THE WHOLENESS GROUP 4-5

THE WHOLENESS GROUP

THE WHOLENESS GROUP

Learning Description

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

 

Learning Targets

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

Download PDF of this Lesson

"I Can" Statements

“I Can…”

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

Essential Questions

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

 

Georgia Standards

Curriculum Standards

Grade 4:

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

Grade 5:

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

Arts Standards

Grade 4:

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

Grade 5:

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

 

South Carolina Standards

Curriculum Standards

Grade 4:

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

Grade 5:

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

Arts Standards

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

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

 

Key Vocabulary

Content Vocabulary

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

Arts Vocabulary

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

 

Materials

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

 

Instructional Design

Opening/Activating Strategy

PROMPTED MOVEMENT

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

Work Session

“WHO AM I?”

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

 

SOCIOMETRICS

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

 

MEET’N’GREET (optional)

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

 

IMPROVISATION:  THE WHOLENESS GROUP

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

 

JOURNAL-WRITING

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

 

Closing Reflection

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

 

Assessments

Formative

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

Summative

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

 

 

Differentiation

Accelerated: 

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

 

Remedial:

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

 

 

Credits

Ideas contributed by: Barry Stewart Mann

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

Revised and copyright:  January 2026 @ ArtsNOW

 

TRIGONOMETRY ON STAGE 9-12

TRIGONOMETRY ON STAGE

TRIGONOMETRY ON STAGE

Learning Description

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

 

Learning Targets

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

Download PDF of this Lesson

"I Can" Statements

“I Can…”

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

Essential Questions

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

 

Georgia Standards

Curriculum Standards

Geometry:

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

Arts Standards

TAHSFT.PR.1 

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

TAHSFT.PR.1.a 

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

TAHSFT.CN.1 

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

 

South Carolina Standards

Curriculum Standards

Algebra 2 with Probability:

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

Geometry with Statistics:

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

Arts Standards

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

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

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

 

Key Vocabulary

Content Vocabulary

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

Arts Vocabulary

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

 

Materials

 

Instructional Design

Opening/Activating Strategy

Day One

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

Work Session

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

 

Closing Reflection

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

 

Assessments

Formative

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

Summative

  • Group scene performance (see rubric)

 

 

Differentiation

Accelerated: 

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

 

Remedial:

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

 

 

Credits

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

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

Revised and copyright:  January 2026 @ ArtsNOW

 

STORIES ON THE WALL: BRINGING HALE WOODRUFF’S MURALS TO LIFE 9-12

BRINGING HALE WOODRUFF’S MURALS TO LIFE

STORIES ON THE WALL: BRINGING HALE WOODRUFF’S MURALS TO LIFE

Learning Description

In this multidisciplinary lesson, students analyze two of Hale Woodruff’s murals at Talladega College (The Trial of the Amistad Captives and Building of Savery Library) as visual texts, focusing on their positive messages of racial collaboration and justice. Students first observe the murals using the See/Think/Wonder visual literacy strategy, then receive a brief background about the murals’ context. In small groups, they research how purpose, audience, and circumstances shaped the meaning of their assigned mural. Each group then creates a tableau — a frozen scene — to represent what their mural depicts. Finally, students write an artist’s statement analyzing how purpose, audience, and circumstances influence the mural’s meaning and how their tableau expresses this. They support their explanation with evidence from research and specific references to the murals.

 

Learning Targets

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

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can analyze how purpose, audience, perspective, and historical circumstances shape a text.
  • I can explain the positive messages in Woodruff’s murals and how they reflect his perspective and historical context.
  • I can work with my group to create a tableau that communicates my interpretation of the mural.
  • I can write an artist’s statement that explains my analysis and creative choices, using evidence and appropriate tone.

Essential Questions

  • How do purpose, audience, and circumstances shape the meaning of a text, and how can we express that meaning through performance and writing?

 

Georgia Standards

Curriculum Standards

9.T.C.1 Analyze the impact of purpose and audience on a wide variety of texts.

9.T.C.2 Evaluate how authors’ and/or speakers’ perspectives influence texts and how circumstances shape their creation.

9.T.T.2.d Apply expository techniques to develop a cohesive text, organized in a way that clarifies the relationship between ideas, includes multiple and varied types of information, and uses the appropriate tone to address a target audience and specific purpose.

Arts Standards

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

TAHSFT.PR.1.a Observe and demonstrate aspects of verbal and non-verbal techniques in common human activity for performance (e.g. voice, breathing, posture, facial expression, physical movement).

TAHSFT.CN.1 Explore how theatre connects to life experiences, careers, and other content.

