FIERCE FIGURATIVE FEMALES 4-5

FIERCE FIGURATIVE FEMALES

FIERCE FIGURATIVE FEMALES

Learning Description

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

 

Learning Targets

GRADE BAND: 4-5
CONTENT FOCUS: THEATRE & ELA
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can empathize with someone from a different time period and speak from their point of view.

  • I can embody a historical figure using my body, voice, and heart.

  • I can write a poem from a historical figure’s point of view and speak it out loud using my voice.

  • I can partner with someone who is different from me to create a theatrical piece.

Essential Questions

  • Does learning about, writing, and speaking from someone else’s point of view give me empathy?

  • How can I embody a historical figure using my body, voice, and heart?

  • How did people from the past change the world I live in today?

  • How can I use poetry to speak from a historical figure’s point of view?

  • How can I be fierce and make a change in my world?

 

Georgia Standards

Curriculum Standards

Grade 4

ELAGSE4L5 Demonstrate understanding of figurative language, word relationships, and nuances in word meanings.

ELAGSE4RI2 Determine the main idea of a text and explain how it is supported by key details; summarize the text. 

ELAGSE4RI3 Explain events, procedures, ideas, or concepts in a historical, scientific, or technical text, including what happened and why, based on specific information in the text.

ELAGSE4W10 Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range of discipline-specific tasks, purposes, and audiences.

 

Grade 5

ELAGSE5L5 Demonstrate understanding of figurative language, word relationships, and nuances in word meanings.

ELAGSE5RI2 Determine two or more main ideas of a text and explain how they are supported by key details; summarize the text. ELAGSE5RI3 Explain the relationships or interactions between two or more individuals, events, ideas, or concepts in a historical, scientific, or technical text based on specific information in the text.

ELAGSE5W10 Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range of discipline-specific tasks, purposes, and audiences.

Arts Standards

Grade 4

TA4.CR.1 Organize, design, and refine theatrical work.

TA4.CR.2 Develop scripts through theatrical techniques.

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

 

Grade 5

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

TA5.CR.2 Develop scripts through theatrical techniques.

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

 

South Carolina Standards

Curriculum Standards

Grade 4

ELA.4.AOR.1.2 Determine and explain how figurative language impacts meaning and contributes to the reader’s experience. ELA.4.AOR.2.2 Identify and explain a stated or implied central idea and how it is developed by supporting details in an informational text. ELA.4.R.1.1 Conduct short research for inquiry by: a. generating a question about a topic; and b. examining a provided source.

 

Grade 5

ELA.5.AOR.1.2 Analyze how figurative language impacts meaning and contributes to the reader’s experience. 

ELA.5.AOR.2.2 Explain the development of a stated or implied central idea over the course of an informational text. 

ELA.5.R.1.1 Conduct short research for inquiry by: a. generating a question(s) about a topic; and b. consulting a variety of print and multimedia sources.

 

Arts Standards

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

Benchmark T.P NL.3

I can use body and voice to communicate

character traits and emotions in a guided

drama experience.

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

 

Key Vocabulary

Content Vocabulary

  • Fierce - Something that is of exceptional quality, strong, bold, surprising and unforgettable

  • Point of view - The perspective of an individual on an event

  • Compare/Contrast - To identify similarities and differences between two things

  • Character trait - A quality or attribute that defines a person's behavior, attitude, and actions in various situations

  • Poetry - A genre of literature

  • Informational text - A text that is nonfiction and has the purpose of informing the reader

  • Biography - A written account of a person's life

  • Autobiography - A written account of a person's life that is written by that person

  • Harriet Tubman - A historical figure who is known for her bravery and leadership in helping enslaved people escape to freedom through the Underground Railroad

  • Underground Railroad - A secret network of routes and safe houses used by enslaved African Americans in the United States to escape to freedom in the 19th century

  • Civil Rights Movement - A historic effort by people in the United States to fight against unfair treatment based on race

