Moving with Mathematics 2-3

MOVING WITH MATHEMATICS

MOVING WITH MATHEMATICS

Learning Description

In this lesson, students will explore the concepts of fractions by creating dances using locomotor and non-locomotor movements.

 

Learning Targets

GRADE BAND: 2-3
CONTENT FOCUS: DANCE AND MATH
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can choreograph dances that match mathematical and movement criteria.

  • I can correctly solve math problems involving fractions. 

  • I can identify the fraction and movement type in performances.

Essential Questions

  • How can movement and choreography enhance understanding of fractions?

 

Georgia Standards

Curriculum Standards

Grade 3: 

3.NR.4: Represent fractions with denominators of 2, 3, 4, 6 and 8 in multiple ways within a framework using visual models.

Arts Standards

Grade 3: 

ESD3.CR.1 Demonstrate an understanding of the choreographic process.

 

ESD3.CR.2 Demonstrate an understanding of dance as a form of communication.

 

ESD3.PR.1 Identify and demonstrate movement elements, skills, and terminology in dance

 

ESD3.RE.1 Demonstrate critical and creative thinking in dance.

 

South Carolina Standards

Curriculum Standards

3.NSF.1 Develop an understanding of fractions (i.e., denominators 2, 3, 4, 6, 8, 10) as numbers. 

  1. A fraction (called a unit fraction) is the quantity formed by one part when a whole is partitioned into equal parts; b. A fraction is the quantity formed by parts of size. A fraction is a number that can be represented on a number line based on counts of a unit fraction; d. A fraction can be represented using set, area, and linear models.

 

3.NSF.2 Explain fraction equivalence (i.e., denominators 2, 3, 4, 6, 8, 10) by demonstrating an understanding that: 

  1. two fractions are equal if they are the same size, based on the same whole, or at the same point on a number line; b. fraction equivalence can be represented using set, area, and linear models; c. whole numbers can be written as fractions (e.g., 4 = 4 / 1 and 1 = 4 / 4 ); d. fractions with the same numerator or same denominator can be compared by reasoning about their size based on the same whole.

Arts Standards

Anchor Standard 1: I can use movement exploration to discover and create artistic ideas and works.

 

Anchor Standard 2: I can choreograph a dance.

 

Anchor Standard 3: I can perform movements using the dance elements.

Anchor Standard 7: I can relate dance to other arts disciplines, content areas, and careers.

 

 

Key Vocabulary

Content Vocabulary

  • Fraction - A number representing part of a whole

  • Numerator - Represents the number of parts out of the whole that are being considered
  • Denominator - Represents the total parts of something

Arts Vocabulary

  • Choreographer - A person who creates dances

  • Beat - Basic unit of musical time; can be heard as a regular pulse underlying music
  • Dance composition/choreography - Creating the movements in dances
  • Chassé - A gliding dance step with a pattern of step-together-step
  • Locomotor - A movement that travels through space
  • Non-locomotor - A movement that does not travel through space
  • Pathway - The designs traced on the floor as a dancer travels across space; the designs traced in the air as a dancer moves various body parts

 

Materials

  • Sound source and music
  • Paper and pencils
  • Written criteria for choreography on cards

 

Instructional Design

Opening/Activating Strateg

  • Begin the lesson by engaging students in movement that introduces students to the locomotor and non-locomotor movement.
  • Have students arrange themselves in a circle with enough personal space to move freely without touching a neighbor.
    • Turn on instrumental music with a steady beat.
  • First, have students bring awareness to their bodies by leading them through gentle stretches starting from the head and moving to the toes (e.g., head circles, shoulder shrugs, toe touches, etc.).
  • Introduce non-locomotor movements to students by directing them in the following movements.
    • Bending and Stretching: Bend the knees and stretch up high.
    • Twisting: Twist the torso to the left and right.
    • Swinging: Swing the arms gently from side to side.
    • Swaying: Sway the body from side to side with feet planted.
    • Turning: Spin in place, both directions.
    • Invite students to create their own movement.
  • Introduce non-locomotor movements to students by directing them in the following movements.
    • Walking: Walk around the room with different styles (tiptoeing, heel walking, big steps, small steps).
    • Jumping: Jump in place, then move forward and backward.
    • Chassé: Step-together-step by gliding.
    • Invite students to create their own movement.
  • Combine locomotor and non-locomotor movements.
    • Traveling with Twists: Walk across the room while twisting the torso.
    • Sway and slide: Sway the upper body while sliding sideways across the room.
    • Step and turn: Take three steps forward, then turn in place (repeat, moving in different directions).
    • Invite students to create their own movement.
  • Debrief the difference between locomotor and non-locomotor movements with students. Check for understanding by stating different types of movements and see if students can identify which type of movement it is.

 

Work Session

  • Tell students that in this lesson they will be using locomotor and non-locomotor movements to choreograph a dance that they will perform for the class. 
  • Turn on music and help students find the steady beat by walking in place.
    • Now, count the beats into eight beat sections. 
    • Have students count the eight beats along with you. 
    • Practice adding some locomotor and non-locomotor movements as you complete the eight count.
  • Divide the sections into fractions (i.e., ½ of eight beats is four beats, ¼ of eight beats is two beats, ¾ of four beats, ¼ of four beats, etc).
    • Guide students in choreographing a dance in which ½ uses locomotor movements and ½ uses non-locomotor movements. Help students think about the different patterns they could use to arrange movements.
  • Break students into groups and pass out cards with criteria on them.
    • Students will create a movement sequence or dance using the learned movements from the warm-up (or movements that they create) and the criteria assigned to them.

Closing Reflection

  • The students will perform their choreography for their classmates. Discuss appropriate audience participation and etiquette prior to performances.
  • After each group performs, the audience will identify the fractions that the group illustrated using locomotor and non-locomotor movements.

 

Assessments

Formative

Teachers will assess students’ learning by observing students’ ability to identify locomotor and non-locomotor movements in the activator, understanding of fractions, and collaboration with their groups to choreograph a dance based on fractions that uses locomotor and non-locomotor movements.

 

Summative

CHECKLIST

  • Students can choreograph dances that correctly match mathematical and movement criteria (fractions and locomotor/non-locomotor movements). 
  • Students can identify the fraction and movement type being performed.

