UNIT PLAN RATIONALE: \u201cMAKE-REAL CHARACTERS\u201d
\nALLAN ANDERSON
\nUNIVERSITY OF SOUTH CAROLINA<\/p>\n
Introduction
\nThe title of this unit plan is \u201cMake-Real Characters\u201d. It is essentially the same as makebelieve
\nexcept it takes the idea a step further from fantasy to the student\u2019s reality. The overall
\nunit is a combination of six lessons based around the idea of a playful pedagogy, allowing the
\nstudents to play with the make-believe and reappropriate it to fit their needs. The unit will aid
\nin the students discovering their own identities designed around a relevant and meaningmaking
\ncurriculum. It will encourage them to critically analyze their daily lives and allow them
\nto revise and modify themselves through play and imagination. During this unit, students will
\nengage in dialogue about gender stereotypes as well as marketing and mass production.
\nStudents will also be required to work collaboratively, promoting the value of coming together
\nin a safe environment where all are equal and every student has a voice. It will help them
\nembrace their individualities as well as feel a sense of purpose amongst their peers.<\/p>\n
Playful Pedagogy Through A Relevant Meaning-Making Curriculum
\nThroughout the entire semester, our class has been focused on the integration of
\npopular culture inside the classroom. It is crucial that educators seek out the popularities that
\nattract their students. By doing this, it allows us to devise a curriculum of subject criteria that
\ncan truly resonate with our student\u2019s needs. The objective is to formulate lesson plans that
\ncontain such relevancy that it will compel students to engage in a more meaning-making
\nprocess. Using popular culture references to institute a playful pedagogy can provide ample
\nopportunities for the classroom.
\nThis unit revolves around a theme obtained from popular culture. The first part of the
\nunit is a self portrait lesson. The project requires the students to discover their own character
\nself portraits by exploring their favorite characters from popular culture. It is meant to set the
\nstage for the rest of the unit. It initiates the conversation about characters while allowing the
\nstudents to assemble the unit through providing their own insight from popular culture. In the
\narticle, \u201cPopular Culture in the Classroom\u201d, the authors mention this in their findings from
\nresearching a teacher\u2019s classroom; \u201cselecting curriculum materials or popular culture texts for
\nliteracy lessons must be made in collaboration with the students. \u201d (Alvermann, Moon, Hagood
\npg. 44) It is crucial that the students contribute. Although this may seem obvious to some,
\nmany teachers implement outdated references in their curriculum without even knowing. In
\ncontrast, this unit plan is built entirely on the initial popular culture suggestions provided by the
\nstudents in the first lesson.
\nThe self portrait lesson begins the exploration into their identities. Having the students
\nindentify themselves with popular culture references will most likely instigate a conversation
\nabout gender biases and stereotypes. With the exception of few, studies have shown that,
\nmost youth are conditioned by society when it comes to gender norms. \u201cChildren select their
\nsubjects in accord with what they conceive to be the appropriate subjects for their gender, and
\nconsequently they find these rewarding. \u201d (Duncum pg. 109) Not only do children usually fall
\ninto probable categories, society has conditioned them to feel good about it because it is the
\n\u201cright way\u201d to be. Duncum\u2019s point on gender is an important topic to discuss in class that can
\nserve as a valuable step into having your students analyze their daily lives. With this particular
\nlesson, the students may fall into those norms and it will be up to the teacher to engage them
\nin conversations about their choices. It is not as necessary for them to break the norms as it is
\nfor them to simply be aware of their decisions and know that it is ok if they want to change
\nthem.
\nUsing popular culture references from their favorite characters falls under the concept
\nof fanart which is where fans create art inspired by their preferred characters from all types of
\npopular culture texts. In the article, \u201cEnchanting Tales and Imagic Stories\u201d, Manifold discusses
\nthe opportunities and benefits that come from the art making process of fanart such as
\ncollaborative play with narrative making and art skill building with rendering and copying. In
\nthe brainstorming session of the first lesson, the students are already extending their
\nfoundational skills through drawing and conceptualizing their designs. The second lesson
\nbegins Manifold\u2019s suggestion of collaborative play through narrative making.
