SIMPLE MACHINE HEXATHLON CHALLENGE 2-3

SIMPLE MACHINE HEXATHLON CHALLENGE

SIMPLE MACHINE HEXATHLON CHALLENGE

Learning Description

In this lesson, students will read how Mazie engineers simple machines in her house when students read, Mazie’s Amazing Machines, by Sheryl Haft. Students will embody the six simple machines in their groups by creating tableaux and playing the 3-Second Machine Game. They will then be challenged to create a hexathlon (six-event) competition using pantomime by designing simple machines using their bodies.

 

Learning Targets

GRADE BAND: 2-3
CONTENT FOCUS: THEATRE & SCIENCE
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can bring simple machines to life using my body.

  • I can work as a team to design simple machines. 

  • I can work as a team to pantomime everyday tasks using simple machines. 

  • I can explain the role of force and motion in simple machines.

Essential Questions

  • How do simple machines help make tasks in our everyday lives easier?

  • How do the parts of something help make the whole?

 

Georgia Standards

Curriculum Standards

Grade 2

S2P2. Obtain, evaluate, and communicate information to explain the effect of a force (a push or a pull) in the movement of an object (changes in speed and direction).

 

Arts Standards

Grade 2TA2.PR.1 Act by communicating and sustaining roles in formal and informal environments. a. Use imagination and vocal elements (e.g. inflection, pitch, volume, articulation) to communicate c. Collaborate and perform with an ensemble to share theatre with an audience. d. Explore character choices and relationships in a variety of dramatic forms (e.g. narrated story, pantomime, puppetry, dramatic play).

 

South Carolina Standards

Curriculum Standards

Grade 3

3-PS2-1. Plan and conduct an investigation to provide evidence of the effects of balanced and unbalanced forces on the motion of an object.

 

3-PS2-2. Make observations and measurements of an object’s motion to provide evidence that a pattern can be used to predict future motion.

 

Arts Standards

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

Anchor Standard 8: I can relate theatre to other content areas, arts disciplines, and careers.

 

 

Key Vocabulary

Content Vocabulary

  • Simple machines - Basic mechanical devices that are used to make work easier by altering the magnitude or direction of a force

  • Motion - The change in position or orientation of an object with respect to a reference point or frame of reference
  • Force - A push or pull that can cause an object to change its state of motion, accelerate, deform, or experience other effects

 

  • Lever - A simple machine consisting of a rigid beam or bar that is free to pivot around a fixed point called a fulcrum

  • Pulley - A simple machine consisting of a grooved wheel (often called a sheave) that is mounted on a fixed or movable axle
  • Wedge - A simple machine consisting of a triangular-shaped object with a sharp edge or inclined plane on one or both of its sides
  • Inclined plane - A simple machine consisting of a sloping surface or ramp that reduces the amount of force required to lift or move objects vertically
  • Wheel and axle - A simple machine consisting of a wheel (a circular object with a central hole) mounted on an axle (a cylindrical shaft)
  • Screw - A simple machine and a type of fastener that consists of a cylindrical shaft with a helical (spiral) ridge or thread wrapped around it
  • Fulcrum - A fixed point or pivot around which a lever or other mechanical device rotates or moves
  • Load - The force or weight that is applied to a structure, device, or system

Arts Vocabulary

  • Body - The physical presence, movements, and expressions of an actor

  • Gestures - The movements and actions of the body, particularly the hands, arms, and face, that are used by actors to convey emotions, thoughts, intentions, and messages to the audience
  • Tableau - A static and silent scene or picture created by actors who freeze in specific poses or positions to represent a moment or concept
  • Pantomime - A form of performance where actors use gestures, facial expressions, and body movements to convey a story or narrative without speaking

 

Materials

Instructional Design

Opening/Activating Strategy

  • Show the video – Coca-Cola Music Machine: "I'd Like to Buy the World a Coke".
  • Ask students to describe what they saw.
    • Ask students what the purpose of the machine was in the video. 
    • Discuss what a simple machine is.
  • Introduce Rube Goldberg to students.
    • Read the book Mazie’s Amazing Machines by Sheryl Haft, 
    • While reading the book, explore each simple machine with a body movement. 
    • After reading the book, ask students which Mazie machine was their favorite and how it made life simpler.
    • Ask students how motion and force played a role in the simple machines.

 

Work Session

SIMPLE MACHINE TABLEAU GAME

  • Explain to students that they will be making a tableau demonstrating a simple machine that they learned about in the book.
    • Explain to students that a tableau is a static and silent scene or picture created by actors who freeze in specific poses or positions to represent a moment or concept
  • Give each student a lanyard with the name of a simple machine. 
  • Have students get in groups of three with students who have the same simple machine. 
  • Have each group create a tableau of their machine using each group member. Then ask students to “bring it life” and demonstrate how the simple machine works with movement.
  • Debrief the simple machines discussing the roles of motion and force.

 

INTRODUCE PANTOMIME

  • Explain to students that pantomime is a form of performance where actors use exaggerated gestures, facial expressions, and body movements to convey a story or narrative without speaking. Actors use acting and reacting in pantomime. 
  • Show students a video of pantomime such as Le Mime Marceau or Punch & Mimi- Brushing Teeth.

