the arts in grade 4 - university of hawaiiherring/tool_kit_k_5/section 5. gr. 4 .pdf · the arts in...

Grade 4, 8/03 of 41

© Hawai'i Alliance for Arts Education on behalf of HAWAI‘I ARTS EDUCATION PARTNERS

THE ARTS IN GRADE 4Teachers provide opportunities for fourth grade students to creatively solve problems. Students atthis level begin to understand how work is planned or designed to serve a purpose. Teachers guidestudents through the steps of gathering information, developing ideas and techniques, organizing artelements, refining work based on reflection, and presenting work to others. Fourth grade studentsfocus on the refining stages of the creative process. Although composition tasks are simple, studentsare expected to do more than one draft of a work. Teachers encourage students to revise their workseveral times before sharing. Suggestions for revisions encourage use of a variety of concepts/skills.

Opportunities are provided for students to express their opinions about the effectiveness of works ofart using appropriate arts vocabulary and showing knowledge of skills/techniques. When observingworks from diverse cultures, effective teachers lead students to discover how the arts reflectdifferences and similarities inherent in cultures around the world.

Fourth grade students focus on the “refining” stages of the creative process. Although compositiontasks are simple, students are expected to do more than one “draft” of a work. Teachers encouragestudents to revise their work several times before sharing. Suggestions for revisions encourage useof a variety of concepts/skills.

Fourth grade students share their work regularly during informal classroom presentations. Teachersdemand focus and concentration from performers and audience. Students discuss how well the workmet established criteria and what changes might be made for improvement. Encouraging activediscussion about student work will help students understand how the rehearsal process impactsperformance.

Questioning students is essential to their continued success and the teacher’s ability to plan the nextstep in the learning process. Fourth grade students are expected to respond to performanceassessments that incorporate several concepts/skills as criteria for a task. Students may also answerquestions in a written format to further evaluate learning.

Critical thinking is important in grade four where students make generalizations about patterns,support facts with evidence, and predict outcomes. They practice effective writing skills, which aresupported through effective composition in the arts. Students learn to refine and present their ideas toothers through sensory awareness and experimentation. Work in the arts encourages students tohave awareness of self and respect for others. The arts provide rich opportunities to exploreHawaiian culture, which is a focus of fourth grade.

Sample Arts Exemplars & Resources for Grade 4Books:

Elizabeth Tate. Painting Techniques. Cincinnati, Ohio: North Light Books, 1990.Audio:

Scott Joplin. The Entertainer. Audio CD/Cassette. Madacy Records, 1995.Video:

Merrie Monarch Festival 38th Edition. VHS. KITV 4, 2001.The Miracle Worker. Dir. Arthur Penn. VHS/DVD. MGM/Ua Studios, 1962.Other:

Na Mele: Traditions in Hawaiian Song. Television series. PBS Hawai‘i. <http://www.khet.org>Our Arts, Our Land: A Young Reader’s Guide to Selected Folk Artists of Hawai‘i. Website. <http://www.state.hi.us/sfca/>Teachers are encouraged to take their students to live performances, museums, and galleries.See Resources for a list of Hawai‘i arts and cultural organizations.

Grade 4, 8/03 of 41© Hawai'i Alliance for Arts Education on behalf of HAWAI‘I ARTS EDUCATION PARTNERS

Grade 4 Grade 4 Grade 4Standards and Performance IndicatorsStandards Performance Indicators

The student:1. Selects and combines arts elements, processes, materials, andtechnology to create a simple dance, scene, music composition, or visualartwork.

2. Maintains focus on his/her own role or contribution while performing inensemble or collaborating in visual arts.

3. Remembers and reproduces dances, stories, songs, and images.

4. Uses one art form to enhance his/her work in another art form.

How the Arts areOrganizedElements & Principlesof the Arts

Content Standards:Dance 1, 3, 7Drama/Theatre 2, 3, 7Music 1, 2, 3, 4, 5Visual Arts 3, 6

5. Uses traditional symbols of music notation to record own work.

6. Creates dance and music compositions, scenes, and artworks thatcommunicate abstract ideas, feelings, or poems.

How the ArtsCommunicate

Content Standards:Dance 2, 5, 7Drama/Theatre 1, 4, 6Music 7, 8Visual Arts 1, 2, 5

7. Justifies personal opinions and interpretations of works in dance,theatre, music, and visual arts.

8. Discusses the arts from world cultures including the Hawaiian cultureto discover ideas, beliefs, and events of those cultures.

How the Arts Shapeand Reflect Culture

Content Standards:Dance 4, 6Drama/Theatre 5Music 6Visual Arts 4

9. Describes the significance of the artist in a variety of cultures.

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Grade 4 Grade 4 Grade 4

Sample Assessment Tasks Sample Instructional Strategies

4.1 Dance: Create a simple dance using effectivetransitions. See “Transitions.”

4.1 Music: Create a rhythmic ostinato in ABAform. See “Ostinato.”

Develop students understanding of transitions bylooking at illustrations in Free Fall. See“Transitions.”

Leads students through reading rhythmicpatterns. See “Ostinato.”

4.2 Drama: Work as an ensemble to create ascene from a story or folktale that containsdialogue. See “When We Are A Story.”

Prepare students for this assessment task byreading and analyzing dialogue from stories inliterature. See “When We Are A Story.”

4.3 Visual Arts: Recreate work by a master artistthrough painting and writing by using memoryand recall. See “Seeing Elements.”

Model visual literacy by discussing elements ofdesign found in artworks and showing studentshow to find them. See “Seeing Elements.”

4.4 Drama: Using ideas from a photograph, writea poem, and bring it to life. See “Picture Poetry.”

Review the elements of poetry prior to theassessment task. See “Picture Poetry.”

4.5 Music: Write your own rhythm phrase usingquarter and eighth notes and rests. Create abody percussion pattern to match it. See“Rhythmic Notation.”

Help students to practice notation by using therhythm patterns in poetry. See “RhythmicNotation.”

4.6 Dance: Write an action-filled cinquain usingnouns, verbs, adjectives, and adverbs. Create adance based on your poem. See “Poems thatDance.”

Develop student choreography that usescontrasts, surprise, and smooth transitions. See“Poems that Dance.”

4.7 Visual Arts: Draw a three-dimensional objectin an environment where you might find it, usingforeground, midground, and background. See“Perspective Drawing.”

Show examples of artwork that illustrate distance,depth, and overlapping shapes to explain theconcept of perspective. See “PerspectiveDrawing.”

4.8 Dance: Discuss beliefs and ideas depicted inHolo Mai Pele. See “Volcano.”

Research volcanic eruptions and allow studentsto show their knowledge of volcanic activitythrough movement. See “Volcano.”

4.9 Dance; Research the role of the hula dancerin Hawai‘i. See “Dancer in Hawai‘i.”

Suggest resource materials for students’research. See “Dancer in Hawai‘i.”

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Grade 4 Grade 4 Grade 4Arts Terms (Key Vocabulary)

Dance Drama Music Visual ArtsConcepts(Elements &Principles)

FormTransitionFluencyAbstract &RealisticPoint of ViewPerspectiveEmphasis

FormTransitionFluencyAbstract &Realistic

Emphasis

Conflict &ResolutionNarrationCharacterintention

FormTransitionFluencyAbstract &Realistic

HarmonyVerse andRefrain

Form

Abstract &Realistic

LinearPerspectiveEmphasis

Complementarycolors

Thinking Skills(Responding)

PredictingJustificationCause andEffectEmpathy

Makingconnectionsacross the artforms







Artistic SkillsandTechniques

ExpressivequalitiesRevisionControl

Choreographing



Sing and playwith tone qualityPartner songsAccompanimentComposingSight Reading


Still life drawingSketchingShading


Framework for Linking the Arts to Other Core AreasThis framework identifies concepts in the arts according to the State of Hawai‘i Department ofEducation General Learner Outcomes (GLOs). Teachers are encouraged to connect keyconcepts in the arts with key content in other areas. Examples of possible connections arelisted below.