\nServing as the foundation of the unit, the second lesson is based around the students\u2019
\nown narrative from their daily lives. They are to take their characters from fantasy and position
\nthem into their own daily routines. In other words, their short stories consist of their usual
\ndaily narrative but as their character instead of their normal selves. The concept behind this
\nlesson is fairly intricate, but through relevant material conducted in a playful pedagogy, it is
\neasily accomplished. McClure mentions her findings with children that are introduced to
\ncollaborative play, \u201cchildren, through their play, participate in the process of culture, and
\ntranslate, reconfigure, and construct identity. \u201d (McClure, 2007) Her findings help summarize
\nthe objectives of the unit in that it provides students with all the tools they need in order to
\nexplore their worlds, finding their identities, and discovering the benefits of coming together.<\/p>\n
Collaborative Work: Promoting the Value of Coming Together
\nAlthough the unit is based on a collaborative effort, the second half starts to focus more
\nattention towards it. Collaborative learning can help establish a strong classroom environment
\nwhere all students have a voice. In the article, “Social Effects of Collaborative Learning in
\nPrimary Schools\u201d, the authors mention some advantages it brings; \u201cimprovements in
\nparticipants\u2019 conceptual grasp and application of skills, but also more positive social relations. \u201d
\n(Tolmie, Kenneth, Topping, Christie, Donaldson, Howe, Jessiman, Livingston, & Thurston, 2010)
\nThe second half of this unit focuses on allowing the students to build stronger social relations
\namongst their classmates.
\nLesson four begins conversation about coming together as a class while the students
\nbegin mass producing their short stories to share with one another. This particular lesson is
\nprime example of an extension that can derive from using popular culture material in your
\ncurriculum. One aspect of this lesson is the implication of sharing that you see on the surface,
\nbut it also provides a pathway to discuss topics such as globalization, marketing, target
\naudience, and consumerism. Some of the dialogue that comes along with this lesson requires
\nthe students to think about why it is they chose their particular characters. This brings them to
\nexplore how power house companies such as Disney are able to dominate such a wide range of
\naudiences and cultures through their products. These are valuable extension lessons that help
\nstudents critically analyze their surroundings, all deriving from popular culture within the
\ncurriculum. By allowing students to explore these topics collaboratively, they will gain a
\nstronger comprehension of what is actually happening in their worlds.<\/p>\n
Lesson five really hones in on the idea of building social relations in the classroom. Its
\nbasis is around a collaborative mural that will essentially be the cover for the final product, a
\nbook with each student\u2019s short stories. In this lesson the students are introduced to
\ncommunity art. They are exposed to examples of public art projects and involved with dialogue
\nabout the values of community art. The idea is that through community art, students can be
\ntaught the meaning of equality, equity, and opportunity. These three concepts are ultimately
\nthe deciding factor to discovering ones true identity and therefore stand as the glue that holds
\nthe unit plan together. Alina Campana writes, \u201cAn important prerequisite for meaningful selfreflection
\nand evaluation is empathy and awareness of others: being able both to relate to and
\nsee oneself in relation to other people and groups. \u201d (Campana, 2011) To me this is the ultimate
\ngoal of the unit plan, for students to explore their individualities as well as finding a sense of
\npurpose amongst their peers.
\nArt projects that implicate collaborative play and relevant material set the stage for
\nsome exciting experiences not necessarily focused on the final product. Although the outcome
\nof the mural will prove to be an aesthetically pleasing work, it is the significance of the process
\nthat holds the most value. Community art is about the people coming together to collaborate
\non the project and experiences gained from the actual process. \u201cThe arts and creative process
\nare tools, or vehicles, to achieving other goals, such as dialogue, sharing individual experiences,
\ngaining and developing voice, envisioning alternatives to the status quo, and revealing hidden
\nassumptions and prejudices. \u201d (Campana, 2011) This unit plan is a suggestion to how this can be
\naccomplished in a fourth grade classroom. It is important to have our students put the needs of
\nothers before their own. Every student should feel as if they have a voice.<\/p>\n
Conclusion
\nI truly believe anything is possible if we as educators can focus on the main ideas that
\nare involved with this unit plan. In \u201cMake-Real Characters\u201d, the students will be challenged to
\nquestion their norms. They will discover their own identities as well as become a part of a
\nlarger unit within the class. The criteria will be formed around their own preferences which will
\nallow for the most accurate meaning-making experience as possible. This material integrated
\ninto a playful pedagogy permits the students to developing a strong sense of self as well as
\ndiscovering the power of collaborative learning. I chose to work with elementary students
\nbecause it is an area that I am still unfamiliar with. In writing this unit, I am beginning to
\nunderstand the possibilities that are available for this age. I will continue to tweak and modify
\nmy unit as time goes on, but I do know that if educators can focus energy towards these types
\nof programs the possibilities are endless.<\/p>\n
Bibliography
\nAlvermann, D. E. , Moon, J. S. , & Hagood, M. C. (1999). Popular culture in the classroom:
\nTeaching and researching critical media literacy. Newark, DE: International reading
\nAssociation. (pp. 41-60).
