“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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EXPLORING LIFE SCIENCE THROUGH SHADOW PUPPETS 4-5

EXPLORING LIFE SCIENCE THROUGH SHADOW PUPPETS

EXPLORING LIFE SCIENCE THROUGH SHADOW PUPPETS

Learning Description

In this lesson, students will learn about the properties of light by creating shadow puppets. Students will observe how light interacts differently with translucent, transparent, and opaque materials. They will use the design process to plan, experiment, and refine their shadow puppet designs, culminating in a shadow puppet performance that demonstrates a life science concept they are learning.

 

Learning Targets

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

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can demonstrate a life science concept I am learning about through puppetry

  • I can create a shadow puppet using the materials and design I planned.

  • I can explain how light interacts with different materials to create shadows.

Essential Questions

  • How can shadow puppetry be used to demonstrate concepts in life science?

  • How does light interact with different materials?

 

Georgia Standards

Curriculum Standards

Grade 4

S4P1. Obtain, evaluate, and communicate information about the nature of light and how light interacts with objects. a. Plan and carry out investigations to observe and record how light interacts with various materials to classify them as opaque, transparent, or translucent.

 

S4L1. Obtain, evaluate, and communicate information about the roles of organisms and the flow of energy within an ecosystem. 

 

Grade 5

S5L1. Obtain, evaluate, and communicate information to group organisms using scientific classification procedures.

 

 

Arts Standards

Grade 4

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

 

VA4.CR.3 Understand and apply media, techniques, processes, and concepts of two dimensional art. 

 

Grade 5

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

 

VA5.CR.3 Understand and apply media, techniques, processes, and concepts of two dimensional art.

 

 

 

South Carolina Standards

Curriculum Standards

Grade 4

4-PS4-2. Develop a model to describe that light reflecting from objects and entering the eye allows objects to be seen.

 

4-LS1-1. Construct an argument that plants and animals have internal and external structures that function together in a system to support survival, growth, behavior, and reproduction.

 

Grade 5

5-LS2-1. Develop a model to describe the movement of matter among plants, animals, decomposers, and the environment.

 

 

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

  • Shadow - A dark area that forms when an object blocks light

  • Light - A form of energy that travels in waves and can be seen by our eyes
  • Design process - A process of revising work
  • Organism - Any individual living entity that can carry out life processes independently
  • Ecosystem - A community of living organisms (plants, animals, and microorganisms) interacting with each other and their non-living environment (such as air, water, and mineral soil)
  • Adaptations - Special characteristics or behaviors that help organisms survive and thrive in their environment
  • Producers - Organisms in an ecosystem that are capable of photosynthesis or chemosynthesis, enabling them to produce their own food
  • Consumers - Organisms in an ecosystem that obtain energy by consuming other organisms
  • Decomposers - Organisms in an ecosystem that break down dead organic matter into simpler substances, such as minerals and nutrients

Arts Vocabulary

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

 

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

 

Materials

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

 

Instructional Design

Opening/Activating Strategy

  • Discuss the properties of light and the difference between translucent, transparent, and opaque materials.
  • Introduce the concept of shadow puppetry and its history by watching a short video or demonstration of shadow puppet storytelling (Video: Introduction to Shadow Puppetry; Video: The Legend of the Chinese Zodiac (Alternative: The Three Little Pigs).
  • Ask students to make observations on how the puppets looked and how that differs from other puppets they may have seen.
    • Discuss silhouettes and contrast.
  • Explore light and materials with students.
    • Divide the students into small groups.
    • Provide students with different materials such as translucent paper, transparent plastic, opaque cardstock and a light source such as a flashlight.
    • Tell students to experiment with the materials to see how they affect the transmission of light and shadows by shining a light on them.
    • Discuss the findings as a class.
    • Have students sort materials into transparent, translucent, and opaque.

 

 

Work Session

  • Tell students that they will be using transparent, translucent, and opaque materials to create shadow puppets that demonstrate one of the life science concepts they are learning about, such as the interdependence of organisms in an ecosystem.
  • Introduce the design process by showing students the image below.
    • Explain to students that artists use this process to revise and improve their artwork; students will use this process in planning, designing and creating their puppets.
    • Divide students into small groups. Assign each group a life science concept.
    • Remind students that in a shadow puppet performance, there are characters that tell a story. Ask students to identify who the “characters” will be in their life science concept. 
    • Allow students time to brainstorm and sketch out their plans for their shadow puppet characters. Circulate and assist students with their designs.
    • Introduce the materials students will use to create shadow puppets (cardstock, scissors, tape, brads, colored theater gels, bamboo skewers) and demonstrate how to use them safely to create their shadow puppets. Teacher tip: Pre-cut shapes out of cardstock so that students can simply assemble pieces together to create their shadow puppets. 
    • As students begin creating their puppets, remind them of the design process. They may need to revise their designs as they translate their sketch to their puppet.
  • After creating their shadow puppets, students will collaborate with their groups to plan their performances.
    • Remind students that in a shadow puppet performance, there will be a beginning, middle, and an end. Ask students to consider what the beginning, middle, and end should be in their life science concept.
    • Have students write out narration (can include dialogue if desired) for their shadow puppet performance using the vocabulary from the science unit. Students’ narration should explain the scientific process that they show through their performance.
  • Provide time for groups to practice and refine their performances before presenting to the class.