 

South Carolina Standards

Curriculum Standards

ELA.E1.AOR.1.1 Analyze how perspective, context, and/or key elements deepen meaning or enhance style.

ELA.E1.R.1.1 Conduct short and more sustained research to answer a question(s) or solve a problem(s) by: a. generating and answering a research question(s) about a topic; and b. using a variety of print and multimedia sources to refine the scope of inquiry as relevant to the topic, purpose, and audience.

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 4: I can direct and organize work for a performance to reflect specific content, ideas, skills, and media.

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

 

Key Vocabulary

Content Vocabulary

  • Purpose — The reason the artist created the work (to inspire, to educate, to commemorate)
  • Audience — The intended viewers of the artwork and their expectations
  • Perspective — The artist’s personal, cultural, and historical viewpoint
  • Circumstance — The historical and cultural events and conditions that shaped the creation of the text
  • Expository writing — Writing that explains and informs clearly and logically about a topic

Arts Vocabulary

  • Tableau — A frozen picture representing a scene or moment in a story that occurs during a theatrical performance. When creating a tableau in theatre, the following principles should be applied:
    1.    Create body levels (low, mid, high);2. Use facial expressions to communicate thoughts and feelings;3. Show relationships between the various characters in the setting; and4. Make sure the audience can all see your face.

 

Materials

 

Instructional Design

Opening/Activating Strategy

  • Engage students in the See/Think/Wonder Artful Thinking Routine. Teacher projects one mural at a time and asks students to write or discuss:
    • What do you see?
    • What do you think is happening?
    • What do you wonder about this scene?
    • ***NOTE: Each question in this routine should be asked and discussed/answered before moving on to the next question.
  • After each question, teacher facilitates a brief whole-class discussion to share ideas.
  • Teacher provides brief background information on the murals, highlighting:
    • One mural depicts people of different races working together to build Savery Library, emphasizing unity and education.
    • Another mural shows the Amistad captives returning to Africa after being freed by the U.S. Supreme Court, marking a historic affirmation of freedom.
    • Both murals reflect Woodruff’s positive vision of racial cooperation and justice.

Work Session

  • Students divide into small groups and are assigned to one mural.
  • Groups use the Research Guide to investigate:
    • What is the mural’s purpose?
    • Who is the intended audience?
    • How did the historical and cultural circumstances influence its meaning?
    • What evidence from the mural and historical facts supports these ideas?
  • Using what they learned, each group creates a tableau that depicts what the mural represents and reflects its positive message.
    • Emphasize use of levels, space, facial expressions, and symbolism to communicate clearly.
  • As teacher circulates during the work session, they can prompt students using questions such as:
    • What clues in the mural tell you about its message?
    • How does the mural reflect the time it was painted?
    • What should the audience feel or understand when they see your tableau?

 

Closing Reflection

  • Groups perform their tableaux for the class.
  • Each student writes an artist’s statement explaining:
    • How purpose, audience, and circumstances influenced the mural’s meaning.
    • How their tableau expresses that meaning.
    • Evidence from their research and specific details from the mural to support their explanation.

***Artist statements should be organized clearly, using appropriate tone and varied information.

Final reflection (oral or written): What did you learn about how art can communicate powerful messages about history and society?

 

Assessments

Formative

  • Participation in See/Think/Wonder and group discussion.
  • Teacher observation of research and tableau creation.

Summative

  • Completed artist’s statement evaluated for the following (see rubric on page 3 of research guide):
    • Analysis of purpose, audience, and circumstances.
    • Explanation of tableau choices.
    • Use of evidence and specific references.
    • Clarity, organization, and tone.

 

 

Differentiation

Accelerated: 

  • Groups can add symbolic props or a brief soundscape to enhance the tableau.
  • Groups can research one of the other murals to compare/contrast.

 

Remedial:

  • Provide scaffolded sentence starters, a model artist’s statement, or additional examples of analysis.

 

Additional Resources

High Museum of Art: Rising Up: Hale Woodruff’s Murals at Talladega College

 

Credits

Ideas contributed by: Catherine DeCocco, Susie Spear Purcell, Gretchen Hollingsworth

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

Revised and copyright:  January 2026 @ ArtsNOW

 

STAGE TO SAVE: INSPIRING CHANGE FOR ENDANGERED SPECIES 9-12

INSPIRING CHANGE FOR ENDANGERED SPECIES

STAGE TO SAVE: INSPIRING CHANGE FOR ENDANGERED SPECIES

Learning Description

In this multi-day lesson, students use digital storytelling and theatrical techniques to create a persuasive PSA that raises awareness about an endangered species. Students begin by researching their species’ status, threats, and ecological importance, then they will craft a conservation message designed to inspire action and encourage donations. Using their voice, diction, projection, and creative choices in music and imagery, students will plan, script, and produce a short video PSA. They will incorporate theatre elements like mood, scene design, and cues alongside digital editing tools to engage the audience emotionally and intellectually. Through this project, students deepen their understanding of conservation issues while developing communication, performance, and media production skills to advocate for change.

