Cultural Characters 4-5

CULTURAL CHARACTERS

CULTURAL CHARACTERS

Learning Description

This lesson invites students to derive inspiration from photographs (portraits and people, natural disasters, geographical landmarks and images depicting governmental strife, etc.) based around a country or region of the world. These images serve as inspiration to write monologues and create improvisational scenes engaging students in narrative writing in a new way!

 

Learning Targets

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

Download PDF of this Lesson

"I Can" Statements

“I Can…”

  • I can write a monologue using photography as inspiration.
  • I can improvise a scene with a partner using photography as inspiration.
  • I can write a well-structured and detailed narrative using theatre techniques as inspiration.

Essential Questions

  • How can photography inspire narrative writing?
  • How can theatre techniques be used to inspire narrative writing?

 

Georgia Standards

Curriculum Standards

Grade 4:

ELAGSE4W3 Write narratives to develop real or imagined experiences or events using effective technique, descriptive details, and clear event sequences. 

  1. Orient the reader by establishing a situation and introducing a narrator and/or characters; organize an event sequence that unfolds naturally. b. Use dialogue and description to develop experiences and events or show the responses of characters to situations. c. Use a variety of transitional words and phrases to manage the sequence of events. d. Use concrete words and phrases and sensory details to convey experiences and events precisely. e. Provide a conclusion that follows from the narrated experiences or events.

 

Grade 5: 

ELAGSE5W3 Write narratives to develop real or imagined experiences or events using effective technique, descriptive details, and clear event sequences. a. Orient the reader by establishing a situation and introducing a narrator and/or characters; organize an event sequence that unfolds naturally. b. Use narrative techniques, such as dialogue, description, and pacing, to develop experiences and events or show the responses of characters to situations. c. Use a variety of transitional words, phrases, and clauses to manage the sequence of events. d. Use concrete words and phrases and sensory details to convey experiences and events precisely. e. Provide a conclusion that follows from the narrated experiences or events.

Arts Standards

Grade 4: 

TA4.CR.1 Organize, design, and refine theatrical work.

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

 

Grade 5: 

TA5.CR.1 Organize, design, and refine theatrical work.

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

 

South Carolina Standards

Curriculum Standards

Grade 4:

WRITING - Meaning, Context, and Craft

Standard 3: Write narratives to develop real or imagined experiences or events using effective techniques, well-chosen details, and well structured event sequences.

3.1 Gather ideas from texts, multimedia, and personal experience to write narratives that: a. develop real or imagined experiences or events using effective technique, descriptive details, and clear event sequences; b. orient the reader by establishing a situation and introducing a narrator and/or characters; c. organize an event sequence that unfolds naturally; d. use dialogue and description to develop experiences and events or show the responses of characters to situations; e. develop and strengthen writing as needed by planning, revising, and editing building on personal ideas and the ideas of others; f. use a variety of transitional words and phrases to manage the sequence of events; g. use imagery, precise words, and sensory details to develop characters and convey experiences and events precisely; and h. provide a conclusion that follows from the narrated experiences or events. 

 

Grade 5:

WRITING - Meaning, Context, and Craft

Standard 3: Write narratives to develop real or imagined experiences or events using effective techniques, well-chosen details, and well structured event sequences.

3.1 Gather ideas from texts, multimedia, and personal experience to write narratives that: a. develop real or imagined experiences or events using effective technique, descriptive details, and clear event sequences; b. orient the reader by establishing a situation and introducing a narrator and/or characters; c. organize an event sequence that unfolds naturally; d. use dialogue, pacing, and manipulation of time to develop experiences and events or show the responses of characters to situations; e. develop and strengthen writing as needed by planning, revising, and editing building on personal ideas and the ideas of others; f. use a variety of transitional words, phrases, and clauses to manage the sequence of events; g. use imagery, precise words, and sensory details to develop characters and convey experiences and events precisely; and h. provide a conclusion that follows from the narrated experiences or events.