COMPLEX THINKER (GLO 3: The ability to perform complex thinking and problem solving.)Arts Language Arts

While working in the arts, students gather information,organize elements, develop themes, and predict outcomes.

Predicting outcomes while reading.

Students justify personal opinions and interpretations ofworks in dance, theatre, music, and visual arts by self andothers.

Develop and support ideas; distinguishfacts from opinions; listen critically.

Students select and combine arts elements, processes,materials, and technology to create a simple dance, scene,music composition, or visual artwork.

In speaking: use pitch and rhythmpattern, facial expressions, gestures,and eye contact; use smoothtransitions in writing and speaking; varysentences; parts of speech.

Students use one art form to enhance their work in anotherart form.

EFFECTIVE COMMUNICATOR (GLO 5: The ability to communicate effectively.)Students in the arts reflect on and revise their artwork toachieve clarity and to convey personal style. They are ableto work with abstract concepts to develop and presentideas. Students share their work and give and receiveconstructive feedback.Students create dance and music compositions, scenes,and artworks that communicate abstract ideas, feelings, orpoems.

Revise writing to clarify meaning;produce final drafts; enhance literatureand writing with illustration.

COMMUNITY CONTRIBUTOR (GLO 2: The understanding that it is essential for humanbeings to work together.)Students develop collaborative skills by working in groups inthe arts. Students maintain focus on their own role orcontribution while performing in ensemble or collaborating invisual arts.

HISTORY & CULTUREAs students focus on Hawai‘i, the arts offer opportunities tolearn about the impact of change and the significance of theartists in various world cultures. Students describe thesignificance of the artist in a variety of cultures. Studentsdiscuss the arts from world cultures including the Hawaiianculture to discover ideas, beliefs, and events of thosecultures.

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in Grade 4

Social Studies Math ScienceDraw inferences; seepatterns in data

Seeing patterns and making generalizations aboutpatterns (i.e., 5, 8, 11); predict probability ofoutcomes.

Use inferences and generalizations;predict probability of outcomes;scientific inquiry and analysis.

Support facts withevidence; open-mindedness.

Analysis, conjecture, and logicalarguments about geometric objects.

Validating observations andexplanations.

Direct and inverse variations; volume, mass, angles, areaperimeter, surface area; measurement: choice ofmeasurement tool/issues of precision; range = mean,median, mode; sample size; number systems: primenumbers, factors, multiples, decimals, percents, fractions(addition and subtraction of fractions).

Changes in states of matter(heating/cooling); changes in nature andearth properties due to human activities;ocean, sun; electrical currents; seasons;range = mean, median, mode; sample size.

Graphic representation of data (piecharts, graphs); scale drawing.

Representing data usingmeasurement: decimals, percents andfractions; graphic representation ofdata (pie charts, graphs).

Conflict resolution; eco-systems; landforms;migration.

Ecosystems

Understand impact ofchange in cultures;Hawaiian culture;ahapua’a (landdivision).


Grade 4 Lesson Plan/Sample Assessment Task

Discipline: DanceLesson Title: TransitionsArts Performance Indicator: The student selects and combines arts elements, processes, materialsand technology to create a simple dance, scene, music composition, or visual artwork. (4.1)

Assessment of Student LearningWhen students do the following, they will have achieved the indicator:

1. articulate the meaning of transition;1. identify both smooth and sudden transitions;1. dance their movements with focus and commitment during the transitions;1. choreograph a dance using the words on the 4 index cards.

Traits Level 4 Level 3 Level 2 Level 1Organizationof Dance

Has a clearbeginning, middle,and end. Order ofmovements andtiming of transitionsenhances thedance.

Has a beginning,middle, and end.Order ofmovements islogical and timingof transitions isclear.

Beginning or endingneeds clarification.Order of movementsis apparent but timingof transitions isperformedinconsistently by thegroup.

Lacks a clearbeginning,middle, andend.Movements andtiming oftransitions isunclear.

Transitions Moves smoothlywhether makingquick or gradualtransitions. Slowtransitionalmovement isgradual and clearlydemonstrates arelation to whatpreceded it.

Moves withoutstopping whenmaking transitions.

Keeps moving duringtransitions, but it isunclear if it is a slowor quick transition.

Stops movingduring eachtransition.There is noapparentconnectionbetweenmovements.

Identify andDescribe

Identifies anddescribes quick andgradual transitions inclassmates’performances;suggests ways forimprovement.

Identifies anddescribestransitions inclassmates’performances.

Inconsistentlyidentifies transitionsin dances.

Unable toidentifytransitions inthe dance.

Arts Key Vocabulary:TransitionLocomotor and Nonlocomotor movementsLinks to other core areas: Language ArtsTime: 60 minutes

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Materials/Equipment/Resources:Index cards with relationship words and movement words written on them, one word per card3 sets of different colored index cards:

(1) relationship words (e.g., over/under, around/through, pushing/pulling, near/apart, etc.)(1) nonlocomotor movement words (e.g., melt, explode, stretch, twist, shake, slash, fall, etc.)(1) locomotor movement words (e.g., spin, roll, bounce, creep, fly, scurry, run, skip, etc.)

DrumDavid Wiesner. Free Fall. Scholastic Book Services, 1992.

Instructions to Students:1. Read Free Fall together. Since there are no words in this book, let’s talk about what is happeningon each page. What has changed from the previous page? How has it changed? When somethingchanges from one thing to another (thing, state, form, activity or place), it is called a “transition.” Inthis book, all the transitions are gradual. Can you see that there is always a little bit of the previousthing mixed in with a little bit of what is coming next? Transitions can also be quick, sudden andabrupt. (See other discussion questions in “Reflection with Students.”)2. Let’s explore movement transitions. Try both sudden and gradual transitions between--

Shapes: low/high, open/closed, symmetrical/asymmetrical, etc.Qualities: tight/loose, smooth/sharp, beautiful/ugly, young/old, etc.States: ice/water, cool water/ boiling water, human/alien, etc.

When it is a slow, gradual transition, you should see some of what it is changing from and some of what it ischanging to. You should never stop moving.3. With a partner, explore these relationship shapes and transitions. Whether gradual or quick, thetransitions must be danced; they are just as important as the other movements.

Over/under: Switch places with gradual and quick transitions.Around/through: Switch places with gradual and quick transitions.On/under: Switch places with gradual and quick transitions.Push/pull: change from one to the other with partner

4. Two pairs join to make groups of four. As a group explore the relationship shapes listed in Item 3.5. Each group will receive four index cards: one relationship shape, one nonlocomotor movementand two locomotor movement. Put the four cards in whatever order you want to make your dance.Explore dancing your sequence with smooth, gradual transitions, and with sudden transitions.

6. Decide what kinds of transitions will be used in the sequence--all gradual, all sudden, or acombination. Practice. Share dances with the class.

Reflection with StudentsQuestions to ask students to elicit their thinking about their own work in the arts or about works of artthat they are studying:

Describe Interpret EvaluateWhat do you see as I turn eachpage in Free Fall? What haschanged from the previous page?How has it changed?Tell where you saw smoothtransitions in your classmates’performances.Where did you see quicktransitions? Did you see any placewhere the dancing stopped, i.e., notransition?

During a gradual transition,does there always need tobe a relation to what comesbefore and to what comesafter? Why?Do the transitions affect themood or feeling in thedances you see?

How did looking at this bookhelp you understand“transition?”What suggestions would yougive your classmates to helpmake their transitionssmoother?Which transition do you likebetter – smooth or sudden?Why?


