SIMPLE MACHINE HEXATHLON CHALLENGE 4-5

SIMPLE MACHINE HEXATHLON CHALLENGE

SIMPLE MACHINE HEXATHLON CHALLENGE

Learning Description

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

 

Learning Targets

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

Download PDF of this Lesson

"I Can" Statements

“I Can…”

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

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

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

Essential Questions

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

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

 

Georgia Standards

Curriculum Standards

Grade 4

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

balanced and unbalanced forces.

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

 

 

Arts Standards

Grades 4TA4.PR.1  Act by communicating and sustaining roles in formal and informal environments. c. Collaborate and perform with an ensemble to present theatre to an audience. d. Create and perform characters based on imagination. e. Identify and explore character choices and relationships in a variety of dramatic forms (e.g. narrated story, pantomime, puppetry, dramatic play).

 

South Carolina Standards

Curriculum Standards

Grade 4

4-PS3-1. Use evidence to construct an explanation relating the speed of an object to the energy of that object.

 

4-PS3-3. Ask questions and predict outcomes about the changes in energy that occur when objects collide.

 

 

Arts Standards

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

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

 

 

 

Key Vocabulary

Content Vocabulary

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

  • Motion - The change in position or orientation of an object with respect to a reference point or frame of reference
  • Lever - A simple machine consisting of a rigid beam or bar that is free to pivot around a fixed point called a fulcrum
  • Pulley - A simple machine consisting of a grooved wheel (often called a sheave) that is mounted on a fixed or movable axle
  • Wedge - A simple machine consisting of a triangular-shaped object with a sharp edge or inclined plane on one or both of its sides
  • Inclined plane - A simple machine consisting of a sloping surface or ramp that reduces the amount of force required to lift or move objects vertically
  • Wheel and axle - A simple machine consisting of a wheel (a circular object with a central hole) mounted on an axle (a cylindrical shaft)
  • Screw - A simple machine and a type of fastener that consists of a cylindrical shaft with a helical (spiral) ridge or thread wrapped around it
  • Fulcrum - A fixed point or pivot around which a lever or other mechanical device rotates or moves
  • Load - The force or weight that is applied to a structure, device, or system
  • Force - A push or pull that can cause an object to change its state of motion, accelerate, deform, or experience other effects

Arts Vocabulary

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

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

 

Materials

Instructional Design

Opening/Activating Strategy

 

Work Session

SIMPLE MACHINE TABLEAU GAME

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

 

INTRODUCE PANTOMIME

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

 

EVERYDAY SIMPLE MACHINE TASKS

  • Ask students if they can think of examples of simple machines being used in everyday activities. Some examples are:
    • Inclined plane: Wheelchair ramp, skateboard ramp, slide
    • Wedge: Knife, axle, plow, prop to keep a door open
    • Screw: Lid to a jar, bottle opener, corkscrew
    • Wheel and axle: Steering wheel of a car, bicycle pedal
    • Pulley: Flagpole with flag, raising and lowering blinds
    • Lever: Scissor handle, paperclip, clothespin

 

CLASS HEXATHLON PHYSICAL CHALLENGE

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

 

DEVELOP GAMES

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

 

LET THE GAMES BEGIN

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

 

Closing Reflection

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

 

Assessments

Formative

Teacher will assess students by:

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

 

 

Summative

CHECKLIST

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

 

 

DIFFERENTIATION 

Accelerated: Have students videotape their group, introducing and enacting their Hexathlon competition machines on Flip Grid or another recording application. 

Remedial: Have students explain one simple machine competition activity using a beginning, middle, and end. 

 

 ADDITIONAL RESOURCES

 

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

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

Revised and copyright:  August 2024 @ ArtsNOW

 

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EARTH SYSTEMS, ENVIRONMENT & CONSERVATION THROUGH MOVEMENT 4-5

EARTH SYSTEMS, ENVIRONMENT & CONSERVATION THROUGH MOVEMENT

EARTH SYSTEMS, ENVIRONMENT & CONSERVATION THROUGH MOVEMENT

Learning Description

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

 

Learning Targets

GRADE BAND: 4-5
CONTENT FOCUS: DANCE & SCIENCE
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

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

  • I can create a choreographic work about scientific concepts.

Essential Questions

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

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

 

Georgia Standards

Curriculum Standards

Grade 4

S4E3. Obtain, evaluate, and communicate information to demonstrate the water cycle.

 

Grade 5

S5E1. Obtain, evaluate, and communicate information to identify surface features on the Earth caused by constructive and/or destructive processes.

 

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

4-ESS2-1. Make observations and/or measurements to provide evidence of the effects of weathering or the rate of erosion by water, ice, wind, or vegetation.

 

4-ESS3-1. Obtain and combine information to describe that energy and fuels are derived from natural resources and how their uses affect the environment.

 

4-ESS3-2. Generate and compare multiple solutions to reduce the impacts of natural Earth processes on humans.

 

Grade 5

5-ESS2-1. Develop a model using an example to describe ways the geosphere, biosphere, hydrosphere, and/or atmosphere interact.