Arts Standards

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

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

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

 

Key Vocabulary

Content Vocabulary

  • Narrative writing - A form of writing that tells a story or recounts events, whether real or fictional
  • Character - A person, animal, or even an inanimate object with human-like qualities, who participates in the events of the story
  • Conflict - The struggle between opposing forces and creates tension and suspense, making the story engaging and compelling
  • Resolution - The part of the story where the main conflict is resolved and the narrative comes to a conclusion
  • Setting - The time and place where a story takes place
  • Culture - The shared values, beliefs, behaviors, customs, and other characteristics that define a group or society
  • Point of view - The perspective from which the story is told
  • First person POV - A point of view in narrative writing in which the narrator is a character within the story and uses pronouns like "I," "me," and "my" to tell the story
  • Second person POV - A point of view in narrative writing in which the narrator addresses the reader directly using "you"
  • Third person limited POV - A point of view in narrative writing in which the narrator is outside of the story and uses third-person pronouns like "he," "she," and "they" to describe the characters and events; the narrator focuses on the thoughts and feelings of one character
  • Third person omniscient POV - A point of view in narrative writing in which the narrator is outside of the story and knows the thoughts, feelings, and perspectives of all characters

Arts Vocabulary

  • Ensemble - All the parts of a thing taken together, so that each part is considered only in relation to the whole
  • Theater - Dramatic literature or its performance; drama
  • Improvisation - A creation that is spoken or written without prior preparation
  • Monologue - A speech by a single character in a play, film, or other dramatic work; often used to give the audience deeper insight into the character's motivations and feelings
  • Scene - A division of a play or act that presents continuous action in one place or setting
  • Dialogue - The conversation or interaction between characters in a written work

 

Materials

  • Blank index cards or scratch paper
  • Clipboards and pencils 
  • Photos of images based around a region of study
  • Sound source 
  • Music from a region being studied

 

Instructional Design

Opening/Activating Strategy

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

 

  • Begin by playing music from the region or culture that students are studying (e.g., Latin American music) quietly as you pass out the images (photographs) to students. 
  • Each student should have one sheet of paper with two images, an index card, and pencil.  
    • The first picture depicts two people from a culture (e.g., Latin America) engaged in an activity. 
      • The name of the country should be written at the bottom of the photo. (One of the people should be circled so you can easily pair students to act out the scene later.)  
    • The second picture depicts an event or aspect of the culture with a title to be used as a reference for students.  
    • After students have written their names on the index cards, ask them to carefully observe the person circled in their photo. 
    • Have students list the following on the left hand side of the index card: A. Character’s name B. Character’s age C. Character’s home country.  
    • Direct students to use descriptive language to write about how the character feels about what is happening in the second picture and how it is affecting their country. 
    • Inquire, “What is the character’s greatest fear? What is the character’s greatest dream?”  
  • Facilitate a class discussion or pair-share allowing students to share their responses.

 

Work Session

  • Tell students that they will be writing a monologue in the first person introducing themselves as the person in their photograph. 
    • Tell students that a monologue is a speech by a single character in a play, film, or other dramatic work. Monologues are often used to give the audience deeper insight into the character's motivations and feelings. 
    • Say to students, “Turn the card over and write a monologue. Include all of the information written on the front side of the card”.
    • When all students are finished writing, introduce the next step by saying, “Today we are going to learn about your country through the eyes of its people. Each of you have been brought here to help us explore your countries. Welcome!”  
    • Next, say to students, “Using a voice different from your own (the voice of the character in the picture), on a count of three, softly tell me what you had for breakfast this morning. Now sit like your character sits, different from yourself! 
    • Say, “Imagine your character is wearing an article of clothing different from what you are wearing. On a count of three, adjust that article of clothing”. 
    • Choose a student and ask them to walk to the front of the class as their character would walk.  Once the student gets to the front of the classroom, have them choose a peer to which to tell their character’s story (in first person) using their monologue.  
    • Next, ask that student to read their character’s monologue aloud.  
    • If time permits, facilitate a question and answer session, allowing students to interview the focus character and gain additional insight into the character’s life and culture.

