CAN YOU BALANCE? “IT’S SHOWTIME” 3-4

“IT’S SHOWTIME”

CAN YOU BALANCE?“IT’S SHOWTIME”

Learning Description

After students have created a Rube Goldberg machine in the previous lesson, students will be taking their hard work in the design studio and marketing it to an audience! Students will work collaboratively to write a persuasive script utilizing dialogue to clearly define a problem that their simple machine will solve. Students will try to persuade the audience to purchase their invention. Finally, it’s showtime and students will perform their scripts and scenes!

 

Learning Targets

GRADE BAND: 3,4
CONTENT FOCUS: THEATRE & SCIENCE
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can present a persuasive pitch for why my Rube Goldberg machine is worth purchasing.
  • I can work collaboratively to write a persuasive script, which clearly defines a problem that our Not-So-Simple-Machine will solve.
  • I can perform a scene using a persuasive strong voice that brings to life our script.

Essential Questions

  • How can I use a persuasive, strong voice to express my knowledge of simple machines?

 

Georgia Standards

Curriculum Standards

Grade 4:

S4P3. Obtain, evaluate, and communicate information about the relationship between balanced and unbalanced forces.

a.Plan and carry out an investigation on the effects of balanced and unbalanced forces on an object and communicate the results.

b.Construct an argument to support the claim that gravitational force affects the motion of an object.

c. Ask questions to identify and explain the uses of simple machines (lever, pulley, wedge, inclined plane, wheel and axle, and screw) and how forces are changed when simple machines are used to complete tasks.

Arts Standards

Grade 4:

TA4.CR.2 Develop scripts through theatrical techniques.

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

TA4.RE.1 Engage actively and appropriately as an audience member.

TA4.CN.1 Explore how theatre connects to life experience, careers, and other content.

 

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.

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 5: I can interpret and evaluate live or recorded dramatic performances as an active audience member.

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

 

Key Vocabulary

Content Vocabulary

  • Force - Any interaction that, when applied to an object, can cause it to change its motion or shape
  • Balanced forces - Two or more forces acting on an object in such a way that they cancel each other out, resulting in no change in the object's motion
  • Unbalanced forces - Two or more forces acting on an object are not equal in size or are not opposite in direction, causing the object to accelerate (change its speed or direction)
  • Gravitational force - The force of attraction that pulls objects toward each other due to their mass
  • Motion - The change in the position of an object over time
  • Mass - A measure of the amount of matter in an object or substance
  • Simple machines - Basic mechanical devices that make work easier by altering the direction or magnitude of a force; the building blocks for more complex machines
  • Rube Goldberg - An American cartoonist, engineer, and inventor best known for creating elaborate, humorous illustrations of complex machines designed to perform simple tasks in overly complicated ways
  • Inclined plane - A flat surface that is tilted at an angle
  • Lever - A simple machine consisting of a rigid bar or beam that pivots around a fixed point called the fulcrum
  • Wedge - A simple machine that consists of a triangular-shaped object, often with a sharp edge, which is used to split, cut, or lift objects
  • Pulley - A simple machine consisting of a wheel with a groove around its edge, through which a rope, chain, or belt can pass
  • Screw - A type of simple machine that consists of an inclined plane wrapped around a central shaft or core
  • Wheel and axle - A simple machine that consists of two circular objects—a larger wheel and a smaller axle—that are connected and rotate together

Arts Vocabulary

  • Volume - How loud of soft something is
  • Script - The written version of a play, movie, or other acted performance
  • Scene - A single situation or unit of dialogue in a play
  • Dialogue - A conversation between two or more persons
  • Audience - The group of spectators, listeners and viewers collectively, in attendance at a theater
  • Props - Items that actors use in a performance to depict real-life objects.  Props can also be used to help students brainstorm for their writing or character study.
  • Diction - Using a “crisp and clear” actor voice that can be understood by everyone watching and listening
  • Voice - Actors use their voice to be heard by the audience clearly. Actors must also apply vocal choices such as pitch, tempo, and volume to the character they are dramatizing.
  • Body - Actors use their body to become a character through body posture and movement. What your mind thinks, what your emotions feel, all of this is supposed to show up in your body.

