ECHOES OF GIACOMETTI – COMMEMORATING HISTORY 6-8

ECHOES OF GIACOMETTI - COMMEMORATING HISTORY

ECHOES OF GIACOMETTI - COMMEMORATING HISTORY

Learning Description

In this lesson, students will study how the artist, Alberto Giacometti, visually communicates meaning through texture, proportion, and posture. Applying these concepts, students will design a monument or memorial honoring a significant historical event from their unit of study.

 

Learning Targets

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

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can describe an important historical event from my unit of study.

  • I can explain how Giacometti used posture, texture, and proportion to communicate meaning in his art.

  • I can use posture, texture, and proportion to communicate meaning in my sculpture.

Essential Questions

  • How can visual artists use art to tell about an important historical event?

  • How did Giacometti use posture, texture, and proportion to communicate meaning in his art?

  • How can I use posture, texture, and proportion to communicate meaning in my sculpture?

 

Georgia Standards

Curriculum Standards

Grade 6

Any history standard for grade 6 can be used for this lesson.

SS6H1, SS6H2, SS6H3, SS6H4

 

Grade 7

Any history standard for grade 7 can be used for this lesson.

SS7H1, SS7H2, SS7H3

 

Grade 8

Any history standard for grade 8 can be used for this lesson.

SS8H1, SS8H2, SS8H3, SS8H4, SS8H5, SS8H6, SS8H7, SS8H8, SS8H9, SS8H10, SS8H11, SS8H12 

Arts Standards

Grade 6

VA6.CR.1 Visualize and generate ideas for creating works of art. 

VA6.CR.2 Choose from a range of materials and/or methods of traditional and contemporary artistic practices to plan and create works of art.

VA6.CR.3 Engage in an array of processes, media, techniques, and/or technology through experimentation, practice, and persistence.

VA6.CR.4 Incorporate formal and informal components to create works of art.

 

Grade 7

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

VA7.CR.2 Choose from a range of materials and/or methods of traditional and contemporary artistic practices to plan and create works of art.

VA7.CR.3 Engage in an array of processes, media, techniques, and/or technology through experimentation, practice, and persistence. 

VA7.CR.4 Incorporate formal and informal components to create works of art.

 

Grade 8

VA8.CR.1 Visualize and generate ideas for creating works of art. 

VA8.CR.2 Choose from a range of materials and/or methods of traditional and contemporary artistic practices to plan and create works of art.

VA8.CR.3 Engage in an array of processes, media, techniques, and/or technology through experimentation, practice, and persistence.

VA8.CR.4 Incorporate formal and informal components to create works of art.

 

South Carolina Standards

Curriculum Standards

Grade 6

Any history standard for grade 6 can be used for this lesson.

 

Grade 8

Any history standard for grade 8 can be used for this lesson.

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 5: I can interpret (read) 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

*Specific content vocabulary will be unique to the Social Studies unit being studied.

 

  • Monument - A type of sculpture, often of significant size or importance, created to commemorate or honor a person, an event, an idea, or a place; it serves as a symbol or a reminder, preserving history, culture, or achievements

  • Memorial - Can be a type of sculpture; similar to a monument but a memorial is focused more on honoring and remembering those who are no longer present or marking significant moments of loss or tragedy
  • Inscription - A piece of writing that typically includes words, phrases, or sentences that commemorate, honor, or describe the significance of the monument

Arts Vocabulary

  • Sculpture - A form of artwork that has three dimensions

  • Texture - How something feels or looks like it feels
  • Proportion - The size, scale, and relationships between different elements within a piece
  • Disproportionate - When something in a piece of art looks unusually big, small, or out of place compared to the other things around it
  • Posture - The way a person or an object is positioned or how they hold themselves in a painting, drawing, or sculpture
  • Emphasis - What the artist wants to draw the viewer’s attention to

 

Materials

  • Model Magic, modeling clay, OR aluminum foil sheets
  • Scrap cardboard rectangles for base of sculpture (can be a cereal or snack box)
  • If using foil for sculptures:
    • Scissors
    • Permanent markers
    • Hot glue and hot glue gun for mounting sculpture on base

 

Instructional Design

Opening/Activating Strategy

  • Project an image of Alberto Giacometti’s sculpture, Walking Man II.
  • Ask students to work collaboratively to engage in the See, Think, Wonder artful thinking routine.
    • First, students will identify what they see in the image. Emphasize that they should make objective observations about the sculpture (i.e. physical features, colors, textures, etc.). 
    • Next, ask students to identify what they think about the image. Emphasize that students should be creating inferences using visual evidence from the sculpture. 
    • Finally, ask students what they wonder about the image. 
  • Facilitate a class-wide discussion around students’ observations, inferences, and questions.

