Creating a Compelling Story From Music

CREATING A COMPELLING STORY FROM MUSIC

CREATING A COMPELLING STORY FROM MUSIC

Learning Description

Encourage your students to exercise their imaginations and write with courage and conviction. Using music from a wide variety of cultures, students will develop good listening skills and write from the heart using their own voices. This aural exercise will help students think creatively.

 

Learning Targets

GRADE BAND: K-1
CONTENT FOCUS: MUSIC & ELA
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • Compose an original story inspired by a piece of music.

Essential Questions

  • Essential Question: How can music be used to inspire narrative writing?

 

Georgia Standards

Curriculum Standards

Kindergarten:

ELACCKW3 Use a combination of drawing, dictating, and writing to narrate a single event or several loosely linked events, tell about the events in the order in which they occurred, and provide a reaction to what happened.

 

Grade 1:

ELACC1W3 Write narratives in which they recount two or more appropriately sequenced events, include some details regarding what happened, use temporal words to signal event order, and provide some sense of closure.

Arts Standards

Kindergarten:

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

 

Grade 1:

ESGM1.RE.1 Listen to, analyze, and describe music.

 

South Carolina Standards

Curriculum Standards

Kindergarten:

K.MCC.3.1 Use a combination of drawing, dictating, and writing to narrate a single event or several loosely linked events, to tell about the events in the order in which they occurred, and to provide a reaction to what happened. 

 

Grade 1:

1.MCC.3.1 Explore multiple texts to write narratives that recount two or more sequenced events, include details, use temporal words to signal event order, and provide a sense of closure.

Arts Standards

Anchor Standard 6: I can analyze music.

 

Key Vocabulary

Content Vocabulary

Character - A person, or animal or other entity that has human characteristics, in a story.

Setting - Where and when a story takes place.

Event - A happening, something that occurs in a story.

Detail - A small, interesting part of a larger whole.

Title - The name of a creative work.

Arts Vocabulary

Dynamics - The volume of sound; how loud or soft it is.

Pitch - How high or low a note sounds.

Tempo - The speed at which a musical piece is played; how fast or slow.

Duration - The length of time a sound lasts; how long or short.

Timbre - The quality of a sound (round, brassy, sharp, bright).

Form - The structure or pattern in music; how the sounds are put together.

Rhythm - A pattern of sound which can be repeated to a regular beat.

 

Materials

  • Pencils
  • Crayons
  • Paper
  • Audio recordings
  • Sound source (CD Player, iPod, etc.) - 3-5 selections of instrumental music
  • Photographs and prints (optional)

 

Instructional Design

Opening/Activating Strategy

Warm-Up:  Moving to Music

  • Tell the students they are going to have a chance to move to music.  In order to stay safe, remind them to stay in their own personal space.  Have students stand by their desks or tables, or spread them around the room.  Have them keep their feet in one spot, and then stretch out their arms all around; if their hands or arms touch each other, reposition them, or have them reposition themselves, so that each student has ample personal space.
  • Tell students you are going to play instrumental music – just instruments, no words or singing - and as they listen they can sense how it makes them feel, and then move accordingly.  Remind them they must stay in their assigned places, and move only in their own personal space.
  • Put on a selection of instrumental music, possibly from another culture.
  • Model different ways of moving to the music, describing as you do (e.g, “I am waving my arms slowly,” or “This part makes me want to go up on my toes”) and encourage students to move in their own ways.  Possibly, use observational language to comment on some student choices (e.g., “I see Arianna swaying gently,” “Terrence is shaking his knees very quickly”).
  • After the activity, reflect by asking the students how they felt moving to the music, and why they made some of the movement choices they made.  Ask if the music made them imagine particular kinds of people, animals, places, times of day, weather, landscapes, etc.  Perhaps share some ideas of your own (e.g., “I imagined a teenage girl in a long blue dress.  I imagined a big rock along the seashore.”)

 

Work Session

  • Ask students to describe, in general, what we hear when we hear music, and how pieces of music are different from one another (e.g., some are faster, some have loud drums, some are sad, some have quiet parts).  Lead them to discussion of various elements of music – dynamics, tempo, pitch, duration, melody, etc.  Talk about the extremes in each (loud/soft, fast/slow, etc.)
  • Explain that students will listen to another piece of instrumental music.  This time, they will not move, but should listen for the musical elements, and think about the images these elements create in their minds.
  • Play a different piece of instrumental music, ideally one that contrasts the piece used in the opening activity.  Encourage students to listen with their eyes shut.
  • Tell students that they will be creating/composing original stories in response to the music.  Post and review with the students the following questions:
    • What is the title of my story? 
    • Where does my story take place? 
    • When does my story take place? 
    • Who are the characters? 
  • Give students paper and writing/drawing utensils.  Depending on the teacher’s goals and the students’ skill level, students can write and/or draw to create their stories.
  • Play the music again.  Ask the students to listen carefully again and to write or draw answers to the questions.
  • Repeat the process with two or three more contrasting pieces of instrumental music.  Have students create an idea page for each.
  • Have each student choose their favorite piece of music and compose a story that includes the title, setting, characters, and events inspired by the music.  Encourage them to include details.
  • Have students share their stories in pairs or trios.  Possibly, have volunteers share their stories in front of the entire class.  If they can speak loud enough, possibly play the selection of music softly as they are reading/telling their story.

 

Classroom Tips:

  • A wide range of music is best (e.g. Native American, Scandinavian, African, Asian, Latin American, flute, international jazz, violin, saxophone, harp); avoid using music familiar to or easily identified by students.

