All In A Row, Adding In A Row 1

ALL IN A ROW

Addition Tableau

ALL IN A ROW: ADDITION TABLEAU

Learning Description

Students will represent numbers with their bodies. They will work together to form addition sentence tableaux in order to visualize how 1-, 2-, and 3-digit addition works.

 

Learning Targets

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

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can play a role in an addition tableau.

Essential Questions

  • How can the arts help to clarify mathematics concepts?

 

Georgia Standards

Curriculum Standards

Grade 1:

MCC1.OA.6 Add and subtract within 20, demonstrating fluency for addition and subtraction within 10. Use strategies such as counting on; making ten (e.g., 8 + 6 = 8 + 2 + 4 = 10 + 4 = 14); decomposing a number leading to a ten (e.g., 13 – 4 = 13 – 3 – 1 = 10 – 1 = 9); using the relationship between addition and subtraction (e.g., knowing that 8 + 4 = 12, one knows 12 – 8 = 4); and creating equivalent but easier or known sums (e.g., adding 6 + 7 by creating the known equivalent 6 + 6 + 1 = 12 + 1 = 13).

Arts Standards

Grade 1:

TAES1.3 Acting by developing, communicating, and sustaining roles within a variety of situations and environments.

 

South Carolina Standards

Curriculum Standards

Grade 1:

1.NSBT.1.c. Read, write and represent numbers to 100 using concrete models, standard form, and equations in expanded form1.NSBT.4 Add through 99 using concrete models, drawings, and strategies based on place value to: a. add a two-digit number and a one-digit number, understanding that sometimes it is necessary to compose a ten (regroup)

Arts Standards

Grade 1:

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

 

Key Vocabulary

Content Vocabulary

Place Value - The value of where the digit is in the number, such as units, tens, hundreds, etc.

Arts Vocabulary

Statue (Statues) - An actor frozen in a pose.

Tableau (Tableaux) - A group of actors frozen to create a picture.

 

Materials

Plus (+) and equal (=) sign placards that can stand on the floor (one possibility – written with marker on an inverted file folder - or part thereof – and capable of standing like a tent).

 

Instructional Design

Opening/Activating Strategy

Letter Statues
Introduce or review what a statue is – an actor in a frozen pose. Explain that the students will make letter statues with their bodies. Call out one letter at a time and have them make the letters. Use a drum, another percussion instrument, or clapping to cue the statues. Encourage students to be creative, using full body, limbs, fingers, etc., and exploring the possibilities of standing, kneeling, sitting, lying down, etc., as appropriate for the classroom space. Use observational language to comment on the different ways in which students use their bodies to create the statues.

 

Work Session

Number Statues

  • Repeat the process with numbers (single digits). After exploring multiple possibilities, inform students that they will focus on making number statues that use their whole bodies, and for which they will remain standing. Practice standing number statues.
  • Ask students how they would make a statue of a number up to 100. Elicit from them, or guide them to, the idea of working in pairs or trios.
  • Introduce or review what a tableau is – a group of actors frozen in a picture. Explain that tableaux often create pictures with characters and settings, but the tableaux today will be of numbers and number sentences.
  • Invite two, and then three, volunteers to model creating a tableaux up to 100. Ask students what each digit in a multiple-digit number represents. Introduce or review the concept of place value. Ensure that students understand that the digit to the left represents a higher place value than the digit to the right, and identify the units: ones, tens, and hundreds places.
  • Have students work in pairs to create a 2-digit number tableau (full-body, standing). Have them work together to say the name of the number together out loud. After creating a number, have them switch positions and say the name of the number with the digits switched. Move among the pairs to confirm that they are expressing each number correctly.
  • If students have grasped the 2-digit numbers and are ready for 3-digit numbers, have them repeat the process in trios. Each trio can explore all the possibilities with their three digits (if the digits are all different, e.g., 1, 2, and 3, there will be six permutations: 123, 132, 213, 231, 312, 321.)
  • Introduce the idea of moving from number tableaux to addition sentence tableaux.
  • Invite three students to model a simple addition sentence tableau, e.g., 3 + 4 = 7. Have the students assume their positions, and then have them speak the sentence together. (Note: this is an opportunity, if relevant, to introduce or reinforce the Commutative Property of addition by having the addends switch places.)
  • Provide plus and equal sign tent cards and have students work in trios to create addition sentence tableaux.
  • Use the same process, first modeling and then having the students work in small groups, to move into more complex addition sentences: adding two 1-digit numbers that result in a 2-digit sum (e.g., 5 + 7 = 12), adding a 1- and a 2- digit number together, without and then with sums that require making a new ten (e.g., 31 + 7 = 38, and then 29 + 3 = 32), and then adding two 2-digit numbers, without and then with sums that require carrying to the tens and hundreds places (e.g., 45 + 12 = 57, then 24 + 19 = 43, then 74 + 38 = 112).

