CREATIVE CALCULATIONS – MULTIPLICATION AND DIVISION | MULTIPLICATION WITH MEDIEVAL TIMES 4

MULTIPLICATION WITH MEDIEVAL TIMES

CREATIVE CALCULATIONS–MULTIPLICATION AND DIVISION:MULTIPLICATION WITH MEDIEVAL TIMES

Learning Description

Students will engage in the sport of fencing working in tandem to embody the process for multiplying two two-digit numbers.

 

Learning Targets

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

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can break down pairs of two-digit numbers to multiply them together.
  • I can play a role within a group to enact a math process.

Essential Questions

  • How do we multiply two two-digit numbers together?
  • How can we dramatize the process of multiplying numbers together?

 

Georgia Standards

Curriculum Standards

4.NR.2.3 Solve relevant problems involving multiplication of a number with up to four digits by a 1-digit whole number or involving multiplication of two two-digit numbers using strategies based on place value and the properties of operations. Illustrate and explain the calculation by using equations, rectangular arrays, and/or area models.

4.NR.2.5 Solve multi-step problems using addition, subtraction, multiplication, and division involving whole numbers. Use mental computation and estimation strategies to justify the reasonableness of solutions.

Arts Standards

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

 

South Carolina Standards

Curriculum Standards

4.NSBT.5 Multiply up to a four-digit number by a one-digit number and multiply a two-digit number by a two-digit number using strategies based on place value and the properties of operations. Illustrate and explain the calculation by using rectangular arrays, area models and/or equations.

4.NSBT.6 Divide up to a four-digit dividend by a one-digit divisor using strategies based on place value, the properties of operations, and/or the relationship between multiplication and division.

Arts Standards

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

 

Key Vocabulary

Content Vocabulary

  • Equation - A mathematical sentence that has two equal sides separated by an equal sign
  • Array - A way of arranging objects or images in rows and columns
  • Multiplication - Repeated addition of numbers of the same size
  • Factors - The integers that divide that number without leaving a remainder
  • Product - The result of multiplying two or more numbers together
  • Division - Repeated subtraction of numbers of the same size
  • Factor - A number that can be used to evenly divide into another number

Arts Vocabulary

  • Role - A part or character in a scene, play, or movie
  • Stage combat - The process of creating the illusion of fighting through safe, choreographed performance.
  • Props - Items that actors use in a performance to depict real-life objects.  Props can also be used to help students brainstorm for their writing or character study.

 

Materials

 

Instructional Design

Opening/Activating Strategy

Word Passing:

  • Have the class stand in a circle. Have one actor turn to their right and say the word “multiply” to the next person.  Have each person then turn and say it to the person to their right in sequence.
  • Once the class is comfortable smoothly passing the word, add a gesture, such as the forearms crossed to make an ‘X’, Pass the word with the gesture.
  • Repeat the process for the words “fence” and “fencing match” coming up with a gesture for each.
  • Option: Try to pass two or all three of the words at once, starting them at equally-distanced points in the circle. Work as a class to try and keep all the words moving.
  • Explain to the students that these words are part of the day’s drama integrated activity.

Work Session

Multiplication review:

  • Review multiplication and the process for multiplying two two-digit numbers. Model the process on the board or screen, showing how each digit is used as a factor in a series of products that are added to arrive at the final product.

Medieval Times:

  • Ask the students what they know about medieval times. Gather prior knowledge, which might come from literature, movies, or even eponymously named dinner theatre experiences.
  • Discuss Knights, who were warriors that served kings, and Squires, who were younger men who served or were in training with knights.
  • Knights and Squires were called by the honorifics ‘Sir’ and ‘Master’ respectively.
  • Tell students that there were female knights who were called Dames; there is no set word for a younger woman who served or was in training with a Dame, so for the purposes of the lesson such a person will be called a Lady.
  • Explain that the class will be enacting multiplication problems taking on the roles of knights, squires, dames, and ladies through fencing matches.
  • Show students an example of fencing (see Materials).
  • Establish the wordplay between multiplication and the word ‘times’ in “medieval times”.
  • Explain that in each two-digit number, the digit in the tens place will be the Knight or Dame, and the digit in the ones place will be the Squire or Lady. They will be called by the honorific and the digit they bear and the value it represents, for example, Sir 7, Master 3, Dame 4, Lady 6.
  • Invite four volunteers to the front. Assign them each a role with a numerical name tag. (For the example here, name tags needed are 7, 3, 4, and 6. Have them stand in pairs side by side, with the pairs facing each other. In each pair, the actor to the left (as viewed by the audience) is the Knight or Dame, and the actor to the right is the Squire or Lady.
  • Have each team state their identities/values, encouraging them to speak in the style of medieval characters. E.g.:

“I am Sir 70.”  “I am Master 3.”  “Together we are 73.”

