K–6 Visual and Performing Arts Curriculum Guide: Examples of ...
Transcript of K–6 Visual and Performing Arts Curriculum Guide: Examples of ...
K–6 Visual and Performing Arts Curriculum Guide:Examples of Integrated Lessons
i
ii
Foreword
On behalf of the county superintendents of the State of California, we are pleased to introduce
this K-6 Visual and Performing Arts Curriculum Guide: Examples of Integrated Lessons
developed by the Los Angeles County Office of Education in partnership with the Los Angeles Unified School District as part of the (CCSESA) Arts Initiative and the Curriculum and Instruction Steering Committee (CISC) Visual and Performing Arts Subcommittee.
The California County Superintendents Education Services Association (CCSESA) is an organization consisting of the county superintendents of schools from the 58 counties in California working in partnership with the California Department of Education. The Curriculum and Instruction Steering Committee (CISC) is a subcommittee of CCSESA, consisting of county office associate superintendents, focusing on curriculum, instruction, and professional development. The Visual and Performing Arts (VAPA) Subcommittee includes regional arts leads representing all 11 service regions geared at strengthening support and service in arts
education to California school districts. Through the CCSESA Arts Initiative and the CISC VAPA Subcommittee, county superintendents and their staffs are building capacity to advocate and increase visibility for arts education in California public schools. One area of this work is in the development of K-12 arts education curriculum resources aligned to the Visual and Performing Arts Framework for California Public Schools.
We appreciate the collaborative work and leadership of VAPA consultant for Los Angeles County Office of Education and Region 11 Arts Lead, Geraldine Walkup, and the LAUSD Arts Administrative Team of Richard Burrows, Director of LAUSD Arts Education Branch, and Robin Lithgow, LAUSD Elementary Arts Coordinator. We also wish to acknowledge the expertise and commitment of the writing team of teachers and arts specialists that contributed to this document. And we extend special thanks to Patty Taylor, CCSESA Arts Consultant, who contributed greatly to the development and finalization of the document as well as the CCSESA/CISC Visual and Performing Arts regional leads who provided input for this project. It is our hope that this will be a tool for schools and districts as they implement the Visual and Performing Arts Content Standards and gather evidence of student learning in the arts disciplines of dance, music, theatre, and visual arts.
Sarah Anderberg
Director, CCSESA Arts InitiativeCalifornia County Superintendents Educational Services Association
Francisca Sanchez
Chair, Visual and Performing Arts SubcommitteeAssociate Superintendent, San Francisco Unified School District
iii
ContentsIntroduction ................................................................................................... v
Acknowledgments ...........................................................................................vii
GRADE/SUBJECT LESSON TITLE PAGE
KINDERGARTEN 1
Dance/English Language Arts “I Can Make Alphabet Shapes!” ................................... 3Music/History-Social Science “Sing When It’s Your Turn” ......................................... 6Theatre/Math “Measuring Time and Change With The Very Hungry Caterpillar” ........................................ 8Visual Arts/Science “Plant Shapes: Showing the Diversity of Nature” .............10
GRADE 1 13
Dance/Science “The Water Dance” ................................................15Music/English Language Arts “Recite and Memorize With Rhyme, Rhythm and Melody” ..... 18Theatre/History-Social Science “The Golden Rule and The Boy Who Cried Wolf”..............20Visual Arts/Math “Still Life Arrangement” ..........................................22
GRADE 2 25
Dance/English Language Arts “Let’s Make a Sequence!” ........................................27Music/Science “Describing Pitch Through Movement and Comparison” .....29Theatre/Math “Problem-Solving in Measurement and Storytelling” .........34Visual Arts/History-Social Science “Color and Personality: How We ‘See’ History” ...............37
GRADE 3 41
Dance/Math “From Fractions to Rhythm” .....................................42Music/Science “What Does It Sound Like and Why: Exploring Musical Instruments” ................................45Theatre/English Language Arts “Discovering the 5 W’s With Nobiah’s Well” ...................47Visual Arts/History-Social Science “Geography of Landscapes” ......................................50
GRADE 4 53
Dance/History-Social Science “Dancing Maps” .....................................................55Music/Math “Fractions and Music” .............................................59Theatre/English Language Arts “Characters and the World in Relation” ........................63Visual Arts/Science “Earth Moves” ......................................................67
GRADE 5 71
Dance/Science “Circulation Dance” ...............................................73Music/English Language Arts “Music Can Communicate a Story” ..............................76Theatre/History-Social Science “The Causes of the Colonist Rebellion” ........................80Visual Arts/Math “Illusion of Space” .................................................83
GRADE 6 87
Dance/Math “Mathematical Reasoning and the Creative Process” .........89Music/History-Social Science “Mythology and the Music of Ancient Greece” ................91Theatre/Science “Theatre as a Tool in Environmental Activism” ................97Visual Arts/English Language Arts “Cultural Artifacts” ..................................................101
References .................................................................................................104
Glossary .....................................................................................................105
Blank Templates................................................................................................. 107
Best Practice in Art Integration .............................................................................. 117
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v
Introduction
“During the past quarter century, literally thousands of school-based programs have demon-strated beyond question that the arts can not only bring coherence to our fragmented world, but through the arts, students’ performance in other academic disciplines can be enhanced as well.”
— Ernest L. Boy, President of the Carnegie Foundation for the Advancement of Teaching
The K-6 Visual and Performing Arts Curriculum Guide: Examples of Integrated Lessons was
developed to provide elementary classroom teachers with a realistic and useful tool for creat-ing arts integrated lessons. The connections made between disciplines are based on mutual con-cepts being taught. The guide includes standards-based lessons in dance, music, theatre, and visual art, integrated with science, history-social science, math and language arts. The lesson design is based on the principles of Understanding by Design by Grant Wiggins and Jay McTigue. Subjects and standards are chosen based on shared concepts or big ideas, from which essential questions are formed.
Recently there have been a growing number of publications that address how to create and teach integrated lessons. They provide information on criteria for integration, approaches to developing lessons, models of integration, and oftentimes samples of the lessons themselves. One example of such literature is the Curriculum Resource Guide, which can be located at
www.ccsesaarts.org. Depending on the author and state of origin, a variety of terms are used to represent the same idea. Therefore, it is necessary to identify the definition of integration that guided that particular document. The authors of the K-6 Visual and Performing Arts Curricu-lum Guide: Examples of Integrated Lessons used the following definition of integration because equal attention is given to those subjects featured in the lessons.
Arts Integration is instruction combining two or more contents, wherein the arts consti-tute one of the integrated areas. The integration is based on shared or related concepts, and instruction in each content area has depth and integrity reflected by embedded assessments, standards, and objectives.
—Southeast Center for Education in the Arts (SCEA), University of Tennessee
Integrated instructional design requires that lessons include an opening, teaching strategies, materials/resources, closure, and assessments. The lessons included in this guide provide addi-tional strategies to strengthen the teacher’s delivery of the lesson and increase student learn-ing. All the necessary components of a strong integrated lesson are included in the template. Please note that these lessons are not units of study and should be taught with this in mind.
Assessment
It is crucial that elementary teachers realize the importance of assessing students in the arts. The information gathered through ongoing assessment will inform the teacher of the level of knowledge and skill his or her students have mastered and what topics need to be re-addressed.
The guide includes a formative assessment at the end of each lesson in the form of open-ended questions that teachers can use to easily assess the targeted standard. To access more informa-tion on arts assessments, please go to the CCSESA Arts Initiative Website at www.ccsesaarts.org. Click the Toolbox tab and you will find the Arts Assessment Guide developed by the San Diego County Office of Education.
An Unfinished Canvas: Arts Education in California: Taking Stock of Policies and Practices
A cluster of research studies sponsored by the William and Flora Hewlett Foundation and con-ducted by SRI International have addressed the many barriers that exist in offering sequential standards-based arts education to California students. The reports also point to many chal-lenges in implementing visual and performing arts in California public schools, citing particular needs at the elementary school level. To access the study, please go to www.hewlett.org to find copies of the report.
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vii
Acknowledgments
The California County Superintendents Educational Services Association acknowledges the following dedicated educators for their contribution to the K-6 Curriculum Guide.
National Consultant
Karen L. Erickson, Director, Creative Directions
Consultants
Richard Burrows, Director, Arts Education Branch Los Angeles Unified School District Robin Lithgow, Elementary Arts Coordinator Los Angeles Unified School District Geraldine Walkup, Visual and Performing Arts Consultant Los Angeles County Office of Education
Los Angeles Unified School District Writing Team Olivia Armas, Elementary, Visual Arts Teacher Susan Marcena Massarak Aslan, Elementary, Classroom Teacher Megan Deakers, Elementary, Dance Teacher Melanie Dubose, Elementary, Classroom Teacher Ginny Gaimari, Elementary, Theatre Teacher Katy Hickman, Elementary, Theatre Teacher Addie Lupert, Elementary, Music Teacher Ginny Marrin, Elementary, Dance Teacher Denise Godinez Gonzalez, Elementary, Dance Teacher Juanda Marshall, Elementary, Music Teacher Julia Norstrand, Elementary, Theatre Teacher Rosie Ochoa, Elementary, Dance Teacher Ellen Robinson, Elementary, Visual Arts Teacher Margarita Vargas, Elementary, Classroom Teacher Sonia Villegas, Elementary, Classroom Teacher Raissa White, Elementary, Theatre Teacher Mary Whiteley, Elementary, Classroom Teacher
Los Angeles Unified School District Arts Specialists Julie Corallo, Secondary, Music Content Expert Shana Habel, Elementary, Dance Adviser Dr. Steven J. McCarthy, Elementary, Theatre Specialist Luiz Sampaio, Elementary, Visual Arts Specialist Steve Venz, Elementary, Music Specialist
Graphics/Layout LACOE Communications/Graphics Unit
viii
1
Grade K Lessons
2
3
G
RAD
E K
CON
TEN
T IN
TEG
RATI
ON
TI
TLE
OF
LESS
ON
DA
NCE
/ELA
I C
an M
ake
Alp
habe
t Sh
apes
!
ES
SEN
TIA
L Q
UES
TIO
N
INTE
GRA
TED
STU
DEN
T O
BJEC
TIVE
How
do
danc
ers
and
wri
ters
use
line
s?
Stud
ents
will
be
able
to
use
lines
to
wri
te le
tter
s of
the
alph
abet
, an
d cr
eate
sha
pes
wit
h th
eir
bodi
es.
Des
crip
tors
D
AN
CE
ELA
Standards
1.1 Build t
he r
ange a
nd c
apacit
y t
o m
ove in a
varie
ty o
f w
ays.
1.4
W
rit
e u
ppercase a
nd low
ercase letters o
f the a
lphabet
independently
attendin
g t
o t
he f
orm
and p
roper s
pacin
g o
f
the letters.
Student O
bjectiv
es
Students w
ill be a
ble
to m
ake t
he s
hapes o
f t
he letters o
f t
he
Students w
ill be a
ble
to w
rit
e a
nd r
ecogniz
e t
he letters o
f t
he
alp
habet w
ith t
heir
bodie
s u
sin
g s
traig
ht a
nd c
urved lin
es.
alp
habet.
Assessm
ent
Were s
tudents a
ble
to m
ake t
he “
shapes” o
f t
he letters o
f t
he
Were s
tudents a
ble
to r
ecogniz
e a
nd w
rit
e (
form
) the letters o
f
alp
habet w
ith t
heir
bodie
s u
sin
g s
traig
ht a
nd c
urved lin
es?
the a
lphabet?
KEY
KNO
WLE
DGE
Pr
ior
Know
ledg
•
Body
Aw
aren
ess
•
Line
s: C
urve
d, s
trai
ght,
zig
zag,
hor
izon
tal a
nd v
erti
cal
• Sp
atia
l Aw
aren
ess:
Per
sona
l Spa
ce
• Le
tter
for
mat
ion:
upp
erca
se a
nd lo
wer
case
lett
ers
• Ab
le t
o fr
eeze
the
ir b
ody
• Ba
sic
loco
mot
or m
ovem
ents
(e
.g.,
wal
king
, ho
ppin
g, j
umpi
ng,
gallo
ping
)N
ew C
once
pts
• Th
e bo
dy m
akes
sha
pes
usin
g st
raig
ht a
nd c
urve
d lin
es.
• Li
nes
form
lett
ers.
New
Voc
abul
ary
Shap
e, li
ne,
stra
ight
, cu
rved
, zi
gzag
, tr
avel
, au
dien
ce,
free
ze
Lett
ers,
alp
habe
t, li
ne,
curv
ed,
stra
ight
, zi
gzag
SKIL
LS
Pr
ereq
uisi
te S
kills
•
Basi
c ph
ysic
al c
ontr
ol o
f th
e bo
dy
• Ab
le t
o tr
avel
thr
ough
spa
ce w
ith
cont
rol
• Ab
le t
o id
enti
fy a
typ
e of
line
•
Able
to
reco
gniz
e th
e al
phab
et
•
Able
to
utili
ze a
pen
cil a
nd p
aper
N
ew S
kills
•
Use
s th
e bo
dy a
s a
tool
to
crea
te a
var
iety
of
shap
es
• Ab
le t
o re
cogn
ize
that
line
s m
ake
lett
er s
hape
s
•
Able
to
wri
te le
tter
for
ms
MAT
ERIA
LS/R
ESO
URC
ES•
Alp
habe
t M
over
s by
Ter
esa
Benz
wie
• D
rum
or
mus
ic (
Sugg
este
d M
usic
: Er
ic C
happ
elle
. M
usic
for
Cre
ativ
e M
ovem
ent,
Vol
. I -
IV)
• Pe
ncils
and
pap
er
Grade K Lessons
4
New
Voc
abul
ary
Shap
e, li
ne,
stra
ight
, cu
rved
, zi
gzag
, tr
avel
, au
dien
ce,
free
ze
Lett
ers,
alp
habe
t, li
ne,
curv
ed,
stra
ight
, zi
gzag
SKIL
LS
Pr
ereq
uisi
te S
kills
•
Basi
c ph
ysic
al c
ontr
ol o
f th
e bo
dy
• Ab
le t
o tr
avel
thr
ough
spa
ce w
ith
cont
rol
• Ab
le t
o id
enti
fy a
typ
e of
line
•
Able
to
reco
gniz
e th
e al
phab
et
•
Able
to
utili
ze a
pen
cil a
nd p
aper
N
ew S
kills
•
Use
s th
e bo
dy a
s a
tool
to
crea
te a
var
iety
of
shap
es
• Ab
le t
o re
cogn
ize
that
line
s m
ake
lett
er s
hape
s
•
Able
to
wri
te le
tter
for
ms
MAT
ERIA
LS/R
ESO
URC
ES•
Alp
habe
t M
over
s by
Ter
esa
Benz
wie
• D
rum
or
mus
ic (
Sugg
este
d M
usic
: Er
ic C
happ
elle
. M
usic
for
Cre
ativ
e M
ovem
ent,
Vol
. I -
IV)
• Pe
ncils
and
pap
er
PH
ASE
LE
SSO
NSt
uden
t En
gage
men
t 1
. D
iscu
ss t
he li
nes,
sha
pes
and
form
s of
the
alp
habe
t le
tter
s. (
e.g.
The
lett
er “
L” h
as t
wo
stra
ight
line
s.)
(5
-10
min
utes
) 2
. Lo
ok a
t yo
ur b
ody
and
disc
uss
the
lines
and
sha
pes
you
see.
(e.
g. C
an y
our
bodi
es c
urve
like
the
lett
er “
C”?
Can
your
bod
y cr
oss
like
the
lett
er “
X”?)
3.
Read A
lpha
bet
Mov
ers
by T
eres
a Be
nzw
ie:
Focu
s on
the
bod
y ill
ustr
atio
ns a
nd h
ave
stud
ents
poi
nt o
ut t
he li
nes,
sha
pes
and
form
s.
Aest
heti
c Ex
plor
atio
n 4
. “S
ilent
Alp
habe
t”:
Teac
her
will
pro
mpt
stu
dent
s by
cal
ling
out
a ra
ndom
lett
er.
Stud
ents
will
phy
sica
lly r
espo
nd b
y cr
eati
ng
(1
0 m
inut
es)
the
lett
er w
ith
thei
r bo
dy.
Teac
her
will
em
phas
ize
and
enco
urag
e st
uden
ts t
o “f
reez
e” t
he s
hape
of
the
lett
er u
ntil
a m
usic
cu
e or
dru
mbe
at is
giv
en.
Teac
her
may
cal
l out
as
man
y le
tter
s as
nee
ded
for
stud
ent
expl
orat
ion.
Teac
her
scaf
fold
s st
uden
ts b
y as
king
que
stio
ns:
Wha
t pa
rt o
f yo
ur b
ody
is c
urve
d? S
trai
ght?
Wha
t le
tter
are
you
for
min
g w
ith
yo
ur b
ody?
Is it
cur
ved?
Str
aigh
t? C
urve
d an
d st
raig
ht?
Zigz
ag?
Cre
ativ
e Ex
pres
sion
5
. Co
ntin
uing
the
“Si
lent
Alp
habe
t” s
tude
nts
will
now
cho
ose
thei
r ow
n le
tter
to
dem
onst
rate
wit
h th
eir
body
. Te
ache
r w
ill p
rom
pt
(30
min
utes
)
st
uden
ts w
hen
to c
hang
e to
a d
iffe
rent
lett
er u
sing
mus
ic c
ues
or a
dru
mbe
at.
6.
The
teac
her
choo
ses
a st
uden
t to
“un
free
ze.”
Tha
t st
uden
t w
ill lo
ok a
roun
d th
e ro
om a
nd s
ay a
lett
er t
hey
see.
All
stud
ents
should
rem
ain
frozen w
ith t
heir
letter s
hape u
ntil p
rom
pted t
o c
hange. (
e.g. W
hat letter d
o y
ou s
ee? W
ho is m
akin
g w
hat
lett
er?
Is t
he le
tter
cur
ved?
Str
aigh
t? C
urve
d an
d St
raig
ht?
Zigz
ag?)
7.
Teac
her
will
mod
el h
ow t
o tr
avel
a c
hose
n le
tter
aro
und
the
room
:
•
Choo
se a
lett
er.
• Cr
eate
it w
ith
your
bod
y.
•
Free
ze t
he le
tter
sha
pe a
nd t
rave
l (ex
ampl
es f
or t
rave
ling—
wal
king
, sl
idin
g, j
umpi
ng).
8.
Stud
ents
will
cho
ose
thei
r ow
n le
tter
to
trav
el t
hrou
gh s
pace
. Co
ntin
ue t
o us
e m
usic
or
drum
beat
cue
s to
let
stud
ents
kno
w
when t
o f
reeze a
nd m
ove.
9.
Repeat a
s n
eeded f
or u
nderstandin
g.
10.
Stud
ents
are
sea
ted
in a
cir
cle,
eac
h w
ith
a pe
ncil
and
pape
r.
Grade K Lessons
5
Cr
eati
ve E
xpre
ssio
n 11
. O
ne a
t a
tim
e st
uden
ts w
ill t
ake
turn
s en
teri
ng t
he m
iddl
e of
the
cir
cle
and
perf
orm
a le
tter
of
thei
r ch
oice
. Te
ache
r gu
ides
(3
0 m
inut
es)
stud
ents
thr
ough
the
sam
e pr
oces
s of
tra
velin
g th
eir
lett
er:
(c
ont.
)
• Ch
oose
a le
tter
.
•
Crea
te it
wit
h yo
ur b
ody.
• Fr
eeze
the
lett
er s
hape
and
tra
vel.
12.
The
audi
ence
(re
mai
nder
of
stud
ents
in t
he c
ircl
e) w
ill o
bser
ve t
he p
erfo
rmer
and
wri
te t
he le
tter
the
y se
e on
the
ir p
aper
.
13
. Te
ache
r w
ill a
sk s
tude
nts
ques
tion
s ab
out
the
lett
er.
(e.g
. W
hat
lett
er d
o yo
u se
e? Is
the
lett
er c
urve
d? S
trai
ght?
Cur
ved
and
St
raig
ht?
Zigz
ag?
)
Re
flec
tion
14
. Pa
ir s
hare
que
stio
n: W
hat
is y
our
favo
rite
lett
er s
hape
? W
hy?
Stud
ents
find
a p
artn
er a
nd t
ake
turn
s di
scus
sing
the
ir f
avor
ite
(1
0 m
inut
es)
lett
er s
hape
.
15.
Jour
nal p
rom
pt:
Stud
ents
dra
w w
ith
thei
r bo
dy m
akin
g th
eir
favo
rite
lett
er.
16.
Ope
n-en
ded
ques
tion
s: (
e.g.
Wha
t di
d yo
u le
arn
abou
t le
tter
s? W
hat
lines
did
you
see
? W
as it
eas
y or
dif
ficul
t to
cre
ate
your letter s
hape? W
hy?)
Co
nnec
tion
s
Ex
tens
ions
H
ave
stud
ents
add
sou
nds
to t
heir
lett
ers.
Beg
in t
o fo
rm w
ords
wit
h ea
ch s
tude
nt r
epre
sent
ing
a le
tter
wit
h th
eir
body
.
D
iffe
rent
iati
on
Revi
ew a
nd m
odel
loco
mot
or a
nd n
on-l
ocom
otor
mov
emen
ts.
Cont
inue
to
use
the
Alph
abet
Mov
ers
book a
s a
refe
rence a
nd v
isual aid
.
Grade K Lessons
6
G
RAD
E K
CON
TEN
T IN
TEG
RATI
ON
TI
TLE
OF
LESS
ON
MU
SIC/
HIS
TORY
-SO
CIA
L SC
IEN
CE
SIN
G W
HEN
IT’S
YO
UR
TURN
ESSE
NTI
AL
QU
ESTI
ON
IN
TEG
RATE
D S
TUD
ENT
OBJ
ECTI
VE
Why
do
both
mus
icia
ns a
nd s
tude
nts
Stud
ents
will
tak
e tu
rns
chan
ting
and
ca
re a
bout
tak
ing
turn
s?
sing
ing
an e
cho
patt
ern.
D
escr
ipto
rs
MU
SIC
HIS
TORY
-SO
CIA
L SC
IEN
CE
Stan
dard
s 2.
1 U
se s
ingi
ng v
oice
to
echo
sho
rt m
elod
ic p
atte
rns.
1.
1 Fo
llow
rul
es,
shar
ing,
tak
ing
turn
s.St
uden
t O
bjec
tive
s Th
e st
uden
ts w
ill c
hant
and
sin
g fo
llow
ing
an e
cho
patt
ern.
Th
e st
uden
ts w
ill d
emon
stra
te a
n ab
ility
to
take
tur
ns.
As
sess
men
t
Stud
ents
will
sin
g fo
llow
ing
an e
cho
patt
ern.
St
uden
ts w
ill li
sten
, an
d re
spon
d w
hen
it is
the
ir t
urn.
KEY
KNO
WLE
DGE
Prio
r K
now
ledge
N/A
N
/A
N
ew C
once
pts
Echo
sin
ging
Taki
ng t
urns
.
Ca
ll an
d re
spon
se
N
ew V
ocab
ular
y
Ec
ho
Co
py/r
epea
t
Ch
ant
Re
spon
d
Sin
g
Pic
nic
SK
ILLS
Pre
requ
isit
e Sk
ills
Keep
ing
a st
eady
bea
t Ex
peri
ence
tak
ing
turn
s
U
sing
sin
ging
voi
ce
N
ew S
kills
Ec
ho s
ingi
ng
Ta
king
tur
ns w
hen
sing
ing
Call-
and-
resp
onse
sin
ging
Lear
ning
to
liste
n an
d re
spon
d at
the
app
ropr
iate
tim
e
M
ATER
IALS
/RES
OU
RCES
Mak
ing
Mus
ic G
rade K
“G
oin
g o
n a
Pic
nic
”
CD 7
-1,
Card
s w
ith
pict
ures
of
picn
ic it
ems,
Spe
ech
Piec
e “G
oin’
on
a Be
ar H
unt”
Grade K Lessons
7
PH
ASE
LE
SSO
N
War
m-u
p 1
. Te
ache
r si
ngs
“Hel
lo b
oys
and
girl
s.”
Stud
ents
sin
g ba
ck “
Hel
lo,
Mrs
. ..
.”
(5
min
utes
) 2
. “L
et’s
pla
y a
taki
ng-t
urns
gam
e. I’
ll be
the
lead
er fi
rst.
Lis
ten
to m
y cl
appi
ng p
atte
rn a
nd t
hen
echo
wha
t yo
u he
ar.”
3.
Teac
her
then
giv
es in
divi
dual
stu
dent
s th
e ch
ance
to
be t
he le
ader
.
N
ew C
once
pt
4.
Ask
why
it w
as im
port
ant
to t
ake
turn
s du
ring
the
gam
e, a
nd t
hen
ask,
“W
hen
else
do
you
take
tur
ns?”
(dr
inki
ng f
ount
ains
, ra
isin
g
(15
min
utes
)
ha
nds
to s
peak
.) D
iscu
ss w
hy w
e ne
ed t
o ta
ke t
urns
for
the
se a
ctiv
itie
s.
G
oing
on
a Be
ar H
unt
5.
“Now
we
are
goin
g to
do
an e
cho
chan
t.”
Dis
cuss
mea
ning
of
an e
cho.
6.
Gui
de s
tude
nts
to r
epea
t an
d ac
t ou
t ea
ch s
ente
nce,
ech
oing
the
tea
cher
.
Revie
w/Applicatio
n
Goi
ng o
n a
Picn
ic
(10
min
utes
) 7
. “L
et’s
list
en t
o th
e so
ng t
o fin
d ou
t w
hat
they
are
bri
ngin
g to
the
pic
nic.
” Di
scus
s pi
cnic
s an
d w
hat
item
s ar
e br
ough
t to
a p
icni
c.
8
. Ec
ho-t
each
the
firs
t tw
o ph
rase
s of
the
son
g.
9
. “I
n th
is s
ong,
inst
ead
of c
opyi
ng w
hat
I say
, yo
u ar
e go
ing
to r
espo
nd b
y an
swer
ing
my
ques
tion
.”
10
. G
uide
the
cla
ss t
o si
ng t
he s
ong,
and
kee
p th
e st
eady
bea
t on
the
ir la
ps f
or t
he fi
rst
two
phra
ses
of t
he s
ong.
Tea
cher
sin
gs t
he
ques
tion
, “D
id y
ou b
ring
the
____
(na
me
of p
icni
c it
em)?
” Th
e ch
ildre
n si
ng t
he a
nsw
er,
“Yes
, I b
roug
ht t
he _
____
_.”
11.
Tea
cher
pas
ses
out
pict
ure
card
s of
pic
nic
item
s to
eac
h st
uden
t.
As
sess
men
t 1
2. G
uide
the
cla
ss t
o si
ng t
he s
ong
agai
n. T
ell t
he s
tude
nts
that
whe
n it
’s t
heir
tur
n, t
hey
shou
ld s
ing
the
answ
er t
o th
e qu
esti
on.
(5 m
inutes)
Cl
osin
g 13
. Re
peat
the
act
ivit
y w
hile
mar
chin
g ar
ound
the
pic
nic
blan
ket
and
keep
ing
the
stea
dy b
eat.
(5 m
inut
es)
14.
At t
he e
nd,
enjo
y an
imag
inar
y pi
cnic
. Ta
ke t
urns
in p
assi
ng p
rete
nd f
ood.
15.
Dis
cuss
the
ess
enti
al q
uest
ion:
Why
do
both
mus
icia
ns a
nd s
tude
nts
care
abo
ut t
akin
g tu
rns?
Why
is it
impo
rtan
t to
tak
e tu
rns
in
our c
lassroom
and d
urin
g m
usic
?
Co
nnec
tion
s Re
ad t
he s
tory
Hap
py B
irth
day
Moo
n by
Fra
nk A
sch.
Ex
tens
ions
D
iffe
rent
iati
on
Grade K Lessons
8
G
RAD
E K
CON
TEN
T IN
TEG
RATI
ON
TI
TLE
OF
LESS
ON
THEA
TRE/
MAT
H
Mea
suri
ng T
ime
and
Chan
ge W
ith
T
he V
ery
Hun
gry
Cat
erpi
llar
D
urat
ion:
50
min
utes
ESSE
NTI
AL
QU
ESTI
ON
IN
TEG
RATE
D S
TUD
ENT
OBJ
ECTI
VE
H
ow d
o th
ings
cha
nge
over
tim
e?
The
lear
ner
will
dem
onst
rate
kno
wle
dge
of
cale
ndar
to
show
mea
sure
men
t of
tim
e an
d
chan
ge b
y us
ing
thei
r bo
dy t
o sh
ow a
ctio
n, o
bjec
ts
an
d th
e id
eas
of t
ime
and
chan
ge.
Des
crip
tors
TH
EATR
E M
ATH
Standards
Crea
tive
Exp
ress
ion
M
easu
rem
ent
and
Geo
met
ry
2.1
Perf
orm
imit
ativ
e m
ovem
ents
, rh
ythm
ical
act
ivit
ies,
and
1.
2 De
mon
stra
te a
n un
ders
tand
ing
of c
once
pts
of t
ime
(cal
enda
r).
thea
tre
gam
es (
free
ze,
stat
ues
and
mir
rors
).
1.3
Nam
e t
he d
ays o
f t
he w
eek.
Stud
ent
Obj
ecti
ves
The
lear
ner
will
use
the
ir b
ody
to s
how
act
ion,
obj
ects
and
the
T
he le
arne
r w
ill d
emon
stra
te k
now
ledg
e of
cal
enda
r to
sho
w
ideas o
f c
hange a
nd t
ime.
m
easurem
ent o
f t
ime a
nd c
hange.
As
sess
men
t F
orm
ativ
e Te
ache
r O
bser
vati
on
For
mat
ive
Teac
her
Obs
erva
tion
KEY
KNO
WLE
DG
E
Pr
ior
Know
ledg
e B
ody,
voi
ce,
min
d, p
anto
mim
e
Cal
enda
r, w
eek,
cha
nge,
tim
e
N
ew C
once
pts
I kno
w I
can
use
my
acto
rs’
tool
s by
mys
elf
and
wit
h ot
hers
to
I
know
tha
t ca
lend
ars
mea
sure
tim
e.
sh
ow id
eas
(lik
e ch
ange
), s
ymbo
ls (
like
cale
ndar
) an
d ch
arac
ters
.
N
ew V
ocab
ular
y Tr
ansf
orm
, ch
ange
Sea
sons
and
com
pari
sons
Grade K Lessons
SKIL
LS
P
rere
quis
ite
Skill
s D
ram
a se
eds
into
obj
ects
.
Cou
nt t
o 30
.
N
ew S
kills
I w
ork
wit
h pa
rtne
rs t
o sh
ow a
cha
ract
er d
oing
som
ethi
ng t
o
I ca
n co
unt
off
seve
n da
ys o
n a
cale
ndar
to
show
a w
eek
and
I can
an o
bjec
t. I
wor
k in
a g
roup
to
show
the
day
s of
the
wee
k.
tel
l wha
t ca
n ch
ange
in a
wee
k (l
ose
a to
oth,
rai
n, b
aby
born
, ca
r
b
reak
s, n
ew s
hoes
, et
c.).
MAT
ERIA
LS/R
ESO
URC
ESCh
art
pape
r to
con
stru
ct c
alen
dar,
The
Ver
y H
ungr
y Ca
terp
illa
r by
Eri
c Ca
rle,
20
12”
x 12
” sq
uare
s of
pap
er f
or e
xten
ded
cale
ndar
act
ivit
y
9
PH
ASE
LE
SSO
N
Openin
g
1. Students e
nter t
o “
mornin
g” m
usic
from
Pee
r G
ynt
as t
houg
h (p
anto
mim
e) t
hey
are
wak
ing
up v
ery
hung
ry.
Teac
her
narr
ates
Gat
heri
ng/W
arm
-up
an e
xplo
rati
on. Th
ey lo
ok f
or s
omet
hing
to
eat
in t
he “
kitc
hen.
” Th
ey g
o “o
utsi
de”
to fi
nd s
omet
hing
to
eat
in t
he “
gard
en.”
(5 m
inutes)
2.
Stud
ents
gat
her
into
sta
ndin
g ci
rcle
and
sin
g da
ys-o
f-th
e-w
eek
song
s. H
alf
can
sing
whi
le t
he o
ther
s co
unt
to s
ee h
ow
many d
ays t
here a
re in a
week. S
wit
ch.
Re
view
ing/
3
. St
uden
ts s
it in
cir
cle
for
disc
ussi
on.
Sam
ple
ques
tion
s:
Prev
iew
ing
Wha
t ar
e ac
tors
’ too
ls?
How
hav
e yo
u ch
ange
d si
nce
you
wer
e a
baby
? H
ow d
o pe
ople
cha
nge?
Wha
t ki
nd o
f fo
od h
elps
you
gro
w?
Vo
cabu
lary
H
ow is
a d
ay d
iffer
ent
from
a w
eek?
Wha
t do
we
use
to m
easu
re t
ime?
Wha
t do
we
use
to m
easu
re a
mon
th?
(10
min
utes
)
Re
view
voc
abul
ary:
cha
ract
er,
sett
ing,
act
ors’
too
ls,
body
, vo
ice,
imag
inat
ion,
cal
enda
r, w
eek,
cha
nge.
New
voc
abul
ary:
tra
nsfo
rm
Exp
lori
ng C
reat
ing
4.
Dra
ma
seed
s in
to f
ood
and
obje
cts
from
the
sto
ry.
Expl
orin
g (5
min
utes)
Im
prov
isin
g/
5. Read t
he s
tory t
o s
tudents.
In
vent
ing
6. Ch
art
cale
ndar
to
follo
w T
he V
ery
Hun
gry
Cate
rpil
lar’
s jo
urne
y fr
om e
gg t
o bu
tter
fly.
(A
littl
e ov
er t
hree
wee
ks!)
(Sto
ry)
(10
min
utes
)
Sha
ring
/ Re
flec
ting
7
. Sh
are-
Invi
te s
even
vol
unte
ers
to c
ome
up a
nd s
tand
in a
line
. Ask
wha
t th
e se
ven
mig
ht b
e? T
hen
ask,
if C
harl
otte
is W
edne
sday
,
Play
mak
ing
who
is _
____
____
_? (
Poin
ting
to
the
stud
ent
just
bef
ore
or a
fter
.) T
hen
have
stu
dent
hol
d th
e bo
ok a
nd in
vite
vol
unte
ers
(1
5 m
inut
es)
to c
ome
up a
nd b
e th
e ob
ject
s in
the
sto
ry o
n th
e sp
ecifi
c da
ys.
On
Satu
rday
he
eats
too
muc
h; s
tude
nts
can
deci
de h
ow t
o “o
verd
o”
it.
Repe
at t
his
wit
h se
ven
mor
e vo
lunt
eers
and
obj
ects
. Ex
tend
by
assi
gnin
g a
cate
rpill
ar t
o “e
at t
hrou
gh”
the
frui
t an
d fo
od.
Exte
nd
cale
ndar
wit
h us
e of
pap
er s
quar
es o
rgan
ized
on
the
floor
(w
hen
runn
ing
out
of s
tude
nts
to u
se a
s da
ys).
8.
Wal
k ab
out-
Stud
ents
spi
n ch
rysa
lises
aro
und
them
selv
es a
nd g
esta
te q
uiet
ly a
s te
ache
r co
unts
off
the
day
s an
d w
eeks
.
Repla
y P
eer
Gyn
t m
usic
. At
the
end,
all
craw
l out
and
bec
ome
butt
erfli
es.
Refle
ctin
g/As
sess
ing
9.
Stud
ents
sit
in c
ircl
e fo
r re
flect
ion.
How
are
you
like
The
Ver
y H
ungr
y Ca
terp
illa
r? W
hat
is s
hort
er,
a da
y or
a w
eek?
(5 m
inutes)
What c
hanged in y
our lif
e in t
he last w
eek?
Co
nnec
tion
s Sc
ienc
e (n
utri
tion
, tr
ansf
orm
atio
n)
Ex
tens
ions
D
iffe
rent
iati
on
(CRR
E) (
SP.E
D)
(EL
)
Grade K Lessons
10
G
RAD
E K
CON
TEN
T IN
TEG
RATI
ON
TI
TLE
OF
LESS
ON
VISU
AL
ART
S/SC
IEN
CE
Plan
t Sh
apes
: Sh
owin
g th
e D
iver
sity
of
Nat
ure
ESSE
NTI
AL
QU
ESTI
ON
IN
TEG
RATE
D S
TUD
ENT
OBJ
ECTI
VE
H
ow d
o sc
ient
ists
and
art
ists
sho
w
Stud
ents
will
und
erst
and
how
the
art
ele
men
t of
wha
t th
ey k
now
abo
ut n
atur
e?
shap
e ca
n be
use
d to
sho
w t
he p
arts
of
a pl
ant.
Des
crip
tors
VI
SUA
L A
RTS
SCIE
NCE
Stan
dard
s 2.
3 M
ake
a co
llage
wit
h cu
t or
tor
n sh
apes
/for
ms.
2
c. D
iffe
rent
typ
es o
f pl
ants
and
ani
mal
s in
habi
t th
e ea
rth.
As
a
basis
for u
nderstandin
g t
his
concept s
tudents k
now
how
to
iden
tify
maj
or s
truc
ture
s of
pla
nts
and
anim
als
(e.g
., s
tem
s,
leav
es,
root
s, a
rms,
win
gs,
legs
).Student O
bjectiv
es
Students w
ill create a
collage u
sin
g o
rganic
shapes.
Students w
ill id
entif
y m
ajor s
tructures o
f c
om
mon p
lants.
Asse
ssm
ent
D
id s
tude
nts
use
orga
nic
shap
es t
o fo
rm o
ne w
hole
pla
nt s
hape
W
ere
the
stud
ents
abl
e to
iden
tify
the
par
ts o
f a
plan
t by
nam
e
an
d co
rrec
tly
labe
l the
iden
tifie
d sh
apes
? (
root
, st
em,
leaf
, flow
er/f
ruit
, se
ed)?
KEY
KNO
WLE
DGE
Prio
r K
now
ledge
Nam
es o
f c
olo
rs a
nd g
eom
etric
shapes
Know
of d
ifferent t
ypes o
f p
lants a
nd t
rees
New
Con
cept
s A
rtis
ts u
se o
rgan
ic s
hape
s (n
ot j
ust
geom
etri
c) t
o m
ake
art
Pla
nts
have
six
mai
n pa
rts.
a
bout n
atural objects.
New
Voc
abul
ary
Org
anic
/nat
ural
sha
pe,
free
-for
m s
hape
, co
llage
, te
ar,
obse
rve
Nat
ure,
pla
nt p
arts
, ro
ot,
stem
, le
af,
frui
t, fl
ower
s, s
eed,
ear
th
SK
ILLS
Prer
equi
site
Ski
lls
Glu
ing
wit
h gl
ue s
tick
or
liqui
d gl
ue
Cop
y w
ords
fro
m c
hart
to
pape
r. L
abel
ing.
New
Ski
lls
Tea
r in
divi
dual
sha
pes.
Pas
te s
hape
s to
put
tog
ethe
r on
e w
hole
Id
enti
fy p
lant
par
ts.
im
age o
f a
ny p
lant s
hape.
MAT
ERIA
LS/R
ESO
URC
ESM
agaz
ines
, co
nstr
ucti
on p
aper
: gr
een,
bro
wn,
red
, ye
llow
; bl
ue o
r bl
ack
tag
pape
r; g
lue;
pen
cil;
oil
past
els;
cha
rt o
f pl
ant
wit
h pa
rts
labe
led;
a r
eal
pott
ed p
lant
; ar
t re
prod
ucti
ons
of p
lant
or
gard
en la
ndsc
apes
and
/or
bota
nica
l dra
win
gs (
bota
nica
lart
ists
.com
) an
d ex
ampl
es o
f co
llage
s (P
icas
so)
PH
ASE
LESS
ON
Stud
ent
Enga
gem
ent
1.
Teac
her
show
s st
uden
ts t
he r
eal p
otte
d pl
ant,
art
rep
rodu
ctio
n, c
olla
ge e
xam
ple,
and
cha
rt o
f pl
ant
part
s.(5
-10
min
utes
) 2
. Te
ache
r le
ads
disc
ussi
on o
n ho
w a
rtis
ts a
nd s
cien
tist
s sh
ow n
atur
e in
dra
win
gs o
r pa
inti
ngs.
3
. D
ispl
ay a
n ill
ustr
atio
n fr
om a
sci
ence
tex
tboo
k.
Grade K Lessons
11
PH
ASE
LE
SSO
N
Aest
heti
c Ex
plor
atio
n 4
. W
hole
cla
ss u
ses
real
pla
nt t
o id
enti
fy t
he p
lant
par
ts (
root
, ste
m,
leaf
, fr
uit/
flow
er,
seed
) an
d th
ese
sam
e pa
rts
in t
he a
rt(2
0 m
inut
es)
repr
oduc
tion
and
the
pla
nt c
hart
.
5
. In
sm
all g
roup
s st
uden
ts lo
ok t
hrou
gh m
agaz
ines
and
cut
out
pic
ture
s of
pla
nts.
Stu
dent
s cu
t th
e pi
ctur
es s
o th
at t
he p
arts
of
the
pla
nt a
re s
epar
ate.
The
y th
en p
aste
the
m u
nder
the
cor
rect
tit
le o
f th
e pa
rt o
n a
clas
s tr
ee m
ap.
6. Revie
w t
ree m
ap a
s a
whole
group a
nd d
iscuss.
Dem
onst
rati
on
7.
Teac
her
mod
els
tear
ing
each
indi
vidu
al p
lant
par
t se
para
tely
and
glu
ing
them
on
tag
boar
d to
cre
ate
a w
hole
pla
nt s
hape
.(5
min
utes
) 8
. O
il pa
stel
s ar
e us
ed t
o ad
d de
tail
to p
lant
par
ts (
e.g.
, le
af li
nes,
pet
al d
etai
l).
9.
Penc
il is
use
d to
labe
l the
six
dif
fere
nt p
arts
. Cr
eati
ve E
xpre
ssio
n 10
. St
uden
t te
ars
shap
es a
nd c
ompl
etes
col
lage
as
mod
eled
by
teac
her.
(30
min
utes
)
Reflec
tion
11
. Cl
ass
disc
usse
s Es
sent
ial Q
uest
ion
as a
who
le g
roup
.(1
0 m
inut
es)
Conn
ecti
ons
Read
Fro
m S
eed
to P
lant
by
Gai
l Gib
bons
; Th
e Ca
rrot
See
d by
Rut
h Kr
aus;
Flo
wer
Gar
den
by E
ve B
unti
ng.
Exte
nsio
ns
Mak
e a
colla
ge o
f an
ani
mal
and
labe
l the
par
ts.
