THE WHOLENESS GROUP 4-5

THE WHOLENESS GROUP

THE WHOLENESS GROUP

Learning Description

In this lesson, students will be assigned a role as a fraction, and then interact with peers as their fraction through a variety of drama activities and strategies. They will use questioning to discover their identities, engage in a simple group improvisation to explore the relationships among fractions, and then write about the experience from their fraction-character’s point of view.

 

Learning Targets

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

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can assume the role of a fraction and interact with other fractions to explore math concepts.

Essential Questions

  • How can characterization and improvisation be used to explore fractions?

 

Georgia Standards

Curriculum Standards

Grade 4:

4.NR.4.3 Compare two fractions with different numerators and/or different denominators by flexibly using a variety of tools and strategies and recognize that comparisons are valid only when the two fractions refer to the same whole.

Grade 5:

5.NR.3.3 Model and solve problems involving addition and subtraction of fractions and mixed numbers with unlike denominators.

Arts Standards

Grade 4:

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

Grade 5:

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

 

South Carolina Standards

Curriculum Standards

Grade 4:

4.NR.2.3 Generate equivalent fractions, including fractions greater than 1, using multiple representations. Limit fractions to denominators of 2, 3, 4, 5, 6, 8, 10, 12, 20, 25, 50, and 100.

Grade 5:

5.NR.2.1 Compare fractions and mixed numbers with like and unlike denominators of 2, 3, 4, 5, 6, 8, 10, 12, 20, 25, and 100 using equivalence to create a common denominator. Use the symbols for is less than (<), is more than (>), or is equal to (=) to record the comparison.

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

  • Fraction - A number that represents a part of a whole, or a number of equal parts of a whole; it consists of a numerator and a denominator.
  • Numerator - The top number in a fraction, showing the number of parts of the whole
  • Denominator – The bottom number of a fraction, showing the number of parts that the whole is divided into
  • Greater than – Having a higher numerical value than, indicated by the sign >
  • Less than – Having a lower numerical value than, indicated by the sign <
  • Equivalent – Having the same numerical value
  • Common Denominator – A shared multiple of denominators of different fractions
  • Simplest form – The equivalent fraction having the smallest possible values for the numerator and denominator
  • Proper fraction - A fraction that is less than one, with the numerator less than the denominator
  • Unit fraction – A fraction with a numerator of 1

Arts Vocabulary

  • Character – An actor or actress in a specified role
  • Improvisation –  A moment in a play that is not rehearsed or “scripted”, or acting without a script. For example: if an actor forgets a line, he/ she may improvise the line in the scene.  Improvisation is also a style of theatre that lends itself to comedy that is created “in the moment”

 

Materials

  • Set of clip-on name tags with proper fractions that have denominators of 12 or less (e.g., 2/6, 3/8, 7/12, 4/9, etc.). The collection need not be curated with a goal of one-to-one correspondence; some randomness is fine. It can include some equivalent fractions.
  • A container (can, box, bag) to hold the tags
  • Wholeness Group Journal Sheet – create a worksheet with a space for “Character Name,” a space for “Nicknames,” and a ‘journal’ area beginning “Today I went to a Wholeness Group, and here’s what happened . . . ” with ample blank lines.
  • Index cards and writing utensils

 

Instructional Design

Opening/Activating Strategy

PROMPTED MOVEMENT

  • Teach poses to go with vocabulary prompts:
    • Numerator – Stand, or go up on toes
    • Denominator – Sit, duck or squat
    • Greater than – arms angled to right
    • Less than – arms angled to left
    • Equivalent – parallel horizontal arms
    • Unit fraction – single finger up, above a horizontal arm
  • Call out prompts randomly for students to respond to with the prescribed poses.
  • Possibly: Once the activity is established, draft volunteers to call out the prompts.

Work Session

“WHO AM I?”

