CAN YOU BALANCE? GOLDBERG’S NOT-SO-SIMPLE-MACHINE 3-4

GOLDBERG’S NOT-SO-SIMPLE-MACHINE

CAN YOU BALANCE?GOLDBERG’S NOT-SO-SIMPLE-MACHINE

Learning Description

In this project, students will engage in the engineering design process to create a Not-So-Simple-Machine demonstrating force and motion! Students will create a drawing of a Rube Goldberg Not-So-Simple-Machine and create a kinetic sculpture, or working model, of that machine. In this project, students will demonstrate how simple machines can be combined in a complicated way to perform a simple task.

 

Learning Targets

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

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can demonstrate how a simple machine works.
  • I can revise and refine my plans as I experiment with my creation.
  • I can create a working model from a sketch.
  • I can represent a three-dimensional model by a two-dimensional drawing.

Essential Questions

  • How do balanced and unbalanced forces relate to simple machines?
  • How can simple machines combine to affect the balance of forces?
  • How can simple machines combine to affect motion?
  • How can simple machines make a task easier/harder?
  • How do we sometimes make things more complicated than they need to be?

 

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:

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

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

 

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

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

 

Key Vocabulary

Content Vocabulary

  • 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

  • Assemblage - An artistic process in which a three-dimensional artistic composition is made from putting together found objects
  • Kinetic sculpture - Three-dimensional art that is designed to move
  • Craftsmanship - Skill in producing expertly finished products
  • Sketch - A rough drawing, often made to help make a more finished product
  • Variety - The differences in a work, achieved by using different shapes, textures, colors and values
  • Two-dimensional art - Art depicted on a flat surface
  • Three-dimensional art - Art that has height, width, and depth

 

Materials

  • Goldberg’s Not-So-Simple-Machine Rubric
  • Mousetrap game by Hasbro (or a video of the game being played)
  • Notecards with simple machines written on them
  • Copy paper (1-2 sheets for each student for sketches)
  • Drawing paper (9"x12")
  • Paper storage boxes
  • Safety goggles
  • Materials for constructing matches, such as:
    • Dominoes
    • Marbles
    • Ping-pong balls
    • Trains tracks
    • Cars tracks
    • LEGOs
    • Wooden blocks (e.g. Jenga)
    • String
    • K'nex pieces
    • Mini-pulleys
    • Masking tape
    • Rubber bands
    • Glue
    • Paper towel rolls
    • Cardstock

 

Instructional Design

Opening/Activating Strategy

  • Divide students into small groups.
  • Human Simple Machines: Each group will choose a card with the name/picture of a simple machine. The group will act out the simple machine for the class to identify.
  • Encourage students to think about how they can creatively use their body to work together and become the various parts of a simple machine

Have the Mousetrap Game set up and choose a group of students to demonstrate to the class how it runs. Explain to students that they will be using their creativity to design an unnecessarily complicated machine to do a simple job. Alternative: Show a video of the game being played.

Work Session

  • Tell students that they will be designing a machine inspired by Rube Goldberg. It will be a complicated machine to complete a simple task.

Part I - Planning:

  • Students will work in small groups to:
    • Research Rube Goldberg machines.
    • Brainstorm ideas for possible purposes of a machine they will create.
    • Brainstorm uses for materials provided.
    • Experiment with various materials.
    • Decide on a goal for the machine.
  • Show students a list of the materials that are available to them.
  • Individually, students will sketch an initial design with pencil on copy paper. Tell students that they should include six or more individual steps, using four or more simple machines.
  • Remind students that they should use as much variety as they can and try to include a "Wow!" factor.
  • Students should compare their designs and choose which to build or combine ideas into one final idea.
  • Students should label their sketch with the materials that they will use.

Part 2 - Creating:

  • Students should work in their small groups to create their machines.
  • Students should create one piece of the machine at a time and combine components as the test whether they work.
    • Teacher tip: If creating takes more than one class period, at the end of class, take photos of the machines created in each group and disassemble enough to store. Machines can be stored in storage boxes.
  • After the machines are finished, students should test run the machine three to four times for evaluation.
  • Finally, students will sketch their final machine and label the simple machines that they used.

Classroom Tips:

Divide students into groups of three to four. Students who are having difficulty might start with the last step and work backwards. One student in each group should take pictures of building progress at the end of each class period before the machine is disassembled and stored. Each group should have a labeled box for storing partial products.