 

Materials

  • Table/desk to display Rube Goldberg machines
  • Shark Tank pitch for “Locker Boards” starting at 8:45
  • Optional: Costumes–Each student can design or assemble a costume based on the product they are pitching. Example: Students may choose to wear a lab coat and safety goggles for the presentation.
  • Optional–Tablecloth

 

Instructional Design

Opening/Activating Strategy

  • Students will participate in a whole group choral echo. The teacher and students will say the same phrase aloud repeating in chorus providing time for students to work on their “performance voice” with an emphasis on volume and diction.
    • Round 1:
    • Teacher:  The big black bug.
    • Students:  The big black bug.
    • Teacher:  Ate the big black bear.
    • Students:  Ate the big black bear.
  • Round 2: Students create two circles; the inner circle faces towards the outer circle. Each student will become partners with the student they are facing. Refer to the inner circle as Partner A and the outer circle Partner B.
  • Once students are set, the teacher will direct Partner A to say their lines and Partner B will respond. The outer circle will rotate clockwise one-step and pair up with a new Partner A in the inner circle.
    • Partner A:  The big black bug.
    • Partner B:  The big black bug.
    • Partner A:  Ate the big black bear.
    • Partner B:  Ate the big black bear.
  • Round 3: Students stay in their circles; the teacher will direct Partner B to say their lines and Partner A will respond. The outer circle will rotate clockwise one-step and pair up with a new partner A in the inner circle.
    • Partner B:  The big black bug.
    • Partner A:  The big black bug.
    • Partner B:  Ate the big black bear.
    • Partner A:  Ate the big black bear.

Work Session

  • With a partner, students will read aloud an example of Reader’s Theater: Deluxe Slushy Lemonade Machine. It will serve as a model for their classwork. Have students practice using different voices for their characters, pronouncing the words using clear diction, and projecting their voices.
  • Discuss how the dialogue is written in first person.

Script-Writing:

  • Students will write a script for their “Not So Simple Machine”. Tell students that their purpose is to persuade the audience to purchase their product. Students can use the example script as a model.
  • Working collaboratively, students will need to include the following elements in their script.
    • Each member of the group must have a speaking role in the presentation.
    • The script must clearly define a problem and explain/show how their “Not So Simple Machine” will solve the problem.
    • They must include three reasons to support its purpose.
    • They should attempt to persuade the audience to purchase their simple machine.

Rehearsal:

  • Watch the Shark Tank pitch for “Locker Boards” starting at 8:45 and discuss how the entrepreneur uses his voice and body in his presentation.
  • Students will have the opportunity to rehearse their scene. Students will work in their groups to rehearse their scenes being mindful of having a strong, expressive performance voice.
  • After rehearsing, students will prepare the presentation for the scene including the following criteria:
    • Group must set up their “Not So Simple Machine”
    • Determine the placement of each character onstage
    • If time permits, determine the costumes and props being included

Performance:

  • It’s showtime! Students will present their scenes to the class.
  • Each group will take turns presenting their machines.
    • Review with the class the proper etiquette for an attentive audience member–Still, silent, and supportive. (Remind the students that part of their grade is in this category.)
    • Students will present with loud, clear voices with strong posture.
    • Students will “run” their machine and show the audience that it functions properly.
  • After performances, have the audience identify which simple machines the group used.

Classroom Tips:

  • Students will often divide the tasks among themselves, however be sure to require all students to participate equally.
  • Students may be frustrated when working in groups, prior to each work period, review strategies to ensure a positive experience.
  • Depending on your class size and setting, the teacher may want to have all groups set up their presentation prior to the performances so that transition times are minimal.

Closing Reflection

Ask students to reflect on the scenes. Ask students–if they were investors and could invest in one machine not their own, which machine would they want to invest in? Why? How well did the presenters use their voices and bodies to convey confidence in their invention? What simple machines did they see in the design?

 

Assessments

Formative

  • The teacher will observe students while they work and engage in conversation about science concepts during the activator.
  • The teacher will conference with groups to read scripts and offer feedback as necessary.

Summative

  • “It’s Showtime” Rubric
  • Students used their voices and bodies to communicate their ideas in their performances.
  • Students demonstrate that they understand simple machines based on their script and performance.