  • Tell students that they will become fraction characters.
  • Have each student pick a name tag from the container of tags, or give each student a name tag. Instruct them to keep the tags to themselves, and not to let others see the fraction they are holding.
  • Have each student pin the tag they are holding on the back of another student. The tag becomes the second student’s character.  The student must see the fraction on the tag.
  • Give each student an index card and writing utensil for recording what they learn about their character.
  • Model for students the process of letting another student see the tag on their back, and then asking the other student a ‘yes or no’ question. Instruct them to use first person pronouns in their questions.  g., “Am I greater than ½?,” “Is my numerator even?,” “Is my denominator double digits?,” or “Am I in my simplest (or most reduced) form?” (not “Is my fraction greater than . . .” – they are their fraction character).  Model noting information on the card (shorthand is fine), such as “> ½,” “Even num,” “single-digit denom,” or “simplest form”.
  • Have students pair up, look at each other’s fraction, ask each other a yes-or-no question about their fraction identity, note the information, and then move on to another partner to repeat the process.
  • When a student deduces their fraction (“Am I 4/6?”) they can move the tag from their back to their front.
  • Coach students as needed in the process.
  • If the process becomes frustrating for some students, tell students that, rather than asking a yes-or-no question, they can ask for a hint. The other student should give a hint that does not totally reveal the answer.
  • When most students have figured out their identity, stop the activity and have all students move their tag from the back to the front. The tag gives them their identity.

 

SOCIOMETRICS

  • Sociometrics is a term from Sociology that means dividing a larger group into smaller affinity groups. In this activity, the students will divide themselves into groups according to mathematical prompts.
  • Identify two areas of the room. Give a mathematical prompt, and have students move to one side of the room or the other accordingly.
    • g., “Go to this side of the room if your denominator is even; go to that side of the room if your denominator is odd” or “Go to this side of the room if your value is greater than one half; go to that side if your value is half or less”.
    • Prompts can deal with even/odd for numerator or denominator; greater than/less than for total fraction or for numerator or denominator; number of digits in denominator; simplest form; unit fraction; difference between numerator and denominator; etc.
  • As students move to one side of the room or the other, monitor for accuracy; also, students can help each other find the right place. As needed, stop and let the class observe checking everyone’s placement.

 

MEET’N’GREET (optional)

  • Give students a chance to walk around and introduce themselves to one another, tell about themselves, see what they have in common, etc. Remind them to use their vocabulary, e.g. “We have the same numerator” or “Your denominator is greater than mine” or “We are both less than one half,” etc.

 

IMPROVISATION:  THE WHOLENESS GROUP

  • Hand out the “Wholeness Group” worksheet. Have students fill in their character name – their fraction identity.
  • Discuss how nicknames are other names for a person (as in Chuck for Charles), and have students write nicknames for their character – other names they are known by, i.e., equivalent fractions. Provide guidance as needed – they can multiply or divide both numerator and denominator by the same number to find an equivalent.  Possibly, ask students: “How many nicknames does each fraction have?” (infinite number).
  • Have students stand in a circle. Welcome them to the “Wholeness Group”.  Speak as a group facilitator, and tell them, “We all get lonely sometimes.  We all wish we could find someone special, someone who makes us feel whole.  This is your chance.  When I tell you, you can go around and meet different fractions.  See if you can find a fraction friend, or maybe a couple of fraction friends, with whom you make a whole.  Realize you might not have the same denominator – you might have to determine a common denominator.”
  • Give students time to try to partner or group up. Monitor and coach as needed.  Clarify that they are not finding an equivalent fraction, nor just a fraction with the same numerator or denominator.
  • Generally, some students will find partners to make a whole with, and some won’t – this is fine.

 

JOURNAL-WRITING

  • Have students return to their worksheets, and write, in character, about what happened for them in the Wholeness Group. Remind them to use their vocabulary, e.g., “I met 6/9, but she was too much for me – together we were greater than 1” or “I talked to 4/10 and we had a hard time finding a common denominator.”
  • Allow students to share their journal entries.

 

Closing Reflection

Ask:  “How did you become characters in math?  How did you figure out whether another fraction could make you whole?  How did these drama activities help you think about fractions?”

 

Assessments

Formative

  • Students participate and interact willingly in character
  • Students respond thoughtfully to prompts
  • Students collaborate smoothly in the “Who am I?”, Meet-n-Greet and Wholeness Group activities.

