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TITLE Arts for the Gifted and Talented: Grades One Through Six. INSTITUTION California State Dept. of Education, Sacramento. SPONS AGENCY Department of Education, Washington, D.C. PUB DATE 81 NOTE 88p. AVAILABLE FROMCalifornia State Department of Education, Publications Sales, P.O. Box 271, Sacramento, CA 95802 ($2.75 each, California residents add sales tax).

EDRS PRICE, MFO1 Plus Postage. PC Not Available from EDRS. DESCRIPTORS *Aesthetic Education; Art Education; Cognitive Development; Dance; Drama; Elementary Education; *Gifted; *Interdisciplinary Approach; Lesson Plans; Music; Poetry; *Talent; Visual Arts IDENTIFIERS *California\--

ABSTRACT The booklet presents California guidelines for arts education of gifted students in Grades 1 through 6. An introductory section examines the relevance of cognitive domain factors (knowledge, comprehension, application, analysis, synthesis, and evaluation) to the :arts. The second section presents 12 sample lesson plans in creative movement and dance, 12 in music, 6 in creative dramatics, 7 in poetry, and 12 in visual arts. Section 3 details interdisciplinary activities blending drama, movement, dance, language arts, social studies, science, and the visual arts. A glossary of approximately 120 terms ilsed in visual arts,.music, drama, poetry, and dance is also included. (CL)

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,c. ti, This publication, which was funded under the provisions of Public Law 93-380, Section 404, was edited and prepared for photo-offset production by the Bureau of Publications, California State Depart- ment of Education, and was published by the Department, 721 Capitol Mall, Sacramento, CA 95814. The ar:Nork and design were created by Cheryl Shawver. The activity that is the subject of this publication was supported in whole or in part by the U.S. Department of Education. However, the opinions expressed herein do not necessarily reflect the position or policy of the U.S. Department of Education, and no official endorsement by theU.S. Department of Education should be inferred.

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Copies of this publication are available for $2.75 each, plus sales tax for California residents (6 percent in most counties; 61/2 percent in four Bay Area counties), from PublicE;ons Sales, P.O. Box 271, Sacramento, CA 95802. A list of other publications available from the Department can be found on page 80 of this publication.

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Page Foreword Acknowledgments vi Preface vii Chapter 1The Cognitive Domain and the Arts Knowledge 2 Comprehension 3 Application 3 Analysis 4 Synthesis 5 Evaluation 6

Chapter 2Sample Lesson Plans 7 Sample Lessons in Creative Movement and Dance 8 Shape: Knowledge and Comprehension 8 Shape: Application and Analysis 9 Shape: Synthesis and Evaluation 10 Space: Knowledge and Comprehension 10 Space: Application and Analysis 11 Space: Synthesis and Evaluation 11 Time: Knowledge and Comprehension 11 Time: Application and Analysis 12 Time: Synthesis and Evaluation 13 Nonverbal Communication: Knowledge and Comprehension 14 Nonverbal Communication: Application and Analysis 14 Nonverbal Communication: Synthesis and Evaluation 15 Sample Lessons in Music 16 Knowledge: Primary Grades 16 Knowledge: Upper Grades 17 Comprehension: Primary Grades 17 Comprehension: Upper Grades 17 Application: Primary Grades 18 Application: Upper Grades 18 Analysis: Primary Grades 19 Analysis: Upper Grades 19 Synthesis: Primary Grades 20 Synthesis: Upper Grades 20 Evaluation: ?rimary Grades 20 Evaluation: Upper Grades 21 Sample Lessons in Creative Dramatics 21 Creative Dramatics: Methodology 22 Process: Knowledge 22 Process: Comprehension 24 Process: Application 24

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1 Process: Analysis 25 Process: Synthesis 26 Process: Evaluation 27 Sample Lessons in Poetry 35 Why Poetry9 35 Conw-rsation Poems 36 Construction Poems 37 Found Poems 40 Sound Poems: Analysis andaynthesis 40 Poster and Mobile Poems: Comprehension and Synthesis 0 41 Chance Poems: Comprehension and Synthesis 41 Sample Lessons in the Visual Arts 43 Self-Portrait: Knowledge 44 Self-Portrait: Comprehension 44 Self-Portrait: Synthesis 44 Masks: Knowledge 45 Masks: Analysis 46 Masks: Evaluation and Application 46 Pop Art: Comprehension 47 Pop Art: Application 47 Pop Art: Synthesis 48 Mythology and Art: Application 48 Mythology and Art: Analysis and Application 49 Mythology and Art: Evaluation and Synthesis 49

Chapter 3Comprehensive Arts: interdisciplinary Activities 50 Creative Drama 50 Creative Movement 52 Visual Arts and Dance: The Body 56 Body Parts and Dance 58 A Folk Expression: Dan& 59 Architecture and Dance 60 Sounds in Dance 61 Music and Architecture 62 Music and Sound 63 Music and Language Arts 63 Music and Social Studies 63 Muiic and Mathematics 63 Music and Science 64 Visual Arts 64

Chapter 4Discussion of Terms 69 Elements of Creative Dance 69 Terms for Creati7e Dance 72 Terms for Poetry 72 Terms for Drama 72 Terms for Music 73 Terms for Visual Arts 74

Selected References ( 76

: ) iv growing body of research tells us that our loiNided emphasis on educating only the language:dorhinant side of the brain leaves many children handicapped. We need to stimulate both hemispheres of the brain if we are to educate the whole child. Arts education, therefore, is essential. Contrary to the view of some critics, arts education doesn't take from the rest of education; it adds a different and vitally needed dimension. 'Scientists have demonstrated that arts education improves learning in reading and mathematics. Arts education does more. It develops creativity. It is as essential as the three Rs to the development of the kind of creative, problem-solving men and women we must have to cope with the complexities of the r) twenty-first century. , viN The late Abraham Maslow, former professor of psycholog'.t Brandeis University, once wrote that "really effective education in the arts is closer than standard core curriculum to genuine education, for the process of learning one's identity is an essential part of education. If education does not do that, it is useless." In Dr. IvIaslow's view, the arts are "so close to our psychological and biological identity" that they must become basic experiences in education. Unfortunately, many California school districts, threatened by inflation and declining revenues, have dropped arts education to balance their budgets. The deficit this short- sighted thinking has caused in the cognitive, psychomotor, and affective development of children who have been deprived of experiences in the arts can never be recovered. The affective deprivation is a tragic one. Perhaps never before in our history has it been so important to give our children a sense of the beauty and the mystery df life and nature. In a world where life is hectic and mechanized, the arts are an inexhaustible source of refresh- ment, inspiration, and fulfillment to the individual who has come to know and treasure such experiences. But, as tragic as that deprivation is, there is an even greater loss. The learning of those basic skills that school board members and taxpayers prize may well be hindered by the absence of aesthetic stimulation. In the Department of Education, we are using every resource possible to strengthen our leadership role in returning arts to the schools not as frills but as essential components of the educational process. All of our efforts to reform and improve education for California's children are designed so that arts education is not neglected. I cannot emphasize too strongly the values of a balanced curriculum. I commend this publication, Arts for the Gifted and Talented, as an important part of our efforts to promote arts education in our schools.

Superintendent of Public Instruction o

2-79563 V ?heCalifornia State Department of Education gratefully ackrAwledge§-the efforts of those who prepared this publication under the direction of Pats. .'lowman, Consultant, Gifted and Talented Education Unit; and Louis Nash, Consultant, Arts and Humanities, Instructional Services Unit:1

ANN E. BACHTEL Teacher of Grade Six and Gifted, Pasadena Unified School District &lie Project Coordinator, ESAA Arts for Children

SUSAN CA MBIQUE Movement Specialist, National Endowment for the Arts Consultant/Teacher, Glendale Unified School District

LEE HANSON Curriculum Coordinator, Art and Gifted Education Chula Vista City Elementary School District

MAUREEN HOOPER Lecturer in Music, University of California, Los Angeles

TOBY LURIE Author and Poet Consultant/Clinician for Gifted Workshops

ROBERT PRUTSMAN Teacher, Palm Springs Unified School District Lecturer in Creativity and Dramatics, University of California (Riverside, Berkeley)

!The titles and locations given for the persons acknowledged here are those that were in effect when the publication was wntten.

vi The development of intellectual and creative skills is fostered not only by convergent thinking but also by divergent activities and other experiences that extend awareness, rationality, and one's grasp of reality. Some research suggests that experiences in the arts are necessary for full intellectual development and that these experiences may improve academic achievement in mathematics, social studies, and reading: The gifted and talented student should be provided experience in the arts. California law has made such study difficult, however, especially in the development of skills that lead to an end producb or performance. This publication attempts to overcome this void by suggesting qualitatively different experiences for boys and girls to develop the higher levels of cognitive and affective thinking and experiences through the arts. Arts for the Gifted and Talented: Grades One Through Six is one of the products of an education project funded under the provisions of Public Law 93-380, Section 404. It is a result of the cooperative efforts of the Department of Education's Gifted and Talented Education Unit and the Afts and Humanities Unit, Office of Curriculum Services. The Department is grateful for the assistance of those persons identified on the acknowledgments page of this publication for sharing their expertise in working with gifted and taler.ted pupils in the visual arts, dance, drama, music, and poetry. Much of the material 'kcontained in this publication was supplied by Ann Bachtel, Teacher of Grade Six and the Gifted in the Pasadena Unified School District. The guide was prepared under the joint diiection of Paul D. Plowman, Consultant, Gifted and Talented Education; and Louis P. Nash, Consultant, Arts and Humanities, California State Department of Education. Finally, for guidelines on appropriate expenditures of funds for mentally gifted minors in California, the reader is referred to two memorandums of the Gifted and Talented Education Management Team, California State Department of Education (MGM 75-3 and MGM 75-7). Single copies of the memorandums are available on request from the Gifted and Talented Education Management Team, California State Department of Education, 721 Capitol Mall, Sacramento, CA 95814.

DAVIS W CAMPBELL ELINOR McKINNEY Deputy Superintendent Manager. Gifted and Talented for Programs Education Unit

REX C. FORTUNE JAMES SMITH Associate Supenmendent Manager for Consolidated Programs Instruclional Services Unit

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"The cognitive domain...includes those objectives which deal with recall or recognition of knowledge and the development of intellectual abilities and skills...." 4 'Taxonomy of Educational Objectives

417n'1956 the first volume of theTaxonomy of Edu- ifestations.... Athird domain (psychomotor) is the cation41 Objectivesappeared. TheTaxonomyidenti- manipulative or motor-skill area (page 7). fied and defined three main areas of learning: the In the Taxonomythe cognitive domain is divided cognitive domain, the affective domain, and the psy- into six major classes (page 18): ,4" chomotor domain.' In this chapter the characteristics of the cognitive domain are related to teaching the 1.00 Knowledge 4.00 Analysis arts to gifted and talented pupils. Although not spe- 2.00 Comprenshion 5.00 Synthesis cifically mentioned, the other two domains were 3300 Application 6.00 Evaluation taken into account during the organization and development of thismateriel. Concerning the three Each classification contains a spectruni. For example, domains theTaxonomycontains the following state- knowledge ranges from "the simple to the more comment: plex behaviors and from the concrete or tangible to the abstract or intangible" (page 30). , The cognitive domain...includes those objectives which f he lesson plans contained in Chapter 2 of this deal with the recall or recognition of knowledge and the publication are designed to aid the teacher in plan- , development of intellectual abilities and skills.... The affective domain... includes objectives which describe ning appropriate art experiences for gifted and tal- changes in interest, attitudes, and values and the devel- eoted pupils. As background for the lesson plans, opment of appreciations and adequate adjustment... . information is presented here on `.he six major classes The internal or covert feelings and emotions are as sig- of the cognitive domain. included in each of the six nificant for this domain as are the overt behavioral man- classes are (I) a definition of the class as found in the Taxonomy;(2) alistof verbs intended to elicit 'Taxonomy of Eduianonal Obleilives. The Classifu anon of Eduianon appropriate responses from pupils; (3) sample ques- Goals. Handbook I Cognitive Domain. Prepared by a Committee of tions that might be used for testing or discussion; and College and Universit:. Examiners and edited by Benjamin S. Bloom. Ncw York. David McKay Co.. Inc.. 1956 All page references in this chapter (4) sample learning activities appropriate for gifted arc to Handbook I. and talented pupils.

ti Move quickly through theseareas to the more 9 challenging upper levels. I

Knowledge 2. Match a sound and an instrument. See the sam- The Taxonomy states that knowledge "involves the ple lesson on music in Chapter 2 or the following: recall of specifics and universals, the recall of methods a. A record or an audiotape and a set of pic- and processes, or the recall of a pattern, structure, or ture cards setting. For measurement purposes the recall situa- b. A numbered card for each instrument, cod- tion involves little more than bringing to mind the ing both the audio and the visual appropriate material" (page 201). c. A response sheet for the pupil to record decisions for he sound-picture matches Appropriate Verbs 3. Match a selection of music and a period in Verbs that may elicit appropriate pupil responses at history (such as operacirca 1600 in Italy, or the kniAledge level include: symphonic formcirca 1750 in Europe). Define Label Recall 4. Match a type of drama and an historical period Describe Locate Recite and its culture (e.g., neoclassicist, 1500-1700 Distinguish Match .Recognize in France, as exemplified by Moliere, who fol- Identify Memorize Select lowed the traditions of the classic Greek drama). Know Name State 5. Match a poem and a poet. The selections will, of course, vary a bit by grade level. Examples Sample Questions for primary grades might include "My Shadow," 1. What is the role of the wolf in Peter and the by Robert Louis Stevenson; and "Extremes," from The Book of Joyous Children, by Japes Wolf, by Prokofiev?, 2. How (or where) is melodrama used (or found)? Whitcomb Riley. Upper grade pupils could be 3. When (or how) did visual art first happen? introduced to Lewis Carroll (author of Alice's Adventures in Wonderland through his poem, "The Walrus and the Carpenter." (Note: Mathe- Sample Activities matical puzzles, games, and so on developed by 1.- Research and develop, by using a predeter- Lewis Carroll are creative accompaniments to mined methodology, time lines for: the pupil's writing and help the pupil to know a. The origins of several musical instruments an artist from another perspective.) (e.g., the druniprehistoric; modern key- 6. Match a stylF of visual art and a school of art, board developmentBach, circa 1725; the together with the meaning of that school. (An clarinetcirca 1775; the saxophonecirca example would he Picasso's famous "Demoi- 1840; and so on). spites d'Avignon" and cubism.) b. Houses (shelters) built with wood exteriors. 7. Describe a cultural news event after reading the 'Identify trends and properly sequence either report of the event in the newspaper. Or read as a global perspective or in relation to a the reports in two newspapers and compare the specific geographic region, such as a conti- reports as to literary content. nent or territorial boundaries of a selected 8. Describe an arts performance after viewing the country. presentation on stage, on film, or on television. c. Artists' visual depictions (pictures, sculp- Identify the storyline,lead parts, support tures, and so on) of a single focal object roles, and so on. (The extent of the response (e.g, a horse, a boy, a tree, an ethereal will vary by grade level. But always be sure to being, and so on). Assign a composition, to extend the child's mind as far as possible with- accompany the time .fine, comparing peri- out reaching a failure level. Keep him or her ods of history and expressing a theory of mentally stimulated and involved.) why certain visual styles were used at one 9. Describe a sculpture. State the name of the place and time and not at another. artist and facts about the artist and the basic

2 k) trends underlying the development of the artist's to his "Rites of Spring" or Gershwin's thoughts style. related to the "Rhapsody in Blue." The four- 10. Define arts. terminology (see the glossary for a step pattern suggested is to (1) listen to the com- start) and consciously distinguish each term, position; (2) read about the composer and his or placing it with the correct art form: dance, her composition; (3) listen to the composition drama, music, poetry, and visual art. again, internalizing the first two steps; and (4) 1 I. Define the terminology used in more than one write the interpretation. art discipline and develop criteria to determine 6. Interpret a series of photographs as a political the discipline to which the term may be assigned. speech; a newspaper story; a fairy tale; a skit; a jape recording; a radio show (such as "You Are Comprehension There"); a dance form; a television program. The Taxonomy states that "comprehension repre- 7. Interpret a selected comic strip as to causal rela- sents the lowest level of understanding. It refers to a tionshps between characters. (See the Taxon- type of understanding of apprehension such that the omy, page 116, for a related idea.) individual knows what is being communicated and can make use of the material or idea being communi- Application cated without necessarily relating it to other material Application, states the Taxonomy. is "the use of or seeing its fullest implications" (page 204). abstractions in particular and concrete situations. The Appropriate Verbs abstractions may be in the form of general ideas [as well as].. .technical principles, ideas, and theories Verbs that may elicit appropriate pupil responses at which must be remembered and applied" (page 20'5). the comprehension level include: Change Interpret Rearrange Appropriate Verbs Concert Locate Restate Verbs that may elicit appropriate pupil responses at Demonstrate Match Rewrite the application level include: Explain Name (label) Transform / Apply Generalize Restructure Express Paraphrase Translate Change Illustrate Sketch illustrate Choose Modify Solve Classify or orderOrganize Transfer Sample Questions Discover Paint Use 1. What can you say about the color green? Dramatize Produce 2. What do you hear when a bird first lands? 3. Which comes first, thelyrics (words) or the Sample Questions score (music)? I. To what scale (i.e., major, minor, pentatonic) Sample Activities does this music belong? Replace the word this I. Translate a musical composition, such as a sim- with a song title such as "This Land Is, Your ple folk song, to paper by melodic phrases, using Land," by Woody Guthrie, which uses a major the letters of the alphabet (e.g., ABAC) for repe- scale; or "The Ghost of Tom" (Sixth Grade tition patterns. Exploring Music, California State Series, 1969, 2. Translate an abstract painting into a statement which uses a minor scale). Note: References will and relate the statement and the style of the have to be changed as replacemeutsvr revisions painting to the period of history in which the are made. artist lived. 2. How can you use a copy of "Pinkie," by Sir 3. Translate a newspaper article into a tall tale, Thomas Lawrence, in a collage? 3. How might you show perspective, reverse per- using the same literary style as that found in the .. tall tfile abott Paul Bunyan. spective, or primitive in an illustration.? 4. Translate an editorial into a political cartoon, 4. What four different ways can you suggest and using the specific theories of a specific political demonstrate to move to music? cartoonist, such as Fenninger or Conrad. (Related ideas may be found in the Taxonomy, pages 101 Sample Activities and 104-5.) I. Use the same number and kinds of joints as 5. Interpret composers' thoughts regarding a selected found in the humen body (hall and socket, composition, such as Stravinsky's thoughts related hinge, and so on) to develop and sketch a

3 Analyze the artistic quality in contemporary works of art.

melodic pattern; a poem; a functioning sculpture Sample Activities (with moving parts); a dance concept. I.Grades one through three: 2. Change a drama from tragedy to comedy by reassigning the roles (not just the names) of the a. Analyze a contemporary song, such as Don characters. Example: The hero is unowactive McLean's "American Pie," which expresses physically and is a mean person," its lyrical megsageThrough symbolism. Record- ings of opera, light opera, and musical comedy, 3. Use an art form to illustrate the rug designs of along with a copy of the score projected on a American Navajo Indian rug makers in compar- wall for pupils to follow, are valid means for ison with Persian rug makers of the eighteenth the development of analytical skills. Pupils century. may begin by relating the text to the contours 4. Establish classifications,such as blues, jazz, of the melodic line, rhythmic patterns, or chamber, rock, and so on, and then listen to 15 unusual harmonies. By the development of selections of music (fewer for younger children), appropriate discussion questions, the various placing them into the predetermined classifica- types of thinking processes (creative, critical, tions. productive, and so on) can be identified and 5. Take a memorized nineteenth century poem and enhanced. restructure it into a twentieth century "conversa- b; Compare two current popular composers and tion poem" (e.g., "The Sugar-Plum Tree," by their songs, including the lyrics, the musical EugeneField,or "Calor," by Christina G. setting, and the style of vocal accompaniment. Rossetti). c. Analyze the artistic quality in contemporary works of art. Analysis d. Read a science fiction or m;stery story that is Analysis is defined by theTaxonomyas "the break- lacking its culmination. Use a form of sen- down of communication into its constituentelements sory communication to predict the conclu- or parts such that the relative hierarchy of ideas is sion in terms of the immediate inference made clear and/ or the, relations between the ideas made from explicit statements in the text. expressed are made explicit and their organization (Predictions may be easier or more accurate recognized" (page 205). if the student has already read and analyzed other works by the same author.) Appropriate Verbs e.Compare two paintings of the same type of Verbs that may elicit appropriate pupil responses at scene, such as a beach or picnic grounds, for the analysis level include: like and unlike items to give conclusions or state implications based on the data in the Add Describe Perceive picture. Analyze Diagram Point out f. Follow a simplification of these processes, Categorize Differentiate Select focusing on "For the Beauty of the Earth," a Classify Discriminate Separate familiar hymn by Kocher which uses the poem Compare Distinguish Subdivide with music.(See Exploring Music3,Cali- Connect Divide Subtract fornia State Series, page 4.) Deduce Infer Survey

Sample Questions 2. Grades four through six: 1. What are the basic or unique characteristics of a a. Analyze "Hiawatha's Wedding Feast," by folk song? (Refer m. a 'California basic music Samuel Taylor Coleridge, a poem based on series.) "Hiawatha," by Henry Wadsworth Longfel- 2. Holy is pantomime related to dance? low. Analysis and critical thinking might be 3. Where have you' heard "he's got rhythm" used in appropriatehere.Pupils might study the a similar.way (i.e., in music and Nance)? In a process by which a poem is developed and different way (i.e., in biorhythm and music)? music based on the poem is created.