 

Differentiation 

Acceleration: 

Within the given small groups, students will take on the role of the simple machine by personifying it and acting as if they were the simple machine persuading the class to make the purchase.

Remediation:

  • Provide students with key vocabulary terms with definitions to be used in their scripts. Preview the key vocabulary on an anchor chart, word wall, or flashcards. Group heterogeneously with students with higher writing proficiencies.
  • Allow students to illustrate different parts of the script to hold up during the whole group presentation.
  • Provide sentence stems for the script.
  • Give students a checklist or graphic organizer they may use to ensure that they include all required portions in their script in a logical sequence. Students should be expected to provide evidence to support their persuasive points.

 

Additional Resources

 

Credits

U.S. Department of Education- STEM + the Art of Integrated Learning

Ideas contributed by: Andrea Pagano, Jessica Espinoza, Edited by Dr. Carla Cohen

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

Revised and copyright:  June 2025 @ ArtsNOW

 

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CAN YOU BALANCE? PUSH AND PULL–FORCES IN MOTION THROUGH PARTNER POSES 3-4

PUSH AND PULL–FORCES IN MOTION THROUGH PARTNER POSES

CAN YOU BALANCE?PUSH AND PULL–FORCES IN MOTION THROUGH PARTNER POSES

Learning Description

Students will explore balanced and unbalanced forces through movement and collaboration. They will practice push and pull poses with a partner learning to maintain balance and adjust forces. Pairs will create a sequence with pushes, pulls, and level changes, rehearsing and presenting their work while receiving peer feedback. The lesson concludes with self-reflections on balanced and unbalanced forces and the creative process.

 

Learning Targets

GRADE BAND: 3,4
CONTENT FOCUS: DANCE & SCIENCE
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can work with a partner to create a movement sequence demonstrating counter-balance.
  • I can recognize balanced and unbalanced forces in my movements and make necessary adjustments to achieve balance.
  • I can reflect on my work and explain how different content areas are connected.

Essential Questions

  • How can you identify balanced and unbalanced forces?
  • What adjustments can you make to transform unbalanced forces into balanced ones during a movement sequence?

 

Georgia Standards

Curriculum Standards

Grade 4:

S4P3. Obtain, evaluate, and communicate information about the relationship between balanced and unbalanced forces.

a.Plan and carry out an investigation on the effects of balanced and unbalanced forces on an object and communicate the results.

Arts Standards

Grade 4:

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

ESD4.CR.2.a Use movement to express an idea or feeling.

ESD4.RE.1 Demonstrate critical and creative thinking in dance.

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

 

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.

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

 

Key Vocabulary

Content Vocabulary

  • Force - Any interaction that, when applied to an object, can cause it to change its motion or shape
  • Balanced forces - Two or more forces acting on an object in such a way that they cancel each other out, resulting in no change in the object's motion
  • Unbalanced forces - Two or more forces acting on an object are not equal in size or are not opposite in direction, causing the object to accelerate (change its speed or direction)
  • Gravitational force - The force of attraction that pulls objects toward each other due to their mass
  • Motion - The change in the position of an object over time
  • Mass - A measure of the amount of matter in an object or substance
  • Direction - The way something is moving or pointing.
  • Motion - Something moves from one place to another
  • Speed - How fast something is moving
  • Strength - The amount of force something can handle or use

Arts Vocabulary

  • Counter-balance - Two or more dancers work together and use their weight to help each other stay balanced
  • Force/energy - The amount of power you use to make your movements or show feelings
  • Movement sequence - A series of movements; a short dance
  • Levels - One of the aspects of movement (there are three basic levels in dance: high, middle, and low)
  • Body shape - Refers to an interesting and interrelated arrangement of body parts of one dancer; the visual makeup or molding of the body parts of a singular dancer; the overall visible appearance of a group of dancers (they may be curved/angular, symmetrical/asymmetrical, positive/negative)
  • Locomotor movement - A movement that travels through space (e.g. walk, jump, hop, roll, gallop, skip, crawl & more)
  • Non-locomotor movement - A movement that does not travel through space (e.g. shaking, bending, stretching, twisting, turning & more)