 

Work Session

  • Show students additional images of Giacometti’s sculptures (see “Additional Resources” section below).
    • Focus on the question–what is the artwork about? What emotions does it evoke?
    • Provide information to students on the artist and the sculpture:
    • Ask students what characteristics of the sculpture communicate this message. Answers could include responses such as the elongated, thin figure; the rough, unfinished texture; the posture of the figure; etc.
    • Tell students that texture in art is how something feels, like in a sculpture, or how something looks like it would feel, like in a painting or drawing.
      • The rough texture of Giacometti’s sculptures is intentional. Ask students how they think Giacometti used texture to communicate his message.
    • Tell students that when artists make things disproportionate, they are usually trying to emphasize (or draw attention to) something. Ask students why they think Giacometti's sculptures are disproportionate/elongated. 
    • Direct students’ attention to the posture of the figures. Ask students what the postures could mean.
  • Explain to students that they will be creating sculptures in the style of Giacometti to demonstrate what they learned about the current history unit. Their sculptures will be a monument or memorial to commemorate an important event they are studying.
  • Allow time for students to select an event.
  • Show students examples of monuments and memorials. Ask students to consider what each monument or memorial means/symbolizes and how the artist communicated that. Example monuments and memorials:
  • Tell students that they should consider the posture, texture and proportion of their figure(s) when creating their sculptures. The posture of the figure, the texture, and the proportion should say something about what they are trying to communicate.
  • Sculptures can be made from Model Magic (air-dry), modeling clay (does not dry), or sheets of aluminum foil. Click here to view step by step instructions on how to create a Giacometti-inspired sculpture using aluminum foil.
  • Allow time for students to brainstorm ideas for their sculptures. Students should create a sketched plan of their sculpture before beginning their sculpture.
  • After they finish, students should create a title for their sculpture and write an inscription for their sculpture, such as a monument would have, on a 3x5 inch note card. Display the note card with the sculpture.
  • Students should arrange their sculptures to create a class timeline.

 

Closing Reflection

  • After students create their sculptures, they should complete a written explanation of their sculptures including how the characteristics of their sculpture–texture, proportion, and posture–connect to the event they are commemorating. They should be able to create direct connections between the characteristics of their sculptures and the event. They should also include why they selected the event for their sculpture.
  • Provide an opportunity for students to talk about their artwork and their artistic choices with each other.

 

Assessments

Formative

Teacher will assess student learning through observation of students’ discussion of Standing Man II and how Giacometti used posture, texture, and proportion to communicate meaning in his sculptures; students’ ability to identify and explain an important event from the current unit of study; and observation of students’ sketched plans for their sculptures.

 

Summative

CHECKLIST

  • Students can use posture, texture, and proportion to communicate important information about their event.
  • Students can explain in written form how they used posture, texture, and proportion to communicate important information about their event.
  • Students can explain why they selected the event for their sculpture.
  • Students can describe the event accurately and concisely in their inscription.

 

DIFFERENTIATION 

Acceleration: Have students research a memorial or monument that is associated with the unit of study; students should create a sketch of the memorial or monument and analyze how the artist(s) used texture, posture, and proportion to communicate meaning in the sculpture.

Remediation: 

  • Allow students to orally explain how the characteristics of their sculpture–texture, proportion, and posture–connect to the event they are commemorating. They should be able to create direct connections between the characteristics of their sculptures and the event. They should also explain why they selected the event for their sculpture.
  • Allow students to work together on a sculpture and/or on creating the inscription for the monument or memorial.

 

 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: Katy Betts

Revised and copyright:  May 2024 @ ArtsNOW

 

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Cultural Characters 6-8

CULTURAL CHARACTERS

CULTURAL CHARACTERS

Learning Description

In this lesson, students use photos that relate to a social studies concept as a springboard to write a first person monologue embodying the person who is pictured. This monologue explores the character’s views on the subject of the second photo that deals with the historical context students are studying. Next, students will bring the photo to life in an improvisation. By allowing your students to explore what they have read and heard about the social studies concept through the eyes of someone who experienced it, they learn empathy and better embody the concept. This exercise is a wonderful tool to increase presentation skills, empathy and ensemble in your classroom.

 

Learning Targets

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

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can write a monologue using photography as inspiration.

  • I can improvise a scene with a partner using photography as inspiration.

  • I can use theatre techniques to help me better understand a historical context/event.

Essential Questions

  • What impact does a photograph have on our perception of a society and/or historical context/event?

  • How can theatre techniques help me better understand a historical context/event?

 

Georgia Standards

Curriculum Standards

*This lesson can be taught using any Social Studies history standard that includes a figure who played a key role in a specific event, such as a governmental act, natural disaster, religious or governmental strife, etc.

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.

 

Grade 7: 

TA7.CR.1 Organize, design, and refine theatrical work.

TA7.PR.1 Act by communicating and sustaining roles in formal and informal environments.

 

Grade 8: 

TA7.CR.1 Organize, design, and refine theatrical work.

TA7.PR.1 Act by communicating and sustaining roles in formal and informal environments.

 

South Carolina Standards

Curriculum Standards

*This lesson can be taught using any Social Studies history standard that includes a figure who played a key role in a specific event, such as a governmental act, natural disaster, religious or governmental strife, etc.