Summative

  • Students’ journal entries reflect comprehension of the math concepts, and describe their interactions in the Wholeness Group activity.

 

 

Differentiation

Accelerated: 

  • Curate the collection of fractions with a wider variety of denominators, and fractions that will be more challenging to match up.
  • Have students include nicknames expressed as decimals or percentages.

 

Remedial:

  • Help students with the “Who Am I?” activity, and stop to scaffold before students become frustrated
  • Curate the collection of fractions with simpler fractions, including duplicates of different fractions.
  • Model the sociometrics carefully, and take time to guide the students to their destinations.

 

 

Credits

Ideas contributed by: Barry Stewart Mann

*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:  January 2026 @ ArtsNOW

 

TRIGONOMETRY ON STAGE 9-12

TRIGONOMETRY ON STAGE

TRIGONOMETRY ON STAGE

Learning Description

In this lesson, students deepen their understanding of trigonometric vocabulary and problem-solving by personifying key terms as characters and creating a scene that demonstrates their relationships in a right triangle.

 

Learning Targets

GRADE BAND: 9-12
CONTENT FOCUS: THEATRE & ALGEBRA/GEOMETRY
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can explain the meanings of sine, cosine, tangent, opposite, adjacent, and hypotenuse.
  • I can use trigonometric ratios and the Pythagorean Theorem to solve problems with right triangles.
  • I can work with my group to create a scene where the vocabulary terms solve a problem together.
  • I can use my voice and body to create and embody characters out of trigonometric terms.
  • I can reflect on how this creative process helped me understand and demonstrate understanding of trigonometry.

Essential Questions

  • How can understanding trigonometric terms as characters help us solve real-world problems involving right triangles?

 

Georgia Standards

Curriculum Standards

Geometry:

G.GSR.6.3 Use trigonometric ratios and the Pythagorean Theorem to solve for sides and angles of right triangles in applied problems.

Arts Standards

TAHSFT.PR.1 

Act by communicating and sustaining roles in formal and informal environments.

TAHSFT.PR.1.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).

TAHSFT.CN.1 

Explore how theatre connects to life experiences, careers, and other content. 

 

South Carolina Standards

Curriculum Standards

Algebra 2 with Probability:

A2P.MGSR.1. Explore and analyze sine and cosine functions using the unit circle, right triangle definitions, and models of periodic phenomena.

Geometry with Statistics:

GS.MGSR.6. Discover and apply relationships in similar right triangles.

Arts Standards

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

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

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

 

Key Vocabulary

Content Vocabulary

  • Sine — Ratio of the length of the opposite side to the hypotenuse in a right triangle
  • Cosine — Ratio of the length of the adjacent side to the hypotenuse in a right triangle
  • Tangent — Ratio of the length of the opposite side to the adjacent side in a right triangle
  • Opposite — The side opposite the given angle in a right triangle
  • Adjacent — The side next to (adjacent to) the given angle in a right triangle
  • Hypotenuse — The longest side of a right triangle, opposite the right angle

Arts Vocabulary

  • Actor/Actress — A person who portrays a character in a theatrical performance
  • Improvisation — A moment in a play that is not rehearsed or “scripted”, or acting without a script. For example: if an actor forgets a line, he/ she may improvise the line in the scene. Improvisation is also a style of theatre that lends itself to comedy that is created “in the moment”.
  • Embodiment — The representation or expression of something in a tangible form while bridging the gap between the character’s thoughts and your physical self
  • Voice - Actors use their voice to be heard by the audience clearly. Actors must also apply vocal choices such as pitch, tempo, and volume to the character they are dramatizing. 
  • Gesture - An expressive movement of the body or limbs
  • Body - Actors use their body to become a character through body posture and movement. What your mind thinks, what your emotions feel, all of this is supposed to show up in your body.

 

Materials

 

Instructional Design

Opening/Activating Strategy

Day One

  • Introduce the essential question and objectives.
  • Mini-lesson: Review right triangle vocabulary (sine, cosine, tangent, opposite, adjacent, hypotenuse) with definitions and examples.
  • Do a quick guided practice identifying sides and calculating basic ratios.

