YOUR VIEW MATTERS–FLASHBACK/FORESHADOWING 9-12

YOUR VIEW MATTERS–FLASHBACK/FORESHADOWING

YOUR VIEW MATTERS–FLASHBACK/FORESHADOWING

Learning Description

Students will be engaged throughout this lesson as they take improvisation to a new level. They will create stories on their feet without a script bringing laughter and energy into the classroom as they put flashbacks and foreshadowing into their bodies. They will work individually and in groups to bring prophecies to life. Students will learn about and put into practice literary techniques without even realizing it because they will be having so much fun with their friends and classmates!

 

Learning Targets

GRADE BAND: 9-12
CONTENT FOCUS: THEATRE & ELA
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can act out memories from my own life using my body and voice.
  • I can use improvisation to create stories.
  • I can work with others to create a story.
  • I can be intentional about creating positive memories in my life.

Essential Questions

  • How can improvisation help me be flexible in my world?
  • When have I had foreshadowing and flashback moments in my life?
  • How can memories enhance my life and stories?
  • How can I be in tune to hear the foreshadowing voices around me?

 

Georgia Standards

Curriculum Standards

9th Grade Literature and Composition:

ELAGSE9-10RL5 Analyze how an author's choices concerning how to structure a text, order events within it (e.g., parallel plots), and manipulate time (e.g., pacing, flashbacks) create such effects as mystery, tension, or surprise.

 

10th Grade Literature and Composition:

ELAGSE9-10RL5 Analyze how an author's choices concerning how to structure a text, order events within it (e.g., parallel plots), and manipulate time (e.g., pacing, flashbacks) create such effects as mystery, tension, or surprise.

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

ELA.AOR.5: Evaluate and critique how an author uses words, phrases, and text structures to craft text.

English I:

ELA.E1.AOR.5.1 Analyze how an author’s choices in structuring a text, including the manipulation of time (e.g., flashback and foreshadowing), create effects such as mystery, tension, and/or suspense.

 

English II:

ELA.E2.AOR.5.1 Analyze how an author’s choices concerning how to structure a literary text, order events within it, and manipulate time, create effects such as mystery, tension, or surprise.

Arts Standards

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

Benchmark T.CR NH.1: I can work with others to add dialogue to a story.

Indicator T.CR NH1.2: I can collaborate with peers to improvise multiple dialogue choices.

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

Benchmark T.P IM.3: I can use acting techniques to develop characters and create meaning in a simple theatrical work.

Indicator T.P IM.3.1: I can use acting techniques to develop characters and create meaning in a simple theatrical work.

 

Key Vocabulary

Content Vocabulary

  • Character – A person, animal, or being in a story that takes part in the action; characters have traits, emotions, and motivations that shape the story.
  • Story – A connected series of events that includes a beginning, middle, and end; a story usually has characters, a problem, and a resolution.
  • Foreshadow – A hint or clue about something that will happen later in the story. Example: Dark clouds gathering in the sky may foreshadow a storm.
  • Flashback – A scene that takes the story back in time to show something from the past. Example: A character remembers their first day of school while getting ready for graduation.
  • Tone – The author's attitude toward the subject, shown through word choice and style
  • Mood – The feeling or atmosphere a reader gets from a story

Arts Vocabulary

  • Memory – The process of taking in information from the world around us, processing it, storing it and later recalling that information, sometimes many years later. Actors have to memorize lines for a performance.
  • Improvisation – A moment in a play that is not rehearsed or "scripted", or acting without a script
  • Dialogue – Conversation between two or more persons
  • Scene – A single situation or unit of dialogue in a play
  • Visualization – Creating vivid mental images and scenarios to enhance the understanding of characters, scenes, and the overall narrative, ultimately leading to more authentic and engaging performances

 

Materials

 

 

