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

THE BLUES (OR NOT-SO-BLUE BLUES)

THE BLUES (OR NOT-SO-BLUE BLUES)

Learning Description

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

 

Learning Targets

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

Download PDF of this Lesson

"I Can" Statements

“I Can…”

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

Essential Questions

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

 

Georgia Standards

Curriculum Standards

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

Biology I:

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

 

Botany:

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

 

Earth Systems:

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

Arts Standards

HSMA.CR.3 Evaluate and refine musical ideas.

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

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

HSMA.RE.2 Evaluate music and music performances.

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

 

South Carolina Standards

Curriculum Standards

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

Biology:

B-LS2-1. Use mathematical and/or computational representations to support explanations of biotic and abiotic factors that affect carrying capacity of ecosystems at different scales.

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

 

Chemistry:

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

 

Earth and Space Science:

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

Arts Standards

Anchor Standard 1: I can arrange and compose music.

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

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

 

Key Vocabulary

Content Vocabulary

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

Arts Vocabulary

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

 

Materials

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

 

 

Instructional Design

Opening/Activating Strategy

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

Work Session

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

I    I   I   I

IV IV I   I

V  IV I   I

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

 

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

chord    I               I                I               I

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

chord   IV              IV             I               I

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

chord   V               IV             I               I

 

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

 

G       C        D

E        A        B

C        F        G

 

I         IV        V

 

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

 

Closing Reflection

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

 

Assessments

Formative

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

Summative

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

 

 

Differentiation

Accelerated: 

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

 

Remedial:

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

 

Additional Resources

Websites for information on blues:

 

Credits

Ideas contributed by: Dr. Maribeth Yoder-White

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

Revised and copyright:  May 2025 @ ArtsNOW

 

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THE BLUES (OR NOT-SO-BLUE BLUES) 6-8

THE BLUES (OR NOT-SO-BLUE BLUES)

THE BLUES (OR NOT-SO-BLUE BLUES)

Learning Description

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

 

Learning Targets

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

Download PDF of this Lesson

"I Can" Statements

“I Can…”

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

Essential Questions

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

 

Georgia Standards

Curriculum Standards

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

Grade 6:

S6E2. Obtain, evaluate, and communicate information about the effects of the relative positions of the sun, Earth, and moon.

 

Grade 7:

S7L2. Obtain, evaluate, and communicate information to describe how cell structures, cells, tissues, organs, and organ systems interact to maintain the basic needs of organisms.

 

Grade 8:

S8P5. Obtain, evaluate, and communicate information about gravity, electricity, and magnetism as major forces acting in nature.

Arts Standards

MSGM6.CR.2 Compose and arrange music within specified guidelines.

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

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

MSGM6.RE.2 Evaluate music and music performances.

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

 

South Carolina Standards

Curriculum Standards

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

Grade 6:

6-LS1-1. Conduct an investigation to provide evidence that living things are made of cells; either one cell or many different numbers and types of cells.

 

Grade 7:

7-LS1-6. Construct a scientific explanation based on evidence for the role of photosynthesis in the cycling of matter and flow of energy into and out of organisms.

 

Grade 8:

8-LS1-5. Construct a scientific explanation based on evidence for how environmental and genetic factors influence the growth of organisms.

Arts Standards

Anchor Standard 1: I can arrange and compose music.

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

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

 

Key Vocabulary

Content Vocabulary

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

Arts Vocabulary

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

 

Materials

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

 

 

Instructional Design

Opening/Activating Strategy

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

Work Session

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

I    I   I   I

IV IV I   I

V  IV I   I

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

 

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

           chord    I               I                I               I

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

           chord   IV              IV             I               I

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

           chord   V               IV             I               I

 

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

 

G       C        D

E        A        B

C        F        G

 

I         IV        V

 

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

 

Closing Reflection

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

 

Assessments

Formative

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

Summative

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

 

 

Differentiation

Accelerated: 

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

 

Remedial:

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

 

Additional Resources

Websites for information on blues:

 

Credits

Ideas contributed by: Dr. Maribeth Yoder-White

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

Revised and copyright:  May 2025 @ ArtsNOW

 

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EXPLORING INTERDEPENDENCE IN ECOSYSTEMS THROUGH PRINTMAKING 6-8

EXPLORING INTERDEPENDENCE IN ECOSYSTEMS THROUGH PRINTMAKING

PRINTMAKING ECOSYSTEMS: CARRYING CAPACITY AND BIODIVERSITY

Learning Description

Students will research ecosystem interactions and choose a biotic or abiotic factor to represent in a collaborative printmaking project. Each student will create a styrofoam print of a key component of an ecosystem (e.g., a producer, consumer, decomposer, or abiotic factor like water or sunlight). Then, students will combine their prints to create a large-scale class ecosystem print that visually represents interdependence and energy flow.

 

Learning Targets

GRADE BAND: 6-8
CONTENT FOCUS: VISUAL ARTS & SCIENCE
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can describe the interdependence between organisms and their environment.
  • I can develop a model showing the flow of energy in an ecosystem.
  • I can create a print that symbolizes an important ecosystem component.
  • I can collaborate with my peers to construct a visual representation of an ecosystem.