Work Session

  • Assign students to small groups (3–6 students).
  • Assign each group one or more of the vocabulary words to personify.
  • Explain to the students that they will be acting as their characters to solve a right-triangle problem and create a scene showing the solution.
  • Optional: Show the “Embodying the Role” video to help students understand how to get into character.
  • Groups will decide:
    • What personality traits fit their word?
    • What does their word “do” in a right triangle?
    • How can their word interact with the others?
  • Groups will create short descriptions of each character and practice acting out their word (voice, gesture, movement).
  • Teacher will assign a right-triangle problem to each group.
  • Groups will work together to solve the problem mathematically.
  • Once solved, groups write a short scene where their vocabulary characters interact to explain and solve the problem together. Students can use the Trigonometry Character Scene Worksheet to help plan their scene.
  • Groups will rehearse their scene and practice staying in character.
  • Teacher will circulate and offer prompts to help students as needed such as:
    • What would Sine say to Opposite and Hypotenuse?
    • How does Tangent feel about Adjacent?
    • Who works together to find the missing angle?
    • What happens when the triangle comes to life?

 

Closing Reflection

  • Each group will introduce their character(s) to the class (name, personality, and what role they play in a triangle).
  • Each group will then perform their scene for the class.
  • After all performances, discuss the following:
    • How did acting out the words help you understand them?
    • Which terms do you feel most confident about now?

 

Assessments

Formative

  • Observations during group work and mini-lesson questioning.
  • Completion of character profiles and problem-solution.

Summative

  • Group scene performance (see rubric)

 

 

Differentiation

Accelerated: 

  • Add more challenging problems or ask students to incorporate additional terms (like angle of elevation/depression).

 

Remedial:

  • Provide sentence starters or sample lines for scenes and support with additional examples of right triangles.

 

 

Credits

Ideas contributed by: Courtney Rubio, Susie Spear Purcell, Gretchen Hollingsworth

*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:  January 2026 @ ArtsNOW

 

STRINGING IT TOGETHER: EXPLORING ANGLES THROUGH ABSTRACT SCULPTURE 9-12

EXPLORING ANGLES THROUGH ABSTRACT SCULPTURE

STRINGING IT TOGETHER: EXPLORING ANGLES THROUGH ABSTRACT SCULPTURE

Learning Description

In this engaging one-day lesson, students integrate mathematics and visual art by creating abstract string sculptures that demonstrate angles of elevation and depression. Using yarn or string, students design sculptures throughout the classroom (or outdoors), anchoring string to surfaces to form right triangles of varying sizes. Students then identify where the angles of elevation and depression appear in their sculpture, measure side lengths, and use trigonometric ratios and inverse trigonometric functions to find the angle measurements. Through the process, they learn what abstract art is and how it can express ideas using shapes, space, and movement.

 

Learning Targets

GRADE BAND: 9-12
CONTENT FOCUS: VISUAL ARTS & ALGEBRA/GEOMETRY
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can create an abstract sculpture that includes right triangles and angles of elevation and depression.
  • I can measure and solve for angles using trigonometric ratios and inverse trig functions.
  • I can explain how my sculpture is an example of abstract art.

Essential Questions

  • How can we use abstract art and trigonometry to understand angles of elevation and depression in real spaces?

 

Georgia Standards

Curriculum Standards

Geometry:

G.GSR.6.3 Use trigonometric ratios and the Pythagorean Theorem to solve for sides and angles of right triangles in applied problems.

Arts Standards

VAHSSC.CR.1.a

Generate sculptural ideas through the sequential process of ideation, innovation, development, and actualization.

VAHSSC.CR.1.b

Investigate choice of themes, materials, and methods as they relate to personal, contemporary, and traditional sculptural artists/works.

 

South Carolina Standards

Curriculum Standards

Geometry with Statistics:

GS.MGSR.6. Discover and apply relationships in similar right triangles.

Algebra 2 with Probability:

A2P.MGSR.1. Explore and analyze sine and cosine functions using the unit circle, right triangle definitions, and models of periodic phenomena.