 

    • Now, tell students to find the classmate who has the other character depicted in the photograph on their page.  
    • Distribute three blank index cards per pair. 
    • Ask pairs to discuss and list the following prompts and write down answers on the blank index cards: 
      • Card 1:
        • Who – who are you and what is the nature of your relationship? 
        • What – what are you doing? (action) 
        • Where – where are you? (setting) 
        • When – what year, month, time of day is it? 
        • Why – why are you there? 
        • Want – what do you want from the other person? 
        • Conflict – is there a disagreement between you? 
      • Cards 2 and 3 for individual responses:
        • Write down your characters’ individual dreams and fears.
        • Write a sentence in the first person with the first thing your character wants to say.
    • When you say “action,” students bring the photo to life using improvisation.
    • Beginning with the first line they previously generated on their index card, students should improvise a scene between the two characters and establish the conflict. 
    • Once the conflict is evident, say “freeze!”.
    • Ask students how they could resolve this conflict.
    • Teacher Note: You can also survey other students in the classroom to help come up with a resolution to the conflict and then ask the partners to embody that resolution.
      • Once they articulate a realistic solution, tell them you will call “action” again and they can resolve the conflict! 
      • After students have reached a resolution, tell them to return to their seats.
      • Have students write a narrative based on the scenes they developed with their partners.
        • Remind students to establish the setting and characters and the point of view that they want to write from. 
        • Remind students that they will need an exposition, conflict, rising action, climax, falling action, and resolution.
        • Students should use descriptive language to engage their reader.
        • Students should incorporate dialogue.

       

      Closing Reflection

      • Students should share their narratives with their partners and compare and contrast their stories.
      • Allow time for students to share in the whole group how their stories were similar and different from their partners.

       

       

      Assessments

      Formative

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

       

      Summative

      • Students can write a monologue in the first person using photography as inspiration that addresses all parts of the prompt.
      • Students can improvise a scene with a partner using photography as inspiration that addresses all parts of the prompt.
      • Students can write a well-structured and detailed narrative that establishes characters, setting, point of view and has all parts of the plot of a story.

       

      Differentiation

      Acceleration: 

      • Challenge students by telling them in the middle of the improvised scene, to swap characters with their partner and continue the scene from the new perspective. This tests their adaptability and understanding of character dynamics.
      • Challenge students to perform their scenes again without speaking, relying solely on physicality and facial expressions to convey the story. This enhances their nonverbal communication skills.
      • Pair two partner teams together to create a new scene with all four characters.

       

      Remediation: 

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

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

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

      Revised and copyright: June 2024 @ ArtsNOW

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      Cultural Characters World War II Conversations 4-5

      CULTURAL CHARACTERS

      WORLD WAR II

      CULTURAL CHARACTERS – WORLD WAR II CONVERSATIONS

      Learning Description

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

       

      Learning Targets

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

      Download PDF of this Lesson

      "I Can" Statements

      “I Can…”

      • I can write a monologue using photography as inspiration.
      • I can improvise a scene with a partner using photography as inspiration
      • I can use theatre techniques to help me better understand a historical event.

      Essential Questions

      • What impact does a photograph have on our perception of a society and/or historical event?
      • How can theatre techniques help us better understand World War II?

       

      Georgia Standards

      Curriculum Standards

      Grade 5:

      SS5H4 Explain America’s involvement in World War II.

       

      1. Describe German aggression in Europe and Japanese aggression in Asia. 
      2. Describe major events in the war in both Europe and the Pacific; include Pearl Harbor, Iwo Jima, D-Day, VE and VJ Days, and the Holocaust. 
      3. Discuss President Truman’s decision to drop the atomic bombs on Hiroshima and Nagasaki. 
      4. Identify Roosevelt, Stalin, Churchill, Hirohito, Truman, Mussolini, and Hitler. 
      5. Describe the effects of rationing and the changing role of women and African Americans or Blacks; include “Rosie the Riveter” and the Tuskegee Airmen. 
      6. Explain the role of Eleanor Roosevelt and the U.S. in the formation of the United Nations.

      Arts Standards

      Grade 5: 

      TA5.CR.1 Organize, design, and refine theatrical work.

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

       

      South Carolina Standards

      Curriculum Standards

      Grade 5:

      Standard 3: Demonstrate an understanding of the economic, political, and social effects of World War II, the Holocaust, and their aftermath (i.e., 1930–1950) on the United States and South Carolina.