 

EVERYDAY SIMPLE MACHINE TASKS

  • In their groups, ask students to think of an example of their simple machine being used in everyday activities. Some examples are:
    • Inclined plane: Wheelchair ramp, skateboard ramp, slide
    • Wedge: Knife, axle, plow, prop to keep a door open
    • Screw: Lid to a jar, bottle opener, corkscrew
    • Wheel and axle: Steering wheel of a car, bicycle pedal
    • Pulley: Flagpole with flag, raising and lowering blinds
    • Lever: Scissor handle, paperclip, clothespin
  • Ask students to identify how force and motion make their machine work.
  • Provide time for groups to share with the class.

 

CLASS HEXATHLON PHYSICAL CHALLENGE

  • Introduce hexathlon events to students. These are Olympic-like events that have six different sports or competitions that athletes must perform.
  • Tell students that they will create a Pantomimed Hexathlon Class Competition, with each of the six competitions representing an everyday task for each of the six simple machines.
    • Examples:
      • Prop a door open (wedge)
      • Untwist ten jar lids (screw)
      • Push a box up a ramp (inclined plane)
      • Complete a lap by scooter (wheel and axle)
      • Lift the most weight with a pulley
      • Sweep a ball into a goal using a broom (lever) 
  • Have each group develop a team name. 

 

DEVELOP GAMES

  • Each group will develop one task for their assigned simple machine (the same simple machine that they made a tableau of). 
  • Hand out the SIMPLE MACHINE HEXATHLON CHALLENGE TASKS -  WORKSHEET for students to identify a task for their simple machine. 
  • Next, have students develop a pantomime for their task.
    • Tell students that it should have a beginning, middle, and end movement. This will help clarify and slow down the movements to avoid an overall general movement that does not show distinct parts. 

 

LET THE GAMES BEGIN

  • Set the stage by playing Olympic music.
  • Invite each group to perform their tasks and time them. 
  • Have students in the audience identify which simple machine each task used.
  • Discuss the role of force and motion in the simple machine.

 

Closing Reflection

  •  
  • Facilitate a class discussion that reflects on the following questions:
    • How can you use simple machines in your life to make everyday tasks easier? 
    • Can you design a machine in your house or community to help someone in need? Which simple machines would it use? 
  • Have students draw a diagram of the beginning, middle, and end of each task pantomime with labels of simple machine names as well as any related vocabulary.
  • Students should reflect and write about their machines and their process in designing them in their STEAM journal.

 

Assessments

Formative

Teacher will assess students by:

  • Circulating the room assessing students’ understanding of the simple machine movements. *Adjust and correct students as you encounter movements that do not reflect the simple machine. 
  • Asking questions to determine if students’ bodies match the simple machine movements. 
  • Asking specific questions about the fulcrum, load, and force.

 

Summative

CHECKLIST

  • Students can accurately bring simple machines to life with their bodies using pantomime and tableau.
  • Students can write about their machines and their processes in their STEAM journal. 
  • Students can draw a diagram of the beginning, middle, and end of each task pantomime with labels of simple machine names as well as any related vocabulary. 
  • Students can explain the role of force and motion in the function of simple machines.

 

DIFFERENTIATION 

Accelerated: 

  • Have students videotape their group, introducing and enacting their Hexathlon competition machines on Flip Grid or another recording application. 
  • Have students pantomime multiple simple machines (or all six), instead of just one. 

Remedial: Instead of individual groups developing their own simple machines, the class can develop six simple machine tasks together.

 

 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:  Susie Spear Purcell. Updated by: Katy Betts.

Revised and copyright:  August 2024 @ ArtsNOW

 

Back to Modules

EARTH SYSTEMS, ENVIRONMENT & CONSERVATION THROUGH MOVEMENT 2-3

EARTH SYSTEMS, ENVIRONMENT & CONSERVATION THROUGH MOVEMENT

EARTH SYSTEMS, ENVIRONMENT & CONSERVATION THROUGH MOVEMENT

Learning Description

In this lesson, students will understand how choreographers use performance as a platform for communicating concepts. By creating their own choreography, students will learn and teach their classmates about the scientific concepts they are investigating in class.

 

Learning Targets

GRADE BAND: 2-3
CONTENT FOCUS: DANCE & SCIENCE
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can use performance as a platform to inform audiences about important issues.

  • I can create a choreographic work about scientific concepts.

Essential Questions

  • How and why do choreographers create dances to inform audiences about important issues?

  • How can I demonstrate my understanding of scientific concepts through choreography and movement?

 

Georgia Standards

Curriculum Standards

Grade 2

S2E3. Obtain, evaluate, and communicate information about how weather, plants, animals, and humans cause changes to the environment. 

 

Grade 3

S3L2. Obtain, evaluate, and communicate information about the effects of pollution (air, land, and water) and humans on the environment.

 

Arts Standards

Grade 2

ESD2.CR.1 Demonstrate an understanding of the choreographic process.

 

ESD2.CR.2 Demonstrate an understanding of dance as a form of communication.

 

ESD2.PR.1 Identify and demonstrate movement elements, skills, and terminology in dance

 

ESD2.RE.1 Demonstrate critical and creative thinking in dance.

 

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

Grade 2

2-ESS1-1. Use information from several sources to provide evidence that Earth events can occur rapidly or slowly.

 

2-ESS2-1. Compare multiple solutions designed to slow or prevent wind or water from changing the shape of the land.

 

Grade 3

3-ESS2-2. Obtain and combine information to describe climate patterns in different regions of the world.

 

3-ESS3-1. Make a claim about the effectiveness of a design solution that reduces the impacts of a weather related hazard.

