MOVING WORDS: INTEGRATING DANCE AND WRITING FOR CREATIVE EXPRESSION 9-12

INTEGRATING DANCE AND WRITING FOR CREATIVE EXPRESSION

LESSON INFORMATION

MOVING WORDS: INTEGRATING DANCE AND WRITING FOR CREATIVE EXPRESSION

Learning Description

Integrating dance and choreography into writing can enhance the narrative by adding dynamic expression, rhythm, and movement to the storytelling process. The purpose of integration is for students to watch dance and use context clues to identify the main idea and supporting details. Students will also use brainstorming, identifying a main idea and supporting details, as a device to create choreography.

Learning Targets

GRADE BAND: 9-12

CONTENT FOCUS: DANCE & ELA

LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

I can identify the main idea and supporting details in a text, conversation, or performance to better understand and explain its overall message.
I can use the main idea and supporting details to create choreography.

Essential Questions

How can identifying the main idea and supporting details in choreography enhance our understanding and interpretation of a dance performance?

Georgia Standards

Curriculum Standards

9th Grade Literature and Composition:

ELAGSE9-10RL2 Determine a theme and/or central idea of text and analyze in detail its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text.

ELAGSE9-10W3 Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences.

10th Grade Literature and Composition:

ELAGSE9-10RL2 Determine a theme and/or central idea of text and closely analyze its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text.

ELAGSE9-10W3 Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences.

Arts Standards

DHSD1.CR.1 Demonstrate an understanding of creative/choreographic principles, processes, and structures.

DHSD1.CR.2 Demonstrate an understanding of dance as a form of communication.

DHSD1.RE.1 Demonstrate critical and creative thinking in all aspects of dance.

DHSD1.CN.3 Demonstrate an understanding of dance as it relates to other areas of knowledge.

South Carolina Standards

Curriculum Standards

ELA.E1.OE.2 Acquire, refine, and share knowledge through a variety of multimedia literacies to include written, oral, visual, digital, and interactive texts.

ELA.E1.OE.3 Make inferences to support comprehension.

ELA.E1.OE.4 Collaborate with others and use active listening skills.

ELA.E1.OE.5 Cite evidence to explain and justify reasoning.

ELA.E1.AOR.1.1 Analyze how perspective, context, and/or key elements deepen meaning or enhance style.

ELA.E1.AOR.2.1 Determine a universal theme(s) and explain how key details contribute to its development over the course of a literary text.

ELA.E1.C.3.1 Write narratives to develop real or imagined experiences, memories, or ideas using effective techniques and well-structured sequences for an intended purpose.

ELA.E1.C.7.1 Present claims and findings, emphasizing key ideas in a focused manner with relevant descriptions, facts, details, and examples for a variety of tasks, purposes, and audiences.

Arts Standards

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

Anchor Standard 2: I can choreograph a dance.

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

Anchor Standard 5: I can describe, analyze, and evaluate a dance.

Key Vocabulary

Content Vocabulary

Author – A writer of a book, article, or report
Central idea – The main idea is the central point or message of a text
Theme – The central idea, message, or underlying meaning in a piece of writing, art, film, or other forms of creative work
Supporting detail – The statements that support (go along with) the main idea
Setting – The place or type of surroundings where something is positioned or where an event takes place
Character – A person in a novel, play, or movie

Arts Vocabulary

Choreography: The art of designing and arranging sequences of movements, steps, and gestures to create a dance piece
Choreographer – The person who designs or creates a dance piece
Body – The dancer’s body and how it is used
Types of energy:
- Percussive – Refers to the quality of movement characterized by sharp starts and stops;staccato jabs of energy
- Suspended – Occurs in a moment of resistance to gravity, such as the instant in which a dancer hangs in space at the top of a leap
- Sustained – Smooth and unaccented; there is not apparent start or stop, only a continuity of energy
- Swinging – Established by a fall of gravity, a gain in momentum, a loss of momentum,and the repeated cycle of fall and recovery, like that of a pendulum
- Vibratory – A quality of movement characterized by rapidly repeated bursts of percussive movements like “a jitter”

Space:
- Level – One of the aspects of movement (there are three basic levels in dance: high,middle, and low)
- Pathway – Designs traced on the floor as a dancer travels across space; the designs traced in the air as a dancer moves various body parts
- Shape – Refers to an interesting and interrelated arrangement of body parts of one dancer; the visual makeup or molding of the body parts of a singular dancer; the overall visible appearance of a group of dancers

Time:
- Tempo – Refers to the pace or speed of movement
Action:
- Locomotor – A movement that travels through space
- Non-locomotor – A movement that does not travel through space

Materials

A selected piece of choreography to watch
Brainstorm planning bubbles or concept map
Music
Paper and pencils

Instructional Design

Opening/Activating Strategy

Discuss the similarities between a choreographer and an author, such as how both are creators and storytellers.
Watch a selected piece of choreography.
Have students identify the story elements in the choreography–who are the characters? What is the setting? What was the beginning, middle, and end?.
Have students identify the main idea and supporting details in the choreography.
- Have students infer what the choreography was about using supporting details from the choreography.

