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i
 Foreword
On behalf of the county superintendents of the State of California, we are pleased to introduce
this K-6 Visual and Performing Arts Curriculum Guide: Examples of Integrated Lessons
developed by the Los Angeles County Office of Education in partnership with the Los Angeles
Unified School District as part of the (CCSESA) Arts Initiative and the Curriculum and Instruction
Steering Committee (CISC) Visual and Performing Arts Subcommittee.

The California County Superintendents Education Services Association (CCSESA) is an

organization consisting of the county superintendents of schools from the 58 counties in
California working in partnership with the California Department of Education. The Curriculum
and Instruction Steering Committee (CISC) is a subcommittee of CCSESA, consisting of county
office associate superintendents, focusing on curriculum, instruction, and professional
development. The Visual and Performing Arts (VAPA) Subcommittee includes regional arts
leads representing all 11 service regions geared at strengthening support and service in arts
education to California school districts. Through the CCSESA Arts Initiative and the CISC VAPA
Subcommittee, county superintendents and their staffs are building capacity to advocate and
increase visibility for arts education in California public schools. One area of this work is in the
development of K-12 arts education curriculum resources aligned to the Visual and Performing
Arts Framework for California Public Schools.

We appreciate the collaborative work and leadership of VAPA consultant for Los Angeles
County Office of Education and Region 11 Arts Lead, Geraldine Walkup, and the LAUSD Arts
Administrative Team of Richard Burrows, Director of LAUSD Arts Education Branch, and Robin
Lithgow, LAUSD Elementary Arts Coordinator. We also wish to acknowledge the expertise
and commitment of the writing team of teachers and arts specialists that contributed to
this document. And we extend special thanks to Patty Taylor, CCSESA Arts Consultant, who
contributed greatly to the development and finalization of the document as well as the
CCSESA/CISC Visual and Performing Arts regional leads who provided input for this project.
It is our hope that this will be a tool for schools and districts as they implement the Visual
and Performing Arts Content Standards and gather evidence of student learning in the arts
disciplines of dance, music, theatre, and visual arts.

Sarah Anderberg
Director, CCSESA Arts Initiative
California County Superintendents Educational Services Association

Francisca Sanchez
Chair, Visual and Performing Arts Subcommittee
Associate Superintendent, San Francisco Unified School District

ii
 Contents
Introduction ................................................................................................... v

Acknowledgments........................................................................................... vii

GRADE/SUBJECT LESSON TITLE PAGE

KINDERGARTEN 1
Dance/English Language Arts “I Can Make Alphabet Shapes!” ................................... 3
Music/History-Social Science “Sing When It’s Your Turn” ......................................... 6
Theatre/Math “Measuring Time and Change With The
Very Hungry Caterpillar” ........................................ 8
Visual Arts/Science “Plant Shapes: Showing the Diversity of Nature” .............10

GRADE 1 13
Dance/Science “The Water Dance” ................................................ 15
Music/English Language Arts “Recite and Memorize With Rhyme, Rhythm and Melody” ..... 18
Theatre/History-Social Science “The Golden Rule and The Boy Who Cried Wolf”..............20
Visual Arts/Math “Still Life Arrangement” ..........................................22

GRADE 2 25
Dance/English Language Arts “Let’s Make a Sequence!” ........................................27
Music/Science “Describing Pitch Through Movement and Comparison” .....29
Theatre/Math “Problem-Solving in Measurement and Storytelling” .........34
Visual Arts/History-Social Science “Color and Personality: How We ‘See’ History” ...............37

GRADE 3 41
Dance/Math “From Fractions to Rhythm” .....................................42
Music/Science “What Does It Sound Like and Why:
Exploring Musical Instruments” ................................45
Theatre/English Language Arts “Discovering the 5 W’s With Nobiah’s Well” ...................47
Visual Arts/History-Social Science “Geography of Landscapes” ......................................50

GRADE 4 53
Dance/History-Social Science “Dancing Maps” ..................................................... 55
Music/Math “Fractions and Music” ............................................. 59
Theatre/English Language Arts “Characters and the World in Relation” ........................63
Visual Arts/Science “Earth Moves” ...................................................... 67

GRADE 5 71
Dance/Science “Circulation Dance” ............................................... 73
Music/English Language Arts “Music Can Communicate a Story” ..............................76
Theatre/History-Social Science “The Causes of the Colonist Rebellion” ........................80
Visual Arts/Math “Illusion of Space” ................................................. 83

GRADE 6 87
Dance/Math “Mathematical Reasoning and the Creative Process”.........89
Music/History-Social Science “Mythology and the Music of Ancient Greece” ................91
Theatre/Science “Theatre as a Tool in Environmental Activism”................97
Visual Arts/English Language Arts “Cultural Artifacts” ..................................................101
References ................................................................................................. 104
Glossary ..................................................................................................... 105
Blank Templates................................................................................................. 107
Best Practice in Art Integration .............................................................................. 117

iii
iv
 Introduction
“During the past quarter century, literally thousands of school-based programs have demon-
strated beyond question that the arts can not only bring coherence to our fragmented world, but
through the arts, students’ performance in other academic disciplines can be enhanced as well.”
— Ernest L. Boy, President of the Carnegie Foundation for the Advancement of Teaching

The K-6 Visual and Performing Arts Curriculum Guide: Examples of Integrated Lessons was
developed to provide elementary classroom teachers with a realistic and useful tool for creat-
ing arts integrated lessons. The connections made between disciplines are based on mutual con-
cepts being taught. The guide includes standards-based lessons in dance, music, theatre, and
visual art, integrated with science, history-social science, math and language arts. The lesson
design is based on the principles of Understanding by Design by Grant Wiggins and Jay McTigue.
Subjects and standards are chosen based on shared concepts or big ideas, from which essential
questions are formed.
Recently there have been a growing number of publications that address how to create and
teach integrated lessons. They provide information on criteria for integration, approaches to
developing lessons, models of integration, and oftentimes samples of the lessons themselves.
One example of such literature is the Curriculum Resource Guide, which can be located at
www.ccsesaarts.org. Depending on the author and state of origin, a variety of terms are used to
represent the same idea. Therefore, it is necessary to identify the definition of integration that
guided that particular document. The authors of the K-6 Visual and Performing Arts Curricu-
lum Guide: Examples of Integrated Lessons used the following definition of integration because
equal attention is given to those subjects featured in the lessons.
Arts Integration is instruction combining two or more contents, wherein the arts consti-
tute one of the integrated areas. The integration is based on shared or related concepts,
and instruction in each content area has depth and integrity reflected by embedded
assessments, standards, and objectives.
—Southeast Center for Education in the Arts (SCEA), University of Tennessee
Integrated instructional design requires that lessons include an opening, teaching strategies,
materials/resources, closure, and assessments. The lessons included in this guide provide addi-
tional strategies to strengthen the teacher’s delivery of the lesson and increase student learn-
ing. All the necessary components of a strong integrated lesson are included in the template.
Please note that these lessons are not units of study and should be taught with this in mind.

Assessment
It is crucial that elementary teachers realize the importance of assessing students in the arts.
The information gathered through ongoing assessment will inform the teacher of the level of
knowledge and skill his or her students have mastered and what topics need to be re-addressed.
The guide includes a formative assessment at the end of each lesson in the form of open-ended
questions that teachers can use to easily assess the targeted standard. To access more informa-
tion on arts assessments, please go to the CCSESA Arts Initiative Website at www.ccsesaarts.org.
Click the Toolbox tab and you will find the Arts Assessment Guide developed by the San Diego
County Office of Education.

An Unfinished Canvas: Arts Education in California:

Taking Stock of Policies and Practices
A cluster of research studies sponsored by the William and Flora Hewlett Foundation and con-
ducted by SRI International have addressed the many barriers that exist in offering sequential
standards-based arts education to California students. The reports also point to many chal-
lenges in implementing visual and performing arts in California public schools, citing particular
needs at the elementary school level. To access the study, please go to www.hewlett.org to find
copies of the report.

v
vi
 Acknowledgments
The California County Superintendents Educational Services Association acknowledges the
following dedicated educators for their contribution to the K-6 Curriculum Guide.

National Consultant
Karen L. Erickson, Director, Creative Directions

Consultants
Richard Burrows, Director, Arts Education Branch
Los Angeles Unified School District
Robin Lithgow, Elementary Arts Coordinator
Los Angeles Unified School District
Geraldine Walkup, Visual and Performing Arts Consultant
Los Angeles County Office of Education

Los Angeles Unified School District Writing Team

Olivia Armas, Elementary, Visual Arts Teacher
Susan Marcena Massarak Aslan, Elementary, Classroom Teacher
Megan Deakers, Elementary, Dance Teacher
Melanie Dubose, Elementary, Classroom Teacher
Ginny Gaimari, Elementary, Theatre Teacher
Katy Hickman, Elementary, Theatre Teacher
Addie Lupert, Elementary, Music Teacher
Ginny Marrin, Elementary, Dance Teacher
Denise Godinez Gonzalez, Elementary, Dance Teacher
Juanda Marshall, Elementary, Music Teacher
Julia Norstrand, Elementary, Theatre Teacher
Rosie Ochoa, Elementary, Dance Teacher
Ellen Robinson, Elementary, Visual Arts Teacher
Margarita Vargas, Elementary, Classroom Teacher
Sonia Villegas, Elementary, Classroom Teacher
Raissa White, Elementary, Theatre Teacher
Mary Whiteley, Elementary, Classroom Teacher

Los Angeles Unified School District Arts Specialists

Julie Corallo, Secondary, Music Content Expert
Shana Habel, Elementary, Dance Adviser
Dr. Steven J. McCarthy, Elementary, Theatre Specialist
Luiz Sampaio, Elementary, Visual Arts Specialist
Steve Venz, Elementary, Music Specialist

Graphics/Layout
LACOE Communications/Graphics Unit

vii
viii
Grade K Lessons

1
2
 GRADE K CONTENT INTEGRATION TITLE OF LESSON
DANCE/ELA I Can Make Alphabet Shapes!
ESSENTIAL QUESTION INTEGRATED STUDENT OBJECTIVE
How do dancers and writers use lines? Students will be able to use lines to write letters of
the alphabet, and create shapes with their bodies.

Descriptors DANCE ELA

Standards 1.1 Build the range and capacity to move in a variety of ways. 1.4 Write uppercase and lowercase letters of the alphabet
independently attending to the form and proper spacing of
the letters.
Student Objectives Students will be able to make the shapes of the letters of the Students will be able to write and recognize the letters of the
alphabet with their bodies using straight and curved lines. alphabet.
Assessment Were students able to make the “shapes” of the letters of the Were students able to recognize and write (form) the letters of
alphabet with their bodies using straight and curved lines? the alphabet?
KEY
KNOWLEDGE
Prior Knowledg • Body Awareness • Lines: Curved, straight, zigzag, horizontal and vertical
• Spatial Awareness: Personal Space • Letter formation: uppercase and lowercase letters

3
• Able to freeze their body
• Basic locomotor movements
(e.g., walking, hopping, jumping, galloping)
New Concepts • The body makes shapes using straight and curved lines. • Lines form letters.
New Vocabulary Shape, line, straight, curved, zigzag, travel, audience, freeze Letters, alphabet, line, curved, straight, zigzag
SKILLS
Prerequisite Skills • Basic physical control of the body • Able to travel through space with control
• Able to identify a type of line • Able to recognize the alphabet
• Able to utilize a pencil and paper
New Skills • Uses the body as a tool to create a variety of shapes • Able to recognize that lines make letter shapes
• Able to write letter forms

MATERIALS/RESOURCES
• Alphabet Movers by Teresa Benzwie
• Drum or music (Suggested Music: Eric Chappelle. Music for Creative Movement, Vol. I - IV)
• Pencils and paper
Grade K Lessons
 New Vocabulary Shape, line, straight, curved, zigzag, travel, audience, freeze Letters, alphabet, line, curved, straight, zigzag
SKILLS
Prerequisite Skills • Basic physical control of the body • Able to travel through space with control
• Able to identify a type of line • Able to recognize the alphabet
• Able to utilize a pencil and paper
New Skills • Uses the body as a tool to create a variety of shapes • Able to recognize that lines make letter shapes
• Able to write letter forms

MATERIALS/RESOURCES
• Alphabet Movers by Teresa Benzwie
• Drum or music (Suggested Music: Eric Chappelle. Music for Creative Movement, Vol. I - IV)
• Pencils and paper

PHASE LESSON
Student Engagement 1. Discuss the lines, shapes and forms of the alphabet letters. (e.g. The letter “L” has two straight lines.)
(5-10 minutes) 2. Look at your body and discuss the lines and shapes you see. (e.g. Can your bodies curve like the letter “C”?
Can your body cross like the letter “X”?)
3. Read Alphabet Movers by Teresa Benzwie: Focus on the body illustrations and have students point out the lines, shapes and forms.

4
Aesthetic Exploration 4. “Silent Alphabet”: Teacher will prompt students by calling out a random letter. Students will physically respond by creating
(10 minutes) the letter with their body. Teacher will emphasize and encourage students to “freeze” the shape of the letter until a music
cue or drumbeat is given. Teacher may call out as many letters as needed for student exploration.
Teacher scaffolds students by asking questions: What part of your body is curved? Straight? What letter are you forming with
your body? Is it curved? Straight? Curved and straight? Zigzag?
Creative Expression 5. Continuing the “Silent Alphabet” students will now choose their own letter to demonstrate with their body. Teacher will prompt
(30 minutes) students when to change to a different letter using music cues or a drumbeat.
6. The teacher chooses a student to “unfreeze.” That student will look around the room and say a letter they see. All students
should remain frozen with their letter shape until prompted to change. (e.g. What letter do you see? Who is making what
letter? Is the letter curved? Straight? Curved and Straight? Zigzag?)
7. Teacher will model how to travel a chosen letter around the room:
• Choose a letter.
• Create it with your body.
• Freeze the letter shape and travel (examples for traveling—walking, sliding, jumping).
8. Students will choose their own letter to travel through space. Continue to use music or drumbeat cues to let students know
when to freeze and move.
9. Repeat as needed for understanding.
10. Students are seated in a circle, each with a pencil and paper.
Grade K Lessons
 Creative Expression 11. One at a time students will take turns entering the middle of the circle and perform a letter of their choice. Teacher guides
(30 minutes) students through the same process of traveling their letter:
(cont.) • Choose a letter.
• Create it with your body.
• Freeze the letter shape and travel.
12. The audience (remainder of students in the circle) will observe the performer and write the letter they see on their paper.
13. Teacher will ask students questions about the letter. (e.g. What letter do you see? Is the letter curved? Straight? Curved and
Straight? Zigzag? )
Reflection 14. Pair share question: What is your favorite letter shape? Why? Students find a partner and take turns discussing their favorite
(10 minutes) letter shape.
15. Journal prompt: Students draw with their body making their favorite letter.
16. Open-ended questions: (e.g. What did you learn about letters? What lines did you see? Was it easy or difficult to create
your letter shape? Why?)
Connections
Extensions Have students add sounds to their letters. Begin to form words with each student representing a letter with their body.
Differentiation Review and model locomotor and non-locomotor movements. Continue to use the Alphabet Movers book as a reference and visual aid.

5
Grade K Lessons
 GRADE K CONTENT INTEGRATION TITLE OF LESSON
MUSIC/HISTORY-SOCIAL SCIENCE SING WHEN IT’S YOUR TURN
ESSENTIAL QUESTION INTEGRATED STUDENT OBJECTIVE
Why do both musicians and students Students will take turns chanting and
care about taking turns? singing an echo pattern.

Descriptors MUSIC HISTORY-SOCIAL SCIENCE

Standards 2.1 Use singing voice to echo short melodic patterns. 1.1 Follow rules, sharing, taking turns.
Student Objectives The students will chant and sing following an echo pattern. The students will demonstrate an ability to take turns.
Assessment Students will sing following an echo pattern. Students will listen, and respond when it is their turn.

KEY KNOWLEDGE
Prior Knowledge N/A N/A
New Concepts Echo singing Taking turns.
Call and response

6
New Vocabulary Echo Copy/repeat
Chant Respond
Sing
Picnic

SKILLS
Prerequisite Skills Keeping a steady beat Experience taking turns
Using singing voice
New Skills Echo singing Taking turns when singing
Call-and-response singing Learning to listen and respond at the appropriate time

MATERIALS/RESOURCES
Making Music Grade K “Going on a Picnic”
CD 7-1, Cards with pictures of picnic items, Speech Piece “Goin’ on a Bear Hunt”
Grade K Lessons
 PHASE LESSON
Warm-up 1. Teacher sings “Hello boys and girls.” Students sing back “Hello, Mrs. ...”
(5 minutes) 2. “Let’s play a taking-turns game. I’ll be the leader first. Listen to my clapping pattern and then echo what you hear.”
3. Teacher then gives individual students the chance to be the leader.
New Concept 4. Ask why it was important to take turns during the game, and then ask, “When else do you take turns?” (drinking fountains, raising
(15 minutes) hands to speak.) Discuss why we need to take turns for these activities.
Going on a Bear Hunt
5. “Now we are going to do an echo chant.” Discuss meaning of an echo.
6. Guide students to repeat and act out each sentence, echoing the teacher.
Review/Application Going on a Picnic
(10 minutes) 7. “Let’s listen to the song to find out what they are bringing to the picnic.” Discuss picnics and what items are brought to a picnic.
8. Echo-teach the first two phrases of the song.
9. “In this song, instead of copying what I say, you are going to respond by answering my question.”
10. Guide the class to sing the song, and keep the steady beat on their laps for the first two phrases of the song. Teacher sings the
question, “Did you bring the____ (name of picnic item)?” The children sing the answer, “Yes, I brought the ______.”
11. Teacher passes out picture cards of picnic items to each student.

Assessment 12. Guide the class to sing the song again. Tell the students that when it’s their turn, they should sing the answer to the question.
(5 minutes)

7
Closing 13. Repeat the activity while marching around the picnic blanket and keeping the steady beat.
(5 minutes) 14. At the end, enjoy an imaginary picnic. Take turns in passing pretend food.
15. Discuss the essential question: Why do both musicians and students care about taking turns? Why is it important to take turns in
our classroom and during music?

Connections Read the story Happy Birthday Moon by Frank Asch.

Extensions
Differentiation
Grade K Lessons
 GRADE K CONTENT INTEGRATION TITLE OF LESSON
THEATRE/MATH Measuring Time and Change With
The Very Hungry Caterpillar
Duration: 50 minutes
ESSENTIAL QUESTION INTEGRATED STUDENT OBJECTIVE
How do things change over time? The learner will demonstrate knowledge of
calendar to show measurement of time and
change by using their body to show action, objects
and the ideas of time and change.

Descriptors THEATRE MATH

Standards Creative Expression Measurement and Geometry
2.1 Perform imitative movements, rhythmical activities, and 1.2 Demonstrate an understanding of concepts of time (calendar).
theatre games (freeze, statues and mirrors). 1.3 Name the days of the week.
Student Objectives The learner will use their body to show action, objects and the The learner will demonstrate knowledge of calendar to show
ideas of change and time. measurement of time and change.
Assessment Formative Teacher Observation Formative Teacher Observation

8
KEY KNOWLEDGE
Prior Knowledge Body, voice, mind, pantomime Calendar, week, change, time
New Concepts I know I can use my actors’ tools by myself and with others to I know that calendars measure time.
show ideas (like change), symbols (like calendar) and characters.
New Vocabulary Transform, change Seasons and comparisons

SKILLS
Prerequisite Skills Drama seeds into objects. Count to 30.
New Skills I work with partners to show a character doing something to I can count off seven days on a calendar to show a week and I can
an object. I work in a group to show the days of the week. tell what can change in a week (lose a tooth, rain, baby born, car
breaks, new shoes, etc.).