Essential Questions

  • How do organisms interact with one another and their environment?
  • How do abiotic factors influence ecosystems?
  • How does resource availability affect populations within an ecosystem?
  • How can we represent scientific relationships through visual symbols?

 

Georgia Standards

Curriculum Standards

Grade 7:

S7L4. Obtain, evaluate, and communicate information to examine the interdependence of organisms with one another and their environments.

a. Construct an explanation for the patterns of interactions observed in different ecosystems in terms of the relationships among and between organisms and abiotic components of the ecosystem.

b. Develop a model to describe the cycling of matter and the flow of energy among biotic and abiotic components of an ecosystem.

Arts Standards

VA7.CR.1 Visualize and generate ideas for creating works of art.

VA7.PR.1 Plan, prepare, and present completed works of art.

 

South Carolina Standards

Curriculum Standards

Grade 7:

7-LS2-2. Construct an explanation that predicts patterns of interactions among organisms across multiple ecosystems.

7-LS2-3. Develop a model to describe the cycling of matter and flow of energy among living and nonliving parts of an ecosystem.

Additional Science standards that can be taught using this Visual Arts strategy:

 

Grade 6:

6-LS1-3. Use arguments supported by evidence for how the body is a system of interacting subsystems composed of groups of cells.

 

Grade 8:

8-LS1-5. Construct a scientific explanation based on evidence for how environmental and genetic factors influence the growth of organisms.

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

  • Interdependence – The way organisms rely on each other and their environment
  • Ecosystem – A community of interacting organisms and their physical environment
  • Biotic factors – Living components of an ecosystem (plants, animals, fungi, bacteria)
  • Abiotic factors – Nonliving components of an ecosystem (sunlight, water, soil)

Arts Vocabulary

  • Symbol – A visual representation of an idea or theme
  • Printmaking – The art or technique of making prints, especially as practiced in engraving, etching, dry point, woodcut or serigraphy
  • Styrofoam printing plate – A carved surface used to make repeated prints
  • Brayer – A small roller for inking type by hand, usually for making a proof
  • Composition – How an artist arranges the Elements of Art (line, shape, form, value, color, space, texture) to create an artwork
  • Collaboration – Working together to achieve a common goal

 

Materials

  • Pencils
  • Copy paper
  • Styrofoam sheets
  • Ball point pen or dull pencils
  • Water based printing ink
  • Brayers
  • Paper for printing (mixed media paper works well)
  • Colored pencils or art sticks
  • Drying rack or space to lay prints
  • Paper towels to wipe ink off of styrofoam plates
  • Trays for ink

 

 

Instructional Design

Opening/Activating Strategy

Engage (Research & Discussion)

  • Divide students into groups.
  • Students will research different ecosystems (rainforest, desert, ocean, tundra, etc.) and analyze how organisms interact with their environment.
  • Each group will choose an ecosystem and each student will choose a component to represent (e.g., a predator, a tree, a river).
  • Ask students to sketch a symbol that represents their chosen organism or abiotic factor.

Work Session

Explore (Planning & Design)

  • Discuss what a symbol is. Discuss how symbols are visual representations of an idea or theme.
  • Ask students to create detailed sketches of their component, ensuring their symbol visually represents its role in the ecosystem.
  • Ask students to discuss how their organisms interact (e.g., a rabbit and a fox, a tree providing oxygen).

 

Create (Printmaking Process):

  • Review these printmaking tips with students.
    • Prepping the styrofoam plate:
      • Use a dull pencil or ballpoint pen to carve designs—press firmly but avoid puncturing all the way through.
      • Encourage students to sketch lightly first before carving to avoid mistakes.
    • Carving techniques:
      • Keep lines simple and bold for clear prints; intricate details may not transfer well.
      • Reverse letters or numbers if including text, as prints will be a mirror image.
      • Vary line thickness for added depth—thicker lines hold more ink, while thinner lines create subtle details.
    • Inking the plate:
      • Roll out a thin, even layer of ink on a tray before applying to the printing plate with a brayer.
      • Roll the inked brayer over the styrofoam plate. Make sure ink covers the entire design, but avoid excessive ink, which can cause smudging.
      • Test prints on scrap paper before the final collaborative print.
    • Printing process:
      • Place the inked plate face down on the final paper and press evenly with hands or a clean brayer.
      • Avoid shifting or sliding the plate while printing to prevent smudging.
      • Lift the plate carefully to reveal the design.
      • Encourage students to appreciate the imperfections as part of the artistic process!

 

Final Touches:

  • Allow prints to dry completely before handling.
  • Once dry, encourage students to add color and hand-drawn details using colored pencils or art sticks.

 

Collaboration:

Instruct students to assemble their prints to represent an ecosystem, visually showing relationships like predator-prey, competition, and symbiosis.

 

Closing Reflection

  • Students will participate in a gallery walk, observing and discussing the ecosystem prints.
  • Groups will present their components and explain how they contribute to the ecosystem.
  • Students write a reflection on how their organism depends on others and how resource availability impacts populations.

 

Assessments

Formative

  • Observe students’ research on how their component interacts with others (option to have students complete a graphic organizer).
  • Peer discussions – Students explain their symbols before carving to ensure accurate representation.