 

 

DIFFERENTIATION 

Acceleration: 

  • Challenge students by incorporating other types of dance elements such as levels.
  • Have students write their own math problem and choreograph a dance based on their problem.

Remediation: 

  • Scaffold the lesson by analyzing a math problem and choreographing a dance together that correctly matches the fractions to locomotor and non-locomotor movements.
  • Have students all use the same mathematical criteria. Solve the problem together as a class and then have students choreograph their dances.

Ideas contributed by: Melissa Dittmar-Joy. Updated by Katy Betts.

Revised and copyright: June 2024 @ ArtsNOW

 

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Counting with Cups 2-3

COUNTING WITH CUPS

COUNTING WITH CUPS

Learning Description

Help students recognize and cultivate creative and critical thinking using various activities that connect math and music! Consider valuable curriculum connections that assist in the development of problem solving skills through fun and engaging learning experiences.

 

Learning Targets

GRADE BAND: 2-3
CONTENT FOCUS: MUSIC & MATH
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can identify, speak, and move to a steady beat.
  • I can demonstrate understanding of mathematical concepts, such as patterns, odd and even numbers, addition, fractions and multiplication through music.
  • I can compose and notate music.
  • I can explain how I used math to create my musical composition.

Essential Questions

  • How can connecting math and music aid students in their problem solving abilities and cultivate creative and critical thinking?

 

Georgia Standards

Curriculum Standards

Grade 2: 

2.NR.3.1Determine whether a group (up to 20) has an odd or even number of objects. Write an equation to express an even number as a sum of two equal addends.

2.PAR.4.1 Identify, describe, and create a numerical pattern resulting from repeating an operation such as addition and subtraction.

 

Grade 3: 

3.PAR.3.1 Describe, extend, and create numeric patterns related to multiplication. Make predictions related to the patterns.

3.PAR.3.2 Represent single digit multiplication and division facts using a variety of strategies. Explain the relationship between multiplication and division.

3.NR.4.1 Describe a unit fraction and explain how multiple copies of a unit fraction form a non-unit fraction. Use parts of a whole, parts of a set, points on a number line, distances on a number line and area models.

 

Arts Standards

Grade 2:

ESGM2.CR.1 Improvise melodies, variations, and accompaniments.

ESGM2.CR.2 Compose and arrange music within specified guidelines.

ESGM2.PR.2 Perform a varied repertoire of music on instruments, alone and with others.

ESGM2.RE.1 Listen to, analyze, and describe music.

ESGM2.RE.2 Evaluate music and music performances.

ESGM2.CN.1 Connect music to the other fine arts and disciplines outside the arts.

 

Grade 3:

ESGM3.CR.1 Improvise melodies, variations, and accompaniments.

ESGM3.CR.2 Compose and arrange music within specified guidelines.

ESGM3.PR.2 Perform a varied repertoire of music on instruments, alone and with others.

ESGM3.RE.1 Listen to, analyze, and describe music.

ESGM3.RE.2 Evaluate music and music performances.

ESGM3.CN.1 Connect music to the other fine arts and disciplines outside the arts.

 

South Carolina Standards

Curriculum Standards

Grade 2: 

2.ATO.3 Determine whether a number through 20 is odd or even using pairings of objects, counting by twos, or finding two equal addends to represent the number (e.g., 3 + 3 = 6).

2.ATO.4 Use repeated addition to find the total number of objects arranged in a rectangular array with up to 5 rows and up to 5 columns; write an equation to express the total as a sum of equal addends.

 

Grade 3: 

3.NSF.1 Develop an understanding of fractions (i.e., denominators 2, 3, 4, 6, 8, 10) as numbers.

3.ATO.1 Use concrete objects, drawings and symbols to represent multiplication facts of two single-digit whole numbers and explain the relationship between the factors (i.e., 0 – 10) and the product.

3.ATO.7 Demonstrate fluency with basic multiplication and related division facts of products and dividends through 100.

 

Arts Standards

Anchor Standard 1: I can arrange and compose music. 

Anchor Standard 2: I can improvise music.

Anchor Standard 4: I can play instruments alone and with others.

Anchor Standard 6: I can analyze music.

Anchor Standard 7: I can evaluate music.

Anchor Standard 9: I can relate music to other arts disciplines, other subjects, and career paths.

 

 

Key Vocabulary

Content Vocabulary

  • Pattern - A repeated sequence that can be found in various contexts, such as art, mathematics, nature, etc; it involves a sequence of elements (like shapes, colors, numbers, or sounds) that follow a particular order or rule
  • Odd numbers - Integers that are not divisible by 2
  • Even numbers - Integers that are not divisible by 2
  • Multiplication - Combining equal groups to find the total number of items

Arts Vocabulary

  • Body percussion - Sounds produced by striking or scraping parts of the body; typically includes snapping, clapping, patting, and stamping
  • Steady beat - An unchanging continuous pulse
  • Timbre - The unique quality of a sound; also known as tone color or tone quality
  • Dynamics - Volume of sound (loudness, quietness)
  • Found sound - Sounds produced by non-traditional sound sources in the environment (e.g., scraping a ruler along a binder spine, tapping a pencil on a desk)
  • Phrase - A musical sentence
  • Retrograde - A musical line which is the reverse of a previously or simultaneously stated line
  • Rondo - A form of composition in which the first section recurs throughout the piece, alternating with different sections (e.g., A-B-A-B-A or A-B-A-C-A, etc.). This form is found especially in compositions of the Baroque and Classical eras.

 

Materials

  • Variety of unpitched percussion instruments (can be “found sound”, such as, scraping a ruler along a binder spine, tapping a pencil on a desk)
  • Plastic cups in various colors and sizes
  • Rhythm sticks or dowel rods
  • Sound source (e.g., computer and speaker)
  • Musical recordings
  • Large pads and markers
  • Paper and writing utensils (pencils, markers, crayons, etc.)
  • Note cards with mathematical equations

 

Instructional Design

Opening/Activating Strategy

Classroom Tips - You may find it helpful to discuss proper use of, and care for, instruments prior to use. Discuss “resting” position, meaning no sound at all from instruments. Also discuss moving through “space” without touching anything else around. Pretend you are in a bubble and cannot touch anything or anyone in your surroundings.

