Adventure Island 2-3

ADVENTURE ISLAND

ADVENTURE ISLAND

Learning Description

Discover the possibilities of creative writing by making visual imagery that will inspire your students in new and exciting ways! The idea of a treasure map has long been a topic of excitement for young people. Allow your students to generate their own treasure map that will inspire a creative writing session!

 

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 use line and shape to symbolize features on a map.
  • I can write a fictional narrative that has a setting, characters, and all parts of a plot that is inspired by my treasure map.
  • I can use descriptive language to help my audience visualize my narrative.

Essential Questions

  • How can the creation of visual imagery be the catalyst for creative writing?

 

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

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

 

Grade 3: 

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

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

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

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

 

South Carolina Standards

Curriculum Standards

Grade 2: 

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

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

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

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

 

Key Vocabulary

Content Vocabulary

  • Narrative - A story or sequence of events and experiences
  • Setting - Where a story takes place
  • Characters - Individuals, animals, or entities that take part in the action of a story, play, novel, movie, or any other narrative form
  • Mood - The emotional atmosphere or feeling that a literary work
  • Map - A plan or outline of a given geographic area
  • Compass rose - A figure on a map, chart, or compass that displays the orientation of the cardinal directions—north, east, south, and west—and their intermediate points
  • Legend - A guide that explains the symbols, colors, and lines used on a map

Arts Vocabulary

  • Line - The path of a moving point
  • Texture - The way something feels or looks like it feels
  • Shape - A two-dimensional figure; a closed line
  • Negative space - The background of an artwork; “empty” space
  • Positive space - The subject of an artwork

 

Materials

  • 9” x 12” watercolor paper or other thick paper
  • Fine point sharpies
  • Markers or colored pencils
  • Baking sheets
  • Unsweet tea for staining paper

 

Instructional Design

Opening/Activating Strategy

  • Begin by playing a musical excerpt from “Indiana Jones and the Raiders of the Lost Ark” or other adventure movie soundtrack. While the music is playing, ask students to write down adjectives to describe what they are hearing.
  • Allow time for students to share their adjectives. Ask students what the mood of the music is.
  • Tell students that they will be using their imaginations to tell an adventure story based on a treasure map that they will create.

 

Work Session

Session 1: Creating Treasure Maps

  • Pre-work: This can be done as a station for students in preparation for the artwork. Fill a rectangular baking pan with luke-warm/room temperature tea. Have students soak their paper in the tea for at least three minutes. Then remove, and let dry. 
  • Look at some examples of treasure maps. Ask students to notice the features and symbols on the maps.
    • Ask students to observe the lines, shapes, and textures that they see on the maps. Ask students how these are used to symbolize a feature, such as a river.
    • Ask students how the space is used. Is there much negative space (empty space)? How are features connected together? With a line?
  • Have students work with a partner or small group to generate a list of possible features to use on their maps to describe their adventures. Features could include a winding river, shadowy forest, creepy castle, scary rocks, soft sand, shiny treasure, etc.
    • Ask groups to share their ideas; create one large collaborative list for the class.
    • Ask groups to choose eight features to include on their map. They should then create a symbol for each feature.
  • After they have generated a list of at least eight symbols, pass out their pre-treated map paper.
  • Next, allow students to draw the features they wish to include onto their final pre-stained papers. This can be done with pencils and extra fine point Sharpie markers before being colored in.
    • Ask students to think about the placement and scale of the items as they sketch their own map.
    • Students can add color with markers or colored pencils.
    • Students should then draw a legend on their maps.
    • Next, have students draw a compass rose on their maps to guide adventurers to the island.
  • Finally, students can crumple their maps and tear the edges to create an aged effect.

 

Session 2: Narrative Writing

  • Tell students that they will be writing narratives using their treasure maps as inspiration. The narrative should follow the adventures of a character or characters who follow the map in search of treasure.
  • Ask students for examples of stories that involve characters following a map to treasure or going on an adventure.
  • Remind students of the mood of the music students heard at the beginning of the lesson. Optional: Play music from the activator while students plan their narratives.
  • Students will collaborate with their groups to create a character or characters and plot for their narrative. Students will then individually write their narratives.
  • Remind students to use descriptive language to help their reader visualize the adventure.
  • Students will engage in the peer review process and edit and revise their work.

 

Closing Reflection

  • Provide time for students to share their maps and narratives.
  • Discuss how students used lines and shapes to symbolize features on their map.
  • Finish by having students complete a reflection using a “grow” and a “glow” about their work.

 

Assessments

Formative

Teachers will assess students’ understanding of the content throughout the lesson by observing students’ participation in the activator, discussion of maps and features, map creation, collaboration with groups to create a narrative, and conferencing with students during the writing process.

 

Summative

CHECKLIST

  • Students can use line and shape to symbolize features on a map.
  • Students can write a fictional narrative that has a setting, characters, and all parts of a plot that is inspired by their treasure maps.
  • Students can use descriptive language to help their audience visualize their narrative.