Grade 4 Lesson Plan/Sample Assessment

Discipline: MusicLesson Title: OstinatoArts Performance Indicator:The student selects and combines arts elements, processes, materials, and technology tocreate a simple dance, scene, music composition, or visual artwork. (4.1)The student reads and notates simple melodies and rhythmic patterns using traditional musicnotation. (4.5)

Assessment of Student Learning:When students do the following, they will have successfully achieved the indicator;

1. sight-read and clap rhythmic patterns correctly;2. work cooperatively to create and perform compositions;3. use key vocabulary words when talking about compositions.

Creating/PerformingTraits Level 4 Level 3 Level 2 Level 1

Notation Claps rhythmicpatterns withsteady beat andconfidence.

Claps rhythmicpatterns withsteady beat.

Claps rhythmicpatterns witherrors and looksto others forhelp.

Claps areunclear andinconsistent.

Composition -Patterns inABA form

Uses a widevariety ofpatterns that areinteresting andexciting.

Uses a variety ofpatterns but ispredictable.

Patterns arerepetitious.

Composition hasno evidentpatterns.

Quality ofPerformance

Performance issmooth,enthusiastic, andconfident.

Performs withfew interruptionsbut actions arestiff.

Performance ishesitant andunsure.

Performance isscattered andincomplete.

RespondingDescriptiveInterpretiveEvaluative

Uses all the keyvocabulary.

Uses keyvocabulary.

Describes thecompositionswith incorrectwords.

Is unable todescribe what isheard and seen.

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Arts Key Vocabulary:Body percussionABA formOstinatoRhythmBeatWhole, Half, Quarter, Eighth Notes, and Rests

Links to other core content areas:Math, Science – seeing patterns, graphic representations of data

Time: 45 minutesMaterial/Equipment/Resources:Cards or charts with two measure rhythmic patterns of whole, half, quarter, eighth notes andrests, (see attachment)Instrumental music with strong beat

Exemplars (works of arts to share with students):Stomp Out Loud. Dir. Luke Cresswell, S. McNicholas. VHS/DVD. HBO Studios, 1997.Show sections that are good examples of body percussion.

Instructions to Students:

(Teacher Note: Show cards with rhythm patterns.)Clap these rhythm patterns together, as I point to them. Repeat each pattern several timesas an ostinato. Now clap the patterns to the beat of the instrumental music.

Take one of these rhythm patterns and play it on a percussion instrument.

Break up into groups of three or four students and create your own rhythm patterns of eightbeats. Repeat it at least twice so it becomes an ostinato.

Let’s put our compositions into an ABA form. Find another group and teach each other yourostinato pattern. Put it into correct form and practice it. We’ll share our compositions.

(Teacher Note: Spend another 15 minutes for reflection of combined compositions.)


Reflection with Students:Questions to ask students to elicit their thinking about their own work in the arts or aboutworks of art that they are studying:

Describe Interpret EvaluateWhat kinds of instruments didyou hear?

Did the group play accuratelytogether?

Did the ABA form make thecompositions moreinteresting? How?

Did you like thecompositions?What part? Why? Why not?

Were there any surprises?How would you make it moreinteresting?

Is there anything you wouldchange in the composition?

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OSTINATO PATTERNS



Discipline: Drama/TheatreLesson Title: When We are a StoryArts Performance Indicator:The student focuses on his/her own role or contribution while performing in ensemble or collaboratingin visual arts. (4.2)

Assessment of Student Learning:When students do the following, they will have successfully achieved the indicator :

1. work well together, exchanging ideas and support;1. share the tasks of the group;1. use words and actions freely to express the ideas and events of their scene;1. focus on a character’s purpose in an event or scene.


Dialogue Surprising andimaginativedialogue evolvesnaturally from theobjectives andconflict of thescene orcharacters.

Dialogue clearlyevokes a sense ofthe character andit’s purpose.

A scene containsdialogue but withlittle connection tocharacters,relationships orevents.

A scene’s purposeis unclear due tolack of dialogue.Participants falterwith dialogue, orsay nothing.

Action Dynamic andimaginative actionevolves naturallyfrom theobjectives andconflict of thescene orcharacters.

Character actionneeds to bestronger and moreurgent, with aparticular goal.

A scene containssome action butwith littleconnection tocharacters,relationships orevents.

A scene’s purposeis unclear due tolack of action.

Scene fluency A scene movessmoothly frommoment tomoment withparticipantsexpanding on andexploring ideas.Participants areclearly focused,committed to theemotion, purposeand reason.

The action of ascene containsemotion, purposeand reason in alogical sequence.Participantssustain the scene,but are distractedby the audienceand mistakes.

The action of ascene is clear, butlacks emotion,purpose orreason.Participant focusfades in and out ina scene.Participants areunprepared foreach new event ina sequence.

The action of ascene or image isunclear,unfocused andrushed.Participants areunaware of actionfrom moment tomoment.Participants laugh,mumble or directothers.

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RespondingTraits Level 4 Level 3 Level 2 Level 1

Interpret Comments reflectan engagement indiscussing andunderstandingwhat is seen.

Comments are afocusedexplanation ofwhat is seen.

Comments areguesses, withparticipants shyabout sharing.

Comments areunconnected tothe subject or notshared.

Arts Key Vocabulary:Improvisation, Story, Character, Dialogue, Narrative

Links to other core content areas: Language Arts, Social StudiesTime: 45 minutesMaterials/Equipment/Resources:Drum, sticks, malletsFolk tale

Instructions to Students:

I have a story to share with you. This story is from Hawai‘i, about a time long ago.

(share story)

What did you like about the story? What most caught your attention? What made it Hawaiian?

On my cue, everyone please stand up and make a whole group circle. (cue)

We’re going to experiment with different parts of the story. In just a moment, I’m going to ask you tocreate still images of the characters, actions and events of the story. First, you’ll turn your back tothe inside of the circle. Then, on my cue, you’ll turn and face the inside of the circle, creating a stillimage of whichever character or action I call out. Ready? Everyone, please turn your backs to theinside of the circle.

First, show me (name a character). Turn and freeze. (cue) Hold still. And relax, turning your backsto the inside of the circle again. Now, show me (name another character). Turn and freeze. (cue)That’s good. I see (name of character) in a whole variety of poses, showing (describe what you seethe students doing). And relax, turning around. Now let’s see what it looks like when (name acharacter) is fishing (or paddling a canoe or cooking or fighting or whatever the story suggests). Turnand freeze. (cue) I see different kinds of fishing (or whatever), some poles, some nets, here’ssomeone catching one by hand (fit the descriptions to the students’ actions).

(repeat, focusing on strong actions, verbs, emotions and potential conflicts)

Together we’re going to recount the story I told by outlining the major events/actions. First, who arethe characters of the story? Where did the story take place? What was the main conflict/problem ofthe story? What was the first event of the story? (continue, creating an outline of the story on theboard or chart paper)

Small groups of you will each have one section of the story to explore and eventually act out. Onceyour group has its section, divide the characters (and inanimate objects as necessary) amongyourselves. If you have more people in your group than characters in the story, then imagine who orwhat else you could be that will best help communicate your section of the story.


your group has its section, divide the characters (and inanimate objects as necessary) amongyourselves. If you have more people in your group than characters in the story, then imagine who orwhat else you could be that will best help communicate your section of the story.

First, each group will create two tableaux showing the different parts of your group’s section of thestory. Please discuss with your group what those two frozen pictures might be or show, focusing onthe key actions within your part of the story.

You have about 1-2 minutes to create your first tableau. Remember, a good tableau includes avariety of strong body shapes suggesting clear character action and purpose. And, each should havea variety of levels built into it. Begin.

Before we share our creations for each other, all groups practice one time together. Ready? On mycue, create and hold your tableau. 3, 2, 1 and tableau. (cue) And relax.

