SIMPLE MACHINE HEXATHLON CHALLENGE K-1

SIMPLE MACHINE HEXATHLON CHALLENGE

SIMPLE MACHINE HEXATHLON CHALLENGE

Learning Description

In this lesson, students will read how Mazie engineers simple machines in her house when students read the book, Mazie’s Amazing Machines, by Sheryl Haft. Students will embody the six simple machines in their groups by creating tableaux and playing the 3-Second Machine Game. They will then be challenged to create a hexathlon (six-event) competition using pantomime by demonstrating simple machines using their bodies.

 

Learning Targets

GRADE BAND: K-1
CONTENT FOCUS: THEATRE & ELA
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can bring simple machines to life using my body.

  • I can work as a team to design simple machines. 

  • I can work as a team to pantomime everyday tasks using simple machines. 

  • I can explain the role of force and motion in simple machines.

Essential Questions

  • How do simple machines help make tasks in our everyday lives easier?

  • How do the parts of something help make the whole?

  • What is the relationship between an object’s physical attributes and its resulting motion?

 

Georgia Standards

Curriculum Standards

Kindergarten

SKP2. Obtain, evaluate, and communicate information to compare and describe different types of motion. a. Plan and carry out an investigation to determine the relationship between an object’s physical attributes and its resulting motion (straight, circular, back and forth, fast and slow, and motionless) when a force is applied. (Examples could include toss, drop, push, and pull.)

Arts Standards

KindergartenTAK.PR.1 Act by communicating and sustaining roles in formal and informal environments. c. Cooperate in theatre experiences. d. Assume roles in a variety of dramatic forms (e.g. narrated story, pantomime, puppetry, dramatic play).

 

South Carolina Standards

Curriculum Standards

Kindergarten

K-PS2-1. Plan and conduct an investigation to compare the effects of different strengths or different directions of pushes and pulls on the motion of an object.

 

K-PS2-2. Analyze data to determine if a design solution works as intended to change the speed or direction of an object with a push or a pull.

Arts Standards

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

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

 

Key Vocabulary

Content Vocabulary

  • Simple machines - Basic mechanical devices that are used to make work easier by altering the magnitude or direction of a force

  • Motion - The change in position or orientation of an object with respect to a reference point or frame of reference
  • Force - A push or pull that can cause an object to change its state of motion, accelerate, deform, or experience other effects

 

  • Lever - A simple machine consisting of a rigid beam or bar that is free to pivot around a fixed point called a fulcrum

  • Pulley - A simple machine consisting of a grooved wheel (often called a sheave) that is mounted on a fixed or movable axle
  • Wedge - A simple machine consisting of a triangular-shaped object with a sharp edge or inclined plane on one or both of its sides
  • Inclined plane - A simple machine consisting of a sloping surface or ramp that reduces the amount of force required to lift or move objects vertically
  • Wheel and axle - A simple machine consisting of a wheel (a circular object with a central hole) mounted on an axle (a cylindrical shaft)
  • Screw - A simple machine and a type of fastener that consists of a cylindrical shaft with a helical (spiral) ridge or thread wrapped around it
  • Fulcrum - A fixed point or pivot around which a lever or other mechanical device rotates or moves
  • Load - The force or weight that is applied to a structure, device, or system

Arts Vocabulary

  • Body - The physical presence, movements, and expressions of an actor

  • Gestures - The movements and actions of the body, particularly the hands, arms, and face, that are used by actors to convey emotions, thoughts, intentions, and messages to the audience
  • Tableau - A static and silent scene or picture created by actors who freeze in specific poses or positions to represent a moment or concept
  • Pantomime - A form of performance where actors use gestures, facial expressions, and body movements to convey a story or narrative without speaking

 

Materials

 

Instructional Design

Opening/Activating Strategy

  • Show the video – Coca-Cola Music Machine: "I'd Like to Buy the World a Coke".
  • Ask students to describe what they saw.
    • Ask students what the purpose of the machine was in the video. 
    • Discuss what a simple machine is.
  • Introduce Rube Goldberg to students.
    • Read the book Mazie’s Amazing Machines by Sheryl Haft, 
    • While reading the book, explore each simple machine with a body movement. Focus on the shapes that students will make with their bodies and how the shapes will be different depending on the purpose of the machine (i.e., a wedge versus a wheel).
    • After reading the book, ask students which Mazie machine was their favorite and how it made life simpler.