Closing Reflection

Ask students:  How did the music inspire story ideas in your mind?  Which elements of the music were most important to you in creating your story?  What did you like about this activity?  What was easy or hard about this activity?

 

Assessments

Formative

  • Students participate actively in the warm-up.
  • Students cite the elements of music in their reflections on their music-listening and story composition.
  • Students use their time efficiently to write or draw ideas for their stories.

 

Summative

Student stories as written or drawn show clear evidence of having characters, settings, events, and titles.

 

Differentiation

Acceleration: 

Add in the concepts of conflict/problem (“a challenge that the main character faces and must resolve”) and/or protagonist and antagonist (“the main character in the story,” and “the character who is opposed to or in conflict with the main character”) as elements that the students must clearly develop in their stories. 

Remediation: 

Work as a full class to develop the first story.  Then develop more stories as a full class, or have students work in small groups. 

Take care to choose musical selections that are not too challenging or jarring.

 ADDITIONAL RESOURCES

  • Putumayo World Music can be accessed at Putumayo.com, or accessed through streaming services like Spotify or Apple Music.
  • Longer loops in GarageBand or similar apps can be useful.
  • A search of “World Music” will bring up links to YouTube videos that feature varieties of multicultural instrumental music.

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

Ideas contributed by:  Janice Akers
Modifications, Extensions, and Adaptations Contributed by: Peggy Barnes, Candy Bennett, Lindsey Elrod, Jennifer Plummer, Vilma Thomas, and Barry Stewart Mann.

 Revised and copyright:  Date updated @ ArtsNOW

Carnival of the Animals K-1

CARNIVAL OF THE ANIMALS

CARNIVAL OF THE ANIMALS

Learning Description

Students will expand knowledge about music vocabulary through exploration of The Carnival of the Animals, composed by Camille Saint-Saëns. Students will be able to use key music terms in discussions with their peers and in persuasive writing.

 

Learning Targets

GRADE BAND: K-1
CONTENT FOCUS: MUSIC & ELA
LESSON DOWNLOADS:

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can use musical vocabulary to describe music I hear.

  • I can use musical vocabulary to share my opinion about music.

Essential Questions

  • How can you write to describe and share your opinion about music you hear?

 

Georgia Standards

Curriculum Standards

Kindergarten:

ELAGSEKW1 Use a combination of drawing, dictating, and writing to compose opinion pieces in which they tell a reader the topic or the name of the book they are “writing” about and state an opinion or preference about the topic or book (e.g., My favorite book is…).

 

Grade 1: 

ELAGSE1W1 Write opinion pieces in which they introduce the topic or the name of the book they are writing about, state an opinion, supply a reason for the opinion, and provide some sense of closure.

 

WIDA English Language Proficiency Standards:

Standard 1: English language learners communicate for Social and Instructional purposes within the school setting. 

Standard 2: English language learners communicate information, ideas, and concepts necessary for academic success in the content area of Language Arts.

 

Arts Standards

Kindergarten:

MKGM.6: Listening to, analyzing, and describing music.

MKGM.10: Moving, alone and with others, to a varied repertoire of music.

 

Grade 1:

M1GM.6: Listening to, analyzing, and describing music.

M1GM.10: Moving, alone and with others, to a varied repertoire of music.

 

 

 

South Carolina Standards

Curriculum Standards

Kindergarten:

Standard 1: Write arguments to support claims with clear reasons and relevant evidence. 

1.1 Use a combination of drawing, dictating, and writing to state the topic and communicate an opinion about it.

 

Grade 1:

Standard 1: Write arguments to support claims with clear reasons and relevant evidence. 

1.1 Explore print and multimedia sources to write opinion pieces that introduce the topic, state an opinion, give a reason for the opinion, and provide a sense of closure.

 

 

Arts Standards

Anchor Standard 6: I can analyze music.

Benchmark GM.R NL.6 I can identify contrasts in music.

Benchmark GM.R NM.6 I can identify the elements of music. 

 

Anchor Standard 7: I can evaluate music.

GM.R NL.7.1 I can listen and respond to music.

 

 

Key Vocabulary

Content Vocabulary

  • Opinion writing - A form of writing in which the author expresses their personal views or opinions on a particular topic or issue; it is characterized by the use of persuasive language and supporting arguments to convey the author's stance

Arts Vocabulary

  • Tone color (Timbre) - The quality of sound; component of a sound that causes different instruments to sound different from each other
  • Pitch - Relative highness or lowness of a tone in relation to other tones
  • Tempo - The speed at which a music piece is performed
  • Dynamics - Volume of sound (loudness, quietness)

Movement - A self-contained part of a musical composition or musical form

 

Materials

    • Recording of The Carnival of the Animals composed by Camille Saint-Saëns
    • Book illustrating The Carnival of the Animals
    • Writing paper
    • Chart paper
    • Marker
    • Large pictures of each animal
    • Pencils
    • Pitched percussion instruments (xylophone, tone bars, etc)

     

     

    Instructional Design

    Opening/Activating Strategy

    • As a group, have students brainstorm animals they might find at a carnival. If needed, project an image of a carnival for students.
    • Discuss what a carnival is and what animals you might see there. 
    • Have students turn and talk to their neighbor to discuss their favorite animal.

