ECHOES OF GIACOMETTI – COMMEMORATING HISTORY 6-8

ECHOES OF GIACOMETTI - COMMEMORATING HISTORY

ECHOES OF GIACOMETTI - COMMEMORATING HISTORY

Learning Description

In this lesson, students will study how the artist, Alberto Giacometti, visually communicates meaning through texture, proportion, and posture. Applying these concepts, students will design a monument or memorial honoring a significant historical event from their unit of study.

 

Learning Targets

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

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can describe an important historical event from my unit of study.

  • I can explain how Giacometti used posture, texture, and proportion to communicate meaning in his art.

  • I can use posture, texture, and proportion to communicate meaning in my sculpture.

Essential Questions

  • How can visual artists use art to tell about an important historical event?

  • How did Giacometti use posture, texture, and proportion to communicate meaning in his art?

  • How can I use posture, texture, and proportion to communicate meaning in my sculpture?

 

Georgia Standards

Curriculum Standards

Grade 6

Any history standard for grade 6 can be used for this lesson.

SS6H1, SS6H2, SS6H3, SS6H4

 

Grade 7

Any history standard for grade 7 can be used for this lesson.

SS7H1, SS7H2, SS7H3

 

Grade 8

Any history standard for grade 8 can be used for this lesson.

SS8H1, SS8H2, SS8H3, SS8H4, SS8H5, SS8H6, SS8H7, SS8H8, SS8H9, SS8H10, SS8H11, SS8H12 

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.

 

Grade 7

VA7.CR.1 Visualize and generate ideas for creating works of art. 

VA7.CR.2 Choose from a range of materials and/or methods of traditional and contemporary artistic practices to plan and create works of art.

VA7.CR.3 Engage in an array of processes, media, techniques, and/or technology through experimentation, practice, and persistence. 

VA7.CR.4 Incorporate formal and informal components to create works of art.

 

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

Any history standard for grade 6 can be used for this lesson.

 

Grade 8

Any history standard for grade 8 can be used for this lesson.

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 (read) and evaluate the meaning of an artwork.

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

 

Key Vocabulary

Content Vocabulary

*Specific content vocabulary will be unique to the Social Studies unit being studied.

 

  • Monument - A type of sculpture, often of significant size or importance, created to commemorate or honor a person, an event, an idea, or a place; it serves as a symbol or a reminder, preserving history, culture, or achievements

  • Memorial - Can be a type of sculpture; similar to a monument but a memorial is focused more on honoring and remembering those who are no longer present or marking significant moments of loss or tragedy
  • Inscription - A piece of writing that typically includes words, phrases, or sentences that commemorate, honor, or describe the significance of the monument

Arts Vocabulary

  • Sculpture - A form of artwork that has three dimensions

  • Texture - How something feels or looks like it feels
  • Proportion - The size, scale, and relationships between different elements within a piece
  • Disproportionate - When something in a piece of art looks unusually big, small, or out of place compared to the other things around it
  • Posture - The way a person or an object is positioned or how they hold themselves in a painting, drawing, or sculpture
  • Emphasis - What the artist wants to draw the viewer’s attention to

 

Materials

  • Model Magic, modeling clay, OR aluminum foil sheets
  • Scrap cardboard rectangles for base of sculpture (can be a cereal or snack box)
  • If using foil for sculptures:
    • Scissors
    • Permanent markers
    • Hot glue and hot glue gun for mounting sculpture on base

 

Instructional Design

Opening/Activating Strategy

  • Project an image of Alberto Giacometti’s sculpture, Walking Man II.
  • Ask students to work collaboratively to engage in the See, Think, Wonder artful thinking routine.
    • First, students will identify what they see in the image. Emphasize that they should make objective observations about the sculpture (i.e. physical features, colors, textures, etc.). 
    • Next, ask students to identify what they think about the image. Emphasize that students should be creating inferences using visual evidence from the sculpture. 
    • Finally, ask students what they wonder about the image. 
  • Facilitate a class-wide discussion around students’ observations, inferences, and questions.

