CAN YOU BALANCE? “IT’S SHOWTIME” 3-4

“IT’S SHOWTIME”

CAN YOU BALANCE?“IT’S SHOWTIME”

Learning Description

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

 

Learning Targets

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

Download PDF of this Lesson

"I Can" Statements

“I Can…”

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

Essential Questions

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

 

Georgia Standards

Curriculum Standards

Grade 4:

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

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

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

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

Arts Standards

Grade 4:

TA4.CR.2 Develop scripts through theatrical techniques.

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

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

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

 

South Carolina Standards

Curriculum Standards

Grade 3:

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

Arts Standards

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

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

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

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

 

Key Vocabulary

Content Vocabulary

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

Arts Vocabulary

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

 

Materials

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

 

Instructional Design

Opening/Activating Strategy

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

Work Session

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

Script-Writing:

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

Rehearsal:

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

Performance:

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

Classroom Tips:

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

Closing Reflection

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

 

Assessments

Formative

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

Summative

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

 

Differentiation 

Acceleration: 

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

Remediation:

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

 

Additional Resources

 

Credits

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

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

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

Revised and copyright:  June 2025 @ ArtsNOW

 

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

PUSH AND PULL–FORCES IN MOTION THROUGH PARTNER POSES

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

Learning Description

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

 

Learning Targets

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

Download PDF of this Lesson

"I Can" Statements

“I Can…”

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

Essential Questions

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

 

Georgia Standards

Curriculum Standards

Grade 4:

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

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

Arts Standards

Grade 4:

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

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

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

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

 

South Carolina Standards

Curriculum Standards

Grade 3:

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

Arts Standards

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

Anchor Standard 2: I can choreograph a dance.

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

 

Key Vocabulary

Content Vocabulary

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

Arts Vocabulary

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

 

Materials

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

 

Instructional Design

Opening/Activating Strategy

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

Work Session

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

Closing Reflection

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

 

Assessments

Formative

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

Summative

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

 

Differentiation 

Acceleration: 

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

Remediation:

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

 

Credits

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

Ideas contributed by: Christopher Crabb

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

Revised and copyright:  June 2025 @ ArtsNOW

 

POLYGON PERSPECTIVES – MATH MEETS CREATIVITY | BRINGING GEOMETRY TO LIFE THROUGH SCULPTURE 5

BRINGING GEOMETRY TO LIFE THROUGH SCULPTURE

POLYGON PERSPECTIVES–MATH MEETS CREATIVITY:BRINGING GEOMETRY TO LIFE THROUGH SCULPTURE

Learning Description

In this lesson, students will work collaboratively using the Engineering Design Process to create a sculpture inspired by the artist, Alexander Calder, that demonstrates their understanding of the properties and defining attributes of various polygons.

 

Learning Targets

GRADE BAND: 5
CONTENT FOCUS: VISUAL ARTS & MATH
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can create a sculpture inspired by the artist, Alexander Calder, that demonstrates my understanding of the properties and defining attributes of various polygons.
  • I can collaborate with others using the Engineering Design Process to create a sculpture.

Essential Questions

  • What are the properties and defining attributes of various polygons?
  • How can I demonstrate my understanding of the properties of polygons through sculpture?

 

Georgia Standards

Curriculum Standards

5.GSR.8.1 Classify, compare, and contrast polygons based on properties.

5.GSR.8.2 Determine, through exploration and investigation, that attributes belonging to a category of two-dimensional figures also belong to all subcategories of that category.

Arts Standards

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, processes, and concepts of three-dimensional works of art.

VA5.RE.1 Use a variety of approaches for art criticism and to critique personal works of art and the artwork of others to enhance visual literacy.

 

South Carolina Standards

Curriculum Standards

5.G.3 Understand that attributes belonging to a category of two-dimensional figures also belong to all subcategories of that category.

5.G.4 Classify two-dimensional figures in a hierarchy based on their attributes.