 

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

  • Weather - The atmospheric conditions present in a particular place at a specific time

  • Climate - The long-term patterns and averages of weather conditions in a particular region over a significant period

  • Environment - The surroundings or conditions in which an organism, species, or ecosystem exists and interacts

  • Pollution - The introduction of harmful substances or contaminants into the environment, causing adverse effects on living organisms, natural resources, and ecosystems

Arts Vocabulary

  • Choreographer/Choreography - The art of designing and arranging sequences of movements, steps, and gestures to create a dance piece

  • Levels - The vertical positioning of the dancer's body in relation to the floor (high, mid, low)

  • Shape - The visual configuration or arrangement of the dancer's body or limbs in space

  • Tempo - The speed or pace of the music to which dancers perform

  • Energy - The quality, intensity, and dynamic force behind movement

  • Pathway - The route that a dancer's movement takes through space; it can encompass the direction, shape, and pattern of movement as the dancer moves across the performance space

 

Materials

  • Dance/piece of choreography to watch (see examples in “Additional Resources”)
  • Music
  • Poetry/text (optional)

 

 

Instructional Design

Opening/Activating Strategy

  • Using vocabulary from the current unit of study in science, ask students to show a movement to represent a vocabulary word or idea.  Ask students to explain why they chose their movement and how/why that movement would represent the definition/idea to an audience.
  • Tell students that choreographers are like authors except they don't use words and pictures to help the audience understand what they are communicating.  
    • Instead, they use their bodies and movement to teach the audience about the concept.  
    • Creating choreography about science is just like an author writing an informational text; our dance must inform the audience through movement.

 

Work Session

  • Watch a piece of choreography about an earth system or the environment/conservation (see “Additional Resources”).
  • Discuss choreographic choices/movements used to express thoughts and ideas to the audience.
    • Prompt students to make shapes with their bodies to express the words that they hear, such as tree, rock, circle, etc.
    • Next, have students explore pathways. Tell students that pathways are the route that a dancer's movement takes through space. Ask students to begin traveling through the room, moving from place to place, as you prompt them with different body shapes. Encourage students to think about how they can link their movements together fluidly.
    • Ask students to freeze in place. Bring students’ attention to levels (high, mid, low) with movements such as stretching up high and moving on tiptoes, crouching in a small ball close to the floor, and bouncing in place at a middle level. Say words such as river, mountain, and valley. Ask students to explore body shapes at the level that they think best expresses that idea.
    • Now, direct students to explore energy variations with different movement qualities such as sharp movements–quick, precise actions like punches or snaps, and smooth movements–slow, flowing actions like waves or circles with arms. Prompt students with weather-related words like hail, ice, sunshine, etc.
    • Lead students in a movement exercise to introduce them to the following dance terms: Levels, shape, tempo, energy, and pathways. 
    • Look at the dance performance again. Ask students where they see examples of these elements in the choreography. Ask students what the choreographer communicated by using the concept. 
  • Tell students that they now will explore movement ideas to represent scientific concepts.
    • As a class, choreograph a movement phrase to show a concept, such as water pollution. Ask students to think about what shapes they should make with their bodies? What pathways? What type of energy? Levels?
    • Allow time for students to brainstorm. Create and perform the movement phrase as a class.
    • Ask students to share a term from the unit, such as water pollution. 
  • Arrange students into small groups. Assign each group a topic related to the current unit of study in science.
  • Tell students that they will be creating choreography about their assigned topic. Remind students that as choreographers, it is their job to communicate a concept through movement. 
    • Remind students that choreographers use levels, shape, tempo, energy, and pathways intentionally to communicate with the audience. Ask students to select one or two that they will use in their choreography. 
    • Tell students that their choreography must have at least three movements showing a beginning, middle, and end.
    • Circulate the room to work with students as they create their choreography.
  • Have students share their choreography with the class. 
    • The audience members should describe what they observed in the group’s choreography using both science and dance vocabulary.
    • Ask students to explain how the choreography choices contributed to the meaning of the dance.

 

Closing Reflection

  • Using the elements of dance as a guide, ask students how their choreographic choices helped the audience understand the content. This can be a written or oral reflection.

 

 

Assessments

Formative

Teacher will assess students by asking students about their choreographic choices and how they aid in the audience's understanding of the scientific concept.

 

Summative

CHECKLIST

  • Choreography:
    • Students can create choreography that has a beginning, middle, and end. 
    • Students can create choreography that correctly demonstrates scientific concepts and vocabulary.
    • Students can intentionally use one or two of the elements of dance to communicate their scientific concept.
  • Audience: 
    • Students can discuss the performances of the other groups and identify how movements demonstrate scientific concepts and vocabulary.

 

*This assessment can be done as a class discussion or a written assignment.

 

DIFFERENTIATION 

Accelerated: 

  • Increase the expectations of the full choreographic work. Each part (beginning/middle/end) contains more than one movement idea.
  • Have students research an environmental concern and create a choreographic work to demonstrate its causes and effects.

Remedial: Have students create choreography for just one vocabulary word from the unit of study.

 

 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: Melissa Joy

Revised and copyright:  July 2024 @ ArtsNOW

 

 

Back to Modules

STORYTELLING THROUGH SHADOW PUPPETS 2-3

STORYTELLING THROUGH SHADOW PUPPETS

STORYTELLING THROUGH SHADOW PUPPETS

Learning Description

Students will engage in a hands-on project to explore the art of storytelling through shadow puppets. They will learn about elements of a story and how to translate them into visual representations using cardstock and other materials. The project will encourage creativity, problem-solving, and collaboration.