 

Work Session

  • Show students additional images of Giacometti’s sculptures (see “Additional Resources” section below).
    • Focus on the question–what is the artwork about? What emotions does it evoke?
    • Provide information to students on the artist and the sculpture:
    • Ask students what characteristics of the sculpture communicate this message. Answers could include responses such as the elongated, thin figure; the rough, unfinished texture; the posture of the figure; etc.
    • Tell students that texture in art is how something feels, like in a sculpture, or how something looks like it would feel, like in a painting or drawing.
      • The rough texture of Giacometti’s sculptures is intentional. Ask students how they think Giacometti used texture to communicate his message.
    • Tell students that when artists make things disproportionate, they are usually trying to emphasize (or draw attention to) something. Ask students why they think Giacometti's sculptures are disproportionate/elongated. 
    • Direct students’ attention to the posture of the figures. Ask students what the postures could mean.
  • Explain to students that they will be creating sculptures in the style of Giacometti to demonstrate what they learned about the current history unit. Their sculptures will be a monument or memorial to commemorate an important event they are studying.
  • Allow time for students to select an event.
  • Show students examples of monuments and memorials. Ask students to consider what each monument or memorial means/symbolizes and how the artist communicated that. Example monuments and memorials:
  • Tell students that they should consider the posture, texture and proportion of their figure(s) when creating their sculptures. The posture of the figure, the texture, and the proportion should say something about what they are trying to communicate.
  • Sculptures can be made from Model Magic (air-dry), modeling clay (does not dry), or sheets of aluminum foil. Click here to view step by step instructions on how to create a Giacometti-inspired sculpture using aluminum foil.
  • Allow time for students to brainstorm ideas for their sculptures. Students should create a sketched plan of their sculpture before beginning their sculpture.
  • After they finish, students should create a title for their sculpture and write an inscription for their sculpture, such as a monument would have, on a 3x5 inch note card. Display the note card with the sculpture.
  • Students should arrange their sculptures to create a class timeline.

 

Closing Reflection

  • After students create their sculptures, they should complete a written explanation of their sculptures including how the characteristics of their sculpture–texture, proportion, and posture–connect to the event they are commemorating. They should be able to create direct connections between the characteristics of their sculptures and the event. They should also include why they selected the event for their sculpture.
  • Provide an opportunity for students to talk about their artwork and their artistic choices with each other.

 

Assessments

Formative

Teacher will assess student learning through observation of students’ discussion of Standing Man II and how Giacometti used posture, texture, and proportion to communicate meaning in his sculptures; students’ ability to identify and explain an important event from the current unit of study; and observation of students’ sketched plans for their sculptures.

 

Summative

CHECKLIST

  • Students can use posture, texture, and proportion to communicate important information about their event.
  • Students can explain in written form how they used posture, texture, and proportion to communicate important information about their event.
  • Students can explain why they selected the event for their sculpture.
  • Students can describe the event accurately and concisely in their inscription.

 

DIFFERENTIATION 

Acceleration: Have students research a memorial or monument that is associated with the unit of study; students should create a sketch of the memorial or monument and analyze how the artist(s) used texture, posture, and proportion to communicate meaning in the sculpture.

Remediation: 

  • Allow students to orally explain how the characteristics of their sculpture–texture, proportion, and posture–connect to the event they are commemorating. They should be able to create direct connections between the characteristics of their sculptures and the event. They should also explain why they selected the event for their sculpture.
  • Allow students to work together on a sculpture and/or on creating the inscription for the monument or memorial.

 

 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

Cultural Characters 6-8

CULTURAL CHARACTERS

CULTURAL CHARACTERS

Learning Description

In this lesson, students use photos that relate to a social studies concept as a springboard to write a first person monologue embodying the person who is pictured. This monologue explores the character’s views on the subject of the second photo that deals with the historical context students are studying. Next, students will bring the photo to life in an improvisation. By allowing your students to explore what they have read and heard about the social studies concept through the eyes of someone who experienced it, they learn empathy and better embody the concept. This exercise is a wonderful tool to increase presentation skills, empathy and ensemble in your classroom.

 

Learning Targets

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

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can write a monologue using photography as inspiration.

  • I can improvise a scene with a partner using photography as inspiration.

  • I can use theatre techniques to help me better understand a historical context/event.

Essential Questions

  • What impact does a photograph have on our perception of a society and/or historical context/event?

  • How can theatre techniques help me better understand a historical context/event?

 

Georgia Standards

Curriculum Standards

*This lesson can be taught using any Social Studies history standard that includes a figure who played a key role in a specific event, such as a governmental act, natural disaster, religious or governmental strife, etc.

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.