 

Work Session

SIMPLE MACHINE TABLEAU GAME

  • Explain to students that they will be making a tableau demonstrating a simple machine that they learned about in the book.
    • Explain to students that a tableau is a static and silent scene or picture created by actors who freeze in specific poses or positions to represent a moment or concept.
  • Give each student a lanyard with the name of a simple machine. 
  • Have students get in groups of three with students who have the same simple machine. 
  • Have each group create a tableau of their machine using each group member. Then ask students to “bring it life” and demonstrate how the simple machine works with movement.
  • Discuss each machine’s physical attributes and how that impacts its resulting motion (straight, circular, back and forth, fast and slow, and motionless) when force is applied.

 

INTRODUCE PANTOMIME

  • Explain to students that pantomime is a form of performance where actors use exaggerated gestures, facial expressions, and body movements to convey a story or narrative without speaking. Actors use acting and reacting in pantomime. 
  • Show students a video of pantomime such as Le Mime Marceau or Punch & Mimi- Brushing Teeth.
  • Give students a prompt, such as brushing teeth, to practice pantomime.

 

EVERYDAY SIMPLE MACHINE TASKS

  • Show students pictures of the following activities. Ask them to match them to the simple machines.
    • Wheelchair ramp, skateboard ramp, slide (Inclined plane)
    • Knife, axle, plow, prop to keep a door open (Wedge)
    • Lid to a jar, bottle opener, corkscrew (Screw)
    • Steering wheel of a car, bicycle pedal (Wheel and axle)
    • Flagpole with flag, raising and lowering blinds (Pulley)
    • Scissor handle, paperclip, clothespin (Lever)
  • Discuss how the physical attributes of each machine impacts how it functions. 

 

CLASS HEXATHLON PHYSICAL CHALLENGE

  • Introduce hexathlon events to students. These are Olympic-like events that have six different sports or competitions that athletes must perform.
  • Tell students that they will create a Pantomimed Hexathlon Class Competition, with each of the six competitions representing the six simple machines.
  • Have each group develop a team name. 

 

DEVELOP GAMES

  • Students should focus on creating body shapes that reflect the simple machine.
  • Next, have students develop a pantomime for their machine.
    • Tell students that it should have a beginning, middle, and end movement. This will help clarify and slow down the movements to avoid an overall general movement that does not show distinct parts. 

 

LET THE GAMES BEGIN

  • Set the stage by playing Olympic music.
  • Invite each group to perform their machine. 
  • Have students in the audience identify which simple machine each task used.
  • Discuss how students’ body shapes were different based on the machine and the task it was intended to complete.

 

Closing Reflection

    • Facilitate a class discussion that reflects on the following questions:
      • How can you use simple machines in your life to make everyday tasks easier? 
      • Can you design a machine in your house or community to help someone in need? Which simple machines would it use? 
    • Have students draw a diagram of the beginning, middle, and end of their machine pantomime.
  • If applicable, students should reflect and write about their machines and their process in designing them in their STEAM journal.

 

Assessments

Formative

Teacher will assess students by:

  • Circulating the room assessing students’ understanding of the simple machine movements. *Adjust and correct students as you encounter movements that do not reflect the simple machine. 
  • Asking questions to determine if students’ bodies match the simple machine movements. 
  • Asking specific questions about the body shapes students use to represent the machines.

 

Summative

CHECKLIST

  • Students can accurately bring simple machines to life with their bodies using pantomime and tableau.
  • Students can draw a diagram of the beginning, middle, and end of each task pantomime with labels of simple machine names as well as any related vocabulary. 
  • Students can explain the relationship between an object’s physical attributes and its resulting motion.