Teaching Tips:

  • As appropriate to the class, use established addition strategies (counting on, making ten, etc.) to calculate sums, and advance only as far in the sequence of complexity as the class can manage.
  • This may be a lesson that is done over time. The first step may best be suited for when single digit addition is taught, then adding 2-digit addition as the concept is taught, and so on.

 

Closing Reflection

Ask students: How did you use your bodies to create letter and number statues and addition sentence tableaux? Which were more challenging, letter statues or number statues? How do we determine the name and value of a 2- or 3-digit number? How did you determine your place or role in the number sentence?

 

Assessments

Formative

  • Students should be able to calculate answers to the mathematical problems.
  • Students should accurately represent the numbers with their bodies.

 

Summative

Assign various addition problems to the students at the level reflected in the lesson, and gauge their ability to visualize and complete the problems.

 

Differentiation

Acceleration: Acceleration and remediation are built into the lesson in terms of how far into the sequence of complexity the lesson goes, and how much students are asked to create and calculate the numbers and addition sentences on their own. For acceleration, there should be greater complexity and more independent (unguided, in pairs, trios, quads, and more) work.

Remediation: Acceleration and remediation are built into the lesson in terms of how far into the sequence of complexity the lesson goes, and how much students are asked to create and calculate the numbers and addition sentences on their own. For remediation, there should be less complexity, more modeling, and more full-class, guided work.

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

Ideas contributed by: Mary Gagliardi and updated by Barry Stewart Mann

Revised and copyright: August 2022 @ 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

      Counting with Cups K-1

      COUNTING WITH CUPS

      COUNTING WITH CUPS

      Learning Description

      Help students recognize and cultivate creative and critical thinking using various activities that connect math and music! Consider valuable curriculum connections that assist in the development of problem solving skills through fun and engaging learning experiences.

       

      Learning Targets

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

      Download PDF of this Lesson

      "I Can" Statements

      “I Can…”

      • I can identify, speak, and move to a steady beat.
      • I can demonstrate my understanding of counting, patterns, and addition through music.
      • I can compose music.
      • I can explain how I used math to create my musical composition.

      Essential Questions

      • How can connecting math and music aid students in their problem solving abilities and cultivate creative and critical thinking?

       

      Georgia Standards

      Curriculum Standards

      Kindergarten:

      K.NR.5.1 Compose (put together) and decompose (break apart) numbers up to 10 using objects and drawings.

      K.NR.5.2 Represent addition and subtraction within 10 from a given authentic situation using a variety of representations and strategies.

      K.NR.5.3 Use a variety of strategies to solve addition and subtraction problems within 10.

      K.PAR.6.1 Create, extend, and describe repeating patterns with numbers and shapes, and explain the rationale for the pattern.

       

      Grade 1: 

      1.NR.2.1 Use a variety of strategies to solve addition and subtraction problems within 20.

      1.PAR.3.1 Investigate, create, and make predictions about repeating patterns with a core of up to 3 elements resulting from repeating an operation, as a series of shapes, or a number string.

      Arts Standards

      Kindergarten:

      ESGMK.CR.1 Improvise melodies, variations, and accompaniments.

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

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

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

      ESGMK.RE.2 Evaluate music and music performances.

      ESGMK.CN.1 Connect music to the other fine arts and disciplines outside the arts.

       

      Grade 1:

      ESGM1.CR.1 Improvise melodies, variations, and accompaniments.

      ESGM1.CR.2 Compose and arrange music within specified guidelines.

      ESGM1.PR.2 Perform a varied repertoire of music on instruments, alone and with others.

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

      ESGM1.RE.2 Evaluate music and music performances.

      ESGM1.CN.1 Connect music to the other fine arts and disciplines outside the arts.

       

      South Carolina Standards

      Curriculum Standards

      Kindergarten:

      K.NS.1 Count forward by ones and tens to 100.