“I am Sir 40.”  “I am Master 6.”  “Together we are 46.”

  • Distribute fencing props to the four actors, who represent factors. Explain to students that they are props, to be used to enact the scenes. Explain that this activity is a form of stage combat, in which actors work together to simulate a scene of physical conflict.  Remind them about safety rules in the classroom.
  • Direct the actors/factors to enact the four duels that comprise the ‘Multiplication with Medieval Times’:
    • 73 says, “46, we challenge you.”
    • 46 says: “73, we challenge you.”
    • All say, “We shall battle to the bitter end – the product!  Let us Multiply with the Medieval Times!”.
    • Master 3 says: “Master 6 I challenge you.”  Master 6 replies, “Master 3, I challenge you!”
    • Both say, “En garde!” and they bring their fencing props together to form an X.
    • Then they alternate fencing taps to count out the groupings represented in their multiplication: 6 groups of 3 feints, equaling 18!  Write 18 on a dry erase board or paper.
  • The process is repeated for the other three combinations, remaining mindful of which digits represent ones and which represent tens.
    • Master 3 says, “Sir 40, I challenge you.’ Sir 40 says, “Master 3, I challenge you.”  Both say, “En garde!”.
    • They enact 3 groups of 4 feints, multiplied by ten, equals 120.
    • Sir 70 says, “Master 6, I challenge you.” Master 6 says, “Sir 70, I challenge you!” Both say, “En garde!”.
    • They enact 7 groups of 6 feints, multiplied by 10, equals 420.
    • Sir 70 says, “Sir 40, I challenge you!” Sir 40 says, “Sir 70, I challenge you!”  Both say, “En garde!”.
    • They enact 7 groups of 4 feints, multiplied by 100, equals 2800.
  • The partners add up the products recorded: 18, 120, 420 and 2800. Together they say, “The sum of our individual products is our grand total product – 3,358.”
  • Model with several groups with different numbers.

Variations: Depending on class behavior and teacher comfort, restrict the lesson to a series of iterations until every student has had a chance to participate; or, after ample modeling, distribute name tags and fencing props and have student work in groups of four.  If the groups are uneven, assign a fifth student to record the products and help guide the duels.

Closing Reflection

  • Ask students: What did you like or learn in this lesson?  What was interesting or fun?
  • Ask students: How did the medieval-style stage combat help to reinforce the process for multiplying two two-digit numbers?
  • Ask students:  How did you use your voices and bodies to become medieval characters?

 

Assessments

Formative

  • Students are able to work their way through the sequence of four multiplication ‘duels’ to arrive at a product.
  • Students enact their roles with energy and clarity.
  • Students work together with their partners and teams safely and efficiently.

Summative

  • Students arrive at accurate products for their assigned numbers.
  • Students explain the process for multiplying two two-digit numbers.

 

Differentiation 

Acceleration: 

  • Give students the opportunity to multiply other combinations of numbers from one- to four-digits.

Remediation:

  • Rather than having groups do independent practice, limit the lesson to guided practice with groups in front of the class.
  • Start with problems that multiply a single-digit number by a two-digit number.

 

Credits

U.S. Department of Education- STEM + the Art of Integrated Learning

Ideas contributed by: Barry Stewart Mann, MFA

*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:  June 2025 @ ArtsNOW

 

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HABITATS & ANIMAL ADAPTATIONS: CAMOUFLAGE & MIMICRY IN THE CLASSROOM 3

CAMOUFLAGE & MIMICRY IN THE CLASSROOM

HABITATS & ANIMAL ADAPTATIONS: CAMOUFLAGE & MIMICRY IN THE CLASSROOM

Learning Description

Animals are very creative! They adapt to their environments to improve their chances of survival; two types of adaptation are camouflage and mimicry. In this lesson, students will use voice and body, as well as the observational and creative skills of costume and set designers, to use camouflage and mimicry in their own natural habitat–the classroom!

 

Learning Targets

GRADE BAND: 3
CONTENT FOCUS: THEATRE & SCIENCE
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can define camouflage and mimicry, and tell the difference between them.
  • I can identify color, shape and pattern in my own clothing and in my classroom environment.
  • I can make choices that create the effect of camouflage.
  • I can use my voice, body, and art materials to create the effect of mimicry of another organism (a classmate) in my classroom environment.

Essential Questions

  • What are camouflage and mimicry?
  • How are color, shape and pattern important elements of camouflage and mimicry?
  • How can we use acting and design skills to explore camouflage and mimicry in the classroom?

 

Georgia Standards

Curriculum Standards

S3L1. Obtain, evaluate, and communicate information about the similarities and differences between plants, animals, and habitats found within geographic regions (Blue Ridge Mountains, Piedmont, Coastal Plains, Valley and Ridge, and Appalachian Plateau) of Georgia.
a. Ask questions to differentiate between plants, animals, and habitats found within Georgia’s geographic regions.
b. Construct an explanation of how external features and adaptations (camouflage, hibernation, migration, mimicry) of animals allow them to survive in their habitat.
c. Use evidence to construct an explanation of why some organisms can thrive in one habitat and not in another.