Work Session

As a whole group, discuss how choreographers plan choreography just how writers brainstorm for their writing/essay.
Practice a brainstorm for choreography together exploring different types of movements, levels, and energy qualities (see Arts Vocabulary).
Break students into small groups.
Assign or have groups select a main idea/topic for their choreography.
Have students brainstorm for their choreography using a concept map, web, brainstorming bubbles, or other type of strategy.
Remind students to keep in mind the elements of dance: body, action, space, time, and energy, and how they can be used to help express their thoughts/ideas (see Arts Vocabulary).
- For younger students, focus on a limited number of elements.
Have students create and share their choreography.
Have students write the story of their choreography including the theme/central idea and supporting details/evidence displayed in the dance.
Their stories should have narrative techniques like setting and characters, a problem, established point of view, clear progression of experiences or events, and figurative language.

Closing Reflection

After watching each group's choreography, the audience (class) will identify the movements they saw in the choreography that were the supporting details of the main idea of the choreography.
Students will answer: How did these movements help you understand the main idea/story?

Assessments

Formative

While groups are working on choreography, ask the students questions about their choreography and choreographic choices.
- What is the main idea?
- What supporting details are in your choreography?
- Have them demonstrate them to you.

Summative

Ask the choreographers to tell you or write about their choreographic process and how they selected the movements and their sequence to support the theme/central idea.
Have the students write the story of their choreography including the theme and evidence/supporting details displayed in the dance.

Differentiation

Accelerated:

Have students write a choreographer’s artistic statement about their work. This would include a personal explanation of their artistic vision, process and goals. It’s a way for them to communicate their inner voice to the audience.

Remedial:

Create a dance collaboratively as a class.
- Teacher assign the theme/central idea
- Have each group create choreography for one element that supports the theme/main idea.
- As a whole class put the elements together in a sequence that best supports the theme/central idea.

Credits

Ideas contributed by: Melissa Dittmar-Joy

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

Revised and copyright: May 2025 @ ArtsNOW

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MOVEMENT BY CHANCE: EXPLORING DANCE AND DATA PATTERNS 9-12

EXPLORING DANCE AND DATA PATTERNS

LESSON INFORMATION

MOVEMENT BY CHANCE: EXPLORING DANCE AND DATA

Learning Description

Students will explore the concept of chance dance, inspired by Merce Cunningham, while simultaneously developing data interpretation skills. Students will begin by learning about Cunningham’s innovative approach, where movements are determined randomly using dice, coins, or digital tools. Working in small groups, they will create short dance sequences by assigning movements to numbers and rolling dice to determine the movements in their choreography. After performing their sequences, students will record data on movement frequency, patterns, and transitions. They will then analyze this data discussing trends and drawing conclusions about how probability influences artistic composition. This lesson merges creative expression with mathematical thinking, encouraging students to see patterns in both dance and data.

Learning Targets

GRADE BAND: 9-12

CONTENT FOCUS: DANCE & MATH

LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

I can create a chance dance sequence using randomization.
I can analyze movement patterns by collecting and interpreting data.
I can use probability to determine the likelihood of using different movements in choreography.

Essential Questions

How can we use data interpretation to analyze and understand patterns created through chance dance?

Georgia Standards

Curriculum Standards

Statistical Reasoning:

SR.DSR.2 Formulate statistical investigative questions of interest to students that can be answered with data

SR.DSR.3 Collect data by designing and implementing a plan to address the formulated statistical investigative question.

SR.DSR.4 Analyze data by selecting and using appropriate graphical and numerical methods

SR.DSR.5 Interpret the results of the analysis, making connections to the formulated statistical investigative question.

Arts Standards

DHSD1.CR.1 Demonstrate an understanding of creative/choreographic principles, processes, and structures.

DHSD1.CR.2 Demonstrate an understanding of dance as a form of communication.

DHSD1.RE.1 Demonstrate critical and creative thinking in all aspects of dance.

DHSD1.CN.3 Demonstrate an understanding of dance as it relates to other areas of knowledge.

South Carolina Standards

Curriculum Standards

Statistics and Probability:

SPMJ.2* Distinguish between experimental and theoretical probabilities. Collect data on a chance event and use the relative frequency to estimate the theoretical probability of that event. Determine whether a given probability model is consistent with experimental results.

SPID.1* Select and create an appropriate display, including dot plots, histograms, and box plots, for data that includes only real numbers.

SPMD.1 Develop the probability distribution for a random variable defined for a sample space in which a theoretical probability can be calculated and graph the distribution.

Arts Standards

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

Anchor Standard 2: I can choreograph a dance.

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

Anchor Standard 5: I can describe, analyze, and evaluate a dance.

Key Vocabulary

Content Vocabulary

Data - Facts and statistics collected together for reference or analysis
Analyze - Examine methodically and in detail the constitution or structure of something, especially information, typically for purposes of explanation and interpretation
Interpret - Explain the meaning of information, words, or actions
Charts - A sheet of information in the form of a table, graph, or diagram
Graphs - A diagram showing the relation between variable quantities, typically of two variables, each measured along one of a pair of axes at right angles
Fraction - A numerical quantity that is not a whole number
Probability - The extent to which an event is likely to occur, measured by the ratio of the favorable cases to the whole number of cases possible.

Arts Vocabulary

Merce Cunningham - American modern dancer and choreographer who developed new forms of abstract dance movement
Chance Dance - Chance dance is a choreography technique that uses chance to determine the order of a sequence of movements. It can also refer to a movement activity where participants create a dance using a random method like rolling dice.
Choreography - The art of designing and arranging sequences of movements, steps, and gestures to create a dance piece
Choreographer - The person who designs or creates a dance piece
Form - How a dance/choreography is structured (put together)

Materials

Dice
Movement cards with sample movements on them
Data Chart Chance dance template
Merce cunningham video The Six Sides of Merce Cunningham
Paper
Pencil/pens/markers
Music

Instructional Design

Opening/Activating Strategy

Create a short dance with students using a movement list to select from. Example movement list:
- Jump
- Hop
- Clap
- Turn
- Slide
- Change levels
- Change directions
Explain to the students that a piece of choreography is a collection of data.
Using the data/choreography, create a chart/graph to represent all the steps in the dance.
Explore various types of charts/graphs that can be used to display the data/choreography.
Ask students how they think probability could be used to choreograph a dance.