Arts Standards

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

 

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

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

 

Key Vocabulary

Content Vocabulary

  • Expository Writing - Writing with the purpose to demonstrate or explain 

 

*Social Studies vocabulary will differ by grade level and unit being studied.

Arts Vocabulary

  • Ensemble - All the parts of a thing taken together, so that each part is considered only in relation to the whole

  • Theater - Dramatic literature or its performance; drama

 

  • Improvisation - A creation that is spoken or written without prior preparation

 

  • Monologue - A speech by a single character in a play, film, or other dramatic work; often used to give the audience deeper insight into the character's motivations and feelings

 

  • Scene - A division of a play or act that presents continuous action in one place or setting

  • Dialogue - The conversation or interaction between characters in a written work

 

Materials

  • Printed photos
  • Index cards and pencils
  • Music and sound source

 

Instructional Design

Opening/Activating Strategy

Classroom Tips: This activity works best in an open space with room for students to move. 

 

  • Begin by playing music from the region or culture that students are studying (e.g., Latin American music) quietly as you pass out the images (photographs).
    • Each student should have one sheet of paper with two images, an index card, and pencil.
      • The first picture is of two people engaged in an activity. The name of the country or event should be written at the bottom of the photo. One of the people should be circled so you can pair up the students to act out the scene later. 
      • The second picture is of a prominent figure who played a key role in the event or culture, a governmental act or natural disaster, geographical landmark, religious or governmental strife in the corresponding to the event or country of choice. The photo should be titled with the reference to the event, landmark, etc.
    • Have students write their name in the top right hand corner of the index card.
    • Ask the students to closely observe the person that is circled in the top photo. 
    • Ask questions for them to more deeply embody their character.
      • They should list the following on the left hand side of the card:  Character’s name, character's age, home country, how does the character feel about what is happening or who is pictured in the second photo and how is it affecting them and their people? 
      • What is the character’s greatest fear?  
      • What is the character’s greatest dream? 
      • Encourage students to use descriptive phrases and relevant details and facts from the unit of study to complete the card. 
  • Provide time for students to pair-share or share responses with the class.

 

Work Session

  • Tell students that they will be writing a monologue in the first person introducing themselves as the person in their photograph.
    • Tell students that a monologue is a speech by a single character in a play, film, or other dramatic work. Monologues are often used to give the audience deeper insight into the character's motivations and feelings. 
    • Tell students to turn the card over and write a monologue in the first person introducing themselves as the character and including all of the elements on the front side of the card.
      • Tell students to make sure to summarize the paragraph with their character’s greatest dream for themselves and their country.   
      • Turn up the volume of the music while students are writing. Give them a set amount of time to write. This could also be a longer exercise or assignment that they bring in the following class period.  
    • When everyone is finished writing, introduce the next section. 
    • Tell students, “Today we are going to learn about the ______ period through the eyes of its people. Each of you have been brought here to help us explore this time. Welcome!”
    • Tell students, “Using a voice different from your own, the voice of the character in the picture, on a count of three, softly but out loud, tell me what you had for breakfast this morning.  Now sit like your character sits, different from yourself. Imagine your character is wearing an article of clothing that you don’t have on. On a count of three adjust that article of clothing.”  
    • Next, ask a student to walk to the front of the class as that character would walk.  
    • Once they get to the front of the classroom, ask them to pick one person to tell their story to. Ask the student to look at this person as they are telling their story.  Have them read their character’s monologue aloud. 
    • If you desire or time permits, you can open the floor up for questions so the other students can interview the character. Let the class know that they can openly discuss the issues at hand and help the character answer questions that they might know the answers to.
  • Now, tell students to find the classmate who has the other character depicted in the photograph on their page. Pass out two index cards to each pair.
    • Have students read their monologues to each other practicing embodying the character they have created. 
    • Students should then discuss the historical context from the photographs and establish each of their character’s points of view. 
    • On each card, students should write a sentence in the first person with the first thing their character wants to say about the context/event depicted.
    • When you say “action,” students bring the photo to life using improvisation.
    • Beginning with the first line they previously generated on their index card, students should improvise a scene between the two characters discussing the context/event. 
    • Say “freeze!” and have students return to their seats.

 

NOTE: Instead of improvising scenes, students can write a script for their scene and present it to the class.

 

Closing Reflection

  • On the back of their index cards students should reflect on the process and how both embodying their character and listening to another character’s point of view helped them gain a deeper understanding of the historical context/event.
  • Allow students time to share with the whole class.

 

Assessments

Formative

Teachers will assess students by observing students’ responses to class discussion around photographs in the opening strategy, consulting with students during the writing process, and observing students’ work with their partners creating improvisational scenes.

 

Summative

  • Students can write a monologue in the first person using photography as inspiration that addresses all parts of the prompt.
  • Students can use historical context and relevant facts to create a realistic first person account.
  • Students can work collaboratively to improvise a scene with a partner to investigate a historical context or event.