\nBlock, L. de & Buckingham, D. (2007). Global children, global media: Migration, media and
\nchildhood. New York: Palgrave Macmillan. (pp. 77-93)
\nCampana, A. (2011). Agents of Possibility: Examining the Intersections of Art, Education, and
\nActivism in Communities. Studies In Art Education: A Journal Of Issues And Research In Art
\nEducation, 52(4), 278-291.
\nDuncum, P. (1997). Subjects and themes in children\u2019s unsolicited drawings and gender
\nsocialization. In A. M. Kindler (Ed. ), Child development in art (pp. 107-114). Reston, VA:
\nNational Art Education Association
\nManifold, M. C. (2013). Enchanting tales and imagic stories: The educational benefits of fanart
\nmaking. Art Education, 66(6), 12-19
\nMcClure, M. (2007). Play as process: Choice, translation, reconfiguration, and the process of
\nculture: Visual Arts Research, 33(2), 63-70
\nPearson, P. (1993). Who cares about \u201cNinja Turtles?\u201d: Image making in the life of Iati.
\nAustralian Art Education, 17(1), 14-22
\nTolmie, Andrew Kenneth, Keith J. Topping, Donald Christie, Caroline Donaldson, Christine
\nHowe, Emma Jessiman, Kay Livingston, and Allen Thurston. “Social Effects of
\nCollaborative Learning in Primary Schools. ” Learning and Instruction 20. 3 (2010): 177-91.
\nWeb.
\nCurriculum Unit Theme: Make-Real Characters
\nTeacher: Allan Anderson
\nGrade Level: 4th Grade
\nState Visual Art Goals: VA3-2.1, VA3-2.2, VA3-2.4, VA3-3.1, VA3-3.3, VA3-4.2, VA3-5.1, VA3-6.1, VA3-6.3
\nState Media Arts Goals: MA3-1.1, MA3-1.2, MA3-1.3, MA3-1.4, MA3-1.5, MA3-2.1, MA3-2.2, MA3-2.3, MA3-3.1<\/p>\n
General goals for the curriculum (describe in 2-5 sentences):
\nThe purpose of this Unit plan is to aid in the students discovering their own selves designed around a relevant and
\nmeaning-making curriculum. The idea is to help them embrace their individualities and understand their place amongst
\ntheir peers. They will discuss gender stereotypes during the unit as well as marketing and mass production. This unit
\nplan will encourage them to critically analyze their daily lives and allow them to revise and modify themselves through
\nplay and imagination. Finally the unit requires the students to work collaboratively, promoting the value of coming
\ntogether in a safe environment where all are equal and every student has a voice.
\nLesson
\nTitle
\n(name each
\nlesson to
\nreflect a
\ngeneral unit
\ntheme)
\nVisual Exemplars
\n(list specific images and
\nartists, TV shows, and\/or
\nbooks that you plan to use
\nfor each lesson)
\nMotivation \/ Dialogue
\n(list basic issues and questions
\nto be explored during
\nclassroom dialogue and any
\nother motivational strategies
\nthat you plan to use for each
\nlesson)
\nMedia \/ Process
\n(list artistic processes
\nthat your students will
\nengage in during each
\nlesson)
\nConcepts and\/or
\nDesign Principles to be
\nlearned during each
\nlesson
\nClosure\/Assessm
\nent
\n(list an
\nassessment
\nstrategy used for
\neach lesson)
\nLesson 1
\nDiscovering
\nYour Inner
\nCharacter!