     

    Work Session

      • Have a recording preset to use the selections of The Carnival of the Animals you want students to hear. Place the large pictures of the animals on chart paper and hang up for students to see.
      • Have students sit in a circle on the floor.
      • Discuss that music has different qualities, including timbre, pitch, tempo, and dynamics. 
        • For example, small animals such as a bird or frog may make soft, high-pitched, thin or shrill sounds, while larger animals like an alligator may make loud, low-pitched, thick or rumbling sounds.
        • Play two different sounds that demonstrate the difference in high and low pitch (use pitched percussion instruments or recordings of pitched percussion instruments if possible).
        • Discuss the sounds that animals make using these musical terms. Playing audio clips may be helpful. 
      • After the students understand the different types of sound, play the first selection from The Carnival of the Animals.
      • Have students stand under the picture of the animal that they think matches the sounds. 
        • Have students move like the animal would move. 
        • Ask students to explain why they chose the animal that they did.
        • Ask students to describe the music using the terms timbre, pitch, tempo, and dynamics; write the words students say on chart paper.
      • After the animal has been identified, read the passage of the book that matches the animal and discuss qualities of the animal that are illustrated by the music.
      • Repeat this process for the other animals.
      • When all the music has been played, tell students to select their favorite animal from the music and book, The Carnival of the Animals
        • Kindergarten will use a combination of drawing, dictating and writing to convey their opinions. Encourage students to support their opinion with one to two reasons why they chose that animal.
        • First grade will convey their opinions through writing. Students should be sure to provide closure to their writing after they have stated their opinions and at least one reason for their opinions.
        • Students should use at least one musical term (timbre, pitch, tempo, and/or dynamics) in their opinion writing.

       

      Closing Reflection

      Allow students to share their opinions with the class. Establish agreed-upon guidelines for sharing and listening.

      Assessments

      Formative

      Teachers will assess students’ understanding by observing students’ responses during class discussion, students’ identification of the animals in The Carnival of the Animals using musical vocabulary, and students’ discussion of their favorite animals and reasons for their opinions.

       

       

      Summative

      CHECKLIST

      • Students can use musical vocabulary to describe music they hear.
      • Students can use musical vocabulary to share their opinions about music through drawing, dictating, and writing.

       

      Differentiation

      Acceleration: 

      • Students can choose a new animal and create a musical composition to represent its characteristics using musical vocabulary.
      • Once students have picked their favorite animal from The Carnival of Animals, they will conduct research (through internet or book resources) to gather factual information about their animal to include in their opinion writing. Gifted Assessments Students will use mechanics to develop persuasive writing that includes facts and opinions.

      Remediation:

      • ESOL Modifications and Adaptations: ESOL teachers will conduct a mini lesson on opinions and persuasion, allowing students to role play (ex: persuading their parents for an extra cookie or staying up later on a school night).

      • Special Education Modifications and Adaptations: Ask each student to name their favorite animal from the story. Record responses using a tally chart and ask students to identify the animal with the greatest number of votes. Work in small groups or as a whole to list attributes of the animal with the greatest amount of votes. Correlate the attributes to the musical vocabulary and then use the attributes to write or dictate two to three sentences about the animal.

       

      ADDITIONAL RESOURCES

      • Recordings and illustrated books of The Carnival of the Animals are commercially available. One example is Saint-Saens, C. & Turner, B. C. (1998). Carnival of the animals. New York, NY: Henry Holt and Co. 
      • Audio recordings of the various movements are available through streaming online music sites like http:// www.grooveshark.com (search: Carnival of the Animals).
      • Full recording and descriptions of each of the 14 movements: http:// en.wikipedia.org/wiki/
      • The Carnival of the Animals Animal Sound Clips from the U.S. Fish and Wildlife Service: http://www.fws.gov/video/sound.html
      • Ballet company performances of The Carnival of the Animals: http://YouTube.com.

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

      Ideas contributed by: Sandi Evans. Modifications, Extensions, and Adaptations Contributed by: Peggy Barnes, Candy Bennett, Lindsey Elrod, Jennifer Plummer, and Vilma Thomas. Reviewed by Emily Threlkeld. Updated by Maribeth Yoder-White.

      Revised and copyright:  June 2024 @ ArtsNOW

       

      Cause and Effect Commotion 2-3

      CAUSE AND EFFECT COMMOTION

      CAUSE AND EFFECT COMMOTION

      Learning Description

      Instilling a strong understanding of “cause and effect” will increase students’ reading comprehension skills. By acting out “cause and effect” situations, students will deepen the foundation of this important concept.

       

      Learning Targets

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

      Download PDF of this Lesson

      "I Can" Statements

      “I Can…”

      • I can identify the “cause” and “effect” in various scenarios.

      • I can create a sentence to demonstrate my understanding of cause and effect.

      • I can act out a cause and effect relationship.

      Essential Questions

      • How can movement be used to demonstrate our knowledge of cause and effect events?

      • How will understanding cause and effect help in reading comprehension?

       

      Georgia Standards

      Curriculum Standards

      Grade 2:

      ELAGSE2RI3 Describe the connection between a series of historical events, scientific ideas or concepts, or steps in technical procedures in a text.

       

      Grade 3:

      ELAGSE3RI3 Describe the relationship between a series of historical events, scientific ideas or concepts, or steps in technical procedures in a text, using language that pertains to time, sequence, and cause/effect.

       

      ELAGSE3RI8 Describe the logical connection between particular sentences and paragraphs in a text (e.g., comparison, cause/effect, first/second/third in a sequence).

      Arts Standards

      Grade 2:

      TA2.PR.1 Act by communicating and sustaining roles in formal and informal environments

      TA2.CN.1 Explore how theatre connects to life experience, careers, and other content.

       

      Grade 3: 

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

      TA3.CN.1 Explore how theatre connects to life experience, careers, and other content.