Instructional Design

Opening/Activating Strategy

MEMORY WALK TIME MACHINE - FLASHBACK THEATRE

  • Ask students what happened right before they arrived today.
    • That was a memory.
    • Ask: Is a memory from the past or future? (Past)
      • Memory is the process of taking in information from the world around us, processing it, storing it, and later recalling that information.
      • Memories can be positive or negative.
      • Ask:
        • What is the first memory that pops into your head when I say…chocolate?
        • What about when I say…homework?
      • Explain that they are about to enter a Memory Machine Walk.
        • Invite students to close their eyes, if they feel safe to do so, and visualize a particular memory from their lives.
          • Actors visualize their characters, playing out the story in their mind's eye.
        • Tell students to think of events that have happened in their lives up to this point.
          • For example, when they were a baby, a toddler, an elementary schooler, activities or accolades, family milestones, the first day of school, birthday, embarrassing moments, etc.)
          • Tell students to choose one memory.
        • Explain how the Memory Machine Walk will work.
          • Students walk around the room.
          • Teacher calls, "1, 2, 3 …. FLASHBACK".
          • Students freeze.
          • Students act out their past event/memory from their life using body and voice.
          • Teacher calls, "1, 2, 3 …WALK".
          • Students visualize another memory and repeat the process.
        • Continue until through several rounds.
      • Memory Walk Group Improv:
        • Ask students to get into groups of three.
        • Tell them that they will improvise a scene (make it up on their feet).
        • Have them choose a simple scenario.
        • Give groups two minutes to decide on their scenario and who will play what characters.
        • Explain how the Memory Walk Improv will work.
          • Teacher calls, "1, 2, 3…ACTION".
          • Students start improvising the scene.
          • At some point during the improv, the teacher will call out "1, 2, 3…Flashback!".
          • Students must immediately improvise an earlier event that gives details to the scene.
        • Give students a moment to think about possible flashbacks that fit within their scenario.
        • Start the exercise.
        • Let students improvise for about 45 seconds before calling, "1, 2, 3…Flashback!".
        • Ask for any volunteers who would like to share their scene.
        • Reflect with students by asking what they noticed about the exercise. Use the following questions to facilitate discussion.
          • How did the flashback change the way they saw the story?
          • What emotions or surprises did it create?

Work Session

  • Ask students what they thought about the improvised scenes.
    • What worked and didn't work?
    • Did all of the partners accept suggestions given by their scene partner?
  • Tell students that improvisation is making up a story as you go along without using a script.
    • It can be tough and often ends flat with the characters arguing.
    • Improvisation takes practice, and there are some important rules that help actors make it successful.
    • Discuss Rules of Improvisation.
    • Watch the video Minute Improv Yes And.
    • Tell students that improvisation is radical acceptance and cooperation in action.
    • Tell students, “Now, let's put these rules into practice and sharpen our improvisation skills”.

 

CIRCLE OF PROPHECIES–FORESHADOW THEATRE

  • Ask students what a prophecy is.
    • A prophecy is a vague or dramatic prediction.
      • It adds tone and mood to a story–usually suspense and mystery!
    • Ask students if they can think of any movies or TV shows that they have seen or books they have read that contained prophecies.
    • Share an example of a prophecy: "The sky will weep silver tears, and a path of glowing moss will appear. Choose the path, or face the silence".
    • Ask them to think of a prophecy that they have heard or make one up.
      • Have them turn and share with the person sitting next to them.
    • Invite students to sit or stand in a circle.
    • Tell them that you have slips of paper with prophecies listed on them in a hat.
    • Have one student pull a prophecy out of the hat and read it.
      • Work as a class to come up with three foreshadowing clues that go with the prophecy.
        • Example: "The lights flicker, a character makes a cryptic comment, a storm begins outside".
      • Work as a class to come up with a fast-forward idea to reveal what happens next.
        • Example: "A ghost appears!"
      • Encourage dramatic foreshadowing, over-the-top reactions, and creative problem-solving!
    • Invite some students to the center of the circle to act out a short improv scene leading up to the prophecy coming true (or hilariously failing to).
      • The scene must include the following:
        • The prophecy
        • The three foreshadowing clues
        • The one fast-forward idea
      • Encourage students to have fun and take risks.
    • Ask students to get into groups of three or four.
    • Have them choose one scene idea from Scene Ideas for "Circle of Prophecies"- Foreshadowing.
      • Example: "The Missing Homework Will Decide the Future"
        • Prophecy: "Beware! If the sacred scroll (a.k.a. the missing homework) is not returned by sundown, disaster will strike!"
        • Scene: A group of students frantically searches for the missing assignment, convinced it holds magical powers. The teacher (or "guardian of knowledge") gets more suspicious by the minute.
      • Have students start on the spot or give groups five to ten minutes to decide the following:
        • Setting
        • Characters
        • Three foreshadowing clues that go with the prophecy
        • One fast forward idea
      • Have students share improvised scenes with the class.
      • Reflect with students by asking them what they noticed about the exercise. Use the following questions to facilitate discussion.
        • What made foreshadowing effective?
        • How does foreshadowing add suspense or mystery?

