Explore Geometry with Abstract Imagery 4-5

EXPLORE GEOMETRY WITH ABSTRACT IMAGERY

EXPLORE GEOMETRY WITH ABSTRACT IMAGERY

Learning Description

Delve into the abstract world of Wassily Kandinsky! Allow your imagination to soar as you discover mathematical connections within Kandinsky images. Students will be inspired by the work of Kandinsky to create their own abstract art that incorporates geometric concepts and the elements of art.

 

Learning Targets

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

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can create artwork inspired by Wassily Kandinsky that demonstrates my understanding of mathematical concepts.
  • I can describe my artwork in terms of mathematical concepts.
  • I can identify mathematical concepts in my classmates' artwork.
  • I can use color and space intentionally in my art.

Essential Questions

  • How can you utilize visual images to learn about mathematical concepts?

 

Georgia Standards

Curriculum Standards

Grade 4: 

4.GSR.8.1 Explore, investigate, and draw points, lines, line segments, rays, angles (right, acute, obtuse), perpendicular lines, parallel lines, and lines of symmetry. Identify these in two-dimensional figures.

4.GSR.8.2 Classify, compare, and contrast polygons based on lines of symmetry, the presence or absence of parallel or perpendicular line segments, or the presence or absence of angles of a specified size and based on side lengths.

 

Grade 5: 

5.GSR.8.1 Classify, compare, and contrast polygons based on properties.

Arts Standards

Grade 4: 

VA4.CR.1 Engage in the creative process to generate and visualize ideas by using subject matter and symbols to communicate meaning

VA4.CR.2 Create works of art based on selected themes.

VA4.CR.3 Understand and apply media, techniques, and processes of two-dimensional art.

VA4.RE.1 Discuss personal works of art and the artwork of others to enhance visual literacy.

VA4.CN.2 Integrate information from other disciplines to enhance the understanding and production of works of art.

VA4.CN.3 Develop life skills through the study and production of art (e.g. collaboration, creativity, critical thinking, communication).

 

Grade 5: 

VA5.CR.1 Engage in the creative process to generate and visualize ideas by using subject matter and symbols to communicate meaning

VA5.CR.2 Create works of art based on selected themes.

VA5.CR.3 Understand and apply media, techniques, and processes of two-dimensional art.

VA5.RE.1 Discuss personal works of art and the artwork of others to enhance visual literacy.

VA5.CN.2 Integrate information from other disciplines to enhance the understanding and production of works of art.

VA5.CN.3 Develop life skills through the study and production of art (e.g. collaboration, creativity, critical thinking, communication).

 

 

South Carolina Standards

Curriculum Standards

Grade 4: 

4.G.1 Draw points, lines, line segments, rays, angles (i.e., right, acute, obtuse), and parallel and perpendicular lines. Identify these in two-dimensional figures.

4.G.2 Classify quadrilaterals based on the presence or absence of parallel or perpendicular lines. 4.G.3 Recognize right triangles as a category, and identify right triangles.

 

Grade 5: 

5.G.3 Understand that attributes belonging to a category of two-dimensional figures also belong to all subcategories of that category.

5.G.4 Classify two-dimensional figures in a hierarchy based on their attributes.

 

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

 

 

Key Vocabulary

Content Vocabulary

  • Geometry - Branch of mathematics that deals with deduction of the properties, measurement, and relationships of points, lines, angles, and figures in space from their defining conditions by means of certain assumed properties of space.
  • Polygon - A closed plane figure with at least three straight sides and angles, and typically five or more.
  • Acute angle - An angle measuring less than 90 degrees
  • Right angle - A 90 degree angle
  • Obtuse angle - An angle measuring greater than 90 degrees
  • Isosceles triangle - A type of triangle that has at least two sides of equal length
  • Equilateral triangle - A type of triangle in which all three sides are of equal length
  • Scalene triangle - A type of triangle in which all three sides have different lengths
  • Right triangle -  A triangle that has a right angle
  • Parallel lines - Lines that will never touch
  • Perpendicular lines - Lines that intersect forming a 90 degree angle

 

Arts Vocabulary

  • Abstract - Process of art-making that has reference to the real world but is distorted or manipulated in some way.
  • Non-objective - Process of art-making that has no reference to the real world; strictly composed of design elements.
  • Contrast - Exhibiting unlikeness in comparison to something else.
  • Line – One of the seven elements of art; a mark made by a pointed tool such as a brush pen or stick; a moving point
  • Shape (Geometric and Organic) – One of the seven elements of art; a flat, enclosed area that has two dimensions, length and width
  • Negative space - Empty space; the background
  • Color scheme - A limited number of colors used in an artwork
  • Warm colors - Red, pink, orange and yellow
  • Cool colors - Blue, green, purple/violet
  • Primary colors - Blue, yellow, red
  • Secondary colors - Orange, green, purple/violet
  • Neutral colors - Brown, tan, black, gray