  • Ruby Bridges - The first African American child to desegregate an all-white elementary school in the South

  • Malala Yousafzai - A Pakistani activist for female education

  • Figurative language - A way of using words to create a deeper meaning or a vivid image in writing or speech

  • Simile - A figure of speech that compares two things using the words 'like' or 'as' to show similarities between them

  • Metaphor - a figure of speech that describes something by stating that it is something else

  • Onomatopoeia - A type of word that imitates or resembles the sound it represents

  • Conscience - Knowledge of right and wrong and a feeling one should do what is right

Arts Vocabulary

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

  • Body - The physical presence and movements of an actor

  • Voice - The vocal techniques, characterizations, and storytelling aspects that contribute to the effectiveness of a performance

  • Project - Using your voice, body, energy, and presence to ensure that your performance reaches every member of the audience

  • Articulate - To speak clearly

  • Pitch - The highness or lowness of a voice

  • Pace - The speed, rhythm, and timing of dialogue, actions, transitions, and overall performance elements

  • Accent - The way a person pronounces words based on their regional, cultural, or linguistic background

  • Texture - The multi-dimensional quality of a theatrical production that engages the senses, emotions, intellect, and imagination of the audience

  • Conscience Alley - A technique for exploring any kind of dilemma faced by a character and providing an opportunity to analyze a decisive moment in greater detail

  • Statue - A frozen pose

  • Levels - The vertical positioning of actors and elements on the stage 

 

Materials

 

Instructional Design

Opening/Activating Strategy

HISTORICAL CHARACTER CONVERSATION & IMAGES

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

 

HISTORICAL CHARACTER SPEECH

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

 

Work Session

DEFINING FIERCE

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

 

INTRODUCING FIERCE FEMALE HISTORICAL FIGURES

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

 

COMPARE AND CONTRAST USING TABLEAU

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

 

EXPLORE CONSCIENCE

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

 

CONSCIENCE ALLEY

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

Helpful Coaching:

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

FIGURATIVE LANGUAGE INTRODUCTION OR REVIEW

  • Review figurative language (metaphor, simile, onomatopoeia, etc.).
  • As a group, generate an example of each figurative language device for the characters.

 

CHARACTER GROUNDING

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

“I AM” POEM BRAINSTORM

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

 

“I AM” POEM PARTNER SHARE

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

“I AM” POEM PRESENTATION 

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

 

Closing Reflection

Reflect with students on the following questions:

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

 

Assessments

Formative

Teacher will assess students by: 

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

 

Summative

CHECKLIST

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

 

DIFFERENTIATION 

Accelerated: 

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

Remedial: 

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

 ADDITIONAL RESOURCES

Harriet Tubman:

Ruby Bridges:

Malala Yousafzai:

Suffrage Movement: 

 

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

Ideas contributed by: Susie Spear Purcell. Updated by: Katy Betts.

Revised and copyright:  July 2024 @ ArtsNOW

FIERCE FIGURATIVE FEMALES 2-3

FIERCE FIGURATIVE FEMALES

FIERCE FIGURATIVE FEMALES

Learning Description

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

 

Learning Targets

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

Download PDF of this Lesson

"I Can" Statements

“I Can…”

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

Essential Questions

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

 

Georgia Standards

Curriculum Standards

Grade 2

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

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

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

 

Grade 3

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

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

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

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

Arts Standards

Grade 2

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

TA2.CR.2 Develop scripts through theatrical techniques.

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

 

Grade 3

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

TA3.CR.2 Develop scripts through theatrical techniques.

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

 

South Carolina Standards

Curriculum Standards

Grade 2

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

ELA.2.C.4.1 Write and expand grammatically correct sentences (e.g., simple, compound, declarative, imperative, interrogative, and exclamatory).

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

 

Grade 3

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

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

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

Arts Standards

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

Benchmark T.P NL.3

I can use body and voice to communicate

character traits and emotions in a guided

drama experience.