 

DIFFERENTIATION 

Acceleration: During the writing process, students will brainstorm a variety of descriptive language that can be turned into similes and metaphors to explain the features on their maps. They will incorporate these into their final writing.

Remediation: Provide the students with a list of adjectives to choose from while listening to the music from the activator and a sample pool of map symbols and features to choose from to create their maps. The students will then be shown an example of a written narrative of an adventure map before they begin writing their own descriptive narratives.

ESOL Modifications and Adaptations: Preview vocabulary: Narrative, illustration, and map. Have students work with a partner. The length of the written narrative can be modified according to the student’s language level.

 

*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: Joy Patty. Modifications, Extensions, and Adaptations Contributed by: Candy Bennett, Patty Bickell, Vilma Thomas, and Lori Young. Updated by: Katy Betts.

Revised and copyright: August 2024 @ ArtsNOW

 

Bringing Our Reading to Life 2-3

BRINGING READING TO LIFE

BRINGING READING TO LIFE

Learning Description

In this lesson, students will form tableaux (frozen pictures) representing what they are reading or hearing. This is a great way to bring a story to life and to check for comprehension.

 

Learning Targets

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

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can demonstrate my understanding of a story through tableau and improvisation.

  • I can demonstrate my understanding of a story excerpt through a written summary.

Essential Questions

  • How can theatre techniques increase reading comprehension?

 

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. ELAGSE2RL2 Recount stories, including fables and folktales from diverse cultures, and determine their central message, lesson, or moral.

 

Grade 3: 

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

 

ELAGSE3RL2 Recount stories, including fables, folktales, and myths from diverse cultures; determine the central message, lesson, or moral and explain how it is conveyed through key details in the text.

Arts Standards

TA5.CR.1 Organize, design, and refine theatrical work.

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

 

South Carolina Standards

Curriculum Standards

Grade 2:

READING – Literary Text (RL)

Meaning and Context (MC)

Standard 6: Summarize key details and ideas to support analysis of thematic development.

6.1 Use information gained from illustrations and words in a print or multimedia text to demonstrate understanding of its characters, setting, or plot.

 

Standard 7: Analyze the relationship among ideas, themes, or topics in multiple media, formats, and in visual, auditory, and kinesthetic modalities.

7.1 Retell the sequence of major events using key details; determine the theme in a text heard or read.

 

GRADE 3:

READING – Literary Text (RL)

Meaning and Context (MC)

Standard 6: Summarize key details and ideas to support analysis of thematic development.

6.1 Determine the theme by recalling key details that support the theme.

Arts Standards

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

 

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

  • Summary - A short version of a text that highlights key points and main ideas

Arts Vocabulary

  • Ensemble - All the parts of a thing taken together, so that each part is considered only in relation to the whole

  • Tableau - A “living picture” in which actors pose and freeze in the manner of a picture or photograph

  • Improvisation - A creation that is spoken or written without prior preparation

 

Materials

  • Story excerpts
  • Note cards with scenarios written on them: A train robbery, seeing a big bear, shopping at the grocery store, etc.

 

 

Instructional Design

Opening/Activating Strategy

Classroom Tips: If each of the activities are taking too long, have the students make one or two examples from “Family Portraits” at the same time as a whole class.

 

  • Play “Family Portraits”. 
    • Break the students into groups. Each group must go on to the rug and make a family portrait. 
    • The leader calls out a type of family and they must pose as that family. They have 3 seconds to get into pose and freeze when the teacher indicates (use a drum, a clap pattern, etc.).  
      • Types of families could include: Crazy family, sick family, magical family, loving family, fighting family, goofy family, circus family, dancing family, rock’n’roll family, gymnastics family, swimming family, movie star family, athletic family, lion family, teacher family.

 

Work Session

  • Discuss the meaning of tableau. A tableau is a “living picture” in which a group of people takes on various poses and maintains the poses silently in order to illustrate an idea or communicate an image.  
  • With the note cards that have different scenarios written on them, have the students pull different situations randomly from a bucket: 
    • A train robbery  
    • Seeing a big bear  
    • Shopping at the grocery store 
  • Students will practice making tableaux in their same groups from the activator demonstrating these scenarios.
  • Tell students that they will now be applying the concept of tableau to the stories they are reading in class. 
    • Read an excerpt from a story. Ask students to listen for the key points of the story, answering the questions who, what, when, where, how, and why.  
    • After reading the excerpt, ask each group to take several minutes to plan their tableau.
    • After a short (5 minutes maximum) planning time, announce, “On a count of three show me your tableau–1, 2, 3, freeze!”. 
    • Move around the room and discuss the success of each of the tableaux and how they show a summary of the passage.  
    • Read another excerpt and repeat the process. Give them very little time to make the next picture.
    • Read another excerpt and repeat, but plan to have this tableau come to life.  
      • Once the students are frozen, ask one student to say a line that the character would say at this point in the story. Then ask another student to do the same. Tell students that this is called improvisation.