 

 

Materials

 

Instructional Design

Opening/Activating Strategy

  • Introduce this activity by having students look at images of “Composition 8” and “Red, Blue and Yellow” by Russian artist, Wassily Kandinsky.
  • Have students engage in the 10 x 2 artful thinking routine.
    • Students will work collaboratively to identify 10 things that they recognize in the image. Then, repeat the process; the second time, however, ask students to focus specifically on the colors and shapes that they see.
  • Facilitate a class-wide discussion around students’ observations.

 

Work Session

Process 

  • Looking at Kandinsky’s “Composition 8” and “Red, Blue and Yellow”, direct students to work collaboratively to use math vocabulary and concepts to describe the angles, lines, and shapes found within these abstract and non-objective masterpieces.
    • Students should draw/write their responses on sticky notes.
    • Direct students to identify the polygons within these images and their defining attributes.
    • Students should also look for examples of types of angles, types of triangles, and line relationships (parallel and perpendicular).
  • Students will then create Venn diagrams that compare and contrast the two different Kandinsky prints. Students can place their sticky notes in the appropriate section of the Venn diagram.
  • Next, tell students that they will create their own abstract or non-objective artwork in the style of Kandinsky according to criteria set by the teacher. For example, criteria might include designs including a minimum of five intersecting lines, one of each type of triangle, two right angles, one acute angle, one obtuse angle, two different types of quadrilaterals with parallel lines, etc.
  • Project “Composition 8” and “Red, Blue and Yellow” again.
    • Ask students to make observations about how the space is used in the artwork. Students should notice that there isn’t much negative space or “empty space”.
  • Next, discuss the colors that Kandinsky used.
  • Project an image of a color wheel and discuss different types of color schemes: Warm, cool, neutral, primary and secondary.
  • Tell students that they will be using color to “color code” their artwork. How they do this is up to them.
    • For example, all polygons might be warm colors and all lines might be cool colors.
      • Students can then further categorize by making all triangles red and all quadrilaterals orange. Or, each type of triangle or each type of quadrilateral could be a different warm color.
      • All lines that intersect at right angles might be blue and all lines that intersect at obtuse and acute angle might be green. All lines that don’t intersect might be purple/violet.
      • These are just a sampling of ideas–encourage students to choose how they want to use color in their art.
  • Students will then draw their designs lightly on paper or tag board in pencil and then add color using marker, tempera paint, colored pencil, oil pastel, etc.

Upon completion of their artwork, ask students to describe their art using mathematical vocabulary.  

 

 

Closing Reflection

  • Display students’ artwork on walls or place on tables/desks. Give students a “scavenger hunt” to find mathematical concepts in each other’s artwork.
  • See if students can figure out how other students used color in their artwork.

 

 

Assessments

Formative

  • Teachers will assess students’ understanding of the content throughout the lesson by observing students’ participation in the activator, discussion of the mathematical concepts evident in Kandinsky’s artwork, discussion of Kandinsky’s use of color and space, and ability to apply mathematical concepts to creating a unique artwork.

 

Summative

  • Students can create an artwork inspired by Wassily Kandinsky that demonstrates their mastery of mathematical concepts.
  • Students can describe their artwork in terms of mathematical concepts.
  • Students can identify mathematical concepts in each other’s artwork.
  • Students can use color and space intentionally in their art.

 

DIFFERENTIATION 

Acceleration: 

  • Have students identify the area and perimeter of the polygons in their artwork.
  • Have students use scrap materials found in the classroom to interpret their artwork in a 3D format by turning it into sculpture. Materials could include popsicle sticks, tape, cardboard, pipe cleaners, straws, etc.

Remediation: 

  • Provide students with specific concepts to look for in Kandinsky’s artwork using a word bank.
  • Reduce/limit criteria in artwork to focus on fewer concepts at a time.
  • Provide visuals with examples of concepts to support students.
  • Allow students to work with a partner to create artwork.

 

 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: Darby Jones. Updated by Shannon Green and Katy Betts.

 Revised and copyright:  August 2024 @ ArtsNOW

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Monumental Sculpture 4-5

MONUMENTAL SCULPTURE

MONUMENTAL SCULPTURE

Learning Description

Discover the endless possibilities of paper sculpture! Let your imagination soar as you dive into this collaborative art-making process, creating large-scale, non-objective sculptures. Students will participate in the design process and analyze their sculptures through the lens of geometric concepts.