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

 

Key Vocabulary

Content Vocabulary

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

Arts Vocabulary

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

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

 

Materials

 

Instructional Design

Opening/Activating Strategy

HISTORICAL CHARACTER CONVERSATION & IMAGES

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

 

HISTORICAL CHARACTER SPEECH

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

 

Work Session

DEFINING FIERCE

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

 

INTRODUCING FIERCE FEMALE HISTORICAL FIGURES

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

 

COMPARE AND CONTRAST USING TABLEAU

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

 

EXPLORE CONSCIENCE

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

 

CONSCIENCE ALLEY

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

Helpful Coaching:

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

REVIEW ADJECTIVES AND DESCRIPTIVE LANGUAGE

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

 

CHARACTER GROUNDING

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

“I AM” POEM BRAINSTORM

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

 

“I AM” POEM PARTNER SHARE

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

“I AM” POEM PRESENTATION 

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

 

Closing Reflection

Reflect with students on the following questions:

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

 

Assessments

Formative

Teacher will assess students by: 

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

 

Summative

CHECKLIST

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

 

DIFFERENTIATION 

Accelerated: 

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

Remedial: 

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

 

 ADDITIONAL RESOURCES

Harriet Tubman:

Ruby Bridges:

Malala Yousafzai:

Suffrage Movement: 

 

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

Ideas contributed by: Susie Spear Purcell. Updated by: Katy Betts.

Revised and copyright:  July 2024 @ ArtsNOW

 

HAIKU CHOREOGRAPHY 4-5

HAIKU CHOREOGRAPHY

HAIKU CHOREOGRAPHY

Learning Description

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

 

Learning Targets

GRADE BAND: K-1
CONTENT FOCUS: DANCE & ELA
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

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

  • I can identify the structure, mood, and imagery in a haiku.

  • I can create choreography using the elements of dance that demonstrates the mood, imagery, and structure of a haiku.

Essential Questions

  • How can I show the structure and mood of haiku through dance and choreography?

 

Georgia Standards

Curriculum Standards

Grade 4: 

ELAGSE4RL2 Determine a theme of a story, drama, or poem from details in the text; summarize the text.

 

ELAGSE4RL5 Explain major differences between poems, drama, and prose, and refer to the structural elements of poems (e.g., verse, rhythm, meter) and drama (e.g., casts of characters, settings, descriptions, dialogue, stage directions) when writing or speaking about a text.

 

Grade 5: 

ELAGSE5RL2 Determine a theme of a story, drama, or poem from details in the text, including how characters in a story or drama respond to challenges or how the speaker in a poem reflects upon a topic; summarize the text.

 

ELAGSE5RL4 Determine the meaning of words and phrases as they are used in a text, including figurative language such as metaphors and similes. 

 

ELAGSE5RL5 Explain how a series of chapters, scenes, or stanzas fits together to provide the overall structure of a particular story, drama, or poem.

Arts Standards

Grade 4: 

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

 

ESD4.CR.2 Demonstrate an understanding of dance as a form of communication.

 

ESD4.PR.1 Identify and demonstrate movement elements, skills, and terminology in dance

 

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

 

Grade 5:

ESD5.CR.1 Demonstrate an understanding of the choreographic process.

 

ESD5.CR.2 Demonstrate an understanding of dance as a form of communication.

 

ESD5.PR.1 Identify and demonstrate movement elements, skills, and terminology in dance

 

ESD5.RE.1 Demonstrate critical and creative thinking in dance.

 

South Carolina Standards

Curriculum Standards

Grade 4: 

ELA.4.AOR.2.1 Identify and explain an explicit or implied theme and how it is developed by key details in a literary text. 

