BE ONE WITH THE WATER 6-8

BE ONE WITH THE WATER

BE ONE WITH THE WATER

Learning Description

Students will explore states of matter and the water cycle by bringing water to life with their bodies. By enacting the changes that water molecules experience, students will learn scientific information kinesthetically.

 

Learning Targets

GRADE BAND: 6-8
CONTENT FOCUS: DANCE & SCIENCE
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can explain the stages of the water cycle, how molecules behave in each state, and how I showed this using my body.
  • I can use my body to enact the different states of matter.
  • I can explain how energy impacts changes in states of matter.

Essential Questions

  • How can the process of acting increase comprehension of states of matter and the water cycle?
  • How does energy relate to changes in states of matter?
  • What are the stages of the water cycle?

 

Georgia Standards

Curriculum Standards

Grade 6:

S6E3. Obtain, evaluate, and communicate information to recognize the significant role of water in Earth processes.

 

  1. Plan and carry out an investigation to illustrate the role of the sun’s energy in atmospheric conditions that lead to the cycling of water. (Clarification statement: The water cycle should include evaporation, condensation, precipitation, transpiration, infiltration, groundwater, and runoff.)

Arts Standards

Grade 6:

TA6.PR.1 Act by communicating and sustaining roles in formal and informal environments.

 

TA6.CN.1 Explore how theatre connects to life experience, careers, and other content.

 

South Carolina Standards

Curriculum Standards

Grade 6:

6-ESS2-4. Develop a model to describe the cycling of water through Earth’s systems driven by energy from the sun and the force of gravity.

Arts Standards

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

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

 

Key Vocabulary

Content Vocabulary

  • Water cycle - A continuous process by which water moves through the Earth's atmosphere, surface, and underground
  • Evaporation - Water from oceans, rivers, lakes, and other bodies of water turns into water vapor due to the heat from the sun. This also includes transpiration from plants, where water is absorbed by roots from the soil and released as vapor from the leaves.
  • Condensation - The water vapor rises into the atmosphere and cools, forming tiny droplets that gather to create clouds. This process changes water vapor back into liquid or solid form, such as droplets or ice crystals.
  • Precipitation - When these droplets or ice crystals become too heavy, they fall to the Earth's surface as precipitation, which can be in the form of rain, snow, sleet, or hail.
  • Infiltration - Some of the water that reaches the ground seeps into the soil, replenishing groundwater supplies
  • Runoff - Water that doesn't infiltrate the ground flows over the surface and collects in bodies of water such as rivers, lakes, and oceans. This water will eventually evaporate and continue the cycle.

 

  • Sublimation - In colder regions, snow and ice can change directly into water vapor without melting first, contributing to the water vapor in the atmosphere.
  • Deposition - The reverse of sublimation, where water vapor changes directly into ice without becoming liquid first, often forming frost

Arts Vocabulary

  • Theater - Dramatic literature or its performance; drama
  • Character - A person, an animal or other figure assuming human qualities, in a story

 

  • Voice – An actor’s tool, which we shape and change to portray the way a character speaks or sounds

 

  • Body – An actor’s tool, which we shape and change to portray the way a character looks, walks, or moves
  • Improvisation - A creation that is spoken or written without prior preparation

 

Materials

  • Sound source and music
  • Masking tape

 