Summative

  • Final print and presentation – Students will submit their individual prints and written reflections of their ecosystem’s energy flow.
  • RUBRIC

A rubric table for grades 6-8 assessing Ecosystem understanding, Printmaking effort, Collaboration, and Reflection and writing—each rated from 4-Excellent to 1-Incomplete with specific criteria like interdependence in ecosystems.

 

 

Differentiation

Accelerated: 

  • Students research and depict more complex interactions (e.g., symbiosis, keystone species).
  • Reflection Essay – Students write an analysis of ecosystem relationships, including the impact of resource availability.
  • Students photograph their prints and use Google Slides or Canva to create a digital food web or ecosystem model.
  • Students can animate their food web interactions in Scratch to show energy flow.

 

Remedial:

  • Provide pre-drawn symbol templates for inspiration.
  • Use sentence starters for the reflection writing portion.

 

Additional Resources

Virtual Field Trip

 

Credits

Ideas contributed by: Shannon Green

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

Revised and copyright:  May 2025 @ ArtsNOW

 

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ELECTRICITY IGNITES! MAY THE FORCE BE WITH YOU IMPROVISATIONS 9-12

MAY THE FORCE BE WITH YOU IMPROVISATIONS

ELECTRICITY IGNITES! MAY THE FORCE BE WITH YOU IMPROVISATIONS

Learning Description

The room will buzz with movement as students put gravity and magnetic fields into their bodies while playing "Gravity Groove" and "Magnetic Field Milling". They will then explore the golden rule of improvisation, "Yes..and" by playing "You are a….Yes, I am". The lesson concludes with students creating improvised scenes with given Force of Nature Scenarios (Gravity, Magnetism, Electricity, Friction, Inertia). This challenging and hilarious lesson will catapult students' imaginations and get them out of their comfort zones.

 

Learning Targets

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

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can use my body to explore different aspects of electricity.
  • I can use my imagination to learn about science.
  • I can create stories with characters and dialogue to bring electricity to life.
  • I can use improvisation to make stories about what I am learning in science.
  • I can build upon others' ideas.

Essential Questions

  • How can improvisation help me understand the forces of nature?
  • What is the difference between negating and accepting others' ideas?
  • How can I embody radical acceptance in my life and the world around me?

 

Georgia Standards

Curriculum Standards

Physical Science:

SPS10 Obtain, evaluate, and communicate information to explain the properties of and relationships between electricity and magnetism. 

Additional Science standards that can be taught using these theatre strategies:

 

Human Anatomy & Physiology:

SAP4. Obtain, evaluate, and communicate information to analyze the processing of matter

and energy in the cardiovascular, respiratory, digestive and urinary systems.

 

Physics:

SP1. Obtain, evaluate, and communicate information about the relationship between

distance, displacement, speed, velocity, and acceleration as functions of time.

SP2. Obtain, evaluate, and communicate information about how forces affect the motion of objects.

SP3. Obtain, evaluate, and communicate information about the importance of conservation laws for mechanical energy and linear momentum in predicting the behavior of physical systems.

SP4. Obtain, evaluate, and communicate information about the properties and applications of waves.

Arts Standards

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

b. Incorporate dramatic elements through improvisation.

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

a. Observe and demonstrate aspects of verbal and non-verbal techniques in common human activity for performance (e.g. voice, breathing, posture, facial expression, physical movement).

 

South Carolina Standards

Curriculum Standards

Physics:

P-PS2-3. Apply scientific and engineering ideas to design, evaluate, and refine a device that minimizes the effect of a force on a macroscopic object during a collision

P-PS2-5. Plan and conduct an investigation to provide evidence that an electric current can produce a magnetic field and that a changing magnetic field can produce an electric current.

P-PS3-5. Develop and use a model to illustrate the forces between two objects and the changes in energy of the objects due to their interaction through electric or magnetic fields.

Additional Science standards that can be taught using these theatre strategies:

 

Biology:

B-LS4-6. Create or revise a simulation to test a solution to mitigate adverse impacts of human activity on biodiversity.

B-LS4-5. Evaluate the evidence supporting claims that changes in environmental conditions may result in (1) increases in the number of individuals of some species, (2) the emergence of new species over time, and (3) the extinction of other species.

 

Earth & Space Science:

E-ESS1-4. Use mathematical or computational representations to predict the motion of orbiting objects in the universe due to gravity.

E-ESS2-1. Use evidence to argue how Earth’s internal and external processes operate to form and modify continental and ocean-floor features throughout Earth’s history.

E-ESS2-3. Develop a model based on evidence of Earth’s interior that describes cycling of matter through convection processes.

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.