 

Grade 7: 

TA7.CR.1 Organize, design, and refine theatrical work.

TA7.PR.1 Act by communicating and sustaining roles in formal and informal environments.

 

Grade 8: 

TA7.CR.1 Organize, design, and refine theatrical work.

TA7.PR.1 Act by communicating and sustaining roles in formal and informal environments.

 

South Carolina Standards

Curriculum Standards

*This lesson can be taught using any Social Studies history standard that includes a figure who played a key role in a specific event, such as a governmental act, natural disaster, religious or governmental strife, etc.

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

 

Key Vocabulary

Content Vocabulary

  • Expository Writing - Writing with the purpose to demonstrate or explain 

 

*Social Studies vocabulary will differ by grade level and unit being studied.

Arts Vocabulary

  • Ensemble - All the parts of a thing taken together, so that each part is considered only in relation to the whole

  • Theater - Dramatic literature or its performance; drama

 

  • Improvisation - A creation that is spoken or written without prior preparation

 

  • Monologue - A speech by a single character in a play, film, or other dramatic work; often used to give the audience deeper insight into the character's motivations and feelings

 

  • Scene - A division of a play or act that presents continuous action in one place or setting

  • Dialogue - The conversation or interaction between characters in a written work

 

Materials

  • Printed photos
  • Index cards and pencils
  • Music and sound source

 

Instructional Design

Opening/Activating Strategy

Classroom Tips: This activity works best in an open space with room for students to move. 

 

  • Begin by playing music from the region or culture that students are studying (e.g., Latin American music) quietly as you pass out the images (photographs).
    • Each student should have one sheet of paper with two images, an index card, and pencil.
      • The first picture is of two people engaged in an activity. The name of the country or event should be written at the bottom of the photo. One of the people should be circled so you can pair up the students to act out the scene later. 
      • The second picture is of a prominent figure who played a key role in the event or culture, a governmental act or natural disaster, geographical landmark, religious or governmental strife in the corresponding to the event or country of choice. The photo should be titled with the reference to the event, landmark, etc.
    • Have students write their name in the top right hand corner of the index card.
    • Ask the students to closely observe the person that is circled in the top photo. 
    • Ask questions for them to more deeply embody their character.
      • They should list the following on the left hand side of the card:  Character’s name, character's age, home country, how does the character feel about what is happening or who is pictured in the second photo and how is it affecting them and their people? 
      • What is the character’s greatest fear?  
      • What is the character’s greatest dream? 
      • Encourage students to use descriptive phrases and relevant details and facts from the unit of study to complete the card. 
  • Provide time for students to pair-share or share responses with the class.

 

Work Session

  • Tell students that they will be writing a monologue in the first person introducing themselves as the person in their photograph.
    • Tell students that a monologue is a speech by a single character in a play, film, or other dramatic work. Monologues are often used to give the audience deeper insight into the character's motivations and feelings. 
    • Tell students to turn the card over and write a monologue in the first person introducing themselves as the character and including all of the elements on the front side of the card.
      • Tell students to make sure to summarize the paragraph with their character’s greatest dream for themselves and their country.   
      • Turn up the volume of the music while students are writing. Give them a set amount of time to write. This could also be a longer exercise or assignment that they bring in the following class period.  
    • When everyone is finished writing, introduce the next section. 
    • Tell students, “Today we are going to learn about the ______ period through the eyes of its people. Each of you have been brought here to help us explore this time. Welcome!”
    • Tell students, “Using a voice different from your own, the voice of the character in the picture, on a count of three, softly but out loud, tell me what you had for breakfast this morning.  Now sit like your character sits, different from yourself. Imagine your character is wearing an article of clothing that you don’t have on. On a count of three adjust that article of clothing.”  
    • Next, ask a student to walk to the front of the class as that character would walk.  
    • Once they get to the front of the classroom, ask them to pick one person to tell their story to. Ask the student to look at this person as they are telling their story.  Have them read their character’s monologue aloud. 
    • If you desire or time permits, you can open the floor up for questions so the other students can interview the character. Let the class know that they can openly discuss the issues at hand and help the character answer questions that they might know the answers to.
  • Now, tell students to find the classmate who has the other character depicted in the photograph on their page. Pass out two index cards to each pair.
    • Have students read their monologues to each other practicing embodying the character they have created. 
    • Students should then discuss the historical context from the photographs and establish each of their character’s points of view. 
    • On each card, students should write a sentence in the first person with the first thing their character wants to say about the context/event depicted.
    • When you say “action,” students bring the photo to life using improvisation.
    • Beginning with the first line they previously generated on their index card, students should improvise a scene between the two characters discussing the context/event. 
    • Say “freeze!” and have students return to their seats.