 

Materials

Ideas of Partner Poses (look through to identify those that clear show push and pull (counterbalance)

 

Instructional Design

Opening/Activating Strategy

  • Have students demonstrate, through movement, different body shapes and movements based on the following prompts:
    • A shape that expresses pushing something (frozen–not moving)
    • A movement that expresses pushing something (adding a locomotor movement)
    • A shape that expresses pulling something (frozen–not moving)
    • A movement that expresses pulling something (adding a locomotor movement)
    • Various locomotor movements (walk, gallop, jump, hop, skip, crawl, etc.)
    • Various non-locomotor movements (shake, twist, turn, rise, fall, etc.)

Work Session

  • Review forces (push, pull, unbalanced, and balanced).
  • Divide students into pairs.
  • Guide the pairs through the following partner poses (movements).
    • Rooftops (Push):
      • Students will face each other with arms straight out in front of them. Their palms should be touching.
      • Instruct the pair to lean into each other so that arms raise to form a triangular “rooftop”.
    • Elevator (Pull):
      • Students will face each other standing toe to toe with a little space between their feet.
      • Students will hold each other's forearms or interlock fingers.
      • Students will lean away from each finding balance.
      • Students will continue to pull away from each other, bending their knees to descend and ascend as a pair.
    • Engage in a class discussion about the following:
      • What do you have to do to maintain equal balance?
      • What happens when one partner pulls or pushes more than the other?
      • What happens when one partner doesn’t pull or push enough?
    • Have pairs create a sequence that meets the following requirements:
      • The sequence must include:
        • A beginning, middle, and end
        • One partner movement that clearly expresses a Push
        • One partner movement that clearly expresses a Pull
        • One partner movement that clearly expresses a force of their choice (push or pull)
        • A level change (high, middle, or low)
      • After a designated period of work time, pairs will present their complete sequence.
        • Have a dress rehearsal, in which all pairs present their sequence simultaneously.
        • Invite pairs to present their sequence individually for the class (as time allows).
        • Engage the class in giving feedback of where they saw pushes and pulls in the sequences.

Closing Reflection

  • Students will reflect on one or more of the following questions via an exit ticket:
    • What do you have to do to maintain equal balance? (Balanced force)
    • What happens when one partner pulls or pushes more than the other? What happens when one partner doesn’t pull or push enough? (Unbalanced force)
    • How did this activity help you understand balance and unbalanced forces?
    • If you were to go through this artistic process again, what would you do differently? Why?

 

Assessments

Formative

Check-in/observation of students during group creation of their sequence

Summative

  • Performance of Sequence–did the sequence meet the requirements?
    • A beginning, middle, and end
    • One partner movement that clearly expresses a Push
    • One partner movement that clearly expresses a Pull
    • One partner movement that clearly expresses a force of their choice (push or pull)
    • A level change (high, middle, or low)
    • Exit ticket

 

Differentiation 

Acceleration: 

  • Increase group size to include more students.
  • Have students write out the directions to their sequence for another pair to perform

Remediation:

  • Give examples of partner poses to try. Determine which ones show a Push and which ones show a Pull before students choreograph their movement sequences.
  • Have students’ sequences include only two movements–one example of a Push and one example of a Pull.

 

Credits

U.S. Department of Education- STEM + the Art of Integrated Learning

Ideas contributed by: Christopher Crabb

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

Revised and copyright:  June 2025 @ ArtsNOW

 

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HABITATS & ANIMAL ADAPTATIONS: GEORGIA REGIONS LANDSCAPE 3

GEORGIA REGIONS LANDSCAPE

HABITATS & ANIMAL ADAPTATIONS: GEORGIA REGIONS LANDSCAPE

Learning Description

In this lesson, students will complete a landscape painting demonstrating their understanding of Georgia’s habitats that incorporates the art techniques of the painter Vincent Van Gogh.

 

Learning Targets

GRADE BAND: 3
CONTENT FOCUS: VISUAL ARTS & SCIENCE
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can differentiate between plants, animals, and habitats found within Georgia’s geographic regions.
  • I can create a landscape artwork in the style of Vincent Van Gogh that shows components of Georgia’s habitats.