 

Fun additions to consider including in the lesson:

  • Encourage dramatic foreshadowing – Have one student act as the "Prophet" to ominously deliver the prophecy before the scene begins.
  • Use props, such as a toy crystal ball, an old book, and a flashlight for dramatic lighting.
  • Allow silly twists – Maybe the "big disaster" is that the vending machine runs out of snacks. Let them be creative!

 

EXTENSION:

Have groups write down their scenes after improvising them to create a script. Students will edit and revise the scripts.

 

Closing Reflection

  • Facilitate a discussion using the following questions:
    • What did you like or dislike about this lesson?
    • Do you have a better understanding of foreshadowing and flashbacks?
  • Tell students to get with their groups and share one memory they have from their improvised scenes.
  • Tell students that memories make life interesting and can make relationships stronger. Ask them to think of an intentional way to create a positive, fun memory with a friend or family member that might last a lifetime.

 

Assessments

Formative

  • The teacher can discern if the students understand the meaning of flashbacks and foreshadowings by the dialogue they include in their improvisations.

Summative

  • Create a checklist of the elements that need to be included in the scene.
  • Create a checklist for the rules of improvisation and have audience members check off the rules that were followed in each scene.

 

 

Differentiation

Accelerated: 

  • Have advanced students write a complete story containing both foreshadowing and flashbacks using the Simple Scene prompts.

 

Remedial:

  • Create one scene as a class or allow students to contribute to the story without acting in the scenes. Or, allow remedial students to pantomime without using words while the teacher reads the improvised text.

 

Additional Resources

Improvisation Video - A Lesson on Improv Technique, with Chris Gethard | Big Think

 

Credits

Ideas contributed by: Susie Spear Purcell

*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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THE POWER OF MULTIMEDIA IN MUSIC INTERPRETATION 9-12

THE POWER OF MULTIMEDIA IN MUSIC INTERPRETATION

THE POWER OF MULTIMEDIA IN MUSIC INTERPRETATION

Learning Description

In this lesson, students will explore how different multimedia formats contribute to the presentation of a song and its message.

 

Learning Targets

GRADE BAND: 9-12
CONTENT FOCUS: MUSIC & ELA
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can analyze how different multimedia formats change the way a message is presented and understood.
  • I can compare the strengths and weaknesses of print text, digital text, film, image, and performance in conveying information.
  • I can evaluate how audience perception is influenced by the choice of multimedia format.
  • I can use musical vocabulary to explain what I hear in a ballad.
  • I can use good posture, breath support, and accurate pitch while singing.

Essential Questions

  • How do different multimedia formats (print text, digital text, film, image, performance) influence the way an idea or topic is understood?
  • What are the advantages and disadvantages of using various multimedia formats to present information?
  • How can I use my voice to express emotions and communicate a message?

 

Georgia Standards

Curriculum Standards

9th Grade Literature and Composition:

ELAGSE9-10SL2 Integrate multiple sources of information presented in diverse media or formats (e.g., visually, quantitatively, orally) evaluating the credibility and accuracy of each source.

 

10th Grade Literature and Composition:

ELAGSE9-10SL2 Integrate multiple sources of information presented in diverse media or formats (e.g., visually, quantitatively, orally) evaluating the credibility and accuracy of each source.

Arts Standards

HSMA.CR.2 Compose and arrange music within specified guidelines.

HSMA.CR.3 Evaluate and refine musical ideas.

HSMA.PR.2 Perform a varied repertoire of music on instruments, alone and with others.

HSMA.RE.1 Listen to, analyze, and describe music.

HSMA.RE.2 Evaluate music and music performances.

HSMA.CN.2 Understand music in relation to history and culture.

 

South Carolina Standards

Curriculum Standards

English I:

ELA.E1.AOR.10.1 Explain the advantages and disadvantages of using different multimedia

(e.g., print text, digital text, film, image, performance) formats for presenting ideas or topics.

 

English II:

ELA.E2.AOR.10.1 Analyze the advantages and disadvantages of using different multimedia

(e.g., print text, digital text, film, image, performance) formats for presenting ideas or topics.