Work Session

Watch the video The Six Sides of Merce Cunningham. Discuss who Merce Cunningham is and how he used the concept of chance to create dances.
Discuss how this concept applies to dancers and choreographers.
Break class into groups.
Give each group a set of movement cards (each group's cards should be the same) and one die.
After assigning a set number of movements that must be included in the dance, have students assign a numerical value (one to six) to each movement.
- Have students determine the probability that they will use each of the movements in their choreography.
- Have students roll their dice to determine what each movement in their choreography will be.
Students will then create choreography for the data they have.
Each group will share their choreography with the whole class.

Closing Reflection

Facilitate a discussion around the following questions:
- How was each group's dance different even though each group had the same data to start with?
- How did probability impact the outcome?

Assessments

Formative

The teacher will assess student learning throughout the lesson by observing students’ ability to use various movements in dance and their ability to use chance to create a unique piece of choreography.

Summative

Create a list of questions to ask about the students' choreography/data. Examples:
- What is the probability that your dance has:
  - One turn
  - Two jumps
  - One slide and one clap
  - Compare all groups’ choreography–Example: What is the probability that all groups had a jump first?

Differentiation

Accelerated:

Students will compare statistical data and probability of all the groups.

Remedial:

Limit the data set.
Limit the complexity of mathematical questions about the data.

Additional Resources

Credits

Ideas contributed by: Melissa Dittmar-Joy

Revised and copyright: May 2025 @ ArtsNOW

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EXPLORING THEMES THROUGH PRINTMAKING 9-12

EXPLORING THEMES THROUGH PRINTMAKING

LESSON INFORMATION

EXPLORING THEMES THROUGH PRINTMAKING

Learning Description

Students will analyze a text to determine a universal theme and track its development over the course of the text. They will then design and carve a symbolic representation of the theme onto a styrofoam plate for printmaking. Each student will contribute their individual print to a class-wide gallery display that visually represents diverse perspectives on universal themes.This high school printmaking lesson encourages critical literary analysis while allowing students to express their understanding through symbolic artwork. It fosters collaboration, creativity, and deeper engagement with universal themes in literature.

Learning Targets

GRADE BAND: 6-8

CONTENT FOCUS: VISUAL ARTS & ELA

LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

I can determine and analyze a universal theme in a literary text.
I can explain how key details contribute to a theme’s development.
I can create a symbolic representation of a theme through printmaking.
I can critique and compare my artistic interpretation with my peers'.

Essential Questions

How do authors develop universal themes in literature?
How can symbols visually communicate abstract literary themes?
How does artistic interpretation deepen our understanding of literature?
What connections can we draw between literary themes and contemporary issues?

Georgia Standards

Curriculum Standards

9th Grade Literature and Composition:

10th Grade Literature and Composition:

Arts Standards

VAHSVA.CR.1.a Generate and conceptualize artistic ideas and work.

VAHSVA.CR.1.b Consider multiple options, weighing consequences, and assessing results.

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

South Carolina Standards

Curriculum Standards

ELA.AOR.2: Evaluate and critique the development of themes and central ideas within and across texts.

English I:

ELA.E1.AOR.2.1 Determine a universal theme(s) and explain how key details contribute to its development over the course of a literary text.

English II:

ELA.E2.AOR.2.1 Analyze the development of universal themes across literary texts from different time periods, places, and/or cultures.

English III:

ELA.E3.AOR.2.1 Evaluate the development of universal themes across literary texts from different time periods, places, and/or cultures.

English IV:

ELA.E4.AOR.2.1 Evaluate and critique the development of universal themes across literary texts from different time periods, places, and/or cultures.

Arts Standards

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

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

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

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

Key Vocabulary

Content Vocabulary

Theme – The central idea or underlying message in a text
Symbolism – The use of images or objects to represent deeper meanings

Arts Vocabulary

Printmaking – The art or technique of making prints, especially as practiced in engraving, etching, dry point, woodcut or serigraphy
Relief print – A printmaking technique in which a design is carved into a material and inked for printing
Brayer – A tool used to roll ink evenly onto the printing plate
Composition – How an artist arranges the Elements of Art (line, shape, form, value, color, space, texture) to create an artwork
Contrast – The arrangement of opposite elements in a composition (light vs. dark, rough vs. smooth, etc.); similar to variety, which refers to the differences in a work, achieved by using different shapes, textures, colors and values

Materials

Literary text (short stories, poems, novel excerpts)
Sketchbooks/pencils
Styrofoam sheets
Dull pencils or ball point pens
Brayers
Water based printing ink
Printing paper (white, colored, textured)
Colored pencils or art sticks
Drying racks or designated drying space

Instructional Design

Opening/Activating Strategy

Engage (Text Selection & Theme Analysis)

Students will read and analyze a short story, poem, or novel excerpt (e.g., Of Mice and Men, The Great Gatsby, Fahrenheit 451, Othello).
As they read, students will annotate how key details develop the theme over time.
In groups, they will identify a universal theme (e.g., power and corruption, isolation, identity, loss of innocence, resilience, fate versus free will) and discuss its relevance.

