24 Lesson Plans created for ARTSEDGE, a

Transcription

Can You Measure Up?
Lesson Overview:
After reading Janet Stevens and Susan Stevens Crummel's book Cook-A-Doodle-Doo!, primary
students will engage in dramatization and a variety of measuring activities that include
estimation, equivalents, and elapsed time. Students will work collaboratively to conduct
measuring "experiments", record their findings, and present their findings in final reports.
Length of Lesson: Three 45 minute class periods
Notes: This lesson is particularly suitable for grades K-2.
Instructional Objectives:
Students will:
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dramatize a story using facial expression, role playing, and improvisation.
identify and use common organizational structures such as chronological order.
work collaboratively in lab groups to conduct "experiments" about the following
concepts: time measurement, subdivision of units, equal parts, and estimation as a
strategy.
demonstrate understanding of these concepts through presentation of their findings in oral
reports and written essays.
Supplies:
For the Teacher:
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Cook-A-Doodle-Doo! by Janet Stevens and Susan Stevens Crummel
For the Student:
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Chart paper
Book
Coffee can
Rulers
Tape measures
Several balls of
yarn
Scissors
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Clock with second
hand
Pencils
Markers
Dice
Measuring cups
Measuring spoons
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Rice, dried corn,
peas and/or beans
Pitcher
Newspaper
Roll of plastic
Masking tape
Water
1 Instructional Plan:
Warm Up
Ask students if they have ever cooked anything by themselves or with another family member or
friend. Have students share information about the dishes they have had experience preparing.
Then ask them to list important components they needed in order to prepare their dish, such as
ingredients, directions, kitchen tools, etc. Make a list of these items on a chart.
Directed Instruction
Tell students that today they will hear a story about animals that make strawberry shortcake, but
run into a few problems along the way. Read the story Cook-A-Doodle-Doo! As you read the
story, ask students to listen carefully for the problems encountered by the characters. Tell
students to raise their hands if they hear a problem. Call on one student and ask them to pretend
they are talking to that animal and attempt to clear up the misunderstanding. An example in the
story is when Iguana dashes outside to get the flour and comes back with a petunia.
Pick a student, who has raised his/her hand, to explain to Iguana why a petunia is the wrong kind
of flour. Explain that there are many words in the English vocabulary that sound the same but are
spelled differently. Ask students if they can list any of these. Write them on the board as students
list these words. Explain that these types of words are called homonyms. Examples include
"bear" and "bare", "hear" and "here", etc. After one or more students have had a turn to clear up
Iguana's misunderstanding, continue reading and find out how Rooster resolves the
misunderstanding. Continue reading the story and allow students to correct the mistaken
conclusions.
After finishing the story, tell the students they will get a chance to dramatize the story. Have
students list the characters in the story. You may want to discuss traits of each character. Have
students determine the setting of the story. Then ask students how they will set up the classroom
to become the setting for their dramatization. Chart a brief retelling of the sequence of events so
students will be ready to dramatize. Choose four students to play the roles of Rooster, Iguana,
Turtle and Potbellied Pig. The other students can be the Dog, Cat, Goose and the audience.
(Note: You will play the narrator for the first performance.)
Using the book, tell the story with the students recreating the individual parts. When you come to
each character's part, students will improvise dialogue using their own words but keeping in line
with the story. (Some students will want to use the exact language in the book while more
confident students may naturally improvise. Both choices are acceptable.) Discuss beforehand
the meaning of improvisation and give students a few examples. You may wish to repeat this
process giving all students a chance to play individual parts and also act as narrator. Dramatize
several times so most students get a chance to play a main role. As students repeat the
dramatization, they will become more comfortable and begin improvising more. Leave the book
out for students to read on their own time or to use for extension activities (see Extensions
section.)
2 For the next class, have the following centers set up with all appropriate materials before
students arrive:
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Center 1: Supplies for this center include Reading and Understanding Three-Digit
Numbers worksheet, pencils, and dice.
Center 2: Supplies for this center include Estimating Size worksheet, pencils, balls of
yarn, books, coffee cans, rulers or tape measures, or both.
Center 3: Measuring Supplies for this center include Data Sheet for Measuring
worksheet, pencils, newspaper or plastic to cover table, measuring cups, measuring
spoons, dry ingredients such as rice beans or corn, pitchers of water.
Center 4: Understanding Time Supplies for this center include Data Sheet for
Understanding Time, pencils, and a clock with a second hand.
During the math lesson of the day, remind students of the story they heard earlier, Cook-ADoodle-Doo! Ask students to recall any math skills the animals needed to make their strawberry
shortcake. You may wish to go through the book as you make a list of all the math skills that are
needed. Include the following skills:
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knowing how to read three digit numbers to turn on the oven to the correct temperature
estimating to know what size bowl for all of the ingredients
fractions for measuring ingredients and understanding time
Tell students that today they will get to practice some of these skills at math centers. Explain
each center to students. Divide class into four groups, and assign each group to a math center.
Using a simple flow chart, display how students are to move to each center. For example, Center
1 goes to Center 2, Center 2 to Center 3, etc. At each center, have multiple copies of the
applicable worksheets and the Rotation Chart. Give students approximately 10-15 minutes at
each center. Use a signal for students to switch, e.g. a bell or turning off lights. If students need
more time, be flexible.
Independent Activity
As students work in their groups at each center, circle the room to assist students, answer
questions, informally assess students, and prevent any behavior problems.
Center 1: Reading and Understanding Three Digit Numbers
1. Each student rolls a die three times and records the three-digit number he/she makes.
Example: A student rolls a 4-2-1. He/she records the number 421.
2. When all students in the group have had a turn to roll the die and record their number,
each student will read his/her 3 digit number and determine whose has the largest
number. The student with the largest number wins. Students play until someone wins 3
out of 5 times or it is time to rotate centers. (Note: you may wish to alternatively have the
student with the smallest number win.)
3 Center 2: Estimating Size
1. Students must look at several objects on the table (i.e. a book, a container, etc.) They will
cut a piece of yarn that they estimate to be the height and or width of the object.
2. Students measure each piece of yarn with a ruler or tape measure and record the
information on a piece of paper. An example is a book with an estimated yarn length of 5
inches.
3. When all students are finished estimating and recording, they may use the ruler or tape
measure on the table to find the exact measurements and record it next to their estimates.
Students can then record the difference between their estimate and the exact
measurement.
Center 3: Data Sheet for Measuring
1. Table will be covered with newspaper or a plastic tablecloth.
2. Using measuring cups and measuring spoons, students measure dry ingredients including
rice, corn, or beans. Students will record their findings on their worksheets.
3. Students should answer the following questions: How many tablespoons of rice equal 1/4
cup? 1/3 cup? 1/2 cup? 1 cup? Repeat the same measurements for the corn and the beans.
How many 1/4 cups equal a 1/2 cup or 1 cup? How many 1/3 cups equal 1 cup? (Note:
You may wish to have available a liquid ingredient such as water to conduct the same
measurements.)
Center 4: Data Sheet for Understanding Time
1. Table will have a clock with a second hand and a chart that states 60 seconds = 1 minute,
60 minutes = 1 hour.
2. Students take turns being the "timer." The timer asks students to put their heads down,
close their eyes and raise their hands when they think a minute has gone by. They need to
keep their hands up until the timer calls one minute.
3. Students will discuss their thoughts about their estimation. Then the timer conducts the
experiment again. Students should discuss if they thought it was easier to make an
accurate estimation the first or the second time, and explain why.
4. Students then take turns being the timer and using other increments of time, such as 10
seconds, two minutes etc.
Note: If you can get access to computers with Internet capability, have students explore the
interactive, Crunch the Numbers to review measurement skills and reinforce what they learned
during the independent activities.
When students have completed all four centers, take about 5-10 minutes and have them meet
within their groups to discuss their findings. Have each group choose a reporter for each activity
and then have the class sit as a whole and listen to the different reporters. After each group has
presented their reports, have the class discuss the findings. Have all students write a short onepage essay that explains, based on what they learned from their experiments, what they would
change about the book or how they could better help the animals.
4 Assessment:
Use the Assessment Rubric to evaluate student learning and progress.
Extensions:
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Students can make costumes or masks to depict the traits of the characters in the story.
These masks can be used for their dramatizations.
Make "Great-Granny's Magnificent Strawberry Shortcake" per the recipe in the book.
While making the cake, discuss and record how the ingredients change when cut, beaten,
whipped, mixed and baked.
Change one or more ingredients in the recipe for "Great-Granny's Magnificent
Strawberry Shortcake". Write the new recipe, create a new name for the cake, and draw a
picture of the finished cake.
Create an ongoing center where students can practice measuring with a variety of tools
such as pints, quarts, gallons, metric measurements, etc. and materials (liquid as well as
dry)
Sources:
Print:
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Crummel, Susan Stevens and Stevens, Janet. Cook-a-Doodle-Doo! Harcourt Children's
Books, 1999.
Web:
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Math and Children's Literature
http://www.carolhurst.com/subjects/math/math.html
National Center for Mathematics and Science
http://www.thecoo.edu/~apeter/math_sites.htm
Scholastic
http://teacher.scholastic.com/lessonrepro/sendhome/ect/homeeng0998.htm
Authors:
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Diane Ambur, Retired Staff Development and Mentor Teacher
Montgomery County Public Schools, MD
Crunch the Numbers Interactive located at:
http://interactives.mped.org/view_interactive.aspx?id=570&title=
5 6 7 8 9 10 11 Melodies & Math: Telephone Improvisations
Lesson Overview:
In this lesson students will use the keypad of an online telephone to explore number concepts and
improvise melodies using 4/4 and 2/4 time. They will then create instruments to echo and
accompany the numeric melody they create. Students will stage a collaborative class
performance using each group's composition.
Length of Lesson:
Four or five 45-minute periods
Notes:
This lesson is particularly appropriate for grades 3-4.
Students will:
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Experiment with creating electronic sounds
Demonstrate an understanding of 4/4 and 2/4 time by creating melodies using 4/4 and 2/4
time
Write numbers that correspond to those from the keypad in order to document an original
melody
Play a melody using 2/4 and 4/4 time signatures
Create instruments using assorted materials
Stage a class musical performance
Supplies:
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LCD Projector
Computer with Internet access and Flash 5 Player or above (You may need to book
computer lab time to complete the lesson activities if a computer is not available in your
classroom.)
An assortment of recycled materials such as milk cartons, small plastic or glass jars, and
plastic water bottles
Beans, pasta shells, rice, beads, trinkets, etc., to make varied rhythmic instruments
Please be aware that the telephone improvisation melody activity is only intended to be used
with the online telephone application in this lesson. Tell the students that the online application
does not connect to a real telephone number. Remind your students that if they use a real
telephone they will incur monetary charges.
1. Introduce students to 2/4 and 4/4 time signatures by visiting the San Francisco Symphony
Kids website at SFS Kids' The Music Lab.
Click on "Basics" to learn about time signatures. You should use an LCD projector so
that the class can view the website. You must read the information on how to connect
your particular LCD model to your computer. It is important to check the LCD projector
you are using with the specific computer you are using to ensure that the text and
graphics are clear and visible. The appearance of websites on the projection screen can
vary greatly. General instructions for how to set up an LCD projector and a laptop
computer can be found at the University of Wisconsin-River Falls Information
Technology website at Setting up a laptop computer and LCD projector. Note: Keep the
computer and the projector connected so that you can complete step number three.
2. Review the concept of time signatures with your students. Tell the class that time
signatures tell about the beat, and that in 4/4 time, there are 4 beats in a measure, and
each beat lasts a quarter note. Tell the students that in 2/4 time, there are 2 beats in a
measure, and each beat lasts a quarter note. Show the students how to clap out two
measures in each time signature. Practice clapping out each time signature several times
as a class.
3. Introduce the San Francisco Symphony Kids website to the students. This website can be
found at SFS Kids' The Music Lab Composerizer. Ask for volunteers to experiment with
the interactive "Composerizer” feature on the site. This gives students a unique and fun
opportunity to create music without knowing how to play an instrument. You will need to
have version 5 or above of the Macromedia Flash Player to access this feature. There is a
direct link from the website to the download.
4. Divide the class into small groups of four or five students. Tell the students that they are
going to experiment with creating melodies using the sounds of a telephone. Visit the
following website to access this tool:
DTMF Tone Generator Applet
Ask for student volunteers to explore this interactive tool.
5. Each group will need access to the interactive tool for this activity. Provide each group
with a copy of the "Telephone Music" handout. The handout provides instructions
students to create melodies using the interactive tool. Review each step of the handout
with the class.
13 Tell the students that they are going to record the numbers used to play their melodies in
4/4 and 2/4 time. First, they should experiment until they find a melody they like. Then
they must record the numbers and symbols they used to create the melody. Tell the
students that the handout also provides a copy of the keypad so they can have additional
help in remembering and recording the numbers and symbols in their tunes.
Give each student a copy of the "Row Your Boat" handout that can be used to show
students how to complete this task. Complete this activity as a class to make sure that
students understand how to use the online tool and to create their melodies. Ask the
students if they have any questions.
Students may be given the option of having one group member use the handout to record
the numbers and symbols that another student is playing when using the interactive
online tool.
If you need additional information about cooperative group learning, you can visit the
following Internet resources:
o Harvard Education Letter “Putting Cooperative Learning to the Test”
o California State University/University of Wisconsin "Basic Elements of
Cooperative Learning"
If you would like to provide your students with a classroom keyboard or piano, this can
be a helpful resource as they record and verify their melodies. If instruments are not
available, you can have your students experiment with the online keyboard that can be
found at Play the Piano Online - Java Piano.
If you feel your students are able to understand rhythm, you might also wish to discuss
whole notes, half notes and quarter notes with your class as they complete this activity.
They can then read each number or symbol aloud and have the person using the online
tool hit each key to ensure that the melody is accurate.
Closure
1. Stage a "Telephone Music Performance" event. Have students perform their music for
their classmates.
2. After the students have completed their performances, lead a class discussion. Use the
following questions to guide your discussion:
o What did you learn about rhythm?
o What did you learn about time signatures?
o What was the most difficult part of this task?
o If you had to teach time signatures to other students, how would you do so?
o What did you learn from performing your melodies?
14 Assessment:
The assessment for this lesson consists of two parts. The first part is a self-assessment form filled
out by each individual student. The second part is a teacher assessment form, which is filled out
by the teacher.
1. Provide each student with the handout entitled "Self Assessment/Reflection Questions."
After the students have finished the handout, ask for volunteers to share their responses
with the entire class.
2. Complete the "Teacher Assessment Form" using input from the students’ responses to the
"Self Assessment/Reflection Questions."
Extensions:
Activity One
1. Encourage the students to experiment with the Internet tool to compose music in 3/4
time.
2. Record students’ compositions and post on a website or share as a podcast. You can learn
about creating a podcast in your classroom at the following website:
Podcasting in Education
Activity Two
1. Provide the students with an assortment of materials and tell them that they are going to
create rhythm instruments to accompany their original songs. You can give the students
milk cartons, small plastic or glass jars, plastic water bottles, beans, pasta, small beads,
pebbles, or trinkets to use to construct their instruments. You can also choose to provide
the students with instruments such as triangles, rainsticks, shakers, or small drums that
may be available in your music department. The following website has directions for
making an assortment of musical instruments:
PBS Kids' Arthur: Making Music
2. Tell each group to practice its song with the accompanying rhythm instruments. This
practice time should be no longer than fifteen to twenty minutes. One student will play
the song using the interactive tool, and the rest of the group will play the rhythm
instruments. Encourage the students to practice until they are ready to perform their
music for the entire class.
15 Internet Resources:
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DTMF Tone Generator Applet
San Francisco Symphony Kids
Podcasting in Education
Harvard Education Letter “Putting Cooperative Learning to the Test”
California State University/University of Wisconsin “Basic Elements of Cooperative
Learning”
Piano World
Authors:
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Maureen Carroll
Bay Breeze Educational Resources, Inc.
Pleasanton, CA
16 17 18 19 20 Animal Habitats
Lesson Overview:
Early primary students will learn about meadow and swamp animal habitats. Students will use
chronological ordering and phonics to reinforce beginning literacy skills. They will demonstrate
understanding of these concepts through song, movement, and creative dramatization.
Length of Lesson:
Three 45-minute class periods
Notes:
This lesson is particularly suitable for grades Pre-K—2.
Students will:
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identify animals and their habitats.
identify and use common organizational structures such as chronological order.
use volume, facial expression and body movement to enhance communication.
repeat aloud patterns and rhythms of text and identify rhyming words.
use music to accompany text in a story.
Supplies:
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Over in the Meadow by Olive A. Wadsworth, Anna Vojtech. (Note: There are several
versions of this book that can be used as well. See Sources section.)
Large chart paper
Laminating film
Markers
Teacher Background:
This lesson requires teacher knowledge in two areas:
1. Prior to beginning this lesson, you should familiarize yourself with "phonological
awareness" or phonemic awareness, which is the ability to deal explicitly and
segmentally with sound units smaller than the syllable (Stanovich, 1993). To learn more
about phonemic awareness and its use as a literacy tool, see the Sources section.
2. You should become familiar with the music that accompanies the story prior to this
lesson. Most versions of the book have the song in the back of the book. If you wish to
hear the music, go to KIDiddles: Song Lyrics. You may also create your own tune or
perform the story in a rap style.
Warm Up
Ask students if they have ever seen or walked in a meadow. Ask them to share what they saw. If
the students have not experienced a meadow, use some of the illustrations from the book Over in
the Meadow (see Sources section) to initiate the discussion. Do a picture walk through the book
and identify the animals found in the meadow and where they live.
After completing the warm up, go back and read the story. Let students join in as they discover
the pattern of the story. After each set of animals is introduced, ask students to predict how many
animals will be in the next set. (Note: This gives them practice counting in chronological order.)
After reading through the story one time, tell students that there are rhyming words in the story.
Examples include "tree", "three", etc. Read the story a second time and have the students identify
the rhyming words. Use the chant: "Tree, three,... they both say _ee_." (This builds phonemic
awareness.)
Next, tell the students you are going to show them something very special about this story. Tell
them there is music to accompany the story and that you can all sing the story. Sing the first page
to them using the music from the book, Web site, or your own tune. Ask them to join in for the
rest of the story. Students may want to sing it again. If so, divide the students into 10 groups.
(One for each set of the animals in the story) The size of the class will determine how many
animals are in each group. The number of students won't necessarily match the number of the
animals in the book. In this way, everyone gets to participate.
Determine with the students the location of each habitat and if any furniture needs to be
rearranged, or labels or pictures made to describe the environment. (Optional: Take time to make
labels or pictures to go with the environment or save to do another day.) When you sing the verse
about a particular animal, students should mimic the look and movements of that animal as they
sing their part. One student could be designated as the mother animal or one student from each
group could be the designated mother. (Note: This part of the lesson could also be left for the
next class period, depending on the attention span of the class.)
22 For the next class, copy the Lyrics to "Down in the Swamp" by Diane Ambur on a large piece of
chart paper. (If you are using the lesson for grades 1-2, you may wish to print out copies for
students.) Leave blanks for the number words. Begin by asking students if they have seen or
visited a swamp. Explain that a swamp is a warm, wet area with lots of forests. Ask students
what they would see in a swamp. If students have no experience with swamps, then show them a
drawing of swamp animals. For more information about swamps, use the Enchanted
Learning.com: Swamp Life Animals Web page.
After the discussion of swamps and swamp animals, read the lyrics to "Down in the Swamp."
Have the students fill in the missing number word. (Depending on skill level, you may wish to
have students write the number or the number word.) As students are filling in the blanks, have
the class also identify the rhyming words. When the first reading is finished, sing the story using
the tune from the book Over in the Meadow. Put students in groups of animals to dramatize the
story as they sing.
Assessment:
Use the Assessment Rubric to evaluate students' learning.
Extensions:
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Have students use the interactive, Meadow and Swamp Animals, to reinforce their
understanding of which animals belong in each habitat. (Note: This interactive is literacybased. Please preview and decide if appropriate for skill level and classroom.)
Students can draw pictures of habitats for each animal to use in dramatization. Students
can make masks of animals to use in dramatization.
Students can use musical instruments to make the sounds of each animal.
Students can do a comparison of two or more of the stories listed in the Sources section.
Students can write their own story song as a group or individually and sing it to the tune
of Over in the Meadow.
Ex.
Down at the zoo in the hot summer sun.
Lived an old mother lion and her little cub one.
"Roar," said the mother. "I roar," said the one.
And he roared and he roared in the hot summer sun.
23 Sources:
Print:
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Cabrera, Jane. Over in the Meadow. London: Gullane, 2000.
Keats, Ezra Jack. Over in the Meadow. New York: Viking, 1999.
Langstaff, John, and Rojankovsky, Feodor. Over in the Meadow. Hong Kong: South
China Printing Co., 1985.
Wadsworth, Olive and Vojtech, Anna. Over in the Meadow. New York: London: North
South Books, 2002.
Ward, Jennifer and Spengler, Kenneth J. Over in the Garden. Northland, Arizona, 2002.
Ward, Jennifer and Spengler, Kenneth J. and Marsh, T.J. Somewhere in the Ocean.
Northland, Arizona, 2000.
Ward, Jennifer and Spengler, Kenneth J. and Marsh, T.J. Way Out in the Desert.
Northland, Arizona, 2002.
Wilson, Anna. Over in the Grasslands. Indiana: Little Brown and Company, 2004.
Web:
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Enchanted Learning.com: Swamp Animals Drawing
http://www.enchantedlearning.com/biomes/swamp/printout.shtml
Enchanted Learning.com: Swamp Life Animals
http://www.enchantedlearning.com/biomes/swamp/swamp.shtml
Ongoing Tales Poems
http://www.ongoing-tales.com/SERIALS/oldtime/POETRY/meadow.html
Over in the Meadow Song Lyrics
http://www.enchbyench.com/angie/meadow.htm
Phonemic Awareness
http://www.manatee.k12.fl.us/sites/elementary/palmasola/rcompindex1.htm
Phonemic Awareness: An Important Early Step in Learning To Read
http://www.kidsource.com/kidsource/content2/phoemic.p.k12.4.html
Rebus Rhymes
http://www.enchantedlearning.com/rhymes/Greengrass.shtml
Authors:
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Diane Ambur, Retired Staff Development and Mentor Teacher
Montgomery County Public Schools, MD
Link to Meadow and Swamp Animals Interactive:
http://interactives.mped.org/view_interactive.aspx?id=578&title= 24 25 26 27 Sunflowers
Part of the Unit: Scientific Impressions Lesson Overview:
In this lesson, van Gogh’s depiction of sunflowers is used as a means of focusing on the parts of
a flower, growing sunflowers in the classroom, and developing students' artistic impressions of
sunflowers.
Length of Lesson:
Students will:
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compare art reproductions of van Gogh, Klimt, and O’Keefe.
plant sunflower seeds
complete the seed packet questionnaire
measure the rate of growth of a sunflower
diagram the lifecycle of a sunflower.
create a personal representation of sunflowers.
compose an original poem about sunflowers
Instructional Plan:
Introduction
As part of the Scientific Impressions unit, this lesson begins by drawing on students’ prior
knowledge of sunflowers. Distribute a small handful of sunflower seeds to each student. Ask
them if they know what they are. Explain to the students that these tiny seeds grow into majestic,
golden sunflowers. Point out the fact that they come from the "head" (brown center) of the
sunflower when it withers each fall.
Read and discuss the book Lifecycles: From Seed to Sunflower by Gerald Legg. This book
contains large illustrations that show the lifecycle of a sunflower from seed to flower. Review
with students the parts of a flower: root, stem, leaves, petals, and seeds. Identify each of these
parts on the sunflower plant. Using a sheet of 9" x 12" white drawing paper, students will create
a storyboard to illustrate the sunflower’s life cycle. Fold the sheet of paper in fourths. In each
section of the paper, label and illustrate each part of the lifecycle: seeds are planted, seeds sprout,
plants receive water and sunshine, flowers bloom, flowers wither and drop seeds.
28 Ask students if they have ever seen real sunflowers: What words could they use to describe the
sunflowers? Explain that there is a famous artist who painted a picture of a vase of sunflowers.
At this point, share with students Van Gogh Museum's print of Van Gogh’s Sunflowers. How do
the flowers in the picture differ from sunflowers they might see growing in a garden?
Students should verbalize that the sunflowers in Van Gogh’s painting are in a vase and are
therefore considerably "shorter" than a flower they might see in a garden. Explain that there are
several other artists that have also represented sunflowers through art. Have students look at
some of these paintings and compare them to Van Gogh’s Sunflowers. Examples of prints that
might be used are:
Garden of Sunflowers by Gustav Klimt
http://www.artgazebo.com
Country Garden with Sunflowers by Gustav Klimt
Ask students to explain the difference between the flowers shown in Klimt’s works. (These
flowers are not cut; they are shown as they would be in a garden. Klimt was also an expressionist
who did not represent nature accurately—instead vibrant, wild colors would be used.) Why do
the students think that sunflowers make such an interesting subject for artists?
Planting Sunflowers
Students will now plant the sunflower seeds that they have on their desks, using the instructions
listed in the Planting Sunflowers activity handout:
1.
2.
3.
4.
5.
6.
7.
Distribute a paper cup to each student. Have the students write their names on their cups.
Fill the cup almost to the top with damp soil.
Poke a hole about 1" deep for each seed.
Place a seed in each hole and cover with soil.
Put all cups on a waterproof tray in a place that will receive plenty of sun.
Water as needed.
It should take 5-10 days for the seeds to sprout.
Have students make predictions in their journals as to how tall their plants will get and how long
it will take for their plants to reach that height. Once the seeds start to sprout, have students begin
to measure and record the growth. This should be done twice a week. Students should record the
height of their plants in their science journals, and draw a picture to illustrate what the plant
looks like.
Distribute sunflower seed packets and a copy of the Seed Packet Questionnaire to each small
group of students. Have students examine the packets to locate the following information:


How many days do the seeds require to germinate?
How many days do sunflowers require to bloom?
29 

What are the growing conditions required by sunflowers?
How much space do sunflowers require to bloom?
Sunflowers in Prose and Poetry
Sunflowers are native plants of the North American prairie; One state where sunflowers would
be found is Kansas. Share the poem An Ode to a Kansas Sunflower by Ed. Blair with the
students. What images does the poem bring to mind?
Share the book Camille and the Sunflowers: A Story about Vincent van Gogh by L. Ahalt. This
story is based on the life of Vincent van Gogh and contains several reproductions of van Gogh’s
work including Vase with 14 Sunflowers.
Refer to the Earth’s Birthday Project. This Web site asks the students to write their own
sunflower poem and provides examples of some student work.
Creating Our Own Sunflowers
Distribute the Create Your Own Sunflower activity, and review the following instructions from
the handout:
1.
2.
3.
4.
5.
6.
Use a 12" x 18" piece of drawing paper.
Place your paper lengthwise.
Draw a line about four inches from the bottom of the paper.
Draw a vase in the center of the line.
Draw several stems coming out of the vase.
Use torn tissue paper to create the petals of the flower.
Note: At this point in the activity, distribute cups of glue thinned with water and small brushes to
each group of students.
7. Demonstrate to students how to apply tissue paper pieces by putting glue on paper and
placing tissue paper pieces in glue.
8. Overlap pieces of tissue paper until all petals are formed.
Assessment:
Student journals will be used to assess understanding; as well as, lifecycle drawings.
Use the Assessment Rubric to evaluate your students' work.
30 Sources:
Print:


Anholt, L. Camille and the Sunflowers: A Story about Vincent van Gogh. New York:
Barrons ; 1994.
Legg, Gerald. Lifecycles: From Seed to Sunflower. New York: Franklin Watts, 1998.
Web:



Country Garden with Sunflowers by Gustav Klimt
Garden of Sunflowers by Gustav Klimt
Sunflowers by Vincent van Gogh
http://www.van-gogh-art.co.uk/
Authors:

Karen Smith, Teacher
Saint John Regional Catholic School
Frederick, Maryland US
31 32 33 34 35 The Great Migration
Part of the Unit: Harlem Lesson Overview:
In this lesson, students will learn about the migration of African Americans to Harlem, beginning
with the original migration of blacks to North America. Students will explore paintings by Jacob
Lawrence to understand the experience of blacks who migrated from the South. Then students
will take a closer look at Harlem and its place in African American history and make a travel
brochure of Harlem’s historic landmarks. Finally, students will create a mural representing one
period studied in the lesson, such as the migration from Africa, life in the South, the Great
Migration, the Harlem Renaissance, or the Great Depression.
Length of Lesson:
Ten 45-minute classes, including time for homework and Visual Art project, as assigned.
Notes:
This lesson is particularly suitable for grades 3-4.
Students will:







analyze how the migration to Harlem represented a new way of life for African
Americans.
create a mural representing one period studied in the lesson, such as the migration from
Africa, life in the South, the Great Migration, the Harlem Renaissance, or the Great
Depression.
create their own maps to learn about the migration of African Americans to the American
South and then to northern cities and neighborhoods such as Harlem.
explore paintings by Jacob Lawrence to understand the experience of blacks who
migrated from the South.
learn about the significance of Harlem in African American history.
make a travel brochure highlighting historic landmarks of Harlem.
write a journal entry as if they were African Americans migrating from a southern state to
a northern city in 1900.
36 Supplies:













Red markers or pens (one for each student)
Blue markers or pens (one for each student)
White paper
Paint
Yarn
Brushes
Crayons or markers
Magazines (to cut out images)
Scrap magazines
Glue
Scissors
Scraps of fabric
Other collage materials
Instructional Plan:
Before you begin the lesson, familiarize students with the following words: migration, abolish,
segregate, voluntary.
Introduce the concept of migration. (Migration is the movement of a group of people from one
country, region, or place to another.) Ask students, Why do people migrate? Why do they go
where they go? Is migration always voluntary? Compare the early migration of blacks and whites
to America. For example, Why did early white settlers, such as the Pilgrims, come to America?
(Answers may include: religious freedom, new opportunities, escaping problems in their own
countries.) What about the millions of African Americans who came to America in colonial
times? What brought them here? (They were forced to come here as slaves, captured in their
home countries, and sold here in the America as "goods" or property.)
You may choose to discuss slavery in general terms with your class. What is slavery? (When
someone is owned by another person and thought of as property.) Explain that Africans were not
the only people in history to be enslaved. The ancient Romans and Egyptians captured and used
slaves. (Some believe the pyramids were built primarily by slaves.) During the Middle Ages,
tribes from northern Europe and Asia raided other lands, took captives, and sold them as slaves
throughout Europe. Even today, slavery still exists in parts of the world, where, for example,
women and children are forced to work in factories, in homes, or elsewhere. (For more
information, visit the Anti-Slavery International site at www.antislavery.org/index.htm, or the
Amnesty International site at http://www.amnestyusa.org/).
Hand out photocopies of the world map to each student. Explain that they are going to mark the
migration of blacks on their map with a red marker. Tell students to find Africa on the map.
Explain that many blacks were captured on that continent. They were forced onto slave ships and
taken to South America, Central America, the Caribbean, and North America. Have students find
37 those places on the map. Next, have them use their red marker to draw arrows showing the routes
of slave ships from Africa, across the Atlantic, to the Americas and the Caribbean. Point out that
slaves brought to North America were sold in ports along the coast, such as Charleston, South
Carolina. Most of these slaves were then taken to work on plantations in southern slave states,
such as Virginia, Maryland, South Carolina, Georgia, and Louisiana. Have students use their
markers to show the migration of blacks into the southern states. Tell students that until 1900,
nine out of ten blacks in the United States lived in the South.
During the days of slavery, many blacks escaped Southern slave states through the Underground
Railroad, a network of safe houses and other places that served as havens where slaves could
hide on their way to seeking freedom in the northern states and beyond. To learn more about the
Underground Railroad, have students take a virtual journey along the Underground Railroad
routes at the National Geographic Web site. Then have students think about the Underground
Railroad in terms of African American migration. Show them the online map from National
Geographic. From this map, name some of the slave states. (Slave states included: Alabama,
Arkansas, Delaware, Florida, Georgia, Kentucky, Louisiana, Maryland, Mississippi, Missouri,
North Carolina, South Carolina, Tennessee, Texas, and Virginia.) Have students name some of
the places to which the Underground Railroad led. (Answers will vary: Northern states from
New York to Minnesota; also Canada, the Caribbean, and Mexico.)
Explain that slavery was abolished in the United States when the Civil War ended in 1865, but
life was still very difficult for blacks in the South. Many lived in poverty, they were not allowed
to vote, and they were often threatened (and even killed) by angry whites. Many public places,
such as restrooms and schools, were segregated, or separated, for whites and blacks. Those
challenges forced many blacks to leave the South in the early twentieth century. Over the next
several decades, more than one million blacks moved out of the South. This mass movement was
called the Great Migration.
Tell students that one way to learn about the Great Migration is through the paintings of an
African American artist named Jacob Lawrence. His parents were from the South and had
migrated North during World War I. As an adult living in Harlem, he used his art to tell the
stories of the African Americans who migrated North. He painted a series of 60 paintings called
The Migration of the Negro.
Show the class the selected images from The Migration of the Negro, available online (under
Series, select "The Migration of the Negro, 1941"). As you click through the paintings in the
order they're presented on the Web site, ask students to briefly discuss what each painting tells
about the migrants' experience. How do these images portray the Great Migration? Have students
look at the composition of the paintings and describe the mood or emotion that each conveys.
(Lawrence uses dark colors, heavy brush strokes. His black figures look weary but determined.)
Discuss symbolism in selected paintings. (For example, the migrating birds flying overhead in
painting No. 3, the laborer with no face in painting No. 4, or the white judge in painting No. 14.)
After viewing the images, have students use what they've learned to answer the following
questions:
38 


What are some of the reasons African Americans left the South? (Answers include
poverty, lynchings, mistreatment by whites, failing crops, unfair criminal systems.)
What did you learn about the actual journeys of these migrants? How did they travel?
What did they carry with them (see Extension II: The Mind's Suitcase)? (Many traveled
in crowded trains. They carried few material possessions.)
What was life like for African Americans in Northern cities? Encourage them to describe
the positive aspects (new job opportunities) as well as the difficulties (i.e., poor living
conditions, segregation and discrimination in the North, race riots).
Next, hand out a photocopy of the U.S. map to each student. Explain that they are going to make
their own map of the Great Migration. Have them use a blue marker to show the migration of
blacks out of the slave states. Explain that some blacks moved south to Mexico, some moved
West, but most moved to Northern states. Many headed to cities in the North, such as Boston,
Massachusetts; Philadelphia, Pennsylvania; Chicago, Illinois; Detroit, Michigan; Cleveland,
Ohio; and New York City, New York. Help students find and mark these cities on their maps and
have them draw blue arrows to show the direction of the migration.
As a class, revisit the question of migration. Discuss how the Great Migration was unique for
African Americans. How was it different from their migration to America? Was the Great
Migration voluntary? Why were African Americans migrating? (They were in search of a better
life.) Explain that although this migration was voluntary, it may have been a painful decision to
leave behind their homes and families. Ask students to talk about what people may have left
behind in both the migration from Africa and the Great Migration, and keep a list on the board.
For example:
Migration from Africa
Great Migration
Tribes
Unemployment
Freedom
No education
Language
Poverty
Climate
Hard manual labor in the fields
Family/traditions
Family/traditions
Finally, ask students: What was gained during these migrations? What was lost? (See answers
above.)
Activity:
Have each student write a journal entry as if he or she were an African American migrating from
a Southern state to a Northern city in 1900. Encourage the students to think about what would be
exciting or scary about this journey, as well as what was to be gained or left behind.
Tell students that many blacks who migrated to New York City congregated in a neighborhood
called Harlem. Harlem, which became known as the "Negro Capital of America," is an important
39 place in the history of African Americans. Have students use the Great Migration map to name
the states and countries that made up Harlem's growing population.
Use maps to show students where Harlem is located. Present a map of Manhattan and explain
that the island is part of New York City. Next, point out the neighborhood of Harlem on the map
(north of Central Park).
Ask students to think about the effect that a group of migrants can have on a place. How might a
group of migrants change the place where they've moved? How might the migrants themselves
change in the new place? Explain that when New York City was first founded, most people and
businesses were located downtown (the southern tip of Manhattan in what is now called the
Financial District). In the early days of the city's history, the area where Harlem is today was still
rural. New York was first settled in the 1600s by Dutch farmers from the Netherlands. It was
then called New Amsterdam (after the capital of the Netherlands; Harlem is also named after a
city in the Netherlands, called Haarlem.)
Over the next two hundred years, more and more people moved to Harlem to escape the crowds
of lower New York City. Railroads were built connecting lower Manhattan to Harlem, homes
were built, and the population kept growing. During this time there was a very large (and rapidly
growing) Jewish population in Harlem. At one point there were only two larger Jewish
settlements in the world: New York's Lower East Side and Warsaw, Poland. It is estimated that
175,000 Jews lived in Harlem around the time of World War I, but the population quickly
diminished over the next 20 years. Today, very few Jews live in Harlem, but there are signs of
their presence in the early part of the century. Many synagogues, adorned with the Star of David,
still exist throughout Harlem, though most serve as Christian churches now.
Blacks began moving into Harlem in the beginning of the twentieth century. Some migrated
from downtown Manhattan, but many came from the South and the Caribbean. Most whites did
not welcome the newcomers, but by 1920, Harlem had become a mostly black community.
Harlem quickly became famous as the center of African American culture, arts, and politics. The
1920s were the peak of a period that became known as the Harlem Renaissance. Black artists
from around the country came to Harlem, where there was an outburst of music, painting,
literature, and drama. Using the "Places" division of the ARTSEDGE Web site, Drop Me Off in
Harlem, show students the map of "Harlem Hot Spots" during the Renaissance. What do they
notice about the various places in Harlem?
In the 1930s, the Depression brought an end to the Harlem Renaissance, as both blacks and
whites struggled to find jobs and food for their families. Blacks continued to migrate from the
South into Harlem. For the next several decades, Harlem fell into disrepair and was home to
riots, drug trades, and unemployment. But today, Harlem is turning itself around again.
Professionals are moving into Harlem and renovating the old brownstones. New businesses are
developing in Harlem. And Harlem is once again the scene of an artistic movement, which some
call the "Second Harlem Renaissance."
40 Activity:
As a final activity, have each child choose a period discussed during the lesson (the Great
Migration, the Harlem Renaissance). The student will create a mural representing that period.
The mural could be a simple collage on brown paper or it could be painted on a wall in the
hallway. If students are in a large industrial city in the North, they could create a mural to depict
the effect the Great Migration had on their city. If the students are in a rural southern area, they
could also show the effect of the population's flight north.
Assessment:
Complete the following rubrics for assessment:



Images of Migration Assessment
Journal Entry Assessment
Travel Brochure Assessment
Extensions:
Extension I: The Mind's Suitcase
Explain that when Africans migrated from their homeland during the slave trade, they could not
bring material possessions with them. Then, when African Americans were migrating from the
South to the North, they often carried few possessions with them on their trip because most were
very poor and the trip was long. But although they did not bring many material objects with
them, they brought many valuable things in their hearts and minds. Ask students to think of those
things as the "mind's suitcase." What are some things that these migrants may have packed in
their "mind's suitcase"? (Their way of talking, their foods, their songs, dance, memories of their
families and handed-down fables and stories from their homeland, skills at crafts and arts—in
short, their culture.)
Ask students to imagine they are moving to a new country, but they are not allowed to take any
material possessions. What would they carry in their own "mind's suitcase"? Have students
create a representation of their suitcase, through visual arts (such as a drawing, painting, or
collage) or through writing (such as a poem or story). They may also combine visual arts and
writing.
Share examples of how a group's culture is carried over through migration:
The Gullah language was spoken by blacks from the Sea Islands of Georgia and South Carolina.
Gullah was a special language that stemmed from dialects of Jamaica and other islands of the
Caribbean. Many blacks that migrated to the cities in the North spoke this language. Even though
they slowly adopted the mainstream English, some Gullah words remained a part of their
41 vocabulary. Some examples of common Gullah words (some of which the students may already
know) are: goober (peanut), juju (magic), jigger (a type of flea), voodoo (witchcraft), yam (sweet
potato), and samba (dance).
Extension II: Call and Response
"Call and response" is a style of music, song, and dance that involves repetition. In call and
response, the leader sings a line from a song, accompanied by a specific movement (such as a
head pat), which is then repeated by the group. This African tradition was brought to the
Americas by black slaves and carried on by African Americans. Lead children in a call-andresponse activity using the song "Kye Kye Kule" from Ghana. The words, pronunciation, and
accompanying motions can be found on the site, K-2 West Africa Lesson Plans: Music.
Sources:
Print:




Isserman, Maurice. Journey to Freedom: The African American Great Migration. Library
of African American History Series. New York: Facts on File, 1997.
Lawrence, Jacob. The Great Migration: An American Story. New York: HarperTrophy,
1995.
Low, Augustus W., and Virgil A. Clift. “Population.” Encyclopedia of Black America.
New York: DaCapo Press, 1988.
Price, Sean. "Moving North," Junior Scholastic. April 13, 1998.
Web:




Harlem Association for Travel and Tourism
http://hatt.org/
Harlem: 1900–1940: An African American Community
http://www.si.umich.edu/CHICO/Harlem/
Jacob Lawrence Catalogue Raisonné Project
http://www.jacoblawrence.org/
Migrations: African American Mosaic Exhibition
http://lcweb.loc.gov/exhibits/african/afam008.html
Authors:

Scholastic Inc.
New York, NY
42 43 44 45 46 47 48 Immigrating to America
Part of the Unit: Dreams in the Golden Country Lesson Overview:
Students will learn about what it was like for new immigrants to come through Ellis Island—a
symbolic heart of American immigration—at the turn of the century. Through first-hand
accounts, students will discover where the immigrants were from, the reasons they fled their
homelands, and why they came to America. By performing dramatizations and taking an
interactive tour of Ellis Island, students will relive the immigrant experience.
Length of Lesson:
Eight 45-minute class periods
Notes:
Students will:






locate on a world map the countries from which their ancestors immigrated, and the
countries from which Ellis Island immigrants traveled.
locate on a U.S. map immigrant ports of entry.
explain procedures immigrants followed at Ellis Island.
illustrate the experiences immigrants went through leaving their home countries and
coming to America, via in-class dramatizations.
express the experiences of an immigrant through journal writing in the voice of an Ellis
Island immigrant (in Extensions section).
use research skills to find out about their family history (in Extensions section).
Supplies:








World map (available on National Geographic's Xpeditions site)
U.S. map (available on National Geographic's Xpeditions site)
Thumbtacks
Yarn
Costumes and props as needed for dramatizations (optional)
Markers
Posterboard
Citizenship Test for students found in Immigration: Then and Now(optional; see Teacher
References section for bibliographic information)
Part 1: A Nation of Immigrants
Ask students who the first immigrants to America were. Make the point that even before our
nation was a nation, people immigrated (define immigrate and emigrate; refer to Vocabulary
Handout if necessary) from other places around the world to make new lives for themselves and
their children.
Point out that America is a nation made up of immigrants (define immigrants) because nearly
everyone in America (except Native Americans) originally came from somewhere else.
Explain to the class that most immigrants fled their homelands to escape hardship in their
homelands, including religious and political persecution (define persecute), war, starvation,
poverty, lack of opportunity, etc. They came to America by choice for freedom and opportunity.
But some immigrants were brought here against their will. Ask students to name one group of
people brought against their will. Explain that slaves were forced to come here from Africa on
slave ships. For more on the forced immigration of African Americans to America, see the
ARTSEDGE lesson Harlem: The Great Migration.
Distribute the American Immigration Timeline Handout and discuss each date. Emphasize the
three major waves of immigration (1700-1776; 1820-1870; 1881-1920). Tell students that the
greatest wave of immigrants came between the years 1881-1920 and that the majority (90%) of
those immigrants came into New York Harbor and went through the Ellis Island Immigration
Center. Mention other ports of entry in America, including the East Coast ports of Boston,
Philadelphia, and Baltimore; southern ports in New Orleans and Galveston; and the West Coast
port of San Francisco. Invite students to find all these cities on a U.S. map, pointing out that they
are all on the water.
Tell students that because 50% of the U.S. population can trace its roots to Ellis Island, this
landmark has come to symbolize the immigrant experience in America.
Prompt students to discuss where their families/ancestors are from. (You will want to assign this
ahead of time so students can go home and ask their families about their ancestry and ethnic
backgrounds.) Ask them to find these countries on a world map. Model this activity for students
by identifying on the map where your family is from and marking it with a thumbtack. Point out
that whether their family has been here for one generation or many, their ethnic heritage (define
"ethnic"; refer to Vocabulary Handout if necessary) has helped to shape today's "all-American"
culture. Have students place photographs of themselves around the border of a world map and,
with thumbtacks, attach yarn from their images to the countries of their ancestry. This will
provide a picture of your class's heritage.
50 Part 2: Coming Through Ellis Island
Display images of Ellis Island, the Statue of Liberty, and the mass of immigrants pouring into
America in the late 1800s and early 1900s. Images are available at the following sites:


California Museum of Photography
American Memory from the Library of Congress
Write the words of Emma Lazarus's quote "Give me your tired, your poor, Your huddled masses
…" on a sheet of poster board and read it aloud to the class. Explain that these are lines inscribed
on a plaque on the pedestal of the Statue of Liberty, and that this statue, which represents
freedom and democracy, filled immigrants with hope as they sailed by it in New York harbor.
Describe who the millions of immigrants were—their ethnicities, countries of origin, and why
they were fleeing their homelands. For background information, refer to "The Peopling of
America" section of the American Family Immigration History Center Web site. Talk about
America's varied response to waves of immigration: Immigrants have been viewed as positive
during times of prosperity, negative in times of economic downturn. Also, some groups were
welcomed more than others; for example, see the section on Asian immigrants. Then have
students identify the immigrants' countries of origin on a world map.
Share facts about Ellis Island, including the following:



It is a 27.5 acre patch of land in New York Harbor.
It was selected to be the new immigration processing center to handle the millions of
immigrants coming to America between 1892-1954.
The immigration center on Ellis Island opened in 1892, and for the next 50 years more
than 12 million people came through the island on their way into the United States.
For more on the history of Ellis Island, invite students to click "Timeline" on the History
Channel's Ellis Island site.
Have students explore Scholastic's virtual tour of Ellis Island to relive the path all immigrants
followed in order to enter the United States and the processes immigrants went through upon
arriving there, as well as to learn some of Ellis Island's history.
Assign students different aspects of the Ellis Island process to research in more depth (e.g.,
medical examination, literacy test, legal interview, detainment, etc.) and provide sites where they
can find more information about these processes, including:


The History Channel's Ellis Island Gateway
Scholastic's Interactive Tour of Ellis Island
Have students write a mini-research report describing what they learned and ask them to share it
in an oral presentation with the rest of the class.
Part 3: In an Immigrant's Shoes
51 Prompt students to imagine what it would be like to leave their hometown, including their
friends, family, home, possessions, etc. Ask what they think it would be like to come to a new
country where they don't know the language or the geography, and where they don't have a job.
How would they feel arriving at a new life full of change and uncertainty? Invite students to
discuss how they would feel, what they would do, etc.
Now invite the class to explore online accounts of different Ellis Island immigrants, both real and
fictional, through various media, including audio, video, and text. Here are some suggested
sources:
Print:




Bierman, Carol. Journey to Ellis Island: How My Father Came to America. New York:
Hyperion Press, 1998.
Bunting, Eve. Dreaming of America: An Ellis Island Story. New York: Troll
Communications L.L.C., 1999.
Coan, Peter Morton. Ellis Island Interviews: In Their Own Words. New York: Facts on
File, 1997.
Tarbescu, Edith. Annushka's Voyage. New York: Houghton Mifflin Company, 1998.
Web Sites:


A Boy's Journey
History Channel: Ellis Island
Divide students into two groups and ask them to stage the play First Stop, Ellis Island! by
Michael Peros. One group will be responsible for the scenery, lights, costumes, etc., and the
other group for directing and acting. (If there are many students in the class, you can assign
understudies so that everyone gets a turn to rehearse and be part of the production. You can also
assign poster-making and other promotional tasks, as though the play were to be performed on
Broadway.)
Explain that the play tells the fictional story of people coming to this country during Ellis
Island's peak years. Have students work together to decide who will play which roles and who
will be responsible for gathering the costumes, finding and collecting props, etc. After several
days of rehearsal, the students can perform their play for other classes and/or parents.
Assessment:
Assess student performance using the following rubrics:


Report Assessment Rubric
Play Assessment Rubirc
52 Extensions:
Extension 1: Dear Diary…
To help students get into character for performing the play, invite them to write a journal entry
from the point of view of the character they're playing, especially if that character is an
immigrant. For help getting started, they can use prompts provided in the Journal Writing Prompt
Questions handout. If the student is not playing the part of an immigrant, invite him or her to
make up a fictional immigrant and use information learned through the lesson to create a story
around the character.
Extension 2: Tracing Your Roots
In this activity, students use the Ellis Island Family Immigration History Center site to search for
their ancestors.
NOTE: You will need to modify this activity for students whose ancestors did not come through
Ellis Island by having those students conduct oral interviews of family members. Share tips for
conducting an oral interview by distributing the following handouts:


Consent Form for Oral History Subjects
Helpful Hints for a Successful Interview
Extension 3: Citizenship Test
Tell students that all immigrants who want to become U.S. citizens must pass a citizenship test
showing their knowledge of the language, history, and government of America. Give out the
sample Citizenship Test (found on page 76 of Immigration: Then and Now by Karen Baicker
[Scholastic Inc., 1997]) and challenge your students to test their knowledge of the United States.
They can work in small groups and quiz one another as if they were really taking the oral
examination.
53 Sources:
Print:










Baicker, Karen. Immigration: Then and Now. New York: Scholastic, 1997. (Citizenship
Test found on p.76.; Answer key is on p. 77.)
Bierman, Carol. "Journey to Ellis Island." StoryWorks (April/May 1999): Vol. 6, Issue 6,
24-29.
Kelley, Timothy. "Destination: America." The New York Times Upfront (September 3,
2001): Vol. 134, Issue 1, 28-30.
Levine, Ellen. If Your Name Was Changed at Ellis Island. New York: Scholastic, 1993.
Olson, Tod. "Coming to America." Scholastic Update (November 15, 1996): Vol. 129,
Issue 6, 13-15.
Peros, Michael. First Stop, Ellis Island! in Immigration Then and Now. New York:
Scholastic, 1997.
Wilmore, Kathy. "America's Immigrant Roots." Junior Scholastic (February 1995): 1415.
Wilmore, Kathy. "America Was the Dream." Junior Scholastic (February 1997): 16-19.
Woodruff, Elvira. "Inside Out: An Ellis Island Story." StoryWorks (November/December
1994): 6-11.
"A Visit to Ellis Island." Scholastic News (March 1993): 4-5.
Authors:

Scholastic Inc.
New York, NY
54 55 56 57 58 59 60 61 62 63 64 65 66 67 Adjective Monster
Lesson Overview:
Students will explore the connections between visual art and language arts, and how both are
used to creatively tell stories and express emotions. Students will read the book Go Away Big
Green Monster by Ed Emberley. They will be introduced to adjectives as descriptive words, and
will choose an adjective to describe their own monster. Students will create a monster's face,
using some paper sculpture techniques, and will learn about basic geometric shapes.
Length of Lesson:
Two 45-minute class periods
Notes:
This lesson is particularly suitable for grades K-2.
Students will:




define the meaning of an adjective and choose one to use in his/her artwork.
create a monster that reflects his/her adjective.
recognize and name basic geometric shapes.
use paper sculpture techniques.
Supplies:






12x18 black construction paper
Construction paper of various colors (including scraps)
Glue
Scissors
Light colored crayons or chalk
Go Away Big Green Monster by Ed Emberley
(Note: Prior to beginning this lesson, create four shapes (square, oval, circle, and triangle)
using 9 x 12 construction paper.)
Begin the lesson by reading the book Go Away Big Green Monster to the students. After reading
the book, discuss adjectives with the students. Explain how adjectives can be used to describe an
emotion or describe an appearance, like, "grumpy" or "hairy." To illustrate this point, read the
sentence from the book where these two words are used. Continue to reference the book, and
make note of the adjectives used in the book like "sharp" and "squiggly." Always read the
sentence that the adjective is used in so that the students can get a clearer picture of what an
adjective is and how an adjective is used.
Create two lists on the board, one titled "Emotion" and the other titled "Appearance." Explain to
students that if they volunteer an adjective for one of the lists, they must use the word in a
sentence as well. These two categories of adjectives will be used in deciding what kind of
monster the student will make. See how many words the students can list under these categories.
If students are able to write or print, have them use the Adjectives List worksheet. Copy the
words on the board for reinforcement.
Hold up one of the construction paper shapes, and ask the students if they know the name of the
shape you are holding up. Review the names with students. Then, tape the shape to the board and
write the name beside it. Do this for all four (4) shapes. Distribute the Geometric Shapes
worksheet and have the students match the shape and name. Students then will be instructed to
choose a shape for their monsters head from the four shapes they just learned.
Have students choose an adjective for their monster from the list they created at the beginning of
the lesson. Refer to the lists on the board. Pass out a large sheet (12x18) of black construction
paper to the students. Pass out a piece of light colored chalk or crayon to each student. Have
students write "Go Away Big ___ Monster" at the top of their black paper. They will then fill in
the blank with their chosen adjective. Walk around the room and check for understanding. Then
have students choose a shape that they will use for the head of their monster. Explain again that
this shape will be the shape of their monsters face. Tell them that they should carefully consider
that the shape and the adjective they are using would complement each other. Have students
begin to cut out and design their monsters head using the construction paper. Encourage the
students to use the entire 12x18 black paper—i.e. don't make a small little monster with lots of
extra space.
Provide feedback and comments, explaining to students how they can make the features correlate
to the adjectives. Ask the students to make the face of a "mean" monster and discuss with them
what their eyes, eyebrows, and mouth do. Explain that when you make a mean face, the
eyebrows point down to the nose, when you make a happy face, the eyebrows arch upwards,
when you make a sad face, the eyebrows, dip down towards the ears, etc. Students can also make
faces of their chosen adjectives with their neighbor and discuss the features and what they see
happening on each other's face. Review the Ed Emberley book and make note of the simple
69 shapes used. Ask them to also relate some of the things they noticed on their neighbors face
when they shared emotions.
Explain to the students that they will be creating their features with construction paper and paper
sculpture techniques. Visit Paper Techniques, which has a wonderful chart on various paper
sculpture techniques. You may wish to print out multiple copies so that each student can have
one to refer to. You may also wish to laminate each one so that it does not get destroyed and can
be used again. Begin demonstrating the paper sculpture techniques to the students, like curling,
rolling, folding and zig-zagging the paper to give some 3D effects.
Some suggested techniques are:





Cut a small strip of paper and curl it around a pencil.
Fold a small strip of paper in small accordion like folds.
Cut the paper in small grass-like strips.
Fold a small strip of paper in a zig-zag shape.
Hair strands that pop out on the monster.
Add these to the monster for hair, 3D eyes, noses, etc. Encourage students to come up with their
own ideas for sculptural effects.
Remind each student that his/her monster must have eyes, nose, mouth and ears, but may have
multiple features. Monitor students' progress and remind them several times as they work to
check for the addition of all the features. When all students have completed their monster face,
ask them to group themselves into categories. One type of grouping can be shapes of heads.
Students should explain their emotion individually. You could also keep a chart or graph listing
shapes and emotions. When all students have finished presenting, you may wish to have students
look at the chart and determine which shape and emotion was the most popular. You could also
discuss which masks really gave you the feeling of the emotion.
Assessment:
Please use the Assessment Rubric for the assessment of the lesson.
Extensions:
Use the Ed Emberley book listed the Sources section below to do a similar lesson with 3rd or 4th
grade. In the book, each feature of the monster is added page by page. By cutting out the shapes
from each page as you continue through the book adding features, the last page has the complete
monster. Students can create their own book by choosing a different adjective for each feature
and write a more complete story.
70 Sources:
Print:

Emberley, Ed. Go Away Big Green Monster, Boston, Little, Brown, c 1992.
Web:


The Monsters of Wall Street
http://aardvarkelectric.com/gargoyle/wallst.html
Paper Techniques
http://www.arts.ufl.edu/art/rt_room/%40rtrageous/paper~techniques.html
Authors:

Barbara Gardner, Graduate Student
University of Houston
Houston, TX
71 72 73 74 What Does this Song Really Say?
Lesson Overview:
Students listen to, sing, and read the lyrics to various African-American spirituals. They discuss
the coded messages in the songs, and the purpose of these codes. Students then write original
coded messages, and present their work in a performance format.
Length of Lesson:
Three 45-minute periods
Notes:
This lesson is particularly suitable for grade 4.
Students will:




sing and/or listen to songs that are representative of spirituals sung by slaves. read lyrics of songs, and interpret the meaning of the lyrics, in terms of their cultural significance write coded messages, and include interpretation. create an opportunity to share their coded messages through reading, drawing, a PowerPoint presentation, or another medium. Supplies:


Piano or guitar for accompaniment or a CD or tape player Audio recordings or sheet music for the spirituals "This Train" and "Wade in the Water" (see Sources) Instructional Plan:
This is the first lesson in the Follow the Drinking Gourd unit; however, the lesson can be taught
in isolation with minor adaptation.
Activity A
The goal of this activity is to explore the experience of a slave trying to escape through the
Underground Railroad. Initiate a discussion about slavery. Have students imagine what it would
75 be like to be a slave. Discuss how it would feel to be a slave—to lose one's freedom and become
the property of someone else, and to be separated from friends and family.
Present the interactive activity at the National Geographic site, The Underground Railroad. This
activity can be completed with one computer, or presented on a large screen with an LCD
projector as a whole class activity. It can also be completed in a computer lab with students
working together as partners.
If the Underground Railroad interactive activity is presented to the class as a whole, have a
student read the introductory paragraph. When the students are given a choice (i.e., choose to
escape, choose to stay), pick a student to make the choice, and ask for them to articulate why
they made that choice. Allow approximately 20 minutes to complete the activity as a group.
If the activity is presented in the computer lab, group the students in pairs. Let them explore the
activity, making as many choices as possible. Tell students that they will be asked to name one
thing they learned on the site. Allow approximately 20 minutes to complete the activity. If
students finish early, they may explore the additional information on this Web site.
Close this class period by asking students to state one thing they learned. Tell students that they
will learn a musical secret message the slaves used to escape through the Underground Railroad
during the next class period.
Activity B
The goal of this activity is to learn a spiritual, discuss its significance during slavery time, and
begin to learn the “coded messages” embedded in the song.
As a warm up, list the following code words on the board: freedom train, gospel train, conductor,
station, station master, and agent. Give students one minute to read the list and determine what
the words have in common.
Once the class determines that all of the words are related to trains, ask students how they would
feel if they were not allowed to ride on a train. Ask them why they think spirituals would
describe leaving on a train. Lead a discussion to explore answers to these questions for about five
minutes.
Tell students that the words discussed were codes used by slaves to communicate so the slave
masters would not understand their plans for escape. Slaves were not allowed to talk, but they
could sing; therefore, many slaves disguised their communications through song. The spiritual is
a type of song that served many functions for slaves. These songs reflected their desire to be free,
and often told other slaves how they could escape.
The Underground Railroad has been described as "silent and secret" and "running on silent rails
in the dark of night." People developed codes, passwords, and secret signals, to be used by
runaways and "investors" in the Underground Railroad. Give students a list of code words and
phrases (some examples can be found in The Underground Railroad in Action: Communication
76 and Codes from the National Park Service). Ask students to guess the meaning of each
Underground Railroad code word/phrase. Ask them to share their responses, then clarify any
misinterpretations.
Distribute copies of the The Lyrics of Spirituals handout. Tell students to read the lyrics and
search for code words and phrases, while you play the spiritual entitled “This Train.” Play the
song two to three times, either via a recording or on the piano or guitar. Ask the students to tell
you what the lyrics of "This Train" mean. Students can interpret individual words (i.e., train,
glory, sleepers, etc.), or they can describe the phrases (i.e., “this train don’t carry sleepers, this
train”).
Clarify any confusion. For example, “sleepers” could refer to a sleeping car, but in the context of
this song, it means someone who wants to escape, but doesn’t want to endure the hardship (i.e.,
"wake me up when it's over"). "Righteous peoples" refers to people who are doing what is right,
in spite of the difficulties involved.
Teach "This Train" to the class. Sing each phrase in the first verse and have the class repeat after
you. Now sing the second verse in the same way. Finally, sing the entire song. For variation,
have the boys sing one line, and the girls the next, or have a small group stand and sing a phrase
or a verse, then alternate with another small group.
(Note: You may substitute any spiritual or freedom song for "This Train." Songs that have a
simple and direct tune and lyrics that repeat three or more times would be the easiest to learn
and/or song. “He’s Got the Whole World in His Hands” and "This Little Light of Mine” may be
used; however, the meaning of these spirituals may be more difficult for fourth grade students to
discern.)
Give students five minutes to look for coded messages in the lyrics to "Woke Up This Mornin'."
Discuss findings as a class.
Tell students they will listen to another spiritual during the next class period, and begin working
on their own coded messages.
Activity C
The goal of this activity is to have students interpret the coded message in another spiritual, and
begin to write their own coded messages to share with the class. Sing “This Train” as a warm up
activity.
Listen to "Wade in the Water." In this style of spiritual, there is a chorus (music and words that
repeat throughout a song). The words repeat three times, with an explanation at the end. Explain
to students that when the words repeat in a song, this means they are very important, and
something for the slave to remember—it could be the difference between life and death. For
example, the phrase "wade in the water" is repeated several times. Ask students to consider this
phrase. Why would slaves need to wade (go into) the water? (Slave owners used dogs to “sniff
out" the trail of their escaped slaves; the dogs could not follow the scent into the water.)
77 Divide the class into groups of three or four. Distribute the What Does this Song Really Say?
handout. Assign each group a different phrase from the song "Wade in the Water." Give the
groups five minutes to write an interpretation of the assigned phrase. (It is okay if more than one
group has the same phrase, depending on the size of your class.)
Ask groups to share their interpretations with the entire class, in the order of the song. Record
each interpretation on the board as it is articulated. When all groups have shared their findings,
read the entire interpretation of the song.
Closing Activity
In this activity, students will write their own coded messages. Choose the variation of the activity
that is most appropriate for your class:
Keep students in the same small groups, and have them write their own original coded message.
It must be three to five sentences, using the code words and phrases given. They can even make
up their own, but it must follow the general “clues,” using words that have meanings from the
religious and railroad terminology. They must also write the interpretation. Students will have
the rest of this period and part of the next (if needed) to complete this activity. Then each group
will share their coded messages with the rest of the class, and the class is tasked with interpreting
the meaning.
Keep the students in groups; however, give them the messages they need to put in code. For
example: “I plan to escape tonight. Meet me by the river. The leader will show us the way.”
Provide students with three or four different messages, and the students should figure out how to
convey the same meaning in code. Each group should share their codes with the class, and the
class is tasked with interpreting the meaning.
For either variation of the activity, students must work cooperatively and write their coded
messages using correct grammar, spelling, and punctuation.
Assessment:
Assess student work using the Assessment Rubric.
Extensions:
Have students illustrate their codes, phrase by phrase. The pictures should have the phrase
distinctly written on the bottom of the picture. You may wish to scan the pictures into the
computer or on disc, and present the pictures in PowerPoint, with the spirituals playing in the
background.
78 Have the students could write additional verses to “This Train” and/or “Wade in the Water.” You
may also wish to have them perform their songs for other classes.
Go on to the The Message in the Song, the second lesson in this unit.
Sources:
Print:

Johnston, Richard. Folk Songs North America Sings. Toronto: Kirby, 1984. Media: 
The Florida A&M Concert Choir, The Howard University Chamber Choir, and The Fisk Jubilee Singers. Wade In the Water, Volume I: African American Spirituals: The Concert Tradition. Smithsonian Folkways 40072. Authors:

Anita Lambert, Vocal Music Teacher Kingsford Elementary School, Mitchellville, MD 79 80 81 Rhythm, Math, Rhythm
Lesson Overview:
This lesson explores the relationship between rhythm and math. Students are taught to subdivide
when counting in order to be rhythmically accurate.
Length of Lesson:
One 45-minute period
Students will:



develop a list of rhythm patterns that they must practice. (These rhythm patterns will help
students achieve rhythm accuracy in playing assigned pieces.)
explore the use of math functions, relating them to rhythm concepts.
study the relationship between note and rest durations through theory assignments and by
analyzing the rhythm patterns in their assigned music.
Supplies:


Copies of a piece of music that the orchestra is preparing (one per student)
Orchestra instrument
Instructional Plan:
Warm Up
Have students tune their instruments and play the C and G Major scales in unison.
Have students subdivide a whole note and whole rest down to eighth notes and eighth rests on a
piece of paper. On the board, draw a chart of notes representing different time values (whole
note, half note, eighth note, etc.). If students are using the Practical Theory textbook, use the
chart illustrated on pages 23 and 24 (Lessons 21 and 22).
Developmental Activity
82 Hand out copies of a piece of music that the orchestra is learning. Students must be able to write
on these copies. (For explanatory purposes, this lesson plan references Beginning Bach, arranged
by Steve Wieloszynski and published by Kendor Publishing Company.)
Explain to the students that they will be focusing on the rhythm of the notes. Ask the students to
write the time value for each note below each measure of the music. (If using Beginning Bach
have students complete this activity for the first movement, "Minuet.") Notes should be
identified by a whole number and/or the word or symbol for "and."
Have students follow through with the Guided Practice Activities for the first movement and
then return to the Introductory Activity and complete the cycle for the remaining two
movements.
Guided Practice Activities
Using the music they have marked, students in each orchestra section should clap the rhythm
patterns in their part. Tell the students to say the counts aloud as they clap. After each section has
had a turn to clap and verbally count their individual parts, have the ensemble clap their parts as
a whole. If necessary, have two or three sections clap together so that students can better
understand how the parts relate to each other.
Write a list of common rhythm patterns on the board. These rhythm patterns can be incorporated
into scale warm-up exercises. They may also be incorporated into a student handout for practice
and/or test purposes.
Have students in each orchestra section play their parts, paying close attention to the rhythm
accuracy just obtained in the clapping exercise. After each section has had a turn to play their
part, have the ensemble play the movement as a whole. As in the previous exercise, you may
choose to have two or three sections play their parts together so that students can better
understand how the parts relate to each other.
Give students time to pack up their instruments and return to their seats.
Meaningful-Use Tasks
Discuss with students the relationship between the time value of musical notes and the
mathematical concepts of fractions and division. (For example, one whole note is equal to the
number one. The whole note can be divided into a certain number of quarter notes, depending on
the time signature. In 4/4 time, a whole note can be divided into 4 quarter notes, each of which
makes up 1/4 of the measure.)
If you are using the Practical Theory textbook, assign theory Lessons 21 and 22 (pages 23–24).
Tell students to pay special attention to the relationship between rhythm and math, as discussed
in lines 2–3 of Lesson 21. Any portion of the assignment not completed in class should be
finished as homework.
83 Assessment:


Each student will receive a participation grade for the class based on preparedness and
the amount of effort applied during class.
A grade will be assigned for the completed theory assignments.
Extensions:
This lesson can and should be taught with any new piece of music.
Students can create math problems from musical notes and share them with a partner. (See the
bottom of page 23 in Practical Theory for an example of this activity.) Students can use addition,
subtraction, multiplication, and division, allowing their partner to answer in note values when
possible and in whole numbers when notes do not apply.
Sources:
Print:


Feldstein, Sandy. Practical Theory Complete: A Self-Instruction Music Theory Course,
Volume One. New York: Alfred Publishing Company, 1982.
Wieloszynski, Steve (arr.). Beginning Bach. Series: Playground String Orchestra.
Delevan, NY: Kendor Music.
Web:


Take Note!
http://www.symphonyworks.net/takenote/
The Classical Music Pages
http://w3.rz-berlin.mpg.de/cmp/classmus.html
Authors:

Leslie Thomas, Teacher
Thomas Pullen Arts Magnet School
Landover, MD
84 Mandalas and Polygons
Lesson Overview:
Mandalas, symmetrically-designed polygons, are found throughout the natural and man-made
world, and in the arts of many cultures. Students will explore the cultural background of
mandalas, then learn to make their own mandalas that incorporate polygons, symmetry, and color
scheme.
Length of Lesson:
Four 45-minute class periods
Students will:





review elements and basic vocabulary of geometry.
apply geometry skills to increase understanding of polygons.
learn about the history and cultural background of mandalas.
combine their knowledge of polygons and understanding of mandalas to design their own
mandalas.
correctly incorporate polygons, symmetry, and color scheme in the design of their
mandalas.
Supplies:



Rulers and compasses
8" x 11" drawing paper
Pencils and colored pencils
Instructional Plan:
Warm Up
(Note: Prior to this lesson, you and your students should have a strong, working knowledge of
basic geometry, including commonly-used vocabulary and how to use a compass.)
Distribute the geometry Vocabulary handout. Discuss the terms with students, and have them
draw examples on the board of selected polygons described in the handout. Review and
demonstrate the correct use of a ruler and compass to create circles and polygons. Have students
explore the page, Fraction Shapes. This page may help your students to identify relational
85 patterns in shapes. Another exercise, which can be completed offline, during class or for
homework, is the Hidden Polygon Activity.
Directed Instruction
Mandala, which loosely translates to "circle" or "magic circle", symbolizes balance and unity.
Mandalas are found throughout the natural and man-made world, from Tibet to parts of North
America. They are used for spiritual guidance and artistic growth. To introduce the origins and
significance of mandalas, have students visit the following sites: Exploring The Mandala and
The Mandala Project. You may wish to have your class look at examples of mandalas drawn by
students.
Students will now combine their knowledge of polygons and understanding of basic mandala
structure to create their own mandala. Use the following directions:
1.
2.
3.
4.
Distribute large white paper.
Using a compass, each student will draw an 8" circle on the paper.
Divide the circle in half, and then in fourths with a light pencil line.
Each student should draw a design using their rule and compass in one of the four areas
of the circle.
5. Once the design is completed in the first area, students should repeat the same design in
the other three areas of the circle.
6. Briefly discuss symmetry with students, then have them color the design using not more
than four colors.
Independent Activity
Each student should have one large piece of white paper, compass, and ruler. Students will
design a mandala using at least four different polygons. Have students write the names of
polygons they use at the bottom or on the back of their paper. Group students, or allow them to
pair off, and share their design before adding color. Students should offer each other constructive
suggestions on how to improve the design, symmetry, or potential color scheme. Once they have
selected a color scheme that will enhance the symmetry of their design, have students begin
adding color to their mandala.
Have students mount their completed mandala on poster board, and display them in the class.
Engage students in discussion about what polygons they used in their design, and they created
more intricate designs.
Assessment:
Students will assess themselves, and what they have learned about mandalas, by writing a short
one-page reflection. Students should describe the significance of their mandala design in their
reflection. In addition to the reflection, use the Assessment Rubric to evaluate students learning.
86 Sources:
Print:



Fincher, Susanne. Creating Mandalas. California. Shabhala Publications, 1991.
Foster, Walter. Mandala Sand Art. California. Walter Foster Publishing, 2004.
Hund, Wolfgang. Seasonal Mandalas. Utah, Publisher’s Press, 2001.
Web:



Exploring The Mandala
http://www.askasia.org/for_educators/instructional_resources/
lesson_plans/mandala/mandala.htm
Geometry Online
http://math.rice.edu/~lanius/Geom/
The Mandala Project
http://www.mandalaproject.org/index.html
Authors:

Kim Guzzetti, Teacher CSU Chico, Chico, CA
87 88 89 90 How Do Cells Reproduce?
Part of the Unit: The Magic Universe of Cells
Lesson Overview:
This activity illustrates the process of mitosis, or cell division, in yeast. Cells carry on the many
functions needed to sustain life. The most important of these functions is the ability to reproduce.
Students will investigate the process of mitosis by observing yeast cells. They will compare the
growth of yeast cells in warm vs. cold water, and will hypothesize as to which environment
would be more conducive to cellular growth. Students will write their hypotheses and gather data
in a science journal, which will also include drawings, graphs, and words. As an extension,
students will explore scientific drawing as a means of communicating ideas and information, and
discuss opportunities that exist in the field of scientific illustration.
Length of Lesson:
Two 45-minute periods
Notes:
This lesson is particularly suitable for students in grades 5-8.
Students will:




grow yeast and observe the results through a microscope.
describe through drawings and words what they observe in a science journal.
conduct an experiment that compares the growth of yeast cells in warm and cold water.
quantify the results of their experiment.
Instructional Plan:
Warm-Up
Begin this lesson with a warm-up activity related to scientific drawing. Discuss with students the
fact that in science, drawing is used to communicate ideas and information. In order for others to
interpret the information correctly, the picture must be highly detailed, accurate, appropriately
scaled and colored, and clearly labeled. Scientific drawing requires that students create an
accurate, true reflection of the phenomenon or object being observed.
91 Tell students that they will need to convey information through sketches and charts as part of an
experiment they will be conducting on yeast cells. To practice, ask them to try sketching a part of
their hand. If hand lenses or microscopes are available, distribute them to students or pairs of
students. Ask students to look closely at one part of their hand (or their partner’s hand), such as
the knuckle or fingernail. Have students sketch what they see, with as much detail and accuracy
as possible. When finished, allow students to share and discuss their sketches, talking about
techniques they used and any difficulties they encountered.
Preparing the Experiment
Discuss reproduction with students. Lead a discussion on the essential functions of living
organisms, including reproduction. Compare the reproduction of yeast cells with the
reproduction of humans. Discuss what is necessary for reproduction to be possible (i.e., taking in
of nutrients, energy, etc).
Each workstation should be set up in advance with the following supplies (per group or pair): a
package of dry yeast, two jelly jars, sugar, dry measuring cup, eye droppers, warm and cold
water source, and a microscope (450X or better).
Break the class into small groups or pairs. Assign each to a workstation. Instruct each group to
make a sugar solution for the yeast. Have the instructions on the board or on each table. You may
also model the steps in front of the class. Fill the jelly jars with one cup of warm tap water, then
dissolve 1 ½ tablespoons of sugar into the solution. Dissolve 1 teaspoon of yeast into the sugar
solution. Stir gently.
Conducting the Lab Experiment
Have the students make slides of the solution. It is a good idea to model this procedure as you
explain the steps. Using an eyedropper, place a few drops of the solution on a clean slide. Cover
the drops with a cover slip and place the slides under a microscope. The students will need help
focusing the microscope. Begin viewing under a low magnification and move to high. Once the
yeast cells become visible, the students should describe with words and draw what they see in
their science journals. The students should also count the number of cells they see and jot that
number down in their journals.
Cover the jars. Have each group or pair label their jelly jars with their names and the word
“cold” or “warm” using marker pens and masking tape. Store the “cold” solution in a refrigerator
and the “warm “ solution in a warm place, such as an incubator or inside a stove set on low. The
temperature in the warm place should be set between 98 and 100 degrees Fahrenheit. Let all of
the solutions sit for 24-48 hours.
Have the groups write a hypothesis as to which jar of yeast will yield more buds—the yeast
stored in the refrigerator or the yeast stored in the warm place. The students must state the
reasons for their hypothesis.
After 24-48 hours, set up the students' tables with their labeled yeast solutions, slides, slide
covers, microscopes and the students' science journals. Have each group examine the cold and
92 warm samples under a microscope. Each pair or group of students will need a microscope, four
slides and slide covers, the warm and cold yeast solutions, and their science journals.
Have students gather, tabulate, draw, analyze and compare their data. Instruct students to make
charts that effectively relate their data and conclusions to their target audience. Allow students to
share the results of their experiment with the class. Each chart should vary so the students can
see a variety of ways to communicate similar information. Students’ charts should be posted and
critiqued.
Assessment:
Have each group present the results of their experiment. The group’s presentation should
incorporate the answers to the following questions:



What was their original hypothesis?
Was the hypothesis correct?
How did the two samples compare?
The group’s charts should be clear and concise as well as aesthetically pleasing. The students
should share their drawings from their science journals with the group. Encourage students to use
their drawings in their charts.
Refer to the Mitosis Lab Experiment Assessment Rubric and the Assessment Rubric to further
assess student work.
Extensions:
Discuss with students that there are many careers that bring together the arts and other
disciplines. One field that brings together art and science is scientific illustration. This field
requires that an artist possess not only strong artistic skills, but also, a high attention to detail, the
ability to visualize and interpret information, and the ability to calculate and draw images to
scale. Discuss some of the techniques required for accurate scientific illustration, as well as ways
in which these drawings would be useful to scientists and to the public at large. For examples of
scientific illustrations and the techniques employed to create them, go to the New York Public
Library’s exhibit, Seeing is Believing: 700 Years of Scientific and Medical Illustration.
Discuss with students the role that scientific illustration has had in transmitting knowledge
throughout history, as well as in recording changes in scientific understanding over time. Ask
students to consider whether creativity plays a role in scientific illustration. Though the focus is
on the accurate visual depiction of an object or phenomenon, is there any interpretation made by
the artist? Is there any art that is truly objective, or is all art subjective to some extent?
93 Sources:
Print:
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Balkwill, F., and Rolph M. Balkwill. Cell Wars. London: Harper Collins, 1999.
Berger, Melvin. Germs Make Me Sick. Revised ed. New York: Harper Collins, 1995.
Brown, Robert J. 333 More Science Tricks and Experiments. Blue Ridge Summit, PA:
Tab Books, 1984.
Patent, Dorothy Hinshaw. Microscopic Animals and Plants. New York: Holiday House,
1974.
Ruiz, Andre Llamas. The Life of a Cell. New York: Sterling publishing Co., Inc., 1996.
Authors:

Susan Born-Ozment, Teacher
Oyster Bilingual Elementary
Washington, DC
94 95 96 Mutant Insects
Lesson Overview:
Students will learn about mutation, types of mutagens, and their impact on animal species. They
will compare and contrast the scientific concept of mutation with the artistic concept of
"morphing." Students will research the bodies, habitats, and life cycles of different types of
insects. Students will use problem-solving skills to develop a unique "mutant" insect, then make
a clay model on which they will build a papier-mâché insect.
Length of Lesson:
Notes:
Students will:
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learn about the primary causes of mutation, and explore the potential results of mutation
in various species.
explore the similarities between the scientific concept of mutation and the artistic concept
of morphing.
use a variety of problem-solving techniques, including a thematic web diagram, to
develop their concept of an altered or "mutant" insect.
create and refine sketches of their insect.
build a fantasy insect using a clay model and papier-mâché.
present a verbal rationale, describing the advantages of their morphed insect.
Supplies:
Computers with Internet access
Science textbooks and insect research books
Magazines with insect images
Scissors
Glue
Pencils
Plasticine clay
Paper
Papier-mâché mix
Paint
Construction paper
Teacher Note:
1. You may wish to collaborate with a science teacher at your school for this lesson. This is
particularly relevant given the lesson's focus on topics in life science.
2. Prior to the lesson, place posters of various insects around the room.
Warm Up: Part I
Ask students if they have heard of the term mutation. If they are familiar with this term, generate
class discussion about the definition and the contexts in which students are familiar with
mutation and mutagens. Students may point out characters from the Marvel comic books (turned
into fantasy/action movies), Spider-Man and X-Men. Discuss these characters, and the positive
connotations of mutation. Introduce into the discussion the following phrase: "A mutation is
helpful if it gives the organism an advantage over ones without the mutation."
Then, discuss the negative connotations of mutation. For example, the potential causes of
mutation range from pollution and environmental contamination (use of foreign chemicals,
pesticides, or synthetic hormones) to diseases such as cancer. Another Marvel comic book
character, who was altered by a mutagen (radiation) and exhibited the negative results of
mutation was The Incredible Hulk. If students are familiar with the story, briefly discuss the
cause of Dr. David Banner's mutation and the resulting chromosomal abnormalities. Explain to
students that while chromosomal abnormalities can result from external causes, many are
inherited or have an unknown cause. Have students list to the audio clip, Freaky Frogs. After
listening to the clip, ask students for their opinion on what caused these frogs' chromosomal
abnormalities—was it environmental? or could it be genetic?
(Note: You should explain to students that mutations can be harmful, beneficial, or have no
effect. In fact, contrary to science fiction/fantasy, scientists estimate that the vast majority of
mutations have no real effect.)
Warm Up: Part II
Artists often change familiar figures or symbols using specific techniques. One such technique,
which students will use in this lesson, is "morphing." Morph is a slang term for the word
"metamorphosis," which means a striking change in appearance or character or circumstances.
Metamorphosis is also a term used throughout developmental science, that refers to the life
stages of a living thing. Explain to students that they will create a fantasy insect out of papiermâché, paper, and paint. They will decide on ways to "morph" (alter) existing parts and create
their own fantasy insect from papier-mâché.
Students should revisit the idea, through class discussion, that alterations to the insect will only
have positive results they give the insect an advantage over ones without the mutation.
98 Emphasize to students that they cannot alter their insect simply because it looks "cool", but must
provide a rationale for the alterations. Students will explain this rationale at the conclusion of the
lesson, when they present their completed papier-mâché insect. Briefly point out the abilities
(increased strength, improved eyesight, etc.) experienced by the Marvel comic book characters,
as discussed earlier in the lesson. Ask students specific questions about possible alterations to
their insect that would create a morphed, mutant insect. Some sample questions:
If the morphed insect has multiple eyes, how will that provide an advantage for the insect?
Will it provide a disadvantage, and why?
If the morphed insect has bigger wings, contrast the advantages and disadvantages. For
example, bigger wings might mean the insect will move faster or be more powerful, but can
the body (exoskeleton) support the bigger wings? How will the insect ingest more fuel (food)
to provide the extra energy?
If the morphed insect has additional antennae, does that provide increased
sensitivity/receptivity? Will the antennae make the insect a stronger predator or,
alternatively, better able to protect itself from predators?
During this discussion, you may wish to have students read online about Characteristics of
Insects, paying particular attention to the text on the reasons why insects are successful species.
This will help guide students as they brainstorm about ways to morph their insects and create
successful adaptive features.
Guided Instruction
Divide students into small groups, then distribute the worksheet, Insect Research. In addition to
the Web sites listed in the worksheet, have a variety of science textbooks and books on insects to
aid in students' research. Each student should research one category of insect. Allow students
remainder of the period to finish their research. You may wish to have them complete the
research for homework. (Note: During their research, students will need access to a color printer
so that they can print out digital images of insects.)
Show students how to create a thematic web. They will use it to generate ideas for altering their
insects. A thematic web is simply a circle in the center with the problem written, "Ways To
Morph An Insect." The areas radiating from the circle provide spaces to record possible
solutions, such as: enlarged parts, multiple parts, combining two insects together, colors,
patterns, etc.
Using the printouts from their research of insects, have students cut, paste, draw, and rearrange
the pictures to experiment with ways of morphing their insect.
Ask student volunteers to name the parts of an insect using the Insect Facts Web site. Assist
students with labeling the parts on a diagram on the board. Suggest to students the art elements
of line, color, pattern and texture as possible ways to change the insects. Ask students to suggest
additional ways to alter or create a fantasy insect. Add these ideas to the thematic web.
Independent Practice
99 Students should sketch at least three different ideas for their fantasy insect. Walk around the
room and offer suggestion and feedback as students create and refine their sketches. Then, have
students move to work table with plasticine clay. Explain to students that they will use the clay to
make small models of their fantasy insect. As students work with they clay, remind them to refer
to the thematic web and diagrams of insect body parts.
Once students have completed their clay model, they will build use paper mache to build their
insect. Demonstrate to students how to mix papier-mâché. Once the papier-mâché has been
made, explain to students that they will build an insect approximately 12-15 inches in diameter.
Students should use the following process to build their fantasy insect:
1. Make an armature with wadded newspaper and masking tape. Start with a tight newspaper
ball (balloons may be used to get the size started ). Small aluminum or plastic pans are
helpful to support the balloon during papier-mâché process. Make the ball into the desired
shape by attaching wads of newspaper. Aluminum foil can be used to help shape details. The
armature should then be covered almost entirely with masking tape, which helps refine the
form. Always tear the paper, so the frayed edges will bond well.
2. The first layer over the armature's masking tape is newspaper. Apply wet patches as fast as
possible, always overlapping. After a large area is covered with wet overlapped patches,
immediately apply another layer of dry newspaper (paper that is not dipped in the papiermâché) Carefully massage and smoothing each piece before applying the next, so as to avoid
creases or lines. Let the papier-mâché dry on pieces of wax paper.
3. Paper pulp may be used to build up parts—apply small pieces of torn paper over pulp to even
out the surface. For the final layer, use brown kraft paper, as this gives the paint a good
surface to bond on. Add paper and paint embellishments when the paper mache is completely
dry.
Have each student present their insect, and discuss the changes/improvements they made to
morph the insect. Students should be prepared to discuss, and answer questions, about how these
changes provide advantages to their insect.
Assessment:
Use the Assessment Rubric to evaluate students' progress.
Extensions:
Work with the science teacher to create a unit of study on insects, or an ecological unit about
the effects of chemicals on the natural world.
Have students write a short story about their mutant insect.
100 Sources:
Print:
Dussling, Jennifer. Insectos! London, New York: DK Publishing, 2003.
MacQuilty, Miranda. Amazing Bugs. New York, DK Publishing, 1996.
Mound, L.A.; Brooks, S.J.; Close, Byrony; and Maynard, Christopher. 1001 Facts About
Insects. New York: DK Publishing, 2003.
Scarborough, Sheryl. About Bugs. Redwood City, CA: Treasure Bay, 1998.
Web:
Aves Studio
http://www.avesstudio.com/Products/Paper_Mache/paper_mache.html
Freaky Frogs
http://www.pbs.org/newshour/bb/science/july-dec96/frogs_12-23.html
The International Sculpture Center
http://www.sculpture.org
Iowa State University Entomology Image Gallery
http://www.ent.iastate.edu/imagegallery
Living Things
http://www.fi.edu/tfi/units/life/
Authors:
Barbara Gardner, Graduate Student
University of Houston
Houston, TX
ARTSEDGE, Education Department
John F. Kennedy Center for the Performing Arts
Washington, DC
Website to Freaky Frogs: http://artsedge.kennedycenter.org/content/3804/3804_mutantInsects_kidbridge.html
101 102 103 Migrant Workers Through the Lens of Dorothea Lange
Lesson Overview:
In this lesson, students will learn about migrant workers to better understand the environmental
and social impact of the Great Depression. For example, students will learn about the effects of
the Great Depression and Dust Bowl on American farm owners, tenants, and sharecroppers.
Using photography, specifically Dorothea Lange's Migrant Mother, and song lyrics of the era,
students will explore the challenges faced by migrant workers and their families, and will create
their own portrait or song to bring attention to the plight of the migrant worker.
Length of Lesson:
Four 45-minute periods
Notes:
Sight-impaired students should move closer to the front of the room so they will be able to see
projected images and the board more clearly. For hearing-impaired students, prepare lyrics to
"Sunny Cal" on a handout.
Students will:
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describe the life of a migrant worker during the depression and today.
develop multiple perspectives of the life of a migrant worker today, and the life of the
children of migrant workers today.
identify Dorothea Lange’s photograph “Migrant Mother,” and explain its underlying
meanings.
identify vocabulary associated with migrant workers of the Great Depression era.
learn a brief history of Dorothea Lange.
Supplies:
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
Audio recorder
Audio cassettes
Projector LCD or overhead projector (optional)
3" x 5" index cards or slips of paper
Image of Dorothea Lange's Migrant Mother photograph (print or digital, or project image
from the Library of Congress using an LCD projector
104 
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Several sheets of paper for drawing portraits
Materials for creating portraits, such as colored pencils, crayons, and/or markers
Colored construction paper (optional)
Recording of "Sunny Cal" by Jack Bryant
Several crayons for each table of students
Scissors
Paper and pens/pencils
Instructional Plan:
Day 1: Brief Introduction
Note: You may wish to review the Teacher Notes prior to conducting the lesson.
Introduce the lesson with a folk song by Jack Bryant, entitled "Sunny Cal." As a class, listen to
the song once, then read through the lyrics together. Foster a discussion about the meaning of the
song by asking students the following:
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What do you think the song is about?
What is the purpose of the song?
Why might it have been written?
Look at the date of the song. What do you know about this period in American History?
Is the song telling a story?
What is the story about?
Is it a happy story or a sad story?
Lead students into understanding that "Sunny Cal" is a folk song about a migrant worker’s story.
Provide a brief introduction of migrant workers to students. Elaborate as you see fit, depending
on students’ prior knowledge of the subject. Discuss the terms "migrant worker" and "Okie,"
which are both mentioned in the lyrics to "Sunny Cal" (refer to the Vocabulary handout as
needed).
Tell students they will learn more about what it means to be a migrant worker. As a point of
comparison, assign a homework assignment in which students ask their parents or guardians to
share their job titles, and to describe what they do for a living (this information will be compared
to the jobs of migrant workers later in the lesson). Students should write one or two paragraphs
describing the jobs of their parents or guardians.
Day 2: Introduction of Topic and Artwork
Review information about migrant workers and vocabulary that was covered in the previous
day’s lesson. Introduce the photographer Dorothea Lange to students, and show her work,
Migrant Mother, to students. You may choose to project the image with an LCD projector
connected to the Internet. Digital images can found in the Farm Security Administration
Collection from the Library of Congress.
105 Discuss the meaning of the photograph with students. Ask the following questions to foster
discussion:
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Why would the artist have taken the photograph?
Who do you see in the photograph?
Where do you think they are?
What can you tell about these people based on the photograph?
How do you think they feel in this picture? How can you tell?
What techniques does the photographer use to draw you into the subject matter or to draw
an emotion from you?
Tell students they will have more opportunities to analyze the photograph after they learn more
about migrant workers.
Ask students to take out the paragraphs they have written about their parents. Have each student
create a chart with two columns. In one column, students should list five facts about the job of
one parent or guardian. In the other column, they should list five facts about what they learned
about migrant workers’ jobs. Have students compare and contrast these lists, so they can see the
differences and/or similarities between their parents’ jobs, and those of migrant workers. Direct
students to compare and contrast hours of labor, salary, job placement, and conditions and
materials used on the job. (For more information about migrant workers, refer to the American
Memory site, Voices from the Dust Bowl.)
Allow students to explore the collection of photographs and songs available on Voices from the
Dust Bowl. Have them record some of the recurring themes they find in each photograph, as well
as some of the images or phrases they find most illuminating about the lives of migrant workers
of the Depression era. They should also list the title of the photograph and song that they find
most effective in portraying the lives of migrant workers, and explain their reasons for selecting
each. (Students will use this list in the next class period when they create their own original
portrait or song.)
Day 3: Studio Project
Have students create an original portrait or song depicting the life of a migrant worker in the
1940s. Students should create their portraits on white paper or light-colored construction paper
using colored pencils, crayons, or markers. Students should refer back to the notes collected
when browsing Voices from the Dust Bowl, and integrate the types of imagery or words that
they found most effective in depicting the migrant experience.
Hang students’ artwork and song lyrics around the classroom in a "gallery exhibit." You may
choose to tape each student's work onto a larger sheet of construction paper to "frame" each
portrait or sheet of song lyrics. Allow students to record songs for playback or set aside time for
each student to perform their song if they wish. Place 3" x 5" index cards or slips of paper in
front of each work in the exhibit. Encourage students to respond to each work, and post their
reflections alongside the corresponding works. Students should point out specific ways in which
the artist/songwriter captured the migrant experience, as well as elements of the work that were
particularly evocative or effective. (If students are responding to music, they can turn in their
106 responses to the teacher.) You may wish to regularly monitor the responses of students to make
sure they have written constructive or positive comments.
Day 4: Summary
Close and summarize with a question-and-answer session about everything students learned
about migrant workers in the past week, including housing and stereotypes of migrant workers,
as well as vocabulary and Dorothea Lange's Migrant Mother. Place students in groups of four or
five, and ask each group to write a paragraph describing the most interesting things they learned
about migrant workers.
Assessment:
Review students' artwork or songs, and assess whether each student:
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chose subject matter relevant to the experience of migrant workers.
used imagery/language that evoked a response from the viewer/listener.
created a mode or tone reflective of the emotions of the subjects or time period.
used imagery/language indicative of the time.
clearly revealed the intent of his/her artwork/song.
included historically accurate information.
reflected knowledge of the experience of the migrant worker/family.
Extensions:
Introduce the topic of migrant workers today, their work and lifestyles, and the specific
challenges they face. Address common stereotypes associated with migrant workers. Ask student
to think about the life of the migrant family, and specifically, children their age. What would life
be like for them?
Ask students the following questions:
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How would you feel being the new kid in class?
How do you feel about moving?
Would you like to move every three months?
Could you live without electricity and running indoor water?
Discuss migrant workers’ children today. To find out more information about the children of
migrant workers, refer to the ERIC Clearinghouse on Rural Education and Small Schools. Tell
students that they will be making a Welcoming Booklet for a child of a migrant worker who has
just arrived to the school. Initiate a discussion about what they think a new student would need
coming to a new school. They can include anything they think a new student should know about
107 the school; for example, a map of the school, a class schedule, a menu for the cafeteria, or maybe
even a “friendship coupon.”
You may also wish to show students an example of a booklet that you have made. Distribute
materials, including a large stack of colored construction paper, a handful of crayons, and pairs
of scissors for each table. Allow students ample time to make a booklet of their own.
Have students share their booklets with the rest of the class, explaining why they included
particular types of information in the booklet.
Aid students in gaining further insight into the Great Depression era through the ballads of
Woody Guthrie, the novels of John Steinbeck, and additional photographs. View the unit, Dust
Bowl Days on EDSitement, a resource developed by the National Endowment for the
Humanities.
Sources:
Print:
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
Heyman, Therese Thau. Dorothea Lange: American Photographs. San Francisco:
Chronicle Books, 1994.
Meltzer, Milton. Dorothea Lange: A Photographers Life. Syracause, NY: Syracuse
University Press, 2000.
Mitchell, K., A. Martin-Hamon, and E. Anderson. “A Choice of Weapons: Photographs
of Gordon Parks.” Art Education. Alexandria, VA: NAEA, March 2002, 25-31.
Web:



About Life: The Photographs of Dorothea Lange
http://www.getty.edu/art/exhibitions/lange/index.html
Library of Congress: American Memory: Voices from the Dust Bowl
http://memory.loc.gov/ammem/afctshtml/tshome.html
PBS: Surviving the Dust Bowl
http://www.pbs.org/wgbh/amex/dustbowl/index.html
Authors:

Victoria Weaver, Program Consultant, ABD
Hub-Robeson Gallery, Penn State University
University Park, PA
108 109 110 111 Reliving History Through Slave Narratives
Lesson Overview:
After reading narratives from former slaves that were recorded in the 1930's as part of the
Federal Writers' Project, students conduct research on slavery, and tell a story based on their
findings. The lesson incorporates an exploration of storytelling techniques.
Length of Lesson:
Three 45-minute periods
Notes:
This lesson is particulary suitable for students in grades 7-8.
Students will:
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analyze how the senses can evoke strong images.
explain the impact slavery had on African-Americans in the United States.
dramatize a story based on historic events.
demonstrate how to use facial expressions, gestures, and voice to express emotions.
combine storytelling techniques when they tell a story.
Instructional Plan:
Activity One
In this activity, students consider how involving the senses can help listeners identify more
powerfully with a story.
Discuss with your students how we often depend on visual descriptions when telling a story, and
that it's important to remember that evoking people's sense of taste, touch, smell, and sound can
also be a very powerful tool in storytelling.
To illustrate the point, begin reading some of the items below to the class. As you read the
descriptions, stop and discuss how your tone differs while reading each of the following
descriptions:
112 
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a pizza baking in the oven
an injured animal
the first snowflake of the year falling on your face
diving into a pool on a hot summer day
stepping out of bed onto a cold floor
the school bell ringing at the end of a long day
the sound of your parent's voice when he or she found out you did something wrong
cotton candy at a carnival
a taste of sour pickles
Divide the class into small groups and spend a few minutes generating a list of one-sentence
descriptions that appeal to the five senses. Ask students to include at least one description for
each of the five senses. Have the groups share their lists with the class. Remind students to use
expressions when they share their sentences with the class.
After each group has finished, ask the students if they had any "That reminds me of the time..."
thoughts when the sentences were being read. Discuss how it is easy to identify with an image
that contains a description that appeals to our senses.
Activity Two
In this activity, students will read slave narratives and retell the story to the class.
Select one of the slave narratives from the following sites to share with the students:
American Slave Narratives: An Online Anthology
http://xroads.virginia.edu/~hyper/wpa/index.html
Digital History: African American Voices
http://www.digitalhistory.uh.edu/black_voices/black_voices.cfm
The Want of Parental Care and Attention by James W.C. Pennington
http://www.digitalhistory.uh.edu/black_voices/voices_display.cfm?id=51
There is No Such Thing as Rest by Solomon Northrup
http://www.digitalhistory.uh.edu/black_voices/voices_display.cfm?id=43
Library of Congress: Born in Slavery
http://memory.loc.gov/ammem/snhtml/snhome.html
Library of Congress: Voices from the Days of Slavery
http://memory.loc.gov/ammem/vfshtml/vfshome.html
Divide the class into small groups and have them read or listen to different slave narratives. Ask
students to write the words smell, sound, touch, taste, and sight on a piece of paper and write a
sentence or two about the person or an event that happened in the narrative under each category.
113 After each group has finished reading a slave narrative, ask each group to share with the rest of
the class the slave narrative they read. Have students tell the story from the point of view of the
person in the narrative. Point out ways students can tell the stories with more expression.
Involve the class in a discussion of the differences between learning about a time period from
accounts of people who lived through the experience and learning from reading about the topic
in a history book.
Activity Three
In this activity, students will conduct research on slavery and tell a story based on what they
learned from their research.
After students have read and listened to slave narratives, they will conduct research on slavery.
Divide the class into small groups and ask them to select one of the following topics to research:
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plantation life
traditions
the underground railroad
life after emancipation
These sites provide information, photographs, graphics and audio clips on the topic of slavery:
Library of Congress: African American Odyssey
http://memory.loc.gov/ammem/aaohtml/exhibit/aointro.html
Ask students to record a brief summary of the information, as well as the source of the
information, as they conduct their research. Tell students that they are going to create a story
based on their research topic. Explain to students that each group member will tell the story from
the viewpoint of a different person involved in the story. For example, students researching the
Underground Railroad could tell the story from the point of view of an escaping slave, a person
who helps them during their journey, a family member left behind and a bounty hunter who is
looking for the escaped slave.
Students may respond to these prompts to help develop their characters. Discuss the fact that not
all of their thoughts or information about the character will be brought out in the story, but that
the process of developing specific characteristics and qualities about the character will help them
to create an interesting character.
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name
age
physical description
description of person's life
personal history
details of everyday life
hopes and dreams
114 
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greatest fear
attitude
Have students use a graphic organizer in order to help them develop their stories.
ReadWriteThink offers a Story Mapping Interactive that includes character, confict, resolution
and setting organizers. Have students complete one or more of these organizers to develop their
characters and plot lines. Students should print a copy of the completed organizer(s) for future
reference. A variety of additional organizers students may use to help organize their story can be
found on the NCREL Web site.
After students have outlined their stories, discuss how stories aren't memorized, but instead tend
to change a little with every telling. Discuss how they can use visualization techniques to help
them remember their story. Tell students that they might try breaking the story into scenes in
their mind, noting different sensory observations in each scene. Remind students that they are the
tellers of the story, even though they are telling the story from the perspective of another
character.
Show students a video clip of storyteller Kuniko Yamamoto telling the story of her grandmother.
Discuss how Kuniko switches between herself and the character of her grandmother.
After the groups have had a chance to practice, have the groups perform their stories one at a
time. After each group finishes its performance, provide time for students to ask questions about
the topic. The following is a list of possible questions to use after the performance:
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What was the most surprising thing you learned from the performance?
What do you still want to learn about this topic?
How does learning history through a storytelling performance compare to reading about
the topic in a history book?
Assessment:
Assess student performance using the associated Assessment Rubric.
Extensions:
Dance
Slaves often created dances from the everyday events in their lives such as rocking a baby,
picking cotton, or baking a cake. Have students create a dance to tell the story that they created
in Activity Three. (See the PBS: Free to Dance site for a synopsis of a dance performance that
portrays African slaves.)
115 Music
Stories about slavery were often told through music. Listen to a traditional slave song like
"Before I'll Be Beaten" by Joe McDonald on the PBS: Ken Burn's Jazz, and have students search
for traditional slave songs on the Internet.
Authors:

Bay Breeze Ed. Resources, Educational Resource
Bay Breeze Educational Resources, Inc.
Greenville, NH
116 117 118 Comparing and Contrasting Fables
Lesson Overview:
Students will apply literal, interpretive, and critical thinking skills to two versions of a fable.
They will then draw a cartoon to illustrate the moral of one of the fables they read.
Length of Lesson:
Two to three 45-minute sessions
Students will:
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interact with the text using the following reading stances: developing interpretation and
critical stance.
use text and background knowledge to extend meaning from initial understanding, often
requiring the student to revisit the text to clarify, verify, and revise his or her
understanding.
develop a critical stance by identifying and analyzing the author's perspective and craft.
construct, extend, and examine meaning from various orientations to text.
Supplies:




Copies of "The Fox and the Crow" by James Thurber and Aesop (Reading Literature,
pages 9 and 13-14; see the Sources section for complete bibliographic information.)
Examples of illustrations by James Thurber (optional; see the Sources section for
suggested resources)
Paper, pens, and/or pencils
Markers
Instructional Plan:
Remind students that Aesop's fables illustrate the virtues and failings of human beings. James
Thurber, a humorist and cartoonist, was concerned with the problems of average people in a
modern society. Thurber wrote his own version of Aesop's fable, "The Fox and the Crow." Both
Aesop and Thurber dealt with the consequences of human vanity. Have students read both
versions of "The Fox and the Crow," looking for similarities and differences as they read.
119 Have students fill in a sequence chain of events for both versions of the fable. Compare the two
chains of events. What changes has Thurber made? Using a Venn Diagram, compare and
contrast the two versions:
In Thurber's telling, the fox must flatter the crow twice to get the cheese. The first time, the crow
is smart enough to hold the cheese in his claw while he talks. Later, the crow voluntarily gives up
the cheese instead of letting it drop accidentally. Unlike Aesop's crow, the crow in Thurber's
version of the fable speaks to the fox. Also, Aesop's crow is a female; Thurber's crow is male.
Thurber makes the same point in the end that Aesop makes; flattery or boasting can lead to a
person's undoing.
Distribute the Vocabulary Handout. Have students explain the use of the following literary
terms: allusion, personification, and a moral. Ask students to compare and contrast the use of
these three techniques in the two fables.
allusion: Thurber refers to Aesop and La Fontaine, two other creators of fables.
personification: In Aesop's fable, the fox represents slyness, and the crow represents vanity. In
Thurber's fable, both the fox and the crow seem smarter and more suspicious at first. However,
in the end, the crow gives away most of the cheese to ensure an audience for his boasting,
showing that he is just as vain.
moral: Thurber's moral could be stated in the following ways:



"You lose more than you gain by boasting."
"Vanity makes you forget common sense."
"Don't trust anyone who encourages boasting."
Explain to students that James Thurber was a famous illustrator, as well as a writer. He drew
cartoons and illustrations in a minimalist style. If possible, show students some examples of
Thurber's drawings. Ask students to choose one of the morals from Thurber's version of "The
Fox and the Crow" and draw an illustration to represent that moral. If the students have seen
examples of Thurber's work, challenge them to try to draw in the style of Thurber. When
students finish their drawings, they should write the moral underneath their pictures as a caption.
Assessment:
Students will be evaluated through their participation in and completion of the activities. Also, a
test can be given in which the students compare and contrast Aesop's and Jean de La Fontaine's
version of "The Fox and the Grapes."
Extensions:
120 1. Encourage students to read other stories by James Thurber, such as "The Thirteen
Clocks" and "The Wonderful O." They may wish to illustrate one or more scenes from
the stories they read or to write brief summaries of the scenes.
>
2. Students may enjoy Arnold Lobel's modern (and often humorous) tales in his book
Fables.
3. Have students ask their parents whether they have seen any of James Thurber's drawings
or read any of his stories or cartoons. What do they think about his work?
4. Tell students that a moral presented on its own—outside the context of a story—is called
a proverb. For example, a person might say "Flattery is the best persuasion" without
telling the fable of "The Fox and the Crow." Another proverb about flattery is "Flattery
will get you nowhere." Ask students which they believe is true. Can both proverbs be
true? Ask students to explain their position in one or more paragraphs. Remind them to
complete the stages in the process of writing: prewriting, drafting, revising, and
proofreading.
5. Have students compare and contrast "The Ant and the Grasshopper" and "The Shepherd
Boy" as retold by Joseph Jacobs. The first fable has animal characters; the second uses
human characters. Ask students whether one of the fables is more effective than the other.
Why or why not?
Sources:
Print:



Lobel, Arnold. Fables. New York: Harper Collins Juvenile Books, 1980.
Thurber, James. Garrison Keillor (Editor). James Thurber: Writings and Drawings. New
York: Library of America, 1996.
Thurber, James. Fables For Our Time, and Famous Poems Illustrated. New York:
Harper & Brothers, 1940.
Authors:

Kathy Cook, Teacher
Thomas Pullen Arts Magnet School
Landover, MD
121 122 123 Greek Mythology: Cultures and Art
Lesson Overview:
The visual arts offer aesthetic, perceptual, creative, and intellectual opportunities. By creating
and painting mythological characters, students will improve their ability to analyze, reorganize,
critique, and create. Students will also gain insight into Greek culture through the exploration of
Greek mythology.
Length of Lesson:
Notes:
This lesson is particularly suitable for grade 5.
Students will:
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be able to express their creation in a culminating group forum activity verbally and in
writing.
be able to identify their character's special abilities and verbally express what they mean
to him/her in a group presentation forum.
create, illustrate, and write about their own mythical characters.
create watercolor illustrations, write short stories about their created character, and relate
it to a specific element of mythology.
look at other archetypal heroes and compare and contrast.
respond to in-class group readings and individual research of Greek mythology.
use the Internet, library, and in-class resources to discover basic elements of Greek
mythology.
share verbally what they have learned about Greek mythology in a guided-question group
discussion.
Supplies:



Large watercolor paper, paint, and brushes for every student.
Water jugs/cans for brush cleaning.
Encyclopedias and dictionaries.
Vocabulary
Begin by reviewing the following terms with students:
Myth: comes from the Greek word "mythos," which originally meant "speech" or"discourse" but
which later came to mean "fable" or "legend."
Mythology: refers to a collection of myths that together form a mythological system.
Demigod: a half god or an inferior deity; a fabulous hero, the offspring of a deity and a mortal.
Attributes: that which is attributed; a quality that is considered as belonging to, or inherent in a
person or thing; an essential or necessary property or characteristic.
Symbol: something that represents something else by association, resemblance, or convention.
Introduction
After a group reading of Book of Greek Myths by Ingri and Edgar D'Aulaire, students will
engage in open questioning and guided discussion of what they think about the reading. After
generating some ideas, introduce the terms and objectives of the assignment. Provide a sample of
the assignment geared toward appropriate developmental ability. Using the Mythweb.com Web
site, discuss various archetypal characters.
Teacher Sequence
Motivational sequence
Gather students close together on the floor. Refer students to the Metropolitan Museum of Art:
Greek and Roman Art Web site and discuss. Ask the following questions:

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

What do you think of this picture/s?
What first came into your mind when you first saw the picture/s?
Who created this piece and why?
When was this art created?
What do you think the picture means; what does it represent?
While displaying the pictures, read about a Greek god from the Book of Greek Myths. Ask
questions again. Give students time to explore the questions. Use examples of what was just read
to introduce key terms (see "Vocabulary" section on the Instructional Plan).
Research Activity
125 Introduce and explain the lesson. Students will be broken up into groups of four to research and
develop their mythological characters. Distribute the Mythological Characters Chart worksheet
and read and discuss; check for understanding. Go over the terms and write the definitions for
attribute, symbol and myth on the board.
Have students answer specific questions from the Web research and adjust their time on the
computers so that all students will have ample time at the computer. Answers to the handout can
be found in classroom encyclopedias, dictionaries, and other in-class literature.
After students answer the questions on the handout, get together and discuss what they
discovered.
Written Activity
Introduce the creative writing/art assignment. Students are to create their own mythological
character that has one symbol and at least one attribute. Have students use their handout as a
reference for examples related to the assignment. They must use complete sentences and
punctuation. Encourage creativity by reminding students that the components of their writing
should be important to them.
Creative Art Activity: Watercolor
Have students illustrate the key points in the written activity in a watercolor art project. Review
the key points: one character, one symbol, one attribute, and a verbal explanation of how their
creation is meaningful to the student. Encourage students to be creative and unique; they should
be limited only by the three objectives stated above.
While students work on the activity, discuss how color and depict mood and tone. Display any
pictures you have, in addition to the ones shown in the introduction, and point out different ways
the colors and shapes are used in each picture.
Circle the room, commenting on aspects of the assignment and on the student creations. Ask for
explanations of what the students are painting while encouraging responses to provoke deeper
thought, such as: Your symbol is very interesting. What does it mean to you? I can tell by the
detail in your character you have given it a lot of thought. Why does he have that expression?
Why did you use those colors? Do they relate to your character in any specific way? Could they?
Student Activity Sequence
After the introduction and discussion, introduce and explain lesson. Students will be broken up
into groups of four to research mythological characters. Rotate groups periodically so all groups
get a chance to use all available resources:

Research: After completing the worksheet and in-group discussion, students will share
what they learned, connecting what they have learned with cultural and historical context.
126 



Who created the mythological gods? When were they created? Where were they created?
Why were they created? All students should participate at some level.
Written activity: Breaking back into groups of four, students are to create their own
mythological character that has one symbol and one attribute, and which is accompanied
by an explanation of what meaningful significance their character has. Using complete
sentences, they will write one page. Students will use their handout as a reference for
examples related to the assignment. They can discuss as they work, but only about the
activity.
Creative Art Activity: While viewing and critiquing art and reflecting on the written
assignment, students will create their mythological characters in watercolor activity.
Students will illustrate the key points of their written assignment in a watercolor art
project. Review key points: one character, one symbol, one attribute, and meaningful
significance. Ask students to consider using colors that reflect the attribute, symbol,
mood, tone, or emotion that their character represents.
In groups of four, have students in each group do different tasks to begin. One student
gets paper for their group, one gets paint, one gets brushes, and the last gets water
jugs/cans for cleaning the brushes.
At end of activity, students will individually share his/her art with the teacher. Students
will identify their characters, explain the attribute and symbol and what it means to them.
Make sure students have signed their art.
Closure:
Have students gather in forum in big circle on floor with their written and painted activities.
Begin by reviewing the vocabulary terms introduced at the beginning of the lesson.
Ask the following questions:



What is a myth?
How do myths help us understand ourselves and others?
How are myths reflected in culture?
Restate the assignment and ask for volunteers to share either their stories or an explanation of the
three components in their mythological creations. Have students ask the presenter questions.
Each student must participate. Then, ask students as a group the following questions, rotating
around the circle from student to student:



Which of the characters that we studied did you find most interesting? Why?
Did you have any problems with this assignment? If any, what were they?
What did you like most about these activities? What did you like the least?
Adding any other questions that are generated during discussion, gauge when discussion has
been exhausted, then wrap up the discussion with a summary of everything the students
accomplished and learned. Note their research, writing, and art and appropriately highlight
problems that occurred and how they were resolved. Congratulate all students on a job well done
in an appropriate fashion. Display all art in one area of the room (if possible).
127 Clean-up:
Creative art portion only (10 minutes): One person per group of four students is designated to
collect and clean brushes, one to collect and clean the counters, one to return all other materials
to the correct place, and one to collect everyone's art, checking to see that all pieces have been
signed and handed in per teacher's instruction. One student should be assigned to clean up
remaining tissue pieces from the group and another student should wipe down the desks with wet
paper towels after the desks are cleared.
Assessment:
Use the Assessment Rubric to assist with evaluating the students in conjunction with the
following methods:
Written evaluation:
Students will be evaluated in written form by their completion of the worksheet and short stories.
Worksheet evaluated on accuracy.
Stories must contain an imaginary mythical character with an explanation of what that character
means to the students as well as a symbol and attribute also stated in the writing. Student must
use complete sentences. There should be about one page worth of writing. Length should not be
more important than the main elements of the writing.
Oral Evaluation:
Student must answer an oral quiz by the teacher at the end of the art activity. Student must be
able to identify and explain his/her created mythological character and its personal meaning or
significance. Student will identify at least one Greek mythological character and attribute.
Group presentation and participation:
Students will be assessed on their group presentation. Did they identify their character, symbol,
and attribute? Were they able to share with the group what was meaningful to them about their
character?
In group participation, were they able to make meaningful connections with other students' work
or their own? Did they develop or gain meaningful connections between the activities and their
historical contexts? Did students identify the age and location of the subjects they studied?
128 Sources:
Print:


Bulfinch, Thomas. Bulfinch's Mythology. New York: Anvel Books, 1978.
D' Aulaire, Ingri, and Edgar. Book of Greek Myths. New York: Doubleday and Company,
1962. Children's Literature.
Web:


Mythweb
http://www.mythweb.com/
Metropolitan Museum of Art: Greek and Roman Art
http://www.metmuseum.org/works_of_art/department.asp?dep=13
Authors:

Charles Nickerson, Teacher
Chico State
Chico, CA
129 130 131 132 Rhythm and Art: Elements of Art
Lesson Overview:
Students will learn about the three elements of art: line, shape, and color.
Length of Lesson:
One 45-minute period
Students will:


understand how non-verbal language is manipulated to communicate a thought or an
emotion (through the study of Torres-García's symbolism, Picasso's emotional use of
color in his Blue and Rose Periods, and Abstract Expressionism).
be able to dissect the relationships between elements and principles; specifically line,
shape, and color, and their maximum and minimum contrast.
Supplies:
o postcards or magazine cut-outs of works of art that use line, shape, and color in their
maximum and minimum contrast (see below in instructional plan for names of artists)
o posters that describe fundamental elements of design
o 3" x 5" index cards
Instructional Plan:
Days 1-2
This lesson is an overview of three elements of art: line, shape, and color. You may divide this
lesson into three lessons (one for each element), explaining in detail the definitions and
characteristics of each element.
Teach students the following new vocabulary words (to be printed on eight 3" x 5" cards):
organic line: a mark with length and direction that forms an irregular shape, or one
that might be found in nature, rather than a regular, mechanical shape
inorganic line: a mark with length and direction that is straight and forms a geometric
shape
shape: a form that refers to the distance or area between, around, above, below, or
within an element or part of an element
geometric shape: any shape or form having a more mathematic than organic design.
Geometric designs are typically made with straight lines or shapes from geometry,
including circles, ovals, triangles, rectangles, squares, and other quadrilaterals
133 repetition: a principle of design; refers to a way of combining elements of art so that
the same elements are used over and over again
rhythm: a principle of design; refers to a way of combining elements of art to produce
the look and feel of movement, especially with a visual tempo or beat
pattern: a form or model proposed for imitation
color: an element of art with three properties:
4. hue or tint—the color name (e.g., red, yellow, blue, etc.)
5. intensity—the purity and strength of a color (e.g., bright red or dull red)
6. value—the lightness or darkness of a color
Show students postcards of works of art, separated by their use of lines, shape, and color in
their maximum and minimum contrast. If you do not have postcards, use old magazines, cutout images, or print images from the Internet (see Internet Resources section). Introduce each
element, asking students to look carefully at the postcards, only two at a time. Explain to
students that many of the vocabulary terms relate to math. Ask them to keep an eye out for
geometric shapes in the works of art shown.
Some examples of artists whose works could be used to develop an in-depth understanding of
the elements of art include:
o
o
o
o
o
o
o
o
o
S.A. Jones, Willem de Kooning, Louis Morris, and Jackson Pollock, to represent the use of
organic lines
Stuart Davis, Vassily Kandinsky, Joan Miro, Louise Nevelson, and Georgia O'Keeffe (see
O'Keeffe's Evening Star, specifically), to represent the use of shapes.
Josef Albers, Ellsworth Kelly, and Alvin Loving, to represent the use of geometric shapes
Helen Frankthaler and Robert Motherwell, for organic shapes
For the repetition of shapes, show Alexander Calder, Vassily Kandinsky, and Andy Warhol
(see Warhol's Marilyn Monroe, specifically)
Umberto Boccioni, Stuart Davis, Henri Matisse, Jackson Pollock, and Vincent van Gogh,
for rhythm (movement)
Gustav Klimt, Larry Poons, Victor Vasarely, and Pre-Columbian textiles, for patterns
Roberto Matta, Henri Matisse, Pablo Picasso, and Mark Rothko, for color
Show Robert Delaunay, for color patterns.
Encourage students to respond by matching the new vocabulary cards with the postcards of
the artworks. Place two postcards close to each other and tell students the names of the two
artists as well as the titles of their works. Ask compare and contrast questions such as:
o
o
o
o
Which one is a study of shapes?
Which one has brighter colors?
Which shows visual rhythm? Movement?
Which shows repetition of lines? Shapes? Colors?
134 o
o
Which has organic lines? Geometric shapes?
Can you see repeated patterns? Where?
Have students visit the interactive art Web site The Artist's Toolkit http://artsedge.kennedycenter.org/content/2055/kidbridge.html . Have students explore the elements of line, shape,
and color on the website, use the "Find" and "Create" tools, and discuss their results.
Assessment:
At the end of the unit, Making Connections Between Music and Art, evaluate student
performance based on this Self-Assessment Guide.
Extensions:
Continue on to the second lesson in the Rhythm and Art unit: Gesture Drawing
Authors:
o Teresa Ghiglino, Studio Art - AP
Bell Multicultural Senior High
Washington, DC
135 136 Cultural Creation Myths
Lesson Overview:
Students explore different cultures' supernatural explanations for human existence in three
societies. They identify the common elements between the three stories, then use these common
elements to break into groups and write a play according to one of the selections provided by the
teacher.
Length of Lesson:
Students will:
listen to and discuss in class five different supernatural creation stories.
list and categorize basic aspects of the five stories, pointing out similarities and differences.
select three of the stories discussed in class and write a 300-word essay comparing the three
stories and their basic elements.
collaborate in groups to select three of the stories and write a play according to one of the
selections provided by the teacher.
Instructional Plan:
Introduction
Ask the students to share information regarding their general knowledge about how different
societies have explained human existence and other natural phenomena. Read aloud five
different creation stories from different cultures and begin to discuss them with the students. The
following creation stories are some examples you can use:
Dakota Creation Myth
Iroquois Creation Myths
<>Aboriginal Creation Myths
<>African Creation Myths
<>Hebrew/Christian Creation Myths
Ask which of the stories the students have heard before, and point out a few of the similarities
and differences between the stories.
Writing an Essay
Explain to the students that they will continue to explore these similarities and differences on
their own in their notebooks. They will choose three of the stories to research and write a 300word essay highlighting the similarities and differences between them. Leave one class period
137 during which the students can conduct research at the library. The students should use a Venn
Diagram handed out by the teacher to compare and contrast the three stories, and decide how
they will want to approach their expository essay.
The students should consider the following questions when writing their essays:


What are some of the most obvious similarities between these stories? The differences?
Which of the stories is the oldest? Do you suspect that there is some deliberate
overlapping between the stories?
 Who tells these stories? Is it from a sacred book, oral legend, or religious leaders?
 Who accepts these stories as true?
 How did early people explain their origins?
 What factors might cause one group to develop a supernatural explanation for human
existence and natural phenomena different from another group?
 What categories would help us to sort, compare, and contrast ideas in the creation stories
we have read?
After researching and writing their essays, review with students effective expository essay
writing standards. Choose five essays that are excellent examples of expository writing and
photocopy them or read portions of the essays aloud to the class.
Divide students into groups (4-5 groups max), and have each group explore one interactive
creation myth on The Big Myth. Students should consider the following questions: How do these
stories dramatize the plot? How are the main characters depicted? What creative liberties are
taken with setting, conclusion, etc? Students will use these observations to help them develop
their play.
Creating a Play
Ask students to break into small groups and use their knowledge on different creation stories to
write a 10-minute play for their group to perform. For a good resource on techniques and tips for
writing plays, see the Playwriting Seminars site. Have the students select a structure for their
play from one of the choices below:
1. Write a new creation story based on the common elements you have found in your three
stories. The myth should be from an imaginary religion, culture, or society.
2. Write a play intertwining the three stories, in which characters from the myths interact with
one another.
3. Rewrite one of the creation stories, changing some of its most fundamental aspects (i.e.,
setting, characters, chronology of events, ending, etc.).
4. Structure the play around an idea of your own, in which you demonstrate your knowledge of
the similarities and differences of at least two creation myths. (If students choose this option,
they must submit a proposal to the teacher for approval prior to working on their production.)
Have students perform their plays in front of the class. After all groups have performed their
plays, discuss with students which plays they liked best and why. Ask students to evaluate the
work of their peers using the criteria in the Assessment section below.
138 Assessment:
Evaluate students’ plays using the below criteria. Also ask students to evaluate the work of their
peers using the same criteria.
Completeness of the script
Accuracy and believability of the characters
Originality and creativity of the presentation
Accuracy of the portrayal of a particular culture or religion
Appropriate incorporation of research materials
Authors:
ARTSEDGE and DoDDS, Curriculum Partnership
The John F. Kennedy Center
Washington, DC
Link to The Big Myth: http://artsedge.kennedy-center.org/content/2298/kidbridge.html
139 Atomic and Molecular Structure
Lesson Overview:
In this lesson, students will utilize their knowledge of basic physical science concepts to create
movement patterns that simulate the movement of atoms and molecules. They will formulate and
answer questions about how movement choices communicate abstract ideas in dance and
demonstrate an understanding of how personal experience influences the interpretation of a
dance.
Length of Lesson:
Students will:




utilize their knowledge of basic physical science concepts to create movement patterns
that simulate the movement of atoms and molecules.
formulate and answer questions about how movement choices communicate abstract
ideas in dance.
demonstrate understanding of how personal experience influences the interpretation of a
dance.
create a dance that effectively communicates physical science concepts.
Supplies:
 CD or tape player
 Poster boards illustrating the structure of helium and hydrogen atoms and elements
incorporated into the movement activities (optional)
 Chalkboard for illustrating spontaneously, as needed
 An enlarged version or handouts of the Atomic and Molecular Structure Diagram
demonstrating structures of polymers
Instructional Plan:
Always begin with a warm-up, preferably one that focuses students on the topic to be explored
through movement. Be sure students know the basic vocabulary and concepts of physical
science. It may help if a physical education or dance teacher works cooperatively with the
science teacher on a lesson such as this.
Warm Up
You may play music or not during the "Pathways in Space" activity, depending on the class.
Direct, indirect, straight & curving: Have the students locate a point "A" in space, then move
through the space to a point "B." Return to point A. Note that most pathways were probably
direct, i.e., a straight line. Ask them to move to point B with an indirect (meandering) pathway.
Have them return to A using a curving pathway and then back to B using an indirect pathway
with straight segments (zig-zag).
140 Pair up the students with partners. One partner will be the "place" dancer, the other the "space"
dancer. Ask the "place" dancer to move without leaving her or his "place" (changing levels,
moving arms, legs, etc.). The "space" dancer will move around the "place" dancer, also changing
levels, using different locomotors (walk, hop, skip, etc.).
Show students the Chem4Kids pages related to the structure of an atom. Ask them to describe
what protons, neutrons, and electrons are. Have the students describe positive and negative
charges in protons, neutrons, and electrons.
While still in pairs, each duo should create a hydrogen atom, which consists of 1 proton with 1
electron circling it. Be able to show the idea of positive and negative charge somehow (shape,
energy, action). Then all pairs show their solutions. As a class, agree on a "vocabulary word" for
the day: What shape (or action) will indicate a particle that is positively charged (a proton) and
negatively charged (an electron)? Then take suggestions and decide on a shape or action to
represent a neutrally charged particle (neutron).
In groups of six, have students create a helium atom (2 electrons circling 2 protons with 2
neutrons). Any leftover students should work on ways to show how neutrons keep the likecharged protons from flying apart in the nucleus of an atom. Show and discuss results.
Through directed practice, create an oxygen atom, then show bonding with two hydrogen atoms
to form a water molecule (first draw the design on the board; use a single person for each nucleus
for simplicity).
Show a chemical reaction in movement. Water and sulfur trioxide combine to form hydrogen
sulfate, or sulfuric acid. The chemical equation is H20 + SO3 = H2SO4. Using one person per
atom, show this process.
Try showing polymer structure with the entire group: form units of polyethylene (HDPE—no
branching), Teflon, Delrin, or PVC (let them choose; see below) and chain them together to form
a very large molecule. Leave others for class or small groups to do on their own. Again, use one
person for each atom.
Polymers that can be "choreographed" are formed from the repeating units as seen on the Atomic
and Molecular Structure Diagram developed for this lesson.
Summarize and discuss with students what they learned in the lesson. Use leading questions to
help students evaluate how their movements simulate the movement of molecules.
Assessment:
Each student should play an important role in the creation of the dance and in the execution of
the dance.
Students should participate in class discussion and analysis.
141 A rubric could be developed to assist students and the teacher in knowing the parameters for the
grade received.
Extensions:
Have students explore chemical reactions through dance. Have students in pairs observe a
chemical reaction. Then have them use descriptive words to demonstrate the reaction (volatile,
bubbly, exciting) and then choreograph movements demonstrating that chemical reaction. Have
students pay particular attention to equilibrium and reaction rate.
Have students visit the Webelements™ Perodic Table Web site. Allow them to explore the
interactive periodic table. Have each student create an image of an element from the table.
Authors:
Randy Barron
Las Vegas, NM
142 143 Oxidation & Combustion:
Chemical Reactions in Fire
Lesson Overview:
A wide variety of science concepts can be explored through the study of fireworks. This lesson
uses fireworks as a lens through which students explore concepts such as exothermic and
endothermic reactions, combustion, and oxidation-reduction reactions. Students make
predictions about the results of oxidation-reduction reactions that occur with a candle’s flame.
They will also conduct online activities to learn how fireworks shells are made and explore how
various chemical reactions result in different fireworks effects in the night sky. Finally, students
will learn that there is an art to creating fireworks displays. They will learn design concepts such
as repetition, emphasis, and balance, and use online tools to design their own fireworks displays.
Length of Lesson:
Six 45-minute class periods
Students will:




make predictions and conduct experiments related to oxidation.
define exothermic and endothermic reactions, combustion, oxidation-reduction reactions,
and oxidizer.
observe, through online resources, the factors affecting the results of combustion,
particularly in fireworks.
choreograph a fireworks event using an online tool such as ARTSEDGE's Look-ListenLearn Art of the Explosion Web site, using the principles of balance, emphasis and
repetition.
Supplies:
For the student:
Pen and journal
For the teacher:
 Computer with Internet access
 Digital projector and screen (optional)
 Portable chemical reaction stick (matches that can be lit by striking anywhere)
 Ice cube
 Lamp and light bulb (optional)
 Candles (one for every group of 2-3 students)
 Glass jar that fits over the candle (one for every group of 2-3 students)
144 

Match books or lighters (one for every group of 2-3 students)
Materials listed in the Antacid Tablet Race activity on NASA's Rockets Teacher's Guide
(optional).
Instructional Plan:
Warm Up
Begin by introducing the terms exothermic reaction and endothermic reaction. Strike a portable
chemical reaction stick (strike-anywhere match) and note heat caused by the friction of the match
against a surface causes the match to ignite. Also note that heat and light are released via the
flame. Explain that the release of heat in a chemical reaction (or physical change) that exceeds
the amount of heat used to start the reaction is an exothermic reaction.
Explain that, in endothermic reactions, energy must be absorbed in order for a chemical reaction
to occur. Display an ice cube in a tray that has been sitting by the window or under a lamp. Note
that the ice must absorb heat to convert to water. Have students write the definitions to
exothermic and endothermic reactions in their journals. Inform them that they will be quizzed on
all the terms learned over the next few class periods.
Tell students that they will be focusing on exothermic reactions and exploring the factors that
influence a chemical reaction. They will explore these concepts by studying the chemical
reactions that take place in fireworks.
Oxidation & Combustion
Explain to students that, in order for fire to occur, there must be fuel, oxygen, and heat. When a
fuel like natural gas (methane or CH4) has been ignited with heat (as in a lit match), the methane
burns, creating a chemical change in the methane and oxygen. Chemical bonds in the methane
and in oxygen from the air break and form carbon dioxide and water. Share the following
equation with students:
CH4 + 2O2—>CO2 + 2H2O
Pass out candles to students in groups of two or three. Have students light their candles with a
match or lighter. Tell students that wax, like methane, contains carbon and hydrogen. When it
burns, carbon atoms join with oxygen from the air and become carbon dioxide (CO2). The
process of a molecule, atom, or ion losing an electron is called oxidation. The uptake of an
electron, atom, or ion is called reduction. A flame is the result of an oxidation-reduction reaction
(also called a redox reaction) because both oxidation and reduction occurs. Have students write
these definitions in their journals. Ask students whether they think the burning of a candle is an
exothermic or endothermic reaction. (In this reaction, more heat is released than is required to
break the bonds, so the action is exothermic.)
Tell students to divide a page in their journals into three columns. In the first column, have them
write "Procedure." The second column should be labeled "Prediction" and the third column
"Results."
145 Tell students they will be holding the glass jar above the candle without placing the jar on top of
the candle. The candle should remain lit. Have students write down this procedure in the first
column of their journals then make predictions about what they think will happen in the second
column. Invite students to go through the steps of the procedure, and then write down the results
in the third column.
Explain to students that the black soot on the glass consists mainly of carbon. Explain that
carbon particles that cool quickly are not able to join the oxygen atoms and are deposited as
black carbon.
Now tell students they will be placing the jar on top of the candle so that it encloses the candle
completely. Have students write this procedure in the first column of their journals, then make
predictions about what will happen. After students follow the procedure, have them write down
the results. Obviously, the candle could not remain lit without oxygen. But ask students what
they think would happen if we were able to provide oxygen to the candle to keep the candle lit
under the jar.
Tell them that, after some time, the glass jar could break. Inform students that explosions occur
because a chemical reaction called combustion has taken place. In combustion, oxygen reacts
with a substance such as fuel. The process of rusting, in which iron oxide in a metal reacts with
oxygen from the air, is an example of slow combustion. Rapid combustion results when there is a
rapid release of heat. If the release of heat and gas is extremely rapid, and the gas cannot
dissipate quickly enough, then extremely rapid combustion and explosions occur. This is the
basic process involved in the creation of fireworks. Students should write the definitions of slow
combustion, rapid combustion, and extremely rapid combustion in their journals.
Reinforce the concepts of combustion and oxidation reactions by inviting students to explore the
On Fire section of PBS's NOVA Online site, Fireworks!, either individually in a computer lab or
as a class via a digital projector. You may wish to assign this reading for homework.
Creating Fireworks Displays
Note: To conduct the following activities, you may wish to project images and videos from the
Internet onto a screen or have students follow along in a computer lab.
Inform the class that combustion in fireworks displays occurs in fireworks shells, which contain
gunpowder (a mix of sulfur, charcoal, and saltpeter) and other chemical powders that will create
the colorful sparks when the shell ignites. Tell students that saltpeter is the oxidizer, meaning it
provides the oxygen necessary for combustion to occur. When a pyrotechnician sends a spark to
the shell, the saltpeter releases oxygen, and heat and gas are produced. Gas caused by the
combustion cannot dissipate quickly within the confined shell, so pressure builds up in the shell.
When the gas can no longer be contained, the shell bursts and a colorful fireworks display
explodes in the sky.
Have students read "The Making of a Shell" on ARTSEDGE's Look-Listen-Learn resource Art
of the Explosion: Pyrotechnics & Fireworks. As they read, they should take notes on the
information in their journals.
146 Once students understand the basics of the construction of fireworks shells, inform them that
they will be exploring what factors influence the outcome of the chemical reactions. What
creates a bigger explosion, and what affects the shape, color, and height of the fireworks display?
Have students click on "Create Your Own Fireworks" on Art of the Explosion under "how does it
work?," and then click on "size of explosion." As a class, discuss the concepts learned. You may
wish to reinforce the concept that surface area affects the outcome of a chemical reaction by
conducting the Antacid Tablet Race activity on NASA's Rockets Teacher's Guide.
Have students follow along with the other animations under "how does it work?" As they read
about color, shape, and timing, students should take notes in their journals. You may wish to
study each concept in a more in-depth way. To further explore the chemistry involved in color,
and more deeply study the art of pyrotechnics, see some of the activities in the ARTSEDGE
lesson, Science Meets Artistry: The Work of Cai Guo-Qiang. You might also discuss shape and
timing through the exploration of Newton's Laws of Motion. For a great online resource, see
Newton's Laws of Motion on the Web site of NASA's Glenn Research Center.
The Art of Pyrotechnics
Discuss with students that pyrotechnics is not just a science—it is also an art. Pyrotechnicians
consider how the overall event will look before making final decisions about color, size, etc. of
individual fireworks.
Review the following organizational principles in visual art:
repetition: refers to a way of combining design and composition elements in artworks so that
the same elements are used over and over again.
balance: the pleasing distribution of objects, colors, textures, and space on a design. A design
may have symmetrical, asymmetrical, or radial balance.
emphasis: refers to the part of a composition that catches a viewer's attention. If there is an
area of emphasis in a work, the viewer's eye will focus first on this area, then take in the rest
of the composition.
If students are being introduced to these concepts for the first time, you may wish to explore the
site, The Artist's Toolkit: Visual Elements and Principles, with students. (See the links under
"Visual Principles," specifically "Emphasis," "Movement/Rhythm" for information on repetition,
and "Balance.")
Introduce the artist Cai Guo-Qiang to students. Inform students that Guo-Qiang creates
"explosion events," ephemeral works that incorporate pyrotechnic technologies. Show students
the video of Tornado: Explosion Project for the Kennedy Center (see the "Ignite" section of Art
of the Explosion).
Tell students that although they cannot build and ignite their own explosion events, they can
conceptualize and choreograph an event using the interactive activity on Art of the Explosion.
Have students practice using the interactive by replicating the rainbow shape that Guo-Qiang has
used in several works—Transient Rainbow (2002), Black Rainbow: Explosion Project for
147 Edinburgh (2005) and Black Rainbow: Explosion Project for Valencia (2005). Direct students to
the image of Black Rainbow: Explosion Project for Valencia for a model (located in the
"Dancing Boats" section of "Vision" in the "Conceptualize" section of Art of the Explosion).
Once students have a feel for using the interactive, give them time to conceptualize their own
explosion event. Students should pay attention to the principles of organization when designing
their explosion events. Their events must demonstrate their knowledge of repetition, balance, and
emphasis.
As students choreograph their own explosion events, tell them to keep careful notes in their
journals about which effects are successfully working so that, later, they can recreate the event
for the whole class later on. (Information on the interactive activity will not be saved once the
web-browsing window is closed.)
Presentations
Have each student present the explosion events they created on the Art of the Explosion
interactive activity.
Assessment:
Quiz students on the vocabulary learned in this lesson.
Assess the students' final projects based on the following criteria:
demonstration of knowledge of organizational principles
creativity and evidence of thoughtful planning
successful use of technology to implement ideas
Use the Assessment Rubric to evaluate students' work.
Sources:
Print:
Greenberg, Barbara R., and Dianne Patterson. Art in Chemistry; Chemistry in Art.
Portsmouth, NH: Teacher Ideas Press, 1998.
Web:
Cai Guo-Qiang
http://www.caiguoqiang.com/
NASAexplores
http://www.nasaexplorers.com/
NASA's Rockets Teachers' Guide
http://exploration.grc.nasa.gov/education/rocket/TRCRocket/Intro.html
PBS's NOVA Online: Fireworks
http://www.pbs.org/nova/fireworks/
148 NOTE: ARTSEDGE wishes to thank the curriculum adviser for this lesson, Coit Hendley of
Eleanor Roosevelt High School, Prince Georges County Maryland Public Schools. Coit is a
National Board Certified Teacher in Chemistry and has received the Presidential Award for
Excellence in Math and Science Teaching as well as the Christa McAuliffe Award.
Authors:
Theresa Sotto
Santa Monica, CA
149 150 Arts of the Gilded Age
Lesson Overview:
Students will research the various fine and performing art forms popular during the Gilded Age.
Students will choose one of the art forms and create a studio project that is relevant to the
mansion they studied in Three Newport Mansions of the Gilded Age. The finished project will be
exhibited and/or performed for the class.
Length of Lesson:
Seven 45-minute periods
Students will:



research fine and performing art forms of the Gilded Age.
demonstrate understanding of the historical influences and context of each art form
during the Gilded Age.
research and present a creative piece, with an accompanying written narrative, on a
chosen art form or specific artist.
Supplies:
 Computers with Internet access
 Media center or library reference materials, videos, CDs, etc.
 Costumes or scenery
 Drawing and painting materials
 Musical instruments or CD players
Instructional Plan:
Warm Up and Review
Review and discuss with students their final projects from the previous lesson. You may wish to
re-distribute the Characteristics of a Gilded Age Mansion handout. Assess students'
understanding of the layout and room functionalities in a typical Gilded Age mansion.
Direct Instruction
Begin with a discussion of various arts forms and venues. List the following categories on a chart
paper or a large dry-erase board: Music (Instrumental and Vocal), Dance, Theater, Creative
Writing, and Visual Arts. Ask for a student volunteer to record answers. Engage class in
discussion about types of dances, theatrical productions, musical styles, visual arts styles, etc.
Have the student recorder list their responses on the chart or board. Students should decide if
each venue or art form existed before, during, or after the Gilded Age. Have students devise a
code for these categorizations, such as (+ after/-before/0 during) or (B before/D during/ A after).
151 Distribute the Arts Vocabulary handout. Have students break into the same groups in which they
worked during Three Newport Mansions of the Gilded Age. Explain to the class that each
student in each group will research the five categories of art forms and corresponding venues,
with respect to the mansion they studied previously.
Using the Reference Guide handout as a starting point, have each student find an art form they
would prefer to research. Allow some time for students to complete their initial research. Walk
around offering suggestions and feedback. Keep in mind that some students may need assistance
with deciding which art form to research and pursue as a final project. Students should write a
brief description of the art form they researched. Tell students that they will now independently
work to create a studio project/creative piece (i.e. song, creative writing, dance, play or dramatic
reading, drawing, etc.) using the characteristics of their chosen art form. Students must also place
the piece within the setting of the mansion they previously studied.
Independent Study
Students will continue to research the art form they have chosen. Each student is also responsible
for writing a short piece, comparing and contrasting the the art form or artist they researched
with another art form or artist from the Gilded Age. This written piece should include an
assessment of how the historical time period (the Gilded Age) influenced the art form. Students
should include in this written presentation information about where their creative piece would be
performed or displayed in the mansion about which they previously studied. You may wish to
have students pair up and do this assignment with another person from their group.
Conclusion
Each student will perform or present their completed creative piece, or studio project, and
present their compare and contrast written piece. Have students ask questions and make
constructive comments on each presentation and its justification. Remind student of the ideal
atmosphere for a critique. (You may wish to refer to ARTSEDGE's How to Write a Successful
Critique.) Students should keep notes in their journal on each piece presented, as they will have a
culminating project at the end of this unit that will touch on each piece.
Journal Project and Class Discussion
Ask the students to review all the work completed thus far with this unit. Compare and contrast
the style and imagery of their creative pieces with what they know and understand about the
Gilded Age. How do creative pieces from the Gilded Age differ from creative pieces in the same
art forms in the present era?
Assessment:
Use the Assessment Rubric to evaluate students' understanding and the successful completion of
their projects.
152 Sources:
Print:
Ashelford, J. The Art of Dress, Clothes and Society 1500-1914. New York Harry Abrams,
1996.
Goven, T. The Barons of Newport. Rhode Island, Pineapple Publications, 1998.
Web:
America in the 1890s
http://www.bgsu.edu/departments/acs/1890s/america
American Variety Stage: Vaudeville and Popular Entertainment, 1970-1920
http://lcweb2.loc.gov/ammem/vshtml/vshome.html
Introduction to Cultural Expression in the Gilded Age
http://bss.sfsu.edu/cherny/cultlexp/default.htm
The Gilded Age: Treasures from the Smithsonian's National Museum of Art
http://www.tfaoi.com/aa/1aa/1aa134.htm
The Victorian Web: An Overview
http://www.victorianweb.org
Authors:
Joyce Payne, Arts Education Consultant
West Barnstable, MA
153 154 155 156 157 158 159 160 Graham's Appalachian Spring: A Study
Lesson Overview:
This lesson immerses students in a study of Martha Graham's Appalachian Spring—a
choreographic narrative of early American frontier life. Particular emphasis is given to specific
elements that capture the flavor of place and time, as well as those that contribute to the
complexity and dynamic artistry of this highly-valued work.
Length of Lesson:
Six 45-minute class periods
Students will:








examine Appalachian Spring's narrative within the historical framework of the early
American frontier (circa 1830).
explore the relationship of Aaron Copland's music score to the work's choreographic text.
analyze the relationship of Isamu Noguchi's stage set design to the narrative and
choreographic development of Appalachian Spring.
construct an explanation of structural and textural aspects of the choreography.
consider specific aspects that contribute nonlinear layers to the choreography's structural
development.
distinguish specific ways Martha Graham achieves organic unity within the framework of
the choreography.
draw a comparative analysis of the handling of time in Appalachian Spring with T. S.
Eliot's assertion about time in his poem, "Burnt Norton", a segment of Four Quartets.
develop a series of written responses to assignments related to these instructional
objectives.
Supplies:
Videotape of Martha Graham's Appalachian Spring (The 1976 Nonesuch Dance in America
tape of The Martha Graham Company's performance is a particularly good selection)
CD or tape of Aaron Copland's music score for Appalachian Spring
Instructional Plan:
Begin the class with this stanza from T.S. Eliot's "Burnt Norton," the first poem in his Four
Quartets:
"Time present and time past
Are both perhaps present in time future,
And time future contained in time past.
If all time is eternally present
All time is unredeemable.
What might have been is an abstraction
161 Remaining a perpetual possibility
Only in a world of speculation."
Write the stanza on the board; have a student read it out loud.
Ask students to write about the poem's meaning. Collect their work.
At the end of this lesson, have them reread the poem and write a new explanation of the poem's
meaning. Pass back their original essays and have them compare and contrast the two versions.
Have students share the reasons their views changed or remained the same.
Although the opening lines of T. S. Eliot's poem, "Burnt Norton", could be relevant to numerous
Martha Graham dance compositions, it seems particularly helpful in finding ways to guide
students through the intricate structural and textural beauty of Graham's Appalachian Spring.
The ambiguity of the lines allow their statement to be realigned in different ways, helping to
unlock the provocative complexities of Graham's creative vision.
To initiate the students' journey of understanding, it is important to begin simply—providing
background exploration that will help them grasp the basic framework of the narrative.
Part I
The following activities will help ground students in key references that illuminate the
Appalachian Spring's storyline.
Ask students to develop a written commentary on their perception of early 19th century
American frontier life.
o What were the frontier's geographical boundaries in the early 1830's?
o What were some of the specific reasons immigrants left the east to go west?
o What are some of the specific opportunities in the early west?
o What words and/or phrases can be used to describe the terms pioneer, pioneer woman and
frontier spirit?
o How do the terms pioneer and frontier spirit equate with the American Dream?
Share some of the responses in a large group discussion.
Pass out Assignment A: Background Information for Appalachian Spring.
Ask for volunteers or split the class into small collaborative groups.
Request that students develop a brief presentation on one of the background areas significant
to Appalachian Spring's overall concepts.
Introduce Aaron Copland's music score. Tell students that the score received a Pulitzer Prize.
Explain the significance of the award.
Share with students that Martha Graham created a series of choreographies related to periods in
American history—American Document, American Provincials and Frontier.
Before playing the complete or partial musical score, initiate the following assignment.
162 Explain that Appalachian Spring is crafted around an American theme related to frontier life. It
supports Graham's choreography about the wedding of a young couple, who are about to begin
their married life settling the land and building a home in the untamed wilderness of the early
American frontier.
Ask students to listen carefully to the Copland score, noting such aspects as:
the cadence and understated eloquence of the score's opening;
vignettes of sustained tone qualities;
changes in cadence and tone;
repetition of phrases;
shifting rhythms;
the interplay of euphony (sweet, harmonious sounds) and cacophony (harsh, discordant
sounds); and
o the tone quality of the ending.
Assign one of the following listening activities:
Ask students to record any images, emotions, states of mind, scenes and/or actions evoked in
their minds by the previously-listed variations in the music score.
Consider placing the following list of images, emotions, states of mind, actions and scenes on
the board. Give students a few minutes to study them.
1. early morning
2. valleys and hills
3. vast expansion of space
4. echoes of hills
5. working the land
6. anticipations
7. anxieties
8. high expectations
9. warnings
10. promise
11. people (type)
12. celebration
13. tenderness
14. meditation
15. Spring season
16. affirmations
Ask students to consider the list as the music plays and jot down the number of the
images, emotions, states of mind, actions and scenes that the music seems to be
projecting.
Explain that items on the list can be repeated more than once—whenever students feel
there is a fit.
At the end of the exercise, ask for a show of hands for each reference to determine
which prevailed in the class' collective mindstream.
Have students share details of mental visions of images, states of mind, action and
scenes generated by the music.
Follow with a discussion and some student demonstrations of how images, emotions, states of
mind, actions or scenes could be projected in movement.
o
o
o
o
o
o
163 Demonstrations could be as simple as walking, standing or using arms to project the
individual references.
o More elaborate demonstrations could be encouraged—possibly by small groups projecting
scenes.
Note: The idea is to engage students in a way that allows them to feel some ownership of the
score, to experience how music can evoke creative response or support creative vision. Their
own experimentation with movement could build some curiosity about how Martha Graham
developed movement in relation to the Appalachian score.
Share with students the origin of the work's title.
o
It comes from a line of the "The Dance" segment of Hart Crane's long, panoramic poem, The
Bridge. In the poem, Crane works to capture the myth of America through a metaphorical
journey into the nation's past. He celebrates the freshness and vibrancy of the primal land and its
native people and, through metaphor, chronicles the physical and psychological challenges of
conquering the terrain.
Critics indicate that the poem, itself, had nothing to do with the development of the Appalachian
choreography. Aaron Copland's comments reinforce this view. However, it is interesting to
speculate that Crane's goal—to define America an unfolding of the heroic Dream quest,
perseverance and optimism of early frontier life—may have spurred Graham's creativity, to some
extent, beyond selection of the title.
Part II
Activities in this section are dedicated to helping students recognize specific elements, which,
when woven together, build the dynamic artistry of Appalachian Spring.
Pass out Assignment B: Analyzing the Basic Narrative of Appalachian Spring. The
assignments in the worksheet will prepare students for viewing the film of Appalachian
Spring, as well as for a close examination of various aspects of the text and the performance.
Closely examine Noguchi's set design.
o Ask students to find a graphic representation of the Noguchi's set for the ballet either from
the Web or print media.
o Assign the following in conjunction with the above research or as an alternative—Have a
student develop a large sketch of the set. Place it in the front of the room to use for
discussion.
o Have students closely examine the spare set, asking them to share their perceptions on
statements about the design. Some samples:
 What is the message of the wide-open skeletal frame and one exterior wall?
 What is the message of the hard bench? The two steps from the exterior into the interior?
The wooden rocker, whose back is a plow? The segment of open fence? The large
boulder?
 What will the platform be used for?


Note: Encourage students to think in frontier terms as they interpret the subtext of the
set:
vast open space;
isolation;
164 