 

English III:

ELA.E3.AOR.10.1 Evaluate the advantages and disadvantages of using different multimedia (e.g., print text, digital text, film, image, performance) formats for presenting ideas or topics.

 

English IV:

ELA.E4.AOR.10.1 Evaluate and critique the advantages and disadvantages of using different multimedia (e.g., print text, digital text, film, image, performance) formats for presenting ideas or topics.

Arts Standards

Anchor Standard 3: I can sing alone and with others.

Anchor Standard 6: I can analyze music.

Anchor Standard 7: I can evaluate music.

 

Key Vocabulary

Content Vocabulary

  • Analyze - To study something closely and carefully
  • Evaluate - To study carefully and make a judgement
  • Multimedia - Using different types of media, like pictures, videos, sounds, and words, all together to tell a story or share information
  • Text - Can include, but is not limited to, materials such as books, magazines, newspapers, movies, paintings, television shows, songs, political cartoons, online materials, advertisements, maps, digital media, infographics, podcasts, charts, graphs, diagrams, notes, captions, lab reports, scenarios, and works of art

Arts Vocabulary

  • Lyrics - Words to a song
  • Pitch - The highness or lowness of sound
  • Rhythm - Long and short sounds and silences
  • Dynamics - Loud and soft sounds; volume
  • Tempo - The speed of the beat
  • Timbre - The distinctive quality of sounds; the tone color or special sound that makes one instrument or voice sound different from another
  • Form - The organization of a piece (how the music is put together)
  • Articulation - How a performer moves from one note to the next; how notes are connected or not

 

Materials

  • Projection board with internet access
  • Implements for completing writing assignments
  • Graphic organizers (optional)
  • Printed song lyrics
  • Audio recordings
  • Music video (if available)
  • Album art
  • Harvard Project Zero Thinking Routines

 

 

Instructional Design

Opening/Activating Strategy

  • Think, Pair, Share: Pose the following question–How does the format of a song (text, audio, video or performance) influence its impact?
    • Allow students a few minutes to think individually and document their thoughts by using words or images.
    • Tell students to “Turn and Talk” about their response with a neighbor.
    • Call on students to share their responses with the class. All responses are acceptable.

Work Session

  • Review the five multimedia formats that include print text, digital text (audio), film (music video), image (album art), and performance (live or staged).
    • Discuss how each format affects perception, engagement, and understanding of the medium.
  • Choose a song to complete a song analysis. (**Song suggestions are in the Additional Resources section of the lesson plan.)

 

See, Think, Wonder (Harvard Project Zero Thinking Routine)

  • Prepare students for a “See, Think, Wonder” reading activity by telling students they are going to read the song lyrics (using an excerpt is acceptable) and answer three prompts.  Students will need implements for annotating their responses.
    • “I see”: What do you see? What words or phrases stand out to you?
    • “I think”: What do you think the lyrics are about? What do you think about while reading the lyrics?
    • “I wonder”: What do the lyrics make you wonder? What questions do you have?
  • Provide students with individual copies of the lyrics to read individually or as a group.
  • Have students answer the first prompt (I see) using words or images.
    • Tell students to “Turn and Talk” about their response with a neighbor.
    • Call on students to share their responses with the class.
      • Restate students’ responses. All responses are acceptable.
    • Students will read the lyrics a second time and answer the second prompt (I think) using words or images.
      • Tell students to “Turn and Talk” about their responses with a neighbor.
      • Call on students to share their responses with the class.
      • Restate students’ responses. All responses are acceptable. Ask students, “What did you read in the ballad poem to make you think about …?” to encourage deeper connections to the written text.
    • Students will read the lyrics a third time and answer the third prompt (I wonder) using words or images. **The “I think” and “I wonder” can be combined.
      • Tell students to “Turn and Talk” about their responses with a neighbor.
      • Call on students to share their responses with the class.
        • Restate students’ responses. All responses are acceptable.