Work Session

Explore (Symbol Development & Sketching):

Students will brainstorm symbols that represent their theme (e.g., a broken clock for time’s passage, a tree with missing branches for loss, etc.).
Each student will sketch at least two possible symbols, refining their designs through peer feedback.
The class will discuss how symbols communicate deeper meaning in both literature and art.

Create (Printmaking Process):

Follow the printmaking process below.
Prepping the Styrofoam Plate:
- Use a dull pencil or ballpoint pen to carve designs—press firmly but avoid puncturing all the way through.
- Encourage students to sketch lightly first before carving to avoid mistakes.
Carving Techniques:
- Keep lines simple and bold for clear prints; intricate details may not transfer well.
- Reverse letters or numbers if including text, as prints will be a mirror image.
- Vary line thickness for added depth—thicker lines hold more ink, while thinner lines create subtle details.
Inking the Plate:
- Roll out a thin, even layer of ink on a tray before applying to the plate with a brayer.
- Make sure ink covers the entire design, but avoid excessive ink, which can cause smudging.
- Test prints on scrap paper before the final collaborative print.
Printing Process:
- Place the inked plate face down on the final paper and press evenly with hands or a clean brayer.
- Avoid shifting or sliding the plate while printing to prevent smudging.
- Lift the plate carefully to reveal the design.
- Encourage students to appreciate the imperfections as part of the artistic process!
Creative Enhancements:
- Try different colors – Experiment with layering multiple prints in different colors.
- Overlap prints – Print the same design multiple times on one page to create patterns.
- Use mixed media – Combine printmaking with drawing, collage, or watercolor backgrounds for unique effects.

Classroom Tips:

Encourage students to work carefully.
Make sure there is a piece of newsprint under each printmaking station.

Extension:

Virtual Gallery: Upload finished prints to Padlet or Google Sites for peer review.
Video Reflection: Students can record a short video explaining their theme and artistic choices using Flipgrid or Canva Video.

Closing Reflection

Reflect (Gallery walk and discussion):

Students will display their final prints in a class gallery.
They write a reflection explaining their theme, symbol choice, and how it connects to the text in paragraph form.
Students will participate in a peer critique, providing constructive feedback on how effectively their peers' work communicates meaning.

Assessments

Formative

Class Discussions: Check for theme identification and text analysis through guided questions.
Sketch and peer review: Monitor symbol development before carving begins.

Summative

Final print and reflection: Students submit their printmaking piece with a written analysis of their symbol, theme, and artistic choices.
Gallery walk participation: Students will evaluate and compare different artistic interpretations of universal themes.

Differentiation

Accelerated:

Encourage students to layer multiple prints to represent contrasting themes within one text.
Compare themes across two different texts and create a dual print composition.
Research how historical artists have used printmaking to explore social themes (eg: José Guadalupe Posada).

Remedial:

Provide graphic organizers to help break down theme development step by step.
Offer symbol examples and guided sketching activities.
Allow students to work in pairs to carve a shared printing plate.

Additional Resources

Credits

Ideas contributed by: Shannon Green

Revised and copyright: May 2025 @ ArtsNOW

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ELECTRICITY IGNITES! MAY THE FORCE BE WITH YOU IMPROVISATIONS 9-12

MAY THE FORCE BE WITH YOU IMPROVISATIONS

LESSON INFORMATION

ELECTRICITY IGNITES! MAY THE FORCE BE WITH YOU IMPROVISATIONS

Learning Description

The room will buzz with movement as students put gravity and magnetic fields into their bodies while playing "Gravity Groove" and "Magnetic Field Milling". They will then explore the golden rule of improvisation, "Yes..and" by playing "You are a….Yes, I am". The lesson concludes with students creating improvised scenes with given Force of Nature Scenarios (Gravity, Magnetism, Electricity, Friction, Inertia). This challenging and hilarious lesson will catapult students' imaginations and get them out of their comfort zones.

Learning Targets

GRADE BAND: 9-12

CONTENT FOCUS: THEATRE & SCIENCE

LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

I can use my body to explore different aspects of electricity.
I can use my imagination to learn about science.
I can create stories with characters and dialogue to bring electricity to life.
I can use improvisation to make stories about what I am learning in science.
I can build upon others' ideas.

Essential Questions

How can improvisation help me understand the forces of nature?
What is the difference between negating and accepting others' ideas?
How can I embody radical acceptance in my life and the world around me?

Georgia Standards

Curriculum Standards

Physical Science:

SPS10 Obtain, evaluate, and communicate information to explain the properties of and relationships between electricity and magnetism.

Additional Science standards that can be taught using these theatre strategies:

Human Anatomy & Physiology:

SAP4. Obtain, evaluate, and communicate information to analyze the processing of matter

and energy in the cardiovascular, respiratory, digestive and urinary systems.

Physics:

SP1. Obtain, evaluate, and communicate information about the relationship between

distance, displacement, speed, velocity, and acceleration as functions of time.

SP2. Obtain, evaluate, and communicate information about how forces affect the motion of objects.

SP3. Obtain, evaluate, and communicate information about the importance of conservation laws for mechanical energy and linear momentum in predicting the behavior of physical systems.

SP4. Obtain, evaluate, and communicate information about the properties and applications of waves.

Arts Standards

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

b. Incorporate dramatic elements through improvisation.