Arts Standards

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

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

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

 

Key Vocabulary

Content Vocabulary

  • Polygon - A plane figure enclosed by line segments called sides
  • Regular polygon – A polygon whose sides are all equal and whose interior angles are all congruent
  • Parallel lines - Lines in the same plane that never intersect, no matter how far they are extended
  • Perpendicular lines - Lines that intersect at a 90-degree angle, forming right angles where they meet
  • Triangle – A polygon with three sides and three angles
  • Equilateral triangle – A triangle with three equal sides and three congruent triangles
  • Isosceles triangle – A triangle with two equal sides and two congruent angles
  • Scalene triangle – A triangle with three different sides and three incongruent angles
  • Right triangle – A triangle in which one angle is a right angle
  • Acute triangle – A triangle with three acute (less than ninety degrees) angles
  • Obtuse triangle – A triangle with one obtuse (greater than ninety degrees) angle
  • Quadrilateral – A polygon with four sides
  • Trapezoid – A quadrilateral with only one set of parallel sides
  • Isosceles trapezoid – A trapezoid whose non-parallel sides are equal in length
  • Rectangle – A quadrilateral with four right angles
  • Square – A quadrilateral with four right angles and four equal sides
  • Parallelogram – A four-sided plane rectilinear figure with opposite sides parallel.
  • Rhombus - A parallelogram with opposite equal acute angles, opposite equal obtuse angles, and four equal sides
  • Pentagon – A five-sided polygon
  • Hexagon – A six-sided polygon
  • Octagon – An eight-sided polygon

Arts Vocabulary

  • Sculpture - A three-dimensional work of art that can be made from a variety of materials, such as wood, clay, metal, or stone.
  • Stabile - Large-scale sculptures that are abstract; they are made of large two-dimensional shapes put together to make a three-dimensional form; created by the artist Alexander Calder
  • Mobile - Sculptures that are designed to move and change form through balance and interaction with air currents; created by the artist Alexander Calder
  • Shape - Refers to an interesting and interrelated arrangement of body parts of one dancer; the visual makeup or molding of the body parts of a singular dancer; the overall visible appearance of a group of dancers (they may be curved/angular, symmetrical/asymmetrical, positive/negative)
  • Warm colors - Yellow, orange, red (and shades of each)
  • Cool colors - Purple/violet, blue, green (and shades of each)
  • Complementary colors - Colors that are across from each other on the color wheel (such as orange and blue)
  • Analogous colors - Colors next to each other on the color wheel
  • Neutral colors - Brown, tan, white, black, gray, etc.

 

Materials

  • Image of Alexander Calder’s sculpture, “Small City”
  • 10x2 artful thinking routine
  • Digital image of the Engineering Design Process (in lesson)
  • Digital image of a color wheel
  • Styrofoam (such as styrofoam plates) or thin cardboard, like chipboard (or cereal boxes that have been deconstructed so that they are flat)
  • Scissors
  • Rulers/straightedge
  • Pencils
  • Paper
  • Optional–Oil pastels (for brown cardboard or styrofoam) OR markers/colored pencils/crayons/oil pastels for white cardboard
  • Optional–Newsprint or butcher paper to protect desks/tables

 

Instructional Design

Opening/Activating Strategy

  • Show students an image of Alexander Calder’s sculpture, “Small City”, 1964.
  • Ask students to engage in the 10x2 artful thinking routine.
    • Students should identify ten things that they see in the image.
    • Students should then look at the image again and find ten additional things that they see.
    • Students’ observations can be focused on lines, shapes, colors, angles, etc.
    • After students have identified twenty things that they see, have them discuss with a partner or small group to compare findings.
    • Allow time for groups to share one or two things that they noticed.
    • Direct the conversation towards the geometric aspects of Calder’s sculpture.
  • Tell students that Calder was known for two types of sculptures, Mobiles and Stabiles.
    • Stabiles are large-scale sculptures that are abstract; they are made of large two-dimensional shapes put together to make a three-dimensional form.
    • Mobiles are sculptures that are designed to move and change form through balance and interaction with air currents.
  • Tell students that “Small City” is an example of a combination of the two types of sculpture.