 

Learning Targets

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

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can work collaboratively to create a geometric sculpture in the round that demonstrates geometric concepts.
  • I can use the design process to design, create, and refine a sculpture in the round.
  • I can describe my sculpture in mathematical terms.

Essential Questions

  • How can art-making become a team building process?
  • How are mathematical concepts used in art?

 

Georgia Standards

Curriculum Standards

Grade 4: 

4.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.

4.GSR.8.1 Explore, investigate, and draw points, lines, line segments, rays, angles (right, acute, obtuse), perpendicular lines, parallel lines, and lines of symmetry. Identify these in two-dimensional figures.

4.GSR.8.2 Classify, compare, and contrast polygons based on lines of symmetry, the presence or absence of parallel or perpendicular line segments, or the presence or absence of angles of a specified size and based on side lengths.

4.GSR.8.3 Solve problems involving area and perimeter of composite rectangles involving whole numbers with known side lengths.

 

Grade 5: 

5.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.

5.GSR.8.1 Classify, compare, and contrast polygons based on properties.

 

Arts Standards

Grade 4: 

VA4.CR.1 Engage in the creative process to generate and visualize ideas by using subject matter and symbols to communicate meaning.

VA4.CR.2 Create works of art based on selected themes.

VA4.CR.4 Understand and apply media, techniques, and processes of three-dimensional art.

VA4.CN.2 Integrate information from other disciplines to enhance the understanding and production of works of art.

 

Grade 5: 

VA5.CR.1 Engage in the creative process to generate and visualize ideas by using subject matter and symbols to communicate meaning.

VA5.CR.2 Create works of art based on selected themes.

VA5.CR.4 Understand and apply media, techniques, and processes of three-dimensional art.

VA5.CN.2 Integrate information from other disciplines to enhance the understanding and production of works of art.

 

 

South Carolina Standards

Curriculum Standards

Grade 4: 

4.G.1 Draw points, lines, line segments, rays, angles (i.e., right, acute, obtuse), and parallel and perpendicular lines. Identify these in two-dimensional figures.

4.G.2 Classify quadrilaterals based on the presence or absence of parallel or perpendicular lines. 4.G.3 Recognize right triangles as a category, and identify right triangles.

 

Grade 5: 

5.G.3 Understand that attributes belonging to a category of two-dimensional figures also belong to all subcategories of that category.

5.G.4 Classify two-dimensional figures in a hierarchy based on their attributes.

 

Arts Standards

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

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

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

 

 

Key Vocabulary

Content Vocabulary

  • Area - The measure of the amount of space inside the boundary of a two-dimensional shape
  • Perimeter - The total distance around the boundary of a two-dimensional shape
  • Acute angle - An angle measuring less than 90 degrees
  • Right angle - A 90 degree angle
  • Obtuse angle - An angle measuring greater than 90 degrees
  • Isosceles triangle - A type of triangle that has at least two sides of equal length
  • Equilateral triangle - A type of triangle in which all three sides are of equal length
  • Scalene triangle - A type of triangle in which all three sides have different lengths
  • Right triangle -  A triangle that has a right angle
  • Parallel lines - Lines that will never touch
  • Perpendicular lines - Lines that intersect forming a 90 degree angle
  • Design process - A systematic, iterative method used by engineers to solve problems
  • Balance - Possessing equilibrium or equal distribution of weight
  • Counter balance - A weight balancing another weight

Arts Vocabulary

  • Construction - A type of sculpture in which materials are physically joined together to make a whole
  • Sculpture in the round - A three-dimensional structure that is meant to be viewed from all sides
  • Line - The path of a moving point
  • Shape - A two-dimensional enclosed line; in art, shape can be geometric or organic/freeform

 

Materials

  • Newspaper or newsprint sheets 24” x 36” (computer paper or lined paper can be substituted)
  • Masking tape
  • Pencils and sketch paper
  • Yardstick or measuring tape to measure dimensions of finished sculpture

 

Instructional Design

Opening/Activating Strategy

Classroom Tips: Have ample space in the room so groups can move far enough apart during the creating process to enable maximum space for the construction process.

 

  • Show students an image of “Mutual Support” by George Hart. Do not tell students the name of the sculpture.
  • Ask students to work collaboratively to make at least ten objective observations about the sculpture (i.e. color, line, angles, overall shape, etc.).
    • Have students share observations as a whole class.
  • Next, ask students to guess how Hart constructed the sculpture. Have students share ideas as a class. Students should justify their answers by referring to specific things that they can see in the sculpture.
  • Show students the title of the sculpture, “Mutual Support”. Ask students how the design of the sculpture demonstrates the name.
  • Tell students that this is an example of sculpture in the round.
    • Tell students that sculpture is always three-dimensional and that sculpture in the round means that the viewer can walk all the way around the sculpture to view it from all sides.