\n(3 class
\nperiods)
\nPop Culture References:
\n\uf0b7 Ninja Turtles
\n\uf0b7 Disney (e.g. Frozen)
\n\uf0b7 Marvel Comics
\n(Discussion will include
\nbrowsing for other
\ncharacters that students
\nmay want to use)
\nContemporary Artists:
\n\uf0b7 Melissa Chaib
\n\uf0b7 Duncan Beedie
\n\uf0b7 Alexandra Ball
\n\uf0b7 Gender stereotypes (e.g.
\nHeroes and Sheroes)
\n\uf0b7 Why do you think that
\nparticular character is chosen
\nto represent the comic\/tv
\nshow\/movie?
\n\uf0b7 Which character can you
\nidentify with the most? Why?
\n\uf0b7 What if you could become
\nthis character? What it be
\nlike? How would your
\nappearance change?
\n\uf0b7 Be true to yourself. There is
\na place for every character.
\n\uf0b7 Students will be
\nbrainstorming and
\nsketching favorite
\ncharacters (free
\ndraw)
\n\uf0b7 Students will be
\nReappropiating
\ncharacters in the
\nexploration of self
\n\uf0b7 Students will build
\na Self portrait that
\nportrays likeness of
\nboth themselves and
\nthe character of their
\nchoosing
\n\uf0b7 Students will learn
\nfoundations of art
\nthrough a fanart
\nprocess
\n\uf0b7 Students will learn
\nDrawing\/Painting\/Col
\nlage
\n\uf0b7 Students will study
\ndesign and
\ncomposition with
\nutilization of the
\npicture plane
\nTeacher Rubric:
\n\uf0b7 Did the
\nstudent utilize
\nlearned
\nfoundations
\nand does their
\nportrait capture
\na likeness?
\nSelf Evaluation:
\n\uf0b7 Why do you
\nthink you chose
\nthis particular
\ncharacter? How
\ndo you relate to
\nher or him?
\nLesson 2
\nWhat If?
\nEveryday
\nroutine…
\n(4-5 Class
\nPeriods)
\nPop Culture References:
\n\uf0b7Examples from lesson 1
\ncharacter self portraits
\n\uf0b7 Ninja Turtles
\n\uf0b7 Disney (e.g. Frozen)
\n\uf0b7 Marvel Comics
\n(Discussion will include
\ncomics and graphic novel
\nexamples from character
\nfavorites in lesson one)
\nIllustrators:
\n\uf0b7 Will Eisner
\n\uf0b7 Andy Runton
\n\uf0b7 Kate Feiffer
\nLiterature:
\n\uf0b7 \u201cThe Little Land\u201d by:
\nRobert Stevenson
\n\uf0b7 What did you do this
\nmorning? What activities do
\nyou participate in daily?
\n\uf0b7 How would those activities
\nbe different if you were your
\ncharacter self? (i.e. would you
\nbrush your teeth the same or
\nwould it be different? Would
\nyou still ride the bus to
\nschool?)
\n\uf0b7 What would that look like?
\n\uf0b7 How would this alter your
\nlife?
\n\uf0b7 Imagine that anything is
\npossible! Can you illustrate
\nthis in a short narrative?
\n\uf0b7 Dialogue? Texts?
\n\uf0b7 Students will be
\ndevising a storyboard
\nabout their daily
\nroutine while
\nidentifying with their
\nfavorite character.
\n\uf0b7 Students will
\nillustrate their story
\nwithin ten frames.
\n(i.e. they will be
\nproducing their own
\nshort story on 10
\npages)
\n\uf0b7 Students will be
\npracticing
\nfoundations of art.
\n\uf0b7 The Students will
\nlearn how to create a
\nstoryboard and how
\nto implement it into
\nthe actual production
\nprocess
\n\uf0b7 Students will be
\nexposed to various
\nmediums such as
\ndrawing, watercolor,
\nand collage.
\n\uf0b7 Students will also
\nfocus on design and
\nlayout of exemplar
\ncomics and graphic
\nnovels
\nTeacher Rubric:
\n\uf0b7 Did the
\nstudent utilize
\nfoundations?
\nDoes their story
\nestablish strong
\nimagination
\nand critical
\nthought?
\nSelf Evaluation:
\n\uf0b7 What was
\nyour favorite
\nactivity of the
\nday as your
\ncharacter?
\n\uf0b7 Why did you
\nmodify is in this
\nway?
\nLesson 3
\nFinishing
\nTouch!
\n(3 Class
\nPeriods)
\nPop Culture References:
\n\uf0b7 Cover examples
\ninvolving characters from
\nthe first two lessons.