 

Key Vocabulary

Content Vocabulary

  • Attract - When two objects pull toward each other due to magnetic or electric forces; opposite charges or poles attract (e.g., a north pole and a south pole of a magnet)
  • Repel - When two objects push away from each other due to magnetic or electric forces; like charges or poles repelling (e.g., two north poles of a magnet)
  • Positive (+) - A type of electric charge or magnetic property. It repels other positive charges and attracts negative charges.
  • Negative (-) - A type of electric charge or magnetic property. It repels other negative charges and attracts positive charges.
  • North Pole (N) - One of the two ends of a magnet where the magnetic force is the strongest
  • South Pole (S) - The opposite end of a magnet where the magnetic force is the strongest
  • Gravity - The force that pulls all objects with mass towards each other, causing things to fall to the ground and keeping planets in orbit
  • Friction - A force that opposes motion when two surfaces come into contact
  • Inertia - The tendency of an object to resist a change in motion; an object at rest stays at rest, and an object in motion stays in motion unless acted on by an outside force (Newton's First Law of Motion)
  • Magnetism - The force that is created by the movement of tiny charged particles called electrons and causes some materials, like iron, to attract or repel each other
  • Magnetic field -  The invisible area around a magnet where the force of magnetism acts, attracting or repelling other magnets and magnetic materials like iron

Arts Vocabulary

  • 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.
  • Posture - How an actor holds their shoulders and chest to portray a character's motivations, emotions, and traits.
  • Imagination - Actors use their imagination to envision things that are not real. It is an essential tool in an actor’s ability to bring a character, scene, etc. to life.
  • Facial Expressions - Using your face to show emotion
  • 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.
  • Rules of Improvisation -
  1. Say "Yes, and…"
    • Always accept what your scene partner says or does.
    • Build on it by adding your own ideas instead of shutting theirs down.
  2. Avoid asking too many questions.
    • Instead of just asking, add information to keep the scene moving.
  3. Make bold choices and commit.
    • Don't be afraid to fully commit to your character and actions.
    • Even if something feels silly, own it!
  4. Keep the scene moving forward.
    • Scenes shouldn't stall—always contribute to the action.
    • If things slow down, introduce a new action, emotion, or obstacle.

Stay in the moment.

    • Listen to your scene partners and respond genuinely.
  1. Make your partner look good.
    • Improv is about teamwork, not competition.
    • Support each other and help the scene succeed instead of trying to be the funniest.
  1. There are no mistakes, only opportunities.
    • If something unexpected happens, go with it!
    • Mistakes can lead to hilarious or creative moments in a scene.
  • Keep it appropriate.

Materials

  • Positive/Negative cards–index cards with one word on each: Positive (+), negative (-) (one card per student)
  • North/South cards–index cards with one word on each: North (N), South (S) (one card per student)
  • Rules of Improvisation
  • Force of Nature Scenarios for "May the Force Be With You" improvisations.
    • 1 - "Magnetic Mystery" (Magnetism, Electricity)
      • Scenario: A town is experiencing strange magnetic disturbances—cars, phones, and even metal trash cans are flying toward a mysterious magnetic field! A group of scientists must figure out what's causing it before everything metal disappears into the sky.
        • Forces in action:
          • Magnetism–students can act as metal objects being pulled toward an invisible force
          • Electricity–powering the magnet on/off to control the chaos
        • 2 - "Frenzy Friction" (Friction, Inertia)
          • Scenario: A group of skiers is competing in a downhill race, but as they reach the bottom, they realize the snow has melted into a super slippery ice patch! With almost no friction, they can't stop and must figure out how to slow down before crashing.
            • Forces in action:
              • Friction–acting out different surfaces: rough snow versus slick ice
              • Inertia–skiers keep moving unless something stops them
            • 3 - "Elevator Drop" (Electricity, Gravity)
              • Scenario: A group of people is in an elevator when the power goes out! Without electricity, the elevator stops moving. Then, the emergency backup kicks in, but gravity starts pulling it too fast. Can they figure out how to stop the elevator before it crashes?
                • Forces in action:
                  • Electricity–powers the elevator, but it fails
                  • Gravity–pulling it down when the power is lost
                  • Friction–brakes activating to slow it down
                • 4 - "Rollin’ Coaster" (Inertia, Friction, Gravity)
                  • Scenario: A brand-new roller coaster malfunctions, and instead of slowing down at the end, it keeps speeding up! The riders must find a way to stop the ride before they launch off the tracks.
                    • Forces in action:
                      • Gravity–pulling the coaster down steep drops
                      • Inertia–coaster keeps moving unless stopped
                      • Friction–brakes trying to slow it down

 

Instructional Design

Opening/Activating Strategy

EXTREME ZING! (Magnetism & Electricity)

  • Explore the words attract and repel and how they look on our bodies.
    • Repel jumps away.
    • Attract comes together.
  • Explore the words positive and negative and how they look with our bodies, faces, and voices.
    • Positive - Tall body, high level that goes from small to big, face goes small to big, voice with pitch and volume that grows
    • Negative - Small body, low level that goes from low to high, face from big to small, voice with pitch and volume that decrease
  • Discuss how attract and repel relate to positive and negative charges.
    • Opposites attract.
    • Likes repel.
  • Have students mill about the room.
  • Tell students:
    • When I say "1, 2, 3…Action" you will mill about the room as your positive or negative character.
    • When I say "1, 2, 3…ZING!" you will freeze opposite the person/character closest to you.
    • Physically react to your partner/other character:
      • If they are opposites (+ and -) or (North and South), they must move toward each other (slow-motion magnetization).
      • If they are like charges (+ and +) or (North and North), they must dramatically push apart like an invisible force is pushing them.
    • I will then say "1, 2, 3…Action” and you will mill about the room again until I call out "1, 2, 3.. ZING”.
  • Give each student a positive/negative card and a north/south card.
  • Keep playing for several rounds.
  • Then, add the third action: Neutral!
    • Students freeze, representing an uncharged object.

