ART BOTS 6-8

ART BOTS

ART BOTS

Learning Description

In this hands-on STEAM lesson, students will explore the relationship between electricity, motion, and unbalanced forces by designing and building their own wobbling art bots. Using hobby motors, battery packs, pool noodles, and markers, students will follow the engineering design process (Ask, Imagine, Plan, Create, Improve) to construct a bot that moves and draws in unpredictable patterns.

Through experimentation, students will discover how unbalanced forces affect motion, how simple circuits power their bots, and how small design changes can alter movement. They will analyze their bots' performance, make modifications, and reflect on their design choices. By combining science, engineering, and art, this lesson fosters creativity, problem-solving, and critical thinking while reinforcing foundational physical science concepts.

 

Learning Targets

GRADE BAND: 6-8
CONTENT FOCUS: STEAM
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can build and test a simple circuit to power a motor.
  • I can explain how unbalanced forces influence motion.
  • I can describe how energy is transformed in my Art Bot.
  • I can use the engineering design process to test and improve my design.

Essential Questions

  • How do unbalanced forces affect the motion of an object?
  • How does a motor convert electrical energy into motion?
  • What design choices impact the movement and artistic output of an Art Bot?
  • How can the engineering design process help improve a design?

 

Georgia Standards

Curriculum Standards

Grade 6:

S6P2: Obtain, evaluate, and communicate information about the relationship between force, mass, and the motion of objects.

S6P3: Construct an explanation of the relationships among electric force, magnetic force, and motion.

Grade 7:

S7P2: Obtain, evaluate, and communicate information to explain the effects of forces on the motion of an object.

Grade 8:

S8P2: Develop models to illustrate the relationship between potential and kinetic energy.

Arts Standards

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

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

VA.CR.2.b Produce three-dimensional artworks using a variety of media/materials (e.g. clay, papier-mâché, cardboard, paper, plaster, wood, wire, found objects, fiber).

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

 

South Carolina Standards

Curriculum Standards

Grade 6:

6-PS3-4. Plan an investigation to determine the relationships among the energy transferred, the type of matter, the mass, and the change in the average kinetic energy of the particles as measured by the temperature of the sample.

Grade 7:

7-PS3-2. Develop a model to describe that when the arrangement of objects interacting at a distance changes, different amounts of potential energy are stored in the system.

7-PS3-5. Construct, use, and present arguments to support the claim that when the kinetic energy of an object changes, energy is transferred to or from the object.

Grade 8:

8-PS2-3. Analyze and interpret data to determine the factors that affect the strength of electric and magnetic forces.

8-PS2-5. Conduct an investigation and evaluate the experimental design to provide evidence that fields exist between objects exerting forces on each other even though the objects are not in contact.

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

 

Key Vocabulary

Content Vocabulary

  • Unbalanced force – A force that changes the motion of an object
  • Friction – A force that opposes motion
  • Circuit – A closed path through which electricity flows
  • Kinetic energy – Energy of motion
  • Potential energy – Stored energy that can be converted into motion
  • Energy transformation – The process of changing one form of energy into another

Arts Vocabulary

  • Movement – This principle of design is associated with rhythm and refers to the arrangement of parts in an artwork that creates a sense of motion to the viewer's eye through the work.
  • Balance – This is a sense of stability in the body of work. Balance can be created by repeating the same shapes and by creating a feeling of equal visual weight.
  • Form – An object that is three-dimensional and encloses volume (cubes, spheres, and cylinders are examples of various forms)
  • Kinetic art – Art that incorporates real motion
  • Contrast – The arrangement of opposite elements in a composition (light vs. dark, rough vs. smooth, etc.) Similar to variety, which refers to the differences in a work, achieved by using different shapes, textures, colors and values.
  • Mark-making – The lines, textures, and marks made by tools or gestures
  • Negative space – The space around and between subjects in an artwork
  • Engineering Design Process – A problem-solving approach that involves identifying a need, researching, brainstorming possible solutions, developing and testing prototypes, and improving the design until the optimal solution is achieved; the steps are Ask, Imagine, Plan, Create, Improve

 

Materials

  • Hobby motors
  • Battery packs (with AA batteries)
  • Pool noodles (cut into sections)
  • Thin markers
  • Electrical tape or masking tape
  • Small weights (washers, paperclips, clay, etc.)
  • Switches (optional for advanced circuits)
  • Scissors
  • Image of the Engineering Design Process

 

 

Instructional Design

Opening/Activating Strategy

  • Engage:
    • Hook: Show a short video of a scribble bot or demonstrate a pre-made art bot.
    • Discussion–Ask students:
      • What do you notice about how it moves?
      • What forces might be acting on it?
      • How does the energy from the battery turn into movement?

Work Session

Explore – Building the Art Bots

  • Ask:
    • How can we design an art bot that moves unpredictably?
    • How do we make sure our bot stays powered and balanced?
  • Imagine:
    • Students will brainstorm ideas and sketch potential designs for their bots.
  • Plan:
    • Show students a list of materials that they have available to them to build their bots.
    • Students will create a sketch of their bot with materials labeled before beginning to build their bots.
  • Create:
    • Show students how to create their bots.
      • Connect the battery pack to the motor, ensuring a working circuit.
      • Insert the motor into the pool noodle.
      • Attach markers as "legs" using tape.
      • Add weights off-center on the motor shaft to create an unbalanced force.
    • Have students place the bot on plain white paper and turn it on to observe its movement.
    • Improve: Elaborate – Improving the Design
      • Students will analyze their bot’s movement and adjust:
        • Marker placement for different drawing effects.
        • Weight distribution to change speed and wobbling direction.
        • Motor positioning to alter how much it vibrates.
      • Students will compare designs and discuss how small modifications affect motion.
      • Optional: Students can add to their designs with markers.

 

Closing Reflection

  • Explain: Facilitate a discussion on the science behind the bots.
    • Discuss how unbalanced forces create movement.
    • Explain energy transformations (chemical → electrical → kinetic).
    • Relate movement patterns to force, friction, and weight distribution.
  • Have students complete the following exit ticket:
    • What forces acted on your bot?
    • How did changes to your design affect motion?
    • How did energy transform from the battery to movement?
    • What worked well in your bot, and what would you improve if you could do it again?