Grade K Lessons
12
13
Grade 1 Lessons
14
Grade 1 Lessons
15
Grade 1 Lessons
G
RAD
E 1
CON
TEN
T IN
TEG
RATI
ON
TI
TLE
OF
LESS
ON
DA
NCE
/SCI
ENCE
Th
e W
ater
Dan
ce
ESSE
NTI
AL
QU
ESTI
ON
IN
TEG
RATE
D S
TUD
ENT
OBJ
ECTI
VE
Why
is it
impo
rtan
t fo
r da
ncer
s an
d sc
ient
ists
to
Stud
ents
will
dem
onst
rate
an
unde
rsta
ndin
g
un
ders
tand
how
and
why
thi
ngs
chan
ge,
both
of
cha
nge
in t
he s
tate
s of
mat
eria
ls (
wat
er),
mov
emen
t an
d m
ater
ials
? an
d in
the
qua
lity
of t
heir
mov
emen
t.
D
escr
ipto
rs
DA
NCE
SC
IEN
CE
Stan
dard
s 1.
1 D
emon
stra
te t
he a
bilit
y to
var
y co
ntro
l and
dir
ect
forc
e/
1.1
Mat
eria
ls c
ome
in d
iffe
rent
for
ms
(sta
tes)
, in
clud
ing
solid
s,
en
ergy
use
d in
bas
ic lo
com
otor
and
axi
al m
ovem
ents
.
liq
uids
, an
d ga
ses.
As a
bas
is f
or u
nder
stan
ding
thi
s co
ncep
t:
a.
Stud
ents
kno
w s
olid
s, li
quid
s, a
nd g
ases
hav
e di
ffer
ent
propertie
s.
b. Students k
now
the p
ropertie
s o
f s
ubstances c
an c
hange
whe
n th
e su
bsta
nces
are
mix
ed,
cool
ed,
or h
eate
d.Student O
bjectiv
es
Students w
ill be a
ble
to v
ary a
nd c
ontrol the a
mount o
f e
nergy/ S
tudents w
ill be a
ble
to r
ecogniz
e a
nd u
nderstand t
he d
ifferent
for
ce u
sed
in m
ovin
g in
and
thr
ough
spa
ce,
and
in f
reez
ing,
or
for
ms
of w
ater
.
s
toppin
g t
heir
movem
ent.
Asse
ssm
ent
W
ere
stud
ents
abl
e to
var
y an
d co
ntro
l the
qua
lity
of t
heir
W
ere
stud
ents
abl
e to
des
crib
e th
e di
ffer
ent
form
s,
m
ovem
ent?
Wer
e th
ey a
ble
to e
xecu
te s
low
, sm
ooth
and
ligh
t
or
stat
es,
of w
ater
? Ca
n th
ey d
escr
ibe
mov
emen
ts a
s w
ell a
s qu
ick,
sha
rp m
ovem
ent?
Wer
e th
ey a
ble
wha
t ca
uses
wat
er t
o ch
ange
its
form
?
t
o m
ove e
asily b
etw
een s
mooth t
o s
harp m
ovem
ent?
KEY
KNO
WLE
DGE
Prio
r Kn
owle
dge
• G
ener
al a
nd s
elf-
spac
e
• W
ater
as
a liq
uid
• Sp
atia
l aw
aren
ess
•
Wat
er a
s a
solid
• Bo
dy c
ontr
ol
•
Eva
pora
tion
• Te
mpo
(fa
st/s
low
)
•
Leve
ls (
high
/low
)
New
Con
cept
s •
Ener
gy Q
ualit
ies,
or
Qua
litie
s of
Mov
emen
t •
Liq
uids
, so
lids,
gas
es h
ave
diff
eren
t pr
oper
ties
• M
ixin
g, c
oolin
g an
d he
atin
g ca
n ch
ange
the
pro
pert
ies
of a
substance
New
Voc
abul
ary
Ligh
t, S
moo
th,
Shar
p, E
nerg
y Q
ualit
ies
Solid
, liq
uid,
gas
, he
at,
cool
, m
elt,
eva
pora
te
16
SK
ILLS
Pre
requ
isit
e Sk
ills
• Ex
ecut
e ba
sic
loco
mot
or a
nd n
on-l
ocom
otor
mov
emen
ts.
• D
escr
ibe
how
wat
er c
an b
e a
solid
or
a liq
uid,
and
can
cha
nge
• M
ove
and
“fre
eze”
wit
h co
ntro
l and
spa
tial
aw
aren
ess.
bac
k an
d fo
rth
from
one
to
the
othe
r.
•
Exec
ute
basi
c m
ovem
ents
at
diff
eren
t te
mpo
s.
• D
escr
ibe
how
wat
er e
vapo
rate
s in
an
open
. co
ntai
ner
but
not
in
a c
lose
d on
e.
•
Chan
ge le
vels
whi
le m
ovin
g.
N
ew S
kills
Ex
ecut
e ba
sic
loco
mot
or a
nd n
on-l
ocom
otor
mov
emen
ts w
ith
D
escr
ibe
the
prop
erti
es o
f liq
uids
, so
lids
and
gase
s.
di
ffer
ent
mov
emen
t qu
alit
ies,
in p
arti
cula
r, li
ght,
sm
ooth
,
Desc
ribe
how
the
pro
pert
ies
of s
ubst
ance
s (w
ater
) change w
hen
and s
harp.
m
ixed
, he
ated
or
cool
ed.
MAT
ERIA
LS/R
ESO
URC
ES
•
Ice
cube
s (o
ne p
er s
tude
nt)
• Pa
per
cup
• A
glas
s of
wat
er
•
Penc
ils
•
Pape
r
•
Voca
bula
ry c
ards
/pos
ter
of 3
sta
tes
of m
atte
r
•
Dru
m o
r m
usic
(su
gges
ted
mus
ic:
“Eri
c Ch
appe
lle:
Mus
ic f
or C
reat
ive
Dan
ce,”
Vol
. I-
IV)
PH
ASE
LE
SSO
N
Intr
oduc
e 1
. Te
ache
r in
trod
uces
less
on b
y sh
owin
g st
uden
ts a
gla
ss o
f w
ater
: C
once
pt/E
lem
ent
• W
hat
am I
hold
ing?
How
do
you
know
? W
arm
-up/
Cent
erin
g
•
How
doe
s w
ater
mov
e?
(10
min
utes
)
•
Doe
s it
flow
? O
r m
ove
shar
ply?
• D
oes
wat
er a
lway
s ha
ve t
his
form
? Ex
plai
n?
2
. Te
ache
r sh
ows
stud
ents
ice
cube
s:
•
Wha
t am
I ho
ldin
g no
w?
How
do
you
know
?
•
Can
you
tell
me
how
the
se ic
e cu
bes
got
to t
his
form
?
3
. Te
ache
r te
lls s
tude
nts
that
the
for
m o
f w
ater
is c
hang
ed w
hen
it is
hea
ted
and
cool
ed (
e.g.
, Ic
e cu
bes)
. W
hen
wat
er is
kep
t
in a
fre
ezer
, th
e w
ater
cha
nges
fro
m li
quid
to
solid
.
Expl
orat
ion
4.
Inve
stig
atin
g w
ater
as
a so
lid:
Giv
e ea
ch s
tude
nt a
n ic
e cu
be.
How
doe
s th
e ic
e cu
be f
eel?
Did
you
not
ice
the
ice
cube
is m
elti
ng?
(Ex
peri
men
tati
on)
Do
you
know
wha
t ca
uses
ice
cube
s to
mel
t? C
an w
e st
op t
he ic
e cu
be f
rom
mel
ting
?
(10
min
utes
)
5.
Stud
ents
will
put
ice
cube
s in
the
ir o
wn
indi
vidu
al c
ups.
(Yo
u w
ill u
se t
hem
late
r, so
kee
p th
em o
n yo
ur d
esk
or in
a s
afe
area
.)
6
. M
ove
into
the
dan
ce s
pace
. As
k st
uden
ts t
o fin
d th
eir
own
“spa
ce b
ubbl
e.”
Expl
ore
“mel
ting
” w
ith
body
par
ts,
and
then
wit
h
the
who
le b
ody
(e.g
., m
elti
ng a
rms,
mel
ting
hea
ds a
nd s
pine
s).
Ask
stud
ents
, “A
t w
hat
spee
d do
es w
ater
mel
t?”
7.
Talk
abo
ut h
ow w
ater
mov
es (
flow
s, r
ushe
s, d
rips
, et
c.).
Cue
the
stu
dent
s to
tra
vel t
hrou
gh s
pace
usi
ng w
ater
imag
ery
and
clea
r
m
ovem
ent
cues
to
vary
the
stu
dent
s’ q
ualit
y of
mov
emen
t (e
.g.,
mov
e sm
ooth
ly t
hrou
gh s
pace
like
wat
er fl
owin
g in
a r
iver
, tr
avel
us
ing
quic
k sh
arp
“dri
ppin
g” j
umps
, sk
ip li
ghtl
y as
a g
entl
e ra
in).
Grade 1 Lessons
17
PH
ASE
LE
SSO
N
8
. Ex
plor
e ho
w t
hey
wou
ld u
se t
heir
bod
ies
to s
how
the
tra
nsfo
rmat
ion
of w
ater
to
ice.
Ask
the
m,
“How
qui
ckly
or
slow
ly d
oes
w
ater
tur
n in
to ic
e?”
Expl
ore
trav
elin
g th
roug
h sp
ace
usin
g w
ater
imag
ery,
and
“fr
eezi
ng”
slow
ly a
nd s
moo
thly
. Im
agin
e a
la
nd w
here
eve
ryth
ing
free
zes
quic
kly.
Tra
vel t
hrou
gh s
pace
and
pra
ctic
e fr
eezi
ng q
uick
ly a
nd s
harp
ly.
9.
Expl
ore
“fro
zen”
sha
pes
chan
ging
sha
rply
fro
m o
ne t
o an
othe
r. E
xplo
re “
froz
en”
shap
es t
hat
mel
t sm
ooth
ly in
to a
noth
er s
hape
.
Ex
plor
atio
n (
Expe
rim
enta
tion
)
cont.
Im
prov
isat
ion/
10
. U
se a
mus
ical
sel
ecti
on in
whi
ch fl
owin
g an
d pe
rcus
sive
sec
tion
s al
tern
ate
(see
Eri
c Ch
appe
lle’s
“Co
ntra
st a
nd C
onti
nuum
”).
Cr
eati
on
Dur
ing
the
“flow
ing”
mus
ical
sec
tion
, cu
e st
uden
ts t
o tr
avel
sm
ooth
ly a
nd li
ghtl
y th
roug
h sp
ace
to r
epre
sent
wat
er in
its
liqui
d (P
robl
ems
to S
olve
;
fo
rm. A
sk t
hem
to
chan
ge t
he q
ualit
y of
the
ir m
ovem
ent
whe
n th
e m
usic
cha
nges
, ex
ecut
ing
“fro
zen
shap
es”
that
cha
nge
shar
ply
Ch
oice
s to
Mak
e)
to r
epre
sent
the
sol
id s
tate
of
wat
er.
(2
0 m
inut
es)
11.
Use
ver
bal c
ues
and
imag
ery
(“It
’s g
etti
ng v
ery
cold
,” “
The
sun
is h
ot”)
to
prom
pt c
hang
ing
stat
es o
f w
ater
. Cu
e th
em t
o
“freeze” a
nd “
melt
” a
s t
hey m
ake t
he m
ovem
ent t
ransform
atio
ns.
Perf
orm
ance
/Sha
ring
12.
Div
ide
the
clas
s in
hal
f an
d pe
rfor
m f
or e
ach
othe
r.
(10
min
utes
)
If
tim
e pe
rmit
s or
as
an e
xten
sion
:
13
. D
ivid
e th
e ro
om in
to “
Liqu
id L
and”
and
“So
lid L
and.
”
14
. As
sign
hal
f of
the
cla
ss t
o re
pres
ent
wat
er a
s liq
uid,
and
the
oth
er g
roup
of
stud
ents
will
be
solid
.
15
. Pr
ovid
e flow
ing
mus
ic,
and
have
the
liqu
id g
roup
mov
e sm
ooth
ly.
16.
Prov
ide
abru
pt,
shar
p m
usic
, an
d ha
ve t
he s
olid
gro
up d
emon
stra
te c
hang
ing,
fro
zen
“ice
cub
e” s
hape
s.
17
. N
ow a
sk t
he s
tude
nts
to m
ove
betw
een
“Liq
uid
and
Solid
Lan
ds,”
mel
ting
in “
Solid
Lan
d” b
efor
e m
ovin
g to
“Li
quid
Lan
d.”
Agai
n,
have t
hem
focus o
n f
reezin
g a
nd m
elt
ing a
s t
hey m
ove b
etw
een t
he t
wo.
18.
Afte
r ea
ch p
erfo
rman
ce h
ave
stud
ents
refl
ect
on w
hat
they
saw
. W
hat
mov
emen
ts d
emon
stra
ted
the
flow
of
wat
er w
ell?
How
w
as ice d
em
onstrated?
Jour
nal P
rom
pt: S
tude
nts
retu
rn t
o th
eir
cups
whe
re t
hey
plac
ed t
heir
ice
cube
s. S
tude
nts
will
refl
ect
on t
he ic
e cu
be t
rans
form
atio
n.
Wha
t ha
ppen
ed?
Did
it h
appe
n to
eve
ry c
up in
the
sam
e w
ay?
Was
it s
olid
, liq
uid
or b
oth?
How
doe
s it
fee
l?
Co
nnec
tion
s
Exte
nsio
ns
Intr
oduc
e th
e w
ater
cyc
le.
Begi
n to
intr
oduc
e te
mpo
(sp
eed)
wit
h m
ovem
ent
and
how
tem
pera
ture
aff
ects
the
spe
ed o
f w
ater
transform
atio
n.
Read W
ater
Dan
ce.
Expl
ore
wat
er v
erbs
wit
h m
ovem
ent.
Wat
ch a
vid
eo o
f D
oris
Hum
phre
y’s
Wat
er D
ance
.
D
iffe
rent
iati
on
Revi
ew a
nd m
odel
loco
mot
or a
nd n
on-l
ocom
otor
mov
emen
ts b
efor
e le
sson
. Pr
ovid
e vi
sual
aid
s, lo
com
otor
and
non
-loc
omot
or
word c
ards o
r p
ictures.
Grade 1 Lessons
18
Grade 1 Lessons
G
RAD
E 1
CON
TEN
T IN
TEG
RATI
ON
TI
TLE
OF
LESS
ON
MU
SIC/
ENG
LISH
LA
NG
UA
GE
ART
S RE
CITE
AND
MEM
ORI
ZE W
ITH
RH
YME,
RH
YTH
M A
ND M
ELO
DY
ESSE
NTI
AL
QU
ESTI
ON
IN
TEG
RATE
D S
TUD
ENT
OBJ
ECTI
VE
W
hy is
it im
port
ant
to u
se r
ecit
ing
and
sing
ing
Stud
ents
will
dem
onst
rate
the
ir u
nder
stan
ding
of w
ays
to h
elp
us r
emem
ber?
to
mem
oriz
e by
sin
ging
a s
ong
and
reci
ting
a p
oem
fr
om m
emor
y.
D
escr
ipto
rs
MU
SIC
ENG
LISH
LA
NG
UA
GE
ART
S
Stan
dard
s 2
.2 S
ing
age-
appr
opri
ate
song
s fr
om m
emor
y.
Spe
akin
g ap
plic
atio
ns
2
.1 R
ecit
e po
ems,
rhy
mes
, so
ngs
and
stor
ies.
Stu
dent
Obj
ecti
ves
The
stu
dent
s w
ill d
emon
stra
te t
heir
und
erst
andi
ng o
f w
ays
to
The
stu
dent
s w
ill r
ecit
e a
poem
fro
m m
emor
y.
mem
oriz
e b
y s
ingin
g a
song f
rom
mem
ory.
As
sess
men
t
Can
the
stu
dent
s si
ng a
son
g fr
om m
emor
y?
Are
stu
dent
s ab
le t
o re
cite
“St
ar L
ight
Sta
r Br
ight
” fr
om m
emor
y?
KEY
KNO
WLE
DGE
Prio
r K
now
ledge
Rhythm
of t
he w
ords
N
/A
N
ew C
once
pts
Mem
oriz
ing
usin
g rh
yme,
rhy
thm
and
mel
ody
M
emor
izin
g us
ing
rhym
e
R
ecit
ing t
o b
ecom
e b
etter s
peakers
N
ew
Vocabula
ry
Practic
e
R
ecit
e
Tun
e
M
elod
y
R
hythm
Solo
SK
ILLS
Pre
requ
isit
e Sk
ills
Cla
ppin
g th
e rh
ythm
of
the
wor
ds
N/A
Can
sho
w t
he d
iffe
renc
e be
twee
n sp
eaki
ng a
nd s
ingi
ng v
oice
New
Ski
lls
Lea
rnin
g ho
w t
o us
e rh
yme,
rhy
thm
and
mel
ody
to m
emor
ize.
Le
arni
ng h
ow t
o pr
acti
ce r
ecit
ing
M
ATER
IALS
/RES
OU
RCES
Mak
ing
Mus
ic S
erie
s Fi
rst
Gra
de “
Wak
e M
e Sh
ake
Me.
” CD
9-4
“St
ar L
ight
Sta
r Br
ight
” CD
3-3
6
19
PH
ASE
LE
SSO
N
War
m-u
p S
tude
nts
are
seat
ed in
a c
ircl
e fa
cing
the
tea
cher
.
(10
min
utes
) 1
. Li
sten
to
this
son
g, “
Wak
e M
e Sh
ake
Me,
” an
d sh
ow m
e th
e st
eady
bea
t by
pat
ting
on
your
legs
.
a.
You
are
goin
g to
cla
p ha
nds
wit
h yo
ur n
eigh
bor
in a
mom
ent
but
first
let’
s pr
acti
ce in
the
air.
Fol
low
me
as I
clap
my
han
ds
together a
nd t
hen c
lap h
ands w
ith a
pretend p
artner.
b. Tu
rn a
nd f
ace
your
nei
ghbo
r as
you
r pa
rtne
r. D
o th
ese
sam
e m
ovem
ents
whi
le k
eepi
ng t
he s
tead
y be
at d
urin
g th
e so
ng.
2.
Wha
t th
ings
do
we
do in
the
mor
ning
to
get
read
y to
go
to s
choo
l? T
ell m
e fir
st,
then
sin
g it
to
me.
(G
ive
an e
xam
ple
to t
he
st
uden
ts,
such
as
first
spe
akin
g, t
hen
sing
ing
“I g
et o
ut o
f be
d.”)
Who
els
e w
ould
like
to
volu
ntee
r? (
Choo
se a
few
oth
er s
tude
nts.
)
New
Con
cept
3
. If
we
spea
k th
e w
ords
to
the
song
, “W
ake
Me
Shak
e M
e,”
it is
a p
oem
. Po
ems
are
spok
en a
nd o
ften
hav
e rh
ymin
g w
ords
.
(15
min
utes
) 4
. W
hen
we
reci
te,
that
mea
ns w
e pr
acti
ce s
ayin
g th
e w
ords
. It
hel
ps u
s to
get
bet
ter
at r
emem
beri
ng t
he w
ords
and
our
spea
king
. Pl
ease
rec
ite
“Wak
e M
e Sh
ake
Me”
aft
er m
e. L
et m
e kn
ow if
you
can
tel
l me
whe
re t
he s
tead
y be
at is
, ev
en t
houg
h
we
are
not
sing
ing.
(H
elp
stud
ents
to
disc
over
tha
t a
stea
dy b
eat
is t
here
and
can
gui
de y
ou w
hen
you
are
reci
ting
a p
oem
as
w
ell a
s w
hen y
ou a
re s
ingin
g a
song.)
5.
Rhym
es h
elp
us t
o r
em
em
ber s
ongs a
nd p
oem
s b
ecause t
he r
hym
ing w
ords s
ound s
imilar.
a.
Let
’s a
ll sa
y th
e po
em t
oget
her
from
mem
ory
whi
le w
e lis
ten
for
the
rhym
ing
wor
ds.
(Chi
ldre
n re
cite
fro
m m
emor
y.)
Wha
t
are t
he r
hym
ing w
ords?
6.
Whe
n yo
u ad
d th
e m
usic
, it
bec
omes
a s
ong.
a. T
he r
hyth
m o
f th
e w
ords
hel
ps u
s to
rem
embe
r th
e so
ng b
ecau
se it
is a
pat
tern
tha
t is
eas
y to
rem
embe
r. L
et’s
all
cla
p t
he
rhythm
of t
he w
ords. (
Guid
e s
tudents t
o c
lap t
he r
hythm
of t
he w
ords.)
7.
The
tune
mak
es it
eas
y to
rem
embe
r a
song
bec
ause
we
can
thin
k ab
out
wha
t th
e no
tes
soun
d lik
e.
a.
Let
’s a
ll hu
m t
he t
une
of “
Wak
e M
e Sh
ake
Me.
” (O
ptio
n: In
stru
ct s
tude
nts
to m
ove
thei
r ha
nds
up a
nd d
own
to s
how
w
hic
h w
ay t
he n
otes a
re g
oin
g a
s t
hey s
ing.)
8.
Why
is it
impo
rtan
t to
use
rec
itin
g an
d si
ngin
g to
rem
embe
r? (
Gui
de s
tude
nts
in a
dis
cuss
ion.
“It
will
hel
p us
...”
)
Rev
iew
/App
licat
ion
9.
Now
we
are
goin
g to
use
wha
t w
e ju
st le
arne
d to
mem
oriz
e a
new
poe
m a
nd s
ong,
“St
ar L
ight
Sta
r Br
ight
.”
(10
min
utes
)
a.
Rep
eat
afte
r m
e. F
irst
we’
re g
oing
to
use
the
stea
dy b
eat
to g
uide
us
as w
e re
cite
the
poe
m.
b. N
ext
let’
s lis
ten
for
the
rhym
ing
wor
ds in
the
poe
m,
“Sta
r Li
ght
Star
Bri
ght.
”
c. P
ractic
e r
ecit
ing t
he p
oem
wit
h y
our n
eig
hbor a
s y
ou c
lap t
he r
hythm
of t
he w
ords.
d. R
epea
t af
ter
me
to e
cho
the
song
, “S
tar
Ligh
t St
ar B
righ
t.”
e. Le
t’s
all r
ecit
e th
e po
em t
oget
her
by m
emor
y. N
ow le
t’s
all s
ing
the
song
tog
ethe
r.
Asse
ssm
ent
10.
Who
wou
ld li
ke t
o vo
lunt
eer
to r
ecit
e or
to
sing
one
of
the
song
s w
e le
arne
d to
day,
“W
ake
Me
Shak
e M
e” o
r “S
tar
Ligh
t St
ar B
righ
t”?
(1
0 m
inut
es)
(Tel
l the
stu
dent
s th
at if
the
y si
ng a
lone
, th
is is
cal
led
a so
lo.)
Clos
ing
11.
One
way
to
prac
tice
mem
oriz
ing
our
song
s an
d po
ems
is t
o pe
rfor
m t
hem
whe
n w
e ar
e ju
mpi
ng r
ope.
Let
’s a
ll st
and
and
pret
end
(5
min
utes
)
w
e ha
ve o
ur r
opes
wit
h us
. Le
t’s
jum
p to
the
bea
t as
we
perf
orm
the
se t
wo
song
s.
Co
nnec
tion
s
Exte
nsio
ns
Stu
dent
s w
rite
the
ir o
wn
sugg
esti
ons
for
rhym
ing
wor
ds in
son
gs s
uch
as “
Dow
n by
the
Bay
.” D
o a
clas
s ac
tivi
ty a
nd u
se a
gra
phic
o
rgan
izer
to
show
the
dif
fere
nces
am
ong
a sp
eech
, a
poem
and
a s
ong.
D
iffe
rent
iati
on
Grade 1 Lessons
20
Grade 1 Lessons
G
RAD
E 1
CON
TEN
T IN
TEG
RATI
ON
TI
TLE
OF
LESS
ON
THEA
TRE/
HIS
TORY
-SO
CIA
L SC
IEN
CE
The
Gol
den
Rule
and
The
Boy
Who
Cri
ed W
olf
D
urat
ion:
50
min
utes
ESSE
NTI
AL
QU
ESTI
ON
IN
TEG
RATE
D S
TUD
ENT
OBJ
ECTI
VE
How
doe
s ap
plic
atio
n of
the
“G
olde
n Ru
le”
affe
ct
The
lear
ner
will
und
erst
and
how
the
Gol
den
Rule
the
choi
ces
peop
le m
ake,
and
the
jobs
tha
t th
ey
affe
cts
com
mun
ity
life,
whi
le r
ealiz
ing
that
perf
orm
for
the
com
mun
ity?
so
me
char
acte
rs f
ollo
w it
and
som
e do
n’t.
D
escr
ipto
rs
THEA
TRE
HIS
TORY
-SO
CIA
L SC
IEN
CE
Stan
dard
s 1.
1 O
bser
ve a
nd d
escr
ibe
the
trai
ts o
f a
char
acte
r. 1
.1 (2
) Und
erst
and
the
elem
ents
of
fair
pla
y an
d go
od s
port
sman
ship
,
2.
2 Dr
amat
ize
or im
prov
ise
fam
iliar
sim
ple
stor
ies
from
cla
ssro
om
resp
ect
for
the
righ
ts a
nd o
pini
ons
of o
ther
s, a
nd r
espe
ct f
or
lit
erat
ure
or li
fe e
xper
ienc
es.
rule
s by
whi
ch w
e liv
e,in
clud
ing
the
mea
ning
of
the
3.3
Desc
ribe
the
rol
es a
nd r
espo
nsib
iliti
es o
f au
dien
ce a
nd a
ctor
.
“G
olde
n Ru
le.”
5.2
Dem
onst
rate
the
abi
lity
to w
ork
coop
erat
ivel
y. St
uden
t O
bjec
tive
s T
he le
arne
r w
ill k
now
tha
t so
me
char
acte
rs f
ollo
w t
he “
Gol
den
T
he le
arne
r w
ill u
nder
stan
d ho
w t
he “
Gol
den
Rule
” af
fect
s
R
ule”
and
som
e do
n’t.
com
mun
ity
life.
Asse
ssm
ent
Fo
rmat
ive
Teac
her
Obs
erva
tion
Form
ativ
e Te
ache
r O
bser
vati
on
KEY
KNO
WLE
DGE
Prio
r K
now
ledge
Ac
tors
’ to
ols,
cha
ract
er,
stag
e, p
lot,
pan
tom
ime
Ri
ghts
, re
spon
sibi
litie
s, c
omm
unit
y
New
Con
cept
s I
know
tha
t ch
arac
ter
trai
ts a
ffec
t ho
w w
e pe
rfor
m c
hara
cter
s.
I s
ee w
hat
happ
ens
whe
n th
e G
olde
n Ru
le is
not
use
d. I
know
th
at o
ther
s de
scri
be m
e ba
sed
on w
hat
I do.
N
ew V
ocab
ular
y A
udie
nce,
tra
it,
Aeso
p, m
oral
Repu
tati
on
SK
ILLS
Pre
requ
isit
e Sk
ills
I ca
n us
e pa
ntom
ime
and
impr
ovis
atio
nal s
kills
.
I c
an d
o di
ffer
ent
kind
s of
job
s.
New
Ski
lls
I no
tice
how
oth
ers
help
whe
n I a
m s
hari
ng s
omet
hing
wit
h th
e
I can
rec
ogni
ze a
nd d
escr
ibe
“Gol
den
Rule
” be
havi
or
cla
ss.
I thi
nk a
bout
wha
t m
y jo
b is
, as
a p
erfo
rmer
, au
dien
ce
in
mys
elf
and
in o
ther
s. I
noti
ce h
ow m
y ac
tion
s
m
embe
r, o
r ot
her
kind
of
wor
ker
on a
pro
ject
.
can
affe
ct o
ther
s, b
oth
posi
tive
ly a
nd n
egat
ivel
y.
MAT
ERIA
LS/R
ESO
URC
ES
W
ool,
yar
n, s
wea
ter,
kni
ttin
g
21
PH
ASE
LE
SSO
N
Openin
g
1. Students e
nter a
s s
heep o
r s
hepherd.
Gat
heri
ng/W
arm
-up
2.
Gui
ded
acti
vity
usi
ng s
ound
eff
ects
and
pan
tom
ime.
She
pher
ds t
hen
“she
er”
shee
p. S
wit
ch a
nd n
ew s
heph
erds
she
er n
ew s
heep
.
(5 m
inutes)
Ask a
ll t
o p
ick u
p t
he p
iles o
f w
ool and t
ake t
o “
spin
nin
g w
heel.
” S
tudents “
spin
” w
ool in
to y
arn. S
tudents t
hen s
it in c
ircle
and
knit
sw
eate
rs.
Mov
e ah
ead
in t
ime
and
stud
ents
are
sit
ting
nex
t to
pile
s of
sco
res
of s
wea
ters
the
y ha
ve “
knit
.”
Re
view
ing/
3
. St
uden
ts s
it in
cir
cle
for
disc
ussi
on.
Sam
ple
ques
tion
s: W
hat
are
you
goin
g to
do
wit
h th
ese
swea
ters
you
hav
e kn
it?
If y
ou s
ell
Pr
evie
win
g
th
em,
wha
t w
ill y
ou s
pend
the
mon
ey o
n? S
o ho
w d
oes
a pe
rson
mak
e m
oney
fro
m s
heep
? W
hat
does
a s
heph
erd
do?
Is it
an
Vo
cabu
lary
im
portant j
ob? W
hat a
re t
he j
obs p
eople
do in t
he t
heatre.
(5
min
utes
)
Re
view
voc
abul
ary:
act
ors’
too
ls,
char
acte
r, p
lot,
aud
ienc
e, r
ight
s, r
espo
nsib
iliti
es,
com
mun
ity
New
voc
abul
ary:
cha
ract
er t
rait
, m
oral
, re
puta
tion
, G
olde
n Ru
le
Exp
lori
ng/C
reat
ing
4.
Char
t—As
k st
uden
ts f
or j
obs
thei
r pa
rent
s do
and
wri
te t
hem
dow
n on
a c
hart
,dis
cuss
ing
the
impo
rtan
ce o
f th
e jo
bs a
s th
ey g
o Ex
plor
ing
(5 m
inut
es)
al
ong.
Stu
dent
s do
ges
ture
/act
ion
that
is a
par
t of
thi
s jo
b. P
erio
dica
lly a
sk w
hy j
ob is
impo
rtan
t; w
hat
happ
ens
if t
here
’s n
o
one
to d
o th
is j
ob?
Ask
if t
he p
eopl
e w
ho d
o th
ese
jobs
nee
d to
use
the
Gol
den
Rule
, an
d w
hat
that
mea
ns.
Wha
t is
som
ethi
ng
they
wou
ld s
ay a
t th
eir
job?
How
wou
ld t
hey
say
it?
Im
prov
isin
g/
5.
Wal
k ab
out—
Stud
ents
cho
ose
a jo
b fr
om t
he c
hart
and
do
thei
r jo
b in
a “
villa
ge.”
Stu
dent
s us
e di
alog
ue in
job
s th
at
Inve
ntin
g
de
mon
stra
tes
appl
icat
ion
of t
he G
olde
n Ru
le.
(Sto
ry)
(10
min
utes
) 6
. Re
ad T
he B
oy W
ho C
ried
Wol
f to
stu
dent
s. A
sk w
hy t
he b
oy d
ecid
ed t
o pl
ay a
pra
nk.
Dis
cuss
wha
t pe
ople
can
do
if t
hey
get
bored a
t w
ork. W
hat c
ould
the b
oy h
ave d
one?
Sha
ring
/Refl
ecti
ng
7.
Who
le c
lass
—Q
uick
ly c
ast
clas
s in
to B
oy,
Shee
p, W
olf
(who
com
es o
n at
the
end
) an
d to
wns
peop
le in
the
ir j
obs.
Des
igna
te (
or
Pl
aym
akin
g
ha
ve s
tude
nts
deci
de)
whe
re v
illag
e ar
ea s
houl
d be
and
whe
re p
astu
re a
rea
shou
ld b
e. N
arra
te s
tory
, st
oppi
ng t
o le
t ch
arac
ters
(15 m
inutes)
speak t
heir
min
ds.
Refl
ecti
ng/A
sses
sing
8.
Stu
dent
s si
t in
cir
cle
for
reflec
tion
. W
as t
he B
oy u
sing
the
Gol
den
Rule
on
his
job?
Wha
t w
ill h
appe
n to
him
and
his
job
? H
ow
(5
min
utes
)
w
ould
you
des
crib
e hi
s ch
arac
ter
trai
ts?
Wha
t ar
e th
e tr
aits
of
the
othe
r ch
arac
ters
? Th
e w
olf?
The
she
ep?
The
peop
le in
the
tow
n?
Co
nnec
tion
s
Exte
nsio
ns
Char
acte
r Bu
ildin
g—W
hy d
o pe
ople
lie?
D
iffe
rent
iati
on
(CRR
E) (
SP E
D)
Mul
tipl
e in
telli
genc
es (
EL)
Des
crip
tive
lang
uage
Grade 1 Lessons
22
Grade 1 Lessons
G
RAD
E 1
CON
TEN
T IN
TEG
RATI
ON
TI
TLE
OF
LESS
ON
VISU
AL
ART
S/M
ATH
EMAT
ICS
STIL
L LI
FE A
RRA
NG
EMEN
T
ES
SEN
TIA
L Q
UES
TIO
N
INTE
GRA
TED
STU
DEN
T O
BJEC
TIVE
How
do
arti
sts
and
mat
hem
atic
ians
use
St
uden
ts w
ill d
escr
ibe
how
art
ists
and
spac
e in
the
ir w
ork?
m
athe
mat
icia
ns u
se s
pace
in t
heir
wor
k.
D
escr
ipto
rs
VISU
AL
ART
S M
ATH
EMAT
ICS
St
anda
rds
3.2
Iden
tify
and
des
crib
e va
riou
s su
bjec
t m
atte
rs in
art
2
.4 A
rran
ge a
nd d
escr
ibe
obje
cts
in s
pace
by
prox
imit
y, p
osit
ion
(e.g
., la
ndsc
apes
, se
asca
pes,
por
trai
ts,
and
still
life
).
and
dire
ctio
n (e
.g.,
nea
r, fa
r, be
low
, ab
ove,
up,
dow
n, b
ehin
d,
in f
ront
of,
nex
t to
, le
ft o
r ri
ght
of).
Student O
bjectiv
es
Students w
ill id
entif
y v
ario
us s
ubject m
atters a
nd d
escrib
e t
he
Students w
ill know
that t
hey c
an d
escrib
e t
he locatio
n o
f an o
bje
ct
item
s a
nd p
osit
ions o
f a s
till life
artw
ork.
in r
eal space a
ccordin
g t
o its p
osit
ion in r
ela
tio
n t
o o
ther o
bje
cts.
Assessm
ent
Were s
tudents a
ble
to s
uccessfully d
escrib
e t
he c
om
ponents o
f
Were s
tudents a
ble
to s
uccessfully a
rrange o
bjects into a
still
a s
till life a
nd p
ortrait
?
lif
e a
nd d
escrib
e t
he s
till life u
sin
g p
osit
ional w
ords?
KEY
KNO
WLE
DGE
Prio
r Kn
owle
dge
The
re a
re d
iffe
rent
kin
ds o
f ar
twor
k.
Nam
es o
f so
lid s
hape
s
New
Con
cept
s R
ealis
tic
still
life
art
wor
ks c
an b
e di
ffer
ent
from
eac
h ot
her
The
des
crip
tion
of
an o
bjec
t’s
loca
tion
can
be
chan
ged
if t
he
based o
n t
he t
ype o
f o
bjects u
sed a
nd t
heir
pla
cem
ent.
object is m
oved o
r o
bjects a
round it a
re m
oved.
N
ew V
ocab
ular
y S
till
life,
Spa
ce
P
osit
ion,
pro
xim
ity
N
ear,
far,
belo
w,
abov
e, u
p, d
own,
beh
ind,
in f
ront
of,
nex
t to
, or
rig
ht o
f
SK
ILLS
Prerequis
ite S
kills
B
asic
observatio
n s
kills
Workin
g w
ith m
anip
ula
tiv
es
Workin
g in c
ooperativ
e g
roups
Workin
g in c
ooperativ
e g
roups
N
ew
Skills
O
ral com
munic
atio
n s
kills
in v
isual literacy
Intr
oduc
tion
of
the
first
sta
ge o
f ar
t cr
itic
ism
(de
scri
be)
Pla
nnin
g to
ach
ieve
a d
esir
ed g
oal
MAT
ERIA
LS/R
ESO
URC
ES G
eom
etri
c so
lid m
odel
s (e
.g.,
sph
eres
, cu
bes,
cyl
inde
rs,
pyra
mid
s, t
etra
hedr
ons,
etc
.),
plas
tic
mod
els
or r
eal f
ruit
, su
ch a
s or
ange
s, a
pple
s, g
rape
s, b
anan
as
23
Grade 1 Lessons
PH
ASE
LE
SSO
N St
uden
t En
gage
men
t 1
. Vi
ew e
xam
ples
of
at le
ast
two
genr
es (
e.g.
, la
ndsc
ape,
sti
ll lif
e) o
f m
aste
r ar
twor
ks.
(5
-10
min
utes
)
Ae
sthe
tic
2.
Thin
k pa
ir-s
hare
: W
here
are
spe
cific
obj
ects
pla
ced
in t
he m
aste
r ar
twor
ks?
Ex
plor
atio
n 3
. G
roup
dis
cuss
ion:
How
can
we
plac
e ob
ject
s to
mim
ic t
he s
till
life
of a
mas
ter
arti
st?
Teac
her
can
mod
el v
ario
us w
ays
of
(10
min
utes
)
po
siti
onin
g so
lid m
odel
s.
D
emon
stra
tion
4
. De
fine
new
voc
abul
ary:
land
scap
e, s
till
life;
rev
iew
dir
ecti
onal
wor
ds (
e.g.
, ne
ar,
far,
belo
w,
abov
e, u
p, d
own,
beh
ind,
in f
ront
of)
.
(5 m
inutes)
Cre
ativ
e Ex
pres
sion
5
. In
coo
pera
tive
gro
ups:
Stu
dent
s co
nfigu
re o
bjec
ts,
both
geo
met
ric
and
orga
nic
frui
t ob
ject
s, in
to s
till
life
arra
ngem
ents
.
(15 m
inutes)
Re
flec
tion
6
. Co
oper
ativ
e gr
oup
repo
rts:
Des
crib
e co
nfigu
rati
on o
f st
ill li
fe,
usin
g po
siti
onal
wor
ds t
o de
scri
be t
he a
rran
gem
ent.
(1
0 m
inut
es)
Co
nnec
tion
s
Ex
tens
ions
Sk
etch
con
tour
out
line
of s
till
life,
em
phas
izin
g pl
acem
ent.
D
iffe
rent
iati
on
(CRR
E) P
hysi
cally
exp
lore
obj
ects
in s
till
life
befo
re c
onfig
urat
ion
of s
till
life.
24
Grade 1 Lessons
25
Grade 2 Lessons
26
Grade 2 Lessons
27
G
RAD
E 2
CON
TEN
T IN
TEG
RATI
ON
TI
TLE
OF
LESS
ON
DA
NCE
/ELA
Le
t’s
Mak
e a
Sequ
ence
!
ES
SEN
TIA
L Q
UES
TIO
N
INTE
GRA
TED
STU
DEN
T O
BJEC
TIVE
Why
doe
s ou
r w
riti
ng n
eed
to b
e in
seq
uenc
e?
Stud
ents
will
be
able
to
use
the
conc
ept
of
Do
we
need
seq
uenc
e to
tel
l a s
tory
thr
ough
se
quen
ce in
bot
h w
ritt
en n
arra
tive
s an
d da
nce
mov
emen
t? H
ow is
seq
uenc
ing
used
and
app
lied
patt
erns
and
phr
ases
.
in
the
larg
er w
orld
?
D
escr
ipto
rs
DA
NCE
EL
A
Stan
dard
s 2.
1 Cr
eate
and
impr
ovis
e m
ovem
ent
patt
erns
and
seq
uenc
es.
2.1
(a)
Wri
te b
rief
nar
rati
ves
base
d on
the
ir e
xper
ienc
es;
mov
e
through a
logic
al sequence o
f events.
Student O
bjectiv
es
Students w
ill be a
ble
to c
reate a
movem
ent p
hrase in s
equence.
Students w
ill be a
ble
to d
escrib
e in w
rit
ten f
orm
their
mornin
g
events in logic
al sequence.
Assessm
ent
Were s
tudents a
ble
to c
reate a
sim
ple
sequentia
l m
ovem
ent p
hrase?
Were s
tudents a
ble
to w
rit
e a
bout t
heir
mornin
g a
ctiv
itie
s in a
logi
cal,
seq
uent
ial w
ay?
KEY
KNO
WLE
DGE
Prio
r Kn
owle
dge
Gen
eral
and
sel
f-sp
ace
Id
enti
fy s
eque
nce
and
logi
cal o
rder
.
B
egin
nin
g a
nd e
ndin
g
New
Con
cept
s S
ense
of
sequ
ence
Seq
uent
ial o
rder
in w
ritt
en f
orm
Com
bini
ng m
ovem
ents
New
Voc
abul
ary
Seq
uenc
e, m
ovem
ent
phra
se
F
irst
, th
en,
next
, fin
ally
, se
quen
ce
SK
ILLS
Pre
requ
isit
e Sk
ills
Exe
cute
bas
ic lo
com
otor
and
non
-loc
omot
or m
ovem
ents
. E
xecu
te c
lear
beg
inni
ng a
nd e
ndin
g sh
apes
.
W
rit
e c
om
ple
te s
entences.
N
ew S
kills
S
eque
nce
mov
emen
ts t
o cr
eate
a d
ance
phr
ase.
W
rite
abo
ut a
n ex
peri
ence
in s
eque
ntia
l ord
er.
Grade 2 Lessons
MAT
ERIA
LS/R
ESO
URC
ES
• lis
t of
loco
mot
or a
nd n
on-l
ocom
otor
wor
ds p
oste
d fo
r st
uden
t re
fere
nce
• pe
ncils
• pa
per
• m
usic
(su
gges
ted
mus
ic:
Eric
Cha
ppel
le;
“Mus
ic f
or C
reat
ive
Mov
emen
t,”
Vol.
I –
IV)
28
PH
ASE
LE
SSO
NSt
uden
t En
gage
men
t
(5-1
0 m
inut
es)
1.
Stud
ents
are
in a
n op
en s
pace
and
tea
cher
dem
onst
rate
s a
sim
ple
danc
e se
quen
ce.
•
Stre
tch
•
Jum
p
•
Sh
ake
•
Wal
k
•
Re
peat
dan
ce s
eque
nce
seve
ral t
imes
unt
il cl
ass
is c
omfo
rtab
le w
ith
mov
emen
t.
2.
Teac
her
expl
ains
tha
t th
e pr
evio
us m
ovem
ent
was
a s
eque
nce
of m
ovem
ents
. D
iscu
ss w
hat
they
not
iced
abo
ut t
he d
ance
sequ
ence
. Ex
ampl
e: W
hat
mov
emen
t w
as fi
rst?