       

      South Carolina Standards

      Curriculum Standards

      Grade 2: 

      READING - Informational Text

      Language, Craft, and Structure 

      Standard 8: Interpret and analyze the author’s use of words, phrases, text features, conventions, and structures, and how their relationships shape meaning and tone in print and multimedia texts. 

      8.1 Identify how the author uses words, phrases, illustrations, and photographs to inform, explain, or describe.

       

      Grade 3:

      READING - Informational Text

      Language, Craft, and Structure 

      Standard 8: Interpret and analyze the author’s use of words, phrases, text features, conventions, and structures, and how their relationships shape meaning and tone in print and multimedia texts. 

      8.1 Explain how the author uses words and phrases to inform, explain, or describe.

      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

      • Cause - Why something happens; what happens in a given situation 

       

      • Effect - What happens; the result of what happens in a given situation 

       

      • Cause and effect - A relationship that writers use to show how facts, events, or concepts happen or come into being because of other facts, events or concepts

      • Signal words - Words that are often used in sentences or stories to show cause and effect relationships (because, so and therefore)

      Arts Vocabulary

      • Improvisation - The practice of creating and performing scenes, dialogue, and actions spontaneously, without a script

      • Pantomime - A performance where the story is told through expressive physical movements and gestures

       

      Materials

      • Trash can 
      • Pencil 
      • Balloon
      • Needle
      • Word visuals (cause, effect, because)
      • Masking tape
      • Sentence card visuals

       

      Instructional Design

      Opening/Activating Strategy

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

       

      REAL TIME CAUSE AND EFFECT 

      • Demonstrate the following actions to get students’ attention:
        • Gently kick a trash can. Let it fall to the ground. Ask students, “What just happened? Why did the trash can fall?” (The trash can fell because I kicked it.)
        • Hold a pencil in your hand high in the air. Drop the pencil. Ask students, “What just happened? Why did the pencil fall?” (The pencil fell because I let go of it.)
        • Blow up a balloon. Tie it. Prick it with a needle. Ask students, “What just happened? Why did the balloon blow up?” (The balloon blew up because I breathed air into it.) “What else happened? Why did the balloon pop?” (The balloon popped because I pricked it with a needle.) 
        • Walk around the room and safely trip over a desk and fall to the floor. “What just happened? Why did I fall down?” (I fell down because I tripped over the desk.) 

      Say, “When I tripped, it caused me to fall down. When I dropped the pencil, what did it cause? When I puffed air into the balloon, what did it cause? When I kicked the trash can, what did it cause? Each thing I did caused an effect (or something else) to happen. That’s ‘cause and effect’ and it is all around us all day long!”.

       

      Work Session

      TRAVELING WITH REAL TIME CAUSE AND EFFECT

      • Ask students, “Have any of you ever driven a car? Why can’t you drive a car? (because you don’t have your license) Would you like to?” 
      • Say, “Well, today I am giving each of you a special license to drive your own imaginary car. Sound fun? Okay. Let’s go!”
      • Tell students to imagine a car in front of them. Tell them to open the door to a car. Pause. Ask students, “Why did the door open?” (because we pulled the handle).
      • Say, “Now sit in the driver’s seat of the car and put on your seatbelt. Let me hear you buckle it”.
      • Ask students, “How do we start the car?” Put the key into the ignition, push a button, etc. Tell students, “Turn the key. What happened when we turned the key?” (the car started). “Why did the car start?” (because we turned the key in the ignition).
      • Say, “Okay…let’s drive around for a little bit. Where would you like to go? The movies? Let’s go. Take a right. Oh wow. I just saw that we are low on gas, so we’ll have to stop by the gas station and get some gas first”. 
      • Say, “I see a big red light up there. What does that mean? Stop. Yikes! Let’s all stop. How do we stop? What causes the car to stop?” (putting my foot on the brake). 
      • Say, “Okay, let’s all put our foot on the brake at the same time when I say three. 1, 2, 3”.
      • Say, “Now the light turned green. What does that mean?” (go). All right, let’s put our foot on the gas on the count of 3. 1, 2, 3…Uh oh. Our cars won’t move. Let’s try it again. 1, 2, 3. Now it’s shaking and sputtering and it just stops. Let me see your car shake and sputter. OH NO! What happened? Does anyone know why it won’t move? (because it ran out of gas). Oh well! I guess we better get out and walk to the movie theater.” 
      • Say, “Take your keys, undo your seatbelt, open the door and run to the theater before the movie starts. We need to get some popcorn!”
      • Have students return to their seats.
      • Ask students, “Did we just experience any cause and effect situations? Can you name one? 
      • Tell students that cause and effect is why something happens and the result or effect of what happens. 
        • Ask students to identify a cause in the driving scenario. 
          • Say, “The cause is why something happens. When I can figure out the cause (hold up ‘cause’ visual), then I can figure out the effect (hold up ‘effect’ visual)”. 
          • Tell students, “Always see where you can add the ‘because’ and that will be your clue to what the cause is in the sentence”. 
          • Say, “Let’s think about the car we just drove. Listen to this sentence: ‘I pulled the handle and the door opened’. Now I want you to use the word ‘because’ (hold up ‘because’ visual) to find the cause. You see, every time you insert the word because it leads you to the cause!” 