 

Assessments

Formative

  • Assess students’ learning through observations of student engagement, problem-solving, and questioning during discussions.

Summative

  • Assess students’ learning through the exit ticket questions and closing discussion.

 

Differentiation

Accelerated: 

  • Introduce data collection by having students measure and compare drawing patterns.
  • Use Micro:bit or Arduino to program bots to change motion patterns.

 

Remedial:

  • Provide pre-made circuits.
  • Provide extended time for building and reflecting.
  • Offer verbal instructions paired with written guides.
  • Allow for alternative methods of documentation (photos, audio).

 

 

Credits

Ideas contributed by: Shannon Green

*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.

Revised and copyright:  May 2025 @ ArtsNOW

 

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ART BOTS ELA 6-8

ART BOTS

ART BOTS

Learning Description

Students take on the role of designer-engineers and artists by constructing “drawing robots” that demonstrate how energy transforms into motion. Using motors, batteries, and weighted components to intentionally create imbalance, students will explore concepts like kinetic energy, unbalanced forces, and vibration.

After testing and refining their bots, students will respond to the prompt: “Write an explanation of how your Art Bot transforms electrical energy into motion and artwork. Reflect on your design process and explain how art and engineering work together”.

This writing task reinforces content vocabulary and scientific reasoning while inviting students to make connections between disciplines. The lesson culminates with students presenting their bot’s visual output and reading their explanatory writing aloud in a collaborative critique session.

 

Learning Targets

GRADE BAND: 6-8
CONTENT FOCUS: STEAM & ELA
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can build and test a simple circuit to power a motor.
  • I can explain how unbalanced forces influence motion.
  • I can describe how energy is transformed in my Art Bot.
  • I can use the engineering design process to test and improve my design.

Essential Questions

  • How do unbalanced forces affect the motion of an object?
  • How does a motor convert electrical energy into motion?
  • What design choices impact the movement and artistic output of an Art Bot?
  • How can the engineering design process help improve a design?

 

Georgia Standards

Curriculum Standards

SCIENCE

Grade 6:

S6P2: Obtain, evaluate, and communicate information about the relationship between force, mass, and the motion of objects.

S6P3: Construct an explanation of the relationships among electric force, magnetic force, and motion.

Grade 7:

S7P2: Obtain, evaluate, and communicate information to explain the effects of forces on the motion of an object.

Grade 8:

S8P2: Develop models to illustrate the relationship between potential and kinetic energy.

ELA

Grade 6:

6.T.T.1.e Apply narrative techniques to enhance writing, engage audiences, and achieve specific purposes.

Grade 7:

7.T.T.1.e Apply narrative techniques to enhance writing, engage audiences, and achieve specific purposes.

Grade 8:

8.T.T.1.e Apply narrative techniques to enhance writing, engage audiences, and achieve specific purposes.

Arts Standards

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

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

VA.CR.2.b Produce three-dimensional artworks using a variety of media/materials (e.g. clay, papier-mâché, cardboard, paper, plaster, wood, wire, found objects, fiber).

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

 

South Carolina Standards

Curriculum Standards

SCIENCE

Grade 6:

6-PS3-4. Plan an investigation to determine the relationships among the energy transferred, the type of matter, the mass, and the change in the average kinetic energy of the particles as measured by the temperature of the sample.

Grade 7:

7-PS3-2. Develop a model to describe that when the arrangement of objects interacting at a distance changes, different amounts of potential energy are stored in the system.

7-PS3-5. Construct, use, and present arguments to support the claim that when the kinetic energy of an object changes, energy is transferred to or from the object.

Grade 8:

8-PS2-3. Analyze and interpret data to determine the factors that affect the strength of electric and magnetic forces.

8-PS2-5. Conduct an investigation and evaluate the experimental design to provide evidence that fields exist between objects exerting forces on each other even though the objects are not in contact.

ELA

Grade 6:

ELA.6.C.2.1 Write informative texts to examine a topic and analyze information from one or more sources. When writing:a. introduce a topic clearly and organize information logically; b. develop the topic with relevant facts, definitions, details, quotes, or other information and examples; c. use appropriate transitions to clarify the relationships among ideas and concepts; d. use precise language and vocabulary to inform or to explain the topic; and e. provide a concluding statement or section.

Grade 7:

ELA.7.C.2.1 Write informative texts to examine a topic and analyze information from one or more sources. When writing:a. introduce a topic and organize ideas, concepts, and information using structures such as definition, compare and contrast, and/or cause and effect; b. develop the topic with relevant facts, definitions, details, and/or quotes; c. use appropriate transitions to clarify the relationships between ideas and concepts; d. use precise language and thoughtful elaboration to inform or to explain the topic; e. establish a tone appropriate to the task and audience; and f. provide a concluding statement or section that supports the information presented.

Grade 8:

ELA.8.C.2.1 Write informative texts to examine a topic and analyze information from multiple sources. When writing:a. introduce a topic clearly and organize ideas, concepts, and information, using a structure such as definition, compare and contrast, and/or cause and effect; b. develop the topic with relevant facts, definitions, details, and/or quotes; c. use varied transitions to clarify the relationships between ideas and concepts; d. use precise language and thoughtful elaboration to inform or to explain the topic; e. establish a tone appropriate to the task and audience; and f. provide a concluding statement or section that supports the information presented.