 

  • Turn on music with a steady beat that is easy for students to follow (or, simply play a steady beat without accompanying music).
  • Students stand in the space (no formation).
  • Leader claps (or plays) the beat while students walk to the pulse.
  • Leader plays four beats (while students move); then students stop and clap four beats (same tempo as leader).
  • Continue the game, moving around the room freely.
  • Have students stop in front of someone and clap their partner’s hands for the second set of four claps.
  • Thus, the sequence becomes:
    • Move to leader’s beat (set 1 = 4 beats)
    • Stop and clap beat alone (set 2 = 4 beats)
    • Move to the leader's beat (set 3 = 4 beats)
      • Stop and clap your partner's hands (set 4 = 4 beats).
  • Have students move to a new partner each time.
  • Extend the sequence by adding additional movements and/or body percussion for subsequent sets of four beats (e.g., move to leader’s beat; clap beat alone; move to leader’s beat; clap partner’s hands; move to leader’s beat; pat beat; etc.).

 

 

Work Session

Wake-up and Warm-up  

  • Tell students that they will continue the activator, but now, they will turn it into a mathematical equation!
    • Example: 4+4+4+4=16 or 4x4=16
  • Experiment with different tempos and different numbers of beats (i.e., slower tempo, use body percussion or instruments to show 3+3+3+3+=12 or 3x4=12).
  • Introduce a variety of rhythm instruments if available (rhythm sticks, drum, wood block, triangle, tambourine). Otherwise, use objects around the classroom, such as scraping a ruler along a binder spine, tapping a pencil on a desk.
  • Take time to discuss the various shapes of each instrument (compare and contrast both shapes and sounds—timbre).
  • Use students to demonstrate to group various equations that can be solved.
  • Teacher will have two students play 6+6=12.
  • Arrange students in pairs and pass out equations. Then have students “play” equations and have partners solve the equations.
    • For example if a notecard shows 4+4=8, one student would play 4 beats with one instrument or body percussion (such as clapping) and the other student would have to solve by saying “you demonstrated 4+4=8”.
    • Then switch roles.
    • Then challenge the students to just play the answer (for example, 8). The other student must find a way to “play” 8, such as 2+2+2+2.

 

Question and Answer

  • The format of this strategy will have the question being asked on the first eight beats and the answer on the second eight beats); reverse.  Display visuals of numbers.
    1 2 3 4 5 6 7 8
    1 2 3 4 5 6 7 -
    • Have students speak numbers in a given tempo.
    • Have students clap once on each number while speaking; repeat, eliminating speech.
  • Divide the class into two groups.
  • Have students (in two groups) only clap on the EVEN number (first with speech, then without).
  • Have students only clap on ODD numbers (first with speech, then without).
  • Have students clap twice on one number of their choice; extend to clapping twice on two numbers.
    • Discuss how if we clap twice on one beat (or one number) it represents two half beats. Show the fraction 1/2.
  • Under each of the numbers, draw “stick notation” to show quarter notes and eighth notes. Quarter note =1 and the eighth note =½.
  • Now, incorporate questions and answers. Leader provides a question via clapping the first eight beats; students use part of the question in their answer in the second eight beats (e.g., “use the first part of my question as the first part of your answer”).
    • Extend to other body percussion, found sound, and/or unpitched percussion.
  • Try the strategy using pairs instead of two groups. Divide students into pairs, with one person providing the question and another, the answer; reverse.
  • Incorporate movement; add to a recording if desired (for example, “Hora Agadati” or “Jai Ho”).
    • Have students walk eight beats and then “answer” using body percussion for the next eight beats.
  • Tell students that a phrase in music is a musical sentence. Ask mathematical questions such as, if each phase is eight beats and we have four phases, how many total beats?
  • Extend to ask questions about the patterns.
    • If we walk the first phase, use body percussion the next phrase and then walk the next phrases, that could be called A B A pattern.
  • Have students work in pairs to create a “composition” using rhythm instruments that contains between two and six phrases (each phrase must be between six and twelve beats).
  • Have them label the phrases with capital letters and then show equations for “how they play” each phrase (as demonstrated in the previous activity).

 

Composing with Cups

  • Display different colored cups and have students reach consensus about desired sound for each (e.g., blue – quarter note, yellow – eighth notes, clear – quarter rest).
  • Introduce silently, having students use creative and critical thinking to figure out the values (number of sounds for each cup) independently first.
  • Teacher should lead this activity in silence, changing cups (number of sounds) and even length of phrase prior to any discussion.
  • Pause and discuss what students observed about the values of each cup.
  • Next, have individual students create rhythmic patterns for others to perform using the different colored cups.
  • Have students “conduct” their patterns by leading other students in performing them.
  • Variations:
    • Experiment with performing multiple patterns at the same time (having two groups perform simultaneously), reading in retrograde (reverse order), adding dynamics (loud/soft), etc.
    • Add to a recording as desired (such as Sousa’s “Stars and Stripes Together”).
    • Have two groups face each other. Have a student compose a pattern behind another group and the group facing him/her perform the rhythm.
      • The group with their back to the composer will write the rhythm using traditional or “stick” notation.
  • Finally, have students work in small groups to create their own composition with cups. Students should notate their composition and be able to explain the mathematical concepts embedded in their composition, such as multiplication.

 

Closing Reflection

  • Students will perform their compositions for the group. Discuss appropriate audience participation prior to performances.
  • Ask the audience to help identify mathematical connections.

 

Assessments

Formative

Teachers will assess students’ understanding of the content throughout the lesson by observing students’ participation in the activator, ability to “play mathematical equations”, ability to move and speak to a steady beat, and collaboration with groups to compose and notate a musical composition.

 

Summative

CHECKLIST

  • Students can identify, speak, and move to a steady beat.
  • Students can demonstrate understanding of mathematical concepts, such as patterns, odd and even numbers, addition, fractions, multiplication, etc., through music.
  • Students can compose and notate music.
  • Students can explain how they used math to create their musical compositions.