\n\uf0b7 Mirage Studios Covers
\n\uf0b7 Disney Posters\/Covers
\n\uf0b7 Marvel Comics Covers
\nIllustrators:
\n\uf0b7 Melissa Chaib
\n\uf0b7 Duncan Beedie
\nLiterature:
\n\uf0b7 Owly by: Andy Runton
\n\uf0b7 The Snowy Day by: Ezra
\nKeats
\n\uf0b7 How can you best describe
\nor summarize your story in
\none illustration?
\n\uf0b7 Or, what was your favorite
\nimagined activity? How can
\nyou convert that into a cover?
\n\uf0b7 What type of font should
\nyou use? How should it be
\ndisplayed and why?
\n\uf0b7 Who is your target
\naudience? What do you want
\nyour reader to think when
\nthey see your cover?
\n\uf0b7 What is a trademark? How
\ndo you patent your
\nillustrations?
\n\uf0b7 What is a logo?
\n\uf0b7 Students will
\nproduce their own
\ncover that embodies
\nthe attributes from
\ntheir short stories.
\n\uf0b7 Students will be
\nscanning and editing
\nimages in Photoshop.
\n\uf0b7 Students will
\nparticipate in layout
\ndesign and
\nplacement of forms
\non their covers.
\n\uf0b7 Students will learn
\nabout trademark and
\npatenting their short
\nstories.
\n\uf0b7 Students will
\nestablish a strong
\nunderstanding of
\nprinciples of design
\nwith cover
\nproduction.
\n\uf0b7 Students will utilize
\nfoundation skills
\nthrough various
\nmediums. (e.g.
\ndrawing and painting)
\n\uf0b7 Students will learn
\nbasic Photoshop skills
\n\uf0b7 Students will learn
\nhow to use a scanner
\n\uf0b7 Students will
\nexplore vocabulary.
\n(e.g. Patent,
\nTrademark, Logo)
\nTeacher Rubric:
\n\uf0b7 Did the
\nstudent utilize
\nlearned
\nfoundations?
\nDoes their
\nCover capture
\nthe audience?
\nSelf Evaluation:
\n\uf0b7 Why did you
\nchoose this
\ndesign for your
\ncover? Do you
\nthink it best
\ndescribes the
\noverall
\nmeaning?
\nLesson 4
\nGoing Global!
\n(2 Class
\nPeriods)
\nPop Culture References:
\n\uf0b7 Nintendo
\n\uf0b7 Disney Productions
\n\uf0b7 Pok\u00e9mon
\n(Discussion will be focused
\naround artists who utilize
\nmass production)
\nContemporary Artists:
\n\uf0b7 Laughing Lion Design
\n\uf0b7 Mae Besom
\n\uf0b7 Tim Bradford
\n\uf0b7 Mass Production
\n\uf0b7 Marketing & Advertising
\n\uf0b7 Globalization
\n\uf0b7 How are companies such as
\nDisney and Nintendo able to
\nreach multiple countries
\naround the world?
\n\uf0b7 How do companies produce
\nenough quantity to reach their
\naudience?
\n\uf0b7 How would you advertise
\nyour product around town to
\nget your target audience
\ninterested in purchasing it?
\n\uf0b7 Students will be
\nscanning and editing
\nimages in Photoshop.
\n\uf0b7 Students will be
\ndiscussing
\nglobalization and
\nconsumerism.
\n\uf0b7 The students will
\nproduce multiple
\ncopies of their short
\nstory. (i.e. enough for
\nthe whole class to
\nhave a copy)
\n\uf0b7 Students will
\nestablish Photoshop
\nfoundations
\n\uf0b7 Students will
\npresent knowledge of
\nvocabulary. (e.g.
\nMass production,
\nAdvertisement,
\nMarketing,
\nGlobalization,
\nConsumerism, Target
\nAudience)
\nTeacher Rubric:
\n\uf0b7 Was the
\nstudent able to
\ncomprehend
\nPhotoshop
\nskills
\nsuccessfully?
\nSelf Evaluation:
\n\uf0b7 Define the
\nvocabulary
\nterms for this
\nlesson.