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

a. Observe and demonstrate aspects of verbal and non-verbal techniques in common human activity for performance (e.g. voice, breathing, posture, facial expression, physical movement).

South Carolina Standards

Curriculum Standards

Physics:

P-PS2-3. Apply scientific and engineering ideas to design, evaluate, and refine a device that minimizes the effect of a force on a macroscopic object during a collision

P-PS2-5. Plan and conduct an investigation to provide evidence that an electric current can produce a magnetic field and that a changing magnetic field can produce an electric current.

P-PS3-5. Develop and use a model to illustrate the forces between two objects and the changes in energy of the objects due to their interaction through electric or magnetic fields.

Additional Science standards that can be taught using these theatre strategies:

Biology:

B-LS4-6. Create or revise a simulation to test a solution to mitigate adverse impacts of human activity on biodiversity.

B-LS4-5. Evaluate the evidence supporting claims that changes in environmental conditions may result in (1) increases in the number of individuals of some species, (2) the emergence of new species over time, and (3) the extinction of other species.

Earth & Space Science:

E-ESS1-4. Use mathematical or computational representations to predict the motion of orbiting objects in the universe due to gravity.

E-ESS2-1. Use evidence to argue how Earth’s internal and external processes operate to form and modify continental and ocean-floor features throughout Earth’s history.

E-ESS2-3. Develop a model based on evidence of Earth’s interior that describes cycling of matter through convection processes.

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.

Key Vocabulary

Content Vocabulary

Attract - When two objects pull toward each other due to magnetic or electric forces; opposite charges or poles attract (e.g., a north pole and a south pole of a magnet)
Repel - When two objects push away from each other due to magnetic or electric forces; like charges or poles repelling (e.g., two north poles of a magnet)
Positive (+) - A type of electric charge or magnetic property. It repels other positive charges and attracts negative charges.
Negative (-) - A type of electric charge or magnetic property. It repels other negative charges and attracts positive charges.
North Pole (N) - One of the two ends of a magnet where the magnetic force is the strongest
South Pole (S) - The opposite end of a magnet where the magnetic force is the strongest
Gravity - The force that pulls all objects with mass towards each other, causing things to fall to the ground and keeping planets in orbit
Friction - A force that opposes motion when two surfaces come into contact
Inertia - The tendency of an object to resist a change in motion; an object at rest stays at rest, and an object in motion stays in motion unless acted on by an outside force (Newton's First Law of Motion)
Magnetism - The force that is created by the movement of tiny charged particles called electrons and causes some materials, like iron, to attract or repel each other
Magnetic field - The invisible area around a magnet where the force of magnetism acts, attracting or repelling other magnets and magnetic materials like iron

Arts Vocabulary

Body - Actors use their body to become a character through body posture and movement. What your mind thinks, what your emotions feel, all of this is supposed to show up in your body.
Posture - How an actor holds their shoulders and chest to portray a character's motivations, emotions, and traits.
Imagination - Actors use their imagination to envision things that are not real. It is an essential tool in an actor’s ability to bring a character, scene, etc. to life.
Facial Expressions - Using your face to show emotion
Improvisation - A moment in a play that is not rehearsed or “scripted”, or acting without a script. For example: if an actor forgets a line, he/ she may improvise the line in the scene.
Rules of Improvisation -

Say "Yes, and…"
- Always accept what your scene partner says or does.
- Build on it by adding your own ideas instead of shutting theirs down.
Avoid asking too many questions.
- Instead of just asking, add information to keep the scene moving.
Make bold choices and commit.
- Don't be afraid to fully commit to your character and actions.
- Even if something feels silly, own it!
Keep the scene moving forward.

- Scenes shouldn't stall—always contribute to the action.
- If things slow down, introduce a new action, emotion, or obstacle.

Stay in the moment.

- Listen to your scene partners and respond genuinely.

Make your partner look good.

- Improv is about teamwork, not competition.
- Support each other and help the scene succeed instead of trying to be the funniest.

There are no mistakes, only opportunities.

- If something unexpected happens, go with it!
- Mistakes can lead to hilarious or creative moments in a scene.

Keep it appropriate.

Materials

Positive/Negative cards–index cards with one word on each: Positive (+), negative (-) (one card per student)
North/South cards–index cards with one word on each: North (N), South (S) (one card per student)
Rules of Improvisation
Force of Nature Scenarios for "May the Force Be With You" improvisations.
- 1 - "Magnetic Mystery" (Magnetism, Electricity)
  - Scenario: A town is experiencing strange magnetic disturbances—cars, phones, and even metal trash cans are flying toward a mysterious magnetic field! A group of scientists must figure out what's causing it before everything metal disappears into the sky.
    - Forces in action:
      - Magnetism–students can act as metal objects being pulled toward an invisible force
      - Electricity–powering the magnet on/off to control the chaos
    - 2 - "Frenzy Friction" (Friction, Inertia)
      - Scenario: A group of skiers is competing in a downhill race, but as they reach the bottom, they realize the snow has melted into a super slippery ice patch! With almost no friction, they can't stop and must figure out how to slow down before crashing.
        
        Forces in action:
        
        Friction–acting out different surfaces: rough snow versus slick ice
        
        Inertia–skiers keep moving unless something stops them
        
        3 - "Elevator Drop" (Electricity, Gravity)
        
        Scenario: A group of people is in an elevator when the power goes out! Without electricity, the elevator stops moving. Then, the emergency backup kicks in, but gravity starts pulling it too fast. Can they figure out how to stop the elevator before it crashes?
        