Instructional Design

Opening/Activating Strategy

  • Ask students what a sound effect is. Ask a couple of students to demonstrate examples of sound effects like a car engine.
  • Next, tell students that they will be using their voices and bodies to create sound effects responding to the teacher’s prompts. Set noise level and movement guidelines for students before beginning.
  • Tell students:
  • “Make the sound of water droplets hitting the ground. Is it rain, a hose, a sprinkler, a spilled glass? You decide.”
  • “Now make the sound of ice hitting something. Is it an ice storm, or ice in a glass from an ice maker or ice tray? Is it hail? You decide.”
  • “Now make the sound of water as a gas. Is it steam from a boiling pot of water? Rain evaporating off of concrete after a storm? You decide.”
      • Debrief the activity with students. Ask them why some states of matter are easy to add sound to and some are not.
    • Tell students that now they will use their bodies to enact the different states of matter.
  • Teacher note: Because students may come in physical contact with each other  during the activity, set parameters and expectations for student behavior prior to the activity.
    • Process:
      • Direct students’ attention to the large square on the floor made with masking tape.
      • Liquid State: Ask your students to come into the middle of the space and get as close together as they can while still being able to move around freely amongst one another.  Students should stay in the middle of the space. Ask students how their movement is like a liquid state.
      • Solid State:  Tell your students that you will be taking away energy from the group.  Ask students what they think should happen when they lose energy. (The group will not be able to move as much, moving slower and slower, eventually ceasing movement.)
      • Gaseous State:  Now tell your students that you will begin pumping energy into the square. The students will be able to move again without holding onto each other. Note that so much energy may enable some of the students to bounce out of the square, and eventually all of the students will be able to go anywhere in the room (they will not be contained by the square anymore).  Remind students that if they "bump into" anything (stress that they should not really crash) they will bounce off in a new direction.
      • Comment on the fact that the group has expanded to fill all of the available space.
      • Ask students what the square might represent (a container) and why they were not confined to it when they changed into a gaseous state (students should think about a pot of boiling water).
    • Facilitate a discussion around the following questions:
      • “What was each state?”
        • Moveable but contained in the shape
        • Not moveable in the shape
        • Bouncing all over, not contained to the shape
      • “What else do you know that has these three states?”

 

Work Session

  • Tell students that they will be using a similar process to enact the water cycle.
  • Tell students to find their own space in the room.
  • Ask the students to describe some places where water is on the earth.  Tell students that when the music starts, they should become bodies of water when the music starts. They can be the ocean, a river, a pond, a puddle, etc.
    • Remind students of the physical shape of water–flat, low, etc.
    • Start music and allow students to move like water.
    • After a few minutes, ask the students to begin letting their water evaporate. Tell students to show the water evaporating, think about where it goes, and show how it rises up.
    • Remind students that if they are a droplet now, move lightly as a droplet would, using their whole bodies.
    • Now ask the students to imagine that they are rising as the water evaporates.
    • As they get higher the air is cooler and the water starts to condense.
    • Ask students to try to move more strongly, contracting as they come more solid.
    • Ask students to squeeze themselves into a cloud that keeps changing shape.
    • Now ask students to work together to become bigger and bigger clouds.
    • Next, ask students to imagine that their cloud has become so heavy that the vapor turns into rain.
    • Ask students to become the rain with their bodies. Are they big droplets? Or a steady spring rain? Remind students to use their whole bodies, including fingers, toes, etc.
    • Now ask students to become a body of water again. Make it a different body of water than before.
    • Repeat the process, altering the size of the cloud or type of precipitation, etc.
  • Debrief the activity with students. Ask students how they changed their bodies based on what state of matter they represented.

 

Closing Reflection

Students should write a reflection on the process, explaining the stages of the water cycle, how molecules behave in each state, and how they showed this using their bodies. This reflection can be done in students’ STEAM journals if they use one.

 

Assessments

Formative

Teachers will assess students’ understanding of the content throughout the lesson by observing students’ participation in the activator, ability to demonstrate various states of matter using their bodies, ability to enact the water cycle using their bodies, and ability to explain their movement choices.

Look for students who seem to be copying other students’ movements and not creating their own, this may indicate a lack of understanding.

 

Summative

CHECKLIST

  • Students can explain the stages of the water cycle, how molecules behave in each state, and how they showed this using their bodies.
  • Students can use their bodies to enact the different states of matter.
  • Students can explain how energy impacts changes in states of matter.

 

Differentiation

Acceleration: Challenge students to write a scene that incorporates dialogue in which each state of matter is personified. Students should create a character profile for each state of matter–this will include adding voice qualities and personalities to each state of matter. Students can then act out the scene.

Remediation: 

  • Use pictures and videos to help students understand how molecules behave in the different states.
  • Break students into small groups. Have them create the scene in which they demonstrate the water cycle in their groups instead as a whole class. This will allow the teacher to identify and work more closely with students who are struggling.

 

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

Ideas contributed by: Mary Gagliardi and Katy Betts.

Revised and copyright:  June 2024 @ ArtsNOW

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EXPLORING WAVELENGTHS THROUGH OP ART 6-8

EXPLORING WAVELENGTHS THROUGH OP ART

EXPLORING WAVELENGTHS THROUGH OP ART

Learning Description

In this visual arts integrated lesson, students will understand and demonstrate the concept of wavelengths by creating Op Art using line and color.