       

      CAUSE AND EFFECT DANCE

      • Say, “Every time we say the word ‘because’, we are going to spin our hands in front of our bodies. (Note: Stress the word ‘cause’.) Remember, the ‘because’ shows us the ‘cause’.”
      • Say, “Every time we say the ‘effect’, or the result of what is happening, let’s put our open hands and arms high in the air above our heads!”.
      • Tape the visuals “Cause” and “Effect” on the wall about three feet apart from each other.
      • Practice the dance by saying an example sentence with students. 

       

      WORDS IN MOTION

      • Say, “Now let’s try to break this down with some of the actions (causes and effects) we experienced when driving our cars. I’ve put them into sentences to help us.”
      • Ask students, “What was the first thing that we needed to do to get into the car? Okay, let’s start with this sentence.” 
        • Show visual of sentence: “I pulled the handle and the door opened”. 
        • Ask two students to come to the front of the class. Tell them they are each going to get to act out one part of the sentence or activity, either a cause or an effect. 
        • Give the first student “pulling the handle” (cause). Give the second student “opening the door” (effect). 
        • Ask each student to show you his/her activity using a sound, whole body and the space around them. Encourage them to exaggerate and have fun with it. 
        • Read the sentence one more time and then guide the class through finding the cause and effect by prompting with “because”. 
        • Say, “Let’s try to decide which action is the cause and which is the effect.” 
        • Say, “Now let’s see if ‘because’ (do action) can really help us find the cause.
          • Ask students, “Where could we use the word ‘because’ with these words and make it make sense? If we put it in front of ‘the door opened’, would that be right? Because I opened the door, I pulled the handle? Does that make sense? (no). If we put it in front of ‘I pulled the handle’, would that be right? Because I pulled the handle, the door opened. Does that make sense? (yes). 
          • Say, “It looks like we found our cause by using the word ‘because.’ So we figured out that the ‘because’ comes before which action? (pulling the handle). Can you tell me what the cause part of this sentence is? (because I pulled the handle – pulling the handle). 
          • Ask students, “Where should our ‘pulling the handle’ actor stand while he/she does his/her action? (under the word “cause”). 
          • Ask students, “If that is the cause, which action or part of the sentence is the effect? (the door opened). Where should our ‘effect’ actor stand?” (under the word “effect”).
          • Say, “So, let’s see our actors do their actions when I call ‘action’. When I say ‘freeze’, the actors will freeze. Let’s practice that.” 
          • Say “action” and “freeze” several times while the actors respond. 
          • Say, “Now let’s say our sentence two more times while the actors are acting out their actions when it’s their turn in the sentence. This time, let’s add our hand motions when we say the cause and when we say the effect. 
            • Remind students to spin their hands in front of them when the cause is stated (because I pulled the handle) and to put their open hands and arms high in the air above their heads when the effect is stated (the door opened).
      • Divide students into partners. Assign each partner a different cause and effect sentence from the car scenario. Have the partners repeat the same process that the class used to identify the cause and effect of opening the door. 
        • I turned the key in the ignition and the engine started. 
        • The car moved when I pressed the pedal with my foot. 
        • The car stopped when I hit the brake with my foot. 
        • The car turned off when it ran out of gas.
      • Allow time for students to perform their causes and effects for the class. Students should do the hand motions for cause and effect as the sentence is read and the actors act out the sentence. 

      Class Tip: Review audience etiquette and expectations before students perform for their classmates.

       

      Closing Reflection

      • Facilitate a discussion to summarize the lesson.
        • Ask, “What’s a cause? What’s an effect? What word can we use to find the cause in a sentence?” (because). 
      • Ask students to write their own cause and effect sentence that uses “because”. Students should label the cause and the effect in the sentence.
      • Finish the lesson by saying, “Let’s do our hand motions. The next time you have a sentence in front of you and have to figure out the ‘cause and effect’, whisper the word ‘because’ to yourself and try to figure out where it would fit in the sentence. This will alert you to the ‘cause’ which will leave the ‘effect’.”

       

      Assessments

      Formative

      Teachers will assess students’ understanding by observing students’ responses to class discussion and their participation in the cause and effect scenarios.

       

      Summative

      CHECKLIST 

      • Students can demonstrate understanding of cause and effect by identifying the “cause” and “effect” in the scenarios and sentences. 
      • Students can create a sentence to demonstrate understanding of cause and effect.
      • Students can act out a cause and effect relationship.

       

      DIFFERENTIATION 

      Acceleration: Show students multiple comic strips that demonstrate obvious examples of cause and effect. Students will create a four or five picture comic strip to illustrate cause and effect. When completed, they will compose a fluid/flowing dance using the hand motions for cause and effect with additional self-created movements. 

      Remediation: 

      • Use body language when demonstrating each role play for English Language Learners.
      • Act out simple cause and effect relationships with students prior to this lesson.
      • Provide/add picture cards for each cause and effect scenario. 
      • Provide pictures for students to choose from for the “because” sentences.
      • Provide new pictures with cause and effect. Invite students to complete framed sentences (______ because _____) using pictures and/or words. 
      • Act out sentences beginning with both the cause and effect and have students determine which is correct.

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

      Ideas contributed by: Susie Spear Purcell. Modifications, Extensions, and Adaptations Contributed by: Peggy Barnes, Candy Bennett, Lindsey Elrod, Jennifer Plummer, and Vilma Thomas. 

      Revised and copyright:  June 2024 @ ArtsNOW

      Character Choreography

      CHARACTER CHOREOGRAPHY

      CHARACTER CHOREOGRAPHY

      Learning Description

      Working through the choreographic process, students will create a short choreographic work demonstrating the traits of a character and dance elements.