Arts Standards

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

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

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

 

Key Vocabulary

Content Vocabulary

  • Angle of Elevation — The angle between the horizontal and a line of sight looking upward
  • Angle of Depression — The angle between the horizontal and a line of sight looking downward
  • Right Triangle — A triangle with one 90° angle
  • Inverse Trigonometry — Using sin⁻¹, cos⁻¹, or tan⁻¹ to find an angle when sides are known

Arts Vocabulary

  • Line — A continuous mark made on some surface by a moving point. It may be two dimensional, like a pencil mark on a paper or it may be three dimensional (wire) or implied (the edge of a shape or form) often it is an outline, contour or silhouette.
  • Shape — A flat, enclosed line that is always two-dimensional and can be either geometric or organic
  • Space — The distance or area between, around, above or within things. Positive space refers to the subject or areas of interest in an artwork, while negative space is the area around the subject of an artwork. It can be a description for both two and three-dimensional portrayals.
  • Sculpture — A three-dimensional work of art that can be made from a variety of materials, such as wood, clay, metal, or stone
  • Abstract Art — Art that does not attempt to represent external reality directly, but uses shapes, colors, forms, and textures to achieve its effect
  • Installation Art — Art created to transform the perception of a space, often immersive and site-specific

 

Materials

 

Instructional Design

Opening/Activating Strategy

  • Introduce the essential question and explain the day’s objectives.
  • Show students examples of abstract art (printed or projected) and discuss:
    • What do you notice?
    • How does it use space, shape, and line?
    • How could we create our own abstract art installations by making angles of elevation and depression using string?
  • Optional: Offer students the reference sheet.
  • Review trigonometric ratios and how to find angles of elevation and depression.

Work Session

  • Explain to students that they will be working in small groups to create abstract string sculpture in the classroom or an outdoor space.
  • Students are encouraged to use multiple surfaces and create several visible right triangles.
    • Be sure that students understand they can use any of the space in the classroom from floor to ceiling (or other parameters set by the teacher).
  • Once sculptures are completed, groups will identify angles of elevation and depression within their sculpture.
  • Using yardsticks, they will measure the side lengths of their triangles and record their data.
  • Students will then calculate the angle measurements using inverse trigonometric functions and record their findings on their worksheet. Students will use String Sculpture Measurement and Calculation Worksheet.
  • As the teacher circulates, they can support students by prompting:
    • Where is your angle of elevation? Where is your angle of depression?
    • How can you use different levels (high, middle, low) to make your sculpture more interesting?
    • How does your sculpture transform the space around you?

 

Closing Reflection

  • Groups will briefly present their sculptures to the class, pointing out their angles and how they calculated them.
  • Reflect as a class:
    • How did creating the sculpture help you understand and demonstrate your understanding of elevation and depression?
    • How did it feel to use art to express a math concept?

Students will write an artist’s statement to explain the meaning behind their sculpture, its angles, and how they calculated them. They should connect how their sculpture represents abstract art and geometric principles.

 

Assessments

Formative

  • Observations of student discussions and work during sculpture creation and calculations.

Summative

  • Completed sculpture, measurements, and angle calculations.
  • Artist’s statement

 

 

Differentiation

Accelerated: 

  • Students create more complex sculptures with multiple triangles and calculate additional unknowns.

 

Remedial:

  • Teacher supports groups by helping identify right triangles and provides sample calculations.

 

Additional Resources

 

Credits

Ideas contributed by: Courtney Rubio, Shannon Green, Gretchen Hollingsworth

*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:  January 2026 @ ArtsNOW

 

DATA TAKES FLIGHT: STATISTICAL REASONING AND VISUAL ARTS 9-12

STATISTICAL REASONING AND VISUAL ARTS

DATA TAKES FLIGHT: STATISTICAL REASONING AND VISUAL ARTS

Learning Description

In this arts-integrated lesson, students combine visual art and statistical reasoning to explore the performance of paper airplane designs. Inspired by artists who create large-scale aircraft sculptures, students build and test various paper airplanes—both standard and original creations—while collecting flight distance data. They apply statistical methods such as measures of center and spread, confidence intervals, and hypothesis testing to evaluate which designs perform best. This lesson encourages creativity, critical thinking, and real-world application of statistical concepts through hands-on experimentation and artistic design.