 

DIFFERENTIATION 

Accelerated: 

  • Have students videotape their group, introducing and enacting their Hexathlon competition machines on Flip Grid or another recording application. 
  • Have students pantomime multiple simple machines (or all six), instead of just one. 

Remedial: 

  • Instead of individual groups pantomiming their own simple machines, the class can pantomime the six simple machines together.
  • Focus only on the simple machines that use push and pull.

 

 ADDITIONAL RESOURCES

 

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

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

Revised and copyright:  August 2024 @ ArtsNOW

 

Back to Modules

EARTH SYSTEMS, ENVIRONMENT & CONSERVATION THROUGH MOVEMENT K-1

EARTH SYSTEMS, ENVIRONMENT & CONSERVATION THROUGH MOVEMENT

EARTH SYSTEMS, ENVIRONMENT & CONSERVATION THROUGH MOVEMENT

Learning Description

In this lesson, students will understand how choreographers use performance as a platform for communicating concepts. By creating their own choreography, students will learn and teach their classmates about the scientific concepts they are investigating in class.

 

Learning Targets

GRADE BAND: K-1
CONTENT FOCUS: DANCE & SCIENCE
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can use dance as a form of communication.

  • I can create a choreographic work about scientific concepts.

Essential Questions

  • How do choreographers use dance as a form of communication?

  • How can I demonstrate my understanding of scientific concepts through choreography and movement?

 

Georgia Standards

Curriculum Standards

Grade 1

S1E1. Obtain, evaluate, and communicate weather data to identify weather patterns.

Arts Standards

Grade 1

ESD1.CR.1 Demonstrate an understanding of the choreographic process.

 

ESD1.CR.2 Demonstrate an understanding of dance as a form of communication.

 

ESD1.PR.1 Identify and demonstrate movement elements, skills, and terminology in dance

 

ESD1.RE.1 Demonstrate critical and creative thinking in dance.

 

South Carolina Standards

Curriculum Standards

Kindergarten: 

K-ESS2-1. Use and share observations of local weather conditions to describe patterns over time.

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 7: I can relate dance to other arts disciplines, content areas, and careers.

 

Key Vocabulary

Content Vocabulary

  • Weather - The atmospheric conditions present in a particular place at a specific time

Arts Vocabulary

  • Choreographer/Choreography - The art of designing and arranging sequences of movements, steps, and gestures to create a dance piece

  • Levels - The vertical positioning of the dancer's body in relation to the floor (high, mid, low)

  • Shape - The visual configuration or arrangement of the dancer's body or limbs in space

  • Energy - The quality, intensity, and dynamic force behind movement

 

Materials

  • Dance/piece of choreography to watch (see examples in “Additional Resources”)
  • Music

 

 

Instructional Design

Opening/Activating Strategy

  • Ask students to show a movement to represent a weather-related word such as rain or sunshine. Ask students to explain why they chose their movement.
  • Tell students that choreographers are like authors except they don't use words and pictures to help the audience understand what they are communicating.  
    • Instead, they use their bodies and movement to teach the audience about the concept.  
    • Creating choreography about science is just like an author writing an informational text; our dance must inform the audience through movement.

 

Work Session

  • Watch 'Weather' (2012, Lucy Guerin).
  • Ask students to describe how the dancers moved their bodies. 
  • Now, list several types of weather that are demonstrated through the dancers in the piece. Tell students that they will watch the dance again and see if they can identify where the dancers showed the type of weather.
  • Next, tell students that dancers have vocabulary that they use to describe types of movements. The words that they will learn about today are levels and energy. 
    • Tell students that they will explore weather using levels and energy. 
      • Say a weather word, such as, “rain” and demonstrate wiggling your fingers quickly while moving from a standing position to a crouching position. Ask students to copy your movements. Next, ask them how you used your body to show the concept of rain. 
      • Tell students that standing up is a “high level” and crouching down is a “low level” movement. 
      • Next, ask them to repeat the rain movement. Tell students that this time, the rain is barely falling, just a light sprinkle. 
      • Have them repeat the movement again. Tell them that this time, the rain is a thunderstorm, pouring down. 
      • Ask students how their finger movements changed depending on the type of rain. This is energy in dance. 
  • Arrange students into groups of two or three. Assign each group a weather-related concept.
  • Tell students that they will be creating choreography about their assigned topic. Remind students that as choreographers, it is their job to communicate a concept through movement. 
    • Ask students to either choose to show their concept by using levels or energy (or both).
    • Ask students to have a starting pose, a movement to show their concept, and an ending pose.
  • Circulate the room to work with students as they create their choreography.