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Note: Many public libraries have collections Sample Questions of records that may be checked out in the 1. What might be added to or combined with mime same manner in which books are checked 'to make a new art.,form? out. If these procedures are followed, one 2. What are some different ways to promote the should develop an awareness of the creative sale of food (e.g., pictures of a market, a collagea thinking of the artists. of items found in a market, television commer- b. Read and analyze for understanding, as a cials, radio singing commercials, and so on)? class or group, the poem "Hiawatha": 3. How might you design or use a body shape in a 1. Recqgnize unstated assumptions. new way to create a new dance motion? (Refer 2. Distinguish facts from hypothesis.- to the section on creative movement and dance 3. Recognize form and pattern in literary or in Chapter 2.) artistic works as a means of understanding their meanii.g. Sample Activities c. Use an overhead or opaque projector or indi- 1. Produce a rebus (a picture for a word or part of a word) for the lyrics of a song while listening or vidual copies. Follow the lyrics while listen- following the listening experience. (A song may ing to "Hiawatha's Wedding Feast." Two be found in the California State Series.) means of communication are thus combined. 2. Develop a Ist of personal tra:ts, aptitudes, and d. Assign a technique or theory as to how the experiencein school and away fro.school composer used the poem and music to create (likes and dislikes and so on). a musical communication. Identify passages 3. Analyze the careers of artists in various disci- in which the music gives emphasis to the plines. When a match occurs in the previous list, words and be aware of how the composer place the artist's name and art form next to the and conductor achieved this emphasis. category and item on the list. (This individual- Synthesis ized activity will cover a time span; but after a 47 predetermined length of time, have pupils develop Synthesis, states the Taxonomy, is "the putting an organization of similarities in the artist and together of elements and parts so as to form a whole. pupil lists.) This involves the process of working with pieces, 4. Develop a storyboard to tell of a personal, parts, elements, etc., and arranging and combining group, or class experience. (The processes of them in such a way as to constitute a pattern or struc- translating, substituting, redesigning, rearrang- ture not clearly there before" (page 206). ing, combining, and symbolizing may all be Appropriate Verbs involved in this learning experience.) 5. Present a hypothesis for a new television show. Verbs that may elicit appropriatepupil response; at (The idea may be developed by an individual the synthesis level include: pupil, a group, the class, or the teacher; or the Combine Invent Redesign idea may be found elsewhere.) Have students Compose Manipulate Revise analyze and develop a plan for testing the hy- Construct Modify Role-play potheses, including identification of factors in- Create Organize Substitute volved, data collection and processing, deductions Design Originate Symbolize based on data, and deductive evaluation to pre- Develop Plan Translate dict the validity or nonvalidity of the original Formulate Produce Write hypotheses. (Sample hypothesis: The students in

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1 1) Schoc! are desirous of hav- 3. How might you change Shakespeare'sThe Tam - ing a young people's television series on pollu- mging of the Shrewto make it a contemporary tion or folk music or dance, melodrama, and so comedy? (Note that a change has already been on.) made in Cole Porter'sKiss Me, Kate.)

Evaluation Sample Activities The Taxonomydefines evaluation as "judgments I. Use established criteria to assess a callection of about the value of material and methods for given reproductions of paintings to determine to which purposes. Quantitative and qualitative judgments about schooltheybelong, such as abstra,:tionism, the extent to which material and methods satisfy cri- expressionism, action painting, applied art, art teria. Use of a standard of appraisal. Ile criteria may nouveau, and so on. be those determined by the student or those which are 2. Defend verbally in debate an evaluatioh of a given to him" (page 207). The judgments may be in work of art, such as the Mona Lisa by Leonardo terms of internal evidence or external criteria. da Vinci; and indicate the logical fallacies that Appropriate Verbs have been made concerning the artist in regard to this painting Verbs that may elicit appropriate pupil responses at 3. Use a method of communication (verbal, writ- the evaluation level include: ten, and so on) to defend action painting, such Appraise Evaluate Recommend as works by Jackson Pollock, as fine art. This is Compare Judge Relate a good opportunity to compare major theories, Consider Justify Summarize generalizations, and facts about contemporary Criticize Prove Support art. Critique Predict Weigh 4. Determine criteria developed by pupil.s or those Decide A;1. Rate criteria that are valid and available to make: a. Judgments about the value of material and Sample Questions methods for given purposes I. Howmight you compareMozart's Requiem b. Quantitative and qualitative judgments about Massand Brahms's GermanRequiem (intext, the extent to which materials and methods instrumentation, form, musical style, and so satisfy criteria on)? 5. Evaluate two recorded interpretations of an 2. How might you use a telephone number as a American folk song based on criteria relating structure fora poem? (Refer to the section on authenticity of accent, phrasing, dynamics, and poetry in Chapter 2.) accompaniment to ethnic characteristics.

"The arts provide a medium for personal expression, a deep need experienced by children and adults alike. Children's involvement in the arts can be a strong motivating force for improved communication through speaking and wiling as well as through drawing or singing." Kathryn Bloom, JDR III Fund, New York City

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he sample lesson plans contained in Chapter 2 have been correlated with the 'Taxonomy of Educa- tional Objectives and were developed by consultants in particular disciplines. Because each aspect of the arts is unique in structure and organization, the lesson plan format serves only as a model, not as an abso- lute. Some variations occur, as the material dictates, in accordance with the intent to structure differentiated learning experiences for the gifted or talented. Unless otherwise noted, the lessons are adaptable for use by all children in grades one through six by the simple alteration of the level of complexity of the materials used. The teacher shouId make sure that the materials are kept above the conceptualization level of a regular student in the same grade. If the teacher fails to do so, the lesson becomes invalid as a learning experience for a gifted or talented pupil. The basic format design allows the lessons to be used with either a regular class for gifted and talented pupils or with a cluster class, the extended activities being used exclusively for additional involvement with the gifted or talented pupil. Fundable programs in art and music for the gifted and talented have as program components (I) theo- retical; (2) analytical; (3) comparative; (4) historical; and (5) composition. In the development of additional lessons in the arts, it is wise to keep the five components in mind. All of the sample lessons relate to at least one of the components. Although not so designated, the components are readily identifiable. An explanation of some of ithe terms used in the sample lessons may be helpful: I. Process denotes the evolution of learning experiences; that is, the educational process in relation to the specific lesson. 2. Entry behavior refers to that which the student must have understood before effective participation in the lesson can be accomplished. 3. Evaluation, the determination of what was and what is in a before and after spectrum, has been intentionally left out of most of the samples. Teachers are presumed to be competent to design their own evaluation methodology as related to the lessons presented. Some suggestions are made in an evaluation segment contained elsewhere in this publication.

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ereative movement and dancecan be effective in Shape: Knowledge and Comprehension stimulating, developing,' and extendingareas of learn- Process:Recognition of the body and bodily move- ing within the classroom. The elements ofmovement are the elements of the physical universe: time, space, ment to create motion and shape. energy, and mass (shape). The body is the :nstrument Specific objective:Given a variety of ideas on shape used to explore these concepts. The body is and line, the learner will identify and illustrate the directed ideas with his or her body. by each person through hisor her mind and feelings. To explore ideas through dance and Concept:The body is a three-dimensional instru- movement, a ment that can create, duplicate, and extend shape and person must focus and direct all aspects of himselfor herself toward the problemor idea. line ideas. The teacher should strive towardconcen- Creative dance allows each individual to extend his tration and control as being key in the success of these or her awareness, skills, and abilities to solve pro*Y# specific objectives. An awareness of balance and lems creatively. Pupils should be provided constantly .-.:nrgy (kinetic when moving into a shape and potential when holding a shape) is necessary for with challenges instead of being givenanswers. Pro- success. cess is the most important part of dance. The end The control must come from within each student. Entry behavior: result is exciting, but it should evolve from the refine- The pupil must understand the ment and selection of motions, floor patterns, and concepts of straight lines, curved lines, diagonal lines, shapes, angles, levels (low, high, and so on), and shapes discovered and expanded in theprocess. Expectancies that can serve as guides by which energy as they relate to dance. Materials: teachers of the gifted and talentedcan extend chal- A drum (optional) or tambourine (any lenges to their pupils are the following: percussion instrument that can be usedas a signal for change). 1. Kindergarten and grades one through three Procedure:This activity can be done in a circle, in a. Understanding of the basic elements ofvar- small groups, with a few at a time going into the ious movements .space, or with everyone working individually in a b. Knowledge of the body and its-parts; knowl- scattered position. Suggested directions to be givento edge of the functions of the body and the pupils include the following: parts of the body c. Awareness of the relationship of the body to I. Put a straight line into some part of your body. the surrounding space 2. Shape your arms into a curved line. 3. Create a diagonal line in your body. Try d. Knowledge of the bodyas an instrument of a new communication idea at a new level, moving your bodyup and e. Awareness of the body as an instrument to down. develop feelings of worth and 4. Move your body into the widest possible shape. success 5. Make a design with sharp angles. Move three 2. Grades four through six times, with emphasis, into different angular a. Knowledge of &greater variety of movements shapes. and dance 6. Form a round shape at a low level. Use a turning b. Extension of the expectancies for kinder- motion to form a round shape at a high level garten and grades one through three with a partner. c. Ability to contribute to a group idea and to combine the ideas of several individualsto Note:Words can be used to act as stimuli in this build an expanded whole type of problem and to reinforce vocabulary devel- d. Ability to express feelings and ideas through opment. Examples of such words wouldbe jagged, dance and to put them into one's own form flat, bumpy, pointed, expanded, contracted. with a beginning, development, and conclu- Problems with partners or small groups may be sion dealt with by directing pupils as follows:

8 I. Count off into pairs number I and number 2. Procedure.Each pupil rhould create tht..e shape 2. Number I moves into the space and designs any ideas at three different levels and facing thine differ- type of shape wished, but number I must be at a ent walls of the room. Decide the sequence in which level different from the people nearby. The shape the levels will occur (e.g., low, high, medium). The should have potential energy while itis held. next part of the procedure is as follows: 3. Number 3 moves out and finds a shape for dupli- I. After a decision is made, the pupil will choose cation. The shape may be duplicated from the which wall to face first, second, and third. The front, side, or back. However, once someone has first shape will relate to the first wall. selected a particular shape, no one else may duplicate it. 2. Pupils should practice their shape sequences 4. Number 1exits and stands back to observe the unt'l known quite well. Allow four counts for shape and how closely number 2 has duplicated th_ pupils to discover the rhythm and motion it. that will take them from shape Ito shape 2 to 5. Continue the problem in this manner, changing shape 3. the designers and duplicators. 3. Half the class will watch while the other half will Extension:One person may be the leader for the demonstrate a shape problem. group and create shapes that must be quickly dupli- 4. A recording may be used at this point, and the cated. The leader may take four counts to forma sequences may be repeated in slow motion sev- shape, and the group takes four counts to copy;or the eral times as pupils move from one shape to the leader may change the timirgin 'forming the shapes next. (e.g., some formed very slowly, some sharply and Extension:Space concepts may be extended so that quickly). the pupils design their shapes in a different part of the Evaluation:Questions that the teacher should con- room. Pupils must determine the way they will move sider are the following: from oae spot to the next: I. Do the pupils have good inner controlin balance? I. Form shape number I. 2. Are they willing to experiment and extend their 2. Use a specific way of moving through space to knowledge through the use of their bodies? the spot where shape number 2 will be formed. 3. Can the potential energy (active stillness) be 3. Form shape number 2. observed in the held shapes? 4. Use another way of moving to the spot where shape number 3 will be formed. Shape: Application and Analysis 5. Form shape number 3. 6. Use another way of moving to the spot where Process:Selection and demonstration of a sequence. Specific objective:The pupil will apply knowledge shape number I was formed and will be repeated. of shapes by creating a short sequence of ideas Note:The class may move as a whole, or each through motion. person may move through his or her sequence Entry behavior:A knowledge and understanding of and timing. Sounds or recording may be added. shapes, sequences, :,nd ideas through motion on the It might also be decided that each locomotor part of the pupils. design must be at a different level. In addition, Materials:Percussion instrument, record player, pupils may pair off and teach their sequences to rhythm record, or any instrument for aural tempo each other, combining their individual segments projection. into a larger whole.

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9 1' A Evaluation: Pupils should evaluate the positive form a design, each adding a piece at a different points of the group they observe, then give sugges- level. For example: tions for additions or subtractions to the rhythm or a. Number Iruns and forms a shape slowly. shapes and spaces utilized. Evaluative criteria might b. Number 2 looks at the design briefly and include the variety of movements and shapes; the abil- then moves to it and adds his or her body as a ity to hold position; the accuracy used in following piece, with a connection to or in the spaces of the design; and analysis of evaluation itself. the first. Shape: Synthesis and Evaluaticin c. Number 3 repeats the action, adding a third part to the design. Process: Redesign and rearrangement. d. Number 4 repeats the action and adds the Specific objective: Given a design problem, the last part. pupil will be able to translate an idea into a sculpture, e. Then all four dissolve out off-the design in using several persons as the individual parts forming slow motion. the whole and using shape and motion concepts. Entry behavior: An understanding of body joints, 6. Have the groups watching, as well as the group mass, levels, parts forming a whole, energy and con- demonstrators, evaluate the success of the design trol, shapes, and elements of good design. in, terms of balance of mass, levels, ability to see Procedure: The teacher may: the parts forming the whole, and demonstrated quality (focus and energy and control). 1. Have several pupils form individual shapes, facing,k different directions and working at differ- Extension: Pupils may: ent levels. I. Take prints or photos of different art designs. 2. Select other pupils to redesign the sculptures by Select one and translate the lines into _..body moving isolated parts at the joints. (Note: To shape or motion. This activity may be dornidi- help prevent injuries, you should review the joint vidually or' in small groups. The art designs areas and explain how each joint moves.) It selected \must be duplicated accurately. might help to think of the persons in the held 2. Repeat the idea with three-dimensional sculpture shapes as the sculpturiand the persons who are (either subtracted or added to sculpture). Why redesigning the shapes as the sculptors. The pu- do some ideas work well and others do not? pils can also progress to the point where they What are the elements of good design? Can these can help the persons in shapes change level by ideas relate to more than one art form? being responsible for their weight as well. The 3. Draw a design and interpret it as a dance design, persons being moved must cooperate in the using floor pattern and body sculpture. change but must also maintain total concentration and focus throughout the exercise. Evaluation: The teacher should: 3. Make several changes of the perSons being I. Have the pupils evaluate what they have accom- moved and the changers. Each shape changer plished with their knowledge about shape. They should, make one or two changes on one sculp- can suggest other ways to put it into the creative tureand then go onto the next so that variety problem-solving process. and interest are maintained. 2. Ask the pupils where they should go from this 4. Select several pupils to create individual shapes point with an understanding of design and shape and have a director tell how the shapes are to be in dance. combined. Some pupils can help by moving the 3. Have the pupils make judgments about aesthetic shapes, or they can. cooperate by placing the or technical aspects of design and motion after a shapes as requested by the director. The rest of film on dance has been shown. the group should decide which combinations 4. Have the pupils make 35mm abstract slides. The work best. This procedure should be tried sev- students can project the slides over the designs eraltimes, with different persons being the to add the magic of lights. shapes and the directors. The procedure can also work well in small groups. Space: Knowledge and Comprehension 5. Shape group problem. Divide into groups of Process: Development of skills for manipulating four or five. The groups will number off within dance elements. their groups so they have an order. One at a titre, Specific objective: Each pupil will identify a wide they will run or skip to a designated spot and variety of motion ideas and demonstrate ways to

1 r I0 extend or vary them through the manipulation of the Extension: Pupils will attempt to add sounds or elements of dance (time, space, energy, shape). music to their sequences. The audience should move Entry behavior: A knowledge of basic locomotor to a different place and observe the sequences from a movements and rhythm and an ability to record different point of view. movement on paper. Evaluation: The group should give only pdsitive Materials: Paper and pencil. suggestions to the dancer. Group members should Procedure: Pupils should attempt to discover five think of ways that the sequence can be developed or or ten different ways to progress through space; think enhanced. Each person should return to his or her of different body parts leading, different levels, differ- sequence to make the changes agreed upon. ent parts of the body touching the floor, different uses of energy, different directions in which the body can Space: Synthesis and EvaluatiOn move; 'and find ways to vary and change the basic Process: Combination of elements into new wholes locomotor movements already known. For example, and judgment of the outcome. the teacher might direct the pupils as follows: Specific objective: Each pupil will combine thoughts 1. Jurrip. Give it a different rhythm. Combine it with another pupil and redesign the thoughts of the with a turn. Make it go very low to the ground. individual to create a new study involving the two Take it sideways. Make the, jumps long. Make persons. them very small and short. Entry behavior: Complete understanding of the 2. Record on a sheet of paper a sequence that you previous two lessons. like. Repeat this process until you have five or Materials: Pencil and paper. ten very different ways to travel through space. Procedure: Pupils will select partners for the pur- 3. Connect them in the order you wrote them and pose of sharing their material. The number of parts in demonstrate them to the rest of the group. the combined study wilt depend on the ability to Extension: Pupils should attempt to discover five remember sequences. The procedure,sl'ould continue to ten ways to progress through space with a partner. as follows: Ways discovered should be those in which two bodies I.Partners will select two or three of their progres- art necessary to make the action work. sions to teach to each other. They will then Evaluation: The groups will observe each other's sequence them into a new order, with a begin- exploration ideas and give positive reinforcement of ning, middle, and end. Both will learn the new the strong ideis and suggestions for modifying the design and will dance ittogether. They may other ideas. demonstrate the design alone or in a group, using a variety of forms (ABA, question and Space: Application and Analysis answer, and so on). Profess: Selection of known wholes torestructure 2. When the studies are learned and practiced by, into a. new sequence. each set of partners, they will be shared with the Specfric objective: Each pupil will createa dance rest of the group. The group will judge the pre- sequence based on material developed by the pupil. sented sequencing for the aesthetic and technical Entry behavior: An understandingof movement aspects of design and motion. The presenting progressions and their repertoire; a grasp of the con- group will justify its presentation. cept of sequence and connection. Materials: Paper and pencil. Extension: Draw the floor pattern or map of where Procedure: Ptipils should: each movement will go into space. Label the map directions. Take the studies into a new environment I. Select several movement progression ideas from and repeat them (e.g., in a grassy area or on a stage). the list developed in the previous lesson. Think about how they could best be connected intoa Evaluation: The teacher may: phrase. For example, pupils should select five I. Have the pupils give positive comments about ideas, arrange them into a sequence, test the what worked in the studies and what suggestions sequence, and make changes if needed or desired. the pupils might have for additions or subtractions. 2. Rehearse the sequence several times until itis 2. Rework the studies as needed and reshow. memorized and can be demonstrated, using high energy and concentration. Time: Knowledge and Comprehension 3. Share with the group the studies on special Process: Identification of the difference between progressions. knowledge and comprehension.

11 Time simply exists for the dancer to move through.

Specific objective:The pupil will be ably to illus- slow-motion turns. Create a small-group improv- trate, by the use olhis or her body, differences in isations, using only these three ideas. Each which time can be worked with dance. pupil should work with his or her own timing Entry behavior:A recognition of time and r*t.m, and sequence. both external and internal. Extension:The pupils should repeat the process Materials:A drum or other percussion instrun.ent. described previously, using other body parts (e.g., the Pro'i:edure:Time simply exists for the dancer to arms and the-head) rather than the feet. move through. Sometimes the dancer works from external rhythms, which are outside forces; and some- Evaluation:The pupils should discuss the differ- times the dancer works from internal rhythms, Which ence between working with an external rhythm, such are based on breath, heartbeat, feelings, or idea. The as that produced by the drum, and feeling the rhythm teacher should: from inside themselves. Which is easier? Which feels more comfortable? Were they successful at both I. Create a specific, evenly divided rhythm on the tasks? drum. The pupils will find the rhythm and walk on the beat. This procedure should be followed Time: Application and Analysis until all demonstrate that they can internalize Process:Ability to manipulate time. the rhythm. Specific. objective:The pupil will change the timing 2. Ask the pupils then to move faster than the felt of an everyday action in a large variety of ways. beat. They should do so in their own timing Entry behavior:An awareness of body rhythm in (fast and slow are relative to each individual)..relation to body functioning (e.g., breathing). The drum is not used during this actiOn. Procedure:Pupils should breathe deeply and evenly, 3. Beat the specific rhythm used in number 1. The being aware of their own breath. They shonld'allow class will move to the rhythm. the body to move naturally up and down with the 4. Ask the pupils to move much more'slowly (but rhythm of their breath. In addition, they should try evenly) than they felt the beat indicated. moving their arms upward as long as the intake lasts 5. Return to beating the original beat and ask the and slowly downward as long as the exhiTe lasts. The pupils to step onevery other heat.They should tea,:her should: be aware of the pulse but should sense how the 1. Ask the pupils to find two or three motions that half time feels different. can correspond with their breath. For example, 6. Repeat the preceding entry but this time have pupils may move forward' and backward in the' pupils usetwo stepsto every beat, feeling a space; lift a knee up and place it down; slowly .double -time rhythm. turn right and then back to the other direction. 7. Beat the regular beat. The pupils will have a The focui should be on letting the body be an choice (usually just two choices at first) of on extension of the breath. the beat, on every other beat, or double time. 2. Ask the pupils to show two or three ideas of They will walk through space working with motion and breath, doing each motion twice these three ideas to create different rhythmic before going on to, the next. Half the group patterns. should watch while the Vier half moves. Then 8. Ask``' ialf the class to observe while the other reverse the procedure. half does the problem; then the roles should be 3. Explore a few everyday chores as a group. Each reversed. person should think of the action and demon- 9. Repeat the idea, this time without the drum. strate it in his or her own way. Ask the group to Have the pupils move on their own double change the timing of the motion, making it very time, half-time and regular time, having them large and slow or small and fast. Ask the group alternate to create their own sense of rhythm. to give the action a rhythm of its sown, which 10. Have the pupils combine the ideas of moving then can be repeated several times to develop a quickly, stopping, and holding still in time and pattern.

12 4. Take time to see how people handled the prob- the pupils have gone through their eight numbers, lem in different ways. they must freeze in the shape they have at the 5. Have the pupils individually, as partnersGr in end of their last motion. small groups, select their own choice of chores a. The eight students are in a scattered position or other category of everyday activities. They in space. Whenever they wish to move, they are to explore the actions involved and change must use their numbers (in order) by reciting he timing in a variety of ways. The timing will the numbers in any tempo or rhythmic pat- also affect the size of the motion. The motions tern they wish. They may hold for as long as should le exaggerated in size and energy. they like in between each number or respond 6. Have several pupils demonstrate their ideas at to others as they say their numbers. They once while the other pupils watch. The simpler the motion, the more clearly can the time may travel through space or do a movement changes be observed. in place. For example, one person's solution would be as follows: Extension: The pupils can refine their ideas and One! (said very sharply) turn them into a more developed study, using the Two, two, two, two other elements of dance with more awareness. They Threeeeeeeeeeeeeeeeeeeeeee (said long and can design their study with an entrance, middle sec- with the voice going down and up) tion, and exit. They can score (map) their floorpat- Four (pause); four (pause); repeat tern, and include level changes and energy changes. Five, five, five (pause); repeat; five, six, Evaluation: The pupils can also observe and evalu- seven, eight (said in rapid succession) ate whether they could see the time changes involved in everyday_ activities. How could the pupils make the b. The motion grows out of the internal sound changes more obvious? and is directed by it. When persons are not saying their numbers, they must hold the Time: Synthesis and Evaluation shape they are in, for they are stopped in Process: Confidence in using time. time. The group members must hold their Specific objective; The pupil will be able to respond endings until everyone has completed his or to his or her own sense of timing and that of others. her set of eight numbers. Entry behavior: An understanding of the concept 3. Repeat the problem with all groups. Then let of rhythm patterns, accent and tempo, and improvisa- them try the problem again, seeing whether they tion. can redesign their thinking and substitute new Materials: Instrument to create rhythmic sounds. ways of using time in their improvisation. Procedure: The teacher should: Extension: The pupils should: 1. Have pupils use numbers or lettersas a base for 1. Repeat the process, using:the alphabet (with a creating rhythm patterns and variation in accent limit op the number of letters) or the letters in a and tempo, The sound will motivate the motion person's name. to correspond to the same pattern and tempo. 2. Repeat the process, using sounds and sound 2. Divide the class, with about eight studentsto a patterns. group. Each member of the group will have Evaluation: Were the pupils successful in solving eight numbers to use in an improvisation. When the problem? How can the pupils improve?