 

NOTE: Instead of improvising scenes, students can write a script for their scene and present it to the class.

 

Closing Reflection

  • On the back of their index cards students should reflect on the process and how both embodying their character and listening to another character’s point of view helped them gain a deeper understanding of the historical context/event.
  • Allow students time to share with the whole class.

 

Assessments

Formative

Teachers will assess students by observing students’ responses to class discussion around photographs in the opening strategy, consulting with students during the writing process, and observing students’ work with their partners creating improvisational scenes.

 

Summative

  • Students can write a monologue in the first person using photography as inspiration that addresses all parts of the prompt.
  • Students can use historical context and relevant facts to create a realistic first person account.
  • Students can work collaboratively to improvise a scene with a partner to investigate a historical context or event.

 

DIFFERENTIATION 

Acceleration: 

  • Challenge students by telling them in the middle of the improvised scene, to swap characters with their partner and continue the scene from the new perspective. This tests their adaptability and understanding of character dynamics.
  • Pair two partner teams together to create a new scene with all four characters.

Remediation: 

  • Pair English Language Learning students with native English speakers.
  • When writing the questions about the pictures, provide the students with a graphic organizer on which to write answers and to assist with organization of thoughts and ideas.
  • Have students choose fewer items from the list about the character in the picture. 
  • Conference with students who struggle with writing. 

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

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

Revised and copyright:  June 2024 @ ArtsNOW

 

Back to Modules

CELL TALK 6-8

CELL TALK

CELL TALK

Learning Description

In this lesson, students will become a part of a cell using their bodies and voices to become a particular part of the cell. After they create a character for an assigned part of a cell, students will pair up to create dialogue between the different parts of the cell. Cell Talk brings cells to life before students’ eyes. Through embodying the parts of animal and plant cells, students get an in depth understanding of their functions.

 

Learning Targets

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

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can accurately identify and describe my assigned cell type and part.

  • I can explain the role of my cell part.

  • I can portray my cell part using my body and voice.

  • I can write my Cell Talk dialogue demonstrating my understanding of the part and function of my assigned cell.

Essential Questions

  • How can theatre techniques be used to help us understand the parts of cells and their functions?

 

Georgia Standards

Curriculum Standards

Grade 7

S7L2. Obtain, evaluate, and communicate information to describe how cell structures, cells, tissues, organs, and organ systems interact to maintain the basic needs of organisms.

 

Arts Standards

Grade 7: 

TA7.CR.1 Organize, design, and refine theatrical work.

 

TA7.PR.1 Act by communicating and sustaining roles in formal and informal environments.

 

TA7.CR.2 Develop scripts through theatrical techniques.

 

TA7.CN.1 Explore how theatre connects to life experience, careers, and other content.

 

 

South Carolina Standards

Curriculum Standards

Grade 6

6-LS1-2. Develop and use a model to describe the function of a cell as a whole and ways the parts of cells contribute to the function.

 

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

 

 

Key Vocabulary

Content Vocabulary

  • Animal Cell - Animals are made up of these cells. They are round and do not have a cell wall.

  • Plant Cell - Rectangular with a cell wall. They make up all plants.
  • Cell - The smallest unit of an organism that can carry on life functions
  • Mitochondria - Cell organelle that breaks down food into energy. It gives and stores energy.
  • Vacuole - Stores water and nutrients for the cell
  • Organelle - A tiny cell structure that carries out a specific function within the cell
  • Tissue - A group of similar cells that perform the same function
  • Organ - Groups of tissues that work together
  • Chlorophyll - A green chemical in plant cells that allow plants to use sun energy for making food
  • Ribosomes - The complex of RNA and protein molecules that can be found either floating freely or attached to the surface of rough endoplasmic reticulum
  • Nucleus - Organelle that controls all the activities of a cell; the cell's control center
  • Cell membrane - A thin, flexible barrier around a cell, it protects the cell while allowing food and waste to enter and leave the cell
  • Cell Wall - A protective outer covering that lies just outside the cell membrane
  • Cytoplasm - A liquid that fills the plant and animal cells. It is jelly-like and holds all the parts in place.
  • Nucleus - Part in both cells that controls the cell like a brain
  • Chloroplast - A structure that contains chlorophyll and is found in plant cells; uses energy from sunlight to make energy rich food