Arts Standards

TA3.PR.1 Act by communicating and  sustaining roles in formal and informal environments.
TA3.PR.2 Execute artistic and technical elements of theatre.

 

South Carolina Standards

Curriculum Standards

3-LS4-2. Use evidence to construct an explanation for how the variations in traits among individuals of the same species may provide advantages in surviving and producing offspring.
3-LS4-3. Construct an argument with evidence that in a particular habitat some organisms can thrive, struggle to survive, or fail to survive.

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

  • Adaptation - A change by which an organism becomes better suited to its environment
  • Mimicry - An adaptation by which an organism copies the physical or vocal characteristics of another
  • Camouflage - An adaptation by which an organism visually blends into its surroundings by virtue of its shapes, patterns, and coloring
  • Habitat - The natural home or environment of an animal, plant, or other organism

Arts Vocabulary

  • Voice – An actor’s tool, which we shape and change to portray the way a character speaks or sounds
  • Body – An actor’s tool, which we shape and change to portray the way a character looks, walks, or moves
  • Set design - The creation of the physical space in which the action of a performed event takes place
  • Costume design - The creation of clothing and accessories for a character in a performance
  • Levels - Position of the body (high, middle, and low)


Materials

  • Optional: Drum or percussion instrument
  • Optional: Sound clips of mimicry
  • Images of camouflage and mimicry in the natural world (from textbook, class resources, or the internet)
  • Multi-colored pieces of construction paper
  • Scissors
  • Glue
  • STEAM journals/blank paper
  • Writing utensils


Instructional Design

Opening/Activating Strategy

Animal and Habitat Statues:

  • Use a drum, percussion instrument, or clapping to establish that students will form statues in response to a single beat and then relax out of the statues in response to a double beat.
  • Remind students that statues do not move, but that they must allow themselves to breathe and blink.
  • Provide a series of prompts of animals specific to Georgia habitats. The teacher can project images on the board or simply say the name of the animal.
    • As the teacher says the animal, have students form a statue of that animal with their bodies.
    • Use observational language to comment on specific physical choices that students make to create their statues (e.g., “I see that Caitlyn has her chest low like a stalking leopard,” or “Donté’s arms are straight back like a grasshopper’s wings.”

Work Session

Camouflage:

  • Define and discuss camouflage. Show examples of camouflage from the natural world.
  • Introduce the concept of camouflage in the classroom.
    • Model by looking for colors and patterns that mirror your own clothes. Find a place in the classroom where you can approximate blending in. Prompt students to say, “Where’s Ms. _______?  We can’t see her!”
  • Discuss how in theatre, television, and film, costume and set designers make intentional choices about costumes and sets used in the production.
  • Explain that students are going to be like costume designers, making choices based on colors, shapes, and patterns in the given costumes and settings in the classroom.
  • Invite one or two volunteers to come to the front of the room. Have the class identify colors, shapes, and patterns both on the volunteers and around the classroom, and brainstorm ideas for the volunteers to camouflage themselves in the classroom.
  • Model being a predator, looking for prey (the volunteers), and passing them by because they blend into their surroundings.
    • Ask students to think of a predator. Ask students to stand at their desks and use their bodies to show how their chosen predator acts when they are hunting prey.
      • Ask students to change their facial expressions and body movements to act like the predator. Have students give their predator a sound.
      • Have students change their body level (high, middle, or low) depending on what type of predator they are. For example, a snake would move at a low level while a bear would move at a high level.
    • Have students partner up and work together to identify camouflage opportunities for each partner; when each is camouflaged, have the other act like a deceived predator.
    • Have volunteers share examples of the camouflage opportunities they found around the classroom by acting like the deceived predator and camouflaged prey.

Mimicry:

  • Define mimicry; share examples (visual and perhaps aural) from the natural world.
  • Remind students about the roles of designers; explain that they will use simple materials to create external adaptations to mimic other organisms (classmates).
  • Model with construction paper, scissors, and glue or tape. Select a student to mimic, and use the supplies to quickly create a ‘costume’ piece that mimics what that student is wearing.
  • Have the student who is being mimicked come up to the front of the class, strike a pose or make a movement, and make a sound as their character. Stand by the student with the costume piece, and mimic the sound. Have the class say, “Look, it’s two ______s!” (i.e., if standing next to and mimicking Tyler, the class says “Look, it’s two Tylers!”).
    • Discuss mimicry as a form of flattery or disguise, and impress upon the students that the activity should not be used in order to mock, tease, taunt, make fun of, or bully others.
  • Have students work with their partners to use materials to create a costume piece to mimic each other’s visual appearance – primarily clothing.
  • Once students have created their pieces, tell students that now the student being mimicked should strike a pose or create a movement and make a sound for the other student to mimic.
  • Invite volunteers to come to the front of the room to perform their mimicry. Have the class say, “Listen! Look! It’s two ______’s!”
  • Remind students that they worked together to understand mimicry, and have students thank each other for the honor of both mimicking and being mimicked.