 

Learning Targets

GRADE BAND: 6-8
CONTENT FOCUS: VISUAL ARTS & SCIENCE
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can describe the style of Op Art.
  • I can demonstrate wavelengths and amplitudes in the style of Op Art using the element of line.
  • I can use complementary color schemes to create contrast.

Essential Questions

  • What is Op Art?
  • How can I use the element of line to demonstrate wavelengths and amplitudes in the style of Op Art?
  • How does using a complementary color scheme in art create contrast?

 

Georgia Standards

Curriculum Standards

Grade 8

S8P4. Obtain, evaluate, and communicate information to support the claim that electromagnetic (light) waves behave differently than mechanical (sound) waves.

Arts Standards

Grade 8

VA8.CR.1 Visualize and generate ideas for creating works of art. 

 

VA8.CR.2 Choose from a range of materials and/or methods of traditional and contemporary artistic practices to plan and create works of art.

 

VA8.CR.3 Engage in an array of processes, media, techniques, and/or technology through experimentation, practice, and persistence.

 

VA8.CR.4 Incorporate formal and informal components to create works of art.

 

South Carolina Standards

Curriculum Standards

Grade 6

6-PS4-2. Develop and use a model to describe that waves are reflected, absorbed, or transmitted through various materials.

 

Arts Standards

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

 

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

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

 

Key Vocabulary

Content Vocabulary

  • Electromagnetic waves - A form of energy that moves through space in the form of varying electric and magnetic fields; it doesn’t rely on any medium and can travel through a vacuum
  • Mechanical waves - A type of wave that moves through a material medium, transferring energy by causing particles in the medium to oscillate or vibrate as the wave travels

 

  • Amplitude - The height or "size" of a wave from its resting position
  • Peak - The highest point or the topmost part of the wave
  • Trough - The lowest point or the bottommost part of the wave
  • Wavelength - The distance between the peaks (or troughs) of a wave

Arts Vocabulary

  • Line - One of the elements of art, the path of a moving point
  • Color - One of the elements of art, light reflected or absorbed
  • Complementary colors - Colors that are across from each other on the color wheel
  • Op Art - An art movement of the 1960’s; this movement used optical illusions to create abstract art
  • Optical illusion - A visual that plays a trick on the eye
  • Abstract art - Art that does not resemble something in the real world
  • Composition - How the artist arranges the elements of art in an artwork

 

Materials

    • White paper
    • Markers
    • Pencils
    • Rulers
  • Acceleration option - colored pencils

 

Instructional Design

Opening/Activating Strategy

  • Project the artwork, Cataract 3 by Bridget Riley (alternate artwork–Arrest 3 by Bridget Riley). 
  • In small groups, students should make observations about the artwork. 
    • Students should identify as many characteristics of the artwork as they can. Examples could include that it has wavy horizontal lines, it is mostly black and white, it appears three-dimensional, etc.
    • Facilitate a discussion about what students observed.
  • Next, have students make associations about the artwork in their small groups–what does it make them think of?
  • Facilitate a group discussion about the associations that students make.
  • Tell students that the artist, Bridget Riley, is one of the most famous artists associated with the art movement of the 1960’s, Op Art. Artwork in this movement is abstract (does not resemble the real world) and creates optical illusions.

 

Work Session

    • Explain to students that they will create an artwork in the style of Op Art that represents different wavelengths.
    • Review electromagnetic and mechanical waves with students. Look at diagrams of waves. Review specific terms related to waves such as peak, amplitude, and wavelength. 
    • Tell students that line is one of the seven elements of art. Ask students if they can see how a line is used to represent wavelength. 
    • If students have learned how to calculate wavelength, review this concept before moving on.
      • Distribute a set of criteria for a wavelength–this could be specific measurements that they use to calculate wavelength if students have learned this, or it could be specific measurements of a wavelength. Students will use the criteria to create their Op Art.
      • First, students should turn their paper landscape style (wide).
      • Second, using their understanding of the amplitude of their wave, each student should use a ruler to mark the both sides of their paper with the amplitude of the wave. 
        • For example, if the amplitude is represented by .5 inches, students should make horizontal lines that are .5 inches apart on their paper.
      • Third, students should determine the wavelength. Students should use a ruler to mark the wavelength at the top and bottom of their paper; then, students should connect the marks to create vertical lines. 
      • Fourth, using these horizontal and vertical lines as a guide, students should draw their waves in pencil. 
      • Finally, show students a color wheel. Explain to students that colors opposite each other on the color wheel are called complementary colors. Using complementary colors creates contrast, which is one of the characteristics of Op Art.
        • Students should select a complementary color scheme to use for their artwork. Students should fill in the space between their waves using alternating colors. 
      • Allow students time to create their artwork.