 

Learning Targets

GRADE BAND: 9-12
CONTENT FOCUS: VISUAL ARTS & Math
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can design and implement a plan to collect consistent and reliable data.
  • I can calculate and interpret mean, five-number summary, standard deviation, and confidence intervals.
  • I can conduct a hypothesis test to determine if the difference between airplane designs is statistically significant.
  • I can use visual models (dot plots, box plots, etc.) to represent and analyze data.
  • I can apply elements and principals of visual art—such as scale, shape, and form—in the design of functional paper airplanes.
  • I can analyze and draw inspiration from artists who create large-scale or conceptual flight-themed works.
  • I can explain how artistic and design choices impact both the aesthetic and function of my airplane.
  • I can communicate the connection between my design process and the data I collected.

Essential Questions

  • How can data collection and analysis help us evaluate the effectiveness of different airplane designs?
  • In what ways can artistic choices, such as scale and form, influence the design and performance of a paper airplane?
  • How can we use statistical reasoning to draw meaningful conclusions from experimental results?
  • What role does creative design play in solving real-world problems using data?

 

Georgia Standards

Curriculum Standards

Statistical Reasoning:

SR.MP Display perseverance and patience in problem-solving. Demonstrate skills and strategies needed to succeed in mathematics, including critical thinking, reasoning, and effective collaboration and expression. Seek help and apply feedback. Set and monitor goals.

SR.MM.1 Apply mathematics to real-life situations; model real-life phenomena using mathematics.

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

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

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

Arts Standards

VAHSVA.CR.1 Visualize and generate ideas for creating works of art.

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

VAHSVA.CR.1.c Practice the artistic process by researching, brainstorming, and planning to create works of art.

VAHSVA.CR.4.d Create three-dimensional works of art that incorporate a variety of sculptural methods/materials and demonstrate an understanding of relief sculpture and sculpture in the round from a variety of materials (e.g. clay, paper, plaster, wood).

 

South Carolina Standards

Curriculum Standards

Statistical Modeling:

SM.DPSR.1.4 Construct and compare confidence intervals of different models to make conclusions about reliability given a margin of error.

MPS.C.1 Demonstrate a deep and flexible conceptual understanding of mathematical ideas, operations, and relationships while making real-world connections.

SM.DPSR.3.1 Apply an appropriate data-collection plan when collecting data for the investigative statistical question of interest.

Arts Standards

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

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

Anchor Standard 4:  I can organize work for presentation and documentation to reflect specific content, ideas, skills, and or media.

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

 

Key Vocabulary

Content Vocabulary

  • Data - A collection of facts, measurements, or observations gathered for analysis
  • Mean - The mean, or arithmetic average, is calculated by summing all data points and dividing by the number of data points. It represents the center of data distributions.
  • Five-number summary - Consists of the minimum, first quartile (Q1), median (Q2), third quartile (Q3), and maximum. These values provide a concise summary of a data set’s distribution.
  • Standard deviation - Measures the average distance of each data point from the mean. A higher standard deviation indicates greater variability in the data.
  • Confidence intervals - A range of values, derived from sample data, that is likely to contain the value of an unknown population parameter. The interval has an associated confidence level that quantifies the level of confidence that the parameter lies within the interval.

Arts Vocabulary

  • Line - A continuous mark made on some surface by a moving point. It may be two dimensional, like a pencil mark on a paper or it may be three dimensional (wire) or implied (the edge of a shape or form) often it is an outline, contour or silhouette.
  • Shape - A flat, enclosed line that is always two-dimensional and can be either geometric or organic
  • Form - An object that is three-dimensional and encloses volume (cubes, spheres, and cylinders are examples of various forms)
  • Proportion - The size relationships between different parts of an artwork. It determines how each element relates to the others in terms of size, scale, and placement.