4-79663 o N Nonverbal Communication: Knowledge f. "Run to a new spot in the room. Freeze. Very and Comprehension slowly, stretch toward someone near you and connect to his or her body. (This activity will Proess:Ability to communicate nonverbally. form clusters of people around the room.) Specific objective:The pupil will be able to focus Good." (Repeat this instruction a few times.) attention on objects and people outside himselfor "Create a people machine." (One person will herself and increase the ability to relate to the objects g. and people. begin a simple motion; then, one at a time, Entry behavior:Ability to follow directions; an the others will add a motion that relates to the motion and rhythm of the first person. understanding of the concepts of motion, machine, and verbal and nonverbal communication. Repeat until everyone, usually three or four persons, has had a chance to initiate the first Materials: Instruments or records optional for action and rhythm. Have the groups share machine part. Suggested: "In Sound from Way Out" their favorite machine.) or "Short Circuits" or "Polka" fromAge ofGold. Procedure: The teacher should direct the attention Extension: Tht group may work together to design of the pupils to the space and objects around them a particular type of creative machine (e.g., a sunshine through a series of directions such as the following: machine or a wind machine). Group members are to 1. "Look at the ceiling. See the designs? Good." emphasize how the motions and rhythms of each per (An acknowledgment should always be given son are important to the whole. All the rhythms anJ when the command has been fulfilled.) motions must be coordinated in some way and should 2. "Focus your attention on a wall. Notice three be shared with others. objects that are on the war. Good." Evaluation: The pupils should discuss the differ- 3. "Focus your attention on something that is ence between focusing and not focusing their atten- round. Show the shape of the object you are tion. What doesit d9 to their feelings? Energy? looking at by putting the shape into your booy. Concentration? Intention? The pupils should discuss Good." the idea of making machines and the relation to com- 4. "Focus your attention on something that is low munication. What made certain machines successful? to the grounci. Put its shape into your body. How might the pupils solve problems in the machines Good." that didn't work as well as expected? 5. The teacher will direct the attention of the stu- Nonverbal Communication: Application dents toward others in the space: 4 , & and Analysis a. "Focus your attention on someone in this Process:Relating to others. room. Notice the color of the hair. Good. Specific. objective:The pupil will place his or her Focus on someone else. Notice the direction attention on communicating with others in a variety he or she is facing. Good." of nonverbal ways. b. "Now, change something about the way you Entry behavior:An understanding of the concept are standing. Move your arms; change your of nonverbal communication. level; change your spine; and soon. Good." Procedure: The class should form a circle. The pur- c. "Now, focus your attention on someone else. pose is to increase ability to communicate. nonver- Look at the shape his or her body is in. Take bally by giving direction and intensity to energy. his or her shape and transfer it into your Students must be able to send communicationjeceive body, making sure that itis exact. Good. communication, and acknowledge that they have Repeat this activity several times." received it by responding in some way. This exercise is d. "Move to a new spot in the room. Gc Dd. done without any sound or speech except for direc- No* stretch out toward others who are near tions given by the teacher. Silence is a key factor in you, but without touching them. Be aware of the success of this nonverbal communication. Pupils who is in your space in front of you, beside should: you, and in back of you. Good." I. Look around the circle until each person can e. "Reach and stretch in a new direction and make eye contact with another. When someone's reach toward another group. of people. Be attention has been caught, both persons should aware of these new people. Change your level perform a predetermined action as a signal that so itis different from those around you. they have made eye contact, such as slapping the Good." thighs.Then, both run and change places.

,:- G Because several sets of pupils might be changing Evaluation: The teacher should ask the group places at one time, everyone must try to move members whether they felt successful in communicat- without bumping into anyone. This activity is ing nonverbally. What senses were they using to com- continued until the group comes to an ending municate ideas and thoughts to one another? point naturally. If there is any talking, the activity should be stopped and restarted to increase Nonverbal Communication: Synthesis control and concentration. and Evaluation 2.Repeat the eye contact and decide on a new nrocess: Ability to translate one's thoughts into the action, such as slapping the heel of one foot. language of shape and motion, using the body as an Both pupils will run to the middle and grab each instrument of expression and nonverbal communica- other's wrists-and turn, counterbalancing each tion. other's weight. Partners are responsible for the Specific objective: The pupil will be able to com- safety of one another; therefore, they should let bine knowledge of the elements of dance (time, space, go only when they feel that they are being sup- energy, and shape) and symbolize them to another ported and will not fall. (Note: There should be through the body. no more than three turning groups in the center Entry behavior: An understanding of the method of at any time. Some partners may have to wait.) using the body in nonverbal communication and the 3. Repeat the eye contact identification and snap concept of symbolizing; ability to respond in a posi- the fingers for the acknowledgment. Each partner tive manner to directions; and an aw:,reness of space. runs toward the other and freezes while focusing Materials: Records of your choice (see selected ref- on the other. Then each does three big jumps erences); drum or percussion instruments. (convention style) near the other and runs to the Procedure: Individual students should be asked to partner's place. volunteer as leaders to create motion and shapes that 4. Repeat eye contact and select a new way to iden- the group must duplicate. (One of the most important tify each other. Move toward each other in very functions of communication is to duplicate an idea slow motion, eyes continually focused an each and demonstrate it. The leader creates the motion, other. When partners meet. they should turn and the group mirrors the leader. The leader should slowly and move backwards to the partner's be careful not to turn his or her back on the group.) spot. (When moving backwards, partners must The teacher should: move slowly so as not to bump and must sense I. Try this idea with four different leaders in four where they are without looking behind.) As different parts of the roombut only after the many as want to may move simultaneously. The group members have demonstrated that they class should be encouraged to exchange with as can follow the leader. With four different leaders many different persons as possible. the group turns to face a new leader on signal 5. Repeat eye contact. Acknowledge. Partners run (e.g., a different number of drumbeats to signify to the middle fast, then freeze and roll or- run each leader). away in slow motion to the partner's spot. 2. Divide the group into partners. Ask the group 6. Repeat eye contact. Acknowledge. Within the members to decide who will be the first leader set of partners, each person moves to the center and who will be the second leader. The first of the circle in his or her own way. When the leader will initiate motion, starting from a seated partners meet, one initiates the conversation position. The partner will mirror the motion. It with -a motion, then waits for the other to is important that the motion be Kept very sim- respond in motion. This activity moves back and ple. Movement should be slow at first, and then forth between the two, with the motions express- a quick change may be made to a shape that is ing their ideas and feelings. They will come to a held; or a movement may be repeated. A record natural conclusion and each choose a way to may be used to add stimulation and to motivate exit. On the exit they may go together or in a specific quality. Switch leaders. Focus and eye separate directions. contact should be stressed. Extension: The teacher should divide the class into 3. Divide the class in half and observe and evaluate partners to work out a dance or movement idea to the strong and effective things that work. Decide show meeting, greeting, and parting. Motions are to on ways to make the partner work more effectively. be exaggerated to show the idea rather than keep it 4. Combine the pupils into group's of four. Each literal. Think of other ideas that could be communi- group numbers off from one to four. Number one cated with partners through motion. is the first leader, and so on. The group collects

V 15 as a flock or open cluster behind the leader. The receive). Severalgroups can move at once depend- leader does repetitious motions that either travel ing upon their awareness of space, skill, and the through space or are done in one spot. The size of the space. group must duplicate and follOw the motions so EA-teas/on. Two groups may move at the same time, that the group mimes as a 4nit. This time the but their motions must ci?ntrast with each other (e.g., leader has his or her back to tbj: group, and the one fast, one slow; one high,' one low; one held in group shadows the leader from behind. The shape with one me.. ing through space). Each leader leader thinks of all the basic motions he or she must now also be aware of the motions of the other knows, remembering to focus on only one part leader and group.(Note:In all of the activities, each of the body and move that part in isolation, leader should start and end with a shape.) change levels, alternate from fast to slow, and so Eva/uutron:Pupils should evaluate and decide on. other ways of using these ideas. How can the problem 5. See that each person in all groups should have a be redesigned? Are there different ways in which the. chance tolead and follow (or initiate and groups can interrelate?

Sarah 1e .echo,l eaNew&

TheMush FramestorA for California Public Schools orA from their school district or from the California states that "the general purpose of music education is State Department of Education. Goals and objectives to develop aesthetic sensitivity to music in children; can also be found for various grade levels in the that is, to heighten the quality and impact of their teacher manuals for the basic music series. The musical experiences."' TheFrameworAstates further teacher of gifted and talented pupils can use these that, if a program is to accomplish this purpose, it objectives to develop and extend activities for the must: gifted and talented pupil. I. Promote sensitivityto the expressive qualities of Knowledge: Primary Grades - music. 2. Encourage musical responsiveness, involvement, and Process:Recognition and recall of information. discrimination. Content objective:On hearing a variety of simple 3 Promote understanding of the nature, m aning, and rhythmic patterns, the pupil will demonstrate his or structure of music. her ability to recognize and recall rhythmic structure 4. Develop skills, including aural acuity. by repeating the rhythmic patterns. 5. Promote awareness and understanding of music liter- Concept:Rhythmic patterns are a combination of atureofvarious periods and of the forms, styles, and sounds of like and varied duration. idioms that are characteristic of various national cul- Entry behavior: tures, including our own. The pupil has experienced the 6. Provide a sound basis of musical experience which body as an instrument for rhythmic expression. students can use in making intelligent judgments of Materials:Simple rhythmic patterns (thinking of musical value.' words will help). Procedures:Pupils should: The Frameworkprovides expectancies based upon these goals for the cognitive, psychomotor, and affec- I. Echo patterns clapped by the teacher: Can you tive domains at three levels of student achievement. do what / do? Interested teachers may obtain copies of theFrame- 2. Repeat, using a variety of patterns and a variety of body sound sources (e.g., snap, slap, tap). 'Musa Fratneitia.A lur Cahlurtua Pubh .S(hools Anidergarten Ihrough Extended activities:The teacher should: Grade Mehl' Sacramento California State 1)cpartmcnt of Education. 1971, p 4. i. -Echo two patterns. (Add.more patterns when :Ibid.. pp. 4 5 the children are ready.)

16 0 2. Divide the class into two groups andpass the Extended activities:Pupils should: echo along. 3. Carry on a rhythmic conversation with I.Listen, as a group or individually. to a composi- a variety tion that uses environmental sounds. Can you , of rhythmic patterns. identify the sound? (Resource: "The Typewrit- Knowledge: Upper Grades er," by Leroy Anderson, is available through most record outlets.) Process:Recognition and recall of information. 2. Creak a- sound of the week learning center. Content objective:Given information about the (Most basic music series have background infor- structure of the I and V7 chords, the pupil will demon- mation.) strate his or her knowledge of the structure of the 3. Have a sound scavenger hunt in the room. The chords by preparing a chordal accompaniment fora teacher may ask: "Can you find a high sound? A familiar song. low sound? A loud sound? A soft sound? A Concept:Chords are made by basing the chord harsh sound? A mellow sound?" structure on each note of the scale and adding twoor 4. Take three sounds you have found in theroom more notes placed three ,notes apart (1-3-5). or at home and use them to create a musical Entry behavior:The pupil has performed song composition. accompaniments on the autoharp. Materials:A familiar two chord song in G Major, Comprehension: Upper Grades Such as "Red River Valley"( Exploring Music 5,Cali- Process:Perception of information. fornia State Series, 1971, p.109). Resonator bells. Content objective: Chord chart:- I1-3-5, V7 5-7-4-2. (See teacher aids in Given segments of a poem to be any basic music series.) completed, the pupil will demonstrate his or her abil- Procedures:Pupils should: ity to perceive and illustrate variation in pitch by adding melodic contour to a selected word. I. Sing the selected song. Concept:As they move upward and downward, 2. Use the chord chart as a guide to construct melodies take on a shape or contour. chords for the key of G Major and add the Entrybehavior:The pupil has experienced the resonator bell accompaniment to the song. I (G ascending and descending possibilities of sound. chord): G-B-D and V7 (D7 chord): D-F#-A-C. Materials:A list of familiar objects and animals Extended activities:Pupils should: that move or make sounds with interesting contours (e.g., the worm, the bird, the donkey); a copy of a 1. Use the chord chart to build chords toaccom- poem; a chalkboard. pany another G Major two-chord song. Procedures:Pupils should: 2. Use the chord Chart to build chords forsongs in other keys. Use the chords to accompar, the I.List on the chalkboard familiar objects and songs. animals that move or make sounds with interesting contours. 3. Build the chords without the chart anduse them to accompany the songs. 2. Think of words that describe the movement or sound of the animals or objects listed on the chalkboard. Comprehension: Primary Grades 3. Say the words, giving them melodic shape of the Process:Perception of information. movement or sound they suggest. Content objective:On hearing a tape of environmental sounds, the pupil will demo..stratean aware- 4. Work in pairs to complete a poem by adding the ness:of the structure of sound by identifying familiar name of an animal or object and a word that sounds. would suggest an action or a sound: Concept:Sound can be organized. If I were a Entry behavior:The pupil is aware that objects I would have sound. Materials: 5. 'Rehearse and demonstrate the poems, giving Tape of environmental sounds (resource: melodic shape to the descriptive word. Silver Burdett Music Series (any grade)or a teacher- made tape), Extended activities:Pupils should: Procedure: Pupils should listen to Or tape; identify I. Say two of the poems together. How do the each sound, and match the sound with the picture of shapes of the words differ? Can you hear more the object. than one shape at a time?

4 2. Select one of the poems and create a round by Extended activities:Pupils should: starting at different intervals. Can you hear the I. Create a stick routine, using a changing combi- shape of the word each time it enters? nation of beat sets. Add variation in hitting the 3. Find a poem and expressitorally, giving sticks. Demonstrate for the class. appropriate shape to the words. How does giv- 2. Chart the routine. Give information about the ing shape to the words of your poem change it? sets, beats, accents, and silent beats. Teach the 4. Listen to excerpts fromCarnival of the Animals, routine to others in the class. (Let the children by Saint-Saens. Can you hear how the composer determine their own method of charting.) describes the animals by giving shape to his melodies? (SeeExploring Music 2,pp. 90-92.) Application: Upper Glides Write down the name of each animal or section Process:Problem solving. and describe the melodic contour or shape (e.g., Content objective:After listening to a composition, moves up or down, is wiggly, and so on). the pupil will demonstrate his or her ability to hear a melody within a complex musical texture by identify- Application: Primary Grades ing a familiar melody used in a composition. Process:Problem solving. Codeept: Composers occasionally use folk melo- Content gliktive: Withan assigned number of dies in their comliagtions. beats, the pupil will demonstrate an ability to orga- Entry behavior:The pupil has sung or played Or nize beats into meters, such as 2/4, 3/4, and 6/8, by both) and has examined the melodic structure of the creating appropriate rhythmic routines. song "Are You Sleeping?" (Sing it as a round and Concept:Beats are organized into sets with strong with an added ostinatoa simple patternplayed on and weak beats. the resonator bells; e.g., ding, ding, dong.) Entry behavior:The pupil has the skill needed to Materials:Recording: the third movement of Sym- maintain a steady beat and the knowledge required to phony number I by Mahler, Bowmar Records, Album organize beats into metric structures. number62, Masters in Music. Materials:Lumi sticks, which are sets of sticks Procedures:Pupils should: made of heavy doweling (10 to 12 inches in length), or I. Listen to the recording. The teacher should ask, chopsticks; selected recordings from a manic series, "Can you find the familiar folk song in the com- with a simple song first and then a more complicated position?" (The song is "Are You Sleeping.") composition. 2. Listen again so that everyone can find the mel- Procedures:Pupils should: ody. The teacher should ask: "Can you hear an-, I. Work in pairs to plan and play 20 beats in sets of ostinato (repeated theme inhe bass)? Can you.. twoi.sin sets of four; in sets of five (3 + 2). Tap the find a round?" floor for the accented beats and tap the sticks Extended activities:Pupils should: together or with the partner's sticks for unac- I. Listen to a prepared tape recording of composi- cented beats. tions that use folk melodies. The teacher should 2. Add silence on selected beats by waving the' ask, "How many familiar melodies can you sticks in the air or tossing them gently from one find?" (Resource: Nye and Nye,Music in the partner to the other. Elementary School,fourth edition. Englewood 3. Practice until the task is mastered. Cliffs, N.J..: Prentice-Hall, Inc., pp. 410-12.) 4. Listen to a selected composition. Decide on the 2. Find a melody to a familiar song on the resona- appropriate metric rhythm and play with the tor bells and use the melody to create a composi- recording. tion,

0 -, 18 Zl Analytis: Primary Grades I. "Play a sound game. Listen with eyes closed and Process:Problem solving. see if you can identify instruments from the Content objective:The pupil will demonstrate his membrane, the wood, or the metal family." or her ability to divide a group of classroom rhythm 2. "Create a composition using instruments from instruments into clusters according to their construc- one category. How can you get variety into your tion and tone qualities by finding instrumer's belong- composition?" ing tothe membrane (drum), v ood, and metal 3. "Create a composition with instruments from categories of rhythm instruments. each category. Was it easier to get variety in this Concept: The qualityof sound is determined to composition?" some degree by the materials used in the construction of the sound source and the method of tonal production. Analysis: Upper Grades Entry behavior: Thepupil has experienced the Process:Inquiry. rhythm instruments in song accompaniments. He or Content objective: After analyzing acollage in art she recognizes their names, sounds, and appearance. and in music, the pupil will demonstrate his or her Materials:Rhythm instruments from the mem- understanding of the expressive potential of design in brane (drums), wood, metal categories. (See teacher music by creating a sound collage.(Note:A collage in aids in any basic music series.) music can be compared to a collage in art; i.e., a Procedures:The teacher should direct the pupils as variety of complete entities combined simultaneously, 'follows: overlapping, or in sequence to make .a new entity.) I. "Look at the instruments placed randomly in the Concept:Repetition and change are important\ in center of the group. How many instruments can giving shape to the expressive qualities of music. you name? Close your eyes." (Instruments are Entry behavior:The learner has worked with tradi- sounded individually.) "How many instruments tional forms (i.e., AB, ABA, ABACA DA, and so on). do you recognize?" Materials:A print of collage or student collage 2. "Look at the instruments. Some instruments assignment (e.g.,Cherry Picture,by Kurt Schwit- belong to the membrane (drum) family because ters); recordings of free-form compositions sound col- the heads are made of skin (plastic counts, too). lage (e.g., "PUtnam's Camp," fromThree Places in Can you find them? Play them? What can you New England,by Ives;Fontana Mix,by Cage); tape say ,about tli sound?" recorder and two or three radios. 3. "Discover and play the insuuments that belong Procedures:The teacher should direct the pupils as to ate metal family. What is the same about the follows: sound of the metal instruments and the mem- I. "Look at a selected print of a collage or those ,/ brave instruments? What is different (tone, pitch, produced by children in an art lesson. Can you length of sound, and so on)?" identify a variety of shapes, colors, and textures? 4. "Discover aud play the instruments that belong What gil,?es the work a feeling of unity?" to the wood family. Discuss the way they look 2. "Listen to a sound collage. Can you identify a and the way they soutd. Is the sound long like variety of shapes, tone colors, rhythms, and tex- most of the. instruments in the metal family pr tures? What gives the ,.ork a feeling of unity? short like the instruments in the membrane What ideas or feelings can best be conveyed family?" through this musical form?" Extended activities:The teacher should direct the 3. "Create a sound collage made of sounds coming pupils,as follows: from two or three radios. Tape the composition.

dr--A41=7-

19 Clap the rhythm of the name of an animal.

How have you used repetition and change to Concept: Composers often search for new sources give your composition both unity and variety? of sound. What feelings or ideas have you tried to tell Entry behavior: The pupil has experienced playing through your coliuge?" the autoharp in a traditional manner. Extended activities: The teacher should direct the Materials: Autoharp; a variety of objects (e.g., tin pupils as follows: foil; wax paper, paper clips, mallets). 1. "Use other sound sources to create a collage." Procedures: The teacher should direct the pupils as 2. "Create a score of your sound collage." (Let the follows: children decide, on their own, method of nota- 1. "Experiment with the modification of the auto- tion.) harp, using obj,-.1s provided or inventing your own materials." Synthesis: Primary Grades 2. "Select the sounds you want to use for an original ,Process: Creative thinking. composition." 'Content objective: The pupil will demonstrate his 3. "Plan and rehearse your composition." 'Or her ability to create rhythmic responses by speak- 4. "Perform it for the class or tape-record it for late ing and clapping according to a syllabification of use." words.s, Entry behavior: The pupil has experienced activi- Extended activities: The teacher should dilect the ties in which words are used as sources of rhythmic pupils as follows: patterns. The pupill has, for example, discovered the 1. "Write a score for your composition. How can rhythmic pattern of pupil names and has clapped you show the performer what tone qualities you them. desire?" Materials: Phrases that invite many different answers 2. "Listen to a composition for a prepared instru- (e.g., What would you like to do today?). ment (modified). How did the composer modify Procedures: The teacher should proceed as follows: the instrument? What instrument did he or she 1. The teacher opens by speaking a phrase and use?" (See "Dance," by Cage, in Exploring Music claps, snaps, or taps the rhythm of the words. 2, California State Series.) The pupils repeat the action.. 2. When chosen, a pupil adds a word to the phrase. Evaluation: Primary Grades 3. Next, the teacher speaks the opening phrase and includes the new word. The children echo the Process: Decision making, teacher. Content objective: Given a type of movement, the 4. Words are added to the phrase until there are no pupil will demonstrate ability to make appropriate decisions about the structure of music by selecting a more new words or thelistis too long to suitable rhythmic accompaniment for class movement. remember. Concept; Rhythmic movement is created by an Extended activities: The teacher should direct the interaction of tempo, beat, meter, and pattern. pupils as follows: Entry behavior: The learner has experienced move- 1. "Listen to the teacher clap a rhythmic pattern. ment activities with rhythm instrument accompaniments. How many names of animals, (objects, activities, Material: A drum. and so on) can you fit into the rhythmic pattern? Procedures: The teacher should: Speak and clap your answer." 2. "Clap the rhythm of the name of an animal, 1. Ask the,pupils to listen to the drum. Ask, "What object, or activity. See if anyone can guess the is the drum telling you to do (walk)?" word." 2. Have the pupils take turn._ making the drum tell the class to run (hop, slide, skip, gallop),Ask: Synthesis: Upper Grades "Did the drum tell you to run? What else did it Process: Creative thinking. tell you about the way you should move?" Content objective: The pupil will demonstrate a 3. Have the pupils observe and judge concern;ng perception of varying qualities of sound by modifying the giving of directions on the drum and respond- the sound of the autoharp for an original composition. ing, both for themselves and others, sharing the

20 positive suggestions to improve their own ex- "Why were some songs easier to sing than amples. others?" Extended activities: Pupils should: 3. Have pupils rank the commercial theme songs 1. Select an instrument that will tell the class to presented according to their possible contribu- move softly (on tiptoe, close to the group, tion to the selling of the product. legato, staccato). 4. Have the groups rank the commercial theme 2. Watch someone move about the room, choose songs accordirg to the degree or musical (listen-, an instrument, and accompany the dance move- ing) interest. The teacher should ask: "Do your ment. rankings of the best commercial and the most interesting music agree? If so, why?" Evaluation: Upper Grades - Extended activities: Pupils should: Process: Decision making. Content objective: Using preselected television com- I. Listen to several television commercials and mercial theme songs, the pupil will demonstrate an rank them according to their musical qualities ability to evaluate the merits of musical compositions and commercial possibilities on' the basis Of the by ranking them for their musical qualities and their pupils' criteria. 2. Write a commercial theme song for an imagi- commercial possibilities on the basis of pupil-developed criteria. nary product. The teacher should ask: "Do you think your theme song will sell the product? Is it Concept: Differences in the musical quality of television commercials can affect their ability to sell a an interesting musical composition?" product. That is,if a melody is too predictable or 3. Create a sound collage, using catchy taped com- unpredictable, it will have little expressive meaning. mercials on television or radio. Entry behavior: The pupil has experienced various activities related to the structure of melody. Materials: Words from selected television commer- "It is interesting that those who don't cial theme songs. (Resource: The Great Songs of understand the arts wed [that] we needn't Madison Avenue. Edited by Norback, Peter, and give the arts to children; they need, Craig. New York: The New York Times Book Com- instead, to have discipline. Don't they pany, 1976.) realize that the arts demand the most Procedures: The teacher should: profound discipline? Don't they realize that 1. Work with a small group in an attempt to sing as the only discipline worth having is many of the selected television commercials as self-discipline, and the ability to work for possible. quality for oneself?" 2: Have pupils select a favorite theme song and Lorin Hollander, concert pianist sing it forthe class. The teacher should ask,

Sy means of instruction_in creative dramatics, the 6. Become involved: moving around; not sitting _pupil is- nabled to: passively as happens in many learning environ- 1. S tisfy the need to create: self-fulfillment; self- ments. e pression. 7. Do what is natural: interpreting, imitating, and 2. xperience success: building the self-concept. dramatizing life. (These are the basic drives of 3. Discover that no "right" way or "wrong" way children.) exists: no previous knowledge required. 8. Develop sophistication, especially in humor. 4. ThinIQuickly on his or her feet: developing 9. Develo2Awareness of surroundings: noticing poise and a "can do" attitude. the.StWes of trees; seeing possibilities in life. 5. Develop critical thinking: comparing and con- 10. Develop sensitivity to people: learning to "read" trasting people's points of view, fact and opin- them; developing "people radar." ion. 1 I. Solve problems: role playing; sociddrama.