 

Closing Reflection

  • Groups will present their shadow puppets to the class. Model how to celebrate students' creativity and teamwork in presenting.
  • Facilitate a discussion that focuses on how students demonstrated the life science concept through their shadow puppet performance.
  • At the end of the lesson, have students complete a written 3-2-1 ticket out the door–three things they learned, two things they found interesting, and one question that they have. Provide time for students to share with a partner, small group, or the class.

 

Assessments

Formative

Teacher will assess student learning by:

  • Observing students' engagement and participation during the exploration and experimentation phase.
  • Checking students’ understanding of life science concepts through questioning and discussions.
  • Providing feedback on students' initial puppet designs to guide them in the revision process.
  • Reviewing students’ 3-2-1 tickets out the door.

 

 

 

Summative

CHECKLIST: 

  • Students can demonstrate a concept in life science through a shadow puppet performance.
  • Students can use creativity to design and create shadow puppets that demonstrate a concept in life science.
  • Students can explain the properties of light and shadow.

 

DIFFERENTIATION 

Accelerated: 

  • Students can create a backdrop for their shadow puppet show to enhance their storytelling. 
  • Allow students to explore the history and significance of shadow puppetry in different cultures around the world.

Remedial: 

  • Provide a sequencing guide or graphic organizer for students to organize their ideas for their performances. This can be used as a substitute for written narration.

 

 ADDITIONAL RESOURCES

 

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

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

Revised and copyright:  July 2024 @ ArtsNOW

 

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FIERCE FIGURATIVE FEMALES 4-5

FIERCE FIGURATIVE FEMALES

FIERCE FIGURATIVE FEMALES

Learning Description

In this lesson, students will create “I Am” Poems filled with figurative language from the point of view of fierce females throughout history. They will compare and contrast the lives of different historical female figures using tableaux. Then, they will bring their character to life with voice as they speak from their character’s point of view. Finally, students will devise a poem from their character’s point of view and work with another student’s character to create a partnered “I Am” Fierce Female Poem.

 

Learning Targets

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

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can empathize with someone from a different time period and speak from their point of view.

  • I can embody a historical figure using my body, voice, and heart.

  • I can write a poem from a historical figure’s point of view and speak it out loud using my voice.

  • I can partner with someone who is different from me to create a theatrical piece.

Essential Questions

  • Does learning about, writing, and speaking from someone else’s point of view give me empathy?

  • How can I embody a historical figure using my body, voice, and heart?

  • How did people from the past change the world I live in today?

  • How can I use poetry to speak from a historical figure’s point of view?

  • How can I be fierce and make a change in my world?

 

Georgia Standards

Curriculum Standards

Grade 4

ELAGSE4L5 Demonstrate understanding of figurative language, word relationships, and nuances in word meanings.

ELAGSE4RI2 Determine the main idea of a text and explain how it is supported by key details; summarize the text. 

ELAGSE4RI3 Explain events, procedures, ideas, or concepts in a historical, scientific, or technical text, including what happened and why, based on specific information in the text.

ELAGSE4W10 Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range of discipline-specific tasks, purposes, and audiences.

 

Grade 5

ELAGSE5L5 Demonstrate understanding of figurative language, word relationships, and nuances in word meanings.

ELAGSE5RI2 Determine two or more main ideas of a text and explain how they are supported by key details; summarize the text. ELAGSE5RI3 Explain the relationships or interactions between two or more individuals, events, ideas, or concepts in a historical, scientific, or technical text based on specific information in the text.

ELAGSE5W10 Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range of discipline-specific tasks, purposes, and audiences.

Arts Standards

Grade 4

TA4.CR.1 Organize, design, and refine theatrical work.

TA4.CR.2 Develop scripts through theatrical techniques.

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

 

Grade 5

TA5.CR.1 Organize, design, and refine theatrical work.

TA5.CR.2 Develop scripts through theatrical techniques.

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

 

South Carolina Standards

Curriculum Standards

Grade 4

ELA.4.AOR.1.2 Determine and explain how figurative language impacts meaning and contributes to the reader’s experience. ELA.4.AOR.2.2 Identify and explain a stated or implied central idea and how it is developed by supporting details in an informational text. ELA.4.R.1.1 Conduct short research for inquiry by: a. generating a question about a topic; and b. examining a provided source.