 

Learning Targets

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

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can research and explain the conservation status, threats, and importance of an endangered species.
  • I can design a persuasive conservation message that inspires others to act.
  • I can use my voice, music, and imagery to create mood and communicate a clear message.
  • I can plan, script, and produce a digital PSA using theatrical techniques and media tools.
  • I can reflect on how digital storytelling can raise awareness and inspire change.

Essential Questions

  • How can we use theatrical techniques to inspire others to protect endangered species?

 

Georgia Standards

Curriculum Standards

Environmental Science:

SEV2. Obtain, evaluate, and communicate information to construct explanations of stability and change in Earth’s ecosystems.

d. Construct an argument to support a claim about the value of biodiversity in ecosystem resilience including keystone, invasive, native, endemic, indicator, and endangered species.

SEV4. Obtain, evaluate, and communicate information to analyze human impact on natural resources.

a. Construct and revise a claim based on evidence on the effects of human activities on natural resources.

Arts Standards

TAHSFT.CR.2.c Construct and critique elements of dramatic structure, character, and dialogue.

TAHSFT.RE.2 Critique various aspects of theatre and other media using appropriate supporting evidence.

TAHSFT.CN.1 Explore how theatre connects to life experiences, careers, and other content.

 

South Carolina Standards

Curriculum Standards

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-LS2-6. Evaluate claims, evidence, and reasoning that the complex interactions in ecosystems maintain relatively consistent numbers and types of organisms in stable conditions but changing conditions may result in a new ecosystem.

B-LS2-7. Design, evaluate, and refine a solution for reducing the impacts of human activities on biodiversity and ecosystem health.

B-LS2-8. Evaluate evidence for the role of group behavior on individual and species’ chances to survive and reproduce.

Earth & Space Science:

E-ESS3-4. Evaluate or refine a technological solution that reduces impacts of human activities on natural systems.

Arts Standards

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

Anchor Standard 2: I can design and use technical elements for improvised scenes and written scripts. 

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

Anchor Standard 5:  I can interpret and evaluate live or recorded dramatic performances as an active audience member.

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

 

Key Vocabulary

Content Vocabulary

  • Endangered species — A species at risk of extinction because its population is so small or declining rapidly
  • Vulnerable — A species that is likely to become endangered if threats to its survival continue
  • Critically endangered — A species facing an extremely high risk of extinction in the immediate future
  • Near threatened — A species that does not yet qualify as endangered or vulnerable but may soon if threats increase
  • Habitat — The natural home or environment where a plant or animal lives and grows
  • Conservation — The careful use and protection of natural resources to prevent overuse, destruction, or extinction
  • Biodiversity — The variety of living organisms — plants, animals, fungi, and microorganisms — in an ecosystem or on Earth as a whole
  • Ecosystem — A community of living organisms interacting with each other and their physical environment
  • Habitat restoration — The process of repairing damaged ecosystems so they can support healthy populations of plants and animals again
  • Human impact — The effects humans have on the environment, including pollution, deforestation, habitat destruction, and climate change
  • Conservation program — An organized effort to protect and manage wildlife, habitats, and natural resources for the future

Arts Vocabulary

  • Voice — Actors use their voice to be heard by the audience clearly. Actors must also apply vocal choices such as pitch, tempo, and volume to the character they are dramatizing. 
  • Audience — The group of spectators, listeners and viewers collectively, in attendance at a theater 
  • Director — A director oversees the entire process of staging a production
  • Lighting/visual design — choosing visuals and effects to convey mood and meaning
  • Cue — A signal or prompt that indicates when a specific action or line should take place
  • Diction — Using a “crisp & clear” actor voice that can be understood by everyone watching and listening
  • Monologue — A long speech by a single character 
  • Projection — Using a “big” actor voice so that you can be heard in the very back row of a space (classroom, auditorium, theater)
  • Scene — A single situation or unit of dialogue in a play (in this lesson, a PSA)
  • Mood — The emotional tone created through voice, music, and visuals

 

Materials

  • Student access to the Internet
  • Digital devices with video editing tools (WeVideo, iMovie, Canva, Adobe Express, etc.).
  • Sample endangered species PSAs.
  • Student packet for each student, which includes a research planning worksheet, storyboard template, and rubric.
  • Images, music, and sound effects (royalty-free resources recommended)
  • Video of tips for creating an effective video PSA

 

Instructional Design

Opening/Activating Strategy

  • Discuss what a public service announcement is and watch examples. Discuss what techniques the PSA used to make the audience understand and care about the issue.
    • Ask students: How were voice, music, and imagery used effectively? How could they be improved?
    • Introduce the driving question, objectives, and vocabulary.