Ask students to reflect on how they think the artist made the sculpture and what they think he had to consider when designing it.

Work Session

  • Show students an image of the Engineering Design Process.

A circular diagram combining geometry and engineering shows the design process: Ask (define the problem), Imagine (brainstorm solutions), Plan (think, sketch, label), Create (prototype, test), Improve (modify to make it better).

  • Tell students that they will use the process in their lesson today.
  • Divide students into pairs or small groups of three.
  • Students should write down the question: How can I demonstrate the properties and defining attributes of polygons through a Stabile sculpture?
    • Ask students to brainstorm what other questions they need answers to.
      • Examples: What are the properties of polygons? How many types of polygons should I show? What materials can I use?
    • Imagine:
      • Show students a list of all materials available to them: Styrofoam (such as plates) or thin cardboard, like chipboard (or cereal boxes that have been deconstructed so that they are flat), scissors, rulers, pencils, and oil pastels.
      • Ask students to brainstorm how they could use these materials to answer the question.
    • Next, provide students with constraints and criteria for their sculpture. This will be determined by the teacher.
      • Ideas include:
        • Your sculpture must be free-standing.
        • Your sculpture must have three different types of polygons.
        • You must have at least five polygons in your sculpture.
        • You must show an example of parallel lines and an example of perpendicular lines.
        • You must use color in a meaningful way in your sculpture (i.e. All triangles are one color, all quadrilaterals are another color, etc. OR your sculpture follows a color scheme such as warm colors or cool colors).
        • Your sculpture must be at least ________ big but can be no smaller than ______.
      • Next, students should plan their sculptures by drawing a sketch and labeling their materials.

If needed, show students an example of Stabile Sculpture that demonstrates geometric concepts (see below).

Three colorful, triangular, pyramid-shaped paper models—one blue, one green, and one red—stand upright on a white surface with scattered paint marks, creating a playful scene that highlights the beauty of geometry.

  • If students are adding color, show them an image of a color wheel and discuss the different types of color schemes that are common in art: Warm, cool, complementary, analogous, and neutral.
    • Students should then label the colors they will use on their sketch.
  • Once students have planned, they should show their plans to another group for feedback. The group providing feedback should comment on whether the sculpture met the criteria and whether they have questions about the construction of the sculpture/its stability, etc.
  • Students can then begin to create their sculptures using the materials provided.
    • Students should use their rulers to draw their polygons on the cardboard or styrofoam prior to cutting them out.
    • Optional: Students can add color to their polygons. Remind students that because they are making a sculpture, they need to add color to both the front and the back of each polygon.
    • Students will need to problem-solve how to attach the individual polygons together so that it becomes a three-dimensional sculpture.
      • This can be done by cutting a notch in each polygon and sliding them together. However, allowing students to come to the solution through trial and error is beneficial.
  • Students should complete a written explanation of what polygons they showed and where they showed them. This can be done on a 3 x 5 card as a list or on a checklist.
  • After the sculptures are complete, have students display their planning sketch next to the completed sculpture. Students can do a gallery walk observing the different ways that students answered the original question.

Closing Reflection

  • Conclude the lesson by having students reflect on their process with the following questions. This can be done in STEAM journals or through small group or large group discussion.
    • If you could create your sculpture again, what would you do differently?
    • What challenges did you face when turning your plan for your sculpture into the actual sculpture? How did you overcome those challenges?
    • How did you use sculpture to demonstrate the properties and defining attributes of various polygons?

 

Assessments

Formative

  • Students’ ability to identify geometric concepts in “Small City”
  • Students’ brainstorming and planning phases for their sculptures

Summative

  • Students’ sculptures should demonstrate that students understand and can demonstrate the properties and defining attributes of polygons.
  • Students’ sculptures should demonstrate that they understand that Stabiles are created by combining two-dimensional geometric shapes together to create a three-dimensional form.
  • If color is used, sculptures should demonstrate that students meaningfully used color in their artwork.