 

ELA.4.AOR.8.1 Determine an author’s use of words and phrases in grade-level literary, informational, and multimedia texts: 

  1. distinguish between literal and nonliteral meanings of words and phrases (e.g., take steps); b. explain the meaning of commonly occurring similes, metaphors, and idioms; and c. demonstrate knowledge of relationships between words (e.g., synonyms and antonyms) to better understand each of the words

 

Grade 5: 

ELA.5.AOR.2.1 Explain the development of an explicit or implied theme over the course of a literary text. 

 

ELA.5.AOR.8.1 Determine an author’s use of figurative and technical language in literary, informational, and multimedia texts: 

  1. recognize and explain the meaning of figurative language, including similes and metaphors, in context; and b. demonstrate knowledge of relationships between particular words (e.g., synonyms, antonyms, homographs) to better understand each of the words.

 

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

Arts Standards

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

Anchor Standard 2: I can choreograph a dance.

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

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

 

Key Vocabulary

Content Vocabulary

  • Poem - A genre of literature

  • Line - A sequence of words arranged in a specific order, typically forming a complete thought or phrase

  • Beat - The rhythmic pattern or meter of a poem

  • Mood - Emotion or tone

  • Imagery - The use of descriptive language that appeals to the senses to create vivid and evocative pictures in the reader's mind

  • Haiku - A traditional form of Japanese poetry consisting of three lines with a syllable pattern of 5-7-5

Arts Vocabulary

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

  • Beat - The rhythmic pulse or pattern of the music that dancers move to

  • Form - The overall structure or arrangement of movements, sequences, and choreography within a dance piece

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

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

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

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

  • Non-locomotor - This refers to a movement that does not travel through space

  • Locomotor - This refers to a movement that travels through space

  • Space - An element of movement involving direction, level, size, focus, and pathway

 

Materials

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

 

Instructional Design

Opening/Activating Strategy

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

 

Work Session

INTRODUCE BEAT IN DANCE

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

 

INTRODUCE ELEMENTS OF DANCE

  • Engage students in a movement exercise that will allow them to learn about and explore several elements of dance.
  • Play music with a steady beat. Help students find the beat by tapping their toes on the ground or patting their legs. 
  • Element of Body: First, have students bring awareness to their bodies by leading them through gentle stretches starting from the head and moving to the toes (e.g., head circles, shoulder shrugs, toe touches, etc.). Then, ask them to make different shapes with their bodies.
  • Element of Energy: Now, direct students to explore energy variations with different movement qualities such as sharp movements–quick, precise actions like punches or snaps, and smooth movements–slow, flowing actions like waves or circles with arms.
  • Element of Space: Bring students’ attention to levels (high, middle, low) with movements such as stretching up high and moving on tiptoes, crouching in a small ball close to the floor, and bouncing in place at a middle level.
  • Element of Action: Locomotor/non-locomotor: Tell students that these movements they just performed were non-locomotor, meaning that they didn’t move to a new location. Direct students to perform a movement that requires moving from one place to another, such as step-together, step-together moving side to side.
  • Have students practice what they just learned by saying words such as “locomotor” and have students create a spontaneous locomotor movement.
  • Now, help students connect movement to meaning. Say mood-related words. Have students respond with movements to express the word.

 

LEARN ABOUT HAIKU

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

 

CHOREOGRAPHING DANCE

  • Give each group a haiku poem. 
  • Allow time for students to identify the mood and imagery in the poem.
  • Tell students that they will be choreographing a dance that follows the structure of their haiku; encourage students to think about how their movements could show the mood and imagery in the poem. 
    • Tell students that they will use the elements of dance to reflect the mood and imagery of the haiku in their dance. They should choose two elements to use, such as energy and levels.
    • Students will create a 5-beat movement phrase, a 7-beat movement phrase, and a new 5-beat movement phrase.
    • Finally, students should put them together to make one cohesive dance. Ask students to consider how they will show the break between phrases.

 

Closing Reflection

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

 

Assessments

Formative

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

 

Summative

CHECKLIST

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

 

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

 

DIFFERENTIATION 

Accelerated: 

  • Have students write a haiku and create the choreography to match.
  • Have students create individual dances and haikus.