Work Session

  • Teacher gives students approximately 10 minutes to research endangered species and add examples to a list on the board. Teacher approves species added to the list as potential research choices.
  • Students choose an endangered species to research for their PSA.
  • As students research their chosen endangered species, they should complete the Research Planning Sheet in the student packet (see materials) using guiding questions.
  • Students use Research Sheet Part 2 in the student packet (see materials) to help them write their conservation message for their PSA and brainstorm how to encourage realistic fundraising for their cause.
  • Review PSA structure: Beginning (problem), Middle (evidence and emotional hook), End (solution and call-to-action).
    • Teacher may want to show the following video of tips for creating an effective video PSA (voiceover PSA begins at the 2:19 mark).
      • Discuss how the actor doing the voiceover uses diction and projection to communicate the message.
    • Students should use their research and intended message/solution to help them create their Storyboard Template located in the student packet (see materials).
    • Students should provide detail on the scenes, visuals, narration/dialogue, cues, and music/sound.
    • Review examples of PSAs as a class. Discuss how a PSA uses voice, mood, and visuals to connect with the audience.
    • Teacher guides students on choosing visuals, music, and sounds to help them create the appropriate mood/tone for their PSA.
    • Students should use the Internet to select and edit imagery, music, and video clips.
    • As students gather their elements for their PSA, they should begin assembling their digital PSA.
    • Before students record their voice-overs for their PSAs, discuss key theatre/media concepts: voice, diction, projection, mood. Teacher may want to go back to an example PSA to provide examples of each.
    • Students practice speaking clearly and expressively (diction and projection) as they rehearse their voiceovers. Teacher circulates and provides feedback.

 

Closing Reflection

  • Set expectations for being a respectful audience.
  • Discuss how to give constructive feedback.
  • Students take turns sharing their PSAs with the class (via projector or shared folder).
  • Classmates provide compliments and suggestions on feedback forms, sticky notes, or verbally.
  • Students complete the reflection in the student packet.

 

Assessments

Formative

  • Research notes and planning sheets
  • Storyboard drafts and rehearsals

Summative

  • Final PSA video (see rubric in student packet)
  • Written or recorded reflection

 

 

Differentiation

Accelerated: 

  • Create a PSA targeting a specific audience (e.g., children, lawmakers), or add subtitles, graphics, or a more elaborate script.

 

Remedial:

  • Provide sentence starters, audio recording help, and royalty-free media resources.

 

Additional Resources

Sample PSAs:

 

Credits

Ideas contributed by: Kearsten Jones, Susie Spear Purcell, Gretchen Hollingsworth

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

Revised and copyright:  January 2026 @ ArtsNOW

 

EXPLORING THEMES THROUGH PRINTMAKING 2-3

EXPLORING THEMES THROUGH PRINTMAKING

EXPLORING THEMES THROUGH PRINTMAKING

Learning Description

Students will explore themes in fables and fairytales by identifying key details that support a central message. They will then create a symbol that represents this theme and use printmaking techniques to produce a visual representation of their understanding.

 

Learning Targets

GRADE BAND: 2-3
CONTENT FOCUS: VISUAL ARTS & ELA
LESSON DOWNLOADS:

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"I Can" Statements

“I Can…”

  • I can identify the central message of a fable, folktale, or fairytale and explain how key details support it.
  • I can design a symbol that represents the central message of a story.
  • I can create a printing plate using a styrofoam sheet and use it to make a print.

Essential Questions

  • What is a theme and how can we determine it in a story?
  • How do key details in a story help us understand its theme?
  • How can we use symbols to represent ideas visually?
  • What is printmaking, and how can it be used to express meaning?

 

Georgia Standards

Curriculum Standards

Grade 2:

2.T.T.1.c Identify and describe how characters’ responses to major challenges or events support the central message, lesson, or moral of the story.

 

Grade 3:

3.T.T.1.c Describe characters’ traits, motivations, actions, thoughts, and feelings and explain their connection to the central message, lesson, or moral of the story.

Arts Standards

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

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

 

South Carolina Standards

Curriculum Standards

ELA.AOR.2: Evaluate and critique the development of themes and central ideas within and across texts.