 

 

Work Session

  • Tell students that in this lesson, they will be creating sculptures in the round inspired by the work of George Hart.
  • Introduce the design process to students.
  • Next, divide students into groups of 2-4.
  • Begin by demonstrating how to create building sticks by rolling sheets of newsprint from corner to corner using a pencil as a guide. The sticks are fastened at the end with a small piece of masking tape.
    • Each team will need 20 sticks total.

 

  • Ask students to experiment with the types of geometric shapes they can create with the sticks. Tell students that in their actual sculptures, they can bend the sticks to make smaller shapes.
  • Next, have students make a basic drawn design for their sculpture.
    • Tell students that they will need to start with a triangular or square base.
    • Remind students that a sculpture is always three-dimensional, so their final sculpture should not be flat.
    • Tell students that their sculptures must meet the following guidelines:
      • Sculptures must be made up of geometric shapes.
      • Constructions must be three-dimensional.
      • All materials must be fully incorporated into the group constructions.
      • Constructions must be able to stand on their own and be transported easily.
  • Students will work intuitively attaching sticks with masking tape until their construction is completed.
  • Encourage students to be mindful of strong construction, balance, and counter balance.
  • Once sculptures are complete, students will identify geometric figures within constructions according to physical attributes and perform mathematical computations such as estimating and calculating the perimeter, and area of geometric shapes and identifying types of angles and triangles.

 

Closing Reflection

  • Students will reflect on the design process. Students should look at their original sketches and observe how their final product changed through the creation process.
    • Students should reflect on the following questions. This can be written or done orally through conversation.
      • How did the design change?
      • Why did the design change?
      • What design choices did you make to ensure that your sculpture could stand on its own?
      • If you were to design and create this artwork again, what would you do differently?
  • Students will present their sculptures to their peers, as a whole group or several small groups can present to each other, and discuss how their design changed from the original design to the final sculpture.

 

Assessments

Formative

Teachers will assess students’ understanding of the content throughout the lesson by observing students’ participation in the activator, collaboration during the design process and sculpture creation, and conferencing with students throughout the creative process.

 

Summative

CHECKLIST

  • Students can work collaboratively to create a geometric sculpture in the round that demonstrates geometric concepts.
  • Students can use the design process to design, create, and refine a sculpture in the round.
  • Students can describe their sculpture in mathematical terms.

 

 

DIFFERENTIATION 

Acceleration: Have students write step by step detailed instructions to tell another person how to recreate their sculpture using mathematical concepts. If time permits, two groups can swap instructions and attempt to build each other’s sculptures. Then, the groups should reflect on the results and evaluate the clarity of their written instructions.

Remediation: 

  • Show students an example of a completed sculpture so that students can visualize the end result. Analyze how the sculpture was created so that students can see the steps needed to create their sculpture.
  • Provide an alternative to creating paper sticks, such as straws.

 

 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: Darby Jones. Updated by: Katy Betts.

Revised and copyright: August 2024 @ ArtsNOW

 

 

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PROBLEM SOLVING WITH MOVEMENT 4-5

PROBLEM SOLVING WITH MOVEMENT

PROBLEM SOLVING WITH MOVEMENT

Learning Description

In this lesson, students will explore problem solving through creating dances and discover why problem solving skills are so important for choreographers.

 

Learning Targets

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

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can identify and perform the Elements of Dance.
  • I can decipher a given word problem.
  • I can solve a given word problem.
  • I can create and perform choreography that demonstrates the solution to a given word problem.

Essential Questions

  • How can math be used to inspire choreography?

 

Georgia Standards

Curriculum Standards

*This lesson can be used with any math standard that lends itself to being expressed as a word problem.

Arts Standards

Grade 4: 

ESD4.CR.1 Demonstrate an understanding of the choreographic process.

 

ESD4.CR.2 Demonstrate an understanding of dance as a form of communication.

 

ESD4.PR.1 Identify and demonstrate movement elements, skills, and terminology in dance

 

ESD4.RE.1 Demonstrate critical and creative thinking in dance.

 

Grade 5:

ESD5.CR.1 Demonstrate an understanding of the choreographic process.

 

ESD5.CR.2 Demonstrate an understanding of dance as a form of communication.

 

ESD5.PR.1 Identify and demonstrate movement elements, skills, and terminology in dance

 

ESD5.RE.1 Demonstrate critical and creative thinking in dance.