Closing Reflection

  • After completing their machines, have students reflect on the following questions:
    • How did you choose the job you wanted your machine to do?
    • What would have been the simplest way to do the job without the machine?
    • Why was it important to plan before trying to build the machine?
    • How did your drawing change from your first sketch to the final copy?
    • What would have made the process simpler?

 

Assessments

Formative

  • Teacher will observe the students experimenting to determine whether they understand how simple machines work.
  • Teacher will question students on the functions of their simple machines.
  • Teacher will observe cooperation and participation.
  • Teacher will periodically assign each group a different simple machine to act out for a neighboring group to identify.

Summative

 

Differentiation 

Acceleration: 

  • Students can document the process through video.
  • Students can create a cartoon of their machine in the spirit of Rube Goldberg.

Remediation:

  • Preview the key vocabulary with pictures listed beside each word on an anchor chart, word wall, or flashcards. The teacher and students will define words together. This may be done in small groups the day before the unit begins.
  • Group students heterogeneously and assist the group to help find appropriate contributions for each step of the project based on individual strengths.
  • Allow students to proofread their responses by dictating their reflections in OneNote (OneNote > Learning Tools Add-in > Dictate).

 

Additional Resources

 

Credits

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

Ideas contributed by: Mark Thompson, Edited by Jessica Espinoza, Dr. Carla Cohen

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

Revised and copyright:  June 2025 @ ArtsNOW

 

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CAN YOU BALANCE? BALANCING ACT–CALDER MOBILE 3-4

BALANCING ACT–CALDER MOBILE

CAN YOU BALANCE?BALANCING ACT–CALDER MOBILE

Learning Description

In this lesson, students will use their knowledge of balanced and unbalanced forces to design and create a mobile inspired by the artist, Alexander Calder. A mobile is a sculpture of three to five levels that has various materials attached to wire that must be balanced upon completion. Students will use their critical thinking skills to utilize the materials provided to create a piece of artwork that incorporates the scientific concepts of gravitational forces, as well as balanced and unbalanced forces.

 

Learning Targets

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

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can identify and compare balanced and unbalanced forces.
  • I can create a balanced mobile using unbalanced forces.
  • I can analyze how forces affect balance and revise my plan as I design.
  • I can communicate my understanding of forces by reflecting upon my construction of my Calder mobile.

Essential Questions

  • How can gravitational forces affect the balance of objects?
  • How does proportion affect balance?
  • How can you identify balanced and unbalanced forces?

 

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 use the elements and principles of art to create artwork.

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

 

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

Arts Vocabulary

  • Balance - This is a sense of stability in the body of work. Balance can be created by repeating the same shapes and by creating a feeling of equal visual weight.
  • Proportion - The size relationships between different parts of an artwork. It determines how each element relates to the others in terms of size, scale, and placement.

 

Materials

 

Instructional Design

Opening/Activating Strategy

Optional: Choose a book to explore as a class from the below list:

  • Alexander Calder: Meet the Artist by Patricia Geis
  • Sandy’s Circus: A Story About Alexander Calder by Tanya Lee Stone
  • Alexander Calder and His Magical Mobiles by Jean Lipman
  • Show students an image of one of Alexander Calder’s mobiles from the following site: https://calder.org/archive/all/works/hanging-mobile/.
    • Engage students in the 10x2 Artful Thinking Routine. Instruct students to do the following:
      • Look at the image quietly for at least 30 seconds. Let your eyes wander.
      • List 10 words or phrases about any aspect of the picture.
      • Repeat Steps one and two–Look at the image again and try to add 10 more words or phrases to your list.
    • Ask students what they think the artist had to think about when he designed and created the mobile (i.e. how much do materials weigh, how strong is the structure, etc.?).

Introduce the artist Alexander Calder to students and use this website to introduce students to the concept of mass: http://thekidshouldseethis.com/post/experimental-balancing-sculptures.

Work Session

  • Facilitate class discussion on gravitational force. (http://study.com/academy/lesson/gravitational-force-definition-equation-examples.html)
  • Tell students that they will be challenged to create a balanced mobile using unbalanced forces.
  • Divide students into small groups of two to three students.
  • Students should plan their mobiles:
    • Students should begin by sketching a design for their mobile.
      • Determine the number of levels for mobile (should be between three to five).
    • Determine the lengths of wires they will use.
    • Determine other materials for use and label them on the sketch.
    • Predict how the sculpture will balance.
  • Students should then present their sketches to another group to get feedback on their designs.
  • After making any needed revisions, students can begin creating their mobiles.
    • Students should begin by attaching materials, such as foam/cardstock/beads, to the ends of the wires.
    • Students should check for balance and re-check as needed as they construct.
    • Students should record in their journals how they balanced levels–did they have to omit materials, change materials, ect.?