MATERIALS/RESOURCES
Chart paper to construct calendar, The Very Hungry Caterpillar by Eric Carle, 20 12” x 12” squares of paper for extended calendar activity
Grade K Lessons
 PHASE LESSON
Opening 1. Students enter to “morning” music from Peer Gynt as though (pantomime) they are waking up very hungry. Teacher narrates
Gathering/Warm-up an exploration. They look for something to eat in the “kitchen.” They go “outside” to find something to eat in the “garden.”
(5 minutes)
2. Students gather into standing circle and sing days-of-the-week songs. Half can sing while the others count to see how
many days there are in a week. Switch.
Reviewing/ 3. Students sit in circle for discussion. Sample questions:
Previewing What are actors’ tools? How have you changed since you were a baby? How do people change? What kind of food helps you grow?
Vocabulary How is a day different from a week? What do we use to measure time? What do we use to measure a month?
(10 minutes)
Review vocabulary: character, setting, actors’ tools, body, voice, imagination, calendar, week, change. New vocabulary: transform
Exploring Creating 4. Drama seeds into food and objects from the story.
Exploring (5 minutes)
Improvising/ 5. Read the story to students.
Inventing 6. Chart calendar to follow The Very Hungry Caterpillar’s journey from egg to butterfly. (A little over three weeks!)
(Story) (10 minutes)
Sharing/ Reflecting 7. Share-Invite seven volunteers to come up and stand in a line. Ask what the seven might be? Then ask, if Charlotte is Wednesday,
Playmaking who is __________? (Pointing to the student just before or after.) Then have student hold the book and invite volunteers
(15 minutes) to come up and be the objects in the story on the specific days. On Saturday he eats too much; students can decide how to “overdo”

9
it. Repeat this with seven more volunteers and objects. Extend by assigning a caterpillar to “eat through” the fruit and food. Extend
calendar with use of paper squares organized on the floor (when running out of students to use as days).
8. Walk about-Students spin chrysalises around themselves and gestate quietly as teacher counts off the days and weeks.
Replay Peer Gynt music. At the end, all crawl out and become butterflies.
Reflecting/Assessing 9. Students sit in circle for reflection. How are you like The Very Hungry Caterpillar? What is shorter, a day or a week?
(5 minutes) What changed in your life in the last week?
Connections Science (nutrition, transformation)
Extensions
Differentiation (CRRE) (SP.ED) (EL)
Grade K Lessons
 GRADE K CONTENT INTEGRATION TITLE OF LESSON
VISUAL ARTS/SCIENCE Plant Shapes: Showing the Diversity of Nature
ESSENTIAL QUESTION INTEGRATED STUDENT OBJECTIVE
How do scientists and artists show Students will understand how the art element of
what they know about nature? shape can be used to show the parts of a plant.
Descriptors VISUAL ARTS SCIENCE
Standards 2.3 Make a collage with cut or torn shapes/forms. 2c. Different types of plants and animals inhabit the earth. As a
basis for understanding this concept students know how to
identify major structures of plants and animals (e.g., stems,
leaves, roots, arms, wings, legs).
Student Objectives Students will create a collage using organic shapes. Students will identify major structures of common plants.
Assessment Did students use organic shapes to form one whole plant shape Were the students able to identify the parts of a plant by name
and correctly label the identified shapes? (root, stem, leaf, flower/fruit, seed)?
KEY KNOWLEDGE
Prior Knowledge Names of colors and geometric shapes Know of different types of plants and trees
New Concepts Artists use organic shapes (not just geometric) to make art Plants have six main parts.
about natural objects.

10
New Vocabulary Organic/natural shape, free-form shape, collage, tear, observe Nature, plant parts, root, stem, leaf, fruit, flowers, seed, earth
SKILLS
Prerequisite Skills Gluing with glue stick or liquid glue Copy words from chart to paper. Labeling.
New Skills Tear individual shapes. Paste shapes to put together one whole Identify plant parts.
image of any plant shape.
MATERIALS/RESOURCES
Magazines, construction paper: green, brown, red, yellow; blue or black tag paper; glue; pencil; oil pastels; chart of plant with parts labeled; a real
potted plant; art reproductions of plant or garden landscapes and/or botanical drawings (botanicalartists.com) and examples of collages (Picasso)
PHASE LESSON
Student Engagement 1. Teacher shows students the real potted plant, art reproduction, collage example, and chart of plant parts.
(5-10 minutes) 2. Teacher leads discussion on how artists and scientists show nature in drawings or paintings.
3. Display an illustration from a science textbook.
Grade K Lessons
 PHASE LESSON
Aesthetic Exploration 4. Whole class uses real plant to identify the plant parts (root, stem, leaf, fruit/flower, seed) and these same parts in the art
(20 minutes) reproduction and the plant chart.
5. In small groups students look through magazines and cut out pictures of plants. Students cut the pictures so that the parts
of the plant are separate. They then paste them under the correct title of the part on a class tree map.
6. Review tree map as a whole group and discuss.
Demonstration 7. Teacher models tearing each individual plant part separately and gluing them on tag board to create a whole plant shape.
(5 minutes) 8. Oil pastels are used to add detail to plant parts (e.g., leaf lines, petal detail).
9. Pencil is used to label the six different parts.
Creative Expression 10. Student tears shapes and completes collage as modeled by teacher.
(30 minutes)
Reflection 11. Class discusses Essential Question as a whole group.
(10 minutes)

Connections Read From Seed to Plant by Gail Gibbons; The Carrot Seed by Ruth Kraus; Flower Garden by Eve Bunting.
Extensions Make a collage of an animal and label the parts.

11
Grade K Lessons
12
Grade 1 Lessons

13
 Grade 1 Lessons

14
 GRADE 1 CONTENT INTEGRATION TITLE OF LESSON
DANCE/SCIENCE The Water Dance
ESSENTIAL QUESTION INTEGRATED STUDENT OBJECTIVE
Why is it important for dancers and scientists to Students will demonstrate an understanding
understand how and why things change, both of change in the states of materials (water),
movement and materials? and in the quality of their movement.
Descriptors DANCE SCIENCE
Standards 1.1 Demonstrate the ability to vary control and direct force/ 1.1 Materials come in different forms (states), including solids,
energy used in basic locomotor and axial movements. liquids, and gases.
As a basis for understanding this concept:
a. Students know solids, liquids, and gases have different
properties.
b. Students know the properties of substances can change
when the substances are mixed, cooled, or heated.
Student Objectives Students will be able to vary and control the amount of energy/ Students will be able to recognize and understand the different
force used in moving in and through space, and in freezing, or forms of water.
stopping their movement.
Assessment Were students able to vary and control the quality of their Were students able to describe the different forms,

15
movement? Were they able to execute slow, smooth and light or states, of water? Can they describe
movements as well as quick, sharp movement? Were they able what causes water to change its form?
to move easily between smooth to sharp movement?
KEY KNOWLEDGE
Prior Knowledge • General and self-space • Water as a liquid
• Spatial awareness • Water as a solid
• Body control • Evaporation
• Tempo (fast/slow)
• Levels (high/low)
New Concepts • Energy Qualities, or Qualities of Movement • Liquids, solids, gases have different properties
• Mixing, cooling and heating can change the properties of a
substance
New Vocabulary Light, Smooth, Sharp, Energy Qualities Solid, liquid, gas, heat, cool, melt, evaporate
Grade 1 Lessons
 SKILLS
Prerequisite Skills • Execute basic locomotor and non-locomotor movements. • Describe how water can be a solid or a liquid, and can change
• Move and “freeze” with control and spatial awareness. back and forth from one to the other.
• Execute basic movements at different tempos. • Describe how water evaporates in an open. container but not
in a closed one. • Change levels while moving.
New Skills Execute basic locomotor and non-locomotor movements with Describe the properties of liquids, solids and gases.
different movement qualities, in particular, light, smooth, Describe how the properties of substances (water) change when
and sharp. mixed, heated or cooled.

MATERIALS/RESOURCES
• Ice cubes (one per student)
• Paper cup
• A glass of water
• Pencils
• Paper
• Vocabulary cards/poster of 3 states of matter
• Drum or music (suggested music: “Eric Chappelle: Music for Creative Dance,” Vol. I-IV)

PHASE LESSON
Introduce 1. Teacher introduces lesson by showing students a glass of water:

16
Concept/Element • What am I holding? How do you know?
Warm-up/Centering • How does water move?
(10 minutes) • Does it flow? Or move sharply?
• Does water always have this form? Explain?
2. Teacher shows students ice cubes:
• What am I holding now? How do you know?
• Can you tell me how these ice cubes got to this form?
3. Teacher tells students that the form of water is changed when it is heated and cooled (e.g., Ice cubes). When water is kept
in a freezer, the water changes from liquid to solid.
Exploration 4. Investigating water as a solid: Give each student an ice cube. How does the ice cube feel? Did you notice the ice cube is melting?
(Experimentation) Do you know what causes ice cubes to melt? Can we stop the ice cube from melting?
(10 minutes) 5. Students will put ice cubes in their own individual cups. (You will use them later, so keep them on your desk or in a safe area.)
6. Move into the dance space. Ask students to find their own “space bubble.” Explore “melting” with body parts, and then with
the whole body (e.g., melting arms, melting heads and spines). Ask students, “At what speed does water melt?”
7. Talk about how water moves (flows, rushes, drips, etc.). Cue the students to travel through space using water imagery and clear
movement cues to vary the students’ quality of movement (e.g., move smoothly through space like water flowing in a river, travel
using quick sharp “dripping” jumps, skip lightly as a gentle rain).
Grade 1 Lessons
 PHASE LESSON
Exploration 8. Explore how they would use their bodies to show the transformation of water to ice. Ask them, “How quickly or slowly does
(Experimentation) water turn into ice?” Explore traveling through space using water imagery, and “freezing” slowly and smoothly. Imagine a
cont. land where everything freezes quickly. Travel through space and practice freezing quickly and sharply.
9. Explore “frozen” shapes changing sharply from one to another. Explore “frozen” shapes that melt smoothly into another shape.

Improvisation/ 10. Use a musical selection in which flowing and percussive sections alternate (see Eric Chappelle’s “Contrast and Continuum”).
Creation During the “flowing” musical section, cue students to travel smoothly and lightly through space to represent water in its liquid
(Problems to Solve; form. Ask them to change the quality of their movement when the music changes, executing “frozen shapes” that change sharply
Choices to Make) to represent the solid state of water.
(20 minutes) 11. Use verbal cues and imagery (“It’s getting very cold,” “The sun is hot”) to prompt changing states of water. Cue them to
“freeze” and “melt” as they make the movement transformations.
Performance/Sharing 12. Divide the class in half and perform for each other.
(10 minutes) If time permits or as an extension:
13. Divide the room into “Liquid Land” and “Solid Land.”
14. Assign half of the class to represent water as liquid, and the other group of students will be solid.
15. Provide flowing music, and have the liquid group move smoothly.
16. Provide abrupt, sharp music, and have the solid group demonstrate changing, frozen “ice cube” shapes.
17. Now ask the students to move between “Liquid and Solid Lands,” melting in “Solid Land” before moving to “Liquid Land.” Again,
have them focus on freezing and melting as they move between the two.
18. After each performance have students reflect on what they saw. What movements demonstrated the flow of water well? How

17
was ice demonstrated?
Journal Prompt: Students return to their cups where they placed their ice cubes. Students will reflect on the ice cube transformation.
What happened? Did it happen to every cup in the same way? Was it solid, liquid or both? How does it feel?

Connections
Extensions Introduce the water cycle. Begin to introduce tempo (speed) with movement and how temperature affects the speed of water
transformation.
Read Water Dance. Explore water verbs with movement.
Watch a video of Doris Humphrey’s Water Dance.
Differentiation Review and model locomotor and non-locomotor movements before lesson. Provide visual aids, locomotor and non-locomotor
word cards or pictures.
Grade 1 Lessons
 GRADE 1 CONTENT INTEGRATION TITLE OF LESSON
MUSIC/ENGLISH LANGUAGE ARTS RECITE AND MEMORIZE WITH RHYME,
RHYTHM AND MELODY
ESSENTIAL QUESTION INTEGRATED STUDENT OBJECTIVE
Why is it important to use reciting and singing Students will demonstrate their understanding of ways
to help us remember? to memorize by singing a song and reciting a poem
from memory.

Descriptors MUSIC ENGLISH LANGUAGE ARTS

Standards 2.2 Sing age-appropriate songs from memory. Speaking applications
2.1 Recite poems, rhymes, songs and stories.
Student Objectives The students will demonstrate their understanding of ways to The students will recite a poem from memory.
memorize by singing a song from memory.
Assessment Can the students sing a song from memory? Are students able to recite “Star Light Star Bright” from memory?

KEY KNOWLEDGE
Prior Knowledge Rhythm of the words N/A

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New Concepts Memorizing using rhyme, rhythm and melody Memorizing using rhyme
Reciting to become better speakers
New Vocabulary Practice Recite
Tune
Melody
Rhythm
Solo

SKILLS
Prerequisite Skills Clapping the rhythm of the words N/A
Can show the difference between speaking and singing voice
New Skills Learning how to use rhyme, rhythm and melody to memorize. Learning how to practice reciting

MATERIALS/RESOURCES
Making Music Series First Grade “Wake Me Shake Me.” CD 9-4 “Star Light Star Bright” CD 3-36
Grade 1 Lessons
 PHASE LESSON
Warm-up Students are seated in a circle facing the teacher.
(10 minutes) 1. Listen to this song, “Wake Me Shake Me,” and show me the steady beat by patting on your legs.
a. You are going to clap hands with your neighbor in a moment but first let’s practice in the air. Follow me as I clap my hands
together and then clap hands with a pretend partner.
b. Turn and face your neighbor as your partner. Do these same movements while keeping the steady beat during the song.
2. What things do we do in the morning to get ready to go to school? Tell me first, then sing it to me. (Give an example to the
students, such as first speaking, then singing “I get out of bed.”) Who else would like to volunteer? (Choose a few other students.)
New Concept 3. If we speak the words to the song, “Wake Me Shake Me,” it is a poem. Poems are spoken and often have rhyming words.
(15 minutes) 4. When we recite, that means we practice saying the words. It helps us to get better at remembering the words and our
speaking. Please recite “Wake Me Shake Me” after me. Let me know if you can tell me where the steady beat is, even though
we are not singing. (Help students to discover that a steady beat is there and can guide you when you are reciting a poem as
well as when you are singing a song.)
5. Rhymes help us to remember songs and poems because the rhyming words sound similar.
a. Let’s all say the poem together from memory while we listen for the rhyming words. (Children recite from memory.) What
are the rhyming words?
6. When you add the music, it becomes a song.
a. The rhythm of the words helps us to remember the song because it is a pattern that is easy to remember. Let’s all clap the
rhythm of the words. (Guide students to clap the rhythm of the words.)
7. The tune makes it easy to remember a song because we can think about what the notes sound like.
a. Let’s all hum the tune of “Wake Me Shake Me.” (Option: Instruct students to move their hands up and down to show

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which way the notes are going as they sing.)
8. Why is it important to use reciting and singing to remember? (Guide students in a discussion. “It will help us...” )
Review/Application 9. Now we are going to use what we just learned to memorize a new poem and song, “Star Light Star Bright.”
(10 minutes) a. Repeat after me. First we’re going to use the steady beat to guide us as we recite the poem.
b. Next let’s listen for the rhyming words in the poem, “Star Light Star Bright.”
c. Practice reciting the poem with your neighbor as you clap the rhythm of the words.
d. Repeat after me to echo the song, “Star Light Star Bright.”
e. Let’s all recite the poem together by memory. Now let’s all sing the song together.
Assessment 10. Who would like to volunteer to recite or to sing one of the songs we learned today, “Wake Me Shake Me” or “Star Light Star Bright”?
(10 minutes) (Tell the students that if they sing alone, this is called a solo.)
Closing 11. One way to practice memorizing our songs and poems is to perform them when we are jumping rope. Let’s all stand and pretend
(5 minutes) we have our ropes with us. Let’s jump to the beat as we perform these two songs.
Connections
Extensions Students write their own suggestions for rhyming words in songs such as “Down by the Bay.” Do a class activity and use a graphic
organizer to show the differences among a speech, a poem and a song.
Differentiation
Grade 1 Lessons
 GRADE 1 CONTENT INTEGRATION TITLE OF LESSON
THEATRE/HISTORY-SOCIAL SCIENCE The Golden Rule and The Boy Who Cried Wolf
Duration: 50 minutes
ESSENTIAL QUESTION INTEGRATED STUDENT OBJECTIVE
How does application of the “Golden Rule” affect The learner will understand how the Golden Rule
the choices people make, and the jobs that they affects community life, while realizing that
perform for the community? some characters follow it and some don’t.
Descriptors THEATRE HISTORY-SOCIAL SCIENCE
Standards 1.1 Observe and describe the traits of a character. 1.1 (2) Understand the elements of fair play and good sportsmanship,
2.2 Dramatize or improvise familiar simple stories from classroom respect for the rights and opinions of others, and respect for
literature or life experiences. rules by which we live,including the meaning of the
3.3 Describe the roles and responsibilities of audience and actor. “Golden Rule.”
5.2 Demonstrate the ability to work cooperatively.
Student Objectives The learner will know that some characters follow the “Golden The learner will understand how the “Golden Rule” affects
Rule” and some don’t. community life.
Assessment Formative Teacher ObservationFormative Teacher Observation

KEY KNOWLEDGE

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Prior Knowledge Actors’ tools, character, stage, plot, pantomime Rights, responsibilities, community
New Concepts I know that character traits affect how we perform characters. I see what happens when the Golden Rule is not used. I know
that others describe me based on what I do.
New Vocabulary Audience, trait, Aesop, moral Reputation

SKILLS
Prerequisite Skills I can use pantomime and improvisational skills. I can do different kinds of jobs.
New Skills I notice how others help when I am sharing something with the I can recognize and describe “Golden Rule” behavior
class. I think about what my job is, as a performer, audience in myself and in others. I notice how my actions
member, or other kind of worker on a project. can affect others, both positively and negatively.

MATERIALS/RESOURCES
Wool, yarn, sweater, knitting
Grade 1 Lessons
 PHASE LESSON
Opening 1. Students enter as sheep or shepherd.
Gathering/Warm-up 2. Guided activity using sound effects and pantomime. Shepherds then “sheer” sheep. Switch and new shepherds sheer new sheep.
(5 minutes) Ask all to pick up the piles of wool and take to “spinning wheel.” Students “spin” wool into yarn. Students then sit in circle
and knit sweaters. Move ahead in time and students are sitting next to piles of scores of sweaters they have “knit.”
Reviewing/ 3. Students sit in circle for discussion. Sample questions: What are you going to do with these sweaters you have knit? If you sell
Previewing them, what will you spend the money on? So how does a person make money from sheep? What does a shepherd do? Is it an
Vocabulary important job? What are the jobs people do in the theatre.
(5 minutes) Review vocabulary: actors’ tools, character, plot, audience, rights, responsibilities, community
New vocabulary: character trait, moral, reputation, Golden Rule

Exploring/Creating 4. Chart—Ask students for jobs their parents do and write them down on a chart,discussing the importance of the jobs as they go
Exploring (5 minutes) along. Students do gesture/action that is a part of this job. Periodically ask why job is important; what happens if there’s no
one to do this job? Ask if the people who do these jobs need to use the Golden Rule, and what that means. What is something
they would say at their job? How would they say it?
Improvising/ 5. Walk about—Students choose a job from the chart and do their job in a “village.” Students use dialogue in jobs that
Inventing demonstrates application of the Golden Rule.
(Story) (10 minutes) 6. Read The Boy Who Cried Wolf to students. Ask why the boy decided to play a prank. Discuss what people can do if they get
bored at work. What could the boy have done?
Sharing/Reflecting 7. Whole class—Quickly cast class into Boy, Sheep, Wolf (who comes on at the end) and townspeople in their jobs. Designate (or

21
Playmaking have students decide) where village area should be and where pasture area should be. Narrate story, stopping to let characters
(15 minutes) speak their minds.
Reflecting/Assessing 8. Students sit in circle for reflection. Was the Boy using the Golden Rule on his job? What will happen to him and his job? How
(5 minutes) would you describe his character traits? What are the traits of the other characters? The wolf? The sheep? The people in the town?

Connections
Extensions Character Building—Why do people lie?
Differentiation (CRRE) (SP ED) Multiple intelligences (EL) Descriptive language
Grade 1 Lessons
 GRADE 1 CONTENT INTEGRATION TITLE OF LESSON
VISUAL ARTS/MATHEMATICS STILL LIFE ARRANGEMENT
ESSENTIAL QUESTION INTEGRATED STUDENT OBJECTIVE
How do artists and mathematicians use Students will describe how artists and
space in their work? mathematicians use space in their work.
Descriptors VISUAL ARTS MATHEMATICS
Standards 3.2 Identify and describe various subject matters in art 2.4 Arrange and describe objects in space by proximity, position
(e.g., landscapes, seascapes, portraits, and still life). and direction (e.g., near, far, below, above, up, down, behind,
in front of, next to, left or right of).
Student Objectives Students will identify various subject matters and describe the Students will know that they can describe the location of an object
items and positions of a still life artwork. in real space according to its position in relation to other objects.
Assessment Were students able to successfully describe the components of Were students able to successfully arrange objects into a still
a still life and portrait? life and describe the still life using positional words?
KEY KNOWLEDGE
Prior Knowledge There are different kinds of artwork. Names of solid shapes
New Concepts Realistic still life artworks can be different from each other The description of an object’s location can be changed if the
based on the type of objects used and their placement. object is moved or objects around it are moved.