 

DIFFERENTIATION 

Acceleration: 

  • Challenge students by telling them in the middle of the improvised scene, to swap characters with their partner and continue the scene from the new perspective. This tests their adaptability and understanding of character dynamics.
  • Pair two partner teams together to create a new scene with all four characters.

Remediation: 

  • Pair English Language Learning students with native English speakers.
  • When writing the questions about the pictures, provide the students with a graphic organizer on which to write answers and to assist with organization of thoughts and ideas.
  • Have students choose fewer items from the list about the character in the picture. 
  • Conference with students who struggle with writing. 

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

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

Revised and copyright:  June 2024 @ ArtsNOW

 

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DOL DANCING THE BILL OF RIGHTS 4-5

DANCING THE BILL OF RIGHTS

 

DANCING THE BILL OF RIGHTS

Learning Description

In this lesson, students will demonstrate their understanding of the Bill of Rights by choreographing a movement phrase to represent each amendment using the elements of dance.

 

Learning Targets

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

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can choreograph a movement phrase using the elements of dance to represent the Bill of Rights.
  • I can explain my assigned amendment from the Bill of Rights.

Essential Questions

  • How can movement represent an idea?
  • What is the Bill of Rights?

 

Georgia Standards

Curriculum Standards

Grade 4

SS4CG3 Describe the structure of government and the Bill of Rights. 

Identify and explain the rights in the Bill of Rights, describe how the Bill of Rights places limits on the powers of government, and explain the reasons for its inclusion in the Constitution in 1791.

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.CN.3 Integrate dance into other areas of knowledge.

 

 

South Carolina Standards

Curriculum Standards

Grade 4

Standard 2: Demonstrate an understanding of the identity of a new nation, including the state of South Carolina between 1730-1800.

4.2.CC Explain the continuities and changes in natural rights as seen from the French and Indian War to the creation of the Bill of Rights.

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

  • Bill of Rights - The first ten amendments of the US Constitution; the purpose is to protect the rights of citizens
  • Amendment - A formal change to a legal document, statute, or constitution

Arts Vocabulary

  • Body - The physical instrument used by dancers to express movement, emotion, and artistry
  • Locomotor Movements - Movements that travel through space, such as walking, running, hopping, skipping, leaping, sliding, and galloping
  • Non-locomotor Movements - Movements that occur without traveling, such as bending, stretching, pushing, pulling, twisting, turning, and shaking
  • Levels - The height of the movement, which can be low (close to the ground), middle (midway), or high (elevated)
  • Directions - The direction of movement, such as forward, backward, sideways, diagonal, up, and down
  • Pathways - The patterns made in space, like straight, curved, zigzag, or circular
  • Dynamics - The quality of movement, which can be smooth, sharp, sustained, percussive, swinging, or collapsing
  • Tempo - The speed of movement, which can be fast, moderate, or slow
  • Choreography - The art and practice of designing and arranging dance movements and sequences
  • Movement phrase - A sequence of movements that are connected and form a coherent unit of motion, much like a sentence in language

 

Materials

  • Copy of the Bill of Rights
  • Smart board

 

Instructional Design

Opening/Activating Strategy

  • Begin the lesson by practicing a typical call and response with students. Continue the call and response adding body movements.
    • Incorporate some of the aspects of the elements of dance such as levels, pathways, direction, locomotor/non-locomotor movements, changes in tempo, etc.

 

Work Session

  • Tell students that they will be using movement and dance to express ideas. 
    • Have students practice using their whole bodies based on a specific task, such as, to write their names in the air with finger, then elbow, then foot, then nose, then top of your head, then hip.
    • Begin to make the directions more abstract (i.e. make your body a leaf, and move like a leaf holding on to a branch in the wind, etc). Remind students that they should use their whole bodies.
    • Add in the aspects of the elements of dance such as levels, pathways, direction, locomotor/non-locomotor movements, changes in tempo, etc.
  • Tell students that dancers use their bodies to communicate ideas. Today, they will be using dance to represent the Bill of Rights.
    • Review the Bill of Rights; display each amendment on the board.
    • Arrange students into small groups. 
    • Each group will be responsible for choreographing a two to three movement phrase to represent their assigned amendment. 
      • Remind students to use their bodies and movement to represent ideas (like the leaf blowing in the wind), not to act or pantomime.
      • Remind students of some of the aspects of the elements of dance (types of movements, levels, tempo, dynamics, etc.). Tell students to select at least one that they will use intentionally in their movement phrases. 
  • After a designated time, have each group come up and present their choreography to the class.
    • Facilitate a discussion around how the dancers’ movements represented their assigned amendment. Ask students where they saw the elements of dance in each movement phrase and how that element of dance helped to communicate meaning.
  • Finally, have the entire class perform their choreography consecutively as a complete dance. This will allow all of them to sequence the movements and collectively perform one dance of the entire Bill of Rights.