 

Grade 5

ELA.5.AOR.1.2 Analyze how figurative language impacts meaning and contributes to the reader’s experience. 

ELA.5.AOR.2.2 Explain the development of a stated or implied central idea over the course of an informational text. 

ELA.5.R.1.1 Conduct short research for inquiry by: a. generating a question(s) about a topic; and b. consulting a variety of print and multimedia sources.

 

Arts Standards

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

Benchmark T.P NL.3

I can use body and voice to communicate

character traits and emotions in a guided

drama experience.

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

 

Key Vocabulary

Content Vocabulary

  • Fierce - Something that is of exceptional quality, strong, bold, surprising and unforgettable

  • Point of view - The perspective of an individual on an event

  • Compare/Contrast - To identify similarities and differences between two things

  • Character trait - A quality or attribute that defines a person's behavior, attitude, and actions in various situations

  • Poetry - A genre of literature

  • Informational text - A text that is nonfiction and has the purpose of informing the reader

  • Biography - A written account of a person's life

  • Autobiography - A written account of a person's life that is written by that person

  • Harriet Tubman - A historical figure who is known for her bravery and leadership in helping enslaved people escape to freedom through the Underground Railroad

  • Underground Railroad - A secret network of routes and safe houses used by enslaved African Americans in the United States to escape to freedom in the 19th century

  • Civil Rights Movement - A historic effort by people in the United States to fight against unfair treatment based on race

  • Ruby Bridges - The first African American child to desegregate an all-white elementary school in the South

  • Malala Yousafzai - A Pakistani activist for female education

  • Figurative language - A way of using words to create a deeper meaning or a vivid image in writing or speech

  • Simile - A figure of speech that compares two things using the words 'like' or 'as' to show similarities between them

  • Metaphor - a figure of speech that describes something by stating that it is something else

  • Onomatopoeia - A type of word that imitates or resembles the sound it represents

  • Conscience - Knowledge of right and wrong and a feeling one should do what is right

Arts Vocabulary

  • Character - A character refers to a fictional or dramatized person portrayed by an actor or actress

  • Body - The physical presence and movements of an actor

  • Voice - The vocal techniques, characterizations, and storytelling aspects that contribute to the effectiveness of a performance

  • Project - Using your voice, body, energy, and presence to ensure that your performance reaches every member of the audience

  • Articulate - To speak clearly

  • Pitch - The highness or lowness of a voice

  • Pace - The speed, rhythm, and timing of dialogue, actions, transitions, and overall performance elements

  • Accent - The way a person pronounces words based on their regional, cultural, or linguistic background

  • Texture - The multi-dimensional quality of a theatrical production that engages the senses, emotions, intellect, and imagination of the audience

  • Conscience Alley - A technique for exploring any kind of dilemma faced by a character and providing an opportunity to analyze a decisive moment in greater detail

  • Statue - A frozen pose

  • Levels - The vertical positioning of actors and elements on the stage 

 

Materials

 

Instructional Design

Opening/Activating Strategy

HISTORICAL CHARACTER CONVERSATION & IMAGES

  • What is a historical figure?
  • Show images of historical figures familiar to your students and content.
    • (i.e., Abraham Lincoln, George Washington, Dr. Martin Luther King, Jr., Rosa Parks, Amelia Earhart, Susan B. Anthony, King Tut, The Wright Brothers, Alexander Hamilton, William Shakespeare, etc.)

 

HISTORICAL CHARACTER SPEECH

  • Sing the song, “Happy birthday” with students. 
  • Ask students to choose a famous historical character.
  • Have them create a statue of their character using their body. Students should use body shapes and frozen poses to create their statues.
    • Encourage students to use different levels and gestures to embody their character.
  • Have students stand at an imaginary podium and give a speech as that character using the lyrics to the “Happy Birthday” song. Emphasize that students are focusing on embodying the character.
    • Encourage students to:
      • Stay in character as they present the song as the historical character. 
      • Walk up to and away from the podium as the character would walk and move. 
      • Add physical gestures while making the speech.
      • Add vocal expression using pitch and pacing.

 

Work Session

DEFINING FIERCE

  • Discuss with students what it means to be fierce. Fierce is…
    • Something that is of exceptional quality, strong, bold, surprising and unforgettable 
    • A word used to describe something that is out of the box, non-traditional, and dynamic
    • Passionate, joyful, and positive! 
    • To demand excellence
  • Ask students: Do you know anyone who is fierce? Are you fierce about something in your life or world? 