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New Vocabulary Still life, Space Position, proximity
Near, far, below, above, up, down, behind, in front of, next to, or
right of
SKILLS
Prerequisite Skills Basic observation skills Working with manipulatives
Working in cooperative groups Working in cooperative groups
New Skills Oral communication skills in visual literacy
Introduction of the first stage of art criticism (describe) Planning to achieve a desired goal

MATERIALS/RESOURCES
Geometric solid models (e.g., spheres, cubes, cylinders, pyramids, tetrahedrons, etc.), plastic models or real fruit, such as oranges, apples, grapes, bananas
Grade 1 Lessons
 PHASE LESSON
Student Engagement 1. View examples of at least two genres (e.g., landscape, still life) of master artworks.
(5-10 minutes)
Aesthetic 2. Think pair-share: Where are specific objects placed in the master artworks?
Exploration 3. Group discussion: How can we place objects to mimic the still life of a master artist? Teacher can model various ways of
(10 minutes) positioning solid models.
Demonstration 4. Define new vocabulary: landscape, still life; review directional words (e.g., near, far, below, above, up, down, behind, in front of).
(5 minutes)
Creative Expression 5. In cooperative groups: Students configure objects, both geometric and organic fruit objects, into still life arrangements.
(15 minutes)
Reflection 6. Cooperative group reports: Describe configuration of still life, using positional words to describe the arrangement.
(10 minutes)

Connections
Extensions Sketch contour outline of still life, emphasizing placement.
Differentiation (CRRE) Physically explore objects in still life before configuration of still life.

23
Grade 1 Lessons
 Grade 1 Lessons

24
Grade 2 Lessons

25
 Grade 2 Lessons

26
 GRADE 2 CONTENT INTEGRATION TITLE OF LESSON
DANCE/ELA Let’s Make a Sequence!
ESSENTIAL QUESTION INTEGRATED STUDENT OBJECTIVE
Why does our writing need to be in sequence? Students will be able to use the concept of
Do we need sequence to tell a story through sequence in both written narratives and dance
movement? How is sequencing used and applied patterns and phrases.
in the larger world?
Descriptors DANCE ELA
Standards 2.1 Create and improvise movement patterns and sequences. 2.1 (a) Write brief narratives based on their experiences; move
through a logical sequence of events.
Student Objectives Students will be able to create a movement phrase in sequence. Students will be able to describe in written form their morning
events in logical sequence.
Assessment Were students able to create a simple sequential movement phrase? Were students able to write about their morning activities in a
logical, sequential way?
KEY KNOWLEDGE
Prior Knowledge General and self-space Identify sequence and logical order.

27
Beginning and ending
New Concepts Sense of sequence Sequential order in written form
Combining movements
New Vocabulary Sequence, movement phrase First, then, next, finally, sequence
SKILLS
Prerequisite Skills Execute basic locomotor and non-locomotor movements. Execute clear beginning and ending shapes.
Write complete sentences.
New Skills Sequence movements to create a dance phrase. Write about an experience in sequential order.

MATERIALS/RESOURCES
• list of locomotor and non-locomotor words posted for student reference
• pencils
• paper
• music (suggested music: Eric Chappelle; “Music for Creative Movement,” Vol. I – IV)
Grade 2 Lessons
 PHASE LESSON
Student Engagement
(5-10 minutes) 1. Students are in an open space and teacher demonstrates a simple dance sequence.
• Stretch
• Jump
• Shake
• Walk
• Repeat dance sequence several times until class is comfortable with movement.
2. Teacher explains that the previous movement was a sequence of movements. Discuss what they noticed about the dance
sequence. Example: What movement was first? Then? Next? Last?
Aesthetic Exploration
(10 minutes) 3. Create a discussion on other events that have a sequence. (e.g., making a peanut butter sandwich. brushing your teeth.)
4. Teacher will introduce the event of waking up in the morning. (What do you do first when you wake up in the morning?)
5. As a class, create a flow map with four sequenced events from student responses. Focus on first, then, next and last.
6. Once flow map is completed, allow students to explore the flow map through movement.
(Show me how you would get out of bed in the morning. What do you do when you brush your teeth?)

Creative Expression 7. Using the “waking up in the morning” flow map; students are given the task of using non-locomotor and locomotor movements at
(30 minutes) each sequenced event.
8. (First, I jump out of bed. Then, I shake out my “sleepiness,” etc.) Explore other different outcomes as students plug in
different movement words to the flow map.

28
9. Students will use their “waking up in the morning” movement sequence to write their narrative. Students should have four
sentences in sequence. Students should use sequence words to begin their sentences (first, then, next, last).
10. Students will practice their “waking up in the morning” movement sequence after writing their narrative.
11. Students will find a partner and read their “waking up in the morning” sequence.
12. Students will then perform their “waking up in the morning” movement sequence.
Reflection As a whole group, ask some reflecting questions:
(10 minutes) Were you able to see the sequence of events through movement?
What did you notice when you were writing down your “waking up in the morning” sequence? Was it easy or hard to add
movement to your sequence? Why?
Connections
Extensions Dance out of sequence! Have students change the sequence of events.
Differentiation Review and model locomotor and non-locomotor movements. Provide visuals of the movements as well as word cards.
Grade 2 Lessons
 GRADE 2 CONTENT INTEGRATION TITLE OF LESSON
MUSIC/SCIENCE Describing Pitch Through Movement and Comparison
ESSENTIAL QUESTION INTEGRATED STUDENT OBJECTIVE
How do we describe sound? The student will be able to demonstrate and
describe the relationship between pitch and size.
Descriptors MUSIC SCIENCE
Standards 4.2 Create developmentally appropriate movements to express 1.G Students know sound is made from vibrating objects and can
pitch, tempo, form, and dynamics in music. be described by pitch and volume.
Student Objectives The student will be able show pitch through movement. The student will be able to demonstrate and describe the
relationship between pitch and size.
Assessment Students use movement to show high and low. The student will be able to physically show the relationship
between pitch and length.
KEY KNOWLEDGE
Prior Knowledge Recognize loud and soft, high and low. Sound is caused by vibration.
Sound is described by volume.
New Concepts Students can describe pitch with movement. Pitch is the way to describe the highness and lowness of a sound.

29
New Vocabulary Pitch: the way to describe the highness and lowness of a sound. Length
High Pitch: the way to describe the highness and lowness of a sound.
Low
SKILLS
Prerequisite Skills Students have sung high and low notes. Experience comparing lengths of objects.
Students have experience changing volume with instruments
and voice.
New Skills Show high and low with movement. To predict the highness and lowness of sound

MATERIALS/RESOURCES
Resonator bells, boomwhackers and sound shapes
Balance and motion FOSS Kit
OR
4 sets of 5 PVC pipes cut in descending lengths (5.5, 5, 4.5, 4, 3.5 inches) and 1 dowel
Grade 2 Lessons
 PHASE LESSON
Warm-up 1. Sing “Hello, everyone” using hand signals to show high and low, students sing, “Hello, Ms. (Mr.) _________”
(5 minutes) Sing “How are you today?” Students sing “Very well, thank you.”
Please Porridge
2. Guide students to sing the song and use hands to show the high and low sounds.
3. Sing “Can you sing a high note?” in a high voice. Students repeat.
Sing “Can you sing a low note?” in a low voice. Students repeat.
New Concept 4. Ask the essential question: How do we describe sound?
(15 minutes) 5. Review what we already know about sound. Elicit prior knowledge from the children that sound can be described by volume
(loud and soft).
6. “How else can we describe sound?” Various answers include high and low.
7. “We can describe sound by its volume and pitch.” Define the terms volume (loud and soft) and pitch (the highness and
lowness of a sound).
8. Put out high and low resonator bells. Play each once. Ask the question, “Do they sound the same?” Add a middle bell.
9. “Why do they sound different? This is what we are going to explore today. Why do different objects produce different pitches?”
Review/Application 10. Invite the students to test the sounds produced by tubes of different lengths in groups of five children. Remind the children of
(15 minutes) the question, “Why do different objects produce different pitches?”
11. Tell the groups to prepare short oral presentations explaining what they have discovered.
12. Use the resonator bells to underscore the students’ discovery that pitch is related to length. (Show the difference in length
between the bells and play them again to further reinforce the concept.)

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Assessment 13. Guide the children to use the tubes to play patterns of low, medium and high (3 tubes). (Ask one student to play. Ask the other
(15 minutes) four to respond, showing the highness and lowness with their bodies.)
14. Bring out five boomwhackers. Ask five children to arrange themselves according to pitch, high to low. Ask five new children to
arrange themselves from low to high.
15. Repeat this activity with sound shapes.
16. “Let’s take the highest and lowest boomwhackers and play a game.”
a. Ask two students to each take a boomwhacker.
b. Conduct or ask a student leader to conduct by pointing to one of the two students to tell him/her when to play.
c. Instruct the rest of the class to physically match the pitch of the sound as the boomwhackers are played (moving hands
or bodies high or low).
17. Repeat, observing students for comprehension. Then guide the students to repeat the activity, this time with their eyes closed.
Observe to see how well the students are able to match their movement to the highness and lowness of the sound being played.
Closing 1. Review the essential question: How do we describe sound? How do we describe the lowness and highness of a sound?
(5 minutes) How can we show this with our bodies?
2. Sing “Good bye, boys and girls.” Students sing “Goodbye, Ms. (Mr.) _________.”
Connections
Extensions Listen to the Carnival of the Animals and move to show high and low sounds (donkey, cuckoo bird).
Differentiation
Grade 2 Lessons
 Grade 2 Lessons
SOUNDS CAN BE HIGH AND LOW
We hear high sounds and low sounds. Which pictures show animals or things
that make high sounds? Which pictures show animals or things that make low
sounds?

DAY Activities:
1 Point to each picture, asking students to make the sound each picture represents.
2 Point to each picture, asking students to say high or low for each.
3 Ask students to name other animals or things that make high sounds.
4 Ask students to name other animals or things that make low sounds.
5 Ask students to draw two pictures, one representing a high sound and one
representing a low sound.

“I am looking to see who is showing me their best effort!”

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 Grade 2 Lessons
WE CAN SHOW HIGH AND LOW SOUNDS
We can make high and low sounds with our voices.

DAY Activities:
1 Point to picture 1, asking students to move their voices up and down as you point.

2 Point to picture 3, asking students to move their voices up and down as you point.

3 Draw a picture on the board, then ask students to follow with their voices as you
point.
4 Ask students to draw a picture they can follow with their voices. Let them
practice it.

“I am looking to see who is showing me their best effort!”

32
 Grade 2 Lessons
WE CAN SHOW HIGH AND LOW SOUNDS
We can show high and low sounds by showing pictures of things that
are normally high and low in space.

We can show high and low sounds by putting pictures higher and
lower on a page.

DAY Activities:
1 Point to the star and fish pictures, asking students to make a high and then a
low sound.
2 Ask students to follow the other pictures and make high, medium and low sounds.

“I am looking to see who is showing me their best effort!”

DAY Activities:
1 Point to the star and fish pictures, asking students to make a high and then a
low sound.
2 Ask students to follow the other pictures and make high, medium and low
sounds.

“I am looking to see who is showing me their best effort!”

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 GRADE 2 CONTENT INTEGRATION TITLE OF LESSON
THEATRE/MATH Problem-Solving in Measurement and Storytelling
Duration: 60 minutes
ESSENTIAL QUESTION INTEGRATED STUDENT OBJECTIVE
How do actors and mathematicians find different Students will use problem-solving skills in
ways to solve problems? measurement and story development.
Descriptors THEATRE MATH
Standards 1.2 Use body and voice to improvise alternative endings to stories. Measurement and Geometry
1.1 Measure the length of objects by iterating (repeating) a
nonstandard or standard unit.
1.2 Use different units to measure the same object and predict
whether the measure will be greater or smaller when a
different unit is used.
Student Objectives Students will apply problem-solving skills and knowledge of plot Students will understand the broader use of a standard versus a
and conflict to devise new endings to stories. nonstandard unit of measurement in problem-solving.
Assessment
KEY KNOWLEDGE

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Prior Knowledge Pantomime, Character, Setting, Plot, Cooperation Measurement

New Concepts I can use what I know about the beginning and middle of a story I know the difference between standard and nonstandard units.
to make an ending. I know that it takes more small units than large units to cover the
same distance.
New Vocabulary Conflict, Alternative, Concept Unit, Distance, Standard, Nonstandard, Estimate
SKILLS
Prerequisite Skills Pantomime, improvisation Measurement
New Skills I work with my classmates to come up with alternative I measure distance with standard and nonstandard units. I predict if
endings to stories. the quantity of units required to cover the distance will be large or
smaller, depending on the size of the unit.

MATERIALS/RESOURCES
How Big Is A Foot? by Rolf Myller, “Royal” music (i.e., Handel or commensurate composer from other continents); chart paper, markers, a length of
red butcher paper to make a “carpet” taped to the floor, various standard and nonstandard units of measurement (e.g., rulers, yardsticks, paper clip,
banana, cucumber, cane, string, shoes, etc.)
Grade 2 Lessons
 PHASE LESSON
Gathering/Warm-up 1. Students enter to “royal” music, while pantomiming carrying “presents” for the queen. Students show weight, size, and
(10 minutes) shape of the present by the way they carry it.
2. Guided activity-“Measuring the Red Carpet” Choose a partner who has a noticeably different shoe size than you. Your job will
be to measure the red carpet using your feet, heel to toe, counting how many “feet” for each of you. Record the findings on
chart paper. At the end, see if students can guess who has the biggest feet and who has the smallest, based on the data.
(Students can measure other distances around the room if they finish early.)
3. Students “estimate”: How many paper clips would it take to measure a table? How many pencils? How many canes, etc.
Draw conclusions. The smaller the unit of measure, the more the number.
Reviewing/ 4. Students sit in circle.
Previewing Review vocabulary: pantomime, character, setting, plot, measurement
(10 minutes) New vocabulary: Show and discuss standard and nonstandard units of measurement. Students can sort standard from
nonstandard. Select which can measure distance. Discuss plot in terms of beginning, middle and end.
Is there a beginning, middle and end on a ruler? How are measurement tools like actors’ tools? Discuss conflict in terms of a
problem that needs to be solved. Discuss alternatives as choices that can be made.
(Save concept for reflection and discussion.)
Exploring 5. Character walk-Students walk as characters from the story: jovial king, happy queen anticipating her birthday, all the kingdom
(5 minutes) sleeping on the floor because there’s no such thing as beds, the prime minister, the chief carpenter and the apprentice.
6. Group assignments-Count off students by three or four so that there are three or four groups. Tell students these will be their
acting troupes that will make up the ending to the story.

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Vocabulary 7. Read story to where the apprentice is thrown into jail for making the bed too small for the Queen. The last question should be, “Why
(10 minutes) was the bed too small for the Queen?” Chart the characters and clarify the problem.
Improvising/Inventing If groups are small, the most important characters are the king, the queen, and the apprentice. Note the size of the characters in the
(Story) story. Students may use prop standard and nonstandard units in their improvisations. Their task: the characters must retell the whole
story ending with a proper-sized bed for the Queen. They must also answer the question: “Why was the bed too small for the Queen?”
They should use the word “units” in their story. These guidelines are posted for students to refer to.
Playmaking 8. Groups rehearse. Teacher circulates to facilitate.
(20 minutes) 9. Groups share their stories with made-up endings.
Reflecting/Assessing 10. Students sit in circle for reflection. What can students say about what will happen in measurement depending on the size of
(5 minutes) the unit? Which groups had alternative endings that seemed really plausible? Share real ending of story. Which units of
measurement are the most useful in certain situations?
Journal prompt: Students make up phone conversation dialog wherein a buyer is calling a seller in another country to order a supply
that can be measured in distance (fabric, rope, boards, flagpoles). The seller must be able to understand how much he must send.
Connections
Extensions
Differentiation
Grade 2 Lessons
 GRADE 2 CONTENT INTEGRATION TITLE OF LESSON
VISUAL ARTS/HISTORY-SOCIAL SCIENCE Color and Personality: How We ‘See’ History
ESSENTIAL QUESTION INTEGRATED STUDENT OBJECTIVE
How do artists and historians portray historic heroes? Students will understand how color choices can
express the personality of a historic figure.

Descriptors VISUAL ARTS HISTORY-SOCIAL SCIENCE

Standards 5.2 Select and use expressive colors to create mood and show 2.5 Students understand the importance of individual action.
personality within a portrait of a hero from long ago or the
recent past.
Student Objectives Student will use color to show an individual’s personality. Student will know about the importance of historic personalities.
Assessment Were students able to paint a portrait using color as a means to Were students able to effectively describe the personality traits
express the personality traits of a historic figure? of a historic figure?
KEY KNOWLEDGE
Prior Knowledge Primary colors, secondary colors, portrait, feeling History of hero (as), long ago and recent
New Concepts Portraits can convey important information about the subject. Heroes are people who made a difference.
New Vocabulary Mood, personality, color expressionism (feeling), Long ago, recent, character, personality, traits, biography

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warm and cool colors, proportion

SKILLS
Prerequisite Skills Basic drawing skills Distinguish fact from fiction
Basic painting techniques Be able to explain how the present is connected to the past.
New Skills Watercolor resist technique, facial proportions, adding Interpreting information
personality to a portrait through lines, shape and color

MATERIALS/RESOURCES
Oil pastels or crayons, scratch paper, watercolor sets, watercolor brushes, containers, watercolor paper, pencil, fine portraits of heroes
(e.g., George Washington, Sitting Bull, Cesar Chavez, Martin Luther King).
Grade 2 Lessons
 PHASE LESSON
Student Engagement Day One
(10 minutes) 1. Teacher leads students in a discussion of defining the character of a hero. Apply to a suggested person.View various portraits
(from several ethnic backgrounds) of historic personages. How do color choices convey mood, character?
2. Teacher reviews primary and secondary colors and introduces warm and cool color combinations.
3. Teachers asks, “How are colors used to express what the artist is trying to convey in regard to the personality of the person
being depicted in the picture?”
4. Teacher asks: “Think of a hero in your life.”
Aesthetic Exploration 5. Students pair-share to select a hero in their life (mom, dad, grandparent) and list the qualities of that person.
(10 minutes) 6. Individually think and write down what colors you would use to express their personality and why.
7. Whole group shares findings.
Demonstration 8. Teacher demonstrates the lesson.
(30 minutes) • How to set up desk for painting
• How materials will be distributed
• How to draw a portrait, using the correct proportions
• How to mix paint: secondary, warm, cool colors
• How to use wax resist
• How to apply the paint to paper surface

Reflection 9. Students are instructed to write in a journal which historic figure they chose and why.

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Student Engagement Day Two
(10 minutes) Students read short selection (independently or chorally) about a teacher-chosen hero.
1. Class participates in creating circle map/list of adjectives referenced in the reading.
2. Students are led to infer emotional characteristics of the hero.
3. Teacher-led discussion regarding: color/mood.
Demonstration — 4. On overhead teacher demonstrates how to draw a portrait using facial proportions

Creative Expression 1. With teacher guidance students use pencil and paper to draw the outline of the historical figure they have chosen, using the
(20 -30 minutes) correct facial proportions. (Remember, the proportions will not be as accurate due to age and skill level of the students.)
2. Students choose color(s) to convey the personality of the historical figure.
3. Students redraw the face using crayon on watercolor paper.

Demonstration Day Three

(10 minutes) 1. Teacher demonstrates how to mix colors and apply paint.
Creative Expression 2. Students paint portrait.
(30-40 minutes)
Grade 2 Lessons
 Reflection What learning will you take away from this project that you can use in future assignments?

Connections Math proportions

Extensions Display each step of the students’ work (the process) and have them collaboratively give each step a title and explanation.
Include readings of other cultural heroes throughout the unit.
Differentiation (EL) Read The Mixed Up Chameleon by Eric Carle

Vocabulary Cool colors: Colors suggesting coolness: blue,green, and violet.

Portrait: A two or three-dimensional artwork created in the image of a person.
Proportion: The relationship in size of one part to the whole, and of one part to the other.
Warm colors: Colors suggesting warmth: red, yellow, and orange.

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Grade 2 Lessons
 Grade 2 Lessons
How to Draw a Face

1. Lightly draw an oval in pencil.

Hairline is approximately
halfway between top of
head and eyebrows.

2. Lightly draw a liine down

the middle.

3. Lightly draw a line Eyes have approximately one

eye-width between them. Top edge of
across the middle. eyes

4. Mark halfway between

the dividing line and Bottom edge
the bottom. of nose

Center of 6. Draw ears

mouth from the
5. Mark halfway between eyebrows to
#4 and the bottom. the bottom
of the nose.

Neck starts
behind ears.
Add details.