 

GRAVITY GROOVE

  • Discuss how gravity changes movement.
  • Ask students to move around the room normally.
  • Call out different gravity levels:
    • Zero gravity:
      • Students move in slow motion, floating like astronauts.
    • Moon gravity:
      • Students take big, slow steps, like walking on the Moon.
    • Extreme gravity:
      • Students act as if they are being pulled down with heavy weight.
    • Coaching note:
      • Encourage students to exaggerate their movements and facial expressions to tell a strong non-verbal story.

 

MAGNETIC FIELD MILLING

  • Discuss the meaning of a magnetic field.
  • Play music.
  • Explain the game. Say:
    • When I play the music, you will walk around the room like a magnetic particle floating in space.
    • When I stop the music, I will call out a scenario.
    • You need to use your whole body, facial expression, and imagination to embody the scenario without words.
  • Start the music. Asking questions as students mill about the space.
    • How would that feel in your body?
    • How would your legs react?
    • How would your arms react?
  • Stop the music and call out a scenario:
    • Strong magnet!
      • Students rush to the center of the room acting like a strong magnetic field pulling them in.
        • Coaching questions:
          • How would this change the pace of your movement?
          • How would the magnetic field pull you?
          • What part of your body would lead?
        • Weak magnet!
          • Students lazily move in all directions showing a weak attraction.
            • Coaching questions:
              • How would this change the pace of your movement?
              • How would your face react?
              • What part of your body would lead?
              • How would your posture change?
            • Magnet turned off!
              • Students collapse like the magnet lost power.
                • Coaching questions:
                  • How would you fall to the ground?
                  • Add a sound when you are turned off.

Work Session

IMPROVISATION

  • Introduce the Rules of Improvisation.
  • Watch the video: Minute Improv Yes And.
  • GAME: "YOU ARE A…..YES, AND I AM"
    • Have students get into partners around the room.
    • Partner #1 tells the other what character they are/have.
      • #1 says, “You are a ________.”
      • #1 claps three times while Partner #2 becomes the character.
    • Partner #2 immediately physicalizes and embodies the character said to them.
      • Then says, after the claps, “Yes, I am ….and….I _______”, adding in a detail and acting it out.
    • Partner #1 gives Partner #2 three character suggestions. Then, the partners switch.
    • Partner #2 gives Partner #1 three character suggestions.
    • Example:
      • #1 says, “You are a monkey” then claps three times.
      • #2 becomes a monkey with body, voice, and sounds.
      • #2 says, “YES, I am a monkey, AND I eat bananas!”.
      • Repeat this twice and then switch.

 

MAY THE FORCE BE WITH YOU

  • Say, “Now, let's practice and play with improvisation; let's make up scenes on our feet as we go along”.
  • Ask three student volunteers to come to the front of the room.
  • Read the scenario: "Lost in Space" (Gravity, Inertia).
    • A team of astronauts is on a spacewalk when their spaceship's gravity generator malfunctions! Suddenly, they are floating in zero gravity. A planet’s gravitational pull pulls them in as they struggle to move. Can they escape before they get sucked into the atmosphere?
    • Ask students which forces are at work. This scenario deals with gravity and inertia.
    • Ask students to explore ways that would look in their bodies in each scenario.
      • Gravity–weightlessness in space versus strong pull from a planet
      • Inertia–astronauts floating in motion until they push off something
    • Ask students to freeze in a pose as if they are floating in zero gravity.
    • Call "Action" and have students come to life.
    • Coaching notes as students improvise.
      • If a student negates something, ask them to repeat it with "Yes, and…"
      • Tell students:
        • Project your voice so that we can hear you.
        • Listen to your partner.
        • Build on what your partner is saying.
        • Bring in the focus of nature.
      • When students are finished, call "Lights out."
      • Have students bow.
      • Ask the students in the audience what they thought each actor did well.
      • Ask them what worked and didn't work about the dialogue.
      • Assign groups of students a Force of Nature Scenario (Gravity, Magnetism, Electricity, Friction, Inertia).
        • Give students ten minutes to rehearse.
        • Have students share scenes.
        • Keep coaching as scenes are being performed to help direct the scenes if needed.

 

Closing Reflection

  • Say, “Improvisation is radical cooperation and acceptance. Why do you think people say that about improv?”.
    • Have students turn and talk to a neighbor about the following:
      • Was improvisation easy or hard for you, and why?
      • Think about how saying "Yes…and" might change some of your school, home, and work relationships.

 

Assessments

Formative

  • Walk around the room and listen to collaboration to assess students’ comprehension of the material.
  • Observe students' understanding of improvisation and comfort level throughout the lesson.

Summative

  • Assess students' content comprehension through the scenes that they create. Check to make sure they include the forces and create dialogue.

