producing it.
  • Frequency: the number of occurrences of a repeating event per unit of time
  • Pixel: an area of illumination on a display screen, many pixels compose an image.
  • Digit: any of the numerals from 0 to 9.
  • Digital: a series of the digits 0 and 1 represented by values of a physical quantity such as voltage.
  • Additive color theory: starts without light (black) and light sources of various wavelengths combine to make a color.
  • Subtractive color theory: starts with light (white), colored inks, paints, or filters between the light source subtract wave lengths from the light, give it color.
  • Binary code: a coding system using the binary digits 0 and 1 to represent a letter, digit, or other character in a computer or other electronic device.
  • Bits: a unit of information expressed as either a 0 or 1 in binary notation.
  • RGB code: the RGB color model is an additive color model in which red, green, and blue light are added together in various ways to reproduce a broad array of colors.
  • Electric circuit: a path in which electrons from a voltage or current source flow.
  • Conductor: a material that transmits heat, electricity, or sound.
  • Insulator: a substance which does not allow the full passage of heat or sound.
  • Open circuit: an electrical circuit that is not complete.
  • Closed circuit: an electrical circuit that is complete.

Arts Vocabulary

  • Opaque: not able to be seen through; not transparent.
  • Transparent: allowing light to pass through so that objects behind can be distinctly seen.
  • Translucent: allowing light, but not detailed shapes, to pass through; semitransparent.
  • Literal movement: Movements that show exact meaning and actions.
  • Abstract movement: symbolic movement.
  • Choreography: the sequence of steps and movements in dance
  • Levels of Dance (low, middle, high): The three levels in dance movement are high, middle and low.
  • Percussive: This refers to a quality of movement characterized by sharp starts and stops; staccato jabs of energy.
  • Rhythm: a strong, regular, repeated pattern of movement or sound.
  • Mood: atmosphere that evokes certain feelings or vibes
  • Pitch: highness or lowness of sound.
  • Timbre: distinctive quality of sounds; the tone color or special sound that makes one instrument or voice sound different from another.

Materials

Materials Provided by Teachers

  • Two Plastic Bottles (approximately 12-16 oz in size)
  • Masking Tape (one roll)
  • Foil (1-2 foil sheets or approximately one foot from a roll)
  • Teaspoon of Uncooked Rice
  • Five rubber bands
  • Ziplock baggies to package materials for students
  • Lamination Pocket, laminated (cut one piece in half, students need ½ apiece)
  • Grid paper
  • One Small Bottle of Food Coloring
  • Alka Seltzer (one tablet per student)
  • Four LED lights
  • Two Coin Battery per student
  • One Bottle of Liquid Glue per student
  • One Piece of Cardstock
  • Journal
  • Pencil
  • Markers
  • CD
  • Flashlight
  • Watercolor paint
  • Watercolor paper
  • Clear tape
  • Kaleidoscope Kit
  • Colored paper (three half-sheets of assorted colors)
  • Plastic sheets (three half-sheets of assorted colors, you may cut plastic notebook dividers for these)
  • One Roll of Plastic tape

Materials Students Provided at Home

  • Large Box
  • Scissors
  • Bowl
  • Saran Wrap
  • Objects from around the house (tissue boxes, toilet paper tubes, etc.)
  • Salt
  • Newspaper (to protect surfaces)
  • Vegetable oil
  • Shaker Object (pack of tic tacs or bottle of sprinkles, etc.)
  • Grocery Bag

Activating Strategy (5-10 min)

Day 1 AM Session:

  • Introduce Light Refraction with Jar & Pencil Activity
    • Fill a clear container with water.
    • Tell the students you will be placing the pencil in the water.
    • Ask the first question.
    • Place the pencil in the water.
    • Give students a few moments to make observations.
  • Ask the following questions:
    • What do you think is going to happen?
    • What do you observe?
    • What do you believe is causing the “bent/ split” pencil illusion?
    • Introduce the word refraction

Day 1 PM Session:

  • Review the Light Box Magic STEM challenge from the morning session and allow students to discuss their observations/ discoveries
    • How the amount of light in the box may change with different amounts of water, different time of day, blocking the top side of the bottle, etc?
    • Light Box Example
  • Investigate the CD with reflections of light using house lighting and the flashlight provided
    • Possible questions to ask: What shapes and colors do you see in the rainbow?  What do you notice when you use two CDs? What do you notice when you put the flashlight close to the CD?
    • How does the CD act as a prism?
    • Allow students to write their observations in their journals.
    • Investigating Light

 

Day 2 AM Session:

  • Ask students the following questions to prompt discussions verbally or in the chat
    • What do you think of when you hear the word sound?
    • What do you think of when you hear the word waves?
  • Discuss that sound is made of vibrations and invisible soundwaves
  • Demonstrate and have students complete dancing sprinkles/ rice activity at the same time to demonstrate how you can “see” soundwaves
  • Sound Waves Example
  • Discuss how sound waves travel, how vibrations are recognized as different sounds, and how the size and shape of the sound waves determine the kind of sound heard.
  • Review various musical instruments, homemade and traditional. Have students compare and predict sounds of these instruments and how the sounds (vibrations) were created.
  • Have students find a way to create sound using objects around them and improvise an 8-beat pattern using that object.
  • Have students create an 8-beat pattern and repeat it. Add to YouTube backing track.

Day 2 PM Session:

  • Students will share their instruments they created after the morning STEM challenge.  Play eight beats of music together as a group/ class.
  • Discuss as a class the following questions
    • What is a shadow?
    • How might artists use shadows?
    • Possible answers: to make things look more realistic, to add depth, etc
  • Find a shadow in your house and spend five minutes sketching the object and its shadow in your journal with a pencil.

 

Day 3 AM Session:

  • Review shadow sculptures from the end of Day 2
  • Introduce how sound is related to dance
  • Students will watch a clip from Broadway’s STOMP to get students thinking about how sound is used in dance.  Video: STOMP - Established in 1994 NYC
    • Ask students what common household instruments they see in the video.

Day 3 PM Session:

  • View images of Yayoi Kusama’s work.  Students will discuss in chat what they observe/ notice about her work. (mirrors, reflections, infinity rooms, duplicates, etc)
  • What makes her work unique?
  • What themes do you notice?