      K.ATO.3 Compose and decompose numbers up to 10 using objects, drawings, and equations.

      K.ATO.6 Describe simple repeating patterns using AB, AAB, ABB, and ABC type patterns.

       

      Grade 1: 

      1.ATO.2 Solve real-world/story problems that include three whole number addends whose sum is less than or equal to 20.

      1.ATO.5 Recognize how counting relates to addition and subtraction.

      1.ATO.9 Create, extend and explain using pictures and words for: a. repeating patterns (e.g., AB, AAB, ABB, and ABC type patterns); b. growing patterns (between 2 and 4 terms/figures).

      Arts Standards

      Anchor Standard 1: I can arrange and compose music.

      Anchor Standard 2: I can improvise music.

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

      Anchor Standard 6: I can analyze music.

      Anchor Standard 7: I can evaluate music.

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

       

      Key Vocabulary

      Content Vocabulary

      • Pattern - A repeated sequence that can be found in various contexts, such as art, mathematics, nature, etc; it involves a sequence of elements (like shapes, colors, numbers, or sounds) that follow a particular order or rule
      • Addition - A basic mathematical operation that involves combining two or more numbers to get a total or sum

      Arts Vocabulary

      • Body percussion - Sounds produced by striking or scraping parts of the body; typically includes snapping, clapping, patting, and stamping
      • Steady beat - An unchanging continuous pulse
      • Timbre - The unique quality of a sound; also known as tone color or tone quality
      • Dynamics - Volume of sound (loudness, quietness)
      • Found sound - Sounds produced by non-traditional sound sources in the environment (e.g., scraping a ruler along a binder spine, tapping a pencil on a desk)
      • Phrase - A musical sentence
      • Retrograde - A musical line which is the reverse of a previously or simultaneously stated line
      • Rondo - A form of composition in which the first section recurs throughout the piece, alternating with different sections (e.g., A-B-A-B-A or A-B-A-C-A, etc.). This form is found especially in compositions of the Baroque and Classical eras.
      • Tempo - The speed of the beat

       

      Materials

      • Variety of unpitched percussion instruments (can be “found sound”, such as, scraping a ruler along a binder spine, tapping a pencil on a desk)
      • Plastic cups in various colors and sizes
      • Rhythm sticks or dowel rods
      • Sound source (e.g., computer and speaker)
      • Musical recordings
      • Large pads and markers
      • Paper and writing utensils (pencils, markers, crayons, etc.)
      • Note cards with mathematical equations

       

      Instructional Design

      Opening/Activating Strategy

      Classroom Tips - You may find it helpful to discuss proper use of, and care for, instruments prior to use. Discuss “resting” position, meaning no sound at all from instruments. Also discuss moving through “space” without touching anything else around. Pretend you are in a bubble and cannot touch anything or anyone in your surroundings.

       

      • Turn on music with a steady beat that is easy for students to follow (or, simply play a steady beat without accompanying music).
      • Students stand in the space (no formation).
      • Leader claps (or plays) the beat while students walk to the pulse.
      • Leader plays four beats (while students move); then students stop and clap four beats (same tempo as leader).
      • Continue the game, moving around the room freely.
      • Have students stop in front of someone and clap their partner’s hands for the second set of four claps.
      • Thus, the sequence becomes:
        • Move to leader’s beat (set 1 = 4 beats)
        • Stop and clap beat alone (set 2 = 4 beats)
        • Move to the leader's beat (set 3 = 4 beats)
          • Stop and clap your partner's hands (set 4 = 4 beats).
      • Have students move to a new partner each time.
      • Extend the sequence by adding additional movements and/or body percussion for subsequent sets of four beats (e.g., move to leader’s beat; clap beat alone; move to leader’s beat; clap partner’s hands; move to leader’s beat; pat beat; etc.).

       

      Work Session

      Wake-up and Warm-up  

      • Tell students that they will continue the activator, but now, they will turn it into a mathematical equation!
        • Example: 4+4=8
      • Experiment with different tempos and different numbers of beats (i.e., slower tempo, use body percussion or instruments to show 3+3=6).
      • Introduce a variety of rhythm instruments if available (rhythm sticks, drum, wood block, triangle, tambourine). Otherwise, use objects around the classroom, such as scraping a ruler along a binder spine, tapping a pencil on a desk.
      • Take time to discuss the various shapes of each instrument (compare and contrast both shapes and sounds—timbre).
      • Use students to demonstrate to group various equations that can be solved.
      • Teacher will have two students play 5+5=10.
      • Arrange students in pairs and pass out equations. Then have students “play” equations and have partners solve the equations.
        • For example if a notecard shows 4+4=8, one student would play 4 beats with one instrument or body percussion (such as clapping) and the other student would have to solve by saying “you demonstrated 4+4=8”.
        • Then switch roles.
        • Then challenge the students to just play the answer (for example, 8). The other student must find a way to “play” 8, such as 2+2+2+2.