 

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 identify and explain the basic elements of a story

  • I can use the design process to plan and create shadow puppets.

  • I can collaborate with classmates to develop a shadow puppet story

  • I can present my shadow puppet story to an audience.

Essential Questions

  • What are the key elements that make up a story?

  • How can we use visual representations like shadow puppets to tell a story

  • How can we work together to create a cohesive shadow puppet performance?

 

Georgia Standards

Curriculum Standards

Grade 2: 

ELAGSE2W3 Write narratives in which they recount a well-elaborated event or short sequence of events, include details to describe actions, thoughts, and feelings, use temporal words to signal event order, and provide a sense of closure.

 

Grade 3: 

ELAGSE3W3 Write narratives to develop real or imagined experiences or events using effective technique, descriptive details, and clear event sequences. 

  1. Establish a situation and introduce a narrator and/or characters; organize an event sequence that unfolds naturally. b. Use dialogue and descriptions of actions, thoughts, and feelings to develop experiences and events or show the response of characters to situations. c. Use temporal words and phrases to signal event order. d. Provide a sense of closure.

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: 

ELA.2.C.3.1 Write narratives to develop real or imagined experiences. When writing: 

  1. establish and describe character(s) and setting; b. sequence events and use temporal words to signal event order (e.g., before, after); and c. provide a sense of ending.

 

Grade 3: 

ELA.3.C.3.1 Write narratives to develop real or imagined experiences. When writing: 

  1. establish a setting and introduce a narrator or characters; b. use temporal words and phrases to sequence a plot structure; c. use descriptions of actions, thoughts, and feelings to develop characters; and d. provide an ending.

Arts Standards

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

VA.CR NM.1.2 I can combine several elements of art to construct 2D or 3D artwork.

 

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

VA.CR NH.2 I can use and combine materials, techniques, and processes to make art.

 

Key Vocabulary

Content Vocabulary

  • Design process - A process of revising work

  • Story elements - Characters, setting, plot, conflict, resolution, etc.
  • Narrative - a story or account of events, experiences, or interactions that are usually arranged in a chronological sequence to convey a particular message, theme, or idea
  • Sequence - The chronological order in which events occur within a plot

Arts Vocabulary

  • Shadow puppet - A shadow puppet is a form of storytelling where cut-out figures are manipulated behind a screen to create shadowy images visible to the audience

  • Shape - One of the seven Elements of Art; a two-dimensional figure

 

  • Silhouette - The outline or shape of an object or person that appears dark against a lighter background

  • Contrast - One of the Principles of Design; the difference between two visual elements put side by side

 

Materials

  • Overhead projector or flashlight
  • White sheets or large sheet of white paper
  • Cardstock
  • Scissors
  • Tape or glue
  • Variety of translucent, transparent, and opaque materials (e.g., tissue paper, cellophane, cardboard, plastic sheets)
  • Brads
  • Hole punch or awl
  • Bamboo skewers or popsicle sticks
  • Masking tape

 

Instructional Design

Opening/Activating Strategy

  • Introduce the concept of shadow puppetry and its history by watching a short video or demonstration of shadow puppet storytelling (Video: Introduction to Shadow Puppetry; Video: The Three Little Pigs).
  • Ask students to make observations on how the puppets looked and how that differs from other puppets they may have seen.
    • Discuss silhouettes and contrast.
  • Ask students to identify the elements of a story that they noticed in the video.
  • Ask students:
    • How did the puppets help to tell the story?
    • What is the job of the puppeteer?

 

Work Session

  • Arrange students in collaborative groups. 
  • Explain to students that they will be writing a story together.
    • Remind students that narratives have a setting, characters, rising action, climax, falling action, and conclusion.
    • Encourage students to use descriptions of actions, thoughts and feelings to develop the characters.
  • Allow time for students to brainstorm ideas and develop their stories.
  • Explain to students that they will be creating puppets that represent the characters in their story. 
  • Introduce the design process by showing them the image below.
    • Explain to students that artists use this process to revise and improve their artwork; students will use this process in planning their puppets.
    • Students will design and revise their puppets using the design process before creating them.
    • Allow students time to sketch out their plans for their shadow puppets.
    • Introduce the materials students will use to create shadow puppets (cardstock, scissors, tape, brads, colored theater gels, bamboo skewers) and demonstrate how to use them safely. 
  • Optional: Show students a video of how to make shadow puppets (see “Additional Resources”).
  • Students will collaborate with their group to create their shadow puppets based on their story.
  • Provide time for students to rehearse their shadow puppet stories, focusing on storytelling, timing and puppet movement.
  • Groups will present their shadow puppet stories to the class, followed by a whole group reflection on how groups demonstrated the elements of a story in their puppet presentations.
    • Teacher can model how to celebrate students' creativity and teamwork in presenting their stories.

 

Closing Reflection

Facilitate a whole group reflection. Have students write or discuss what they learned from the project about storytelling and creating their puppets and how they would approach it differently the next time.

 

Assessments

Formative

Teachers will assess student understanding by observing students' engagement, collaboration, and understanding during planning and creation sessions.

 

Summative

CHECKLIST

  • Students can incorporate elements of a story into their shadow puppet performances.
  • Students can use their creativity in puppet design.
  • Students can design their puppets to demonstrate the characters in their stories.
  • Students can use teamwork skills to work collaboratively.

 

DIFFERENTIATION 

Accelerated: 

  • Encourage students to experiment with complex puppet designs. 
  • Challenge students to incorporate dialogue or narration into their performances.