 

Closing Reflection

Have students write a summary of one of the scenes that they enacted using tableau. Allow students time to share with other students who summarized the same scene. Students will then revise their summary with any information that they realized they did not include.

 

Assessments

Formative

Teachers will observe students’ group participation and tableaux to express ideas and excerpts from a passage.

 

Summative

CHECKLIST

  • Students can demonstrate their understanding of a story excerpt through tableau and improvisation.
  • Students can demonstrate their understanding of a story excerpt through a written summary.

 

DIFFERENTIATION 

Acceleration: 

  • Students can write a script for their improvised scene.
  • Assign each group a different scene from a story. Each group will create a tableau to demonstrate that scene. Allow the class to guess which scene the group is enacting based on their tableau.

Remediation: Allow students to dictate their summary rather than write it.

*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: Mary Gagliardi 

Revised and copyright: June 2024 @ ArtsNOW

Cause and Effect Commotion 2-3

CAUSE AND EFFECT COMMOTION

CAUSE AND EFFECT COMMOTION

Learning Description

Instilling a strong understanding of “cause and effect” will increase students’ reading comprehension skills. By acting out “cause and effect” situations, students will deepen the foundation of this important concept.

 

Learning Targets

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

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can identify the “cause” and “effect” in various scenarios.

  • I can create a sentence to demonstrate my understanding of cause and effect.

  • I can act out a cause and effect relationship.

Essential Questions

  • How can movement be used to demonstrate our knowledge of cause and effect events?

  • How will understanding cause and effect help in reading comprehension?

 

Georgia Standards

Curriculum Standards

Grade 2:

ELAGSE2RI3 Describe the connection between a series of historical events, scientific ideas or concepts, or steps in technical procedures in a text.

 

Grade 3:

ELAGSE3RI3 Describe the relationship between a series of historical events, scientific ideas or concepts, or steps in technical procedures in a text, using language that pertains to time, sequence, and cause/effect.

 

ELAGSE3RI8 Describe the logical connection between particular sentences and paragraphs in a text (e.g., comparison, cause/effect, first/second/third in a sequence).

Arts Standards

Grade 2:

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

TA2.CN.1 Explore how theatre connects to life experience, careers, and other content.

 

Grade 3: 

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

TA3.CN.1 Explore how theatre connects to life experience, careers, and other content.

 

South Carolina Standards

Curriculum Standards

Grade 2: 

READING - Informational Text

Language, Craft, and Structure 

Standard 8: Interpret and analyze the author’s use of words, phrases, text features, conventions, and structures, and how their relationships shape meaning and tone in print and multimedia texts. 

8.1 Identify how the author uses words, phrases, illustrations, and photographs to inform, explain, or describe.

 

Grade 3:

READING - Informational Text

Language, Craft, and Structure 

Standard 8: Interpret and analyze the author’s use of words, phrases, text features, conventions, and structures, and how their relationships shape meaning and tone in print and multimedia texts. 

8.1 Explain how the author uses words and phrases to inform, explain, or describe.

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

  • Cause - Why something happens; what happens in a given situation 

 

  • Effect - What happens; the result of what happens in a given situation 

 

  • Cause and effect - A relationship that writers use to show how facts, events, or concepts happen or come into being because of other facts, events or concepts

  • Signal words - Words that are often used in sentences or stories to show cause and effect relationships (because, so and therefore)

Arts Vocabulary

  • Improvisation - The practice of creating and performing scenes, dialogue, and actions spontaneously, without a script

  • Pantomime - A performance where the story is told through expressive physical movements and gestures

 

Materials

  • Trash can 
  • Pencil 
  • Balloon
  • Needle
  • Word visuals (cause, effect, because)
  • Masking tape
  • Sentence card visuals

 

Instructional Design

Opening/Activating Strategy

Classroom Tip: This activity works best in an open space with room for students to move. 

 

REAL TIME CAUSE AND EFFECT 

  • Demonstrate the following actions to get students’ attention:
    • Gently kick a trash can. Let it fall to the ground. Ask students, “What just happened? Why did the trash can fall?” (The trash can fell because I kicked it.)
    • Hold a pencil in your hand high in the air. Drop the pencil. Ask students, “What just happened? Why did the pencil fall?” (The pencil fell because I let go of it.)
    • Blow up a balloon. Tie it. Prick it with a needle. Ask students, “What just happened? Why did the balloon blow up?” (The balloon blew up because I breathed air into it.) “What else happened? Why did the balloon pop?” (The balloon popped because I pricked it with a needle.) 
    • Walk around the room and safely trip over a desk and fall to the floor. “What just happened? Why did I fall down?” (I fell down because I tripped over the desk.) 

Say, “When I tripped, it caused me to fall down. When I dropped the pencil, what did it cause? When I puffed air into the balloon, what did it cause? When I kicked the trash can, what did it cause? Each thing I did caused an effect (or something else) to happen. That’s ‘cause and effect’ and it is all around us all day long!”.