Classroom Tips:

  • Review safe work procedures.
  • Review classroom rules.
  • Review peer interaction regulations.
  • Teacher will be in charge of cutting wire.
  • Other materials can be divided into kits or bags.

Closing Reflection

  • After completing their sculptures, students should reflect on the following:
    • How did you visualize your mobile?
    • Did your original plan work?
    • What did you have to revise?
    • If you positioned levels differently, how would your final product change?
    • If you changed materials, what would have changed? Why?

 

Assessments

Formative

  • Teacher will observe the students to determine if they understand gravitational force.
  • Teacher will observe the students to determine if they understand balanced and unbalanced forces.
  • Teacher will observe the students’ use of proportion in relation to balance.
  • The teacher will check for student’s communication of deeper thinking throughout the project (specifically checking for understanding of how proportion and gravitational forces affect balance).

Summative

  • Calder Sculpture Rubric
  • Have students respond to the following reflection questions after the creation of their artwork:
    • How are balance and gravitational force related?
    • How did you plan to balance your mobile?
    • How did you determine the material used to balance your mobile?
    • How did gravitational force affect your plan?
    • What did you have to rethink while attempting to balance your mobile?

 

Differentiation 

Acceleration: 

  • Increase the number of levels required in the design.
  • Have students write instructions on how to build their mobile for a classmate to follow.

Remediation:

  • Modify the number of levels required.
  • Provide a graphic organizer with levels for students to draw and visualize materials to attach to each level.
  • Give sentence frames for reflection questions.
  • Provide opportunities for peer checks so students can get feedback on their project.

 

Additional Resources

 

Credits

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

Ideas contributed by: T. Renee Manuel, Edited by Jessica Espinoza

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

Revised and copyright:  June 2025 @ ArtsNOW

 

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CAN YOU BALANCE? “IT’S SHOWTIME” 3-4

“IT’S SHOWTIME”

CAN YOU BALANCE?“IT’S SHOWTIME”

Learning Description

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

 

Learning Targets

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

Download PDF of this Lesson

"I Can" Statements

“I Can…”

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

Essential Questions

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

 

Georgia Standards

Curriculum Standards

Grade 4:

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

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

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

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

Arts Standards

Grade 4:

TA4.CR.2 Develop scripts through theatrical techniques.

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

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

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

 

South Carolina Standards

Curriculum Standards

Grade 3:

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

Arts Standards

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

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

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

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

 

Key Vocabulary

Content Vocabulary

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

Arts Vocabulary

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

 

Materials

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

 

Instructional Design

Opening/Activating Strategy

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

Work Session

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

Script-Writing:

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

Rehearsal:

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

Performance:

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

Classroom Tips:

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

Closing Reflection

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

 

Assessments

Formative

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

Summative

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

 

Differentiation 

Acceleration: 

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

Remediation:

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

 

Additional Resources

 

Credits

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

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

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

Revised and copyright:  June 2025 @ ArtsNOW

 

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

PUSH AND PULL–FORCES IN MOTION THROUGH PARTNER POSES

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

Learning Description

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

 

Learning Targets

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

Download PDF of this Lesson

"I Can" Statements

“I Can…”

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

Essential Questions

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

 

Georgia Standards

Curriculum Standards

Grade 4:

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

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

Arts Standards

Grade 4:

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

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

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

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

 

South Carolina Standards

Curriculum Standards

Grade 3:

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

Arts Standards

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

Anchor Standard 2: I can choreograph a dance.

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

 

Key Vocabulary

Content Vocabulary

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

Arts Vocabulary

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

 

Materials

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

 

Instructional Design

Opening/Activating Strategy

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

Work Session

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

Closing Reflection

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

 

Assessments

Formative

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

Summative

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

 

Differentiation 

Acceleration: 

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

Remediation:

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

 

Credits

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

Ideas contributed by: Christopher Crabb

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

Revised and copyright:  June 2025 @ ArtsNOW

 

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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:

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"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

 

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