 

Closing Reflection

  • In their groups, students should discuss which movements they chose and how those movements represented their assigned amendment. 
  • Facilitate a class discussion around the process of choreographing a dance that communicated a specific idea.
    • Ask students what they thought they did well and what they would do differently if they were to do it again.

 

Assessments

Formative

Teachers will assess students’ understanding by observing students’ review of the Bill of Rights, contributions to small group choreography and ability to create movements to represent ideas using the elements of dance.

 

Summative

CHECKLIST

  • Students can choreograph a movement phrase using the elements of dance to represent their assigned amendment.
  • Students can explain how their movements represent the meaning of their assigned amendment.

 

DIFFERENTIATION 

Accelerated: 

  • Challenge students to move to the steady beat of the music.
  • Students can complete a written reflection around which movements they chose and how those movements represented their assigned amendment.

 

Remedial: 

  • Students can create one movement instead of a two to three movement phrase to represent their amendment.
  • Choreograph the first amendment as a whole class to scaffold the process.
 

 

*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: Andrew Sbarra

Revised and copyright:  May 2024 @ ArtsNOW

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WE ARE THE PARTS 4-5

WE ARE THE PARTS

WE ARE THE PARTS

Learning Description

In this lesson, students will use their bodies and space, working together to create visual and corporal models to investigate and represent equivalent fractions.

 

Learning Targets

GRADE BAND: 4-5
CONTENT FOCUS: VISUAL ARTS, ELA, SOCIAL STUDIES
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can use my body and work with others to create visual representations of equivalent fractions.
  • I can identify and articulate equivalent fractions.

Essential Questions

  • How can I demonstrate equivalent fractions using my body?

 

Georgia Standards

Curriculum Standards

Grade 4 

4.NR.4: Solve real-life problems involving addition, subtraction, equivalence, and comparison of fractions with denominators of 2, 3, 4, 5, 6, 8, 10, 12, and 100

using part-whole strategies and visual models.

 

Grade 5

5.NR.3: Describe fractions and perform operations with fractions to solve relevant, mathematical problems using part-whole strategies and visual models.

 

Arts Standards

Grade 4  

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

  1. Use body and movement to communicate a character’s thoughts and emotions.
  2. Collaborate and perform with an ensemble to present theatre to an audience.

 

Grade 5

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

  1. Use body and movement to communicate thoughts, ideas, and emotions of a character.
  2. Collaborate and perform with an ensemble to present theatre to an audience.

 

 

 

South Carolina Standards

Curriculum Standards

Grade 4

4.NSF.1 Explain why a fraction (i.e., denominators 2, 3, 4, 5, 6, 8, 10, 12, 25, 100), / , is equivalent to a fraction, ×

× , by using visual fraction models, with attention to how the number and size of the parts differ even though the two fractions themselves are the same size. Use this principle to recognize and generate equivalent fractions.

 

Grade 5

5.NSF.1 Add and subtract fractions with unlike denominators (including mixed numbers) using a variety of models, including an area model and number line.

 

 

Arts Standards

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

 

 

Key Vocabulary

Content Vocabulary

  • Denominator – The bottom number in a fraction, indicating how many total equal parts in the whole
  • Equivalent Fractions – Fractions that have the same value, though they have different numerators and denominators
  • Fraction – A numerical value that is part of a whole, indicating a certain number of parts of an equally divided whole
  • Numerator – The top number in a fraction, indicating how many of the total parts are present or included.

Arts Vocabulary

  • Collaborate/Collaboration – Teamwork, working together in a group
  • Pose – A positioning or shape of the body

 

Materials

    • Optional: Paper and pencils for drawing the extension activity

     

     

    Instructional Design

    Opening/Activating Strategy

    • Teach and lead the students in playing Countup, a listening game in which the group tries to count as high as possible, one number per person, randomly, without duplication.  
      • Leader (teacher) gives a cue (e.g., “Ready, Set, Go!”), then someone says “1,” then someone else says “2”, and so on.  If two people say a number at the same time, the round ends and the game reverts to the beginning, back to 1.  
      • If a pattern emerges (e.g., three players start alternating numbers), the round is stopped and a new one begins.  
      • After the game is established, give volunteers the opportunity to give the starting cue.
      • Once students understand the game, emphasize the listening aspect, and the fact that the class will not necessarily get farther by going faster.
      • After playing with cardinal numbers, explore variations through other sequences.  Move into odd/even numbers and multiples (of 3, 5, 10, 4, 6, etc.).  
      • Then move into fractions: Unit fractions (1/2, 1/3, 1/4, 1/5, etc.), the complements of unit fractions (1/2, 2/3, 3/4, 4/5, etc.), and equivalent fractions (1/2, 2/4, 3/6, 4/8, etc.; 1/3, 2/6, 3/9, 4/12, etc.).

     

    Work Session

      EQUIVALENT FRACTION POSES

      • Tell students that they will be using their bodies to create poses that represent equivalent fractions.
      • Review equivalent fractions with students.