 

Work Session

TRAVELING WITH REAL TIME CAUSE AND EFFECT

  • Ask students, “Have any of you ever driven a car? Why can’t you drive a car? (because you don’t have your license) Would you like to?” 
  • Say, “Well, today I am giving each of you a special license to drive your own imaginary car. Sound fun? Okay. Let’s go!”
  • Tell students to imagine a car in front of them. Tell them to open the door to a car. Pause. Ask students, “Why did the door open?” (because we pulled the handle).
  • Say, “Now sit in the driver’s seat of the car and put on your seatbelt. Let me hear you buckle it”.
  • Ask students, “How do we start the car?” Put the key into the ignition, push a button, etc. Tell students, “Turn the key. What happened when we turned the key?” (the car started). “Why did the car start?” (because we turned the key in the ignition).
  • Say, “Okay…let’s drive around for a little bit. Where would you like to go? The movies? Let’s go. Take a right. Oh wow. I just saw that we are low on gas, so we’ll have to stop by the gas station and get some gas first”. 
  • Say, “I see a big red light up there. What does that mean? Stop. Yikes! Let’s all stop. How do we stop? What causes the car to stop?” (putting my foot on the brake). 
  • Say, “Okay, let’s all put our foot on the brake at the same time when I say three. 1, 2, 3”.
  • Say, “Now the light turned green. What does that mean?” (go). All right, let’s put our foot on the gas on the count of 3. 1, 2, 3…Uh oh. Our cars won’t move. Let’s try it again. 1, 2, 3. Now it’s shaking and sputtering and it just stops. Let me see your car shake and sputter. OH NO! What happened? Does anyone know why it won’t move? (because it ran out of gas). Oh well! I guess we better get out and walk to the movie theater.” 
  • Say, “Take your keys, undo your seatbelt, open the door and run to the theater before the movie starts. We need to get some popcorn!”
  • Have students return to their seats.
  • Ask students, “Did we just experience any cause and effect situations? Can you name one? 
  • Tell students that cause and effect is why something happens and the result or effect of what happens. 
    • Ask students to identify a cause in the driving scenario. 
      • Say, “The cause is why something happens. When I can figure out the cause (hold up ‘cause’ visual), then I can figure out the effect (hold up ‘effect’ visual)”. 
      • Tell students, “Always see where you can add the ‘because’ and that will be your clue to what the cause is in the sentence”. 
      • Say, “Let’s think about the car we just drove. Listen to this sentence: ‘I pulled the handle and the door opened’. Now I want you to use the word ‘because’ (hold up ‘because’ visual) to find the cause. You see, every time you insert the word because it leads you to the cause!” 

 

CAUSE AND EFFECT DANCE

  • Say, “Every time we say the word ‘because’, we are going to spin our hands in front of our bodies. (Note: Stress the word ‘cause’.) Remember, the ‘because’ shows us the ‘cause’.”
  • Say, “Every time we say the ‘effect’, or the result of what is happening, let’s put our open hands and arms high in the air above our heads!”.
  • Tape the visuals “Cause” and “Effect” on the wall about three feet apart from each other.
  • Practice the dance by saying an example sentence with students. 

 

WORDS IN MOTION

  • Say, “Now let’s try to break this down with some of the actions (causes and effects) we experienced when driving our cars. I’ve put them into sentences to help us.”
  • Ask students, “What was the first thing that we needed to do to get into the car? Okay, let’s start with this sentence.” 
    • Show visual of sentence: “I pulled the handle and the door opened”. 
    • Ask two students to come to the front of the class. Tell them they are each going to get to act out one part of the sentence or activity, either a cause or an effect. 
    • Give the first student “pulling the handle” (cause). Give the second student “opening the door” (effect). 
    • Ask each student to show you his/her activity using a sound, whole body and the space around them. Encourage them to exaggerate and have fun with it. 
    • Read the sentence one more time and then guide the class through finding the cause and effect by prompting with “because”. 
    • Say, “Let’s try to decide which action is the cause and which is the effect.” 
    • Say, “Now let’s see if ‘because’ (do action) can really help us find the cause.
      • Ask students, “Where could we use the word ‘because’ with these words and make it make sense? If we put it in front of ‘the door opened’, would that be right? Because I opened the door, I pulled the handle? Does that make sense? (no). If we put it in front of ‘I pulled the handle’, would that be right? Because I pulled the handle, the door opened. Does that make sense? (yes). 
      • Say, “It looks like we found our cause by using the word ‘because.’ So we figured out that the ‘because’ comes before which action? (pulling the handle). Can you tell me what the cause part of this sentence is? (because I pulled the handle – pulling the handle). 
      • Ask students, “Where should our ‘pulling the handle’ actor stand while he/she does his/her action? (under the word “cause”). 
      • Ask students, “If that is the cause, which action or part of the sentence is the effect? (the door opened). Where should our ‘effect’ actor stand?” (under the word “effect”).
      • Say, “So, let’s see our actors do their actions when I call ‘action’. When I say ‘freeze’, the actors will freeze. Let’s practice that.” 
      • Say “action” and “freeze” several times while the actors respond. 
      • Say, “Now let’s say our sentence two more times while the actors are acting out their actions when it’s their turn in the sentence. This time, let’s add our hand motions when we say the cause and when we say the effect. 
        • Remind students to spin their hands in front of them when the cause is stated (because I pulled the handle) and to put their open hands and arms high in the air above their heads when the effect is stated (the door opened).
  • Divide students into partners. Assign each partner a different cause and effect sentence from the car scenario. Have the partners repeat the same process that the class used to identify the cause and effect of opening the door. 
    • I turned the key in the ignition and the engine started. 
    • The car moved when I pressed the pedal with my foot. 
    • The car stopped when I hit the brake with my foot. 
    • The car turned off when it ran out of gas.
  • Allow time for students to perform their causes and effects for the class. Students should do the hand motions for cause and effect as the sentence is read and the actors act out the sentence. 