Remedial: 

  • Simplify the storytelling process by focusing on fewer story elements and providing more guidance during planning and creation. 
  • Provide a graphic organizer to assist students in organizing their ideas.
  • Provide pre-cut shapes for students to assemble to create their shadow puppets.
  • Instead of having students write their own stories, have students retell a story that they read in class.

 

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: Shannon Green. Updated by Katy Betts.

 

Revised and copyright:  July 2024 @ ArtsNOW

 

Back to Modules

FIERCE FIGURATIVE FEMALES 2-3

FIERCE FIGURATIVE FEMALES

FIERCE FIGURATIVE FEMALES

Learning Description

In this lesson, students will create “I Am” Poems filled with descriptive language written from the point of view of fierce females throughout history. They will compare and contrast the lives of different historical female figures using tableaux. Then, they will bring their character to life with voice as they speak from their character’s point of view. Finally, students will devise a poem from their character’s point of view and work with another student’s character to create a partnered “I Am” Fierce Female Poem.

 

Learning Targets

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

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can empathize with someone from a different time period and speak from their point of view.
  • I can embody a historical figure using my body, voice, and heart.
  • I can write a poem from a historical figure’s point of view and speak it out loud using my voice.
  • I can partner with someone who is different from me to create a theatrical piece.

Essential Questions

  • Does learning about, writing, and speaking from someone else’s point of view give me empathy?
  • How can I embody a historical figure using my body, voice, and heart?
  • How did people from the past change the world I live in today?
  • How can I use poetry to speak from a historical figure’s point of view?
  • How can I be fierce and make a change in my world?

 

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.

ELAGSE2L1 Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.

 

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.

ELAGSE3W4 With guidance and support from adults, produce writing in which the development and organization are appropriate to task and purpose.

ELAGSE3L1 Demonstrate command of the conventions of Standard English grammar and usage when writing or speaking.

Arts Standards

Grade 2

TA2.CR.1 Organize, design, and refine theatrical work.

TA2.CR.2 Develop scripts through theatrical techniques.

TA2.PR.1 Act by communicating and sustaining roles in formal and informal environments.

 

Grade 3

TA3.CR.1 Organize, design, and refine theatrical work.

TA3.CR.2 Develop scripts through theatrical techniques.

TA3.PR.1 Act by communicating and sustaining roles in formal and informal environments.

 

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.4.1 Write and expand grammatically correct sentences (e.g., simple, compound, declarative, imperative, interrogative, and exclamatory).

ELA.2.C.7.1 Present information orally to tell a story or recount an experience with appropriate facts and details. When speaking: a. demonstrate appropriate speaking techniques (e.g., appropriate eye contact, nonverbal cues, appropriate volume, and clear pronunciation) for a variety of purposes.

 

Grade 3

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

ELA.3.C.4.1 Write and expand grammatically correct sentences (e.g., simple, compound, and complex) and paragraphs.

ELA.3.C.7.1 Present information orally to report on a topic or text, tell a story, or recount an experience with appropriate facts and relevant details. When presenting: a. demonstrate appropriate speaking techniques (e.g., nonverbal cues, appropriate volume and eye contact, and clear pronunciation) for a variety of purposes.

Arts Standards

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

Benchmark T.P NL.3

I can use body and voice to communicate

character traits and emotions in a guided

drama experience.

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

 

Key Vocabulary

Content Vocabulary

  • Fierce - Something that is of exceptional quality, strong, bold, surprising and unforgettable
  • Point of view - The perspective of an individual on an event
  • Compare/Contrast - To identify similarities and differences between two things
  • Character trait - A quality or attribute that defines a person's behavior, attitude, and actions in various situations
  • Poetry - A genre of literature
  • Informational text - A text that is nonfiction and has the purpose of informing the reader
  • Biography - A written account of a person's life
  • Autobiography - A written account of a person's life that is written by that person
  • Harriet Tubman - A historical figure who is known for her bravery and leadership in helping enslaved people escape to freedom through the Underground Railroad
  • Underground Railroad - A secret network of routes and safe houses used by enslaved African Americans in the United States to escape to freedom in the 19th century
  • Civil Rights Movement - A historic effort by people in the United States to fight against unfair treatment based on race
  • Ruby Bridges - The first African American child to desegregate an all-white elementary school in the South
  • Malala Yousafzai - A Pakistani activist for female education
  • Conscience - Knowledge of right and wrong and a feeling one should do what is right
  • Adjective - A word that describes or modifies a noun or pronoun, providing more information about its attributes or qualities

Arts Vocabulary

  • Character - A character refers to a fictional or dramatized person portrayed by an actor or actress

  • Body - The physical presence and movements of an actor
  • Voice - The vocal techniques, characterizations, and storytelling aspects that contribute to the effectiveness of a performance
  • Project - Using your voice, body, energy, and presence to ensure that your performance reaches every member of the audience
  • Articulate - To speak clearly
  • Pitch - The highness or lowness of a voice
  • Pace - The speed, rhythm, and timing of dialogue, actions, transitions, and overall performance elements
  • Accent - The way a person pronounces words based on their regional, cultural, or linguistic background
  • Texture - The multi-dimensional quality of a theatrical production that engages the senses, emotions, intellect, and imagination of the audience
  • Conscience Alley - A technique for exploring any kind of dilemma faced by a character and providing an opportunity to analyze a decisive moment in greater detail
  • Statue - A frozen pose
  • Levels - The vertical positioning of actors and elements on the stage

 

Materials

 

Instructional Design

Opening/Activating Strategy

HISTORICAL CHARACTER CONVERSATION & IMAGES

  • What is a historical figure?
  • Show images of historical figures familiar to your students and content.
    • (i.e., Abraham Lincoln, George Washington, Dr. Martin Luther King, Jr., Rosa Parks, Amelia Earhart, Susan B. Anthony, King Tut, The Wright Brothers, Alexander Hamilton, William Shakespeare, etc.)