 

Day 4 AM Session:

  • Introduction to vocabulary words transparent, translucent, and opaque by making a lava lamp. Possible questions to ask:
    • After pouring the water and oil into the glass, what do you believe is going to happen when food coloring is added? Will it mix with the water, oil, or both?
    • What do you observe when you initially add the food coloring?
    • If you continue to add food coloring to the water, will the water stay transparent or translucent?
  • Example

Day 4 PM Session:

  • Briefly discuss what an electric circuit is and what materials are used/needed to make a complete (closed) circuit
  • Show students how to use a coin battery to illuminate a LED light
  • STEM Challenge: LED Glue/ Salt Circuit
    • Gather materials: half piece of cardstock, coin battery, LED light, glue, salt and tray/ paper plate to work over
    • Fold the corner of your paper up to make a “switch”
    • “Draw” a line using glue from the folded corner of the paper and then towards the edge.  Be generous with the glue
    • Skip a space for your LED and continue your glue line back near the folded corner
    • add your LED to the space making sure the “legs” are in the glue
    • sprinkle a good layer of salt on the glue.  Lift the paper and dump the extra salt on the tray
    • When it is dry, use the coin cell battery to try and light up your LED
    • **The salt circuit is not a very strong circuit. The light will be dim. You may try paper circuits with copper tape for a brighter light.

Example

Main Activity

Day 1 AM Session: 

  • Students were introduced to the concept of light refraction during the activating strategy.
  • Students watched a video “Liter of Light” to be inspired by how light refraction is being used in 3rd World countries to reduce electricity costs for families.
  • Students STEM activity was to create a way to light up a “room” using light refractions.
  • Teachers demonstrated how to create a Light Box to demonstrate this concept.
  • Step 1: Gather your materials
  • Step 2: Fill your bottles with water (Add a few drops of food coloring if you want!)
  • Step 3: Trace the bottom of the bottles on the top of the box and carefully (and with a parent/older siblings help) cut holes.  Put tinfoil on the top of the box, covering the holes. Poke a hole in the foil over the open. This will help the light reflect into the bottles.
  • Step 4: Carefully (and with a parent/older siblings help) cut a hole in the side of the box to look inside.  We recommend cutting a smaller window or just eye holes.
  • Step 5: Push bottles into holes and look in the viewing window.
  • Example

Adapted from: https://www.trueaimeducation.com/light-box-magic/

  • Teachers demonstrated the relationship between colors and math (seeing the numbers in digital media). The following topics were discussed:
    • What does the word digital mean?
    • Pixels-comparing LED & LCD close up images of digital screens
    • Additive Color Theory vs Subtractive Color Theory
    • Teacher demonstrates a “large scale pixel” by using three lights (red, green, and blue bulbs)
    • Discuss how every pixel has three parts (red component, green component, and blue component)
    • Discuss how each pixel receives three digital (mathematical) signals--one signal for how much red light, how much green light, and how much blue light
    • Discussion of how number values in ColorMath are based on binary code
    • 8-bit Color: An RGB Code has 3 values (256 possible red values, 256 green values, and 256 blue values)
    • Presentation
  • Students can create their own digital art using https://paintz.app

Day 1 PM Session:

  • Students experimented with a flashlight and CD in the activating strategy.
  • After completing the investigation, instruct students trace the CD on a piece of watercolor paper
  • Students will use markers to draw the “lines/ rainbows” created by the flashlight against the CD.  Students may use their paint brush to paint water on top of the marker to use as a watercolor option (water of the washable markers acts like watercolor.
  • Students may then use the watercolor paint to paint outside of the CD showing what shapes and angles they see when observing the reflection of light against the CD
  • Allow approximately 10-15 minutes for students to paint their observations followed by a share out

Examples:

Day 2 AM Session: 

  • After introducing sound and soundwaves in the activating strategy, introduce the vocabulary word pitch.  You may do this by playing different sounds on an instrument
  • Show students a variety of instruments (these may be real instruments or instruments created from household/ classroom objects
  • Example
  • Allow students to find an object to create an instrument out of to play a beat (for example: pencil and water bottle make a drum, using spices/ sprinkles as a shaker)
    • using the instrument they create, play 8 beats together (all playing one note at the same time) followed by 8 beats of 8 counts of a beat of their choice
    • you may do this a few times to allow students to experiment with their instrument
  • STEM Challenge: Create & build your own musical instrument using household items (rubber bands, rice, toilet paper/ paper towel rolls, etc.)
    • students will share out their instruments and play music together at the beginning of their afternoon session

Day 2 PM Session: 

  • After sharing instruments and introducing shadows in the activating strategy, allow students to look at images of shadows made by sculptures
  • Show clip video of (time 1:40-4:00): Tim Noble & Sue Webster, NO - Exhibition & Limited Editions
  • Students are challenged with the task of creating a sculpture with household items that will create an interesting shadow.

 

Day 3 AM Session: 

  • After reviewing shadow sculptures and dance clip in the activating strategy, discuss the following:
    • STOMP is performed in theaters, but it is not a play, musical, or opera. It is not theater in the traditional sense of the word. There is no speech, dialogue or plot. However, it does have two characteristics of traditional theater: mime and characterization. Each performer has an individual character which is distinct from the others. These characters are brought out through the mime and dance in the show.
    • The entire show is highly choreographed, interweaving dance into all its aspects. In STOMP, there is a symbiotic relationship between dance and music. The music is created within the dance, but the dance itself is dependent on the music for its rhythm and character. STOMP shows a true marriage of movement and music, where both create and enhance each other.
  • Show second video: How To STOMP: Hands & Feet
    • Play the video a second time and ask students to mimic the dance moves taught in the video.  You may need to replay the video to allow
  • Show third video: How to STOMP: Bags
    • Ask students to create their own rhythm using bags from their house and share out
  • Show fourth video: How to STOMP: Breath Mints
    • Ask students to repeat the rhythm taught using something they can shake from their house (breath mints, spices, sprinkles, etc.)
  • Show fifth video: STOMP Pancakes 1 #StompAtHome
  • Think about all the different ways you made sound and the different ways you saw sound made in the STOMP videos.
    • Why do you think the different props made different sounds?
    • Challenge: Create your own STOMP inspired choreography using found sound.
  • Clip
  • STEM Challenge: Create Your Own Hologram
    • Follow directions of how to make a trapezoid pattern (see picture)
    • Cut out the pattern and trace four trapezoids on your clear plastic sheet
    • Cut out the four trapezoids and tape together four of the perpendicular lines to create a square pyramid.
    • Place your finished hologram on top of the video playing on your device
    • Example 1, Example 2

Day 3 PM Session:

  • After introducing Kusama’s work and discussing reflections, have students build their kaleidoscope using the kaleidoscope kit.
  • Allow students time to investigate and place different objects in the kaleidoscope to see how it appears.