The
n? N
ext?
Las
t?
Aest
heti
c Ex
plor
atio
n
(10
min
utes
) 3
. Cr
eate
a d
iscu
ssio
n on
oth
er e
vent
s th
at h
ave
a se
quen
ce.
(e.g
., m
akin
g a
pean
ut b
utte
r sa
ndw
ich.
bru
shin
g yo
ur t
eeth
.)
4.
Teac
her
will
intr
oduc
e th
e ev
ent
of w
akin
g up
in t
he m
orni
ng.
(Wha
t do
you
do
first
whe
n yo
u w
ake
up in
the
mor
ning
?)
5.
As a
cla
ss,
crea
te a
flow
map
wit
h fo
ur s
eque
nced
eve
nts
from
stu
dent
res
pons
es.
Focu
s on
firs
t, t
hen,
nex
t an
d la
st.
6.
Onc
e flow
map
is c
ompl
eted
, al
low
stu
dent
s to
exp
lore
the
flow
map
thr
ough
mov
emen
t.
(Show
me h
ow
you w
ould
get o
ut o
f b
ed in t
he m
ornin
g. W
hat d
o y
ou d
o w
hen y
ou b
rush y
our t
eeth?)
Cre
ativ
e Ex
pres
sion
7
. U
sing
the
“w
akin
g up
in t
he m
orni
ng”
flow
map
; st
uden
ts a
re g
iven
the
tas
k of
usi
ng n
on-l
ocom
otor
and
loco
mot
or m
ovem
ents
at
(3
0 m
inutes)
each s
equenced e
vent.
8.
(Fir
st,
I jum
p ou
t of
bed
. Th
en,
I sha
ke o
ut m
y “s
leep
ines
s,”
etc.
) Ex
plor
e ot
her
diff
eren
t ou
tcom
es a
s st
uden
ts p
lug
in
di
ffer
ent
mov
emen
t w
ords
to
the
flow
map
.
9
.
Students w
ill use t
heir
“w
akin
g u
p in t
he m
ornin
g” m
ovem
ent s
equence t
o w
rit
e t
heir
narrativ
e. S
tudents s
hould
have f
our
sent
ence
s in
seq
uenc
e. S
tude
nts
shou
ld u
se s
eque
nce
wor
ds t
o be
gin
thei
r se
nten
ces
(firs
t, t
hen,
nex
t, la
st).
10.
Stud
ents
will
pra
ctic
e th
eir
“wak
ing
up in
the
mor
ning
” m
ovem
ent
sequ
ence
aft
er w
riti
ng t
heir
nar
rati
ve.
11.
Stud
ents
will
find
a p
artn
er a
nd r
ead
thei
r “w
akin
g up
in t
he m
orni
ng”
sequ
ence
.
12
. St
uden
ts w
ill t
hen
perf
orm
the
ir “
wak
ing
up in
the
mor
ning
” m
ovem
ent
sequ
ence
.
Re
flec
tion
As
a w
hole
gro
up,
ask
som
e re
flec
ting
que
stio
ns:
(1
0 m
inutes)
Were y
ou a
ble
to s
ee t
he s
equence o
f e
vents t
hrough m
ovem
ent?
What d
id y
ou n
otic
e w
hen y
ou w
ere w
rit
ing d
ow
n y
our “
wakin
g u
p in t
he m
ornin
g” s
equence? W
as it e
asy o
r h
ard t
o a
dd
movem
ent t
o y
our s
equence? W
hy?
Co
nnec
tion
s
Exte
nsio
ns
Dan
ce o
ut o
f se
quen
ce!
Hav
e st
uden
ts c
hang
e th
e se
quen
ce o
f ev
ents
.
Dif
fere
ntia
tion
Re
view
and
mod
el lo
com
otor
and
non
-loc
omot
or m
ovem
ents
. Pr
ovid
e vi
sual
s of
the
mov
emen
ts a
s w
ell a
s w
ord
card
s.
Grade 2 Lessons
29
Grade 2 Lessons
G
RAD
E 2
CON
TEN
T IN
TEG
RATI
ON
TI
TLE
OF
LESS
ON
MU
SIC/
SCIE
NCE
D
escr
ibin
g Pi
tch
Thro
ugh
Mov
emen
t an
d Co
mpa
riso
n
ES
SEN
TIA
L Q
UES
TIO
N
INTE
GRA
TED
STU
DEN
T O
BJEC
TIVE
How
do
we
desc
ribe
sou
nd?
The
stud
ent
will
be
able
to
dem
onst
rate
and
de
scri
be t
he r
elat
ions
hip
betw
een
pitc
h an
d si
ze.
D
escr
ipto
rs
MU
SIC
SCIE
NCE
St
anda
rds
4.2
Crea
te d
evel
opm
enta
lly a
ppro
pria
te m
ovem
ents
to
expr
ess
1.G
Stu
dent
s kn
ow s
ound
is m
ade
from
vib
rati
ng o
bjec
ts a
nd c
an
pitc
h, t
empo
, fo
rm,
and
dyna
mic
s in
mus
ic.
be d
escr
ibed
by
pitc
h an
d vo
lum
e.
Stu
dent
Obj
ecti
ves
The
stud
ent
will
be
able
sho
w p
itch
thr
ough
mov
emen
t.
The
stud
ent
will
be
able
to
dem
onst
rate
and
des
crib
e th
e
rela
tio
nship
betw
een p
itch a
nd s
ize.
As
sess
men
t
Stud
ents
use
mov
emen
t to
sho
w h
igh
and
low
. Th
e st
uden
t w
ill b
e ab
le t
o ph
ysic
ally
sho
w t
he r
elat
ions
hip
betw
een p
itch a
nd length.
KEY
KNO
WLE
DGE
Prio
r Kn
owle
dge
Reco
gniz
e lo
ud a
nd s
oft,
hig
h an
d lo
w.
Soun
d is
cau
sed
by v
ibra
tion
.
Sound is d
escrib
ed b
y v
olu
me.
N
ew C
once
pts
Stud
ents
can
des
crib
e pi
tch
wit
h m
ovem
ent.
Pi
tch
is t
he w
ay t
o de
scri
be t
he h
ighn
ess
and
low
ness
of
a so
und.
N
ew V
ocab
ular
y Pi
tch:
the
way
to
desc
ribe
the
hig
hnes
s an
d lo
wne
ss o
f a
soun
d.
Leng
th
H
igh
Pitc
h: t
he w
ay t
o de
scri
be t
he h
ighn
ess
and
low
ness
of
a so
und.
Low
SK
ILLS
Prerequis
ite S
kills
Students h
ave
sung
hig
h an
d lo
w n
otes
. Ex
peri
ence
com
parin
g lengths o
f o
bjects.
Stud
ents
hav
e ex
peri
ence
cha
ngin
g vo
lum
e w
ith
inst
rum
ents
and v
oic
e.
N
ew S
kills
Sh
ow h
igh
and
low
wit
h m
ovem
ent.
To
pre
dict
the
hig
hnes
s an
d lo
wne
ss o
f so
und
MAT
ERIA
LS/R
ESO
URC
ES
Re
sona
tor
bells
, bo
omw
hack
ers
and
soun
d sh
apes
Ba
lanc
e an
d m
otio
n FO
SS K
it
OR
4 se
ts o
f 5
PVC
pipe
s cu
t in
des
cend
ing
leng
ths
(5.5
, 5,
4.5
, 4,
3.5
inch
es)
and
1 do
wel
30
PH
ASE
LE
SSO
N
War
m-u
p 1
. Si
ng “
Hel
lo,
ever
yone
” us
ing
hand
sig
nals
to
show
hig
h an
d lo
w,
stud
ents
sin
g, “
Hel
lo,
Ms.
(M
r.)
____
____
_”
(5 m
inut
es)
Sing
“H
ow a
re y
ou t
oday
?” S
tude
nts
sing
“Ve
ry w
ell,
tha
nk y
ou.”
Plea
se P
orri
dge
2.
Gui
de s
tude
nts
to s
ing
the
song
and
use
han
ds t
o sh
ow t
he h
igh
and
low
sou
nds.
3.
Sing
“Ca
n yo
u si
ng a
hig
h no
te?”
in a
hig
h vo
ice.
Stu
dent
s re
peat
.
Si
ng “
Can
you
sing
a lo
w n
ote?
” in
a lo
w v
oice
. St
uden
ts r
epea
t.
New
Con
cept
4
. As
k th
e es
sent
ial q
uest
ion:
How
do
we
desc
ribe
sou
nd?
(1
5 m
inut
es)
5.
Revi
ew w
hat
we
alre
ady
know
abo
ut s
ound
. El
icit
pri
or k
now
ledg
e fr
om t
he c
hild
ren
that
sou
nd c
an b
e de
scri
bed
by v
olum
e
(lo
ud a
nd s
oft).
6.
“How
els
e ca
n w
e de
scri
be s
ound
?” V
ario
us a
nsw
ers
incl
ude
high
and
low
.
7
. “W
e ca
n de
scri
be s
ound
by
its
volu
me
and
pitc
h.”
Defi
ne t
he t
erm
s vo
lum
e (l
oud
and
soft
) an
d pi
tch
(the
hig
hnes
s an
d
low
ness o
f a
sound).
8.
Put
out
high
and
low
res
onat
or b
ells
. Pl
ay e
ach
once
. As
k th
e qu
esti
on,
“Do
they
sou
nd t
he s
ame?
” Ad
d a
mid
dle
bell.
9
. “W
hy d
o th
ey s
ound
dif
fere
nt?
This
is w
hat
we
are
goin
g to
exp
lore
tod
ay.
Why
do
diff
eren
t ob
ject
s pr
oduc
e di
ffer
ent
pitc
hes?
” R
evie
w/A
pplic
atio
n 10
. In
vite
the
stu
dent
s to
tes
t th
e so
unds
pro
duce
d by
tub
es o
f di
ffer
ent
leng
ths
in g
roup
s of
five
chi
ldre
n. R
emin
d th
e ch
ildre
n of
(1
5 m
inut
es)
the
ques
tion
, “W
hy d
o di
ffer
ent
obje
cts
prod
uce
diff
eren
t pi
tche
s?”
11.
Tell
the
grou
ps t
o pr
epar
e sh
ort
oral
pre
sent
atio
ns e
xpla
inin
g w
hat
they
hav
e di
scov
ered
.
12
. U
se t
he r
eson
ator
bel
ls t
o un
ders
core
the
stu
dent
s’ d
isco
very
tha
t pi
tch
is r
elat
ed t
o le
ngth
. (S
how
the
dif
fere
nce
in le
ngth
betw
een t
he b
ells a
nd p
lay t
hem
again
to f
urther r
ein
force t
he c
oncept.)
As
sess
men
t 13
. G
uide
the
chi
ldre
n to
use
the
tub
es t
o pl
ay p
atte
rns
of lo
w,
med
ium
and
hig
h (3
tub
es).
(As
k on
e st
uden
t to
pla
y. A
sk t
he o
ther
(1
5 m
inut
es)
four
to
resp
ond,
sho
win
g th
e hi
ghne
ss a
nd lo
wne
ss w
ith
thei
r bo
dies
.)
14
. Br
ing
out
five
boom
wha
cker
s. A
sk fi
ve c
hild
ren
to a
rran
ge t
hem
selv
es a
ccor
ding
to
pitc
h, h
igh
to lo
w.
Ask
five
new
chi
ldre
n to
arrange t
hem
selv
es f
rom
low
to h
igh.
15. Repeat t
his
activ
ity w
ith s
ound s
hapes.
16.
“Let
’s t
ake
the
high
est
and
low
est
boom
wha
cker
s an
d pl
ay a
gam
e.”
a. A
sk t
wo s
tudents t
o e
ach t
ake a
boom
whacker.
b. C
ondu
ct o
r as
k a
stud
ent
lead
er t
o co
nduc
t by
poi
ntin
g to
one
of
the
two
stud
ents
to
tell
him
/her
whe
n to
pla
y.
c.
Inst
ruct
the
res
t of
the
cla
ss t
o ph
ysic
ally
mat
ch t
he p
itch
of
the
soun
d as
the
boo
mw
hack
ers
are
play
ed (
mov
ing
hand
s
or b
odie
s h
igh o
r low
).
17.
Repe
at,
obse
rvin
g st
uden
ts f
or c
ompr
ehen
sion
. Th
en g
uide
the
stu
dent
s to
rep
eat
the
acti
vity
, th
is t
ime
wit
h th
eir
eyes
clo
sed.
O
bserve t
o s
ee h
ow
well t
he s
tudents a
re a
ble
to m
atch t
heir
movem
ent t
o t
he h
ighness a
nd low
ness o
f the s
ound b
ein
g p
layed.
Cl
osin
g 1
. Re
view
the
ess
enti
al q
uest
ion:
How
do
we
desc
ribe
sou
nd?
How
do
we
desc
ribe
the
low
ness
and
hig
hnes
s of
a s
ound
?
(5 m
inut
es)
How
can
we
show
thi
s w
ith
our
bodi
es?
2.
Sing
“G
ood
bye,
boy
s an
d gi
rls.
” St
uden
ts s
ing
“Goo
dbye
, M
s. (
Mr.
) __
____
___.
”
Co
nnec
tion
s
Exte
nsio
ns
List
en t
o th
e Ca
rniv
al o
f th
e A
nim
als
and
mov
e to
sho
w h
igh
and
low
sou
nds
(don
key,
cuc
koo
bird
).
Dif
fere
ntia
tion
Grade 2 Lessons
31
SOUNDS CAN BE HIGH AND LOW We hear high sounds and low sounds. Which pictures show animals or things
that make high sounds? Which pictures show animals or things that make low sounds?
DAY Activities: 1 Point to each picture, asking students to make the sound each picture represents. 2 Point to each picture, asking students to say high or low for each. 3 Ask students to name other animals or things that make high sounds.
4 Ask students to name other animals or things that make low sounds.
5 Ask students to draw two pictures, one representing a high sound and one representing a low sound.
“I am looking to see who is showing me their best effort!”
Grade 2 Lessons
32
WE CAN SHOW HIGH AND LOW SOUNDSWe can make high and low sounds with our voices.
DAY Activities: 1 Point to picture 1, asking students to move their voices up and down as you point.
2 Point to picture 3, asking students to move their voices up and down as you point.
3 Draw a picture on the board, then ask students to follow with their voices as you point.
4 Ask students to draw a picture they can follow with their voices. Let them practice it.
“I am looking to see who is showing me their best effort!”
Grade 2 Lessons
33
WE CAN SHOW HIGH AND LOW SOUNDS We can show high and low sounds by showing pictures of things that
are normally high and low in space.
We can show high and low sounds by putting pictures higher and lower on a page.
DAY Activities: 1 Point to the star and fish pictures, asking students to make a high and then a
low sound.
2 Ask students to follow the other pictures and make high, medium and low sounds.
“I am looking to see who is showing me their best effort!”
DAY Activities: 1 Point to the star and fish pictures, asking students to make a high and then a
low sound.
2 Ask students to follow the other pictures and make high, medium and low sounds.
“I am looking to see who is showing me their best effort!”
Grade 2 Lessons
34
G
RAD
E 2
CON
TEN
T IN
TEG
RATI
ON
TI
TLE
OF
LESS
ON
THEA
TRE/
MAT
H
Prob
lem
-Sol
ving
in M
easu
rem
ent
and
Stor
ytel
ling
D
urat
ion:
60
min
utes
ESSE
NTI
AL
QU
ESTI
ON
IN
TEG
RATE
D S
TUD
ENT
OBJ
ECTI
VE
H
ow d
o ac
tors
and
mat
hem
atic
ians
find
dif
fere
nt
Stud
ents
will
use
pro
blem
-sol
ving
ski
lls in
way
s to
sol
ve p
robl
ems?
m
easu
rem
ent
and
stor
y de
velo
pmen
t.
D
escr
ipto
rs
THEA
TRE
MAT
H
Stan
dard
s 1.
2 U
se b
ody
and
voic
e to
impr
ovis
e al
tern
ativ
e en
ding
s to
sto
ries
. M
easu
rem
ent
and
Geo
met
ry
1.
1 M
easu
re t
he le
ngth
of
obje
cts
by it
erat
ing
(rep
eati
ng)
a
nonstandard o
r s
tandard u
nit
.
1.2
Use
dif
fere
nt u
nits
to
mea
sure
the
sam
e ob
ject
and
pre
dict
w
hether t
he m
easure w
ill be g
reater o
r s
maller w
hen a
dif
ferent u
nit
is u
sed.
Stu
dent
Obj
ecti
ves
Stud
ents
will
app
ly p
robl
em-s
olvi
ng s
kills
and
kno
wle
dge
of p
lot
Stud
ents
will
und
erst
and
the
broa
der
use
of a
sta
ndar
d ve
rsus
a
an
d co
nflic
t to
dev
ise
new
end
ings
to
stor
ies.
no
nsta
ndar
d un
it o
f m
easu
rem
ent
in p
robl
em-s
olvi
ng.
Assessm
ent
KEY
KNO
WLE
DGE
Prio
r Kn
owle
dge
Pant
omim
e, C
hara
cter
, Se
ttin
g, P
lot,
Coo
pera
tion
M
easu
rem
ent
N
ew C
once
pts
I can
use
wha
t I k
now
abo
ut t
he b
egin
ning
and
mid
dle
of a
sto
ry
I kno
w t
he d
iffe
renc
e be
twee
n st
anda
rd a
nd n
onst
anda
rd u
nits
.
to
mak
e an
end
ing.
I kno
w t
hat
it t
akes
mor
e sm
all u
nits
tha
n la
rge
unit
s to
cov
er t
he
sam
e d
istance.
N
ew V
ocab
ular
y Co
nflic
t, A
lter
nati
ve,
Conc
ept
U
nit,
Dis
tanc
e, S
tand
ard,
Non
stan
dard
, Es
tim
ate
SK
ILLS
Prer
equi
site
Ski
lls
Pant
omim
e, im
prov
isat
ion
M
easu
rem
ent
N
ew S
kills
I w
ork
wit
h m
y cl
assm
ates
to
com
e up
wit
h al
tern
ativ
e I m
easu
re d
ista
nce
wit
h st
anda
rd a
nd n
onst
anda
rd u
nits
. I p
redi
ct if
endin
gs t
o s
torie
s.
the q
uantit
y o
f unit
s r
equir
ed t
o c
over t
he d
istance w
ill be large o
r
smal
ler,
depe
ndin
g on
the
siz
e of
the
uni
t.
MAT
ERIA
LS/R
ESO
URC
ESH
ow B
ig Is
A F
oot?
by
Rolf
Myl
ler,
“Ro
yal”
mus
ic (
i.e.
, H
ande
l or
com
men
sura
te c
ompo
ser
from
oth
er c
onti
nent
s);
char
t pa
per,
mar
kers
, a
leng
th o
f re
d bu
tche
r pa
per
to m
ake
a “c
arpe
t” t
aped
to
the
floo
r, v
ario
us s
tand
ard
and
nons
tand
ard
unit
s of
mea
sure
men
t (e
.g.,
rul
ers,
yar
dsti
cks,
pap
er c
lip,
bana
na,
cucu
mbe
r, c
ane,
str
ing,
sho
es,
etc.
)
Grade 2 Lessons
35
Grade 2 Lessons
PH
ASE
LE
SSO
NG
athe
ring
/War
m-u
p 1
. St
uden
ts e
nter
to
“roy
al”
mus
ic,
whi
le p
anto
mim
ing
carr
ying
“pr
esen
ts”
for
the
quee
n. S
tude
nts
show
wei
ght,
siz
e, a
nd
(10
min
utes
)
sh
ape
of t
he p
rese
nt b
y th
e w
ay t
hey
carr
y it
.
2
. G
uide
d ac
tivi
ty-“
Mea
suri
ng t
he R
ed C
arpe
t” C
hoos
e a
part
ner
who
has
a n
otic
eabl
y di
ffer
ent
shoe
siz
e th
an y
ou.
Your
job
will
be t
o m
easu
re t
he r
ed c
arpe
t us
ing
your
fee
t, h
eel t
o to
e, c
ount
ing
how
man
y “f
eet”
for
eac
h of
you
. Re
cord
the
find
ings
on
ch
art
pape
r. A
t th
e en
d, s
ee if
stu
dent
s ca
n gu
ess
who
has
the
big
gest
fee
t an
d w
ho h
as t
he s
mal
lest
, ba
sed
on t
he d
ata.
(Stu
dent
s ca
n m
easu
re o
ther
dis
tanc
es a
roun
d th
e ro
om if
the
y fin
ish
earl
y.)
3.
Stud
ents
“es
tim
ate”
: H
ow m
any
pape
r cl
ips
wou
ld it
tak
e to
mea
sure
a t
able
? H
ow m
any
penc
ils?
How
man
y ca
nes,
etc
.
D
raw
con
clus
ions
. Th
e sm
alle
r th
e un
it o
f m
easu
re,
the
mor
e th
e nu
mbe
r.
Revie
win
g/
4. Students s
it in c
ircle
.
Pr
evie
win
g
Re
view
voc
abul
ary:
pan
tom
ime,
cha
ract
er,
sett
ing,
plo
t, m
easu
rem
ent
(1
0 m
inut
es)
New
voc
abul
ary:
Sho
w a
nd d
iscu
ss s
tand
ard
and
nons
tand
ard
unit
s of
mea
sure
men
t. S
tude
nts
can
sort
sta
ndar
d fr
om
nons
tand
ard.
Sel
ect
whi
ch c
an m
easu
re d
ista
nce.
Dis
cuss
plo
t in
ter
ms
of b
egin
ning
, m
iddl
e an
d en
d.
Is
the
re a
beg
inni
ng,
mid
dle
and
end
on a
rul
er?
How
are
mea
sure
men
t to
ols
like
acto
rs’
tool
s? D
iscu
ss c
onflic
t in
ter
ms
of a
prob
lem
tha
t ne
eds
to b
e so
lved
. D
iscu
ss a
lter
nati
ves
as c
hoic
es t
hat
can
be m
ade.
(Sav
e co
ncep
t fo
r re
flec
tion
and
dis
cuss
ion.
)
Ex
plor
ing
5.
Char
acte
r w
alk-
Stud
ents
wal
k as
cha
ract
ers
from
the
sto
ry:
jovi
al k
ing,
hap
py q
ueen
ant
icip
atin
g he
r bi
rthd
ay,
all t
he k
ingd
om
(5 m
inut
es)
slee
ping
on
the
floo
r be
caus
e th
ere’
s no
suc
h th
ing
as b
eds,
the
pri
me
min
iste
r, t
he c
hief
car
pent
er a
nd t
he a
ppre
ntic
e.
6.
Gro
up a
ssig
nmen
ts-C
ount
off
stu
dent
s by
thr
ee o
r fo
ur s
o th
at t
here
are
thr
ee o
r fo
ur g
roup
s. T
ell s
tude
nts
thes
e w
ill b
e th
eir
actin
g t
roupes t
hat w
ill m
ake u
p t
he e
ndin
g t
o t
he s
tory.
Vo
cabu
lary
7
. Re
ad s
tory
to
whe
re t
he a
ppre
ntic
e is
thr
own
into
jai
l for
mak
ing
the
bed
too
smal
l for
the
Que
en. T
he la
st q
uest
ion
shou
ld b
e, “
Why
(10
min
utes
)
w
as t
he b
ed t
oo s
mal
l for
the
Que
en?”
Cha
rt t
he c
hara
cter
s an
d cl
arify
the
pro
blem
.
Impr
ovis
ing/
Inve
ntin
g
If
grou
ps a
re s
mal
l, t
he m
ost
impo
rtan
t ch
arac
ters
are
the
kin
g, t
he q
ueen
, an
d th
e ap
pren
tice
. N
ote
the
size
of
the
char
acte
rs in
the
(Sto
ry)
stor
y. S
tude
nts
may
use
pro
p st
anda
rd a
nd n
onst
anda
rd u
nits
in t
heir
impr
ovis
atio
ns. T
heir
tas
k: t
he c
hara
cter
s m
ust
rete
ll th
e w
hole
stor
y en
ding
wit
h a
prop
er-s
ized
bed
for
the
Que
en. T
hey
mus
t al
so a
nsw
er t
he q
uest
ion:
“W
hy w
as t
he b
ed t
oo s
mal
l for
the
Que
en?”
Th
ey s
houl
d us
e th
e w
ord
“uni
ts”
in t
heir
sto
ry. T
hese
gui
delin
es a
re p
oste
d fo
r st
uden
ts t
o re
fer
to.
Pl
aym
akin
g 8
. G
roup
s re
hear
se.
Teac
her
circ
ulat
es t
o fa
cilit
ate.
(20
min
utes
) 9
. G
roup
s sh
are
thei
r st
orie
s w
ith
mad
e-up
end
ings
.
Refle
ctin
g/As
sess
ing
10.
Stud
ents
sit
in c
ircl
e fo
r re
flec
tion
. W
hat
can
stud
ents
say
abo
ut w
hat
will
hap
pen
in m
easu
rem
ent
depe
ndin
g on
the
siz
e of
(5 m
inutes)
the u
nit
? W
hic
h g
roups h
ad a
lternativ
e e
ndin
gs t
hat s
eem
ed r
eally p
lausib
le? S
hare r
eal endin
g o
f s
tory. W
hic
h u
nit
s o
f
measurem
ent a
re t
he m
ost u
seful in
certain
sit
uatio
ns?
Jour
nal p
rom
pt:
Stud
ents
mak
e up
pho
ne c
onve
rsat
ion
dial
og w
here
in a
buy
er is
cal
ling
a se
ller
in a
noth
er c
ount
ry t
o or
der
a su
pply
th
at c
an b
e m
easu
red
in d
ista
nce
(fab
ric,
rop
e, b
oard
s, fl
agpo
les)
. Th
e se
ller
mus
t be
abl
e to
und
erst
and
how
muc
h he
mus
t se
nd.
Co
nnec
tion
s
Exte
nsio
ns
D
iffe
rent
iati
on
36
G
RAD
E 2
CON
TEN
T IN
TEG
RATI
ON
TI
TLE
OF
LESS
ON
VISU
AL
ART
S/H
ISTO
RY-S
OCI
AL
SCIE
NCE
Co
lor
and
Pers
onal
ity:
How
We
‘See
’ H
isto
ry
ES
SEN
TIA
L Q
UES
TIO
N
INTE
GRA
TED
STU
DEN
T O
BJEC
TIVE
How
do
arti
sts
and
hist
oria
ns p
ortr
ay h
isto
ric
hero
es?
Stud
ents
will
und
erst
and
how
col
or c
hoic
es c
an
expr
ess
the
pers
onal
ity
of a
his
tori
c fig
ure.
D
escr
ipto
rs
VISU
AL
ART
S H
ISTO
RY-S
OCI
AL
SCIE
NCE
St
anda
rds
5.2
Sele
ct a
nd u
se e
xpre
ssiv
e co
lors
to
crea
te m
ood
and
show
2.
5 St
uden
ts u
nder
stan
d th
e im
port
ance
of
indi
vidu
al a
ctio
n.
personality w
ithin
a p
ortrait
of a
hero f
rom
long a
go o
r t
he
recent p
ast.
Stu
dent
Obj
ecti
ves
Stud
ent
will
use
col
or t
o sh
ow a
n in
divi
dual
’s p
erso
nalit
y.
Stud
ent
will
kno
w a
bout
the
impo
rtan
ce o
f hi
stor
ic p
erso
nalit
ies.
Assessm
ent
Were s
tudents a
ble
to p
ain
t a
portrait
usin
g c
olo
r a
s a
means t
o
Were s
tudents a
ble
to e
ffectiv
ely
describ
e t
he p
ersonality t
rait
s
expr
ess
the
pers
onal
ity
trai
ts o
f a
hist
oric
figu
re?
of a
his
tori
c fig
ure?
KEY
KNO
WLE
DGE
Prio
r Kn
owle
dge
Prim
ary
colo
rs,
seco
ndar
y co
lors
, po
rtra
it,
feel
ing
His
tory
of
hero
(as
), lo
ng a
go a
nd r
ecen
t
New
Con
cept
s Po
rtra
its
can
conv
ey im
port
ant
info
rmat
ion
abou
t th
e su
bjec
t.
Her
oes
are
peop
le w
ho m
ade
a di
ffer
ence
.
New
Voc
abul
ary
Moo
d, p
erso
nalit
y, c
olor
exp
ress
ioni
sm (
feel
ing)
, Lo
ng a
go,
rece
nt,
char
acte
r, p
erso
nalit
y, t
rait
s, b
iogr
aphy
war
m a
nd c
ool c
olor
s, p
ropo
rtio
n
SK
ILLS
Pre
requ
isit
e Sk
ills
Basi
c dr
awin
g sk
ills
D
isti
ngui
sh f
act
from
fict
ion
Basi
c pa
inti
ng t
echn
ique
s
Be a
ble
to e
xpla
in h
ow t
he p
rese
nt is
con
nect
ed t
o th
e pa
st.
N
ew S
kills
W
ater
colo
r re
sist
tec
hniq
ue,
faci
al p
ropo
rtio
ns,
addi
ng
Inte
rpre
ting
info
rmat
ion
pers
onal
ity
to a
por
trai
t th
roug
h lin
es,
shap
e an
d co
lor
MAT
ERIA
LS/R
ESO
URC
ESO
il pa
stel
s or
cra
yons
, sc
ratc
h pa
per,
wat
erco
lor
sets
, w
ater
colo
r br
ushe
s, c
onta
iner
s, w
ater
colo
r pa
per,
pen
cil,
fine
por
trai
ts o
f he
roes
(e
.g.,
Geo
rge
Was
hing
ton,
Sit
ting
Bul
l, C
esar
Cha
vez,
Mar
tin
Luth
er K
ing)
.
Grade 2 Lessons
37
Grade 2 Lessons
PH
ASE
LE
SSO
NSt
uden
t En
gage
men
t D
ay O
ne
(10
min
utes
) 1
. Te
ache
r le
ads
stud
ents
in a
dis
cuss
ion
of d
efini
ng t
he c
hara
cter
of
a he
ro.
Appl
y to
a s
ugge
sted
per
son.
View
var
ious
por
trai
ts
(f
rom
sev
eral
eth
nic
back
grou
nds)
of
hist
oric
per
sona
ges.
How
do
colo
r ch
oice
s co
nvey
moo
d, c
hara
cter
?
2
. Te
ache
r re
view
s pr
imar
y an
d se
cond
ary
colo
rs a
nd in
trod
uces
war
m a
nd c
ool c
olor
com
bina
tion
s.
3.
Teac
hers
ask
s, “
How
are
col
ors
used
to
expr
ess
wha
t th
e ar
tist
is t
ryin
g to
con
vey
in r
egar
d to
the
per
sona
lity
of t
he p
erso
n
bein
g d
epic
ted in t
he p
icture?”
4.
Teac
her
asks
: “T
hink
of
a he
ro in
you
r lif
e.”
Aest
heti
c Ex
plor
atio
n 5
. St
uden
ts p
air-
shar
e to
sel
ect
a he
ro in
the
ir li
fe (
mom
, da
d, g
rand
pare
nt)
and
list
the
qual
itie
s of
tha
t pe
rson
.
(10
min
utes
) 6
. In
divi
dual
ly t
hink
and
wri
te d
own
wha
t co
lors
you
wou
ld u
se t
o ex
pres
s th
eir
pers
onal
ity
and
why
.
7
. W
hole
gro
up s
hare
s fin
ding
s.
D
emon
stra
tion
8
. Te
ache
r de
mon
stra
tes
the
less
on.
(3
0 m
inut
es)
• H
ow t
o se
t up
des
k fo
r pa
inti
ng
• H
ow m
ater
ials
will
be
dist
ribu
ted
• H
ow t
o dr
aw a
por
trai
t, u
sing
the
cor
rect
pro
port
ions
• H
ow t
o m
ix p
aint
: se
cond
ary,
war
m,
cool
col
ors
• H
ow t
o us
e w
ax r
esis
t
•
How
to
appl
y th
e pa
int
to p
aper
sur
face
Re
flec
tion
9
. St
uden
ts a
re in
stru
cted
to
wri
te in
a j
ourn
al w
hich
his
tori
c fig
ure
they
cho
se a
nd w
hy.
Student E
ngag
emen
t D
ay T
wo
(1
0 m
inut
es)
Stud
ents
rea
d sh
ort
sele
ctio
n (i
ndep
ende
ntly
or
chor
ally
) ab
out
a te
ache
r-ch
osen
her
o.
1
. Cl
ass
part
icip
ates
in c
reat
ing
circ
le m
ap/l
ist
of a
djec
tive
s re
fere
nced
in t
he r
eadi
ng.
2.
Stud
ents
are
led
to in
fer
emot
iona
l cha
ract
eris
tics
of
the
hero
.
3
. Te
ache
r-le
d di
scus
sion
reg
ardi
ng:
colo
r/m
ood.
Dem
onst
rati
on —
4.
On
over
head
tea
cher
dem
onst
rate
s ho
w t
o dr
aw a
por
trai
t us
ing
faci
al p
ropo
rtio
ns
Cre
ativ
e Ex
pres
sion
1
. W
ith
teac
her
guid
ance
stu
dent
s us
e pe
ncil
and
pape
r to
dra
w t
he o
utlin
e of
the
his
tori
cal fi
gure
the
y ha
ve c
hose
n, u
sing
the
(2
0 -3
0 m
inut
es)
corr
ect
faci
al p
ropo
rtio
ns.
(Rem
embe
r, t
he p
ropo
rtio
ns w
ill n
ot b
e as
acc
urat
e du
e to
age
and
ski
ll le
vel o
f th
e st
uden
ts.)
2.
Stud
ents
cho
ose
colo
r(s)
to
conv
ey t
he p
erso
nalit
y of
the
his
tori
cal fi
gure
.
3. Students r
edraw
the f
ace u
sin
g c
rayon o
n w
atercolo
r p
aper.
D
emon
stra
tion
D
ay T
hree
(1
0 m
inut
es)
1.
Teac
her
dem
onst
rate
s ho
w t
o m
ix c
olor
s an
d ap
ply
pain
t.
Cre
ativ
e Ex
pres
sion
2
. St
uden
ts p
aint
por
trai
t.
(30-
40 m
inut
es)
38
Grade 2 Lessons
Re
flec
tion
W
hat
lear
ning
will
you
tak
e aw
ay f
rom
thi
s pr
ojec
t th
at y
ou c
an u
se in
fut
ure
assi
gnm
ents
?
Co
nnec
tion
s M
ath
prop
orti
ons
Ex
tens
ions
D
ispl
ay e
ach
step
of
the
stud
ents
’ w
ork
(the
pro
cess
) an
d ha
ve t
hem
col
labo
rati
vely
giv
e ea
ch s
tep
a ti
tle
and
expl
anat
ion.
In
clud
e re
adin
gs o
f ot
her
cult
ural
her
oes
thro
ugho
ut t
he u
nit.
D
iffe
rent
iati
on
(EL)
Rea
d Th
e M
ixed
Up
Cham
eleo
n by
Eri
c Ca
rle
Vo
cabu
lary
Co
ol c
olor
s: C
olor
s su
gges
ting
coo
lnes
s: b
lue,
gree
n, a
nd v
iole
t.
Po
rtra
it:
A tw
o or
thr
ee-d
imen
sion
al a
rtw
ork
crea
ted
in t
he im
age
of a
per
son.
Prop
orti
on:
The
rela
tion
ship
in s
ize
of o
ne p
art
to t
he w
hole
, an
d of
one
par
t to
the
oth
er.
War
m c
olor
s: C
olor
s su
gges
ting
war
mth
: re
d, y
ello
w,
and
oran
ge.
39
Grade 2 Lessons
How to Draw a Face
1. Lightly draw an oval in pencil.
2. Lightly draw a liine down the middle.
3. Lightly draw a line across the middle.
4. Mark halfway between the dividing line and the bottom.
5. Mark halfway between #4 and the bottom.
6. Draw ears from the eyebrows to the bottom of the nose.
Hairline is approximately halfway between top of head and eyebrows.
Eyes have approximately one eye-width between them. Top edge of
eyes
Bottom edge of nose
Center of mouth
Neck starts behind ears.
Add details.
40
Grade 2 Lessons
41
Grade 3 Lessons
42
Grade 3 Lessons
43
Grade 3 Lessons
G
RAD
E 3
CON
TEN
T IN
TEG
RATI
ON
TI
TLE
OF
LESS
ON
DA
NCE
/MAT
H
FRO
M F
RACT
ION
S TO
RH
YTH
M
ESSE
NTI
AL
QU
ESTI
ON
IN
TEG
RATE
D S
TUD
ENT
OBJ
ECTI
VE
Why
is t
he c
once
pt o
f fr
acti
onal
equ
ival
ency
St
uden
ts w
ill d
emon
stra
te a
n un
ders
tand
ing
of
im
port
ant
to b
oth
danc
ers
and
mat
hem
atic
ians
? fr
acti
onal
equ
ival
ency
by
crea
ting
rhy
thm
ic
m
ovem
ent
phra
ses
and
nota
ting
tho
se p
hras
es
w
ith
mat
hem
atic
al e
quat
ions
.
D
escr
ipto
rs
DA
NCE
M
ATH
St
anda
rds
1.4
Expa
nd t
he a
bilit
y to
inco
rpor
ate
spat
ial a
nd t
ime
conc
epts
M
ath
Reas
onin
g 3.
1 Co
mpa
re f
ract
ions
rep
rese
nted
by
draw
ings
in
movem
ent p
roble
ms.
or c
oncrete m
ateria
ls t
o s
how
equiv
ale
ncy a
nd t
o a
dd a
nd
2.8
Crea
te,
mem
oriz
e, a
nd p
erfo
rm o
rigi
nal m
ovem
ent
sequ
ence
s
subt
ract
sim
ple
frac
tion
s in
con
text
.
w
ith a
partner o
r a
sm
all g
roup.
Stu
dent
Obj
ecti
ves
Wit
h a
part
ner,
stud
ents
will
cre
ate,
mem
oriz
e an
d pe
rfor
m s
hort
St
uden
ts w
ill b
e ab
le t
o w
rite
sim
ple
mat
hem
atic
al e
quat
ions
tha
t
ph
rase
s of
rhy
thm
ic m
ovem
ent.
sh
ow e
quiv
alen
cy,
and
add
sim
ple
frac
tion
s w
ithi
n th
e co
ntex
t of
those e
quatio
ns.
As
sess
men
t
Did
stu
dent
s su
cces
sful
ly c
reat
e, m
emor
ize
and
perf
orm
a s
hort
W
ere
stud
ents
abl
e to
suc
cess
fully
wri
te t
wo
mat
hem
atic
al
phrase o
f rhythm
ic m
ovem
ent?
equatio
ns u
sin
g e
quiv
ale
nt f
ractio
ns t
o r
epresent t
heir
rhythm
ic
pattern?
KEY
KNO
WLE
DGE
Prio
r Kn
owle
dge
•
Gen
eral
and
Sel
f-Sp
ace
•
Fra
ctio
ns a
s pa
rts
of a
who
le
•
Rh
ythm
ic P
erce
ptio
n
•
D
ance
Str
uctu
re:
Begi
nnin
g, M
iddl
e, E
nd
N
ew C
once
pts
•
Dur
atio
n an
d N
ote
Valu
e
• F
ract
iona
l Equ
ival
ency
•
Rhyt
hm
New
Voc
abul
ary
•
Dur
atio
n, N
ote
Valu
e, R
hyth
m
• E
quiv
alen
t Fr
acti
ons,
Equ
ival
ency
44
SK
ILLS
Prer
equi
site
Ski
lls
• Ab
le t
o co
unt,
mov
e an
d fr
eeze
to
a st
eady
bea
t •
Reco
gniz
e, n
ame
and
com
pare
uni
t fr
acti
ons
from
1/1
2 to
½
•
Able
to
mov
e at
dif
fere
nt t
empo
s •
Reco
gniz
e fr
acti
ons
of a
who
le a
nd p
arts
of
a gr
oup
• Ab
le t
o ex
ecut
e ba
sic
loco
mot
or a
nd n
on-l
ocom
otor
mov
emen
ts
• U
nder
stan
d th
at w
hen
all f
ract
iona
l par
ts a
re in
clud
ed,
the
resu
lt
•
Able
to
perf
orm
a d
ance
seq
uenc
e w
ith
a cl
ear
begi
nnin
g an
d a
is
equ
al t
o th
e w
hole
and
to
one
cle
ar e
ndin
g
New
Ski
lls
• Ab
le t
o ex
ecut
e m
ovem
ents
of
diff
eren
t du
rati
ons
wit
hin
a
• Co
mpa
re f
ract
ions
rep
rese
nted
by
conc
rete
mat
eria
ls o
r
dance s
equence
draw
ings t
o s
how
equiv
ale
ncy
• Ab
ility
to
crea
te a
nd m
ove
to a
rhy
thm
ic p
atte
rn
• Ad
d si
mpl
e eq
uiva
lent
fra
ctio
ns
•
Able
to
crea
te,
mem
oriz
e an
d pe
rfor
m a
n or
igin
al m
ovem
ent
sequence
M
ATER
IALS
/RES
OU
RCES
•
Pie
char
t •
Dru
m o
r ot
her
perc
ussi
ve in
stru
men
ts
•
N
ote
valu
e ch
art
• C
lean
, cl
ear
spac
e
•
Rh
ythm
car
ds
PH
ASE
LE
SSO
N St
uden
t En
gage
men
t 1
. In
trod
uce
conc
ept
of f
ract
iona
l equ
ival
ency
usi
ng a
sim
ple
pie
char
t or
oth
er c
oncr
ete
mat
eria
ls.
(5
-10
min
utes
) 2
. Pr
acti
ce c
ompa
ring
fra
ctio
ns t
o sh
ow e
quiv
alen
cy.
3.
Dis
cuss
how
mus
icia
ns a
nd d
ance
rs u
se t
he c
once
pt o
f eq
uiva
lenc
y. B
riefl
y in
trod
uce
the
conc
ept
of d
urat
ion
(how
long
so
met
hing
tak
es o
r la
sts)
and
mus
ical
not
e va
lue.
Foc
us o
n w
hole
not
e (“
wor
th”
four
bea
ts o
r co
unts
), h
alf
note
(“w
orth
” tw
o
co
unts
), a
nd a
qua
rter
not
e (“
wor
th”
one
coun
t).
Com
pare
not
e va
lues
as
frac
tion
s an
d eq
uiva
lent
fra
ctio
ns.
4.
Intr
oduc
e rh
ythm
car
ds. A
set
of
rhyt
hm c
ards
con
sist
s of
: O
ne 8
x11
inch
she
et o
f co
lore
d pa
per
repr
esen
ting
a w
hole
not
e, o
r
four
cou
nts;
tw
o ha
lf-s
heet
s of
a d
iffe
rent
col
or w
orth
tw
o be
ats
each
; an
d fo
ur q
uart
er-s
heet
s of
yet
ano
ther
col
or w
orth
one
coun
t ea
ch.
Use
the
car
ds t
o sh
ow e
quiv
alen
cy.
5.