Differentiation

Accelerated: 

  • Accelerated students can revise and edit their scripts. Then, type them out and create blocking to perform in front of the class. Blocking is the physical arrangement of actors on a stage that facilitates the performance of a play.

 

Remedial:

  • The class can work as one team and develop a simple script for each scenario. Then, they can read them aloud in class.

Additional Resources

Minute Improv Video: Yes And

Credits

Ideas contributed by: Susie Spear Purcell

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

Revised and copyright:  May 2025 @ ArtsNOW

 

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ELECTRICITY IGNITES! MAY THE FORCE BE WITH YOU IMPROVISATIONS 6-8

MAY THE FORCE BE WITH YOU IMPROVISATIONS

ELECTRICITY IGNITES! MAY THE FORCE BE WITH YOU IMPROVISATIONS

Learning Description

Students will use improvisation to expand their knowledge of gravity, electricity, and magnetism. The room will buzz with movement as they put gravity and magnetic fields into their bodies while playing "Gravity Groove" and "Magnetic Field Milling". They will then explore the golden rule of improvisation, "Yes..and" by playing "You are a….Yes, I am". The lesson concludes with students creating improvised scenes with given Force of Nature Scenarios (Gravity, Magnetism, Electricity, Friction, Inertia). This challenging and hilarious lesson will catapult students' imaginations and get them out of their comfort zones.

 

Learning Targets

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

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can use my body to explore different aspects of electricity.
  • I can use my imagination to learn about science.
  • I can create stories with characters and dialogue to bring electricity to life.
  • I can use improvisation to make stories about what I am learning in science.
  • I can build upon others' ideas.

Essential Questions

  • How can improvisation help me understand the forces of nature?
  • What is the difference between negating and accepting others' ideas?
  • How can I embody radical acceptance in my life and the world around me?

 

Georgia Standards

Curriculum Standards

Grade 8:

S8P5 Obtain, evaluate, and communicate information about gravity, electricity, and magnetism as major forces acting in nature.

Additional Science standards that can be taught using these theatre strategies:

Grade 6:

S6E4. Obtain, evaluate, and communicate information about how the sun, land, and water affect climate and weather.

a. Analyze and interpret data to compare and contrast the composition of Earth’s atmospheric layers (including the ozone layer) and greenhouse gases.

b. Plan and carry out an investigation to demonstrate how energy from the sun transfers heat to air, land and water at different rates.

Grade 7:

S7L2. Obtain, evaluate, and communicate information to describe how cell structures, cells, tissues, organs, and organ systems interact to maintain the basic needs of organisms.

a. Develop a model and construct an explanation of how cell structures (specifically the nucleus, cytoplasm, cell membrane, cell wall, chloroplasts, lysosome, and mitochondria) contribute to the function of the cell as a system in obtaining nutrients in order to grow, reproduce, make needed materials, and process waste.

Arts Standards

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

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

c. Demonstrate a variety of types of theatre performances.

 

South Carolina Standards

Curriculum Standards

Grade 8:

8-PS2-1. Apply Newton’s third law to design a solution to a problem involving the motion of two colliding objects.

8-PS2-3. Analyze and interpret data to determine the factors that affect the strength of electric and magnetic forces.

8-PS2-4. Construct and present arguments using evidence to support the claim that gravitational interactions are attractive and depend on the masses of interacting objects and the distance between them.

8-PS2-5. Conduct an investigation and evaluate the experimental design to provide evidence that fields exist between objects exerting forces on each other even though the objects are not in contact.

Additional Science standards that can be taught using these theatre strategies:

Grade 6:

6-PS1-4. Develop and use a model that predicts and describes changes in particle motion, temperature, and state of a pure substance when thermal energy is added or removed.

6-PS3-4. Plan an investigation to determine the relationships among the energy transferred, the type of matter, the mass, and the change in the average kinetic energy of the particles as measured by the temperature of the sample.

Grade 7:

7-PS1-2. Analyze and interpret data on the properties of substances before and after the substances interact to determine if a chemical reaction has occurred.

7-PS3-5. Construct, use, and present arguments to support the claim that when the kinetic energy of an object changes, energy is transferred to or from the object.

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.

 

Key Vocabulary

Content Vocabulary

  • Attract - When two objects pull toward each other due to magnetic or electric forces; opposite charges or poles attract (e.g., a north pole and a south pole of a magnet)
  • Repel - When two objects push away from each other due to magnetic or electric forces; like charges or poles repelling (e.g., two north poles of a magnet)
  • Positive (+) - A type of electric charge or magnetic property. It repels other positive charges and attracts negative charges.
  • Negative (-) - A type of electric charge or magnetic property. It repels other negative charges and attracts positive charges.
  • North Pole (N) - One of the two ends of a magnet where the magnetic force is the strongest
  • South Pole (S) - The opposite end of a magnet where the magnetic force is the strongest
  • Gravity - The force that pulls all objects with mass towards each other, causing things to fall to the ground and keeping planets in orbit
  • Friction - A force that opposes motion when two surfaces come into contact
  • Inertia - The tendency of an object to resist a change in motion; an object at rest stays at rest, and an object in motion stays in motion unless acted on by an outside force (Newton's First Law of Motion)
  • Magnetism - The force that is created by the movement of tiny charged particles called electrons and causes some materials, like iron, to attract or repel each other
  • Magnetic field -  The invisible area around a magnet where the force of magnetism acts, attracting or repelling other magnets and magnetic materials like iron