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

 

Key Vocabulary

Content Vocabulary

  • Unbalanced force – A force that changes the motion of an object
  • Friction – A force that opposes motion
  • Circuit – A closed path through which electricity flows
  • Kinetic energy – Energy of motion
  • Potential energy – Stored energy that can be converted into motion
  • Energy transformation – The process of changing one form of energy into another

Arts Vocabulary

  • Movement – This principle of design is associated with rhythm and refers to the arrangement of parts in an artwork that creates a sense of motion to the viewer's eye through the work.
  • Balance – This is a sense of stability in the body of work. Balance can be created by repeating the same shapes and by creating a feeling of equal visual weight.
  • Form – An object that is three-dimensional and encloses volume (cubes, spheres, and cylinders are examples of various forms)
  • Kinetic art – Art that incorporates real motion
  • Contrast – The arrangement of opposite elements in a composition (light vs. dark, rough vs. smooth, etc.) Similar to variety, which refers to the differences in a work, achieved by using different shapes, textures, colors and values.
  • Mark-making – The lines, textures, and marks made by tools or gestures
  • Negative space – The space around and between subjects in an artwork
  • Engineering Design Process – A problem-solving approach that involves identifying a need, researching, brainstorming possible solutions, developing and testing prototypes, and improving the design until the optimal solution is achieved; the steps are Ask, Imagine, Plan, Create, Improve

 

Materials

  • Hobby motors
  • Battery packs (with AA batteries)
  • Pool noodles (cut into sections)
  • Thin markers
  • Electrical tape or masking tape
  • Small weights (washers, paperclips, clay, etc.)
  • Switches (optional for advanced circuits)
  • Scissors
  • Image of the Engineering Design Process

 

 

Instructional Design

Opening/Activating Strategy

  • Engage:
    • Hook: Show a short video of a scribble bot or demonstrate a pre-made Art Bot.
    • Discussion–Ask students:
      • What do you notice about how it moves?
      • What forces might be acting on it?
      • How does the energy from the battery turn into movement?

Work Session

Explore – Building the Art Bots

  • Ask:
    • How can we design an Art Bot that moves unpredictably?
    • How do we make sure our bot stays powered and balanced?
  • Imagine:
    • Students will brainstorm ideas and sketch potential designs for their bots.
  • Plan:
    • Show students a list of materials that they have available to them to build their bots.
    • Students will create a sketch of their bot with materials labeled before beginning to build their bots.
  • Create:
    • Show students how to create their bots.
      • Connect the battery pack to the motor, ensuring a working circuit.
      • Insert the motor into the pool noodle.
      • Attach markers as "legs" using tape.
      • Add weights off-center on the motor shaft to create an unbalanced force.
    • Have students place the bot on plain white paper and turn it on to observe its movement.
    • Improve: Elaborate – Improving the Design
      • Students will analyze their bot’s movement and adjust:
        • Marker placement for different drawing effects.
        • Weight distribution to change speed and wobbling direction.
        • Motor positioning to alter how much it vibrates.
      • Students will compare designs and discuss how small modifications affect motion.
      • Students will respond to the following writing prompt: Write an explanation of how your Art Bot transforms electrical energy into motion and artwork. Reflect on your design process and explain how art and engineering work together. Use specific vocabulary and examples from your experience.
        • Writing Criteria:
          • Introduce the topic clearly: “My Art Bot transforms energy into motion through a simple electric circuit”.
          • Use content-specific vocabulary, such as: circuit, energy transformation, kinetic energy, friction, unbalanced force, vibration.
          • Describe the sequence of events in the engineering design process: Ask → plan → create → test → improve.
          • Explain connections between scientific concepts and artistic outcomes.
          • Use transitions, such as first, next, as a result, finally, to clarify progression.
          • Conclude with insights about what was learned or how the design evolved.

 

Closing Reflection

  • Turn your classroom into a gallery!
    • Lay artworks on desks or hang them around the room.
    • Have students walk through the gallery, viewing each other’s bot collaborations.

 

Assessments

Formative

  • Observations of student engagement and problem-solving
  • Questioning during discussions
  • Peer feedback on bot performance

Summative

  • Students’ written responses to the writing prompt.

 

Differentiation

Accelerated: 

  • Introduce data collection by having students measure and compare drawing patterns.
  • Additional writing prompts:
    • Compare how the energy transformation in your Art Bot is like what happens in a real machine or natural system.
    • How would you redesign your Art Bot to make it draw letters or words? Justify your choices using science vocabulary.
  • Use Micro:bit or Arduino to program bots to change motion patterns.

 

Remedial:

  • Provide pre-made circuits.
  • Provide extended time for building and reflecting.
  • Offer verbal instructions paired with written guides.
  • Allow for alternative methods of documentation (photos, audio).
  • Additional writing prompts:
    • Draw and label how your Art Bot moves.
    • Write three to five sentences explaining how the battery made your Art Bot move.
    • List three problems you solved while building your bot.

 

 

Credits

Ideas contributed by: Shannon Green

*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.

Revised and copyright:  May 2025 @ ArtsNOW

 

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YOUR VIEW MATTERS–FLASHBACK/FORESHADOWING 9-12

YOUR VIEW MATTERS–FLASHBACK/FORESHADOWING

YOUR VIEW MATTERS–FLASHBACK/FORESHADOWING

Learning Description

Students will be engaged throughout this lesson as they take improvisation to a new level. They will create stories on their feet without a script bringing laughter and energy into the classroom as they put flashbacks and foreshadowing into their bodies. They will work individually and in groups to bring prophecies to life. Students will learn about and put into practice literary techniques without even realizing it because they will be having so much fun with their friends and classmates!

 

Learning Targets

GRADE BAND: 9-12
CONTENT FOCUS: THEATRE & ELA
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can act out memories from my own life using my body and voice.
  • I can use improvisation to create stories.
  • I can work with others to create a story.
  • I can be intentional about creating positive memories in my life.

Essential Questions

  • How can improvisation help me be flexible in my world?
  • When have I had foreshadowing and flashback moments in my life?
  • How can memories enhance my life and stories?
  • How can I be in tune to hear the foreshadowing voices around me?

 

Georgia Standards

Curriculum Standards

9th Grade Literature and Composition:

ELAGSE9-10RL5 Analyze how an author's choices concerning how to structure a text, order events within it (e.g., parallel plots), and manipulate time (e.g., pacing, flashbacks) create such effects as mystery, tension, or surprise.

 

10th Grade Literature and Composition:

ELAGSE9-10RL5 Analyze how an author's choices concerning how to structure a text, order events within it (e.g., parallel plots), and manipulate time (e.g., pacing, flashbacks) create such effects as mystery, tension, or surprise.

Arts Standards

TAHSFT.CR.1 Organize, design, and refine theatrical work.

b. Incorporate dramatic elements through improvisation.

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

a. Observe and demonstrate aspects of verbal and non-verbal techniques in common human activity for performance (e.g. voice, breathing, posture, facial expression, physical movement).

 

South Carolina Standards

Curriculum Standards

ELA.AOR.5: Evaluate and critique how an author uses words, phrases, and text structures to craft text.