Ask students to sketch what they see in their kaleidoscope in their journals

Day 4 AM Session:

  • Discuss a Lighting Director’s role in dance and show Mark Stanley: Lighting the New York City Ballet
    • Discuss how light gives character to dance and creates the mood
    • Light can also do the following: create space, intensity, shapes, shadows, dimensions, etc.
  • Discuss “What is mood? What are examples?”
    • Possible answers: mood is a literary element that evokes certain feelings or vibes in readers, but can be used the same way in dance
    • Examples of moods:  cheerful, reflective, gloomy, humorous, melancholy, whimsical, romantic, mysterious, ominous, calm, lighthearted, hopeful, angry, fearful, tense
  • Discuss “How can you create mood with lights?”
    • colors (how they mix), shadows (what will happen when things are in front of the lights), angle, intensity, movement of light, layers of light, etc.
  • Watch the following video clips and discuss what you believe the mood is and how did the lighting help create the mood?
  • Dance Challenge: Think about how lighting affected the mood in the various performances and complete the following steps:
    • 1. Pick a mood (for example: cheerful)
    • 2. Create a movement phrase that matches your mood.
    • 3. Are there any adjustments you can make to the lighting in your space to match the mood of your choreography?  Example: brighter lights, dimmer, lights, use shadows, colored light, light coming in at a different angle, light movement.

Day 4 PM Session:

  • After introducing circuits and completing LED salt/ glue circuit, show video clip of Tom Fruin’s work and allow students to type their observations in the chat
  • Ask students, “What do you need to make a shadow?”
    • Possible answers: light source, an object to block the sun, an opaque object, etc.
    • Why are some of the shadows in Tom Fruin’s work different colors?
    • Discuss transparent, translucent and opaque materials and how each respond to light.
  • Sculpture Challenge: Make a 3D sculpture incorporating transparent, translucent and opaque materials inspired by Tom Fruin’s work.

Here are some snippets of student work throughout the week: VIDEO

Reflection Questions

  • What colors did you feel worked together and why?
  • What challenges did you have during this process?
  • What tools worked best for your process and why?

 

TECHNOLOGY INTEGRATION (Include technology that is integrated directly into the project. Ex: apps, websites for research, virtual field trips, mystery skype calls, etc..)

 

Google Meet

Google Classroom

Virtual STEM + Arts Summer Camp Slideshow

Student Activity Slideshow

Visual Arts Slideshow

https://musiclab.chromeexperiments.com/Sound-Waves/

Video: Liter of Light

Light Magic Box Website

https://Paintz.app

Video (timestamp 1:40-4:00): Tim Noble & Sue Webster, NO - Exhibition & Limited Editions

Video: STOMP - Established in 1994 NYC

Video: How To STOMP: Hands & Feet

Video: How to STOMP: Bags

Video: How to STOMP: Breath Mints

Video: STOMP Pancakes 1 #StompAtHome

Video: Fireworks Hologram Video

Video: Mark Stanley: Lighting the New York City Ballet

Video: Houston Ballet-Reveal-Garrett Smith Choreography

Video: “Ounce of Faith” | Trailer | Alvin Ailey American Dance Theater

Video: Trailer - IN Cognito Full Piece Premiere

Video: Tom Fruin’s Large-Scale Sculptures, Icons of Brooklyn’s Public Spaces

https://www.youtube.com/watch?v=85ZptB9kgaM&t=344s

Grades 4-5:
Exploring Color

Exploring Color, Shape and Form

Visual Arts Component - Exploring Color, Shape and Form

Description

In this program, we will explore color, shape, and form through explorations of 2d and 3d projects. Students will gain a deeper understanding of how these elements work together to help an artist create their compositions. Students will look closely at the work of American artist Jen Stark.

Learning Targets

“I Can…”

  • Create a 3-D form with 2-D materials.
  • explore the relationship between shape and form to create a composition.
  • Explore chemical and physical changes with heat.

Essential Questions

  • How do we use color, shape and form to create 2d and 3d compositions?

Curriculum Standards

MGSE4.G.1 Draw points, lines, line segments, rays, angles (right, acute, obtuse), and perpendicular and parallel lines. Identify these in two-dimensional figures.

MGSE4.G.3 Recognize a line of symmetry for a two-dimensional figure as a line across the figure such that the figure can be folded along the line into matching parts. Identify line-symmetric figures and draw lines of symmetry.

MGSE5.G.3 Understand that attributes belonging to a category of two-dimensional figures also belong to all subcategories of that category. For example, all rectangles have four right angles and squares are rectangles, so all squares have four right angles.

S5P1. Obtain, evaluate, and communicate information to explain the differences between a physical change and a chemical change.

Arts Standards

VA4.CR.3 Understand and apply media, techniques, processes, and concepts of two dimensional art.

VA4.CR.4 Understand and apply media, techniques, processes, and concepts of three dimensional art.

VA5.CR.3 Understand and apply media, techniques, processes, and concepts of two dimensional art.

VA5.CR.4 Understand and apply media, techniques, processes, and concepts of three dimensional works of art.

Content Vocabulary

  • Gravity - the force that attracts a body toward the center of the earth, or toward any other physical body having mass.
  • 3-Dimensional Shape - a three-dimensional shape can be defined as a solid figure or an object or shape that has three dimensions – length, width and height.
  • Edges - the outside limit of an object, area, or surface; a place or part farthest away from the center of something.
  • Vertices - The common endpoint of two or more rays or line segments.
  • Faces - In any geometric solid that is composed of flat surfaces, each flat surface is called a face.
  • Surface Area - The surface area of a solid object is a measure of the total area that the surface of the object occupies.
  • Flow - formalizes the idea of the motion of particles in a fluid.

Arts Vocabulary

  • Primary - are basic colors that can be mixed together to produce other colors. They are usually considered to be red, yellow and blue.
  • Secondary - a color resulting from the mixing of two primary colors.
  • Composition - the arrangement of elements within a work of art.
  • Pattern - an underlying structure that organizes surfaces or structures in a consistent, regular manner. Patterns can be described as a repeating unit of shape or form.

Formative Assessment

  • Daily student process reflections.

Summative Assessment

  • Artist statements discussing the themes present in all of their pieces created over the session.

Materials

Activating Strategy (5-10 min)

Students looked closely at the art of American Artist Jen Stark. We watched a video of Stark discussing her process.

Main Activity

PROCESS:

Day 1:

We discussed  the color wheel and basic color theory, including warm and cool colors. Students explored what kind of shapes would create the illusion of movement or drips.

Students used illustration markers to create a repeating pattern inspired by the work of Stark.

Day 2:

We watched a video of Jen Stark’s animations and discussed the relationship between the animations and music.

https://www.youtube.com/watch?v=svakc8t1UYY and created a self portrait photograph incorporating Stark’s art.

We looked closely at Jen Stark’s relief sculptures. Students used colorful cardstock to explore relief sculpture.

Day 3:

We explored  material movement in a new way. Students created relief sculptures with crayons on canvas. They predicted how the wax of the crayon might move and change if heated.

They used heat guns to melt the wax. We discussed physical and chemical changes and states of matter.

Classroom Tips:

Set the classroom up in stations. Most students will be working on 2d and 3d compositions. This limits the number of students using heat guns. We had 2 heat gun stations. They were monitored by an adult at all times.

Reflection Questions

  1. How did you use color and pattern to create variety in your drip composition?
  2. How did you create 3d forms with paper?
  3. How did heat and position change your relief sculpture?