Arts Vocabulary

  • 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.
  • Posture - How an actor holds their shoulders and chest to portray a character's motivations, emotions, and traits.
  • Imagination - Actors use their imagination to envision things that are not real. It is an essential tool in an actor’s ability to bring a character, scene, etc. to life.
  • Facial Expressions - Using your face to show emotion
  • 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.
  • Rules of Improvisation -
  1. Say "Yes, and…"
    • Always accept what your scene partner says or does.
    • Build on it by adding your own ideas instead of shutting theirs down.
  2. Avoid asking too many questions.
    • Instead of just asking, add information to keep the scene moving.
  3. Make bold choices and commit.
    • Don't be afraid to fully commit to your character and actions.
    • Even if something feels silly, own it!
  4. Keep the scene moving forward.
    • Scenes shouldn't stall—always contribute to the action.
    • If things slow down, introduce a new action, emotion, or obstacle.
  5. Stay in the moment.
    • Listen to your scene partners and respond genuinely.
  6. Make your partner look good.
    • Improv is about teamwork, not competition.
    • Support each other and help the scene succeed instead of trying to be the funniest.
  7. There are no mistakes, only opportunities.
    • If something unexpected happens, go with it!
    • Mistakes can lead to hilarious or creative moments in a scene.
  8. Keep it appropriate.
  •  
  •  
  •  
  •  

 

Materials

  • Positive/Negative cards–index cards with one word on each: Positive (+), negative (-) (one card per student)
  • North/South cards–index cards with one word on each: North (N), South (S) (one card per student)
  • Rules of Improvisation
  • Force of Nature Scenarios for "May the Force Be With You" improvisations.
    • 1 - "Magnetic Mystery" (Magnetism, Electricity)
      • Scenario: A town is experiencing strange magnetic disturbances—cars, phones, and even metal trash cans are flying toward a mysterious magnetic field! A group of scientists must figure out what's causing it before everything metal disappears into the sky.
        • Forces in action:
          • Magnetism–students can act as metal objects being pulled toward an invisible force
          • Electricity–powering the magnet on/off to control the chaos
        • 2 - "Frenzy Friction" (Friction, Inertia)
          • Scenario: A group of skiers is competing in a downhill race, but as they reach the bottom, they realize the snow has melted into a super slippery ice patch! With almost no friction, they can't stop and must figure out how to slow down before crashing.
            • Forces in action:
              • Friction–acting out different surfaces: rough snow versus slick ice
              • Inertia–skiers keep moving unless something stops them
            • 3 - "Elevator Drop" (Electricity, Gravity)
              • Scenario: A group of people is in an elevator when the power goes out! Without electricity, the elevator stops moving. Then, the emergency backup kicks in, but gravity starts pulling it too fast. Can they figure out how to stop the elevator before it crashes?
                • Forces in action:
                  • Electricity–powers the elevator, but it fails
                  • Gravity–pulling it down when the power is lost
                  • Friction–brakes activating to slow it down
                • 4 - "Rollin’ Coaster" (Inertia, Friction, Gravity)
                  • Scenario: A brand-new roller coaster malfunctions, and instead of slowing down at the end, it keeps speeding up! The riders must find a way to stop the ride before they launch off the tracks.
                    • Forces in action:
                      • Gravity–pulling the coaster down steep drops
                      • Inertia–coaster keeps moving unless stopped
                      • Friction–brakes trying to slow it down

 

 

Instructional Design

Opening/Activating Strategy

EXTREME ZING! (Magnetism & Electricity)

  • Explore the words attract and repel and how they look on our bodies.
    • Repel jumps away.
    • Attract comes together.
  • Explore the words positive and negative and how they look with our bodies, faces, and voices.
    • Positive - Tall body, high level that goes from small to big, face goes small to big, voice with pitch and volume that grows
    • Negative - Small body, low level that goes from low to high, face from big to small, voice with pitch and volume that decrease
  • Discuss how attract and repel relate to positive and negative charges.
    • Opposites attract.
    • Likes repel.
  • Have students mill about the room.
  • Tell students:
    • When I say "1, 2, 3…Action" you will mill about the room as your positive or negative character.
    • When I say "1, 2, 3…ZING!" you will freeze opposite the person/character closest to you.
    • Physically react to your partner/other character:
      • If they are opposites (+ and -) or (North and South), they must move toward each other (slow-motion magnetization).
      • If they are like charges (+ and +) or (North and North), they must dramatically push apart like an invisible force is pushing them.
    • I will then say "1, 2, 3…Action” and you will mill about the room again until I call out "1, 2, 3.. ZING”.
  • Give each student a positive/negative card and a north/south card.
  • Keep playing for several rounds.
  • Then, add the third action: Neutral!
    • Students freeze, representing an uncharged object.