English I:

ELA.E1.AOR.5.1 Analyze how an author’s choices in structuring a text, including the manipulation of time (e.g., flashback and foreshadowing), create effects such as mystery, tension, and/or suspense.

 

English II:

ELA.E2.AOR.5.1 Analyze how an author’s choices concerning how to structure a literary text, order events within it, and manipulate time, create effects such as mystery, tension, or surprise.

Arts Standards

Anchor Standard 1: I can create scenes and write scripts using story elements and structure.

Benchmark T.CR NH.1: I can work with others to add dialogue to a story.

Indicator T.CR NH1.2: I can collaborate with peers to improvise multiple dialogue choices.

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

Benchmark T.P IM.3: I can use acting techniques to develop characters and create meaning in a simple theatrical work.

Indicator T.P IM.3.1: I can use acting techniques to develop characters and create meaning in a simple theatrical work.

 

Key Vocabulary

Content Vocabulary

  • Character – A person, animal, or being in a story that takes part in the action; characters have traits, emotions, and motivations that shape the story.
  • Story – A connected series of events that includes a beginning, middle, and end; a story usually has characters, a problem, and a resolution.
  • Foreshadow – A hint or clue about something that will happen later in the story. Example: Dark clouds gathering in the sky may foreshadow a storm.
  • Flashback – A scene that takes the story back in time to show something from the past. Example: A character remembers their first day of school while getting ready for graduation.
  • Tone – The author's attitude toward the subject, shown through word choice and style
  • Mood – The feeling or atmosphere a reader gets from a story

Arts Vocabulary

  • Memory – The process of taking in information from the world around us, processing it, storing it and later recalling that information, sometimes many years later. Actors have to memorize lines for a performance.
  • Improvisation – A moment in a play that is not rehearsed or "scripted", or acting without a script
  • Dialogue – Conversation between two or more persons
  • Scene – A single situation or unit of dialogue in a play
  • Visualization – Creating vivid mental images and scenarios to enhance the understanding of characters, scenes, and the overall narrative, ultimately leading to more authentic and engaging performances

 

Materials

 

 

Instructional Design

Opening/Activating Strategy

MEMORY WALK TIME MACHINE - FLASHBACK THEATRE

  • Ask students what happened right before they arrived today.
    • That was a memory.
    • Ask: Is a memory from the past or future? (Past)
      • Memory is the process of taking in information from the world around us, processing it, storing it, and later recalling that information.
      • Memories can be positive or negative.
      • Ask:
        • What is the first memory that pops into your head when I say…chocolate?
        • What about when I say…homework?
      • Explain that they are about to enter a Memory Machine Walk.
        • Invite students to close their eyes, if they feel safe to do so, and visualize a particular memory from their lives.
          • Actors visualize their characters, playing out the story in their mind's eye.
        • Tell students to think of events that have happened in their lives up to this point.
          • For example, when they were a baby, a toddler, an elementary schooler, activities or accolades, family milestones, the first day of school, birthday, embarrassing moments, etc.)
          • Tell students to choose one memory.
        • Explain how the Memory Machine Walk will work.
          • Students walk around the room.
          • Teacher calls, "1, 2, 3 …. FLASHBACK".
          • Students freeze.
          • Students act out their past event/memory from their life using body and voice.
          • Teacher calls, "1, 2, 3 …WALK".
          • Students visualize another memory and repeat the process.
        • Continue until through several rounds.
      • Memory Walk Group Improv:
        • Ask students to get into groups of three.
        • Tell them that they will improvise a scene (make it up on their feet).
        • Have them choose a simple scenario.
        • Give groups two minutes to decide on their scenario and who will play what characters.
        • Explain how the Memory Walk Improv will work.
          • Teacher calls, "1, 2, 3…ACTION".
          • Students start improvising the scene.
          • At some point during the improv, the teacher will call out "1, 2, 3…Flashback!".
          • Students must immediately improvise an earlier event that gives details to the scene.
        • Give students a moment to think about possible flashbacks that fit within their scenario.
        • Start the exercise.
        • Let students improvise for about 45 seconds before calling, "1, 2, 3…Flashback!".
        • Ask for any volunteers who would like to share their scene.
        • Reflect with students by asking what they noticed about the exercise. Use the following questions to facilitate discussion.
          • How did the flashback change the way they saw the story?
          • What emotions or surprises did it create?

Work Session

  • Ask students what they thought about the improvised scenes.
    • What worked and didn't work?
    • Did all of the partners accept suggestions given by their scene partner?
  • Tell students that improvisation is making up a story as you go along without using a script.
    • It can be tough and often ends flat with the characters arguing.
    • Improvisation takes practice, and there are some important rules that help actors make it successful.
    • Discuss Rules of Improvisation.
    • Watch the video Minute Improv Yes And.
    • Tell students that improvisation is radical acceptance and cooperation in action.
    • Tell students, “Now, let's put these rules into practice and sharpen our improvisation skills”.

 

CIRCLE OF PROPHECIES–FORESHADOW THEATRE

  • Ask students what a prophecy is.
    • A prophecy is a vague or dramatic prediction.
      • It adds tone and mood to a story–usually suspense and mystery!
    • Ask students if they can think of any movies or TV shows that they have seen or books they have read that contained prophecies.
    • Share an example of a prophecy: "The sky will weep silver tears, and a path of glowing moss will appear. Choose the path, or face the silence".
    • Ask them to think of a prophecy that they have heard or make one up.
      • Have them turn and share with the person sitting next to them.
    • Invite students to sit or stand in a circle.
    • Tell them that you have slips of paper with prophecies listed on them in a hat.
    • Have one student pull a prophecy out of the hat and read it.
      • Work as a class to come up with three foreshadowing clues that go with the prophecy.
        • Example: "The lights flicker, a character makes a cryptic comment, a storm begins outside".
      • Work as a class to come up with a fast-forward idea to reveal what happens next.
        • Example: "A ghost appears!"
      • Encourage dramatic foreshadowing, over-the-top reactions, and creative problem-solving!
    • Invite some students to the center of the circle to act out a short improv scene leading up to the prophecy coming true (or hilariously failing to).
      • The scene must include the following:
        • The prophecy
        • The three foreshadowing clues
        • The one fast-forward idea
      • Encourage students to have fun and take risks.
    • Ask students to get into groups of three or four.
    • Have them choose one scene idea from Scene Ideas for "Circle of Prophecies"- Foreshadowing.
      • Example: "The Missing Homework Will Decide the Future"
        • Prophecy: "Beware! If the sacred scroll (a.k.a. the missing homework) is not returned by sundown, disaster will strike!"
        • Scene: A group of students frantically searches for the missing assignment, convinced it holds magical powers. The teacher (or "guardian of knowledge") gets more suspicious by the minute.
      • Have students start on the spot or give groups five to ten minutes to decide the following:
        • Setting
        • Characters
        • Three foreshadowing clues that go with the prophecy
        • One fast forward idea
      • Have students share improvised scenes with the class.
      • Reflect with students by asking them what they noticed about the exercise. Use the following questions to facilitate discussion.
        • What made foreshadowing effective?
        • How does foreshadowing add suspense or mystery?