5-79563 21 20 12. Make history come to life: creating a need for The Player: the study of history as children experience how Focuses on problem to be solved people feltin the past; creating a need for Triesto maintain flexibility in playing a scene with research through historiodrama. others 13. Make literature and music more meaningful: Tries to create a character by focusing on voice, acting out stories, operas, balletinterpreting movement, and body language 1plyrics in drama; experiencing sic in 'dance Tries to become one with others in the improvisa- and drarr-,, tion and with others who have experienced the 14. Make writing fun: acting out words; motiva- same feelings in life tion for creative writing; acting out problem spots in plots. The Observer: 15. Change attitudes toward writing: providing the Realizes that he or she is a participant in observa- important flow of ideas basic to good writing; tion and evaluation developing a storehouse of plots. Makes no negative comment; does not talk during 16. Reflect the child's concepts: children playing the improvisation out their feelings and ideas of life. Applauds at the conclusion, thereby thanking the 17, Get attention in a good way: the "distributor" performers for their trust in a class usually being a ham actor; drama Shares in the evaluation at the end of a dramatic giving that child positive strokes as in transac- scene tional analysis. , 18. Use language: language, not the finding of a Process: Knowledge correct answer in a book; user of language, as shown in theEnglish Language Framework for Process:Knowledge. Recall the story ofPetrouchka. California Public Schools. Entry behavior:The children should know the dif- 19. Learn to work together: sharing ideas; helping ference between marionettes and puppet's. They should each other in planned drama; supporting each understand the concept that a ballet tells a story other. through movement and dance. 20:Realize the value of emotions: finding out what Materials:Record player; the recording"Petrouch ka," emotions are and how they affect us; learning by Igor Stravinsky; heavy string or roving (twisted to use and control the emotions; expressing fibers); four hats to identify the characters; paper emotion in words, intonation, body language. plates; construction paper; and felt-tip markers. Turn on to life: Why do so many young people Procedure:The teacher may: get involved with drugs? Is it possible that we 1. Ask the children: "How many of you have ever haven't helped them to experience the excite- been to a fair? A carnival? What was it like?" ment of life and learning? 2. Play excerpts from the ballet. Explain that this music is about something magical that happens Creative Dramatics: Methodology' at a carnival in Russia. The Teacher: 3. Tell the story through the four scenes: 41lowsthe children to work in small groups (per- a. "Itis a carnival or fair. An old magician haps just two) or in large groups (There is no one shows three puppets: the bedraggled Petrouch- way!) ka, a beautiful ballerina,and a handsome Helps children to realize creative drama goals, Moor. With his flute the brings them to life. To the amazement of the crowd, especially commitment, involvement, and sup- the puppets possess not only life but feelings \ port : id emotions." Choosesactivityto focus on a specific area b. "Petrouchka is worried because he is so ugly Presents activity as a problem to be solved and doesn't want the magician controlling him. He has fallen in love with the ballerina. Describes a problem; sometimes gives examples But when he tells her of his love, she flees (The teacher shouldnotdetermine all aspects from him." Of the problem, such as relationships, dialogue, c. "The Moor, handsome and richly dressed, and characterization.) sees the ballerina and falls in love. They are alone together when Petrouchka enters the iFor an extension of the ideas contained in this section, see the Drama! Theatre Framework for California Public Schools (Sacramc,nto: California room. He is madly jealous. He and the Moor State Department of Education, 1974). argue."

22 d. "It is the outside of the fair, where a rich magician. These can be simple masks made o merchant throws coins to the crowd and an paper plates, and construction paper marke animal trainer shows the talents of his danc- with felt-tip pens. (See Figure 1.) ing bear. Suddenly, there is a disturbance at 7. Have each group become traveling minstrels the magician's theater. Petrouchka appears, who go to other classrooms to present the four being chased by the Moor. The Moor draws scenes of the story. his sword and strikes Petrouchka. Petrouchka 8. Have the magician control the puppets or mari- dies. The magician assures everyone that it onettes by standing on top of a table. (See Fig- doesn't matter since Petrouchka is only a ure 2.) puppet made of wood and sawdust. But as the snows begin tofilter down and the Extended activities:The teacher may: crowds leave for the warmth of their homes, the ghost of Petrouchka appears above the 1. Consider the bajlet in terms of the components theater, mocking the magician. He is free at of a story (characters, plot, conflict, resolution). last." 2.. Discuss the relationship between a story in 'a 4. Review the four scenes with the children's help. book, its main parts or scenes, and the scenes in List the scenes on the board. an oral story or play. 5. Allow four groups of children to act out each of 3. Discuss ways to use the emotions to more the four scenes, using the hats to designate each advantage to cope with problems, to feel and of the characters. They can present their scenes experience beautiful moments, and so on. to the class. 4. Have the children consider the story at the point 6. T)ivide the class into groups of five. Each group where Petrouchka finds the Moor and the bal- designs its own masks to represent a narrator, lerina together. Let them do improvisations, Petrouchka, the Moor, the ballerina, and the showing as many different endings as possible.

An Easy Way to Hold a Mask On

Paper plate (back of mask)

Lightweight cardboard strips stapled to top and sides of paper plate

Magician

Ballerina Moor

Fig. 1. Masks that can be constructed from simple materials Fig. 2. Control from above by manipulation of attached strinp or wires

23 Process: Comprehension flowerflour planeplain weighway pailpale Process:Comprehension. Variations on a letter. salesail preypray Entry behavior:Pupils have had experiences in working with initial sounds and blends. process: Application Materials:No special materials -are required. but Process: ,there should be a large area in which students can Application. Mix-ups. move freely and observers can sit. Entry behavior:The children should have had expe- Procedure:The teacher and pupils may proceed as riences, in oral ideation, such as: What are the uses of follows: a .. (tin can, paper clip, cardboard box)? How can we improve .(a glue bottle, our class)? How are 1. The teacher selects eight to ten pupils. *yr these ...(a human and a tree, a shoe and a comb, 2. One of the pupils selected asks observers (pupils and so on) alike? These kinds of experiences encour- who are observing) for a letter of the alphabet age the free flow of ideas and critical creative thinking (excluding X, Y, Z, and Q). without the threat of failure. 3. When the letter has been selected, the pupils Materials:No special materials are needed. begin the pantomime as follows: Procedure:The teacher should: a. The pupils have a moment to think of all the I. Discuss with the children how words convey words that begin with the chosen letter (e.g., concepts based on people's experiences. fiche letter s). 2. Write the wordbeautyon the board and then b. Without a signal or discussion, one pupil ask, "What is beauty?" begins pantomiming answord. 3. Encourage many different definitions and exam- c. The others imitate that person's movements ples of the wordbeauty. as closely as possible. 4. Ask, "What does the wordpiemake you think d. No one may remain stationary:everyone of?" The class will likely think of kinds of pie, moves continually, imitating the leadoff per- such as meat pie, fruit pie, Boston cream pie, son but also watching to see who will start a pizza pie, and mud pie. newsword. 5. Set up a mix-up improvisation based on a tele- e. The leadoff person might startwith the phone conversation in which two people are wordsing,opening the mouth wide and ges- talking about two different kinds of pie and turing with the hands. neither realizes it. One person wants to order a f. After a minute, another person (again, with Boston cream pie but has mistakenly dialed no signal) starts sticking out the tongue and Paul's Pizza Pie Palace. rubbing the stomach, pantomimingsick. 6. Have the two people keep the conversation g.As the group moves, pantomiming and watch- going on as long of possible, trying not to say ing each other, members see that the move- anything that will lead to the realization that ments have changed and thus make the it's a mix-up. Encourage the children to talk transition. about topics such as toppings, dough, size, h. Often, members of the group will not know number of servings, packaging, and so on. The what the word is that they are pantomiming. dialogue becomes hilarious! 7. Have the children discuss and list other words Extended activities:The teacher should proceed as that can have more than one meaning, such as follows: nursery (plants or children?); painter (portraits 1. The teacher will realize that this game is excel- or houses?); singer (voice or sewing machine?); lent for teachingobservation. Itcan be done and bed (for flowers or to sleep in?). with initial blends, too, or even ending sounds. 8. Allow the children to do mix-up improvisa- 2. Another related word-observation game is panto- tions on any of these words if they want to. horns. Give a child a card with two homonyms 9. Do job interview mix-ups based on two sup- printed on it. The child selects one of the two posedly unrelated words. For example, the homonyms and begins to pantomime it. As soon boss thinks he or she is interviewing someone as an observer guesses what the homonym is, to feed the alligators at the zoo. The person that person jumps up and begins to pantomime being interviewed thinks that he or she is apply- the other homonym. Especially good pairs are: ing for a job as an airline steward or stewardess. steakstake meatmeet 10. Let the children decide on the topics to be dis- wastewaist knightnight cussed in the interview just described: (a) what

24 to feed "them"; (b) what uniform to wear; (c) be established according to the make of the what dangers might be faced on the job; (d) individual car, the company that manufactures how to keep "them" happy; and (e) what train- the car, the use of the car, and its size. ing for the job will be needed. 3. The teacher shows pictures of cars. 11. Caution the children, before they begin the 4. The teacher and pupils discuss how the car not mix-up improvisation, to be careful of using only meets the needs of the individual or family certain danger words: fly,' pilot, animals,700, who buys it but may in fact reflect the person's plane, stewardess, alligators, and so on. personality, ideas,eand goals in life. 12. Let the children identify and try some of the 5. The teacher asks, "Which of these cars would a many possible job interview mix-ups. young married couple with a baby buy? Which 13. Try a job interview based on the concept of the car would a twenty-three-year-old bachelor word babies: buy? Which car would a wealthy lady of sixty a. A woman wants someone to take care of her buy?" The teacher should encourage divergent babies (two small puppies) while she goes on answers and ask each student to explain his or vacation. her choice. b. Another woman loves babies (human ones) 6. The teacher picks a picture at random and and applies for the job. asks, "What type of person would buy this car?" When the children have decided, the Extended activities: The teacher should: teacher sets up an improvisation with the chil- 1.Let the children find jokes that are based on dren, defining the characters as the children mix-up words or homonyms. Example: The have decided. Example: "You said that this car mayonnaise says to the refrigerator: "Close the is owned by a businessman who wants a solid door; I'm dressing!" car with good mileage. Now, what is the prob.; 2. Let children rewrite old familiar sayings based lem?" The children may decide that the prob- on: lem is that the businessman is late for work and a. Homonyms: runs out of gas. He meets two hitchhikers, who (I) Sometimes you can't sea the forest for invite him to leave the car and join them as 'free spirits." Allow the children to interact ....d the trees. (2) You can lead a horse to water, but you and play with ideas in defining the improvisation. can't make hymn drink. 7 The teacher has the pupils do the improvisa- .(3) Children should bescene and not herd. tion several times, encouraging different char- b. Concept: acterizations and endings each time. (I) Don't count (number or Dracula?) your 8. The teacher ,peats the improvisation but this chickens before they're hatched. time asks the children to pick hats to fit their (2) Two heads (lettuce or human?) are bet- characterizations. ter than one. 9. The teacher talks with the children about slo- ilt*. gans used in car ads. The teacher should list as Process: Analysis many slogans on the board as the children can Process: Analysis. What does a car say about the think of. person? 10. The teacher says: "I know somepeople,Mr. Entry behavior: The children should know the con- and Mrs. First and their daughter(son) Latest. cept of an improvisation as an on-the-spot drama They always want to try the newest item on the with little or no preparation. They should also have market. They've hea.d about a new car and had some experience in working with slogans and have gone to the showroom to see it." The advertisements in the mass media. teacher picks three pupils to play the family Materials: An assortment of hats, pictures of cars, and one to play the salesperson. "Oh, before and automobile advertisements taken from news- you start, I need to explain that this car has had papers. a big ad carIpaign and that the slogan is, 'For Procedures: The teacher should proceed as follows: people who want to takeit easyit's the SNAIL!" I. The teacher might begin by asking the children the names of the cars driven by their parents. Extended activities: Pupils should:

2. The teacher and the children can categorize the 1. Find out which cars give the best gas mileage .. names in lists on the board. Categories might and which give the worst.

25 2. Find out about the effect on the U.S. economy 3. The teacher asks, "If you were to touch this of the sale of foreign cars in the U.S. fellow, what would it feel like?" As the children 3. Discuss which cars, colors, and accessories respond, the teacher makes a feel list on the would especially appeal to women. (Note: board. Thirty years ago car advertising campaigns 4. The teacher asks, "What would it sound like?" were geared only to men.) The children will likely respond by making 4. Discuss why: sounds rather than descriptive words. Allow a. Insurance on a sports car is so high. this. Make a sound list and ask the children to b. Convertibles are no longer manufactured in help you spell these sounds (such as EEEEKKK!). this country. Include any descriptive words that the children offer. 5. Categorize names of cars according to: 5. The teacher says, "You've told me how this a. Animals animal feels, how it sounds. Now, how does it b. Speed move? But for this one you must show me c. Luxury through pantomime, not tell me through words." d. Iniects 6. The teacher allows the children to pantomime 6. Design your own car and plan an advertising different animal movements. Stress realism, campaign: not cuteness, in pantomiming. a. Name the car. 7. The teacher says, "Let's look at this picture of a b. Give it "group appeal": for large families; bear. We need someone to show us movement." economy-minded persons; single persons. 8. As a child begins to pantomime, other children c. Make up a slogan for it. should be encouraged to suggest words that d. InVent some needed accessories for it that describe the movement. Write a list on the other cars don't have. board. e. Decide in which magazines and television 9. The teacher says, "Remember how we've said, shows to advertise the car. Remember that A good story doesn't just tell; it shows. You've this must correlate with group appeal. That given us some good words that show how the is, don't advertise an expensive luxury car animal moves, just as (student's name) showed during a cartoon special on Charlie Brown. us how the animal moves through pantomiming." 7. Do a used-car lot improvisation. Children may 10. The teacher says, "Let me show you some other become a: animals that you can combine to make strange a. Late-model luxury car combinations. They're called "funky animals." b. Psychedelic van I1. The teacher may allow the children to play c. Motor home with the animal parts. d. Small French car 12. The teacher says, "Now I want you to put two Process: Synthesis parts of an animal together and study your new animal for a few minutes. I want you to think Process: Synthesis. Funky animals. of (write on the chalkboard): Entry behaviorThe children should have had a. How does your animal move? experiences in oral ideation (see lesson on 'process: b. What sounds does it make? application). They should also have considered the c. What does it eat? concept that, often, funny or silly playing may in fact d. What, if anything, is it useful for? be the springboard for ideas and progress. We need to e. Why are there so many of your animals, or help children realize the value and dignity of the why are they becoming extinct? Creative process. f. Where does it live?" Materials: Cut out funky animals (see cutouts and instruction on pages 31-34); pictures of zoo animals. 13. After giving the children just a moment or two, Procedure:. The teacher may proceed as follows: the teacher may .let them pantomime the ani- I. The teacher holds up pictures of zoo animals mals' movements individually or in small groups. and says nothing, allowing the children to react 14. The teacher says, "Now that we've seen how with single words, phrases, and interchange of your animal moves, I'm going to say the magic dialogue. words lat.:ina, lamina' ("animal" spelled back- 2. The teacher selects one animal picture (e.g., a wards), and you are not only going to become monkey). your animal, but you'll be able to talk!"

26 15. The teacher selects one child and says the Isles, by Eleanor Johnson and Leland Jacobs, magic word, letting the child take the lead. If California State series, 1961. The books in this he or she starts talking, fine. if not, he or she reading text series (Charles E. Merrill Publish- will likely begin the animal's movements, ing Co.) are especially good because they are 16. After a minute or so, the teacher may begin an anthologies of good literature. interview dialogue such as: "Welcome, ladies 2. Let the children make their own cutouts of and gentlemen, to the wide world of anirndls. funky animals from mythology. Putting parts Today we are visiting 'The Funky Zoo,' and together might produce an animal that is part here we have a strange animal! Hello, my winged dragon and part Cerberus, the three- friend...." The teacher can now ask the ques- headed dog. Let the children dramatize "new tions of the animals that are listed on the myths," using these animals as inspiration. board. Alloweven encouragethe children to be as spontaneous as possible. 3. Take the children outade to an area where they 17. The teacher may encourage the children to can move about. Let them group together in create the character of their animals in their threes. Tell them that this is a science fiction movement, answers, and voice. story and that they !Mist combine their three 18. Improvised scenes may be set up in which the bodies together to form one animal that lives in children retain their animal characteristics but the Forest of Tomorrow on the planet Strange- must work together to solve a common prob- thon. lem, such as: a. Trying to show a hunter how it feels to be Pr( zes:i: Evaluation hunted. Process: Evaluation. The choice is yours. b. Trying to stop construction crews from de- Entry hehavior: The children should have some stroying a grove of trees that the animals experience in discussing and dramatizing serious love. problems that people face. They should feel secure c. Deciding what to do about the lion that enough toward each other and the teacher so that continually says, "I'm better than any of whatever they say in all seriousness will be accepted you because I'm the king!" without any negative or moralistic comment from d. Deciding what to do about the ostrich that anyone. Some teachers feel that, if the child suggests a never tries to solve problems or think of solution to a problem that is contrary to commonly anything new but instead says, It's all right held beliefs and practices in our society, the teacher with me because that's the way it's always must speak up. To do so would be to kill the effective- ;been," and then sticks its head in the sand! ness of sociodrama. The teacher should help the chil- Note: The teacher should not be afraid to let an dren realize that the teacher is there to help them look improvisation happen. Now. On the spot. at ,a problem, work for solutions, and clarify their Alive! Vital! Real! Planning often tends to: own thinking. The teacher should also stress that, if a al Make the situation and humor "canned." comment is made without someone's saying, "That's -b. Let some person take over. bad, and 1 don't agree," the silence in no way means c. Make children focus on the unimportant agreement. details, such as making a prop to use in the Materials: 3 x 5 cards and an area large enough for improvisation. chairs of observers arranged in a circle. In the center d. Start the "negative disease," which spreads of the circle, two areas should be designated; that is, like wildfire: "This is dumb!" "I can't think (I) the classroom (several desks and chairs); and (2) of anything!" "Me, neither!" the home (a table and three chairs). Procedure: The teacher should proceed as follows: Extended activities: The teacher should: 1. Let the children read stories about other stranger 1, The teacher asks, "Have you ever been in a or "funky animals," such as "Dr. Dolittle and mess, a situation where everything went wrong; the Pushmi-Pullyu," and discuss: and, when you tried to straighten things out, you made them worse?" Allow one or two to a. What a Pushmi-Pullyu is share such experiences. b. Why it was never caught 2. The teacher says: "Margaret is a nice enough c. What kind of person Dr. Dolittle is girl. She liked school and had several friends. The story, along with many other fine stories But now she has moved and started a new for dramatizing, is contained in Enchanted school. Ever since, Margaret has been in a

27 33 mess. Maybe if I read this story, you'll under- maybe it was that shewouldn'tcome. Her stan better": mother continued to move quickly and "Margaret is new to Mrs. Taylor's class. never noticed Margaret's expression. When she first came to the class, several "The next morning Margaret was late for kids were friendly, but now no one seems to school again! When she walked in, all was pay attention to her. quiet. No one said anything to her until "The class isn't the friendliest one in the recess. As Maria walked out, she said, world, mostly because of Tom and his three 'Thanks for making us lose the contestr friends. They're bright and good at sports, Everyone went outside. Margaret stood by and they seem to run everything. the cubbyhole lockers, dreading to face them. After recess, the kids came in and "One day Margaret almost cried. The class began to put things in their lockers. 'It's was out at P.E. When it was Margaret's gone!It's gone!' Terry's voice screamed. turn to kick, she missed the ball and fell. 'My five dollars! I put it in a book and now She heard one of Tom's gang, Terry, yell, it's gone!' Everyone was quiet. Bill turned 'Hey, Fats! Don't crack home plate!' Every- an accusing eye toward Margaret. 'I saw one laughed. you.. .I saw... you take the money!" "On another day Margaret came in late. 3. The teacher says, "Well, now you knowwhy Mrs. Taylor became angry because it was Margaret is in a mess!" the eighth time Margaret had come in late that month. Later on in the day, Mrs. Tay- a. "What do you think of Mrs. Taylor's class?" lor reminded the class of the P.T.A. open b. "Why do you think Margaret has so many house that night. She said that it was impor- problems?" tant for them to get their parents to come c. "Why does everyone blame everything on since the class wanted to win the attendance Margaret?" award. When Margaret tried to tell Mrs. 4. The teacher says: "This kind of story-drama is Taylor about her mother, Mrs. Taylor said called a sociodrama because it deals with prob- she was busy and would talk' to Margaret lems between people. It tries to help people later. evaluate and understand each other's prob- "Today, Margaret hurried home after school. lems. Now, let's set this sociodrama up as an Because her mother and dad had gotten a improvisation. I will choose some of you to divorce, she and her mom had moved to play people in the drama. I am going to give this new town to live with her grandmother. each of you a 3 x 5 name card to help us Margaret usually took her time getting remember whc's who. On the back of the card home from school. 5,11.c. did this hoping to are some questions that will help you to "get get out of doing some of the jobs that her into your character, feel itmake it you." mother always had waiting. Grandmother 5. The teacher gives cards to children whom he or called them, chores she selects. "Margaret's mother was trying to finish Margaret: What do you think of your new School? dinner quickly so that.he could hurry off to work. Margaret's grandinother was sitting What do you miss most about your old in her favorite chair in the\small room next house? to the kitchen, watching her favorite after- How are your mom, your grandmother, and noon television show. Margaret' was excited Mrs. Taylor alike? about open house and wanted her mother How do you feel inside when people seem to to visit her school. Her talk was loud as she be picking on you? explained the projects and activities in the Did you take the money? room. Her mother only grunted a couple of times and said, 'Hand ine that!' Grandmoth- Mrs. Taylor: er's angry voice came from the doorway, Do you like Margaret? 'Can't you quiet down? I can't hear my TV Why do you think her mother didn't come to program for your screaming!' Margaret open house? stopped. She looked at her mother. It was Why do you think Margaret is always late no use. Her mother couldn't come. Or for school?