 

Closing Reflection

  • Have students share their choreography with the class. 
    • The audience members should describe what they observed in the group’s choreography using both science and dance vocabulary.
    • Ask students to explain how the choreography choices contributed to the meaning of the dance.

 

 

Assessments

Formative

Teacher will assess students by asking students about their choreographic choices and how they aid in the audience's understanding of the scientific concept.

 

Summative

CHECKLIST

  • Choreography:
    • Students can create choreography that correctly demonstrates scientific concepts and vocabulary.
    • Students can intentionally use energy or levels to communicate a concept.
  • Audience: 
    • Students can discuss the performances of the other groups and identify how movements demonstrate scientific concepts and vocabulary.

DIFFERENTIATION 

Accelerated: 

  • Students can create choreography that has a beginning, middle, and end.
  • Students can describe their dance using writing and drawing.

Remedial: Create weather-related choreography as a class. Create one movement for each type of weather. Then, assign groups their concept. Groups will build upon the original movement that the class created together to create their choreography.

 ADDITIONAL RESOURCES

 

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

Ideas contributed by: Melissa Joy

Revised and copyright:  July 2024 @ ArtsNOW

 

Back to Modules

STORYTELLING THROUGH SHADOW PUPPETS K-1

STORYTELLING THROUGH SHADOW PUPPETS

STORYTELLING THROUGH SHADOW PUPPETS

Learning Description

Students will engage in a hands-on project to explore the art of storytelling through shadow puppets. They will learn about elements of a story and how to translate them into visual representations using cardstock and other materials. The project will encourage creativity, problem-solving, and collaboration.

 

Learning Targets

GRADE BAND: K-1
CONTENT FOCUS: VISUAL ARTS & ELA
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can identify and explain the basic elements of a story.

  • I can use the design process to plan and create shadow puppets.

  • I can collaborate with classmates to tell a story through shadow puppetry.

  • I can present my shadow puppet story to an audience.

Essential Questions

  • What are the key elements that make up a story?

  • How can we use visual representations like shadow puppets to tell a story?

  • How can we work together to create a cohesive shadow puppet performance?

 

Georgia Standards

Curriculum Standards

Kindergarten:

ELAGSEKRL2 With prompting and support, retell familiar stories, including key details. ELAGSEKRL3 With prompting and support, identify characters, settings, and major events in a story.

 

Grade 1: 

ELAGSE1RL2 Retell stories, including key details, and demonstrate understanding of their central message or lesson. ELAGSE1RL3 Describe characters, settings, and major events in a story, using key details.

Arts Standards

Kindergarten: 

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

VAK.CR.2 Create works of art based on selected themes.

VAK.CR.4 Understand and apply media, techniques, and processes of three-dimensional art.

VAK.CN.2 Integrate information from other disciplines to enhance the understanding and production of works of art. 

 

Grade 1: 

VA1.CR.1 Engage in the creative process to generate and visualize ideas by using subject matter and symbols to communicate meaning.

VA1.CR.2 Create works of art based on selected themes.

VA1.CR.4 Understand and apply media, techniques, and processes of three-dimensional art.

VA1.CN.2 Integrate information from other disciplines to enhance the understanding and production of works of art.

 

South Carolina Standards

Curriculum Standards

Kindergarten:

ELA.K.AOR.1.1 Identify and describe the main character(s), setting, and events that move the plot forward. 

ELA.K.AOR.2.1 Retell familiar stories using main story elements in a literary text. 

 

Grade 1: 

ELA.1.AOR.1.1 Identify and describe the main story elements, such as character(s), setting, and events that move the plot forward. 