 

Differentiation 

Acceleration: 

Instead of providing criteria to students, have them establish their own criteria based on the design challenge and the standard.

Remediation:

  • Reduce the number of things students should identify in the 10 x 2 routine from twenty to ten.
  • Reduce the sculpture criteria for students.
  • Provide a checklist so that students can ensure that they are meeting the criteria.
  • Post the steps for students to complete.

 

Credits

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

Ideas contributed by: Katy Betts

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

Revised and copyright:  June 2025 @ ArtsNOW

 

POLYGON PERSPECTIVES – MATH MEETS CREATIVITY | POLYGON FAMILIES 5

POLYGON FAMILIES

POLYGON PERSPECTIVES–MATH MEETS CREATIVITY:POLYGON FAMILIES

Learning Description

Students will assume roles as different polygons to explore the relationships among categories of polygons.

 

Learning Targets

GRADE BAND: 5
CONTENT FOCUS: THEATRE & MATH
LESSON DOWNLOADS:

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"I Can" Statements

“I Can…”

  • I can engage in drama activities involving polygons.
  • I can play a role as a polygon.
  • I can work with a group to create a simple performance piece about polygons.

Essential Questions

  • What are the properties and defining attributes of various polygons?
  • How can we enact polygons to more clearly understand their attributes and relationships?

 

Georgia Standards

Curriculum Standards

5.GSR.8.1 Classify, compare, and contrast polygons based on properties.

5.GSR.8.2 Determine, through exploration and investigation, that attributes belonging to a category of two-dimensional figures also belong to all subcategories of that category.

Arts Standards

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

 

South Carolina Standards

Curriculum Standards

5.G.3 Understand that attributes belonging to a category of two-dimensional figures also belong to all subcategories of that category.

5.G.4 Classify two-dimensional figures in a hierarchy based on their attributes.

Arts Standards

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

 

Key Vocabulary

Content Vocabulary

  • Polygon - A plane figure enclosed by line segments called sides
  • Regular polygon – A polygon whose sides are all equal and whose interior angles are all congruent
  • Parallel lines - Lines in the same plane that never intersect, no matter how far they are extended
  • Perpendicular lines - Lines that intersect at a 90-degree angle, forming right angles where they meet
  • Triangle – A polygon with three sides and three angles
  • Equilateral triangle – A triangle with three equal sides and three congruent triangles
  • Isosceles triangle – A triangle with two equal sides and two congruent angles
  • Scalene triangle – A triangle with three different sides and three incongruent angles
  • Right triangle – A triangle in which one angle is a right angle
  • Acute triangle – A triangle with three acute (less than ninety degree) angles
  • Obtuse triangle – A triangle with one obtuse (greater than ninety degree) angle
  • Quadrilateral – A polygon with four sides
  • Trapezoid – A quadrilateral with only one set of parallel sides
  • Isosceles trapezoid – A trapezoid whose non-parallel sides are equal in length
  • Rectangle – A quadrilateral with four right angles
  • Square – A quadrilateral with four right angles and four equal sides
  • Parallelogram – A four-sided plane rectilinear figure with opposite sides parallel.
  • Rhombus - A parallelogram with opposite equal acute angles, opposite equal obtuse angles, and four equal sides
  • Pentagon – A five-sided polygon
  • Hexagon – A six-sided polygon
  • Octagon – An eight-sided polygon

(Note: This list can be revised and curated depending on the teacher's discretion and the particular polygons under study.)

Arts Vocabulary

  • Role – A part played by an actor in a scene, play, movie or other performance.
  • Collaboration – Working together as a team
  • Unison – Speaking or reciting as one

 

Materials

 

Instructional Design

Opening/Activating Strategy

Statues in the Garden:

  • Lead students in “Statues in the Garden” (also sometimes known as “Night at the Museum”): One actor is the guard wandering through the garden, while the other actors assume poses as statues in the garden. When an actor senses that the guard will not see them, they can change their pose.  If the guard sees the statue move, they say, “I saw you move” and that actor steps out.