 

INTRODUCING FIERCE FEMALE HISTORICAL FIGURES

  • Choose an autobiography, biography, informational text or poem for students to learn about each of the female historical figures you chose.
  • For the purpose of this lesson, we will explore:
    • Harriet Tubman
    • Ruby Bridges
    • Malala Yousafzai
  • Have students read a particular type of text related to each figure so they become familiar with the lives and works of the characters (see “Additional Resources” for further information on these women). 

 

COMPARE AND CONTRAST USING TABLEAU

  • Set three hula hoops on the floor. 
  • Each hula hoop will represent one of the three characters.
  • Ask questions about the characters. What is special about each character? 
    • Have one student create a statue with their body of that attribute/detail/trait and stand in that character’s hula hoop.
    • Once you get several statues in each hula hoop, ask students what similarities there are between the three characters. 
    • Place two more hula hoops in front of the three on the floor. These will be your similarities (female, courageous, fighter, etc.)
    • Have the similar elements move to the three front hula hoops. 

 

EXPLORE CONSCIENCE

  • Ask students: What does conscience mean?
    • Show an image of an angel and devil on either shoulder of a figure.
  • Tell students that conscience is knowledge of right and wrong and a feeling one should do what is right.
  • For example, if a child feels uncomfortable watching his friend pick on another child or speak disrespectfully to his/her parent/caregiver, that is conscience. The child knows it is not right to treat someone else disrespectfully, and he/she feels the emotions within himself telling him that it's wrong.
  • Ask students: Does your inner voice/consciousness ever talk to you? 
    • Turn and talk about the time you heard your inner voice/consciousness.

 

CONSCIENCE ALLEY

  • Conscience Alley is a technique for exploring any kind of dilemma faced by a character and providing an opportunity to analyze a decisive moment in greater detail.
  • Identify a student to be one of the historical females.
  • Identify a decision that the character had to make to be fierce. 
    • Harriet Tubman - “Should I help enslaved people escape to freedom through the Underground Railroad?”
    • Ruby Bridges -  “Should I fight to be allowed to attend a white school?”
    • Malala - “Should I stand up for the rights of girls to go to school?”
  • Explore both sides of the argument.
    • For - Reasons why the character should fight.
      • Identify people that might have been on this side of the argument/issue. Ask them what reasons they would have given.
      • Ask six students to line up to represent the people/reasons “for” fighting. 
    • Against - Reasons why the character should not fight.
      • Identify people that might have been on this side of the argument/issue. Ask them what reasons they would have given.
      • Ask six students to line up to represent the people/reasons “against” fighting.
      • Have both lines face each other so that they are parallel to create an alley/tunnel in the middle. 
  • Have the character stand at the beginning of the alley.
    • Have the character state the question/decision that they face. 
    • The character then takes one step into the alley.
      • The first person on the “for” side says their statement
      • The first person on the “against” side says their statement. 
    • The character keeps taking one step at a time into the alley and hearing both arguments at each step.
    • When the character reaches the end of the alley, they stop and state their decision and why.

Helpful Coaching:

  • Encourage students to: 
    • Stay “in character” using their voice and body to portray the character
    • Use vocal expression to convince the character
    • Speak from their heart with passion
    • Convince the character that they believe what they are saying

FIGURATIVE LANGUAGE INTRODUCTION OR REVIEW

  • Review figurative language (metaphor, simile, onomatopoeia, etc.).
  • As a group, generate an example of each figurative language device for the characters.

 

CHARACTER GROUNDING

  • Assign students a character. 
    • Strategize so that students can partner up with a different character. 
  • Ask students to create a statute of their character. 
    • Tell students to use body shapes, energy, frozen pose, and active pose.
  • Count “1, 2, 3, action” and tell students to bring the statue to life with a voice using pitch, pace, volume, accent, and texture.
  • Ask a question and have all students answer in character at the same time.
    • Use the questions on the “I Am” poem template to guide you. 
    • This is a brainstorm on their feet before sitting and writing.
    • This allows students to more fully embody the character.

“I AM” POEM BRAINSTORM

  • Have students complete the “I Am” Poem template. 
  • Next, have students stand up and simultaneously freeze in their statues.
  • Finally, have students bring their characters “to life” and speak the answers to the poem template aloud at the same time.

 

“I AM” POEM PARTNER SHARE

  • Teacher should demonstrate reading a character “I Am” poem with a student who is playing a different character. 
  • The first character says the first line; the second character says the second line. The characters then alternate speaking lines. 
  • Have students practice in pairs around the room.

“I AM” POEM PRESENTATION 

  • Ask pairs of students to share their partner “I Am” poems.
  • Encourage projection, articulation, and vocal expression. 
  • Discuss the similarities and differences between the two characters when listening to the partner poems.