ELA.1.AOR.2.1 Retell a story using main story elements and identify a lesson in a literary text.

Arts Standards

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

VA.CR NM.1.2 I can combine several elements of art to construct 2D or 3D artwork.

 

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

VA.CR NH.2 I can use and combine materials, techniques, and processes to make art.

 

Key Vocabulary

Content Vocabulary

  • Design process - A process of revising work

  • Story elements - Characters, setting, plot, conflict, resolution, etc.

  • Narrative - a story or account of events, experiences, or interactions that are usually arranged in a chronological sequence to convey a particular message, theme, or idea

  • Sequence - The chronological order in which events occur within a plot

Arts Vocabulary

  • Shadow puppet - A shadow puppet is a form of storytelling where cut-out figures are manipulated behind a screen to create shadowy images visible to the audience

  • Shape - One of the seven Elements of Art; a two-dimensional figure

 

  • Silhouette - The outline or shape of an object or person that appears dark against a lighter background

  • Contrast - One of the Principles of Design; the difference between two visual elements put side by side

 

Materials

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

 

Instructional Design

Opening/Activating Strategy

  • Introduce the concept of shadow puppetry and its history by watching a short video or demonstration of shadow puppet storytelling (Video: Introduction to Shadow Puppetry; Video: The Three Little Pigs).
  • Ask students to make observations on how the puppets looked and how that differs from other puppets they may have seen.
    • Discuss silhouettes and contrast.
  • Ask students to identify the elements of a story that they noticed in the video.
  • Ask students: 
    • How did the puppets help to tell the story?
    • What is the job of the puppeteer?

 

Work Session

  • Arrange students in collaborative groups. 
  • Explain to students that they will be retelling a story that they read in class. 
    • Remind students that they will need to identify the setting, characters, beginning, middle and end of the story.
    • Have students draw illustrations of the beginning, middle, and end of the story. Students should write a brief description of each illustration.
  • Explain to students that they will be creating puppets that represent the characters in their story. 
  • Introduce the design process by showing them the image below. 
    • Explain to students that artists use this process to revise and improve their artwork; students will use this process in planning their puppets.
    • Students will design and revise their puppets using the design process before creating them.
  • Allow students time to sketch out their plans for their shadow puppets.
  • Introduce the materials students will use to create shadow puppets (cardstock, scissors, tape, brads, colored theater gels, bamboo skewers) and demonstrate how to use them safely. 
  • Students will collaborate with their group to create their shadow puppets based on their story. 
    • Remind students that they must retell the beginning, middle and end of the story in their performances. Students should use their illustrations to help them.
    • Provide time for students to rehearse their shadow puppet stories, focusing on storytelling, timing and puppet movement.
  • Groups will present their shadow puppet stories to the class, followed by a whole group reflection on how groups demonstrated the elements of a story in their puppet presentations.
    • Teacher can model how to celebrate students' creativity and teamwork in presenting their stories.

 

Closing Reflection

Facilitate a whole group reflection. Have students write or discuss what they learned from the project about storytelling and creating their puppets and how they would approach it differently the next time.

 

Assessments

Formative

Teachers will assess student understanding by observing students' engagement, collaboration, and understanding during planning and creation sessions.

 

Summative

CHECKLIST

  • Students can incorporate elements of a story into their shadow puppet performances.
  • Students can use their creativity in puppet design.
  • Students can design their puppets to demonstrate the characters in their stories.
  • Students can use teamwork skills to work collaboratively.

 

DIFFERENTIATION 

Accelerated: 

  • Encourage students to experiment with complex puppet designs. 
  • Challenge students to write their own story rather than retell a story from class.

Remedial: 

  • Provide a graphic organizer to assist students in organizing their ideas.
  • Provide pre-cut shapes for students to assemble to create their shadow puppets.