Each group will now share their tableau. We’ll share in story order. Group one. 3, 2, 1, and tableau(cue) Now hold your tableau still while the rest of use talk a little about what you’ve done. Groups thatare watching, what do you see in this tableau? (discuss) Who is the main character? (discuss) Whatis happening? (discuss) Okay group one, relax.

Groups that were watching, what was good about this tableau? What didn’t you understand? Howwould you complete this sentence, “I think it would have been better if they had…?” (repeat theprocess and questions for all groups)

Now you have about 1-2 minutes to create your second tableau. Remember what you learned fromthis first round of creating tableau. Begin.

(repeat practice, sharing and reflection)

Second, each group will create narration to accompany the tableaux. Each member of your groupneeds to say one part of the narration. Split yourselves evenly between the two tableau. You don’tneed to worry about writing the words down, just put the narration into your own words. You will dothe tableau, then, from the frozen positions, deliver your narration. (teacher note: if a group has fivemembers and two tableau, then the breakdown might be three students telling the narration for thefirst tableau and two telling the second.)

You have 1-2 minutes to sit with your group and practice what you will each say and when you willsay it. Begin.

Now that you’ve created your narration, you have 1-2 minutes to practice doing your tableaux andsaying the narration. Remember to say your narration from your frozen position. Begin.

Before we share the narration and tableaux, let’s have all groups practice one time together. Firstyou’ll make the tableau, then do the narration. Please hold your tableau until all groups are finished,then we will all go onto tableau number two. Ready? On my cue. 3, 2, 1 and tableau. (cue) Andnarration. (cue) Tableau number two 3, 2, 1 and tableau. (cue) And narration. (cue) And relax.

Each group will now share in story order. Group one. 3, 2, 1, and tableau (cue) and narration.Tableau number two 3, 2, 1 and tableau. (cue) And narration. (cue) And relax.

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Groups that were watching, how did the narration help the tableau? What was easier to understand?What is still hard to understand? What was missing from their section of the story? How would youcomplete this sentence, “I think it would have been better if they had…?” (repeat the process andquestions for all groups)

Who’s heard the word “Improvisation?” What does it sound like it means? (discuss) Improvisation isacting out a story using action and dialogue. Just like with pantomime and tableau we try to make itlook, sound and feel as real as possible.

Third, each group will develop their section of the story into a full dramatization by improvising oracting it out in action and dialogue. Don’t worry about writing the words down. If you have been aninanimate object, such as a door or tree, you also need to add action, dialogue and/or sound. Thinkof the talking trees in The Wizard of Oz or the dishes in Beauty and the Beast.

You have about 1-2 minutes to sit with your group and discuss what your ideas for acting out yoursection of the story. Begin.

Now you have 5-7 minutes to practice your improvisation. Begin. (teacher wander about the room,helping, suggesting, supporting as necessary)

Before we share the improvisations, let’s have all groups practice one time together. Do not stop andtry to correct your scene. If you make any mistakes, just go on. I’ll give you some time to talk about itafterwards. When your group is finished, please sit down so I know you’re done. Ready? On mycue. 3, 2, 1. (cue) And all groups relax.

Each group will now share in story order. Group one. 3, 2, 1. (cue) And relax.

Groups that were watching, what did you see? What did you like most about their scene? What waseasier to understand? What was still missing from their section of the story? How would youcomplete this sentence, “I think it would have been better if they had…?” (repeat the process andquestions for all groups)

Reflection with Students:Questions to ask students to elicit their thinking about their own work in the arts or about works of artthat they are studying:

Describe Interpret EvaluateWhat did you see in other groups’scenes?

What did the other groups do tomake their scene clear?

What was missing from any of thescenes?

Why did the groups select thosewords or actions? How did theactions or words help the scene?

What feeling was each grouptrying to convey? How did theyconvey the feeling?

What was the most interesting orsurprising part of each group’sscene and what made it so?

What did each group do that wassuccessful?

How well did your group worktogether?

What did your group do that youthink was good?



Discipline: Visual ArtsLesson Title: Seeing ElementsArts Performance Indicator:The student remembers and reproduces dances, stories, songs, and images. (4.3)


1. use of observation and recall in writing about an image;2. complete drawings showing techniques of contrast, shading, and color blending.

Traits Level 4 Level 3 Level 2 Level 1Observationand Recall

Finished workincludes detailedwriting andaccurateinterpretation oforiginal image.

Finished workshows basicinterpretation ofimage with somedetails recalled.

Work isunfinished withfew details andwritten words.

The drawingdoes not relateto the writing.

Drawing The drawingshows strongcolor blending,contrast, andshading detail.

The drawingshows clearcolor blending,some contrast,and shading withno details.

The drawingshows somecolor blendingwith no contrastor shading.

The drawingshows weak useof media and isincomplete.

Time: 1 hourArts Key Vocabulary:Observation and recallDrawingSketchContrastShading/Blending

Materials/Equipment/Resources:Drawing paper 8x10, drawing pencil, colored pencils, individual copies of same art image orone large image can be used. Images should be realistic, simple in design, and easy tounderstand. Examples of images to use are:Henri Matisse, The Purple RobeDiego Rivera, The Flower Carrier

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Instructions to Students:(Teacher note: Hand out images to students. Lay the images face down on the desk. Nopeeking.)

Divide your paper with a horizontal line across the bottom third of the paper. Set aside.

Turn over the image on your desk. You will have three minutes to study the details in theimage. Look for elements of design and how the artist organized them.

(Teacher note: At the end of three minutes remove image from viewing.)

Write ten things you remember about the image that describe how the artist organized theelements and used the space. Do this on the bottom third of your paper. You will have 3 to 5minutes.

With recalled information and written words, sketch your version of the image on the top halfof the paper. Drawings should show detail, contrast, and shading, and should fill the entirespace.

Finish your drawing with well-layered and -blended colored pencil. Write the title of originaland the artist's name.



Discipline: Drama/TheatreLesson Title: Picture PoetryArts Performance Indicator: The student selects and combines arts elements, processes,materials, and technology to create a simple dance, scene, music composition, or visualartwork. (4.1)The student uses one art form to enhance his/her work in another art form. (4.4)


1. cooperate as a group;2. use voices and bodies to convey meaning to the poems;3. create a sequence of movements that reflect the poem’s intent.

Traits Level 4 Level 3 Level 2 Level 1Voice Voices

expressivelycommunicate themood, emotion,and purpose ofthe poem using arange of pitchesand sound.

Voices convey asense of mood,emotion, andpurpose.

Voices can beheard but givelittle sense ofmood, emotion, orpurpose.

Voices areinaudible.

Pantomime Dynamic andimaginative actionclearlycommunicates thepurpose of thepoem.

The action has asense of purposeand reason,communicatingthe poem’s centralideas.

Actions are clear,but with littlepurpose orreason. Action ismostly done withthe hands.

Action is unclear,unfocused andrushed.Participants arevisiblyuncomfortablecommunicatingwith their bodies.

Sequence A scene has adefinite beginning,middle, and end,each partsmoothly buildingon the last, risingto a satisfyingconclusion.

A scene has aclear beginning,but moves tooquickly to anunsatisfying end.

A scene has abeginning, butfalls off beforereaching a definiteend to the idea.

A scene is static;there is noforward motion.

Grade 4, 8/03 of 41


Time: 45 minutesArts Key Vocabulary:SceneBodyVoiceSequencePantomime

Materials/Equipment/Resources:Eight pictures that inspire action, dialogue, or the imagination. They may be abstract. Goodresources are art, photography, or sports magazines, or National Geographic and Life.PaperPencil

Instructions to students:Tear your piece of paper into eight pieces. Look at this picture. Write down a word or aphrase that comes to mind when looking at the picture. Now do the same with picturenumber 2. And 3, etc.

Come to the table and place your word or phrase on top of the appropriate picture.