Class Tip: Review audience etiquette and expectations before students perform for their classmates.

 

Closing Reflection

  • Facilitate a discussion to summarize the lesson.
    • Ask, “What’s a cause? What’s an effect? What word can we use to find the cause in a sentence?” (because). 
  • Ask students to write their own cause and effect sentence that uses “because”. Students should label the cause and the effect in the sentence.
  • Finish the lesson by saying, “Let’s do our hand motions. The next time you have a sentence in front of you and have to figure out the ‘cause and effect’, whisper the word ‘because’ to yourself and try to figure out where it would fit in the sentence. This will alert you to the ‘cause’ which will leave the ‘effect’.”

 

Assessments

Formative

Teachers will assess students’ understanding by observing students’ responses to class discussion and their participation in the cause and effect scenarios.

 

Summative

CHECKLIST 

  • Students can demonstrate understanding of cause and effect by identifying the “cause” and “effect” in the scenarios and sentences. 
  • Students can create a sentence to demonstrate understanding of cause and effect.
  • Students can act out a cause and effect relationship.

 

DIFFERENTIATION 

Acceleration: Show students multiple comic strips that demonstrate obvious examples of cause and effect. Students will create a four or five picture comic strip to illustrate cause and effect. When completed, they will compose a fluid/flowing dance using the hand motions for cause and effect with additional self-created movements. 

Remediation: 

  • Use body language when demonstrating each role play for English Language Learners.
  • Act out simple cause and effect relationships with students prior to this lesson.
  • Provide/add picture cards for each cause and effect scenario. 
  • Provide pictures for students to choose from for the “because” sentences.
  • Provide new pictures with cause and effect. Invite students to complete framed sentences (______ because _____) using pictures and/or words. 
  • Act out sentences beginning with both the cause and effect and have students determine which is correct.

*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. Modifications, Extensions, and Adaptations Contributed by: Peggy Barnes, Candy Bennett, Lindsey Elrod, Jennifer Plummer, and Vilma Thomas. 

Revised and copyright:  June 2024 @ ArtsNOW

Dancing Differences 2-3

DANCING DIFFERENCES

DANCING DIFFERENCES

Learning Description

This activity will allow students to explore comparing and contrasting through movement and choreographic sequences. Discover how to integrate dance into your language arts curriculum and engage your students in a brand-new way!

 

Learning Targets

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

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can identify similarities and differences between texts, whether they are dances or written literary works.

  • I can express in complete sentences my analysis of similarities and differences among two subjects. 

Essential Questions

  • How can movement and dance help us compare and contrast written texts?

 

Georgia Standards

Curriculum Standards

Grade 2:

ELAGSE2RL9 Compare and contrast two or more versions of the same story (e.g., Cinderella stories) by different authors or from different cultures.

 

ELAGSE2RI9 Compare and contrast the most important points presented by two texts on the same topic.

 

ELAGSE2W2 Write informative/explanatory texts in which they introduce a topic, use facts and definitions to develop points, and provide a concluding statement or section.

 

ELAGSE2SL1 Participate in collaborative conversations with diverse partners about grade 2 topics and texts with peers and adults in small and larger groups.

 

Grade 3:

ELAGSE3RL9 Compare and contrast the themes, settings, and plots of stories written by the same author about the same or similar characters (e.g., in books from a series).

 

ELAGSE3RI9 Compare and contrast the most important points and key details presented in two texts on the same topic

 

ELAGSE3W2 Write informative/explanatory texts to examine a topic and convey ideas and information clearly. 

 

ELAGSE3SL1 Engage effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grade 3 topics and texts, building on others’ ideas and expressing their own clearly.

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

 

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

 

ESD2.CN.3 Identify connections between dance and other areas of knowledge.

 

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, technique, and terminology in dance

 

ESD3.PR.4 Understand and apply music concepts in dance.

 

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

 

ESD3.CN.3 Identify connections between dance and other areas of knowledge.