1_1 U Do you know that there is a group of kids in by do you watch so much television? your room that runs everything? Why do you think your daughter and grand- Terry: daughter moved in with you? Is there anything that you like about Margaret? What are your hopes for the future? Why did you say what you did the day Mar- 6. The teacher gives the children time to chink garet fell trying to kick the ball? about the questions and then pin their cards You really don't like Tom. Why do you stay on. in his gang of friends? 7. The teacher rereads the story but this time Do you think Margaret took the $5? stops between scenes and allows the children to play each scene, with the dialogue following Bill: the guidelines of the story and their own Lately, you've been feeling that Mrs. Taylor interpretation. doesn't like Margaret. Why? 8. After scene four the teacher says, "Well, here You're bright and good in sports. But why we are at the crisis point. If Margaret were just do you always do what Tom says? an animal, she might bite or claw someone Did you.really see Margaret take the money? about now; but she's not an 'animal. She's a human being with a mina and the power of Maria: choice. When an animal it backed into a Since your lockers are just open-faced cub- corner, as Margaret has been, it acts by instinct. byholes, why did you leave $5 in your There is no real choice. What are Margaret's book? choices at this?" How do you feel when you and your group 9. The teacher lists the choices on the board. Any- are "chopping" Margaret? thing that is said in all seriousness (e.g., not Some say that the kids in Tom's group really trying to be a "wise guy") is written down. don't like you, and the only reason they let 10. The teacher says, "Well, Margaret, here are you chum around with them is that you're Stour cht.ices. Which are you going to choose?" always buying things for them. What do After Margaret decides, she and the rest of the you think about this? group play out her choice. No one knows Is it true that sometimes you feel'sorry for what's going to happen. That's the excitement! Margaret? 1. The teacher can: Tom: a. Stop the action at any point. Why do you think you're the leader of this b. Jump into the situation and become a new group in Mrs. Taylor's room? character to help the action take a new direction (e.g., the teacher coming in as the What do you think of Mrs. Taylor? principalto check on why Margaret is What do you think of Bill? Of Maria? Of alwits late). Terry? 12. The most important point is to help the chil- Do you really dislike Margaret as much as dren realize that: you seFm to? a. Although they're "kids," they still have the Do you think Margaret took the money? power of choice. Margaret's Mother: b. In situations they should stop and think, Why do you always seem too busy to listen not react. to Margaret? c. Sometimes our choices turn out better than we had hoped for or not nearly as good as What are some big problems that you're fac- we had thought they would. ing that Margaret doesn't know about? d. We need to think and evaluate our own What are your hopes for Margaret? behavior and say, "Why am I acting this Your mother gets on your nerves. Why did way?" Note: This approach is opposed to the you move in with her? traditional teacher's role of analyzing and prescribing or playing psychologist. We are Margaret's Grandmother: trying to help children acquire the toots so What do you think of Margaret? that they can be their own best friend.

6-79663 29 13. After the playing out of Margaret's choice, the they saw the room, the children, and the teacher can discuss the choice with the class, teacher as they were playing someone else. especially with Margaret. Discuss the Indian proverb about "walking a 14. Variations: mile in my shoes (moccasins)" with the chil- a. Go back to the crisis point and have Mar- dren. Hand out printed copies of the lyrics of garet pick a new choice and play it out. the song of the same name. b. Play the four scenes again (without reading Music for discussion and sociodrama might the story) and let the children trade charac- include: ters (e.g., the child playing Margaret is now the teacher, and so on). Talk about how Ray Stevens, Everything Is Beautiful (Bar- your feelings changed as you changed char- naby Records): acters. "Walk a Mile in My Sh es" c. Replay the four scenes but change the story "Everything Is Beautiful" to "Mike Is in a Mess." After the drama com- "Get Together" pare or contrast Margaret and Mike: Simon & Garfunkel, Parsley, Sage, Rose- mary and Thyme. (Columbia Records): (I; Were the probleins different? "Homeward Bound" (2) Did the two characters react differently? "The Dangling Conversation" (3) Were their choices different? "Cloudy" Note: One of the great benefits of creative Neil Diamond, Tap Root Manuscript (Uni- drama is that it breaks down stereotyped roles versal City Records): (real boys fight; girls cry). Boys may see noth- "Done Too Soon" ing unniasculine about playing Margaret. Or "He Ain't Heavy; He's My Brother(Note: girls may see nothing unfeminine about playing Side two is a medly of African songs.) Mike. Lobo, Of a Simple Man (Bell Records): Extended activities: The teacher should proceed as "A Simple Man" follows: "Am I True to Myself?" Kenny Rogers and the First Edition Greatest I. Obviously, this technique is good for playing Hits (Reprise Records): out class and playground problems that the "Reuben James" children experience if their emotions are not "1 Believe in Music" still smoldering. If their emotions are very hot, "Tell It All; Brother" allow a few days for the emotions to cool "Heed the Call" down. Then try again. The Best of the New Seekers (Electra Records): 2. Without telling the class, let two students who "Look What They've Done to My Song, are secure and quite different come in after Ma" recess or lunch and take the other's seat. Let "I'd Like to Teach the World to Sing" each of the two try to play it as the other might The Wiz, (Warner Brother Records): but not for laughs. Later, talk with the class "What Would I Do if' I Could Feel?" about how each interpreted the other's role. "The Feeling We Once Had" Let the two involved talk separately about how "Be a Lion"

AMP

One of the great benefits of creative drama is that it beeaks down stereotyped roles.

30 A.

Funky Animals

1. Glue each sheet of fuilky animals onto tagboard.

2. Color in the animal parts with felt tip markers or crayons.

3. laminate the sheets or cover with clear contact paper.

Sams (e ..ded4o4e4 ide Poem*

Why Poetry?'

Poetry is not a frill. It is no more a frill than any society where the individual is being devaluated in other rich source of nourishment for our minds and favor of the index of our gross natural product. Poe- souls. It is a key to the most intimate and special parts try is not a frill, and we must never destroy it. If we of our being. If we neglect poetry, we neglect our- are to flower with dignity and sensitivity, poetry must selves.If we eliminate poetry, we destroy a most remain an integral part of our lives. human part of ourselves. Countless times pupils at all grade levelome to an awareness of themselves, their worthiness, ique- ness, and capacity for loving life and all who partake Poetry can and should be a part of each child's experience. The ideas of it through the magic of poetry. for this section were contributed by a poet with extensive success with gifted students through his unique approaches to poetic creation This Poetry is not only cultural enrichment. It is per- material will provide exciting ways in which to extend gifted and talented sonal enrichment and is essential for our survival in a pupils in the area of creative thinking and production.

A Poet's Statement

Tradition is an essential part of our inheritance, and I change, but language remains within its tight, safe con- agree that traditional poetry (classical forms from all fines. Granted, the sentence is the best means of verbal periods) is useful and necessary to the continuum of our communication available to us, but if we could learn to creative lives. There is rnych of it that I love. But I do work and play with it more freely, we would find an not believe that the weight of tradition should turn us untapped wealth of creative potential. from the task of growth ani discovery. It is important to Just as discoveries are made when the word is opened create new forms which will more effectively express and to its inner essence, so can discoveries be made when the enhance our contemporary world. sentence is allowed to change and blossom. Then we get Ibelieve that words are alive. They have color, inside of structure and reshape it in.much the same way energy, dynamics, and rhythm, which are their heartbeat. that a potter works with a piece of clay stretching, But for them to come alive, they must be released from rounding, flattening, and reordering. the tight skin of rigidity and conformity. They must be And we have the human voice, an instrument of in- allowed to breathe and move about and sing. comparable beauty and versatility with which we can The word, a shell or a tightly closed fist which we plumb the depths of language. In the process we will mostly know and experience from its outer surface, 11st discover that poetr, is conceived deep within us and that be permitted to open wide and flower so we can know Its its birth takes place in our vocal cords. Vocal forms inner being, experience its inner life. allow for conversation poems, chants, and rhythmic I believe that the sentence is a confining form. It is poems, all of which will be a part of the discussion to based on syntax and grammar dating back hundreds of follow. years. It is an ancient form which often fails to reflect our contemporary world. Music, dance, and art have long since been liberated and are in a constant state of

xu,) Conversation Poems Extended activities:This process of creating poetry Conversation poems are poems composed for two can relate directly to any subject under study. If the di more voices for reading together aloud. Three course is history, pupils can speak directly to the fig- kinds of conversation poems are discussed in this sec- ures who have made the history. if the person is tion: conversations between two or more pupils;con- Napoleon, for example, the pupils can role-play and versations between a pupil and an existing poem of a recreate Napoleon on the spot. In science they may living or dead poet; and conversations which an indi- speak to the scientist. Or pupils can create their own vidual person has among several of his subpersonalities. conversations by discussing the subject under study. Content objective:Teachers should: When played back to the class, the discussion becomes I. Allow pupils to experience poetry as a vocal readers' theater. form, as dialogue, and as performance. 2. Assist pupils in getting to know and appreciate Yesterday Poem poets and the. ntry through personal interac- I Yesterday, I sat down. Yes, 1 sat down. tion rather than through analysis and memoriza- 2 You did? So what? tion. (A poet is alive within the poem and will speak directly to us if we listen and respond.) I Isat down for you. 3. Assist pupils in meaningful social interaction 2 You didn't even know me yesterday. with peers. 4. Assist pupils, through role playing, to expe- 1 But I knew that I would know you today. rience interaction with adults. 2 1 think you're a little strange. 5. _Assist pupils in assimilating, understanding, and ordering the complex subpersonalities at work I Perhaps I am. To write a poem. and in conflict within themselves. 2 Well, why did you sit down?

Materials:Paper, pencil, and tape recorder for 1 I suppose, but I didn't. those unable to read or write; poems of any period 2 Couldn't you do it standing up? with which students can have conversations;any resource material on any subject involving language Oh, indeed, I did. Right here. which seems appropriate for a conversation. 2 O.K. Did you bring it along? Where is it? Procedures:The teacher should: You and I are in the middle of it. 1. Select appropriate poems and read them silently 2 Where? What are you talking about? or aloud, trying to picture them as one-sided conversations. I The poem we're in the middle of. You're looking 2. Allow the poems to "breathe" and pause where 2 1 don't see a poem. they seem to be calling for a response. Encour- age pupils to s ipply their responses to complete 1 at it. Both of us are looking at it. 'he corversation poem. 2 1 am? Yes, you are strange. 3. Read a poem aloud to the class. Pause where a response is indicated so that the class can fill in I And you're listening to it. All of us are tf:e second voice. In this way each class member 2 I don't hear a poem. give a different response to a specific poem. I hearing it. Well, don't you ;war something? 4. Have the pupils select their own poems and have 2 You are totally strange. conversations with the poems. 5. Have the pupils create conversations with each Well? This is the poem. other. Suggest that they assume different roles, 2Just the two of us talking. Well? such as parents, teachers, creatures from outer space, animals, parts of the human anatomy, 1 This is the poem. inanimate objects. Encourage personal conver- 2 This is the poem? You are stranger than strange. sations that can create meaningful dialogue. 6. Explain the concept of subpersonalities and ask I That may be, but I'm no longer a stranger. the pupils to examine some of their subpersonal- 2 And what does that mean? ities. If the pupils are able to engage their sub- I It means that I'm your friend, personalit:cs in dialogue, they will letter under- 2 and I am yours. stand how to deal with such awesome problems as loneliness, fear, and rejection. Toby Lurie

36 Conversation with Myself Grass

I Time is running. It's running out I SUMMER GRASS ACHES AND WHISPERS. 2 Where isit running. 2 I can almost hear it.

I inside and outside; it's the same. I IT WANTS SOMETHING. 2You mean outside? I don't follow you. 2 Oh, yes, asking for something.

It's because you're so young. I IT CALLS OUT AND SINGS. IT POURS OUT 2 That's what old people always say. 2 What does it want?

I Well, time is a strange thing. I WISHES TO THE OVERHEAD STARS. 2 What's so strange about it? 2 something from me?

I It's always running so fast. Faster than anything I know. 1 THE RAIN HEARS. THE RAIN ANSWERS. 2 How fast? 2 Ilisten carefully to its cry,

Not really. But you've feltit. I THE RAIN IS SLOW COMING. _ 2 That's crazy. I've never seen time run. 2 and thenI know and answer

How long ago wa: yesterday? I THE RAIN WETS THE FACE OF THE GRASS. 2 I've never felt time. 24 hours ago. 2 with a tear.

I And how fast did it pass? It passed in a moment. 2 It took 24 hours. Toby Lurie Doesn't a year ago seem like yesteipty? 2It took 24 hours.

That's because you're so young. Construction Poems 2 No, it seems like a year ago. Construction poems are poems constructed from a But you've got to be older. given word resource. 2 There you go again. Someday I w;11 be able Process: The teacher should: I. Select a limited resource of words to build from. I to feel the feeling of no time at all. 2. Take a random sentence and fracture it so that 2 If time ever passes. the words become available as a fresh resource without any fixed relationship to each other. There's not enough time for me. 3. Take a sentence and breathe life into it by recon- 2 There's too much time for me. structing it with traditional musical notations. It seems to me (Nonsense makes sense in a senseless world.) 2Time seems to stand still. Here he goes again. Concept: With a limited resource one must become more creative. Pupils will discover new relationships I thatI was your age just yesterday between words and will be forced into new and unex- 2 I don't believe he ever was pected forms, both visual and verbal. The surface of or the day before. Time does fly language has scarcely been touched. 2 a kid. Let's change the subject. Materials: Wordsany words, but a limited palette. Procedures: The pupils should: Well it really flies 2 Oh, no. Now he has time flying 1. Select words and begin building with them. 2. Forget about syntax and look for fresh relation- on the wings of time. ships between words. 2Next you'll say it's a bird. 3. Build conversation forms with these words. 4. Build visual poems. Indeed, you may. 5. Use any word as many times as they wish and 2 Can I ask a question? When will this poem end? omit any they don't want to use. 6. Try to make words serve many functions. For I It's just about tinge. 2 It's past time. example, a verb can become an adjective or vice Toby Lurie versa.

37 g

0, Ev 3 o cL; o I-' V -

C E o >7, E t

cel u c Au 3

00 f Take a sentence and breathe life into it by reconstructing it with traditional musical notations.

Nonsense Makes Sense in a Senseless World 1-7 7h Non - sense makes sense in a sense - less world

./--/ 7 makes sense in a sense/ - less no/esense

/4 7 non - sense makes 7 makes no- sense .// in a se4`se- less i a sense -less 1 / in a sense - less workrjon 7 world non - sense makes sense in a

sense - less world non - sense 7non-sense f 7 sense - less in a non - sense in a dim. .1 1 non in a sense in a makes in a sense in a p crew. 7 , . in a in a sense in a less i a world in 1 . # ./7 ./ non -sense in a sense - no - cence in -nono/ dim. ./ --/ cence non - sense1--7makes 7 makes in a sense

7 non 7 nonsense makes sense in a sense - less p cresc.

in *.=1 sense - less sense in a sense -less j ain a senseless sense in a sense -lesj /e-P--1 sense in a sense - less sense - sense F 7==ilon

makes se se in a sense - less ,t==;f---7 in - no - cence a sense - less

sense - less sense - less sense - less . , i 7 A--- in - no-cen/ce sense in a 7r....--.7 se4777-s-world non -sense 7 makes7 sense cresc. if Toby Lurie

"I am going to study politics and war so that my sons may have liberty to study mathematics and philosophy, geography, natural history, naval architecture, navigation, commerce, and agriculture in order to give their children a right to study painting, poeitry, musk, and architecture."

Is% John Adams

39 4 Found Poems keener feeling for the musical qualities of language, Found poems consist of preexisting textsmate- especially color. rials discovered and shaped into some kind of poetry. Concept:This is an excellent catalyst for (mpg Proc?ss:Search for, discovery, and use of texts. children up to themselves and to the sounds 6I- lan- Concept:If students are made aware that poems guage. This is the most effective exercise for expe- may be discovered in many forms and many places, riencing the human voice as a musical instrument. they will be on the lookout for them. Found poetry is Entry behavior:A knowledge of language parts and akin to found art, such as stones, driftwood, and a sense of dynamics and rhythm. shells. Once the raw material is found, it can become Procedure:Pupils should: an art form in the hands and imagination of the I. Take a single sound and express it with as many finder. different emotions as possible (e.g., fear, anger, Entry behavior:If pupils are too young to read or love, confusion). Are the emotions expressed write, they may begin by creating poetic forms with effectively? pictures. As they learn to read and write, they can 2. Try to express a feeling by using a combination combine words with pictures. of sounds apart from words. Is the feeling under- Materials:Magazines, newspapers, books, radio, stood? (Linguists have said that the meaning of television, wall writings, posters, overheard conversa- language is 80 percent dynamics and 20 percent tions, movies, advertisements, existing poems (These actual words.) materials reflect our way of life. They reflect the posi- 3. Take a specific word and break it down into its tive and negative forces at work in our society.) component, parts. Play with these sounds indi- Procedures:Pupils should: vidually. Make up the relationships and try to 1. Find materials, create more words from these sounds. An indi- 2. Alter the materials in ways that make them more vidual will probably be able to build many new poetic, dynamic, and interesting. words from a fixed number of sounds that make a. Create conversation poems. up a single word. b. Build forms of visual interest. 4. Join with a group of about ten voices: c. Take a found poem and play with its struc- a. Let each member take a single sound and ture. Make it shorter; rearrange the order of repeat it each time the conductor points to its lines; make it more contemporary; set it to the member. Relate the sounds to each other, rhythms (i.e., make it a rhythm poem). calling for different emotions from time to time. Sound Poems: AmOysis and Synthesis b. Have the members of the group now express Process:Combining related parts of language into emotions by using whatever sounds they Musical sounds of language. wish. Each member expresses whatever emo- Content objective: (I)to attain deeper understand- tionhe or she wishes. (This exerciseis ing of language from its roots; and (2) to acquire a referred to as the "symphony of emotions.")

Found poetry is akin to found art.

40 A Poet's Statement Color Improvisation No. 3 My sound poems are experiments with the colors, dynamics, energies, and rhythms which existas the compo- I rrrrrrrrdtdtdtrrrrrrrrrdtdi nents of sound. These nonverbal poems uncover special 2 sshhhlllllllllllllllllll feelings which defy definition. The exchangeamong the voices creates a dialogue more personal and direct than 3 ,i1 ,i3 much of what happens between us in daily conversation. Here, within the sound poem, is a safe environment for 1 vdt0000000p ?at00000000p p0000000 releasing all the emotions which reside withinour beings. Where there is a line above the letters, the sound issus- 2 jkill jkffil jk jk jkjk tained. Where thcre are dots, the sound is sharp and 3 sAssssssssssssttissssssssssssmmrtaiimmmmmmmm staccato-like. Two lines diverging and returning together mean from soft to loud and back to soft. And the spaces between the letters are treated as silence. Voice I can estab- 1 p00000000 p000000000000emmmm lish the tempo for all parts by moving the fingeracross the 2 wwwwwwww page at a constant speed and treating the letters as sounds rather than labels. I like to think of each letter as a tube of h M- 17M loord color. When the top is removed, it can flow and mix with the other colors to create the sound palette. Every encoun- I p0000000000emmmmmm mymymy gr000W ter with these poems will be a new experience, for each person who comes to them will see, feel, taste, and hear 2 WW WWWW ah them in a very personal way. 3 zuhzuhzuhzuhzuh 11111111 13 1.3

Toby Lurie Toby Lurie

Poster and Mobile Poems: b. Emphasis on visualwhat the eye sees with- Comprehension and Synthesis out particular concern for what the poem Process: Synthesis of words and pictures to create says. (This characteristic is in accord with the original poetry. idea of a concrete poem.) Content objective: These poems might deal with c. Emphasis on a balance between content and any subject matter, thus synthesizing this form of poe- visual try with history, science, art, and so on. Concept: (1) Enhance a feeling for balance, color, Chance Poems: Comprehension and Synthesis and design; and (2) gain another experience with form Chance poems are poems that bring words together and freedom. in a new relationship determined in a chance kind of Entry behavior: 1f the pupils cannot read or write, way. let them build purely visual picture poems. They Process: Combining of elements (words) into new should be able to develop a concept and to select and wholes. appraise suitability of materials. Content objective: Pupils will learn to create poems. Materials: Piles of magazines, newspapers, pictures, poster paper, paste, scissors. Concept: Pupils may develop a whole new philosophy of 'fe (i.e., take a chance; investigate choices in Procedure: Pupils should: " this life; be free and open to all possibilities; lighten I. Allow plenty of time for cutting out words, frag- up). ments, sentences, and pictures related to the Entry behavior: The pupil must let go of any pre- predetermined subject matter of the poem. vious notion of what poetry is or must be. 2. Experiment with various relationships between materials by placing them on the poster paper. Procedure: Pupils should: Rearrange positioning of the materials to formu- 1. Collect words from any source. Or perhaps write late the desired effect. a poem and cut it into individual words. Or do 3. Allow for space so that the words and pictures the same with an existing poem or n article can breathe. on any subject. 4. Consider three types of form: 2. Place the words individually in a bowl, place an a. Emphasis on contentwhat the poem is try- object (coin) on the floor, and throw the words ing to say into the air so that they can drift to the ground.