We are going to separate into 8 groups with 3 or 4 students in each group. Each group willreceive a picture and the words the rest of the class has devised to accompany that picture.You have 10 minutes to create a poem. The poem must include all the words from everyonein the class. You may choose to repeat a word or words but you may not eliminate any.Groups will take turns reading their poems aloud. You may choose to read as a chorus, readin parts, or pick one person to read the entire poem, but everyone in your group mustparticipate in the scene somehow. Pantomime shapes and movements with your bodies toaccompany the reading of the poem. Use your voices creatively as you read the poem.

Let’s see the first round of picture poetry.

We are going to switch poems with another group. You have 5 minutes to think of aninventive way to perform the new poem you have received.

(Each group performs its new picture poem.)



Discipline: MusicLesson Title: Rhythmic NotationArts Performance Indicator:The student selects and combines arts elements, processes, materials, and technology tocreate a simple dance, scene, music composition, or visual artwork. (4.1)The student uses traditional symbols of music notation to record own work. (4.5)


1. perform body percussion/speech piece in unison, accurately;2. work together to create a body percussion accompaniment;3. perform and share their works.

Traits Level 4 Level 3 Level 2 Level 1Notation Notation of

poem iscomplete withsymbols usedcorrectly.

Notation ofpoem iscomplete.Symbols areused correctlywith a fewerrors.

Notation isincompletealthough somesymbols areused correctly.

Notation isincomplete.Symbols areused incorrectly.

Composition

Use of BodyPercussionLevels

Varietyof BodyPercussionPatterns

Compositionshows bodypercussionaccompanimentusing all fourlevels in ABform.

Compositionshows a varietyof bodypercussionpatterns that areinteresting andrelate to thepoem.

Compositionshows bodypercussionaccompanimenton four levels inAB form, yet ispredictable.

Compositionshows a varietyof bodypercussionpatterns thatrelate to thepoem but arepredictable.

Compositionshows bodypercussionaccompanimenton several levelsbut does notadhere to ABform.

Compositionshows severalbody percussionpatterns butlacks interestand does notrelate to thepoem.

Compositiondoes not usemore than onelevel and isincomplete.

Composition hasno evidentpatterns,movements donot relate to thepoem, andcomposition isincomplete.

Grade 4, 8/03 of 41


Time: 45 MinutesArts Key Vocabulary:Body percussionAB formRhythmic phraseWhole, half, quarter, eighth notes, and restsAccompaniment

Materials/Equipment/Resources:Jim Solomon. The Body Rondo Book. Memphis Musicraft Publications, 1997. (ISBN 093401728X)Copies of “Pease Porridge Hot”Chart paperRulerColored felt pens

Instructions to students:

Let’s look at this short poem “Pease Porridge Hot.” Let’s say it together, following the rhythmof the words. Now, using quarter notes, eighth notes, and quarter rests, notate the rhythm ofthe rhyme.

Now that we have notated the poem, let’s make-up a body percussion accompaniment.Remember to try and use all 4 levels of your body.

(Teacher will guide the whole class and elicit responses to create a body percussionaccompaniment together, or if time permits, break into 3 to 4 groups, each group creatingtheir own piece. Each group will then share their work and critique positively.)



Discipline: DanceLesson Title: Poems That DanceArts Performance Indicator:The student uses one art form to enhance his/her work in another art form. (4.4)The student creates dance and music compositions, scenes, and artworks that communicateabstract ideas, feelings, or poems. (4.6)

Assessment of Student LearningWhen students do the following, they will have achieved the indicator:1. write a cinquain that follows the format accurately;2. write a cinquain that is full of movement potential;3. explain the four parts of speech accurately;4. work in a group effectively to plan and perform their dances;5. choreograph movement that shows the essence of the words, not necessarily the literal

translation, e.g., abstract motion vs pantomime;6. use choreographic devices (groupings of dancers, transitions, dynamics, contrast, etc.) to

make their dances varied, visually interesting, and surprising;7. perform with confidence and conviction.

Traits Level 4 Level 3 Level 2 Level 1Composition ofPoem

Follows cinquainformat accurately,using words withmovementpotential. Poemexpressesoriginality andhumor.

Follows cinquainformat accurately.Words havemovementpotential.

Words havelimited movementpotential.

Does not followcinquain formataccurately. Thesubject chosen isnot conducive tomovement

Choreography The use ofcontrast,dynamics,surprises, andsmooth transitionsmakes the dancecompelling towatch.

Choreography hasvariety withmovementrepresentative ofthe ideas.

Lacks contrast. Pantomimeswords; everyonedoes the samething; nothingunusual,too literal; choppytransitions.

PerformanceQuality

Dances withdynamics,enthusiasm andconfidence;choreography iswell memorized.Moves throughtransitionssmoothly.

Dances with fewinterruptions in theflow of theperformance.

Dances withabrupt stops andstarts so thatperformance isdisjointed.

Lacks energy--justgoing through themotions.

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Time: 45 minutesArts Key Vocabulary: ContrastChoreography

Materials/Equipment/Resources:Hand drum, chalkboard or chart paper and pens, paper and pencils, examples of cinquainsthat contain action

Instructions to students:We are going to write a cinquain together as a small group. Here is the cinquain format.What are some nouns we could start the poem with?

one nountwo adjectives modifying nounthree ‘ing’ words (verbs)a four word phrase (with action)one final word

Be sure that the words are action-packed. Words like pretty, yellow, and love are hard toshow through movement.

(Teacher note: Make sure the poem does not lend itself to pantomiming. This would bemore like drama than dance.)

Can you identify the nouns, verbs, adjectives, and adverbs in this poem?SurfFoamy, TubularRushing, Enclosing, CrashingSpeeding through the pipelineWipeout!

As I read the poem slowly, make the shapes and motions of the words you hear.

Break into groups of 4 or 5 people. Each group will choreograph motions for the Surfcinquain. The people in your group don't all have to do the same thing. You can connect,you can travel. Keep in mind the concepts we've learned already: beginning, middle, end,contrast, variety, and surprise. You may do the dance in silence, or have someone read thepoem while you dance, or the dancers may speak the poem. You'll have ten minutes to planand practice, and then we'll perform for each other.



Discipline: Visual ArtsLesson Title: Perspective DrawingArts Performance Indicator:The student justifies personal opinions and interpretations of works in dance, theatre, music,and visual arts. (4.7)

Assessment of Student LearningWhen students do the following, they will have successfully achieved the indicator:

1. create a drawing that includes distance and overlapping shapes to show perspective;2. use color washes that show contrast between light and dark areas.


PerspectiveTechniques

Drawing showsoverlappingshapes, depth,and distancewith detail.

Drawing showsoverlappingshapes anddistance withsome detail.

Shapes are thesame size withno sense ofdistance.

Single shapeshows no senseof distance.

Color Contrast Well-plannedcolor, showscontrastbetween lightand dark areas.

Color is wellused overall butlacks contrast oflight and darkareas.

Color is thesame with nocontrast orvariation.

Color is veryminimal withoutreason.

RespondingDescribing Uses key

vocabulary indescribingtechniques used,with detail andimagination.

Uses keyvocabulary todescribe sometechniquesused.

Uses somevocabulary todescribeartwork.

Cannot describeartwork.

Interpret Ideas Interpretsstrengths andweakness inartwork withvocabulary.

Interpretsstrengths andweakness inartwork.

Describes objectbut not meaning.

Cannotunderstandideas in artwork.

Grade 4, 8/03 of 41


Arts Key Vocabulary:Perspective, Overlap, Distance, Color contrastTime: 1 hourMaterials/Equipment/Resources:Images of objects and artifacts, Ebony pencil, eraser, charcoal pencil, 10x16 drawing paper,tempera or watercolor, brushes, water, 12x18 construction paper, glueExemplars:Mary Cassatt, Le thé (Five O'Clock Tea), Oil on canvas, 1880 (Museum of Fine Arts, Boston).Fredrick Childe Hassam, Boston Common at Twilight, Oil on canvas,1885-86 (Museum ofFine Arts, Boston).