 

Music Analysis: Hear, Think, Wonder

  • Prepare students for a “Hear, Think, Wonder” listening activity. This is a modification of the Project Zero “See, Think, Wonder” Thinking Routine activating strategy. **Make sure only the music is played without showing the accompanying video! This practice allows deeper analysis of the musical sounds!
  • Tell students they are going to listen to the song (or an excerpt) and answer three prompts:
    • “I hear”: What sounds are heard. Musical sounds can include pitch (high/low sounds), rhythm (long/short), dynamics (loud/soft), tempo (fast/slow), timbre (instruments), form (same [repetition], different [contrasting]), articulation (smooth/detached).
    • “I think”: What does the music make you think about?
    • “I wonder”: What “wonderings” do you have? Wonderings are generally questions.
  • Students listen without talking the first time and answer the first prompt (I hear) using words or images.
    • Tell students to “Turn and Talk” about their response with a neighbor.
    • Call on students to share their responses with the class.
      • Restate students’ responses. All responses are acceptable.
    • Students will listen without talking a second time and answer the second prompt (I think) using words or images.
      • Tell students to “Turn and Talk” about their responses with a neighbor.
      • Call on students to share their responses with the class.
        • Restate students’ responses. All responses are acceptable.
        • Ask “What did you hear in the music to make you think about …?” to encourage deeper connections to the music.
      • Students listen without talking a third time and answer the third prompt (I wonder) using words or images. **The “I think” and I wonder” prompts can be combined into one listening event instead of two separate events.
        • Tell students to “Turn and Talk” about their responses with a neighbor.
        • Call on students to share their responses with the class.
          • Restate students’ responses. All responses are acceptable.
        • Discuss any changes in interpretation with the addition of musical sounds.

 

Music Analysis: See, Hear, Think, Wonder (combination of two Harvard Project Zero Thinking Routines See, Think, Wonder and Hear, Think, Wonder)

  • Prepare students for a “See, Hear, Think, Wonder” activity by telling students they are going to watch a music video of the song (using an excerpt is acceptable) and answer four prompts. Students will need implements for annotating their responses.
    • “I see”: What do you see? What images or scenes stand out for you?
    • “I hear”: What sounds are heard. Musical sounds can include pitch (high/low sounds), rhythm (long/short), dynamics (loud/soft), tempo (fast/slow), timbre (instruments), form (same [repetition], different [contrasting]), articulation (smooth/detached).
    • “I think”: What do you think is the message of the video? What did you think about while watching the video?
    • “I wonder”: What does the video make you wonder? What questions do you have?
  • Students answer the first prompt (I see) using words or images.
    • Tell students to “Turn and Talk” about their response with a neighbor.
    • Call on students to share their responses with the class.
      • Restate students’ responses. All responses are acceptable.
    • Students watch and listen without talking a second time and answer the second prompt (I think) using words or images.
      • Tell students to “Turn and Talk” about their responses with a neighbor.
      • Call on students to share their responses with the class.
        • Restate students’ responses. All responses are acceptable.
        • Ask students, “What did you hear in the music to make you think about …?” to encourage deeper connections to the music.
      • Students watch and listen, without talking, a third time and answer the third prompt (I wonder) using words or images. **The “I think” and I wonder” prompts can be combined into one listening event instead of two separate events.
        • Tell students to “Turn and Talk” about their responses with a neighbor.
        • Call on students to share their responses with the class.
        • Restate students’ responses. All responses are acceptable.
      • Discuss how visual storytelling changes or enhances interpretation.

 

Performance

  • Students will use the lyric sheet to sing along with the recording. Singing along with the instrumental version adds an additional challenge.
    • Teacher will remind students to demonstrate good posture, breath support, and accurate pitch while singing.

 

Group Discussion

  • Divide students into small collaborative groups. Using a graphic organizer might help students organize their thoughts and discussion.
    • Possible questions include:
      • Which format was most effective in conveying the song’s message? Why?
      • How did each format alter the perception of the song?
      • What are the limitations of each medium?
    • Conduct a whole-class share out and discussion.
    • Finally, students will write a comparative analysis essay evaluating the advantages and disadvantages of two multimedia formats in presenting the song’s message.

 

Closing Reflection

  • Have students sing the song together.
  • Students will complete an exit ticket: Which format of the song do you think was most effective and why?
  • Students share one takeaway about how multimedia influences meaning in literature and music.

 

Assessments

Formative

  • Exit ticket: Which format of the song do you think was most effective and why?
  • Responses to thinking routines (See, Think, Wonder; Hear, Think, Wonder; See, Hear, Think, Wonder)
  • Teacher observations

Summative

  • Students write a comparative analysis essay evaluating the advantages and disadvantages of two multimedia formats in presenting the song’s message.

 

 

Differentiation

Accelerated: 

  • Compare how different multimedia formats are used in other art forms, such as poetry or film adaptations of books.