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 Grade 2 Lessons

40
Grade 3 Lessons

41
 Grade 3 Lessons

42
 GRADE 3 CONTENT INTEGRATION TITLE OF LESSON
DANCE/MATH FROM FRACTIONS TO RHYTHM
ESSENTIAL QUESTION INTEGRATED STUDENT OBJECTIVE
Why is the concept of fractional equivalency Students will demonstrate an understanding of
important to both dancers and mathematicians? fractional equivalency by creating rhythmic
movement phrases and notating those phrases
with mathematical equations.
Descriptors DANCE MATH
Standards 1.4 Expand the ability to incorporate spatial and time concepts Math Reasoning 3.1 Compare fractions represented by drawings
in movement problems. or concrete materials to show equivalency and to add and
2.8 Create, memorize, and perform original movement sequences subtract simple fractions in context.
with a partner or a small group.
Student Objectives With a partner, students will create, memorize and perform short
Students will be able to write simple mathematical equations that
phrases of rhythmic movement. show equivalency, and add simple fractions within the context of
those equations.
Assessment Did students successfully create, memorize and perform a short Were students able to successfully write two mathematical
phrase of rhythmic movement? equations using equivalent fractions to represent their rhythmic
pattern?

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KEY KNOWLEDGE
Prior Knowledge • General and Self-Space • Fractions as parts of a whole
• Rhythmic Perception
• Dance Structure: Beginning, Middle, End
New Concepts • Duration and Note Value • Fractional Equivalency
• Rhythm
New Vocabulary • Duration, Note Value, Rhythm • Equivalent Fractions, Equivalency
Grade 3 Lessons
 SKILLS
Prerequisite Skills • Able to count, move and freeze to a steady beat • Recognize, name and compare unit fractions from 1/12 to ½
• Able to move at different tempos • Recognize fractions of a whole and parts of a group
• Able to execute basic locomotor and non-locomotor movements • Understand that when all fractional parts are included, the result
• Able to perform a dance sequence with a clear beginning and a is equal to the whole and to one
clear ending
New Skills • Able to execute movements of different durations within a • Compare fractions represented by concrete materials or
dance sequence drawings to show equivalency
• Ability to create and move to a rhythmic pattern • Add simple equivalent fractions
• Able to create, memorize and perform an original movement
sequence

MATERIALS/RESOURCES
• Pie chart • Drum or other percussive instruments
• Note value chart • Clean, clear space
• Rhythm cards

PHASE LESSON
Student Engagement 1. Introduce concept of fractional equivalency using a simple pie chart or other concrete materials.
(5-10 minutes) 2. Practice comparing fractions to show equivalency.
3. Discuss how musicians and dancers use the concept of equivalency. Briefly introduce the concept of duration (how long
something takes or lasts) and musical note value. Focus on whole note (“worth” four beats or counts), half note (“worth” two

44
counts), and a quarter note (“worth” one count). Compare note values as fractions and equivalent fractions.
4. Introduce rhythm cards. A set of rhythm cards consists of: One 8x11 inch sheet of colored paper representing a whole note, or
four counts; two half-sheets of a different color worth two beats each; and four quarter-sheets of yet another color worth one
count each. Use the cards to show equivalency.
5. Take one whole sheet, one half-sheet, and two quarter-sheets and lay them in any order on the floor. Ask the students to
determine the value of these four sheets (4 counts, 2 counts, 1 count, 1 count = 8 counts).
6. Focus on a grouping of eight beats total. Look at each individual rhythm cards as a fraction of eight (the whole). Write
mathematical sentences using equivalent fractions to represent the value of the cards.
7. Introduce the concept of rhythm using the cards. Using the card sequence outlined in #5 or a new sequence of the same cards, ask
the students to say the colors of the cards (make it a rhythmic chant), count out the card value (e.g., 1-2-3-4,1,1-2,1), clap the
rhythm of the cards, clapping only once for each card, and holding it out for its full value. Vary the order of the cards, or rhythm
pattern, and repeat the color, count, and clap sequence.
Aesthetic Exploration 8. Explore the following movements: stretch, turn and jump. Use concepts of body, space, time and energy to vary the movements.
(10 minutes) For example, stretch on a low level and then on a high level; turn slowly, changing levels; jump, changing directions.
9. Add the movements to the rhythm patterns. The stretch will correspond to the four-count card; the turn to the two-count card; and
the jump to the one-count card. Play with the movement in different rhythm sequences. Make sure the stretch is always a four-count
movement; the turn a two-count movement; and the jumps one-count each. (If the students are ready to do so, have them count
the sequences as eight-count phrases.)
Grade 3 Lessons
 Creative Expression 10. Ask students to find a partner. Give each group their own set of cards as described in #5, and ask them to create their own
(30 minutes) eight-count phrase.
11. Have them write two mathematical expressions for their chosen rhythmic phrase, using equivalent fractions.
12. Ask students to repeat their rhythm sequence twice using different stretches, turns and jumps in the two sequences. Join the
two sequences together to create a rhythmic phrase. Make sure the beginning and ending of the phrase are clear.
13. Perform for each other.
Reflection 14. Discuss why it is so important for dancers, choreographers and mathematicians alike to understand the concept of fractional
(10 minutes) equivalency.

Connections • Tap Dance

• World Dance (Gumboot, Riverdance)
Extensions • Create 16-count rhythmic phrases using rhythm cards.
• Write mathematical equations with fractional equivalents whose sum is always 8/8. Convert these equations into a rhythm.
• Add eighth notes to the rhythm card set.
Differentiation • Set the rhythm pattern as a class. Use this structure to improvise variations of the stretch, turn and jump. Improvise as a
group. Perform for each other within the improvised structure.

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Grade 3 Lessons
 GRADE 3 CONTENT INTEGRATION TITLE OF LESSON
MUSIC/SCIENCE What Does It Sound Like and Why?
Exploring Musical Instruments
ESSENTIAL QUESTION INTEGRATED STUDENT OBJECTIVE
How do the attributes of an instrument Students will be able to describe and demonstrate
affect the sound? how sound is produced on various instruments.

Descriptors MUSIC SCIENCE

Standards 1.5 Describe the way sound is produced on various instruments. 5.e Collect data in an investigation and analyze those data to
develop a logical conclusion.
Student Objectives The student will be able to describe and demonstrate how sound Students will be able to investigate musical instruments to
is produced on various instruments. collect data and use the data to explain how the attributes of
the instruments affect their sound.
Assessment The students will play and describe the sound of different The students will collect data comparing attributes of different
instruments. instruments and chart their results.

KEY KNOWLEDGE

46
Prior Knowledge Pitch Students know energy can be carried from one place to another
Volume by sound waves.
Students know that many forces in physical sciences are invisible.
New Concepts There is a relationship between material and quality of sound Students can identify the attributes (material, size, method of
(duration, volume, pitch). sound production) of a musical instrument and relate it to the
quality of sound (decay, volume, pitch).
New Vocabulary Duration, striking, shaking, hitting, scraping Decay, pitch, volume, length, data, attribute
SKILLS
Prerequisite Skills Experience playing simple percussion instruments. Comparing and charting comparison
Students have sung “John Kanaka.”
New Skills Predict quality of sound based on the way the instrument looks Apply data to a logical conclusion that they can demonstrate.
and is played.

MATERIALS/RESOURCES
Making Music Grade 3, “John Kanaka” CD 2-37, assorted percussion instruments, timer, measuring tape
Grade 3 Lessons
 PHASE LESSON
Warm-up 1. Guide students to choose a percussion instrument to play and to sit in a circle.
(10 minutes) 2. Teacher (or student leader) plays a simple rhythm pattern. Guide class to repeat the pattern on their instruments.
3. Guide students to take turns playing individually and to focus on listening to hear the different instrument sounds.
New Concept 4. Continue to guide students with individual playing until you see that the students show awareness of the different sounds.
(15 minutes) 5. Discuss the sound quality of each instrument (volume, pitch, and decay – how long it lasts), how it is created (by striking,
shaking, hitting, scrapers), and begin to compare through discussion.
6. Ask the children to sort themselves into groups based on instruments that have similar attributes. (They might sort into
groups by materials: metals, woods, skins; by the way sound is produced: shaking, striking, scraping; or size of instruments.)
7. Ask the groups to discuss why their instruments are similar.
8. Guide the whole class to collaboratively chart the results of their discussions.
9. Ask the children to sort themselves in a different manner to find other qualities their instruments might have in common.
10. Add these new results to the collaborative chart.
Review/Application 11. Arrange the students in small groups and distribute a few instruments to each group arbitrarily. Ask the students to compare the
(15 minutes) instruments in a variety of ways. How they compare may be left up to students. Give each group a timer and a measuring tape.
Tell them that they can choose to use these tools to measure decay, note material, size, and the manner in which sound is produced.
12. After eight minutes have the children share their strategies and then continue working to expand their exploration.
Assessment 13. Give the groups an opportunity to chart and share their results.
(10 minutes) 14. Ask the question, “Which of these differences (things done differently to play the instrument) resulted in different sounds?”
15. Guide the students to form groups again and choose another way to demonstrate different ways showing the different qualities.

47
Ask the students to demonstrate the differences they made (things they did differently to produce different sounds) while using
the instruments.
16. Guide the students to take turns conducting by pointing to the different groups to show them when to play.
Closing 17. Accompany the song, “John Kanaka,” asking the different instrument groups to play at different times.
(5 minutes) 18. Guide the class to decide what group of instruments will play on which phrase. The game rule is that two instrument groups
will play instruments while the remaining students sing. Rotate groups.

Connections
Extensions
Differentiation
Grade 3 Lessons
 GRADE 3 CONTENT INTEGRATION TITLE OF LESSON
THEATRE/LANGUAGE ARTS Discovering the 5 W’s with Nobiah’s Well
Duration: 50 minutes
ESSENTIAL QUESTION INTEGRATED STUDENT OBJECTIVE
How does a character’s motivation determine The learner will infer and understand a character’s
what happens in a story? motivation through what they say and do and by
examining the 5 W’s.
Descriptors THEATRE LANGUAGE ARTS
Standards 1.2 Identify who, what, where, when and why (the five W’s) Literary Response and Analysis: 3.3 Determine what characters
in a theatrical experience. are like by what they say or do and by how the author or
3.2 Identify universal themes in stories and plays from different illustrator portrays them.
periods and places.
5.1 Use problem-solving and cooperative skills to dramatize a
story or a current event from another content area, with
emphasis on the five W’s.
Student Objectives The learner will examine the five W’s to understand a character’s The learner will infer a character’s motivation through what they
motivation. say and do.
Assessment Formative Teacher Observation Formative Teacher Observation

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KEY KNOWLEDGE
Prior Knowledge Pantomime, improvisation, tableau Who, what, where, when, why
New Concepts I will relate the five W’s with theatre vocabulary: I will infer a character’s motivation through what they say and do.
character (who), setting (where and when), objective/motivation
(why), plot (what). I will also understand how the five W’s affect
a character’s motivation.
New Vocabulary Character (who), Setting (where and when), Objective/Motivation Character (who), Setting (where and when), Objective/Motivation
(why), Plot (what) (why), Plot (what)
SKILLS
Prerequisite Skills Pantomime, improvisation, tableau, walk-about Beginning, middle and end of a story
New Skills I will continue to develop their skills in improvisation in various I will be able to verbalize and write about the function of the
groupings. five W’s in a story.

MATERIALS/RESOURCES
Nobiah’s Well by Donna W. Guthrie (Illustrated by Rob Roth), African music, digital camera, large vessel/water jug, and photos of a desert/dry land, a hyena,
an anteater, and a hedgehog. Students should bring with them a heavy hardcover book (It will be used as a prop). Bubble maps of the five W’s.
Grade 3 Lessons
 PHASE LESSON
Opening 1. Walk-about: Students will enter room and use their hardcover book as a water vessel. Show your vessel and model how
Gathering/Warm-up you would carry it on your head. They will carry them on their heads to experience how the characters in the story would
(5 minutes) feel in their daily task of obtaining water for their families.
• Students will walk around while you are changing the description on the walk.
• “There is a drought and it is very desolate. It is dry, hot and dusty. It’s getting hotter….even hotter than that….and the water
on your head is gettin heavier… and heavier…you are thirsty…..even more thirsty… you can barely take another step…etc.”
Reviewing/ 2. Vocabulary and realia should be explored during the lesson when each concept is introduced.
Previewing Story vocabulary: drought
Vocabulary Theatre vocabulary: character (who), setting (where and when), objective/ motivation (why), plot (what), pantomime,
(5 minutes) improvisation, and tableau.
Exploring/Creating 3. Share Photos: Realia are used to help students visualize what the animals and environment would look like and how the
Exploring animals might move.
(5 minutes) 4. Pair students: Students stand in A line and B line facing one another about four feet apart.
Improvising/Inventing 5. Students improvise: In lines the students improvise two possible scenarios based on the story. Do not use the characters’ names.
(20 minutes) Emphasize who, what, where, when, and why.
(Story) • boy/girl and thirsty animal- Animal asks for water and boy/girl needs to be convinced to share it.
• boy/girl and Mother- Mother is angry that boy/girl gave water to animals and he/she wants to persuade their mother that
they did the right thing.
6. Students improvise: In groups of four or five the students improvise two more possible scenarios based on the story. Do not

49
use the characters’ names. Emphasize who, what, where, when, and why.
• boy/girl and thirsty animals- Animals come visit and ask for more water and he/she has none to share.
• boy/girl and animals-Animals try to convince him/her to build a well and the boy/girl doesn’t believe he/she is capable.
Sharing/Reflecting 7. Teacher reads story to class.
Playmaking 8. Students improvise: Divide the class in half. Each group will improvise their scenes simultaneously.
(20 minutes) • Have half of the class improvise how Nobiah might be treated after he is successful in building a well for the village. Who would
be affected? What might they be doing and saying? Why might they be doing and saying these things? When might they be doing
and saying it? Where might they be doing and saying? What might they be doing and saying? Have them create a dialogue.
• Have students perform for each other. Have the groups freeze into tableaux. Take Pictures!
Reflecting/Assessing 9. Have a reflective discussion: Ask questions.
(5 minutes) • Why did Nobiah give the water to the animals?
• Were his actions (motivation) right, why or why not?
• What would you have done if you were Nobiah?
• Why did his mother become angry?
• What would you have done if you were his mother?
10. Students will choose a classmate in a photo as a subject to analyze and write about the five W’s. — or —
11. Use the illustration from Nobiah’s Well to use as a journal prompt. Students will choose a character in Nobiah’s Well as a
subject to analyze and write about the five W’s.
Grade 3 Lessons
 Connections Can be connected to lessons dealing with character/kindness, emotions, science and the environment.
Extensions Divide the class in half and have the groups improvise how Nobiah might be treated if he wasn’t successful and his family was
struggling because they had no water. After the lesson, have the students explore the same questions from parts 7 and 8.
Differentiation (CRRE) Culturally relevant literature (SP ED) Uses multiple intelligences (EL) Language development—descriptive language

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Grade 3 Lessons
 GRADE 3 CONTENT INTEGRATION TITLE OF LESSON
VISUAL ARTS/HISTORY-SOCIAL SCIENCE Geography of Landscapes
ESSENTIAL QUESTION INTEGRATED STUDENT OBJECTIVE
How do geographers and artists portray the Students will study and illustrate different
geographical features of a region? types of geological features.

Descriptors VISUAL ARTS HISTORY-SOCIAL SCIENCE

Standards 2.3 Paint or draw a landscape, seascape, or cityscape that 3.1.1 Identify geographical features in their local region (e.g.,
shows the illusion of space. deserts, mountains, valleys, hills, coastal areas, oceans, lakes).
Student Objectives Students will create a landscape that shows the illusion of space. Students will identify features of their geographic area/region.
Assessment Did the student demonstrate knowledge of how to create the Can the student identify geographical features?
illusion of space through the use of overlapping shapes and
changes in scale?
KEY KNOWLEDGE
Prior Knowledge Overlapping, relative size, placement Geography, mountains, desert, river, map
New Concepts Artists document landscapes in various ways. Each region has unique geographical features
New Vocabulary Atmospheric perspective, space, depth, foreground, middle Geographic features (e.g., mountains, valleys, hills) ground,

51
background, landscape, seascape, texture Geographic regions (e.g., coastal, valley, desert)
SKILLS
Prerequisite Skills Experience with watercolor/oil or oil pastels Map reading
New Skills Illustrate space in an artwork using foreground, middle ground, Identify geographic feature on a map. Identify and recognize
and background. geographical features in the local environment.

MATERIALS/RESOURCES
Oil pastel, watercolor sets, watercolor brushes, watercolor paper #90 lb., containers for water (suggest cover-ups for students and newspapers for desks),
pictures of local landscapes, images of fine art landscapes
Grade 3 Lessons
 PHASE LESSON
Student Engagement Day One
(10 minutes) 1. Take a walking tour of school campus or neighborhood. Look at local landscape.
2. Identify geographic features, if possible, such as mountains, hills, rivers (or cityscape or seascape).
Aesthetic Exploration 3. Look at various artists’ depictions of landscapes.
(10 minutes) 4. Think pair-share: What geographic features can you identify in the artworks?
5. Identify the foreground, middle ground, and background.
6. Discuss differences in scale, details, color, and placement.
Demonstration 7. Guided practice: Demonstrate drawing a foreground, middle ground, and background in a landscape. Identify geographic
(15 minutes) features (e.g., mountains, valleys, hills, lakes, etc.)
Creative Expression 8. Students observe and sketch a landscape from the neighborhood or create an imaginary landscape that includes geographic
(30 minutes) features.
Reflection Individual journal reflection: How did you show illusion of space? What geographic features did you include?
(10 minutes)
Student Engagement Day Two
(10 minutes) Students review and discuss placement, size, scale, color, and details of geographical features illustrated in art reproductions.
Demonstration Teacher demonstrates how to apply watercolors or oil pastels to the drawing paper.
(10 minutes)

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Creative Expression 1. Students redraw the preliminary drawing onto the final drawing paper.
(30 minutes) 2. Students use knowledge of scale, placement, detail, and color to complete picture.
Reflection Individual journal reflection: What problems did you experience? What risks did you take?

Connections
Extensions Students work collaboratively on a landscape mural of their city.
Differentiation Landscape can be done using colored pencils.

Vocabulary Atmospheric Perspective: achieved by using bluer, lighter, and duller hues for distant objects in a two-dimensional work of art
Observational Drawing Skills: Skills learned while observing firsthand an object, figure, or place
Scale: relative size, proportion, used to determine measurements or dimensions within a design or work of art
Texture: The surface quality of materials, either actual (tactile) or implied (visual)
Grade 3 Lessons
Grade 4 Lessons

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 Grade 4 Lessons

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 GRADE 4 CONTENT INTEGRATION TITLE OF LESSON
DANCE/HISTORY-SOCIAL SCIENCE DANCING MAPS
ESSENTIAL QUESTION INTEGRATED STUDENT OBJECTIVE
Why are maps necessary in our world? Students will understand and demonstrate how
Why is the key, or legend, important on a map? maps are used in both dance and social studies.
Descriptors DANCE HISTORY-SOCIAL SCIENCE
Standards 1.3 Demonstrate range and use of space, time and 4.1 Students demonstrate an understanding of the physical and
force/energy concepts. human geographic features that define places and regions in
California.
Student Objectives Students will be able to create a pathway dance phrase going Students will be able to identify the location of the state
from a line on the floor to various planes and dimensions of space. capital and four regions of California.
Assessment Did students successfully create a dance phrase using various Were students able to identify the state capital and the four
pathways? Did they successfully represent the various regions as regions of California?
designated in the instructions?
KEY KNOWLEDGE
Prior Knowledge • Cooperative group work • Location of California with respect to our nation and the world
• Spatial awareness: personal space • Legend/key

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New Concepts • Floor design • Mapping skills
• Pathways • Regions of California
New Vocabulary Pathway, Non-Locomotor Movement, Locomotor Movement, Region,geography, mountain, desert, coastal plain, valley,
Tempo, Shape key/legend
SKILLS
Prerequisite Skills • Execute a variety of locomotor and non-locomotor movements • With teacher’s guidance, be able to label the map of California
• Create group and individual shapes with the state capital, and the four regions of California.
• Move using level (high, middle, low) changes
New Skills • Create a floor design • Identify geographic regions found in California, and where
• Move with increased awareness of space, time, and they are located.
energy concepts
Grade 4 Lessons
 MATERIALS/RESOURCES
• California Regions Map. www.eduplace.com: Click on [Outline Maps], click on United States, click on California Regions
• Fradin, Dennis Brindell. California: From Sea to Shining Sea. Chicago: Children’s Press, 1994.
• Knowlton, Jack. Geography From A to Z: A Picture Glossary. Illustrated by Harriet Barton. Harper Collins Publishers, 1988.
• “California’s Gold.” VHS, PBS Los Angeles, 1991-1995.
• Butcher paper, chart paper or legal-size paper with a blank map of California already drawn or printed on the paper (one per group of 4-5)
• Colored pencils, crayons or markers
• Sidewalk chalk, masking tape or blue tape
• Visual art drawings or things to represent the four regions and the capital to be placed on a large map (e.g., cactus drawing for the desert region,
blue tape to run along the coastal region, orange cones for the mountain region, drawings of crops for the valley region, and black dot for the capital)
• Music (preferably without lyrics) with an exploring theme: Theme from “Mission Impossible”
• CD Player/iPod
• Large space such as the auditorium or outdoor space

PHASE LESSON
Student Engagement 1. Before the lesson, draw a map of California with either sidewalk chalk (if outdoors) or create the map with masking tape or
(5-10 minutes) blue tape in a large space (auditorium).
2. Students enter and find their own personal space to warm up.
3. Review key social studies vocabulary: region, mountain, desert, coastal plain, valley, capital.
4. Introduce (or review) various pathways — curved lines, straight lines, zigzag.
• In their own personal space, without traveling, students visualize painting with a paintbrush and their favorite color of paint:

56
horizontal lines, vertical lines, curvy lines around their body, and zigzags on the floor.
• Now use other body parts to paint with: elbow, head, nose, toe, shoulder, etc.
5. Travel pathways: dip your feet in the paint and paint straight lines around the room.
• Call out different direction changes like backwards, sideways, forwards.
• Repeat with zigzag and curvy.
Aesthetic Exploration 6. Introduce (or review) the difference between making a shape, non-locomotor movement and locomotor movement.
(10 minutes) • Make a curved shape and hold it for five seconds.
• Now descend your curved shape without traveling.
• Make a shape with straight lines.
• Now spin your shape without coming out of your shape.
• Now try descending your straight shape.
• Next make your straight or curvy shape and travel it around the room/open space without coming out of your shape.
• Next try making your shape, come out of your shape and travel to a new spot in the space and freeze in a new shape.
7. Students bring their individual maps of California, already labeled with the state capitol and four regions and stand around
the perimeter of the giant map.
8. Ask individual students to place the visual markers for the four regions and the state capital on the giant map.
• Label each region with an assigned characteristic: Capital = beginning group shape, Mountains = high partner or individual held
shape, Coast = Locomotor Movement north to south or south to north, Desert = slow tempo, Valley = descend to a low shape
Grade 4 Lessons
 PHASE LESSON
9. Half of the class (the other half of the class is watching around the perimeter) exploration:
• Gather around the state capital and make a tall narrow still shape that connects with one partner.
• Next have them travel with that partner on a straight path to the marker of the coastal plains.
• Gallop on a curvy path (symbolizing the ocean waves) along the coastal plains.
• Next glide on a straight pathway to the desert and reduce your speed to a slow tempo walk (reminding you of the heat in the desert).
• Next travel to the mountains and make a high shape, symbolizing the mountains that are still (your shape can be connected
with your partner or alone).
• Finally travel on a zigzag path to the central valley and descend to a low level shape (symbolizing the descent from the
mountains to the valleys) to end your dance phrase.
10. Repeat with the other half of the class.
Day Two: Begin with short pathway warmup (same as first day) (10 min.)
Finish Improvising (10 min.)
11. Divide students into groups of four to five. Each group needs to have a large map on legal-size or chart paper and four colored
pencils and crayons or markers.
12. Have students label the state capitol and four regions of California with the same symbols that the giant map contains.
13. Explain that each group will be traveling through all of the four regions of California by designing a pathway map dance.
• Start at the state capital and have students draw a pathway (straight, curvy or zigzag) to the first region they would like to
travel to.
• Continue designing pathways until each group has traveled to all four regions.
14. Instruct students to practice your pathway dance by walking through your map on the giant map outline.