41 3. Make the word nearest to the coin the first word of the poem, the next word of the poem, and so on. 4. Do the same with two or three poems, each one a separate exercise; then weave them together into a conversation. 5. Try picking up two or three words at a time and assemble them into any relationship considered desirable. Then go on to the next grouping. This will not be a true chance poem, but the general feeling is valid. 6. Discover that the way words are placed on the paper will have a great deal to do with the result, For example, space between words and designs on the page can create special meanings and feelings.

A Poet's Stztement when I first began experimenting witn one-word poems, I was interested in the rhythms and colors that grew from them. As I became more confident, reading these poems aloud, they seemed to develop an energy and personality of their own, as if telling me how they should saund and what they wished to-say. Ilistened to them, and eventually it became unnecessary to read these poems from the printed page.I had come to the realization that words were organic, actually alive, and we were collaborating with each other. In the classroom I try to create excitement with words, bringing them to life by destroying them as labels and recreating them as realities. Then the word becomes the thing it is talking about: the bud becomes a flower. For example, in the one-word pcem "Child," I try to rediscover not the word but the child. The poem is scored like music in -order to express it more dynamically on the printed page; but, as I become involved with these poems, they leave the page and change and flow in any direction they wish. The poem "Child," to be read aloud, is a form of onomatopoeia as the poem becomes the child. The poem "Ava- lanche" is a form of visual onomatopoeia.

Toby Lurie Selected References *Lurie, Toby. Conversatio-is and Constructions. Poems included in this book are "Echoes," "Between," "I Am," "Grass," "Yesterday Poem," and "Conversation with Myself." *Lurie, Toby. A Handbook on Vocal Poetry. Includes poem entitled "Child." *Lurie, Toby. Mirror Images. *Lurie, 1 oby. New Forms, New Spaces. Poems included in this book are "Asalanche" and "Nonserse Makes Sense in a Senseless World." Availab1c from Journeys into Language. 576 1 iberty St . San Fran- cisco. CA 94114

42 1.1\_I i S44104 Zeddea4 e* the Vaaat ,ila

The visual arts can be effective in providing alterna- Development of visual and tactile perception tive means of communicating as well as extending Encouragement of creative art expression learning through the exercise of creative and mental Study of art heritage skills of the gifted learner. Pupils can be helped to Development of aesthetic judgment' focus on the expression of their own ideas and feelings through the arts as well as through_the-spoken-- -TtieFiameworkprovides a chart of the sequential and written-word emphaiiied so much today. development of these components:2 The visual arts have been used to express ideas since the time of the caveman. What the artist is try- Specific objectives in these four components at var- ing to express is a basic question in viewing some- ious levels may be found in theFrameworkor in a thing we call art. The artist, among other things, is scope and sequence for art education produced by the striving to express personal views of some aspect of California Art Educators Association and available life, society, or time. The artist's tools are color, value, through the Fine Arts Consultant, California State texture, line, shape, pattern, form, and spacethe Department of Education. basic art elements. The artist's subject, however, is limit' because it can be anything that a person can 'Art Etluration Framework for Caldortna PublicSchools: Kinder- observe, know, or fantasize. garten Through Grade Twelve. Sacramento: California State Department TheArt Education Framework for California Pub- of Education. 1971, pp. 6--7. lic Schoolsidentifies four components of art instruction: 2Ibid., p. 8.

... Component Early childhood Intermediate Secondary Visual/tactile Direct sensory Recognition of Recognition of perception experiences visual and tactile visual and tactile relationships relationships

Creative Direct experiences Beginning skill kDevelopment of expression with media development manipulative and organizational skills

Art heritage Introduction of Development of Contemporary and art around child at/ from different historical back- times and places ground in art

I appreciation Aesthetic Introduction of Establishment of Development of judgment making choices simple criteria more reasoned and responses judgment

54. t t Self-Portrait: Knowledge Materials: Mirror, finline marker, paper. Process: Recognition and recall of information. Procedure: The teacher should: Entry behavior: The pupil has seen and knows what 1. Review and discuss self-portraits as a type of a portrait is and can differentiate between a biog- artistic expression. raphy and an autobiography. 2. Have tqpilsspend-severarmi--nutesstudying Materials: Filmstrips, slides, reproductions of_s_elf,--aridanalyzing features while looking at them- portraits of____Kano glirRembr iridt,DUrer, and selves in a mirror. Ask the pupils to notice where icasso as well as other artists such as Cassatt, Velas- certain features are located in relation to other quez, Modigliani, Gauguin, and Toulouse-Lautrec. features (eyes to ears; corners of the mouth in Procedure: The teacher should: relation to pupils of the eye; placement of fea- I. Discuss portraits (drawings or paintings of a tures in head; proportion; and so on). person) and review the portraits of famous 3. Have the pupils look at themselVes and draw artists. self-portraits. 2. Ask the pupils what a book is called that is a 4. Emphasize the importance of continually looking true story about a person (biography). Further up at the mirror as the pupils draw their self- review should lead to the definition of an autobi- portraits. ography. The written story about someone will 5. Review the poses of famous self-portraits and be compared to the visual expression of a person encourage simplification and distortion. (portrait/ biography; self-portrait/ autobiography). 3. Show filmstrips, slides, and reproductions of self- Extended activities: The teacher should: portraits. 1. Use a strong light-to show profiles. Have pupils 4. Discuss realism and style. Discuss why some outline one another's profiles on paper. Discuss artists choose to distort or exaggerate people (to possible reasons why self-portraits enerally express the artist's view of the world or show not profiles. <44 \ something about the character of the 'person 2. Have pupils observe caricatures. (Emphasize who is used as the subject in the painting). that caricatures are pictures in which features Extended activities: The teacher should: are exaggerated or distorted to produce an I. Make a bulletin board of reproductions of por- abstract likeness.) Pupils can then try drawing traits and self-portraits. Use inquiry to pull out caricatures. or put in pertinent information concerning the 3. Have pupils draw their entire bodies life-size and design of a good bulletin board. create a class mural by cutting out their like- 2. Have a drawing lesson in which students pair off nesses and tacking them on the wall or bulletin and take turns being the artist and the model as board, overlapping and arranging the individual they draw one another's portraits. elements into a visually pleasing whole. 3. Accompany giapils on a field trip to an art museum and list all the portraits seen. Self-Portrait: Synthesis Process: Combination and rearrangement of ele- Self-Portrait: Comprehension ments into new wholes. Process: Illustration of understanding. Entry behavior: The pupil has experienced the crea- Entry behavior: The pupil has seen and can identify,tion of a self-portrait and has spent a few minutes a portraits as a painting or drawing of a person and the day (for several weeks) in sketching real objects. self-portrait as thCartist's painting or drawing of him- Materials: Pupil self-portraits, crayons, white paper, self or herself. construction paper, scissors, magazines, glue; repro-

54 ductions of paintings by Paul Klee, Rene Magritte, 4. Display and discuss space division as used by Piet Mondrian, Klee, Magritte, Mondrian, or others. Procedure: The teacher should: Extended activities: The teacher should: 1. Note that a montage is a picture made by arranging several pictorial elements. The teacher 1. Look at and collect copies of collages, mon- should have the pupils cut out and use their self- tages, and assembfages. The teacher should also portraits, pictures from magazines, or theirtiwn use unusual visual elements to create a collage. drawings of pictures that show the things they For example, cut out magazine pictures of fruit, like (favorite sport, food, a pet, and so on). vegetables, and other foodsto_paste-toget er to 2. Have the pupils use a variety of shapes and sizes, createlbeface-of-a-huirian. overlapping, grouping, and so on, _to_create Make a class montage showing activities, prefer- unified whole from_the-many parts. ences, and so on of the class as a group. The 3.-Emphasize arrangement and rearrangement of teacher should discuss and observe the differ- the parts to obtain a visually pleasing comlosi- ence between individual taste and preferences don that is balanced and unified, visually inter- and those of a group. esting, and expressive of the personality of the 3. Make a three-dimensional collage (an assem- artist-organizer. blage), using the same theme (favorite things).

Masks: Knowledge 3. ,Discuss the four traditional purposes for wearing Process: Observation and discussion. masks (change of personality, preservation of Entry behavior: The pupil has some awareness of personality, concealment of per'sonality, and pro- masks as used in his or her own culture. tection of the wearer from harm). Materials: Filmstrips. If posSible, Man's Many 4. Ask the pupilg to clasbify the masks into catego- Masks, Part I, available through the Office of the Los ries according to the four divisions. Angeles or Orange County Superintendent of Schools, 5. See and discuss a film or filmstrip on, masks. should be used. Also useful would be a collection of (Man's Many Masks, Part I, would be particu- everyday masks: surgeon's mask, Halloween mask, larly appropriate,) ski mask, tied bandana mask, welding mask, and so on. Extended ativitiq: Pupils should: Procedures: The teacher should: 1. See Man's Many Masks, Part 2, and compare 1. Introduce masks by reaching into a box and it with the first part. pulling out one of the masks. The teacher is to 2. Go on a study trip to a museum that has masks ask each pupil to identify the purpose of the on display. Try to identify the purposes and cul- mask and let the pupil handle the mask and weal tural origin of the masks. it. 3. View the film The Loon's Necklace. (The film 2. Repeat the procedure until all the masks have illustrates authentic Indian masks. Notice the been seen, handled, and ipvntified according to ones with movable parts.) Sketch masks that purpose. have movable parts.

45 53 Maas: Analysis Masks: Evaluation and Application Process: Classification, categorization, and organi- Process: CoMp,arison and use. zation. Entry behavior: The pupil has made masks, from Entry behavior: The pupil has experienced collect- natural objects. ing objects from nature (the arboretum, a park, his or Materials: Masks made from natural objects; a her neighborhood) during a class nature hike, at camp dark crayon; a roll of brown butcher paper;-paints in rattheTheach, and so on. earth colors (black, brown, yellow with brown added Materials: Cardboard, glue, scissors, natural jute, to form yellow orchre and red with brown adder to pods, pinecones torn into small pieces, dried leaves form red oxide); brushes; water containers; and and weeds, bark, feathers, bones, dried beans and scissors. peas, other things collected from nature. Procedure: The teacher should: Procedure: The teacher should have the pupils: I. Have the pupils create a body mask to go with I. Separate the objects from naure into groups the face mask. Pupils can work together in pairs, according to texture (rough, smooth); size (large, outlining one another on brown butcher paper small); and colors (light, dark). Discuss and with a crayon. allow pupils to have input about the categories. '2. Have the pupils paint the body and costume on 2. Cut an oval out of a cardboard box. They are to their outlines. The figure should be an exaggera- score and bend the box (on a center vertical line) tion or distortion of the real body, and the cos- so that the curvature will fit the angles of the tume should be one that would be appropriate facial planes and form the base for a mask. for primitive persons who might be using the 3. Cut eye holes (or poke peek holes) in the card- masks. blard oval in places to allow for vision. Some- 3. Have the pupils cut out their body masks when times, masks have peek holes so that the wearer the masks are dry and pin them with the masks can see, but the eyes,are formed in another place on a bulletin board. Through discussion, the on the surface of the mask. pupils should consider whether the two parts go 4. Select and place some of the sorted objects from together. nature on the mask base to form facial features, 4. Have the pupils look at their masks and those of decorative patterns, and interesting textures. others to find something they like best about the 5. Glue the pieces down. Add feathers, jute, bones, Masks. Then the pupils should point out some- and so on as points of interest and as decorative thing they believe should be changed and give a elements. positive, thoughtful reason. Extended activities: Pupils should: 5. Have the pupils attach the masks and body 4%, masks with strings. The pupils should wear the I. Make a mask, using only plastic and 'metal masks in a mask parade through the school or to objects found in our industrial society. another classroom, where the pupils can explain 2. Use the mask in a dance or play written by a what the masks are for, how the mask -e con- pupil. structed, and so on. 3. Make a stocking mask, using the cardboard tube and the wire from a hanger (bent into an oval Extended activities: Pupils should: and stuck into the end of the tube) as a base, I. Write a play in which facial and body masks are with a nylon stocking pulled over the wire. used. Cutout construction paper features and details 2. Find and view any films available showing can be added, and a theme (A Person from His- Indian, African, or other primitive masks used tory, My Favorite Book Character, Someone in as part of a ritual. Uniform, What I'd Like to Be When I Grow Up, 3. Create profile body masks out of .cardboard and so on) can be used. When masks are com- hinged with string at the joints. The masks plete, each pupil can use the mask and give clues should be used behind a sheet; (i.e.,lit from as to thei:yentity. Other pupils can try to guess behind so that strong shadows show through). after eacclue is given. Pupils should find out about shadow puppets.

Write a play in which facial and body masksare used.

46 Discuss why artists might use popular objects in their art.

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Pop Art: Comprehension PopA -tApplication Process:Showing, telling, and discussing. Process:Applicati of knowledge and preparation Entry behavior:The pupil has seen and has had of an example. time to handle a collection of everyday things on dis- Ently behavior:The pupil will have had experience play in the classroom. in knowing (identifying, recognizing, and understand- Materials:Books, slides, and reproductions of pop ing) pop art. art; a collection of everyday things such as a boxof Materials:Permanent felt markers (that will not Brillo pads, a Campbell's soup can (with label), news- bleed when used on fabric); paper; muslin; pinking paper photographs, a Coca-Cola bottle, the Sunday shears; polyfill; masking tape; straight pins; sewing comics section, and so on. materials or a sewing machine (to be used by the Procedure:The teacher should: teacher or an aide). Procedure:Thteacher should: 1. Bring the everyday objects to a central table and ask who designed the object. (Few people know 1. Hat e the pupils make a simple outline drawing who the commercial artists are who designed the of some everyday object (the drawing should fill original Brillo box or Campbell's soup can. Andy the space of a 9" x 12" (22.8 cm x 30.5 cm) nie.-e Warhol became famous because he used them as of paper or may be larger). images for fine art.) 2. Have the pupils tape a piece of muslin over the 2. Have pupils sketch arrangements of everyday drawing. The outline should be dark enough to objects. show through the fabric. Have pupils find and tell about examples of pop 3. Have the pupils color thefabric, using the art created by Andy Warhol, Claes Oldenburg, markers. The technique should be repeated to Jasper Johns, Roy Lichenstein, and Rnhert make a back or opposite side. Rauschenburg. 4. Have the pupils then pin the front and back 4. Discuss why artists might use popular objcts in together and cut the fabric with pinking shears their art (as a message, as a totally unexplored about 1/4 inch (0.6 cm) out from the edgeofthe art form, as a new image). drawing 5. Have pupils bring other manufactured objects to 5. Have an adult then sew around the edges (leav- arrange and draw. ing the pinked edges cut) and leave a hole. The pupil can stuff the sculpture with a soft filling, Extended activities:The teacher should: and the adult will then sew the opening. 1. Collect logos; have pupils enlarge them and put 6. Discuss what is unusual about a soft sculpture. them ou a bulletin board; h-ve pupils design a Isthe soft sculpture more interestingif the logo for a fictitious company. object depicted is e.,ually hard? L. Have pupils enlarge a frame from a comic strip and use dots to make a comic strip painting. Extended activitie:,:Pupils should: 3. Have pupils design visual sales communicants 1. Arrange a gallery show of soft sculptures. for billboards, a label or box for a product, ane 2. Use the soft sculptures as props in a play or so on. dance or on strings as puppets in a play.

47 tJtJ Pop Art: Syninesis inside the box to create different levels for the Process:Combination and construction. display of other objects. Entry behavior:The pupil has had experience view- 3. Have the pupils next combine old or new objects ing and creating (1) collage or montage; (2) personal or both within the box. Encourage each pupil to "pop art"; and (3) soft sculpture. construct two-dimensional and three-dimensionl Materials:Boxes; scissors; wood scraps (particu- objects to place in the assemblage. The pupil is larly ones from a wood shop or carpenter's shop that to relate all the objects to some theme. have interesting curved shapes, and so on); Midevery- 4. Have the pupils make aesthetic decisions about day objects of interest to the pupil. combining parts of 'things into new wholes and making them a part of the artwork. The goal is Procedure:The teacher should: to work for unity and harmony among dissimi- I. Discuss an assemblage, a collection of three- lar elements. dimensional objects put together in a visually Extended activities:Pupils should: pleasing arrangement. (Pictures of assemblage., I. Make assemblages of sounds or smells or things are often available it: magazines.) to feel. 2. Have each pupil use a box (cardboardor 2. Create a sculpture from scrap. wooden) and arrange scrap pieces of wood 3. Visit a museum and see pop art. rfr r

Mythology and Art: Application 2. Have pupils make many sketches, drawing on Process:Preparation; sketch. reality and their imagination to crate original Entry,' behavior:The pupil has heard and read some monsters by combining various human and Greek myths (books, commercial tapes, and soon, animal parts(asthe Greeks did in their mythology). especialfy, those written about monstersthe Mino- 3. Have pupils select the sketches they like best taur, Medusa, Sphinx, and so on). from their "monster portfolio" and display the Materials.Paper; black. fine-line marker; colored sketches in the room (preferably in an area markers. where books, filmstrips, and professional draw- Procedure:The teacher should: ings of Greek myths and characters can be set up I. Discuss and look at book illustrations, film- in a center). strips,' and so on that show mythological mon- Extended activities:Pupils should: sters. The teacher should also point out the I. Make a filmstrip (by drawing on clear 35mm difference between sketching those things we see film with felt-tip markers), showing original and those things we imagine. The monsters monsters in action. should be analyzed and classifiedthose mostly 2. Create a storyboard, showing each ions'.,; in hurhan with some animal parts and those mostly an original fiction (short) story. animal (of various combinations). The pupils 3. Make a cartoon strip, using the monster as hero should be encouraged to define th^ categories. or villain.

48 ti Mythology and Art: Analysis and Application Mythology and Art: Evaluation Process:Selection; painting. and Synthesis Entry behavior:Each pupil has made several origi- Process:Discussion, critique, and unification. nal sketches of monsters (stye previous lesson) and has Entry behavior:The pupil has developed and exe- Selected the one that he 07 she likes best. cuted a large painting of a monster (enlarged from his Materials:Student sketch of monster, opaque pro- or her own imaginative drawings). jector, pencil, crayons, roll of white paper (36 inches Materials:Enlarged monster paintings, covered or 91.4 cm wide), paints, brushes, water containers, bulletin board, scissors, paint, paper, construction scissors. paper, pencils crayons, brushes, water containers. Procedure:The teacher should: Procedure:The teacher should: I. Have the pupils, using the sketches they like I. Have the pupils display their monsters on a best, make needed changes in their small fin- blank background (wall or bulletin board) so ished drawings. The pupils should be encour- that the pupils can look and compare. The aged to combine parts of their other drawings if paintings should be hung a day or so before. there are ideas, designs, or sections they think discussion. are particularly interesting. The pupils should 2. Ask the pupils to take turns pointing out a work in pencil and may erase, change, and painting (not their own) that they especially like s.:engthen the final drawings. and ask each to identify (if possible) what is 2. H we the pupils work in pairs as they set up the particularly liked in the painting. opaque projector so that it throws an image on a 3. Ask pupils if there are any parts they would large piece of white paper (off a roll). The paper change in their paintings. (Be sure to emphasize can be pinned to a bulletin board or taped to a the idea of imprOvement rather than a negative wall. The finished drawing is inserted in the attitude. Point out that professional artists fre- opaque projector so that the image is enlarged quently do things over to improve their work.) several times. The pupils quickly outline the 4. Have a small group of pupils select paintings monsters on their paper. Scale should be dis- and arrange them into a mural. In addition to cussed with the pupils. the paintings themselves, they can paint or cut 3. Have the pupils, after the monsters have been construction paper to form an interesting back- enlarged, paint the monsters with tempera. The ground or negative space. Paintings can be use of texture,pattern, color, and realistic placed higher or lower on the mural area to give details (such as painting feathers, scales, and so the illusion of space (smaller ones higher on the on) should be encouraged. After the paintings picture plan with larger paintings overlapping are dry, the pupils can add details with crayons and lower). When completed. the murals may be and cut out the monster. given titles by the pupils. Extended activities:Pupils should: Extended activities:Pupils should: I. Use a bo:, and several monsters drawn on stiff 1. Make a tape recording about the mural (like the paper and cut out to make a diagram. Surround- recordings the docents prepare in an art museum). ings should be included. 2. Write their own myth about someone faced with 2. Use clay to make the monster into a sculpture. one or more of the monsters, collect all the 3. Make a monster mobile with colored drawings myths, and put them in a book. Pupil illustra- of several original /sketches. tions for each myth should be included.

The teacher should point out the difference between sketching those things we see and those thingswe imagine.

49 _9 .