      Creating Halves

      • Have two students come to the front or the center of the room, ideally where they can sit on the ground and be seen by all.  
      • Have them sit cross-legged facing each other.  Explain that together, their upper legs form a whole square, and their lower legs bisect the square, or cut it in half.  
        • Have each student say, “I am one half.”
      • Have the two students place one arm with the elbow at their navel and the arm extended out to the center.  Point out that each half has been cut in half, and the resulting parts are fourths of the whole.  
        • Have each student say, “I am two fourths.”  
        • Point out that by splitting the space in half, the students are effectively multiplying the number of parts by two – both the number of parts each student represents and the number of parts overall.  
          • This is the same as multiplying both the numerator and the denominator by the same number to get an equivalent fraction.
      • Have the students use both arms, with elbows on thighs and fingertips to the center, to trisect the shape defined by their legs.  Point out that each half has been cut in thirds, resulting in six parts all together.  Have each student say, “I am three sixths.”
      • Have all the students pair up and find a place in the room to repeat the sequence – “I am one half,” “I am two fourths,” “I am three sixths.”
      • Reflect and discuss how and why the fractions described by the parts created are equivalent.

       

      Creating Thirds

        • Have the students form groups of three.  Rather than sitting cross-legged, have them sit so that their bodies form a single triangle. 
        • Repeat the process with the further divisions of the parts, and the accompanying lines, “I am one third,” “I am two sixths”. Challenge students to see how many equivalent fractions they can make.
        • Have students describe fractions made by combining parts.  For example, “Giselle and I are two thirds,” “Giselle and I are four sixths,” “Mariah and I are six ninths.”
      • If the class does not divide evenly into threes, assign the extra student or two to other groups and have them ask prompting questions, e.g., “Terence, what part are you?”  “Abby and Lucas, what part are you?”

       

      Beyond Thirds

      • Continue the process with even larger groupings.  
      • Each time, have students seat themselves on the ground with their legs to the side and their feet together. (As the numbers grow larger, the angle formed by each child’s legs grows smaller, and the distance to stretch the arms toward the center grows greater.)  
      • Have students articulate their fractions; then, add an arm to bisect the part, and then two arms.  As the groups grow, the number of groups will get smaller but the number of extra students who can be assigned to ask questions will increase.

       

       

      Closing Reflection

      • Have the students reflect on how they used their bodies to create the fractions, and how they used their voices to name their values.
      • Ask students to reflect on the activity with the following questions: 
        • What are equivalent fractions?  
        • Who can give an example of equivalent fractions?  
        • When you were sitting on the floor, how did you use your bodies to show equivalent fractions?” (“We stretched out our arms to divide the parts.”)  
        • “With numbers in your minds or on paper, how do you find equivalent fractions?” (“We multiply the numerator and the denominator by the same number.”)

      Assessments

      Formative

      Teachers will assess students’ learning by observing students’ participation in creating equivalent fractions with their bodies and students’ responses to class discussion.

       

       

      Summative

      CHECKLIST

      • Students can accurately define, create, and identify equivalent fractions.
      • Students can form equivalent fractions by creating poses with their bodies.

       

       

       

      Differentiation

      Acceleration: 

      • Have students imagine and articulate fractions with greater numerators and denominators, beyond what is apparent in their positions.  E.g., when in groups of 3, call out a higher denominator, such as 12, or a higher numerator, such as 5, and have students identify the fractions they represent with those values.
      • Have students draw a picture of one of their groups as if looking down from the ceiling.  Label the classmates in the group.  Write sentences naming the fractions they represent (e.g., “Alberto is one fifth,” “Cameron is two tenths,” “Alberto, Cameron and Jade are nine fifteenths,” etc.).

       

      Remediation:

      • Build the Count-up game slowly.  Use a fishbowl process to have a smaller group play the game while others watch, and rotate students through the activity.
      • Limit the process to fractions involving halves and thirds.

       

      •  

       

      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: Mary Gagliardi and Barry Stewart Mann

      Revised and copyright:  May 2024 @ ArtsNOW

       

       
      Back to Modules

      UNDERSTANDING INFORMATIONAL TEXT THROUGH LANDSCAPE ART 6-8

      UNDERSTANDING INFORMATIONAL TEXT
      THROUGH LANDSCAPE ART

      UNDERSTANDING INFORMATIONAL TEXTTHROUGH LANDSCAPE ART

      Learning Description

      In this lesson, students will demonstrate their understanding of informational texts by using text evidence to create a landscape artwork.

       

      Learning Targets

      GRADE BAND: 6-8
      CONTENT FOCUS: VISUAL ARTS, ELA, SOCIAL STUDIES
      LESSON DOWNLOADS:

      Download PDF of this Lesson

      "I Can" Statements

      “I Can…”

      • I can visualize supporting details in an informational text to create a landscape artwork.
      • I can annotate an informational text to identify the most important details.
      • I can synthesize the information presented in two different texts.