 

Arts Standards

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

 

Anchor Standard 2: I can choreograph a dance.

 

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

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

 

 

Key Vocabulary

Content Vocabulary

  • Geosphere - The solid parts of the Earth, encompassing all the layers that make up the planet's structure

  • Biosphere - The global sum of all ecosystems, including all living organisms and their relationships with the environment, encompassing both land and water areas

  • Hydrosphere - All of the water found on, under, and over the surface of the Earth

  • Atmosphere - The layer of gasses surrounding the Earth, held in place by gravity

 

  • Constructive forces - The natural processes that contribute to the building up or formation of Earth's surface features or geological structures

  • Destructive forces - The natural processes or phenomena that cause the breaking down, wearing away, or erosion of Earth's surface features or geological structures

  • Weathering - The natural process by which rocks, soils, and minerals are broken down into smaller particles through exposure to the Earth's atmosphere, water, and biological organisms

 

  • Erosion - The process by which soil, rock, and other surface materials are worn away and transported from one location to another by natural forces such as wind, water, ice, and gravity

  • Water cycle - The continuous movement and exchange of water between the Earth's surface, atmosphere, and hydrosphere (which includes oceans, rivers, lakes, groundwater, and ice caps)

Arts Vocabulary

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

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

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

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

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

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

 

Materials

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

 

 

Instructional Design

Opening/Activating Strategy

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

 

Work Session

  • Watch a piece of choreography about an earth system or the environment/conservation (see “Additional Resources”).
  • Discuss choreographic choices/movements used to express thoughts and ideas to the audience.
    • Lead students in a movement exercise to introduce them to the following dance terms: Levels, shape, tempo, energy, and pathways. 
      • Begin by playing music. Help students find the beat by tapping their toes or patting their legs.
      • Prompt students to make shapes with their bodies to express the words that they hear, such as curved, straight, angular, twisted etc.
      • Next, have students explore pathways. Tell students that pathways are the route that a dancer's movement takes through space. Ask students to begin traveling through the room, moving from place to place, as you prompt them with different body shapes. Encourage students to think about how they can link their movements together fluidly.
      • Ask students to freeze in place. Bring students’ attention to levels (high, mid, low) with movements such as stretching up high and moving on tiptoes, crouching in a small ball close to the floor, and bouncing in place at a middle level. Provide prompts, such as, “Create a curved low-level shape”, to allow students to explore combining levels and shapes.
      • Now, direct students to explore energy variations with different movement qualities such as sharp movements–quick, precise actions like punches or snaps, and smooth movements–slow, flowing actions like waves or circles with arms. Prompt students with directions such as, “Crouch in a low-level curved shape and quickly burst into a high level straight shape”. Ask students what type of energy this shows. Then, ask them to slowly transition from a high-level straight shape to a low-level curved shape; ask students to identify what type of energy this shows.
    • Look at the dance performance again. Ask students where they see examples of these elements in the choreography. Ask students what the choreographer communicated by using the concept. 
  • Tell students that they will be using what they just learned about dance to communicate scientific concepts. Choose one concept from the unit to choreograph as a class, such as erosion. 
    • As a group, explore movement ideas to represent concepts (remember to cue students to use the elements of dance such as levels, shape, etc. to communicate ideas).
  • Arrange students into small groups. Assign each group a topic related to the current unit of study in science.
  • Tell students that they will be creating choreography about their assigned topic. Remind students that as choreographers, it is their job to communicate a concept through movement. 
    • Remind students that choreographers use levels, shape, tempo, energy, and pathways intentionally to communicate with the audience. Tell students to select three elements that they will use to choreograph their dance. Each element must be used intentionally to communicate the concept.
    • Tell students that their choreography must have a beginning, middle, and end that includes a starting pose, at least three movements, and an ending pose.
  • Circulate the room to work with students as they create their choreography.
  • Have students share their choreography with the class. 
    • The audience members should describe what they observed in the group’s choreography using both science and dance vocabulary.
    • Ask students to explain how the choreography choices contributed to the meaning of the dance.

 

Closing Reflection

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

 

 

Assessments

Formative

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

 

Summative

CHECKLIST

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

 

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

DIFFERENTIATION 

Accelerated: Increase the expectations of the full choreographic work. Each part (beginning/middle/end) contains more than one movement idea.

Remedial: Have students create choreography for just one vocabulary word/concept.

 

 ADDITIONAL RESOURCES

 

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

Ideas contributed by: Melissa Joy

Revised and copyright:  July 2024 @ ArtsNOW

 

 

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STORYTELLING THROUGH SHADOW PUPPETS 4-5

STORYTELLING THROUGH SHADOW PUPPETS

STORYTELLING THROUGH SHADOW PUPPETS

Learning Description

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

 

Learning Targets

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

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can identify and explain the basic elements of a story
  • I can use the design process to plan and create shadow puppets.
  • I can collaborate with classmates to develop a shadow puppet story
  • I can present my shadow puppet story to an audience.