       

      Question and Answer

      • The format of this strategy will have the question being asked on the first eight beats and the answer on the second eight beats); reverse. Display visuals of numbers.
        1 2 3 4 5 6 7 8
        1 2 3 4 5 6 7 -
        • Have students speak numbers in a given tempo.
        • Have students clap once on each number while speaking; repeat, eliminating speech.
      • Divide the class into two groups.
      • Have students clap twice on one number of their choice; extend to clapping twice on two numbers.
      • Now, incorporate questions and answers. Leader provides a question via clapping the first eight beats; students use part of the question in their answer in the second eight beats (e.g., “use the first part of my question as the first part of your answer”).
        • Extend to other body percussion, found sound, and/or unpitched percussion.
      • Try the strategy using pairs instead of two groups. Divide students into pairs, with one person providing the question and another, the answer; reverse.
      • Incorporate movement; add to a recording if desired (for example, “Hora Agadati” or “Jai Ho”).
        • Have students walk eight beats and then “answer” using body percussion for the next eight beats.
      • Tell students that a phrase in music is a musical sentence. Ask mathematical questions such as, if each phase is eight beats and we have two phases, how many total beats?
      • Extend to ask questions about the patterns.
        • If we walk the first phase, use body percussion the next phrase and then walk the next phrases, that could be called A B A pattern.
      • Have students work in pairs to create a “composition” using rhythm instruments that has four phrases (each phrase must have four beats).
      • Have them label the phrases with capital letters to show the pattern and then show equations for “how they play” each phrase (as demonstrated in the previous activity).

       

      Composing with Cups

      • Display different colored cups and have students reach consensus about desired sound for each (e.g., blue – quarter note, yellow – eighth notes, clear – quarter rest).
      • Introduce silently, having students use creative and critical thinking to figure out the values (number of sounds for each cup) independently first.
      • Teacher should lead this activity in silence, changing cups (number of sounds) and even length of phrase prior to any discussion.
      • Pause and discuss what students observed about the values of each cup.
      • Next, have individual students create rhythmic patterns for others to perform using the different colored cups.
      • Have students “conduct” their patterns by leading other students in performing them.
      • Variations:
        • Experiment with performing multiple patterns at the same time (having two groups perform simultaneously), reading in retrograde (reverse order), adding dynamics (loud/soft), etc.
        • Add to a recording as desired (such as Sousa’s “Stars and Stripes Together”).
        • Have one group stand behind another group. Have the group standing behind the other group perform a pattern. The group in front will try to recreate it. This can also be done with the two groups facing each other if needed.
      • Finally, have students work in small groups or with a partner to create their own composition with cups. Students should be able to explain mathematical concepts embedded in their composition, such as addition and patterns.

       

      Closing Reflection

      • Students will perform their compositions for the group. Discuss appropriate audience participation prior to performances.
      • Ask the audience to help identify mathematical connections.

       

      Assessments

      Formative

      Teachers will assess students’ understanding of the content throughout the lesson by observing students’ participation in the activator, ability to “play mathematical equations”, ability to move and speak to a steady beat, and collaboration with groups to compose a musical piece.

       

      Summative

      CHECKLIST

      • Students can identify, speak, and move to a steady beat.
      • Students can demonstrate understanding of mathematical concepts, such as patterns and addition, through music.
      • Students can compose music.
      • Students can explain how they used math to create their musical compositions.

       

      DIFFERENTIATION 

      Acceleration: 

      • Challenge students to add dynamics to and/or change the tempo of their performances and discuss how these changes alter the music.

      Remediation: 

      • Scaffold the lesson by composing together as a class and discussing how pattern and addition were used.
      • Reduce the length of the composition students create at the end of the lesson to one phrase of four beats.

      *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: Pamela Walker and Maribeth Yoder-White.

      Revised and copyright: September 2024 @ ArtsNOW