Crystal Art Portfolio Prints – Ceramic Prints (CP-6027W) www.crystalproductions.com

(Teacher note: Display images and lead discussion on reflection.)

Instructions to Students:You are going to make drawings using an important object as your center of focus. Thedrawing needs to show perspective through distance (foreground, midground, andbackground) and contrast in color.

Select an image from a collection of images of artifacts. Think about its history. Where did itcome from? Where would you find it? What do the people who use it look like? Does it havea function?(Note to teacher: Dates and names of artifacts should be concealed till end)

Make a detailed drawing that shows your object in a place where you might find it. Use anEbony pencil to lightly sketch your idea. Go over select lines in charcoal pencil. Yourdrawing needs to show distance, and overlapping shapes to show perspective.

Add color washes to emphasize important areas and show contrast between dark and light.Sign your finished work and glue onto construction paper for presentation.

Reflection with StudentsQuestions to ask students to elicit their thinking about their own work in the arts or aboutworks of art that they are studying:

Describe Interpret EvaluateHow does the artist useperspective technique inthis work?

Describe the overlappingshapes you see.

Where do you see contrastin color and how does ithelp the work?

What are the objects in thiswork and why are theyimportant?

What does the artist wantus to know about thepeople in the work?

What is the best part of thispainting?

Did the artist tell us enough orwould you like more details?



Discipline: DanceLesson Title: VolcanoArts Performance Indicator:The student selects and combines arts elements, processes, materials, and technology to create asimple dance, scene, music composition, or visual artwork. (4.1)The student discusses the arts from world cultures including the Hawaiian culture to discover ideas,beliefs, and events of those cultures. (4.8)Assessment of Student Learning:When students do the following, they will have successfully achieved the indicator:

1. use dance vocabulary when describing dances observed;2. discuss ideas, beliefs, and events communicated in dances observed;3. create a simple dance depicting their idea of a volcano;4. use dance elements to interpret vocabulary words appropriately in a variety of ways.


Choice ofElements

The danceincludes diversechoices of body,energy, space,and time thatclearly convey thepurpose of thedance.

The choices ofbody, space, time,and energy areappropriate,althoughpredictable, to thedance.

Movementchoices of body,space, time andenergy are limitedand predictable.

The dance makeslittle use of body,space, time orenergy elements.Movement ismonotonous andmay seem “flat.”

RespondingDiscussionDescribe

Interpret

Uses dancevocabulary andelements todescribe dances;

makes detailedobservations thatlead to insightfulinterpretations;elaborates on andcompares theideas and beliefsconveyed in thedances observedand created.

Uses dancevocabulary andelements todescribe dances;

offers opinions onthe obvious ideasand beliefsconveyed by thedances.

Use of dancevocabulary andelements arelimited to shapes,levels anddirectionsobserved indances;guesses at what iscommunicated inthe dance sincecomments areunrelated to whatis observed.

Dance vocabularyis limited to basicshapes and levelsobserved;

does notparticipate in thediscussion.

Grade 4, 8/03 of 41


Arts Key Vocabulary:Parts of the bodyShapeLevelSizeTimeGeneral spaceIn-placePathwayRelationship

Links to other core content areas: Social Studies, ScienceTime: (2) 45 minute sessionsMaterials/Equipment/Resources:Brad Lewis. Birth by Fire. Island Heritage.Mauliola Cook & Orr, Katherine. Discover Hawai‘i’s Birth by Fire. Island Heritage.Videos of volcanoes in action (check the public libraries for listings)Scarves or crepe paper (in red, orange, yellow, and black)Hand drumChart paperExemplars (works of arts to share with students):Holo Mai Pele. Dir. C. Tatge. VHS. 2001.Room setup: This lesson works best in a large open space, e.g., cafeteria with tables pushed back,library.Instructions to Students:Lesson I:1. View excerpts from the video Holo Mai Pele. Discuss and create a list of ideas, beliefs and eventsthat are depicted in this video. What do these dances tell you about Hawaiian culture? (Refer toReflections for questions to ask students.)

Lesson II:1. Now we are going to create our own dance about volcanoes.

(Teacher note: Show students a video of volcanic activity. Show them pictures in books of volcanoesor divide them in groups and have them look at the books themselves. Create a vocabulary list ofwords describing the volcanoes seen in the video and books.Using the book Discover Hawai‘i’s Birth by Fire, read and discuss the concepts of the ring of fire andthe hot spot theory of the creation of the islands.)

Spread out in the general movement space and find your own personal space and sit down.

2. You each have a scarf to work with. (Teacher note: Pass out scarves or have a few studentsassist with distribution.) I am going to call out words from our volcano vocabulary list. Find a way tomove the scarf in response to the words. Stay in-place on your personal spot. Freeze in a shapethat is hidden by the scarf.

I look across our volcano and I see steam rising. Does the steam rise slowly, quickly? Start moving.Great, I see some children are rising to standing, some only to their knees. Try different levels to riseto. And freeze in a ‘steam shape.’ What does that look like?


I see magma bubbling and boiling. Excellent, I see shoulders and elbows bubbling on some childrenin addition to their scarves. What parts of your body can bubble as you manipulate your scarf? Playwith the speed and size of your bubbling. Does it have a rhythm? And freeze your bubbling!

(Teacher note: Go through the list of words. Start with vocabulary where the students move in-placethen move onto the words that would travel through the general space.Example order of exploration:

- steam rising- magma bubbling, boiling, swirling- pressure building- explosions of lava- lava flowing- lava hardening

Remind students to use levels, different parts of their body, time – fast or slow, size – big or small,etc. to encourage variety in their movements. End with a freeze before calling out the next word.)

3. Let’s see if we can put all these movements into a dance. I need six volunteers to be the ‘Ring ofFire.’ The six of you must decide what kinds of movements you will do as the ‘Ring of Fire.’ Decideon 3 movements that we have explored and put it into a sequence. You must be able to repeat it.You will be in the formation of a circle. The other groups will be moving in and out of your ‘Ring ofFire.’(Teacher note: Show students the designated area and formation they will be in.)

The rest of the class, will you get together into groups of 3 or 4? As a group you must decide how youwill -

1. Enter the ‘Ring of Fire.’ (Will you bubble, swirl, flow?)2. Explode.3. Form a group ‘flowing lava’ shape.4. Exit the ‘Ring of Fire’ as a group flowing slowing. The group shape must change as it flows on

its path.

You have 5 minutes to work. (Teacher note: Go around to each group to assist if necessary.)

All right, let’s all practice our sequences together. Show me your beginning shape. Begin. Freezewhen you hear the drum.

Now, let’s decide the order of the groups. ‘Ring of Fire’ group, you will start the dance. If we wereperforming on a stage, we would see the ‘Ring’ as the curtain opened. Will you take your placesnow? You must all have a beginning shape. Let me see that now. Good. Relax and sit on your spotwhile I give instructions to the other groups. Okay, we have four groups that have to enter the ‘Ring ofFire.’ I’m assigning each group a number – 1, 2, 3, and 4. Group 1, when I hit the drum, that is yourcue to enter the ‘Ring of Fire’ to perform your sequence. Group 2, your cue to enter the ‘Ring’ is whenyou see Group 1 starting to flow out of the ‘Ring’. I’ll help remind you on this first run through. Group3, your cue to enter the ‘Ring’ is when Group 2 is flowing out. Group 4, do you know what your cue toenter the ‘Ring’ is? Right, when Group 3 is flowing out. ‘Ring of Fire’ group, you keep repeating yoursequence the whole time. All groups keep flowing and moving in a pathway outside of the ‘Ring’ untilyou hear the music stop. When the music stops, you freeze in your group shape. Hold your shapeuntil I tell you to relax.