 

Fun additions to consider including in the lesson:

  • Encourage dramatic foreshadowing – Have one student act as the "Prophet" to ominously deliver the prophecy before the scene begins.
  • Use props, such as a toy crystal ball, an old book, and a flashlight for dramatic lighting.
  • Allow silly twists – Maybe the "big disaster" is that the vending machine runs out of snacks. Let them be creative!

 

EXTENSION:

Have groups write down their scenes after improvising them to create a script. Students will edit and revise the scripts.

 

Closing Reflection

  • Facilitate a discussion using the following questions:
    • What did you like or dislike about this lesson?
    • Do you have a better understanding of foreshadowing and flashbacks?
  • Tell students to get with their groups and share one memory they have from their improvised scenes.
  • Tell students that memories make life interesting and can make relationships stronger. Ask them to think of an intentional way to create a positive, fun memory with a friend or family member that might last a lifetime.

 

Assessments

Formative

  • The teacher can discern if the students understand the meaning of flashbacks and foreshadowings by the dialogue they include in their improvisations.

Summative

  • Create a checklist of the elements that need to be included in the scene.
  • Create a checklist for the rules of improvisation and have audience members check off the rules that were followed in each scene.

 

 

Differentiation

Accelerated: 

  • Have advanced students write a complete story containing both foreshadowing and flashbacks using the Simple Scene prompts.

 

Remedial:

  • Create one scene as a class or allow students to contribute to the story without acting in the scenes. Or, allow remedial students to pantomime without using words while the teacher reads the improvised text.

 

Additional Resources

Improvisation Video - A Lesson on Improv Technique, with Chris Gethard | Big Think

 

Credits

Ideas contributed by: Susie Spear Purcell

*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.

Revised and copyright:  May 2025 @ ArtsNOW

 

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YOUR VIEW MATTERS–FLASHBACK/FORESHADOWING 6-8

YOUR VIEW MATTERS–FLASHBACK/FORESHADOWING

YOUR VIEW MATTERS–FLASHBACK/FORESHADOWING

Learning Description

Students will be engaged throughout this lesson as they take improvisation to a new level. They will create stories on their feet without a script bringing laughter and energy into the classroom as they put flashbacks and foreshadowing into their bodies. They will work individually and in groups to bring prophecies to life. Students will learn about and put into practice literary techniques without even realizing it because they will be having so much fun with their friends and classmates!

 

Learning Targets

GRADE BAND: 6-8
CONTENT FOCUS: THEATRE & ELA
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can act out memories from my own life using my body and voice.
  • I can use improvisation to create stories.
  • I can work with others to create a story.
  • I can be intentional about creating positive memories in my life.

Essential Questions

  • How can improvisation help me be flexible in my world?
  • When have I had foreshadowing and flashback moments in my life?
  • How can memories enhance my life and stories?
  • How can I be in tune to hear the foreshadowing voices around me?

 

Georgia Standards

Curriculum Standards

Grade 6:

ELAGSE6RL5 Analyze how a particular sentence, chapter, scene, or stanza fits into the overall structure of a text and contributes to the development of the theme, setting, or plot.

 

Grade 7:

ELAGSE7RL5 Analyze how a drama's or poem's form or structure (e.g., soliloquy, sonnet) contributes to its meaning.

 

Grade 8:

ELAGSE8RL5 Compare and contrast the structure of two or more texts and analyze how the differing structure of each text contributes to its meaning and style.

Arts Standards

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

a. Demonstrate effective verbal and non-verbal communication skills (e.g. rate, pitch, volume, inflection, posture, facial expression, physical movement).

c. Demonstrate a variety of types of theatre performances.

 

South Carolina Standards

Curriculum Standards

ELA.AOR.5: Evaluate and critique how an author uses words, phrases, and text structures to craft text.

Grade 6:

ELA.6.AOR.5.1 Analyze how a particular sentence, paragraph, chapter, scene, or stanza fits into the overall structure of a text and contributes to the development of theme, setting, or plot.

 

Grade 7:

ELA.7.AOR.5.1 Analyze how the structure of a literary text (e.g., narrative, drama, poem) contributes to its meaning.

 

Grade 8:

ELA.8.AOR.5.1 Determine and explain how an author’s choices in structuring a text, including the manipulation of time (e.g., flashback and foreshadowing), create effects such as mystery or suspense.

Arts Standards

Anchor Standard 1: I can create scenes and write scripts using story elements and structure.

Benchmark T.CR NH.1: I can work with others to add dialogue to a story.

Indicator T.CR NH1.2: I can collaborate with peers to improvise multiple dialogue choices.

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

Benchmark T.P IM.3: I can use acting techniques to develop characters and create meaning in a simple theatrical work.

Indicator T.P IM.3.1: I can use acting techniques to develop characters and create meaning in a simple theatrical work.