 

South Carolina Standards

Curriculum Standards

Grade 2:

READING - Literary Text (RL) 

Meaning and Context (MC)Standard 7: Analyze the relationship among ideas, themes, or topics in multiple media, formats, and in visual, auditory, and kinesthetic modalities. 

7.2 Read or listen closely to compare and contrast multiple versions of the same story; compare and contrast texts in author and genre studies.

 

READING - Informational Text (RI)

Meaning and Context (MC)

Standard 7: Research events, topics, ideas, or concepts through multiple media, formats, and in visual, auditory, and kinesthetic modalities. 

7.1 Compare and contrast topics, ideas, or concepts across texts in a thematic, author, or genre study heard, read, or viewed

 

WRITING - Range and Complexity (RC)

Standard 6: Write independently, legibly, and routinely for a variety of tasks, purposes, and audiences over short and extended time frames.

 

COMMUNICATION - Meaning and Context (MC)

Standard 1: Interact with others to explore ideas and concepts, communicate meaning, and develop logical interpretations through collaborative conversations; build upon the ideas of others to clearly express one’s own views while respecting diverse perspectives.

 

Grade 3: 

READING - Literary Text (RL) 

Meaning and Context (MC)Standard 7: Analyze the relationship among ideas, themes, or topics in multiple media, formats, and in visual, auditory, and kinesthetic modalities. 

7.2 Compare and contrast how an author uses characters to develop theme and plot in different texts within a series.

 

READING - Informational Text (RI)

Meaning and Context (MC)

Standard 7: Research events, topics, ideas, or concepts through multiple media, formats, and in visual, auditory, and kinesthetic modalities. 

7.1 Compare and contrast diverse texts on the same topic, idea, or concept.

 

WRITING - Range and Complexity (RC)

Standard 6: Write independently, legibly, and routinely for a variety of tasks, purposes, and audiences over short and extended time frames.

 

COMMUNICATION - Meaning and Context (MC)

Standard 1: Interact with others to explore ideas and concepts, communicate meaning, and develop logical interpretations through collaborative conversations; build upon the ideas of others to clearly express one’s own views while respecting diverse perspectives.

Arts Standards

Grades 2-3:

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.

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

 

Key Vocabulary

Content Vocabulary

  • Compare - Search for similarities between two or more subjects

  • Contrast - Search for differences between two or more subjects

Arts Vocabulary

  • Choreography - The art of composing dances and planning and arranging the movements, steps, and patterns of dancers

 

  • Choreographer - A person who creates dances 

 

  • Level - The vertical distance from the floor that a dancer occupies during a movement

 

  • Locomotor - Movement that travels from one location to another in a pathway through space 

 

  • Non-locomotor - Movement that occurs without the body traveling from one point to another point

  • Energy Qualities -
    • Percussive - A quality of movement characterized by sharp starts and stops, staccato jabs of energy

    • Suspended - A quality of movement that occurs in a moment of resistance to gravity, such as the instant in which a dancer hangs in space at the top of a leap
    • Sustained - A quality of movement that is smooth and unaccented. There is no apparent start or stop, only a continuity of energy.
    • Swinging - A quality of movement established by a fall with gravity, a gain in momentum, a loss of momentum, and the repeated cycle of fall and recovery, like that of a pendulum
    • Vibratory - A quality of movement characterized by rapidly repeated bursts of percussive movements

 

Materials

  • Sound source and speakers
  • Audio recording 
  • Stories or literary excerpts 
  • Venn diagram for projection for class-wide viewing
  • Printed copies of Venn diagram to distribute for small group work

 

 

Instructional Design

Opening/Activating Strategy

  • Tell students that they are going to explore movement. Have students stand up. Be sure that they are spaced out from one another to avoid collisions. 
  • Pre-select several dance terms (see vocabulary) to introduce to students.
  • Turn on music. Informally teach students a variety of dance movements by demonstrating them to the music. Have students copy your movements. As you demonstrate movements, describe them using dance vocabulary (see vocabulary).
    • Movements can be very basic, such as a side to side step showing locomotor movement. Another movement could be gradually crouching down, wrapping your arms around yourself to make a tiny ball with your body and standing back up expanding arms to make a big movement. This would show levels in dance (high, medium, and low). 
  • Facilitate a discussion to compare and contrast movements. Encourage students to use dance vocabulary in their descriptions.

 

Classroom Tips:

  • Clear desks to have an open space and be tolerant of noise and excitement but set limits. 
  • Review rules for appropriate audience behavior. 