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Creative Expression 15. Create your dance:
(30 minutes) • Decide on a beginning group shape at the capital
• A locomotor movement to travel up or down the coast
• A locomotor movement in slow tempo for the desert
• A high partner or individual shape for the mountains
• A descending low shape for the desert
16. Practice each part of your sequence on the giant map together with your group.
17. Notate your choices on your group map next to each region (e.g., spiral descent to a low, twisted shape in the valley).
18. Memorize your dance phrase by practicing it as a group several times.
19. Students will take turns explaining their group dance map then performing their dance phrase.
20. Remind students about what it means to be a respectful audience.
21. Audience will be watching for each movement change at each region.
Reflection In your group discuss the following questions:
(10 minutes) • What pathways did you see in the dances?
• Did mapping out the pathways and regions help to clarify your dance?
• Did dancing the regions and capital of California help you to remember their locations?
22. Reflect on the essential question with a partner in their group. Share with the class. (Think-Pair-Share)
23. Reflect on the essential question in a personal journal.
Grade 4 Lessons
 Connections

Extensions Redraw their maps with a key/legend that will communicate their ideas.
In your small groups (four to five students) label the capital and four regions of California on an enlarged outlined map of
California (poster/chart paper). Design a new pathway dance starting from the state capital and traveling to each of the regions
throughout California on a large floor plan of California (already drawn or taped on the floor).
Create a movement change at each region that relates to the region (e.g., group held shape in mountain region that
symbolizes mountains). End at any region.

Differentiation

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Grade 4 Lessons
 GRADE 4 CONTENT INTEGRATION TITLE OF LESSON
MUSIC/MATH FRACTIONS AND MUSIC
ESSENTIAL QUESTION INTEGRATED STUDENT OBJECTIVE
How are fractions used to divide abstract things The student will be able read, write and perform
like time in music? rhythmic notation using fraction concepts.

Descriptors MUSIC MATH

Standards 1.3 Read, write and perform rhythmic notation. 1.5 Explain different interpretations of fractions; for example,
parts of a whole, parts of a set, and division of whole numbers
by whole numbers. Explain equivalents of fractions.
Student Objectives The student will be able to read, write and perform rhythmic The student will interpret music notation as fractions.
notation using fraction concepts.
Assessment Did the student accurately write and perform their rhythm? Can the student recognize music notation as fractions?

KEY KNOWLEDGE
Prior Knowledge Steady beat Whole to part
Rhythmic speaking using
Tah, Ti Ti and Rest

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New Concepts Music notation Be able to explain different interpretations of fractions
New Vocabulary Rest
Quarter/tah
Eighths/ti-ti
Beat box Interpret
SKILLS
Prerequisite Skills Moving to a steady beat Identify fractions and write using words and number symbols
New Skills Reading rhythms as fractions
Interpret, identify and match music and music notation to fractions.

MATERIALS/RESOURCES
Rhythm Chart (To make overhead), Circle Worksheet “Making Music Grade 4,” “College Hornpipe” CD 5-1, “Turn the Beat Around” CD 4-11, “Little
Birdie” CD 4-15, Assorted Rhythm Instruments
Grade 4 Lessons
 PHASE LESSON
Warm-up 1. Echo my movements to the steady beat.
(10 minutes) • Make up your own movements to the steady beat.
2. Echo my movements as I perform some rhythms with movement. (Clap hands and/or do other body motions to different rhythms.)
• Make up your own movements to the rhythms that I clap.
3. Follow my lead and clap as I point to these hearts on this overhead transparency (Rhythm Chart). They represent the steady beat.
(Teacher points to each heart symbol, keeping time with the steady beat. See overhead graphic. Optional-Play music to
accompany this beat activity, one piece or several. “College Hornpipe,” “Turn the World Around,” “Sonata in F Major for Bassoon,”
“La Peri,” “Fanfare,” and “Little Birdie.”)
• (Move to the next line.) These lines also represent the steady beat. As I point, clap and speak them by saying TAH.
• (Move to the next line.) The Z symbol represents silence in music. We call it a rest. Clap this line but do not clap when I point to
the rest symbol.
• This next line uses ”beat boxes” because some of the beats are divided. Clap two times when I point to a divided beat box.
• Please say ti-ti when you clap the divided beats.
• Underneath the divided beat boxes is a new way to show a divided beat. It shows two connected lines. Perform this line as I
point to each symbol on the steady beat.
• This is a rhythm in written and music notation. Clap the rhythm as I point, based on the previous lines.
New Concept 4. Teacher asks the essential question - How are fractions used to divide abstract things like time in music?4.
(20 minutes) • Define the term fraction. (Elicit responses of how we define and interpret fractions.)
• Can we use fraction circles to show how time is divided into parts?
5. We are going to create music rhythms using our circle worksheet (see worksheet graphic). Clap numbers 1-6 with a partner.

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6. Next work with a partner to make four circle rhythms (numbers 7-10). If you have fraction circles use them first to create
your rhythms before writing them on your worksheet.
• Clap your circle rhythms.
• Are we using fraction circles to interpret our musical patterns? (yes)
• If rhythm is sound divided into fractions, how do musicians interpret this on paper?
• What language can they use? (Rhythmic Notation)
• Interpret your circle rhythms by writing them below each circle using the rhythmic notation that musicians use.
Review/Application 7. Perform your rhythm with your choice of rhythm instruments.
(5 minutes)
Assessment 8. Read and perform someone else’s written rhythm notation.
(5 minutes)
Closing 9. Take turns performing your rhythms to a variety of music. (Choose music with a strong steady beat as in #3 above.)
(10 minutes)
Connections
Extensions Explore how equivalent fractions can be used to add up to one measure (e.g., 1/8 + 1/8 + 1/4 + 1/2 = One four-beat measure).
Differentiation Work one-on-one with student; pair with student leader; partner with child to demonstrate to others (EL).
Grade 4 Lessons
 Grade 4 Lessons

3. 4. 5. 6.

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 Grade 4 Lessons
RHYTHM

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 GRADE 4 CONTENT INTEGRATION TITLE OF LESSON
THEATRE/LANGUAGE ARTS Characters and the World in Relation
Duration: 120 minutes
ESSENTIAL QUESTION INTEGRATED STUDENT OBJECTIVE
How does the way the character interacts with The learner will use improvisation to demonstrate
the setting and situation reveal the character’s how setting and situation can drive a character’s
traits and motivation? choices and actions.
Descriptors THEATRE LANGUAGE ARTS
Standards 1.2: Identify a character’s objectives and motivations to explain 2.2 (Comprehension and Analysis) Use appropriate strategies
that character’s behavior; 2.1 Demonstrate the emotional traits when reading for different purposes (e.g., location of information);
of a character through gesture and action. 3.3 (Literary Response and Analysis) Use knowledge of the situation
and setting and of a character’s traits and motivations to
determine the causes for that character’s actions.
Student Objectives The learner will use improvisation to show how characters The learner will understand how setting and situation interact
interact with the setting and situation. to drive characters’ choices and actions.

Assessment Criteria chart for tableaux and/or a/b improvisation to evaluate Does the student show an understanding of the relationship of
achievement of objective in theater. setting and situation to a character’s behavior and choices? Use

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grade-level writing criteria to assess paragraph.
KEY KNOWLEDGE
Prior Knowledge How to represent setting with the three actor’s tools “Two Tickets to Freedom” (recently read)
Basic knowledge of: The Civil War, slavery and the Underground
Railroad
New Concepts 1. Characters make choices in response to their setting and 1. Character traits are revealed through their actions.
situation.
2. Modulations of voice and different physical qualities, such as 2. Characters’ choices and actions are affected by their setting
leading with different centers, help to create characters in and situation.
performance.
New Vocabulary Leading center
SKILLS
Prerequisite Skills Walk-about, tableau, a/b improvisation 1. Skimming text for information
2. Adjectives, adverbs, description, verbs, nouns
New Skills Moving with leading centers of the body Determining character traits from their actions
Grade 4 Lessons
 MATERIALS/RESOURCES
Two Tickets to Freedom: The True Story of Ellen and William Craft, Fugitive Slaves, by Florence Freedman (or any story with rich characters in dynamic
interaction with their environment)

PHASE LESSON
Opening 1. Names and Gestures With Different Qualities: Students in a Circle. (May do one, two or all of these.)
Gathering/Warm-up • Leader calls out an emotion, such as fear, and students say a line from the story or appropriate made-up line, such as
(10 minutes) “Do you have a ticket?” simultaneously, expressing that emotion. Gestures may be improvised, if desired.
• Leader calls out a situation in an environment, such as “It’s midnight and freezing,” or “You must hide your real identity,” or “You
are suspicious of strangers around you.” Students again respond, simultaneously, to the different prompts.
• Silent Scream (Viola Spolin). Leader instructs students to imagine that their toes are screaming, then their knees, their thighs, their
stomach, their chest, their neck, their head. When the whole body is silently screaming, instruct student to let out a real scream.
The sound will be deafening, so instruct them to stop upon the leader’s signal.
Reviewing/ 2. Vocabulary: Civil War; slavery; Underground Railroad
Previewing 3. Bubble Maps. Pass out bubble maps to groups of four or five. Each bubble map has one of the main characters in the center
Vocabulary bubble. The group fills in their bubble map with adjectives that describe the character indicated on the bubble map. The main
(10 minutes) characters are Ellen Craft, William Craft, The Conductor/Abolitionist (combine with “Guard” for economy), the Chief Officer
(combine with Yankee Officer), and the Other Passengers. For the Other Passengers, individual character traits may be
inferred or imagined, but should be within range of believability. Also, look at the illustration in Open Court book for clues
about character traits. What does the facial expression or bodily stance reveal?
Exploring/Creating 4. Walk-abouts with Isolations. Leader directs students to develop character traits and emotions in their bodies. For example:

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Exploring • Leading with the top of your head (i.e., your face is pointed downward, arms at your sides). Walk slowly and deliberately.
(10 minutes) Look around, but keep your head down. Which character in “Two Tickets” does this feel like?
• Straighten up, put hands on your hips, and jut out chin. Walk around. When you turn to look at someone, make the chin turn
with the eyes. What character does this feel like?
• Cradle one of your arms. Protect the arm as you walk through a crowded train. People are jostling you, but you protect the
arm. Which character?
• Lead with your sternum. Fill your upper chest with breath. Experiment with arms swinging confidently at your sides or clas
behind your back. Character?
• Cock your head to one side. Clasp hands over stomach.
NOTE: Don’t make this a guessing game. If some students call out the characters they think these are, it’s fine, but don’t say
“Right” or “Wrong.”
Grade 4 Lessons
 Improvising/ 5. Tableaux. Groups reform to represent all five characters in a single group. (i.e., one member from each different bubble map
Inventing (Story) group should be represented in the Tableau group). Each group creates a tableau representing the characters in each setting of
(20 minutes) the story. The settings, in the order they appear, are:
1) The passenger car; 2) the Chief Officer’s office; 3) the dock at Havre-de-Grace; 4) the train to Philadelphia; 5) arriving at the
boardinghouse. Leader tells students that, if their particular character is not in that scene, to play an object or another passenger.
Remind students to show their character in an attitude and emotion appropriate to each situation.
• Leader calls out each setting, and the students respond by creating a tableau. Allow a few seconds for negotiation and then
call “Freeze!” Hold tableau for about five seconds.
• While students are in tableaux, ask, “What is your character feeling right now? What is she/he thinking right now?” “What
is the next action your character will take?” (Tell students not to call out, but to answer silently to themselves.)
Sharing/Reflecting 6. Improvised Scenes with Narration and A/B improvisation. Teacher assigns one setting to each group. (Whether you want each
Playmaking setting in the story represented is optional. Two groups could represent the same setting to show how it can be done differently.)
(25 minutes) Each group re-creates or makes a new tableau to represent characters in that setting. Then each actor creates a line to say to
at least one other character in the scene and at least one specific action. Actor(s) representing objects or minor passenger
characters will create a narration to introduce and end the scene. Begin and end the scene with a tableau. The emphasis
throughout should be on expressing character traits, motivation and emotions.
This step has three parts:
• Creation (improvisation): Guided by teacher
• Rehearsal
• Performance
Reflecting/Assessing 7. In performances, the audience should be aware of criteria chart for tableaux (stillness, silence, clear picture focus, dynamic

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(20 minutes) energy) and for a/b improvisation (listening, cause-and-effect reasoning, concentration, staying in character).
8. Audience should provide feedback on content of tableaux. Ask:
• Do the actors communicate at least one of their character’s personality traits?
• Is a specific emotion expressed?
• Can you tell what a character’s relationship to other characters and the environment is?
• Are there any clues about what the setting is?
9. After performances and theatre-skills critique, students should individually write a paragraph about the character he or she
played in a specific setting. Included should be:
• An explanation in the student’s own words of the character’s immediate situation at that moment — How is the environment
affecting the character’s feelings and behavior?
• The student’s carefully considered assessment of the general personality or character traits of the character she played
• What the character wants in that situation (immediately) and why they want it

Connections Social Science (Civil War)

Extensions
Differentiation (CRRE) African-American History (SP ED) (EL) Bubble Maps, Total Physical Response
Grade 4 Lessons
 GRADE 4 CONTENT INTEGRATION TITLE OF LESSON
VISUAL ARTS/SCIENCE EARTH MOVES
ESSENTIAL QUESTION INTEGRATED STUDENT OBJECTIVE
What (scientific, environmental) ideas do artists Artists communicate ideas by manipulating earth
communicate when they work with earth materials? materials to simulate natural earth processes.

Descriptors VISUAL ARTS SCIENCE

Standards 2.3 Use additive and subtractive processes in making simple 5.0 (Earth Sciences) Waves, wind, water, and ice shape and
sculptural forms. reshape the Earth’s land surface. As a basis for understanding this
concept, students know: a) Some changes in the Earth are due to
slow processes, such as erosion; b) Moving water erodes landforms,
reshaping the land by taking it away from some places and
depositing it as pebbles, sand, silt, and mud in other places.
Student Objectives Students will create ceramic relief sculptures of landforms Identify factors that reshape land surfaces.
using the additive and subtractive processes.
Assessment Were students able to demonstrate knowledge and process of Identify and describe processes of land reshaping.
incorporating additive and subtractive clay techniques to a
relief sculpture?

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KEY KNOWLEDGE
Prior Knowledge 2-Dimensional; 3-Dimensional; sculpture, clay techniques such Properties of rocks-How rocks are made (rock cycle)
as pinch, coil, slab, pattern
New Concepts Contemporary art – land art, earth art Earth’s land surface is constantly being reshaped by natural forces.
Clay is an earth-based medium.
Artists use earth in artwork.
New Vocabulary Additive, Subtractive, Relief Sculpture, Texture, Slip, Score, Erosion, Erosive Forces — deposit, silt, mud
Glaze, Kiln
SKILLS
Prerequisite Skills Experience with clay sculpting tool Identification and description skills
New Skills Manipulation of clay through additive and subtractive processes Identification of land reshaping processes
Grade 4 Lessons
 MATERIALS/RESOURCES
Images of Robert Smithson’s “Spiral Jetty,” works by Ana Mendieta, Michael Heizer’s “Double Negative”
Chris Burden’s “Exposing the Foundations of the Museum,” images of beach or river erosion (e.g., before and after LandSat images of Mississippi River)
Images of erosion taken from a science textbook
Example of clay tile work
Pencils, 6x6 drawing paper or journals, clay, clay tools, rolling pin, sticks ½ inch thick, glaze, canvas cloth, containers for slip, newspapers, water or
wipes (suggest cover-up)

PHASE LESSON
Student Engagement Day One
(15 minutes) 1. View artwork from Smithson, Heizer, Burden.
• Ask students, “Is this art? Why? Why not?”
• Can the earth become a canvas?
• How can Land Art be affected by erosion?
2. View Landsat images of Mississippi River ‘before’ and ‘after’ erosion.
3. Look at pictures in a state-adopted textbook that illustrate erosion.
4. Show an example of a relief sculpture (Lorenzo Ghiberti’s “Bronze Doors for the Bapistry of the Florence Cathedral”
5. Think pair-share: Compare and contrast the art and nature — How are these works similar or different?
Demonstration 6. Teacher: define and demonstrate; rolling a slab, making slip, using additive and subtractive processes to replicate earth

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(20 minutes) surfaces, such as rocks, water and earth.
7. Allow time for students to experiment with clay. Give each student a small clump of clay and let them pull, roll, and pinch it,
and make textures in the clay by either making marks or pressing objects into the clay.
8. Teacher asks: “How will you use additive and subtractive methods to replicate landforms?”
Aesthetic Exploration 9. Have students sketch at least three drawings that represent earth surfaces affected by erosion. Discuss textures, patterns and the
(15-20 minutes) fact that some areas need to be higher (additive) and some areas lower (subtractive) in the compositions. Let students know they
will be picking one to make into a ceramic tile.
Additive Subtractive Additive Subtractive Additive Subtractive
Grade 4 Lessons
 Reflection 10. Think pair-share (will also be reflection at end of lesson). What earth processes were artists emulating? What ideas might
they be expressing?
Student Engagement Day Two
(15 minutes) Discuss with the students the theme of the project. “We have discussed and looked at art and nature both affected by the natural
forces of wind and water that cause erosion and the reshaping of the earth.”
1. Show two images from previous day (art/nature).
2. Summarize discussion from previous day.
3. Now we are going to recreate landforms, using the additive and subtractive clay technique.
4. Pass out drawings from yesterday.
5. Pass out pre-cut tiles. Students put their name on the back of the tile.
Demonstration 6. Demonstrate how to roll clay shapes into rocks and how to remove clay to make wave shapes, etc.
(15 minutes) 7. Demonstrate how to attach pieces of clay to the tiles by using slip.
Creative Expression 8. Have students choose the drawing they are going to recreate on their tile.
(30 minutes) 9. Pass out a piece of paper the same size as the tile (6 x 6).
10. Have students redraw the chosen drawing, making improvements to the design if necessary.
11. Have students recreate their drawing onto the clay tile, using the subtractive and additive method.
12. Have students cover tiles with plastic if they did not get finished.
13. Leave the finished tiles uncovered until they dry.
Reflection Journal prompt: How did you use the additive and subtractive process in your artwork?
Creative Expression Day Three

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(30 minutes) 1. Allow time for students who did not complete their tile.
2. Explain to students the next steps that will take place after tiles are fired (glazing). You will need to make arrangements to fire
tiles if a kiln is not available at your school.
Refection Journal prompt: What changes would you make if you were to design a new tile? Why?
Day Four – Next Week
1. Demonstrate how to glaze tiles
2. Have students glaze tiles
Creative Expression Journal prompt: What earth process were the artists emulating? What earth processes were you emulating?
(30 minutes)
Extensions 1. Students can observe and record erosion in their neighborhood by taking pictures, drawing a picture, or describing in a journal.
2. Individual tiles can be combined to create a class tile mural.
3. Make tiles larger/thicker and use in a community school garden as stepping-stones or decorations.
4. Work with a community artist to help create the tile mural.
Differentiation Collaborative groups/SDAIE techniques
Grade 4 Lessons
 Instructions for making a slab tile:
1. Place a ball of clay on a cloth-covered board.
2. Place one ½ -1 inch slat (depending on the width of the tile you are going to use) on each side of the clay.
3. Use a rolling pin to press down the clay, making it a slab. Roll to an even thickness.
4. Cut into 6x6 squares (cut an extra in case a student needs one).
5. Cover with plastic.
Glaze – See instructions on glaze. Recommend natural colors.