Grade 2:

ELA.2.AOR.2.1 Identify and explain an explicit theme in a literary text.

 

Grade 3:

ELA.3.AOR.2.1 Identify and explain an explicit theme in a literary text and how it is developed by key details.

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

  • Theme – The central idea or lesson in a story
  • Key detail – An important piece of information in a story that helps explain the main idea or theme

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 tool used to roll ink evenly onto the printing plate
  • Composition – How an artist arranges the Elements of Art (line, shape, form, value, color, space, texture) to create an artwork

 

Materials

  • Selected fairytale or fable
  • Pencils
  • Copy paper
  • Styrofoam sheets
  • Dull pencils or ball point pens
  • Water based printing ink
  • Brayers
  • Newsprint or packing paper
  • Paper for printing
  • Colored pencils or art sticks
  • Drying rack or space to lay prints

 

 

Instructional Design

Opening/Activating Strategy

Engage (Read & Discuss)

  • Read a selected fable or fairytale (e.g., "The Tortoise and the Hare", "The Three Little Pigs", or "The Lion and the Mouse").
  • Discuss the story’s theme and identify key details that support it.
  • Look closely at the illustrations.
    • Ask: How do they support the theme of the story?
  • Discuss what a symbol is, and ask students for examples of symbols in everyday life.
  • Brainstorm symbols that could represent the theme.
    • Here are some examples:
      • Hard work pays off (e.g., “The Little Red Hen” – Symbol: Grain of wheat or a loaf of bread).
      • Kindness is rewarded (e.g., “Cinderella” – Symbol: A heart or a helping hand).
      • Patience and perseverance (e.g., “The Tortoise and the Hare” – Symbol: A slow-moving turtle or a clock).
      • Bravery and courage (e.g., “Little Red Riding Hood” – Symbol: A shield or a roaring lion).
      • Sharing and generosity (e.g., “Stone Soup” – Symbol: A steaming pot of soup”).

Work Session

Explore (Sketch & Plan):

  • Discuss how symbols can convey meaning visually.
  • Have students sketch possible symbols on paper, focusing on simple yet effective designs.

 

Create (Printmaking Process):

  • Introduce and demonstrate the printmaking process:
    • Carving the styrofoam plate:
      • Draw lightly with a pencil before pressing into the styrofoam to avoid mistakes.
      • Use a dull pencil or ballpoint pen to carve designs—press firmly but avoid puncturing all the way through the styrofoam.
      • Keep lines simple and bold for clear prints; intricate details may not transfer well.
      • 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.
      • Then, using the brayer, roll a thin, even layer of ink over the styrofoam plate. Too much ink can make details disappear!
      • Students should take turns rolling ink on the plate while their partner watches for even coverage.
    • Printing process:
      • Carefully place the inked plate face down on paper—one student can hold it while the other presses.
      • Use hands or a clean brayer to press firmly and evenly over the entire plate.
      • Lift the plate slowly to reveal the print!

Students may need to repeat this process, experimenting with different amounts of ink and application of pressure when transferring the print.

  • Cleanup and reflection:
    • Lay prints flat to dry before handling.
    • Have students compare their prints and discuss what worked well.
    • If needed, allow students to re-ink and try again.
    • Once prints are dry, add color and details with art stix, crayons, or colored pencils.

 

Classroom Tips:

  • Students can work in pairs to create prints.
  • Encourage students to work carefully.
  • Make sure there is a piece of newsprint under each printmaking station.
  • This process works great as a center. Set up a station and allow student pairs to rotate through to create their prints.

 

Extension:

  • Use Book Creator to record short videos discussing the theme of their assigned fairy tale or fable.
  • Students can also create digital storyboards with apps like Storyboard That to map out key details leading to the theme.

 

Closing Reflection

Reflect (Gallery walk and discussion):

  • Display student prints and discuss how each symbol represents a theme.
  • Have students write a reflection explaining their design choices and how their symbol connects to the story’s theme.

 

Assessments

Formative

  • Teacher observation during discussions and sketching phase

Summative

  • Final print and reflection explaining their artistic and thematic choices

 

 

Differentiation

Accelerated: 

  • Encourage advanced students to incorporate multiple symbols in their design to represent complex themes.
  • Have students compare and contrast different versions of the same fairytale and compare the theme.

 

Remedial:

  • Provide sentence stems for theme explanation ("The theme of this story is ___. I know this because ___ and ___.").
  • Offer pre-drawn templates or examples of symbols for inspiration.
  • Pair students for peer support during sketching and carving phases.

 

Additional Resources

 

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