 

Remedial:

  • Use graphic organizers.
  • Provide guided notes or sentence starters for discussion.
  • Provide discussion questions.
  • Use partner reading or small-group support for comprehension.

 

Additional Resources

Suggested Song Titles:

  • “Living on a Prayer” sung by Bon Jovi
  • “Julie” sung by Rhiannon Giddens
  • “Man of Constant Sorrow” sung by The Soggy Bottom Boys

 

Credits

Ideas contributed by: Dr. Rue S. Lee-Holmes

*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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THE BLUES (OR NOT-SO-BLUE BLUES) 9-12

THE BLUES (OR NOT-SO-BLUE BLUES)

THE BLUES (OR NOT-SO-BLUE BLUES)

Learning Description

Using a twelve-bar blues form, students will create music expressing the blues (or “not the blue blues”) about selected subject content.

 

Learning Targets

GRADE BAND: 9-12
CONTENT FOCUS: MUSIC & SCIENCE
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can write lyrics about assigned content using a prescribed form.
  • I can play blues harmony.
  • I can combine music and language to express feelings and ideas.

Essential Questions

  • How can music express feelings and ideas?
  • How can music and language be combined to express feelings and ideas?

 

Georgia Standards

Curriculum Standards

Non-ELA Standards will vary depending on selected content for blues compositions; thus, standards below are offered as ideas only and are not exclusive.

Biology I:

SB1 Obtain, evaluate, and communicate information to analyze the nature of the relationships between structures and functions in living cells.

 

Botany:

SBO4 Obtain, evaluate, and communicate information to analyze the impact of plant diseases and pests on plant defense systems and agriculture.

 

Earth Systems:

SES2 Obtain, evaluate, and communicate information to understand how plate tectonics creates certain geologic features, landforms, Earth materials, and geologic hazards.

Arts Standards

HSMA.CR.3 Evaluate and refine musical ideas.

HSMA.PR.2 Perform a varied repertoire of music on instruments, alone and with others.

HSMA.RE.1 Listen to, analyze, and describe music.

HSMA.RE.2 Evaluate music and music performances.

HSMA.CN.2 Understand music in relation to history and culture.

 

South Carolina Standards

Curriculum Standards

Non-ELA Standards will vary depending on selected content for blues compositions; thus, standards below are offered as ideas only and are not exclusive.

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-LS4-4. Construct an explanation based on evidence for how natural selection leads to adaptation of populations.

 

Chemistry:

C-PS1-5. Apply scientific principles and evidence to provide an explanation about the effects of changing the temperature or concentration of the reacting particles on the rate at which a reaction occurs.

 

Earth and Space Science:

E-ESS1-3. Construct an explanation using evidence to explain the ways elements are produced over the life cycle of a star.

Arts Standards

Anchor Standard 1: I can arrange and compose music.

Anchor Standard 4: I can play instruments alone and with others.

Anchor Standard 9: I can relate music to other arts disciplines, other subjects, and career paths.

 

Key Vocabulary

Content Vocabulary

Non-ELA vocabulary will vary depending on selected content for blues compositions.

Arts Vocabulary

  • Beat - The pulse underlying music
  • Blues music - A genre that evolved from folk music of African Americans in the American South (work songs, field hollers, and spirituals) during the late 1800s
  • Body percussion - Using the body as an instrument; includes patting, clapping, stamping, and snapping
  • Chord - A combination of three or more pitches played at the same time
  • Chord progression - A sequence of chords
  • Form - The organization of a piece (how the music is put together)
  • Harmony - Two or more pitches sounding simultaneously
  • Key - The group of pitches (scale) around which a piece of music revolves
  • Measure - The space between two bar lines
  • Phrase - Musical sentence

 

Materials

  • Boomwhackers (or other pitched instruments)
  • Writing materials (e.g., pencil and paper)
  • Recording of blues music (see suggestions below)
  • Sound production resources (e.g., speaker and phone)

 

 

Instructional Design

Opening/Activating Strategy

  • Using found sound or body percussion, perform a rhythm (or steady beat) for eight beats. Have students echo. Label this rhythm A.
  • Using a different found sound or body percussion, perform a different rhythm for eight beats. Have students echo. Compare and contrast with A. Label this rhythm B.
  • Tell students they will be creating musical compositions with same and different patterns (A and B).

