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

 

Back to Lessons

YOUR VIEW MATTERS–FLASHBACK/FORESHADOWING 6-8

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: 6-8
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

Grade 6:

ELAGSE6RL5 Analyze how a particular sentence, chapter, scene, or stanza fits into the overall structure of a text and contributes to the development of the theme, setting, or plot.

 

Grade 7:

ELAGSE7RL5 Analyze how a drama's or poem's form or structure (e.g., soliloquy, sonnet) contributes to its meaning.

 

Grade 8:

ELAGSE8RL5 Compare and contrast the structure of two or more texts and analyze how the differing structure of each text contributes to its meaning and style.

Arts Standards

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

a. Demonstrate effective verbal and non-verbal communication skills (e.g. rate, pitch, volume, inflection, posture, facial expression, physical movement).

c. Demonstrate a variety of types of theatre performances.

 

South Carolina Standards

Curriculum Standards

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

Grade 6:

ELA.6.AOR.5.1 Analyze how a particular sentence, paragraph, chapter, scene, or stanza fits into the overall structure of a text and contributes to the development of theme, setting, or plot.

 

Grade 7:

ELA.7.AOR.5.1 Analyze how the structure of a literary text (e.g., narrative, drama, poem) contributes to its meaning.

 

Grade 8:

ELA.8.AOR.5.1 Determine and explain how an author’s choices in structuring a text, including the manipulation of time (e.g., flashback and foreshadowing), create effects such as mystery or suspense.

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?

 

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

 

Back to Lessons

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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SING ME A POEM 6-8

SING ME A POEM

SING ME A POEM

Learning Description

In this lesson, students will explore how different multimedia formats of a ballad impact audience perception.

 

Learning Targets

GRADE BAND: 6-8
CONTENT FOCUS: MUSIC & ELA
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can analyze and evaluate texts through multimedia formats.
  • I can explain and analyze how the media's portrayal of the text impacts the audience.
  • 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 does the emotional impact and audience engagement differ between reading a ballad’s text and listening to it being sung?
  • How does a text's portrayal change across its written and musical formats, and how do these differences shape audience perception?
  • How can I use my voice to express emotions and communicate a message?

 

Georgia Standards

Curriculum Standards

Grade 6:

ELAGSE6SL2 Interpret information presented in diverse media and formats (e.g., visually, quantitatively, orally) and explain how it contributes to a topic, text, or issue under study.

 

Grade 7:

ELAGSE7SL2 Analyze the main ideas and supporting details presented in diverse media and formats (e.g., visually, quantitatively, orally) and explain how the ideas clarify a topic, text, or issue under study.

 

Grade 8:

ELAGSE8SL2 Analyze the purpose of information presented in diverse media and formats (e.g., visually, quantitatively, orally) and evaluate the motives (e.g., social, commercial, political) behind its presentation.

Arts Standards

MSGM6.PR.2 Perform a varied repertoire of music on instruments, alone and with others.

MSGM6.RE.1 Listen to, analyze, and describe music.

MSGM6.RE.2 Evaluate music and music performances.

MSGM6.CN.2.d Demonstrate performance etiquette (e.g. stage presence, attire, and behavior) and audience etiquette appropriate for venue, purpose, context, and style.

 

South Carolina Standards

Curriculum Standards

Grade 6:

ELA.6.AOR.10.1 Analyze a text or subject presented through multimedia formats and explain how each media’s portrayal of the text or subject impacts the audience.

 

Grade 7:

7.AOR.10.1 Evaluate a text or subject presented through multimedia formats and analyze how each media’s portrayal of the text or subject impacts the audience.

 

Grade 8:

8.AOR.10.1 Evaluate a text or subject presented through multimedia formats and analyze how each media’s portrayal of the text or subject impacts the audience.

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

  • Ballad – A poem that tells a story of adventure, of romance, or of a hero, that is suitable for singing, and that usually has stanzas of four lines with a rhyme on the second and fourth lines
  • 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
  • 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

Arts Vocabulary

  • Ballad – A poem that tells a story of adventure, of romance, or of a hero, that is suitable for singing, and that usually has stanzas of four lines with a rhyme on the second and fourth lines
  • 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)
  • Harvard Project Zero Thinking Routines

 

 

Instructional Design

Opening/Activating Strategy

See, Think, Wonder (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 a ballad poem excerpt and answer three prompts. (**Ballad suggestions are in the Additional Resources section of the lesson plan.) Students will need implements for documenting their responses.
    • “I see”: What do you see? What stands out to you?
    • “I think”: What do you think about while reading the ballad poem?
    • “I wonder”: What does the poem make you wonder? What questions do you have?
  • Students are each given copies of the ballad poem to read individually or as a group and 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 ballad poem 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 read in the ballad poem to make you think about …?” to encourage deeper connections to the written text.
      • Students will read the ballad poem a third time and answer the third prompt (I wonder) 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.
          • Tell students they are going to be examining two different formats of the ballad: the ballad written as a poem and the ballad sung as a song. Students will evaluate how each format impacts them.