Differentiation

BELOW GRADE LEVEL:

  • Provide a piece of paper with the first “drip”. Students will fill in the rest of the composition.
  • Use pre cut shapes for collage or sculpture building.

ABOVE GRADE LEVEL:

  • Encourage students to work larger and collaboratively on the drip illustration.
  • Set a height perimeter for the cardstock relief sculpture, encouraging students to use measuring tools and piece together paper to reach the required height.

EL STUDENTS:

  • Demonstrate each hands on technique before students begin their work.

Credits

Shannon Green

Module 5:
Chemical & Physical Changes

CHEMICAL & PHYSICAL CHANGES

Chemical & Physical Changes

Module Description

In this series of STEAM activities, students will engage in a variety of art forms exploring both physical and chemical changes. One activity will require that students use their bodies and movement to personify and dramatize physical or chemical changes. They will create a 2-part moving picture and dialogue to support their dramatization. Another activity in this module will use the visual arts process of indigo dyeing to help students apply their understanding of chemical and physical changes as they go through the various steps of dyeing fabric.


Learning Targets

“I Can…”

  • Use my body and movement to dramatize the changes of an object involved in chemical or physical change
  • Create a 2-part tableau and incorporate dialogue that helps communicate the story and my understanding of chemical and physical changes
  • Use art materials to engage in the artistic process of indigo dyeing
  • Differentiate between which steps in the visual arts process were physical changes versus chemical changes
  • Justify my artistic choices using my knowledge of both physical and chemical changes

Essential Questions

  • How can theatre and visual arts strategies be used to create works of art that assess students’ understanding of what constitutes a physical change versus a chemical change?
  • How can moving through two tableaux be used to dramatize materials as they undergo physical or chemical changes?
  • How can the artistic process of indigo dyeing be used to model and classify both physical and chemical changes?

Curriculum Standards

GA Performance Standards:

S5P2. Students will explain the difference between a physical change and a chemical change.

  1. Investigate physical changes by separating mixtures and manipulating (cutting, tearing, folding) paper to demonstrate examples of physical change.
  2. Recognize that the changes in state of water (water vapor/steam, liquid, ice) are due to temperature differences and are examples of physical change.
  3. Investigate the properties of a substance before, during, and after a chemical reaction to find evidence of change.

National Standards:

NS.5-8.2 PHYSICAL SCIENCE As a result of their activities in grades 5-8, all students should develop an understanding of properties and changes of properties in matter.

Arts Standards

GA Performance Standards:

TAES5.3 Acting by developing, communicating, and sustaining roles within a variety of situations and environments.

VA5PR.1 Creates artworks based on personal experience and selected themes.

  1. Produces artworks emphasizing one or more elements of art (e.g. color, line shape form, texture).
  2. Combines materials in new and inventive ways to make a finished work of art.

National Standards:

Theatre Arts Standard 2: Acting, assuming roles and interacting in improvisations.

Standard 5: Researching by finding information to support classroom dramatizations.

Visual Arts Standard 1: Generate and conceptualize artistic ideas and works.

Content Vocabulary

  • Physical change: A change from one state of matter to another without a change in chemical composition
  • Chemical change: A change that produces one or more new substances and may release energy
  • State of matter: The distinct forms that different phases of matter take on: solid, liquid, gas and plasma
  • Substance: A type of matter that has a unique set of properties
  • Material: Relating to, derived from or consisting of matter
  • Heat: The movement of thermal energy from one place to another
  • Reversible change: A change that can be undone; often called a physical or temporary change
  • Irreversible change: A process that is not reversible

Arts Vocabulary

Theatre Arts

  • Tableau: A “living picture” in which actors pose and freeze in the manner of a picture or a photograph
  • Dialogue: A conversation between two or more persons
  • Scenario: The outline of action in a play
  • Thought-tracking: Drama technique in which individuals participating in tableau, or members of the class observing a tableau, are invited to speak the thoughts or feelings of a portrayed character aloud

Visual Arts

  • Indigo dye: An organic compound with a distinctive blue color. Historically, indigo was a natural dye extracted from plants, and this process was important economically because blue dyes were once rare. A large percentage of indigo dye produced today – several thousand tons each year – is synthetic. It is the blue often associated with blue jeans.
  • Indican: The compound that yields indigo blue, is a glycoside: a sugar (in this case a form of glucose) bound to another molecule, indoxyl. When the glycosidic bond is broken, the indoxyl is freed. When the indoxyl compound is oxidised, it becomes blue: indigo blue.
  • Shibori: A Japanese manual resist dyeing technique, which produces patterns on fabric.

Formative Assessment

  • Tableau Preparation Sheet (see Downloads)
  • Indigo Dyeing Chart (see Downloads)
  • Observations of students in the artistic process (rehearsing, performing, visual arts process)

Summative Assessment

  • Final performance of Chemical/ Physical Change with movement and dialogue
  • Indigo Dyeing Chart (see Downloads)

Materials

Theatre Arts:

  • Anchor Charts: Chemical/Physical Changes (see Downloads)
  • Tableau Preparation Sheet (see Downloads)
  • Suggested Prompts for Dramatization of Chemical & Physical Changes (see Downloads)
  • Markers
  • Index Cards
  • Pencils

Visual Arts:

Theatre Arts - Activating Strategy

  • Introduce the art form of Tableau with a warm-up: Silent Tableau
  • Students will form small groups. Groups will be asked to form various shapes within their groups silently. (Ex: circle, crescent moon, diamond)
  • Go over the Principles of Tableau (see Downloads: Anchor Charts-Chemical & Physical Changes)
  • Groups will then be asked to form various scenarios within their groups silently. Dialogue will be added into the silent scenes through thought-tracking. Groups will practice forming 2-part tableaux of a particular scenario.
    • Examples: On a picnic and it begins to rain; students are playing with a ball in the living room until someone hits a lamp and it breaks; group of friends wait to yell “surprise” for a surprise birthday party

Theatre Arts - Main Activity

  • Review the Science Concept: Physical vs. Chemical Changes
    • Model by tearing up a piece of paper. Ask class if this was a physical or a chemical change. As a class, create an anchor chart that lists the characteristics that classify a physical vs. a chemical change. (see Downloads: Anchor Charts-Chemical & Physical Changes, slide #2)
  • Divide class into small groups and assign a particular chemical or physical change on an index card. (see Downloads: Suggested Prompts for Dramatization of Chemical & Physical Changes)
  • Groups will discuss their change and determine together whether it is physical or chemical.
  • Then they will form a 2-part dramatization of the scenario undergoing the change. The two tableaux will dramatize how the change occurred and the cause and effect of the change.
  • Direct students to use the Tableau Preparation Sheet (see Downloads) to help with the next step.
  • In each scenario, students will create dialogue that helps support the type of change that occurred.
  • After the groups have had time to rehearse, groups share out their tableaux in a non-formal class performance. The goal is for the audience to be able to determine the materials that changed and whether it was a physical or chemical change based on the performance.