Remedial: 

  • Have students create choreography for one line of the poem in their groups. Put three groups who each have different lines of the poem together to show the complete haiku.

 ADDITIONAL RESOURCES

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

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

Revised and copyright:  July 2024 @ ArtsNOW

 

Haiku Choreography 2-3

HAIKU CHOREOGRAPHY

HAIKU CHOREOGRAPHY

Learning Description

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

 

Learning Targets

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

Download PDF of this Lesson

"I Can" Statements

“I Can…”

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

Essential Questions

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

 

Georgia Standards

Curriculum Standards

Grade 2: 

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

 

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

 

Grade 3: 

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

 

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

 

Arts Standards

Grade 2: 

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

 

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

 

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

 

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

 

Grade 3:

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

 

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

 

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

 

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

 

 

South Carolina Standards

Curriculum Standards

Grade 2: 

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

 

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

 

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

 

Grade 3: 

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

 

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

 

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

 

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

 

Arts Standards

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

Anchor Standard 2: I can choreograph a dance.

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

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

 

 

Key Vocabulary

Content Vocabulary

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

Arts Vocabulary

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

 

Materials

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

 

Instructional Design

Opening/Activating Strategy

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

Work Session

INTRODUCE BEAT IN DANCE

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

 

INTRODUCE LOCOMOTOR AND NON-LOCOMOTOR MOVEMENTS IN DANCE

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

LEARN ABOUT HAIKU

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

 

CHOREOGRAPHING DANCE

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

 

Closing Reflection

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

 

Assessments

Formative

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

 

Summative

CHECKLIST

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

 

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

 

 

 

DIFFERENTIATION 

Accelerated: 

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

Remedial: 

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

 

 ADDITIONAL RESOURCES

 

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

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

Revised and copyright:  July 2024 @ ArtsNOW

 

FRACTIONS AND BODY PERCUSSION 4-5

FRACTIONS AND BODY PERCUSSION

FRACTIONS AND BODY PERCUSSION

Learning Description

In this lesson, students will explore how they can use body percussion to learn about, represent and compare fractions through music.

 

Learning Targets

GRADE BAND: 4-5
CONTENT FOCUS: MATH & MUSIC
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can represent fractions in multiple ways within a framework using visual models.
  • I can compare two fractions with different numerators and denominators by flexibly using a variety of tools and strategies. 
  • I can add fractions with like denominators..
  • I can compose a body percussion rhythm that represents fractions.
  • I can listen to, analyze, and describe music.
  • I can compose a body percussion composition that represents fractions.
  • I can connect music to math.

Essential Questions

  • How can I represent fractions using body percussion?
  • How does music connect to math?

 

Georgia Standards

Curriculum Standards

Grade 4

4.NR.4.1 Using concrete materials, drawings, and number lines, demonstrate and explain the relationship between equivalent fractions, including fractions greater than one, and explain the identity property of multiplication as it relates to equivalent fractions. Generate equivalent fractions using these relationships.

 

4.NR.4.2 Compare two fractions with the same numerator or the same denominator by reasoning about their size and recognize that comparisons are valid only when the two fractions refer to the same whole.

 

4.NR.4.3 Compare two fractions with different numerators and/or different denominators by flexibly using a variety of tools and strategies and recognize that comparisons are valid only when the two fractions refer to the same whole.

 

4.NR.4.6 Add and subtract fractions and mixed numbers with like denominators using a variety of tools.

 

Arts Standards

Grade 4

ESGM4.RE.1 Listen to, analyze, and describe music.

ESGM4.CR.2 Compose and arrange music within specified guidelines.

ESGM4.PR.2 Perform a varied repertoire of music on instruments, alone and with others.

ESGM4.CN.1 Connect music to the other fine arts and disciplines outside the arts.