 

Closing Reflection

Reflect with students on the following questions:

  • What does it take to be fierce? 
  • Were these females fierce? Why do you think that? 
  • Did they make changes that help females today? How?
  • How can you be fierce and make a change in your world?
  • What did you notice about yourself in this process? Were you able to empathize with your character?
  • Name one thing that you are proud of yourself for doing in this process.

 

Assessments

Formative

Teacher will assess students by: 

  • Circulating the room while students are completing their “I Am” poem template to assess their knowledge of the character and figurative language. 
  • Assessing students’ ability to use their voice and body to portray characters. Encourage those who are having difficulty.

 

Summative

CHECKLIST

  • Students can articulate important details about the characters and the historical events attached to each character.
  • Students can empathize with someone from a different time period and speak from their point of view.
  • Students can embody a historical figure using their bodies, voices, and hearts.
  • Students can write a poem from a historical figure’s point of view and present it using theatrical techniques.
  • Students can collaborate to create a theatrical piece.

 

DIFFERENTIATION 

Accelerated: 

  • Have students add movement/blocking to poem presentations. 
  • Have students create a scene and include facts about the time period and historical events encountered by the characters. Students can also incorporate dialogue.

Remedial: 

  • Simplify the poem template. 
  • Have students speak the answers and the poem; do not require them to write the poem. 
  • Work together as a class to create a group “I Am” Poem for each character. 
    • Have students use the class poems when they partner. 

 ADDITIONAL RESOURCES

Harriet Tubman:

Ruby Bridges:

Malala Yousafzai:

Suffrage Movement: 

 

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

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

Revised and copyright:  July 2024 @ ArtsNOW

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STILL LIVES WITH GEOMETRIC FORMS 6-8

STILL LIVES WITH GEOMETRIC FORMS

STILL LIVES WITH GEOMETRIC FORMS

Learning Description

In this lesson, students will apply their knowledge of how to solve for volume and surface area of geometric 3D shapes/forms such as pyramids, cubes and cones to create a still life artwork.

 

Learning Targets

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

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can find the volume of right rectangular prisms, cones, spheres, and pyramids.
  • I can find the surface area of right rectangular prisms, cones, spheres, and pyramids.
  • I can create a still life drawing using various 3D shapes/forms.

Essential Questions

  • How can I find the volume of right rectangular prisms, cones, spheres, and pyramids?
  • How can I find the surface area of right rectangular prisms, cones, spheres, and pyramids?
  • How can I create a still life drawing using various 3D shapes/forms?

 

Georgia Standards

Curriculum Standards

Grade 6

6.GSR.5: Solve relevant problems involving area, surface area, and volume.

6.GSR.5.1 Explore area as a measurable attribute of triangles, quadrilaterals, and other polygons conceptually by composing or decomposing into rectangles, triangles, and other shapes. Find the area of these geometric figures to solve problems.

6.GSR.5.2 Given the net of three-dimensional figures with rectangular and triangular faces, determine the surface area of these figures.

6.GSR.5.3 Calculate the volume of right rectangular prisms with fractional edge lengths by applying the formula, V = (area of base)(height).

 

Grade 7

7.GSR.5: Solve practical problems involving angle measurement, circles, area of circles, surface area of prisms and cylinders, and volume of cylinders and prisms composed of cubes and right prisms.

7.GSR.5.8 Explore volume as a measurable attribute of cylinders and right prisms. Find the volume of these geometric figures using concrete problems.

 

Grade 8

8.GSR.8.4 Apply the formulas for the volume of cones, cylinders, and spheres and use them to solve relevant problems.

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:

6.GM.1 Find the area of right triangles, other triangles, special quadrilaterals, and polygons by composing into rectangles or decomposing into triangles and other shapes; apply these techniques in the context of solving real-world and mathematical problems. 

6.GM.2 Use visual models (e.g., model by packing) to discover that the formulas for the volume of a right rectangular prism are the same for whole or fractional edge lengths. Apply these formulas to solve real-world and mathematical problems.

 

Grade 7

7.GM.6 Apply the concepts of two- and three-dimensional figures to real-world and mathematical situations. a. Understand that the concept of area is applied to two-dimensional figures such as triangles, quadrilaterals, and polygons. b. Understand that the concepts of volume and surface area are applied to three-dimensional figures such as cubes, right rectangular prisms, and right triangular prisms. c. Decompose cubes, right rectangular prisms, and right triangular prisms into rectangles and triangles to derive the formulas for volume and surface area. d. Use the formulas for area, volume, and surface area appropriately.

 

Grade 8

8.GM.9 Solve real-world and mathematical problems involving volumes of cones, cylinders, and spheres and the surface area of cylinders.