Classroom Tips:

  • Use cueing methods when directing tableaux in your classroom: “3-2-1- Freeze” and “Actor’s Neutral.”
  • Make your expectations for the tableau science task explicit and go over these before the group work begins. Write them up so that students can refer back to them if they need to during their group working time.

Visual Arts - Activating Strategy (5-10 min)

  • Review physical and chemical changes.
  • Introduce students to the Art of Shibori with images.
  • Shibori is a technique that results in both physical and chemical changes.

Visual Arts - Main Activity

This activity can be done in small groups or as a whole class.
Hand out the physical and chemical changes checklist. Students may complete this individually or in pairs. Students will complete the checklist during the process.

  • Fill a bucket with 4 gallons of water.
  • Add the thiox and soda ash to the water while stirring.
  • Add the reduced indigo.
  • Stir in a clockwise motion until indigo is dissolved, reverse the direction and place the lid on the bucket.
  • Let indigo sit for 20 minutes.
  • Demonstrate shibori folding techniques. Students should fold their cloth and bind to create a resist.
  • Remove lid from the indigo vat and remove the frothy bloom. The bloom is the result of oxygen leaving the vat.
  • Now the vat is ready for dyeing.
  • Put on rubber gloves.
  • Dip our fabric bundle into clean water and wring out.
  • Hold your bundle under the surface of the indigo vat, massaging the dye into the fabric for 1 minute.
  • Remove your bundle, notice the physical characteristics of the bundle.
  • It should be a yellow color that changes from green to blue as it oxidises.
  • The bundle may be dipped multiple times to obtain a deep blue color.
  • Allow the bundle to sit for 10 minutes.
  • Rinse under water.
  • Unbind your bundle and admire your design.
  • Hang to dry.

Reflective Strategies

  • How did engaging in the arts support and build upon your understanding of chemical and physical changes?
  • How did this STEAM activity help you understand chemical and physical changes in the world around you?
  • If you were to go through this artistic process again, what would you do differently? Why?

Additional Resources & Extension Activities

Extensions:

  • Ask students to predict their shibori pattern based on their folding technique.
  • Compare the predictions and final product.

Technology Extension

  • During the student performances of the tableau, digital pictures or video should be taken for integration on a final group presentation of a Thinglink (https://www.thinglink.com/). The class will work in groups to create a Thinglink example of their physical or chemical change. They may link their digital pictures or videos to a place in the artwork. Other content to include on the Thinglink should be the definition of the physical or chemical change, other examples of the physical or chemical change, why the change is important, and a definition of a tableau.
  • Technology Resources Thinglink https://www.thinglink.com (also available as an App for Android and iOS Devices)

Appendix

Grade 5:
Classy Classification of Artsy Animals

CLASSY CLASSIFICATION OF ARTSY ANIMALS

Grade 5: Classy Classification of Animals

Unit Description

In this unit, students will be exploring different methods of modeling animal classification using the arts. They will incorporate methods of visual arts, playwriting, and performing. There will be multiple opportunities for students to engage creatively and collaborate with peers.

Unit Essential Question

How can analyzing animal attributes in the animal classification system help us to understand their role in the ecosystem?

Real World Context

Scientists study and classify animals to gain a better understanding of their needs. Humans are classified as animals, and all animals are interdependent. Scientists need to understand animals to deal with issues such as endangered species, sickness, etc. Classification is important in general because it helps us to organize the world around us and draw meaningful conclusions about groups of things.

Cross-Cutting Interdisciplinary Concepts

Classifying

Projects

Project 1: Create-a-Critter
In this project, students will explore animal attributes by becoming inventive and creating a one-of-a-kind critter using the art technique of “exquisite corpse”.
The synthesis of knowledge of animal classification in this visual way is both engaging and memorable. Students will write a description of their critter detailing the characteristics of each animal group they integrated into their design. Students will name their animal and present their animal to the class via a “Wanted” poster.

Project 2: Playing with Animals
In this project, students will write a fictional play around the premise of a zookeeper trying to solve the problem of “the zoo just received several new animals and no one knows where each animal belongs”. The play will incorporate science content that will demonstrate student knowledge of animal classification. Students will also create 3-D masks to represent the animals in their play. To culminate this project, students will dramatize their play to an audience in order to express the inner workings of the animal classification system.

Project Essential Questions

PROJECT 1:

  • How can I apply my knowledge of animal classification to create a new critter using the “exquisite corpse” technique?

PROJECT 2:

  • How can I develop a play that illustrates how animals are sorted into groups?
  • How can I create a visual artwork that clearly articulates the characteristics of vertebrates?
  • How can dramatizing a play help me to communicate and model scientific concepts?

Standards

Curriculum Standards

S5L1. Obtain, evaluate, and communicate information to group organisms using scientific classification procedures.

  1. Develop a model that illustrates how animals are sorted into groups (vertebrate and invertebrate) and how vertebrates are sorted into groups (fish, amphibian, reptile, bird, and mammal) using data from multiple sources.

ELACC5W3: Write narratives to develop real or imagined experiences or events using effective technique, descriptive details, and clear event sequences.

ELACC5W4: Produce clear and coherent writing in which the development and organization are appropriate to task, purpose, and audience. (Grade-specific expectations for writing types are defined in Standards 1–3 above.)

ELAGSE5SL1: Engage effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grade 5 topics and texts, building on others’ ideas and expressing their own clearly.

Arts Standards

VA5MC.1 Engages in the creative process to generate and visualize ideas.

VA5PR.1 Creates artworks based on personal experience and selected themes.

VA5PR.2 Understands and applies media, techniques, and processes of two-dimensional art processes (drawing, painting, printmaking, mixed-media) using tools and materials in a safe and appropriate manner to develop skills.

VA5PR.3 Understands and applies media, techniques, and processes of three-dimensional works of art (e.g., ceramics, sculpture, crafts, mixed- media) using tools and materials in a safe and appropriate manner to develop skills.

  1. Creates 3-D artwork that demonstrates a design concept: open or closed form, proportion, balance, color scheme, and movement.