 

Materials

 

Instructional Design

Opening/Activating Strategy

  • Ask students, “What makes something ‘fly’ in both a literal and artistic sense?”. Have students answer on Padlet, poster, sticky note, Chalk Talk, etc.
  • Explore Nancy Rubins’ use of airplane parts to create massive sculptural works.
    • Ask students what shapes, lines, and forms they see in the sculpture.
    • Ask students how scale or proportion change the impact of the work.
    • If desired, explore other related artists:
      • Berndaut Smilde – Explores large-scale atmospheric installation
      • David Cerny – Conceptual artist that created oversized aircraft sculptures in public spaces.
      • Rauschenberg – “Glider” series combines flight imagery and large mixed-media works.
    • Ask students probing questions such as:
      • How did these artists use “flight” in their works?
      • How does scale change the impact?
      • What message might the artists be sending using aircraft imagery?

Work Session

  • Teach/review basic airplane types: traditional glider and dart.
    • Ask students to make observations about the shapes, lines, and forms that they see in each type of plane.
  • Students create two standard planes (one glider, one dart) out of copy paper.
  • Students create a third choice option that can be supersized using a poster board.
    • Encourage students to be creative with their designs and to think about shape and form as they design.
    • Refer them back to the artists’ work explored earlier and ask how their works could influence their plane designs.
  • Once students have created their planes, they should hypothesize which plane will perform the best (teacher can choose the criteria – flies farthest, etc.).
  • Conduct test flights for each plane (ten flights per plane) and record the distance flown in a table.
  • Students discuss their observations about which design flew best.
  • Students reflect on the following questions: What variables might be influencing the flight? How can I make adjustments for better flights?
  • Additional variation: Students can build a traditional dart or glider from copy paper and a giant version using a posterboard to test if the smaller or larger version performs better.
  • Students analyze their flight data. For each airplane design students:
    • Calculate mean, five-number summary, standard deviation.
    • Construct confidence intervals.
    • Compare plane means to determine if their hypothesis was accurate.
    • Students will use graph paper or digital tools such as Desmos or Excel for calculations and plotting of their data.

 

Closing Reflection

  • Discuss findings in pairs, small groups, or as a class.
  • Students complete the ticket out the door:
    • Which plane flew the farthest on average? Was their hypothesis correct?
    • Was the difference statistically significant? Why or why not?
    • What would they do differently in a future test?
    • How did the artworks that they looked at the beginning of class influence their final design?

 

Assessments

Formative

  • Student created data table
  • Student created airplanes
  • Student responses to opening questions

Summative

  • Confidence interval calculations and plotting of data
  • Student reflections and ticket out the door

 

 

Differentiation

Accelerated: 

  • Linear regression: Test how weight (paperclips, staples) affects distance.
  • Material comparison: Use different types of paper for performance testing.
  • Art integration: Build a full “gallery” of artistic conceptual planes and write artist statements explaining their choices.

 

Remedial:

 

 

Credits

Ideas contributed by: Kevin Kennedy, Shannon Green, Gretchen Hollingsworth

*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:  January 2026 @ ArtsNOW

 

DANCING WITH SHAPES: EXPLORING VOLUME THROUGH MOVEMENT 9-12

EXPLORING VOLUME THROUGH MOVEMENT

DANCING WITH SHAPES: EXPLORING VOLUME THROUGH MOVEMENT

Learning Description

Students explore the concept of volume of composite shapes by solving problems and expressing their answers through dance. Students first calculate the volumes of composite three-dimensional figures composed of two or more individual shapes. After solving, they use the volume as the counts for a dance sequence, integrating basic dance elements. Students may also choose to have their movements reflect the shapes themselves, embodying prisms, cylinders, cones, and spheres in creative ways. The lesson promotes mathematical reasoning, collaboration, and kinesthetic learning by connecting geometry and artistic expression.

 

Learning Targets

GRADE BAND: 9-12
CONTENT FOCUS: DANCE & Math
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can find the volume of composite three-dimensional shapes.
  • I can create a dance that uses the calculated volume as counts.
  • I can incorporate dance elements like space, energy, and time into my choreography.
  • I can explain how my dance reflects the geometric concepts we studied.

Essential Questions

  • How can we use dance and movement to illustrate the volume of composite shapes?

 

Georgia Standards

Curriculum Standards

Geometry:

G.GSR.9.1 Use volume formulas for prisms, cylinders, pyramids, cones, and spheres to solve problems including right and oblique solids.