Play Statues in the Garden with the added rule that every statue must have a polygon in it.  Actors can form the polygons with their fingers, arms, legs, or any other part of their bodies, or in collaboration with other actors. Appoint a student to be the guard, and then during the game ask actors, “Tell me about your statue,” to have them describe the polygons in their statues. Play several rounds with a different guard each time, and encourage variety and creativity in the formation of the polygons.

Work Session

Who Am I?

  • Review with students the definition of a polygon, and types of polygons under study (i.e., the polygons included in the set of name tags).
  • With the class set of name tags, distribute one to each student, instructing them that they can look at it but must not let others see what they have.
  • Have each student clip the tag they have onto another student’s back, so that each student ends up with an unknown tag on their back. The tags should be placed so that the identity is easily visible to others.
  • Give each student an index card and writing utensil. Have them write their name on their card.
  • Tell students they will try to determine their identity by asking yes/no questions of other students.
    • Brainstorm the types of questions that can be asked, such as, “Do I have any right angles?”; “Do I involve the number three?”; “Do I have any obtuse angles?”; “Do I have any equivalent sides?”; etc.
    • If students are stuck, questions can also be about the words: “Do I have two words in my name?  Do I have an ‘a’ in my name?” (Note: Questions should be in first person – “Do I . . .?” or “Am I . . .” rather than about the tag – “Is my shape . . . ?”)
  • Instruct students to find another student, ask each other one question and answer each other’s question, and make a note of what they have learned about their identity. Their notes can be in their own shorthand (e.g., “no equiv. angles,” “‘> 4 sides,” “triangle”).
  • Then have them repeat the process with other partners, each time adding information until they have discovered their identity. When they get to that point, they can ask, “Am I a pentagon?”, “Am I a scalene triangle?”, etc., and if the answer is “Yes,” they can take the name tag off of their back and put it on their front, ideally on the torso or upper sleeve where it will be easily visible.
  • Teacher discretion: Have the entire list of polygons available on a screen or poster for students to refer to as they are trying to determine their identity.
  • If most students have figured out their identity, but some have not, allow partners to give hints. It is also fine to stop the activity and simply have students move their tags from back to front and see what they have on their tag.
  • Once all students have discovered their identity, tell them that the tag gives them their role – it is the character they are playing.
  • Collect the index cards.

Meet-and-Greet:

  • Direct students to move about meeting and greeting one another in character as their polygon, exploring what they have in common and what differentiates them. Remind them to use polygon vocabulary: Sides, angles, equivalent, congruent, parallel, right, acute, obtuse, etc. Encourage them to speak in character (first person) and to meet several other polygon characters.

Polygon Family Groups:

  • Have the students get into polygon family groups: Triangles, Quadrilaterals, and Others (polygons with more than four sides, possibly referred to as ‘N-gons’ where N represent the number of sides).
  • Display graphics (teacher’s choice) that show the Hierarchy of Polygons and Polygon Families – these can be from the class text or curriculum or from the internet (some sites listed in “Materials” above).
  • Instruct them to work as a group to create a chant, rap, poem, or song that conveys information about what distinguishes their group, and also about the sub-groups or individuals in the group.
    • Instruct them to include parts that are spoken in unison, and also an individual part for each member of the group.
    • Encourage them to have fun and be creative but to be sure to include defining information.
    • Remind them of relevant vocabulary terms: Sides, angles, equivalent, congruent, parallel, right, acute, obtuse, etc.
    • The groups can write out their chant, rap, poem or song; they can also model it on a familiar tune or text.
  • Have students rehearse their pieces. Remind them to take their time, to rehearse the group parts together, and to speak clearly. Encourage them to add in simple movements and gestures – this will enhance the performance, and also facilitate memorization and clarity.
  • Move from group to group to coach as needed.
  • Have each group share/perform their piece. Discuss appropriate audience participation and etiquette prior to performances.