TAES5.2 Developing scripts through improvisation and other theatrical methods

  1. Uses a playwriting process (e.g., pre-write/pre-play; prepare to write/plan dramatization; write; dramatize; reflect and edit; re-write/play; publish/perform)
  2. Applies dramatic elements such as plot, point of view conflict, resolution, and significant events, in creating scripts
  3. Creates an organizing structure appropriate for purpose, audience and context

TAES5.3 Acting by developing, communicating, and sustaining roles within a variety of situations and environments

  1. Uses vocal elements such as inflection, pitch, and volume, to communicate the thoughts, emotions, and actions of a character
  2. Uses body and stage movement to communicate the thoughts, emotions, and actions of a character
  3. Uses imagination to make artistic choices in portraying characters
  4. Collaborates with an ensemble to create theatre
  5. Dramatizes literature and original scripts through various dramatic forms such as pantomime, process drama, puppetry, improvisation, plays, and readers’ theatre

Materials to be Purchased for this Unit

  • Rigid Wrap (plaster mesh)
  • small pans (for water for mesh wrap)
  • white face mask
  • tissue paper
  • feathers
  • faux animal fur sheets(or a bolt)
  • mesh netting
  • metallic paper(fish scales)
  • metallic paint(glossy finish to amphibian)
  • acrylic paint
  • safari hat for Zookeeper
  • GarageBand App
  • DoInk Greenscreen App
  • Textured plates
  • Art sticks

Character Education

Components
After completion of the “Playing with Animals” activity, the class can share the play with a first grade class and complete the reflection activity.

Character Attributes Addressed During Unit

  • Cooperation
  • Collaboration
  • Respect for Others

Partnering With Fine Arts Teachers

Visual Arts Teacher:

  • Mask making – helping with the making of the mask

Summative Assessments

  • Pre/ Post Test
  • Project 1 Rubric
  • Project 2 Rubric (Task A, B, & C)

Appendix (See Additional Resources)

  • Pretest/Post Test

Credits

Sarah Weiss, Virginia Diederich, Abby Hernandez, Edited by Jessica Espinoza, Edited by Dr. Carla Cohen

Create-a-Critter

Description

In this project, students will explore animal attributes by becoming inventive and creating a one-of-a-kind critter using the art technique of “exquisite corpse”.

The synthesis of knowledge of animal classification in this visual way is both engaging and memorable. Students will write a description of their critter detailing the characteristics of each animal group they integrated into their design. Students will name their animal and present their animal to the class via a “Wanted” poster.

Learning Targets

“I Can…”

  • Create a critter that integrates three different animal parts
  • Create an original name for my critter based upon the attributes
  • Create a “Wanted” poster for my unique critter that describes its animal characteristics

Essential Questions

  • How can I apply my knowledge of animal classification to create a new critter using the “exquisite corpse” technique?

Curriculum Standards

S5L1. Obtain, evaluate, and communicate information to group organisms using scientific classification procedures.

  1. Develop a model that illustrates how animals are sorted into groups (vertebrate and invertebrate) and how vertebrates are sorted into groups (fish, amphibian, reptile, bird, and mammal) using data from multiple sources.

ELACC5W3: Write narratives to develop real or imagined experiences or events using effective technique, descriptive details, and clear event sequences.

ELACC5W4: Produce clear and coherent writing in which the development and organization are appropriate to task, purpose, and audience. (Grade-specific expectations for writing types are defined in Standards 1–3 above.)

Arts Standards

VA5MC.1 Engages in the creative process to generate and visualize ideas.

VA5PR.1 Creates artworks based on personal experience and selected themes.

VA5PR.2 Understands and applies media, techniques, and processes of two-dimensional art processes (drawing, painting, printmaking, mixed-media) using tools and materials in a safe and appropriate manner to develop skills.

VA5PR.3 Understands and applies media, techniques, and processes of three-dimensional works of art (e.g., ceramics, sculpture, crafts, mixed- media) using tools and materials in a safe and appropriate manner to develop skills.

  1. Creates 3-D artwork that demonstrates a design concept: open or closed form, proportion, balance, color scheme, and movement.

Content Vocabulary

  • Vertebrate
  • Invertebrate
  • Mammal
  • Amphibian
  • Fish
  • Bird
  • Reptile
  • Insect
  • Classify
  • Group
  • Characteristics
  • Attribute
  • Similarities
  • Differences
  • Organism
  • Backbone
  • Warm-blooded
  • Cold-blooded
  • Reproduce

Arts Vocabulary

  • Surrealism: a 20th-century avant-garde movement in art and literature that sought to release the creative potential of the unconscious mind, for example by the irrational juxtaposition of images
  • Andre Breton: a Surrealist artist
  • Exquisite Corpse: a method by which a collection of words or images is collectively assembled (much like a collage)
  • Line: curves or marks that span a distance between two points
  • Texture: the feel, appearance, or consistency of a surface
  • Shape: the form of an object or its external boundary, outline, or external surface, as opposed to other properties such as color, texture or material composition
  • Space: any area that an artist provides for a particular purpose, this includes the background, foreground and middleground, and the distances or around, between, and within things
  • Subject Matter: the topic dealt with or the subject represented in a work of art

Technology Integration

Formative Assessment

  • Class discussion
  • Teacher should check in with small groups as they work on their critter
  • Questioning

Summative Assessment

  • Project Rubric for the “Wanted Poster”

Materials

  • Drawing paper
  • Paper and pencil
  • Textured plates
  • Art sticks
  • Black extra fine Sharpie markers
  • Examples of exquisite corpse drawings

Activating Strategy (5-10 min)

  • Show examples of exquisite corpse drawings (SEE DOWNLOADS)
  • Review characteristics/attributes of each vertebrate subgroup (bird, fish, mammal, amphibian, reptile)
  • Review procedures of working with groups and time constraints for the activity

Main Activity

Part 1:

  • Students will fold paper so that there are three vertical sections.
  • Each student will roll a die. They will draw the body part according to the number they roll:
    • 1= bird
    • 2 = fish
    • 3 = mammal
    • 4 = amphibian
    • 5 = reptile
    • 6 = invertebrate
  • After the first roll, student will draw the head of an example of that sub group. (e.g, if the teacher names mammal, the student could draw the head of a dog) on the top section.
  • After a specified amount of time, the student will fold the paper so that only the middle section is showing and pass to the next student. The students will again roll the die, and draw the torso of an animal that represents that sub group.
  • After a specified amount of time, the student will fold the paper so that only the bottom section is showing and pass to the next student. The students will again roll the die and draw the bottom (feet, tail) of an animal that represents that sub group.
  • The last student in the group will open the paper to reveal the three sections.

Part 2:

  • The student will take the created critter and develop a name for the critter using all three of the animals in the picture.
  • The student can now outline with Sharpies if desired, add color and an environmental background for the critter.
  • Each section of the critter should be finished using a different texture plate and art sticks (for example, the head could be one texture and one color, torso could be a different texture and color, etc.)
  • This paper can then be turned into a “wanted poster”. The student can write a description using some characteristics of all of the animal parts. (e.g. Be on the lookout for a missing “ligerdile” (lion, tiger, crocodile) that has escaped. It has fur, is warm blooded and might be near the eggs it laid. It was last seen…..)

Classroom Tips:

  • The teacher might want to have the student monitor each other so that they do not draw the same animal on the paper, even if they draw the same group.
  • Encourage students to consider placement and size of each body part; center each part; draw large enough to show texture and details, etc.
  • The teacher should emphasize that while the drawing does not have to be realistic, it should include enough detail to show characteristics of the vertebrate group.