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"A comprehensive arts program includes experiences in all of the ads for all of the children. It is a process which involves strengthening the individual art form, finding connections among the arts as well as between the arts and other subjects, using community resources to assist in arts programs, and providing the arts for the .k special student." Louis P. Nash California State Department of Education ,1

Creative Drama 3. Record five to eight sounds, each lasting at least one minute. Pick three children. Let them Subject areas and concepts that can be communi- do on-the-spot improvisations based on the cated through creative drama are the following: sounds. See how many improvisations you can A. Sounds. Let the pupils use tape recorders to get, usinr, the same group of sounds as motiva- record natural sounds (e.g., the sound cf lawn tion. sprinklers) or contrived sounds (e.g., the sound of B. Human Body. Let a small group of children pair a piece of masking tape being ripped, the volume off. They ear!: study each other's mannerisms, of the tape recorder being turned up to the maxi- voice, body language, and so on. Then they make mum). Use these sounds for: large sketches of each other's face. They should I. Building a "Movement Machine." Have one focus on the feeling of the face, the characteristics child at a time go to the center as the sounds as a cartoonist might. They finish the sketch by play. That child matches the sound with move- darkening it in and coloring it. They then make a mentcontinuous, rigid movement as if done mask of the face, perhaps by glUing it to a paper by a machine. The next child goes in and must bag prepared to go over the head. Last of all, they attach himself or herself to the first child and become that person. They wear that person "s face make a different movement. The activity is and use that person's body language, voice, and so continued until a machine of ten or more chil- on. Let the rest of the class evaluate the realism in dren has been made. their portrayal. This is an excellent lesson in teach- 2. Let the pupils do free, sponaneou.,, open ing physical as well as emotional awareness. movement in accompaniment to Lhe sounds. This activity would be in contrast to the rigid Some suggested outside activities emphasizing movement of the machine. The teacher can body awareness are the following:

say, "You are the wind! ...You are a kite on a I. Show me by your movement that you are very, windy day.... You are a feather in the air." very heavy. What is heavy (giants, trucks, Don't ignore sound as motivation for creative elephants)? writing and movement. We often think that 2. Make your muscles feel strong. How would creative activities demand only music for motiva- youlift something heavy? Push something tion. heavy? Pull something heavy? Try to push and

50 pull with a partner. Can you move slowly and 2. Use improvisations: strongly? a. Watch a commercial on television that you 3. Can you move as though you are very light? dislike. Now use the product to do a new, What is light (feathers, balloons, birds)? clever commercial that the sponsors will 4. Can you fall (sink) slowly to the ground with- buy. out making any noise? (This activity requires b. Plan improvisations of new television shows practice. Use small groups att first.) that would appeal to: 5. Can you fall (sink) to the ground as though you are suddenly very heavy? How will you (I) Older peoplethose aged seventy to hold your arms and hands? eighty (2) The "cultural vultures" (they hate televi- C. Architecture. Improvisations that may be used in sion) who read a lot and have many relation to architecture include the following: academic degrees I. You are a contemporary architect trying to (3) Teenagers in the city convince the Cambridge Club that it should let (4) American Indians you build its new building. (5) Wealthy personsaged thirty to fifty 2. You are a new skyscraper in the center of the 3. Plan a series of programs for the 1999 televi- city. The older, more settled buildings keep giv- sion season intended 'for: ing you advice and treating you as if you were a. Children a shack instead of a tall, powerful building. b. Elderly persons 3. You and your three friends raised all the c. Young married couples money to build a new amusement park called d. Sports enthusiasts Imagine Land. You thought you all agreed, but each of you come to a meeting with an 4. Your new late-night talk show, "Midnight architect's plans for completely different amuse- Madness," goes on in a few minutes. The show ment parki. One person wants an area with is supposed to be fun! You are trying to enliven buildings, mountains, space ships, and crea- your dull guests: tures to go with fascination about science fic- a. A librarian who has just written a book tion. Another person wants all buildings and entitled All About Cataloguing rides to reflect that wonderful, imaginative b. A scientist who wants to talk about his period of 1900. Another says that Imagine experiences with rocks Land must deal with other countriestheir c. A senior citizen who wants to talk about his food, holidays, homes, and so on. And, finally, gigantic new mobile park, Rest World the third friend says, "It must be a land where d. A noted dietician who has come to talk on we all return to childhood, with pixies, dwarfs, the subject, Getting the Most out of Spinach little cottages, castles, and clouds that carry In addition, you have just discovered that your you away to Storybook Land." What are you sponsors are manufacturers of sleeping pills. going to do? E. Newspaper D. Television 1. Sports. Ma':e a list of words, especially verbs, 1. Use pantomime: used in sports stories. Plan an improvisation a. Your nev.. cooking show. "Fun in the Kitch- with friends. Try to use these words and en," goes on in two minutes. You are madly expressions in a soap opera called "Tomor- trying to get things ready. Everything goes row's Gloom." wrong! 2. Advice column. Find a good example. Read it b. You are a comedian on a variety show for to the class. Now, do an improvisation: You the first time. You are telling your best have just written this advice in your column. jokes, but no one is laughing! As you finish, a similar situation arises in your c. You are trying out a new television show for own home. How do you handle it? the producers. The show will be called 3. Want ads. Read and find some of the unusual "Animals Are Love!" But each animal you things listed. You are an elderly lady. You have approach wants no part of you. Is it your a lace doily collection that you want to sell. perfume or after-shave lotion that bothers You must call the newspaper office to tell them? someone about your collection and the way in

51 which you want the advertisement to appear in Creative Movement print. Subject areas and concepts that can be explored 4. Helpwanted advertisements.You have read and communicated through creative movement and the help wanted section in the newspaper for problem solving are the following: weeks, trying to find a job. You are now to be interviewed for the job of key punch operator. A.Language Arts You don't even know what a key punch opera- I. Learn the basic direction& in space: up- tor is. Pretend that you are being interviewed. down, left-right, side-side, forward-backward, 5.News story.Read a news story that is not very diagonal and zigzag, circular, above-below, exciting. Use it as inspiration for an improvisa- out-in, over-under, around-through. tion. You are covering a story for your paper. 2. Explore the concept of lines and curves.- The stcry is very dull and boring, but you are ability to identify, create, combine, and relate interviewing the people, trying to get some them. (These can be felt in shape, moved and excitement out of it. drawn in space, and put into spatial pathways.) 3. Examine the specific shapes of letters; develop F.Folk Expressions.American folktales offer great ideas for body movement, pantomimes, and im- an awar.tness of curves and straight lines in provisations: the making of them; and observe the pathways that letters take (printed and cursive). I. You are the cooks in Paul Bunyan's camp. You 4. Explore the concept of letter connect'ans and must strap cubes of butter to your feet, skate place of attachment in cursive writing. out, and' grease the large griddle for Paul's 5. Explore the concept of space on a page, spac- pancakes. ing between letters (manuscript) and words. 2. Each of you is Paul Bunyan walking through 6. Observe the difference in quality and motion the forest. Be careful where you step. You just of vowel sounds (shorta, e, i,o,tr). Explore stepped on several large trees. Watch out for groups of words that emphasize different that river! You are apt to _lake it take a new vowel sounds. Create combinations or contrasts. course! Oh, now be very careful! Look way 7. Explore words that have similar endings, such down to the bottom of your feet. That's a small as-irk, -ump,and-op.Create sequences and town you're coming to. combinations in motion (rhyming words). 3. PecosBillhas just fallen off the covered 8. Explore the concept of center, self, space, and wagon. You are a pack of coyotes. At first you radial ideas. are not sure what this thing is. Then you all 9. Examine rhythm and the syllablification of decide it is a baby coyote. Teach it 'now to wash words through motion. Explore groups of itself, how to drink, and, most important, how words. Clap them out. Stamp them out. Dis- to howl at the moon. cover the accents Put into strong motion. 10. Demonstrate and extend the definitions of G.Old Expressions.Letthe children pantomime words through motion. Think in categories these old expressions or build improvisations, such as shape words, time words, action using them in the dialogue: words, feeling words, and so on. I. She blew her top. II. Explore concepts of synonyms (words similar 2.It's pouring cats and dogs. in meaning); homonyms (words alike in sound 3. Two enemies buried the hatchet. but different in meaning); antonyms (words 4. He feels ten feet tall. opposite in meaning). 5. Everything istibsy. 12. Develop patterns of motion; building of sequen- 6.He's a sport. ces; repetition of sequences. 7.It's a blue day. 13. Develop the concepts of beginning, middle, and 8. I'm so hungry I could eat a horse. end. 9. She's as light as a feather. 14. Explore and combine progressive verbs (those 10. She eats like a bird. ending in -ing). Build sequences or pick a subject 1 I. I'm sitting on top of the world. and discuss it in terms of its actions. Explore in 12.He's a card. motion. 13. Do a good turn every day. 15. Explore adverbials(howwords, ,'here words, 14. She's a tough old bird. whenwords). 15. He's a fox. 16. Explore concepts of punctuation.

S2 17. Develop the ability to distinguish between con- C. Science cepts of like and unlike. 1.Develop awareness of self and ability to con- 18. Develop the ability to duplicate and initiate centrate. Focus attention on an idea. Put ideas in motion and shape. ideas and thoughts into motion. 19. Explore concepts basic to awareness not covered previously, such as front and back, open and 2. Explore the systems of the body: skeletal sys- close, moving and stopping, light and heavy, tem and joints; muscle system and nerves; cir- large and small. culatory system; digestive system; respiratory 20. Examine original or selected published poems. system. Haiku verse, cinquain, nursery rhymes, chants, 3. Explore the concept of gravity. Determine and creative movement experiences can moti- how and why things are affected by gravity. vate a class to create and write poetry or to 4. Think of the process of how different types of explore ideas, motion, shape, and time in a weather develop-how they are different and poem. Feelings can also be explored in this how they affect people and nature (clouds, way. rain, snow, sleet, hail, fog, and so on). 5. Explore the concept of wind and its center; B. Mathematics the manner in which energy radiates from the I. Explore and create the basic geometric shapes; center; types of wind currents-breeze, cyclone, -polygons;--quadrilaterals. hurricane; conditions before- ;-storm; the 2. Examine the shapes and directions of numbers action of air particles. in body shape or moving pathways. 6. Explore the concept of cycles of water, cycles 3. Examine the meaning and values of numbers. of growth, and the cycle of seasons. Explore the concept of sets-grouping move- 7. Explore the concepts of basic machines- ments or people into sets. Combine and vary the gears, levers, pulleys, wedges, joints--and the sets. electrical energy needed to run them. 5. Determine the number of combinations possible 8. Explore natural forces, such as centrifugal in forming a particular number, such as seven. force, magnetic force, and negative-positive Have seven pupils combine in different ways or forces. in different combinations of rhythm and motion. 9. Explore the concepts of weight and balance 6. Have the pupils take away and add up to a and counterbalance. particular number, such as five. They might 10. Explore the concepts of atoms, molecules, ele- deterMine, the movements they willuse to ments, and compounds. Explore the effect of come togeilier.and leave. heat on molecules. 7. Explore the conceptof time and the manner 1 I. Explore the structure and motion of the basic of reading time on a-Clock. cell and different types of cells. 8. Examine measurements and volume in the 12. Explore the function and structure and pro- present system of inches, feet, yards, cups, cess of different parts of the body, such as the pints, quarts, and gallons. eyes and ears. Explore each part of the body 9. Introduce the metric system (decimals and in isolation and in combination. groups of tens) and the measurement of dis- 13. Consider the concepts of vibrations and sounds. tances, weights, and volume. Explore quality, duration, rhythms, contrast, 10. Explore the concept of fractions-parts of a even and uneven rhythm, loud and soft. whole. Think of the sounds of nature. Animals. H. Explore acute and obtuse angles and the Machines. Musical instruments. angles formed by the various degrees of a 14. Study rocks: sedimentary, metamorphic, and compass (45, 90, 135, 180, 225, 270, 315, and igneous. 360 degrees). Problems and sequences can be 15. Examine sounds made with the body. easily incorporated here. 16. Explore different kinds of energy; natural for- 12. Identify and gain an understanding of the ces such as lightning, thunder, and so on; and basic signs in mathematics (+, =, 0, >.<). animal energy and human-made energy. 13. Explore the concepts of multiplication and 17. Explore the actions involved in forming the division. earth and its surface-cracking, faulting, erupt- 14. Explore and gain an understanding of the ing, flowing, falling, rising, bursting, crum- number line. bling, rolling, turning, folding, pushing, press-

53 Explore the concept of color; the emotional qualities of color and tone.

ing, pulling, learning, combining, and separat- 6.Study geography and topography, map read- i ng. ing, and basic directions. (Major directions ,18. Explore and create the shapes of the Earth are N, S, E, W; secondary directions, NE, and its surface, such as valleys and moun- NW, SE, SW. The exercise is excellent for tains, volcanoes, and so on. movement problems based on directions and 19. Explore the concept and identification of the pathways through space.) solar system. 7.Explore the different cultures of various coun- 20. Explore the ocean and the lifc in and around tries. Introduce ethnic and folk movements it and the effect of that life on other things. and qualities and relate them to music and 21. Explore and investigate light and shadows art. sources of light and the manner in which shadows are formed and react to different E.Visual Arts shapes and surfaces. Explore how shadows A.Extend almost any_ art concept into dance: are -alfee Ted-by Iheplacernent Of light.treate concepts of line designcurved, straight, bent, shadow dances. 22. Discover the different motion and rhythm zigzag, thick, thin, horizontal, vertical. patterns of animals and insects. 2.Explore the concept of basic shapes or sculpture. D.Social Sciences 3.Examine the relationship of negative and positive space. Put into body shape and design. I.Explore and direct social and human relation- 4.Explore design: symmetrical and asymmetri- ships: persons apart and together; individuals cal groupings, level and placement, vertical against a group; small groups and large and horizontal designs, individual designs groups; individuals as part of a group and all and combination of designs. alone; moving and stopping; taking turns; 5.Study the shapes and motion of the human initiating and following; helping and hinder- figure in a variety of mediaclay, torn paper, ing; ignoring and relating; building and tak- figure drawing, and so on. ing apart; combining and dividing; greeting 6.Explore the arrangement of mass in space; of and rejecting; mirroring; conflicts; question people and objects. and answer; conversations in movement and 7.Use props to add to the body or change the in sounds and words; responsibility and trust; body in unusual ways. movement of one's own body and movement 8.Explore the concept of color; the emotional of another's body; support of others. qualities of color and tone. 22 Explore self, personal space, one's own tim- 9.Create visual effects and use them with dance ing,"-and,the ability to control and direct one's or as a motivation to stimulate movement own body.- dance ideasmasks; murals, boxes, structures, 3. Explore the diffe stages of man through streamers, and so on. history (primitive times; Dark Ages; the 10.Use slides and light to coordinate with dance. Renaissance; modern times), motivations, fears, rhythms, work, effect of climate, de reof skills and knowledge. F.Music 4 Explore what motivates individuals to move to and extend each of the elements of and hold their bodies in certain ways. Teach music tratrgh--dance. (tone, melody, dynam- pupils to observe the shape and effort and ics, tempo, harmony,Meterv-tteeentr,r-hythm). rhythm of people. Use ideas related to work, 2. Work with special forms used in :music, climate, beliefs, topography, crafts, skills, po- as tutti solo, contrast, rondo, theme, and litical control, clothes, religion, art, and so variation. on. 3. Work with simple instruments in the class- 5. Recreate events in history and put them into room, creating music'for dance, accompany- motion. ing each other, using instruments with dance.

S4 vti) 4. Explore note values through movement. Rhythm movement and body structure. How could tagis a good idea. Create sequences, using you show the molecular structure of H2O? combinations of sets of eight, quarter, half, How many people would you need to and whole notes and movements. show all the parts? How would you handle 5. Explore accents in words and rhythm through it spatially? Then go into the effect of heat dance. Vary the timing and individual place- on molecules or the difference in how the ment of accents. molecules of solids,liquids, and gases 6. Create songs and chants that arise out of relate and move. Try showing the molecu- dance. Even children's games and songs may lar evolvement of an ice cube into water, be used. then into steam, using people. What are 7. Use music listening ideas explored through the differences in shape and motion? dance. b. Antonyms: Create a lesson on the idea of G.Games and Sports.Isolate specific motions from opposites, using improvised or choreographed various sports. entrances and exits. It is enjoyable to have a blank space in the middle of the stage H.Pilot Television Ideas (using a chalkboard covered with a sheet) 1. Select a particular part of the body and show so that a moment of suspense exists between the ways in which that part of the body is the two ideas. Or write a script based on used. Think also of the commercial products three to five ways in which each opposite made for that part, the machines or work idea can be shown. Make this into a visual involved with that part, and themeans by aid for other children. which people express themselves with that c. How many other ideas can you think of part or adorn that part. Sequence all of your that can be demonstrated in either move- ideas and arrange them into a script. See the ment or dance? Select one and then research film Footnotes, by John McDonald and chil- it in depth before writing the script. dren, available from the Art Department, 4. Make a video presentation for senior citizens Glendale (California) Unified School District. about senior citizens who dance, exercise, or See also the film Faces, by Frank Reuss and are in a field where artistic motion is used. children, also available from the Art Depart- Programs are offered to them by many orga- ment, Glendale Unified School District. nizations, and there are many older individu- Make sure that you also find out and show all als taking such things as karate, dance, ballet, the different ways in which a particular part swimming, and so on. of the body can move and themanner in which dancers use that part in different dance 1. Current Events forms. Pictures can also be used to createa I. Read the newspaper andidentifyseveral different kind of effect. themes that appear there. List as many cate- 2. Research the history of dance for a particular gories of news items as you can discover. time period. Gather photos and magazine pic-, Then select a theme and find the basic r'- tures. Create a photo collage to show each cepts behind it. Examples might be terr .al period of dance. Have different members of struggles, sports, or upward mobility -ct your class or the community or local dancers one theme and reduce it to its basic con, ,. give live performances to show the different Then think of how you can develop this _on- dance styles and steps as they progressed cept through shape: or motion or the use of through history. Try to focus on a shorter space or time. An exail,ple might be the wall period of history and research itin depth separating persons in East Germany from rather than attempt to cover.a larger period those in West Germany. superficially. 2. Create three different group shapes to show 3. Use dance motion and shape to teach others the stages of a struggle for power. Use thick about any area of study. Almost any idea can yarn or string to mark the space into different be demonstrated and danced. Find the con- areas or sections attaching the yarn or string cept(s) inherent in the idea. Examples would to walls or tables or chairs. Divide the group include: into several smaller groups varying in number. a. Molecules: Molecular structure of differ- Each group is to take a different spatial di- ent elements can be explained through vision as their territory and move within the

55 space to define it and sc-: how it feels. What Visual Arts and Dance: The Body happens to the largest group of people if they are put into the smallest space? How can you A. Draw and Be Drawn: rearrange the spaces to change the territorial I. Gather these materials: strips of paper (any boundaries? Move inside the new boundaries color) about 16 inches (40.6 cm) long and six and see if there is a difference. inches (15.2 cm) wide; coloyed markers. 3. Select the most written-about sport of the sea- 2. Each person has a long strip of paper. son. Take three motions from that sport and 3. One at a time, members of the group take four find as many ways to vary each motion as you counts to move into a shape. The person may can. For example, make it bigger, try it at a move slowly and smoothly or sharply and per- new level, or change the natural rhythm to cussively. The students must freeze in their one you make up. Can you make the motion shapes on the count of four. travel if it is usually done in place? Can you 4. The rest of the group draws the person, using do it in place if it usually travels? Can you ovals to represent the 16 major joint areas and repeat the motion several times in succession? the parts separated by them: When you have explored all the possibilities a.Head in the three ideas, take your best or most b.Neck interesting possibilities and develop them into c.Upper armright, side three short phrases or thotights. Sequence d.Lower armright side these three phrases and perform them. Cho- e.Handright side reograph a dance for partners or a group and f.Upper armleft side call the dance "My Favorite Sport Abstracted." g.Lower armleft side 4. Take three different countries highlighted in h.Handleft side the news, research a, dance from these coun- i.Upper torso tries, and learn a dance from one or more of J.Lower torso them. Can you write a brief description of the k.Upper legright side people based on how they dance? Are these I.Lower legright side qualities still indicative of these people ;aclay, m.Footright side or have thepeoplechanged since they first did n.Upper legleft side the dance you learned? o.Lower legleft side 5. Tell what planets are highlighted in the news. p.Footleft side Discover how each planet is both the same 5. The rest of the group draws the person, using and different. Select one idea, such as gravita- ovals to represent the 16 body parts. tional pull. Investigate how this pull differs on 6. Note: Each person should be drawn in a differ- each of the planets. Then divide an open ent color. Figures may or may not overlap. room into enough spaces to represent the number of planets. Have pupils enter each Example: space and move or dance in such a way as to show the pull of gravity on their body. For example, a heavy G force would make the body heavy and movement difficult whereas a light G force would make the body very light and would produce slow motion (as in the case of the moon). Explore this idea. Another way to look at each planet might be to examine its weather. 6. Select a part of the world and show the type of weather there through dance and motion. 7. Present a complete weather report by means of dance. One person can announce such things as "A front is moving in from the west" or "Cyclone warnings have been announced in the Midwest" or "Heavy rains are falling in the Northeast."

56 B. Rip and Tear: Example: I. Gather these materials: glue; large and small pieces of bright construction paper. 2. Tear 16 body parts as described previously. 3. Arrange the body parts on paper, showing motion, leaving spaces between the parts (joint areas). 4. Glue the pieces when the figure is in the position you like. 5. Add one or more figures, using the same process. Relate them so that they design or contrast or develop the motipnidea. Example: i D.Show Bodies in Motion: 1. Gather these materials: dry tempera (two or three colors); cotton balls; paper (white or colored); _crayons or marlcing pens. 2. Dip a cotton ball into dry tempera and dab on a figure in motion, using the principle of 16 body parts. Use light, easy-flowing strokes. 3. Outline a few parts of the image to give them importance when the image has been completed with the dry tempera. Add a design or clothing over the tempera. The detailsin crayon should highlight rather than dominate the figure. 4. Add more figures if you wish, being aware of body shapes and the means of capturing motion. 5. Spray the picture with hair spray or acrylic C. Squeeze. Form, and Print: spray to hold the image after work on the image has been completed. I. Gather these materials: telephone directories; 6. Use colored chalk if you wish. several colors of tempera paint in squeeze bottles; pieces of construction paper about the size Example: of the pages in the telephone directories. 2. Squeeze liquid tempera into the shape of a body, using the idea of 16 parts. Apply the tempera to a page inside a telephone directory. Try to create a figure showing motion. 3. Close the directory to get off excess paint. Be- cause the image will broaden, the paint should be thinly applied. 4. Open the directory and print an image on the construction paper. Lay the paper over the page and press the paper firmly to the page. 5. Repeat the process with another figure (different in color). Print on the same paper as the first figure. Overlap is all right if the job is done in different colors.

57 \ \ /

Explore ways in which each body part can initiate motion through space.

E. Outline and Design Body Pans: e. Find, with the aid of apartner,artner, only two sup- I. Gather these materials: roll of butcher paper; ports between you. What must you do to several colors of tempera; enough brushes for make this work? the separate colors; marking pens with broad f. Try to balance against a wall with one sup- tips. port on the ground and one support on the 2. Work in twos or threes. wall. 3. Have one person lie down on butcher paper. g.Find, by counterbalancing with a partner,' Select an interesting shape. three ways to balance: (I) a balance involv- 4. Have another person trace around the body ing pressing against each other; (2) a bal- with a felt pen or crayon. ance involving pulling away from each 5. Have the person who was outlined get up after other; and (3) a balance in which one person the drawing has been completed and work on supports the other. rut your three ideas his or her own. figure. into a sequence arki show them. You must 6. Divide and mark off the 16 major body parts. be able to control the motion of tetting into 7. Desigp each joint area, using the basic symbols and out of the design as well. for design. Be aware of the colors and how to 3. Explore ways in which each body part can use them as well. initiate motion through space: . 8. Cut out the design when it has been completed a. Can you concentrate on your'head, and let and select a wall or door to display it. Or group your head pull you across the room? Cah., the shapes of several persons in clusters or you find a way to turn with the motion group or partner designs around a, large room starting in your head? or auditorium. Some designs may be placed b. How can you move with the back of your upside down or sideways. hips leading you to different places in the room? Try the side of your hips or the front Q3/41 Body Parts and Dance of your hips. Repeat these types of questions with different body parts. It is a good A.Level One idea to divide the group in half so that half 1.Explore the many ways in which each part of of the children can observe the other half the body can move (isolation). Create an idea moving. and have everyone try one person's idea in uni- c. How can you rise from the ground with son. Try different qualities in the movement, your shoulders pulling or leading you up? such as slow and smooth, sharp and percus- d. Can you descend or fall with your feet lead- sive, shaking, swinging. Try moving each part, ing you? Your hips? using time in different ways,' such as very 4. Explore ways in which people can connect or slowly, very quickly, stopping and starting in design their bodies with others by the use of time, moving each part to a specific rhythm. body parts: 2. Do a balance problem in which the pupils must a. Find a way to connect elbows and knees discover how to balance on different numbers with a partner. You don't have to connect of supports.Pupils might be instructed as to their elbows and knees, but you must follows: touch them with your elbows and knees. a. Find a way to balance on three parts of the b. Explore, in groups of three or four, three body. different ways to connect with each other, b. Find a way to balance on two parts of the using hands. Show the children how to do body, only one of which may be a foot. so. c. Try to balance on the hips; shoulders; one c. Design three different shapes that ar° like elbow and another body part. welded sculpture. They should be connected d. Find a partner and between you (connected) but should have space between the connec- find five parts to support you. tions so that the design can be observed.