       

      Closing Reflection

      • Students should describe in written form what their waves show. 
      • Students should then get into small groups to observe others’ artwork. Students should be able to identify characteristics of the waves in their classmates’ artwork.

       

      Assessments

      Formative

      Teachers will assess students’ understanding by observing whether students are able to explain what Op Art is, how line and color are used in Op Art, and whether students are able to explain waves and what a visual of a wavelength shows.

       

      Summative

      CHECKLIST

      • Students can accurately show the criteria of the wave provided to them in their artwork.
      • Students can use a complementary color scheme in their own Op Art.
      • Students can explain what their individual wavelengths mean. For example, a long wavelength will mean sound will carry farther.
      • Students can identify which characteristics in their artwork demonstrate Op Art.

       

      DIFFERENTIATION 

      Acceleration: 

      • Students can create three small pieces of Op Art using three different wavelength and amplitude criteria and three different color schemes.
      • Students can study how the element of Value (the lightness or darkness of something) creates the illusion of form. Students can then explore how incorporating lighter values on the peaks and troughs with colored pencil furthers the illusion.
      • Students can explore other types of Op Art on Tate Kids.

       

      Remediation: 

      • Provide pre-measured paper for students so that they are only drawing and coloring the wavelengths. Have students use a ruler to measure the amplitude and discuss what the wavelengths show.
      • Provide a visual diagram of a wavelength with labeled parts.
      • Allow students to orally explain what their artwork shows.
      • Allow students to make an artwork inspired by wavelengths rather than using precise measurements. Students should explain how their artwork shows the characteristics of waves (peak, trough, length, amplitude, etc.).

       ADDITIONAL RESOURCES

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

      Ideas contributed by: Katy Betts

      Revised and copyright:  May 2024 @ ArtsNOW

       

      Back to Modules

      PROBLEM SOLVING WITH MOVEMENT 6-8

      PROBLEM SOLVING WITH MOVEMENT

      PROBLEM SOLVING WITH MOVEMENT

      Learning Description

      In this lesson, students will grasp and apply the order of operations to solve equations by developing choreography that illustrates each step of an equation.

       

      Learning Targets

      GRADE BAND: 6-8
      CONTENT FOCUS: DANCE & MATH
      LESSON DOWNLOADS:

      Download PDF of this Lesson

      "I Can" Statements

      “I Can…”

      • I can represent the order of operations through movement.
      • I can create choreography that represents each step of an equation using the order of operations. 
      • I can accurately use the order of operations to solve an equation.

      Essential Questions

      • How can movement aid in the comprehension of order of operations and solving equations?

       

      Georgia Standards

      Curriculum Standards

      Grade 6:

      6.PAR.6: Identify, write, evaluate, and interpret numerical and algebraic expressions as mathematical models to explain authentic situations.

      6.PAR.6.4 Evaluate expressions when given values for the variables, including expressions that arise in everyday situations.

      Arts Standards

      Grade 6:

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

       

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

       

      MSD.PR.1 Identify and demonstrate movement elements, technique, and terminology in dance. 

       

      MSD.CN.3 Demonstrate an understanding of dance as it relates to other area of knowledge.

       

      South Carolina Standards

      Curriculum Standards

      Grade 6:

      6.EEI.1 Write and evaluate numerical expressions involving whole-number exponents and positive rational number bases using the Order of Operations.

       

      6.EEI.2 Extend the concepts of numerical expressions to algebraic expressions involving positive rational numbers. 

      1. Evaluate real-world and algebraic expressions for specific values using the Order of Operations. Grouping symbols should be limited to parentheses, braces, and brackets. Exponents should be limited to whole-numbers.

       

      Grade 7:

      7.EEI.3 Extend previous understanding of Order of Operations to solve multi-step real-world and mathematical problems involving rational numbers. Include fraction bars as a grouping symbol.

      Arts Standards

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

       

      Anchor Standard 2: I can choreograph a dance.