       

      Learning Targets

      GRADE BAND: K-1
      CONTENT FOCUS: DANCE & ELA
      LESSON DOWNLOADS:

      Download PDF of this Lesson

      "I Can" Statements

      “I Can…”

      • I can demonstrate traits of characters in a story through choreography.
      • I can use the elements of dance to express ideas about character traits.
      • I can create a complete dance with a beginning, middle and end.

      Essential Questions

      • How can the elements of dance be used to demonstrate the understanding of a character in a story?
      • How is the choreographic process similar to the writing process?

       

      Georgia Standards

      Curriculum Standards

      Kindergarten:

      ELAGSEKRL3 With prompting and support, identify characters, settings, and major events in a story

      ELAGSEKRL9 With prompting and support, compare and contrast the adventures and experiences of characters in familiar stories.

      ELAGSEKW2 Use a combination of drawing, dictating, and writing to compose informative/explanatory texts in which they name what they are writing about and supply some information about the topic. 

      ELAGSEKW3 Use a combination of drawing, dictating, and writing to narrate a single event or several loosely linked events, tell about the events in the order in which they occurred, and provide a reaction to what happened. 

      ELAGSEKW5 With guidance and support from adults, respond to questions and suggestions from peers and add details to strengthen writing as needed. 

      ELAGSEKW6 With guidance and support from adults, use a variety of tools to produce and publish writing, including digital tools in collaboration with peers.

      Grade 1:

      ELAGSE1RL3 Describe characters, settings, and major events in a story, using key details.

      ELAGSE1RL7 Use illustrations and details in a story to describe its characters, setting, or events. 

      ELAGSE1RL9 Compare and contrast the adventures and experiences of characters in stories. 

      ELAGSE1W2 Write informative/ explanatory texts in which they name a topic, supply some facts about the topic, and provide some sense of closure. 

      ELAGSE1W3 Write narratives in which they recount two or more appropriately sequenced events, include some details regarding what happened, use temporal words to signal event order, and provide some sense of closure

      ELAGSE1W5 With guidance and support from adults, focus on a topic, respond to questions and suggestions from peers, and add details to strengthen writing as needed. a. May include oral or written prewriting (graphic organizers). 

      ELAGSE1W6 With guidance and support from adults, use a variety of tools to produce and publish writing, including digital tools and collaboration with peers.

      Arts Standards

      Kindergarten:

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

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

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

      ESDK.PR.3 Recognize the relationship between human anatomy and movement.

      ESDK.PR.4 Understand and apply music concepts to dance.

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

      ESDK.CN.3 Identify connections between dance and other areas of knowledge

      Grade 1:

      ESD1.CR.1 Demonstrate an understanding of the choreographic process. 

      ESD1.CR.2 Demonstrate an understanding of dance as a form of communication

      ESD1.PR.1 Identify and demonstrate movement elements, skills, and terminology in dance.

      ESD1.PR.4 Understand and apply music concepts to dance.

      ESD2.CN.3 Identify connections between dance and other areas of knowledge.

       

      South Carolina Standards

      Curriculum Standards

      Kindergarten:

      K.RL.MC.8.1 With guidance and support, read or listen closely to: describe characters and their actions;

      K.W.MCC.3.1 Use a combination of drawing, dictating, and writing to narrate a single event or several loosely linked events, to tell about the events in the order in which they occurred, and to provide a reaction to what happened. 

      K.C.MC.1.4 Participate in conversations with varied partners about focused grade level topics and texts in small and large groups.

      Grade 1:

      1.RL.MC.8.1 Read or listen closely to: a. describe characters’ actions and feelings; 

      1.W.MCC.3.2 Plan, revise, and edit building on personal ideas and the ideas of others to strengthen writing. 

      1.C.MC.3.1 Explore and compare how ideas and topics are depicted in a variety of media and formats.

      Arts Standards

      Anchor Standard 1: I can use movement exploration to discover and create artistic ideas and works.

      Anchor Standard 2: I can choreograph a dance.

      Anchor Standard 3: I can perform movements using the dance elements.

      Anchor Standard 5: I can describe, analyze, and evaluate a dance.

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

       

      Key Vocabulary

      Content Vocabulary

      Beginning - The starting point of a story, including the introduction of who, where, what, why, and when.

      Middle - The phase in which a story line develops, introducing conflict. 

      End - The ultimate resolution or conclusion to conflict signaling that a story is stopping.

      Transition - A word or phrase that connects two ideas.

      Writing process - A cycle of activities, including brainstorming, drafting, revising, editing, and presentation, that are used to turn ideas into a literary work.

      Emotion - A mental state that occurs depending on circumstances, mood, or relationships with others.

      Arts Vocabulary

      Level - The height of a movement in relationship to the floor (i.e., high, middle, low).

      Locomotor - Movement that travels from one location to another in a pathway through space.

      Non Locomotor - Movement that occurs without the body traveling from one point to another point.

      Tempo - The speed of the beats of the movements that dancers perform.

      Energy Qualities - A group of actors frozen to create a picture.

      • Swinging - Oscillatory (not swing dance, a genre of dance)
      • Sustained - Smooth, continuous, even, without pause or stopping and possibly with a long duration
      • Percussive - Short, sharp, sudden, forceful
      • Vibratory - Repeating and often small and short
      • Suspended - Holding, as in pausing, at a certain point of a movement

      Beginning/Middle/End - The phases of a choreography in which movement is used to communicate a starting point (beginning), the development of ideas, including complexity and conflict as necessary (middle), and a tying up or completion of ideas (end).

      Choreographic Process - The steps taken to create movement sequences for dancers, which include testing, revising, and editing work.