Closing Reflection

  • Facilitate a discussion about the following: How did we use elements of costume and set design – color, shape, and pattern – to bring camouflage and mimicry to life in our classroom “habitat”? How did we use characterization (facial expressions, movements, sounds, etc.)?
  • Students will draw a picture of themselves demonstrating camouflage or mimicry in the classroom.
    • Students should identify the image as an example of either camouflage or mimicry.
    • Students should identify the areas and objects in the classroom that were used for camouflage or the classmate on whom the mimicry was based.


Assessments

Formative

  • Observe student comprehension of camouflage and mimicry as they use costume clothing, shape, and pattern in the lesson.
  • Observe how students use costume design, as well as their voices and bodies, to successfully create the effects of camouflage.

Summative

  • Evaluate the student drawings for evidence of comprehension of camouflage and effective use of design concepts in the lesson activity.
  • Evaluate student performances of camouflage to determine if they were able to use their bodies and voices to act like a predator who could not find a camouflaged prey.
  • Evaluate student performances of mimicry to determine if they could use costume design and voice to demonstrate mimicry.


Differentiation

Accelerated: 

Have students research a specific animal native to one of Georgia’s habitats. Students will identify a predator and prey relationship. Then students should complete the same activity in the lesson using the specific predator and prey relationship they defined.

Remedial:

  • Lead a slow visual tour of the classroom as a class, identifying specific colors, shapes, and patterns, and making connections with individuals to provide ideas to be used for camouflage.
  • Allow students to adjust objects in the classroom environment to facilitate the camouflage effect.
  • Rather than mimicking one another, have all the students mimic the teacher.


Credits

U.S. Department of Education- STEM + the Art of Integrated Learning

Ideas contributed by: SAIL Grant Teacher Leaders, 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:  June 2025 @ ArtsNOW

 

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CREATIVE EXPRESSIONS IN MULTIPLICATION: MULTIPLICATION WITH MEDIEVAL TIMES 3

MULTIPLICATION WITH MEDIEVAL TIMES

CREATIVE EXPRESSIONS IN MULTIPLICATION: MULTIPLICATION WITH MEDIEVAL TIMES

Learning Description

Students will engage in the sport of fencing working in tandem to embody the process for multiplying a one digit number by a multiple of ten.

 

Learning Targets

GRADE BAND: 3
CONTENT FOCUS: THEATRE & MATH
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can use strategies to break down multi-digit numbers for multiplication.
  • I can play a role within a group to enact a math process.

Essential Questions

  • What strategies can we use to break down a multiplication problem?
  • How can we dramatize the process of multiplying numbers together?

 

Georgia Standards

Curriculum Standards

3.PAR.3.5 Use place value reasoning and properties of operations to multiply one-digit whole numbers by multiples of 10, in the range 10-90.

3.PAR.3.6 Solve practical, relevant problems involving multiplication and division within 100 using part-whole strategies, visual representations, and/or concrete models.

Arts Standards

TA3.PR.1 Act by communicating and sustaining roles in formal and informal environments.

 

South Carolina Standards

Curriculum Standards

3.NSBT.3 Multiply one-digit whole numbers by multiples of 10 in the range 10 – 90, using knowledge of place value and properties of operations.

Arts Standards

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

 

Key Vocabulary

Content Vocabulary

  • Multiplication - A mathematical operation used to calculate the total of one number added repeatedly a specific number of times
  • Equation - A mathematical sentence that has two equal sides separated by an equal sign
  • Factor - The numbers that are multiplied
  • Product - The answer to a multiplication problem
  • Multiplier - The number of groups
  • Multiplicand - The number of items in each group

Arts Vocabulary

  • Role – A part or character in a scene, play, or movie
  • Stage combat –The process of creating the illusion of fighting through safe, choreographed performance
  • Props – Items that actors use in a performance to depict real-life objects. Props can also be used to help students brainstorm for their writing or character study.
  • Fencing - A sport that involves two competitors using fencing swords to score points by making contact with their opponent in specific target areas

 

Materials

  • Class set of fencing props made of paper towel rolls, rolled-up newspaper, or rolled-up craft paper
  • Name tags, stickers, or another method of assigning a single digit (1-9) to each student
  • Dry erase boards or paper and utensils

 

Instructional Design

Opening/Activating Strategy

Word Passing

  • Have the class stand in a circle. Have one actor turn to their right and say the word “multiply” to the next person.  Have each person then turn and say it to the person to their right in sequence.
  • Once the class is comfortable smoothly passing the word, add a gesture – perhaps the forearms crossed to make an "X". Now, have students pass the word with the gesture.
  • Repeat the process for the words “fence” and “fencing match” coming up with a gesture for each.
  • Option: Try to pass two or all three of the words at once, starting them at equally-distanced points in the circle. Work as a class to try and keep all the words moving.
  • Explain to the students that these words are part of the day’s drama-integrated activity.