Lead reflection in which the other students can provide positive feedback about what the group did well, in terms

Closing Reflection

Have students reflect on and share responses to the following question: How did you work together to compose your pieces?  How did you decide on the information to include in your piece? What was most challenging about this lesson? How did you and/or your group overcome the challenge?

 

Assessments

Formative

  • In the “Statues in the Garden,” “Who am I?,” and “Meet-and-Greet” activities, students demonstrate understanding of the attributes of polygons.
  • In the composition and rehearsal process, students demonstrate understanding of the relationships and differences among the polygons in their groups.
  • In the composition and rehearsal process, students work together creatively and respectfully, and use creativity to develop their pieces.

Summative

  • The group pieces convey accurate information about the polygons in their polygon family, regarding both the characteristics that define the group as a whole and the characteristics that differentiate the individual members.
  • The group performs their chant, rap, song or poem with clarity – they speak loudly and clearly, and they work together effectively. (Note: As these will have been minimally rehearsed, they are not expected to be polished or perfect, but they should show evidence of collaboration and solid rehearsal.)
  • Each group speaks/raps/sings some parts chorally (in unison), and also a part spoken by each individual voice.
  • The collected index cards demonstrate evidence of comprehension of polygons in the notes the students took to determine their identities.

 

Differentiation 

Acceleration: 

  • Include a larger selection of polygons, including irregular polygons and polygons with higher number of sides (e.g., nonagon, dodecahedron, pentadecagon, concave hexagon, etc.).
  • Add a requirement that the group piece composed must have a rhyme scheme.

Remediation:

  • Reduce the number of polygons in the group under study.
  • Write the brainstormed questions on the board for easy reference.
  • As needed, coach individual students and give them hints during the “Who am I?” activity.

 

Credits

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

Ideas contributed by: Barry Stewart Mann, MFA

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

Revised and copyright:  June 2025 @ ArtsNOW

 

POLYGON PERSPECTIVES – MATH MEETS CREATIVITY | SHAPE IT UP WITH POLYGONS 5

SHAPE IT UP WITH POLYGONS

POLYGON PERSPECTIVES–MATH MEETS CREATIVITY:SHAPE IT UP WITH POLYGONS

Learning Description

In this lesson, students will learn how the human body can be used to create expressive shapes and forms. After watching a video of Pilobolus' Shadowland and discussing the use of colors, shapes, and lines, students work in small groups to complete a Hierarchy of Shapes handout. Next, students create a body shape movement phrase in AB form that expresses different types of polygons (quadrilaterals and triangles). Students will incorporate levels and must be able to explain their shape choices and attributes. Groups will create, practice, and perform their movement phrases for each other with the audience identifying the shapes and their attributes. The lesson concludes with an exit ticket where students reflect on the main categories of polygons and describe their attributes.

 

Learning Targets

GRADE BAND: 5
CONTENT FOCUS: DANCE & MATH
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can create a movement phrase in AB form that expresses different types of polygons using body shapes and levels.
  • I can classify polygons based on their attributes.

Essential Questions

  • What are the properties and defining attributes of various polygons?
  • How can we connect geometric understanding with creative movement to demonstrate our knowledge of polygon attributes?

 

Georgia Standards

Curriculum Standards

5.GSR.8.1 Classify, compare, and contrast polygons based on properties.

5.GSR.8.2 Determine, through exploration and investigation, that attributes belonging to a category of two-dimensional figures also belong to all subcategories of that category.

Arts Standards

ESD5.CR.1.a Create shapes and levels through movement.

ESD5.CR.1.c Demonstrate knowledge of compositional elements through movement (e.g. beginning, middle, end, transitions).

ESD5.CN.3 Integrate dance into other areas of knowledge.

 

South Carolina Standards

Curriculum Standards

5.G.3 Understand that attributes belonging to a category of two-dimensional figures also belong to all subcategories of that category.

5.G.4 Classify two-dimensional figures in a hierarchy based on their attributes.

Arts Standards

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

Anchor Standard 2: I can choreograph a dance.