Okay, let’s try it. ‘Ring of Fire’ group, let me see your beginning shapes. When you hear the music,you may begin your movement. Here, we go….

Grade 4, 8/03 of 41


you may begin your movement. Here, we go….

(Teacher note: Run through the dance at least twice so that students can practice the timing of theirentrance and establish the sense of working together as a whole group.)

4. Let’s compare our volcano dance with the dances we saw in Holo Mai Pele.

Reflection with Students:Questions to ask students to elicit their thinking about their own work in the arts or about works of artthat they are studying:

Describe Interpret EvaluateWhat kinds shapes andmovements did you see?Identify the levels, energy,directions, sizes, tempo, parts ofbody used in each group?

How was the prop used?

What kinds of relationships didyou see between dancers?

Create a list of the ideas, beliefsand events depicted in Holo MaiPele and in your Volcano dance.

What is the feeling or moodconveyed in the dances?

What are the reasons why thesetwo dances should be seen byother people?

List similarities and differencesin purpose and content betweenHolo Mai Pele and your volcanodance.



Discipline: DanceLesson Title: Dancer in Hawai‘iArts Performance Indicator: The student describes the significance of the artist in a variety of cultures. (4.9)


1. describe, interpret and evaluate the significance of the hula dancer during three timeperiods in Hawaiian culture.

Traits Level 4 Level 3 Level 2 Level 1Respond Describes,

interprets, andevaluates the roleof the dancer inthe three timeperiods; comparesand contraststhese roles.

Describes,interprets, andevaluates the roleof the dancer ineach of the threetime periods.

Describes the roleof the dancer inthe three timeperiods.

Describes the roleof the dancerduring one timeperiod.

Arts Key Vocabulary:HulaKahikoKumu hulaAuwanaRenaissanceLinks to other core areas: Social StudiesTime: 60 minutesMaterials/Equipment/Resources:Internet accessGuest speakers: Kumu hula, halau dancerGeorge Kanahele. Hawaiian Music and Musicians, An Illustrated History. University of Hawai‘i Press,1979.www.//pbs.org/holomaipele/Exemplars (works of arts to share with students):Holo Mai Pele. Dir. C. Tatge. VHS. WNET & PIC, 2001.Kumu Hula: Keepers of a Culture. Dir. Robert Mugge. VHS/DVD. Winstar, 1989.Merrie Monarch Festival 38th Edition. VHS. KITV 4, 2001.

Grade 4, 8/03 of 41


Instructions to Students:View the video, Holo Mai Pele.

Research the role of a hula dancer during three different time periods in Hawai‘i.• What was the role of the hula dancer in pre-contact Hawai‘i?• What was the role of the hula dancer during the reign of Kalakaua?• What is the role of the hula dancer in present day Hawai‘i?

Present your research to the class, describing, interpreting and evaluating the information gathered.(Note to Teacher: Choose form of class presentation that you prefer.)

Suggestions for Lesson Extensions: This lesson can also be extended to the role of other artists inHawaiian culture as well as artists in other cultures and time periods.

Reflection with StudentsQuestions to ask students to elicit their thinking about their own work in the arts or about works of artthat they are studying:

Describe Interpret EvaluateDescribe the role of thedancer in three time periodse.g., entertainer, keeper ofhistorical knowledge,transmitter of genealogy, etc.

What are some similaritiesand differences between thedancers in these timeperiods? (e.g., dress, rituals,compensation, etc.)

Was the dancer respected bysociety in each of these timeperiods?

Does society’s attitudetowards the dancer tell ussomething about that timeperiod?

If a dancer from each timeperiod were here, whatquestions might you ask himor her?

What was the most interesting orsurprising piece of informationdiscovered about these dancers?

Would you want to be a dancer inany of those time periods? Why orwhy not?

Did the dancer play a significant rolein these time periods? Why or whynot?


Grade 4 Ideas for TeachingDANCE How the Arts are Organized

ArtsIndicator

Instruct students to Resources

4.1CreatePerform

Create a dance combining different action words (e.g.,leaping, rolling, stretching) to achieve contrasts in time,level, and energy.

Action Word List

4.1CreatePerform

Move in different directions and levels with differentbody shapes and pathways. From a selection ofmovements, make a dance about meeting and parting, orentrances and exits, or alone and connected.

Jean Luc Ponty. Tchokola.Audio CD. (Epic EK 47378)

4.1CreatePerformRespond

Create and perform a dance about pattern using coloredpaper. Students determine what movements will go witheach color, e.g., blue=1 spin. Arrange coloredconstruction paper in a pattern to set the sequence. Asthey are watching, other students can guess themovement of each color.

Colored construction paper

4.2CreatePerform

Create an ABA dance with a partner, based onfar/near/far or near/far/near. Include locomotor andnonlocomotor movements. For example, start in aconnected shape; slide away from each other for 8counts; skip back to each other 8 counts; end in aconnected shape, and freeze.

Academy of St. Martin-in-the-Fields/Neville Marriner. TheBest of Wolfgang AmadeusMozart. Audio CD. (Philips412 244-2)

4.2CreatePerform

Choreograph simple movements for the song “Row,Row, Row Your Boat.” Divide class into 4 groups andperform the movements in canon.

4.3CreatePerform

Create a repeatable movement phrase based on thesewords: advance, open, sink. Movements can be placedin any order. Three students at a time will perform theirphrases.

Jean Luc Ponty. Tchokola.Audio CD. (Epic EK 47378)

4.4CreatePerform

Create a painting or drawing using lines (e.g., curved,thick, light). Create a movement phrase based on thisdrawing.

Wayne Gratz. Panorama.Audio CD. (ND-61028)

Grade 4, 8/03 of 41


Grade 4 Ideas forLinking to Other Core Areas in DANCE

Arts Indicator Instruct students to Resources4.1, 4.7CreatePerform

Language Arts:Use smoothtransitions in writingand speaking.

Choose three adverb cards and three verb cards.Match adverbs with verbs and create a sequenceof three movements with smooth transitionswhere one movement flows into the nextmovement with no hesitation.

Word cards with verbs andadverbs (1 word per card).

4.8Respond

Social Studies:Understand impactof change incultures.

View two types of hula, one kahiko, one auwana.Compare and contrast the movement elements.Discuss why and how kahiko evolved intoauwana.

Merrie Monarch Festival38th Edition. VHS. KITV 4,2001.

George Kanahele.Hawaiian Music andMusicians, An IllustratedHistory. University ofHawai‘i Press, 1979.

4.6CreatePerform

Math:Graphicrepresentation ofdata

Draw four shapes on a piece of paper (e.g.,circle, squares, etc.). Use lines to connect theshapes (e.g., straight, wiggly). Have studentschoose a nonlocomotor movement for eachshape and a locomotor movement for each line.Perform the dance following their pathway map.

CrayonsPaper

Yo-Yo Ma. SimplyBaroque. Audio CD.(Sony SK 60680)

Anne G. Gilbert. CreativeDance for All Ages. pp.137-152.

4.1, 4.7CreatePerform

Science:Eco Systems

Consider that in ecosystems, balance andinterdependence are important. In groups of four,explore finding these balances. Explore weight-sharing (e.g., back-to-back, side-to-side).

Music suggestions:Slow, calm music

Anne G. Gilbert. CreativeDance for All Ages. p. 207.


Grade 4 Ideas for TeachingDRAMA/THEATRE How the Arts are Organized

ArtsIndicator



Create a tableau of a character in a place(baseball field, playground, etc.). Othersadd to the image by creating otherappropriate characters. Discuss and revise,imagining ways to interconnect the images.Repeat using pantomime, each characterhaving a particular action appropriate to theplace.

Jonothan Neelands. Structuring DramaWork: A Handbook Of Available FormsIn Theatre & Drama.C. Tarlington and P. Verriour. RoleDrama: A Teacher’s Handbook.