      Arts Standards

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

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

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

       

      Key Vocabulary

      Content Vocabulary

      • World War II - A global conflict that lasted from 1939 to 1945, involving most of the world's nations; it was the most widespread war in history, resulting in significant changes to the global political landscape
      • Attack on Pearl Harbor - A surprise military strike by the Imperial Japanese Navy Air Service against the United States naval base at Pearl Harbor in Hawaii, on the morning of December 7, 1941; this event led to the United States' entry into World War II
      • The Battle of Iwo Jima - A major battle during World War II in which the United States Marine Corps and Navy landed on and eventually captured the island of Iwo Jima from the Imperial Japanese Army
      • D-Day - Also known as the Normandy Invasion, took place on June 6, 1944, and was a pivotal operation during World War II; it involved the Allied forces landing on the beaches of Normandy, France, to begin the liberation of Western Europe from Nazi occupation
      • VE Day - Victory in Europe Day, is celebrated on May 8th to mark the formal acceptance by the Allies of World War II of Nazi Germany's unconditional surrender of its armed forces
      • VJ Days - Victory over Japan Day, marks the day on which Imperial Japan surrendered in World War II, effectively bringing the war to an end
      • The Holocaust - The systematic, state-sponsored persecution and genocide of six million Jews by the Nazi regime and its collaborators during World War II
      • Atomic bomb - Atomic bombings of Hiroshima and Nagasaki were two pivotal events during World War II that took place in August 1945 and led to Japanese surrender; they marked the first and only use of nuclear weapons in warfare
      • Expository Writing - Writing with the purpose to demonstrate or explain

      Arts Vocabulary

      • Ensemble - All the parts of a thing taken together, so that each part is considered only in relation to the whole
      • Theater - Dramatic literature or its performance; drama
      • Improvisation - A creation that is spoken or written without prior preparation
      • Monologue - A speech by a single character in a play, film, or other dramatic work; often used to give the audience deeper insight into the character's motivations and feelings
      • Scene - A division of a play or act that presents continuous action in one place or setting
      • Dialogue - The conversation or interaction between characters in a written work

       

      Materials

      • Printed photos of events and people related to World War II
      • Index cards and pencils
      • Music and sound source

       

      Instructional Design

      Opening/Activating Strategy

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

       

      • Begin by playing music from the late 1930’s/early 1940’s quietly as you pass out the images (photographs). 
        • Each student should have one sheet of paper with two images, an index card, and pencil.  
        • The first picture is of two people engaged in an activity. The name of the country or event should be written at the bottom of the photo. One of the people should be circled so you can pair up the students to act out the scene later. 
        • The second picture is of a prominent figure who played a key role in a specific event related to World War II, such as the attack on Pearl Harbor, Iwo Jima, D-Day, VE and VJ Days, and the Holocaust. 
          • The photo should be titled with the reference to the event.
        • Have students write their name in the top right hand corner of their index card.
        • Ask the students to closely observe the person that is circled in the top photo. 
        • Ask questions for them to more deeply embody their character.  
          • They should list the following on the left hand side of the card:  Character’s name, character's age, home country, how does the character feel about what is happening or who is pictured in the second photo and how is it affecting them and their people.
          • What is the character’s greatest fear?  
          • What is the character’s greatest dream? 
          • Encourage students to use descriptive phrases and relevant details and facts from the unit of study as they complete the card.
      • Provide time for students to pair-share or share responses with the class.

       

      Work Session

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

       

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

       

      Closing Reflection

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

       

      Assessments

      Formative

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

       

      Summative

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

       

      Differentiation

      Acceleration: 

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

       

      Remediation: 

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

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

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

      Revised and copyright:  June 2024 @ ArtsNOW

       

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      Exploring Social Studies Through Playwriting 6

      Description

      Students use photos of people in real life events from the Zapatistas Movement as a springboard to write dialogue between the people in photograph. Students are paired up and create a scene that addresses the issues surrounding the Zapatistas Movement. By allowing your students to explore their knowledge of the Zapatistas Movement through the eyes of someone who was there, they learn empathy and better embody the subject matter. This exercise is a wonderful tool to increase presentation skills, empathy and ensemble in your classroom.

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      Famous African Americans and Visual Art 2-3

      FAMOUS AFRICAN AMERICANS AND VISUAL ART

      FAMOUS AFRICAN AMERICANS AND VISUAL ART

      Learning Description

      Explore the artist Jacob Lawrence and learn about his bold artistic style while studying the life of the famous American, Dr. Martin Luther King, Jr.*. Document history by creating a series of paintings to illustrate the struggles and triumphs of Dr. King just as Jacob Lawrence documented the important events in African American history.