Take
one
who
le s
heet
, on
e ha
lf-s
heet
, an
d tw
o qu
arte
r-sh
eets
and
lay
them
in a
ny o
rder
on
the
floo
r. A
sk t
he s
tude
nts
to
de
term
ine
the
valu
e of
the
se f
our
shee
ts (
4 co
unts
, 2
coun
ts,
1 co
unt,
1 c
ount
= 8
cou
nts)
.
6
. Fo
cus
on a
gro
upin
g of
eig
ht b
eats
tot
al.
Look
at
each
indi
vidu
al r
hyth
m c
ards
as
a fr
acti
on o
f ei
ght
(the
who
le).
Wri
te
m
athem
atic
al sentences u
sin
g e
quiv
ale
nt f
ractio
ns t
o r
epresent t
he v
alu
e o
f t
he c
ards.
7.
Intr
oduc
e th
e co
ncep
t of
rhy
thm
usi
ng t
he c
ards
. U
sing
the
car
d se
quen
ce o
utlin
ed in
#5
or a
new
seq
uenc
e of
the
sam
e ca
rds,
ask
th
e st
uden
ts t
o sa
y th
e co
lors
of
the
card
s (m
ake
it a
rhy
thm
ic c
hant
), c
ount
out
the
car
d va
lue
(e.g
., 1
-2-3
-4,1
,1-2
,1),
cla
p th
e
rh
ythm
of
the
card
s, c
lapp
ing
only
onc
e fo
r ea
ch c
ard,
and
hol
ding
it o
ut f
or it
s fu
ll va
lue.
Var
y th
e or
der
of t
he c
ards
, or
rhy
thm
patt
ern,
and
rep
eat
the
colo
r, co
unt,
and
cla
p se
quen
ce.
Aest
heti
c Ex
plor
atio
n 8
. Ex
plor
e th
e fo
llow
ing
mov
emen
ts:
stre
tch,
tur
n an
d ju
mp.
Use
con
cept
s of
bod
y, s
pace
, ti
me
and
ener
gy t
o va
ry t
he m
ovem
ents
.
(10
min
utes
)
Fo
r ex
ampl
e, s
tret
ch o
n a
low
leve
l and
the
n on
a h
igh
leve
l; tu
rn s
low
ly,
chan
ging
leve
ls;
jum
p, c
hang
ing
dire
ctio
ns.
9.
Add
the
mov
emen
ts t
o th
e rh
ythm
pat
tern
s. T
he s
tret
ch w
ill c
orre
spon
d to
the
fou
r-co
unt
card
; th
e tu
rn t
o th
e tw
o-co
unt
card
; an
d
the
jum
p to
the
one
-cou
nt c
ard.
Pla
y w
ith
the
mov
emen
t in
diff
eren
t rh
ythm
seq
uenc
es.
Mak
e su
re t
he s
tret
ch is
alw
ays
a fo
ur-c
ount
m
ovem
ent;
the
tur
n a
two-
coun
t m
ovem
ent;
and
the
jum
ps o
ne-c
ount
eac
h. (
If th
e st
uden
ts a
re r
eady
to
do s
o, h
ave
them
cou
nt
th
e se
quen
ces
as e
ight
-cou
nt p
hras
es.)
Grade 3 Lessons
45
Crea
tive
Exp
ress
ion
10.
Ask
stud
ents
to
find
a pa
rtne
r. G
ive
each
gro
up t
heir
ow
n se
t of
car
ds a
s de
scri
bed
in #
5, a
nd a
sk t
hem
to
crea
te t
heir
ow
n
(30
min
utes
)
ei
ght-
coun
t ph
rase
.
11
. H
ave
them
wri
te t
wo
mat
hem
atic
al e
xpre
ssio
ns f
or t
heir
cho
sen
rhyt
hmic
phr
ase,
usi
ng e
quiv
alen
t fr
acti
ons.
12
. As
k st
uden
ts t
o re
peat
the
ir r
hyth
m s
eque
nce
twic
e us
ing
diff
eren
t st
retc
hes,
tur
ns a
nd j
umps
in t
he t
wo
sequ
ence
s. J
oin
the
tw
o se
quen
ces
toge
ther
to
crea
te a
rhy
thm
ic p
hras
e. M
ake
sure
the
beg
inni
ng a
nd e
ndin
g of
the
phr
ase
are
clea
r.
13. Perform
for e
ach o
ther.
Re
flec
tion
14
. D
iscu
ss w
hy it
is s
o im
port
ant
for
danc
ers,
cho
reog
raph
ers
and
mat
hem
atic
ians
alik
e to
und
erst
and
the
conc
ept
of f
ract
iona
l
(10
min
utes
)
eq
uiva
lenc
y.
Co
nnec
tion
s •
Ta
p D
ance
•
Wor
ld D
ance
(G
umbo
ot,
Rive
rdan
ce)
Ex
tens
ions
•
Cr
eate
16-
coun
t rh
ythm
ic p
hras
es u
sing
rhy
thm
car
ds.
•
Wri
te m
athe
mat
ical
equ
atio
ns w
ith
frac
tion
al e
quiv
alen
ts w
hose
sum
is a
lway
s 8/
8. C
onve
rt t
hese
equ
atio
ns in
to a
rhy
thm
.
•
Ad
d ei
ghth
not
es t
o th
e rh
ythm
car
d se
t.
Dif
fere
ntia
tion
•
Se
t th
e rh
ythm
pat
tern
as
a cl
ass.
Use
thi
s st
ruct
ure
to im
prov
ise
vari
atio
ns o
f th
e st
retc
h, t
urn
and
jum
p. Im
prov
ise
as a
group. P
erform
for e
ach o
ther w
ithin
the im
provis
ed s
tructure.
Grade 3 Lessons
46
G
RAD
E 3
CON
TEN
T IN
TEG
RATI
ON
TI
TLE
OF
LESS
ON
MU
SIC/
SCIE
NCE
W
hat
Doe
s It
Sou
nd L
ike
and
Why
?
Expl
orin
g M
usic
al In
stru
men
ts
ESSE
NTI
AL
QU
ESTI
ON
IN
TEG
RATE
D S
TUD
ENT
OBJ
ECTI
VE
How
do
the
attr
ibut
es o
f an
inst
rum
ent
Stud
ents
will
be
able
to
desc
ribe
and
dem
onst
rate
affe
ct t
he s
ound
? ho
w s
ound
is p
rodu
ced
on v
ario
us in
stru
men
ts.
D
escr
ipto
rs
MU
SIC
SCIE
NCE
St
anda
rds
1.5
Des
crib
e th
e w
ay s
ound
is p
rodu
ced
on v
ario
us in
stru
men
ts.
5.e
Colle
ct d
ata
in a
n in
vest
igat
ion
and
anal
yze
thos
e da
ta t
o
develo
p a
logic
al conclu
sio
n.
Stu
dent
Obj
ecti
ves
The
stu
dent
will
be
able
to
desc
ribe
and
dem
onst
rate
how
sou
nd
Stu
dent
s w
ill b
e ab
le t
o in
vest
igat
e m
usic
al in
stru
men
ts t
o
is
pro
duce
d on
var
ious
inst
rum
ents
. c
olle
ct d
ata
and
use
the
data
to
expl
ain
how
the
att
ribu
tes
of
t
he instrum
ents a
ffect t
heir
sound.
As
sess
men
t
The
stu
dent
s w
ill p
lay
and
desc
ribe
the
sou
nd o
f di
ffer
ent
T
he s
tude
nts
will
col
lect
dat
a co
mpa
ring
att
ribu
tes
of d
iffe
rent
instrum
ents.
instrum
ents a
nd c
hart t
heir
result
s.
KEY
KNO
WLE
DGE
Prio
r K
now
ledge
Pit
ch
S
tudents k
now
energy c
an b
e c
arrie
d f
rom
one p
lace t
o a
nother
Volu
me
b
y s
ound w
aves.
Students k
now
that m
any f
orces in p
hysic
al scie
nces a
re invis
ible
.
N
ew C
once
pts
The
re is
a r
elat
ions
hip
betw
een
mat
eria
l and
qua
lity
of s
ound
S
tude
nts
can
iden
tify
the
att
ribu
tes
(mat
eria
l, s
ize,
met
hod
of
(d
urat
ion,
vol
ume,
pit
ch).
sou
nd p
rodu
ctio
n) o
f a
mus
ical
inst
rum
ent
and
rela
te it
to
the
q
ualit
y of
sou
nd (
deca
y, v
olum
e, p
itch
).
New
Voc
abul
ary
Dur
atio
n, s
trik
ing,
sha
king
, hi
ttin
g, s
crap
ing
Dec
ay,
pitc
h, v
olum
e, le
ngth
, da
ta,
attr
ibut
e
SK
ILLS
Pre
requ
isit
e Sk
ills
Exp
erie
nce
play
ing
sim
ple
perc
ussi
on in
stru
men
ts.
Com
pari
ng a
nd c
hart
ing
com
pari
son
Students h
ave s
ung “
John K
anaka.”
N
ew
Skills
P
redic
t q
uality o
f s
ound b
ased o
n t
he w
ay t
he instrum
ent looks
Apply
data t
o a
logic
al conclu
sio
n t
hat t
hey c
an d
em
onstrate.
and is p
layed.
MAT
ERIA
LS/R
ESO
URC
ES M
akin
g M
usic
Gra
de 3
, “J
ohn
Kana
ka”
CD 2
-37,
ass
orte
d pe
rcus
sion
inst
rum
ents
, ti
mer
, m
easu
ring
tap
e
Grade 3 Lessons
47
PH
ASE
LE
SSO
N
War
m-u
p 1
. G
uide
stu
dent
s to
cho
ose
a pe
rcus
sion
inst
rum
ent
to p
lay
and
to s
it in
a c
ircl
e.
(10
min
utes
) 2
. Te
ache
r (o
r st
uden
t le
ader
) pl
ays
a si
mpl
e rh
ythm
pat
tern
. G
uide
cla
ss t
o re
peat
the
pat
tern
on
thei
r in
stru
men
ts.
3. G
uid
e s
tudents t
o t
ake t
urns p
layin
g indiv
idually a
nd t
o f
ocus o
n lis
tenin
g t
o h
ear t
he d
ifferent instrum
ent s
ounds.
N
ew C
once
pt
4.
Cont
inue
to
guid
e st
uden
ts w
ith
indi
vidu
al p
layi
ng u
ntil
you
see
that
the
stu
dent
s sh
ow a
war
enes
s of
the
dif
fere
nt s
ound
s.
(15
min
utes
) 5
. D
iscu
ss t
he s
ound
qua
lity
of e
ach
inst
rum
ent
(vol
ume,
pit
ch,
and
deca
y –
how
long
it la
sts)
, ho
w it
is c
reat
ed (
by s
trik
ing,
shak
ing,
hit
ting
, sc
rape
rs),
and
beg
in t
o co
mpa
re t
hrou
gh d
iscu
ssio
n.
6
. As
k th
e ch
ildre
n to
sor
t th
emse
lves
into
gro
ups
base
d on
inst
rum
ents
tha
t ha
ve s
imila
r at
trib
utes
. (T
hey
mig
ht s
ort
into
grou
ps b
y m
ater
ials
: m
etal
s, w
oods
, sk
ins;
by
the
way
sou
nd is
pro
duce
d: s
haki
ng,
stri
king
, sc
rapi
ng;
or s
ize
of in
stru
men
ts.)
7. Ask t
he g
roups t
o d
iscuss w
hy t
heir
instrum
ents a
re s
imilar.
8. G
uid
e t
he w
hole
cla
ss t
o c
ollaborativ
ely
chart t
he r
esult
s o
f t
heir
dis
cussio
ns.
9.
Ask
the
child
ren
to s
ort
them
selv
es in
a d
iffe
rent
man
ner
to fi
nd o
ther
qua
litie
s th
eir
inst
rum
ents
mig
ht h
ave
in c
omm
on.
10.
Add
thes
e ne
w r
esul
ts t
o th
e co
llabo
rati
ve c
hart
.Revie
w/Applicatio
n
11.
Arrange t
he s
tudents in s
mall g
roups a
nd d
istrib
ute a
few
instrum
ents t
o e
ach g
roup a
rbit
rarily.
Ask t
he s
tudents t
o c
om
pare t
he
(15
min
utes
)
in
stru
men
ts in
a v
arie
ty o
f w
ays.
How
the
y co
mpa
re m
ay b
e le
ft u
p to
stu
dent
s. G
ive
each
gro
up a
tim
er a
nd a
mea
suri
ng t
ape.
Tell
them
tha
t th
ey c
an c
hoos
e to
use
the
se t
ools
to
mea
sure
dec
ay,
note
mat
eria
l, s
ize,
and
the
man
ner
in w
hich
sou
nd is
pro
duce
d.
12.
Afte
r ei
ght
min
utes
hav
e th
e ch
ildre
n sh
are
thei
r st
rate
gies
and
the
n co
ntin
ue w
orki
ng t
o ex
pand
the
ir e
xplo
rati
on.
Assessm
ent
13. G
ive t
he g
roups a
n o
pportunit
y t
o c
hart a
nd s
hare t
heir
result
s.
(1
0 m
inut
es)
14.
Ask
the
ques
tion
, “W
hich
of
thes
e di
ffer
ence
s (t
hing
s do
ne d
iffe
rent
ly t
o pl
ay t
he in
stru
men
t) r
esul
ted
in d
iffe
rent
sou
nds?
”
15. G
uid
e t
he s
tudents t
o f
orm
groups a
gain
and c
hoose a
nother w
ay t
o d
em
onstrate d
iffe
rent w
ays s
how
ing t
he d
iffe
rent q
ualitie
s.
Ask t
he s
tudents t
o d
em
onstrate t
he d
iffe
rences t
hey m
ade (
thin
gs t
hey d
id d
iffe
rently
to p
roduce d
iffe
rent s
ounds)
while u
sin
g
the instrum
ents.
16. G
uid
e t
he s
tudents t
o t
ake t
urns c
onductin
g b
y p
oin
tin
g t
o t
he d
ifferent g
roups t
o s
how
them
when t
o p
lay.
Cl
osin
g 17
. Ac
com
pany
the
son
g, “
John
Kan
aka,
” as
king
the
dif
fere
nt in
stru
men
t gr
oups
to
play
at
diff
eren
t ti
mes
.
(5 m
inut
es)
18.
Gui
de t
he c
lass
to
deci
de w
hat
grou
p of
inst
rum
ents
will
pla
y on
whi
ch p
hras
e. T
he g
ame
rule
is t
hat
two
inst
rum
ent
grou
ps
w
ill pla
y instrum
ents w
hile t
he r
em
ain
ing s
tudents s
ing. R
otate g
roups.
Conn
ecti
ons
Exte
nsio
ns
Dif
fere
ntia
tion
Grade 3 Lessons
48
Grade 3 Lessons
G
RAD
E 3
CON
TEN
T IN
TEG
RATI
ON
TI
TLE
OF
LESS
ON
THEA
TRE/
LAN
GU
AG
E A
RTS
Dis
cove
ring
the
5 W
’s w
ith
Nob
iah’
s W
ell
D
urat
ion:
50
min
utes
ESSE
NTI
AL
QU
ESTI
ON
IN
TEG
RATE
D S
TUD
ENT
OBJ
ECTI
VE
H
ow d
oes
a ch
arac
ter’
s m
otiv
atio
n de
term
ine
Th
e le
arne
r w
ill in
fer
and
unde
rsta
nd a
cha
ract
er’s
wha
t ha
ppen
s in
a s
tory
? m
otiv
atio
n th
roug
h w
hat
they
say
and
do
and
by
ex
amin
ing
the
5 W
’s.
D
escr
ipto
rs
THEA
TRE
LAN
GU
AG
E A
RTS
St
anda
rds
1.2
Iden
tify
who
, w
hat,
whe
re,
whe
n an
d w
hy (
the
five
W’s
)
Lite
rary
Res
pons
e an
d An
alys
is:
3.3
Det
erm
ine
wha
t ch
arac
ters
in a
the
atri
cal e
xper
ienc
e.
are
like
by w
hat
they
say
or
do a
nd b
y ho
w t
he a
utho
r or
3.2
Iden
tify
uni
vers
al t
hem
es in
sto
ries
and
pla
ys f
rom
dif
fere
nt
illus
trat
or p
ortr
ays
them
.
perio
ds a
nd p
laces.
5.1
Use
pro
blem
-sol
ving
and
coo
pera
tive
ski
lls t
o dr
amat
ize
a
st
ory
or a
cur
rent
eve
nt f
rom
ano
ther
con
tent
are
a, w
ith
emph
asis
on
the
five
W’s
. S
tude
nt O
bjec
tive
s Th
e le
arne
r w
ill e
xam
ine
the
five
W’s
to
unde
rsta
nd a
cha
ract
er’s
Th
e le
arne
r w
ill in
fer
a ch
arac
ter’
s m
otiv
atio
n th
roug
h w
hat
they
motiv
atio
n.
say a
nd d
o.
As
sess
men
t
Form
ativ
e Te
ache
r O
bser
vati
on
Form
ativ
e Te
ache
r O
bser
vati
on
KEY
KNO
WLE
DGE
Prio
r Kn
owle
dge
Pant
omim
e, im
prov
isat
ion,
tab
leau
W
ho,
wha
t, w
here
, w
hen,
why
N
ew C
once
pts
I will
rel
ate
the
five
W’s
wit
h th
eatr
e vo
cabu
lary
:
I w
ill in
fer
a ch
arac
ter’
s m
otiv
atio
n th
roug
h w
hat
they
say
and
do.
char
acte
r (w
ho),
set
ting
(w
here
and
whe
n),
obje
ctiv
e/m
otiv
atio
n
(w
hy),
plo
t (w
hat)
. I w
ill a
lso
unde
rsta
nd h
ow t
he fi
ve W
’s a
ffec
t
a
char
acte
r’s
mot
ivat
ion.
New
Voc
abul
ary
Char
acte
r (w
ho),
Set
ting
(w
here
and
whe
n),
Obj
ecti
ve/M
otiv
atio
n Ch
arac
ter
(who
), S
etti
ng (
whe
re a
nd w
hen)
, O
bjec
tive
/Mot
ivat
ion
(w
hy),
Plo
t (w
hat)
(why
), P
lot
(wha
t)
SK
ILLS
Pre
requ
isit
e Sk
ills
Pant
omim
e, im
prov
isat
ion,
tab
leau
, w
alk-
abou
t Be
ginn
ing,
mid
dle
and
end
of a
sto
ry
New
Ski
lls
I will
con
tinu
e to
dev
elop
the
ir s
kills
in im
prov
isat
ion
in v
ario
us
I will
be
able
to
verb
aliz
e an
d w
rite
abo
ut t
he f
unct
ion
of t
he
grou
ping
s.
fiv
e W
’s in
a s
tory
.
MAT
ERIA
LS/R
ESO
URC
ESN
obia
h’s
Wel
l by
Donn
a W
. G
uthr
ie (
Illus
trat
ed b
y Ro
b Ro
th),
Afr
ican
mus
ic,
digi
tal c
amer
a, la
rge
vess
el/w
ater
jug
, an
d ph
otos
of
a de
sert
/dry
land
, a
hyen
a,
an a
ntea
ter,
and
a he
dgeh
og.
Stud
ents
sho
uld
brin
g w
ith
them
a h
eavy
har
dcov
er b
ook
(It
will
be
used
as
a pr
op).
Bub
ble
map
s of
the
five
W’s
.
49
PH
ASE
LE
SSO
N
O
peni
ng
1.
Wal
k-ab
out:
Students w
ill enter r
oom
and u
se t
heir
hardcover b
ook a
s a
water v
essel.
Show
your v
essel and m
odel how
Gat
heri
ng/W
arm
-up
you
wou
ld c
arry
it o
n yo
ur h
ead.
The
y w
ill c
arry
the
m o
n th
eir
head
s to
exp
erie
nce
how
the
cha
ract
ers
in t
he s
tory
wou
ld
(5 m
inutes)
feel in
their
daily t
ask o
f o
btain
ing w
ater f
or t
heir
fam
ilie
s.
• St
uden
ts w
ill w
alk
arou
nd w
hile
you
are
cha
ngin
g th
e de
scri
ptio
n on
the
wal
k.
•
“The
re is
a d
roug
ht a
nd it
is v
ery
deso
late
. It
is d
ry,
hot
and
dust
y. It
’s g
etti
ng h
otte
r….e
ven
hott
er t
han
that
….a
nd t
he w
ater
on y
our
head
is g
etti
n he
avie
r… a
nd h
eavi
er…
you
are
thir
sty…
..ev
en m
ore
thir
sty…
you
can
bar
ely
take
ano
ther
ste
p…et
c.”
Re
view
ing/
2
. Vo
cabu
lary
and
rea
lia s
houl
d be
exp
lore
d du
ring
the
less
on w
hen
each
con
cept
is in
trod
uced
.
Prev
iew
ing
Stor
y vo
cabu
lary
: dr
ough
t
Voca
bula
ry
Thea
tre
voca
bula
ry:
char
acte
r (w
ho),
set
ting
(w
here
and
whe
n),
obje
ctiv
e/ m
otiv
atio
n (w
hy),
plo
t (w
hat)
, pa
ntom
ime,
(5
min
utes
)
im
prov
isat
ion,
and
tab
leau
. E
xplo
ring
/Cre
atin
g 3
. Sh
are
Phot
os:
Realia a
re u
sed t
o h
elp
students v
isualize w
hat t
he a
nim
als
and e
nvir
onm
ent w
ould
look lik
e a
nd h
ow
the
Ex
plor
ing
anim
als
mig
ht m
ove.
(5
min
utes
) 4
. Pa
ir s
tude
nts:
Stu
dent
s st
and
in A
line
and
B li
ne f
acin
g on
e an
othe
r ab
out
four
fee
t ap
art.
Impr
ovis
ing/
Inve
ntin
g 5
. St
uden
ts im
prov
ise:
In li
nes
the
stud
ents
impr
ovis
e tw
o po
ssib
le s
cena
rios
bas
ed o
n th
e st
ory.
Do
not
use
the
char
acte
rs’ n
ames
.
(20
min
utes
)
Em
phas
ize
who
, w
hat,
whe
re,
whe
n, a
nd w
hy.
(Sto
ry)
• bo
y/gi
rl a
nd t
hirs
ty a
nim
al-
Anim
al a
sks
for
wat
er a
nd b
oy/g
irl n
eeds
to
be c
onvi
nced
to
shar
e it
.
•
boy/
girl
and
Mot
her-
Mot
her
is a
ngry
tha
t bo
y/gi
rl g
ave
wat
er t
o an
imal
s an
d he
/she
wan
ts t
o pe
rsua
de t
heir
mot
her
that
they d
id t
he r
ight t
hin
g.
6.
Stud
ents
impr
ovis
e: In
gro
ups
of f
our
or fi
ve t
he s
tude
nts
impr
ovis
e tw
o m
ore
poss
ible
sce
nari
os b
ased
on
the
stor
y.
Do
not
use
the
char
acte
rs’
nam
es.
Emph
asiz
e w
ho,
wha
t, w
here
, w
hen,
and
why
.
•
boy/
girl
and
thi
rsty
ani
mal
s- A
nim
als
com
e vi
sit
and
ask
for
mor
e w
ater
and
he/
she
has
none
to
shar
e.
•
boy/
girl
and
ani
mal
s-An
imal
s tr
y to
con
vinc
e hi
m/h
er t
o bu
ild a
wel
l and
the
boy
/gir
l doe
sn’t
bel
ieve
he/
she
is
capa
ble.
Sha
ring
/Refl
ecti
ng
7.
Teac
her
read
s st
ory
to c
lass
.
Pl
aym
akin
g 8
. St
uden
ts im
prov
ise:
Div
ide
the
clas
s in
hal
f. E
ach
grou
p w
ill im
prov
ise
thei
r sc
enes
sim
ulta
neou
sly.
(20
min
utes
)
•
H
ave
half
of
the
clas
s im
prov
ise
how
Nob
iah
mig
ht b
e tr
eate
d af
ter
he is
suc
cess
ful i
n bu
ildin
g a
wel
l for
the
vill
age.
Who
wou
ld
be a
ffected?
What m
ight t
hey b
e d
oin
g a
nd s
ayin
g?
Why m
ight t
hey b
e d
oin
g a
nd s
ayin
g t
hese t
hin
gs?
When m
ight t
hey b
e d
oin
g
an
d sa
ying
it?
Whe
re m
ight
the
y be
doi
ng a
nd s
ayin
g? W
hat
mig
ht t
hey
be d
oing
and
say
ing?
Hav
e th
em c
reat
e a
dial
ogue
.
•
Hav
e st
uden
ts p
erfo
rm f
or e
ach
othe
r. H
ave
the
grou
ps f
reez
e in
to t
able
aux.
Tak
e Pi
ctur
es!
Reflec
ting
/Ass
essi
ng
9.
Hav
e a
reflec
tive
dis
cuss
ion:
Ask q
uestio
ns.
(5
min
utes
)
•
Why
did
Nob
iah
give
the
wat
er t
o th
e an
imal
s?
•
Wer
e hi
s ac
tion
s (m
otiv
atio
n) r
ight
, w
hy o
r w
hy n
ot?
• W
hat
wou
ld y
ou h
ave
done
if y
ou w
ere
Nob
iah?
• W
hy d
id h
is m
othe
r be
com
e an
gry?
•
Wha
t w
ould
you
hav
e do
ne if
you
wer
e hi
s m
othe
r?
10
. St
uden
ts w
ill c
hoos
e a
clas
smat
e in
a p
hoto
as
a su
bjec
t to
ana
lyze
and
wri
te a
bout
the
five
W’s
. —
or
—
11.
Use
the
illu
stra
tion
fro
m N
obia
h’s
Wel
l to
use
as a
jou
rnal
pro
mpt
. St
uden
ts w
ill c
hoos
e a
char
acte
r in
Nob
iah’
s W
ell a
s a
subj
ect
to a
naly
ze a
nd w
rite
abo
ut t
he fi
ve W
’s.
Grade 3 Lessons
50
Grade 3 Lessons
Conn
ecti
ons
Can
be
conn
ecte
d to
less
ons
deal
ing
wit
h ch
arac
ter/
kind
ness
, em
otio
ns,
scie
nce
and
the
envi
ronm
ent.
Exte
nsio
ns
Div
ide
the
clas
s in
hal
f an
d ha
ve t
he g
roup
s im
prov
ise
how
Nob
iah
mig
ht b
e tr
eate
d if
he
was
n’t
succ
essf
ul a
nd h
is f
amily
was
str
uggl
ing
beca
use
they
had
no
wat
er. A
fter
the
less
on,
have
the
stu
dent
s ex
plor
e th
e sa
me
ques
tion
s fr
om p
arts
7 a
nd 8
.
Dif
fere
ntia
tion
(
CRRE
) Cu
ltur
ally
rel
evan
t lit
erat
ure
(SP
ED)
Use
s m
ulti
ple
inte
llige
nces
(EL
) La
ngua
ge d
evel
opm
ent—
desc
ript
ive
lang
uage
51
G
RAD
E 3
CON
TEN
T IN
TEG
RATI
ON
TI
TLE
OF
LESS
ON
VISU
AL
ART
S/H
ISTO
RY-S
OCI
AL
SCIE
NCE
G
eogr
aphy
of
Land
scap
es
ES
SEN
TIA
L Q
UES
TIO
N
INTE
GRA
TED
STU
DEN
T O
BJEC
TIVE
How
do
geog
raph
ers
and
arti
sts
port
ray
the
Stud
ents
will
stu
dy a
nd il
lust
rate
dif
fere
nt
ge
ogra
phic
al f
eatu
res
of a
reg
ion?
ty
pes
of g
eolo
gica
l fea
ture
s.
D
escr
ipto
rs
VISU
AL
ART
S H
ISTO
RY-S
OCI
AL
SCIE
NCE
St
anda
rds
2.3
Pain
t or
dra
w a
land
scap
e, s
easc
ape,
or
city
scap
e th
at
3.1.
1 Id
enti
fy g
eogr
aphi
cal f
eatu
res
in t
heir
loca
l reg
ion
(e.g
.,
show
s th
e ill
usio
n of
spa
ce.
dese
rts,
mou
ntai
ns,
valle
ys,
hills
, co
asta
l are
as,
ocea
ns,
lake
s).
Student O
bje
ctiv
es
Students w
ill create a
landscape t
hat s
how
s t
he illusio
n o
f space.
Students w
ill id
entif
y f
eatures o
f their
geographic
area/regio
n.
As
sess
men
t
Did
the
stu
dent
dem
onst
rate
kno
wle
dge
of h
ow t
o cr
eate
the
Ca
n th
e st
uden
t id
enti
fy g
eogr
aphi
cal f
eatu
res?
illu
sio
n o
f s
pace t
hrough t
he u
se o
f o
verla
ppin
g s
hapes a
nd
changes in s
cale
?
KEY
KNO
WLE
DGE
Prio
r Kn
owle
dge
Ove
rlap
ping
, re
lati
ve s
ize,
pla
cem
ent
Geo
grap
hy,
mou
ntai
ns,
dese
rt,
rive
r, m
ap
New
Con
cept
s Ar
tist
s do
cum
ent
land
scap
es in
var
ious
way
s.
Each
reg
ion
has
uniq
ue g
eogr
aphi
cal f
eatu
res
N
ew V
ocab
ular
y At
mos
pher
ic p
ersp
ecti
ve,
spac
e, d
epth
, fo
regr
ound
, m
iddl
e
Geo
grap
hic
feat
ures
(e.
g.,
mou
ntai
ns,
valle
ys,
hills
) gr
ound
,
ba
ckgr
ound
, la
ndsc
ape,
sea
scap
e, t
extu
re
Geo
grap
hic
regi
ons
(e.g
., c
oast
al,
valle
y, d
eser
t)
SK
ILLS
Pre
requ
isit
e Sk
ills
Expe
rien
ce w
ith
wat
erco
lor/
oil o
r oi
l pas
tels
M
ap r
eadi
ng
New
Ski
lls
Illus
trat
e sp
ace
in a
n ar
twor
k us
ing
fore
grou
nd,
mid
dle
grou
nd,
Iden
tify
geo
grap
hic
feat
ure
on a
map
. Id
enti
fy a
nd r
ecog
nize
and b
ackground.
geographic
al fe
atures in t
he local envir
onm
ent.
MAT
ERIA
LS/R
ESO
URC
ES O
il pa
stel
, w
ater
colo
r se
ts,
wat
erco
lor
brus
hes,
wat
erco
lor
pape
r #9
0 lb
., c
onta
iner
s fo
r w
ater
(su
gges
t co
ver-
ups
for
stud
ents
and
new
spap
ers
for
desk
s),
pict
ures
of
loca
l lan
dsca
pes,
imag
es o
f fin
e ar
t la
ndsc
apes
Grade 3 Lessons
52
PH
ASE
LE
SSO
N
Stud
ent
Enga
gem
ent
Day
One
(1
0 m
inut
es)
1.
Take
a w
alki
ng t
our
of s
choo
l cam
pus
or n
eigh
borh
ood.
Loo
k at
loca
l lan
dsca
pe.
2.
Iden
tify
geo
grap
hic
feat
ures
, if
pos
sibl
e, s
uch
as m
ount
ains
, hi
lls,
rive
rs (
or c
itys
cape
or
seas
cape
).
Aest
heti
c Ex
plor
atio
n 3
. Lo
ok a
t va
riou
s ar
tist
s’ d
epic
tion
s of
land
scap
es.
(1
0 m
inut
es)
4.
Thin
k pa
ir-s
hare
: W
hat
geog
raph
ic f
eatu
res
can
you
iden
tify
in t
he a
rtw
orks
?
5
. Id
enti
fy t
he f
oreg
roun
d, m
iddl
e gr
ound
, an
d ba
ckgr
ound
.
6
. D
iscu
ss d
iffe
renc
es in
sca
le,
deta
ils,
colo
r, a
nd p
lace
men
t.
D
emon
stra
tion
7
. G
uide
d pr
acti
ce:
Dem
onst
rate
dra
win
g a
fore
grou
nd,
mid
dle
grou
nd,
and
back
grou
nd in
a la
ndsc
ape.
Iden
tify
geo
grap
hic
(1
5 m
inut
es)
feat
ures
(e.
g.,
mou
ntai
ns,
valle
ys,
hills
, la
kes,
etc
.)
Cre
ativ
e Ex
pres
sion
8
. St
uden
ts o
bser
ve a
nd s
ketc
h a
land
scap
e fr
om t
he n
eigh
borh
ood
or c
reat
e an
imag
inar
y la
ndsc
ape
that
incl
udes
geo
grap
hic
(3
0 m
inut
es)
feat
ures
.
Re
flec
tion
In
divi
dual
jou
rnal
refl
ecti
on:
How
did
you
sho
w il
lusi
on o
f sp
ace?
Wha
t ge
ogra
phic
fea
ture
s di
d yo
u in
clud
e?
(10
min
utes
)
Stud
ent
Enga
gem
ent
Day
Tw
o
(10
min
utes
) S
tude
nts
revi
ew a
nd d
iscu
ss p
lace
men
t, s
ize,
sca
le,
colo
r, a
nd d
etai
ls o
f ge
ogra
phic
al f
eatu
res
illus
trat
ed in
art
rep
rodu
ctio
ns.
D
emon
stra
tion
T
each
er d
emon
stra
tes
how
to
appl
y w
ater
colo
rs o
r oi
l pas
tels
to
the
draw
ing
pape
r.
(10
min
utes
)
Cre
ativ
e Ex
pres
sion
1
. St
uden
ts r
edra
w t
he p
relim
inar
y dr
awin
g on
to t
he fi
nal d
raw
ing
pape
r.
(30
min
utes
) 2
. St
uden
ts u
se k
now
ledg
e of
sca
le,
plac
emen
t, d
etai
l, a
nd c
olor
to
com
plet
e pi
ctur
e.
Re
flec
tion
In
divi
dual
jou
rnal
refl
ecti
on:
Wha
t pr
oble
ms
did
you
expe
rien
ce?
Wha
t ri
sks
did
you
take
?
Conn
ecti
ons
Ex
tens
ions
S
tude
nts
wor
k co
llabo
rati
vely
on
a la
ndsc
ape
mur
al o
f th
eir
city
.
D
iffe
rent
iati
on
Lan
dsca
pe c
an b
e do
ne u
sing
col
ored
pen
cils
.
Vo
cabu
lary
A
tmos
pher
ic P
ersp
ecti
ve:
achi
eved
by
usin
g bl
uer,
ligh
ter,
and
dul
ler
hues
for
dis
tant
obj
ects
in a
tw
o-di
men
sion
al w
ork
of a
rt
O
bser
vati
onal
Dra
win
g Sk
ills:
Ski
lls le
arne
d w
hile
obs
ervi
ng fi
rsth
and
an o
bjec
t, fi
gure
, or
pla
ce
S
cale
: re
lati
ve s
ize,
pro
port
ion,
use
d to
det
erm
ine
mea
sure
men
ts o
r di
men
sion
s w
ithi
n a
desi
gn o
r w
ork
of a
rt
T
extu
re:
The
surf
ace
qual
ity
of m
ater
ials
, ei
ther
act
ual (
tact
ile)
or im
plie
d (v
isua
l)
Grade 3 Lessons
53
Grade 4 Lessons
54
Grade 4 Lessons
55
Grade 4 Lessons
G
RAD
E 4
CON
TEN
T IN
TEG
RATI
ON
TI
TLE
OF
LESS
ON
DA
NCE
/HIS
TORY
-SO
CIA
L SC
IEN
CE
DA
NCI
NG
MA
PS
ES
SEN
TIA
L Q
UES
TIO
N
INTE
GRA
TED
STU
DEN
T O
BJEC
TIVE
Why
are
map
s ne
cess
ary
in o
ur w
orld
? St
uden
ts w
ill u
nder
stan
d an
d de
mon
stra
te h
ow
W
hy is
the
key
, or
lege
nd,
impo
rtan
t on
a m
ap?
m
aps
are
used
in b
oth
danc
e an
d so
cial
stu
dies
.
D
escr
ipto
rs
DA
NCE
H
ISTO
RY-S
OCI
AL
SCIE
NCE
St
anda
rds
1.3
Dem
onst
rate
ran
ge a
nd u
se o
f sp
ace,
tim
e an
d
4.1
Stud
ents
dem
onst
rate
an
unde
rsta
ndin
g of
the
phy
sica
l and
fo
rce/
ener
gy c
once
pts.
hu
man
geo
grap
hic
feat
ures
tha
t de
fine
plac
es a
nd r
egio
ns in
Ca
lifor
nia.
Student O
bjectiv
es
Students w
ill be a
ble
to c
reate a
pathw
ay d
ance p
hrase g
oin
g
Students w
ill be a
ble
to identif
y t
he locatio
n o
f t
he s
tate
from
a li
ne o
n th
e flo
or t
o va
riou
s pl
anes
and
dim
ensi
ons
of s
pace
. ca
pita
l and
fou
r re
gion
s of
Cal
ifor
nia.
As
sess
men
t
Did
stu
dent
s su
cces
sful
ly c
reat
e a
danc
e ph
rase
usi
ng v
ario
us
Wer
e st
uden
ts a
ble
to id
enti
fy t
he s
tate
cap
ital
and
the
fou
r
pa
thw
ays?
Did
the
y su
cces
sful
ly r
epre
sent
the
var
ious
reg
ions
as
re
gion
s of
Cal
ifor
nia?
desig
nated in t
he instructio
ns?
KEY
KNO
WLE
DGE
Prio
r Kn
owle
dge
•
Coop
erat
ive
grou
p w
ork
•
Lo
cati
on o
f Ca
lifor
nia
wit
h re
spec
t to
our
nat
ion
and
the
wor
ld
•
Sp
atia
l aw
aren
ess:
per
sona
l spa
ce
•
Lege
nd/k
ey
New
Con
cept
s •
Fl
oor
desi
gn
•
M
appi
ng s
kills
•
Path
way
s
•
Regi
ons
of C
alif
orni
a
New
Voc
abul
ary
Path
way
, N
on-L
ocom
otor
Mov
emen
t, L
ocom
otor
Mov
emen
t,
Regi
on,g
eogr
aphy
, m
ount
ain,
des
ert,
coa
stal
pla
in,
valle
y,
Te
mpo
, Sh
ape
key/
lege
nd
SK
ILLS
Pre
requ
isit
e Sk
ills
•
Exec
ute
a va
riet
y of
loco
mot
or a
nd n
on-l
ocom
otor
mov
emen
ts
•
Wit
h te
ache
r’s
guid
ance
, be
abl
e to
labe
l the
map
of
Calif
orni
a
•
Cr
eate
gro
up a
nd in
divi
dual
sha
pes
wit
h th
e st
ate
capi
tal,
and
the
fou
r re
gion
s of
Cal
ifor
nia.
•
Mov
e us
ing
leve
l (hi
gh,
mid
dle,
low
) ch
ange
s
New
Ski
lls
•
Crea
te a
floo
r de
sign
•
Iden
tify
geo
grap
hic
regi
ons
foun
d in
Cal
ifor
nia,
and
whe
re
•
M
ove
wit
h in
crea
sed
awar
enes
s of
spa
ce,
tim
e, a
nd
they
are
loca
ted.
energy c
oncepts
56
MAT
ERIA
LS/R
ESO
URC
ES •
Ca
lifor
nia
Regi
ons
Map
. w
ww
.edu
plac
e.co
m:
Clic
k on
[O
utlin
e M
aps]
, cl
ick
on U
nite
d St
ates
, cl
ick
on C
alif
orni
a Re
gion
s •
Fr
adin
, D
enni
s Br
inde
ll. C
alif
orni
a: F
rom
Sea
to
Shin
ing
Sea.
Chi
cago
: Ch
ildre
n’s
Pres
s, 1
994.
•
Know
lton
, Ja
ck.
Geo
grap
hy F
rom
A t
o Z:
A P
ictu
re G
loss
ary.
Illu
stra
ted
by H
arri
et B
arto
n. H
arpe
r Co
llins
Pub
lishe
rs,
1988
. •
“C
alif
orni
a’s
Gol
d.”
VHS,
PBS
Los
Ang
eles
, 19
91-1
995.
•
Bu
tche
r pa
per,
cha
rt p
aper
or
lega
l-si
ze p
aper
wit
h a
blan
k m
ap o
f Ca
lifor
nia
alre
ady
draw
n or
pri
nted
on
the
pape
r (o
ne p
er g
roup
of
4-5)
•
Colo
red
penc
ils,
cray
ons
or m
arke
rs •
Si
dew
alk
chal
k, m
aski
ng t
ape
or b
lue
tape
•
Visu
al a
rt d
raw
ings
or
thin
gs t
o re
pres
ent
the
four
reg
ions
and
the
cap
ital
to
be p
lace
d on
a la
rge
map
(e.
g.,
cact
us d
raw
ing
for
the
dese
rt r
egio
n,
blue
tap
e to
run
alo
ng t
he c
oast
al r
egio
n, o
rang
e co
nes
for
the
mou
ntai
n re
gion
, dr
awin
gs o
f cr
ops
for
the
valle
y re
gion
, an
d bl
ack
dot
for
the
capi
tal)
•
Mus
ic (
pref
erab
ly w
itho
ut ly
rics
) w
ith
an e
xplo
ring
the
me:
The
me
from
“M
issi
on Im
poss
ible
” •
CD
Pla
yer/
iPod
•
Larg
e sp
ace
such
as
the
audi
tori
um o
r ou
tdoo
r sp
ace
PH
ASE
LE
SSO
N St
uden
t En
gage
men
t 1
. Be
fore
the
less
on,
draw
a m
ap o
f Ca
lifor
nia
wit
h ei
ther
sid
ewal
k ch
alk
(if
outd
oors
) or
cre
ate
the
map
wit
h m
aski
ng t
ape
or
(5-1
0 m
inut
es)
blue
tap
e in
a la
rge
spac
e (a
udit
oriu
m).
2.
Stud
ents
ent
er a
nd fi
nd t
heir
ow
n pe
rson
al s
pace
to
war
m u
p.
3.
Revi
ew k
ey s
ocia
l stu
dies
voc
abul
ary:
reg
ion,
mou
ntai
n, d
eser
t, c
oast
al p
lain
, va
lley,
cap
ital
.
4
. In
trod
uce
(or
revi
ew)
vari
ous
path
way
s —
cur
ved
lines
, st
raig
ht li
nes,
zig
zag.
•
In t
heir
ow
n pe
rson
al s
pace
, w
itho
ut t
rave
ling,
stu
dent
s vi
sual
ize
pain
ting
wit
h a
pain
tbru
sh a
nd t
heir
fav
orit
e co
lor
of p
aint
:
ho
rizo
ntal
line
s, v
erti
cal l
ines
, cu
rvy
lines
aro
und
thei
r bo
dy,
and
zigz
ags
on t
he fl
oor.
•
Now
use
oth
er b
ody
part
s to
pai
nt w
ith:
elb
ow,
head
, no
se,
toe,
sho
ulde
r, et
c.