Grade 5

ESGM5.RE.1 Listen to, analyze, and describe music.

ESGM5.CR.2 Compose and arrange music within specified guidelines.

ESGM5.PR.2 Perform a varied repertoire of music on instruments, alone and with others.

ESGM5.CN.1 Connect music to the other fine arts and disciplines outside the arts.

 

South Carolina Standards

Curriculum Standards

Grade 4

4.NSF.1 Explain why a fraction (i.e., denominators 2, 3, 4, 5, 6, 8, 10, 12, 25, 100), is equivalent to a fraction, by using visual fraction models, with attention to how the number and size of the parts differ even though the two fractions themselves are the same size. Use this principle to recognize and generate equivalent fractions.

 

4.NSF.2 Compare two given fractions (i.e., denominators 2, 3, 4, 5, 6, 8, 10, 12, 25, 100) by creating common denominators or numerators, or by comparing to a benchmark fraction such as 1/2 and represent the comparison using the symbols >, =, or <.

 

4.NSF.3 Develop an understanding of addition and subtraction of fractions (i.e., denominators 2, 3, 4, 5, 6, 8, 10, 12, 25, 100) based on unit fractions.

Arts Standards

Anchor Standard 1: I can arrange and compose 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

  • Fractions - Equal parts of a whole          
  • Numerator - The top number in a fraction that represents how many parts of a whole are being considered
  • Denominator - The bottom number in a fraction. It represents the total number of equal parts into which the whole is divided
  • Greater than (>) - A number that is larger than another number
  • Less than (<) - A number that is smaller than another number
  • Equal to (=) - A number that has the same value as another number
  • Equivalent fractions - Different fractions that represent the same part of a whole; they have different numerators and denominators but the same value

Arts Vocabulary

  • Steady beat - Steady pulse

  • Body percussion - Stomping, patting, clapping, snapping, etc.)
  • Pitch - High/low sounds
  • Rhythm - Long/short sounds
  • Dynamics - Loud/soft sound

 

Materials

  • Paper
  • Pencils
  • Teacher access to computer and Internet

 

 

Instructional Design

Opening/Activating Strategy

  •  
  • Prepare students for the listening activity by telling students that they are going to listen to a song and answer three prompts about the song. Wait until the end of the listening activity before revealing the title and composer of the song.
      • The first prompt is “I hear”.
        • Students should focus on the different musical sounds such as tempo (fast/slow), dynamics (loud/soft), instruments, pitch (high/low), and lyrics (words to song). They may use words or draw a quick picture to answer. 
        • Play the song audio only one time while students are listening in order to answer the prompt, “I hear”. 
        • Students turn and talk to a neighbor and share their answers.
        • Students share out to the class. Validate the answers that students give.
        • Repeat the process for “I think” and “I wonder”.
          • For “I think”, the teacher can ask clarifying questions such as, “What did you hear in the music that made you think that?”.
  • After the listening activity, encourage students to sing along with the recording. Provide a lyric sheet or turn on closed captions so that students can sing along with the video. (The font of the closed caption can be enlarged by clicking on settings, then English, finally options.)
    • Start by singing the chorus. Tell students that the chorus is the main idea of the song with repeating lyrics.
    • Lead students in finding the steady beat to the song during the verses by directing students to pat their legs or tap two fingers in a palm. 
    • Demonstrate the four basic movements of body percussion (stomp, pat, clap, snap–or tap two fingers in palm if snapping is a challenge). Lead students in each of these movements doing them to the steady beat of the song.
  • Transition into the lesson about fractions.