 

GRAVITY GROOVE

  • Discuss how gravity changes movement.
  • Ask students to move around the room normally.
  • Call out different gravity levels:
    • Zero gravity:
      • Students move in slow motion, floating like astronauts.
    • Moon gravity:
      • Students take big, slow steps, like walking on the Moon.
    • Extreme gravity:
      • Students act as if they are being pulled down with heavy weight.
    • Coaching note:
      • Encourage students to exaggerate their movements and facial expressions to tell a strong non-verbal story.

 

MAGNETIC FIELD MILLING

  • Discuss the meaning of a magnetic field.
  • Play music.
  • Explain the game. Say:
    • When I play the music, you will walk around the room like a magnetic particle floating in space.
    • When I stop the music, I will call out a scenario.
    • You need to use your whole body, facial expression, and imagination to embody the scenario without words.
  • Start the music. Asking questions as students mill about the space.
    • How would that feel in your body?
    • How would your legs react?
    • How would your arms react?
  • Stop the music and call out a scenario:
    • Strong magnet!
      • Students rush to the center of the room acting like a strong magnetic field pulling them in.
        • Coaching questions:
          • How would this change the pace of your movement?
          • How would the magnetic field pull you?
          • What part of your body would lead?
        • Weak magnet!
          • Students lazily move in all directions showing a weak attraction.
            • Coaching questions:
              • How would this change the pace of your movement?
              • How would your face react?
              • What part of your body would lead?
              • How would your posture change?
            • Magnet turned off!
              • Students collapse like the magnet lost power.
                • Coaching questions:
                  • How would you fall to the ground?
                  • Add a sound when you are turned off.

Work Session

IMPROVISATION

  • Introduce the Rules of Improvisation.
  • Watch the video: Minute Improv Yes And.
  • GAME: "YOU ARE A…..YES, AND I AM"
    • Have students get into partners around the room.
    • Partner #1 tells the other what character they are/have.
      • #1 says, “You are a ________.”
      • #1 claps three times while Partner #2 becomes the character.
    • Partner #2 immediately physicalizes and embodies the character said to them.
      • Then says, after the claps, “Yes, I am ….and….I _______”, adding in a detail and acting it out.
    • Partner #1 gives Partner #2 three character suggestions. Then, the partners switch.
    • Partner #2 gives Partner #1 three character suggestions.
    • Example:
      • #1 says, “You are a monkey” then claps three times.
      • #2 becomes a monkey with body, voice, and sounds.
      • #2 says, “YES, I am a monkey, AND I eat bananas!”.
      • Repeat this twice and then switch.

 

MAY THE FORCE BE WITH YOU

  • Say, “Now, let's practice and play with improvisation; let's make up scenes on our feet as we go along”.
  • Ask three student volunteers to come to the front of the room.
  • Read the scenario: "Lost in Space" (Gravity, Inertia).
    • A team of astronauts is on a spacewalk when their spaceship's gravity generator malfunctions! Suddenly, they are floating in zero gravity. A planet’s gravitational pull pulls them in as they struggle to move. Can they escape before they get sucked into the atmosphere?
    • Ask students which forces are at work. This scenario deals with gravity and inertia.
    • Ask students to explore ways that would look in their bodies in each scenario.
      • Gravity–weightlessness in space versus strong pull from a planet
      • Inertia–astronauts floating in motion until they push off something
    • Ask students to freeze in a pose as if they are floating in zero gravity.
    • Call "Action" and have students come to life.
    • Coaching notes as students improvise.
      • If a student negates something, ask them to repeat it with "Yes, and…"
      • Tell students:
        • Project your voice so that we can hear you.
        • Listen to your partner.
        • Build on what your partner is saying.
        • Bring in the focus of nature.
      • When students are finished, call "Lights out."
      • Have students bow.
      • Ask the students in the audience what they thought each actor did well.
      • Ask them what worked and didn't work about the dialogue.
      • Assign groups of students a Force of Nature Scenario (Gravity, Magnetism, Electricity, Friction, Inertia).
        • Give students ten minutes to rehearse.
        • Have students share scenes.
        • Keep coaching as scenes are being performed to help direct the scenes if needed

 

Closing Reflection

  • Say, “Improvisation is radical cooperation and acceptance. Why do you think people say that about improv?”.
    • Have students turn and talk to a neighbor about the following:
      • Was improvisation easy or hard for you, and why?
      • Think about how saying "Yes…and" might change some of your school, home, and work relationships.

 

Assessments

Formative

  • Walk around the room and listen to collaboration to assess students’ comprehension of the material.
  • Observe students' understanding of improvisation and comfort level throughout the lesson.

Summative

  • Assess students' content comprehension through the scenes that they create. Check to make sure they include the forces and create dialogue.

 

Differentiation

Accelerated: 

  • Accelerated students can revise and edit their scripts. Then, type them out and create blocking to perform in front of the class. Blocking is the physical arrangement of actors on a stage that facilitates the performance of a play.

 

Remedial:

  • The class can work as one team and develop a simple script for each scenario. Then, they can read them aloud in class.

 

Additional Resources

Minute Improv Video: Yes And

 

Credits

Ideas contributed by: Susie Spear Purcell

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

Revised and copyright:  May 2025 @ ArtsNOW

 

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