      *This lesson can also be adapted to teach about the life of other important African American figures.

       

      Learning Targets

      GRADE BAND: 2-3
      CONTENT FOCUS: Visual Arts, Social Studies & ELA
      LESSON DOWNLOADS:

      Download PDF of this Lesson

      "I Can" Statements

      “I Can…”

      • I can identify important events in Dr. Martin Luther King, Jr.’s life.
      • I can visually represent important events in Dr. Martin Luther King, Jr.’s life using the style of Jacob Lawrence. 
      • I can describe the style of Jacob Lawrence’s artwork.

      Essential Questions

      • How can you use Jacob Lawrence’s style of painting to document the lives of historical figures?
      • Who is Dr. Martin Luther King, Jr. and what are important events in his life?

       

      Georgia Standards

      Curriculum Standards

      Grade 2:

      Social Studies

      SS2H1 Describe the lives and contributions of historical figures in Georgia history. 

      1. Martin Luther King, Jr. (civil rights)

       

      ELA

      ELAGSE2W2 Write informative/explanatory texts in which they introduce a topic, use facts and definitions to develop points, and provide a concluding statement or section.

      Arts Standards

      Grade 2:

      VA2MC.3: Selects and uses subject matter, symbols, and/or ideas to communicate meaning.  

      VA2CU.2: Views and discusses selected artworks.  

      VA2PR.2: Understands and applies media, techniques, and processes of two-dimensional works of art (e.g., drawing, painting, printmaking, mixed media) using tools and materials in a safe and appropriate manner to develop skills.  

      VA2C.1: Applies information from other disciplines to enhance the understanding and production of artworks. 

       

      South Carolina Standards

      Curriculum Standards

      Grade 2:

      Social Studies

      Standard 1: Utilize the college and career skills of a historian to study the continuity and changes over time in the United States.

      2.H.1 Identify and compare significant historical events, moments, and symbols in U.S. history.

       

      ELA

      WRITING - Fundamentals of Writing

      Standard 2: Write informative/explanatory texts to examine and convey complex ideas and information clearly and accurately through the effective selection, organization, and analysis of content.

      2.1 Explore print and multimedia sources to write informative/explanatory texts that introduce a topic, use facts and definitions to develop points, and provide a concluding statement or section.

      Arts Standards

      Anchor Standard 1: I can use the elements and principles of art to create artwork.

      Anchor Standard 2: I can use different materials, techniques, and processes to make art.

       

      Key Vocabulary

      Content Vocabulary

      • Narrative - A story or sequence of events and experiences
      • Dr. Martin Luther King, Jr. - A prominent American civil rights leader, clergyman, and social activist who played a key role in the American civil rights movement

      Arts Vocabulary

      • Line - One of the seven Elements of Art; a mark made by a pointed tool such as a brush, pen or stick; a moving point

       

      • Shape - One of the seven Elements of Art; it is a flat, enclosed area that has two dimensions, length and width; artists use both geometric and organic shapes
      • Color - One of the seven Elements of Art; it is created by light; there are three properties of color: Hue (name), Value (shades and tints), and Intensity (brightness)
      • Primary Colors - A hue from which all other colors can be mixed: red, yellow, and blue

       

      • Secondary Colors - A hue mixed from two primary colors, such as orange, green, and purple
      • Neutral Colors - Black, white, gray, brown

       

      Materials

       

      Instructional Design

      Opening/Activating Strategy

      • Display one of Jacob Lawrence’s paintings on the board. 
      • Without giving students any information about the artwork, ask students to write a short description of what they think is going on in the painting. 
        • Students should explain what they see in the image that helped them come to this conclusion.
        • Allow students time to share with a partner.
        • Ask a few students to share their ideas with the class.
      • Tell students the name of the artist, name of the painting, and a description of what is going on. 
        • Ask students how their interpretations are similar or different to the actual description of the painting.