4.2CreatePerform

Work in groups to create a sound andmovement sequence (an amusement ride, atropical storm on an island, a ship sailingunder a bridge) using body and voice.


Divide into small groups and discuss cluessuggested by a found object (coat, letter,toy), then create and share scenes from thelife of the person who might have owned it.Discuss similarities and differences in thescenes.

Box of items: coat, letter, toy, cane,glasses, teapot, watch, book, luggage,sweater, hat etc.

4.3CreatePerform

Separate into groups. One person narratesa story while the others pantomime theaction and characters.

Textbook short story collectionChristmas Talk Story collections byHonolulu Theatre for Youth

4.4CreatePerform

Create an environment through acombination of visual art, classroom objects,sound, and/or movement to enhance ascene or story developed and shared inclass.

Grade 4, 8/03 of 41


Grade 4 Ideas forLinking to Other Core Areas in DRAMA/THEATRE

Arts Indicator Instruct students to Resources4.7

PerformRespond

Language Arts:Use a variety ofvocal qualities toenhance speaking

Work with partners on a selected poem. Taketurns reading the poem aloud to each otherexploring a variety of vocal qualities. Continuetaking turns performing for each other, givingfeedback, and making suggestions forimprovement.

Poetry collections by JackPrelutsky or ShelSilverstein


Social Studies:Conflict resolution

Choose a Hawaiian myth or legend featuring aclear character conflict. Dramatize the legend.Afterward, discuss other ways the conflict couldhave been resolved and dramatized.

C. O’Neill & A. Lambert.Drama Structures: APractical Handbook forTeachers.Folklore collections byVivian L. Thompson orFrederick Wichman

4.1Create

Math:Seeing patternsand makinggeneralizations.

Imagine the classroom as a world of triangles.Pantomime a triangle walk, triangle baseball,triangle food, etc.

Burns, M. The I HateMathematics! Book.

4.4Respond

Science:Changes in natureand earthproperties due tohuman activities.

Imagine they are an endangered plant or animal.Describe how humans have affected them.

Lisa Matsumoto & M.Furuya. Beyond ‘Ohi’aValley.Patrick Ching. TheHawaiian Monk Seal.


Grade 4 Ideas for TeachingMUSIC How the Arts are Organized

ArtsIndicator


4.1CreatePerform

Create a body percussion pattern (usingstamp, pat, clap, snap) and transfer tovarious sound sources that representdifferent pitch levels (high, medium, low).

4.1CreatePerform

Create a movement representing verse andanother for refrain (AB form) for the song“Jingle at the Window.”

Comprehensive Musicianship Program.Gr. 4. p. 180.

4.2Perform

Sing partner songs (e.g., “Pupu Hinuhinu,”“Maile Lei”) and rounds (e.g., “A Ram SamSam”).

Comprehensive Musicianship Program.Gr. 6. pp. 147/148, 23.

4.3Perform

Sing a variety of songs focusing on pitch,rhythm, tone quality, and appropriatedynamics.

Comprehensive Musicianship Program.Gr. 4, pp. 96, 22, 3.Making Music 2002 Series, Grade 4.Silver Burdett, pp. 284, 74, 238, 312.

4.3Perform

Play a beat game. Using the song “Oh,Susanna,” students pass an object (rock,stick, plastic cup) on the beat. Pass to theright on the verse, left on the refrain.

Making Music 2002 Series, Grade 4.Silver Burdett, p. 256.


Create rhythmic and/or melodic patternsfor each animal in Anansi and the MossCovered Rock, and dramatize story.

Eric A. Kimmel (retold by). Anansi andthe Moss Covered Rock. HolidayHouse, 1988.

4.5CreatePerform

Create a 4-beat rhythmic pattern that isnotated and played by the rest of the class,using a combination of note values (whole,half, quarter, eighth). Use pattern toaccompany a song/rhyme of own choosing.

Grade 4, 8/03 of 41


Grade 4 Ideas forLinking to Other Core Areas in MUSIC


RespondCreatePerform

Language Arts:In speaking: usepitch and rhythmpattern, facialexpressions,gestures, and eyecontact.

Choose a poem, haiku, or cinquain and describecontent and meaning of the piece. Students willprepare to present this piece aloud using the riseand fall of the voice to provide expressivequalities.

ComprehensiveMusicianship ProgramGrade 4. UH 1983.

Making Music Grade 4.Silver Burdett, 2002.

4.1Perform

Social Studies:Seeing patterns.

Sing the song “Pupu Hinuhinu,” using an ipupattern U-te, U-te-te, patting on the U andclapping on the te. Transfer this ostinato to theipu as an accompaniment. Tap bottom of the ipuwith palm on the U and tap the middle portion ofthe ipu with fingers on the te.

ComprehensiveMusicianship ProgramGrade 4. UH 1983.

ipu

4.1PerformRespond

Math:Seeing patternsand makinggeneralizations

Look at the first three phrases of rhythm to“Yankee Doodle” that uses quarter and eighthnotes. Listen as it is clapped, then clap themissing fourth phrase of the poem. Clap thewhole poem of four phrases while saying thewords. Discuss the pattern of the phrases,phrase one and three being similar and phrasetwo and four being similar. Create four phrasecompositions following rhythmic patterns.

4.5RespondCreate

Science:Predictingprobability ofoutcome.

Put resonator bells in order from largest tosmallest. Predict which bell will have the highestsound and the lowest sound. Predict what willhappen to the sound when you move from thelargest bell to the smallest or vice versa.

Resonator bells


Grade 4 Ideas for TeachingVISUAL ARTS How the Arts are Organized

ArtsIndicator


4.1Create

Paint a color wheel showing primary,secondary, and analogous colors. Write innames of colors with pencil.

4.1Create

Mix white with color to create tints, andblack with colors to create shades. Beginwith white tempera or acrylic paint. Add asmall amount of color and mix a tint. Whenmixing shades, begin with the color and adda small amount of black. Make a test sheetof color values.

www.crystalproductions.com

4.1Create

Respond

Cut a design from two sheets of constructionpaper in black and white. Mount cutoutshapes on opposite colors of paper.Discuss positive shapes that stand out andnegative shapes that are in thebackground.

Artists: M.C. Escher, RobertMotherwell

4.3Create

Observe a familiar place at school (e.g.,cafeteria, health room, playground) for threeminutes. Make a pencil sketch using recallof the selected place showing value andcontrast using black, white, and shades ofgray.

4.4Create

Respond

Listen to a piece of music and use it as aninspiration for a painting. Show visualrhythm through repeated lines, shapes, andmovement of brush strokes.

See music suggestions in DanceResources.

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Grade 4 Ideas forLinking to Other Core Areas in VISUAL ARTS


Create

Language Arts:In speaking, usepitch and rhythmpattern, facialexpressions,gestures, and eyecontact.

Create a portrait of a classmate showing a facialexpression.

4.9RespondCreate

Social Studies:Understand impactof change incultures.

Discuss Hawaiian culture in the pre-CaptainCook years and create a painting of thelandscape at this time. Create a second paintingshowing the influences of Western culture on thislandscape.

Charcoal pencil, watercolor

4.1Create

Math:Measurement:Choice ofmeasurementtools/issues ofprecision.

Use a ruler on a 12" x 12" sheet of paper, makinga small dot to mark 1-inch increments around allfour sides. Using the edge of a ruler, line upopposite dots and draw a straight line to connect.Use colored pencils to fill divided spaces with twocomplementary colors to make a pattern design.

4.2Create

Science:Ecosystems

Working in groups, create drawings of healthyand unhealthy ecosystems using foreground,midground, and background.

Christopher Alexander, etal. A Pattern Language:Towns, Buildings,Construction. New York:Oxford University Press,1977.

the arts in grade 4 - university of hawaiiherring/tool_kit_k_5/section 5. gr. 4 .pdf · the arts in...

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