Vocabulary Additive–Adding or combining materials

Carving–A method in which material is cut away
Ceramics–Art of making objects of clay, which are hardened by firing at a high temperature
Glaze–In ceramics, a thin, glossy coating fired into pottery
Score–Repeated scratching of a clay surface at the area that another scored piece of clay will be attached
Slip–A mixture of clay and water that is used to attach two scored pieces of clay together
Subtractive–Removing or taking away from the original material
Relief–Carving, molding, modeling, or stamping in which a design projects from the background surface

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Grade 4 Lessons
70
Grade 5 Lessons

71
 Grade 5 Lessons

72
 GRADE 5 CONTENT INTEGRATION TITLE OF LESSON
DANCE/SCIENCE Circulation Dance
Duration: Three 50-minute lessons
ESSENTIAL QUESTION INTEGRATED STUDENT OBJECTIVE
Why is the concept of flow so important? Students will be able to diagram and perform a
Why is it important for dancers to create a complex dance sequence that reflects how blood
movement sequence that flows? lows through the circulatory system,
Why is blood flow vital to our circulatory system? fincluding the lungs (respiratory system).
Descriptors DANCE SCIENCE
Standards 2.1 Create, memorize and perform complex sequences of Life Sciences: 2b Students know how blood circulates through
movement with greater focus, force/energy, and intent. the heart chambers, lungs, and body and how carbon dioxide
2.4 Demonstrate principles of opposing weight and force/energy, (CO2) and oxygen (O2) are exchanged in the lungs and tissues.
balance and counterbalance, or cantilever.
Student Objectives Using the concept of flow, students will be able to diagram and Students will be able to complete a diagram that tracks the
perform a complex dance sequence that reflects how blood blood flow through the circulatory system, including the lungs
flows through the circulatory system, including the lungs (respiratory system).
(respiratory system).
Assessment Were students able to successfully diagram, create and perform Were students able to successfully complete a diagram

73
their phrase? Did they successfully execute their movement representing the flow of blood through the circulatory system?
with continuous flow?
KEY KNOWLEDGE
Prior Knowledge • Able to work cooperatively in groups • Whole-group brainstorm on “What do we know about the
• Spatial Awareness: Personal Space human circulatory systems?”
New Concepts • Flow • Body Systems
• Sequence • Human Anatomy
• Relationships: meet and part • Heart Chambers
• Counterbalance
• Balance
New Vocabulary Flow, Sequence, Balance, Counterbalance, Expand, Circulatory System, Respiratory System, Heart, Pulse
Contract, Descend
SKILLS
Prerequisite Skills • Spatial Awareness Sequence of the blood flow through the circulatory system and
• Partner Work respiratory system
New Skills • Complex sequence
• Moving with flow
Grade 5 Lessons
 MATERIALS/RESOURCES
• Circulation and respiration diagram, www.macmillanmh.com/science. Go to grade 5, Chapter 1, Lesson 5 “Science in Motion”
• Diagram of heart and lungs
• Steps of the dance sequence (one per group of 4-5) located in Improvisation Section
• Blank paper for each group to diagram their dance
• Large space

PHASE LESSON
Introducing 1. Brainstorm the importance of sequence and flow.
Concept/Element 2. Brainstorm: “What do we know about the human circulatory system?” Introduce the circulation and respiration diagram.
Warm-up/Centering • Show the chambers of the heart, how blood comes in, goes to the lungs, leaves and comes back (with fresh oxygen) to the body.
(15 minutes) • Discuss the importance of the sequence and the flow.
3. Explain that we will explore the concept of flow in movement and compare it to the flow of blood in the circulatory system.
4. Jog in place or jump rope for two minutes.
• Have students take their pulse for 30 seconds.
• Record and compute their pulse rate.
• Explain that your pulse is caused by the stopping and starting of the blood as it rushes through your arteries.
• Pulse points are the spots on your body where an artery is near the surface of the skin.
• One pulse point is inside of your wrist beneath your thumb.
• Another is on the side of your neck beneath your ear and slightly forward.
5. Make connections between pulse (expand and contract) and the heart muscle.

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• In a circle explore the idea of expand and contract.
• Open your body into a giant X, expanding in both directions.
• Imagine your legs have roots into the floor and your arms are reaching toward the ceiling.
• Close your body into a tight ball, making your body as small as possible.
• Now imagine you are the heart expanding as it fills with blood and contracting its muscles, squeezing the blood and pumping
the blood out.
6. Explore different ways of expanding and contracting,with a partner using counterbalance (pull/push):
• Expand and contract, connecting both hands.
• Expand and contract, linking elbows, arm to leg, etc.
Exploring 7. Explore different ways of expanding and contracting, maintaining a continuous flow:
(Experimentation) • Expand and balance on one leg, contract into a twisted ball.
(10 minutes) • Expand and reach out to a neighbor next to you.
• Contract and descend to a low level on the floor.
• Expand and connect to another neighbor next to you.
• Contract into a partner shape.
• Expand and connect to another group of two so you have a group of four.
• Contract into a group shape.
Grade 5 Lessons
 8. Keeping a continuous flow, expand and travel to a new spot in the room. Contract and travel to your next spot.
9. Introduce the idea of meeting and parting.
Expand and travel to a new partner.
Contract back to your own spot.
Repeat, meeting a different partner.
Improvising Day Two:
(Problem to solve; Repeat with exploration improvising to finish up diagrams
Choices to make) (10 minutes)
(25 minutes) 10. Divide into groups of four to five students.
11. Give each group the steps of the dance sequence.
12. Students will diagram their dance by labeling the steps and drawing arrows to indicate the flow (include a sample diagram).
• Step 1: The group will begin in two different spaces in the room (two dancers in one spot, two-three in another spot).
• Step 2: Travel together to meet at the heart (the center of the space) and create a sequence of expand and contract,
staying in the center.
• Step 3: Part and travel in partners or trios (if it’s a group of five) to the two lungs and create a balance and counterbalance
sequence duet or trio in the lungs.
• Step 4: Travel back to the heart (center of the space) to meet again and repeat the expand-and-contract sequence staying
in the center.
• Step 5: Part together, traveling out of the heart through the aorta, then separate to an individual space, symbolizing
different parts of the body.
Composing Day Three: Repeat 13.After diagramming their dance, students will create their dance using their diagram to remember the sequence.

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(15-20 minutes) exploration to use as warm-up
14. Students practice repeating their sequence to maintain a continuous flow in their dance (symbolizing the blood flow).
Performing/Sharing 15. Each group performs their dance and shares the diagram of their dance.
(15 minutes) 16. Remind students about what it means to be a respectful audience.
17. Audience will be watching for each step of the dance sequence.
18. Can use chance music. Can perform once with music, once without music, or use two different music choices.

Connections Physical Education: Why does our heart beat faster when we exercise?
Extensions
Differentiation
Grade 5 Lessons
 GRADE 5 CONTENT INTEGRATION TITLE OF LESSON
MUSIC/ENGLISH LANGUAGE ARTS Music Can Communicate a Story
ESSENTIAL QUESTION INTEGRATED STUDENT OBJECTIVE
How does music’s power to inspire affect Students will show their understanding of how tempo
an artist like a writer’s contribution to society? and dynamics in music communicate ideas by
writing a narrative.
Descriptors MUSIC ENGLISH LANGUAGE ARTS
Standards 4.1 Identify and analyze differences in tempo and dynamics in Writing Strategies
contrasting music selections. 1.1 Create multiple-paragraph narrative compositions:
Establish and develop a situation or plot.
Describe the setting.
Present an ending.
Student Objectives Students will show their understanding of how tempo and Students will write a narrative inspired by an instrumental
dynamics in music communicate ideas by writing a narrative selection.
based on how these elements occur in a musical selection.
Assessment Did the students respond at various tempos and dynamics Does the student narrative demonstrate that the student
based on the music? clearly understands the correct writing process as well as to use
specific music elements and mood of the music for inspiration?

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KEY KNOWLEDGE
Prior Knowledge Dynamics Steps for writing multi-paragraph composition. Elements of
Tempo narrative composition.
New Concepts Learn how tempo and dynamics in music can communicate Visualization
ideas and mood.
New Vocabulary Dynamics — Loud to Soft Plot
Tempo — Speed (Fast to Slow) Setting
Ending
Narrative
SKILLS
Prerequisite Skills Recognize fast, slow, loud and soft Knowledge of the format for multiple paragraph narrative
compositions
New Skills Being able to base a narrative on a musical selection
Grade 5 Lessons
 MATERIALS/RESOURCES
Making Music, Fifth Grade, “The River,” a suite by Virgil Thompson CD 6 –13, “Infernal Dance” from “The Firebird Suite” by Stravinsky CD 8-28, CD
Player, Music Elements Chart
Example of Narrative Graphic

PHASE LESSON
Warm-up Day One
(5 minutes) 1. We’ll begin today with an activity based on music elements. Your instruction is simply to make your hands move big and
small according to the music that you hear. Please close your eyes while listening and moving to the music. Teacher writes on
the board: hands, big and small. Teacher plays 30 seconds of the finale from “The River,” a suite by Virgil Thompson (CD 6-13
in the Fifth Grade Making Music). (This is an instrumental piece with obvious short sections of loud and soft music.)
2. Continue with the activity but now open your eyes to see how your classmates are moving. (Leave the music playing for one
more minute so the students can observe each other.)
New Concept
(30 minutes) 3. A composer writes music to communicate ideas. When we hear music it inspires ideas in us. What did you hear in the music
that determined when you would move your hands big or small? (Lead students to notice that the loudness and softness in
the music were the music elements most often chosen to guide the students as to when they would move their hands.)
What are some examples that show that how each student moved their hands was unique to that student? (One student might
have made their hands look like they were holding a big ball to indicate “big” while another student might hold both hands
up to reflect what they felt was “big” in the music.)

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4. How does music inspire ideas, mood and imagination? We are going to talk about two elements that a composer uses to
communicate ideas and mood in music. Dynamics describes the loudness and softness in music. Tempo describes the speed of
the music.
5. When you hear music at the movies, what is the connection between the elements, dynamics and tempo, and the moods and
ideas that they inspire in the story? Guide the students to make a connection between the music elements, mood, and ideas
(e.g., slow-sad-leaving friends. See Chart).
6. We’re now going to create a story based on elements in the music and the mood that they create. We are going to talk about
what comes to mind when you listen to this music.
• Teacher encourages further discussion about setting, plot, characters, ending and sequence.
• Teacher uses a graphic organizer to display student ideas (See Chart of example).
Review/Application 7. I’d like you to visualize a story while the music is replayed. Pay particular attention to how the dynamics and tempo elements
(15 minutes) in the music influence your story. (Teacher may opt to give the students the opportunity to repeat the process on their own with a
new music selection. “Infernal Dance” from “The Firebird Suite” by Stravinsky in Making Music Fifth Grade CD 8-28 is suggested.)
8. Write a rough draft of a narrative composition based on the ideas we have discussed today.
Day Two
(10 minutes) 9. Divide into pairs and discuss the elements of dynamics and tempo while the music is playing.
Grade 5 Lessons
 Assessment 10. Work on your final draft. (While the students work on their final draft, the teacher speaks with each student individually to
(25 minutes) see if the student can show that their story is an appropriate match with the dynamics and tempo elements as well as the
mood of the music.)
Closing 11. Who would like to share their stories? (Teacher chooses a few students to share their stories.)
(15 minutes) 12. Let’s listen to the music and reflect on the stories we have just heard as we listen.
13. Tell the students about the ideas the composer intended to communicate when they wrote the music.
Connections

Extensions Repeat the same process with another piece of music. Learn the music symbols that represent dynamics and tempo.

Differentiation

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Grade 5 Lessons
 Grade 5 Lessons

MUSIC Mood Idea or Inspiration

ELEMENTS OR About
Emotion

LOUD Angry A Storm

Triumphant Winning a Medal
DYNAMICS

Heroic Rescuing

SOFT Sad Losing a Pet

Happy Finding a Pet
Relieved Arriving Home

FAST Excited Racing

Happy Dancing
Anxiety Visiting
TEMPO

SLOW Peaceful Flower Growing

Sad After a Fire
Boredom Doing the Same
Thing

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 GRADE 5 CONTENT INTEGRATION TITLE OF LESSON
THEATRE/HISTORY-SOCIAL SCIENCE The Causes of the Colonist Rebellion
ESSENTIAL QUESTION INTEGRATED STUDENT OBJECTIVE
How can examining a moment of conflict through The learner will use tableau to demonstrate their
tableau help us understand its causes, understanding of the conflicts that occurred during
effects and implications? the Revolution.

Descriptors THEATRE History-Social Science

Standards 1.2 Use body and voice to improvise alternative endings to stories. 5.4.1. Understand how political, religious, and economic ideas
and interests brought about the Revolution (e.g., resistance to
imperial power, the Stamp Act, the Townsend Acts, taxes on tea,
Coercive Act.)
Student Objectives The learner will use tableau, dialogue, and improvisation to The learner will be able to understand how the unfair demands
understand the causes of a popular uprising. of a government can lead to popular uprising.
Assessment Rubric Rubric
KEY KNOWLEDGE
Prior Knowledge Tableau, improvisation, body, voice and imagination, and character Students need to know about the New World and the colonists
relationship with the Indians. What brought on democratic ideas

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in colonial America? How was the Boston Tea Party a result of
this democratic thinking?
New Concepts A tableau is a frozen image that communicates a thought, idea, People need to feel empowered. It is important that individuals
or a concept. are involved in decisions that affect them.
I can create a character within a historic tableau to help me I will understand the idea of empowerment and cause and effect.
understand the character’s thoughts and motivations.
New Vocabulary Tableau, frozen, focus, levels, detail, pantomime Tariff, protest, petition, boycott, repeal, empowerment
SKILLS
Prerequisite Skills Walk-abouts, space bubble, pantomime A/B improvisation, Understanding cause and effect, double bubble thinking map
creating dialogue Summarizing and researching

New Skills Exploring character through tableau and dialogue Applying knowledge from history text to create tableau and dialogue
Creating a historical tableau that freezes a moment in history

MATERIALS/RESOURCES
Pictures of the Boston Tea Party, history text, and patriotic music
Grade 5 Lessons
 PHASE LESSON
Opening 1. Students march into patriotic music. Such as: Yankee Doodle
Gathering/Warm-up 2. Students form a circle first followed by two parallel lines facing one another.
(5 minutes) 3. Music will stop. Students will play a theatre game entitled “West Side Story.” (This game is played to help the students
experience being an oppressed group, and experience being an aggressive group.)
a. Students in parallel lines will position themselves across the room from each other a couple of feet in front of the sidewall.
b. There is line A and line B. The middle person in line A starts making a noise with a movement. Everybody in line A copies
the movement and sound of the person in the middle as line A walks slowly toward line B.
c. Line B stands there with their hands to their sides. Once line A gets directly in front of line B, line B starts backing up until
they are backed up to the opposite side wall.
d. This process is reversed with line B taking the lead.
Reviewing/ Students sit in their lines for discussion. The group talks about how they cooperated with their group to challenge the opposing
Previewing group. SAMPLE QUESTIONS: How did it feel to face a group of people and have to retreat? How did it feel to be the aggressor? Do
Vocabulary you feel that you should be involved in decisions that affect you? How did you use your body, voice and imagination to intimidate
(15 minutes) the opposing line?
Review tableau and dialogue.
4. In groups of four the students will review their Social Studies Textbooks and exam pictures of the Boston Tea Party. They
should answer the following questions about the illustrations: Who do you see in this image? What are these people doing?
When might this be happening? Where might this be happening? Why do you think they are doing these things? How are they
doing these things?
5. Groups of four or five students will act out what a protest meeting might have been like before the Boston Tea Party. What

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might Samuel Adams have said to get the group to protest against the British? Think about an unjust situation in your own life.
Example: How might you feel if your friends do not do all of their homework and in return the principal rewards them with extra
time at recess and a field trip? You, on the other hand, turn in all of your homework and the principal rewards you with more
homework. Think of how unjust it was for the colonists to pay more and more taxes without being given anything in return. In your
group, come up with some statements that the colonists might have voiced to protest the way King George III was treating them.
Exploring/Creating 6. In space bubbles students will act out dressing like Mohawk Indians. They will also pantomime rowing a boat. They will
Exploring (5 minutes) then pantomime dumping the boxes of tea into the Boston Harbor. (The teacher will guide the students through these
pantomimes by reading the corresponding event from the Social Studies text)
Improvising/ 7. Students will get into groups of five or six. Tableau: Beginning, middle, and end. Students will form a tableau of the beginning
Inventing of the Boston Tea Party. (Which might be dressing like the Mohawk Indians and discussing plans for the dumping of the tea) The
(Story) (15 minutes) middle of the Boston Tea Party. (Which would be rowing out to the harbor and actually dumping the tea. There can also be
students watching from the deck either cheering the colonist on or being angry about the colonist actions.) Finally, the end of
the Boston Tea party (which might be the colonist rowing back and a few colonists trying to recover boxes of tea from the water.)
Grade 5 Lessons
 Sharing/Reflecting The criteria for the tableaux:
Playmaking A. The image must be frozen
(15 minutes) B. There must be levels
C. The image should have focus, show action, and communicate the thoughts of the character.
8. Students will show the class their tableaux. The teacher will bring to life various characters in the tableaux. When the
students are brought to life as their historical characters, they will say a line of dialogue that their character might have said.
Reflecting/Assessing 9. Discussion of how it felt to act out history. Would you be brave enough to stand
(10 minutes) up for something you believed in?
Journal Prompt: Do a double bubble map. Examine the pros and cons of the Boston Tea Party. Then write a letter to King George III
telling him why you felt it was important to participate in the Boston Tea Party. (Does the student understand the reason that
the colonist felt that they had to take action against the British?)

Connections
Extensions Apply to other conflicts leading to the Revolutionary War
Differentiation (CRRE) People from different cultures coming together for a common cause (SP ED) Different modalities of learning (EL) Graphic organizers

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Grade 5 Lessons
 GRADE 5 CONTENT INTEGRATION TITLE OF LESSON
VISUAL ARTS/MATH ILLUSION OF SPACE
ESSENTIAL QUESTION INTEGRATED STUDENT OBJECTIVE
How do artists create illusion of depth through Students will be able to describe one-point
mathematical means? perspective in mathematical terms

Descriptors VISUAL ARTS MATH

Standards 2.1 Use one-point perspective to create the illusion of space. 2.1 Measure, identify and draw angle, perpendicular and
parallel lines, rectangles and triangles by using appropriate
tools (e.g., straightedge, ruler, compass, protractor, drawing
software).
Student Objectives Students will create a drawing using one-point perspective to Student will use straightedge, ruler or drawing software to
create an illusion of space. identify and draw perpendicular, parallel and angled lines.
Assessment Did the student create a drawing that creates the illusion of Did the student accurately use measuring tools to draw
space using one-point perspective? perpendicular, parallel and angled lines in a one-point
perspective drawing?