 

Key Vocabulary

Content Vocabulary

  • Character – A person, animal, or being in a story that takes part in the action; characters have traits, emotions, and motivations that shape the story.
  • Story – A connected series of events that includes a beginning, middle, and end; a story usually has characters, a problem, and a resolution.
  • Foreshadow – A hint or clue about something that will happen later in the story. Example: Dark clouds gathering in the sky may foreshadow a storm.
  • Flashback – A scene that takes the story back in time to show something from the past. Example: A character remembers their first day of school while getting ready for graduation.
  • Tone – The author's attitude toward the subject, shown through word choice and style
  • Mood – The feeling or atmosphere a reader gets from a story

Arts Vocabulary

  • Memory – The process of taking in information from the world around us, processing it, storing it and later recalling that information, sometimes many years later. Actors have to memorize lines for a performance.
  • Improvisation – A moment in a play that is not rehearsed or "scripted", or acting without a script
  • Dialogue – Conversation between two or more persons
  • Scene – A single situation or unit of dialogue in a play
  • Visualization – Creating vivid mental images and scenarios to enhance the understanding of characters, scenes, and the overall narrative, ultimately leading to more authentic and engaging performances

 

Materials

 

 

Instructional Design

Opening/Activating Strategy

MEMORY WALK TIME MACHINE - FLASHBACK THEATRE

  • Ask students what happened right before they arrived today.
    • That was a memory.
    • Ask: Is a memory from the past or future? (Past)
      • Memory is the process of taking in information from the world around us, processing it, storing it, and later recalling that information.
      • Memories can be positive or negative.
      • Ask:
        • What is the first memory that pops into your head when I say…chocolate?
        • What about when I say…homework?
      • Explain that they are about to enter a Memory Machine Walk.
        • Invite students to close their eyes, if they feel safe to do so, and visualize a particular memory from their lives.
          • Actors visualize their characters, playing out the story in their mind's eye.
        • Tell students to think of events that have happened in their lives up to this point.
          • For example, when they were a baby, a toddler, an elementary schooler, activities or accolades, family milestones, the first day of school, birthday, embarrassing moments, etc.)
          • Tell students to choose one memory.
        • Explain how the Memory Machine Walk will work.
          • Students walk around the room.
          • Teacher calls, "1, 2, 3 …. FLASHBACK".
          • Students freeze.
          • Students act out their past event/memory from their life using body and voice.
          • Teacher calls, "1, 2, 3 …WALK".
          • Students visualize another memory and repeat the process.
        • Continue until through several rounds.
      • Memory Walk Group Improv:
        • Ask students to get into groups of three.
        • Tell them that they will improvise a scene (make it up on their feet).
        • Have them choose a simple scenario.
        • Give groups two minutes to decide on their scenario and who will play what characters.
        • Explain how the Memory Walk Improv will work.
          • Teacher calls, "1, 2, 3…ACTION".
          • Students start improvising the scene.
          • At some point during the improv, the teacher will call out "1, 2, 3…Flashback!".
          • Students must immediately improvise an earlier event that gives details to the scene.
        • Give students a moment to think about possible flashbacks that fit within their scenario.
        • Start the exercise.
        • Let students improvise for about 45 seconds before calling, "1, 2, 3…Flashback!".
        • Ask for any volunteers who would like to share their scene.
        • Reflect with students by asking what they noticed about the exercise. Use the following questions to facilitate discussion.
          • How did the flashback change the way they saw the story?
          • What emotions or surprises did it create?

Work Session

  • Ask students what they thought about the improvised scenes.
    • What worked and didn't work?
    • Did all of the partners accept suggestions given by their scene partner?
  • Tell students that improvisation is making up a story as you go along without using a script.
    • It can be tough and often ends flat with the characters arguing.
    • Improvisation takes practice, and there are some important rules that help actors make it successful.
    • Discuss Rules of Improvisation.
    • Watch the video Minute Improv Yes And.
    • Tell students that improvisation is radical acceptance and cooperation in action.
    • Tell students, “Now, let's put these rules into practice and sharpen our improvisation skills”.

 

CIRCLE OF PROPHECIES–FORESHADOW THEATRE

  • Ask students what a prophecy is.
    • A prophecy is a vague or dramatic prediction.
      • It adds tone and mood to a story–usually suspense and mystery!
    • Ask students if they can think of any movies or TV shows that they have seen or books they have read that contained prophecies.
    • Share an example of a prophecy: "The sky will weep silver tears, and a path of glowing moss will appear. Choose the path, or face the silence".
    • Ask them to think of a prophecy that they have heard or make one up.
      • Have them turn and share with the person sitting next to them.
    • Invite students to sit or stand in a circle.
    • Tell them that you have slips of paper with prophecies listed on them in a hat.
    • Have one student pull a prophecy out of the hat and read it.
      • Work as a class to come up with three foreshadowing clues that go with the prophecy.
        • Example: "The lights flicker, a character makes a cryptic comment, a storm begins outside".
      • Work as a class to come up with a fast-forward idea to reveal what happens next.
        • Example: "A ghost appears!"
      • Encourage dramatic foreshadowing, over-the-top reactions, and creative problem-solving!
    • Invite some students to the center of the circle to act out a short improv scene leading up to the prophecy coming true (or hilariously failing to).
      • The scene must include the following:
        • The prophecy
        • The three foreshadowing clues
        • The one fast-forward idea
      • Encourage students to have fun and take risks.
    • Ask students to get into groups of three or four.
    • Have them choose one scene idea from Scene Ideas for "Circle of Prophecies"- Foreshadowing.
      • Example: "The Missing Homework Will Decide the Future"
        • Prophecy: "Beware! If the sacred scroll (a.k.a. the missing homework) is not returned by sundown, disaster will strike!"
        • Scene: A group of students frantically searches for the missing assignment, convinced it holds magical powers. The teacher (or "guardian of knowledge") gets more suspicious by the minute.
      • Have students start on the spot or give groups five to ten minutes to decide the following:
        • Setting
        • Characters
        • Three foreshadowing clues that go with the prophecy
        • One fast forward idea
      • Have students share improvised scenes with the class.
      • Reflect with students by asking them what they noticed about the exercise. Use the following questions to facilitate discussion.
        • What made foreshadowing effective?
        • How does foreshadowing add suspense or mystery?

 

Closing Reflection

  • Facilitate a discussion using the following questions:
    • What did you like or dislike about this lesson?
    • Do you have a better understanding of foreshadowing and flashbacks?
  • Tell students to get with their groups and share one memory they have from their improvised scenes.
  • Tell students that memories make life interesting and can make relationships stronger. Ask them to think of an intentional way to create a positive, fun memory with a friend or family member that might last a lifetime.