 

 

South Carolina Standards

Curriculum Standards

*This lesson can be used with any math standard that lends itself to being expressed as a word problem.

 

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

  • *Specific content vocabulary will depend on the math concept students are learning.

Arts Vocabulary

  • Choreography - The art of composing dances and planning and arranging the movements, steps, and patterns of dancers
  • Choreographer - A person who creates dances
  • Non-locomotor - This refers to a movement that does not travel through space
  • Locomotor - This refers to a movement that travels through space
  • Steady beat - An unchanging, continuous pulse
  • Elements of Dance - Body, action, space, time and energy

 

Materials

  • Sound source and music with a steady beat
  • Paper and pencils
  • Written word problems on cards

 

 

Instructional Design

Opening/Activating Strategy

Classroom Tips: Allow for some open space to create and perform. Review audience etiquette expectations before students perform for their peers.

 

  • Play Pass the Movement with students.
    • Begin by having students stand in a circle.
    • The objective of the game is to create a sequence of movements by passing a dance move around the circle or group, with each student adding their unique twist.
    • Each student will create a simple movement and "pass" it to the next student, who will then repeat the movement and add their own.
    • Choose one student to start the game. This student will perform a simple movement, such as a clap, a jump, a spin, or a wave. Encourage students to focus on creating shapes and angles with their bodies.
    • The starting student then "passes" this movement to the next student by making eye contact and gesturing towards them.
    • The next student repeats the initial movement and then adds their own unique movement.
    • This student then "passes" the combined movements to the next student.
    • Each subsequent student repeats the previous movements in the correct order and adds their own new movement.
    • Continue passing the movement around the circle or along the line until all students have had a turn.
    • Once the movement has gone all the way around, have the group perform the entire sequence together from start to finish.

 

 

 

Work Session

    • Tell students that they will be using the Elements of Dance to enact the solution to a word problem.
  • Begin by engaging students in movement that introduces students to the Elements of Dance: Body, action, space, time and energy.
    • Have students arrange themselves in the classroom with enough personal space to move freely without touching a neighbor.
    • Turn on instrumental music with a steady beat.
    • Element of Body: First, have students bring awareness to their bodies by leading them through gentle stretches starting from the head and moving to the toes (e.g., head circles, shoulder shrugs, toe touches, etc.). Then, ask them to make different shapes with their bodies.
    • Element of Time: Next, bring students’ awareness to the rhythm of the music by having them march in place to the beat, gently swinging their arms by their sides.
    • Element of Energy: Now, direct students to explore energy variations with different movement qualities such as sharp movements–quick, precise actions like punches or snaps, and smooth movements–slow, flowing actions like waves or circles with arms.
    • Element of Space - Levels: Bring students’ attention to levels (high, middle, low) with movements such as stretching up high and moving on tiptoes, crouching in a small ball close to the floor, and bouncing in place at a middle level.
    • Element of Action - Locomotor/non-locomotor: Tell students that these movements they just performed were non-locomotor, meaning that they didn’t move to a new location. Direct students to perform a movement that requires moving from one place to another, such as step-together, step-together moving side to side.
    • Have students practice what they just learned by saying words such as “locomotor” and have students create a spontaneous locomotor movement.
    • Have students return to their seats.
  • Next, divide the class into small groups. Assign each group a word problem (it can be the same word problem or different word problems depending on students’ levels).
    • For example, “You must choreograph a dance combination that is 4 counts of 8 in length. The dance must have an equal number of locomotor and non-locomotor movements.”
    • Students should solve the word problem mathematically. For example, “What is the total number of counts in the dance (32)? How many locomotor movements will you have (16)? How many non-locomotor movements will you have (16)?”
    • Next, students will create choreography to answer the word problems. Students can arrange their choreography as they would like as long as it meets the criteria of the word problem.
      • Example 1: First 4 counts - locomotor movement, second 4 counts - non-locomotor, third 4 counts - locomotor, fourth 4 counts - non-locomotor, fifth 4 counts - locomotor movement, sixth 4 counts - non-locomotor, seventh 4 counts - locomotor, eighth 4 counts - non-locomotor.
      • Example 2: First 4 counts - non-locomotor, second 4 counts - locomotor, third 4 counts - locomotor, fourth 4 counts - non-locomotor, fifth 4 counts - locomotor, sixth 4 counts - locomotor, seventh 4 counts - non-locomotor, eighth 4 counts - non-locomotor.
      • Both dances have 32 counts total, 16 of which are locomotor and 16 of which are non-locomotor.