5
. Tr
avel
pat
hway
s: d
ip y
our
feet
in t
he p
aint
and
pai
nt s
trai
ght
lines
aro
und
the
room
.
•
Call
out
diff
eren
t di
rect
ion
chan
ges
like
back
war
ds,
side
way
s, f
orw
ards
.
•
Repe
at w
ith
zigz
ag a
nd c
urvy
. Ae
sthe
tic
Expl
orat
ion
6.
Intr
oduc
e (o
r re
view
) th
e di
ffer
ence
bet
wee
n m
akin
g a
shap
e, n
on-l
ocom
otor
mov
emen
t an
d lo
com
otor
mov
emen
t.
(10
min
utes
)
•
Mak
e a
curv
ed s
hape
and
hol
d it
for
five
sec
onds
.
•
Now
des
cend
you
r cu
rved
sha
pe w
itho
ut t
rave
ling.
•
Mak
e a
shap
e w
ith
stra
ight
line
s.
• N
ow s
pin
your
sha
pe w
itho
ut c
omin
g ou
t of
you
r sh
ape.
•
Now
try
des
cend
ing
your
str
aigh
t sh
ape.
•
Nex
t m
ake
your
str
aigh
t or
cur
vy s
hape
and
tra
vel i
t ar
ound
the
roo
m/o
pen
spac
e w
itho
ut c
omin
g ou
t of
you
r sh
ape.
•
Nex
t tr
y m
akin
g yo
ur s
hape
, co
me
out
of y
our
shap
e an
d tr
avel
to
a ne
w s
pot
in t
he s
pace
and
fre
eze
in a
new
sha
pe.
7.
Stud
ents
bri
ng t
heir
indi
vidu
al m
aps
of C
alif
orni
a, a
lrea
dy la
bele
d w
ith
the
stat
e ca
pito
l and
fou
r re
gion
s an
d st
and
arou
nd
the p
erim
eter o
f t
he g
iant m
ap.
8. Ask indiv
idual students t
o p
lace t
he v
isual m
arkers f
or t
he f
our r
egio
ns a
nd t
he s
tate c
apit
al on t
he g
iant m
ap.
• La
bel e
ach
regi
on w
ith
an a
ssig
ned
char
acte
rist
ic:
Capi
tal =
beg
inni
ng g
roup
sha
pe,
Mou
ntai
ns =
hig
h pa
rtne
r or
indi
vidu
al h
eld
sh
ape,
Coa
st =
Loc
omot
or M
ovem
ent
nort
h to
sou
th o
r so
uth
to n
orth
, D
eser
t =
slow
tem
po,
Valle
y =
desc
end
to a
low
sha
pe
Grade 4 Lessons
57
Grade 4 Lessons
PH
ASE
LE
SSO
N
9
. H
alf
of t
he c
lass
(th
e ot
her
half
of
the
clas
s is
wat
chin
g ar
ound
the
per
imet
er)
expl
orat
ion:
• G
athe
r ar
ound
the
sta
te c
apit
al a
nd m
ake
a ta
ll na
rrow
sti
ll sh
ape
that
con
nect
s w
ith
one
part
ner.
•
Nex
t ha
ve t
hem
tra
vel w
ith
that
par
tner
on
a st
raig
ht p
ath
to t
he m
arke
r of
the
coa
stal
pla
ins.
•
Gal
lop
on a
cur
vy p
ath
(sym
boliz
ing
the
ocea
n w
aves
) al
ong
the
coas
tal p
lain
s.
•
Nex
t gl
ide
on a
str
aigh
t pa
thw
ay t
o th
e de
sert
and
red
uce
your
spe
ed t
o a
slow
tem
po w
alk
(rem
indi
ng y
ou o
f th
e he
at in
the
des
ert)
.
•
Nex
t tr
avel
to
the
mou
ntai
ns a
nd m
ake
a hi
gh s
hape
, sy
mbo
lizin
g th
e m
ount
ains
tha
t ar
e st
ill (
your
sha
pe c
an b
e co
nnec
ted
w
ith y
our p
artner o
r a
lone).
• Fi
nally
tra
vel o
n a
zigz
ag p
ath
to t
he c
entr
al v
alle
y an
d de
scen
d to
a lo
w le
vel s
hape
(sy
mbo
lizin
g th
e de
scen
t fr
om t
he
m
ountain
s t
o t
he v
alleys) t
o e
nd y
our d
ance p
hrase.
10.
Repe
at w
ith
the
othe
r ha
lf o
f th
e cl
ass.
Day
Tw
o: B
egin
wit
h sh
ort
path
way
war
mup
(sa
me
as fi
rst
day)
(10
min
.)
Fi
nish
Impr
ovis
ing
(10
min
.)
11
. D
ivid
e st
uden
ts in
to g
roup
s of
fou
r to
five
. Ea
ch g
roup
nee
ds t
o ha
ve a
larg
e m
ap o
n le
gal-
size
or
char
t pa
per
and
four
col
ored
pencils a
nd c
rayons o
r m
arkers.
12.
Hav
e st
uden
ts la
bel t
he s
tate
cap
itol
and
fou
r re
gion
s of
Cal
ifor
nia
wit
h th
e sa
me
sym
bols
tha
t th
e gi
ant
map
con
tain
s.
13
. Ex
plai
n th
at e
ach
grou
p w
ill b
e tr
avel
ing
thro
ugh
all o
f th
e fo
ur r
egio
ns o
f Ca
lifor
nia
by d
esig
ning
a p
athw
ay m
ap d
ance
.
•
Star
t at
the
sta
te c
apit
al a
nd h
ave
stud
ents
dra
w a
pat
hway
(st
raig
ht,
curv
y or
zig
zag)
to
the
first
reg
ion
they
wou
ld li
ke t
o
t
ravel to.
• Co
ntin
ue d
esig
ning
pat
hway
s un
til e
ach
grou
p ha
s tr
avel
ed t
o al
l fou
r re
gion
s.
14.
Inst
ruct
stu
dent
s to
pra
ctic
e yo
ur p
athw
ay d
ance
by
wal
king
thr
ough
you
r m
ap o
n th
e gi
ant
map
out
line.
Cr
eati
ve E
xpre
ssio
n 15
. Cr
eate
you
r da
nce:
(3
0 m
inut
es)
• D
ecid
e on
a b
egin
ning
gro
up s
hape
at
the
capi
tal
• A
loco
mot
or m
ovem
ent
to t
rave
l up
or d
own
the
coas
t
•
A lo
com
otor
mov
emen
t in
slo
w t
empo
for
the
des
ert
• A
high
par
tner
or
indi
vidu
al s
hape
for
the
mou
ntai
ns
•
A de
scen
ding
low
sha
pe f
or t
he d
eser
t
16. Practic
e e
ach p
art o
f y
our s
equence o
n t
he g
iant m
ap t
ogether w
ith y
our g
roup.
17.
Not
ate
your
cho
ices
on
your
gro
up m
ap n
ext
to e
ach
regi
on (
e.g.
, sp
iral
des
cent
to
a lo
w,
twis
ted
shap
e in
the
val
ley)
.
18
. M
emor
ize
your
dan
ce p
hras
e by
pra
ctic
ing
it a
s a
grou
p se
vera
l tim
es.
19.
Stud
ents
will
tak
e tu
rns
expl
aini
ng t
heir
gro
up d
ance
map
the
n pe
rfor
min
g th
eir
danc
e ph
rase
.
20
. Re
min
d st
uden
ts a
bout
wha
t it
mea
ns t
o be
a r
espe
ctfu
l aud
ienc
e.
21.
Audi
ence
will
be
wat
chin
g fo
r ea
ch m
ovem
ent
chan
ge a
t ea
ch r
egio
n.
Reflec
tion
In
you
r gr
oup
disc
uss
the
follo
win
g qu
esti
ons:
(1
0 m
inut
es)
•
Wha
t pa
thw
ays
did
you
see
in t
he d
ance
s?
•
Did
map
ping
out
the
pat
hway
s an
d re
gion
s he
lp t
o cl
arif
y yo
ur d
ance
?
•
D
id d
anci
ng t
he r
egio
ns a
nd c
apit
al o
f Ca
lifor
nia
help
you
to
rem
embe
r th
eir
loca
tion
s?
22
. Re
flec
t on
the
ess
enti
al q
uest
ion
wit
h a
part
ner
in t
heir
gro
up.
Shar
e w
ith
the
clas
s. (
Thin
k-Pa
ir-S
hare
)
23
. Re
flec
t on
the
ess
enti
al q
uest
ion
in a
per
sona
l jou
rnal
.
58
Conn
ecti
ons
Exte
nsio
ns
Red
raw
the
ir m
aps
wit
h a
key/
lege
nd t
hat
will
com
mun
icat
e th
eir
idea
s.
In
you
r sm
all g
roup
s (f
our
to fi
ve s
tude
nts)
labe
l the
cap
ital
and
fou
r re
gion
s of
Cal
ifor
nia
on a
n en
larg
ed o
utlin
ed m
ap o
f
Ca
lifor
nia
(pos
ter/
char
t pa
per)
. D
esig
n a
new
pat
hway
dan
ce s
tart
ing
from
the
sta
te c
apit
al a
nd t
rave
ling
to e
ach
of t
he r
egio
ns
thro
ugho
ut C
alif
orni
a on
a la
rge
floo
r pl
an o
f Ca
lifor
nia
(alr
eady
dra
wn
or t
aped
on
the
floo
r).
Crea
te a
mov
emen
t ch
ange
at
each
reg
ion
that
rel
ates
to
the
regi
on (
e.g.
, gr
oup
held
sha
pe in
mou
ntai
n re
gion
tha
t
sym
boliz
es m
ount
ains
). E
nd a
t an
y re
gion
.
Dif
fere
ntia
tion
Grade 4 Lessons
59
Grade 4 Lessons
G
RAD
E 4
CON
TEN
T IN
TEG
RATI
ON
TI
TLE
OF
LESS
ON
MU
SIC/
MAT
H
FRA
CTIO
NS
AN
D M
USI
C
ES
SEN
TIA
L Q
UES
TIO
N
INTE
GRA
TED
STU
DEN
T O
BJEC
TIVE
How
are
fra
ctio
ns u
sed
to d
ivid
e ab
stra
ct t
hing
s Th
e st
uden
t w
ill b
e ab
le r
ead,
wri
te a
nd p
erfo
rm
like
tim
e in
mus
ic?
rh
ythm
ic n
otat
ion
usin
g fr
acti
on c
once
pts.
D
escr
ipto
rs
MU
SIC
MAT
H
Stan
dard
s 1.
3 Re
ad,
wri
te a
nd p
erfo
rm r
hyth
mic
not
atio
n.
1.5
Expl
ain
diff
eren
t in
terp
reta
tion
s of
fra
ctio
ns;
for
exam
ple,
part
s of
a w
hole
, pa
rts
of a
set
, an
d di
visi
on o
f w
hole
num
bers
by w
hole
num
bers
. Ex
plai
n eq
uiva
lent
s of
fra
ctio
ns.
Stu
dent
Obj
ecti
ves
The
stud
ent
will
be
able
to
read
, w
rite
and
per
form
rhy
thm
ic
The
stud
ent
will
inte
rpre
t m
usic
not
atio
n as
fra
ctio
ns.
notatio
n u
sin
g f
ractio
n c
oncepts.
As
sess
men
t
Did
the
stu
dent
acc
urat
ely
wri
te a
nd p
erfo
rm t
heir
rhy
thm
? Ca
n th
e st
uden
t re
cogn
ize
mus
ic n
otat
ion
as f
ract
ions
?
KEY
KNO
WLE
DGE
Prio
r K
now
ledge
Steady b
eat
Whole
to p
art
Rhythm
ic s
peakin
g u
sin
g
Tah,
Ti T
i and
Res
t
New
Con
cept
s M
usic
not
atio
n Be
abl
e to
exp
lain
dif
fere
nt in
terp
reta
tion
s of
fra
ctio
ns
New
Vocabula
ry
Rest
Qua
rter
/tah
Eigh
ths/
ti-t
i
Be
at b
ox
Inte
rpre
t
SKIL
LS
P
rere
quis
ite
Skill
s M
ovin
g to
a s
tead
y be
at
Iden
tify
fra
ctio
ns a
nd w
rite
usi
ng w
ords
and
num
ber
sym
bols
N
ew
Skills
Readin
g r
hythm
s a
s f
ractio
ns
Inte
rpre
t, id
enti
fy a
nd m
atch
mus
ic a
nd m
usic
not
atio
n to
fra
ctio
ns.
MAT
ERIA
LS/R
ESO
URC
ESRh
ythm
Cha
rt (
To m
ake
over
head
), C
ircl
e W
orks
heet
“M
akin
g M
usic
Gra
de 4
,” “
Colle
ge H
ornp
ipe”
CD
5-1
, “T
urn
the
Beat
Aro
und”
CD
4-1
1, “
Litt
le
Bird
ie”
CD 4
-15,
Ass
orte
d Rh
ythm
Inst
rum
ents
60
PH
ASE
LE
SSO
N
W
arm
-up
1.
Echo
my
mov
emen
ts t
o th
e st
eady
bea
t.
(10
min
utes
)
•
Mak
e up
you
r ow
n m
ovem
ents
to
the
stea
dy b
eat.
2.
Echo
my
mov
emen
ts a
s I p
erfo
rm s
ome
rhyt
hms
wit
h m
ovem
ent.
(Cl
ap h
ands
and
/or
do o
ther
bod
y m
otio
ns t
o di
ffer
ent
rhyt
hms.
)
•
Mak
e up
you
r ow
n m
ovem
ents
to
the
rhyt
hms
that
I cl
ap.
3.
Follo
w m
y le
ad a
nd c
lap
as I
poin
t to
the
se h
eart
s on
thi
s ov
erhe
ad t
rans
pare
ncy
(Rhy
thm
Cha
rt).
The
y re
pres
ent
the
stea
dy b
eat.
(Tea
cher
poi
nts
to e
ach
hear
t sy
mbo
l, k
eepi
ng t
ime
wit
h th
e st
eady
bea
t. S
ee o
verh
ead
grap
hic.
Opt
iona
l-Pl
ay m
usic
to
acco
mpa
ny t
his
beat
act
ivit
y, o
ne p
iece
or
seve
ral.
“Co
llege
Hor
npip
e,”
“Tur
n th
e W
orld
Aro
und,
” “S
onat
a in
F M
ajor
for
Bas
soon
,”
“La
Peri
,” “
Fanf
are,
” an
d “L
ittl
e Bi
rdie
.”)
• (M
ove
to t
he n
ext
line.
) Th
ese
lines
als
o re
pres
ent
the
stea
dy b
eat.
As
I poi
nt,
clap
and
spe
ak t
hem
by
sayi
ng T
AH.
• (M
ove
to t
he n
ext
line.
) Th
e Z
sym
bol r
epre
sent
s si
lenc
e in
mus
ic.
We
call
it a
res
t. C
lap
this
line
but
do
not
clap
whe
n I p
oint
to
t
he r
est s
ym
bol.
• Th
is n
ext
line
uses
”be
at b
oxes
” be
caus
e so
me
of t
he b
eats
are
div
ided
. Cl
ap t
wo
tim
es w
hen
I poi
nt t
o a
divi
ded
beat
box
.
• Pl
ease
say
ti-
ti w
hen
you
clap
the
div
ided
bea
ts.
• U
nder
neat
h th
e di
vide
d be
at b
oxes
is a
new
way
to
show
a d
ivid
ed b
eat.
It s
how
s tw
o co
nnec
ted
lines
. Pe
rfor
m t
his
line
as I
p
oin
t t
o e
ach s
ym
bol on t
he s
teady b
eat.
• Th
is is
a r
hyth
m in
wri
tten
and
mus
ic n
otat
ion.
Cla
p th
e rh
ythm
as
I poi
nt,
base
d on
the
pre
viou
s lin
es.
N
ew C
once
pt
4.
Teac
her
asks
the
ess
enti
al q
uest
ion
- H
ow a
re f
ract
ions
use
d to
div
ide
abst
ract
thi
ngs
like
tim
e in
mus
ic?4
.
(20
min
utes
)
•
Defi
ne t
he t
erm
fra
ctio
n. (
Elic
it r
espo
nses
of
how
we
defin
e an
d in
terp
ret
frac
tion
s.)
• Ca
n w
e us
e fr
acti
on c
ircl
es t
o sh
ow h
ow t
ime
is d
ivid
ed in
to p
arts
?
5
. W
e ar
e go
ing
to c
reat
e m
usic
rhy
thm
s us
ing
our
circ
le w
orks
heet
(se
e w
orks
heet
gra
phic
). C
lap
num
bers
1-6
wit
h a
part
ner.
6.
Nex
t w
ork
wit
h a
part
ner
to m
ake
four
cir
cle
rhyt
hms
(num
bers
7-1
0).
If y
ou h
ave
frac
tion
cir
cles
use
the
m fi
rst
to c
reat
e
your r
hythm
s b
efore w
rit
ing t
hem
on y
our w
orksheet.
• Cl
ap y
our
circ
le r
hyth
ms.
• Ar
e w
e us
ing
frac
tion
cir
cles
to
inte
rpre
t ou
r m
usic
al p
atte
rns?
(ye
s)
•
If r
hyth
m is
sou
nd d
ivid
ed in
to f
ract
ions
, ho
w d
o m
usic
ians
inte
rpre
t th
is o
n pa
per?
• W
hat
lang
uage
can
the
y us
e? (
Rhyt
hmic
Not
atio
n)
•
Inte
rpre
t yo
ur c
ircl
e rh
ythm
s by
wri
ting
the
m b
elow
eac
h ci
rcle
usi
ng t
he r
hyth
mic
not
atio
n th
at m
usic
ians
use
. R
evie
w/Applicatio
n
7. P
erform
your r
hythm
wit
h y
our c
hoic
e o
f r
hythm
instrum
ents.
(5 m
inutes)
As
sess
men
t 8
. Re
ad a
nd p
erfo
rm s
omeo
ne e
lse’
s w
ritt
en r
hyth
m n
otat
ion.
(5 m
inutes)
Cl
osin
g 9
. Ta
ke t
urns
per
form
ing
your
rhy
thm
s to
a v
arie
ty o
f m
usic
. (C
hoos
e m
usic
wit
h a
stro
ng s
tead
y be
at a
s in
#3
abov
e.)
(1
0 m
inut
es)
Co
nnec
tion
s
Exte
nsio
ns
Expl
ore
how
equ
ival
ent
frac
tion
s ca
n be
use
d to
add
up
to o
ne m
easu
re (
e.g.
, 1/
8 +
1/8
+ 1/
4 +
1/2
= O
ne f
our-
beat
mea
sure
).
Dif
fere
ntia
tion
W
ork
one-
on-o
ne w
ith
stud
ent;
pai
r w
ith
stud
ent
lead
er;
part
ner
wit
h ch
ild t
o de
mon
stra
te t
o ot
hers
(EL
).
Grade 4 Lessons
61
Grade 4 Lessons
3. 4. 5. 6.
.
62
Grade 4 LessonsRHYTHM
63
Grade 4 Lessons
G
RAD
E 4
CON
TEN
T IN
TEG
RATI
ON
TI
TLE
OF
LESS
ON
THEA
TRE/
LAN
GU
AG
E A
RTS
Char
acte
rs a
nd t
he W
orld
in R
elat
ion
D
urat
ion:
120
min
utes
ESSE
NTI
AL
QU
ESTI
ON
IN
TEG
RATE
D S
TUD
ENT
OBJ
ECTI
VE
H
ow d
oes
the
way
the
cha
ract
er in
tera
cts
wit
h Th
e le
arne
r w
ill u
se im
prov
isat
ion
to d
emon
stra
te
the
sett
ing
and
situ
atio
n re
veal
the
cha
ract
er’s
ho
w s
etti
ng a
nd s
itua
tion
can
dri
ve a
cha
ract
er’s
tr
aits
and
mot
ivat
ion?
ch
oice
s an
d ac
tion
s.
D
escr
ipto
rs
THEA
TRE
LAN
GU
AG
E A
RTS
St
anda
rds
1.2:
Iden
tify
a c
hara
cter
’s o
bjec
tive
s an
d m
otiv
atio
ns t
o ex
plai
n 2.
2 (C
ompr
ehen
sion
and
Ana
lysi
s) U
se a
ppro
pria
te s
trat
egie
s
th
at c
hara
cter
’s b
ehav
ior;
2.1
Dem
onst
rate
the
em
otio
nal t
rait
s w
hen
read
ing
for
diff
eren
t pu
rpos
es (
e.g.
, lo
cati
on o
f in
form
atio
n);
of a
cha
ract
er t
hrou
gh g
estu
re a
nd a
ctio
n.
3.3
(Lit
erar
y Re
spon
se a
nd A
naly
sis)
Use
kno
wle
dge
of t
he s
itua
tion
and
sett
ing
and
of a
cha
ract
er’s
tra
its
and
mot
ivat
ions
to
de
term
ine
the
caus
es f
or t
hat
char
acte
r’s
acti
ons.
St
uden
t O
bjec
tive
s Th
e le
arne
r w
ill u
se im
prov
isat
ion
to s
how
how
cha
ract
ers
Th
e le
arne
r w
ill u
nder
stan
d ho
w s
etti
ng a
nd s
itua
tion
inte
ract
inte
ract
wit
h th
e se
ttin
g an
d si
tuat
ion.
to
dri
ve c
hara
cter
s’ c
hoic
es a
nd a
ctio
ns.
As
sess
men
t
Crit
eria
cha
rt f
or t
able
aux
and/
or a
/b im
prov
isat
ion
to e
valu
ate
Doe
s th
e st
uden
t sh
ow a
n un
ders
tand
ing
of t
he r
elat
ions
hip
of
achi
evem
ent
of o
bjec
tive
in t
heat
er.
sett
ing
and
situ
atio
n to
a c
hara
cter
’s b
ehav
ior
and
choi
ces?
Use
grad
e-le
vel w
riti
ng c
rite
ria
to a
sses
s pa
ragr
aph.
KEY
KNO
WLE
DGE
Prio
r Kn
owle
dge
How
to
repr
esen
t se
ttin
g w
ith
the
thre
e ac
tor’
s to
ols
“Tw
o Ti
cket
s to
Fre
edom
” (r
ecen
tly
read
)
Basi
c kn
owle
dge
of:
The
Civi
l War
, sl
aver
y an
d th
e U
nder
grou
nd
Railroad
N
ew C
once
pts
1.
Char
acte
rs m
ake
choi
ces
in r
espo
nse
to t
heir
set
ting
and
1
. Ch
arac
ter
trai
ts a
re r
evea
led
thro
ugh
thei
r ac
tion
s.
sit
uatio
n.
2.
Mod
ulat
ions
of
voic
e an
d di
ffer
ent
phys
ical
qua
litie
s, s
uch
as
2. C
hara
cter
s’ c
hoic
es a
nd a
ctio
ns a
re a
ffec
ted
by t
heir
set
ting
le
adin
g w
ith
diff
eren
t ce
nter
s, h
elp
to c
reat
e ch
arac
ters
in
and
situ
atio
n.
perform
ance.
N
ew V
ocab
ular
y Le
adin
g ce
nter
SK
ILLS
Pre
requ
isit
e Sk
ills
Wal
k-ab
out,
tab
leau
, a/
b im
prov
isat
ion
1.
Skim
min
g te
xt f
or in
form
atio
n
2
. Ad
ject
ives
, ad
verb
s, d
escr
ipti
on,
verb
s, n
ouns
N
ew S
kills
M
ovin
g w
ith
lead
ing
cent
ers
of t
he b
ody
Det
erm
inin
g ch
arac
ter
trai
ts f
rom
the
ir a
ctio
ns
64
MAT
ERIA
LS/R
ESO
URC
ESTw
o Ti
cket
s to
Fre
edom
: Th
e Tr
ue S
tory
of
Elle
n an
d W
illi
am C
raft
, Fu
giti
ve S
lave
s, b
y Fl
oren
ce F
reed
man
(or
any
sto
ry w
ith
rich
cha
ract
ers
in d
ynam
ic
interactio
n w
ith t
heir
envir
onm
ent)
PH
ASE
LE
SSO
N
Ope
ning
1
. N
ames
and
Ges
ture
s W
ith
Diff
eren
t Q
ualit
ies:
Stu
dent
s in
a C
ircl
e. (
May
do
one,
tw
o or
all
of t
hese
.) G
athe
ring
/War
m-u
p
•
Lead
er c
alls
out
an
emot
ion,
suc
h as
fea
r, an
d st
uden
ts s
ay a
line
fro
m t
he s
tory
or
appr
opri
ate
mad
e-up
line
, su
ch a
s
(10
min
utes
)
“Do
you
have
a t
icke
t?”
sim
ulta
neou
sly,
exp
ress
ing
that
em
otio
n. G
estu
res
may
be
impr
ovis
ed,
if de
sire
d.
•
Lead
er c
alls
out
a s
itua
tion
in a
n en
viro
nmen
t, s
uch
as “
It’s
mid
nigh
t an
d fr
eezi
ng,”
or
“You
mus
t hi
de y
our
real
iden
tity
,” o
r “Y
ou
ar
e su
spic
ious
of
stra
nger
s ar
ound
you
.” S
tude
nts
agai
n re
spon
d, s
imul
tane
ousl
y, t
o th
e di
ffer
ent
prom
pts.
• Si
lent
Scr
eam
(Vi
ola
Spol
in).
Lea
der
inst
ruct
s st
uden
ts t
o im
agin
e th
at t
heir
toe
s ar
e sc
ream
ing,
the
n th
eir
knee
s, t
heir
thi
ghs,
the
ir
st
omac
h, t
heir
che
st,
thei
r ne
ck,
thei
r he
ad.
Whe
n th
e w
hole
bod
y is
sile
ntly
scr
eam
ing,
inst
ruct
stu
dent
to
let
out
a re
al s
crea
m.
Th
e so
und
will
be
deaf
enin
g, s
o in
stru
ct t
hem
to
stop
upo
n th
e le
ader
’s s
igna
l.
Re
view
ing/
2
. Vo
cabu
lary
: Ci
vil W
ar;
slav
ery;
Und
ergr
ound
Rai
lroa
d
Prev
iew
ing
3. B
ubbl
e M
aps.
Pas
s ou
t bu
bble
map
s to
gro
ups
of f
our
or fi
ve.
Each
bub
ble
map
has
one
of
the
mai
n ch
arac
ters
in t
he c
ente
r
Voca
bula
ry
bubb
le.
The
grou
p fil
ls in
the
ir b
ubbl
e m
ap w
ith
adje
ctiv
es t
hat
desc
ribe
the
cha
ract
er in
dica
ted
on t
he b
ubbl
e m
ap.
The
mai
n
(10
min
utes
)
characters a
re E
llen
Craf
t, W
illia
m C
raft
, Th
e Co
nduc
tor/
Abo
litio
nist
(co
mbi
ne w
ith
“Gua
rd”
for
econ
omy)
, th
e Ch
ief
Offi
cer
(com
bine
wit
h Ya
nkee
Offi
cer)
, an
d th
e O
ther
Pas
seng
ers.
For
the
Oth
er P
asse
nger
s, in
divi
dual
cha
ract
er t
rait
s m
ay b
e
in
ferr
ed o
r im
agin
ed,
but
shou
ld b
e w
ithi
n ra
nge
of b
elie
vabi
lity.
Als
o, lo
ok a
t th
e ill
ustr
atio
n in
Ope
n Co
urt
book
for
clu
es
ab
out
char
acte
r tr
aits
. W
hat
does
the
fac
ial e
xpre
ssio
n or
bod
ily s
tanc
e re
veal
? E
xplo
ring
/Cre
atin
g 4
. W
alk-
abou
ts w
ith
Isol
atio
ns.
Lead
er d
irec
ts s
tude
nts
to d
evel
op c
hara
cter
tra
its
and
emot
ions
in t
heir
bod
ies.
For
exa
mpl
e:
Expl
orin
g
•
Lead
ing
wit
h th
e to
p of
you
r he
ad (
i.e.
, yo
ur f
ace
is p
oint
ed d
ownw
ard,
arm
s at
you
r si
des)
. W
alk
slow
ly a
nd d
elib
erat
ely.
(1
0 m
inut
es)
Lo
ok a
roun
d, b
ut k
eep
your
hea
d do
wn.
Whi
ch c
hara
cter
in “
Two
Tick
ets”
doe
s th
is f
eel l
ike?
• St
raig
hten
up,
put
han
ds o
n yo
ur h
ips,
and
jut
out
chi
n. W
alk
arou
nd.
Whe
n yo
u tu
rn t
o lo
ok a
t so
meo
ne,
mak
e th
e ch
in t
urn
wit
h t
he e
yes.
What c
haracter d
oes t
his
feel like?
• Cr
adle
one
of
your
arm
s. P
rote
ct t
he a
rm a
s yo
u w
alk
thro
ugh
a cr
owde
d tr
ain.
Peo
ple
are
jost
ling
you,
but
you
pro
tect
the
arm
. W
hic
h c
haracter?
• Le
ad w
ith
your
ste
rnum
. Fi
ll yo
ur u
pper
che
st w
ith
brea
th.
Expe
rim
ent
wit
h ar
ms
swin
ging
con
fiden
tly
at y
our
side
s or
cla
s
behi
nd y
our
back
. Ch
arac
ter?
• Co
ck y
our
head
to
one
side
. Cl
asp
hand
s ov
er s
tom
ach.
NO
TE:
Don
’t m
ake
this
a g
uess
ing
gam
e. If
som
e st
uden
ts c
all o
ut t
he c
hara
cter
s th
ey t
hink
the
se a
re,
it’s
fin
e, b
ut d
on’t
say
“Rig
ht” o
r “
Wrong.”
Grade 4 Lessons
65
Grade 4 Lessons
Im
prov
isin
g/
5.
Tabl
eaux
. G
roup
s re
form
to
repr
esen
t al
l five
cha
ract
ers
in a
sin
gle
grou
p. (
i.e.
, on
e m
embe
r fr
om e
ach
diff
eren
t bu
bble
map
In
vent
ing
(Sto
ry)
grou
p sh
ould
be
repr
esen
ted
in t
he T
able
au g
roup
). E
ach
grou
p cr
eate
s a
tabl
eau
repr
esen
ting
the
cha
ract
ers
in e
ach
sett
ing
of
(20
min
utes
)
th
e st
ory.
The
set
ting
s, in
the
ord
er t
hey
appe
ar,
are:
1)
The
pas
seng
er c
ar;
2) t
he C
hief
Offi
cer’
s of
fice;
3)
the
dock
at
Hav
re-d
e-G
race
; 4)
the
tra
in t
o Ph
ilade
lphi
a; 5
) ar
rivi
ng a
t th
e
bo
ardi
ngho
use.
Lea
der
tells
stu
dent
s th
at,
if t
heir
par
ticu
lar c
hara
cter
is n
ot in
tha
t sc
ene,
to
play
an
obje
ct o
r an
othe
r pa
ssen
ger.
Rem
ind s
tudents t
o s
how
their
character in a
n a
ttit
ude a
nd e
motio
n a
ppropria
te t
o e
ach s
ituatio
n.
• Le
ader
cal
ls o
ut e
ach
sett
ing,
and
the
stu
dent
s re
spon
d by
cre
atin
g a
tabl
eau.
Allo
w a
few
sec
onds
for
neg
otia
tion
and
the
n
ca
ll “F
reez
e!”
Hol
d ta
blea
u fo
r ab
out
five
seco
nds.
• W
hile
stu
dent
s ar
e in
tab
leau
x, a
sk,
“Wha
t is
you
r ch
arac
ter
feel
ing
righ
t no
w?
Wha
t is
she
/he
thin
king
rig
ht n
ow?”
“W
hat
is t
he n
ext
acti
on y
our
char
acte
r w
ill t
ake?
” (T
ell s
tude
nts
not
to c
all o
ut,
but
to a
nsw
er s
ilent
ly t
o th
emse
lves
.)
Sha
ring
/Refl
ecti
ng
6.
Impr
ovis
ed S
cene
s w
ith
Nar
rati
on a
nd A
/B im
prov
isat
ion.
Tea
cher
ass
igns
one
set
ting
to
each
gro
up.
(Whe
ther
you
wan
t ea
ch
Pl
aym
akin
g
se
ttin
g in
the
sto
ry r
epre
sent
ed is
opt
iona
l. T
wo
grou
ps c
ould
rep
rese
nt t
he s
ame
sett
ing
to s
how
how
it c
an b
e do
ne d
iffe
rent
ly.)
(2
5 m
inut
es)
Each
gro
up r
e-cr
eate
s or
mak
es a
new
tab
leau
to
repr
esen
t ch
arac
ters
in t
hat
sett
ing.
The
n ea
ch a
ctor
cre
ates
a li
ne t
o sa
y to
at
leas
t on
e ot
her
char
acte
r in
the
sce
ne a
nd a
t le
ast
one
spec
ific
acti
on. A
ctor
(s)
repr
esen
ting
obj
ects
or
min
or p
asse
nger
char
acte
rs w
ill c
reat
e a
narr
atio
n to
intr
oduc
e an
d en
d th
e sc
ene.
Beg
in a
nd e
nd t
he s
cene
wit
h a
tabl
eau.
The
em
phas
is
th
roug
hout
sho
uld
be o
n ex
pres
sing
cha
ract
er t
rait
s, m
otiv
atio
n an
d em
otio
ns.
This
ste
p ha
s th
ree
part
s:
•
Crea
tion
(im
prov
isat
ion)
: G
uide
d by
tea
cher
• Re
hear
sal
• Pe
rfor
man
ce
Refl
ecti
ng/A
sses
sing
7.
In
perf
orm
ance
s, t
he a
udie
nce
shou
ld b
e aw
are
of c
rite
ria
char
t fo
r ta
blea
ux (
still
ness
, si
lenc
e, c
lear
pic
ture
foc
us,
dyna
mic
(2
0 m
inut
es)
ener
gy)
and
for
a/b
impr
ovis
atio
n (l
iste
ning
, ca
use-
and-
effe
ct r
easo
ning
, co
ncen
trat
ion,
sta
ying
in c
hara
cter
).
8
. Au
dien
ce s
houl
d pr
ovid
e fe
edba
ck o
n co
nten
t of
tab
leau
x. A
sk:
• D
o th
e ac
tors
com
mun
icat
e at
leas
t on
e of
the
ir c
hara
cter
’s p
erso
nalit
y tr
aits
?
•
Is a
spe
cific
em
otio
n ex
pres
sed?
• Ca
n yo
u te
ll w
hat
a ch
arac
ter’
s re
lati
onsh
ip t
o ot
her
char
acte
rs a
nd t
he e
nvir
onm
ent
is?
• Ar
e th
ere
any
clue
s ab
out
wha
t th
e se
ttin
g is
?
9
. Af
ter
perf
orm
ance
s an
d th
eatr
e-sk
ills
crit
ique
, st
uden
ts s
houl
d in
divi
dual
ly w
rite
a p
arag
raph
abo
ut t
he c
hara
cter
he
or s
he
pl
ayed
in a
spe
cific
set
ting
. In
clud
ed s
houl
d be
:
•
An e
xpla
nati
on in
the
stu
dent
’s o
wn
wor
ds o
f th
e ch
arac
ter’
s im
med
iate
sit
uati
on a
t th
at m
omen
t —
How
is t
he e
nvir
onm
ent
affe
ctin
g th
e ch
arac
ter’
s fe
elin
gs a
nd b
ehav
ior?
•
The
stud
ent’
s ca
refu
lly c
onsi
dere
d as
sess
men
t of
the
gen
eral
per
sona
lity
or c
hara
cter
tra
its
of t
he c
hara
cter
she
pla
yed
• W
hat
the
char
acte
r w
ants
in t
hat
situ
atio
n (i
mm
edia
tely
) an
d w
hy t
hey
wan
t it
Co
nnec
tion
s So
cial
Sci
ence
(Ci
vil W
ar)
Ex
tens
ions
D
iffe
rent
iati
on
(CRR
E) A
fric
an-A
mer
ican
His
tory
(SP
ED
) (E
L) B
ubbl
e M
aps,
Tot
al P
hysi
cal R
espo
nse
66
G
RAD
E 4
CON
TEN
T IN
TEG
RATI
ON
TI
TLE
OF
LESS
ON
VISU
AL
ART
S/SC
IEN
CE
EART
H M
OVE
S
ES
SEN
TIA
L Q
UES
TIO
N
INTE
GRA
TED
STU
DEN
T O
BJEC
TIVE
Wha
t (s
cien
tific
, env
iron
men
tal)
idea
s do
art
ists
A
rtis
ts c
omm
unic
ate
idea
s by
man
ipul
atin
g ea
rth
com
mun
icat
e w
hen
they
wor
k w
ith
eart
h m
ater
ials
? m
ater
ials
to
sim
ulat
e na
tura
l ear
th p
roce
sses
.
D
escr
ipto
rs
VISU
AL
ART
S SC
IEN
CE
Stan
dard
s 2.
3 U
se a
ddit
ive
and
subt
ract
ive
proc
esse
s in
mak
ing
sim
ple
5.
0 (E
arth
Sci
ence
s) W
aves
, w
ind,
wat
er,
and
ice
shap
e an
d
sc
ulpt
ural
for
ms.
re
shap
e th
e Ea
rth’
s la
nd s
urfa
ce. A
s a
basi
s fo
r un
ders
tand
ing
this
conc
ept,
stu
dent
s kn
ow:
a) S
ome
chan
ges
in t
he E
arth
are
due
to
sl
ow p
roce
sses
, su
ch a
s er
osio
n; b
) M
ovin
g w
ater
ero
des
land
form
s,
reshapin
g t
he land b
y t
akin
g it a
way f
rom
som
e p
laces a
nd
de
posi
ting
it a
s pe
bble
s, s
and,
silt
, an
d m
ud in
oth
er p
lace
s.
Stu
dent
Obj
ecti
ves
Stud
ents
will
cre
ate
cera
mic
rel
ief
scul
ptur
es o
f la
ndfo
rms
Id
enti
fy f
acto
rs t
hat
resh
ape
land
sur
face
s.
usin
g t
he a
ddit
ive a
nd s
ubtractiv
e p
rocesses.
As
sess
men
t
Wer
e st
uden
ts a
ble
to d
emon
stra
te k
now
ledg
e an
d pr
oces
s of
Id
enti
fy a
nd d
escr
ibe
proc
esse
s of
land
res
hapi
ng.
incorporatin
g a
ddit
ive a
nd s
ubtractiv
e c
lay t
echniq
ues t
o a
relief s
culp
ture?
KEY
KNO
WLE
DGE
Prio
r Kn
owle
dge
2-D
imen
sion
al;
3-D
imen
sion
al;
scul
ptur
e, c
lay
tech
niqu
es s
uch
Pr
oper
ties
of
rock
s-H
ow r
ocks
are
mad
e (r
ock
cycl
e)
as
pin
ch,
coil,
sla
b, p
atte
rn
N
ew C
once
pts
Cont
empo
rary
art
– la
nd a
rt,
eart
h ar
t Ea
rth’
s la
nd s
urfa
ce is
con
stan
tly
bein
g re
shap
ed b
y na
tura
l for
ces.
Clay
is a
n ea
rth-
base
d m
ediu
m.
Artis
ts u
se e
arth in a
rtw
ork.
N
ew V
ocab
ular
y Ad
diti
ve,
Subt
ract
ive,
Rel
ief
Scul
ptur
e, T
extu
re,
Slip
, Sc
ore,
Er
osio
n, E
rosi
ve F
orce
s —
dep
osit
, si
lt,
mud
Gla
ze,
Kiln
SK
ILLS
Pre
requ
isit
e Sk
ills
Expe
rien
ce w
ith
clay
scu
lpti
ng t
ool
Iden
tific
atio
n an
d de
scri
ptio
n sk
ills
N
ew S
kills
M
anip
ulat
ion
of c
lay
thro
ugh
addi
tive
and
sub
trac
tive
pro
cess
es
Iden
tific
atio
n of
land
res
hapi
ng p
roce
sses
Grade 4 Lessons
67
MAT
ERIA
LS/R
ESO
URC
ES Im
ages
of
Robe
rt S
mit
hson
’s “
Spir
al J
etty
,” w
orks
by
Ana
Men
diet
a, M
icha
el H
eize
r’s
“Dou
ble
Neg
ativ
e”Ch
ris
Burd
en’s
“Ex
posi
ng t
he F
ound
atio
ns o
f th
e M
useu
m,”
imag
es o
f be
ach
or r
iver
ero
sion
(e.
g.,
befo
re a
nd a
fter
Lan
dSat
imag
es o
f M
issi
ssip
pi R
iver
)Im
ages
of
eros
ion
take
n fr
om a
sci
ence
tex
tboo
kEx
ampl
e of
cla
y ti
le w
ork
Penc
ils,
6x6
draw
ing
pape
r or
jou
rnal
s, c
lay,
cla
y to
ols,
rol
ling
pin,
sti
cks ½
inch
thi
ck,
glaz
e, c
anva
s cl
oth,
con
tain
ers
for
slip
, ne
wsp
aper
s, w
ater
or
wip
es (
sugg
est
cove
r-up
)
PH
ASE
LE
SSO
N St
uden
t En
gage
men
t D
ay O
ne
(15
min
utes
) 1
. Vi
ew a
rtw
ork
from
Sm
iths
on,
Hei
zer,
Bur
den.
• As
k st
uden
ts,
“Is
this
art
? W
hy?
Why
not
?”
•
Can
the
eart
h be
com
e a
canv
as?
• H
ow c
an L
and
Art
be a
ffec
ted
by e
rosi
on?
2.
View
Lan
dsat
imag
es o
f M
issi
ssip
pi R
iver
‘be
fore
’ an
d ‘a
fter
’ er
osio
n.
3
. Lo
ok a
t pi
ctur
es in
a s
tate
-ado
pted
tex
tboo
k th
at il
lust
rate
ero
sion
.
4
. Sh
ow a
n ex
ampl
e of
a r
elie
f sc
ulpt
ure
(Lor
enzo
Ghi
bert
i’s “
Bron
ze D
oors
for
the
Bap
istr
y of
the
Flo
renc
e Ca
thed
ral”
5.
Thin
k pa
ir-s
hare
: Co
mpa
re a
nd c
ontr
ast
the
art
and
natu
re —
How
are
the
se w
orks
sim
ilar
or d
iffe
rent
?
D
emon
stra
tion
6
. Te
ache
r: d
efine
and
dem
onst
rate
; ro
lling
a s
lab,
mak
ing
slip
, us
ing
addi
tive
and
sub
trac
tive
pro
cess
es t
o re
plic
ate
eart
h
(20
min
utes
)
su
rfac
es,
such
as
rock
s, w
ater
and
ear
th.
7.
Allo
w t
ime
for
stud
ents
to
expe
rim
ent
wit
h cl
ay.
Giv
e ea
ch s
tude
nt a
sm
all c
lum
p of
cla
y an
d le
t th
em p
ull,
rol
l, a
nd p
inch
it,
and
mak
e te
xtur
es in
the
cla
y by
eit
her
mak
ing
mar
ks o
r pr
essi
ng o
bjec
ts in
to t
he c
lay.