        Forces in action:
        
        Electricity–powers the elevator, but it fails
        
        Gravity–pulling it down when the power is lost
        
        Friction–brakes activating to slow it down
        
        4 - "Rollin’ Coaster" (Inertia, Friction, Gravity)
        
        Scenario: A brand-new roller coaster malfunctions, and instead of slowing down at the end, it keeps speeding up! The riders must find a way to stop the ride before they launch off the tracks.
        
        Forces in action:
        
        Gravity–pulling the coaster down steep drops
        
        Inertia–coaster keeps moving unless stopped
        
        Friction–brakes trying to slow it down

Instructional Design

Opening/Activating Strategy

EXTREME ZING! (Magnetism & Electricity)

Explore the words attract and repel and how they look on our bodies.
- Repel jumps away.
- Attract comes together.
Explore the words positive and negative and how they look with our bodies, faces, and voices.
- Positive - Tall body, high level that goes from small to big, face goes small to big, voice with pitch and volume that grows
- Negative - Small body, low level that goes from low to high, face from big to small, voice with pitch and volume that decrease
Discuss how attract and repel relate to positive and negative charges.
- Opposites attract.
- Likes repel.
Have students mill about the room.
Tell students:
- When I say "1, 2, 3…Action" you will mill about the room as your positive or negative character.
- When I say "1, 2, 3…ZING!" you will freeze opposite the person/character closest to you.
- Physically react to your partner/other character:
  - If they are opposites (+ and -) or (North and South), they must move toward each other (slow-motion magnetization).
  - If they are like charges (+ and +) or (North and North), they must dramatically push apart like an invisible force is pushing them.
- I will then say "1, 2, 3…Action” and you will mill about the room again until I call out "1, 2, 3.. ZING”.
Give each student a positive/negative card and a north/south card.
Keep playing for several rounds.
Then, add the third action: Neutral!
- Students freeze, representing an uncharged object.

GRAVITY GROOVE

Discuss how gravity changes movement.
Ask students to move around the room normally.
Call out different gravity levels:
- Zero gravity:
  - Students move in slow motion, floating like astronauts.
- Moon gravity:
  - Students take big, slow steps, like walking on the Moon.
- Extreme gravity:
  - Students act as if they are being pulled down with heavy weight.
- Coaching note:
  - Encourage students to exaggerate their movements and facial expressions to tell a strong non-verbal story.

MAGNETIC FIELD MILLING

Discuss the meaning of a magnetic field.
Play music.
Explain the game. Say:
- When I play the music, you will walk around the room like a magnetic particle floating in space.
- When I stop the music, I will call out a scenario.
- You need to use your whole body, facial expression, and imagination to embody the scenario without words.
Start the music. Asking questions as students mill about the space.
- How would that feel in your body?
- How would your legs react?
- How would your arms react?
Stop the music and call out a scenario:
- Strong magnet!
  - Students rush to the center of the room acting like a strong magnetic field pulling them in.
    - Coaching questions:
      - How would this change the pace of your movement?
      - How would the magnetic field pull you?
      - What part of your body would lead?
    - Weak magnet!
      - Students lazily move in all directions showing a weak attraction.
        
        Coaching questions:
        
        How would this change the pace of your movement?
        
        How would your face react?
        
        What part of your body would lead?
        
        How would your posture change?
        
        Magnet turned off!
        
        Students collapse like the magnet lost power.
        
        Coaching questions:
        
        How would you fall to the ground?
        
        Add a sound when you are turned off.

Work Session

IMPROVISATION

Introduce the Rules of Improvisation.
Watch the video: Minute Improv Yes And.
GAME: "YOU ARE A…..YES, AND I AM"
- Have students get into partners around the room.
- Partner #1 tells the other what character they are/have.
  - #1 says, “You are a ________.”
  - #1 claps three times while Partner #2 becomes the character.
- Partner #2 immediately physicalizes and embodies the character said to them.
  - Then says, after the claps, “Yes, I am ….and….I _______”, adding in a detail and acting it out.
- Partner #1 gives Partner #2 three character suggestions. Then, the partners switch.
- Partner #2 gives Partner #1 three character suggestions.
- Example:
  - #1 says, “You are a monkey” then claps three times.
  - #2 becomes a monkey with body, voice, and sounds.
  - #2 says, “YES, I am a monkey, AND I eat bananas!”.
  - Repeat this twice and then switch.

MAY THE FORCE BE WITH YOU

Say, “Now, let's practice and play with improvisation; let's make up scenes on our feet as we go along”.
Ask three student volunteers to come to the front of the room.
Read the scenario: "Lost in Space" (Gravity, Inertia).
- A team of astronauts is on a spacewalk when their spaceship's gravity generator malfunctions! Suddenly, they are floating in zero gravity. A planet’s gravitational pull pulls them in as they struggle to move. Can they escape before they get sucked into the atmosphere?
- Ask students which forces are at work. This scenario deals with gravity and inertia.
- Ask students to explore ways that would look in their bodies in each scenario.
  - Gravity–weightlessness in space versus strong pull from a planet
  - Inertia–astronauts floating in motion until they push off something
- Ask students to freeze in a pose as if they are floating in zero gravity.
- Call "Action" and have students come to life.
- Coaching notes as students improvise.
  - If a student negates something, ask them to repeat it with "Yes, and…"
  - Tell students:
    - Project your voice so that we can hear you.
    - Listen to your partner.
    - Build on what your partner is saying.
    - Bring in the focus of nature.
  - When students are finished, call "Lights out."
  - Have students bow.
  - Ask the students in the audience what they thought each actor did well.
  - Ask them what worked and didn't work about the dialogue.
  - Assign groups of students a Force of Nature Scenario (Gravity, Magnetism, Electricity, Friction, Inertia).
    - Give students ten minutes to rehearse.
    - Have students share scenes.
    - Keep coaching as scenes are being performed to help direct the scenes if needed.