Essential Questions

  • What is the difference between the plants, animals, and habitats found within Georgia’s geographic regions?
  • How can I create a landscape artwork inspired by the artist, Vincent Van Gogh, to demonstrate my understanding of the different habitats in Georgia?

 

Georgia Standards

Curriculum Standards

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.

a. Ask questions to differentiate between plants, animals, and habitats found within Georgia’s geographic regions.

b. Construct an explanation of how external features and adaptations (camouflage, hibernation, migration, mimicry) of animals allow them to survive in their habitat.

c. Use evidence to construct an explanation of why some organisms can thrive in one habitat and not in another.

Arts Standards

VA3.CR.1 Engage in the creative process to generate and visualize ideas by using subject matter and symbols to communicate meaning.c. Produce multiple prototypes in the planning stages for a work of art (e.g. sketches, 3D models).

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

b. Create works of art emphasizing multiple elements of art and/or principles of design.

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

a. Develop drawings and paintings with a variety of media (e.g. pencil, crayon, pastel, tempera, watercolor).

d. Develop and apply an understanding of color schemes to create works of art.

VA3.RE.1 Use a variety of approaches for art criticism and to critique personal works of art and the artwork of others to enhance visual literacy.

b. Use art terminology with emphasis on the elements of art and/or principles of design.

 

South Carolina Standards

Curriculum Standards

3-LS4-2. Use evidence to construct an explanation for how the variations in traits among individuals of the same species may provide advantages in surviving and producing offspring.

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 use the elements and principles of art to create artwork.

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

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

 

Key Vocabulary

Content Vocabulary

  • Region - An area of land that is defined by certain characteristics that differentiate one region from another
  • Habitat - A specialized ecological niche or environment in which a particular species or community of organisms resides
  • Organism - A living thing, like an animal, plant, fungus, bacterium, or protist
  • Adaptation - How organisms change or adjust to new conditions
  • Camouflage - An adaptation by which an organism visually blends into its surroundings by virtue of its shapes, patterns, and coloring.
  • Hibernation - A state of deep inactivity and metabolic slowdown that some animals enter during cold or unfavorable environmental conditions, typically in winter
  • Migration - The seasonal movement of animals or people from one region to another, usually in search of better living conditions, food, or a more favorable climate
  • Traits - The specific features that make each living thing unique
  • Environment - All external conditions, influences, and factors that affect and interact with living organisms

Arts Vocabulary

  • Texture - How something feels or looks like it feels
  • Line - A mark connecting two points
  • Landscape - A type of visual art that depicts natural scenery such as mountains, forests, rivers, valleys, or oceans
  • Background - The area of a landscape that is farthest from the viewer
  • Middle ground - The area of a landscape between the background and the foreground
  • Foreground - The area of a landscape that is closest to the viewer

 

Materials

Black and white landscape illustration showing labeled areas:

 

Instructional Design

Opening/Activating Strategy

  • Teacher will show students a picture of Van Gogh’s painting, “Starry Night”.
  • Ask students to work collaboratively to engage in the See, Think, Wonder Artful Thinking Routine.
    • First, students will identify what they see in the image. Emphasize that they should make objective observations about the image (i.e. physical features, colors, textures, etc.).
    • Next, ask students to identify what they think about the image. Emphasize that students should be creating inferences using visual evidence from the image.
    • Finally, ask students what they wonder about the image.
  • Facilitate a class-wide discussion around students’ observations, inferences, and questions.
  • Ask students what types of animals and plants they think might live in the environment.

Work Session

  • Show students one of the videos about Van Gogh and his painting style and techniques. Discuss with students how he used short lines in his brush strokes.
  • Show students a diagram of a landscape with a foreground, middle ground, and background (see below).