Work Session

  • Play a blues recording and ask students about the mood of the music. Lead them to understand that blues music is often about hardship. Suggested blues pieces are “The Thrill is Gone” (BB King), “One Shoe Blues” (BB King), and “Sweet Home Chicago” (Eric Clapton).
  • While many different blues forms exist, this lesson will focus on the twelve-bar blues.
  • The twelve-bar blues includes three phrases (lines), each with four measures and chords, thereby yielding twelve bars (measures). Twelve-bar blues uses three chords (I, IV, and V) in the following sequence:

I    I   I   I

IV IV I   I

V  IV I   I

  • Display visual of twelve-bar blues (this is one example of twelve-bar blues; other versions also exist). The numbers on the top indicate beats; the roman numerals on the bottom indicate chords.

 

beats   1-2-3-4     1-2-3-4     1-2-3-4    1-2-3-4

chord    I               I                I               I

beats   1-2-3-4     1-2-3-4     1-2-3-4    1-2-3-4

chord   IV              IV             I               I

beats   1-2-3-4     1-2-3-4     1-2-3-4    1-2-3-4

chord   V               IV             I               I

 

  • Have students keep the steady beat using different body percussion for each chord.
    • For example, students pat the steady beat for the I chord, clap for the IV chord, and snap for the V chord.
  • Play the recording and have students perform body percussion to show the chord progression.
  • Display visual showing pitches in the I, IV, and V chords.

 

G       C        D

E        A        B

C        F        G

 

I         IV        V

 

  • Give each student a boomwhacker and practice playing each chord. Then play the twelve-bar blues, playing four beats for each chord.
    • For example, students playing C, E, and G will play sixteen beats in the first phrase (bar) since there are four I chords in the first phrase.
  • Have students listen to the recording to determine the form of the lyrics. (This may take repeated listening.) Lead students to understand the form as A A B (A = first four bars, A is repeated, B = last four bars).
  • Listen to the recording to determine the specific content of the lyrics in A and B phrases (bars). Lead students to understand that A presents a problem, followed by A that repeats the problem (sometimes with a slight variation), and B offers a comment on or twist to what has been presented. All bars end with rhyming words.
  • Divide students into groups and have them write lyrics for their twelve-bar blues. (If students choose, they may write a “not-so-blue blues”, a celebration rather than a commiseration!)
    • Since each phrase (bar) is sixteen beats long, the lyrics should present the problem (A) and reflection (B) succinctly and include rhyming words at the end of each bar!
  • Lyrics content can be aligned with subject matter content (see sample standards). For example, groups could write blues (or not-so-blue blues) about gravity, electricity, and magnetism as major forces acting in nature.
  • Have groups share their blues (or not-so-blues) compositions (speaking or singing) while other students play the chord progression. Other students listen and assess the group’s adherence to the prescribed musical and lyrical form.
  • For example, were the lyrics in A A B form? Did A present the problem and B respond to it? Did each bar end with rhyming words? Was the chord progression a twelve-bar blues?

 

Closing Reflection

  • Question students about lesson content, including music and content area vocabulary and understanding.
  • Have students compare and contrast blues with the music to which they typically listen.

 

Assessments

Formative

  • Through observing and questioning, assess students’ understanding of the twelve-bar blues harmony and lyrics.
  • Through observing, assess students’ ability to play a steady beat using body percussion and boomwhackers.
  • Through observing, assess students’ understanding of academic content while writing lyrics.

Summative

  • Students write and share lyrics reflecting assigned content in prescribed form.
  • Students play the twelve-bar blues.

 

 

Differentiation

Accelerated: 

  • Students explore a different blues form.
  • Students write additional blues lyrics using the same form.
  • Students play two boomwhackers.
  • Create a rhythm for the chord progression (rather than playing the steady beat).

 

Remedial:

  • For a student having difficulty playing a steady beat, another student with beat proficiency could model the steady beat in front of or beside the student.
  • For a student having difficulty playing the boomwhacker at the right time, track the chords on a visual, point to the student (or have another student point to the student) to cue playing the boomwhacker, or pair the student with another student playing the same boomwhacker pitch.

 

Additional Resources

Websites for information on blues:

 

Credits

Ideas contributed by: Dr. Maribeth Yoder-White

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

INTEGRATING DANCE AND WRITING FOR CREATIVE EXPRESSION

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

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

 

 

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

*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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