 

Assessments

Formative

  • The teacher can discern if the students understand the meaning of flashbacks and foreshadowings by the dialogue they include in their improvisations.

Summative

  • Create a checklist of the elements that need to be included in the scene.
  • Create a checklist for the rules of improvisation and have audience members check off the rules that were followed in each scene.

 

 

Differentiation

Accelerated: 

  • Have advanced students write a complete story containing both foreshadowing and flashbacks using the Simple Scene prompts.

 

Remedial:

  • Create one scene as a class or allow students to contribute to the story without acting in the scenes. Or, allow remedial students to pantomime without using words while the teacher reads the improvised text.

 

Additional Resources

Improvisation Video - A Lesson on Improv Technique, with Chris Gethard | Big Think

 

Credits

Ideas contributed by: Susie Spear Purcell

*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.

Revised and copyright:  May 2025 @ ArtsNOW

 

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THE POWER OF MULTIMEDIA IN MUSIC INTERPRETATION 9-12

THE POWER OF MULTIMEDIA IN MUSIC INTERPRETATION

THE POWER OF MULTIMEDIA IN MUSIC INTERPRETATION

Learning Description

In this lesson, students will explore how different multimedia formats contribute to the presentation of a song and its message.

 

Learning Targets

GRADE BAND: 9-12
CONTENT FOCUS: MUSIC & ELA
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can analyze how different multimedia formats change the way a message is presented and understood.
  • I can compare the strengths and weaknesses of print text, digital text, film, image, and performance in conveying information.
  • I can evaluate how audience perception is influenced by the choice of multimedia format.
  • I can use musical vocabulary to explain what I hear in a ballad.
  • I can use good posture, breath support, and accurate pitch while singing.

Essential Questions

  • How do different multimedia formats (print text, digital text, film, image, performance) influence the way an idea or topic is understood?
  • What are the advantages and disadvantages of using various multimedia formats to present information?
  • How can I use my voice to express emotions and communicate a message?

 

Georgia Standards

Curriculum Standards

9th Grade Literature and Composition:

ELAGSE9-10SL2 Integrate multiple sources of information presented in diverse media or formats (e.g., visually, quantitatively, orally) evaluating the credibility and accuracy of each source.

 

10th Grade Literature and Composition:

ELAGSE9-10SL2 Integrate multiple sources of information presented in diverse media or formats (e.g., visually, quantitatively, orally) evaluating the credibility and accuracy of each source.

Arts Standards

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

HSMA.CR.3 Evaluate and refine musical ideas.

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

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

HSMA.RE.2 Evaluate music and music performances.

HSMA.CN.2 Understand music in relation to history and culture.

 

South Carolina Standards

Curriculum Standards

English I:

ELA.E1.AOR.10.1 Explain the advantages and disadvantages of using different multimedia

(e.g., print text, digital text, film, image, performance) formats for presenting ideas or topics.

 

English II:

ELA.E2.AOR.10.1 Analyze the advantages and disadvantages of using different multimedia

(e.g., print text, digital text, film, image, performance) formats for presenting ideas or topics.

 

English III:

ELA.E3.AOR.10.1 Evaluate the advantages and disadvantages of using different multimedia (e.g., print text, digital text, film, image, performance) formats for presenting ideas or topics.

 

English IV:

ELA.E4.AOR.10.1 Evaluate and critique the advantages and disadvantages of using different multimedia (e.g., print text, digital text, film, image, performance) formats for presenting ideas or topics.

Arts Standards

Anchor Standard 3: I can sing alone and with others.

Anchor Standard 6: I can analyze music.

Anchor Standard 7: I can evaluate music.

 

Key Vocabulary

Content Vocabulary

  • Analyze - To study something closely and carefully
  • Evaluate - To study carefully and make a judgement
  • Multimedia - Using different types of media, like pictures, videos, sounds, and words, all together to tell a story or share information
  • Text - Can include, but is not limited to, materials such as books, magazines, newspapers, movies, paintings, television shows, songs, political cartoons, online materials, advertisements, maps, digital media, infographics, podcasts, charts, graphs, diagrams, notes, captions, lab reports, scenarios, and works of art

Arts Vocabulary

  • Lyrics - Words to a song
  • Pitch - The highness or lowness of sound
  • Rhythm - Long and short sounds and silences
  • Dynamics - Loud and soft sounds; volume
  • Tempo - The speed of the beat
  • Timbre - The distinctive quality of sounds; the tone color or special sound that makes one instrument or voice sound different from another
  • Form - The organization of a piece (how the music is put together)
  • Articulation - How a performer moves from one note to the next; how notes are connected or not

 

Materials

  • Projection board with internet access
  • Implements for completing writing assignments
  • Graphic organizers (optional)
  • Printed song lyrics
  • Audio recordings
  • Music video (if available)
  • Album art
  • Harvard Project Zero Thinking Routines

 

 

Instructional Design

Opening/Activating Strategy

  • Think, Pair, Share: Pose the following question–How does the format of a song (text, audio, video or performance) influence its impact?
    • Allow students a few minutes to think individually and document their thoughts by using words or images.
    • Tell students to “Turn and Talk” about their response with a neighbor.
    • Call on students to share their responses with the class. All responses are acceptable.

Work Session

  • Review the five multimedia formats that include print text, digital text (audio), film (music video), image (album art), and performance (live or staged).
    • Discuss how each format affects perception, engagement, and understanding of the medium.
  • Choose a song to complete a song analysis. (**Song suggestions are in the Additional Resources section of the lesson plan.)