 

 

DIFFERENTIATION 

Acceleration: 

  • Have students listen to examples of songs and identify mathematical concepts in the song construction.
  • Challenge students to add dynamics to and/or change the tempo of their performances and discuss how these changes alter the music.

Remediation: 

  • Reduce the length of the composition students create at the end of the lesson.
  • Limit the focus of the lesson to one mathematical concept (such as multiplication being a pattern of addition) that students will build upon throughout the three strategies.

 

*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: Pamela Walker and Maribeth Yoder-White.

Revised and copyright: September 2024 @ ArtsNOW

 

 

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Explore Geometry with Abstract Imagery 2-3

EXPLORE GEOMETRY WITH ABSTRACT IMAGERY

EXPLORE GEOMETRY WITH ABSTRACT IMAGERY

Learning Description

Delve into the abstract world of Wassily Kandinsky! Allow your imagination to soar as you discover mathematical connections within Kandinsky images. Students will be inspired by the work of Kandinsky to create their own abstract art that incorporates geometric concepts and the elements of art.

 

Learning Targets

GRADE BAND: 2-3
CONTENT FOCUS: VISUAL ARTS & MATH
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can create artwork inspired by Wassily Kandinsky that demonstrates my understanding of mathematical concepts.
  • I can describe my artwork in terms of mathematical concepts.
  • I can identify mathematical concepts in my classmates' artwork.
  • I can use color and space intentionally in my art.

Essential Questions

  • How can you utilize visual images to learn about mathematical concepts?

 

Georgia Standards

Curriculum Standards

Grade 2: 

2.GSR.7.1 Describe, compare and sort 2-D shapes including polygons, triangles, quadrilaterals, pentagons, hexagons, and 3-D shapes including rectangular prisms and cones, given a set of attributes.

 

Grade 3: 

3.GSR.6.1 Identify perpendicular line segments, parallel line segments, and right angles, identify these in polygons, and solve problems involving parallel line segments, perpendicular line segments, and right angles.

3.GSR.6.2 Classify, compare, and contrast polygons, with a focus on quadrilaterals, based on properties. Analyze specific 3- dimensional figures to identify and describe quadrilaterals as faces of these figures.

 

Arts Standards

Grade 2: 

VA2.CR.1 Engage in the creative process to generate and visualize ideas by using subject matter and symbols to communicate meaning.

VA2.CR.2 Create works of art based on selected themes.

VA2.CR.4 Understand and apply media, techniques, and processes of three-dimensional art.

VA2.CN.2 Integrate information from other disciplines to enhance the understanding and production of works of art.

 

Grade 3: 

VA3.CR.1 Engage in the creative process to generate and visualize ideas by using subject matter and symbols to communicate meaning.

VA3.CR.2 Create works of art based on selected themes.

VA3.CR.4 Understand and apply media, techniques, and processes of three-dimensional art.

VA3.CN.2 Integrate information from other disciplines to enhance the understanding and production of works of art.

 

 

 

South Carolina Standards

Curriculum Standards

Grade 2: 

2.G.1 Identify triangles, quadrilaterals, hexagons, and cubes. Recognize and draw shapes having specified attributes, such as a given number of angles or a given number of equal faces.

 

Grade 3: 

3.G.1 Understand that shapes in different categories (e.g., rhombus, rectangle, square, and other 4-sided shapes) may share attributes (e.g., 4-sided figures) and the shared attributes can define a larger category (e.g., quadrilateral). Recognize rhombuses, rectangles, and squares as examples of quadrilaterals, and draw examples of quadrilaterals that do not belong to any of these subcategories.

3.G.3 Use a right angle as a benchmark to identify and sketch acute and obtuse angles.

 

 

Arts Standards

Anchor Standard 1: I can use the elements and principles of art to create artwork.

Anchor Standard 2: I can use different materials, techniques, and processes to make art.

Anchor Standard 4: I can organize work for presentation and documentation to reflect specific content, ideas, skills, and or media

Anchor Standard 5: I can interpret and evaluate the meaning of an artwork.

 

 

 

Key Vocabulary

Content Vocabulary

  • Geometry - Branch of mathematics that deals with deduction of the properties, measurement, and relationships of points, lines, angles, and figures in space from their defining conditions by means of certain assumed properties of space.
  • Polygon - A closed plane figure with at least three straight sides and angles, and typically five or more.
  • Acute angle - An angle measuring less than 90 degrees
  • Right angle - A 90 degree angle
  • Obtuse angle - An angle measuring greater than 90 degrees
  • Isosceles triangle - A type of triangle that has at least two sides of equal length
  • Equilateral triangle - A type of triangle in which all three sides are of equal length
  • Scalene triangle - A type of triangle in which all three sides have different lengths
  • Right triangle -  A triangle that has a right angle
  • Parallel lines - Lines that will never touch
  • Perpendicular lines - Lines that intersect forming a 90 degree angle

 

Arts Vocabulary

  • Abstract - Process of art-making that has reference to the real world but is distorted or manipulated in some way.
  • Non-objective - Process of art-making that has no reference to the real world; strictly composed of design elements.
  • Contrast - Exhibiting unlikeness in comparison to something else.
  • Line – One of the seven elements of art; a mark made by a pointed tool such as a brush pen or stick; a moving point
  • Shape (Geometric and Organic) – One of the seven elements of art; a flat, enclosed area that has two dimensions, length and width
  • Negative space - Empty space; the background
  • Color scheme - A limited number of colors used in an artwork
  • Warm colors - Red, pink, orange and yellow
  • Cool colors - Blue, green, purple/violet
  • Primary colors - Blue, yellow, red
  • Secondary colors - Orange, green, purple/violet
  • Neutral colors - Brown, tan, black, gray

 

 

Materials

 

Instructional Design

Opening/Activating Strategy

  • Introduce this activity by having students look at an image of “Composition 8” or “Red, Blue and Yellow” by Russian artist, Wassily Kandinsky.
  • Have students engage in the 10 x 2 artful thinking routine.
    • Students will work collaboratively to identify 10 things that they recognize in the image. Then, repeat the process; the second time, however, ask students to focus specifically on the colors and shapes that they see.
  • Facilitate a class-wide discussion around students’ observations.