KEY KNOWLEDGE
Prior Knowledge Background, foreground, middle ground Identify and use of measuring tools

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New Concepts One-point perspective is a tool to create illusion of space in Measuring tools can be utilized to create one-point perspective
2-dimensional artwork. drawing.
New Vocabulary Perspective, illusion, horizon line, vanishing point, converging Angles, parallel lines, perpendicular lines, rectangles, triangles
SKILLS
Prerequisite Skills Pencil or software drawing skills Use of straightedge or ruler, or software drawing experience
New Skills Ability to create one-point perspective drawings Ability to quantify one-point perspective drawing through the
use of perpendicular, parallel and angled lines.

MATERIALS/RESOURCES
One-point perspective images (e.g., Da Vinci’s “Last Supper”) in transparency form, and fine art reproductions, overhead projector, copies of one-point
perspective drawing, pencil, drawing paper, or computer with drawing software, tracing paper
Grade 5 Lessons
 PHASE LESSON
Student Engagement 1. In a hallway or in front of the class, have three students, about the same height, stand at different distances in a line, and ask
(5-10 minutes) them to hold a piece of rope. Have remaining students notice that the student who is farther away looks smaller than those
standing closer. Why?
2. View images of one-point perspective masterworks (e.g., Da Vinci’s “Last Supper” or Vermeer’s interior studies)
3. Superimpose sightlines that lead to vanishing point (e.g., Christ’s head in “Last Supper”) over masterwork.
Aesthetic Exploration 4. Think pair-share: What is the viewer drawn to? Why?
(5-10 minutes) • What other techniques did Da Vinci use to create the illusion of space (overlapping, color)?
5. Have students use tracing paper and handout of a one-perspective drawing, label sight lines to vanishing point at their desk.
6. Have a student come up and demonstrate superimposition of sight lines to vanishing point with a different artwork.
Demonstration 7. Define and demonstrate how to draw an interior one-point perspective drawing with angled, perpendicular and parallel lines.
(10-15 minutes)
Creative Expression 8. Student creates original interior drawing using one-point perspective.
(20-30 minutes)
Reflection 9. Pair-share and journal prompt: How did you create illusion of depth?
(10 minutes)

Connections Discuss other art forms that include the use of mathematical terms. (Origami)

Extensions Figures and color can be added to one-point perspective drawing.

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Differentiation Students can work in pairs with larger paper.
Grade 5 Lessons
 Directions for drawing one-point perspective interior:
1. Pass out 9x12 white drawing paper. Place the paper horizontally (landscape).
2. Have students draw a light line down the middle of the paper (horizontally).
3. Measure to the middle of the line and place a vanishing point.
4. From the vanishing point draw four light lines to the four corners.
5. These will become the guidelines for drawing objects in the room.
6. Draw a light rectangle in the center of the paper.
7. Now they have created an interior.
8. Have them add objects by starting at the vanishing point and keeping parallel
to the guidelines.

Ceiling

Wall Wall

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Floor
Grade 5 Lessons
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Grade 6 Lessons

87
 Grade 6 Lessons

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 GRADE 6 CONTENT INTEGRATION TITLE OF LESSON
DANCE/MATH Mathematical Reasoning and the Creative Process
ESSENTIAL QUESTION INTEGRATED STUDENT OBJECTIVE
Why is it critical for mathematicians and Students will be able to solve a given math and a
choreographers to master problem-solving skills? given choreographic problem, and compare the
processes.

Descriptors DANCE MATH

Standards 2.1 Invent multiple possibilities to solve a given movement Mathematical Reasoning: 1.3 Determine when and how to
problem and develop the material into a short study. break a problem into simpler parts.
2.4 Use a variety of methods, such as words, numbers, symbols,
charts, graphs, tables, diagrams, and models to explain
mathematical reasoning.
Student Objectives Students will be able to 1) create a short dance study with a Students will be able to use mathematical reasoning skills to
partner based on multiple possibilities for meeting and parting; solve a complex problem, and explain the way in which they
2) chart the various movement possibilities using any of a reached their answer using any of a variety of methods (e.g.,
number of methods (e.g., grid, chart) as a part of the creative words, charts, numbers, tables).
process; and 3) explain their process to others.

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Assessment Did the students successfully create a dance study using various Did the students successfully create a dance study using
ways of meeting and parting? various ways of meeting and parting? Were they able to
Were they able to successfully chart possibilities and explain successfully chart possibilities and explain their process?
their process?

KEY KNOWLEDGE
Prior Knowledge • Improvisational process • Mathematical reasoning skills
• Elements of dance (body, space, time, force)
• Dance structure: beginning, middle, end
New Concepts • Improvisation to dance study • Mathematical reasoning skills
• Charting movement possibilities
New Vocabulary Dance study, duet
SKILLS
Prerequisite Skills Improvise freely Able to determine when and how to break a problem into simpler
Create simple dance studies with a beginning, middle and end parts in order to solve it
Use elements/concepts of dance to explore movement Able to explain their mathematical reasoning in solving a given
possibilities problem
Grade 6 Lessons
 New Skills Focus on one movement problem, from exploration to dance study Able to determine when and how to break a problem into
Use any of a variety of methods to chart movement possibilities simpler parts in order to solve it
Explain process used to create study Able to explain their mathematical reasoning in solving a given
problem

MATERIALS/RESOURCES
• Large, clean space
• CD player, various musical selections for exploration/improvisation
• Chart paper

PHASE LESSON
Student Engagement 1. Discuss the mathematical reasoning process (e.g., that students need to make decisions about how to approach problems,
(5-10 minutes) and use strategies, skills, and concepts to help them find the solutions).
2. Discuss the creative process (e.g., exploration, improvisation, movement choice and development)
3. Compare and contrast the mathematical reasoning process and the creative process.
4. Assign a specific math problem, which requires students to use the mathematical reasoning process. Ask them to explain their
reasoning process using words, numbers, symbols, charts, graphs, tables, diagrams or models. Share as a class or in small groups.
Aesthetic Exploration 5. Ask students to choose a partner. As a class, explore various ways to meet and part. Use concepts of body, space, time and force to
(10 minutes) cue and uncover multiple movement possibilities (e.g., travel quickly on straight pathway to meet your partner, move slowly
away on a curving pathway; move smoothly towards your partner, percussively away, etc.).

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6. Ask students to continue exploring with their partner to find multiple possibilities for meeting and parting. Instruct them to
use a grid, table, diagram or other graphic means of organizing and recording possibilities.
Creative Expression 7. Ask students to make movement choices from the possibilities explored and recorded, and to develop them into a short
(30 minutes) movement study with a clear beginning and ending.
8. Practice and perform for each other. Ask each pair to explain how they made their movement choices for their study and share
their grid, table, etc.
Reflection 9. Revisit the discussion comparing the mathematical reasoning process and the creative process.
(10 minutes) 10. Ask each pair to complete this sentence: “The mathematical reasoning process and the creative process a choreographer uses
are similar because....”
Connections Compare and contrast to other processes used in school (e.g., writing process and scientific process).
Extensions Create a “Chance Dance” and relate it to experimental probabilities in math.
Differentiation In finding multiple possibilities for “meeting and parting,” give the students a pre-made grid with movement possibilities for
“meeting” listed across the top, and possibilities for “parting” listed down the side. Let them make choices from matching
possibilities on the grid.
Grade 6 Lessons
 GRADE 6 CONTENT INTEGRATION TITLE OF LESSON
MUSIC/HISTORY-SOCIAL SCIENCE Mythology and the Music of Ancient Greece
ESSENTIAL QUESTION INTEGRATED STUDENT OBJECTIVE
How has the significance of music in the mythology The student will describe the role of music in the
of Ancient Greece influenced our society today? mythology of ancient Greece.
Descriptors MUSIC HISTORY-SOCIAL SCIENCE
Standards 3.2 Listen to and describe the role of music in ancient World History and Geography: Ancient Civilizations
civilizations (e.g., Chinese, Egyptian, Greek, Indian, Roman). Standard(s): 6.4
5.2 Identify career pathways in music. Explain the significance of Greek mythology to the everyday
Student objective(s): The student will describe the role of life of people in the region and how Greek literature continues
music in the mythology of ancient Greece. to permeate our literature and language today, drawing from
Greek mythology and epics, such as Homer’s Iliad and Odyssey,
and from Aesop’s Fables.
Student Objectives The student will describe the role of music in the mythology of The student will describe the role of music in the mythology of
ancient Greece. ancient Greece as it relates to the everyday life of the ancient
Greeks.
Assessment Does the student’s music and mythology project reflect an Does the student’s music and mythology project reflect an
understanding of the role of music in Greek Mythology? understanding of the role of music in Greek mythology and as

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it pertains to their everyday life?
KEY KNOWLEDGE
Prior Knowledge Role of music in the United States Ancient Greek history
Scales Ancient Greek mythology
Understanding of ancient timeline
New Concepts Role of music in mythology Role of music in the history of Greek mythology and how this
has impacted our society today
New Vocabulary Musicologist Culture
Modes
Authentic
SKILLS
Prerequisite Skills N/A Research skills
New Skills N/A N/A
Grade 6 Lessons
 MATERIALS/RESOURCES
Ancient Greece Chart #1- Greek History, #2 Music and Mythology, Access to the Internet for all groups. Optional: equipment to show video clips from the
Internet or an ancient Greek music CD. (Musique de la Greece Antique, Melpomen: Ancient Greek Music, Music of the Ancient Greeks), Map of Greece
Additional Books:
Usborne Story of Music by Eileen O’Brien (1998). For kids--Music of the World by Andrea Bergamini (1999). For teens--Ancient Greek Music (Clarendon
Paperbacks) by M. L. West (reprinted 1994). For teacher--Music in Ancient Greece and Rome by John G. Landels (2001). For teacher (mainly about who played
it and where, and for whom)--Apollo’s Lyre: Greek Music and Music Theory in Antiquity and the Middle Ages by Thomas J. Mathiesen (2000). For teacher
(about Greek musical theory)--Music and the Muses: The Culture of Mousike in the Classical Athenian City by Penelope Murray and Peter Wilson (2004).

PHASE LESSON
Warm-up PART 1 (Day One)
(10 minutes) 1. Today we will travel back in time to learn about the role of music in Ancient Greece. We will be musicologists, people who study music
in cultures. Musicologists look at the history of music within the culture to find the ways it impacts the society. Musicologists also
explore music theory, the roles of philosophy, science, the arts, sociology, psychology, and math in musical expression. We are going to
begin with a game to review what we have studied previously about the history of the Ancient Greeks in order to frame our work.
2. Please work together in groups of two’s and three’s. I am going to distribute a worksheet (#1 Daily Life). Which group will be
the first to fill in at least two answers in each category? (Fill answers in on a displayed chart while playing the game.) Why do
you think it will be more meaningful to study the role of music in relationship to this background?
New Concept 3. Music got its name from the muses, the daughters of Zeus and patron goddesses of intellectual endeavors. Mythology was very much
(30-40 minutes) involved in the daily life of the Ancient Greeks. The function of music in Ancient Greek society was connected to their mythology.
4. It will be your job to work within an Internet research group to discover information in one of nine categories to answer the question,

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“How is music involved with Ancient Greek mythology?” I will pass out a music mythology chart for your reference (#2 Music Mythology).
You will format your descriptions by answering three questions. First, “How is music involved with ancient Greek mythology?” Then, “How
did this affect the everyday life of the Greek?” and “What can we predict about how it will impact us in the future?”
Review/Application PART 2 (Day Two)
(25 minutes) 5. Today each of our groups is going to share what you uncovered. “How is music involved with Ancient Greek mythology?”
“What happened?” “Why did it happen?” “How does this impact us now?” “What can we predict about how it will impact us in
the future?” (Teacher guides the discussion.)
Assessment 6. Please finalize your group papers and hand them in to me. (Teacher will determine how well the students answered the three
(15 minutes) questions.)
Closing 7. Let’s watch/listen to some of the music of Ancient Greece. (optional videos)
(10 minutes) http://www.youtube.com/watch?v=jAAOR-OuykU Ancient Greek music with images
http://www.youtube.com/watch?v=LvgtAHV4mzw&feature=related Reproduction of lyre and pipes
http://www.youtube.com/watch?v=Y_94QbWV440&feature=related “Song of Seikilos” lyre
8. Do you think this music is authentic? How does this music relate to the music of today?
Connections Geography: refer to the map of Greece.
Extensions
Differentiation
Grade 6 Lessons
 GREEK ANCIENT HISTORY ANSWER SHEET
Category Possible Answers
Location Among hills and mountains near the Mediterranean Sea. The richness of the soil was limited.
Home/Architecture Most homes were built from stone or clay. They were planned around a courtyard, had high walls and a strong gate. Much of
Greek home life centered around the courtyard.
Columns were prevalent in other architecture.
Work Farmers, ship builders, fishermen, traders
Clothing and Food The Greek men wore tunics made of wool and linen. The Greek women wore wool and linen cloths that were pinned around
them in different styles. All wore leather sandals. The Greeks ate grains — mostly wheat, vegetables, especially legumes,
such as beans and peas. They also ate fish, consumed olive oil, bread and wine.
Philosophy/Science The Greek philosophers emphasized the “question.” Socrates’ philosophy lived on through his student Plato, who asserted that
(Science was the most important activity was the search for knowledge. Science was thought of as a way to organize and create order out
considered to of chaos. The philosophers posed many questions of philosophy, science and mathematics to come up with theories that would
encompass Medicine, answer them based on observation and reasoning.
Astronomy and
Mathematics.)
Religion/Mythology There were 12 main Greek gods, male and female with distinct personalities. Myths, which were communicated through oral
tradition, explained their relationship to humankind.

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Government The men of Athens met every week to discuss how best to govern and formed the first democracy.
Education This was a bit different in each city. Children were schooled by their mothers until the age of six or seven.
Sparta’s education was focused on developing a strong army. Boys in Athens went to school from 7 to 14 years of age. They
learned reading, writing, mathematics and poetry in the morning. They had sports and wrestling activities in the afternoon.
When boys became 14 they learned a trade. Girls were taught homemaking and did not go to school. Some girls were educated at
home.
Sports Sporting events were held to honor the gods. The Olympics were held every four years to honor Zeus. The Olympics held such
importance that wars were suspended during the time they took place.
Entertainment Children played a variety of games centered mostly around physical contests and games of wit.
Adults: Poetry was held in high esteem as were concerts and theatre.
War Frequent conflicts occurred between the Greek city-states. Primarily part-time volunteer citizen armies conducted these wars.
Grade 6 Lessons
 Greek Ancient History Worksheet: Write two answers for each category.
Category Answers
Location

Home/Architecture

Work

Clothing and Food

Philosophy/Science
(Science was considered
to encompass Medicine,
Astronomy and
Mathematics.)

Religion/Mythology

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Government

Education

Sports

Entertainment

War
Grade 6 Lessons
 How is music connected to Ancient Greek mythology?
Questions: How did this affect the everyday life of the Greek?
What can we predict about how it will impact us in the future?
1. Philosophy

2. Science
(Considered to
include Medicine,
Astronomy and
Mathematics)
3. Religion/
Mythology

4. Education

5. Sports

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6. Entertainment

7. Musical
Instruments

How is music involved with Ancient Greek mythology?

Grade 6 Lessons
 Questions: How did this affect the everyday life of the Greek? What can we predict about how it will impact us in the future?

2. Science Pythagoras discovered a connection between math ratios and music by dividing a string in half. He then
(Considered to include played the long and short strings to compare them.
Medicine, Astronomy and
See Philosophy for Science and Astronomy connection.
Mathematics.)
See Religion/Mythology for Medicine connection.

4. Education Music is closely related to other sciences, such as mathematics and philosophy. Thus it was one of the
important subjects in young people’s education.
Music played a decisive role in moral education as well, being closely connected to mythology.
Boys were taught music at school, specifically to play the lyre as well as other instruments. Girls were often
taught at home. Consequently, all the citizens were proficient in music.
5. Sports Sports games such as the Olympics were put on to honor the gods. Music was always present at these

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ceremonies.

6. Entertainment Music was present at the beginnings of drama. According to Aristotle, the dithyrambs (hymns) performed in
honor of Dionysus (the god) evolved into the Greek tragedy.
Musicians competed for prizes in music contests.

metmuseum.org/explore/publications/.../greek/divided/e-Key-Aspects.pdf Key Aspects of Ancient Greece

http://www.woodlands-junior.kent.sch.uk/Homework/greece/schools.htm
http://www.mythweb.com/ Myth Resources
http://ancienthistory.pppst.com/greece.html Free power points
http://www.bbc.co.uk/schools/ancientgreece/timeline/index.shtml Timeline
http://members.aol.com/bkdonnclass/Greeklife.html#menu Meet the Greeks
www.historyforkids.org/learn/greeks/index.htm
Grade 6 Lessons
 GRADE 6 CONTENT INTEGRATION TITLE OF LESSON
THEATRE/SCIENCE Theatre as a Tool in Environmental Activism
Duration: 120 minutes
ESSENTIAL QUESTION INTEGRATED STUDENT OBJECTIVE
How can theatre artists communicate the concerns The student will understand that the elements of
of environmental scientists? theatre, as well as the elements of nature, play
a significant role in the success of a
theatrical production and the habitats
required to support nature.
Descriptors THEATRE SCIENCE
Standards 1.2: Identify how production values can manipulate mood to 5(e): Students know that the number and type of organisms
persuade and disseminate propaganda; 5.1: Use theatrical an ecosystem can support depend on the resources available
skills to communicate concepts or ideas from other curriculum and on abiotic factors, such as quantities of light and water, a
areas, such as a demonstration in history/social science of how range of temperatures, and soil composition.
persuasion and propaganda are used in advertising.
Student Objectives The student will understand that the elements of theatre The student will understand that healthy habitats need to be
(light, sound, blocking, acting techniques) can manipulate maintained by protecting indigenous organisms.
mood and opinion.

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Assessment Rubric Rubric
KEY KNOWLEDGE
Prior Knowledge 1. An understanding of setting as the environment of a scene 1. A basic understanding of the relationship among organisms
or play and abiotic elements in an estuarial wetlands habitat
2. Understanding of conflict as resulting from opposing 2. A basic understanding of the ecological history of the
objectives and motivations Ballona Wetlands
3. A basic understanding of the factions involved in the conflict
over the Ballona Wetlands (or other local wetland habitat)
New Concepts Theatre as a tool for political activism Relationship among science, politics, and theatre arts
New Vocabulary Activism, propaganda, mood, manipulation Abiotic, acidity, alkalinity, herbivore, carnivore
SKILLS
Prerequisite Skills How to use the tools of the actor to represent characters, Internet research
human and animal
New Skills Ability to detect and control mood and message with different To communicate, as an ecological scientist or activist, your
choices in how the elements of theatre (sound, light, blocking, concerns to a theatre artist
and acting) are used
Grade 6 Lessons
 MATERIALS/RESOURCES
For pre-lesson background, various websites can be consulted, such as www.ballonafriends.org; www.tongva.com; recordings of the sounds of an
estuarial wetlands environment; pictures of different wetlands and several of estuarial wetlands

PHASE LESSON
Opening 1. Forming a circle: Students enter to the sounds of a wetlands habitat (if available). Encourage students to physicalize any
Gathering/Warm-up responses as they enter and make a circle.
(10 minutes) 2. Wetlands Soundscape: Have a quick review of the elements of an estuarial wetlands habitat: ocean, river, birds of several
kinds, rain (in winter), etc. Assign each student a sound to make, and then, on the leader’s signal, all make their sounds
together to create the environment. Point out that some sounds will be continuous (e.g., the ocean) and some intermittent
(e.g., the birds).
Reviewing/ 3. Cover the new theater vocabulary: activism, propaganda, mood, manipulation
Previewing 4. Review important vocabulary of ecology: ecosystem, habitat, niche, interdependence
Vocabulary 5. Discussion. Can theatre influence our opinions? Discuss advertising. What makes an effective advertisement? Can theater
(10 minutes) techniques be applied to affect people’s opinions about more important matters, like the health of our planet?
Exploring/Creating 6. Groups of Five: Circle Maps. Each group is given a large sheet of butcher paper. In the middle of each sheet of paper is a
Exploring large circle with one of the political factions involved in the struggle over Ballona: 1) the real-estate developers and corporate
(30 minutes) interests; 2) the activist groups “Friends of Ballona Wetlands”; 3) the ecological scientists (Groups 2 and 3 might be
combined); 4) the ocean and rivers; 5) the birds, fish and plants; 6) ordinary citizens who want jobs and homes; 7) Tongva
Native Americans (original inhabitants of Ballona); 8) the politicians. (Note: Groups may prepare ahead by doing particular

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research on the interests of one group.)
Niche Needs and Relationships: In new bubbles, students write in the needs and/or desires of their particular faction. Draw
lines connecting the center bubble to the other bubbles. If two outer bubbles connect in some way, draw a line connecting them.
Improvising/ 7. Depositions. Still in the same groups of five, students confer among each other about the merits of their particular case. If needed,
Inventing (Story) one person in the group can play the attorney who elicits pleas and complaints from the other members of the group,who, in role,
(30 minutes) articulate their objectives and motivations. Encourage students to use their actor’s tools to create and maintain a definite character.
8. Mock Trial or Hearing. With the leader in role as Judge, members from the different factions take the stand and plead their cases. The
more actual research that the students have done that gets into their testimony, the better. For example, the Least Terne, a wetlands
bird, might say, “The only place I can land to lay my eggs is estuarial wetlands. Golf courses and parks don’t have the native grasses that
I need to survive.” Or, from the Pickleweed, a native Ballona Wetlands plant: “Since my roots have been cut off from the ocean, I
can’t get the salt that I need to thrive and then cry out of my stalks to nurture my home. I haven’t been able to cry for the longest time,
and I’m just an emotional wreck!” The Developers: “The Los Angeles area needs more homes and businesses to accommodate its growing
population and compete in a global economy! Besides, this wetlands area is just a wasteland; it’s useless!” The Activists/Scientists:
“Wetlands habitats support 30 percent of all organisms on our planet! Many of these organisms are links in key ecological systems that
ultimately affect the health of the earth and its inhabitants. The wetlands are beautiful, natural places that must be restored, protected
and passed on to our descendents.” The Tongva Native-Americans: “Our ancestors lived, worked and prayed on this land for thousands of
years. It must be preserved to honor the human history of this region.”
The Leader/Judge maintains control of the court at all times, discouraging cross-talk between factions. However, for dramatic effect, a
Developer’s testimony might be interrupted by the plaintive cry of a bird or mournful susurrus of the starving plants.
Grade 6 Lessons
 Sharing/Reflecting 9. Manipulating the Elements of Theatre: Selection of Content and Choices in Form
Playmaking • Reminding the students that their purpose now as theater artists is to create a play that will persuade opinion in the
(30 minutes) Environmentalists’ favor, cull the choicest arguments and lines from the improvisation above (a digital video might be used
to record these).
• Arrange these strategically to create a kind of script. (The degree of actual documentation of this “script” would be up to
the classroom teacher/leader.)
• Manipulate the order of events, and use other plot devices to angle the conflict to favor the ecologists
• Include elements of sound and light, if available, to intensify mood.
• Rehearse
• Perform
• Videotape the play.
Reflecting/Assessing
(10 minutes) 10. View Video. Discuss. Does the play do the job of persuading viewers to side with the Environmentalists? If not, what can be
changed to make this happen, or what can be done to make it even more persuasive? Are the Developers’ interests
represented so unflatteringly as to demonize them? If so, is this in the best interests of the Environmentalists?
Discuss the need for mutual cooperation between corporations and ecologists to make progress in preservation.