Work Session

Multiplication review

  • Review multiplication in general, and the process for multiplying a one digit number by a multiple of 10 (10-90). Model the process on the board or screen, showing how each digit is used as a factor in a series of products that are added to arrive at the final product.

Medieval Times

  • Ask the students what they know about medieval times. Gather prior knowledge, which might come from literature, movies, or even eponymously named dinner theatre experiences.
  • Discuss knights, who were warriors that served kings, and squires, who were younger men who served or were in training with knights.
  • Knights and squires were called by the honorifics "Sir" and "Master" respectively.
  • Tell students that there were female knights who were called dames.
    • Tell students that there is no set word for a younger woman who served or was in training with a dame, so for the purposes of the lesson such a person will be called a lady.
  • Explain that the class will be enacting multiplication problems taking on the roles of knights, squires, dames, and ladies through fencing matches.
  • Establish the wordplay between multiplication and the word “times” in “medieval times”.
  • Explain that in each two-digit number, the digit in the tens place will be the knight or dame, and the digit in the ones place will be the squire or lady.
    • They will be called by the honorific and the digit they bear and the value it represents, E.g., Sir 7, Squire 3, Dame 4, Lady 6. Note that because students are multiplying a whole single digit number by multiple of 10, the person representing the tens place will be the Knight or Dame and the person representing the ones place will be the Master or Lady.
  • Invite three volunteers to the front. Assign them each a role with a numerical name tag.  (For the example here, 20 and 4). In each pair, the actors to the left (as viewed by the audience) will be the knight or dame to represent the tens place (2) and a squire or lady to represent the ones place (0), and the actor to the right is the squire or lady representing the single digit whole number (4).
    • The two students representing the multiple of 10 should stand facing the single digit number.
  • Have each team state their identities/values, encouraging them to speak in the style of medieval characters. g.: “We are Dame 2 and Lady 0.” “I am Squire 4.”
  • Distribute fencing props to the actors, who represent factors.
    • Explain to students that they are props, to be used to enact the scenes. Explain that this activity is a form of stage combat, in which actors work together to simulate a scene of physical conflict.  Remind them about safety rules in the classroom.
  • Direct the actors/factors to enact the duels that comprise the "Multiplication with Medieval Times":
    • Two says, “Four, I challenge you.” Four says “Two, I challenge you.”
    • All say, “We shall battle to the bitter end – the product!  Let us multiply with the Medieval Times!”
    • Both say, “En garde!” and bring their fencing props together to form an X.
    • Then they alternate sword taps to count out the groupings represented in their multiplication: Two groups of four feints, equaling eight! Write eight on a dry erase board in the tens place.
    • Then, zero says, “Four, I challenge you.” Four says, “Zero, I challenge you.” Ask students how many groups of feints they will perform. Students should say “Zero”. Write zero in the ones place on the board.
  • Model with several groups with different numbers.
  • Variations: Depending on class behavior and teacher comfort, restrict the lesson to a series of iterations until every student has had a chance to participate; or, after ample modeling, distribute name tags and fencing props and have student work in groups of four.  If the groups are uneven, assign a fifth student to record the products and help guide the duels.

Closing Reflection

  • Ask students:
    • What did you like or learn in this lesson? What was interesting or fun?
    • How did the medieval-style stage combat help to reinforce the process for multiplying?
    • How did you use your voices and bodies to become medieval characters?

 

Assessments

Formative

  • Teacher will observe whether:
    • Students are able to work their way through the sequence of four multiplication "duels" to arrive at a product.
    • Students enact their roles with energy and clarity.
    • Students work together with their partners and teams safely and efficiently.

Summative

  • Students arrive at accurate products for their assigned numbers.
  • Students explain the process for multiplying a single digit number by a multiple of ten.
  • Students use their voices to embody medieval characters

 

Differentiation 

Accelerated: 

Give students the opportunity to multiply other combinations numbers.

Remedial:

  • Rather than having groups do independent practice, limit the lesson to guided practice with groups in front of the class.
  • Start with problems that multiply a single-digit number by a single-digit number.

 

Additional Resources

 

Credits

U.S. Department of Education- STEM + the Art of Integrated Learning

Ideas contributed by: Barry Stewart Mann, MFA. Revised by: Katy Betts

*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:  June 2025 @ ArtsNOW

 

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ROUNDING THROUGH THE ARTS: THE ROUND-UP HOEDOWN 3

THE ROUND-UP HOEDOWN

ROUNDING THROUGH THE ARTS: THE ROUND-UP HOEDOWN

Learning Description

Students will participate in a Readers Theatre script to tell an engaging metaphorical story about rounding numbers up and down, using the setting of a cattle roundup and the metaphor of cows as differently-valued numbers.