       

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

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

       

      Key Vocabulary

      Content Vocabulary

      • Order of operations -  A set of rules that dictates the sequence in which operations should be performed to ensure consistent and correct results; it is essential when an expression involves multiple operations like addition, subtraction, multiplication, division, exponents, and parentheses

      Arts Vocabulary

      • Movement phrase - A series of movements linked together to make a distinctive pattern
      • Non-locomotor - This refers to a movement that does not travel through space
      • Locomotor - This refers to a movement that travels through space
      • Steady beat - An unchanging, continuous pulse
      • Space - An element of movement involving direction, level, size, focus, and pathway
      • Level - One of the aspects of the movement element space; in dance, there are three basic levels: high, middle, and low
      • Choreography - The art of composing dances and planning and arranging the movements, steps, and patterns of dancers
      • Choreographer - A person who creates dances
      • Shape - This refers to an interesting and interrelated arrangement of body parts of one dance; the visual makeup or molding of the body parts of a single dancer; the overall visible appearance of a group of dancers

       

      Materials

      • Sound source and music with a steady beat
      • Equations on cards that require students to use the order of operations

       

       

      Instructional Design

      Opening/Activating Strategy

      Classroom Tips: Set up chairs and tables in a circular format to maximize students’ engagement and ability to see their peers during the activity and performance. Also establish parameters for acceptable movement choices and discuss audience behavior/etiquette with students.


      • Begin the lesson by engaging students in movement that introduces students to the Elements of Dance: Body, action, space, time and energy.
        • Have students arrange themselves in the classroom with enough personal space to move freely without touching a neighbor.
        • Turn on instrumental music with a steady beat.
        • First, have students bring awareness to their bodies by leading them through gentle stretches starting from the head and moving to the toes (e.g., head circles, shoulder shrugs, toe touches, etc.).
        • Next, bring students’ awareness to the rhythm of the music by having them march in place to the beat with high knees, swinging their arms side to side. 
        • Now, direct students to explore energy variations with different movement qualities such as sharp movements–quick, precise actions like punches or snaps, and smooth movements–slow, flowing actions like waves or circles with arms.
        • Finally, bring students’ attention to levels (high, middle, low) and directions (forward, backward, sideways) with movements such as stretching up high and moving on tiptoes, moving low to the ground and crawling forwards and backwards, and bouncing in place at a medium level.
        • Have students return to their seats.

       

      Work Session

      • Review order of operations with students. 
      • Break the class into groups. 
      • Assign each group one of the following: Parenthesis, exponents, multiplication, division, addition, or subtraction.
        • Each group should create a movement that demonstrates their operation.
        • Remind students to think about the movements from the warm-ups and how their levels and body shapes can communicate their concept.
        • Each group will teach their movement to the class.
        • Then, the whole class will perform the choreography together in the correct order of operations. 
      • Assign each group an equation that requires students to use the order of operations in order to be solved.  
      • Ask students to begin by solving their equation mathematically.
        • Next, ask students to create choreography in the order that is needed to solve an equation with the order of operations.
        • For example, if the equation is 19 + 40 ÷ 5 - (8 + 5 ) = X, students would create a movement to represent (8 + 5); 40 ÷ 5; 19 + 8; and finally 27 - 13.
          • Encourage students to incorporate the movements from the order of operations choreography in their equation choreography.

       

      Closing Reflection

      • The students will perform their movement phrases for their classmates. Discuss appropriate audience participation and etiquette prior to performances.
      • Turn up the volume of the music and help students find the steady beat again by tapping their toe on the floor.
      • After each performance, students will share and post their equation with ordered sections in how they solved the problem and related it to the sections of choreography they created.

       

      Assessments

      Formative

      Teachers will assess students’ understanding of the content throughout the lesson by observing students’ participation in the activator, ability to express the order of operations through movement, and ability to use the order of operations to solve an equation.

       

      Summative

      CHECKLIST

      • Students can represent the order of operations through movement.
      • Students can create choreography that represents each step of their equation using the order of operations. 
      • Students can accurately use order of operations to solve their equation.

       

       

      DIFFERENTIATION 

      Acceleration: Challenge students to create their own equation and create choreography to represent it using the order of operations.

       

      Remediation: Assign each group a section of the equation to choreograph. Then, have students put their equation together to solve it using the order of operations.