       

      Materials

      • A variety of music selections
      • Music source and speakers

       

      Instructional Design

      Opening/Activating Strategy

      Letter Statues

        • In groups, have students select and practice one movement of their choice.
        • Guide students through exploring that movement with different elements of dance.
          • Practice the movement at different levels.
          • Practice the movement with different tempos.
          • Practice the movement in a locomotor and non-locomotor way.
          • Practice the movement using different energy qualities.
            • swinging
            • sustained
            • percussive
            • vibratory
            • suspended

       

      Work Session

      PART 1 - Explore Movement

      • Have students name a literary character to portray.
      • Instruct students to create a movement to represent something important about that character, which could be an action, emotion, or personality trait of the character.
      • Ask students to demonstrate their movement to the class.
      • Ask classmates to identify the artistic intent conveyed by the group; the presenting group identifies the correct peer answer or explains their artistic intent.

      PART 2 - Add new movements to set an order

      • Have students create two more movements to communicate two more important things about their character. There will be three total movements, including the initial movement (part 1) and these two movements. These three movements can be referred to as the beginning, middle and end of the choreography.
      • Ask students to try their movements in different orders and then decide on the sequence that they feel best tells the audience about their character.

      PART 3 - Choreograph and revise

      • Lead students through the choreographic process to revise and edit their choreography. Just as with the writing process, the intent of leading students through the process is to add “details” to make the choreography more exciting or interesting.
      • Ask students to add levels to their choreography.  Remind them to think of their character and where and why they would use different levels.  
      • Ask students to add tempos to their choreography.  Would their character move fast or slow?  When or why might that character's tempos vary?
      • Ask students to add energy qualities to their choreography. For example, if the character is excited a vibratory energy quality might be used. If the character is angry a percussive energy quality might be used.
      • Give students time to practice the revised version of their choreography.

      PART 4 - Choreograph and revise

      • Once students have revised and edited their choreography, ask them to present their character choreography to the class. Option to choose music for each dance.

       

      Closing Reflection

      Ask students to reflect on how their dance evolved through the choreographic process.  How did adding level, tempo, and energy qualities make the choreography more interesting? 

      Discuss the similarities of the choreographic process to the writing process.

       

      Assessments

      Formative

      Visually observe the students' choreography evolving as they work through the choreographic process.

      • Teacher observes students adding the elements of dance to their choreography as queued: levels, tempo, energy qualities.
      • Teacher observes students using vocabulary of the elements of dance as they work.

       

      Summative

      CHARACTER CHOREOGRAPHY CHECKLIST

      • The choreography contains a clear beginning, middle, end.
      • The choreography contains levels.
      • The choreography contains varying tempos.
      • The choreography effectively uses dance to communicate ideas about the chosen character.

       

      Differentiation

      Acceleration: 

      • Have students work in partners to evolve work for a single person into a duet showing how two characters would relate to one another.
      • Compare and contrast two-character choreography works.

      Remediation: 

      Work through the process as a large group working on one character.

      Additional Resources

      While part of the standards discussion but not standards themselves, the statements below reflect the connection between the choreographic process and the writing process and are interesting to consider while implementing this lesson.

      Fundamentals of Writing  

      Employ a recursive writing process that includes planning, drafting, revising, editing, rewriting, publishing, and reflecting.  

      Interact and collaborate with peers and adults to develop and strengthen writing.  

      Produce writing in which the development, organization, and style are appropriate to task, purpose, discipline, and audience. 

      Fundamentals of Communication  

      Employ a reciprocal communication process that includes planning, drafting, revising, editing, reviewing, presenting, and reflecting.  

      Communicate using style, language, and nonverbal cues appropriate to task, purpose, and audience.  

      Use active and attentive communication skills, building on other’s ideas to explore, learn, enjoy, argue, and exchange information.  

      Monitor delivery and reception throughout the communication process and adjust approach and strategies as needed.

       

       

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

       Ideas contributed by:  Melissa Dittmar-Joy

      Revised and copyright: August 2022 @ ArtsNOW

      Creating a Role Drama to Analyze Characters in a Text

      CREATING ROLE DRAMA TO ANALYZE CHARACTERS IN A TEXT

      CREATING ROLE DRAMA TO ANALYZE CHARACTERS IN A TEXT

      Learning Description

      Students will use drama to analyze characters in the text A Bad Case of Stripes, by David Shannon. Students will examine the internal and external traits of the main character, and then take on roles of characters in the story and engage in a role drama presenting possible solutions for the central problem of the story. Students will then independently write their own endings to the story, and those will be shared and discussed.  

       

      Learning Targets

      GRADE BAND: 2
      CONTENT FOCUS: THEATRE & ELA
      LESSON DOWNLOADS:

      Download PDF of this Lesson

      "I Can" Statements

      “I Can…”

      • I can identify adjectives to describe a character
      • I can become a character and suggest a solution to a problem in a story

      Essential Questions

      • How can drama be used to analyze the characters in a text and how their actions contribute to the sequence of events?

       

      Georgia Standards

      Curriculum Standards

      Grade 2:ELAGSE2RL3: Describe how characters in a story respond to major events and challenges. 

      ELAGSE2RL5: Describe the overall structure of a story, including describing how the beginning introduces the story and the ending concludes the action. 

      ELAGSE2RL6: Acknowledge differences in the points of view of characters, including by speaking in a different voice for each character when reading dialogue aloud.

      Arts Standards

      Grade 2: TAES2.3: Acting by developing, communicating, and sustaining roles within a variety of situations and environments.