      Essential Questions

      • How can I visualize supporting details in an informational text to create a landscape artwork?
      • How can I identify the most important details using annotation?
      • How can I synthesize the information presented in two different texts?

       

      Georgia Standards

      Curriculum Standards

      Grade 6

      ELA

      ELAGSE6RI1 Cite textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text. 

      ELAGSE6RI2 Determine a central idea of a text and how it is conveyed through particular details; provide a summary of the text distinct from personal opinions or judgments.

       

      SOCIAL STUDIES

      SS6G1 Locate selected features of Latin America.

      SS6G4 Locate selected features of Canada.

      SS6G7 Locate selected features of Europe.

      SS6G11 Locate selected features of Australia.

       

      Grade 7

      ELA

      ELAGSE7RI1 Cite several pieces of textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.

      ELAGSE7W8 Gather relevant information from multiple print and digital sources, using search terms effectively; assess the credibility and accuracy of each source; and quote or paraphrase the data and conclusions of others while avoiding plagiarism and following a standard format for citation. 

       

      SOCIAL STUDIES

      SS7G1 Locate selected features of Africa.

      SS7G5 Locate selected features in Southwest Asia (Middle East).

      SS7G9 Locate selected features in Southern and Eastern Asia.

       

      Grade 8

      ELAGSE8RI1 Cite the textual evidence that most strongly supports an analysis of what the text says explicitly as well as inferences drawn from the text.

      ELAGSE8RI2 Determine a central idea of a text and analyze its development over the course of the text, including its relationship to supporting ideas; provide an objective summary of the text.

       

      SOCIAL STUDIES

      SS8G1 Describe Georgia’s geography and climate.

      Arts Standards

      Grade 6

      VA6.CR.1 Visualize and generate ideas for creating works of art. 

      VA6.CR.2 Choose from a range of materials and/or methods of traditional and contemporary artistic practices to plan and create works of art.

      VA6.CR.3 Engage in an array of processes, media, techniques, and/or technology through experimentation, practice, and persistence.

       

      Grade 7

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

      VA7.CR.2 Choose from a range of materials and/or methods of traditional and contemporary artistic practices to plan and create works of art.

      VA7.CR.3 Engage in an array of processes, media, techniques, and/or technology through experimentation, practice, and persistence. 

       

      Grade 8

      VA8.CR.1 Visualize and generate ideas for creating works of art. 

      VA8.CR.2 Choose from a range of materials and/or methods of traditional and contemporary artistic practices to plan and create works of art.

      VA8.CR.3 Engage in an array of processes, media, techniques, and/or technology through experimentation, practice, and persistence.

       

       

      South Carolina Standards

      Curriculum Standards

      Grade 6

      ELA

      Reading - Informational Text (RI) - Meaning and Context 

      Standard 6: Summarize key details and ideas to support analysis of central ideas.

      6.1 Provide an objective summary of a text with two or more central ideas; cite key supporting details.

       

      Grade 7

      ELA

      Reading - Informational Text (RI) - Meaning and Context 

      Standard 6: Summarize key details and ideas to support analysis of central ideas.

      6.1 Provide an objective summary of a text with two or more central ideas; cite key supporting details to analyze their development. 

       

      SOCIAL STUDIES

      7.1.1.PR Identify select African physical systems and human characteristics of places.

      7.2.1.PR Identify select Asian physical systems and human characteristics of places.

      7.3.1.PR Identify select Australia, Oceania, and Antarctica physical systems and human characteristics of places.

      7.4.1.PR Identify select European physical systems and human characteristics of places.

      7.5.1.PR Identify select North American physical systems and human characteristics of places.

      7.6.1.PR Identify select South American physical systems (e.g., landforms and bodies of water), and human characteristics of places (e.g., countries and cities).

       

      Grade 8

      ELA

      Reading - Informational Text (RI) - Meaning and Context 

      Standard 6: Summarize key details and ideas to support analysis of central ideas.

      6.1 Provide an objective summary of a text with two or more central ideas; cite key supporting details to analyze their development.

       

      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 5: I can interpret (read) 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

      • Informational text - Nonfiction writing that has the purpose of informing the reader
      • Synthesize - To combine two or more sources of information into one coherent source of information
      • Annotate - To take notes on a text
      • Physical feature - A landform such as a mountain, river, desert, etc.
      • Text evidence - Information that comes directly from the text that supports the main idea of the text

      Arts Vocabulary

      • Space - One of the seven Elements of Art; techniques artists use to create the illusion of depth on a 2D surface
      • Landscape - A type of art that shows a wide expanse of land–usually a countryside–and shows depth through a background, middle ground, and foreground
      • Foreground - The part of a landscape that is closest to the viewer
      • Background - The part of a landscape that is farthest from the viewer
      • Middle ground - The part of a landscape that is in between the background and the foreground
      • Texture - One of the seven elements of art; how something feels or looks like it feels
      • Printmaking - Printmaking is a process by which the artist creates an image that has texture and transfers that image repeatedly onto another surface like paper.
      • Collagraph printmaking - A form of printmaking in which texture is built up on a surface by layering materials. The artist then transfers the image through a process like a rubbing onto another surface like paper.