8.
Teac
her
asks
: “H
ow w
ill y
ou u
se a
ddit
ive
and
subt
ract
ive
met
hods
to
repl
icat
e la
ndfo
rms?
”
Aest
heti
c Ex
plor
atio
n 9
. H
ave
stud
ents
ske
tch
at le
ast
thre
e dr
awin
gs t
hat
repr
esen
t ea
rth
surf
aces
aff
ecte
d by
ero
sion
. Di
scus
s te
xtur
es,
patt
erns
and
the
(1
5-20
min
utes
)
fa
ct t
hat
som
e ar
eas
need
to
be h
ighe
r (a
ddit
ive)
and
som
e ar
eas
low
er (
subt
ract
ive)
in t
he c
ompo
siti
ons.
Let
stu
dent
s kn
ow t
hey
will be p
ickin
g o
ne t
o m
ake into a
ceram
ic t
ile.
Grade 4 Lessons
Addit
ive
Subtractiv
eSubtractiv
eSubtractiv
eAddit
ive
Addit
ive
68
Re
flec
tion
10
. Th
ink
pair
-sha
re (
will
als
o be
refl
ecti
on a
t en
d of
less
on).
Wha
t ea
rth
proc
esse
s w
ere
arti
sts
emul
atin
g? W
hat
idea
s m
ight
th
ey b
e ex
pres
sing
? St
uden
t En
gage
men
t D
ay T
wo
(1
5 m
inut
es)
Disc
uss
wit
h th
e st
uden
ts t
he t
hem
e of
the
pro
ject
. “W
e ha
ve d
iscu
ssed
and
look
ed a
t ar
t an
d na
ture
bot
h af
fect
ed b
y th
e na
tura
l
fo
rces o
f w
ind a
nd w
ater t
hat c
ause e
rosio
n a
nd t
he r
eshapin
g o
f the e
arth.”
1. Show
tw
o im
ages f
rom
previo
us d
ay (
art/nature).
2.
Sum
mar
ize
disc
ussi
on f
rom
pre
viou
s da
y.
3
. N
ow w
e ar
e go
ing
to r
ecre
ate
land
form
s, u
sing
the
add
itiv
e an
d su
btra
ctiv
e cl
ay t
echn
ique
.
4. Pass o
ut d
raw
ings f
rom
yesterday.
5.
Pass
out
pre
-cut
tile
s. S
tude
nts
put
thei
r na
me
on t
he b
ack
of t
he t
ile.
D
emon
stra
tion
6
. D
emon
stra
te h
ow t
o ro
ll cl
ay s
hape
s in
to r
ocks
and
how
to
rem
ove
clay
to
mak
e w
ave
shap
es,
etc.
(1
5 m
inut
es)
7.
Dem
onst
rate
how
to
atta
ch p
iece
s of
cla
y to
the
tile
s by
usi
ng s
lip.
Cre
ativ
e Ex
pres
sion
8
. H
ave
stud
ents
cho
ose
the
draw
ing
they
are
goi
ng t
o re
crea
te o
n th
eir
tile
.
(30
min
utes
) 9
. Pa
ss o
ut a
pie
ce o
f pa
per
the
sam
e si
ze a
s th
e ti
le (
6 x
6).
10.
Hav
e st
uden
ts r
edra
w t
he c
hose
n dr
awin
g, m
akin
g im
prov
emen
ts t
o th
e de
sign
if n
eces
sary
.
11
. H
ave
stud
ents
rec
reat
e th
eir
draw
ing
onto
the
cla
y ti
le,
usin
g th
e su
btra
ctiv
e an
d ad
diti
ve m
etho
d.
12
. H
ave
stud
ents
cov
er t
iles
wit
h pl
asti
c if
the
y di
d no
t ge
t fin
ishe
d.
13
. Le
ave
the
finis
hed
tile
s un
cove
red
unti
l the
y dr
y.
Reflec
tion
Jo
urna
l pro
mpt
: H
ow d
id y
ou u
se t
he a
ddit
ive
and
subt
ract
ive
proc
ess
in y
our
artw
ork?
Crea
tive
Exp
ress
ion
Day
Thr
ee
(30
min
utes
) 1
. Al
low
tim
e fo
r st
uden
ts w
ho d
id n
ot c
ompl
ete
thei
r ti
le.
2.
Expl
ain
to s
tude
nts
the
next
ste
ps t
hat
will
tak
e pl
ace
afte
r til
es a
re fi
red
(gla
zing
). Y
ou w
ill n
eed
to m
ake
arra
ngem
ents
to
fire
tiles if
a k
iln is n
ot a
vailable
at y
our s
chool.
Re
fect
ion
Jour
nal p
rom
pt:
Wha
t ch
ange
s w
ould
you
mak
e if
you
wer
e to
des
ign
a ne
w t
ile?
Why
?
Day
Fou
r –
Nex
t W
eek
1.
Dem
onst
rate
how
to
glaz
e ti
les
2.
Hav
e st
uden
ts g
laze
tile
s C
reat
ive
Expr
essi
on
Jour
nal p
rom
pt:
Wha
t ea
rth
proc
ess
wer
e th
e ar
tist
s em
ulat
ing?
Wha
t ea
rth
proc
esse
s w
ere
you
emul
atin
g?
(30
min
utes
)
Exte
nsio
ns
1.
Stud
ents
can
obs
erve
and
rec
ord
eros
ion
in t
heir
nei
ghbo
rhoo
d by
tak
ing
pict
ures
, dr
awin
g a
pict
ure,
or
desc
ribi
ng in
a j
ourn
al.
2.
Indi
vidu
al t
iles
can
be c
ombi
ned
to c
reat
e a
clas
s ti
le m
ural
.
3
. M
ake
tile
s la
rger
/thi
cker
and
use
in a
com
mun
ity
scho
ol g
arde
n as
ste
ppin
g-st
ones
or
deco
rati
ons.
4. W
ork w
ith a
com
munit
y a
rtis
t t
o h
elp
create t
he t
ile m
ural.
D
iffe
rent
iati
on
Colla
bora
tive
gro
ups/
SDAI
E te
chni
ques
Grade 4 Lessons
69
Inst
ruct
ions
for
mak
ing
a sl
ab t
ile:
1.
Plac
e a
ball
of c
lay
on a
clo
th-c
over
ed b
oard
.
2
. Pl
ace
one ½
-1
inch
sla
t (d
epen
ding
on
the
wid
th o
f th
e ti
le y
ou a
re g
oing
to
use)
on
each
sid
e of
the
cla
y.
3
. U
se a
rol
ling
pin
to p
ress
dow
n th
e cl
ay,
mak
ing
it a
sla
b. R
oll t
o an
eve
n th
ickn
ess.
4.
Cut
into
6x6
squ
ares
(cu
t an
ext
ra in
cas
e a
stud
ent
need
s on
e).
5.
Cov
er w
ith
plas
tic.
G
laze
– S
ee in
stru
ctio
ns o
n gl
aze.
Rec
omm
end
natu
ral c
olor
s.
Voca
bula
ry
Addi
tive
–Add
ing
or c
ombi
ning
mat
eria
ls
Ca
rvin
g–A
met
hod
in w
hich
mat
eria
l is
cut
away
Cera
mic
s–Ar
t of
mak
ing
obje
cts
of c
lay,
whi
ch a
re h
arde
ned
by fi
ring
at
a hi
gh t
empe
ratu
re
G
laze
–In
cera
mic
s, a
thi
n, g
loss
y co
atin
g fir
ed in
to p
otte
ry
Sc
ore–
Repe
ated
scr
atch
ing
of a
cla
y su
rfac
e at
the
are
a th
at a
noth
er s
core
d pi
ece
of c
lay
will
be
atta
ched
Slip
–A m
ixtu
re o
f cl
ay a
nd w
ater
tha
t is
use
d to
att
ach
two
scor
ed p
iece
s of
cla
y to
geth
er
Su
btra
ctiv
e–Re
mov
ing
or t
akin
g aw
ay f
rom
the
ori
gina
l mat
eria
l
Re
lief–
Carv
ing,
mol
ding
, m
odel
ing,
or
stam
ping
in w
hich
a d
esig
n pr
ojec
ts f
rom
the
bac
kgro
und
surf
ace
Grade 4 Lessons
70
71
Grade 5 Lessons
72
Grade 5 Lessons
73
Grade 5 Lessons
G
RAD
E 5
CON
TEN
T IN
TEG
RATI
ON
TI
TLE
OF
LESS
ON
DA
NCE
/SCI
ENCE
Ci
rcul
atio
n D
ance
D
urat
ion:
Thr
ee 5
0-m
inut
e le
sson
s
ES
SEN
TIA
L Q
UES
TIO
N
INTE
GRA
TED
STU
DEN
T O
BJEC
TIVE
Why
is t
he c
once
pt o
f fl
ow s
o im
port
ant?
St
uden
ts w
ill b
e ab
le t
o di
agra
m a
nd p
erfo
rm a
Why
is it
impo
rtan
t fo
r da
ncer
s to
cre
ate
a
com
plex
dan
ce s
eque
nce
that
refl
ects
how
blo
od
m
ovem
ent
sequ
ence
tha
t fl
ows?
lo
ws
thro
ugh
the
circ
ulat
ory
syst
em,
Why
is b
lood
flow
vit
al t
o ou
r ci
rcul
ator
y sy
stem
? fi
nclu
ding
the
lung
s (r
espi
rato
ry s
yste
m).
D
escr
ipto
rs
DA
NCE
SC
IEN
CE
Stan
dard
s 2.
1 Cr
eate
, m
emor
ize
and
perf
orm
com
plex
seq
uenc
es o
f
Life
Sci
ence
s: 2
b St
uden
ts k
now
how
blo
od c
ircu
late
s th
roug
h
m
ovem
ent
wit
h gr
eate
r fo
cus,
for
ce/e
nerg
y, a
nd in
tent
. th
e he
art
cham
bers
, lu
ngs,
and
bod
y an
d ho
w c
arbo
n di
oxid
e
2.
4 D
emon
stra
te p
rinc
iple
s of
opp
osin
g w
eigh
t an
d fo
rce/
ener
gy,
(CO
2) a
nd o
xyge
n (O
2) a
re e
xcha
nged
in t
he lu
ngs
and
tiss
ues.
bala
nce
and
coun
terb
alan
ce,
or c
anti
leve
r.
Stu
dent
Obj
ecti
ves
Usi
ng t
he c
once
pt o
f flow
, st
uden
ts w
ill b
e ab
le t
o di
agra
m a
nd
Stud
ents
will
be
able
to
com
plet
e a
diag
ram
tha
t tr
acks
the
pe
rfor
m a
com
plex
dan
ce s
eque
nce
that
refl
ects
how
blo
od
bloo
d flow
thr
ough
the
cir
cula
tory
sys
tem
, in
clud
ing
the
lung
s
flow
s th
roug
h th
e ci
rcul
ator
y sy
stem
, in
clud
ing
the
lung
s
(res
pira
tory
sys
tem
).
(respir
atory s
ystem
).
As
sess
men
t
Wer
e st
uden
ts a
ble
to s
ucce
ssfu
lly d
iagr
am,
crea
te a
nd p
erfo
rm
Wer
e st
uden
ts a
ble
to s
ucce
ssfu
lly c
ompl
ete
a di
agra
m
th
eir
phra
se?
Did
the
y su
cces
sful
ly e
xecu
te t
heir
mov
emen
t
repr
esen
ting
the
flow
of
bloo
d th
roug
h th
e ci
rcul
ator
y sy
stem
?
w
ith
cont
inuo
us fl
ow?
KEY
KNO
WLE
DGE
Prio
r Kn
owle
dge
•
Able
to
wor
k co
oper
ativ
ely
in g
roup
s •
W
hole
-gro
up b
rain
stor
m o
n “W
hat
do w
e kn
ow a
bout
the
•
Spat
ial A
war
enes
s: P
erso
nal S
pace
hu
man
cir
cula
tory
sys
tem
s?”
N
ew C
once
pts
•
Flow
•
Body
Sys
tem
s
•
Se
quen
ce
•
H
uman
Ana
tom
y
•
Re
lati
onsh
ips:
mee
t an
d pa
rt
•
Hea
rt C
ham
bers
•
Coun
terb
alan
ce
•
Ba
lanc
e
New
Voc
abul
ary
Flow
, Se
quen
ce,
Bala
nce,
Cou
nter
bala
nce,
Exp
and,
Ci
rcul
ator
y Sy
stem
, Re
spir
ator
y Sy
stem
, H
eart
, Pu
lse
Cont
ract
, D
esce
nd
SKIL
LS
Pr
ereq
uisi
te S
kills
•
Sp
atia
l Aw
aren
ess
Sequ
ence
of
the
bloo
d flow
thr
ough
the
cir
cula
tory
sys
tem
and
•
Part
ner
Wor
k
re
spir
ator
y sy
stem
N
ew S
kills
•
Co
mpl
ex s
eque
nce
•
Mov
ing
wit
h flow
74
MAT
ERIA
LS/R
ESO
URC
ES•
Cir
cula
tion
and
res
pira
tion
dia
gram
, w
ww
.mac
mil
lanm
h.co
m/s
cien
ce.
Go
to g
rade
5,
Chap
ter
1, L
esso
n 5
“Sci
ence
in M
otio
n”•
Dia
gram
of
hear
t an
d lu
ngs
• S
teps
of
the
danc
e se
quen
ce (
one
per
grou
p of
4-5
) lo
cate
d in
Impr
ovis
atio
n Se
ctio
n•
Bla
nk p
aper
for
eac
h gr
oup
to d
iagr
am t
heir
dan
ce•
Lar
ge s
pace
PHA
SE
LESS
ON
In
trod
ucin
g 1
. Br
ains
torm
the
impo
rtan
ce o
f se
quen
ce a
nd fl
ow.
Con
cept
/Ele
men
t 2
. Br
ains
torm
: “W
hat
do w
e kn
ow a
bout
the
hum
an c
ircu
lato
ry s
yste
m?”
Intr
oduc
e th
e ci
rcul
atio
n an
d re
spir
atio
n di
agra
m.
War
m-u
p/Ce
nter
ing
• Sh
ow t
he c
ham
bers
of
the
hear
t, h
ow b
lood
com
es in
, go
es t
o th
e lu
ngs,
leav
es a
nd c
omes
bac
k (w
ith
fres
h ox
ygen
) to
the
bod
y.
(15
min
utes
)
•
Dis
cuss
the
impo
rtan
ce o
f th
e se
quen
ce a
nd t
he fl
ow.
3.
Expl
ain
that
we
will
exp
lore
the
con
cept
of
flow
in m
ovem
ent
and
com
pare
it t
o th
e flo
w o
f bl
ood
in t
he c
ircu
lato
ry s
yste
m.
4. Jog in p
lace o
r j
um
p r
ope f
or t
wo m
inutes.
• H
ave
stud
ents
tak
e th
eir
puls
e fo
r 30
sec
onds
.
•
Reco
rd a
nd c
ompu
te t
heir
pul
se r
ate.
•
Expl
ain
that
you
r pu
lse
is c
ause
d by
the
sto
ppin
g an
d st
arti
ng o
f th
e bl
ood
as it
rus
hes
thro
ugh
your
art
erie
s.
•
Puls
e po
ints
are
the
spo
ts o
n yo
ur b
ody
whe
re a
n ar
tery
is n
ear
the
surf
ace
of t
he s
kin.
• O
ne p
ulse
poi
nt is
insi
de o
f yo
ur w
rist
ben
eath
you
r th
umb.
• An
othe
r is
on
the
side
of
your
nec
k be
neat
h yo
ur e
ar a
nd s
light
ly f
orw
ard.
5.
Mak
e co
nnec
tion
s be
twee
n pu
lse
(exp
and
and
cont
ract
) an
d th
e he
art
mus
cle.
• In
a c
ircl
e ex
plor
e th
e id
ea o
f ex
pand
and
con
trac
t.
• O
pen
your
bod
y in
to a
gia
nt X
, ex
pand
ing
in b
oth
dire
ctio
ns.
• Im
agin
e yo
ur le
gs h
ave
root
s in
to t
he fl
oor
and
your
arm
s ar
e re
achi
ng t
owar
d th
e ce
iling
.
•
Clos
e yo
ur b
ody
into
a t
ight
bal
l, m
akin
g yo
ur b
ody
as s
mal
l as
poss
ible
.
•
Now
imag
ine
you
are
the
hear
t ex
pand
ing
as it
fills
wit
h bl
ood
and
cont
ract
ing
its
mus
cles
, sq
ueez
ing
the
bloo
d an
d pu
mpi
ng
t
he b
lood o
ut.
6.
Expl
ore
diff
eren
t w
ays
of e
xpan
ding
and
con
trac
ting
,wit
h a
part
ner
usin
g co
unte
rbal
ance
(pu
ll/pu
sh):
•
Expa
nd a
nd c
ontr
act,
con
nect
ing
both
han
ds.
• Ex
pand
and
con
trac
t, li
nkin
g el
bow
s, a
rm t
o le
g, e
tc.
Ex
plor
ing
7.
Expl
ore
diff
eren
t w
ays
of e
xpan
ding
and
con
trac
ting
, m
aint
aini
ng a
con
tinu
ous
flow
: (
Expe
rim
enta
tion
)
•
Expa
nd a
nd b
alan
ce o
n on
e le
g, c
ontr
act
into
a t
wis
ted
ball.
(1
0 m
inut
es)
• Ex
pand
and
rea
ch o
ut t
o a
neig
hbor
nex
t to
you
.
•
Cont
ract
and
des
cend
to
a lo
w le
vel o
n th
e floo
r.
• Ex
pand
and
con
nect
to
anot
her
neig
hbor
nex
t to
you
.
• Co
ntra
ct in
to a
par
tner
sha
pe.
•
Expa
nd a
nd c
onne
ct t
o an
othe
r gr
oup
of t
wo
so y
ou h
ave
a gr
oup
of f
our.
•
Cont
ract
into
a g
roup
sha
pe.
Grade 5 Lessons
75
8.
Keep
ing
a co
ntin
uous
flow
, ex
pand
and
tra
vel t
o a
new
spo
t in
the
roo
m.
Cont
ract
and
tra
vel t
o yo
ur n
ext
spot
.
9
. In
trod
uce
the
idea
of
mee
ting
and
par
ting
.
Ex
pand
and
tra
vel t
o a
new
par
tner
.
Co
ntra
ct b
ack
to y
our
own
spot
.
Re
peat
, m
eeti
ng a
dif
fere
nt p
artn
er.
Im
prov
isin
g
Day
Tw
o: (
Prob
lem
to
solv
e;
Repe
at w
ith
expl
orat
ion
impr
ovis
ing
to
finis
h up
dia
gram
s
Choi
ces
to m
ake)
(1
0 m
inut
es)
(2
5 m
inut
es)
10.
Div
ide
into
gro
ups
of f
our
to fi
ve s
tude
nts.
11. G
ive e
ach g
roup t
he s
teps o
f t
he d
ance s
equence.
12.
Stud
ents
will
dia
gram
the
ir d
ance
by
labe
ling
the
step
s an
d dr
awin
g ar
row
s to
indi
cate
the
flow
(in
clud
e a
sam
ple
diag
ram
).
•
Step
1:
The
grou
p w
ill b
egin
in t
wo
diff
eren
t sp
aces
in t
he r
oom
(tw
o da
ncer
s in
one
spo
t, t
wo-
thre
e in
ano
ther
spo
t).
• St
ep 2
: Tr
avel
tog
ethe
r to
mee
t at
the
hea
rt (
the
cent
er o
f th
e sp
ace)
and
cre
ate
a se
quen
ce o
f ex
pand
and
con
trac
t,
stayin
g in t
he c
enter.
• St
ep 3
: Pa
rt a
nd t
rave
l in
part
ners
or
trio
s (i
f it
’s a
gro
up o
f fiv
e) t
o th
e tw
o lu
ngs
and
crea
te a
bal
ance
and
cou
nter
bala
nce
sequence d
uet o
r t
rio
in t
he lungs.
• St
ep 4
: Tr
avel
bac
k to
the
hea
rt (
cent
er o
f th
e sp
ace)
to
mee
t ag
ain
and
repe
at t
he e
xpan
d-an
d-co
ntra
ct s
eque
nce
stay
ing
in t
he c
enter.
• St
ep 5
: Pa
rt t
oget
her,
tra
velin
g ou
t of
the
hea
rt t
hrou
gh t
he a
orta
, th
en s
epar
ate
to a
n in
divi
dual
spa
ce,
sym
boliz
ing
dif
ferent p
arts o
f t
he b
ody.
Co
mpo
sing
Da
y Th
ree:
Rep
eat
13. A
fter
dia
gram
min
g th
eir
danc
e, s
tude
nts
will
cre
ate
thei
r da
nce
usin
g th
eir
diag
ram
to
rem
embe
r th
e se
quen
ce.
(1
5-20
min
utes
) ex
plor
atio
n to
use
as
war
m-u
p
14.
Stud
ents
pra
ctic
e re
peat
ing
thei
r se
quen
ce t
o m
aint
ain
a co
ntin
uous
flow
in t
heir
dan
ce (
sym
boliz
ing
the
bloo
d flow
). P
erfo
rmin
g/Sh
arin
g 15
. Ea
ch g
roup
per
form
s th
eir
danc
e an
d sh
ares
the
dia
gram
of
thei
r da
nce.
(15 m
inutes)
16. Rem
ind s
tudents a
bout w
hat it m
eans t
o b
e a
respectful audie
nce.
17. Audie
nce w
ill be w
atchin
g f
or e
ach s
tep o
f t
he d
ance s
equence.
18.
Can
use
chan
ce m
usic
. Ca
n pe
rfor
m o
nce
wit
h m
usic
, on
ce w
itho
ut m
usic
, or
use
tw
o di
ffer
ent
mus
ic c
hoic
es.
Co
nnec
tion
s Ph
ysic
al E
duca
tion
: W
hy d
oes
our
hear
t be
at f
aste
r w
hen
we
exer
cise
?
Exte
nsio
ns
D
iffe
rent
iati
on
Grade 5 Lessons
76
Grade 5 Lessons
G
RAD
E 5
CON
TEN
T IN
TEG
RATI
ON
TI
TLE
OF
LESS
ON
MU
SIC/
ENG
LISH
LA
NG
UA
GE
ART
S M
usic
Can
Com
mun
icat
e a
Stor
y
ES
SEN
TIA
L Q
UES
TIO
N
INTE
GRA
TED
STU
DEN
T O
BJEC
TIVE
H
ow d
oes
mus
ic’s
pow
er t
o in
spir
e af
fect
St
uden
ts w
ill s
how
the
ir u
nder
stan
ding
of
how
tem
po
an
art
ist
like
a w
rite
r’s
cont
ribu
tion
to
soci
ety?
an
d dy
nam
ics
in m
usic
com
mun
icat
e id
eas
by
wri
ting
a n
arra
tive
.
D
escr
ipto
rs
MU
SIC
ENG
LISH
LA
NG
UA
GE
ART
S
Stan
dard
s 4.
1 Id
enti
fy a
nd a
naly
ze d
iffe
renc
es in
tem
po a
nd d
ynam
ics
in
Wri
ting
Str
ateg
ies
cont
rast
ing
mus
ic s
elec
tion
s.
1.1
Crea
te m
ulti
ple-
para
grap
h na
rrat
ive
com
posi
tion
s:
Esta
blis
h an
d de
velo
p a
situ
atio
n or
plo
t.
Des
crib
e th
e se
ttin
g.
Present a
n e
ndin
g.
Student O
bjectiv
es
Students w
ill show
their
understandin
g o
f h
ow
tem
po a
nd
Students w
ill w
rit
e a
narrativ
e inspir
ed b
y a
n instrum
ental
dynam
ics in m
usic
com
munic
ate ideas b
y w
rit
ing a
narrativ
e
sele
ctio
n.
based o
n h
ow
these e
lem
ents o
ccur in a
music
al sele
ctio
n.
As
sess
men
t
Did
the
stu
dent
s re
spon
d at
var
ious
tem
pos
and
dyna
mic
s
Doe
s th
e st
uden
t na
rrat
ive
dem
onst
rate
tha
t th
e st
uden
t
based o
n t
he m
usic
?
cle
arly
understands t
he c
orrect w
rit
ing p
rocess a
s w
ell a
s t
o u
se
sp
ecifi
c m
usic
ele
men
ts a
nd m
ood
of t
he m
usic
for
insp
irat
ion?
KEY
KNO
WLE
DGE
Pr
ior
Know
ledg
e D
ynam
ics
Step
s fo
r w
riti
ng m
ulti
-par
agra
ph c
ompo
siti
on.
Elem
ents
of
Tem
po
narr
ativ
e co
mpo
siti
on.
N
ew C
once
pts
Lear
n ho
w t
empo
and
dyn
amic
s in
mus
ic c
an c
omm
unic
ate
Vi
sual
izat
ion
ideas a
nd m
ood.
N
ew V
ocab
ular
y D
ynam
ics
— L
oud
to S
oft
Plot
Tem
po —
Spe
ed (
Fast
to
Slow
) Se
ttin
g
Endi
ng
Narrativ
e
SKIL
LS
Pre
requ
isit
e Sk
ills
Reco
gniz
e fa
st,
slow
, lo
ud a
nd s
oft
Know
ledg
e of
the
for
mat
for
mul
tipl
e pa
ragr
aph
narr
ativ
e
com
posit
ions
N
ew
Skills
Bein
g a
ble
to b
ase a
narrativ
e o
n a
music
al sele
ctio
n
77
MAT
ERIA
LS/R
ESO
URC
ESM
akin
g M
usic
, Fi
fth
Gra
de,
“The
Riv
er,”
a s
uite
by
Virg
il Th
omps
on C
D 6
–13
, “I
nfer
nal D
ance
” fr
om “
The
Fire
bird
Sui
te”
by S
trav
insk
y CD
8-2
8, C
D
Play
er,
Mus
ic E
lem
ents
Cha
rtEx
ampl
e of
Nar
rati
ve G
raph
ic
PH
ASE
LE
SSO
N
War
m-u
p D
ay O
ne
(5 m
inut
es)
1.
We’
ll be
gin
toda
y w
ith
an a
ctiv
ity
base
d on
mus
ic e
lem
ents
. Yo
ur in
stru
ctio
n is
sim
ply
to m
ake
your
hands m
ove b
ig a
nd
sm
all a
ccor
ding
to
the
mus
ic t
hat
you
hear
. Pl
ease
clo
se y
our
eyes
whi
le li
sten
ing
and
mov
ing
to t
he m
usic
. Te
ache
r w
rite
s on
th
e bo
ard:
han
ds,
big
and
smal
l. T
each
er p
lays
30
seco
nds
of t
he fi
nale
fro
m “
The
Rive
r,”
a su
ite
by V
irgi
l Tho
mps
on (
CD 6
-13
in
the
Fif
th G
rade
Mak
ing
Mus
ic).
(Th
is is
an
inst
rum
enta
l pie
ce w
ith
obvi
ous
shor
t se
ctio
ns o
f lo
ud a
nd s
oft
mus
ic.)
2.
Cont
inue
wit
h th
e ac
tivi
ty b
ut n
ow o
pen
your
eye
s to
see
how
you
r cl
assm
ates
are
mov
ing.
(Le
ave
the
mus
ic p
layi
ng f
or o
ne
m
ore m
inute s
o t
he s
tudents c
an o
bserve e
ach o
ther.
)
New
Con
cept
(3
0 m
inut
es)
3.
A co
mpo
ser
wri
tes
mus
ic t
o co
mm
unic
ate
idea
s. W
hen
we
hear
mus
ic it
insp
ires
idea
s in
us.
Wha
t di
d yo
u he
ar in
the
mus
ic
that d
eterm
ined w
hen y
ou w
ould
mov
e yo
ur h
ands
big
or
smal
l? (
Lead
stu
dent
s to
not
ice
that
the
loud
ness
and
sof
tnes
s in
the m
usic
were t
he m
usic
ele
ments m
ost o
ften c
hosen t
o g
uid
e t
he s
tudents a
s t
o w
hen t
hey w
ould
move t
heir
hands.)
Wha
t ar
e so
me
exam
ples
tha
t sh
ow t
hat
how
each s
tudent m
oved t
heir
hands w
as u
niq
ue t
o t
hat s
tudent? (
One s
tudent m
ight
have m
ade t
heir
hands look lik
e t
hey w
ere h
old
ing a
big
ball t
o indic
ate “
big
” w
hile a
nother s
tudent m
ight h
old
both h
ands
up t
o re
flec
t w
hat
they
fel
t w
as “
big”
in t
he m
usic
.)
4
. H
ow d
oes
mus
ic in
spir
e id
eas,
moo
d an
d im
agin
atio
n? W
e ar
e go
ing
to t
alk
abou
t tw
o el
emen
ts t
hat
a co
mpo
ser
uses
to
com
mun
icat
e id
eas
and
moo
d in
mus
ic.
Dyn
amic
s de
scri
bes
the
loud
ness
and
sof
tnes
s in
mus
ic.
Tem
po d
escr
ibes
the
spe
ed o
f
the m
usic
.
5.
Whe
n yo
u he
ar m
usic
at
the
mov
ies,
wha
t is
the
con
nect
ion
betw
een
the
elem
ents
, dy
nam
ics
and
tem
po,
and
the
moo
ds a
nd
id
eas
that
the
y in
spir
e in
the
sto
ry?
Gui
de t
he s
tude
nts
to m
ake
a co
nnec
tion
bet
wee
n th
e m
usic
ele
men
ts,
moo
d, a
nd id
eas
(e.g
., s
low
-sad
-lea
ving
fri
ends
. Se
e Ch
art)
.
6
. W
e’re
now
goi
ng t
o cr
eate
a s
tory
bas
ed o
n el
emen
ts in
the
mus
ic a
nd t
he m
ood
that
the
y cr
eate
. W
e ar
e go
ing
to t
alk
abou
t
what c
om
es t
o m
ind w
hen y
ou lis
ten t
o t
his
music
.
• Te
ache
r en
cour
ages
fur
ther
dis
cuss
ion
abou
t se
ttin
g, p
lot,
cha
ract
ers,
end
ing
and
sequ
ence
.
•
Teac
her
uses
a g
raph
ic o
rgan
izer
to
disp
lay
stud
ent
idea
s (S
ee C
hart
of
exam
ple)
. R
evie
w/A
pplic
atio
n 7
. I’
d lik
e yo
u to
vis
ualiz
e a
stor
y w
hile
the
mus
ic is
rep
laye
d. P
ay p
arti
cula
r at
tent
ion
to h
ow t
he d
ynam
ics
and
tem
po e
lem
ents
(1
5 m
inut
es)
in t
he m
usic
influ
ence
you
r st
ory.
(Te
ache
r m
ay o
pt t
o gi
ve t
he s
tude
nts
the
oppo
rtun
ity
to r
epea
t th
e pr
oces
s on
the
ir o
wn
wit
h a
ne
w m
usic
sel
ecti
on.
“Inf
erna
l Dan
ce”
from
“Th
e Fi
rebi
rd S
uite
” by
Str
avin
sky
in M
akin
g M
usic
Fif
th G
rade
CD
8-28
is s
ugge
sted
.)
8. W
rit
e a
rough d
raft o
f a
narrativ
e c
om
posit
ion b
ased o
n t
he ideas w
e h
ave d
iscussed t
oday.
Day
Tw
o
(10
min
utes
) 9
. D
ivid
e in
to p
airs
and
dis
cuss
the
ele
men
ts o
f dy
nam
ics
and
tem
po w
hile
the
mus
ic is
pla
ying
.
Grade 5 Lessons
78
Grade 5 Lessons
As
sess
men
t 10
. W
ork
on y
our
final
dra
ft.
(Whi
le t
he s
tude
nts
wor
k on
the
ir fi
nal d
raft
, th
e te
ache
r sp
eaks
wit
h ea
ch s
tude
nt in
divi
dual
ly t
o
(25
min
utes
)
se
e if
the
stu
dent
can
sho
w t
hat
thei
r st
ory
is a
n ap
prop
riat
e m
atch
wit
h th
e dy
nam
ics
and
tem
po e
lem
ents
as
wel
l as
the
mood o
f t
he m
usic
.)
Cl
osin
g 11
. W
ho w
ould
like
to
shar
e th
eir
stor
ies?
(Te
ache
r ch
oose
s a
few
stu
dent
s to
sha
re t
heir
sto
ries
.)
(15
min
utes
) 12
. Le
t’s
liste
n to
the
mus
ic a
nd r
eflec
t on
the
sto
ries
we
have
jus
t he
ard
as w
e lis
ten.
13.
Tell
the
stud
ents
abo
ut t
he id
eas
the
com
pose
r in
tend
ed t
o co
mm
unic
ate
whe
n th
ey w
rote
the
mus
ic.
Co
nnec
tion
s
Ex
tens
ions
Re
peat
the
sam
e pr
oces
s w
ith
anot
her
piec
e of
mus
ic.
Lear
n th
e m
usic
sym
bols
tha
t re
pres
ent
dyna
mic
s an
d te
mpo
.
D
iffe
rent
iati
on
79
MUSICELEMENTS
MoodOR Emotion
Idea or InspirationAbout
DYN
AM
ICS LOUD Angry
TriumphantHeroic
A Storm
Winning a MedalRescuing
SOFT Sad
HappyRelieved
Losing a PetFinding a PetArriving Home
TEM
PO
FAST ExcitedHappyAnxiety
Racing
DancingVisiting
SLOW Peaceful
Sad
Boredom
Flower GrowingAfter a FireDoing the Same Thing
Grade 5 Lessons
80
Grade 5 Lessons
G
RAD
E 5
CON
TEN
T IN
TEG
RATI
ON
TI
TLE
OF
LESS
ON
THEA
TRE/
HIS
TORY
-SO
CIA
L SC
IEN
CE
The
Caus
es o
f th
e Co
loni
st R
ebel
lion
ESSE
NTI
AL
QU
ESTI
ON
IN
TEG
RATE
D S
TUD
ENT
OBJ
ECTI
VE
H
ow c
an e
xam
inin
g a
mom
ent
of c
onfl
ict
thro
ugh
The
lear
ner
will
use
tab
leau
to
dem
onst
rate
the
ir
tabl
eau
help
us
unde
rsta
nd it
s ca
uses
,
unde
rsta
ndin
g of
the
con
flic
ts t
hat
occu
rred
dur
ing
effe
cts
and
impl
icat
ions
? th
e Re
volu
tion
.
D
escr
ipto
rs
THEA
TRE
His
tory
-Soc
ial S
cien
ce
Stan
dard
s 1.
2 U
se b
ody
and
voic
e to
impr
ovis
e al
tern
ativ
e en
ding
s to
sto
ries
. 5.
4.1.
Und
erst
and
how
pol
itic
al,
relig
ious
, an
d ec
onom
ic id
eas
and
inte
rest
s br
ough
t ab
out
the
Revo
luti
on (
e.g.
, re
sist
ance
to
im
peri
al p
ower
, th
e St
amp
Act,
the
Tow
nsen
d Ac
ts,
taxe
s on
tea
,
Co
erci
ve A
ct.)
Stu
dent
Obj
ecti
ves
The
lear
ner
will
use
tab
leau
, di
alog
ue,
and
impr
ovis
atio
n to
Th
e le
arne
r w
ill b
e ab
le t
o un
ders
tand
how
the
unf
air
dem
ands
understand t
he c
auses o
f a
popula
r u
pris
ing.
of a
governm
ent c
an lead t
o p
opula
r u
pris
ing.
Assessm
ent
Rubric
Rubric
KEY
KNO
WLE
DGE
Prio
r Kn
owle
dge
Tabl
eau,
impr
ovis
atio
n, b
ody,
voi
ce a
nd im
agin
atio
n, a
nd c
hara
cter
St
uden
ts n
eed
to k
now
abo
ut t
he N
ew W
orld
and
the
col
onis
ts
re
lati
onsh
ip w
ith
the
Indi
ans.
Wha
t br
ough
t on
dem
ocra
tic
idea
s
in
col
onia
l Am
eric
a? H
ow w
as t
he B
osto
n Te
a Pa
rty
a re
sult
of
this
dem
ocratic
thin
kin
g?
N
ew C
once
pts
A ta
blea
u is
a f
roze
n im
age
that
com
mun
icat
es a
tho
ught
, id
ea,
Pe
ople
nee
d to
fee
l em
pow
ered
. It
is im
port
ant
that
indi
vidu
als
or a
concept.
are involv
ed in d
ecis
ions t
hat a
ffect t
hem
.
I can
cre
ate
a ch
arac
ter
wit
hin
a hi
stor
ic t
able
au t
o he
lp m
e I w
ill u
nder
stan
d th
e id
ea o
f em
pow
erm
ent
and
caus
e an
d ef
fect
.
un
ders
tand
the
cha
ract
er’s
tho
ught
s an
d m
otiv
atio
ns.
N
ew V
ocab
ular
y Ta
blea
u, f
roze
n, f
ocus
, le
vels
, de
tail,
pan
tom
ime
Tari
ff,
prot
est,
pet
itio
n, b
oyco
tt,
repe
al,
empo
wer
men
t
SKIL
LS
P
rere
quis
ite
Skill
s W
alk-
abou
ts,
spac
e bu
bble
, pa
ntom
ime
A/B
impr
ovis
atio
n,
Und
erst
andi
ng c
ause
and
eff
ect,
dou
ble
bubb
le t
hink
ing
map
creatin
g d
ialo
gue
Sum
mariz
ing a
nd r
esearchin
g
N
ew S
kills
Ex
plor
ing
char
acte
r th
roug
h ta
blea
u an
d di
alog
ue
Appl
ying
kno
wle
dge
from
his
tory
tex
t to
cre
ate
tabl
eau
and
dial
ogue
Crea
ting
a h
isto
rica
l tab
leau
tha
t fr
eeze
s a
mom
ent
in h
isto
ry
MAT
ERIA
LS/R
ESO
URC
ESPi
ctur
es o
f th
e Bo
ston
Tea
Par
ty,
hist
ory
text
, an
d pa
trio
tic
mus
ic
81
PH
ASE
LE
SSO
N
Ope
ning
1
. St
uden
ts m
arch
into
pat
riot
ic m
usic
. Su
ch a
s: Y
anke
e D
oodl
eG
athe
ring
/War
m-u
p 2
. St
uden
ts f
orm
a c
ircl
e fir
st f
ollo
wed
by
two
para
llel l
ines
fac
ing
one
anot
her.
(5
min
utes
) 3
. M
usic
will
sto
p. S
tude
nts
will
pla
y a
thea
tre
gam
e en
titl
ed “
Wes
t Si
de S
tory
.” (
This
gam
e is
pla
yed
to h
elp
the
stud
ents
expe
rien
ce b
eing
an
oppr
esse
d gr
oup,
and
exp
erie
nce
bein
g an
agg
ress
ive
grou
p.)
a.
Students in p
arallel lines w
ill posit
ion t
hem
selv
es a
cross t
he r
oom
from
each o
ther a
couple
of
feet in f
ront o
f the s
idew
all.
b. T
here
is li
ne A
and lin
e B
. Th
e m
iddl
e pe
rson
in li
ne A
sta
rts
mak
ing
a no
ise
wit
h a
mov
emen
t. E
very
body
in li
ne A
copie
s
the m
ovem
ent a
nd s
ound o
f t
he p
erson in t
he m
iddle
as lin
e A
walk
s s
low
ly t
ow
ard lin
e B
.
c. L
ine
B stands t
here w
ith t
heir
hands t
o t
heir
sid
es. O
nce lin
e A
gets d
irectly
in f
ront o
f lin
e B
, line B
starts b
ackin
g u
p u
ntil
they a
re b
acked u
p t
o t
he o
pposit
e s
ide w
all.
d. T
his
proc
ess
is r
ever
sed
wit
h lin
e B
takin
g t
he lead.
Re
view
ing/
S
tude
nts
sit
in t
heir
line
s fo
r di
scus
sion
. Th
e gr
oup
talk
s ab
out
how
the
y co
oper
ated
wit
h th
eir
grou
p to
cha
lleng
e th
e op
posi
ng
Pr
evie
win
g g
roup
. SA
MPL
E Q
UES
TIO
NS:
How
did
it f
eel t
o fa
ce a
gro
up o
f pe
ople
and
hav
e to
ret
reat
? H
ow d
id it
fee
l to
be t
he a
ggre
ssor
? Do
Vo
cabu
lary
y
ou f
eel t
hat
you
shou
ld b
e in
volv
ed in
dec
isio
ns t
hat
affe
ct y
ou?
How
did
you
use
you
r bo
dy,
voic
e an
d im
agin
atio
n to
inti
mid
ate
(1
5 m
inutes)
the o
pposin
g lin
e?
Revie
w t
able
au a
nd d
ialo
gue.
4.
In g
roup
s of
fou
r th
e st
uden
ts w
ill r
evie
w t
heir
Soc
ial S
tudi
es T
extb
ooks
and
exa
m p
ictu
res
of t
he B
osto
n Te
a Pa
rty.
The
y
sh
ould
ans
wer
the
fol
low
ing
ques
tion
s ab
out
the
illus
trat
ions
: W
ho d
o y
ou s
ee in t
his
im
age? W
hat
are t
hese p
eople
doin
g?
Whe
n m
ight t
his
be h
appenin
g? W
here
mig
ht t
his
be h
appenin
g? W
hy d
o y
ou t
hin
k t
hey a
re d
oin
g t
hese t
hin
gs? H
ow a
re t
hey
doin
g t
hese t
hin
gs?
5.
Gro
ups
of f
our
or fi
ve s
tude
nts
will
act
out
wha
t a
prot
est
mee
ting
mig
ht h
ave
been
like
bef
ore
the
Bost
on T
ea P
arty
. W
hat
mig
ht S
amue
l Ada
ms
have
sai
d to
get
the
gro
up t
o pr
otes
t ag
ains
t th
e Br
itis
h? T
hink
abo
ut a
n un
just
sit
uati
on in
you
r ow
n lif
e.
Ex
ampl
e: H
ow m
ight
you
fee
l if
your
fri
ends
do
not
do a
ll of
the
ir h
omew
ork
and
in r
etur
n th
e pr
inci
pal r
ewar
ds t
hem
wit
h ex
tra
tim
e at
rec
ess
and
a fie
ld t
rip?
You
, on
the
oth
er h
and,
tur
n in
all
of y
our
hom
ewor
k an
d th
e pr
inci
pal r
ewar
ds y
ou w
ith
mor
e
ho
mew
ork.
Thi
nk o
f ho
w u
njus
t it
was
for
the
col
onis
ts t
o pa
y m
ore
and
mor
e ta
xes
wit
hout
bei
ng g
iven
any
thin
g in
ret
urn.
In y
our
gr
oup,
com
e up
wit
h so
me
stat
emen
ts t
hat
the
colo
nist
s m
ight
hav
e vo
iced
to
prot
est
the
way
Kin
g G
eorg
e III
was
tre
atin
g th
em.
Exp
lori
ng/C
reat
ing
6.