       

      South Carolina Standards

      Curriculum Standards

      Grade 2:2.RI.5: Determine meaning and develop logical interpretations by making predictions, inferring, drawing conclusions, analyzing,synthesizing, providing evidence, and investigating multiple interpretations.

      2.RL.8: Analyze characters, settings, events, and ideas as they develop and interact within a particular context.

      Arts Standards

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

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

       

      Key Vocabulary

      Content Vocabulary

      • Character – A person, or an animal or object that has human qualities, in a story.
      • Problem – The difficult or challenging situation in a story.
      • Solution – A way to fix or solve a problem.

      Arts Vocabulary

      • Statue – An actor in a frozen pose.
      • Storytelling - Conveying events in words and images, often by improvisation or embellishment.
      • Character - A personality or role an actor/actress recreates.
      • Facial Expression - Use of the facial muscles to convey emotion and communicate the feelings and thoughts of the characters to the audience.

       

      Materials

      • Anchor Chart Paper 
      • Markers 
      • Lined notebook paper 
      • Pencils
      • A Bad Case of Stripes, by David Shannon

       

      Instructional Design

      Opening/Activating Strategy

      Warm-Up: Character Statues 

      • Have students spread out in the space  
      • Instruct students to freeze when the signal (tap of drum, clap of hands, or ‘Freeze”) is given, and to unfreeze on a corresponding signal (two taps, two claps, or “Unfreeze” or “Relax”) 
      • Give character prompts for students to create a Statues (E.g.,  “A happy clown juggling” “A baseball player catching a fly ball”, “An angry principal”, “A movie star signing autographs”, “Abraham Lincoln making a speech,” “Cinderella trying on the slipper”).

       

      Work Session

      Main Activity Scaffolding 

      • Explain that the lesson will explore the characters and problem in A Bad Case of Stripes, by David Shannon, through several drama strategies.
      • Read the book to “’No, thank you,’ sighed Camilla.  What she really wanted was a nice plate of lima beans, but she had been laughed at enough for one day.”
      • “Role on the Wall” Strategy”: On anchor chart paper, draw an outline of a human figure. Have students suggest adjectives to describe the main character’s internal feelings and characteristics.  Write, or have student volunteers write, those words and phrases inside the outline.  Have students suggest adjectives used to describe the character’s external appearance.  Write, or have student volunteers write those words and phrases outside the outline.
      • Lead the students in enacting Camilla talking about her internal feelings and external appearance.  Have the students repeat, in a Camilla voice, “When people look at me, they see someone who is ----, -----, and ------; but inside, I’m actually very --------, ---------, and ---------.”
      • Read the book to “’What are we going to do?’ cried Mrs. Cream.  ‘It just keeps getting worse and worse!’  She began to sob.” 
      • Have students choose someone in Camilla’s life.  It can be a character mentioned in the story (e.g., Dr. Bumble, Mr. Harms, Dr. Grop, Dr. Sponge, Dr. Cricket, Dr. Young, Dr. Gourd, Dr. Mellon, psychologist, allergist, herbalist, nutritionist, psychic, medicine man, guru, veterinarian, the environmental therapist), a character depicted in the illustrations (classmate, reporter, police officer, tattoo artist, onlooker), or some other character who would likely be in Camilla’s life (cousin, grandparent, neighbor, teacher, etc.).  It should not be Mr. or Mrs. Cream
      • Ask students to sit at their desk and “quick write” in the role of the character they are developing.  Provide several prompts: name, age, relationship to Camilla, 2-3 character traits (e.g., bossy, smart, shy, grumpy, nervous, fun-loving, etc.) 
      • Have students explore the space walking like their character and interacting with others as their character.
      • Have students sit down at desks or in a circle.  
      • Announce that there is going to be a town meeting to help Camilla.
      • Assume the role of Camilla's mother or father, express despair at Camilla’s condition, and ask for advice and guidance from the various people in Camilla’s life about what to do.  (Be prepared with ideas, in case students do not bring many forth, e.g., send Camilla away, give her a 24-hour bath, set her out in the sun, don’t let anyone talk to her, etc.).  Have students make their suggestions in character.  Discuss what might happen with each idea, and discuss the pros and cons.  Thank everyone for their suggestions and conclude the role play.
      • Have students return to their seats and write their new endings to the story, choosing one of the suggestions from the town meeting, and describing how it would play out.
      • Conclude the reading of the story.

       

      Closing Reflection

      • Have students pair share, and have volunteers share out as a class.  Discuss how the new endings compare and contrast with the actual ending of the story.
      • Discuss Camilla’s transformation from the beginning to the end of the story.

       

      Assessments

      Formative

      • Students use their bodies expressively to convey the character statues.
      • Students provide a wide array of interesting and appropriate adjectives for the “Role on a Wall.”
      • Students assume characters and respond appropriately within the Role Drama.

       

      Summative

      Students’ story endings reflect the ideas shared in the Role Drama and bring the story to a logical conclusion accordingly.

       

      Differentiation

      Acceleration:

      • Have students further revise, illustrate and publish their new ending.
      • Have students get in small groups and dramatize one of their new endings.

       

      Remediation

      • Model a character from the story suggesting a solution to the problem, and discuss how that might play out in a new ending to the story.
      • Give students a limited list of characters to  enact (perhaps: friend, cousin, teacher, grandparent, police officer).

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

      Ideas contributed by: Jessica Rosa and updated by Barry Stewart Mann.

      Revised and copyright:  August 2022 @ ArtsNOW