 

Learning Targets

GRADE BAND: 3
CONTENT FOCUS: THEATRE & MATH
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can determine whether a number should be rounded up or down.
  • I can work collaboratively to participate in a Readers Theatre activity.

Essential Questions

  • How do we round numbers up and down?
  • How do we tell a story together through Readers Theatre?
  • How does place value relate to rounding multi-digit whole numbers?

 

Georgia Standards

Curriculum Standards

3.NR.1.3  Use place value understanding to round whole numbers up to 1000 to the nearest 10 or 100.

Arts Standards

TA3.PR.1 Act by communicating and sustaining roles in formal and informal environments.

 

South Carolina Standards

Curriculum Standards

3.NSBT.1 Use place value understanding to round whole numbers to the nearest 10 or 100.

Arts Standards

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

 

Key Vocabulary

Content Vocabulary

    • Ones place - The last or right digit. Ex: In 784, 4 is in the ones place
    • Whole number - A number without fractions or decimal parts
    • Greater than - A symbol used to compare two numbers, with the greater number given first. Ex: 5 > 3 shows that 5 is greater than 3
    • Place value - the numerical value that a digit has by virtue of its position in a number.
    • Thousands place - The value of where the digit is in the number. Example: In 1,352, the 1 is in the "thousands" position, so it shows a value of 1,000
    • Hundreds place - The value of where the digit is in the number. Example: In 1,352, the 3 is in the "hundreds" position, so it shows a value of 300
    • Tens place - The value of where the digit is in the number. Example: In 1,352, the 5 is in the "tens" position, so it shows a value of 50
    • Rounding - Making a number simpler but keeping its value close to what it was. The result is less accurate, but easier to use. Example: 73 rounded to the nearest ten is 70, because 73 is closer to 70 than to 80
    • Less than - A symbol used to compare two numbers, with the lesser number given first. For example: 5 < 9 means 5 is less than 9
    • Number line - A line with numbers placed in their correct position. Useful for addition and subtraction and showing relations between numbers

Arts Vocabulary

  • Readers Theatre – A theatrical style in which actors read a script aloud with vocal expression but without the use of props, costumes, or scenery
  • Script - The written version of a play, movie, or other acted performance
  • 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.
  • Pitch - The highness or lowness of sound
  • Tempo - The speed of the beat
  • Poise – Posture, position: a dignified, self-confident manner or bearing.
  • Character – An actor or actress in a specified role

 

Materials

 

Instructional Design

Opening/Activating Strategy

  • Have students stand straight, with feet flat on the ground, and arms by their sides.
  • Lead students in repetitions of a series of syllables, such as “La-la-la-la-la” and “Bo-bo-bo-bo-bo”.
  • Practice a familiar phrase, such as “Twinkle twinkle little star” or “Mary had a little lamb” varying the pitch, volume, and tempo: High and low, loud and soft, fast and slow.
  • Lead students in several tongue twisters, such as:
    “She sells seashells by the seashore”
    “Unique New York, Unique New York”
    “If a woodchuck could chuck wood, how much wood would a woodchuck chuck?”
    Others by teacher choice or student suggestion.
  • Discuss which aspects of voice (pitch, volume, and tempo) help with clear communication.

Work Session

  • Introduce Readers Theatre to students.
    • Explain that the class will be reading a script aloud; all students will participate; and they will have a chance to practice their parts individually and together.
    • Explain that it will be like a performance, except there won’t be any audience (unless the teacher chooses to prepare it for performance).
  • Explain that the Readers Theatre script is about place value and rounding numbers up and down. Discuss what it means to round up or round down. Give examples of situations where people might round up or down (e.g., someone might owe someone else $19, so they round it up to $20 for simplicity; someone asks what the temperature is, and instead of saying 72 degrees, the other person answers that it is about 70; etc.).
  • Explain that the script is about numbers although it is set in a cowboy town where the ranchers are sorting their livestock.
    • As appropriate, discuss that the script uses a metaphor in which the cows are like numbers (or discuss after reading the script).
  • After distributing the script, do an initial read-through.
    • Read through the script with students in sequence reading the next speech when their turn comes; i.e., establish an order (Jesse, then Ariel, then Kayden, then Valerie, etc.), and have each student read a single speech before moving on to the next reader. Assist students with reading as needed.
  • Discuss the script and how place value, rounding up, and rounding down are conveyed.
  • Assign roles. Depending on class size, assign multiple students to a role, have a single student play multiple roles, and/or combine roles, as needed.
  • Using lines from the script, model standing tall, holding the script out in front of the chest (not in front of the face, and not down at the waist), and reading aloud with expression. Ask students how your voice helps to convey the meaning of the lines.
  • Give students a chance to practice their lines out loud, all simultaneously. Assist individual students as needed.  Encourage students to find the meaning of their lines, and to have fun with how they say them.
  • Line the students up in a sensible sequence according to the script. Read through the script at performance level, with strong poise, and loud, clear expressive voices.