Work Session

    • Introduce or review grade level fraction concepts, such as equivalent fractions, comparing fractions, and adding and subtracting fractions. Use modeling, visual representations, and hands-on manipulatives to help students understand the concept of fractions.
    • Transition to the concept of representing and comparing fractions through performing rhythmic movements called body percussion.
      • Remind students of the four basic movements of body percussion used in the activator (stomp, pat, clap, snap–or tap two fingers in palm if snapping is a challenge).
      • Help students determine the fractions of the body movements in Body Percussion Grid 1 (ex: claps = 5/16 if using the entire board)
      • Students will then compare the fractions using greater than, less than, and equal to.
  • Divide students into small groups of three to four students and present the following group task:
    • Tell students that as a group, they will create their own body percussion composition using the Create Your Own Beat Body Percussion Board.
      • Predetermine how many movements students should use/how many squares on the board (ex: the entire board, only 12 squares, only 8 squares, etc.). This number will represent the denominator.
        • Assign a different number of total movements for different groups. 
      • Provide time for students to:
        • Compose their body percussion using the blank board. 
        • Determine and write fractions based on the occurrence of body parts. 
        • Students should add their fractions to ensure that they have the correct total number of movements assigned (i.e., 5/16 + 2/16 + 4/16 + 5/16 = 16/16).
        • Compare the fractions using greater than, less than, and equal to.
        • Practice performing the body percussion composition to a steady beat.
  • After a predetermined amount of work time, students will share their body percussion compositions with a partner group.
    • Groups will work to compare the occurrence of body parts in each of their compositions by finding the least common denominator. For example, one group used clapping 3 beats out of 16 total and their partner group used clapping 3 beats out of 8 total. Students should find the least common denominator and show that 3/16 < 6/16.
    • Students should look for any occurrences of the same numerator in their fractions and be able to determine that because they have different denominators, the fractions are not equivalent. 
    • Students should look for any occurrences of equivalent fractions when comparing  compositions and be able to determine that the fraction of the movement in each composition is the same even though the occurrence of the movement is different in each composition.

Closing Reflection

  • Partner groups will share their body percussion composition with the class.
    • Remind performers to do their best. Remind audience members to give their attention to the performing group and applaud the group’s effort after the performance.
    • Groups will share with the class what they learned when comparing their compositions.
  • Together, the teacher and students will review how students used body percussion to represent and compare fractions.

 

 

Assessments

Formative

Teacher will assess student learning through:

  • Observation of written responses during the listening activity.
  • Observation of “turn and talk” and “sharing out” during the listening activity.
  • Observation of students singing with a steady beat.
  • Observation of students demonstrating the steady beat during the singing activity.
  • Observation and questioning during the group task.
  • Observation of groups comparing their compositions.

 

 

 

Summative

CHECKLIST

  • Students can perform the body percussion to a steady beat.
  • Students can correctly identify fractions based on the body parts used to create the body percussion compositions.
  • Students can compare fractions using body percussion compositions by finding the least common denominator.
  • Students can create a body percussion composition that represents fractions.

 

 

 

DIFFERENTIATION 

Acceleration: 

  • Require a minimum number of movements in the composition. 
  • Have groups combine their compositions into one large composition after converting all fractions to the least common denominator. If the least common denominator was 16 for each, by combining the two compositions, the total number of movements will now be 32. Students should add all occurrences of each body percussion movement and reorder the movements from least to greatest. For example, after converting the fractions to use the least common denominator, one group has used clapping 2 times and the other group 4 times (using the new denominator of 32, 2/32 + 4/32 = 6/32); one groups has used stomping 3 times and the other group 5 times (3/32 + 5/32 = 8/32). Students would then order/compare the movements from least to greatest, 6/32 < 8/32.
  • Have students simplify fractions where possible. 

Remediation: 

  • Scaffold the lesson by working with students to compare two example compositions by finding the least common denominators before groups complete this task independently.
  • Reduce the number of total squares/denominator to complete on the body percussion board.
  • Limit the number of types of body percussion movements students should use in their compositions to a small number.

 

 

 

ADDITIONAL RESOURCES

 

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

Ideas contributed by: Rue Lee-Holmes. Updated by: Katy Betts.

Revised and copyright:  August 2024 @ ArtsNOW