Connections Political science, social activism

Extensions Field trip to Ballona Wetlands through “Friends of Ballona Wetlands” organization

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Differentiation (CRRE) Native American history (SP ED) (EL) Total Physical Response
Grade 6 Lessons
 GRADE 6 CONTENT INTEGRATION TITLE OF LESSON
VISUAL ARTS/ENGLISH LANGUAGE ARTS CULTURAL ARTIFACTS
ESSENTIAL QUESTION INTEGRATED STUDENT OBJECTIVE
How does a work of art reveal characteristics Students will be able to compare and contrast
about a culture? works from various periods and cultures through
the effective use of identification.
Descriptors VISUAL ARTS LANGUAGE ARTS
Standards 3.3 Compare, in oral or written form, representative images/ 1.2 Create multiple-paragraph expository compositions:
designs from at least two selected cultures. a. Engage the interest of the reader and state a clear purpose.
b. Develop the topic with supporting details and precise
verbs, nouns and adjectives to paint a visual image in
the mind of the reader.
c. Conclude with a detailed summary linked to the purpose
of the composition.
Student Objectives Student will be able to compare images from two cultures and Students will be able to write a multi-paragraph composition
explain how the art reveals the characteristics from the society that effectively answers the essential question.
in which it was created.
Assessment Did the students successfully compare images from two Did the students successfully write a multi-paragraph expository
selected different cultures in oral and written form? composition comparing two masks from different cultures?

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KEY KNOWLEDGE
Prior Knowledge Elements of art (line, color, shape, space, texture, value), media How to use organizational tools (Venn Diagram) in pre-writing.
New Concepts Art objects/images reveal their culture that produces them Academic language strengthens compare-and-contrast essays.
Each culture has distinctive characteristics In my opinion…
There is evidence of…
New Vocabulary Principles of art (balance, repetition, rhythm, proportion, Evidence, predict, perspective, inferred, summarize
variety, emphasis, harmony, unity) characteristics
SKILLS
Prerequisite Skills Compare/contrast, contour drawing Paragraph form/ Venn Diagram
New Skills Looking for meaning
Identify cultural characteristics Writing exhibits student’s awareness of audience and purpose

MATERIALS/RESOURCES
Slides/textbooks/transparencies of images from two cultures, journals, art word bank, Venn diagram, markers
Grade 6 Lessons
 PHASE LESSON
Student Engagement 1. Teacher will display two masks from different cultures and ask students to compare/contrast them orally. Teacher will record
(10 minutes) student responses on a large class bubble map.
Teacher asks students:
• “How would you describe each mask?”
• “What art elements are the same?” (texture, color, etc.)
• “What art principles are different?” (balance, patterns, etc.)
• “What do you think the masks were used for?”
Aesthetic Exploration 2. Students think-pair-share about their initial observation and go deeper by discussing:
(10 minutes) • What is culture?
• How are masks used today or in their own culture?
Demonstration 3. Teacher demonstrates how the collaborative teams will work together to create their own Venn Diagram and visual images.
(10 minutes) 4. Teacher draws a contour drawing of two masks one on each side of the Venn Diagram.
5. Teacher demonstrates how to record the similarities in the middle of the map and the differences on either side.
6. The group will be responsible to share out at the conclusion of the lesson.
Creative Expression 7. Each collaborative group receives pictures of two masks, from different cultures and a large sheet of butcher paper. Students will
(30 minutes) draw large Venn Diagram in the middle of the paper.
8. Students will draw a contour drawing of each mask at either side.
9. Students will fill in the thinking map with observations they have made and with the use of art word bank.
10. Groups take turns sharing their findings with the class using academic language during the presentation.

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Reflection
(30 minutes) Write a multi-paragraph using a variety of effective and coherent organizational patterns, including comparison and contrast,
order of importance, and climatic order in response to the essential question: How does a work of art reveal characteristics
about a culture?

Connections What are artifacts from our culture?

Extensions Continue exploration of a culture through its writings, artwork, historic figures, etc.

Differentiation Collaborative groups/display classroom thinking map

Grade 6 Lessons
 Example: Word Bank
Example of Assignment
Balance
Ceremony
Color
Culture
Emotion
Expression
Facial Feature
Focal Point
Line
Materials
Pattern
Shape
Space
Symbol
Texture

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Grade 6 Lessons
 References
Authentic Connections: Interdisciplinary Work in the Arts. Consortium of National Arts Educa-
tion Association (NAEA), 2002. http://www.naea-reston.org/

Arts Education: Art in the City School as Studio Integrating the Arts Applying Standards to the Arts.
Kappa Delta Pi Record. 39, no.1 (Fall 2002).

Beane, James. Creating an Integrative Curriculum: Making the Connections. NASSP Bulletin:
Curriculum Theory and Practice (November 1992): 46-54.

Bissinger, Kristen and Renfro, Nancy. Leap into Learning! Teaching K-7 Curriculum Through Cre-
ative Dramatics and Dance. Austin, TX: Nancy Renfro Studios, 1990.

Critical Links: Learning in the Arts and Student Academic and Social Development. Edited by
Richard J. Deasy. Washington DC: Arts Education Partnership, 2002.

DuFour, Richard. What is a ‘Professional Learning Community’? Educational Leadership 61, no.8
(May 2004): 6-11.

Erickson, Karen L. Integrated Units in a Dramatic Framework. Evanston, IL: Creative Directions,
1995.

Jacobs, Heidi Hayes. Interdisciplinary Curriculum: Design and Implementation. Alexandria, VA:
Association for Supervision and Curriculum Development, 1989.

Manitone, Roberta D. and Sabine Smead. Weaving Through Words: Using the Arts to Teach
Reading Comprehension Strategies. Newark, NJ: International Reading Association: 2003.

Stephens, Pamela and Walkup, Nancy. Bridging: “Curriculum Through Art, Interdisciplinary
Connections.

Eloquent Evidence: Arts at the Core of Learning. http://www.nasaa-arts.org.

Arts Integration Framework, Research & Practice, A Literature Review. Arts Education
Partnership. Washington, DC 2007. www.aep-arts.org.

Art Education January: The Journal of the National Art Education Association.
Hawaii Alliance for Arts Education (2006). “An Essential Arts Toolkit.”
http://hawaiiartsalliance.org/teaching_arts/arts_toolkit/arts_toolkit.html

California Department of Education (2004). Visual and Performing Arts Framework for Califor-
nia Public Schools.

Hawaii Alliance for Arts Education (2006). An Essential Arts Toolkit. Retrieved September 3, 2008
from http://hawaiiartsalliance.org/teaching_arts/arts_toolkit/arts_toolkit.html

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 Glossary of Selected Terms
acting - t. The process by which a person uses the entire of self-body, mind, voice, and emotions-to
interpret and perform the role of an imagined or assumed character.
actor-t. A person, male or female, who performs a role in a play or other entertainment.
actor’s position-t. The orientation of the actor to the audience (e.g., full back, full front, right profile,
left profile).
additive-v. Refers to the process of joining parts together to create a sculpture.
background-v. The part of the picture plane that seems to be farthest from the viewer.
beat-m. A unit of measure of rhythmic time.
character-t. The personality or part an actor re-creates.
choreography-d. The art of composing dances, including shaping movement, structuring phrases, and
revising and refining dances.
collage-v. An artistic composition made of various materials (e.g., paper, cloth, wood) and glued onto a surface.
composition-m. The creation of original music by organizing sound. It is usually written for others to perform.
conflict-t. The opposition of persons or forces giving rise to dramatic action in a play.
contour drawing-v. The drawing of an object as though the drawing tool were moving along the edges and
ridges of the form.
counterbalance-d. A weight that balances another weight. The term usually refers to one or more dancers
combining their weight in stillness or in motion to achieve an independent movement or design. A
limb moving in one direction must be given a counterweight.
creative movement-d. Dance based on improvisation; the free exploration of movement, usually
stimulated by an emotional or narrative theme (e.g., anger, war) or the exploration of an element
of movement-time, force, or space (e.g., finding ways of moving on various levels or with varying
amounts or qualities of force or energy).
dance-d. (1) A unified work similar to a poem, a piece of music, a play, or a painting. Its structure has a
beginning, middle, and end unified by a purpose or set of movement themes into a recognized form.
Often, it is rhythmic or is accompanied by music. (2) The field of study including the functions of
dance in society past and present, methods of choreography and performance, kinesiology, dance
therapy, dance education, dance medicine, and other related studies.
dynamics-m. Varying degrees of volume in the performance of music.
elements of art-v. Sensory components used to create works of art: line, color, shape or form, texture,
value, and space.
elements of dance-d. Sensory components used to create and talk about dance: force, space, and time.
(See the individual entries in this glossary.)
elements of music-m. Form, harmony, melody, and rhythm as well as the expressive elements of
dynamics, tempo, and timbre (tone color).
elements of theatre-t. The individual components used to create and talk about works of theatre:
character, dialogue, music, plot, and theme.
force or energy-d. This element is characterized by the release of potential energy into kinetic energy. It
utilizes body weight, reveals the effects of gravity on the body, is projected into space, and affects
emotional and spatial relationships and intentions. The most recognized qualities of movement (i.e.,
ways in which to release energy) are sustained, percussive, suspended, swinging, and collapsing.
foreground-v. Part of a two-dimensional artwork appearing to be nearer to the viewer or in the front. The
middle ground and the background are the parts of the picture that appear to be farther and farthest
away.
form-d. The organization or plan for patterning movement; the overall structural organization of a dance
or music composition (e.g., AB, ABA call and response, rondo, theme and variation, canon, and the
interrelationships of movement within the overall structure).
form-m. The organization and structure of a composition and the interrelationships of musical events
within the overall structure.
form-v. A three-dimensional volume or the illusion of three dimensions (related to shape, which is two-
dimensional); the particular characteristics of the visual elements of a work of art (as distinguished
from its subject matter or content).

104
genre-d. A class or category of artistic endeavor having a particular form, content, or technique (e.g.,
ballet, modern, tap, jazz, Indonesian, East Indian, Bugaku). Each kind of dance is characterized by a
recognizable technique, system, vocabulary of movement, composition, form, and way of performing.
genre-m. A type or kind of musical work, such as opera, jazz, mariachi.
genre-t. A category of plays characterized by a particular style, form, and content (e.g., tragedy, comedy,
tragicomedy, melodrama, farce). In electronic media, genre refers to categories of films, videos, and other
media that share narrative and stylistic characteristics, such as the Western or gangster film and slapstick
comedy.
geometric-v. Refers to shapes with uniformly straight or curved edges or surfaces.
gesture-t. An expressive movement of the body or limbs.
improvisation-d. Movement created spontaneously, ranging from free-form to highly structured, always
including an impromptu element of chance.
improvisation-m. Spontaneous creation of music.
improvisation-t. A spontaneous style in which scenes are created without advance rehearsing or scripting.
informal theatre-t. A performance focusing on small presentations, such as one taking place in a
classroom. Usually, it is not intended for public viewing.
linear perspective-v. A graphic system used by artists to create the illusion of depth and volume on a
flat surface. The lines of buildings and other objects in a picture are slanted, making them appear to
extend back into space.
locomotor-d. Movement progressing through space from one spot to another. Basic locomotor movements
include walking, running, galloping, jumping, hopping, skipping, sliding, leaping.
medium-v. A material used to create an artwork.
melodic and rhythmic form-m. The organization and structure of a composition and the interrelationships
of musical events within the overall structure.
melody-m. An organized sequence of single notes.
middle ground-v. The area in a two-dimensional work of art between the foreground and the background.
mood-v. The state of mind or feeling communicated in a work of art, frequently through color.
motivation-t. A character’s reason for his or her actions or words in a play, film, television program, or video.
movement-v. The principle of design dealing with the creation of actions. It is a way, implied or actual, of
causing the eye of the viewer to travel within and across the boundary of a work of art.
movement problem-d. A specific focus or task that serves as a point of departure for exploring and
composing, usually with particular criteria.
narrative-t. Sensory development that has a beginning, middle, and end.
negative-v. Refers to the shape or space that exists or represents an area unoccupied by an object.
notation-m. Written music indicating pitch and rhythm for performance.
one-point perspective-v. A means of illustrating three-dimensional objects on a two-dimensional surface.
Lines appear to go away from the viewer and meet at a single point, known as the vanishing point, on
the horizon.
organic-v. Refers to shapes or forms with irregular edges or to surfaces or objects resembling things in
nature.
pantomime-t. Acting without words through facial expression, gesture, and movement.
pattern-v. Lines, shapes, and colors repeated in a variety of predictable combinations.
perspective-v. A system for representing on a two-dimensional surface three-dimensional objects viewed in
spatial recession.
pitch-m. The location of a note as to whether it is high or low.
plot-t. That which happens in a story: the beginning, which involves the setting, the characters, and the
problem they are facing; the middle, which tells how the characters work to solve the problem; and
the ending, in which the problem is resolved.
primary colors-v. The painting pigments of red, yellow, and blue. From those pigments all paint colors are
created. Magenta, cyan, and yellow are primary hues to create all other hues used in printing and new
media.
rhythm-d. The organization or pattern of pulses or beats, metered or unmetered, involving music or sounds
made by the human body; the dance pattern produced by the emphasis and duration of notes in music.

105
rhythm-m. The combination of long and short, even or uneven sounds that convey a sense of movement in
time.
sculpture-v. A three-dimensional work of art, either in the round (to be viewed from all sides) or in bas-
relief (low relief, in which figures protrude slightly from the background).
secondary colors-v. Colors that are mixtures of two primary hues: orange, made from red and yellow;
green, made from yellow and blue: and violet, made from blue and red.
sequence-d. The order in which series of movements and shapes occurs.
setting-t. The locale of the action of a play.
shape-d. The positioning of the body in space: curved, straight, angular, twisted, symmetrical or
asymmetrical.
shape-v. A two-dimensional area or plane that may be open or closed, free form or geometric, found in
nature or made by humans.
space-d. The immediate, spherical space surrounding the body in all directions. Use of space includes
shape, direction, path, range, and level of movement. Space is also the location of a performed
dance.
space-v. The emptiness or area between, around, above, below, or within objects. Shapes and forms are
defined by the space around and within them.
spatial-d. Of or relating to space or existing in space.
still life-v. An arrangement or a work of art showing a collection of inanimate objects.
subtractive-v. Refers to a sculpting method in which the original material is removed (the opposite of
additive).
tableau-t. A silent, motionless depiction of a scene created by actors, often from a picture. The plural is
tableaux.
tempo-m. The pace at which music moves according to the speed of the underlying beat.
theatre-t. (1) The imitation or representation of life performed for other people; the performance of
dramatic literature; drama; the milieu of actors, technicians, and playwrights; the place where
dramatic performances take place. (2) Art that is focused on the audience and includes such activities
as acting, directing, designing, managing, and performing other technical tasks leading to formal or
informal presentations.
theatrical conventions-t. The established techniques, practices, and devices unique to theatrical
productions.
theatrical experience-t. Events, activities, and productions associated with theatre, film and video, and
electronic media.
theatrical games-t. Noncompetitive games designed to develop acting skills. They were popularized by
Viola Spolin.

three-dimensional-v. Having height, width, and depth. Also referred to as 3-D.

time-d. An element of dance involving rhythm, phrasing, tempo, accent, and duration. Time can be
metered, as in music, or based on body rhythms, such as breath, emotions, and heartbeat.
tone-m. Multiple meanings: a sound of distinct pitch, quality, or duration; a musical note; the quality or
character of a sound; the characteristic quality or timbre of a particular instrument or voice.
vanishing point-v. In perspective drawing a point at which receding lines seem to converge. Usually
located on the horizon line.
volume-t. the degree of loudness or intensity of a voice.

106
Blank Templates

107
 DANCE
GRADE CONTENT INTEGRATION TITLE OF LESSON

ESSENTIAL QUESTION INTEGRATED STUDENT OBJECTIVE

Descriptors Art Discipline Integrated Discipline

Standards

Student Objectives

Assessment

108
KEY KNOWLEDGE

Prior Knowledge

New Concepts

New Vocabulary
 SKILLS
Prerequisite Skills

New Skills

MATERIALS/RESOURCES

PHASE LESSON
Student Engagement
(5-10 minutes)

Aesthetic Exploration
(10 minutes)

109
Creative Expression
(30 minutes)

Reflection
(10 minutes)

Connections
Extensions
Differentiation
 MUSIC
GRADE CONTENT INTEGRATION TITLE OF LESSON

ESSENTIAL QUESTION INTEGRATED STUDENT OBJECTIVE

Descriptors Art Discipline Integrated Discipline

Standards

Student Objectives

Assessment

110
KEY KNOWLEDGE

Prior Knowledge

New Concepts

New Vocabulary
 SKILLS
Prerequisite Skills

New Skills

MATERIALS/RESOURCES

PHASE LESSON
Warm-up
(______minutes)

New Concept
(______minutes)

111
Review/Application
(______minutes)

Assessment
(______minutes)

Closing
(______minutes)

Connections
Extensions
Differentiation
 THEATRE
GRADE CONTENT INTEGRATION TITLE OF LESSON

ESSENTIAL QUESTION INTEGRATED STUDENT OBJECTIVE

Descriptors Art Discipline Integrated Discipline

Standards

Student Objectives

Assessment

112
KEY KNOWLEDGE

Prior Knowledge

New Concepts

New Vocabulary
 SKILLS
Prerequisite Skills

New Skills

MATERIALS/RESOURCES

PHASE LESSON
Gathering/Warm-up
(______minutes)

Reviewing/
Previewing
Vocabulary
(______minutes)

113
Exploring
(______minutes)

Improvising/
Inventing (Story)
(______minutes)

Playmaking
(______minutes)

Reflecting/Assessing
(______minutes)

Connections
Extensions
Differentiation
 VISUAL ARTS
GRADE CONTENT INTEGRATION TITLE OF LESSON

ESSENTIAL QUESTION INTEGRATED STUDENT OBJECTIVE

Descriptors Art Discipline Integrated Discipline

Standards

Student Objectives

Assessment

114
KEY KNOWLEDGE

Prior Knowledge

New Concepts

New Vocabulary
 SKILLS
Prerequisite Skills

New Skills

MATERIALS/RESOURCES

PHASE LESSON
Student Engagement
(5-10 minutes)

Aesthetic Exploration
(10 minutes)

115
Creative Expression
(30 minutes)

Reflection
(10 minutes)

Connections
Extensions
Differentiation
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118
119
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