Black and white landscape illustration showing labeled areas:

  • Ask students to identify where they see the background, middle ground, and foreground in “Starry Night”.
  • Tell students that they will be making landscape artwork in the style of Vincent Van Gogh to demonstrate their understanding of Georgia’s habitats.
  • Review the components of the Georgia regions (plants, trees, body of water, animals, etc.) by reading a nonfiction text about the regions of Georgia.
  • Students will then select one of the regions of Georgia (Appalachian Plateau, Valley and Ridge, Blue Ridge, Piedmont, and Coastal Plains) and create a sketch of the landscape for that region either on plain white paper or in their STEAM journals.
    • Students should be sure to include plants, trees, body of water, animals, etc. that they would see in that habitat.
  • Once they have drawn their initial plan, students will lightly sketch out their landscape on watercolor paper or mixed media paper.
  • Students will then add details and color using marks and lines in the style of Van Gogh with crayon or oil pastel.
  • Finally, students will paint over their landscape using watercolors. The crayons or oil pastels will “resist” the watercolor.

Closing Reflection

  • Students will share their paintings with the class, and the students in the class will try to determine which Georgia region is being depicted in the painting based on what is shown in the painting.
  • Students will also share which art techniques they used in their paintings.

Optional: Create a large outline of the state of Georgia to display on the wall. Display students’ artwork in the geographical region represented on the map.

 

Assessments

Formative

  • Teachers will assess students' learning through:
    • Questioning and observations of students' responses to artwork analysis and the regions of Georgia.
    • Students’ planning for their landscape artwork.

Summative

  • Students will ensure that they included each aspect of the checklist in their painting–Checklist:
    • Artwork includes the components of a landscape (foreground, middle ground, and background)
    • Artwork contains animals, trees, and plants that would be evident in their habitat
    • Artwork incorporates techniques used by Van Gogh

 

Differentiation 

Accelerated: 

  • Students can recreate their landscape using a different art medium (tempera paint, model magic on tag board, etc.)
  • Students can write an informational description of what they showed in their artwork and how they used Van Gogh’s techniques in their artwork.

Remedial:

  • Students can use an alternate medium such as collage or drawing.
  • Students can work with a partner and/or use a smaller sized paper.
  • Teachers can pre-label paper with parts of a landscape (foreground, middle ground, and background).

 

Credits

U.S. Department of Education- STEM + the Art of Integrated Learning

Ideas contributed by: SAIL Grant Teacher Leaders, Shannon Green

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

Revised and copyright:  June 2025 @ ArtsNOW

 

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HABITATS & ANIMAL ADAPTATIONS: EXPLORING HABITATS THROUGH MUSIC COMPOSITION 3

EXPLORING HABITATS THROUGH MUSIC COMPOSITION

HABITATS & ANIMAL ADAPTATIONS: EXPLORING HABITATS THROUGH MUSIC COMPOSITION

Learning Description

Through composition of original speech pieces, students will develop skills and understandings in science 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: 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.

Essential Questions

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

 

Georgia Standards

Curriculum Standards

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.
a. Ask questions to differentiate between plants, animals, and habitats found within Georgia’s geographic regions.
b. Construct an explanation of how external features and adaptations (camouflage, hibernation, migration, mimicry) of animals allow them to survive in their habitat.
c. Use evidence to construct an explanation of why some organisms can thrive in one habitat and not in another.

Arts Standards

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

3-LS4-2. Use evidence to construct an explanation for how the variations in traits among individuals of the same species may provide advantages in surviving and producing offspring.
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
  • Musical 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)


Instructional Design

Opening/Activating Strategy

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

  • Play a musical composition in rondo form (such as verse-chorus-verse-chorus, etc.), 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 box containing four identical rows of numbers. Each row lists numbers 1 through 8, spaced evenly across the width of the box, resembling patterns found in music composition.

  • 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 so that each of Georgia’s habitats will be represented by at least one group. Tell students that they will be writing their own chant about their assigned habitat.
    • Chants should include plants, trees, body of water, animals, etc.
    • 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.
  • Provide time for students to practice performing their chant.
  • Next, have students add body percussion to their chants.

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. For example:

Original chant: A section

Blue Ridge Mountains chant: B section

Original chant: A section

Piedmont: C section

Original chant: A section

Coastal Plains: D section

Original chant: A section

Valley and Ridge: E section

Original chant: A section

Appalachian Plateau: F section

Original chant: A section

  • 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

Accelerated: 

  • Have students record their creations using technology 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.

Remedial:

  • 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.