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

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

      Revised and copyright: June 2024 @ ArtsNOW

       

      Back to Modules

      CREATING ATMOSPHERIC ART: EXPLORING HIGH AND LOW PRESSURE SYSTEMS

      CREATING ATMOSPHERIC ART:
      EXPLORING HIGH AND LOW PRESSURE SYSTEMS

      CREATING ATMOSPHERIC ART: EXPLORING HIGH AND LOW PRESSURE SYSTEMS

      Learning Description

      In this lesson, students will demonstrate the characteristics of high and low-pressure systems in weather patterns by creating artwork using color, repetition, placement, and movement.

       

      Learning Targets

      GRADE BAND: 6-8
      CONTENT FOCUS: VISUAL ARTS & SCIENCE
      LESSON DOWNLOADS:

      Download PDF of this Lesson

      "I Can" Statements

      “I Can…”

      • I can use color, repetition, placement, and movement in art to demonstrate the characteristics of high and low-pressure systems in weather patterns.
      • I can explain how air particle density and air pressure impact weather patterns.

      Essential Questions

      • How can I use color, repetition, placement, and movement in art to demonstrate the characteristics of high and low-pressure systems in weather patterns?
      • How does air particle density and air pressure impact weather patterns?

       

      Georgia Standards

      Curriculum Standards

      Grade 6

      S6E4. Obtain, evaluate, and communicate information about how the sun, land, and water affect climate and weather.

      Arts Standards

      Grade 6

      VA6.CR.1 Visualize and generate ideas for creating works of art.

       

      VA6.CR.2 Choose from a range of materials and/or methods of traditional and contemporary artistic practices to plan and create works of art.

       

      VA6.CR.3 Engage in an array of processes, media, techniques, and/or technology through experimentation, practice, and persistence.

       

      VA6.CR.4 Incorporate formal and informal components to create works of art.

       

      South Carolina Standards

      Curriculum Standards

      Grade 6

      6-ESS2-5. Analyze and interpret data to provide evidence for how the motions and complex interactions of air masses result in changes in weather conditions.

      Arts Standards

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

       

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

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

       

      Key Vocabulary

      Content Vocabulary

      • Low pressure system - An area where the air pressure is lower than the surrounding areas; usually associated with cloudy weather
      • High pressure system - An area where the air pressure is higher than the surrounding areas; usually associated with sunny weather
      • Air particle density - The number of particles in a specific volume of air; high density means more particles, low density means fewer

      Arts Vocabulary

      • Warm colors - Yellow, orange, red
      • Cool colors - Purple/violet, blue, green
      • Movement - One of the principles of design; it is the way artists create the illusion of motion; it is the way artists use the elements of art to move the viewer’s eye through the artwork
      • Placement - Where artists choose to place the elements of art in an artwork
      • Repetition - One of the principles of design; the repeated use of an element in an artwork

       

      Materials

      • White paper
      • Markers/colored pencils OR tempera paint and paintbrushes

       

      Instructional Design

      Opening/Activating Strategy

        • In small groups, students should make observations about the artwork. Students should identify as many characteristics of the artwork as they can. Examples could include that it has dots, repetition, shades of red, etc.
      • Facilitate a discussion about what students observed.
      • Next, have students make associations about the artwork in their small groups–what does it make them think of?
        • Facilitate a group discussion about the associations that students made.
      • Tell students the name of the artword and the artist. Ask students why they think Kusama named the artwork Sunlight.
        • Display a color wheel. Ask students what the warm colors are and what connection that might have to the title Sunlight.
      • Show students other examples of Kusama’s artwork. Ask students to discuss what is similar and different about the artwork. Students should notice that Kusama uses dots throughout most of her artwork.
      • Ask students where they see repetition in her artwork.
      • Tell students that another principle of design is movement. Movement can mean real physical movement, but it can also represent how the artist wants the viewer’s eyes to travel through the artwork.

      Show students Sunlight by Yayoi Kusama again. Ask them where they see movement in this artwork (radiating sunlight).