 

Work Session

COMPARING AND CONTRASTING MOVEMENT

  • Divide the class into small groups. 
  • Tell each group to create a short movement phrase using 3-4 of the movements learned in the warm up.
    • Without other groups knowing, assign each group a quality (see vocabulary) that they must use when performing their dance, i.e., fast, slow, etc. 
  • Allow each group to perform their dance for peers.
  • As each group performs, facilitate a discussion identifying the similarities and differences between the different group dances, recognizing qualities of movements such as fast or slow. Document these on the projected Venn diagram. 
  • Tell students that they will write about the similarities and differences between the dances.
  • Allow each group to present their dances a second time.
  • Each group should select two dances to compare and contrast using a Venn diagram.
  • Students will turn their Venn diagram into a written paragraph.
  • Select two groups to present their work and engage classroom discussion by asking students whether they agree or disagree with the analysis and why. 
  • Tell students that they will be using the same strategies of comparing and contrasting to compare and contrast two written texts.
  • Share two texts that address the same story or topic to the class, and ask them to work in small groups to complete a Venn diagram to document similarities and differences between the texts, working on concepts that have been learned in class, such as theme, setting, characters, etc.
  • Individually, students should turn their Venn diagram into a written paragraph.
  • Allow a few students to present their work and engage class discussion.

 

Closing Reflection

  • Ask students to recall creating the Venn diagrams in dance. Ask them what got their attention when they looked for similarities and differences in movement phrases.
  • Ask students to think about creating the Venn diagrams for the written texts. Ask them what got their attention when they looked for similarities and differences in those works.
  • Ask students to compare and contrast the processes of the work they just did, analyzing dances versus written texts. Is one similar to the other? Is one different from the other?

 

Assessments

Formative

Teachers will assess understanding by observing students’ use of dance vocabulary while creating dance phrases, students’ recorded data using a Venn diagram, and students’ ability to work collaboratively.

 

Summative

CHECKLIST

  • Students can create dance sequences according to the criteria set by the teacher. 
  • Students can identify similarities and differences in the performed choreographic sequences. 
  • Students can successfully compare and contrast the two written texts.
  • Students can express ideas clearly in written form.

 

DIFFERENTIATION 

Acceleration:

  • Use three texts instead of two.
  • In addition to movement quality, assign to each group an emotional theme to express in the dance phrases. This theme is then analyzed along with movement quality when completing the Venn diagram. 

Remediation:

  • Rather than working in small groups, work as an entire class to create the compare and contrast piece about two dances.

 

 

*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 and updated by: Melissa Dittmar-Joy and Julie Galle Baggenstoss

Revised and copyright:  May 2024 @ ArtsNOW

 

Exploring Habitats Through Music Composition 2-3

EXPLORING HABITATS THROUGH MUSIC COMPOSITION

EXPLORING HABITATS THROUGH MUSIC COMPOSITION

Learning Description

Through composition of original speech pieces, students will develop skills and understandings in science, language arts, and music. Teamwork and creativity are necessary to create a chant that demonstrates understanding of plant and animal life in various habitats. Musical skills addressed in this lesson include improvising, composing, listening, speaking, and moving.

 

Learning Targets

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

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can create and accurately perform an original speech composition in rondo form about my assigned habitat.
  • I can create and accurately perform a body percussion ostinato to accompany my speech composition.
  • I can aurally and visually identify rondo form in musical compositions.

Essential Questions

  • How can music composition help us understand and remember habitats?

 

Georgia Standards

Curriculum Standards

Grade 3:

S3L1. Obtain, evaluate, and communicate information about the similarities and differences between plants, animals, and habitats found within geographic regions (Blue Ridge Mountains, Piedmont, Coastal Plains, Valley and Ridge, and Appalachian Plateau) of Georgia.

 

  1. Construct an explanation of how external features and adaptations (camouflage, hibernation, migration, mimicry) of animals allow them to survive in their habitat.
  2. Use evidence to construct an explanation of why some organisms can thrive in one habitat and not in another.

Arts Standards

Grade 2:

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

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

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

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

ESGM2.RE.2 Evaluate music and music performances.

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

 

Grade 3:

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

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

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

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

ESGM3.RE.2 Evaluate music and music performances.

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

 

South Carolina Standards

Curriculum Standards

Grade 3:

3-LS3-1. Analyze and interpret data to provide evidence that plants and animals have inherited traits that vary within a group of similar organisms.

3-LS4-3. Construct an argument with evidence that in a particular habitat some organisms can thrive, struggle to survive, or fail to survive.

Arts Standards

Anchor Standard 1: I can arrange and compose music.

Anchor Standard 2: I can improvise music.

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

Anchor Standard 6: I can analyze music.

Anchor Standard 7: I can evaluate music.

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

 

Key Vocabulary

Content Vocabulary

  • Habitat - The natural environment of an organism; place that is natural for the life and growth of an organism
  • Organism - A living thing, like an animal, plant, fungus, bacterium, or protist
  • Adaptation - How organisms change or adjust to new conditions
  • Environment - All external conditions, influences, and factors that affect and interact with living organisms

Arts Vocabulary

  • Rondo - A form of composition in which the first section recurs throughout the piece, alternating with different sections (e.g., A-B-A-B-A or A-B-A-C-A, etc.); this form is found especially in compositions of the Baroque and Classical eras
  • Ostinato - A repeated pattern (plural: ostinati)
  • Body percussion - Sounds produced by striking or scraping parts of the body; typically includes snapping, clapping, patting, and stomping
  • Phrase - Musical sentence or unit, commonly a passage of four or eight measures; a dependent division of music, much like a single line of poetry in that it does not have a sense of completion in itself; usually two or more phrases balance each other
  • Texture - The thickness or thinness of sound