 

See, Think, Wonder (Harvard Project Zero Thinking Routine)

  • Prepare students for a “See, Think, Wonder” reading activity by telling students they are going to read the song lyrics (using an excerpt is acceptable) and answer three prompts.  Students will need implements for annotating their responses.
    • “I see”: What do you see? What words or phrases stand out to you?
    • “I think”: What do you think the lyrics are about? What do you think about while reading the lyrics?
    • “I wonder”: What do the lyrics make you wonder? What questions do you have?
  • Provide students with individual copies of the lyrics to read individually or as a group.
  • Have students answer the first prompt (I see) using words or images.
    • Tell students to “Turn and Talk” about their response with a neighbor.
    • Call on students to share their responses with the class.
      • Restate students’ responses. All responses are acceptable.
    • Students will read the lyrics a second time and answer the second prompt (I think) using words or images.
      • Tell students to “Turn and Talk” about their responses with a neighbor.
      • Call on students to share their responses with the class.
      • Restate students’ responses. All responses are acceptable. Ask students, “What did you read in the ballad poem to make you think about …?” to encourage deeper connections to the written text.
    • Students will read the lyrics a third time and answer the third prompt (I wonder) using words or images. **The “I think” and “I wonder” can be combined.
      • Tell students to “Turn and Talk” about their responses with a neighbor.
      • Call on students to share their responses with the class.
        • Restate students’ responses. All responses are acceptable.

 

Music Analysis: Hear, Think, Wonder

  • Prepare students for a “Hear, Think, Wonder” listening activity. This is a modification of the Project Zero “See, Think, Wonder” Thinking Routine activating strategy. **Make sure only the music is played without showing the accompanying video! This practice allows deeper analysis of the musical sounds!
  • Tell students they are going to listen to the song (or an excerpt) and answer three prompts:
    • “I hear”: What sounds are heard. Musical sounds can include pitch (high/low sounds), rhythm (long/short), dynamics (loud/soft), tempo (fast/slow), timbre (instruments), form (same [repetition], different [contrasting]), articulation (smooth/detached).
    • “I think”: What does the music make you think about?
    • “I wonder”: What “wonderings” do you have? Wonderings are generally questions.
  • Students listen without talking the first time and answer the first prompt (I hear) using words or images.
    • Tell students to “Turn and Talk” about their response with a neighbor.
    • Call on students to share their responses with the class.
      • Restate students’ responses. All responses are acceptable.
    • Students will listen without talking a second time and answer the second prompt (I think) using words or images.
      • Tell students to “Turn and Talk” about their responses with a neighbor.
      • Call on students to share their responses with the class.
        • Restate students’ responses. All responses are acceptable.
        • Ask “What did you hear in the music to make you think about …?” to encourage deeper connections to the music.
      • Students listen without talking a third time and answer the third prompt (I wonder) using words or images. **The “I think” and I wonder” prompts can be combined into one listening event instead of two separate events.
        • Tell students to “Turn and Talk” about their responses with a neighbor.
        • Call on students to share their responses with the class.
          • Restate students’ responses. All responses are acceptable.
        • Discuss any changes in interpretation with the addition of musical sounds.

 

Music Analysis: See, Hear, Think, Wonder (combination of two Harvard Project Zero Thinking Routines See, Think, Wonder and Hear, Think, Wonder)

  • Prepare students for a “See, Hear, Think, Wonder” activity by telling students they are going to watch a music video of the song (using an excerpt is acceptable) and answer four prompts. Students will need implements for annotating their responses.
    • “I see”: What do you see? What images or scenes stand out for you?
    • “I hear”: What sounds are heard. Musical sounds can include pitch (high/low sounds), rhythm (long/short), dynamics (loud/soft), tempo (fast/slow), timbre (instruments), form (same [repetition], different [contrasting]), articulation (smooth/detached).
    • “I think”: What do you think is the message of the video? What did you think about while watching the video?
    • “I wonder”: What does the video make you wonder? What questions do you have?
  • Students answer the first prompt (I see) using words or images.
    • Tell students to “Turn and Talk” about their response with a neighbor.
    • Call on students to share their responses with the class.
      • Restate students’ responses. All responses are acceptable.
    • Students watch and listen without talking a second time and answer the second prompt (I think) using words or images.
      • Tell students to “Turn and Talk” about their responses with a neighbor.
      • Call on students to share their responses with the class.
        • Restate students’ responses. All responses are acceptable.
        • Ask students, “What did you hear in the music to make you think about …?” to encourage deeper connections to the music.
      • Students watch and listen, without talking, a third time and answer the third prompt (I wonder) using words or images. **The “I think” and I wonder” prompts can be combined into one listening event instead of two separate events.
        • Tell students to “Turn and Talk” about their responses with a neighbor.
        • Call on students to share their responses with the class.
        • Restate students’ responses. All responses are acceptable.
      • Discuss how visual storytelling changes or enhances interpretation.

 

Performance

  • Students will use the lyric sheet to sing along with the recording. Singing along with the instrumental version adds an additional challenge.
    • Teacher will remind students to demonstrate good posture, breath support, and accurate pitch while singing.

 

Group Discussion

  • Divide students into small collaborative groups. Using a graphic organizer might help students organize their thoughts and discussion.
    • Possible questions include:
      • Which format was most effective in conveying the song’s message? Why?
      • How did each format alter the perception of the song?
      • What are the limitations of each medium?
    • Conduct a whole-class share out and discussion.
    • Finally, students will write a comparative analysis essay evaluating the advantages and disadvantages of two multimedia formats in presenting the song’s message.

 

Closing Reflection

  • Have students sing the song together.
  • Students will complete an exit ticket: Which format of the song do you think was most effective and why?
  • Students share one takeaway about how multimedia influences meaning in literature and music.

 

Assessments

Formative

  • Exit ticket: Which format of the song do you think was most effective and why?
  • Responses to thinking routines (See, Think, Wonder; Hear, Think, Wonder; See, Hear, Think, Wonder)
  • Teacher observations

Summative

  • Students write a comparative analysis essay evaluating the advantages and disadvantages of two multimedia formats in presenting the song’s message.

 

 

Differentiation

Accelerated: 

  • Compare how different multimedia formats are used in other art forms, such as poetry or film adaptations of books.

 

Remedial:

  • Use graphic organizers.
  • Provide guided notes or sentence starters for discussion.
  • Provide discussion questions.
  • Use partner reading or small-group support for comprehension.

 

Additional Resources

Suggested Song Titles:

  • “Living on a Prayer” sung by Bon Jovi
  • “Julie” sung by Rhiannon Giddens
  • “Man of Constant Sorrow” sung by The Soggy Bottom Boys

 

Credits

Ideas contributed by: Dr. Rue S. Lee-Holmes

*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.

Revised and copyright:  May 2025 @ ArtsNOW

 

Back to Lessons