Work Session

Ballad Poem Analysis

  • Prepare students to analyze the entire ballad poem by considering and discussing the following questions:
    • Title: What clues do the title give about the poem's subject matter?
    • Speaker: Who is "speaking" in the poem?
    • Words and phrases: What words stand out? Are there any unfamiliar words? Is there a consistent rhyme or pattern?
    • Imagery: What pictures or sensory details does the poet create using language?
    • Tone/mood: How does the poem make you feel?
    • Theme: What is the message?
    • Include additional relevant questions to help guide students’ poetry analysis.
  • Students collaborate with a partner to read, analyze and annotate the entire ballad poem.
    • Tell partners to “Turn and Talk” about their responses with another pair of partners.
  • Read the poem aloud with the whole class and engage the students in a class discussion about their answers to the questions.

 

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.
  • Tell students they are going to listen to the ballad as a song and answer three prompts:
    • “I hear”: What sounds do they hear? 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
  • 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 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 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.
        • The teacher will play the song again while students sing along with the recording. The teacher will remind students to demonstrate good posture, breath support, and accurate pitch while singing.
        • The teacher will lead a discussion with the class about how the musical sounds from the song help contribute to the message of the written text. (Focus on the vocabulary from the “I Hear” prompt.)
          • Ask students whether the music makes the narrative more or less engaging and why.

 

6th grade: Focus more on analyzing the text and explaining the impact on the audience.

  • For example:
    • What is the overarching message of the text?
    • What emotions do they make you feel?
    • Does certain text or sections of text repeat?
    • What is your overall impression of the poem/song?

 

7th and 8th grade: Focus more on evaluating the text and analyzing the impact on the audience.

  • For example:
    • What are the ballad’s strengths and weaknesses?
    • Does the ballad leave a lasting impression or make you want to read/listen to it again?
    • How does the ballad compare to other ballads in the same genre or style?
    • What is your overall impression of the ballad?

 

Closing Reflection

Wrap It Up

  • Remind students that they have explored text presented as a ballad poem and a ballad song.
  • Present students with the following:
    • 6th grade:
      • (a) How does the emotional impact and audience engagement differ between reading a ballad’s text and listening to it being sung?
      • (b) Which format do you prefer and why?
    • 7th and 8th grade:
      • (a) How does a text's portrayal change across its written and musical formats?
      • (b) How do these differences shape audience perception?
      • (c) Which format do you prefer and why?
    • Remind students to keep the question(s) in mind as the class reviews each format.
      • Review both formats of the ballad.
      • After the review, allow students time to think about and thoughtfully answer the questions making sure they use content and music vocabulary in their responses.
        • Students should annotate the content and music vocabulary in their responses using a highlighter, underlining, or circling the vocabulary words.
      • Students will “Turn and Talk” with their neighbor discussing their response to the questions.
      • Call on students to share their responses with the class.

 

Assessments

Formative

  • Evaluate students’ responses to See, Think, Wonder and Hear, Think, Wonder.
  • Observe partner and whole class discussions.

Summative

  • The teacher will evaluate students’ learning through students’ responses (written or oral) to the essential question that includes content and music vocabulary. Using a rubric or checklist may help provide assessment guidance for students.

 

 

Differentiation

Accelerated: 

  • Research and compare additional poem and song ballads.
  • Discuss historical context such as, “How do ballads reflect the time period they were written in?”.

 

Remedial:

  • Use excerpts of the poem and song when completing the analysis.
  • Use graphic organizers.
  • Provide guided notes or sentence starters for discussion.
  • Use partner reading or small group support for comprehension.

 

Additional Resources

Suggested Ballad Titles:

  • “Ballad of John Henry” (poem)
  • “Ballad of John Henry” sung by Wee Sing
  • “Promised Land” sung by Chuck Berry
  • “Puff the Magic Dragon” sung by Peter, Paul, and Mary

 

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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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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