 

Closing Reflection

  • The students will perform their movement phrases for their classmates. Discuss appropriate audience participation and etiquette prior to performances.
  • After students perform, groups will read their word problem to the class, show their solution and how it went with their performed choreography.
  • If all groups used the same word problem, discuss how different groups created different choreography based on the same criteria.

 

Assessments

Formative

Teachers will assess students’ understanding of the content throughout the lesson by observing students’ participation in the activator, ability to make different types of movements using the Elements of Dance, ability to understand and correctly solve the word problem, and collaboration in group choreography.

 

Summative

CHECKLIST

  • Students can identify and perform the Elements of Dance.
  • Students can decipher the given word problem.
  • Students can solve the given word problem.
  • Students can create and perform choreography that correctly demonstrates the solution to the given word problem.

 

 

 

DIFFERENTIATION 

Acceleration: Raise the challenge of the word problem by including more steps, such as a minimum of four different types of movements that students will select and perform.

Remediation: 

  • Scaffold the lesson by solving a word problem as a class and creating choreography as a class before individual group choreography.
  • Differentiate the level of word problems depending on student ability.

 

*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 Dittmar-Joy. Updated by Katy Betts.

Revised and copyright: June 2024 @ ArtsNOW

 

Back to Modules

PROBLEM SOLVING WITH MOVEMENT 6-8

PROBLEM SOLVING WITH MOVEMENT

PROBLEM SOLVING WITH MOVEMENT

Learning Description

In this lesson, students will grasp and apply the order of operations to solve equations by developing choreography that illustrates each step of an equation.

 

Learning Targets

GRADE BAND: 6-8
CONTENT FOCUS: DANCE & MATH
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can represent the order of operations through movement.
  • I can create choreography that represents each step of an equation using the order of operations. 
  • I can accurately use the order of operations to solve an equation.

Essential Questions

  • How can movement aid in the comprehension of order of operations and solving equations?

 

Georgia Standards

Curriculum Standards

Grade 6:

6.PAR.6: Identify, write, evaluate, and interpret numerical and algebraic expressions as mathematical models to explain authentic situations.

6.PAR.6.4 Evaluate expressions when given values for the variables, including expressions that arise in everyday situations.

Arts Standards

Grade 6:

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

 

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

 

MSD.PR.1 Identify and demonstrate movement elements, technique, and terminology in dance. 

 

MSD.CN.3 Demonstrate an understanding of dance as it relates to other area of knowledge.

 

South Carolina Standards

Curriculum Standards

Grade 6:

6.EEI.1 Write and evaluate numerical expressions involving whole-number exponents and positive rational number bases using the Order of Operations.

 

6.EEI.2 Extend the concepts of numerical expressions to algebraic expressions involving positive rational numbers. 

  1. Evaluate real-world and algebraic expressions for specific values using the Order of Operations. Grouping symbols should be limited to parentheses, braces, and brackets. Exponents should be limited to whole-numbers.

 

Grade 7:

7.EEI.3 Extend previous understanding of Order of Operations to solve multi-step real-world and mathematical problems involving rational numbers. Include fraction bars as a grouping symbol.

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

  • Order of operations -  A set of rules that dictates the sequence in which operations should be performed to ensure consistent and correct results; it is essential when an expression involves multiple operations like addition, subtraction, multiplication, division, exponents, and parentheses

Arts Vocabulary

  • Movement phrase - A series of movements linked together to make a distinctive pattern
  • Non-locomotor - This refers to a movement that does not travel through space
  • Locomotor - This refers to a movement that travels through space
  • Steady beat - An unchanging, continuous pulse
  • Space - An element of movement involving direction, level, size, focus, and pathway
  • Level - One of the aspects of the movement element space; in dance, there are three basic levels: high, middle, and low
  • Choreography - The art of composing dances and planning and arranging the movements, steps, and patterns of dancers
  • Choreographer - A person who creates dances
  • Shape - This refers to an interesting and interrelated arrangement of body parts of one dance; the visual makeup or molding of the body parts of a single dancer; the overall visible appearance of a group of dancers

 

Materials

  • Sound source and music with a steady beat
  • Equations on cards that require students to use the order of operations

 

 

Instructional Design

Opening/Activating Strategy

Classroom Tips: Set up chairs and tables in a circular format to maximize students’ engagement and ability to see their peers during the activity and performance. Also establish parameters for acceptable movement choices and discuss audience behavior/etiquette with students.