 

Work Session

Process 

  • Project Kandinsky’s “Composition 8” and “Red, Blue and Yellow”, side by side (use slide two of Wassily Kandinsky images). Direct students to work collaboratively to use math vocabulary and concepts to describe the angles, lines, and shapes found within these abstract and non-objective masterpieces.
    • Students should draw/write their responses on sticky notes.
    • Direct students to identify the polygons within these images and their defining attributes, including different types of quadrilaterals.
    • Students should also look for examples of types of angles, types of triangles, and line relationships (parallel and perpendicular).
  • Draw or project a large Venn diagram on the board. Students should place their sticky notes in the appropriate section of the Venn diagram.
  • Next, tell students that they will create their own abstract or non-objective artwork in the style of Kandinsky according to criteria set by the teacher. For example, criteria might include designs including a minimum of three different types of quadrilaterals, a triangle, a polygon more than four sides and angles, two right angles, parallel lines, etc.
  • Project “Composition 8” and “Red, Blue and Yellow” again.
    • Ask students to make observations about how the space is used in the artwork. Students should notice that there isn’t much negative space or “empty space”.
  • Next, discuss the colors that Kandinsky used.
  • Project an image of a color wheel and discuss different types of color schemes: Warm, cool, neutral, primary and secondary.
  • Tell students that they will be using color to “color code” their artwork. How they do this is up to them.
    • For example, all triangles could be cool colors, all quadrilaterals could be warm colors, and all polygons with more than four sides could be neutral colors.
  • Students will then draw their designs lightly on paper or tag board in pencil and then add color using marker, tempera paint, colored pencil, oil pastel, etc.

Upon completion of their artwork, ask students to describe their art using mathematical vocabulary.  

 

 

Closing Reflection

  • Display students’ artwork on walls or place on tables/desks. Give students a “scavenger hunt” to find mathematical concepts in each other’s artwork.
  • See if students can figure out how other students used color in their artwork.

 

 

Assessments

Formative

  • Teachers will assess students’ understanding of the content throughout the lesson by observing students’ participation in the activator, discussion of the mathematical concepts evident in Kandinsky’s artwork, discussion of Kandinsky’s use of color and space, and ability to apply mathematical concepts to creating a unique artwork.

 

Summative

  • Students can create an artwork inspired by Wassily Kandinsky that demonstrates their mastery of mathematical concepts.
  • Students can describe their artwork in terms of mathematical concepts.
  • Students can identify mathematical concepts in each other’s artwork.
  • Students can use color and space intentionally in their art.

 

DIFFERENTIATION 

Acceleration: 

  • Have students identify the area and perimeter of the polygons in their artwork (grade 3).
  • Have students use scrap materials found in the classroom to interpret their artwork in a 3D format by turning it into sculpture. Materials could include popsicle sticks, tape, cardboard, pipe cleaners, straws, etc.

Remediation: 

  • Provide students with specific concepts to look for in Kandinsky’s artwork using a word bank.
  • Reduce/limit criteria in artwork to focus on fewer concepts at a time.
  • Provide visuals with examples of concepts to support students.
  • Allow students to work with a partner to create artwork.

 

 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: Darby Jones. Updated by Shannon Green and Katy Betts.

 Revised and copyright:  August 2024 @ ArtsNOW

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Monumental Sculpture 2-3

MONUMENTAL SCULPTURE

MONUMENTAL SCULPTURE

Learning Description

Discover the endless possibilities of paper sculpture! Let your imagination soar as you dive into this collaborative art-making process, creating large-scale, non-objective sculptures. Students will participate in the design process and analyze their sculptures through the lens of geometric concepts.

 

Learning Targets

GRADE BAND: 2-3
CONTENT FOCUS: VISUAL ARTS & MATH
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can work collaboratively to create a geometric sculpture in the round that demonstrates geometric concepts.
  • I can use the design process to design, create, and refine a sculpture in the round.
  • I can describe my sculpture in mathematical terms.

Essential Questions

  • How can art-making become a team building process?
  • How are mathematical concepts used in art?

 

Georgia Standards

Curriculum Standards

Grade 2: 

2.MP: Display perseverance and patience in problem-solving. Demonstrate skills and strategies needed to succeed in mathematics, including critical thinking, reasoning, and effective collaboration and expression. Seek help and apply feedback. Set and monitor goals.

2.GSR.7.1 Describe, compare and sort 2-D shapes including polygons, triangles, quadrilaterals, pentagons, hexagons, and 3-D shapes including rectangular prisms and cones, given a set of attributes.

 

Grade 3: 

3.MP: Display perseverance and patience in problem-solving. Demonstrate skills and strategies needed to succeed in mathematics, including critical thinking, reasoning, and effective collaboration and expression. Seek help and apply feedback. Set and monitor goals.

3.GSR.6.1 Identify perpendicular line segments, parallel line segments, and right angles, identify these in polygons, and solve problems involving parallel line segments, perpendicular line segments, and right angles.

3.GSR.6.2 Classify, compare, and contrast polygons, with a focus on quadrilaterals, based on properties. Analyze specific 3- dimensional figures to identify and describe quadrilaterals as faces of these figures.

3.GSR.7.3 Discover and explain how area can be found by multiplying the dimensions of a rectangle.

3.GSR.8.1 Determine the perimeter of a polygon and explain that the perimeter represents the distance around a polygon. Solve problems involving perimeters of polygons.

Arts Standards

Grade 2: 

VA2.CR.1 Engage in the creative process to generate and visualize ideas by using subject matter and symbols to communicate meaning.

VA2.CR.2 Create works of art based on selected themes.

VA2.CR.4 Understand and apply media, techniques, and processes of three-dimensional art.

VA2.CN.2 Integrate information from other disciplines to enhance the understanding and production of works of art.

 

Grade 3: 

VA3.CR.1 Engage in the creative process to generate and visualize ideas by using subject matter and symbols to communicate meaning.

VA3.CR.2 Create works of art based on selected themes.

VA3.CR.4 Understand and apply media, techniques, and processes of three-dimensional art.

VA3.CN.2 Integrate information from other disciplines to enhance the understanding and production of works of art.

 

South Carolina Standards

Curriculum Standards

Grade 2: 

2.G.1 Identify triangles, quadrilaterals, hexagons, and cubes. Recognize and draw shapes having specified attributes, such as a given number of angles or a given number of equal faces.