Arts Standards

Artistic Processes: Creating- I can make artwork using a variety of materials, techniques, and processes.

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.

 

Artistic Processes: Responding- I can evaluate and communicate about the meaning in my artwork and the artwork of others.

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

 

Artistic Processes: Connecting- I can relate artistic ideas and work with personal meaning and external context.

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

 

Key Vocabulary

Content Vocabulary

  • Three-dimensional shapes/forms - Objects that have height, width, and length
  • Two-dimensional shape - An object with height and width
  • Volume - The space within a three-dimensional shape/form
  • Surface area - The area of the surface of a two- or three-dimensional object

Arts Vocabulary

  • Form - A three-dimensional object; can be geometric or organic
  • Value - The lightness or darkness of something; used to create the illusion of form on a two-dimensional surface
  • Composition - How an artist puts the elements of art together in an artwork
  • Subject - What an artwork is about

 

Materials

  • Mixed media paper
  • Pencils
  • Measurements for each student to calculate surface area and volume for three 3D shapes/forms
  • Optional: Colored pencils or charcoal
  • Acceleration: Rulers, scissors, tape

 

 

Instructional Design

Opening/Activating Strategy

  • Display Natura Morta by Giorgio Morandi. In groups, ask students to identify at least ten things that they recognize in the painting (colors, objects, shapes, etc.).
    • Facilitate a class discussion around students’ responses.
  • After students have shared what they recognize, ask them what three-dimensional shapes/forms they recognize. Tell students that some objects are composites of two or more 3D shapes/forms. 
    • Students should identify objects like cylinders, half-spheres, right rectangular prisms, etc.
  • Introduce students to the artist Giorgio Morandi. 
    • Explain that Morandi was a still life artist who used many basic forms as the basis of his artwork. 
    • Explain to students that a still life is an artwork in which the subject is an arrangement of non-moving/non-living objects. 
    • Show students additional examples of Morandi’s still lives. 
  • Ask students how Morandi creates the illusion of three dimensions on a two-dimensional surface. 
    • Students should notice that some areas of the objects are darker than others to create the illusion that light is hitting a three-dimensional object. In art, this is called Value.

 

 

Work Session

  • Tell students that they will be creating a still life drawing using geometric 3D shapes/forms. Students will be able to create their own composition consisting of three geometric 3D shapes/forms. 
    • Composition in art is how the artist chooses to put the elements of art (such as Form and Value) together in his or her artwork. 

*Teacher note: Grade level will determine which geometric 3D shapes/forms students will use in their composition.

  • Students should randomly select three sets of measurements from a bag
    • Explain to students that these three 3D shapes/forms will be the subject for their still life drawings. 
    • Students can arrange them however they like in their composition. 
    • Show them examples of Morandi’s still lives again so that they can see how he used the space on his canvas and arranged his forms (some are in front of others, some side by side, etc.).
  • Show students the Shape to Form handout. Allow students to practice creating the 3D shapes/forms they will need for their composition.
  • Students should then solve for the volume and surface area of their three 3D shapes/forms. 
    • Next, students should draw their three forms on their artwork. Remind students to use the space on their paper and draw BIG!
    • Remind students to consider the actual dimensions of the forms and how that will impact the proportions in their art.
      • For example, if they have a pyramid that is 2 in. high and a cube that is 3 in. high, the cube should be represented as taller than the pyramid in the artwork.
  • Finally, remind students to add value like Morandi to create the illusion of three dimensions on a flat surface. 

Show students the handout Forms with Value as a guide. Students can use regular pencil, colored pencil, or charcoal for their artwork.

 

Closing Reflection

  • On a separate paper, students should write their formulas with dimensions for surface area and volume of their three forms and their solutions to the problems. Students should attach this to their artwork so that it is visible. 
  • Students should then engage in a gallery walk of each other’s work. Students should reflect on the following questions: 
    • How did the artist create his/her composition using the three 3D shapes/forms?
    • How did the artist use the space on his or her paper?
    • How did the artist use value to create the illusion of form?
    • How is the artist’s work similar and different to your own? To Morandi’s?

 

Assessments

Formative

 Teachers will assess students’ understanding by observing whether students can identify the types of 3D shapes used in Morandi’s artwork, calculate surface area and/or volume, draw 3D shapes/forms using the guide, and understand what a still life drawing/painting is.

Summative

CHECKLIST

  • Students can calculate surface area and volume of their three geometric 3D shapes/forms.
  • Students can create a still life drawing using various 3D shapes/forms.

 

Differentiation

Acceleration: 

  • Assign students the task of creating the three 3D shapes/forms to scale using pencil, paper, rulers, and tape. Once students have created their 3D shapes/forms, have them place them on white paper and move them into various arrangements. Students can then try drawing new compositions using their new arrangement of 3D shapes/forms as a subject.