  • Begin the lesson by engaging students in movement that introduces students to the Elements of Dance: Body, action, space, time and energy.
    • Have students arrange themselves in the classroom with enough personal space to move freely without touching a neighbor.
    • Turn on instrumental music with a steady beat.
    • First, have students bring awareness to their bodies by leading them through gentle stretches starting from the head and moving to the toes (e.g., head circles, shoulder shrugs, toe touches, etc.).
    • Next, bring students’ awareness to the rhythm of the music by having them march in place to the beat with high knees, swinging their arms side to side. 
    • Now, direct students to explore energy variations with different movement qualities such as sharp movements–quick, precise actions like punches or snaps, and smooth movements–slow, flowing actions like waves or circles with arms.
    • Finally, bring students’ attention to levels (high, middle, low) and directions (forward, backward, sideways) with movements such as stretching up high and moving on tiptoes, moving low to the ground and crawling forwards and backwards, and bouncing in place at a medium level.
    • Have students return to their seats.

 

Work Session

  • Review order of operations with students. 
  • Break the class into groups. 
  • Assign each group one of the following: Parenthesis, exponents, multiplication, division, addition, or subtraction.
    • Each group should create a movement that demonstrates their operation.
    • Remind students to think about the movements from the warm-ups and how their levels and body shapes can communicate their concept.
    • Each group will teach their movement to the class.
    • Then, the whole class will perform the choreography together in the correct order of operations. 
  • Assign each group an equation that requires students to use the order of operations in order to be solved.  
  • Ask students to begin by solving their equation mathematically.
    • Next, ask students to create choreography in the order that is needed to solve an equation with the order of operations.
    • For example, if the equation is 19 + 40 ÷ 5 - (8 + 5 ) = X, students would create a movement to represent (8 + 5); 40 ÷ 5; 19 + 8; and finally 27 - 13.
      • Encourage students to incorporate the movements from the order of operations choreography in their equation choreography.

 

Closing Reflection

  • The students will perform their movement phrases for their classmates. Discuss appropriate audience participation and etiquette prior to performances.
  • Turn up the volume of the music and help students find the steady beat again by tapping their toe on the floor.
  • After each performance, students will share and post their equation with ordered sections in how they solved the problem and related it to the sections of choreography they created.

 

Assessments

Formative

Teachers will assess students’ understanding of the content throughout the lesson by observing students’ participation in the activator, ability to express the order of operations through movement, and ability to use the order of operations to solve an equation.

 

Summative

CHECKLIST

  • Students can represent the order of operations through movement.
  • Students can create choreography that represents each step of their equation using the order of operations. 
  • Students can accurately use order of operations to solve their equation.

 

 

DIFFERENTIATION 

Acceleration: Challenge students to create their own equation and create choreography to represent it using the order of operations.

 

Remediation: Assign each group a section of the equation to choreograph. Then, have students put their equation together to solve it using the order of operations.

*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 Dittmar-Joy. Updated by Katy Betts.

Revised and copyright: June 2024 @ ArtsNOW

 

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“YOU ADDITIVE INVERSED ME!” 6-8

“YOU ADDITIVE INVERSED ME!”

“YOU ADDITIVE INVERSED ME!”

Learning Description

Bring a simple but sometimes baffling math concept to life through pantomime and improvisation!  In this lesson, students will explore the concepts of absolute value and additive inverses by developing, enacting, and then writing out scenes featuring everyday actions that convey the dynamic at the heart of the math.

 

Learning Targets

GRADE BAND: 6-8
CONTENT FOCUS: THEATRE & MATH
LESSON DOWNLOADS:

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"I Can" Statements

“I Can…”

  • I can identify the additive inverse of a number.

  • I can act in an improvised scene based on a math concept.

  • I can write out the scene I improvised.

Essential Questions

  • What is an additive inverse?

  • How can we use drama to bring math concepts to life?

 

Georgia Standards

Curriculum Standards

Grade 6:

6.NR.3: Solve a variety of problems involving whole numbers and their opposites; model rational numbers on a number line to describe problems presented in relevant, mathematical situations.

6.NR.3.1 Identify and compare integers and explain the meaning of zero based on multiple authentic situations.

6.NR.3.5 Explain the absolute value of a rational number as its distance from zero on the number line; interpret absolute value as distance for a positive or negative quantity in a relevant situation.

Arts Standards

Grade 6:

TA6.CR.1 Organize, design, and refine theatrical work.

 

TA6.PR.1 Act by communicating and sustaining roles in formal and informal environments.

 

South Carolina Standards

Curriculum Standards

Grade 6:

6.NS.5 Understand that the positive and negative representations of a number are opposites in direction and value. Use integers to represent quantities in real-world situations and explain the meaning of zero in each situation.