Arts Vocabulary

  • Dialogue - A conversation between two or more persons

  • Scene - A single situation or unit of dialogue in a play
  • 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

 

Materials

  • Cell Visuals (half the class needs the plant cell diagram, the other half needs the animal cell diagram. Each visual should have one part circled.) 
  • Lined paper 
  • Pencils

 

Instructional Design

Opening/Activating Strategy

  • Start with a general physical warm-up to get the students' bodies ready. Use exercises such as:
    • Stretching: Stretch all major muscle groups.
    • Shaking Out Limbs: Shake out arms, legs, and the whole body to release tension.
    • Energy Passes: Stand in a circle and pass a clap or a simple motion around to build group focus and energy.
  • Explain that students will explore different characters with their bodies by changing their movements. Encourage them to think about how their character’s age, status, mood, and personality influence their movement.
    • Begin with simple prompts to get students thinking about different ways to move. Call out various types of characters and ask students to walk around the space embodying those characters. Examples include:
      • An elderly person with a cane
      • A proud soldier
      • A sneaky thief
      • A graceful dancer
  • Next, ask students to use their voices to introduce their characters. Have students use their voices and bodies to introduce themselves to a neighbor.
  • Have students return to their seats.

Work Session

  • Review animal and plant cells with students.
    • Talk about their parts and the function of each part.  
    • With a neighbor, ask students to create a movement and sound for each cell part. The movement/sound should reflect the function of each part.
      • Provide partners to share with another partner.
  • Creating cell characters:
    • Hand out diagrams of plant and animal cells. Each student should get one cell diagram. Each diagram should have one part circled on it.  
    • Ask the student to write down the type of cell that is pictured on their visual and the name of the circled part of the cell.
    • Ask the students to study the circled part of their pictured cell and write down the following:
      • What shape are you?  
      • What size are you?  
      • What color are you?  
      • What is your job?  
      • Give your cell part a personal name (i.e., Vicky Vacuole).
      • Ask students to use their body and a sound/voice to become their cell part.  
    • Ask students to introduce themselves all at the same time using a voice different from their own voice.  
    • Now, go around the room and ask volunteers to introduce themselves to the rest of the class.  
  • Creating Cell Talk:
    • Pair students up to represent two different parts of the same cell (animal or plant).  
    • Ask them to introduce themselves as the cell part to each other and tell about themselves and their function based on the list above.
    • Ask students to imagine that they are inside the cell and that they bump into each other. Ask students what would they talk about?  
    • Tell students to introduce themselves to each other. Then, they should talk about what they do for the cell and why they are so important to its survival.
      • Remind students to make sure that they talk about which type of cell they are a part of–plant or animal.
    • Next, have students write their conversation down as a scene using dialogue.

 

Closing Reflection

  • Students will perform their scenes for the class. Discuss appropriate audience etiquette and participation prior to performances.
  • After each performance, have students discuss how the actors represented their part of the cell through dialogue.

 

Assessments

Formative

Teachers will assess students’ understanding of the content throughout the lesson by observing students’ participation in the activator; discussion of the types of cells, their parts, and their roles; improvised dialogue; and conferencing with students during the writing process.

 

 

Summative

CHECKLIST

  • Students can accurately identify and describe their assigned cell type and part. 
  • Students can explain the role of their cell part.
  • Students can portray their cell parts using their bodies and voice.  
  • Students can write their cell talk dialogue demonstrating their understanding of the parts of their assigned cell.

 

 

DIFFERENTIATION 

Acceleration: 

  • Have students write a monologue for their cell part introducing themselves and explaining their role and importance.
  • Have students create a scene using dialogue with multiple students representing multiple cell parts.

Remediation: 

  • Scaffold the lesson by modeling the improvised scene with another student.
  • Provide a dialogue graphic organizer or sentence starters to help students structure their writing.

 

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

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

Revised and copyright: June 2024 @ ArtsNOW

Back to Modules

BE ONE WITH THE WATER 6

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
CONTENT FOCUS: THEATRE & 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

       

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