Closing Reflection

  • Reflect on how classmates helped make the meaning come through clearly; and on how the script presents the concepts of rounding up and rounding down.
  • Ask students how the script communicated the concept of rounding.

 

Assessments

Formative

  • The teacher will observe how:
    • Students practice and deliver their lines in the Readers Theatre piece.
    • Students demonstrate understanding of the mathematical concepts in the lesson.

Summative

  • Students stand with poise and speak with expression.
  • Students can articulate the meaning of place value, rounding up, and rounding down.

 

Differentiation 

Accelerated: 

  • Give advanced students more difficult roles in the script.
  • Have students add gestures and movement to the reading.
  • Have students write a sequel addressing rounding up to hundreds and thousands.

Remedial:

  • Give less advanced students simpler roles in the script.
  • Assign multiple students to each role.
  • Edit script as needed to simplify.

 

Additional Resources

Instructional video on Readers Theatre (for teachers)

 

Credits

U.S. Department of Education- STEM + the Art of Integrated Learning
Ideas contributed by: Barry Stewart Mann, MFA

*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:  June 2025 @ ArtsNOW

 

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ARTFUL EARTH–EXPLORING ROCKS AND SOILS: WORD ART AND ROCK RIDDLES 3-4

WORD ART AND ROCK RIDDLES

ARTFUL EARTH–EXPLORING ROCKS AND SOILS: WORD ART AND ROCK RIDDLES

Learning Description

In this arts integrated lesson, students will use visual arts and theatre to demonstrate their understanding of rocks. Students will create a Word Art illustration focusing on one of the three types of rocks. Students will then create and perform a riddle and or monologue in which the class (audience) tries to guess which rock it represents. Students will compare and contrast the attributes/characteristics of igneous, sedimentary, and metamorphic rocks.

 

Learning Targets

GRADE BAND: 3,4
CONTENT FOCUS: THEATRE & SCIENCE
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can identify the three types of rocks: Igneous, sedimentary, and metamorphic.
  • I can create and perform a monologue/riddle describing the three types of rocks: Igneous, sedimentary, and metamorphic.
  • I can compare and contrast the three types of rocks: Igneous, sedimentary, and metamorphic.

Essential Questions

  • How are the three types of rocks formed?
  • How are the three types of rocks alike and different?
  • What is the difference between the three types of rocks?

 

Georgia Standards

Curriculum Standards

Grade 3:

S3E1 Obtain, evaluate, and communicate information about the physical attributes of rocks and soils.

S3E1.a Ask questions and analyze data to classify rocks by their physical attributes (color, texture, luster, and hardness) using simple tests.

S3E1.b Plan and carry out investigations to describe properties (color, texture, capacity to retain water, and ability to support growth of plants) of soils and soil types (sand, clay, loam).

S3E1.c Make observations of the local environment to construct an explanation of how water and/or wind have made changes to soil and/or rocks over time.

Arts Standards

Grade 3:

THEATRE: TA3.PR.1 Act by communicating and sustaining roles in formal and informal environments.

VISUAL ARTS:

VA3.RE.1 Use a variety of approaches for art criticism and to critique personal works of art and the artwork of others to enhance visual literacy.

VA3.CN.3 Develop life skills through the study and production of art (e.g. collaboration, creativity, critical thinking, communication).

 

South Carolina Standards

Curriculum Standards

Grade 4:

4-ESS1-1. Identify evidence from patterns in rock formations and fossils in rock layers to support an explanation for changes in a landscape over time.

Arts Standards

THEATRE: 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.

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

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

 

Key Vocabulary

Content Vocabulary

  • Rock - A naturally occurring solid substance composed of one or more minerals, mineraloids, or organic materials
  • Sedimentary rocks - A type of rock that forms from the accumulation, compaction, and cementation of sediments over time
  • Metamorphic rocks - A type of rock that forms when existing rocks—either igneous, sedimentary, or other metamorphic rocks—are subjected to high heat, pressure, and/or chemically active fluids over long periods of time
  • Igneous rocks - A type of rock that is formed from the cooling and solidification of molten rock (magma or lava)
  • Magma - Molten rock that is found beneath the Earth's surface
  • Weathering - The process by which rocks and minerals break down into smaller pieces or change chemically due to exposure to environmental conditions such as wind, water, temperature changes, and biological activity
  • Sediments - Small particles of rock, minerals, organic materials, or other substances that have been broken down or weathered from larger rocks over time