\nLesson 5
\nComing
\nTogether
\n(3 Class
\nPeriods)
\nPop Culture References:
\n\uf0b7 Character Examples
\nfrom previous lessons
\n\uf0b7 Marvel Comics
\n(Discussion will include
\ncollaborative mural art
\nfrom their own
\ncommunities)
\nContemporary Artists:
\n\uf0b7 Khaldoune Bencheikh
\n\uf0b7 Fintan Magee
\n\uf0b7 Creative Art Works
\n(youth program)
\n\uf0b7 Philidelphia Mural Arts
\nProgram
\n\uf0b7 MAAA
\n\uf0b7 What is a community art
\nand why is it important?
\n\uf0b7 How can we embody every
\nstudent\u2019s short story into one
\ncover?
\n\uf0b7 Who is our target audience?
\n\uf0b7 What message are we trying
\nto get across?
\nOther topics:
\n\uf0b7 Coming together as one
\n\uf0b7 Equality
\n\uf0b7 Equity
\n\uf0b7 Opportunity
\n\uf0b7 Students will share
\nshort stories with the
\nclass
\n\uf0b7 Students will work
\ntogether on a large
\nmural that embodies
\nall of their stories
\n\uf0b7 Students will have
\nto learn how to
\ncollaborate and
\nstrategize as a team
\n\uf0b7 Students will
\npractice various
\nmediums such as
\ndrawing, painting,
\nand collage. (as well
\nas new media)
\n\uf0b7 Students will be
\nworking with
\nprinciples of design.
\n\uf0b7 Students will also
\nfocus on scale and
\nproportion. (they will
\nbe working on a large
\nsurface that will be
\nphotographed and
\nscaled down in
\ndeveloping a cover)
\nTeacher Rubric:
\n\uf0b7 Participation:
\nDid the student
\ncontribute to
\nthe project? Did
\nthey share?
\n\uf0b7 Did the
\nstudent show
\nknowledge of
\nfoundations?
\nDid they show
\ninnovation?
\nSelf Evaluation:
\n\uf0b7 What did you
\nthink of this
\nprocess? Why is
\nit important?
\nWere there any
\nchallenges from
\nworking as a
\ngroup?
\nLesson 6
\nMy life as…
\n(a collection
\nof short
\nstories)
\n(3 Class
\nPeriods)
\nPop Culture References:
\n\uf0b7Examples from short
\nstories
\n\uf0b7Legos
\n\uf0b7Smash bros
\n\uf0b7Avengers
\n(Discussion will include
\nbook making
\ndemonstration)
\nContemporary Artists:
\n\uf0b7 Gene Luen Yang
\n\uf0b7 Doug TenNapel
\n\uf0b7 Jeff Kinney
\n\uf0b7 \u201cMade by Hand\u201d A Book
\non Contemporary Makers
\nand Traditional Practices
\n\uf0b7 What does it mean to
\ncomplete a project as a team?
\n\uf0b7 Look at what we can
\naccomplish when we come
\ntogether
\n\uf0b7 Discuss each character in
\nrelation to reality
\n\uf0b7 Every student has a voice
\n\uf0b7 Meaning-Making
\n\uf0b7 Equality, Equity, and
\nopportunity
\n\uf0b7 Community
\n\uf0b7 Hand-made
\n\uf0b7 3D art
\n\uf0b7 Class will come
\ntogether as a group.
\nEach student\u2019s short
\nstory will be laid out
\nin sections.
\n\uf0b7 Students will go to
\neach station and
\ncollect every short
\nstory.
\n\uf0b7 Students will
\nparticipate in a book
\nmaking process
\nwhere the combine
\neach story into a final
\ngraphic novel.
\n(collection of short
\nstories)
\n\uf0b7 reflection
\n\uf0b7 Students will learn
\na hands-on
\n3demsional art
\nprocess. (e.g. book
\nmaking, matting and
\nbinding)
\n\uf0b7 Students will
\ndevelop a clean and
\nprecise work.
\n\uf0b7 Students will
\npractice critique and
\ncommunication with
\npeers
\nTeacher Rubric:
\n\uf0b7 Did the
\nstudent create
\na successful
\nfinal product?
\n(i.e. quality,
\nclean and
\nprecise)
\nSelf Evaluation:
\n\uf0b7 What did you
\nlearn from this
\nthe overall
\ntheme?
\n\uf0b7 If you could
\ngo back, would
\nyou choose a
\ndifferent
\ncharacter?