 

Credits

U.S. Department of Education- STEM + the Art of Integrated Learning

Ideas contributed by: Maribeth Yoder-White

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

Revised and copyright:  June 2025 @ ArtsNOW

 

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HABITATS & ANIMAL ADAPTATIONS: CAMOUFLAGE & MIMICRY IN THE CLASSROOM 3

CAMOUFLAGE & MIMICRY IN THE CLASSROOM

HABITATS & ANIMAL ADAPTATIONS: CAMOUFLAGE & MIMICRY IN THE CLASSROOM

Learning Description

Animals are very creative! They adapt to their environments to improve their chances of survival; two types of adaptation are camouflage and mimicry. In this lesson, students will use voice and body, as well as the observational and creative skills of costume and set designers, to use camouflage and mimicry in their own natural habitat–the classroom!

 

Learning Targets

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

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"I Can" Statements

“I Can…”

  • I can define camouflage and mimicry, and tell the difference between them.
  • I can identify color, shape and pattern in my own clothing and in my classroom environment.
  • I can make choices that create the effect of camouflage.
  • I can use my voice, body, and art materials to create the effect of mimicry of another organism (a classmate) in my classroom environment.

Essential Questions

  • What are camouflage and mimicry?
  • How are color, shape and pattern important elements of camouflage and mimicry?
  • How can we use acting and design skills to explore camouflage and mimicry in the classroom?

 

Georgia Standards

Curriculum Standards

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.
a. Ask questions to differentiate between plants, animals, and habitats found within Georgia’s geographic regions.
b. Construct an explanation of how external features and adaptations (camouflage, hibernation, migration, mimicry) of animals allow them to survive in their habitat.
c. Use evidence to construct an explanation of why some organisms can thrive in one habitat and not in another.

Arts Standards

TA3.PR.1 Act by communicating and  sustaining roles in formal and informal environments.
TA3.PR.2 Execute artistic and technical elements of theatre.

 

South Carolina Standards

Curriculum Standards

3-LS4-2. Use evidence to construct an explanation for how the variations in traits among individuals of the same species may provide advantages in surviving and producing offspring.
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 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

  • Adaptation - A change by which an organism becomes better suited to its environment
  • Mimicry - An adaptation by which an organism copies the physical or vocal characteristics of another
  • Camouflage - An adaptation by which an organism visually blends into its surroundings by virtue of its shapes, patterns, and coloring
  • Habitat - The natural home or environment of an animal, plant, or other organism

Arts Vocabulary

  • Voice – An actor’s tool, which we shape and change to portray the way a character speaks or sounds
  • Body – An actor’s tool, which we shape and change to portray the way a character looks, walks, or moves
  • Set design - The creation of the physical space in which the action of a performed event takes place
  • Costume design - The creation of clothing and accessories for a character in a performance
  • Levels - Position of the body (high, middle, and low)


Materials

  • Optional: Drum or percussion instrument
  • Optional: Sound clips of mimicry
  • Images of camouflage and mimicry in the natural world (from textbook, class resources, or the internet)
  • Multi-colored pieces of construction paper
  • Scissors
  • Glue
  • STEAM journals/blank paper
  • Writing utensils


Instructional Design

Opening/Activating Strategy

Animal and Habitat Statues:

  • Use a drum, percussion instrument, or clapping to establish that students will form statues in response to a single beat and then relax out of the statues in response to a double beat.
  • Remind students that statues do not move, but that they must allow themselves to breathe and blink.
  • Provide a series of prompts of animals specific to Georgia habitats. The teacher can project images on the board or simply say the name of the animal.
    • As the teacher says the animal, have students form a statue of that animal with their bodies.
    • Use observational language to comment on specific physical choices that students make to create their statues (e.g., “I see that Caitlyn has her chest low like a stalking leopard,” or “Donté’s arms are straight back like a grasshopper’s wings.”