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.
  • Pitch - The highness or lowness of sound
  • Body - Actors use their bodies 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.
  • Texture - When referring to an actor's voice, texture describes the unique quality, feel, or timbre of the voice. Just as texture in visual art or touch refers to the surface characteristics (smooth, rough, gritty, etc.), vocal texture relates to the way the voice sounds and the impressions it conveys.
  • Word art - A form of visual art that uses words, letters, or text as the main medium to create an artistic representation
  • Color - An element of art with three properties: 1) Hue: The name of the color, e.g. red, yellow, etc., 2) Intensity: The purity and strength of the color (brightness or dullness), 3) Value: The lightness or darkness of the color (shades and tints)
  • Texture - The surface quality, or "feel" of an object, such as roughness, smoothness, or softness. Actual texture can be felt while simulated textures are implied by the way the artist renders areas of the picture.

 

Materials

 

Instructional Design

Opening/Activating Strategy

  • Each table/group will be given three samples/examples of rocks.
  • Using a Three-Column Blank Chart, the groups will discuss and fill in their chart writing down their observations.
    • Students should note the attributes in size, texture, color, hardness, softness, etc.
    • They should be able to identify all three rocks: Igneous, sedimentary, and metamorphic.
    • The students should also explain how each rock is created in a different manner than the others.

Each group will share their observations with the rest of the class. The teacher will compile the group observations into one large three column chart paper.

Work Session

Part 1:

  • Ask each small group to create a riddle for an assigned rock (igneous, sedimentary, metamorphic).
    • The riddle must be written in first person.
    • Students must decide what kind of voice they think that rock would have and how they think that rock would move if it came to life.
      • Ask students to think about the pitch (how high or low) and texture (rough, smooth, etc.) of their rock’s voice.
    • Teacher will demonstrate and share an example of a rock riddle: I am smooth to the touch. I am round in size and gray in color. Where you may find me is in the river. What type of rock am I?

Part 2:

  • Each group will perform their riddle for the class in character using their voices and bodies.
  • The class will then try to guess which type of rock is being demonstrated by the words given in the riddles along with any movement that may assist in better understanding.

Part 3:

  • Give students a piece of blank paper.
  • Students should create Word Art to express the type of rock that they wrote the riddle about: Igneous, sedimentary, metamorphic.
    • Students should consider the color and texture of the rock and include this in their lettering.
    • Students should consider the type of chemical/physical change that takes place in order for nature to create the rock.
      • As part of their Word Art, they should illustrate this change in a way that demonstrates the type of new rock that forms. This may look like the letters changing from the beginning of the word to the end of the word.
      • Project Word Art Examples to help students understand the expectations of the artwork.

Closing Reflection

  • Students should create a written reflection explaining the type of rock they chose, how it is formed, how they used their voices and body movements when performing their riddle to describe the rock, and how they used color and texture to demonstrate characteristics of their rock and how it’s formed in their Word Art.

 

Assessments

Formative

  • Teacher observation of students while writing their riddles and creating their rock characters to assess their knowledge of the three different types of rocks

Summative

  • Students’ rock riddles contain accurate information about the attributes of their type of rock.
  • Students’ use their voices and bodies to embody the attributes of their rocks.
  • Students use color and texture to communicate the attributes of their rocks and how they are formed in their Word Art.

 

Differentiation 

Accelerated: 

  • Allow your higher-level learners as well as gifted students an extension research activity. Put these students in pairs. The small groups will be given a mineral. They should identify the attributes of their mineral, where their mineral is found, and what the mineral is used for or its purpose.
    • They can then write a short informational essay using the above information. Then they can create a “Who Am I” riddle for their assigned mineral. They can then teach this new information to other students.
      • Example of a “Who Am I” mineral riddle: I am yellow and soft. I smell really bad. I leave a yellow stain. I am a mineral. Who am I? Answer = sulfur
    • Students can write an informational piece demonstrating their knowledge of the following: the three different types of rocks, their attributes, as well as how each type of rock is created. Informational Writing Rubric

Remedial:

  • Provide these students with photographs/pictures of the three types of rocks so they are able to refer back to the three different types of rocks and are using the correct terminology as much as possible while working on the project. These photographs/pictures could be of the three types of rocks in their natural settings so these learners are able to make better connections.
  • Allow students to orally present their reflection rather than writing it.
  • Format the written reflections as a question and answer.

 

Credits

U.S. Department of Education- STEM + the Art of Integrated Learning

U.S. Department of Education Arts in Education--Model Development and Dissemination Grants Program Cherokee County (GA) School District and ArtsNOW, Inc.

Ideas contributed and edited by: Diane McMullen, Edith Alexander, Liz Pendlington, Jessica Espinoza, Richard Benjamin Ph.D., Michele McClelland, Mary Ellen Johnson, Jane Gill

*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:  June 2025 @ ArtsNOW

 

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