\nLesson # 5
\nTitle: \u201cComing Together\u201d
\nGrade: 4th
\nTeacher: Allan Anderson
\nLength: 3 Class Periods
\nState visual art goals: VA3-3. 1, VA3-3. 3, VA3-4. 2, VA3-5. 1, VA3-6. 1, VA3-6. 3
\nObjectives:
\nStudents will begin by sharing their short stories with the classroom followed by group
\ndiscussion of each one. Students will learn about community arts and develop a
\nconcrete understanding of the benefits and possibilities it can bring. They will
\ncollaborate on a larger mural that will serve as cover for their final books. This process
\nis meant to help them value team work and coming together. The lesson is meant for
\nstudents to continue their exploration of self as well as discovering the value of every
\nstudent having a voice in the classroom.
\nConcepts and vocabulary:
\nStudents will utilize their foundations of art in various mediums such as drawing,
\npainting, and collage. They will be working with new media and extending their
\nknowledge on principles of design. The students will also be focusing on scale and
\nproportion while working on the larger surface. They will have to strategize together in
\ndevising the layout for their final cover. After this lesson, the students will be able to
\nextend their vocabulary with a better comprehension of; Community Arts, Target
\nAudience, Equality, Equity, and Opportunity.
\nTeacher materials:
\n– Computer
\n– Power Point presentation of Community Arts projects and Contemporary artists
\n(Khaldoune Bencheikh, Fintan Magee, Creative Art Works, Philidelphia Mural
\nArts Program, MAAA)
\n– Camera & Tripod
\n– Yard stick
\n– Large Surface
\n– Stretchers bars
\n– Canvas
\n– Gesso
\n– Palette Knife
\n– Utility Brushes
\n– Handouts
\nStudent materials:
\n– Short stories
\n– Tools\/Utensils
\n– Pencils and Markers
\n– Brushes and Paint
\n– Magazines
\n– Scissors & Glue
\n– Rulers or Straight Edge
\n– Sketch Books
\nProcedures (detailed step-by-step description including dialogue):
\n-Day 1
\n– Students enter the classroom being presented with a fairly larger surface in the
\nfront of the classroom. (Desks spread to the edges of the room)
\n– Brief discussion to see if they can guess what the large surface is for.
\n– Teacher passes out handouts with contemporary artists then gives power point
\npresentation on community arts.
\n– Students and Teacher discuss ways they can combine each short story into one
\ncover all while focusing on vocabulary.
\n– Students practice drafting out various ideas in sketchbooks
\n– Class has group discussion on favorite sketches. (i. e. strongest most successful
\ndesigns)
\n– Collaborate on devising a strategy to work on the larger surface simultaneously.
\n-Day 2
\n– Class starts with a brief overview of ideas discussed
\n– Students are divided into groups
\n– Once all students are on the same page, groups begin working on the larger
\nsurface (students who are not physically working on the mural will stand back and
\nparticipate through feedback and directional ideas for the mural)
\n– This will carry on to the end of class
\n– 10 minutes before class is over; Students will clean up materials and straighten
\nroom.
\n-Day 3
\n– Students continue collaborating on the mural establishing the final touches.
\n– Midway through the class; class will critique the final piece in group discussion.
\n– Teacher will set up tripod and photograph the piece
\n– The picture will be entered into Photoshop and printed out for each student to
\nhave a cover for their books.
\n-Dialogue
\n– What is community art and why is it important?
\n– How can we embody every student\u2019s short story into one cover?
\n– Who is our target audience?
\n– What messages are we trying to convey?
\n– Coming together\/equality\/equity\/opportunity
\nAssessment\/Closure:
\n– Teacher will grade students on participation. (i. e. whether or not the student
\ncontributed to the project in a productive and sharing manner)
\n– Teacher will assess the student\u2019s knowledge of foundations.
\n-Students will have a self evaluation. (e. g. What did you think of this process? Why is
\nit important?)
\nLearning center\/ back up activity (if any):
\n– If students miss class and are unable to contribute to making the cover, a possible
\nsolution would be to add their designs digitally once they return.
\n– Teacher can hand them a print out of the collaborative cover
\n– The students who missed the activity can modify that print out
\n– The teacher can then scan that piece back in to form the new cover<\/p>\n","protected":false},"excerpt":{"rendered":"
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