       

      Work Session

      • Explain to students that they will be creating two artworks–one that demonstrates a high pressure system and one that demonstrates a low pressure system.
      • Review (or teach) students about both systems, warm and cold air density, and why high pressure systems result in sunny weather and why low pressure systems result in cloudy/rainy weather.
      • Students’ artwork should use dots, like Kusama, to represent air particles.
        • Students’ artwork should visualize warm and cool air particles using warm and cool colors.
        • They should use placement of their dots to show that warm air is less dense than cool air.
        • They should also use placement to represent where warm and cool air particles are positioned depending on the type of weather (sunny or cloudy).
      • To make their artwork more visually engaging and interesting, project Starry Night and Sunlight on the board again. Since air particles move, ask students to think about how they could show movement in their artwork.
      • If students are using markers or colored pencils, they will draw dots to represent air particles. If they are using tempera paint and paint brushes, students will “spatter paint” their air particles.
        • Demonstrate low-mess splatter paint techniques: After dipping the paintbrush in paint, tap the handle of the paintbrush on the opposite hand with the bristles over the paper OR flick the bristles of the paintbrush with thumb.

       

      Closing Reflection

      • Students should complete their work by writing a summary explaining how they showed both types of systems using placement and movement to show density and the type of system and how they used color to show air temperature.
      • Conduct a gallery walk. Students should be able to determine which artwork shows a low pressure system and which shows a high pressure system.

       

      Assessments

      Formative

      Teachers will assess student understanding by observing whether students are able to identify how artists show movement, identify repetition in art, and explain high and low pressure systems.

       

      Summative

      CHECKLIST

      • Students can use color to represent air particle temperature.
      • Students can use placement and movement to represent where warm and cool air particles are positioned depending on the type of weather and to visually demonstrate air particle density.
      • Students can explain how they showed both types of systems using placement, movement and color.
      • Students can explain both high and low pressure systems.

       

      DIFFERENTIATION 

      Acceleration: Students can create a similar artwork that shows how changes in air pressure create hurricanes, tornadoes, and thunderstorms.

      Remediation: 

      • Students should select either a high or low pressure system for their artwork.
      • Allow students to work with a partner.
      • Allow students to orally explain how they used color, placement and movement in their artwork to visualize each system.

       ADDITIONAL RESOURCES

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

      Ideas contributed by: Katy Betts

      Revised and copyright: May 2024 @ ArtsNOW

       

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      “YOU ADDITIVE INVERSED ME!” 6-8

      “YOU ADDITIVE INVERSED ME!”

      “YOU ADDITIVE INVERSED ME!”

      Learning Description

      Bring a simple but sometimes baffling math concept to life through pantomime and improvisation!  In this lesson, students will explore the concepts of absolute value and additive inverses by developing, enacting, and then writing out scenes featuring everyday actions that convey the dynamic at the heart of the math.

       

      Learning Targets

      GRADE BAND: 6-8
      CONTENT FOCUS: THEATRE & MATH
      LESSON DOWNLOADS:

      Download PDF of this Lesson

      "I Can" Statements

      “I Can…”

      • I can identify the additive inverse of a number.

      • I can act in an improvised scene based on a math concept.

      • I can write out the scene I improvised.

      Essential Questions

      • What is an additive inverse?

      • How can we use drama to bring math concepts to life?

       

      Georgia Standards

      Curriculum Standards

      Grade 6:

      6.NR.3: Solve a variety of problems involving whole numbers and their opposites; model rational numbers on a number line to describe problems presented in relevant, mathematical situations.

      6.NR.3.1 Identify and compare integers and explain the meaning of zero based on multiple authentic situations.

      6.NR.3.5 Explain the absolute value of a rational number as its distance from zero on the number line; interpret absolute value as distance for a positive or negative quantity in a relevant situation.

      Arts Standards

      Grade 6:

      TA6.CR.1 Organize, design, and refine theatrical work.

       

      TA6.PR.1 Act by communicating and sustaining roles in formal and informal environments.

       

      South Carolina Standards

      Curriculum Standards

      Grade 6:

      6.NS.5 Understand that the positive and negative representations of a number are opposites in direction and value. Use integers to represent quantities in real-world situations and explain the meaning of zero in each situation.

      Arts Standards

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

       

      Key Vocabulary

      Content Vocabulary

      • Positive number – A number to the right of zero on a number line

       

      • Negative number – A number to the left of zero on a number line

       

      • Absolute value – The distance from a number to zero on a number line

      • Additive inverse – The opposite of a number; the number that, when added to a given number, results in the sum of zero

      Arts Vocabulary

      • Improvisation – Acting without a script

       

      • Pantomime – Pretending to hold, touch, or do something one is not holding, touching or using

       

      • Dialogue – Conversation between characters

      • Scene – The dialogue and action between characters in one place for one continuous period of time

       

      Materials

      Paper and pencils, or devices, for writing

       

      Instructional Design

      Opening/Activating Strategy

        • Model for students a basic mirror activity: Have a student volunteer come to the front; have the student become a mirror; slowly do simple movements (waving, shrugging, tilting head, smiling, frowning, tapping knees, etc.) facing the “mirror” for the student volunteer to copy.
          • Move slowly so that the volunteer can follow. 
          • Trade roles; have the student initiate the movement, and follow the student’s movement.  
      • Note: in mirroring, one partner’s right arm is mirrored by the other’s left arm.