 

Remediation: 

  • Assign students one type of 3D shape/form to work with using three different sets of measurements so that students are practicing using the same calculations and formula three times. 
  • Allow students to work in pairs to solve equations. Each student will then make their own still life.

 

 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

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CREATING INSPIRED WORKS THROUGH ANGLES & PROPORTION 6-8

CREATING INSPIRED WORKS THROUGH ANGLES & PROPORTION

CREATING INSPIRED WORKS THROUGH ANGLES & PROPORTION

Learning Description

In this lesson, students will analyze how the artist, Charles Demuth, uses angles and proportion in his artwork, I Saw the Figure 5 in Gold. By delving into the use of angles, proportion, emphasis, and ratios in Demuth's artwork, students will then apply these elements to create their own unique pieces of art, drawing inspiration from the style of the Precisionist art movement.

 

Learning Targets

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

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can explain how Charles Demuth uses angles and proportion in his artwork.

  • I can create artwork inspired by Demuth using angles and proportion.

  • I can use proportion and color to create emphasis in my artwork.

  • Students can explain how I used ratio, proportion, angles, color, value, and emphasis to create my artwork.

Essential Questions

  • How does Charles Demuth use angles and proportion in his artwork?

  • How can I create an artwork inspired by Demuth using angles and proportion?

  • How can I use proportion and color to create emphasis in my artwork?

  • How is the poem “The Great Figure”, related to Demuth’s artwork, I Saw the Figure 5 in Gold?

 

Georgia Standards

Curriculum Standards

Grade 6

6.NR.4: Solve a variety of contextual problems involving ratios, unit rates, equivalent ratios, percentages, and conversions within measurement systems using proportional reasoning.

 

Grade 7

7.PAR.4: Recognize proportional relationships in relevant, mathematical problems; represent, solve, and explain these relationships with tables, graphs, and equations.

7.GSR.5.2 Measure angles in whole number degrees using a protractor

7.GSR.5.3 Use facts about supplementary, complementary, vertical, and adjacent angles in a multi-step problem to write and solve equations for an unknown angle in a figure.

 

Grade 8

8.PAR.4: Show and explain the connections between proportional and nonproportional relationships, lines, and linear equations; create and interpret graphical mathematical models and use the graphical, mathematical model to explain real phenomena represented in the graph.

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

6.RP.1 Interpret the concept of a ratio as the relationship between two quantities, including part to part and part to whole. 6.RP.2 Investigate relationships between ratios and rates. 

6.RP.3 Apply the concepts of ratios and rates to solve real-world and mathematical problems. 

 

Grade 7

7.RP.2 Identify and model proportional relationships given multiple representations, including tables, graphs, equations, diagrams, verbal descriptions, and real-world situations. 

7.RP.3 Solve real-world and mathematical problems involving ratios and percentages using proportional reasoning

7.GM.5 Write equations to solve problems involving the relationships between angles formed by two intersecting lines, including supplementary, complementary, vertical, and adjacent

 

Grade 8

8.EEI.5 Apply concepts of proportional relationships to real-world and mathematical situations. 

8.GM.5 Extend and apply previous knowledge of angles to properties of triangles, similar figures, and parallel lines cut by a transversal.

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

  • Angle - A geometric figure formed by two rays (sides) with a common endpoint (vertex)

  • Acute angle - An angle that measures less than 90 degrees

  • Obtuse angle - An angle that measures more than 90 degrees

  • Complementary angle - Two angles whose measures add up to 90 degrees

  • Supplementary angle - Two angles whose measures add up to 180 degrees

  • Proportional - The relationship between two variables that have the same ratio

  • Ratio - A way of comparing two quantities or numbers by dividing one by the other; the relationship between two quantities, indicating how many times one quantity is present in relation to the other

Arts Vocabulary

  • Precisionism - An art movement of the 1920’s that focused on creating very precise and controlled art; the artists in this movement focused on reducing objects to lines, shapes, and geometric structures

  • Composition - How the artist uses the Elements of Art to create an artwork

  • Proportion - How one thing relates to another in terms of size

  • Emphasis - Where the artist draws the viewer’s eye using visuals

  • Contrast - Putting two things side by side that emphasize their differences, such as two colors across from each other on the color wheel like yellow and purple

  • Value - One of the seven elements of art; the lightness or darkness of a color

  • Shape - One of the seven elements of art; a two-dimensional object

 

Materials

  • 9x12 mixed media paper or cardstock (each student will need two sheets)
  • Pencils
  • Protractors
  • Rulers
  • Glue sticks
  • Scissors
  • Colored pencils
  • Markers

 

 

Instructional Design

Opening/Activating Strategy

  • Project the poem by Wiliam Carlos Williams, “The Great Figure”: 

Among the rain

and lights

I saw the figure 5

in gold

on a red

firetruck

moving

tense

unheeded

to gong clangs

siren howls

and wheels rumbling

through the dark city

 

  • Have students read the poem and respond with a quick drawing (5 minutes).
  • In small groups, have students share what the poem made them think of and what they drew.
  • Allow students to share out with the class.