       

      Materials

        • Computer paper
        • Cardstock
        • Cardboard or additional cardstock for background
        • Scissors
        • Glue sticks
        • Pencils
        • Crayons or oil pastels (teacher tip: soak oil pastels or crayons in warm soapy water overnight; paper labels will easily come off the next day)
        • Informational text that describes a geographic location students are studying in Social Studies such as the Sahara Desert (7th grade SS, GA)
        • Optional - colored pencils

         

         

        Instructional Design

        Opening/Activating Strategy

        • Project a landscape painting such as Landscape from Saint Remy by Vincent Van Gogh. 
          • First, students will identify what they see in the image. Emphasize that they should make objective observations about the painting (i.e. physical features, colors, textures, etc.). 
          • Next, ask students to identify what they think about the image. Emphasize that students should be creating inferences using visual evidence from the painting. 
          • Finally, ask students what they wonder about the image. 
          • Ask students to work collaboratively to engage in the See, Think, Wonder protocol (Harvard University Project Zero - Artful Thinking Strategies). 
          • Facilitate a class-wide discussion around students’ observations, inferences, and questions.

         

        Work Session

          • Explain that the artwork students are looking at is an example of a landscape painting. Landscape paintings show a wide expanse of land–usually a countryside–and show depth through a background, middle ground, and foreground. 
          • Show students the diagram of a landscape. Explain that the background is what is farthest away from the viewer, the foreground is directly in front of the viewer, and the middle ground everything in the middle. 
          • Ask students to try to identify the background, middle ground, and foreground in Landscape from Saint Remy by Vincent Van Gogh.
          • Explain to students that texture in art is how something feels or looks like it feels. Ask students to identify textures in the landscape painting.
          • Tell students that they will be creating their own landscape artwork based off of an informational text. Provide each student with a copy of the informational text that connects to a region students are studying in Social Studies (if applicable). 
          • With partners, have students annotate the text as they read, looking for details that describe how the region looks such as landforms, colors, etc. 
          • Facilitate a discussion with students around what details they might include in the background, what details they might include in the middle ground, and what details they might include in the foreground. 
          • Instruct students to locate and research an additional informational text on the same region. 
            • Students should use their knowledge of research practices to identify a reliable source. Students should annotate the text as they did previously. 
            • Students will synthesize the details that they found in the two sources to create their landscape artwork. 
          • Introduce students to the term Collagraph Printmaking. 
            • Printmaking is a process by which the artist creates an image that has texture and transfers that image repeatedly onto another surface like paper. 
            • Tell students that the printing press is an early example of printmaking. 
          • Explain the process of creating their artwork. 
            • Students will draw a rough draft of their landscape on blank paper using evidence from both texts. Students’ rough drafts should have a background, middle ground, and foreground.
            • Out of cardstock, students will cut out landforms like mountains and physical features like forests that they included in their rough draft. 
              • Students should glue the landforms down to a piece of cardstock or cardboard starting with the background and moving to the foreground. 
              • Students should use overlapping as they glue each layer down.
            • Once they have created their landscapes, students will create a rubbing by placing a piece of computer paper over their landscape. Using a crayon or oil pastel, they will rub across the surface to pick up the texture of the landscape.
          • Students can then add in details and additional texture using colored pencil, crayon, or oil pastel.

           

          Closing Reflection

          • Students will write a one paragraph artist statement about their work. They should include a relevant title for their landscape and what they showed in their artwork citing text evidence from both sources.
          • Allow students to conduct a gallery walk within small groups to compare and contrast how they and their classmates visualized the text. Emphasize that students should look for similarities and differences in artwork and how that reflects the sources that students used.

          Assessments

          Formative

          Teachers will assess learning by determining whether students are able to identify the background, middle ground, and foreground in the example landscape and whether students can identify all the important supporting details from both texts that describe how the region looks.

           

           

          Summative

          CHECKLIST

          • Students’ landscapes included a background, middle ground, and foreground. 
          • Students’ landscapes visualize the details from both texts that describe how the location looks.
          • Students’ artist statements include a relevant title for their landscapes and what they showed in their artwork citing text evidence from both sources.

           

           

          Differentiation

          Acceleration: 

          • Allow students to research the landscape paintings of Vincent Van Gogh or another landscape artist. Students can create their artwork in the style of Van Gogh (Post-Impressionism) or another artist of their choice. 

           

          Remediation: 

          • Allow students to work with partners to create their landscapes. Each partner can create their own rubbing. 
          • Provide students with an “answer key” of the passage to use to check their annotations. 
          • Have students only use one text rather than two.
          • Provide students with a graphic organizer to fill out with landforms, physical features, and agriculture as they read the text. 

           

           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:  Katy Betts 

          Revised and copyright:  2023  @ ArtsNOW

           
          Back to Modules