 

Grade 3: 

3.G.1 Understand that shapes in different categories (e.g., rhombus, rectangle, square, and other 4-sided shapes) may share attributes (e.g., 4-sided figures) and the shared attributes can define a larger category (e.g., quadrilateral). Recognize rhombuses, rectangles, and squares as examples of quadrilaterals, and draw examples of quadrilaterals that do not belong to any of these subcategories.

3.G.3 Use a right angle as a benchmark to identify and sketch acute and obtuse angles.

Arts Standards

Anchor Standard 1: I can use the elements and principles of art to create artwork.

Anchor Standard 2: I can use different materials, techniques, and processes to make art.

Anchor Standard 5: I can interpret and evaluate the meaning of an artwork.

Anchor Standard 7: I can relate visual arts ideas to other arts disciplines, content areas, and careers.

 

 

Key Vocabulary

Content Vocabulary

  • Area - The measure of the amount of space inside the boundary of a two-dimensional shape
  • Perimeter - The total distance around the boundary of a two-dimensional shape
  • Acute angle - An angle measuring less than 90 degrees
  • Right angle - A 90 degree angle
  • Obtuse angle - An angle measuring greater than 90 degrees
  • Isosceles triangle - A type of triangle that has at least two sides of equal length
  • Equilateral triangle - A type of triangle in which all three sides are of equal length
  • Scalene triangle - A type of triangle in which all three sides have different lengths
  • Right triangle -  A triangle that has a right angle
  • Parallel lines - Lines that will never touch
  • Perpendicular lines - Lines that intersect forming a 90 degree angle
  • Design process - A systematic, iterative method used by engineers to solve problems
  • Balance - Possessing equilibrium or equal distribution of weight
  • Counter balance - A weight balancing another weight

Arts Vocabulary

  • Construction - A type of sculpture in which materials are physically joined together to make a whole
  • Sculpture in the round - A three-dimensional structure that is meant to be viewed from all sides
  • Line - The path of a moving point
  • Shape - A two-dimensional enclosed line; in art, shape can be geometric or organic/freeform

 

Materials

  • Newspaper or newsprint sheets 24” x 36” (computer paper or lined paper can be substituted)
  • Masking tape
  • Pencils and sketch paper
  • Yardstick or measuring tape to measure dimensions of finished sculpture

 

Instructional Design

Opening/Activating Strategy

Classroom Tips: Have ample space in the room so groups can move far enough apart during the creating process to enable maximum space for the construction process.

 

  • Show students an image of “Mutual Support” by George Hart. Do not tell students the name of the sculpture.
  • Ask students to work collaboratively to make at least ten objective observations about the sculpture (i.e. color, line, types of shapes, overall shape, etc.).
    • Have students share observations as a whole class.
  • Next, ask students to guess how Hart constructed the sculpture. Have students share ideas as a class. Students should justify their answers by referring to specific things that they can see in the sculpture.
  • Show students the title of the sculpture, “Mutual Support”. Ask students how the design of the sculpture demonstrates the name.
  • Tell students that this is an example of sculpture in the round.
    • Tell students that sculpture is always three-dimensional and that sculpture in the round means that the viewer can walk all the way around the sculpture to view it from all sides.

 

 

 

Work Session

  • Tell students that in this lesson, they will be creating sculptures in the round inspired by the work of George Hart.
  • Introduce the design process to students.
  • Next, divide students into groups of 2-4.
  • Begin by demonstrating how to create building sticks by rolling sheets of newsprint from corner to corner using a pencil as a guide. The sticks are fastened at the end with a small piece of masking tape.
    • Each team member should create 5 sticks.

 

  • Ask students to experiment with the types of geometric shapes they can create with the sticks. Tell students that in their actual sculptures, they can bend the sticks to make smaller shapes.
  • Next, have students make a basic drawn design for their sculpture.
    • Tell students that they will need to start with a triangular or square base.
    • Remind students that a sculpture is always three-dimensional, so their final sculpture should not be flat.
    • Tell students that their sculptures must meet the following guidelines:
      • Sculptures must be made up of geometric shapes.
      • Constructions must be three-dimensional.
      • All materials must be fully incorporated into the group constructions.
      • Constructions must be able to stand on their own and be transported easily.
  • Students will work intuitively attaching sticks with masking tape until their construction is completed.
  • Encourage students to be mindful of strong construction, balance, and counter balance.
  • Once sculptures are complete, students will identify geometric figures within constructions according to physical attributes, such as number of vertices and sides, identifying parallel and perpendicular lines, identifying types of angles, etc.
    • Third grade students can also perform mathematical computations, such as estimating and calculating the perimeter and area of geometric shapes as relevant to grade level standards.

 

Closing Reflection

  • Students will reflect on the design process. Students should look at their original sketches and observe how their final product changed through the creation process.
    • Students should reflect on the following questions. This can be written or done orally through conversation.
      • How did the design change?
      • Why did the design change?
      • What design choices did you make to ensure that your sculpture could stand on its own?
      • If you were to design and create this artwork again, what would you do differently?
  • Students will present their sculptures to their peers, as a whole group or several small groups can present to each other, and discuss how their design changed from the original design to the final sculpture.

 

Assessments

Formative

Teachers will assess students’ understanding of the content throughout the lesson by observing students’ participation in the activator, collaboration during the design process and sculpture creation, and conferencing with students throughout the creative process.

 

Summative

CHECKLIST

  • Students can work collaboratively to create a geometric sculpture in the round that demonstrates geometric concepts.
  • Students can use the design process to design, create, and refine a sculpture in the round.
  • Students can describe their sculpture in mathematical terms.

 

 

 

DIFFERENTIATION 

Acceleration: Have students write step by step detailed instructions to tell another person how to recreate their sculpture using mathematical concepts. If time permits, two groups can swap instructions and attempt to build each other’s sculptures. Then, the groups should reflect on the results and evaluate the clarity of their written instructions.

Remediation: 

  • Show students an example of a completed sculpture so that students can visualize the end result. Analyze how the sculpture was created so that students can see the steps needed to create their sculpture.
  • Allow students to work on a smaller scale with smaller pieces of paper and/or with fewer paper sticks.
  • Provide an alternative to creating paper sticks, such as straws.