       

      Work Session

        • Discuss absolute value and additive Inverse.
          • Explain that a number and its additive inverse add up to 0, and that a number and its additive inverse have the same absolute value.  
          • Confirm comprehension by posing numbers and asking students to reply with each number’s additive inverse.
        • Introduce improvisation – ‘acting without a script’ or ‘making it up as you go’.
          • Explain that in improvisation, actors go along with other actors’ ideas, listen and respond as in a real conversation, and add details and build conflict between the characters to keep the scene interesting.
            • Define a scene as continuous action in a single place.
        • Model an improvised scene with a student, or have two students model an improvised scene, of two characters who know each other (parent/child, siblings, friends), with a specific conflict (child wants permission to go somewhere, parent says “No”; or parent wants child to clean their room, but child is resisting; or child wants sibling to stay out of their room; or child wants friend to play basketball; etc.).
          • Reflect on how the scene was improvised, and how the actors improvised effectively to create an interesting scene.
        • Brainstorm verbs that convey opposite/reversible, measurable actions (not simple binaries of on/off, in/out, etc.) such as push/pull, buy/sell, earn/spend, stretch/contract, wrap/unwrap, produce/consume, build/dismantle, inflate/deflate, etc.  
        • Discuss additive inverse and how it can be represented in opposite actions conveyed in the verb pairs.
          • If needed, provide examples of additive inverse relationships in real world situations from the Georgia standard: “temperature above/below zero, elevation above/below sea level, debits/credits, positive/negative electric charge”.
        • Explain that students will work with a partner to improvise scenes that convey additive inverse relationships in everyday situations.
          • Students should use dialogue and pantomime in their scenes.
            • Define pantomime, and explain that students will pantomime any actions in their scenes. 
        • Model an improvised scene with a student, or guide two students in modeling an improvised scene, in which an action and its opposite are the center of the conflict. Develop the conflict to the point where one character says. “You additive inversed me!”
          • Examples could include:
            • A child earns X minutes of screen time for doing chores, but the parent discovers a rule or object that was broken and takes away the time.
            • A friend is winning a one-on-one basketball game by 13 points, but the opponent has a 13-point run to tie the game.
            • A grandmother baked 17 cookies, but the child ate 17 cookies. 
      • Any actions in the scene should be pantomimed.
      • Have student pairs improvise their scenes simultaneously.
      • Have students write their improvised scenario as a scene, detailing what the characters said.
      • Each student should write their own. They should try to remember what they can from the improvised scene but also feel free to revise and reinvent what was said as they write it down.  
      • Have students draw a diagram or chart or number line that shows the additive inverse in a mathematical representation.

       

      Closing Reflection

      • Ask students to define and give real-world examples of additive inverses.  
      • Discuss improvisation and pantomime and how they were used in the scenes.

       

      Assessments

      Formative

      Teachers will assess students by observing students’ discussions around additive inverse relationships between two quantities, and observing their focus and collaboration in improvising their scene, specifically in terms of both engaging in dialogue with their partners and expressing actions through pantomime.

       

      Summative

      CHECKLIST

      • Students can identify the additive inverse of a number.
      • Students can act in an improvised scene that demonstrates understanding of additive inverse number relationships using dialogue and pantomime.
      • Students can express understanding of additive inverse through a written scene.

       

      DIFFERENTIATION 

      Acceleration:

      • Have students be more specific within their scenes, including specific measurements and equations to express the concept of additive inverses in their scenes.

      Remediation:

      • Model several scenes before having students do them with partners.
      • Have student partners improvise the same scenario that was used in the modeling.
      • Develop an idea together and have all partners improvise that scenario simultaneously.

       

       ADDITIONAL RESOURCES

       

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

      Ideas contributed by:  Barry Stewart Mann

      Revised and copyright:  May 2024 @ ArtsNOW

       

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