Essential Questions

  • What are the key elements that make up a story?
  • How can we use visual representations like shadow puppets to tell a story
  • How can we work together to create a cohesive shadow puppet performance?

 

Georgia Standards

Curriculum Standards

Grade 4: 

ELAGSE4W3 Write narratives to develop real or imagined experiences or events using effective technique, descriptive details, and clear event sequences. 

  1. Orient the reader by establishing a situation and introducing a narrator and/or characters; organize an event sequence that unfolds naturally. b. Use dialogue and description to develop experiences and events or show the responses of characters to situations. c. Use a variety of transitional words and phrases to manage the sequence of events. d. Use concrete words and phrases and sensory details to convey experiences and events precisely. e. Provide a conclusion that follows from the narrated experiences or events.

 

Grade 5: 

ELAGSE5W3 Write narratives to develop real or imagined experiences or events using effective technique, descriptive details, and clear event sequences. 

  1. Orient the reader by establishing a situation and introducing a narrator and/or characters; organize an event sequence that unfolds naturally. b. Use narrative techniques, such as dialogue, description, and pacing, to develop experiences and events or show the responses of characters to situations. c. Use a variety of transitional words, phrases, and clauses to manage the sequence of events. d. Use concrete words and phrases and sensory details to convey experiences and events precisely. e. Provide a conclusion that follows from the narrated experiences or events.

 

Arts Standards

Grade 4: 

VA4.CR.1 Engage in the creative process to generate and visualize ideas by using subject matter and symbols to communicate meaning.

VA4.CR.2 Create works of art based on selected themes.

VA4.CR.4 Understand and apply media, techniques, and processes of three-dimensional art.

VA4.CN.2 Integrate information from other disciplines to enhance the understanding and production of works of art. 

 

Grade 5: 

VA5.CR.1 Engage in the creative process to generate and visualize ideas by using subject matter and symbols to communicate meaning.

VA5.CR.2 Create works of art based on selected themes.

VA5.CR.4 Understand and apply media, techniques, and processes of three-dimensional art.

VA5.CN.2 Integrate information from other disciplines to enhance the understanding and production of works of art.

 

 

South Carolina Standards

Curriculum Standards

Grade 4: 

ELA.4.C.3.1 Write narratives developing real or imagined experiences. When writing: 

  1. establish a situation and setting; b. introduce a narrator and/or characters; c. organize a plot structure; d. use narrative techniques such as dialogue, descriptive language, and sensory details to develop events, setting, and characters; e. use a variety of transitional words and phrases to sequence events; and f. provide an ending that follows from the narrated experiences or events.

 

Grade 5: 

ELA.5.C.3.1 Write narratives to develop real or imagined experiences. When writing: 

  1. establish a situation and setting; b. introduce a narrator and characters; c. establish a plot structure; d. use narrative techniques such as dialogue, precise words, descriptive language, and sensory details to develop events, setting, and characters; e. use a variety of transitional words and phrases to sequence the events; and f. provide an ending that follows logically from the narrated experiences or events.

 

Arts Standards

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

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

 

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

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

 

 

Key Vocabulary

Content Vocabulary

  • Design process - A process of revising work
  • Story elements - Characters, setting, plot, conflict, resolution, etc.
  • Narrative - a story or account of events, experiences, or interactions that are usually arranged in a chronological sequence to convey a particular message, theme, or idea
  • Sequence - The chronological order in which events occur within a plot
  • Mood - The overall emotional atmosphere or tone that a piece of writing evokes in the reader

  • Sensory language - Descriptive language that engages the five senses: sight, sound, touch, taste, and smell

  • Transitional words - Terms that help to guide readers through a piece of writing, ensuring that ideas flow smoothly from one to the next

Arts Vocabulary

  • Shadow puppet - A shadow puppet is a form of storytelling where cut-out figures are manipulated behind a screen to create shadowy images visible to the audience
  • Shape - One of the seven Elements of Art; a two-dimensional figure

 

  • Silhouette - The outline or shape of an object or person that appears dark against a lighter background
  • Contrast - One of the Principles of Design; the difference between two visual elements put side by side

 

Materials

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

 

Instructional Design

Opening/Activating Strategy

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

 

Work Session

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

         

        Closing Reflection

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

         

        Assessments

        Formative

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

         

        Summative

        CHECKLIST

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

         

         

        DIFFERENTIATION 

        Accelerated: 

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

        Remedial: 

        • Simplify the storytelling process by focusing on fewer story elements and providing more guidance during planning and creation. 
        • Provide a graphic organizer to assist students in organizing their ideas.
        • Provide pre-cut shapes for students to assemble to create their shadow puppets.

         

        ADDITIONAL RESOURCES

         

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

         

        Ideas contributed by: Shannon Green. Updated by Katy Betts.

         

        Revised and copyright:  July 2024 @ ArtsNOW

         

        Back to Modules

        FIERCE FIGURATIVE FEMALES 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

        Back to Modules

        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: 4-5
        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

         

        Back to Modules