Work Session

Camouflage:

  • Define and discuss camouflage. Show examples of camouflage from the natural world.
  • Introduce the concept of camouflage in the classroom.
    • Model by looking for colors and patterns that mirror your own clothes. Find a place in the classroom where you can approximate blending in. Prompt students to say, “Where’s Ms. _______?  We can’t see her!”
  • Discuss how in theatre, television, and film, costume and set designers make intentional choices about costumes and sets used in the production.
  • Explain that students are going to be like costume designers, making choices based on colors, shapes, and patterns in the given costumes and settings in the classroom.
  • Invite one or two volunteers to come to the front of the room. Have the class identify colors, shapes, and patterns both on the volunteers and around the classroom, and brainstorm ideas for the volunteers to camouflage themselves in the classroom.
  • Model being a predator, looking for prey (the volunteers), and passing them by because they blend into their surroundings.
    • Ask students to think of a predator. Ask students to stand at their desks and use their bodies to show how their chosen predator acts when they are hunting prey.
      • Ask students to change their facial expressions and body movements to act like the predator. Have students give their predator a sound.
      • Have students change their body level (high, middle, or low) depending on what type of predator they are. For example, a snake would move at a low level while a bear would move at a high level.
    • Have students partner up and work together to identify camouflage opportunities for each partner; when each is camouflaged, have the other act like a deceived predator.
    • Have volunteers share examples of the camouflage opportunities they found around the classroom by acting like the deceived predator and camouflaged prey.

Mimicry:

  • Define mimicry; share examples (visual and perhaps aural) from the natural world.
  • Remind students about the roles of designers; explain that they will use simple materials to create external adaptations to mimic other organisms (classmates).
  • Model with construction paper, scissors, and glue or tape. Select a student to mimic, and use the supplies to quickly create a ‘costume’ piece that mimics what that student is wearing.
  • Have the student who is being mimicked come up to the front of the class, strike a pose or make a movement, and make a sound as their character. Stand by the student with the costume piece, and mimic the sound. Have the class say, “Look, it’s two ______s!” (i.e., if standing next to and mimicking Tyler, the class says “Look, it’s two Tylers!”).
    • Discuss mimicry as a form of flattery or disguise, and impress upon the students that the activity should not be used in order to mock, tease, taunt, make fun of, or bully others.
  • Have students work with their partners to use materials to create a costume piece to mimic each other’s visual appearance – primarily clothing.
  • Once students have created their pieces, tell students that now the student being mimicked should strike a pose or create a movement and make a sound for the other student to mimic.
  • Invite volunteers to come to the front of the room to perform their mimicry. Have the class say, “Listen! Look! It’s two ______’s!”
  • Remind students that they worked together to understand mimicry, and have students thank each other for the honor of both mimicking and being mimicked.

Closing Reflection

  • Facilitate a discussion about the following: How did we use elements of costume and set design – color, shape, and pattern – to bring camouflage and mimicry to life in our classroom “habitat”? How did we use characterization (facial expressions, movements, sounds, etc.)?
  • Students will draw a picture of themselves demonstrating camouflage or mimicry in the classroom.
    • Students should identify the image as an example of either camouflage or mimicry.
    • Students should identify the areas and objects in the classroom that were used for camouflage or the classmate on whom the mimicry was based.


Assessments

Formative

  • Observe student comprehension of camouflage and mimicry as they use costume clothing, shape, and pattern in the lesson.
  • Observe how students use costume design, as well as their voices and bodies, to successfully create the effects of camouflage.

Summative

  • Evaluate the student drawings for evidence of comprehension of camouflage and effective use of design concepts in the lesson activity.
  • Evaluate student performances of camouflage to determine if they were able to use their bodies and voices to act like a predator who could not find a camouflaged prey.
  • Evaluate student performances of mimicry to determine if they could use costume design and voice to demonstrate mimicry.


Differentiation

Accelerated: 

Have students research a specific animal native to one of Georgia’s habitats. Students will identify a predator and prey relationship. Then students should complete the same activity in the lesson using the specific predator and prey relationship they defined.

Remedial:

  • Lead a slow visual tour of the classroom as a class, identifying specific colors, shapes, and patterns, and making connections with individuals to provide ideas to be used for camouflage.
  • Allow students to adjust objects in the classroom environment to facilitate the camouflage effect.
  • Rather than mimicking one another, have all the students mimic the teacher.


Credits

U.S. Department of Education- STEM + the Art of Integrated Learning

Ideas contributed by: SAIL Grant Teacher Leaders, Barry Stewart Mann

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

Revised and copyright:  June 2025 @ ArtsNOW

 

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