In s
pace
bub
bles
stu
dent
s w
ill a
ct o
ut d
ress
ing
like
Moh
awk
Indi
ans.
The
y w
ill a
lso
pant
omim
e ro
win
g a
boat
. Th
ey w
illEx
plor
ing
(5 m
inut
es)
then
pan
tom
ime
dum
ping
the
box
es o
f te
a in
to t
he B
osto
n H
arbo
r. (
The
teac
her
will
gui
de t
he s
tude
nts
thro
ugh
thes
e
pa
ntom
imes
by
read
ing
the
corr
espo
ndin
g ev
ent
from
the
Soc
ial S
tudi
es t
ext)
Im
prov
isin
g/
7.
Stud
ents
will
get
into
gro
ups
of fi
ve o
r si
x. T
able
au: B
egin
ning
, m
iddl
e, a
nd e
nd.
Students w
ill fo
rm
a t
able
au o
f the b
egin
ning
Inve
ntin
g
of
the
Bos
ton
Tea
Part
y. (
Whi
ch m
ight
be
dres
sing
like
the
Moh
awk
Indi
ans
and
disc
ussi
ng p
lans
for
the
dum
ping
of
the
tea)
The
(Sto
ry)
(15 m
inutes)
mid
dle
of t
he B
osto
n Te
a Pa
rty.
(W
hich
wou
ld b
e ro
win
g ou
t to
the
har
bor
and
actu
ally
dum
ping
the
tea
. Th
ere
can
also
be
stud
ents
wat
chin
g fr
om t
he d
eck
eith
er c
heer
ing
the
colo
nist
on
or b
eing
ang
ry a
bout
the
col
onis
t ac
tion
s.)
Fina
lly,
the
end
of
the
Bost
on T
ea p
arty
(w
hich
mig
ht b
e th
e co
loni
st r
owin
g ba
ck a
nd a
few
col
onis
ts t
ryin
g to
rec
over
box
es o
f te
a fr
om t
he w
ater
.)
Grade 5 Lessons
82
Grade 5 Lessons
Sha
ring
/Refl
ecti
ng
The
crit
eria
for
the
tab
leau
x:
Pl
aym
akin
g A
. Th
e im
age
mus
t be
fro
zen
(15 m
inut
es)
B.
Ther
e m
ust
be le
vels
C.
The
imag
e sh
ould
hav
e fo
cus,
sho
w a
ctio
n, a
nd c
omm
unic
ate
the
thou
ghts
of
the
char
acte
r.
8
. St
uden
ts w
ill s
how
the
cla
ss t
heir
tab
leau
x. T
he t
each
er w
ill b
ring
to
life
vari
ous
char
acte
rs in
the
tab
leau
x. W
hen
the
st
uden
ts a
re b
roug
ht t
o lif
e as
the
ir h
isto
rica
l cha
ract
ers,
the
y w
ill s
ay a
line
of
dial
ogue
tha
t th
eir
char
acte
r m
ight
hav
e sa
id.
Refle
ctin
g/As
sess
ing
9.
Dis
cuss
ion
of h
ow it
fel
t to
act
out
his
tory
. W
ould
you
be
brav
e en
ough
to
stan
d
(10
min
utes
)
up
for
som
ethi
ng y
ou b
elie
ved
in?
Jou
rnal
Pro
mpt
: Do
a do
uble
bub
ble
map
. Ex
amin
e th
e pr
os a
nd c
ons
of t
he B
osto
n Te
a Pa
rty.
The
n w
rite
a le
tter
to
King
Geo
rge
III
t
ellin
g hi
m w
hy y
ou f
elt
it w
as im
port
ant
to p
arti
cipa
te in
the
Bos
ton
Tea
Part
y. (
Doe
s th
e st
uden
t un
ders
tand
the
rea
son
that
the c
olo
nis
t f
elt
that t
hey h
ad t
o t
ake a
ctio
n a
gain
st t
he B
rit
ish?)
Conn
ecti
ons
Exte
nsio
ns
Appl
y to
oth
er c
onflic
ts le
adin
g to
the
Rev
olut
iona
ry W
arD
iffe
rent
iati
on
(CRR
E) P
eopl
e fr
om d
iffer
ent
cult
ures
com
ing
toge
ther
for
a co
mm
on c
ause
(SP
ED) D
iffer
ent
mod
alit
ies
of le
arni
ng (E
L) G
raph
ic o
rgan
izer
s
83
Grade 5 Lessons
G
RAD
E 5
CON
TEN
T IN
TEG
RATI
ON
TI
TLE
OF
LESS
ON
VISU
AL
ART
S/M
ATH
IL
LUSI
ON
OF
SPA
CE
ES
SEN
TIA
L Q
UES
TIO
N
INTE
GRA
TED
STU
DEN
T O
BJEC
TIVE
How
do
arti
sts
crea
te il
lusi
on o
f de
pth
thro
ugh
St
uden
ts w
ill b
e ab
le t
o de
scri
be o
ne-p
oint
mat
hem
atic
al m
eans
? pe
rspe
ctiv
e in
mat
hem
atic
al t
erm
s
D
escr
ipto
rs
VISU
AL
ART
S M
ATH
St
anda
rds
2.1
Use
one
-poi
nt p
ersp
ecti
ve t
o cr
eate
the
illu
sion
of
spac
e.
2.1
Mea
sure
, id
enti
fy a
nd d
raw
ang
le,
perp
endi
cula
r an
d
para
llel l
ines
, re
ctan
gles
and
tri
angl
es b
y us
ing
appr
opri
ate
to
ols
(e.g
., s
trai
ghte
dge,
rul
er,
com
pass
, pr
otra
ctor
, dr
awin
g
softw
are).
Stu
dent
Obj
ecti
ves
Stud
ents
will
cre
ate
a dr
awin
g us
ing
one-
poin
t pe
rspe
ctiv
e to
St
uden
t w
ill u
se s
trai
ghte
dge,
rul
er o
r dr
awin
g so
ftw
are
to
cr
eate
an
illus
ion
of s
pace
. id
enti
fy a
nd d
raw
per
pend
icul
ar,
para
llel a
nd a
ngle
d lin
es.
As
sess
men
t
Did
the
stu
dent
cre
ate
a dr
awin
g th
at c
reat
es t
he il
lusi
on o
f
Did
the
stu
dent
acc
urat
ely
use
mea
suri
ng t
ools
to
draw
spac
e us
ing
one-
poin
t pe
rspe
ctiv
e?
perp
endi
cula
r, p
aral
lel a
nd a
ngle
d lin
es in
a o
ne-p
oint
perspectiv
e d
raw
ing?
KEY
KNO
WLE
DGE
Prio
r Kn
owle
dge
Back
grou
nd,
fore
grou
nd,
mid
dle
grou
nd
Iden
tify
and
use
of
mea
suri
ng t
ools
N
ew C
once
pts
One
-poi
nt p
ersp
ecti
ve is
a t
ool t
o cr
eate
illu
sion
of
spac
e in
M
easu
ring
too
ls c
an b
e ut
ilize
d to
cre
ate
one-
poin
t pe
rspe
ctiv
e
2-
dim
ensi
onal
art
wor
k.
draw
ing.
N
ew V
ocab
ular
y Pe
rspe
ctiv
e, il
lusi
on,
hori
zon
line,
van
ishi
ng p
oint
, co
nver
ging
An
gles
, pa
ralle
l lin
es,
perp
endi
cula
r lin
es,
rect
angl
es,
tria
ngle
s
SK
ILLS
P
rere
quis
ite
Skill
s Pe
ncil
or s
oftw
are
draw
ing
skill
s U
se o
f st
raig
hted
ge o
r ru
ler,
or
soft
war
e dr
awin
g ex
peri
ence
N
ew S
kills
Ab
ility
to
crea
te o
ne-p
oint
per
spec
tive
dra
win
gs
Abili
ty t
o qu
anti
fy o
ne-p
oint
per
spec
tive
dra
win
g th
roug
h th
e
us
e of
per
pend
icul
ar,
para
llel a
nd a
ngle
d lin
es.
MAT
ERIA
LS/R
ESO
URC
ESO
ne-p
oint
per
spec
tive
imag
es (
e.g.
, D
a Vi
nci’s
“La
st S
uppe
r”)
in t
rans
pare
ncy
form
, an
d fin
e ar
t re
prod
ucti
ons,
ove
rhea
d pr
ojec
tor,
cop
ies
of o
ne-p
oint
pe
rspe
ctiv
e dr
awin
g, p
enci
l, d
raw
ing
pape
r, o
r co
mpu
ter
wit
h dr
awin
g so
ftw
are,
tra
cing
pap
er
84
PH
ASE
LE
SSO
N St
uden
t En
gage
men
t 1
. In
a h
allw
ay o
r in
fro
nt o
f th
e cl
ass,
hav
e th
ree
stud
ents
, ab
out
the
sam
e he
ight
, st
and
at d
iffe
rent
dis
tanc
es in
a li
ne,
and
ask
(5
-10
min
utes
)
th
em t
o ho
ld a
pie
ce o
f ro
pe.
Hav
e re
mai
ning
stu
dent
s no
tice
tha
t th
e st
uden
t w
ho is
far
ther
aw
ay lo
oks
smal
ler
than
tho
se
standin
g c
loser.
Why?
2.
View
imag
es o
f on
e-po
int
pers
pect
ive
mas
terw
orks
(e.
g.,
Da
Vinc
i’s “
Last
Sup
per”
or
Verm
eer’
s in
teri
or s
tudi
es)
3.
Supe
rim
pose
sig
htlin
es t
hat
lead
to
vani
shin
g po
int
(e.g
., C
hris
t’s
head
in “
Last
Sup
per”
) ov
er m
aste
rwor
k. Ae
sthe
tic
Expl
orat
ion
4.
Thin
k pa
ir-s
hare
: W
hat
is t
he v
iew
er d
raw
n to
? W
hy?
(5
-10
min
utes
)
•
Wha
t ot
her
tech
niqu
es d
id D
a Vi
nci u
se t
o cr
eate
the
illu
sion
of
spac
e (o
verl
appi
ng,
colo
r)?
5.
Hav
e st
uden
ts u
se t
raci
ng p
aper
and
han
dout
of
a on
e-pe
rspe
ctiv
e dr
awin
g, la
bel s
ight
line
s to
van
ishi
ng p
oint
at
thei
r de
sk.
6.
Hav
e a
stud
ent
com
e up
and
dem
onst
rate
sup
erim
posi
tion
of
sigh
t lin
es t
o va
nish
ing
poin
t w
ith
a di
ffer
ent
artw
ork.
D
emon
stra
tion
7
. D
efine
and
dem
onst
rate
how
to
draw
an
inte
rior
one
-poi
nt p
ersp
ecti
ve d
raw
ing
wit
h an
gled
, pe
rpen
dicu
lar
and
para
llel l
ines
.
(10-
15 m
inut
es)
C
reat
ive
Expr
essi
on
8.
Stud
ent
crea
tes
orig
inal
inte
rior
dra
win
g us
ing
one-
poin
t pe
rspe
ctiv
e.
(20-
30 m
inut
es)
Re
flec
tion
9
. Pa
ir-s
hare
and
jou
rnal
pro
mpt
: H
ow d
id y
ou c
reat
e ill
usio
n of
dep
th?
(1
0 m
inut
es)
Co
nnec
tion
s D
iscu
ss o
ther
art
for
ms
that
incl
ude
the
use
of m
athe
mat
ical
ter
ms.
(O
riga
mi)
Ex
tens
ions
Fi
gure
s an
d co
lor
can
be a
dded
to
one-
poin
t pe
rspe
ctiv
e dr
awin
g.
D
iffe
rent
iati
on
Stud
ents
can
wor
k in
pai
rs w
ith
larg
er p
aper
.
Grade 5 Lessons
85
Grade 5 Lessons
Wall
Wall
Floo
r
Ceiling
Dir
ecti
ons
for
draw
ing
one-
poin
t pe
rspe
ctiv
e in
teri
or:
Pass
out
9x1
2 w
hite
dra
win
g pa
per.
Pl
ace
the
pape
r ho
rizo
ntal
ly (
land
scap
e).
1.
Hav
e st
uden
ts d
raw
a
2.
light
lin
e d
ow
n t
he m
iddle
of t
he p
aper (
horiz
ontally).
Mea
sure
to
the
mid
dle
of t
he li
ne a
nd p
lace
a v
anis
hing
poi
nt.
3.
From
the
van
ishi
ng p
oint
dra
w f
our
4.
light
lin
es t
o t
he f
our c
orners.
Thes
e w
ill b
ecom
e th
e gu
idel
ines
for
dra
win
g ob
ject
s in
the
roo
m.
5.
Dra
w a
ligh
t re
ctan
gle
in t
he c
ente
r of
the
pap
er.
6.
Now
they h
ave c
reated a
n interio
r.7.
Hav
e th
em a
dd o
bjec
ts b
y st
arti
ng a
t th
e va
nish
ing
poin
t an
d ke
epin
g pa
ralle
l 8.
to t
he g
uid
elines.
86
87
Grade 6 Lessons
88
Grade 6 Lessons
89
Grade 6 Lessons
G
RAD
E 6
CON
TEN
T IN
TEG
RATI
ON
TI
TLE
OF
LESS
ON
DA
NCE
/MAT
H
Mat
hem
atic
al R
easo
ning
and
the
Cre
ativ
e Pr
oces
s
ES
SEN
TIA
L Q
UES
TIO
N
INTE
GRA
TED
STU
DEN
T O
BJEC
TIVE
Why
is it
cri
tica
l for
mat
hem
atic
ians
and
St
uden
ts w
ill b
e ab
le t
o so
lve
a gi
ven
mat
h an
d a
chor
eogr
aphe
rs t
o m
aste
r pr
oble
m-s
olvi
ng s
kills
? gi
ven
chor
eogr
aphi
c pr
oble
m,
and
com
pare
the
pr
oces
ses.
D
escr
ipto
rs
DA
NCE
M
ATH
St
anda
rds
2.1
Inve
nt m
ulti
ple
poss
ibili
ties
to
solv
e a
give
n m
ovem
ent
M
athe
mat
ical
Rea
soni
ng:
1.3
Det
erm
ine
whe
n an
d ho
w t
o
proble
m a
nd d
evelo
p t
he m
ateria
l in
to a
short s
tudy.
break a
proble
m into s
imple
r p
arts.
2.
4 U
se a
var
iety
of
met
hods
, su
ch a
s w
ords
, nu
mbe
rs,
sym
bols
,
char
ts,
grap
hs,
tabl
es,
diag
ram
s, a
nd m
odel
s to
exp
lain
m
athem
atic
al reasonin
g.
Student O
bjectiv
es
Students w
ill be a
ble
to 1
) c
reate a
short d
ance s
tudy w
ith a
Students w
ill be a
ble
to u
se m
athem
atic
al reasonin
g s
kills
to
part
ner
base
d on
mul
tipl
e po
ssib
iliti
es f
or m
eeti
ng a
nd p
arti
ng;
solv
e a
com
plex
pro
blem
, an
d ex
plai
n th
e w
ay in
whi
ch t
hey
2) c
hart
the
var
ious
mov
emen
t po
ssib
iliti
es u
sing
any
of
a
reac
hed
thei
r an
swer
usi
ng a
ny o
f a
vari
ety
of m
etho
ds (
e.g.
,
nu
mbe
r of
met
hods
(e.
g.,
grid
, ch
art)
as
a pa
rt o
f th
e cr
eati
ve
wor
ds,
char
ts,
num
bers
, ta
bles
).
pr
oces
s; a
nd 3
) ex
plai
n th
eir
proc
ess
to o
ther
s.
As
sess
men
t
Did
the
stu
dent
s su
cces
sful
ly c
reat
e a
danc
e st
udy
usin
g va
riou
s
Did
the
stu
dent
s su
cces
sful
ly c
reat
e a
danc
e st
udy
usin
g
w
ays o
f m
eetin
g a
nd p
artin
g?
vario
us w
ays o
f m
eetin
g a
nd p
artin
g? W
ere t
hey a
ble
to
Wer
e th
ey a
ble
to s
ucce
ssfu
lly c
hart
pos
sibi
litie
s an
d ex
plai
n su
cces
sful
ly c
hart
pos
sibi
litie
s an
d ex
plai
n th
eir
proc
ess?
their
process?
KEY
KNO
WLE
DGE
Prio
r Kn
owle
dge
•
Impr
ovis
atio
nal p
roce
ss
•
M
athe
mat
ical
rea
soni
ng s
kills
•
Elem
ents
of
danc
e (b
ody,
spa
ce,
tim
e, f
orce
)
•
D
ance
str
uctu
re:
begi
nnin
g, m
iddl
e, e
nd
New
Con
cept
s •
Im
prov
isat
ion
to d
ance
stu
dy
•
Mat
hem
atic
al r
easo
ning
ski
lls
•
Ch
arti
ng m
ovem
ent
poss
ibili
ties
New
Voc
abul
ary
Dan
ce s
tudy
, du
et
SK
ILLS
Pre
requ
isit
e Sk
ills
Impr
ovis
e fr
eely
Ab
le t
o de
term
ine
whe
n an
d ho
w t
o br
eak
a pr
oble
m in
to s
impl
er
Cr
eate
sim
ple
danc
e st
udie
s w
ith
a be
ginn
ing,
mid
dle
and
end
part
s in
ord
er t
o so
lve
it
U
se e
lem
ents
/con
cept
s of
dan
ce t
o ex
plor
e m
ovem
ent
Ab
le t
o ex
plai
n th
eir
mat
hem
atic
al r
easo
ning
in s
olvi
ng a
giv
en
possib
ilit
ies
proble
m
90
N
ew S
kills
Fo
cus
on o
ne m
ovem
ent
prob
lem
, fr
om e
xplo
rati
on t
o da
nce
stud
y Ab
le t
o de
term
ine
whe
n an
d ho
w t
o br
eak
a pr
oble
m in
to
U
se a
ny o
f a
vari
ety
of m
etho
ds t
o ch
art
mov
emen
t po
ssib
iliti
es
sim
pler
par
ts in
ord
er t
o so
lve
it
Expl
ain
proc
ess
used
to
crea
te s
tudy
Ab
le t
o ex
plai
n th
eir
mat
hem
atic
al r
easo
ning
in s
olvi
ng a
giv
en
proble
m
MAT
ERIA
LS/R
ESO
URC
ES •
Larg
e, c
lean
spa
ce•
CD p
laye
r, v
ario
us m
usic
al s
elec
tion
s fo
r ex
plor
atio
n/im
prov
isat
ion
• C
hart
pap
er
PH
ASE
LE
SSO
N St
uden
t En
gage
men
t 1
. D
iscu
ss t
he m
athe
mat
ical
rea
soni
ng p
roce
ss (
e.g.
, th
at s
tude
nts
need
to
mak
e de
cisi
ons
abou
t ho
w t
o ap
proa
ch p
robl
ems,
(5-1
0 m
inut
es)
and
use
stra
tegi
es,
skill
s, a
nd c
once
pts
to h
elp
them
find
the
sol
utio
ns).
2.
Dis
cuss
the
cre
ativ
e pr
oces
s (e
.g.,
exp
lora
tion
, im
prov
isat
ion,
mov
emen
t ch
oice
and
dev
elop
men
t)
3
. Co
mpa
re a
nd c
ontr
ast
the
mat
hem
atic
al r
easo
ning
pro
cess
and
the
cre
ativ
e pr
oces
s.
4.
Assi
gn a
spe
cific
mat
h pr
oble
m,
whi
ch r
equi
res
stud
ents
to
use
the
mat
hem
atic
al r
easo
ning
pro
cess
. As
k th
em t
o ex
plai
n th
eir
reas
onin
g pr
oces
s us
ing
wor
ds,
num
bers
, sy
mbo
ls,
char
ts,
grap
hs,
tabl
es,
diag
ram
s or
mod
els.
Sha
re a
s a
clas
s or
in s
mal
l gro
ups.
Aest
heti
c Ex
plor
atio
n 5
. As
k st
uden
ts t
o ch
oose
a p
artn
er. A
s a
clas
s, e
xplo
re v
ario
us w
ays
to m
eet
and
part
. U
se c
once
pts
of b
ody,
spa
ce,
tim
e an
d fo
rce
to
(10
min
utes
)
cu
e an
d un
cove
r m
ulti
ple
mov
emen
t po
ssib
iliti
es (
e.g.
, tr
avel
qui
ckly
on
stra
ight
pat
hway
to
mee
t yo
ur p
artn
er,
mov
e sl
owly
away
on
a cu
rvin
g pa
thw
ay;
mov
e sm
ooth
ly t
owar
ds y
our
part
ner,
per
cuss
ivel
y aw
ay,
etc.
).
6
. As
k st
uden
ts t
o co
ntin
ue e
xplo
ring
wit
h th
eir
part
ner
to fi
nd m
ulti
ple
poss
ibili
ties
for
mee
ting
and
par
ting
. In
stru
ct t
hem
to
use
a gr
id,
tabl
e, d
iagr
am o
r ot
her
grap
hic
mea
ns o
f or
gani
zing
and
rec
ordi
ng p
ossi
bilit
ies.
Crea
tive
Exp
ress
ion
7.
Ask
stud
ents
to
mak
e m
ovem
ent
choi
ces
from
the
pos
sibi
litie
s ex
plor
ed a
nd r
ecor
ded,
and
to
deve
lop
them
into
a s
hort
(3
0 m
inut
es)
mov
emen
t st
udy
wit
h a
clea
r be
ginn
ing
and
endi
ng.
8.
Prac
tice
and
per
form
for
eac
h ot
her.
Ask
eac
h pa
ir t
o ex
plai
n ho
w t
hey
mad
e th
eir
mov
emen
t ch
oice
s fo
r th
eir
stud
y an
d sh
are
thei
r gr
id,
tabl
e, e
tc.
Re
flec
tion
9
. Re
visi
t th
e di
scus
sion
com
pari
ng t
he m
athe
mat
ical
rea
soni
ng p
roce
ss a
nd t
he c
reat
ive
proc
ess.
(10
min
utes
) 10
. As
k ea
ch p
air
to c
ompl
ete
this
sen
tenc
e: “
The
mat
hem
atic
al r
easo
ning
pro
cess
and
the
cre
ativ
e pr
oces
s a
chor
eogr
aphe
r us
es
are s
imilar b
ecause....”
Conn
ecti
ons
Com
pare
and
con
tras
t to
oth
er p
roce
sses
use
d in
sch
ool (
e.g.
, w
riti
ng p
roce
ss a
nd s
cien
tific
pro
cess
).Ex
tens
ions
Cr
eate
a “
Chan
ce D
ance
” an
d re
late
it t
o ex
peri
men
tal p
roba
bilit
ies
in m
ath.
D
iffe
rent
iati
on
In fi
ndin
g m
ulti
ple
poss
ibili
ties
for
“m
eeti
ng a
nd p
arti
ng,”
giv
e th
e st
uden
ts a
pre
-mad
e gr
id w
ith
mov
emen
t po
ssib
iliti
es f
or
“mee
ting
” lis
ted
acro
ss t
he t
op,
and
poss
ibili
ties
for
“pa
rtin
g” li
sted
dow
n th
e si
de.
Let
the
m m
ake
choi
ces
from
mat
chin
g
possib
ilit
ies o
n t
he g
rid
.
Grade 6 Lessons
91
Grade 6 Lessons
G
RAD
E 6
CON
TEN
T IN
TEG
RATI
ON
TI
TLE
OF
LESS
ON
MU
SIC/
HIS
TORY
-SO
CIA
L SC
IEN
CE
Myt
holo
gy a
nd t
he M
usic
of A
ncie
nt G
reec
e
ES
SEN
TIA
L Q
UES
TIO
N
INTE
GRA
TED
STU
DEN
T O
BJEC
TIVE
How
has
the
sig
nific
ance
of
mus
ic in
the
myt
holo
gy
The
stud
ent
will
des
crib
e th
e ro
le o
f m
usic
in t
he
of A
ncie
nt G
reec
e in
flue
nced
our
soc
iety
tod
ay?
myt
holo
gy o
f an
cien
t G
reec
e.
D
escr
ipto
rs
MU
SIC
HIS
TORY
-SO
CIA
L SC
IEN
CE
Stan
dard
s 3.
2 Li
sten
to
and
desc
ribe
the
rol
e of
mus
ic in
anc
ient
W
orld
His
tory
and
Geo
grap
hy:
Anci
ent
Civi
lizat
ions
civi
lizat
ions
(e.
g.,
Chin
ese,
Egy
ptia
n, G
reek
, In
dian
, Ro
man
).
Stan
dard
(s):
6.4
5.2
Iden
tify
car
eer
path
way
s in
mus
ic.
Expl
ain
the
sign
ifica
nce
of G
reek
myt
holo
gy t
o th
e ev
eryd
ay
St
uden
t ob
ject
ive(
s):
The
stud
ent
will
des
crib
e th
e ro
le o
f lif
e of
peo
ple
in t
he r
egio
n an
d ho
w G
reek
lite
ratu
re c
onti
nues
m
usic
in t
he m
ytho
logy
of
anci
ent
Gre
ece.
to
per
mea
te o
ur li
tera
ture
and
lang
uage
tod
ay,
draw
ing
from
G
reek
myt
holo
gy a
nd e
pics
, su
ch a
s H
omer
’s Il
iad
and
Ody
ssey
,
and f
rom
Aes
op’s
Fab
les.
Stu
dent
Obj
ecti
ves
The
stud
ent
will
des
crib
e th
e ro
le o
f m
usic
in t
he m
ytho
logy
of
The
stud
ent
will
des
crib
e th
e ro
le o
f m
usic
in t
he m
ytho
logy
of
ancie
nt G
reece.
ancie
nt G
reece a
s it r
ela
tes t
o t
he e
veryday lif
e o
f the a
ncie
nt
G
reeks.
As
sess
men
t
Doe
s th
e st
uden
t’s
mus
ic a
nd m
ytho
logy
pro
ject
refl
ect
an
Doe
s th
e st
uden
t’s
mus
ic a
nd m
ytho
logy
pro
ject
refl
ect
an
un
ders
tand
ing
of t
he r
ole
of m
usic
in G
reek
Myt
holo
gy?
unde
rsta
ndin
g of
the
rol
e of
mus
ic in
Gre
ek m
ytho
logy
and
as
it
pertain
s t
o t
heir
everyday lif
e?
KEY
KNO
WLE
DGE
Prio
r Kn
owle
dge
Role
of
mus
ic in
the
Uni
ted
Stat
es
Anci
ent
Gre
ek h
isto
ry
Scale
s
Ancie
nt G
reek m
ytholo
gy
U
nder
stan
ding
of
anci
ent
tim
elin
e
New
Con
cept
s Ro
le o
f m
usic
in m
ytho
logy
Ro
le o
f m
usic
in t
he h
isto
ry o
f G
reek
myt
holo
gy a
nd h
ow t
his
has im
pacted o
ur s
ocie
ty t
oday
N
ew V
ocab
ular
y M
usic
olog
ist
Cult
ure
Mod
es
Authentic
SK
ILLS
Prerequis
ite S
kills
N
/A
Research s
kills
N
ew
Skills
N
/A
N/A
92
MAT
ERIA
LS/R
ESO
URC
ESAn
cien
t G
reec
e Ch
art
#1-
Gre
ek H
isto
ry,
#2 M
usic
and
Myt
holo
gy,
Acce
ss t
o th
e In
tern
et f
or a
ll gr
oups
. O
ptio
nal:
equ
ipm
ent
to s
how
vid
eo c
lips
from
the
In
tern
et o
r an
anc
ient
Gre
ek m
usic
CD
. (M
usiq
ue d
e la
Gre
ece
Ant
ique
, M
elpo
men
: A
ncie
nt G
reek
Mus
ic,
Mus
ic o
f th
e A
ncie
nt G
reek
s),
Map
of
Gre
ece
Addi
tion
al B
ooks
:U
sbor
ne S
tory
of
Mus
ic b
y Ei
leen
O’B
rien
(19
98).
For
kid
s--M
usic
of
the
Wor
ld b
y An
drea
Ber
gam
ini (
1999
). F
or t
eens
--An
cien
t G
reek
Mus
ic (
Clar
endo
n Pa
perb
acks
) by
M.
L. W
est
(rep
rint
ed 1
994)
. Fo
r te
ache
r--M
usic
in A
ncie
nt G
reec
e an
d Ro
me
by J
ohn
G.
Land
els
(200
1).
For
teac
her
(mai
nly
abou
t w
ho p
laye
d it
and
whe
re,
and
for
who
m)-
-Apo
llo’s
Lyr
e: G
reek
Mus
ic a
nd M
usic
The
ory
in A
ntiq
uity
and
the
Mid
dle
Ages
by
Thom
as J
. M
athi
esen
(20
00).
For
tea
cher
(a
bout
Gre
ek m
usic
al t
heor
y)--
Mus
ic a
nd t
he M
uses
: Th
e Cu
ltur
e of
Mou
sike
in t
he C
lass
ical
Ath
enia
n Ci
ty b
y Pe
nelo
pe M
urra
y an
d Pe
ter
Wils
on (
2004
).
PH
ASE
LE
SSO
N
War
m-u
p P
ART
1 (
Day
One
)
(10
min
utes
) 1
. To
day
we
will
tra
vel b
ack
in t
ime
to le
arn
abou
t th
e ro
le o
f m
usic
in A
ncie
nt G
reec
e. W
e w
ill b
e m
usic
olog
ists
, pe
ople
who
stu
dy m
usic
in
cul
ture
s. M
usic
olog
ists
look
at
the
hist
ory
of m
usic
wit
hin
the
cult
ure
to fi
nd t
he w
ays
it im
pact
s th
e so
ciet
y. M
usic
olog
ists
als
o
ex
plor
e m
usic
the
ory,
the
rol
es o
f ph
iloso
phy,
sci
ence
, th
e ar
ts,
soci
olog
y, p
sych
olog
y, a
nd m
ath
in m
usic
al e
xpre
ssio
n. W
e ar
e go
ing
to
begin
wit
h a
gam
e t
o r
evie
w w
hat w
e h
ave s
tudie
d p
revio
usly
about t
he h
istory
of
the A
ncie
nt G
reeks in o
rder
to f
ram
e o
ur
work
.
2.
Plea
se w
ork
toge
ther
in g
roup
s of
tw
o’s
and
thre
e’s.
I am
goi
ng t
o di
stri
bute
a w
orks
heet
(#1
Dai
ly L
ife)
. W
hich
gro
up w
ill b
e
the
first
to
fill i
n at
leas
t tw
o an
swer
s in
eac
h ca
tego
ry?
(Fill
ans
wer
s in
on
a di
spla
yed
char
t w
hile
pla
ying
the
gam
e.)
Why
do
you t
hin
k it w
ill be m
ore m
eanin
gful to s
tudy t
he r
ole
of m
usic
in r
ela
tio
nship
to t
his
background?
N
ew C
once
pt
3.
Mus
ic g
ot it
s na
me
from
the
mus
es,
the
daug
hter
s of
Zeu
s an
d pa
tron
god
dess
es o
f in
telle
ctua
l end
eavo
rs.
Myt
holo
gy w
as v
ery
muc
h
(30-
40 m
inut
es)
invo
lved
in t
he d
aily
life
of
the
Anci
ent
Gre
eks.
The
fun
ctio
n of
mus
ic in
Anc
ient
Gre
ek s
ocie
ty w
as c
onne
cted
to
thei
r m
ytho
logy
.
4
. It
will
be
your
job
to w
ork
wit
hin
an In
tern
et r
esea
rch
grou
p to
dis
cove
r in
form
atio
n in
one
of n
ine
cate
gorie
s to
ans
wer
the
que
stio
n,
“H
ow is
mus
ic in
volv
ed w
ith
Anci
ent
Gre
ek m
ytho
logy
?” I
will
pas
s ou
t a
mus
ic m
ytho
logy
cha
rt fo
r yo
ur r
efer
ence
(#2
Mus
ic M
ytho
logy
).
Yo
u w
ill fo
rmat
you
r de
scrip
tion
s by
ans
wer
ing
thre
e qu
esti
ons.
Firs
t, “
How
is m
usic
invo
lved
wit
h an
cien
t G
reek
myt
holo
gy?”
The
n, “
How
did
this
aff
ect
the e
very
day life o
f th
e G
reek?”
and “
What
can w
e p
redic
t about
how
it
will im
pact
us in t
he futu
re?”
Revi
ew/A
pplic
atio
n P
ART
2 (
Day
Tw
o)
(25
min
utes
) 5
. To
day
each
of
our
grou
ps is
goi
ng t
o sh
are
wha
t yo
u un
cove
red.
“H
ow is
mus
ic in
volv
ed w
ith
Anci
ent
Gre
ek m
ytho
logy
?”
“W
hat
happ
ened
?” “
Why
did
it h
appe
n?”
“How
doe
s th
is im
pact
us
now
?” “
Wha
t ca
n w
e pr
edic
t ab
out
how
it w
ill im
pact
us
in
the
futu
re?”
(Te
ache
r gu
ides
the
dis
cuss
ion.
)
Ass
essm
ent
6.
Plea
se fi
naliz
e yo
ur g
roup
pap
ers
and
hand
the
m in
to
me.
(Te
ache
r w
ill d
eter
min
e ho
w w
ell t
he s
tude
nts
answ
ered
the
thr
ee
(15 m
inutes)
questio
ns.)
Cl
osin
g 7
. Le
t’s
wat
ch/l
iste
n to
som
e of
the
mus
ic o
f An
cien
t G
reec
e. (
opti
onal
vid
eos)
(1
0 m
inut
es)
http
://w
ww
.you
tube
.com
/wat
ch?v
=jA
AO
R-O
uykU
Ancie
nt G
reek m
usic
wit
h im
ages
http
://w
ww
.you
tube
.com
/wat
ch?v
=Lvg
tAH
V4m
zw&
feat
ure=
rela
ted
Reproductio
n o
f lyre a
nd p
ipes
http
://w
ww
.you
tube
.com
/wat
ch?v
=Y_9
4QbW
V440
&fe
atur
e=re
late
d “Song o
f S
eik
ilos” lyre
8.
Do
you
thin
k th
is m
usic
is a
uthe
ntic
? H
ow d
oes
this
mus
ic r
elat
e to
the
mus
ic o
f to
day?
Conn
ecti
ons
Geo
grap
hy:
refe
r to
the
map
of
Gre
ece.
Exte
nsio
ns
Dif
fere
ntia
tion
Grade 6 Lessons
93
GRE
EK A
NCI
ENT
HIS
TORY
AN
SWER
SH
EET
Ca
tego
ry
Po
ssib
le A
nsw
ers
Lo
cati
on
Amon
g hi
lls a
nd m
ount
ains
nea
r th
e M
edit
erra
nean
Sea
. Th
e ri
chne
ss o
f th
e so
il w
as li
mit
ed.
Hom
e/Ar
chit
ectu
re
Mos
t ho
mes
wer
e bu
ilt f
rom
sto
ne o
r cl
ay.
They
wer
e pl
anne
d ar
ound
a c
ourt
yard
, ha
d hi
gh w
alls
and
a s
tron
g ga
te.
Muc
h of
Greek h
om
e lif
e c
entered a
round t
he c
ourtyard.
Colu
mns
wer
e pr
eval
ent
in o
ther
arc
hite
ctur
e.
Wor
k Fa
rmer
s, s
hip
build
ers,
fish
erm
en,
trad
ers
Clo
thin
g an
d Fo
od
The
Gre
ek m
en w
ore
tuni
cs m
ade
of w
ool a
nd li
nen.
The
Gre
ek w
omen
wor
e w
ool a
nd li
nen
clot
hs t
hat
wer
e pi
nned
aro
und
them
in d
iffe
rent
sty
les.
All
wor
e le
athe
r sa
ndal
s. T
he G
reek
s at
e gr
ains
— m
ostl
y w
heat
, ve
geta
bles
, es
peci
ally
legu
mes
,
su
ch a
s be
ans
and
peas
. Th
ey a
lso
ate
fish,
con
sum
ed o
live
oil,
bre
ad a
nd w
ine.
P
hilo
soph
y/Sc
ienc
e Th
e G
reek
phi
loso
pher
s em
phas
ized
the
“qu
esti
on.”
Soc
rate
s’ p
hilo
soph
y liv
ed o
n th
roug
h hi
s st
uden
t Pl
ato,
who
ass
erte
d th
at(S
cie
nce w
as
the m
ost im
portant a
ctiv
ity w
as t
he s
earch f
or k
now
ledge. S
cie
nce w
as t
hought o
f a
s a
way t
o o
rganiz
e a
nd c
reate o
rder o
ut
cons
ider
ed t
o
of c
haos
. Th
e ph
iloso
pher
s po
sed
man
y qu
esti
ons
of p
hilo
soph
y, s
cien
ce a
nd m
athe
mat
ics
to c
ome
up w
ith
theo
ries
tha
t w
ould
enco
mpa
ss M
edic
ine,
an
swer
the
m b
ased
on
obse
rvat
ion
and
reas
onin
g.Astronom
y a
nd
Mat
hem
atic
s.)
Rel
igio
n/M
ytho
logy
Th
ere
wer
e 12
mai
n G
reek
god
s, m
ale
and
fem
ale
wit
h di
stin
ct p
erso
nalit
ies.
Myt
hs,
whi
ch w
ere
com
mun
icat
ed t
hrou
gh o
ral
tr
adit
ion,
exp
lain
ed t
heir
rel
atio
nshi
p to
hum
anki
nd.
G
over
nmen
t Th
e m
en o
f At
hens
met
eve
ry w
eek
to d
iscu
ss h
ow b
est
to g
over
n an
d fo
rmed
the
firs
t de
moc
racy
.
Educ
atio
n Th
is w
as a
bit
dif
fere
nt in
eac
h ci
ty.
Child
ren
wer
e sc
hool
ed b
y th
eir
mot
hers
unt
il th
e ag
e of
six
or
seve
n.
Spar
ta’s
edu
cati
on w
as f
ocus
ed o
n de
velo
ping
a s
tron
g ar
my.
Boy
s in
Ath
ens
wen
t to
sch
ool f
rom
7 t
o 14
yea
rs o
f ag
e. T
hey
lear
ned
read
ing,
wri
ting
, m
athe
mat
ics
and
poet
ry in
the
mor
ning
. Th
ey h
ad s
port
s an
d w
rest
ling
acti
viti
es in
the
aft
erno
on.
W
hen b
oys b
ecam
e 1
4 t
hey learned a
trade.
Gir
ls w
ere t
aught h
om
em
akin
g a
nd d
id n
ot g
o t
o s
chool.
Som
e g
irls
were e
ducated a
t
hom
e.
Sp
orts
Sp
orti
ng e
vent
s w
ere
held
to
hono
r th
e go
ds.
The
Oly
mpi
cs w
ere
held
eve
ry f
our
year
s to
hon
or Z
eus.
The
Oly
mpi
cs h
eld
such
importance t
hat w
ars w
ere s
uspended d
urin
g t
he t
ime t
hey t
ook p
lace.
En
tert
ainm
ent
Child
ren
play
ed a
var
iety
of
gam
es c
ente
red
mos
tly
arou
nd p
hysi
cal c
onte
sts
and
gam
es o
f w
it.
Adul
ts:
Poet
ry w
as h
eld
in h
igh
este
em a
s w
ere
conc
erts
and
the
atre
.
War
Fr
eque
nt c
onfli
cts
occu
rred
bet
wee
n th
e G
reek
cit
y-st
ates
. Pr
imar
ily p
art-
tim
e vo
lunt
eer
citi
zen
arm
ies
cond
ucte
d th
ese
war
s.
Grade 6 Lessons
94
Gre
ek A
ncie
nt H
isto
ry W
orks
heet
: W
rite
tw
o an
swer
s fo
r ea
ch c
ateg
ory.
Ca
tego
ry
Ans
wer
sLo
cati
on
Hom
e/Ar
chit
ectu
re
Work
Clot
hing
and
Foo
d
Philosophy/Scie
nce
(Scie
nce w
as c
onsid
ered
to e
ncom
pass
Med
icin
e,Astronom
y a
nd
Mat
hem
atic
s.)
Relig
ion/
Myt
holo
gy
Governm
ent
Educ
atio
n
Sports
Ente
rtai
nmen
t
War
Grade 6 Lessons
95
How
is m
usic
con
nect
ed t
o A
ncie
nt G
reek
myt
holo
gy?
Q
uest
ions
: H
ow d
id t
his
affe
ct t
he e
very
day
life
of t
he G
reek
?
W
hat
can
we
pred
ict
abou
t ho
w it
will
impa
ct u
s in
the
fut
ure?
1. P
hilo
soph
y
2. S
cien
ce
(Con
side
red
to
in
clud
e M
edic
ine,
Ast
rono
my
and
M
athe
mat
ics)
3. R
elig
ion/
M
ytho
logy
4. E
duca
tion
5. S
port
s
6. E
nter
tain
men
t
7. M
usic
al
I
nstr
umen
ts
How
is m
usic
invo
lved
wit
h A
ncie
nt G
reek
myt
holo
gy?
Grade 6 Lessons
96
Grade 6 Lessons
Que
stio
ns:
How
did
thi
s af
fect
the
eve
ryda
y lif
e of
the
Gre
ek?
Wha
t ca
n w
e pr
edic
t ab
out
how
it w
ill im
pact
us
in t
he f
utur
e?
2. S
cien
ce
(
Cons
ider
ed t
o in
clud
e M
edic
ine,
Ast
rono
my
and
M
athe
mat
ics.
)
4. E
duca
tion
5. S
port
s
6. E
nter
tain
men
t
Pyth
agor
as d
isco
vere
d a
conn
ecti
on b
etw
een
mat
h ra
tios
and
mus
ic b
y di
vidi
ng a
str
ing
in h
alf.
He
then
pla
yed t
he long a
nd s
hort s
trin
gs t
o c
om
pare t
hem
.
See P
hilosophy f
or S
cie
nce a
nd A
stronom
y c
onnectio
n.
See
Relig
ion/
Myt
holo
gy f
or M
edic
ine
conn
ecti
on.
Mus
ic is
clo
sely
rel
ated
to
othe
r sc
ienc
es,
such
as
mat
hem
atic
s an
d ph
iloso
phy.
Thu
s it
was
one
of
the
impo
rtan
t su
bjec
ts in
you
ng p
eopl
e’s
educ
atio
n.
Mus
ic p
laye
d a
deci
sive
rol
e in
mor
al e
duca
tion
as
wel
l, b
eing
clo
sely
con
nect
ed t
o m
ytho
logy
.Bo
ys w
ere
taug
ht m
usic
at
scho
ol,
spec
ifica
lly t
o pl
ay t
he ly
re a
s w
ell a
s ot
her
inst
rum
ents
. G
irls
wer
e of
ten
taug
ht a
t ho
me.
Co
nseq
uent
ly,
all t
he c
itiz
ens
wer
e pr
ofici
ent
in m
usic
.Sp
orts
gam
es s
uch
as t
he O
lym
pics
wer
e pu
t on
to
hono
r th
e go
ds.