Arts Standards

DHSMOD1.CR.1 Demonstrate an understanding of creative/choreographic principles, processes, and structures.

DHSMOD1.PR.1 Identify and demonstrate movement elements, skills, and terminology in dance.

DHSMOD1.PR.2 Understand and model dance etiquette as a classroom participant, performer, and observer.

DHSMOD1.RE.1 Demonstrate critical and creative thinking in all aspects of dance.

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

 

South Carolina Standards

Curriculum Standards

Geometry with Statistics Standards:

GS.MGSR.1. Compute area and volume of figures by determining how the figure might be obtained from simpler figures by dissection and recombination.

GS.MGSR.1.1 Apply area and volume formulas of two- and three-dimensional figures to solve real-world situations.

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

  • Composite shape — A shape made from two or more simple geometric shapes
  • Volume — The amount of space a three-dimensional figure occupies, measured in cubic units
  • Prism, cylinder, cone, sphere — Basic three-dimensional shapes

Arts Vocabulary

  • Choreographer — The person who designs or creates a dance piece
  • Energy — How movement happens: sharp, smooth, suspended, swinging, vibratory
  • Space — Levels (high, middle, low), pathways, and shapes dancers make
  • Time — Beat, rhythm, and tempo
  • Choreography — The art of designing and arranging sequences of movements, steps, and gestures to create a dance piece

 

Materials

  • Projector/board for mini-lesson and examples
  • Teacher generated geometry problem set with composite shapes
  • Dance vocabulary terms for each student
  • Paper and pencils for calculations and choreography notes
  • Music (optional)

Space for students to rehearse and perform dances

 

Instructional Design

Opening/Activating Strategy

  • Introduce the essential question and objectives.
  • Conduct a quick mini-lesson reviewing the formulas for volume of individual shapes and strategies for calculating the volume of composite shapes.
  • Review basic dance elements (energy, space, time) and discuss how they can reflect geometric ideas.
    • Example: a suspended leap could represent the top of a cone; sharp, angular movements could represent prisms.
    • Have students brainstorm ideas for how the dance elements could reflect geometric ideas.
  • Call out dance elements from the Dance Vocabulary sheet, and students demonstrate.
  • Example: student travels around the room to demonstrate locomotor or shakes their whole body to demonstrate vibratory energy.

Work Session

  • Students solve assigned problems to find the volumes of given composite shapes.
  • Once students have the volume, they use it as the “counts” in their dance.
    • Example: A volume of 72 cubic units = a 72-count sequence
  • In groups, students choreograph a dance using the following steps
    • Students decide on movements to fill their counts.
    • Students incorporate dance elements of energy, space, and time in their choreography.
      • Time: The number of counts in their sequence, the speed at which their movements are performed, etc.
      • Energy: Vibratory, suspended, etc.
      • Space: Body shapes (connect to geometric forms), levels, etc.
    • As students plan, the teacher circulates and prompts as needed with the following questions:
      • What does your shape “look” like in motion?
      • How can you use levels (high, middle, low) to show your shape?
      • Can you make your movements sharp, smooth, or suspended to reflect your shape’s features?
      • How will you keep count to match your calculated volume?

 

Closing Reflection

  • Groups perform their dances for the class. Each group explains their choreography choices by answering the following questions:
    • How did you decide on movements?
    • How did your dance reflect the volume and/or the shapes?
    • Which dance element was most important in your choreography and why?
    • Exit ticket: What did you learn about volume and composite shapes through dance?

 

Assessments

Formative

  • Observation of students’ calculations and group discussions.
  • Participation in dance planning and performance.

Summative

  • Accuracy of calculations
  • Students’ connection of dance concepts to mathematical concepts

 

 

Differentiation

Accelerated: 

  • Students can create a more complex sequence incorporating multiple shapes and counts.

 

Remedial:

  • Provide step-by-step guides, example counts or allow simpler movements focusing on rhythm and counts.

 

Additional Resources

 

Credits

Ideas contributed by: Sally Gillanders, Melissa Joy, Gretchen Hollingsworth

*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:  January 2026 @ ArtsNOW