 

Work Session

  • Project I Saw the Figure 5 in Gold by Charles Demuth. Tell students that Demuth painted this artwork as a tribute to his friend, the poet of “The Great Figure”, William Carlos Williams. He used the poem, “The Great Figure”, as inspiration for this artwork.
  • Ask students where they see connections between the poem and the artwork.
  • Tell students that the artist, Charles Demuth, was part of an art movement called Precisionism. 
    • Precisionism was an art movement of the 1920’s that focused on creating very precise and controlled art; the artists in this movement focused on reducing objects to lines, shapes, and geometric structures.
  • In their small groups, ask students to make observations about the painting that respond to the following questions: 
    • What stands out in the artwork? How does Demuth make it stand out? 
      • Answers could include responses like how he used color and size.
      • Tell students that when an artist draws the viewer’s attention to something, this is called emphasis.
    • Ask students where they see examples of angles in the artwork. 
    • Ask students where they see Demuth using proportion in his artwork.
      • Students should identify the “5”.
  • Explain to students that they will be using proportion and angles to create an artwork inspired by I Saw the Figure 5 in Gold by Charles Demuth.
    • They will need to use proportion, angles, and emphasis in their artwork.
  • Students should start by drawing a square or rectangle on mixed media paper or cardstock three times using a consistent ratio. For example, three rectangles could be 1x1.5, 2x3, and 4x6 inches. Students will then fill the rectangle with a letter or number such as the letter “L”. Show students how to use the edges of the square or rectangle to draw their letter or number. The letter or a number should be a shape, which is a 2D closed line. See example.
  • Students should then use markers to fully color in the three letters or numbers. Students will set this aside and work on the other portion of the artwork. 
  • Go back to I Saw the Figure 5 in Gold. Ask students what they see in the background. They may say things like shades of black, white, and gray; diagonal lines; etc. 
  • Pass out a new sheet of mixed media paper. 
  • Give students a number of specific angles or requirements for angles (three angles that are less than 45 degrees, two angles between 70-80 degrees, five obtuse angles, an algebraic or linear equation to solve for specific angles, etc.). 
  • Next, using pencil or colored pencil, students will shade in each of the shapes that are created by the intersecting lines. 
    • Tell students that they will be gluing their three letters or numbers on top of this paper, so they need to pick colors that will contrast with the ones they used to color in their letters or numbers. Refer back to I Saw the Figure 5 in Gold and how Demuth does this with red and gold on a white, gray, and black background.
    • Show students how Demuth uses different shades of gray, white, and black in the shapes in the background of the art. This is called using different values. Students should also use different values in the background shapes of their art. 
  • When students are done, they should use a glue stick to glue their letters or numbers on their paper.

 

Closing Reflection

  • Students should give their artwork a relevant title.
  • On the back of their artwork, they should explain how they used ratio, proportion, angles, color, and emphasis to create their work. They should be able to explain how they created emphasis using proportion and color.
  • Students should then present their work to each other in groups of three to four students.

 

Assessments

Formative

Teachers will assess students’ understanding by observing students’ discussion of the poem, “The Great Figure” and the artwork, I Saw the Figure 5 in Gold; students’ ability to identify and explain ratios, proportion, and types of angles; and students’ ability to correctly use a protractor to measure angles.

 

Summative

CHECKLIST

  • Students can create an artwork that demonstrates their understanding of ratio, proportion, and angles.
  • Students can explain how they used ratio, proportion, angles, color, value, and emphasis to create their work.

 

Differentiation

Acceleration: 

  • ELA connection - Have students write a poem inspired by their artwork. Students should refer back to Williams’ “The Great Figure”, and Demuth’s artwork, I Saw the Figure 5 in Gold.
  • Have students do additional research on the Precisionist art movement. Students should select a different artwork by another artist from this movement, such as Joseph Stella. Students should explain how the artist used angles, lines, color, value, and shapes in their artwork. Then, students should create their own artwork inspired by this artist. Suggested artworks by Stella include Brooklyn Bridge, Futurist Composition, Old Brooklyn Bridge, and By-Products Plants.

Remediation: 

  • Allow students to work in collaborative groups on a single artwork. 
  • Reduce the number/requirements for angles.
  • Allow students to use their rectangle as the object that shows proportion rather than turning the rectangle into a letter or number.

 

 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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