       

      Work Session

      • Tell students that they will be painting in the style of Jacob Lawrence in this lesson.
        • Lawrence is among the best-known twentieth century African American painters. 
        • Lawrence concentrated on depicting the history and struggles of African Americans.  
        • Lawrence used tempera paints. 
        • Direct students’ attention toward Lawrence’s use of vivid color, expressive style, flat shapes, use of entire space, and the series format to convey a story. 
        • Optional: 
          • Ask students to take turns coming up to the board and outlining the major shapes in different paintings.
          • Provide printed copies of one of the paintings; have students outline the major shapes in the painting.
        • Ask students how the description and the painting are connected just as an illustration in a book is connected to the text on the page.
      • Tell students they are going to become artists like Jacob Lawrence. As a class, they will create a series of paintings that depict the life of Dr, Martin Luther King, Jr. 
        • Use a graphic organizer to sequence the important events in his life. 
        • Next, instruct the students to do a simple sketch or illustration of each event.
        • Instruct the students to use pencil to make a sketch of their assigned event before painting. 
        • Remind students to:
          • Introduce their topic (the event) at the beginning of the paragraph 
          • Use facts and definitions that they learned from the lesson to inform the reader about the event
          • Describe how they showed those facts in their painting
          • Include a conclusion sentence
        • Read a biography of Dr. Martin Luther King, Jr., and discuss the life of Dr. King with the class. 
        • Arrange students into groups of two to three students. Assign each group an event in Dr. King’s life. 
        • Students will create a painting of the event in the style of Jacob Lawrence (remind students of Lawrence’s use of vivid color, line and geometric shape). 
        • After students finish painting, they will write a description of their painting on an index card describing what part of Dr. King’s life is pictured. 
      • Have students arrange the paintings in chronological order.
      • Display the paintings as a series that illustrates the life of Dr. King.   

      Classroom Tips: Cover students’ work area with butcher paper. Have students share paint and water supply on their work area. Fill 2 buckets with water--empty one by filling student water cups 1/3 full, then use it to dump dirty water in; the second bucket will be your fresh water supply as needed. 

       

      Closing Reflection

      • Allow students time to engage in a gallery walk to view all of the artworks. 
      • Facilitate a class discussion around how each group portrayed the event in the style of Jacob Lawrence.

       

      Assessments

      Formative

      Teachers will assess students’ understanding by observing students’ discussion of the style of Jacob Lawrence’s work and students’ identification and visual depiction of important events in Dr. King’s life.

       

      Summative

      CHECKLIST

      • Students can identify important events in Dr. Martin Luther King, Jr.’s life.
      • Students can visually represent important events in Dr. Martin Luther King, Jr.’s life through painting using the style of Jacob Lawrence.
      • Students can accurately describe and write about an event in Dr. Martin Luther King, Jr.’s life using relevant details through a well-organized paragraph.

       

      Differentiation

      Acceleration:

      After reading the biography, students will research other events in the life of Dr. Martin Luther King, Jr. using internet or library resources. Students will pick one event in his life to depict through a picture in the style of Jacob Lawrence. Once each student has created a picture, the student will write a paragraph describing the picture and the event. They will work together to create a chronological/numeric timeline to represent the events in the life of Dr. King.

      Remediation:

      ESOL Modifications and Adaptations: To prepare the ESOL students for the painting assignment, the ESOL teacher will read to students Story Painter: Life of Jacob Lawrence by John Duggleby and show how a series of paintings can tell a story. The ESOL teacher should also utilize photographs and images to help student comprehension when reading the biography of Dr. King (such as Happy Birthday, Martin Luther King).

      Special Education Modifications and Adaptations: Read an age appropriate book about Dr. Martin Luther King Jr. (such as Happy Birthday, Martin Luther King). The teacher will provide cards with pictures and text that describe the life of Dr. King based on the book of choice. Students will work as a group to sequence the cards in story order. Provide geometric shaped templates and straight edges for students to use as they draw pictures in the style of  Jacob Lawrence. Students will accompany drawings with one or two sentences that they write or dictate.

      ADDITIONAL RESOURCES

      • “Martin Luther King Jr.’s Life in Pictures.” CNN, www.cnn.com/interactive/2018/04/us/martin-luther-king-jr-cnnphotos/. Accessed 26 June 2023.