Arts Standards

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

 

Key Vocabulary

Content Vocabulary

  • Positive number – A number to the right of zero on a number line

 

  • Negative number – A number to the left of zero on a number line

 

  • Absolute value – The distance from a number to zero on a number line

  • Additive inverse – The opposite of a number; the number that, when added to a given number, results in the sum of zero

Arts Vocabulary

  • Improvisation – Acting without a script

 

  • Pantomime – Pretending to hold, touch, or do something one is not holding, touching or using

 

  • Dialogue – Conversation between characters

  • Scene – The dialogue and action between characters in one place for one continuous period of time

 

Materials

Paper and pencils, or devices, for writing

 

Instructional Design

Opening/Activating Strategy

    • Model for students a basic mirror activity: Have a student volunteer come to the front; have the student become a mirror; slowly do simple movements (waving, shrugging, tilting head, smiling, frowning, tapping knees, etc.) facing the “mirror” for the student volunteer to copy.
      • Move slowly so that the volunteer can follow. 
      • Trade roles; have the student initiate the movement, and follow the student’s movement.  
  • Note: in mirroring, one partner’s right arm is mirrored by the other’s left arm.

 

Work Session

    • Discuss absolute value and additive Inverse.
      • Explain that a number and its additive inverse add up to 0, and that a number and its additive inverse have the same absolute value.  
      • Confirm comprehension by posing numbers and asking students to reply with each number’s additive inverse.
    • Introduce improvisation – ‘acting without a script’ or ‘making it up as you go’.
      • Explain that in improvisation, actors go along with other actors’ ideas, listen and respond as in a real conversation, and add details and build conflict between the characters to keep the scene interesting.
        • Define a scene as continuous action in a single place.
    • Model an improvised scene with a student, or have two students model an improvised scene, of two characters who know each other (parent/child, siblings, friends), with a specific conflict (child wants permission to go somewhere, parent says “No”; or parent wants child to clean their room, but child is resisting; or child wants sibling to stay out of their room; or child wants friend to play basketball; etc.).
      • Reflect on how the scene was improvised, and how the actors improvised effectively to create an interesting scene.
    • Brainstorm verbs that convey opposite/reversible, measurable actions (not simple binaries of on/off, in/out, etc.) such as push/pull, buy/sell, earn/spend, stretch/contract, wrap/unwrap, produce/consume, build/dismantle, inflate/deflate, etc.  
    • Discuss additive inverse and how it can be represented in opposite actions conveyed in the verb pairs.
      • If needed, provide examples of additive inverse relationships in real world situations from the Georgia standard: “temperature above/below zero, elevation above/below sea level, debits/credits, positive/negative electric charge”.
    • Explain that students will work with a partner to improvise scenes that convey additive inverse relationships in everyday situations.
      • Students should use dialogue and pantomime in their scenes.
        • Define pantomime, and explain that students will pantomime any actions in their scenes. 
    • Model an improvised scene with a student, or guide two students in modeling an improvised scene, in which an action and its opposite are the center of the conflict. Develop the conflict to the point where one character says. “You additive inversed me!”
      • Examples could include:
        • A child earns X minutes of screen time for doing chores, but the parent discovers a rule or object that was broken and takes away the time.
        • A friend is winning a one-on-one basketball game by 13 points, but the opponent has a 13-point run to tie the game.
        • A grandmother baked 17 cookies, but the child ate 17 cookies. 
  • Any actions in the scene should be pantomimed.
  • Have student pairs improvise their scenes simultaneously.
  • Have students write their improvised scenario as a scene, detailing what the characters said.
  • Each student should write their own. They should try to remember what they can from the improvised scene but also feel free to revise and reinvent what was said as they write it down.  
  • Have students draw a diagram or chart or number line that shows the additive inverse in a mathematical representation.

 

Closing Reflection

  • Ask students to define and give real-world examples of additive inverses.  
  • Discuss improvisation and pantomime and how they were used in the scenes.

 

Assessments

Formative

Teachers will assess students by observing students’ discussions around additive inverse relationships between two quantities, and observing their focus and collaboration in improvising their scene, specifically in terms of both engaging in dialogue with their partners and expressing actions through pantomime.

 

Summative

CHECKLIST

  • Students can identify the additive inverse of a number.
  • Students can act in an improvised scene that demonstrates understanding of additive inverse number relationships using dialogue and pantomime.
  • Students can express understanding of additive inverse through a written scene.

 

DIFFERENTIATION 

Acceleration:

  • Have students be more specific within their scenes, including specific measurements and equations to express the concept of additive inverses in their scenes.

Remediation:

  • Model several scenes before having students do them with partners.
  • Have student partners improvise the same scenario that was used in the modeling.
  • Develop an idea together and have all partners improvise that scenario simultaneously.

 

 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:  Barry Stewart Mann

Revised and copyright:  May 2024 @ ArtsNOW

 

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