Closing Reflection

Say, “Improvisation is radical cooperation and acceptance. Why do you think people say that about improv?”.
- Have students turn and talk to a neighbor about the following:
  - Was improvisation easy or hard for you, and why?
  - Think about how saying "Yes…and" might change some of your school, home, and work relationships.

Assessments

Formative

Walk around the room and listen to collaboration to assess students’ comprehension of the material.
Observe students' understanding of improvisation and comfort level throughout the lesson.

Summative

Assess students' content comprehension through the scenes that they create. Check to make sure they include the forces and create dialogue.

Differentiation

Accelerated:

Accelerated students can revise and edit their scripts. Then, type them out and create blocking to perform in front of the class. Blocking is the physical arrangement of actors on a stage that facilitates the performance of a play.

Remedial:

The class can work as one team and develop a simple script for each scenario. Then, they can read them aloud in class.

Additional Resources

Minute Improv Video: Yes And

Credits

Ideas contributed by: Susie Spear Purcell

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PRINTMAKING ECOSYSTEMS: CARRYING CAPACITY AND BIODIVERSITY 9-12

CARRYING CAPACITY AND BIODIVERSITY

LESSON INFORMATION

PRINTMAKING ECOSYSTEMS: CARRYING CAPACITY AND BIODIVERSITY

Learning Description

In this lesson, students will explore how biotic and abiotic factors influence ecosystems, species distribution, and carrying capacity. Through printmaking, students will create a visual representation of species interactions in a chosen biome, considering competition, predation, and resource availability. Each print will contribute to a collaborative class ecosystem model, showing how species coexist and how environmental changes impact populations.

Learning Targets

GRADE BAND: 9-12

CONTENT FOCUS: VISUAL ARTS & SCIENCE

LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

I can explain how biotic and abiotic factors influence species distribution and biodiversity.
I can describe the carrying capacity of an ecosystem and how it limits populations.
I can create a print that represents species interactions in an ecosystem.
I can analyze how competition and resource availability affect populations.
I can collaborate with my peers to create a visual model of an ecosystem.

Essential Questions

How do biotic and abiotic factors affect the distribution of species in an ecosystem?
What is carrying capacity, and how does it influence populations?
How do species interact within an ecosystem (competition, predation, resource availability)?
How can printmaking be used to visually represent complex scientific concepts?
What happens when an ecosystem's carrying capacity is exceeded?

Georgia Standards

Curriculum Standards

Ecology:

SEC1 Obtain, evaluate, and communicate information on how biotic and abiotic factors interact to influence the distribution of species and the diversity of life on Earth.

a. Develop a model describing the organizational structure of a habitat within an ecosystem. Ask questions to gather and synthesize information from multiple sources to differentiate between Earth’s major terrestrial biomes (i.e., tropical rainforest, savanna, temperate forest, desert, grassland, taiga, and tundra) and aquatic ecosystems (i.e., freshwater, estuaries, and marine).

Biology:

SB5 Obtain, evaluate, and communicate information to assess the interdependence of all organisms on one another and their environment.

Environmental Science:

SEV1.a Develop and use a model to compare and analyze the levels of biological organization including organisms, populations, communities, ecosystems, and biosphere.

Arts Standards

VAHSVA.CR.1.a Generate and conceptualize artistic ideas and work.

VAHSVA.CR.1.b Consider multiple options, weighing consequences, and assessing results.

South Carolina Standards

Curriculum Standards

Biology:

B-LS2-1. Use mathematical and/or computational representations to support explanations of biotic and abiotic factors that affect carrying capacity of ecosystems at different scales.

B-LS2-3. Construct and revise an explanation based on evidence for the cycling of matter and flow of energy in aerobic and anaerobic conditions.

Arts Standards

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

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

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

Key Vocabulary

Content Vocabulary

Carrying capacity – The maximum number of organisms an ecosystem can support
Biotic factors – Living components of an ecosystem (plants, animals, fungi)
Abiotic factors – Nonliving components of an ecosystem (water, temperature, soil)
Biodiversity – The variety of life in an ecosystem
Predation – A biological interaction where one organism feeds on another
Competition – Organisms competing for limited resources

Arts Vocabulary

Printmaking – The art or technique of making prints, especially as practiced in engraving, etching, dry point, woodcut or serigraphy
Relief print – A printmaking technique in which a design is carved into a material and inked for printing
Brayer – A small roller for inking type by hand, usually for making a proof
Composition – How an artist arranges the Elements of Art (line, shape, form, value, color, space, texture) to create an artwork
Contrast – The arrangement of opposite elements in a composition (light vs. dark, rough vs. smooth, etc.) Similar to variety, which refers to the differences in a work, achieved by using different shapes, textures, colors and values

Materials

Sketchbooks or STEAM journals/pencils
Styrofoam sheets
Dull pencils or ball point pens
Brayers
Water based printing ink
Printing paper (white, colored, textured; mixed media paper works well)
Colored pencils or art sticks
Drying racks or designated drying space
Paper towels to wipe ink off of styrofoam plates
Colored index cards
Trays for ink
Optional: Colored pencils. art sticks, watercolors and paint brushes, etc.