 

HISTORICAL CHARACTER SPEECH

  • Sing the song, “Happy birthday” with students. 
  • Ask students to choose a famous historical character.
  • Have them create a statue of their character using their body. Students should use body shapes and frozen poses to create their statues.
    • Encourage students to use different levels and gestures to embody their character.
  • Have students stand at an imaginary podium and give a speech as that character using the lyrics to the “Happy Birthday” song. Emphasize that students are focusing on embodying the character.
    • Encourage students to:
      • Stay in character as they present the song as the historical character. 
      • Walk up to and away from the podium as the character would walk and move. 
      • Add physical gestures while making the speech.
      • Add vocal expression using pitch and pacing.

 

Work Session

DEFINING FIERCE

  • Discuss with students what it means to be fierce. Fierce is…
    • Something that is of exceptional quality, strong, bold, surprising and unforgettable 
    • A word used to describe something that is out of the box, non-traditional, and dynamic
    • Passionate, joyful, and positive! 
    • To demand excellence
  • Ask students: Do you know anyone who is fierce? Are you fierce about something in your life or world? 

 

INTRODUCING FIERCE FEMALE HISTORICAL FIGURES

  • Choose an autobiography, biography, informational text or poem for students to learn about each of the female historical figures you chose.
  • For the purpose of this lesson, we will explore:
    • Harriet Tubman
    • Ruby Bridges
    • Malala Yousafzai
  • Have students read a particular type of text related to each figure so they become familiar with the lives and works of the characters (see “Additional Resources” for further information on these women). 

 

COMPARE AND CONTRAST USING TABLEAU

  • Set three hula hoops on the floor. 
  • Each hula hoop will represent one of the three characters.
  • Ask questions about the characters. What is special about each character?
    • Have one student create a statue with their body of that attribute/detail/trait and stand in that character’s hula hoop.
    • Once you get several statues in each hula hoop, ask students what similarities there are between the three characters. 
    • Place two more hula hoops in front of the three on the floor. These will be your similarities (female, courageous, fighter, etc.)
    • Have the similar elements move to the three front hula hoops. 

 

EXPLORE CONSCIENCE

  • Ask students: What does conscience mean?
    • Show an image of an angel and devil on either shoulder of a figure.
  • Tell students that conscience is knowledge of right and wrong and a feeling one should do what is right.
  • For example, if a child feels uncomfortable watching his friend pick on another child or speak disrespectfully to his/her parent/caregiver, that is conscience. The child knows it is not right to treat someone else disrespectfully, and he/she feels the emotions within himself telling him that it's wrong.
  • Ask students: Does your inner voice/consciousness ever talk to you?
    • Turn and talk about the time you heard your inner voice/consciousness.

 

CONSCIENCE ALLEY

  • Conscience Alley is a technique for exploring any kind of dilemma faced by a character and providing an opportunity to analyze a decisive moment in greater detail.
  • Identify a student to be one of the historical females.
  • Identify a decision that the character had to make to be fierce.
    • Harriet Tubman - “Should I help enslaved people escape to freedom through the Underground Railroad?”
    • Ruby Bridges -  “Should I fight to be allowed to attend a white school?”
    • Malala - “Should I stand up for the rights of girls to go to school?”
  • Explore both sides of the argument.
    • For - Reasons why the character should fight.
      • Identify people that might have been on this side of the argument/issue. Ask them what reasons they would have given.
      • Ask six students to line up to represent the people/reasons “for” fighting. 
    • Against - Reasons why the character should not fight.
      • Identify people that might have been on this side of the argument/issue. Ask them what reasons they would have given.
      • Ask six students to line up to represent the people/reasons “against” fighting.
      • Have both lines face each other so that they are parallel to create an alley/tunnel in the middle. 
  • Have the character stand at the beginning of the alley.
    • Have the character state the question/decision that they face. 
    • The character then takes one step into the alley.
      • The first person on the “for” side says their statement
      • The first person on the “against” side says their statement. 
    • The character keeps taking one step at a time into the alley and hearing both arguments at each step.
    • When the character reaches the end of the alley, they stop and state their decision and why.

Helpful Coaching:

  • Encourage students to:
    • Stay “in character” using their voice and body to portray the character
    • Use vocal expression to convince the character
    • Speak from their heart with passion
    • Convince the character that they believe what they are saying

REVIEW ADJECTIVES AND DESCRIPTIVE LANGUAGE

  • Review adjectives and descriptive language.
  • As a group, generate examples of adjectives describing each of the characters.

 

CHARACTER GROUNDING

  • Assign students a character.
    • Strategize so that students can partner up with a different character. 
  • Ask students to create a statute of their character.
    • Tell students to use body shapes, energy, frozen pose, and active pose.
  • Count “1, 2, 3, action” and tell students to bring the statue to life with a voice using pitch, pace, volume, accent, and texture.
  • Ask a question and have all students answer in character at the same time.
    • Use the questions on the “I Am” poem template to guide you. 
    • This is a brainstorm on their feet before sitting and writing.
    • This allows students to more fully embody the character.