solitude;
independence;
new beginnings;
unfinished dreams;
challenges of clearing the land and finishing the structure —signifying hard work and
hardship that with faith, determination and perseverance offers the joy and satisfaction
of overcoming obstacles (etc.)
Pass out Assignment C: Study Questions for Appalachian Spring prior to screening
Appalachian Spring. You may wish to refer to the teacher edition, Assignment C: Study
Questions and Answers for Appalachian Spring
Advise students that the questions define ways to experience the performance—unlocking the
secrets of its clarity, beauty and enduring magnetic draw. Give them time to read through the
questions and ask for clarifications before viewing the film.
Tell students that in order to formulate answers to the questions, they should give close
attention to the:
o body contours of the dance movements;
o diverse rhythms and pace of the interlocking segments;
o way transitions are handled as the different scenes come to the foreground and fade out;
o way specific elements of the set are used;
o spatial alignments of the dancers; and
o integration of movements with the music score.
Encourage students to take notes in preparation for discussion and/or writing assignments.
After students have worked on the questions, align them in groups of three.
o Assign each threesome one of the study questions from Assignment C. Ask students in
each group to share their individual responses and to negotiate a conclusion to be presented
to the class.
o After each presentation, open up the topic for class-wide discussion.
Achieving Organic Unity
The following suggested activities might help students gain further insight into the creative
devices used by Martha Graham to achieve organic unity in Appalachian Spring's choreography.
You might want to initiate this segment of the lesson by pointing out that much of the beauty and
power of Appalachian Spring comes from the way Graham blends all aspects of the
performance—set design, music, dance movements and spatial alignments together—not only to
characterize and unfold the narrative, but also to build three dimensional layers that add
magnitude to her tribute to the American frontier myth.
Help students gain insight into three dimensional aspects of choreography, by discussing the
following points:
Request that students define the term linear. Have them provide examples. (Cite
illustrations—sequence of A to Z; 1 to 10; and/or a kinetic definition of a straight line)
Ask students how they'd contour the alphabet, number sequence, or kinetic straight line to
break the linear patterns into nonlinear projections? (For instance, ACLZ; 1-5-8, etc.)
165 Seek out a volunteer. Have him/her give a quick review of the narrative thread of Appalachian
Spring.
o Give students some time to jot down their ideas about other layers of development that
emerge from and vertically extend the basic narrative.
Note: This is a challenging task and will depend on students' previous experience with modern
form in literature and visual arts classes. Regardless, the assignment should still evoke interest
in the topic, helping to engage students in nonlinear analysis.
Through discussion and inductive probing, help students uncover the concentric levels of
development—beyond the linear narrative—that add structural dimensions to Appalachian
Spring.
State that the choreographic development of Appalachian Spring is governed by three
landscapes:
o the landscape of the vast American wilderness;
o the landscape of the actual narrative events of the wedding; and
o the landscape of the mind —the inner thoughts and emotions of the Bride and the
Husbandman.
Note that the presence of the Pioneer Woman seems to encircle all three of these domains.
Delineate some specific ways the three landscapes are articulated. This will help students
grasp how these concentric layers govern and enrich the choreographic development.
o Review some previously-reached conclusions regarding the ways the set projects wideopen space, humbleness, isolation, hardship, promise and optimism.
o Encourage students to see how the connotative properties of the set provides extra
dimensional nonlinear statements by underscoring the wilderness (as well as the real)
landscape and by supporting the development of the joys, anticipations and anxieties of the
inner landscapes of the mind (revealed in the dance soliloquies of the Bride and
Husbandman).
o Call attention to how the Pioneer Woman is positioned on the set in relation to her
participation in narrative's present action.
 Ask students to clarify how Graham achieves the sense of distancing the Pioneer figure
into the wilderness landscape, while still making her an active presence in the real
landscape.
 Also, how she makes the Pioneer Woman a force of influence in the soliloquies of the
inner landscape.
o Review and further analyze the dance movements of the Bride and the Husbandman within
the real landscape of the wedding.
Identify specific ways that their hand and arm gestures, footwork, body contours and
spatial alignments:
 reinforce the connotative implications of vast space, isolation, new beginnings and the
challenges projected in the set design;
 articulate the joy, anticipation and anxieties of the two figures' inner landscapes.
o Consider re-showing the Bride's and Husbandman's dance soliloquies and interactions to
help students grasp the significance of the movements.
o Encourage students to take a position on the four Followers:
 Which landscape do they reinforce?
 Do they or don't they add a third dimension to one of the other three landscapes?
166 
Have students provide specifics to support their conclusions.
o Ask students if the traveling Revivalist preacher and his message—which are very much a
part of the real wedding events landscape—also contribute to the two other landscapes.
 Point out to students that the Revivalist is an itinerant preacher, a reinforcement of the
wilderness landscape. His Sinners in the Hands of an Angry God"- type sermon
exacerbates the anxieties of the Bride (her inner landscape) and, perhaps, reinforces the
Husbandman's determination to succeed.
The artistic tensions built through various dichotomous elements are a second structural dynamic
that contributes yet another layer of experience to the choreography, adding richness and
complexity to the frontier myth theme. The set design and the music score especially reinforce
this layer of experience.
Encourage students to explain ways the following points and counterpoints emerge in the
choreography.
Pass out Assignment D: Points and Counterpoints in Choreography. Have the students use the
worksheet during the discussion.
Suggest that students review their earlier study about the ways that set design and music
support and illuminate the choreography. Have them expand on earlier conclusions by
considering specific ways the set design and music reinforce the dichotomous elements.
Note: Aspects of this third dimensional layer especially evokes audience identification with
universal consciousness and heart.
Perhaps the most compelling third dimensional layer of Appalachian Spring is Graham's
handling of time. It not only operates as a discrete layer, but also supports the development of the
choreography's landscapes and dichotomous layers.
These activities can help students probe specific ways Graham manipulates time within the
narrative structure.
Ask students to close their eyes and concentrate fully on the environments of a past, present or
anticipated experience:
o Eighth grade
o Twelfth birthday
o Present grade
o Sixteenth birthday
o Anticipation of college
Encourage students to let their mind roam over aspects, embedded in their consciousness,
that relate to their selected environment-scenes, people, situations, geographical places.
Ask students to share observations about the way their mind moved in and out of the past,
present and future as they concentrated on their selected environment.
o Were there crosscurrents of experience? (How did the way things, people, and self were in
the past compare with the way they are now?)
o Were there intrusions of thoughts about what could/should have been done differently in
the past, or what should be done differently in the future?
167 Were hopes and dreams about the future interrupted by present concerns or recognition of
the unknown in the future?
o Were currents of thought about past, present and future running through their mind
simultaneously?
o
Note: Remind students that the thoughts of their past and speculations about their future
were taking place in the present.
Return to T. S. Eliot's poetry vignette from Four Quartets.
Ask a student to read the segment aloud.
Follow with a discussion
o How do students think the lines relate to the thinking exercise they just finished?
o Have them give particular attention to whether or not they find Eliot's assertion about time
valid.
If possible, re-screen the film of Appalachian Spring.
Ask students to rethink the development of the choreography using Eliot's assertion about how
time operates within human consciousness.
Have students prepare a brief written analysis, which either agrees or disagrees with the
concept that Graham contours the choreography to project alignment with Eliot's assertion
about time. Make clear that students must present specific evidence to back up their positions.
Encourage students to note such aspects as:
o Where each dance persona positions him or herself on the set after entering in formal
procession.
o The Pioneer Woman's position in the rocker, gazing out into the wilderness, seems to align
her with time past
o The Husbandman's stopping to caress the wall as he enters and his positioning at fence
segments suggests a savoring of time present and commitment to the future.
o The Revivalist's passive tableau stance on the boulder and the Followers' passive
positioning against the wall seem to remove them from the present consciousness—but
they are still there—until they emerge in the active consciousness of the present.
o In the dance soliloquies, future time is interjected into the consciousness of the
Husbandman and Bride—articulated through dance movements that reflect anticipation,
expectations and anxieties even though the two figures are in present time.
o The music score supports all of the above. It particularly helps articulate the optimistic
dreams of future time that prevail in the young couple's consciousness in the denouement.
o The handling of transitions—as the figures fade in and out of the various segments of the
narrative—also help signal the moving in and out, within the consciousness, of past,
present and future time.
Suggestions for Special Projects
As a culminating assignment, ask students to write a summarizing profile of the vision that
Graham projects of life in the early American frontier. Suggest that they base their essay on their
analyses of specific aspects of the work.
Ask students to develop a creative prose, poem or dramatic vignette about some aspect of
early frontier life:
o a profile of a pioneer woman;
o a scene at a Revivalist meeting or camp gathering;
168 a situation, such as a trek through the wilderness, a birth in the wilderness, or a dangerous
encounter.
These various situations could be based on a person(s) in the narrative of Appalachian Spring.
Encourage students interested in set design to make a replica of Noguchi's set. Or suggest that
they reconfigure the original design into their own creative vision of a frontier setting that
would support the narrative.
Encourage students with backgrounds in dance to develop and perform vignettes of original
choreography to the Appalachian Spring music score.
Encourage students interested in costuming and fashion to research costumes used in various
productions of Appalachian Spring, comparing them with historical American frontier dress
of the 1830's.
o
Assessment:
Use the Assessment Rubric to determine each student's progress.
Extensions:
Compare form with selections of literature structured in stream-of consciousness mode (James
Joyce, T.S. Eliot; William Faulkner, etc.)
Sample other works about early American frontier life. (Ex: James Fenimore Cooper's The
Pioneers or The Last of the Mohicans.)
Direct your students' attention to the ARTSEDGE Mini-site: A Dancer's Journal: Learning to
Perform the Dances of Martha Graham.
Sources:
Print:
Au, Susan. Ballet and Modern Dance. New York: Thames & Hudson Inc (World of Art
Series), 1988.
Brinkley, A. et al, eds. American History. New York: McGraw-Hill, Inc, 1991.
Cohen, Selma Jeanne, ed. International Encyclopedia of Dance. New York: Oxford
University Press, 1998.
deMille, Agnes A. Martha: The Life and Works of Martha Graham. New York: Random
House, 1991.
Gardner, Howard. Creating Minds (chapter 8). New York: BasicBooks (a Division of
HarperCollins Publishers), 1993.
Graham, Martha. Blood Memory. New York: POCKET BOOKS, a division of Simon &
Schuster Inc.. 1991.
Jowitt, Deborah. Time and the Dancing Image. Berkley and Los Angeles: University of
California Press, 1989.
169 Videos:
Aaron Copland. A Self-Portrait. Films for the Humanities, Inc: Princeton, NJ, 1987.
Martha Graham Dance Company. Appalachian Spring. Nonsuch Thirteen/ Wnet:New York,
1976.
Web:
The Noguchi Museum
http://www.noguchi.org/graham.html
Authors:
Jayne Karsten, English, Grades 9-12
The Key School
Annapolis, MD US
170 171 172 173 174 175 176 177 178 179 Broken Worlds
Lesson Overview:
At first glance, Eugene O’Neill’s The Hairy Ape and Tennessee Williams’ A Streetcar Named
Desire do not seem to have anything in common. Close scrutiny, however, reveals several
provocative parallels. This lesson provides a variety of options for conducting comparative
analysis between the plays.
Length of Lesson:
Notes:
This lesson is particularly suitable for grades 11-12, and AP or IB classes.
Students will:
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gain increasing awareness of how societal issues can be the centerpiece for themes and
forms of drama.
further probe specific ways philosophical and psychological theories shape themes and
forms of drama.
explicate and appreciate the power of visual and auditory expressionistic elements to help
shape set design, narrative, characterization, and theme in the building of dramatic
scripts.
exercise skills of explication. craft essays of critical analysis and creative writing scripts.
recognize elements that build artistic tension in dramatic scripts.
expand skills of comparative analysis.
participate in special projects.
experience growth in the writing process, oral skills, skills of research, contextual
analysis and collaboration.
compare and value the work of two of America’s most gifted and valued playwrights.
Supplies:
 Audio equipment for tapes/CD’s
 VCR equipment
 Video tape: The Birth of the Blues
 O’Neill, Eugene, The Hairy Ape
 Williams, Tennessee, A Streetcar Named Desire
Tell students that you will be comparing two masterpieces of American Theater, Eugene
O'Neill's The Hairy Ape and Tennessee Williams' A Streetcar Named Desire. Assign the class to
read both plays. (Note: See the related ARTSEDGE lessons Uncivil Civilization in The Hairy
Ape and Exploring A Streetcar Named Desirefor suggestions on teaching each play.) Students
should also be familiar with the Biographical Information handouts of Eugene O'Neill,
Tennessee Williams, and Arthur Miller.
After both plays have been read, ask the students whether they see any commonalities between
the plays.
In a thoughtfully constructed essay, develop a comparative analysis of how each play is
structured around the concept of "belonging". Consider, for instance:
the perception each of the protagonists has about what he or she "belongs" to.
what major societal forces have contributed to the erosion of these "anchors" of "belonging"?
how each of the two plays is structurally designed in a pattern of encounters that gradually
strip away the initial "self image" of each protagonist to expose to the audience the glare of
"truth" and the consequence of the destruction of the protagonists’ "pipe dream" of
"belonging".
Arthur Miller, in his essay, Tragedy and the Common Man, argues that the modern "tragic hero"
has "nobility" and that this "nobility" builds "optimism" about the human condition. Develop an
essay in which you take a position about whether or not you perceive Yank, in The Hairy Ape,
and Blanche, in A Streetcar Named Desire, to be "tragic heroes" in accordance with Miller’s
definition. Draw specifics from each text to support your position.
In Eugene O’Neill’s play, The Hairy Ape, Mildred calls Yank a "filthy beast" which Yank
perceives as an "ape" image; in Tennessee Williams‘ play, A Streetcar Named Desire, Blanche
makes a passionate declaration that Stanley is an "animal", "not quite to the stage of humanity
yet" and notes that on "poker night", the "party of apes" comes out. Expressionistic "jungle"
images are threaded throughout both plays.
In a free response essay, explore some ideas that you think explain the dramatists’ use of
"ape/jungle" images. Draw evidence from the plays to clarify your position. For instance, is the
mindset behind the images one that argues that "civilization" is evolutionary "progress" built on
refined manners, "proper" behavior and dress, certain attitudes toward sex, etc. Is evolutionary
"progress" defined in terms of technological discoveries and material wealth?
Carl Jung argues the position that Modern Man, under the stress of modern life, deprived of the
spiritual connections of the past and unable to forge true spiritual connections in a world where
the "Dynamo" and materialism prevail as "gods" and communication with others is lost, will be
gradually stripped of "civilization", evolving backwards into "savagery".
Do the plays support Jung’s theory?
181 Develop an essay in which you explore Jung’s theory as it comes through one of the following
aspects of Williams’ A Streetcar Named Desireand/or O’Neill’s The Hairy Ape:
Williams’ characterization of Stanley Kowalski. Does Stanley represent the "new man" of the
Modern world? Explain your position with specifics from the text.
What do you think, is the main contributing factor in the "destruction" of Yank? Rethinking
the entire play is important in handling this question, but consider giving Paddy’s long speech
in Scene I and the development in Scene V special attention.
Compare the two playwrights’ views of the "primitive". For instance, do both view aspects of
the "primitive" as negative? What, in your perception of each play, do the playwrights,
through different levels of nuance, support as true values of being "civilized"?
A central tension in both The Hairy Ape and A Streetcar Named Desire grows out of the
"insult" of a female character referring to a male character as a "beast", an ape-like" animal".
In fact, both plays can be perceived, at one level, as "revenge" plays; a main thread of
development in each play is the drive of the male character to get "revenge" on the female
who had "insulted" him.
A complexity relating to this basic pattern of "insult" and "revenge"—one that adds much
dramatic force to both plays—is the nature of each of the females who initiated the "insult".
Both Mildred and Blanche project, at surface level, the "civilized" trappings of material
wealth and "breeding". Both perceive themselves to be "superior" to the "savage” males. Both
lament the loss of the past, but from different perspectives. But both are described by the
playwrights as being "self-conscious" and "nervous".
What has modern life done to Mildred and Blanche? What do they value that they think
justifies their use of "ape" images in reacting to the two males? How does each author portray,
through dialogue and expressionistic devices, that modern life has “stripped” Mildred and
Blanche in some way?
Special Projects: Ask students to focus on one of the following school references: a classroom
wall clock, the “passing bell” that signals the end of a class, a row of lockers, a crowded hall, the
cafeteria at lunch time, the auditorium stage, football, soccer, lacrosse, or basketball practice, a
room filled with students taking a difficult exam.
While focusing on one of these references, students should:
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objectively describe, in written prose, close detail of the object, place, or situation they
have selected.
then describe the same object, place, or situation in expressionistic terms (distorted lines,
bold colors, exaggerated elements, heightened and/or “interpretative” sounds; music).
Encourage students to build in both visual and aural expressionistic effects.
develop a brief dramatic script using the object, place, or situation as the central
framework of action. Integrate visual and aural expressionistic devices into the script to
help structure, characterize, enhance setting, and/or highlight action.
share the scripts and select one or two to be developed for performance, including the
staging of the expressionistic devices.
Assessment:
Students will be assessed on their:
182 
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level of serious and cooperative participation in research and collaborative assignments.
level of discernment in contributions from research and to collaborative work.
substantive contributions to class discussion and special projects.
range and depth in analysis.
evidence of creative thinking.
organization, meaningful substance, rhetorical skill, and poise in formal oral presentation.
thoughtful response in pre-writing, and pre-discussion “brainstorming” activities.
seriousness of purpose in following through on creative and expository writing
assignments.
solid preparation for performance activities.
alignment of written performance with good practices of the writing process.
willingness to volunteer for special activities.
general level of engagement in all activities and assignments.
Extensions:
Students could be encouraged to compare the thematic use of "ape/jungle" images in the two
plays to the theme and images T. S. Eliot builds in his "Sweeney" poems and to the theme and
characterization of the "Sweeney" figure in Stephen Sondheim’s musical, Sweeeny Todd.
William Butler Yeats poem, Second Coming, also could add a provocative element to the
discussion of the thematic implication of the use of "animal/beast/ape" images in modern drama.
Seniors could be encouraged to investigate the influence of D. H. Lawrence’s fiction on the work
of Tennessee Williams.
Ask students to share the details of any other literature they might have read that uses a
"locomotive" device as a "cover-up"—(Faulkner, for instance).
Sources:
Print:
Falk, Signi Lenea. Tennessee Williams, New York: Twayne Publishers, Inc. 1961 (Revised
1978)
Gunn, Drewey W.: Tennessee Williams: A Bibliography
Gelb, Arthur and Barbara: O'Neill (Revised edition, 1973) a bibliography
Shaw, Irwin: “THEATER: Masterpiece” The New Republic, CXVII (December22, 1947) – a
review of A Streetcar Named Desire
Background readings on Expressionism, particularly the Expressionistic drama of Bertold
Brecht
Readings in theories of Friedrich Nietzche, Sigmund Freud, Carl Jung, Charles Darwin,
Herbert Spencer
Authors:
Jayne Karsten, English, Grades 9-12
The Key School
Annapolis, MD US
183 184 185 186 187 188 189 190 Poets Got Them Blues
Lesson Overview:
Students will analyze and interpret blues lyrics, exploring how historical events and social issues
shaped songs by W.C. Handy, Skip James, and J.B. Lenoir. Students will identify poetic
elements in blues songs, and will draw connections between blues songs and two poems based
on blues elements: Langston Hughes's "The Weary Blues" and Kevin Young's "Player Piano."
Finally, they will reflect on current social issues and write original poetry based on research.
Length of Lesson:
Three to four 45-minute class periods
Notes:
This lesson is suitable with adaptation for grades 11-12.
Students will:
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identify poetic terms, including rhyme, rhythm, alliteration, imagery, and lyricism, in
blues lyrics
compare blues lyrics written by musicians from different historical contexts
identify references to the Great Migration, Jim Crow laws and racial tensions in postbellum United States
identify blues elements in Harlem Renaissance and contemporary poetry
write their own poems, incorporating new poetry terminology
research a current issue that reflects social injustice
Supplies:
For the Student:
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Computers with Internet access or books relevant to individual inquiry for research
purposes
Pen and journal
For the Teacher:
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Blank paper
Copies of Langston Hughes's "The Weary Blues" (available on ARTSEDGE's Drop Me
Off in Harlem Web site and Kevin Young's "Player Piano" in Jelly Roll: A Blues (see
Sources).
Copies of the lyrics to W.C. Handy's "St. Louis Blues" (a version available at the
University of California, Davis Web site).
191 
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Copies of the lyrics to Skip James's "Hard Time Killing Floor," a version available on the
HarpAmps.com Web site.
Copies of the lyrics to J.B. Lenoir's "Alabama Blues" (a version available on the Online
Blues Web site.
Audio clips of selected songs above (a version of Bessie Smith singing "St. Louis Blues
is available on the ARTSEDGE's Drop Me Off in Harlem (See Sources for recommended
CDs.).
CD player or computer with Internet access
Instructional Plan:
Warm Up
Ask students to consider what music they listen to when they are feeling sad or upset. Ask them
to share some examples of these songs. Discuss why they are drawn to these songs. The
emotional intensity of the music? Lyrics that speak to a similar experience? Foster a discussion
on why and how music can be so powerful. Ask students to share quotes from some of their
favorite songs and write them on the board. Ask students to point out elements of poetry found in
these examples. Do the lyricists use figurative language, rhyme, imagery, alliteration? Are lyrics
a form of poetry?
Tell students that they will be examining and discussing blues lyrics. Analysis of blues music can
reveal issues prevalent in the social climate of the day. Some common themes present in blues
music are: escape from unjust conditions, importance of the church, oppression, economic
difficulties, and alienation. In addition, just like most popular songs, blues songs often tackle the
theme of love. Sometimes, however, a song about a relationship between a man and a woman in
early blues music acted as a metaphor for tense relations between Whites and Blacks during a
period of extreme racial tensions. As do many types of music, the blues often acts as a vehicle
for musicians to speak about injustices—both personal injustices of the heart and social
injustices.
A Blues Trio
Pass out the lyrics of Skip James's "Hard Time Killing Floor" (a version available on
HarpAmps.com Web site), J.B. Lenoir's "Alabama Blues" (a version available on the Online
Blues Web site), and W.C. Handy's "St. Louis Blues" (a version available at the University of
California, Davis Web site. (You may wish to pass out the lyrics in a previous class so students
could come to class prepared to discuss the works.)
Discuss what themes and characteristics these pieces have in common (i.e., raw lyricism or
display of emotion, use of African American vernacular speech, addresses African American
suffering and displacement or migration from the South, use of internal and end rhyme,
alliteration, anaphora, and repetition). Play selections of these pieces for students to give them a
feel for the music.
Point out the similarity in form between "St. Louis Blues" and "Alabama Blues." Ask students to
identify the pattern. Explain that many blues songs are written in a "12-bar" pattern, referring to
the number of bars or measures typically used to convey a theme (see PBS: The Blues Web site
192 for a good explanation). In 12-bar blues, the lyrics usually follow an AAB pattern: the first two
lines of a stanza are similar (if not the same), and are each termed "A" while the third line, "B",
responds to or resolves the idea presented in the first two lines. Play a clip of "St. Louis Blues"
for students (a video of Bessie Smith singing "St. Louis Blues" is available on ARTSEDGE's
Drop Me Off in Harlem)
Discuss how "St. Louis Blues," "Alabama Blues," and "Hard Time Killing Floor" are different.
Mention that "St. Louis Blues" was first published in 1914 by W.C. Handy, who is often referred
to as the father of the blues; "Hard Time Killing Floor" was written in the 1930s; and "Alabama
Blues" was written in 1966. How could differences in the time the piece was written account for
changes in subject matter?
Provide some more background information on the blues songs. Mention that Skip James is
considered a "Delta blues" musician, meaning he is associated with a particular region of the
South-southern Mississippi. Delta blues music is typically characterized by solo performances
and guitar playing with finger picking, slide work (using a tube placed over the finger, such as a
bottleneck or a flat-edged object, such as a knife blade) to depress the guitar strings, and boogie
rhythms (effect that sounds like two guitars playing at once due to the playing of a bass line on
the bottom guitar strings while accompanying the rhythm on the other strings). Tell students that
during the 1920s and 1930s, the Jim Crow laws segregated all aspects of society in the South.
The Great Depression wreaked havoc on the already economically disadvantaged African
Americans—particularly after a farming crisis in the 1920s. (For more information, see The Rise
and Fall of Jim Crow Web site.
Discuss how this historical context may be reflected in Skip James's work, and that it may
account for the song's personal perspective more than "Alabama Blues," which is written from
the viewpoint of someone who no longer lives in the South. Mention that J.B. Lenoir more
specifically used music as a form of protest and discuss whether his song is more successful as a
vehicle for protest than James's song. Discuss the attitudes of the speakers towards his/her
predicaments and compare the overall tones of the poems. Are the speakers resigned, angry, or
attempting change? Is the poem hopeful or pessimistic? What are some reasons that would
account for any differences?
Point out that W.C. Handy was inspired to write "St. Louis Blues" when he met, while walking
around St. Louis, a woman distraught by her husband's absence. Look more closely at "St. Louis
Blues." While the subject matter of the song centers on a woman who is upset because she was
abandoned, Handy is also speaking to a larger social issue prevalent in society—materialism as a
result of urbanization, the Great Migration, and the desire for a better life (perceived by some to
be associated with luxurious possessions). Tell students that thousands of African Americans left
the rural South looking for better economic opportunities in cities in the North. Up North, many
African Americans experienced the modernity and materialism of city life for the first time. Ask
students to point out instances in "St. Louis Blues" that refer to this issue (i.e., the fact that the
speaker's lover left the speaker for "diamond rings" and "store-bought hair").
Tell students that segregation and discrimination were also present in the North, a fact that
greatly disappointed many African Americans who migrated there. Now look at the last three
193 lines of "Alabama Blues." Ask students if a better grasp on the historical context gives readers a
deeper understanding of the meaning of the lyrics. Ask students what else was going on the
sixties that Lenoir may be referring to in his lyrics (i.e., the Vietnam War).
Poets Singing the Blues
Pass out copies of Langston Hughes's "Weary Blues" (available on ARTSEDGE's Drop Me Off
in Harlem, Kevin Young's "Player Piano" (available in Jelly Roll: A Blues). (You may wish to
pass out these copies in advance so students are prepared to discuss them in class.)
Ask students to point out specific examples of characteristics of blues lyrics found in these two
poems, including common themes, repetition, diction, and rhyme. Discuss the differences. Are
they more "poetic" than the blues lyrics discussed previously? How do the poems alter and
complicate the blues form? Are there references to African-American suffering in both poems?
Tell students that "The Weary Blues" was written in the 1920s and "Player Piano" appeared in a
book published in 2003. Inform students that Langston Hughes wrote in a blues style partly as a
reaction to the work of his African-American contemporaries, who were writing in traditional
poetic forms, such as the European sonnet. By incorporating jazz and blues elements in his
poetry, Hughes embraced his African-American heritage rather than Western European
influences. Ask students why they think Kevin Young, an African-American writer of the 21st
century, chose to write an entire book of poems, Jelly Roll: A Blues, based on blues elements.
Does the poem reflect any social issues prevalent in today's society? Why or why not?
Discuss the title of "Player Piano." Why did Young choose to name his poem after a self-playing
piano, particularly since there is no mention of a player piano-or any piano for that manner-in his
poem. Note the double entendre of the word "player" and its current slang connotation. Compare
the speaker in "Player Piano" to "St. Louis Blues." Does Kevin Young complicate stereotyped
gender roles in his poem since the male speaker is the one who has been abandoned by a female?
Tell students that they will be writing their own poems or blues lyrics (or an innovative
combination of the two genres if they so choose). The poem should reflect a social injustice
occurring today. Students must conduct research for this poem and should include a bibliography
that contains at least two sources, which must be authoritative sources if using the Internet. You
may wish to give a short lesson on how to tell whether a web site is reliable. The poem should
also contain at least three of the following blues characteristics discussed in class:
raw lyricism
repetition
alliteration
internal or end rhyme
AAB blues form
vernacular reflective of one's individual upbringing/community
Students should complete their poems for homework.
194 Assessment:
Assess the students based on the following criteria:
identified examples of blues characteristics in works by Hughes and Young
demonstrated understanding through insightful and frequent participation in class discussions
wrote a poem that incorporated three aspects of blues music
use of adequate research in poem about a current social issue
You may also use the Assessment Rubric.
Extensions:
Spend the next class period workshopping and discussing the students' work (see the
ARTSEDGE How-To: The Better the Poem, the Better the Performance).
Students could read their completed poems aloud in a poetry reading or compete in a slam
contest (see the ARTSEDGE How-To: From Flyer to Slammaster).
Sources:
Print:
Komunyakaa, Yusef. Blue Notes: Essays, Interviews, and Commentaries. Edited by Radiclani
Clytus. Ann Arbor: University of Michigan Press, 2003.
Young, Kevin. Jelly Roll: A Blues. New York: Alfred A. Knopf, 2003.
Media:
James, Skip. Hard Time Killing Floor Blues. Sony. CD.
Lenoir, J.B. Vietnam Blues: The Complete L&R Recording. Evidence 26068. CD.
Web:
Blues Foundation: Blues Teacher's Guide
http://www.blues.org/bits/teacher_guide.pdf
PBS: The Blues
http://www.pbs.org/theblues/index.html
The Online Blues
http://www.theonlineblues.com
The Rise and Fall of Jim Crow
http://www.jimcrowhistory.org/series/overview.htm
Authors:
Theresa Sotto
Santa Monica, CA
195 196

24 Lesson Plans created for ARTSEDGE, a

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