Instructional Design

Opening/Activating Strategy

Activator: The "Survival Game"

Objective: Help students understand carrying capacity and competition for resources.
Activity instructions:
- Set the scene:
  - Tell students they are deer living in a forest. The classroom represents their habitat.
  - They must "find food" (colored index cards scattered around the room).
- Rules:
  - When the teacher says "Go", students must pick up only one card at a time and bring it back to their seat.
  - After each round, some students will be "eliminated" (didn’t find food).
  - Increase competition by adding/removing "food" cards in each round.
  - Introduce a "predator" (teacher or student) who can "tag" students (eliminating them from the population).
- Reflection: Discuss what happens to the population when resources become scarce or competition increases.
Connect to lesson: This game simulates carrying capacity—when resources run out, populations decline.
- Ask students, “How does this apply to real ecosystems?”. Transition into a class discussion about biotic and abiotic factors that influence populations.

Discussion Questions:

What factors determine how many organisms an ecosystem can support?
How do species interact in ecosystems (predation, competition, symbiosis)?
What happens when a species population grows too large?

Work Session

Research & Brainstorm:

As a class, students will choose one of Earth’s major biomes or aquatic ecosystems:
- Tropical Rainforest
- Desert
- Grassland
- Taiga
- Tundra
- Freshwater
- Estuary
- Marine
Students will research the biotic and abiotic factors in their chosen biome.
Students will then sketch a food web/chain with at least:
- One producer (plant)
- Two primary consumers (herbivores)
- One predator
- One decomposer
Before students begin their printmaking, they will complete a short written response:
- What biome did you choose?
- Which biotic and abiotic factors did you include?
- How will your print show interactions in the ecosystem?

Give students the following instructions to create their prints:

Create a Printing Plate:
- Choose one species from your ecosystem and sketch it on paper.
- Use a dull pencil or ballpoint pen to carve design into the foam—press firmly but avoid puncturing all the way through.
- Encourage students to sketch lightly first before carving to avoid mistakes.
- Add textural details to represent how the species interacts with the ecosystem.
Carving Techniques:
- Keep lines simple and bold for clear prints; intricate details may not transfer well.
- Reverse letters or numbers if including text, as prints will be a mirror image.
- Vary line thickness for added depth—thicker lines hold more ink, while thinner lines create subtle details.
Inking the Plate:
- Roll out a thin, even layer of ink on a tray before applying to the styrofoam plate with a brayer.
- Roll the inked brayer over the styrofoam plate. Make sure ink covers the entire design, but avoid excessive ink, which can cause smudging.
- Test prints on scrap paper before making the final print.
Printing Process:
- Place the inked plate face down on the final paper and press evenly with hands or a clean brayer.
- Avoid shifting or sliding the plate while printing to prevent smudging.
- Lift the plate carefully to reveal the design.
- Encourage students to appreciate the imperfections as part of the artistic process!
Creative Enhancements:
- Try different colors – Experiment with layering multiple prints in different colors.
- Overlap prints – Print the same design multiple times on one page to create patterns.
- Use mixed media – Combine printmaking with drawing, collage, or watercolor backgrounds for unique effects.

Collaborative Ecosystem Model:

Assemble a class biome display:
- Each student’s print represents one species in the biome.
- Arrange prints based on interactions (e.g., predator near prey, plants near decomposers, etc.).
- Use labels or speech bubbles to explain each species’ role in the ecosystem.

Closing Reflection

Facilitate a discussion around the following questions:
- How does your species interact with others in the ecosystem?
- What factors affect the ecosystem’s population size (predation, competition, disease, etc.)?
- How does your print visually represent the species’ role?
- What happens when the carrying capacity is exceeded in this biome?
Students will complete a short reflection (written or through video) explaining:
- What biotic and abiotic factors are represented in your collaborative ecosystem model?
- How does your print demonstrate carrying capacity, competition, or species interactions?
- What challenges did you face in printmaking, and how did you overcome them?

Assessments

Formative

Think-Pair-Share (during brainstorming)

After students sketch their food web or ecosystem interactions, students will pair up and explain their choices.
Teacher circulates to assess understanding of content and the printmaking process.

Mini-Checkpoint Questions (before printing)

Before students carve their print, they must complete a short written response:
- What biome did you choose?
- Which biotic and abiotic factors did you include?
- How will your print show interactions in the ecosystem?

Summative

Final Print and Reflection (Written or Video)

Students will create a short reflection explaining:
- What biotic and abiotic factors are represented in your collaborative ecosystem model?
- How does your print demonstrate carrying capacity, competition, or species interactions?
- What challenges did you face in printmaking, and how did you overcome them?

Differentiation

Accelerated:

Create multi-layered prints with multiple species interacting.
Research and add how climate change affects the chosen biome.
Create a digital ecosystem infographic.
- Using Canva, Google Slides, or Adobe Express, students can create a digital infographic explaining the ecosystem they represented.
- It must include:
  - Their print
  - Key species and roles
  - A description of carrying capacity

Remedial:

Provide visual examples for reference.
Allow students to present their reflections orally.

Additional Resources

Virtual Field Trip

Use Google Earth or National Geographic’s Explorer Classroom to explore different biomes. Students can take notes on species and environmental factors.
What Is Printmaking? The Met
Printmaking - Tate Museum

Credits

Ideas contributed by: Shannon Green

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