       

      *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: Whitney Jones. Modifications, Extensions, and Adaptations Contributed by:  Peggy Barnes, Candy Bennett, Lindsey Elrod, Jennifer Plummer, and Vilma Thomas.  Reviewed by Michael Miller. Updated by Whitney Jones Snuggs and Katy Betts.

      Revised and copyright:  June 2024 @ ArtsNOW

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      Jazz It Up 4-5

      JAZZ IT UP

      JAZZ IT UP

      Learning Description

      In this lesson, students will delve into the world of jazz music to gain insights into the Harlem Renaissance. They will analyze and create improvisational pieces, incorporating key elements of jazz.

       

      Learning Targets

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

      Download PDF of this Lesson

      "I Can" Statements

      “I Can…”

      • I can maintain body percussion ostinato.
      • I can improvise using body percussion, scat syllables, and/or found sound.
      • I can create an 8-beat verbal phrase reiterating what I learned in the lesson.

      Essential Questions

      • How can learning about a genre of music teach us about the historical context in which it was created?

       

      Georgia Standards

      Curriculum Standards

      Grade 5: 

      SS5H2 Describe U.S. involvement in World War I and post-World War I America.

      1. Describe the cultural developments and individual contributions in the 1920s of the Jazz Age (Louis Armstrong), the Harlem Renaissance (Langston Hughes), baseball (Babe Ruth), the automobile (Henry Ford), and transatlantic flight (Charles Lindbergh).

      Arts Standards

      Grade 5:

      ESGM5.CR.1 Improvise melodies, variations, and accompaniments.

       

      ESGM5.PR.2 Perform a varied repertoire of music on instruments, alone and with others.

       

      ESGM5.RE.1 Listen to, analyze, and describe music.

       

      ESGM5.RE.2 Evaluate music and music performances.

       

      ESGM5.CN.1 Connect music to the other fine arts and disciplines outside the arts.

       

      South Carolina Standards

      Curriculum Standards

      Grade 5: 

      5.2.CX Contextualize the post-war economic climate on the cultural landscape throughout the United States and South Carolina.

      Arts Standards

      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

      • Harlem Renaissance - an intellectual, cultural, and artistic movement that emerged in the 1920s and 1930s, primarily centered in the Harlem neighborhood of New York City
      • Jazz - A genre of music that originated in the early 20th century, primarily within African American communities in New Orleans

      Arts Vocabulary

      • Found sound - Using everyday objects in the environment to create sound
      • Ostinato - Repeated pattern
      • Patsching - A body percussion technique that involves rhythmically striking the thigh with the palm of the hand, usually near the knee
      • Syncopation - Shifting of the accent to a weak beat or an off beat
      • Scat singing - A vocal jazz style using improvised nonsense syllables performed with an improvised melody, usually over instrumental accompaniment

       

      Materials

      • Found sound possibilities (pencils to tap on desk, etc.)
      • Jazz recordings (“Black and Tan Fantasy,” Duke Ellington; “When the Saints go Marching in,” Louis Armstrong; “Minnie the Moocher,” Cab Calloway)
      • Sound source (computer and speakers)

       

      Instructional Design

      Opening/Activating Strategy

      • Listen to an example of a jazz piece, such as “Black and Tan Fantasy” by Duke Ellington.
      • Have students describe what they heard.
      • Lead students to noticing the following elements:
        • Syncopation (use visual and/or patsching on beats and clapping on off-beats to aid understanding)
        • Highly rhythmic
        • Varied instruments (trumpet, saxophone, piano, drums)
        • Improvisation

       