“I AM” POEM BRAINSTORM

  • Have students complete the “I Am” Poem template. 
  • Next, have students stand up and simultaneously freeze in their statues.
  • Finally, have students bring their characters “to life” and speak the answers to the poem template aloud at the same time.

 

“I AM” POEM PARTNER SHARE

  • Teacher should demonstrate reading a character “I Am” poem with a student who is playing a different character. 
  • The first character says the first line; the second character says the second line. The characters then alternate speaking lines. 
  • Have students practice in pairs around the room.

“I AM” POEM PRESENTATION 

  • Ask pairs of students to share their partner “I Am” poems.
  • Encourage projection, articulation, and vocal expression. 
  • Discuss the similarities and differences between the two characters when listening to the partner poems. 

 

Closing Reflection

Reflect with students on the following questions:

  • What does it take to be fierce? 
  • Were these females fierce? Why do you think that? 
  • Did they make changes that help females today? How?
  • How can you be fierce and make a change in your world?
  • What did you notice about yourself in this process? Were you able to empathize with your character?
  • Name one thing that you are proud of yourself for doing in this process.

 

Assessments

Formative

Teacher will assess students by: 

  • Circulating the room while students are completing their “I Am” poem template to assess their knowledge of the character and ability to express their knowledge through writing. 
  • Assessing students’ ability to use their voice and body to portray characters. Encourage those who are having difficulty.

 

Summative

CHECKLIST

  • Students can articulate important details about the characters and the historical events attached to each character.
  • Students can empathize with someone from a different time period and speak from their point of view.
  • Students can embody a historical figure using their bodies, voices, and hearts.
  • Students can write a poem from a historical figure’s point of view and present it using theatrical techniques.
  • Students can collaborate to create a theatrical piece.

 

DIFFERENTIATION 

Accelerated: 

  • Have students add movement/blocking to poem presentations. 
  • Have students create a scene and include facts about the time period and historical events encountered by the characters. Students can also incorporate dialogue.

Remedial: 

  • Simplify the poem template. 
  • Have students speak the answers and the poem; do not require them to write the poem. 
  • Work together as a class to create a group “I Am” Poem for each character.
    • Have students use the class poems when they partner. 

 

 ADDITIONAL RESOURCES

Harriet Tubman:

Ruby Bridges:

Malala Yousafzai:

Suffrage Movement: 

 

*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: Susie Spear Purcell. Updated by: Katy Betts.

Revised and copyright:  July 2024 @ ArtsNOW

 

Back to Modules

Haiku Choreography 2-3

HAIKU CHOREOGRAPHY

HAIKU CHOREOGRAPHY

Learning Description

In this lesson, students will explore and understand the structure of haiku poetry by using the structure of haiku to create choreography.

 

Learning Targets

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

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can create movements/choreography to beats and patterns.
  • I can create choreography to express themes and imagery.

Essential Questions

  • How can I show the structure, theme and imagery of haiku through dance and choreography?

 

Georgia Standards

Curriculum Standards

Grade 2: 

ELAGSE2RL1 Ask and answer such questions as who, what, where, when, why, and how to demonstrate understanding of key details in a text.

 

ELAGSE2RL4 Describe how words and phrases (e.g., regular beats, alliteration, rhymes, repeated lines) supply rhythm and meaning in a story, poem, or song.

 

Grade 3: 

ELAGSE3RL1 Ask and answer questions to demonstrate understanding of a text, referring explicitly to the text as the basis for the answers.

 

ELAGSE3RL4 Determine the meaning of words and phrases both literal and non literal language as they are used in the text.

 

Arts Standards

Grade 2: 

ESD2.CR.1 Demonstrate an understanding of the choreographic process.

 

ESD2.CR.2 Demonstrate an understanding of dance as a form of communication.

 

ESD2.PR.1 Identify and demonstrate movement elements, skills, and terminology in dance

 

ESD2.RE.1 Demonstrate critical and creative thinking in dance.

 

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

Grade 2: 

ELA.2.AOR.1.2 Identify and explain the purpose of forms of figurative language to include similes, personification, and idioms.

 

ELA.2.AOR.2.1 Identify and explain an explicit theme in a literary text.

 

ELA.2.AOR.5.1 Describe the basic structure of a literary text (e.g., narrative, drama, and poem).

 

Grade 3: 

ELA.3.AOR.1.2 Identify and explain the purpose of forms of figurative language to include metaphor, hyperbole, and idioms.

 

ELA.3.AOR.2.1 Identify and explain an explicit theme in a literary text and how it is developed by key details.

 

ELA.3.AOR.5.1 Explain how sections of literary text (e.g., paragraphs, chapters, scenes, and stanzas) build on one another and contribute to the overall structure.

 

*Additional content standards beyond ELA can be applied if the poem topic is related to a specific content.  i.e., weather patterns

 

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 5: I can describe, analyze, and evaluate a dance.