ADDITIONAL RESOURCES

 

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

 

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

 

Revised and copyright:  July 2024 @ ArtsNOW

Back to Modules

FIERCE FIGURATIVE FEMALES K-1

FIERCE FIGURATIVE FEMALES

FIERCE FIGURATIVE FEMALES

Learning Description

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

 

Learning Targets

GRADE BAND: K-1
CONTENT FOCUS: THEATRE & ELA
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

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

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

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

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

Essential Questions

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

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

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

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

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

 

Georgia Standards

Curriculum Standards

Kindergarten

ELAGSEKRI2 With prompting and support, identify the main topic (main idea) and retell key details of a text (supporting details).

ELAGSEKW2 Use a combination of drawing, dictating, and writing to compose informative/explanatory texts in which they name what they are writing about and supply some information about the topic.

 

Grade 1

ELAGSE1RI2 Identify the main topic and retell key details of a text.

ELAGSE1W2 Write informative/ explanatory texts in which they name a topic, supply some facts about the topic, and provide some sense of closure.

Arts Standards

Kindergarten

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

TAK.CR.2 Develop scripts through theatrical techniques.

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

 

Grade 1

TA1.CR.1 Organize, design, and refine theatrical work.

TA1.CR.2 Develop scripts through theatrical techniques.

TA1.PR.1 Act by communicating and sustaining roles in formal and informal environments.

 

South Carolina Standards

Curriculum Standards

Kindergarten

ELA.K.AOR.2.2 Retell familiar texts by identifying the topic and supporting details in an informational text. 

ELA.K.C.2.1 Use a combination of drawing, dictating, and writing to compose informative/explanatory pieces about a topic with supporting details. 

 

Grade 1

ELA.1.AOR.2.2 Identify a central idea and supporting details in an informational text. 

ELA.1.AOR.2.2 Identify a central idea and supporting details in an informational text.

Arts Standards

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

Benchmark T.P NL.3

I can use body and voice to communicate character traits and emotions in a guided drama experience.

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

 

Key Vocabulary

Content Vocabulary

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

  • Point of view - The perspective of an individual on an event
  • Compare/Contrast - To identify similarities and differences between two things
  • Character trait - A quality or attribute that defines a person's behavior, attitude, and actions in various situations
  • Poetry - A genre of literature
  • Informational text - A text that is nonfiction and has the purpose of informing the reader
  • Biography - A written account of a person's life
  • Autobiography - A written account of a person's life that is written by that person
  • Harriet Tubman - A historical figure who is known for her bravery and leadership in helping enslaved people escape to freedom through the Underground Railroad
  • Underground Railroad - A secret network of routes and safe houses used by enslaved African Americans in the United States to escape to freedom in the 19th century
  • Civil Rights Movement - A historic effort by people in the United States to fight against unfair treatment based on race
  • Ruby Bridges - The first African American child to desegregate an all-white elementary school in the South
  • Malala Yousafzai - A Pakistani activist for female education
  • Conscience - Knowledge of right and wrong and a feeling one should do what is right
  • Adjective - A word that describes or modifies a noun or pronoun, providing more information about its attributes or qualities

Arts Vocabulary

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

  • Body - The physical presence and movements of an actor
  • Voice - The vocal techniques, characterizations, and storytelling aspects that contribute to the effectiveness of a performance
  • Project - Using your voice, body, energy, and presence to ensure that your performance reaches every member of the audience
  • Articulate - To speak clearly
  • Pitch - The highness or lowness of a voice
  • Pace - The speed, rhythm, and timing of dialogue, actions, transitions, and overall performance elements
  • Accent - The way a person pronounces words based on their regional, cultural, or linguistic background
  • Texture - The multi-dimensional quality of a theatrical production that engages the senses, emotions, intellect, and imagination of the audience
  • Conscience Alley - A technique for exploring any kind of dilemma faced by a character and providing an opportunity to analyze a decisive moment in greater detail
  • Statue - A frozen pose
  • Levels - The vertical positioning of actors and elements on the stage

 

Materials

 

Instructional Design

Opening/Activating Strategy

HISTORICAL CHARACTER CONVERSATION & IMAGES

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

 

HISTORICAL CHARACTER SPEECH

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

 

Work Session

DEFINING FIERCE

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

 

INTRODUCING FIERCE FEMALE HISTORICAL FIGURES

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

 

COMPARE AND CONTRAST USING TABLEAU

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

 

EXPLORE CONSCIENCE

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

 

CONSCIENCE ALLEY

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

Helpful Coaching:

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

REVIEW CHARACTERISTICS OF THE CHARACTERS

  • Using question and answer format based on the texts read earlier, generate a list of characteristics about the characters. Record them for students to see and come back to.