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

 

Key Vocabulary

Content Vocabulary

  • Polygon - A plane figure enclosed by line segments called sides
  • Regular polygon – A polygon whose sides are all equal and whose interior angles are all congruent
  • Parallel lines - Lines in the same plane that never intersect, no matter how far they are extended
  • Perpendicular lines - Lines that intersect at a 90-degree angle, forming right angles where they meet 
  • Triangle – A polygon with three sides and three angles
  • Equilateral triangle – A triangle with three equal sides and three congruent triangles
  • Isosceles triangle – A triangle with two equal sides and two congruent angles
  • Scalene triangle – A triangle with three different sides and three incongruent angles
  • Right triangle – A triangle in which one angle is a right angle
  • Acute triangle – A triangle with three acute (less than ninety degree) angles
  • Obtuse triangle – A triangle with one obtuse (greater than ninety degree) angle
  • Quadrilateral – A polygon with four sides
  • Trapezoid – A quadrilateral with only one set of parallel sides
  • Isosceles trapezoid – A trapezoid whose non-parallel sides are equal in length
  • Rectangle – A quadrilateral with four right angles

Arts Vocabulary

  • Levels - how high or low you are dancing (high, middle, low)
  • Body shape - a frozen statue created by the body
  • AB Form - a two-part sequence, the second part different from the first

 

Materials

 

Instructional Design

Opening/Activating Strategy

  • Provide students with background information on Pilobolus Dance Company.
    • Modern dance company founded in 1971
    • Collaborates with other artists to create performance works, including MIT, OK Go and Radiolab
    • Performances focus on using the human body as a medium for expression – often using contortion and gymnastics to create new shapes.
  • Watch Pilobolus Shadowland
  • After watching, engage in Colors, Shapes, Lines Thinking Strategy.
    • Instruct students to look at the artwork or object for a moment. Ask them the following:
      • What colors do you see?
      • What shapes do you see?
      • What lines do you see?
      • Focus particularly on the Body Shapes seen in the video.

Work Session

  • Divide the class into small groups of four to five students.
  • In their groups, students should complete the Hierarchy of Shapes
    • After a designated period (around seven to ten minutes), review the Hierarchy of Shapes handout for accuracy as a class.
  • Explain that students will now create a Body Shape Movement Phrase in ‘AB Form’ that expresses different types of Polygons.
  • The Polygon Type Movement Phrase should Include:
    • ‘AB Form’
      • Part A: Quadrilaterals
        • Group of body shapes that represent at least three different types of quadrilaterals
      • Part B: Triangles
        • Group of body shapes that represent at least three different types of triangles
      • All three levels (high, middle, and low)
    • Students should be able to defend their choices for each part (Why is this a quadrilateral and not a triangle? What are the names of the different shapes in each part? What are the shape's attributes?).
    • Allow students time to practice their movement phrases.
    • After a designated period, have all groups perform their phrase in a dress rehearsal (all groups perform their movement phrase at the same time).
    • Invite groups to perform their phrases individually in front of the class.
      • Prior to performances, discuss appropriate audience participation and etiquette.
      • After each group, have the audience identify the types of polygons and how they knew it was that shape (attributes expressed in the body shape).

Closing Reflection

  • Have students complete the following exit ticket:
    • What are the two main categories of polygons? What attributes do shapes in each category share?
    • Identify two types of shapes in each category and describe the attributes of those shapes.
    • How did you use your body to express the attributes of polygons?

 

Assessments

Formative

  • Pre-assessment: Responses during ‘Colors, Shapes, Lines’ thinking strategy to see the shapes that students already know
  • Hierarchy of Shapes Handout
  • Individual group check-ins during group work time
  • Exit Ticket

Summative

Polygon Type Movement Phrase in AB Form Rubric

 

Differentiation

Acceleration: 

Students record in writing each shape of their phrase noting its name and defining attributes.

Remediation:

Focus the phrase on quadrilaterals or triangles.

 

Credits

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

Ideas contributed by: Christopher Crabb

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

Revised and copyright:  June 2025 @ ArtsNOW