 

 

Key Vocabulary

Content Vocabulary

  • Poem - A genre of literature
  • Line - A sequence of words arranged in a specific order, typically forming a complete thought or phrase
  • Beat - The rhythmic pattern or meter of a poem
  • Theme - The underlying message, central idea, or insight into life that a story, poem, or other work of literature conveys
  • Imagery - The descriptive and figurative language an author uses to create vivid mental pictures and sensory experiences for the reader
  • Haiku - A traditional form of Japanese poetry consisting of three lines with a syllable pattern of 5-7-5

Arts Vocabulary

  • Choreographer/Choreography - The art of designing and arranging sequences of movements, steps, and gestures to create a dance piece
  • Beat - The rhythmic pulse or pattern of the music that dancers move to
  • Form - The overall structure or arrangement of movements, sequences, and choreography within a dance piece
  • Levels - The vertical positioning of the dancer's body in relation to the floor (high, mid, low)
  • Shape - The visual configuration or arrangement of the dancer's body or limbs in space
  • Tempo - The speed or pace of the music to which dancers perform
  • Energy - The quality, intensity, and dynamic force behind movement

 

Materials

  • Several examples of haiku poetry
  • Music
  • Paint chip cards with paint color names - one per student (alternative could be a crayon, colored pencil, or marker–anything that shows color and has a name)

 

Instructional Design

Opening/Activating Strategy

  • Give each student a paint chip card with a paint color name.
  • Place one emotion word in each corner of the classroom.
    • Tell students to move to the emotion that they feel their color name best fits. Allow students to discuss why they selected that emotion word.
  • Arrange students into groups of 3. Groups can be created at random or have students create their own groups by finding colors that they think work well together and fit the same emotion.
    • Tell students to create a movement to express each color name.
    • Tell students to put the movements together to create a piece of choreography with a beginning, middle, and end.
  • Allow time for students to share their choreography with the class.

Work Session

INTRODUCE BEAT IN DANCE

  • Discuss beats and how dancers and choreographers use beats. Show students a video to demonstrate.
  • Explore through movement the typical beat structures in dance: 8 counts/beats, 3 counts/beats.
    • Since students have already seen an example of a dance with 8 counts/beats, show them an example of a dance with 3 counts/beats.
    • Tell students that some dances use non-typical beat structures in dance such as 9 beats, 7 beats, and 5 beats.

 

INTRODUCE LOCOMOTOR AND NON-LOCOMOTOR MOVEMENTS IN DANCE

  • Engage students in a movement exercise that will allow them to learn about and explore locomotor and non-locomotor movements in dance.
  • Play music with a steady beat. Help students find the beat by tapping their toes on the ground or patting their legs.
    • Levels: Bring students’ attention to levels (high, middle, low) with movements such as stretching up high and moving on tiptoes, crouching in a small ball close to the floor, and bouncing in place at a middle level.
      • Allow time for students to explore movements with different levels.
    • Energy: Direct students to explore energy variations with different movement qualities such as sharp movements–quick, precise actions like punches or snaps, and smooth movements–slow, flowing actions like waves or circles with arms.
      • Say emotion-related words. Have students respond with movements that match the energy-level of the word.

LEARN ABOUT HAIKU

  • Discuss haiku poetry and read several examples.
    • As students listen to examples, invite them to close their eyes and visualize the poem in their mind.
      • Ask them what emotion each haiku evokes. What imagery does the author use?
      • Allow students to pair-share after they have listened.
    • Draw student’s attention to the structure of haiku poetry; ask students if they notice any patterns emerging.
    • Discuss the 5-7-5 structure of haiku.
    • Share the origin of haiku poetry.
  • Discuss how dancers/choreographers can use poetry meaning and structure as a base for choreography.
  • Display a haiku poem for students to see. Ask students, “If a dance followed haiku structure, how many beats would be in the beginning, middle, and end?”.
    • Students should arrive at 5-7-5.

 

CHOREOGRAPHING DANCE

  • Divide students into groups of six.
  • Give each group a haiku poem. In their groups students should identify both the theme and the imagery in the poem.
  • Tell students that they will be choreographing a dance that follows the structure of their haiku; encourage students to think about how their movements could show the theme and the imagery of the poem.
    • Tell students that they will use levels and energy to reflect the theme and imagery of the haiku in their dance.
    • Students will create a 5-beat movement phrase, a 7-beat movement phrase, and a new 5-beat movement phrase.
      • Students should divide themselves into partners within their groups. Each group of partners will choreograph one line of the haiku.
      • Students will then put them together to make one cohesive dance.

 

Closing Reflection

  • Allow students to read their haikus and share their choreography with the whole class.
    • Ask the audience members how the movements demonstrated the structure, theme, and imagery of the haiku.
  • Students can write about or discuss their choreographic process and why they made the decisions they did in creating their movements.

 

Assessments

Formative

Teacher will assess students by asking students about their choreographic choices and how they aid in the audience’s understanding the structure, theme and imagery of their haiku.

 

Summative

CHECKLIST

  • Students can identify the structure, theme and imagery of a haiku poem.
  • Dance assessment:
    • Choreography:
      • Students can create a choreography that has a beginning, middle, and end.
      • Students can create a choreography that demonstrates the structure, theme and imagery of a haiku.
    • Audience:
      • Students can discuss the performances of the other groups and identify how movements demonstrate the structure, theme and imagery of the haiku.

 

*This assessment can be done as a class discussion or a written assignment.

 

 

 

DIFFERENTIATION 

Accelerated: 

  • Have students write their own haiku and create the choreography to match.
  • Have advanced students create choreography for the entire haiku instead of only one line.

Remedial: 

  • Identify the theme and imagery in a haiku as a whole class. Then, have groups create their choreography based on the class haiku. After performances, discuss how each group interpreted the theme and imagery of the haiku differently.

 

 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: Melissa Joy. Updated by: Katy Betts.

Revised and copyright:  July 2024 @ ArtsNOW

 

Back to Modules