Reflection Questions

  • From using the exquisite corpse technique, what did we learn about animal classification?
  • How realistic was this; does this sort of cross-breeding happen in real ecosystems? Can we brainstorm some examples of this?
  • What sort of adaptations could we envision these critters having? How would these help them survive in their ecosystem?

Differentiation

Below Grade Level: Students will be provided with different pictures of invertebrates and vertebrates cut up into 3 sections (The head, torso, and legs). They will create a creature by gluing down the parts of the pictures. Student will roll a dice. They will paste down the body parts according to the number they roll:

  • 1= bird
  • 2 = fish
  • 3 = mammal
  • 4 = amphibian
  • 5 = reptile
  • 6 = invertebrate

EL Students:

Writing Accommodations:

ELP Level 1-2: Label critter’s characteristics directly on the poster using a word bank provided by the teacher. Picture and first language support should be used as needed for unknown vocabulary.

ELP Level 3-4: Students may type their critter descriptions in OneNote using the “Dictate” feature. Students can then copy the description to their poster. (OneNote>Learning Tools Add-in>Dictate)

ELP Level 5-6: Write a longer description including how their critter’s characteristics contribute to their ideal habitat.

Additional Resources

Appendix

  • Rubric for “Wanted” poster

Credits

Playing with Animals

Description

In this project, students will write a fictional play around the premise of a zookeeper trying to solve the problem of “the zoo just received several new animals and no one knows where each animal belongs”. The play will incorporate science content that will demonstrate student knowledge of animal classification. Students will also create 3-D masks to represent the animals in their play. To culminate this project, students will dramatize their play to an audience in order to express the inner workings of the animal classification system.

Learning Targets

“I Can…”

  • Write a play that illustrates how animals are sorted into groups: invertebrates, vertebrates and subgroups (mammals, fish, birds, reptiles, amphibians)
  • Create a 3-D animal mask that demonstrates multiple design concepts
  • Dramatize a play by developing, communicating, and sustaining a role within the script

Essential Questions

  • How can I develop a play that illustrates how animals are sorted into groups?
  • How can I create a visual artwork that clearly articulates the characteristics of vertebrates?
  • How can dramatizing a play help me to communicate and model scientific concepts?

Curriculum Standards

S5L1. Obtain, evaluate, and communicate information to group organisms using scientific classification procedures.

  1. Develop a model that illustrates how animals are sorted into groups (vertebrate and invertebrate) and how vertebrates are sorted into groups (fish, amphibian, reptile, bird, and mammal) using data from multiple sources.

ELACC5W3: Write narratives to develop real or imagined experiences or events using effective technique, descriptive details, and clear event sequences.

ELACC5W4: Produce clear and coherent writing in which the development and organization are appropriate to task, purpose, and audience. (Grade-specific expectations for writing types are defined in Standards 1–3 above.)

ELAGSE5SL1: Engage effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grade 5 topics and texts, building on others’ ideas and expressing their own clearly.

Arts Standards

TAES5.2 Developing scripts through improvisation and other theatrical methods

  1. Uses a playwriting process (e.g., pre-write/pre-play; prepare to write/plan dramatization; write; dramatize; reflect and edit; re-write/play; publish/perform)
  2. Applies dramatic elements such as plot, point of view conflict, resolution, and significant events, in creating scripts
  3. Creates an organizing structure appropriate for purpose, audience and context

TAES5.3 Acting by developing, communicating, and sustaining roles within a variety of situations and environments

  1. Uses vocal elements such as inflection, pitch, and volume, to communicate the thoughts, emotions, and actions of a character
  2. Uses body and stage movement to communicate the thoughts, emotions, and actions of a character
  3. Uses imagination to make artistic choices in portraying characters
  4. Collaborates with an ensemble to create theatre
  5. Dramatizes literature and original scripts through various dramatic forms such as pantomime, process drama, puppetry, improvisation, plays, and readers’ theatre

Content Vocabulary

  • Vertebrate
  • Invertebrate
  • Mammal
  • Amphibian
  • Fish
  • Bird
  • Reptile
  • Insect
  • Classify
  • Group
  • Characteristics
  • Attribute
  • Similarities
  • Differences
  • Organism
  • Backbone
  • Warm-blooded
  • Cold-blooded
  • Reproduce

Arts Vocabulary

Vistual Art

  • Henri Rousseau: French post-impressionist painter in the Primitive manner. His subject matter was often ecosystems.
  • Three Dimensional: having or appearing to have length, breadth, and depth
  • Media: tools and materials used to create the art
  • Relief Sculpture: a technique where the sculpted elements remain attached to a solid background of the same material
  • Armature: skeleton for a sculpture
  • Subject Matter: things represented in artwork
  • Texture: surface quality of an object
  • Balance: Symmetrical equal portions along an axis

Theatre

  • Theater: play writing and performance
  • Character: specified role
  • Collaboration: people working together
  • Dialogue: conversation between characters
  • Playwright: person who writes a play
  • Setting: place of action
  • Concentration: ability to stay “in character”
  • Ensemble: all parts taken together
  • Stage blocking: where each character moves onstage

Technology Integration

The following technology integrations are meant to either replace the live play performance or to be used as an extension to the project. These are both green screen video presentation options.

Formative Assessment

  • Teacher Timeline Checklist (SEE DOWNLOADS)
  • Checking in with students as they are playwriting and creating their masks
  • Questioning during activities

Summative Assessment

  • Project 2 Rubric (SEE DOWNLOAD)
  • Task A; Play writing
  • Task B: Mask
  • Task C: Performance

Materials

Mask-making:

  • Rigid Wrap (plaster mesh)
  • small pans (for water for mesh wrap)
  • large sponge or cloth to wipe hands on while working
  • white face mask
  • newspaper or paper towel, masking tape (for armature)
  • tissue paper
  • feathers
  • faux animal fur sheets(or a bolt)
  • mesh netting
  • metallic paper(fish scales)
  • metallic paint(glossy finish to amphibian)
  • glue
  • acrylic paint

Play Performance:

  • Zookeeper hat

Activating Strategy (5-10 min)

  • Teacher will lead students in a “Story Chain” activity with pantomime when applicable.
  • This activity may work best with groups no larger than 6-7. (It is preferred that these groups be the same groups students will work in for the remainder of the project)
  • The “Story Chain” activity begins with a one line prompt. This can come from the teacher or from a student. An example could be, “Pat walks into a forest.”
  • Another student will add the next ONE sentence detail to the story, making sure to remain in 3rd person, as well as relate to the details mentioned before. For example, “Pat walks into a forest. Pat hears birds chirping.” This is not a good example, “Pat walks into a forest. Pat sees a dolphin jumping out of the ocean.” This is not a good example because you would not see a dolphin in the middle of a forest.
  • As a student shares their one sentence detail, they will pantomime the verb(s) within the sentence.
  • The activity continues with each student in the group adding a new detail to the story, making sure to remain in 3rd person, as well as relate to the details previously mentioned.
  • The goal of this activity is to get students listening to each other (they will have to do this when they collaboratively write their play), making ideas connect (their individual animal descriptions/details must connect within their play), and moving in ways related to what they are saying (in the play they will have to perform in the role they have chosen).
  • Disclaimer: Students can take the story in any direction they like; however, they just need to make sure the details lead them there. For instance, “Pat walks into a forest. Pat hears birds chirping. Now Pat is walking on the planet Pluto.” It is okay for Pat to end up on Pluto, the students just need to provide the details of how Pat gets there.