 

 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: Darby Jones. Updated by: Katy Betts.

Revised and copyright: August 2024 @ ArtsNOW

 

 

 

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Impersonating Picasso 2-3

IMPERSONATING PICASSO

IMPERSONATING PICASSO

Learning Description

In this lesson, students will explore the life and inspirations of the artist Pablo Picasso and the different periods of his art. They will use this knowledge to recreate their favorite Picasso piece or create an original artwork inspired by what they learned. Students will then apply opinion writing techniques to persuade their classmates to purchase their artwork.

 

Learning Targets

GRADE BAND: 2-3
CONTENT FOCUS: VISUAL ARTS & ELA
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can convey meaning through my art.
  • I can use color to reflect a personal “period” of art.
  • I can use art terms to tell someone why they should purchase my art.
  • I can explain my personal art “period” and why I chose particular colors and subjects in my art.

Essential Questions

  • What inspired the different periods of Picasso’s art?
  • How does color and style communicate meaning in art?

 

Georgia Standards

Curriculum Standards

Grade 2: 

ELAGSE2RI1 Ask and answer such questions as who, what, where, when, why, and how to demonstrate understanding of key details in a text.

 

ELAGSE2RI2 Identify the main topic of a multi-paragraph text as well as the focus of specific paragraphs within the text.

 

ELAGSE2W1 Write opinion pieces in which they introduce the topic or book they are writing about, state an opinion, supply reasons that support the opinion, use linking words (e.g., because, and, also) to connect opinion and reasons, and provide a concluding statement or section.

 

Grade 3: 

ELAGSE3RI1 Ask and answer questions to demonstrate understanding of a text, referring explicitly to the text as the basis for the answers.

 

ELAGSE3RI2 Determine the main idea of a text; recount the key details and explain how they support the main idea.

 

ELAGSE3W1 Write opinion pieces on topics or texts, supporting a point of view with reasons. a. Introduce the topic or book they are writing about, state an opinion, and create an organizational structure that lists reasons. b. Provide reasons that support the opinion. c. Use linking words and phrases (e.g., because, therefore, since, for example) to connect opinion and reasons. d. Provide a concluding statement or section.

Arts Standards

Grade 2: 

VA2.CR.1 Engage in the creative process to generate and visualize ideas by using subject matter and symbols to communicate meaning.

VA2.CR.2 Create works of art based on selected themes.

VA2.CR.3 Understand and apply media, techniques, and processes of two-dimensional art.

VA2.CN.2 Integrate information from other disciplines to enhance the understanding and production of works of art.

 

Grade 3: 

VA3.CR.1 Engage in the creative process to generate and visualize ideas by using subject matter and symbols to communicate meaning.

VA3.CR.2 Create works of art based on selected themes.

VA3.CR.3 Understand and apply media, techniques, and processes of two-dimensional art.

VA3.CN.2 Integrate information from other disciplines to enhance the understanding and production of works of art.

 

South Carolina Standards

Curriculum Standards

Grade 2: 

ELA.2.AOR.2.2 Identify and explain a central idea and supporting details in an informational text.

 

ELA.2.C.1.1 Write opinion pieces about a topic. When writing: a. introduce an opinion and include reasons with details to support the opinion; b. use grade-appropriate transitions; and c. provide a concluding statement.

 

Grade 3: 

ELA.3.AOR.2.2 Determine and explain a stated central idea and supporting details in an informational text.

 

ELA.3.C.1.1 Write opinion pieces about a topic. When writing: a. introduce a topic; include an opinion statement; b. include reasons supported by details from a provided source; c. use grade-appropriate transitions to link ideas; d. organize information; and e. provide a concluding statement.

Arts Standards

Anchor Standard 1: I can use the elements and principles of art to create artwork.

Anchor Standard 2: I can use different materials, techniques, and processes to make art. 

Anchor Standard 5: I can interpret and evaluate the meaning of an artwork.

Anchor Standard 7: I can relate visual arts ideas to other arts disciplines, content areas, and careers.

 

Key Vocabulary

Content Vocabulary

  • Opinion writing - A form of writing in which the author expresses their personal beliefs, thoughts, or feelings about a particular topic or issue
  • Informational text - A type of nonfiction writing that conveys facts, details, and information about a particular subject
  • Biography - A detailed account of a person's life, written by someone else

Arts Vocabulary

  • Mood - A state or quality of feeling at a particular time
  • Cubism - The name given to the painting style invented by Pablo Picasso and Georges Braque between 1906 and 1914. Cubists used multiple views of objects to create the effect of their three-dimensionality, while acknowledging the two-dimensional surface of the picture plane.
  • Abstract - Non-objective art, art that utilizes shape, color and texture, without representing real objects
  • Organic/free form shapes - Shapes without straight lines; irregular shapes
  • Geometric shapes - Precise and regular shapes that are defined by mathematical principles
  • Color - The element that is produced when light, striking an object, is reflected back to the eye. It is one of the fundamental elements of art and plays a crucial role in creating mood, expressing emotion, and conveying messages. Color in art can be understood and manipulated through various properties:
    • Hue: The name of a color (e.g., red, blue, yellow).
    • Value: The lightness or darkness of a color.
    • Saturation (or intensity): The purity or brightness of a color

 

Materials

 

Instructional Design

Opening/Activating Strategy

Teacher note: This lesson uses Pablo Picasso as the artist of study, but any established artist can be used as a substitute.

 

  • Project an image of one of Pablo Picasso’s artworks, such as “The Visit (The Two Sisters)” on the board.
  • Ask students to work collaboratively to engage in the See, Think, Wonder Artful Thinking Routine.
    • First, students will identify what they see in the image. Emphasize that they should make objective observations about the image (i.e. physical features, colors, textures, etc.).
    • Next, ask students to identify what they think about the image. Emphasize that students should be creating inferences using visual evidence from the image.
    • Finally, ask students what they wonder about the image.
  • Facilitate a class-wide discussion around students’ observations, inferences, and questions.