      Work Session

      • Arrange students in a circle. Facilitate a call and echo response using body percussion, found sound, movement and/or scat syllables, having students lead if they are comfortable.
      • Explain that this type of sound is known as "call and response", a musical technique in which one instrument, voice, or part of a band answers another by repeating the sound.
      • The alternation between leader and chorus is a defining characteristic of African music, present in music intended for work, play, mourning, etc., and is a common element in jazz.
      • Demonstrate by singing “Over my Head” or listen to an example of call and response, such as Cab Calloway's "Minnie the Moocher".
      • Expand echoing/call and response to an improvisation “jam session”.
        • First, challenge students to create 8-beat body percussion (or found sound) ostinato to repeat under improvisations.
          • Use an 8-beat visual (1 2 3 4 5 6 7 8) to help students understand phrase length.
        • While students maintain ostinato, improvise using body percussion, found sound, and/or scat (nonsense) syllables.
        • Lead students to understanding of similarities and differences between renditions, helping them understand that improvisations feed off of and into other improvisations.
        • Invite students to improvise, using the 8-beat visual to help students understand phrase length.
        • Begin by improvising a phrase and having students improvise response.
        • Challenge students to end their improvisations on beat seven to allow the next person time to think and to provide a final point for their improvisation (1 2 3 4 5 6 7 -).
        • Challenge students to relate their improvisation to what you are doing (perhaps by taking part of your pattern and using it in their pattern) so that their pattern compliments (sounds good with) the improvisation they just heard.
        • Discuss how the improvisations were similar yet different.
        • Discuss how such improvisation is a kind of "riffing". In jazz, musicians may riff off of each other's melody when improvising solos.
      • Listen to Louis Armstrong’s “When the Saints Go Marching In”, helping students notice how the musicians are able to expand and complicate a melody or theme by listening to another member of a group play a solo and responding to them through their own solo.
        • Often the main melody in jazz acts as a recurring theme in a piece of music, and the other sections of a piece work to "riff" off of, expand on, or veer away from the main melody, but the main melody is audible and/or usually comes back.
      • Briefly describe the evolution of jazz as an original American music that largely originated with African Americans. The need for self-expression stemmed from the African musical heritage where music was (and is) very important in maintaining and continuing the culture.
        • When Africans were brought to America, they brought along the tradition of using music to accompany and define their lives.
        • Jazz originated in New Orleans, a town with a tradition of celebration. All kinds of music existed there—blues, church music, folk music, ragtime, military marching bands, African drumming, and many dance styles. When these musics blended into one, jazz was born.
        • In the early 1920s, many African American artists, writers, musicians, and performers lived in a New York City neighborhood called Harlem and were part of a cultural movement known as the Harlem Renaissance. A large migration from the South to the North after World War I brought many African Americans to Harlem.
        • Jazz was a relatively new type of music in the 1920’s and 1930’s but was becoming very popular in Harlem, which was home to many musicians. Several other American cities (New Orleans, Chicago) also had rich jazz scenes where people could go to jazz clubs, music clubs, dance halls, and concert halls to hear jazz. Some of the most famous venues include the Apollo Theater, The Cotton Club, Lennox Lounge and the Savoy Ballroom.

       

      Closing Reflection

      • As a closing assessment activity, have students work individually or in small groups to create 8-beat speeches reiterating something from the lesson content (e.g., “jazz…an American creation”).
      • Use the same format as before, sitting or standing in circle and maintaining body percussion ostinato while students speak their creations.

       

      Assessments

      Formative

      Teachers will assess students’ understanding of the content throughout the lesson by observing students’ participation in the activator, participation in “call and response” riffing and “jam sessions”, and analysis of music.

       

      Summative

      CHECKLIST

      • Students can maintain body percussion ostinato.
      • Students can improvise using body percussion, scat syllables, and/or found sound.
      • Students can create 8-beat verbal phrase reiterating lesson content.

       

      DIFFERENTIATION 

      Acceleration: 

      • Have students explore scat singing using Frank Holder’s “Scat Singing” (available on iTunes).  Listen to recordings of contemporary jazz artists (e.g., Wynton Marsalis).
      • Compare and contrast their jazz styles to the jazz “pioneers.”
      • Use a Venn diagram to compare/contrast various renditions of the same jazz piece.
      • Have students research various jazz pioneers (Louis Armstrong, Dizzy Gillespie, Duke Ellington, etc.), focusing on the social and cultural entities impacting their lives and music.
      • Divide students into small groups. Have each person write a short paragraph (3-4 sentences) about a given topic. Exchange papers with other people in the group; after reading each paper, have each student use the basic content of their peer’s writing but modify it somewhat. Compare and contrast with original writing, using as an example of “riffing.”

      Remediation: 

      • Limit the focus of the characteristics of jazz to one or two that the students will explore, such as “call and response” and improvisation, rather than focusing on multiple elements of jazz.
      • Provide visuals to help aid in comprehension.

      *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: Maribeth Yoder-White.

      Revised and copyright: September 2024 @ ArtsNOW

       

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