 

CHARACTER GROUNDING

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

“I AM” POEM BRAINSTORM

  • Have students complete the “I Am” Poem template. They can use the list of descriptive words that the class generated previously.

 

“I AM” POEM PARTNER SHARE

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

“I AM” POEM PRESENTATION 

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

 

Closing Reflection

Reflect with students on the following questions:

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

 

Assessments

Formative

Teacher will assess students by: 

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

 

Summative

CHECKLIST

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

 

DIFFERENTIATION 

Accelerated: 

  • Have students write an I AM poem about themselves. Students can add an illustration to show a time that they were fierce.

Remedial: 

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

 

 ADDITIONAL RESOURCES

Harriet Tubman:

Ruby Bridges:

Malala Yousafzai:

 

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

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

Revised and copyright:  July 2024 @ ArtsNOW

 

Back to Modules

LISTEN, THINK, WRITE! K-1

LISTEN, THINK, WRITE!

LISTEN, THINK, WRITE!

Learning Description

In this lesson, students will incorporate the elements of a story to create an engaging narrative inspired by a musical piece. Students will use temporal words and descriptive details to improve their writing.

 

Learning Targets

GRADE BAND: K-1
CONTENT FOCUS: MUSIC & ELA
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can use music to write narratives about real or imagined experiences.

  • I can listen and respond to music.

Essential Questions

  • How can listening to music encourage creative writing?

 

Georgia Standards

Curriculum Standards

Kindergarten: 

ELAGSEKW3 Use a combination of drawing, dictating, and writing to narrate a single event or several loosely linked events, tell about the events in the order in which they occurred, and provide a reaction to what happened.

 

Grade 1: 

ELAGSE1W3 Write narratives in which they recount two or more appropriately sequenced events, include some details regarding what happened, use temporal words to signal event order, and provide some sense of closure.

Arts Standards

Kindergarten: 

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

ESGMK.RE.2 Evaluate music and music performances. 

ESGMK.CN.1 Connect music to the other fine arts and disciplines outside the arts.

 

Grade 1: 

ESGM1.RE.1 Listen to, analyze, and describe music.

ESGM1.RE.2 Evaluate music and music performances.

ESGM1.CN.1 Connect music to the other fine arts and disciplines outside the arts.

 

South Carolina Standards

Curriculum Standards

Kindergarten: 

ELA.K.C.3.1 Use a combination of drawing, dictating, and writing to narrate a single event or linked events in a logical order. 

 

Grade 1: 

ELA.1.C.3.1 Write narratives to develop real or imagined experiences. When writing: 

  1. detail events in a logical order using temporal words to signal event order (e.g., before, after); b. include details that describe actions, thoughts, and feelings; and c. provide a sense of ending.

Arts Standards

Anchor Standard 6: I can analyze music.

 

Anchor Standard 7: I can evaluate music.

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

 

Key Vocabulary

Content Vocabulary

  • Narrative writing - A form of writing that tells a story or recounts a series of events

  • Setting - The time, place, and environment in which the story takes place

  • Character - A person, animal, or entity depicted in a story

  • Temporal words - Terms that indicate time and help to sequence events, making it clear when something happens in relation to other events

Arts Vocabulary

  • Pitch - High/low sounds

  • Rhythm - Long/slow sounds

  • Tempo - Fast/slow sounds

  • Dynamics - Loud/soft sounds

  • Timbre - Instrument sounds

  • Form - Same/different sounds

  • Articulation - Smooth/detached

 

Materials

  • Paper
  • Pencils
  • Teacher access to computer and Internet

 