Mus
ic w
as a
lway
s pr
esen
t at
the
se
cerem
onie
s.
Mus
ic w
as p
rese
nt a
t th
e be
ginn
ings
of
dram
a. A
ccor
ding
to
Aris
totl
e, t
he d
ithy
ram
bs (
hym
ns)
perf
orm
ed in
ho
nor
of D
iony
sus
(the
god
) ev
olve
d in
to t
he G
reek
tra
gedy
.
Mus
icia
ns c
ompe
ted
for
priz
es in
mus
ic c
onte
sts.
met
mus
eum
.org
/exp
lore
/pub
lica
tion
s/..
./gr
eek/
divi
ded/
e-Ke
y-A
spec
ts.p
df K
ey A
spects o
f A
ncie
nt G
reece
http
://w
ww
.woo
dlan
ds-j
unio
r.ke
nt.s
ch.u
k/H
omew
ork/
gree
ce/s
choo
ls.h
tmht
tp:/
/ww
w.m
ythw
eb.c
om/
Myt
h Re
sour
ces
http
://a
ncie
nthi
stor
y.pp
pst.
com
/gre
ece.
htm
l Fr
ee p
ower
poi
nts
http
://w
ww
.bbc
.co.
uk/s
choo
ls/a
ncie
ntgr
eece
/tim
elin
e/in
dex.
shtm
l Ti
mel
ine
http
://m
embe
rs.a
ol.c
om/b
kdon
ncla
ss/G
reek
life
.htm
l#m
enu
Mee
t th
e G
reek
sw
ww
.his
tory
fork
ids.
org/
lear
n/gr
eeks
/ind
ex.h
tm
97
Grade 6 Lessons
G
RAD
E 6
CON
TEN
T IN
TEG
RATI
ON
TI
TLE
OF
LESS
ON
THEA
TRE/
SCIE
NCE
Th
eatr
e as
a T
ool i
n En
viro
nmen
tal A
ctiv
ism
D
urat
ion:
120
min
utes
ESSE
NTI
AL
QU
ESTI
ON
IN
TEG
RATE
D S
TUD
ENT
OBJ
ECTI
VE
H
ow c
an t
heat
re a
rtis
ts c
omm
unic
ate
the
conc
erns
Th
e st
uden
t w
ill u
nder
stan
d th
at t
he e
lem
ents
of
of e
nvir
onm
enta
l sci
enti
sts?
th
eatr
e, a
s w
ell a
s th
e el
emen
ts o
f na
ture
, pl
ay
a si
gnifi
cant
rol
e in
the
suc
cess
of
a
thea
tric
al p
rodu
ctio
n an
d th
e ha
bita
ts
requ
ired
to
supp
ort
natu
re.
D
escr
ipto
rs
THEA
TRE
SCIE
NCE
St
anda
rds
1.2:
Iden
tify
how
pro
duct
ion
valu
es c
an m
anip
ulat
e m
ood
to
5(e)
: St
uden
ts k
now
tha
t th
e nu
mbe
r an
d ty
pe o
f or
gani
sms
pers
uade
and
dis
sem
inat
e pr
opag
anda
; 5.
1: U
se t
heat
rica
l an
eco
syst
em c
an s
uppo
rt d
epen
d on
the
res
ourc
es a
vaila
ble
skill
s to
com
mun
icat
e co
ncep
ts o
r id
eas
from
oth
er c
urri
culu
m
and
on a
biot
ic f
acto
rs,
such
as
quan
titi
es o
f lig
ht a
nd w
ater
, a
area
s, s
uch
as a
dem
onst
rati
on in
his
tory
/soc
ial s
cien
ce o
f ho
w
rang
e of
tem
pera
ture
s, a
nd s
oil c
ompo
siti
on.
persuasio
n a
nd p
ropaganda a
re u
sed in a
dvertis
ing.
Stu
dent
Obj
ecti
ves
The
stud
ent
will
und
erst
and
that
the
ele
men
ts o
f th
eatr
e Th
e st
uden
t w
ill u
nder
stan
d th
at h
ealt
hy h
abit
ats
need
to
be
(lig
ht,
soun
d, b
lock
ing,
act
ing
tech
niqu
es)
can
man
ipul
ate
mai
ntai
ned
by p
rote
ctin
g in
dige
nous
org
anis
ms.
mood a
nd o
pin
ion.
Assessm
ent
Rubric
Rubric
KEY
KNO
WLE
DGE
Prio
r K
now
ledge
1. An u
nderstandin
g o
f s
ettin
g a
s t
he e
nvir
onm
ent o
f a
scene
1. A b
asic
understandin
g o
f t
he r
ela
tio
nship
am
ong o
rganis
ms
or p
lay
and a
bio
tic
ele
ments in a
n e
stuaria
l w
etla
nds h
abit
at
2.
Und
erst
andi
ng o
f co
nflic
t as
res
ulti
ng f
rom
opp
osin
g
2.
A ba
sic
unde
rsta
ndin
g of
the
eco
logi
cal h
isto
ry o
f th
e
objectiv
es a
nd m
otiv
atio
ns
Ballona W
etla
nds
3.
A ba
sic
unde
rsta
ndin
g of
the
fac
tion
s in
volv
ed in
the
con
flic
t
over t
he B
allona W
etla
nds (
or o
ther local w
etla
nd h
abit
at)
N
ew C
once
pts
Thea
tre
as a
too
l for
pol
itic
al a
ctiv
ism
Re
lati
onsh
ip a
mon
g sc
ienc
e, p
olit
ics,
and
the
atre
art
s
New
Voc
abul
ary
Acti
vism
, pr
opag
anda
, m
ood,
man
ipul
atio
n Ab
ioti
c, a
cidi
ty,
alka
linit
y, h
erbi
vore
, ca
rniv
ore
SK
ILLS
P
rere
quis
ite
Skill
s H
ow t
o us
e th
e to
ols
of t
he a
ctor
to
repr
esen
t ch
arac
ters
, In
tern
et r
esea
rch
hum
an a
nd a
nim
al
N
ew S
kills
Ab
ility
to
dete
ct a
nd c
ontr
ol m
ood
and
mes
sage
wit
h di
ffer
ent
To
com
mun
icat
e, a
s an
eco
logi
cal s
cien
tist
or
acti
vist
, yo
ur
choi
ces
in h
ow t
he e
lem
ents
of
thea
tre
(sou
nd,
light
, bl
ocki
ng,
co
ncer
ns t
o a
thea
tre
arti
st
and a
ctin
g) a
re u
sed
98
Grade 6 Lessons
M
ATER
IALS
/RES
OU
RCES
For
pre-
less
on b
ackg
roun
d, v
ario
us w
ebsi
tes
can
be c
onsu
lted
, su
ch a
s w
ww
.bal
lona
frie
nds.
org;
ww
w.t
ongv
a.co
m;
reco
rdin
gs o
f th
e so
unds
of
an
estu
aria
l wet
land
s en
viro
nmen
t; p
ictu
res
of d
iffe
rent
wet
land
s an
d se
vera
l of
estu
aria
l wet
land
s
PH
ASE
LE
SSO
N
Ope
ning
1
. Fo
rmin
g a
circ
le:
Stud
ents
ent
er t
o th
e so
unds
of
a w
etla
nds
habi
tat
(if
avai
labl
e).
Enco
urag
e st
uden
ts t
o ph
ysic
aliz
e an
yG
athe
ring
/War
m-u
p
responses a
s t
hey e
nter a
nd m
ake a
cir
cle
.
(1
0 m
inut
es)
2.
Wet
land
s So
unds
cape
: H
ave
a qu
ick
revi
ew o
f th
e el
emen
ts o
f an
est
uari
al w
etla
nds
habi
tat:
oce
an,
rive
r, b
irds
of
seve
ral
kind
s, r
ain
(in
win
ter)
, et
c. A
ssig
n ea
ch s
tude
nt a
sou
nd t
o m
ake,
and
the
n, o
n th
e le
ader
’s s
igna
l, a
ll m
ake
thei
r so
unds
to
geth
er t
o cr
eate
the
env
iron
men
t. P
oint
out
tha
t so
me
soun
ds w
ill b
e co
ntin
uous
(e.
g.,
the
ocea
n) a
nd s
ome
inte
rmit
tent
(e
.g.,
the
bir
ds).
Re
view
ing/
3
. Co
ver
the
new
the
ater
voc
abul
ary:
act
ivis
m,
prop
agan
da,
moo
d, m
anip
ulat
ion
Pr
evie
win
g 4
. Re
view
impo
rtan
t vo
cabu
lary
of
ecol
ogy:
eco
syst
em,
habi
tat,
nic
he,
inte
rdep
ende
nce
Vo
cabu
lary
5
. D
iscu
ssio
n. C
an t
heat
re in
flue
nce
our
opin
ions
? D
iscu
ss a
dver
tisi
ng.
Wha
t m
akes
an
effe
ctiv
e ad
vert
isem
ent?
Can
the
ater
(1
0 m
inut
es)
tech
niqu
es b
e ap
plie
d to
aff
ect
peop
le’s
opi
nion
s ab
out
mor
e im
port
ant
mat
ters
, lik
e th
e he
alth
of
our
plan
et?
Exp
lori
ng/C
reat
ing
6.
Gro
ups
of F
ive:
Cir
cle
Map
s. E
ach
grou
p is
giv
en a
larg
e sh
eet
of b
utch
er p
aper
. In
the
mid
dle
of e
ach
shee
t of
pap
er is
a
Expl
orin
g
la
rge
circ
le w
ith
one
of t
he p
olit
ical
fac
tion
s in
volv
ed in
the
str
uggl
e ov
er B
allo
na:
1) t
he r
eal-
esta
te d
evel
oper
s an
d co
rpor
ate
(3
0 m
inut
es)
inte
rest
s; 2
) th
e ac
tivi
st g
roup
s “F
rien
ds o
f Ba
llona
Wet
land
s”;
3) t
he e
colo
gica
l sci
enti
sts
(Gro
ups
2 an
d 3
mig
ht b
e
co
mbi
ned)
; 4)
the
oce
an a
nd r
iver
s; 5
) th
e bi
rds,
fish
and
pla
nts;
6)
ordi
nary
cit
izen
s w
ho w
ant
jobs
and
hom
es;
7) T
ongv
a
Nat
ive
Amer
ican
s (o
rigi
nal i
nhab
itan
ts o
f Ba
llona
); 8
) th
e po
litic
ians
. (N
ote:
Gro
ups
may
pre
pare
ahe
ad b
y do
ing
part
icul
ar
research o
n t
he interests o
f o
ne g
roup.)
Nic
he N
eeds
and
Rel
atio
nshi
ps:
In n
ew b
ubbl
es,
stud
ents
wri
te in
the
nee
ds a
nd/o
r de
sire
s of
the
ir p
arti
cula
r fa
ctio
n. D
raw
lin
es c
onne
ctin
g th
e ce
nter
bub
ble
to t
he o
ther
bub
bles
. If
tw
o ou
ter
bubb
les
conn
ect
in s
ome
way
, dr
aw a
line
con
nect
ing
them
.
Impr
ovis
ing/
7
. De
posi
tion
s. S
till
in t
he s
ame
grou
ps o
f fiv
e, s
tude
nts
conf
er a
mon
g ea
ch o
ther
abo
ut t
he m
erit
s of
the
ir p
arti
cula
r ca
se.
If ne
eded
,
Inve
ntin
g (S
tory
)
on
e pe
rson
in t
he g
roup
can
pla
y th
e at
torn
ey w
ho e
licit
s pl
eas a
nd c
ompl
aint
s fr
om t
he o
ther
mem
bers
of
the
grou
p,w
ho,
in r
ole,
(3
0 m
inut
es)
arti
cula
te t
heir
obj
ecti
ves
and
mot
ivat
ions
. En
cour
age
stud
ents
to
use
thei
r ac
tor’
s to
ols
to c
reat
e an
d m
aint
ain
a de
finit
e ch
arac
ter.
8.
Moc
k Tr
ial o
r H
earin
g. W
ith
the
lead
er in
rol
e as
Jud
ge, m
embe
rs fr
om t
he d
iffer
ent
fact
ions
tak
e th
e st
and
and
plea
d th
eir
case
s. T
he
mor
e ac
tual
res
earc
h th
at t
he s
tude
nts
have
don
e th
at g
ets
into
the
ir te
stim
ony,
the
bet
ter.
For
exam
ple,
the
Lea
st T
erne
, a w
etla
nds
bird
, mig
ht s
ay, “
The
only
pla
ce I
can
land
to
lay
my
eggs
is e
stua
rial w
etla
nds.
Gol
f cou
rses
and
par
ks d
on’t
hav
e th
e na
tive
gra
sses
tha
t
I n
eed
to s
urvi
ve.”
Or,
from
the
Pic
klew
eed,
a n
ativ
e Ba
llona
Wet
land
s pl
ant:
“Si
nce
my
root
s ha
ve b
een
cut
off f
rom
the
oce
an, I
ca
n’t
get
the
salt
tha
t I n
eed
to t
hriv
e an
d th
en c
ry o
ut o
f my
stal
ks t
o nu
rtur
e m
y ho
me.
I ha
ven’
t be
en a
ble
to c
ry fo
r th
e lo
nges
t ti
me,
an
d I’m
just
an
emot
iona
l wre
ck!”
The
Dev
elop
ers:
“Th
e Lo
s Ang
eles
are
a ne
eds
mor
e ho
mes
and
bus
ines
ses
to a
ccom
mod
ate
its
grow
ing
popu
lati
on a
nd c
ompe
te in
a g
loba
l eco
nom
y! B
esid
es, t
his
wet
land
s ar
ea is
just
a w
aste
land
; it’
s us
eles
s!”
The
Acti
vist
s/Sc
ient
ists
:
“W
etla
nds
habi
tats
sup
port
30
perc
ent
of a
ll or
gani
sms
on o
ur p
lane
t! M
any
of t
hese
org
anis
ms
are
links
in k
ey e
colo
gica
l sys
tem
s th
at
ulti
mat
ely
affe
ct t
he h
ealt
h of
the
ear
th a
nd it
s in
habi
tant
s. T
he w
etla
nds
are
beau
tifu
l, na
tura
l pla
ces
that
mus
t be
res
tore
d, p
rote
cted
an
d pa
ssed
on
to o
ur d
esce
nden
ts.”
The
Ton
gva
Nati
ve-A
mer
ican
s: “
Our
anc
esto
rs li
ved,
wor
ked
and
pray
ed o
n th
is la
nd fo
r th
ousa
nds
of
year
s. It
mus
t be
pre
serv
ed t
o ho
nor
the
hum
an h
isto
ry o
f thi
s reg
ion.
”
Th
e Le
ader
/Jud
ge m
aint
ains
con
trol
of t
he c
ourt
at
all t
imes
, dis
cour
agin
g cr
oss-
talk
bet
wee
n fa
ctio
ns. H
owev
er, f
or d
ram
atic
eff
ect,
a
Deve
lope
r’s t
esti
mon
y m
ight
be
inte
rrup
ted
by t
he p
lain
tive
cry
of a
bird
or
mou
rnfu
l sus
urru
s of
the
sta
rvin
g pl
ants
.
99
Grade 6 Lessons
Sha
ring
/Refl
ecti
ng
9.
Man
ipul
atin
g th
e El
emen
ts o
f The
atre
: Sel
ecti
on o
f Con
tent
and
Cho
ices
in F
orm
Pl
aym
akin
g
•
Rem
indi
ng t
he s
tude
nts
that
the
ir p
urpo
se n
ow a
s th
eate
r ar
tist
s is
to
crea
te a
pla
y t
hat w
ill persuade o
pin
ion in t
he
(3
0 m
inut
es)
En
viro
nmen
talis
ts’
favo
r, c
ull t
he c
hoic
est
argu
men
ts a
nd li
nes
from
the
impr
ovis
atio
n ab
ove
(a d
igit
al v
ideo
mig
ht b
e us
ed
to r
ecord t
hese).
• Ar
rang
e th
ese
stra
tegi
call
y to
cre
ate
a ki
nd o
f sc
ript
. (T
he d
egre
e of
act
ual d
ocum
enta
tion
of
this
“sc
ript
” w
ould
be
up t
o
the c
lassroom
teacher/le
ader.
)
• M
anip
ulat
e th
e or
der
of e
vent
s, a
nd u
se o
ther
plo
t de
vice
s to
ang
le t
he c
onflic
t to
fav
or t
he e
colo
gist
s
•
Incl
ude
elem
ents
of
soun
d an
d lig
ht,
if a
vaila
ble,
to
inte
nsif
y m
ood.
• Re
hear
se
•
Perf
orm
•
Vide
otap
e th
e pl
ay.
Refle
ctin
g/As
sess
ing
(1
0 m
inut
es)
10.
View
Vid
eo.
Dis
cuss
. D
oes
the
play
do
the
job
of p
ersu
adin
g vi
ewer
s to
sid
e w
ith
the
Envi
ronm
enta
lists
? If
not
, w
hat
can
be
ch
ange
d to
mak
e th
is h
appe
n, o
r w
hat
can
be d
one
to m
ake
it e
ven
mor
e pe
rsua
sive
? Ar
e th
e D
evel
oper
s’ in
tere
sts
repr
esen
ted
so u
nflat
teri
ngly
as
to d
emon
ize
them
? If
so,
is t
his
in t
he b
est
inte
rest
s of
the
Env
iron
men
talis
ts?
Dis
cuss
the
nee
d fo
r m
utua
l coo
pera
tion
bet
wee
n co
rpor
atio
ns a
nd e
colo
gist
s to
mak
e pr
ogre
ss in
pre
serv
atio
n.
Co
nnec
tion
s Po
litic
al s
cien
ce,
soci
al a
ctiv
ism
Ex
tens
ions
Fi
eld
trip
to
Ballo
na W
etla
nds
thro
ugh
“Fri
ends
of
Ballo
na W
etla
nds”
org
aniz
atio
n
D
iffe
rent
iati
on
(CRR
E) N
ativ
e Am
eric
an h
isto
ry (
SP E
D)
(EL)
Tot
al P
hysi
cal R
espo
nse
100
Grade 6 Lessons
G
RAD
E 6
CON
TEN
T IN
TEG
RATI
ON
TI
TLE
OF
LESS
ON
VISU
AL
ART
S/EN
GLI
SH L
AN
GU
AG
E A
RTS
CULT
URA
L A
RTIF
ACT
S
ES
SEN
TIA
L Q
UES
TIO
N
INTE
GRA
TED
STU
DEN
T O
BJEC
TIVE
How
doe
s a
wor
k of
art
rev
eal c
hara
cter
isti
cs
Stud
ents
will
be
able
to
com
pare
and
con
tras
t
ab
out
a cu
ltur
e?
wor
ks f
rom
var
ious
per
iods
and
cul
ture
s th
roug
h
th
e ef
fect
ive
use
of id
enti
ficat
ion.
D
escr
ipto
rs
VISU
AL
ART
S LA
NG
UA
GE
ART
S
Stan
dard
s 3.
3 Co
mpa
re,
in o
ral o
r w
ritt
en f
orm
, re
pres
enta
tive
imag
es/
1.2
Crea
te m
ulti
ple-
para
grap
h ex
posi
tory
com
posi
tion
s:
de
sign
s fr
om a
t le
ast
two
sele
cted
cul
ture
s.
a.
En
gage
the
inte
rest
of
the
read
er a
nd s
tate
a c
lear
pur
pose
.
b.
D
evel
op t
he t
opic
wit
h su
ppor
ting
det
ails
and
pre
cise
ve
rbs,
nou
ns a
nd a
djec
tive
s to
pai
nt a
vis
ual i
mag
e in
the m
ind o
f t
he r
eader.
c.
Conc
lude
wit
h a
deta
iled
sum
mar
y lin
ked
to t
he p
urpo
se
of t
he c
om
posit
ion.
Stu
dent
Obj
ecti
ves
Stud
ent
will
be
able
to
com
pare
imag
es f
rom
tw
o cu
ltur
es a
nd
Stud
ents
will
be
able
to
wri
te a
mul
ti-p
arag
raph
com
posi
tion
ex
plai
n ho
w t
he a
rt r
evea
ls t
he c
hara
cter
isti
cs f
rom
the
soc
iety
th
at e
ffec
tive
ly a
nsw
ers
the
esse
ntia
l que
stio
n.
in
whic
h it w
as c
reated.
As
sess
men
t
Did
the
stu
dent
s su
cces
sful
ly c
ompa
re im
ages
fro
m t
wo
Did
the
stud
ents
suc
cess
fully
wri
te a
mul
ti-p
arag
raph
exp
osit
ory
sele
cted d
iffe
rent c
ult
ures in o
ral and w
rit
ten f
orm
?
com
posit
ion c
om
parin
g t
wo m
asks f
rom
dif
ferent c
ult
ures?
KEY
KNO
WLE
DGE
Prio
r Kn
owle
dge
Elem
ents
of
art
(lin
e, c
olor
, sh
ape,
spa
ce,
text
ure,
val
ue),
med
ia
How
to
use
orga
niza
tion
al t
ools
(Ve
nn D
iagr
am)
in p
re-w
riti
ng.
N
ew C
once
pts
Art
obje
cts/
imag
es r
evea
l the
ir c
ultu
re t
hat
prod
uces
the
m
Acad
emic
lang
uage
str
engt
hens
com
pare
-and
-con
tras
t es
says
.
Ea
ch c
ultu
re h
as d
isti
ncti
ve c
hara
cter
isti
cs
In m
y op
inio
n…
Ther
e is
evi
denc
e of
…
New
Voc
abul
ary
Prin
cipl
es o
f ar
t (b
alan
ce,
repe
titi
on,
rhyt
hm,
prop
orti
on,
Evid
ence
, pr
edic
t, p
ersp
ecti
ve,
infe
rred
, su
mm
ariz
e
va
riet
y, e
mph
asis
, ha
rmon
y, u
nity
) ch
arac
teri
stic
s
SK
ILLS
Pre
requ
isit
e Sk
ills
Com
pare
/con
tras
t, c
onto
ur d
raw
ing
Para
grap
h fo
rm/
Venn
Dia
gram
N
ew S
kills
Lo
okin
g fo
r m
eani
ng
Id
enti
fy c
ultu
ral c
hara
cter
isti
cs
Wri
ting
exh
ibit
s st
uden
t’s
awar
enes
s of
aud
ienc
e an
d pu
rpos
e
MAT
ERIA
LS/R
ESO
URC
ESSl
ides
/tex
tboo
ks/t
rans
pare
ncie
s of
imag
es f
rom
tw
o cu
ltur
es,
jour
nals
, ar
t w
ord
bank
, Ve
nn d
iagr
am,
mar
kers
101
PH
ASE
LE
SSO
N St
uden
t En
gage
men
t 1
. Te
ache
r w
ill d
ispl
ay t
wo
mas
ks f
rom
dif
fere
nt c
ultu
res
and
ask
stud
ents
to
com
pare
/con
tras
t th
em o
rally
. Te
ache
r w
ill r
ecor
d
(10
min
utes
)
st
uden
t re
spon
ses
on a
larg
e cl
ass
bubb
le m
ap.
Teac
her
asks
stu
dent
s:
•
“How
wou
ld y
ou d
escr
ibe
each
mas
k?”
• “W
hat
art
elem
ents
are
the
sam
e?”
(tex
ture
, co
lor,
etc
.)
•
“Wha
t ar
t pr
inci
ples
are
dif
fere
nt?”
(ba
lanc
e, p
atte
rns,
etc
.)
•
“Wha
t do
you
thi
nk t
he m
asks
wer
e us
ed f
or?”
Aest
heti
c Ex
plor
atio
n 2
. St
uden
ts t
hink
-pai
r-sh
are
abou
t th
eir
init
ial o
bser
vati
on a
nd g
o de
eper
by
disc
ussi
ng:
(1
0 m
inut
es)
• W
hat
is c
ultu
re?
• H
ow a
re m
asks
use
d to
day
or in
the
ir o
wn
cult
ure?
D
emon
stra
tion
3
. Te
ache
r de
mon
stra
tes
how
the
col
labo
rati
ve t
eam
s w
ill w
ork
toge
ther
to
crea
te t
heir
ow
n Ve
nn D
iagr
am a
nd v
isua
l im
ages
.
(10
min
utes
) 4
. Te
ache
r dr
aws
a co
ntou
r dr
awin
g of
tw
o m
asks
one
on
each
sid
e of
the
Ven
n D
iagr
am.
5.
Teac
her
dem
onst
rate
s ho
w t
o re
cord
the
sim
ilari
ties
in t
he m
iddl
e of
the
map
and
the
dif
fere
nces
on
eith
er s
ide.
6.
The
grou
p w
ill b
e re
spon
sibl
e to
sha
re o
ut a
t th
e co
nclu
sion
of
the
less
on.
Cre
ativ
e Ex
pres
sion
7
. Ea
ch c
olla
bora
tive
gro
up r
ecei
ves
pict
ures
of
two
mas
ks,
from
dif
fere
nt c
ultu
res
and
a la
rge
shee
t of
but
cher
pap
er.
Stud
ents
will
(3
0 m
inut
es)
draw
larg
e Ve
nn D
iagr
am in
the
mid
dle
of t
he p
aper
.
8. Students w
ill draw
a c
ontour d
raw
ing o
f e
ach m
ask a
t e
ither s
ide.
9.
Stud
ents
will
fill
in t
he t
hink
ing
map
wit
h ob
serv
atio
ns t
hey
have
mad
e an
d w
ith
the
use
of a
rt w
ord
bank
.
10
. G
roup
s ta
ke t
urns
sha
ring
the
ir fi
ndin
gs w
ith
the
clas
s us
ing
acad
emic
lang
uage
dur
ing
the
pres
enta
tion
.
Reflec
tion
(3
0 m
inut
es)
Wri
te a
mul
ti-p
arag
raph
usi
ng a
var
iety
of
effe
ctiv
e an
d co
here
nt o
rgan
izat
iona
l pat
tern
s, in
clud
ing
com
pari
son
and
cont
rast
,
o
rder
of
impo
rtan
ce,
and
clim
atic
ord
er in
res
pons
e to
the
ess
enti
al q
uest
ion:
How
doe
s a
wor
k of
art
rev
eal c
hara
cter
isti
cs
a
bout a
cult
ure?
Co
nnec
tion
s W
hat
are
arti
fact
s fr
om o
ur c
ultu
re?
Ex
tens
ions
Co
ntin
ue e
xplo
rati
on o
f a
cult
ure
thro
ugh
its
wri
ting
s, a
rtw
ork,
his
tori
c fig
ures
, et
c.
D
iffe
rent
iati
on
Colla
bora
tive
gro
ups/
disp
lay
clas
sroo
m t
hink
ing
map
Grade 6 Lessons
102
Exam
ple:
Wor
d Ba
nkBala
nce
Cere
mon
yCo
lor
Cult
ure
Emot
ion
Expr
essi
onFa
cial
Fea
ture
Foca
l Poi
ntLi
neM
ater
ials
Pattern
Shape
Space
Sym
bol
Text
ure
Exam
ple
of A
ssig
nmen
t
Grade 6 Lessons
103
ReferencesAuthentic Connections: Interdisciplinary Work in the Arts. Consortium of National Arts Educa-tion Association (NAEA), 2002. http://www.naea-reston.org/
Arts Education: Art in the City School as Studio Integrating the Arts Applying Standards to the Arts. Kappa Delta Pi Record. 39, no.1 (Fall 2002).
Beane, James. Creating an Integrative Curriculum: Making the Connections. NASSP Bulletin: Curriculum Theory and Practice (November 1992): 46-54.
Bissinger, Kristen and Renfro, Nancy. Leap into Learning! Teaching K-7 Curriculum Through Cre-ative Dramatics and Dance. Austin, TX: Nancy Renfro Studios, 1990.
Critical Links: Learning in the Arts and Student Academic and Social Development. Edited by Richard J. Deasy. Washington DC: Arts Education Partnership, 2002.
DuFour, Richard. What is a ‘Professional Learning Community’? Educational Leadership 61, no.8 (May 2004): 6-11.
Erickson, Karen L. Integrated Units in a Dramatic Framework. Evanston, IL: Creative Directions, 1995.
Jacobs, Heidi Hayes. Interdisciplinary Curriculum: Design and Implementation. Alexandria, VA: Association for Supervision and Curriculum Development, 1989.
Manitone, Roberta D. and Sabine Smead. Weaving Through Words: Using the Arts to Teach Reading Comprehension Strategies. Newark, NJ: International Reading Association: 2003.
Stephens, Pamela and Walkup, Nancy. Bridging: “Curriculum Through Art, Interdisciplinary Connections.
Eloquent Evidence: Arts at the Core of Learning. http://www.nasaa-arts.org.
Arts Integration Framework, Research & Practice, A Literature Review. Arts Education Partnership. Washington, DC 2007. www.aep-arts.org.
Art Education January: The Journal of the National Art Education Association.Hawaii Alliance for Arts Education (2006). “An Essential Arts Toolkit.” http://hawaiiartsalliance.org/teaching_arts/arts_toolkit/arts_toolkit.html
California Department of Education (2004). Visual and Performing Arts Framework for Califor-nia Public Schools.
Hawaii Alliance for Arts Education (2006). An Essential Arts Toolkit. Retrieved September 3, 2008 from http://hawaiiartsalliance.org/teaching_arts/arts_toolkit/arts_toolkit.html
104
Glossary of Selected Termsacting - t. The process by which a person uses the entire of self-body, mind, voice, and emotions-to
interpret and perform the role of an imagined or assumed character.
actor-t. A person, male or female, who performs a role in a play or other entertainment.
actor’s position-t. The orientation of the actor to the audience (e.g., full back, full front, right profile, left profile).
additive-v. Refers to the process of joining parts together to create a sculpture.
background-v. The part of the picture plane that seems to be farthest from the viewer.
beat-m. A unit of measure of rhythmic time.
character-t. The personality or part an actor re-creates.
choreography-d. The art of composing dances, including shaping movement, structuring phrases, and revising and refining dances.
collage-v. An artistic composition made of various materials (e.g., paper, cloth, wood) and glued onto a surface.
composition-m. The creation of original music by organizing sound. It is usually written for others to perform.
conflict-t. The opposition of persons or forces giving rise to dramatic action in a play.
contour drawing-v. The drawing of an object as though the drawing tool were moving along the edges and ridges of the form.
counterbalance-d. A weight that balances another weight. The term usually refers to one or more dancers combining their weight in stillness or in motion to achieve an independent movement or design. A
limb moving in one direction must be given a counterweight.
creative movement-d. Dance based on improvisation; the free exploration of movement, usually stimulated by an emotional or narrative theme (e.g., anger, war) or the exploration of an element of movement-time, force, or space (e.g., finding ways of moving on various levels or with varying amounts or qualities of force or energy).
dance-d. (1) A unified work similar to a poem, a piece of music, a play, or a painting. Its structure has a beginning, middle, and end unified by a purpose or set of movement themes into a recognized form. Often, it is rhythmic or is accompanied by music. (2) The field of study including the functions of dance in society past and present, methods of choreography and performance, kinesiology, dance therapy, dance education, dance medicine, and other related studies.
dynamics-m. Varying degrees of volume in the performance of music.
elements of art-v. Sensory components used to create works of art: line, color, shape or form, texture, value, and space.
elements of dance-d. Sensory components used to create and talk about dance: force, space, and time. (See the individual entries in this glossary.)
elements of music-m. Form, harmony, melody, and rhythm as well as the expressive elements of dynamics, tempo, and timbre (tone color).
elements of theatre-t. The individual components used to create and talk about works of theatre: character, dialogue, music, plot, and theme.
force or energy-d. This element is characterized by the release of potential energy into kinetic energy. It utilizes body weight, reveals the effects of gravity on the body, is projected into space, and affects emotional and spatial relationships and intentions. The most recognized qualities of movement (i.e., ways in which to release energy) are sustained, percussive, suspended, swinging, and collapsing.
foreground-v. Part of a two-dimensional artwork appearing to be nearer to the viewer or in the front. The middle ground and the background are the parts of the picture that appear to be farther and farthest
away.
form-d. The organization or plan for patterning movement; the overall structural organization of a dance or music composition (e.g., AB, ABA call and response, rondo, theme and variation, canon, and the interrelationships of movement within the overall structure).
form-m. The organization and structure of a composition and the interrelationships of musical events within the overall structure.
form-v. A three-dimensional volume or the illusion of three dimensions (related to shape, which is two-dimensional); the particular characteristics of the visual elements of a work of art (as distinguished from its subject matter or content).
105
genre-d. A class or category of artistic endeavor having a particular form, content, or technique (e.g., ballet, modern, tap, jazz, Indonesian, East Indian, Bugaku). Each kind of dance is characterized by a recognizable technique, system, vocabulary of movement, composition, form, and way of performing.
genre-m. A type or kind of musical work, such as opera, jazz, mariachi.
genre-t. A category of plays characterized by a particular style, form, and content (e.g., tragedy, comedy, tragicomedy, melodrama, farce). In electronic media, genre refers to categories of films, videos, and other media that share narrative and stylistic characteristics, such as the Western or gangster film and slapstick comedy.
geometric-v. Refers to shapes with uniformly straight or curved edges or surfaces.
gesture-t. An expressive movement of the body or limbs.
improvisation-d. Movement created spontaneously, ranging from free-form to highly structured, always including an impromptu element of chance.
improvisation-m. Spontaneous creation of music.
improvisation-t. A spontaneous style in which scenes are created without advance rehearsing or scripting.
informal theatre-t. A performance focusing on small presentations, such as one taking place in a classroom. Usually, it is not intended for public viewing.
linear perspective-v. A graphic system used by artists to create the illusion of depth and volume on a flat surface. The lines of buildings and other objects in a picture are slanted, making them appear to extend back into space.
locomotor-d. Movement progressing through space from one spot to another. Basic locomotor movements include walking, running, galloping, jumping, hopping, skipping, sliding, leaping.
medium-v. A material used to create an artwork.
melodic and rhythmic form-m. The organization and structure of a composition and the interrelationships of musical events within the overall structure.
melody-m. An organized sequence of single notes.
middle ground-v. The area in a two-dimensional work of art between the foreground and the background.
mood-v. The state of mind or feeling communicated in a work of art, frequently through color.
motivation-t. A character’s reason for his or her actions or words in a play, film, television program, or video.
movement-v. The principle of design dealing with the creation of actions. It is a way, implied or actual, of causing the eye of the viewer to travel within and across the boundary of a work of art.
movement problem-d. A specific focus or task that serves as a point of departure for exploring and composing, usually with particular criteria.
narrative-t. Sensory development that has a beginning, middle, and end.
negative-v. Refers to the shape or space that exists or represents an area unoccupied by an object.
notation-m. Written music indicating pitch and rhythm for performance.
one-point perspective-v. A means of illustrating three-dimensional objects on a two-dimensional surface. Lines appear to go away from the viewer and meet at a single point, known as the vanishing point, on the horizon.
organic-v. Refers to shapes or forms with irregular edges or to surfaces or objects resembling things in nature.
pantomime-t. Acting without words through facial expression, gesture, and movement.
pattern-v. Lines, shapes, and colors repeated in a variety of predictable combinations.
perspective-v. A system for representing on a two-dimensional surface three-dimensional objects viewed in spatial recession.
pitch-m. The location of a note as to whether it is high or low.
plot-t. That which happens in a story: the beginning, which involves the setting, the characters, and the problem they are facing; the middle, which tells how the characters work to solve the problem; and the ending, in which the problem is resolved.
primary colors-v. The painting pigments of red, yellow, and blue. From those pigments all paint colors are created. Magenta, cyan, and yellow are primary hues to create all other hues used in printing and new media.
rhythm-d. The organization or pattern of pulses or beats, metered or unmetered, involving music or sounds made by the human body; the dance pattern produced by the emphasis and duration of notes in music.
106
rhythm-m. The combination of long and short, even or uneven sounds that convey a sense of movement in time.
sculpture-v. A three-dimensional work of art, either in the round (to be viewed from all sides) or in bas-relief (low relief, in which figures protrude slightly from the background).
secondary colors-v. Colors that are mixtures of two primary hues: orange, made from red and yellow; green, made from yellow and blue: and violet, made from blue and red.
sequence-d. The order in which series of movements and shapes occurs.
setting-t. The locale of the action of a play.
shape-d. The positioning of the body in space: curved, straight, angular, twisted, symmetrical or asymmetrical.
shape-v. A two-dimensional area or plane that may be open or closed, free form or geometric, found in nature or made by humans.
space-d. The immediate, spherical space surrounding the body in all directions. Use of space includes shape, direction, path, range, and level of movement. Space is also the location of a performed dance.
space-v. The emptiness or area between, around, above, below, or within objects. Shapes and forms are defined by the space around and within them.
spatial-d. Of or relating to space or existing in space.
still life-v. An arrangement or a work of art showing a collection of inanimate objects.
subtractive-v. Refers to a sculpting method in which the original material is removed (the opposite of additive).
tableau-t. A silent, motionless depiction of a scene created by actors, often from a picture. The plural is tableaux.
tempo-m. The pace at which music moves according to the speed of the underlying beat.
theatre-t. (1) The imitation or representation of life performed for other people; the performance of dramatic literature; drama; the milieu of actors, technicians, and playwrights; the place where dramatic performances take place. (2) Art that is focused on the audience and includes such activities as acting, directing, designing, managing, and performing other technical tasks leading to formal or informal presentations.
theatrical conventions-t. The established techniques, practices, and devices unique to theatrical productions.
theatrical experience-t. Events, activities, and productions associated with theatre, film and video, and electronic media.
theatrical games-t. Noncompetitive games designed to develop acting skills. They were popularized by Viola Spolin.
three-dimensional-v. Having height, width, and depth. Also referred to as 3-D.
time-d. An element of dance involving rhythm, phrasing, tempo, accent, and duration. Time can be metered, as in music, or based on body rhythms, such as breath, emotions, and heartbeat.
tone-m. Multiple meanings: a sound of distinct pitch, quality, or duration; a musical note; the quality or character of a sound; the characteristic quality or timbre of a particular instrument or voice.
vanishing point-v. In perspective drawing a point at which receding lines seem to converge. Usually located on the horizon line.
volume-t. the degree of loudness or intensity of a voice.
107
Blank Templates
108
G
RAD
E CO
NTE
NT
INTE
GRA
TIO
N
TITL
E O
F LE
SSO
N
ESSE
NTI
AL
QU
ESTI
ON
IN
TEG
RATE
D S
TUD
ENT
OBJ
ECTI
VE
D
escr
ipto
rs
Art
Dis
cipl
ine
Inte
grat
ed D
isci
plin
e
Stan
dard
s
Stud
ent
Obj
ecti
ves
A
sses
smen
t
KEY
KNO
WLE
DG
E
Pr
ior
Know
ledg
e
New
Con
cept
s
N
ew V
ocab
ular
y
DA
NCE
109
SK
ILLS
P
rere
quis
ite
Skill
s
New
Ski
lls
MAT
ERIA
LS/R
ESO
URC
ES
PH
ASE
LE
SSO
NSt
uden
t En
gage
men
t
(5-1
0 m
inut
es)
Aest
heti
c Ex
plor
atio
n
(10
min
utes
) Cr
eati
ve E
xpre
ssio
n
(30
min
utes
)
Refl
ecti
on
(10
min
utes
)
Conn
ecti
ons
Ex
tens
ions
D
iffe
rent
iati
on
110
G
RAD
E CO
NTE
NT
INTE
GRA
TIO
N
TITL
E O
F LE
SSO
N
ESSE
NTI
AL
QU
ESTI
ON
IN
TEG
RATE
D S
TUD
ENT
OBJ
ECTI
VE
D
escr
ipto
rs
Art
Dis
cipl
ine
Inte
grat
ed D
isci
plin
e
Stan
dard
s
Stud
ent
Obj
ecti
ves
A
sses
smen
t
KEY
KNO
WLE
DG
E
Pr
ior
Know
ledg
e
New
Con
cept
s
N
ew V
ocab
ular
y
MU
SIC
111
SK
ILLS
P
rere
quis
ite
Skill
s
New
Ski
lls
MAT
ERIA
LS/R
ESO
URC
ES
PH
ASE
LE
SSO
N
War
m-u
p (
____
__m
inut
es)
N
ew C
once
pt (
____
__m
inut
es)
Revi
ew/A
pplic
atio
n (
____
__m
inut
es)
A
sses
smen
t (
____
__m
inut
es)
Cl
osin
g (
____
__m
inut
es)
Co
nnec
tion
s
Ex
tens
ions
D
iffe
rent
iati
on
112
G
RAD
E CO
NTE
NT
INTE
GRA
TIO
N
TITL
E O
F LE
SSO
N
ESSE
NTI
AL
QU
ESTI
ON
IN
TEG
RATE
D S
TUD
ENT
OBJ
ECTI
VE
D
escr
ipto
rs
Art
Dis
cipl
ine
Inte
grat
ed D
isci
plin
e
Stan
dard
s
Stud
ent
Obj
ecti
ves
A
sses
smen
t
KEY
KNO
WLE
DG
E
Pr
ior
Know
ledg
e
New
Con
cept
s
N
ew V
ocab
ular
y
THEA
TRE
113
SK
ILLS
P
rere
quis
ite
Skill
s
New
Ski
lls
MAT
ERIA
LS/R
ESO
URC
ES
PH
ASE
LE
SSO
N G
athe
ring
/War
m-u
p (
____
__m
inut
es)
Re
view
ing/
Pr
evie
win
g
Voca
bula
ry (
____
__m
inut
es)
Ex
plor
ing
(__
____
min
utes
)
Impr
ovis
ing/
Inv
enti
ng (
Stor
y) (
____
__m
inut
es)
Pl
aym
akin
g (
____
__m
inut
es)
Refl
ecti
ng/A
sses
sing
(__
____
min
utes
)
Co
nnec
tion
s
Exte
nsio
ns
D
iffe
rent
iati
on
114
G
RAD
E CO
NTE
NT
INTE
GRA
TIO
N
TITL
E O
F LE
SSO
N
ESSE
NTI
AL
QU
ESTI
ON
IN
TEG
RATE
D S
TUD
ENT
OBJ
ECTI
VE
D
escr
ipto
rs
Art
Dis
cipl
ine
Inte
grat
ed D
isci
plin
e
Stan
dard
s
Stud
ent
Obj
ecti
ves
A
sses
smen
t
KEY
KNO
WLE
DG
E
Pr
ior
Know
ledg
e
New
Con
cept
s
N
ew V
ocab
ular
y
VISU
AL
ART
S
115
SK
ILLS
P
rere
quis
ite
Skill
s
New
Ski
lls
MAT
ERIA
LS/R
ESO
URC
ES
PH
ASE
LE
SSO
NSt
uden
t En
gage
men
t
(5-1
0 m
inut
es)
Aest
heti
c Ex
plor
atio
n
(10
min
utes
) Cr
eati
ve E
xpre
ssio
n
(30
min
utes
)
Refl
ecti
on
(10
min
utes
)
Conn
ecti
ons
Ex
tens
ions
D
iffe
rent
iati
on
116
117
118
119
120