Main Activity

Part 1:
Writing the Play

  • If not done already from the activating activity, the teacher will place students into groups of 6-7 (group of 7 will have an added animal group of invertebrate).
  • Teacher will preview Theater (play writing) vocabulary with class (character, collaboration, dialogue, playwright, setting)
  • Students will pick roles: zoo keeper (narrator), mammal, bird, reptile, amphibian, fish (optional invertebrate).
  • Each group will compose a rough draft of their play. To begin, each student within the group will write at least 4 lines for the play that includes at least three characteristics of the vertebrate sub group they chose to portray (i.e., mammal, bird, etc.). The zookeeper should write questions to ask each “animal” character in order to help classify each animal. The zookeeper will need to work closely with each animal to ensure the zookeeper’s questions are answered by each animal. The zookeeper needs to be sure to “assign” each animal to a particular group in the zoo (which will be either the mammal group, bird group, reptile group, etc.)
  • The zookeeper can really take on a fun role by including the audience in the dialogue of the play. For instance, as the zookeeper discovers attributes of each animal he/she can ask the audience “yes or no” questions like “Hmmm, this animal has feathers. Does it belong in the amphibian group? etc.)
  • As a group, students will decide the order the characters will appear and compose the final script.
  • Teacher will formatively assess students during the writing process using the attached “Teacher Checklist” to ensure students remain on task. At the completion of the play writing, the teacher will use “Task A” rubric to summatively assess the written portion of the play.

Part 2:
Constructing the Mask
*Explore option of collaborating with art teacher to support time constraints; i.e., the art teacher has students create the plaster mask base in art class.

  • The teacher will briefly introduce the history, use, terminology and design concepts of masks being taught within this lesson (Relief sculpture, armature, balance) by viewing the following websites: www.thatartistwoman.org and www.hosmerart.blogspot.com. 5th grade plaster masks
  • https://www.youtube.com/watch?v=1yI6vxANnHg video on making a plaster mask on face form
  • Students will design a mask of their selected animal using the PDF paper template attached. Students will plan the color, shape, texture, and armature(s) (extensions) of the mask.
  • At this point, hopefully the teacher is able to get students to construct the plaster mask within art class. If not, the teacher will need to instruct students on the plaster mask process.

Plaster Mask Process (using Rigid Wrap material)

  • Give each student a plastic mask template.
  • show youtube video on using plaster strips
  • Cut the Rigid Wrap into strips (approx.. 2” wide, length is dependent on style of mask); smaller pieces for certain areas.
  • Students can build the armature off the base mask to create features such as horns, fins, ears, snouts, etc. using newspaper, paper towels and masking tape
  • Once the form has been built, students may begin the plaster process.
  • Dip the Rigid Wrap strip into warm water until it begins to soften and then place on the mask form.
  • Smooth with finger.
  • Continue to layer the strips and overlap until the mask form has been covered.
  • Allow to dry overnight.

Part 3:

  • After the plaster masks are dry, students will use paint, glue, and texture materials to decorate mask. Students will include appropriate media for their selected animal (faux fur for mammal, mesh netting for reptile or fish, feathers for bird, metallic paper or paint for amphibian).
  • Teacher will formatively assess during the process of Day 2 and 3 using the “Teacher Checklist” attached and will also summatively assess using the “Task B” rubric attached.

Part 4: Dramatizing the Play

  • On day 4, each group will need to rehearse its play, focusing on individual volume, tone, and character concentration. Groups will also need to focus on the ensemble and stage blocking of each character to ensure group collaboration.

Part 5:

  • Each group will dramatize the play for an audience.
  • Teacher will summatively assess using the attached “Task C” rubric.

Classroom Tips:

  • Allow adequate time for the creative process. (The unit duration is 3-5 days; however, portions of the project could be left out or extended as the teacher sees fit.)
  • On the plaster mask creating day, prepare the classroom for easy clean up by covering tables and desks with butcher paper or newspaper. Have towels available for spills and for students to wipe hands at the conclusion of activity.
  • On the play dramatization day, create a “stage” area at the front of the classroom to provide students a designated area to perform. It is suggested to also create an area for the audience.

Reflection Questions

  • How did the dramatization help you model the classification of animals?
  • How did creating the animal mask help you understand the characteristics/attributes of your animal group?
  • How did writing your character’s role in the group’s play help you communicate the characteristics/attributes of your animal group?
  • Is there anything about your group’s project you would like to change in order to make better?
  • Name 1 “glow” and 1 “grow” for your personal contribution to your group’s performance.

Differentiation

Below Grade Level: Provide students with an example of an animal with the characteristics of both invertebrates and vertebrates. Direct students to act out each animal sound. Limit the audience size for students reluctant to perform for a large group.

Above Grade Level: Provide students with the opportunity to include animal adaptation in the storyline of their script. Also let them consider writing an epilogue to their play. This would include writing about what happens to the characters “after” the story is resolved.

Additional Resources

  • “Goodnight Gorilla” by Peggy Rathmann (could also be used as an activating activity)
  • www.thatartistwoman.org – plaster masks
  • www.hosmerart.blogspot.com – plaster masks 5th grade
  • Classes could pair with 1st grade classes to perform plays. At the conclusion of performances, 5th grade students can pair with 1st grade students to complete reflection questions.
  • For an extension of this particular project, technology can be incorporated in many ways.  One way that technology can be incorporated is by using the apps of Dolnk, or Touchcast. These apps are green screen apps that the students can use to create and produce backgrounds if they chose not to perform the play production in a live setting.  The students will record using an iPad or mobile device and the production can then be played back for other students at a later time.

Appendix

  • Rubric for this project
  • Mask Template
  • Teacher Checklist

Credits

Grade 5: Classy Classification of Animals

Additional Resources

Books

  • Goodnight Gorilla by Peggy Rathmann

Websites
The teacher will play a song about animal classification found on YouTube.
https://www.youtube.com/watch?v=Ya-7JsIna2E (the actual song begins at 2:10; however, there is relative information in the first two minutes)

Quavermusic.com – for music

Exquisite Corpse - http://www.lacma.org/sites/default/files/DrawingLessonPlans.pdf

Animal masks - www.thatartistwoman.org

Animal masks - www.hosmerart.blogspot.com