Work Session

Part 1 – Building Background

  • In guided reading groups (or as a whole group), read and discuss the life of Pablo Picasso.
  • Share the following biographical information with students.
    • Picasso was born Oct 25, 1881, in Malaga, Spain.
    • Picasso’s father was a painter and recognized that Picasso was much better than him by the time he was 13.
    • Picasso’s paintings often depicted and mirrored his life and what he observed.
    • Picasso settled in Paris in 1904. He was fascinated by the city’s Bohemian streets. He often expressed human suffering by portraying blind figures and beggars in his paintings.
    • It was at this time that he also experienced the death of a close friend. Because of this, he started using various shades of blue in his work for the next few years.
      • This period was called Picasso’s Blue Period (1901-1904).
      • Show students an image of one of the paintings from his Blue Period, such as “The Old Guitarist”. Ask students what they think the mood of the painting is and why. Ask them how color plays a role in the mood.
    • In 1905-06, Picasso met Fernande Olivier, the first of many companions to influence the theme, style, and the mood of his work.
    • This happy relationship changed his palette to pinks and reds, bringing in distinctive beige or "rose" tones. The subject matter also is less depressing. This period became known as his Rose Period.
    • Here are the first appearances by the circus performers and clowns, which he visited several times a week, and appear often in later stages of his career.
      • Show students an image of one of the paintings from his Rose Period, such as “Seated Harlequin”. Ask them how the warm colors in this painting create a different mood that the blues in “The Old Guitarist”.
    • In late 1906, Picasso started to paint in a unique manner that was inspired by Cezanne’s flattened depiction of space and his friend Georges Braque.
    • Picasso began to express space in strongly geometrical terms.
      • Show students an image of a painting from his Cubist Period, such as “Three Musicians”. Ask students how the figures look different in this image than in the previous two images that they looked at.
    • These initial efforts at developing this almost sculptural sense of space in painting are the beginnings of Cubism.
    • By the late '30s, Picasso was the most famous artist in the world. He was called upon to depict the brutality of fascist aggression in the Spanish Civil War with his monumental "Guernica" painting. Many other paintings from this period reflect the horror of war.
    • Pablo Picasso died on April 8, 1973.

 

Part 2 – Creating Artwork

  • View several different pieces of Picasso’s artwork from the different periods or go back to the three works that students looked at in the previous session, and discuss how they are different and why (students should recognize the Rose Period, Blue Period, and Cubist Period of his work).
  • Discuss how tone and color change the “mood” of a piece of artwork and discuss how it conveys a message.
  • Discuss geometry in Picasso’s cubist artwork and how he found beauty in the oddity of the shapes.
    • How does cubism relate to 3-D objects and paintings?
    • What effect do you think he was trying to achieve?
  • Tell students that they will be creating art inspired by Picasso.
  • There are three variations to the artwork students can create:
    • Option 1: Ask students to think of something in their own personal life that they would like to represent. Have students create their own “art period” and give it a color. Remind students how color reflects mood, so the colors they choose should reflect the mood of what they are representing.
    • Option 2: Have students recreate one of Picasso’s pieces. They will reinterpret it using their own “art period”, like Picasso’s Blue Period. Have students analyze how their interpretation is different and changes the mood of the artwork.
    • Option 3: Have students draw a person using geometric shapes. Then have them cut it up and glue it in collage style to represent the cubist style.

 

Part 3 – Persuasive Writing

  • Tell students that many famous artists whose work is worth millions of dollars now, originally were not popular and often struggled to make a living.
  • Tell students that they will be writing to persuade an important art collector to purchase the piece of artwork they just created.
    • Students’ writing should:
      • Explain the reasons why someone should buy their artwork using the art concepts that they used, such as the personal “art period”, Cubism, geometric shapes, etc.
      • Explain their personal “art period” and why they chose particular colors and subjects in their piece.
      • Use linking words and phrases (e.g., because, therefore, since, for example) and transitions to connect opinion and reasons.
      • Include a conclusion.

 

Closing Reflection

  • Students should share their artwork with a partner. Their partner will imagine themselves to be a wealthy art collector. They will try to persuade their partner to purchase their artwork using the information in their writing. Students should not read their artwork but should focus on communication skills through conversation.
  • Debrief the process with students and ask if anyone was persuaded to purchase the artwork. Ask them to explain why.
  • Finish the lesson with two “glows” and a “grow”. Ask students to identify two things they did well/were proud of themselves for and one thing they would like to do differently next time they do a lesson like this.

 

Assessments

Formative

Teachers will assess students’ understanding of the content throughout the lesson by observing students’ participation in the activator, discussion of the life and background of Pablo Picasso to determine students’ comprehension, discussion of Picasso’s artworks from different periods, individual artmaking process, and conferencing with students during the writing process.

 

Summative

CHECKLIST

  • Students can convey their meaning through their art.
  • Students can explain the reasons why someone should buy their artwork using the art concepts that they used, such as the personal “art period”, Cubism, geometric shapes, etc.
  • Students can explain how they conveyed meaning in their artwork.

 

 

DIFFERENTIATION 

Acceleration: Encourage students to research famous artists to see who was known for creating both 2-D (such as drawing and painting) and 3-D (such as sculpture) art pieces (including but not limited to artists such as DaVinci, Van Gogh, and Jackson Pollock. They can create a digital presentation, such as a PowerPoint, that shows pictures of the artist’s 2-D and 3-D art. Students can then reinterpret their 2-D artwork in a 3-D style that reflects one of the chosen artists.

Remediation: When presenting information about Picasso, provide the students with video as well as books for the more visual/auditory learners. Have the vocabulary terms posted visually for the students, with examples of each. When creating the artwork, use developmentally-appropriate terms to describe the mood of the artwork.

ESOL Modifications and Adaptations: ESOL students will need to look at the additional artwork on the different artists and discuss the mood (feeling in the art work) and period (time from when the artwork was created) to make sure they understand the context. For the opinion writing piece, the students will orally persuade someone to purchase the piece of artwork created by the student.

 

 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: Whitney Jones. Modifications, Extensions, and Adaptations Contributed by: Candy Bennett, Patty Bickell, Vilma Thomas, and Lori Young. Reviewed by Debbie Frost. Updated by: Katy Betts.

Revised and copyright: August 2024 @ ArtsNOW

 

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