 

Materials

  • Habitat cards (individual cards with one habitat on each)
  • Cutouts of shapes (or shapes can be written on the board)
  • Visual of A section text (to be displayed after chant is learned)
  • Sound source (computer and speakers)
  • Recording of musical composition in rondo form (this could be a song that is structured verse-chorus-verse-chorus)
  • Large paper and markers

 

Instructional Design

Opening/Activating Strategy

Classroom Tips: Arrange groups so that students can move away from each other during the creating process to enable careful listening and minimize distraction from other groups.

 

  • Play a musical composition in rondo form, challenging students to listen for repeated sections. (NOTE: Music with text may facilitate students’ discernment of repetition and contrast.)
  • Identify form heard in composition as rondo form.
  • Demonstrate different body percussion techniques, such as snapping, clapping, patting, and stomping. Have students follow your movements.
  • Challenge students to establish a simple two, four, or eight beat body percussion ostinato.

 

Work Session

  • Explain that students will now become composers of their own speech piece to illustrate rondo form.
  • While students perform the body percussion ostinato that they created, teach the following chant by rote (teacher speaks, students echo).

 

Habitats define life and growth within a place
Where animals and plants naturally live in their space.
Each is connected by the environment in which they live; 
Contributing uniquely, they all have something to give.

  • To facilitate student success in learning the chant aurally, begin by speaking the entire chant, then speak the first phrase (first eight beats) and have students echo.
  • Continue speaking each phrase and having students echo. Then combine two phrases (16 beats) and have students echo.
  • Once students are comfortable with 8- and 16-beat phrases, speak the entire chant.
  • This becomes the A section of the class composition.
  • Analyze the structure of the chant (32 beats long with the last word on beat 31).
  • A visual such as follows may be helpful in guiding students’ analysis.
A rectangular grid with four identical rows, each containing the numbers 1 through 8 in order, separated by spaces. Reminiscent of music composition, the grid is outlined with a black border.

 

  • To help students understand the chant’s length and structure, point to each number while speaking the chant.
  • Analyze the rhyme scheme of the chant, marking on the visual of the chant to facilitate understanding.
  • Divide students into small groups and give each group a habitat card (such as mountains, marsh/swamp, coast, etc.).
  • Working in small groups, have students create a chant about their habitat.
  • Their chant must be the same length and use the same rhyme scheme as the A section.
  • Once students are satisfied with their composition, have them write it down (text only) on large paper.
  • Encourage students to write their composition in four lines to facilitate understanding of the four phrases.

 

Closing Reflection

  • Combine group compositions with the original chant to create a rondo form.
  • The original chant is the A section while student creations become the alternating sections.
  • Use shapes drawn on board or cut from construction paper (or cogni-tiles) and letters to illustrate each section in rondo form.
  • Allow time for students to comment on the compositional efforts of others, perhaps noticing distinctive rhythms and/or word choice.
  • Discuss the characteristics of each of the habitats performed.

 

Assessments

Formative

Teachers will assess students’ understanding of the content throughout the lesson by observing students’ participation in the activator, ability to repeat and learn the A section of the habitat chant, analysis of rhyme scheme, and collaboration with their groups to create their own habitat chant.

 

Summative

CHECKLIST

  • Students can create and accurately perform an original speech composition using the prescribed form and content (assigned habitat).
  • Students can create and accurately perform a body percussion ostinato to accompany the speech composition.
  • Students aurally and visually identify rondo form in musical compositions.

 

DIFFERENTIATION 

Acceleration: 

  • Have students record their creations and evaluate their work.
  • Challenge students to create simple melodies to accompany their text.
  • Have students transfer their spoken text to body percussion (e.g., clap the rhythm of the words rather than speaking the words). Experiment with and discuss various textures. For example, have half the students maintain the ostinato while the other group performs their chant on body percussion; then have only the chant performed on body percussion. Discuss what happens to the texture of the sound as other parts are added or deleted.
  • After students have transferred their spoken text to body percussion, have two (or more) groups superimpose (perform simultaneously) their chants. Discuss the texture changes this compositional device creates.
  • To connect to dance, have students create movement compositions demonstrating plants and/or animals found in their habitats. Then have other students guess the habitat demonstrated through movement.
  • To connect to theater, have students create dialogues between plants and/or animals found in various habitats. Dialogues should not include the name of the habitat so that after performing their dialogues, other students can guess the habitat being discussed.

Remediation: 

  • Scaffold the lesson by working collaboratively as a class to create a chant about a habitat. Then release students to create their own.
  • Reduce the number of lines students are required to create in their chant.
  • Provide sentence starters to help students structure their chants.

 

*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: Maribeth Yoder-White. 

Revised and copyright:  September 2024 @ ArtsNOW