Instructional Design

Opening/Activating Strategy

  • Engage students in “Listening: Ten Times Two” thinking routine (modified to “Three Times Two”).
    • Prepare students for the listening activity by telling students they are going to listen to a musical composition and list three words or phrases that come to mind while they are listening. (See “Additional Resources” section for musical suggestions. Use a listening excerpt about 45-60 seconds in length. The excerpt can start and end at any point during the composition.) 
    • Wait until the end of the listening activity to tell students the title and composer. Revealing the title and composer before the activity may influence the listener.
    • During the first time listening to the music, students listen without talking and generate their first list of three words and phrases.  
    • Ask students to share what came to their minds. Record students’ answers on the board. 
    • Students listen a second time without talking and generate three additional words to add to the list.
    • Ask students to share what came to their minds. Record students’ answers on the board. 
    • Choose one or two of the words or phrases that students listed. Ask students what sounds they heard in the music that made them think of the words that they shared. Play the music a third time so that students can listen again. 
      • Musical sounds can include: pitch (high/low sounds), rhythm (long/short), dynamics (loud/soft), tempo (fast/slow), timbre (instruments), form (same [repetition], different), and articulation (smooth/detached).
  • Facilitate a discussion with students about how musical sounds can inspire and enhance writing and storytelling. Ask students if there is any music that they associate with stories. 
    • Remind students that songs have a structure–beginning, middle, and end, and that some songs have lyrics that tell a story that accompanies the melody of the song.
  • Transition into the lesson about narrative writing.

 

Work Session

COLLABORATIVE NARRATIVE WRITING

    • Introduce or review a lesson about narrative writing. Use modeling, visual representations, and hands-on manipulatives to help students understand the concept of narrative writing.
    • Tell the students they are going to practice writing a narrative as a whole class using the opening activity as inspiration.
        • Tell students to refresh their memories of the opening music and review their list of words while the teacher plays the music again.
        • Ask students how the music they listened to made them feel. The feelings that the music generated should match the feeling of the story.
        • Project a graphic organizer such as the Narrative Writing Graphic Organizer to guide students in writing a whole class story. 
        • Teacher and students will read the final product and discuss possible edits.
        • Option: Students can act out the story.

        INDEPENDENT NARRATIVE WRITING

        • Tell students they are going to do another “Three Times Two” with a different composition and write their own narrative based on that composition. (See “Additional Resources” section for musical suggestions. Use a listening excerpt about 45-60 seconds in length. The excerpt can start and end at any point during the composition.) 
        • Students complete another round of “Three Times Two”. Remind students to think about how the music makes them feel. 
        • Allow time for students to share ideas for narratives as a class.
        • Remind students that their narratives should have characters, a setting, and a beginning, middle, and end. Grade 1 students should include temporal words to show sequence.
          • Allow time for students to plan using a graphic organizer, sentence starters, and/or drawings.
        • Circulate the classroom, observe student progress, and offer constructive feedback or conferencing during the writing process.

         

        Closing Reflection

        • Allow students to volunteer to share their narratives with the class. Ask the class to identify the beginning, middle, and end of the story.
        • Review the concept of narrative writing facilitating a conversation around the connection between music and storytelling.

         

         

        Assessments

        Formative

        Teacher will assess students by:

        • Observing and listening to students’ discussions and answers.
        • Conferencing with students during the writing process.
        • Listening to students’ responses to the activity, Three Times Two.

         

        Summative

        CHECKLIST

        • Students can write a narrative with characters, setting, and a beginning, middle, and end.
        • Students can use music to inspire narrative writing.
        • Students can use music elements to analyze and evaluate music.

         

        DIFFERENTIATION 

        Acceleration: Have students write and illustrate their stories. Students should focus on including descriptive details in their writing.

        Remediation:

        • Reduce the number of words from three to one or two during the listening activity.
        • Younger students can use illustrations to show the beginning, middle, and end of the narrative.
        • Use scribing or speech-to-text technology.

         ADDITIONAL RESOURCES

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

        Ideas contributed by: Rue Lee-Holmes. Updated by: Katy Betts.

        Revised and copyright:  July 2024 @ ArtsNOW

         

        Back to Modules