.i8 d. Find a connecting design in which all of you to develop each part first. If the group is very are at a different level. Find away of mak- advanced, then the phrase can include all five ing your design move, either through space parts. Or each group has one of the five parts to a new spat or up and down or around in and moves, then'freezes. Then the next group the spot you are in. performs. All perform together on the third e. Run or skip to the middle of the roomone part. at a time. Each person will connect to I another perSon, forming a large group sculp- 4. Create a combined body part dance with a ture. Then each person will leave the design partner; for example, 4`.11ead and hands dance, in order without destroying the rest of the a dance with masks, or a foot dance in which parts. only feet can be seed. Use a curtain or screen where only one body part can be seen at a time,. 5. Play a rhythmic chanting game, such as Head and Shoulders, Baby, letting the class make up 5. Use Screens or cardboard and do an entrance the additional verses by combining two differ- and exit shape dance. One person moves the ent parts or selecting a way of moving: screen on and off the stage. Hidden behind the a. Head and shoulders, baby. All touch ow screen are other persons who are deposited on body parts, clap on baby. stage in different shapes, which they must hold b. One, two, three, repeat. Jump any way you until another screen removes them or erases them from the stage. Persons can be dropped choose an the one, two, three. off individually or in combinations. Slides can c. Head and shoulders, head and shoulders. also be projected over the dancers and screens Touch body part as changed. to create a very unusual effect. d. Head and shoulders, baby. Clap. e. One, two, three. Jump three tunes one way. Credit: Ririe/ Woodbury Dance Company (Child- f. Different combinations can be used, such as ren's Concert). ears and hips, fronts and backs, turn around, dart here and there, and so on. Folk Expression: Dance g. A sequence of five can be created. Do the The folk arts provide insights into the lives of the whole sequence of verses without stopping. people who discovered the arts as ways to express their attitudes and beliefs. The arts are usually interre- B. Level lated with the people's lives in a dire-nrv-iTather than I. Create a phrase in4which you show motions as separate parts outside their lives or as enriching created by three different body paits. activities. In most folk expression, music and dance 2. Do a mirroring exercise with partners. A are closely interwoven.Itis difficult to say which leader calls out a particular part for the group. came first, for they usuallyemerge as a cohesive unit. Each leader in the partner sets must initiate In the more primitive tribes, it was usually the men motion only with the part that is called out. who did most, if not all, of the dancing and the 3. Create a random sequence of body pare; for women who chanted or accompanied them with their example, head, elbows, shoulders, hips, feet. hands or with small and simple instruments. In Euro- Each person explores each section and creates pean countries men and- women have separate dances a phrase (or improvisation), showi how he as well as dances in which they participate together. or she discovered that part can movelt is best Some cultures emphasize a particular part of the body

find a way to connect elbows andoknees with a partner.

59 in their dances, such as the Eastern Oriental cultures, dance very simple, with no more than three dif- which exaggerate the hands,feet, and face; the ferent parts or steps. In a folk dance the idea is Hawaiian and Tahitian groups, which emphasize the repeated if times over and can be done by hips; the people from Appalachia, who do deg danc- most people in the group. ing, which emphasizes the feet. 2. Take a song from a particular culture and either Polk dancing provides the feeling of community learn .or create a dance to go with the song. a particular group. The steps are made up of basic Examples include the following: motions, such as stamping, running, hopping, jump- a. "Rise My Brother" and "Kuma Echa" (Israeli:' ing, shuffling, walking and clapping as well as steps The !atter can be found in the album The that require different types of direction changes and Whole World Dances. shifts of weight. They usually take the form of circles, b. "Inch Worm." Create a dance, that multiplies lines, columns, and squares or qUadrilles. They are and divides people in different ways as the done individually, as in the case of Kolos, or with song' indicates. partners, trios, or quartets. c. e"Going Down to Cairo" and the round, The music comes from the instruments that are eats-. dance. Use basic square dance steps (Ameri- ily obtained or are traditional to the people. Drums, can). shakers, and reed instruments are typical of groups in Africa, America, and Eastern Europe. The yiolin. typ-_ 3. Try African chants and basic dances. Then ical of Scindinavian countries, Ireland, and England, create your own chant with sounds or English was used for early American square dances. Stringed words. Can you create a welcome dance with instruments can be found in some form in a large hand and arm gestures? - variety of cultures. 4. Make a chart of similarities and differences, as Activities that may be found helpful here include seen thrOugh arts and crafts, dances:and nusic, the following: after several cultures have been studied and understood. I. 'Select a particular group of people from one culture and study them through their music,, Architecture and Dance dance, and arts. What can you learn about a people from their arts? Questions that may be I. Define the space around your own body. Open asked are as follows: up the structure to encompass as much hpace as possible. Decrease the amount of space that a. What motifs are used in the design? your body takes up. b. How do geography and weather affect their movements and energy? a., Create volume by using various body parts to c. What are the themes of the dances? Do they define a space. For example, create a volume reflect a people who are warriors? Explorers? which is circular by using your arms Move Peace seekers? Do the themes relate to nature? that volume somewhere else. Find another (The dances will tell' where the people's atten- way to define a circular space. tion is being *5.4 b. Find a way' to create a volume of space with a d. How do the people. use their bodies when partner. Explore several more ideas. they dance? Do they shuffle or stamp? Bend c. Create, with partners, .trios; or quartets, a over or reach up? Do they use lots of energy structure with spaces. Each person should or little? attempt to finds many ways as possible to e. Do the women and men dance separately or move in, over, around, or through the struc- together? What might this tell about their ture without touching it.Repeat this idea culture? until all have had a turn to build and explore. f: What kind of music goes with the dance? 2. Explore theconcept of tension and counterten- How does the music make you feel? What sion that architects need to understand when does it tell you about the type of dance and designing a building. They must take into account the people? the weights involved and the stress that they On the basis of what you have learned from place upon each other: Pupils may be asked to: qbservation and participation, create a simple a. Act as partners, holding both hands at the dance that 4,1s the flavor of the culture you have wrist and pulling away from each other until just studied You may use a piece of music, a point is found at which tension and balance record, song, or chant to begin with. Keep the can be felt (counterbalance).

60 b. Explore other counterbalance structures that the square, rectangle, triangle and circle, octagon, can be built with a partner. hexagon, and so on. The s.:ucture can go hori- c. Try the same problem with three or four zontally or vertically but must have a sense of tidier pupils. The successful balances should volume. Move individually throurt, space, creat- be shared, and the class should help those ing the effect of a three-dimensional structure who are unsuccessful solve the problem through through the motion of the body. suggestions. d. Repeat the problem with pushing tension, 7. Design a dance based on the motions involved in always extending the weight as far as possible constructing a building te.g., clearing the land, and striving for the exact point of balance. leveling, laying the foundation). e. Repeat the same procedure, with one person stable and the other acting as a leaning part. Sounds in Dance Leaning parts should be balanced with groups of four. ALevel One 3. E. plore the concept of support systems. Explore Take the sounds of letters and exaggerate the ways in which one body can be supported by quality and time elements. Find corresponding another without.stress. When thp strong plates motions with the body. in the structure are discovered and the weight is 2.Exaggerate sounds that people make, being diplaced over more area or counterbalance is aware of the breath rhythm and quality of the used, this task can be accomplished with ease. sound. Good examples are yawning, sighing, Make sure that all students are totally respon- grunting and groaning, shouting a- word and sible for themselves ',and their partners. This moving in its energy, and whispering. Divide problem requires concentration and control. into groups and let each group take one sound from the previous list and improvise motion 4. Present a problem to groups of four to six stu- and sound together. This can also be done 1-;y dents. Each group is to take three ideas and recording types of sounds ahead of time and sequence them in an order that is agreed on. working from a tape. The motion may he ini- Then each group is to create a group shape tiated only by the sc.:.nd and may last only as which shows each idea clearly. When all three long as the sound lasts. shapes have been created, the group is to figure 3.Take the sound of the letter that begins one of out how the group members can move from one a pupil's names (first, middle, or last). He or shape to another with control in slow motion. she gives the sound a rhythm so that it creates After the last design has been completed, every- a pattern that can be repeated several times. one will dissolve in slow motion back to his or Each pupil begins the rhythm-sound pattern her 'own spot. The ideas are the following: and is joined by the others. The sounds are a. A group shape which is an open structure recorded on tape and are used as the musical with spaces defined by connections or attach- score for a movement improvisation. ments b A group design with pulling, pushing, and B.Levelnix - leaning tension, perfectly balanced I. Work with environmental sounds by recording c. A group,sign showing the idea of a sup- sounds from the environment or using one of ported structure the environmental sound records from the 5. Think about bridges and the many different resource fist. Create a sound tape with two to ways in which they can beconstructed.Draw as five different sounds. The suind can be put many different types of bridges on the board as together by chance or withe particular musical can be thought of. Then, in groups of four to form in mind (e.g., ABA, rondo, theme, and eight people, design a particular type of bridge, variation). Winn the scores have been com- using bodies to demonstrate the design. Once pleted, design a dance study to correspond to the bridge has been successfully built, see what the score. The dance should have a defirite motion might be possible on the basis of that beginnin,, middle, and ending. The beginnings specific design. and endings can be shape designs or entrances and exits. and so on. 6. Design the various types of geometric shapes on 2.Think of sounds that can fit into different cate- which most architecture is based. This includes gories, such as entering, attaching, sinking, ris-

61 6J Create a new scale and improvise a composifion on this scale.

in-, detaching, popping, exploding, and exiting 5. Identify the building blocks used in architec- so.inds. Select three or more of the ideas just ture that serve the same purpose as the build- presented or create other categories for a group ing blocks in music: phrase, section, movement, improvisation. Have someone direct the impro- introduction, coda, and sequence. visation by calling out the types of sounds. The group creates its own sound, rhythm, and mo- C.Building of a Composition tion, each person working and improvising indi- I.Listen to a variety of compositions or sing vidually within the group. Give the study a beginning, a middle, and an end. familiar songs to discover how composers use repetition; opposition (change); symmetry (bal- 3. Develop zonversatiorn with sound and motion. ance); transition; and dominance in their music. Work as partners. This effort involves speak- 2. Look for the same qualities in architecture. ing and listening. One partner initiates a sound 3. Chart the form of a selected composition. and a motion or series of motions that grow Design a building that uses a similar form. out of the sound, then freezes and waits for a 4. Take a familia- song and change its design. Do response from his or her partner. The conver- the same thing with a building. How does it sation goes b..ck and forth until a closing point change the feelings or ideas conveyed by the is reached. The movement may remain in one music or building? spot or travel. Contrastin dynamics and 5. Create a composition similar in form to a fa- rhythm should be encouraged. The statements mous building. of sound from each person should also vary in 6. Invent a new form. Create a compost. an to duration. match the form. 4. Use musical instruments to createa sound 7. Create a composition to be played at the open- score to go with a dance score which has been ing ceremony of -1 new building. Let the bi.;1d-, created. (See the lessor on creating dance ing influence the music. scores.) Let the motion be created first. The sound will be created to complement or con- D.Change of Designs trast the dance study. I.Discover and construct some of the scales used down through history (e.g., church modes, major and minor, pentatonic, whole tone, and Music and Architectire twelve tone). A.Resources.Resources that may be found useful 2. Improvise a melody, using one of the con- here includeThe Senior Book, Exploring Music structed scales. Series(Holt, Rinehart & Winston, Inc.,!969); 3. Listen to compositions in w.h v.:rious scale and "The Arts in 00 Lives,' inThP Spectrum of systems are used. Music with RelatedArts (New York: Macmillan 4. Create a new scale and improvise a composi- Publishing Co., Inc., 1975). tion on this scale. B. BuildingBlocks 5. Discover some of the instruments used histori- cally. I. irig afamiliar song and find the phrases and sections. 6. Listen to compositions in which these instruments are used. 2. Listentoselected compostions toidentify introduction, coda, sequence, movement, sec- 7. Discover how and why the symphony orches- tion,andphrase. tra has changed. 3. Take a familiar song and add an introduction 8. r)ecide how the symphony orchestra will look or a coda. and sound in 100 years. 4, Compose a simple phrase on resonator bells. 9. Find similarities between the changing designs Build a composition by using sequences of the in music and the changing designs in architec- original phrase. ture.

62 Music and Sound 7Write a poem about sounds or silence. Create A.Resource.A resource that may be found useful an ostinato by repeating a key word as accom- here is "Sources of Musical Sounds," inThe Spec- paniment to the performance of the poem. trum of Music with Related Arts(New York: 8. Write a parody of a familiar song. Perform the Macmillan Publishing Co., Inc., 1975). parody. 9. Unscramble the words of a familiar song. Sing B.Experiment with Sounds the song. I.Identify environmental sounds on tape and 10. Write a poem or story about a selected topic, around the school. such as spring. Listen to a musical composi- 2. Explore environmental materials that can be tion describing the same topic. How do poem used to mr'.,t sounds. or story and the musical composition compare 3. Create a composition, using discovered sounds. or contrast? 4. Listen to compcsitions in which environmental II.Create interesting titles for original composition. sounds are used. 12. Write program notes for a classroom concert. 5. Build original instruments with a variety of 13. Become a music critic for the classroom news- sounds (e.g., bottles and clay pots). paper. 6. Create a composition for original instruments. 14. Analyze the characters or actions of a comic strip. Create appropriate background music. C.Exploration of Traditional Instruments 15. Combine two or three original poems to create 1. Classify classroom instruments according to a texture of sound. like and unlike sounds. Music and Social Studies 2. Create a composition for instruments with like sounds. I. Find and learn folk songs from as many coun- 3. Create a composition for instruments with tries as possible. Show your discoveries on a unlike sounds. map. 4. Explore the instruments of the orchestra. 2. Research and listento the sounds of folk 5. Listen to a composition and identify the sounds instruments from as many countries as possi- of the instruments. ble. Place your discoveries on a map. 6. Listen to guest performers. 3. Research the differ ways in which music is 7. Attend concerts. used in everyday !le. Illustrate your findings with a tape recording and pictures (e.g., church, D.Modification of Traditional Instruments home movies, television, recreation, and work). 4. Discover and perform songs wed by people for I. Experiment with ways to modify classroom different purposes (e.g., play, sleep, work, reli- instruments in order to create new sounds. gion, and ritual). 2. Create compositions for the modified instru- 5. Listen to a prepared tape Of compositions ments. using folk songs. Identify as many folk songs as 3. Listen to compositions for modified (prepared) possible. instruments. Resource:Dance,by John Cage. 6. Have one child learn a simple song. He or she 4. Listen to compositions using traditional instruv then teaches it to another child. It is passed on ments in unusual ways. Resource:Banshee,by from one child to another. How and why did it Henry Cowell. change? Why do folk songs change? 5. Experiment with electronic sounds. 7. Create the music for an imaginary kingdom. 6. Expt.. -nent with voice sounds. 8. Change the way a folk song might be used (play, work, sleep,ritual) by changing the Music and Language Arts accents, tempo, volume, lyrics, or design of the I. Have a singing conversation. song. 2. Find the rhythms of new vocabulary words. 3. Match words with rhythmic patterns. Music and Mathematics 4. Take a simple poem and create a composition, I.Chart musical forms by usi.geometric forms using the rhythms of the words. to represent the,sections (i.e., like sections with 5. Search for words thai rhyme and discover their like forms and unlike sections with unlike rhythms. forms).

6. Recognize and classify environmental a oz1 in- '2. Listen to compositions with a variety of forms strumental sounds (reading readiness). (AB, ABA, ABACADA) and arrange geomet-

63 ric forms to agree with the design of the music. Visual Arts 3. Chart the organization of sets of beats (two, The visual arts can be effective in providing alter- three, four, or more) by placing an accent mark native means of communication and in extending under the appropriate beat, (i.e., the first beat learning by means of exercising the creative and of each set). Perform the chart. An example mental skills of the gifted learner. Pupils can be helped would be sets of two. to focus on the expression of their own ideas and feel- 4. Use sticks or flash cards to organize patterns ings through the arts as well as through the spoken with whole beats, with divided beats, with com- and written word emphasized so much today. bined beats, or with a combination. The visual arts have been used to express ideas since 5. Play Who Lives Here? by placing patterns the time of the cave dweller. What the artist is trying (flash cards)',tat equal a selected set of beats to express is a basic question in viewing somct'.ing on the chart of a house (e.g., The House of we call art. The artist, among other things, is striving to Two Beats). Perform the findings. express his or her views of some aspect of life, society, or time. The artist's tools are color, value, texture, Music and Science line, shape, pattern, form, and space--the basic art elements. The artist's subject, however, is limitless I. Refer to a resource that may be found useful because it can be anything that a person can observe, here: "Electronic Music," inThe Spectrum qf know, or fantasize. Music with Related Arts (NewYork: Macmil- The following are only a few suggestions of subject lan Publishing Co., Inc., 1975). areas and concepts that can be communicated through 2. Listen to compositions created for synthesizers the visual arts in a problem-solving approach. The and other electronic equipment. pupil, when asked to view the world with "art eyes," 3. Develop the vocabulary needed to understand can expand these areas. electronic music; for example, frequency, ampli- tude, tape loop, oscillation, musique concrete. A.Language Arts 4. Make tape recordings to sounds and create a I. Create posters advertising prepositions. Use composition with those sounds. sketches to show under, over, above, below, 5. Create a sound collage, using the radio. out, in, around, through, and so on. The most 6. Experiment with internal sounds (i.e., sounds common preposition(0j)will be the most dif- produced and carried by vibration of solid ficult. Print it but use variety in color, texture, objectsrather than air).Tape-record these value, size, or pattern to emphasize the word. sounds and create a composition. 2. Use the shape of a letter as a basic motif in a 7. Experiment with changing recorded sounds by drawing. Cut it out of a stiff piece of paper, altering tape speeds. trace the shape over and over, moving it 8Create an ostinato by creating a tape loop. A -1d around, overlapping it, creating new shapes. other recorded orlive sounds to create a Color and pattern your composition. composition. 3. Make a word that looks like its meaning. 9. Build a circuit and -reate your own electronic 4. Design an alphabet book for a child living 100 music. Write a sco,.. for your composition. years from now. Do more in futuristics in 10. Research and experiment with the overtone general. series. Compose a composition, using the tones 5. Create a shape in the form of someone's sil- from the overtone series for C. houetted head.Fillthe shape with word 11. Research the Pythagorean theory. Experiment phrases that give information about the per- with a vibrating string. Watch a performance son and create an interesting pattern or tex- on an instrument from the string family. ture (biography). Use adjectives also. J[I,LiV BOLD Make a word look like its meaning.

64 Develop an interesting picture, using numbers as motif.

6. Draw and cut out many homonyms- words gerbread Man," "The Nutcracker Suite," or identical in spelling and pronounciation but "Perseus and the Minotaur." differing in origin and meaning (e.g., butler as 18. Ask the older children to make book for a spread and as one who butts). Or draw and younger children. Find the words to use by cut out homophoneswords pronounced alike asking their teacher. Illustrate the book and but differing in spelling, origin, and meaning bind it. Donate the book to the class or school (e.g., lair and fare). Design an interesting col- library, where it can be used. lage, using the drawn pairs, colored tissue 19. Use your own drawings and pictures from paper, textures cut from magazines, and areas magazines to create a story starter. The pic- of colored paint. tures are to be pasted down in a pleasing 7. Make a word game for younger children. It arrangement, and the composition is to be should be a card game or any game using used in writing a story. All objects, persons, pictures showing synonyms and antonyms. and so on are to be characters, clues, or other Include the rules. important items, activities, and so on in the 8. Gathei information about petroglyphs. Use a story. It's fun to see how many different sto- large nail and a soft flat stone (like a piece of ; les come out of a class using the same story flagstone) to gouge a picture that_shows an starter. Put the stories together in books with idea. the story starter on the cover. 9. Note that the Egyptians used a system of writ- 20. Create a visual biography (a true story about ing (involving pictures or symbols to repre- someone else) or autobiography (a true story sent an object, an idea, or a sound) called hiero- about yourself), using your own drawings and glyphics. Develop your own picture system of magazine pictures arranged to produce infor- writing and create an interesting picture that mal balanc:. and variety through differing'size uses hieroglyphics to communicate an idea or and shape. Do cartooning. Create your own code. books. Make dioramas related to books or 10. Make a mobile showing the main characters creative writing, filmstrips, films, and video in a book you have read. Use wire hangers stories. and attach your pictures with thread. II. Create a sack puppet of the main character in B. Mathematics a book. Be sure to express the character'ser- sonality and to capture his or her expression. I. Draw the face of a person, using only numer- 12. Paint pictures showing old sayings: Fight fire als. Add to find age. with fire. Ai eye for an eye. A penny saved is 2. Make a computer picture, using Xs and Os a penny earned. Keep your nose to the grind- close together and far apart to show different stone. Cheaters never prosper. values. 13. Design a look jacket for a book you have 3. Use ,;eemetric shapes to design an interesting read; be sure to describe the book and the wrapping paper, cloth pattern, or abstract author on the inside flaps of the jacket. painting. 14. Use watercolors and fine-line markers to 4. Develop an interesting picture, using numbers show feeling words: angry, happy, sad, joyful. as a motif (such as in the work of Jasper 15. Express concepts of like and unlike, variety, Johns). and repetition through visual arts such as 5. Create playing cards, using pictures to show stamp printing (fingerprints). the value and meaning of numbers the 16. Illustrate stories or poetry (e.g, haiku) by three French hens, two turtledoves, and so means of dry brush and watercolor techniques. on, mentioned in the song, "A Partridge in a -17. Paint a picture (like primitive painters Rous- Pear Tree"). seau and Grandma Moses) showing people or 6. Develop the concept of sets or grouping by animals doing things that tell a story.Sample one repetitious element or similarity between stories would be "Chicken Little," "The Gin- differingobjects or images through relief

65 printmaking. Group elements by color, shape, 3. Use burlap and yarn to stitch a multicolored or texture. insect. You may use wild colors and patterns, 7. Use visual ways of showing place valueten but be sure to show the actual basic body as one base unit and no single elements. parts that all insects have. 8. Design numbers for ten, II, and 12 as if ev- 4. Tear or cut heavy paper to show the human eryone had six fingers on each hand and base body parts and the places at which they are 12 system had evolved as a consequence. How joined. (There are 15 major joints and 16 else would our world change (e.g., six-fingered major body parts in the human form.) Paste gloves)? these items on another piece of paper. Ink and 9. Design a metric clock based on decimals and print. groups of ten. Draw the clock (ten numbers 5. Make a sculpture of a person or animal (or on its face instead, of 12) and compute eqqiv- insect or bird), using cans, boxes, milk car- alent times (minutes and hours compared to tons, papier mache techniques, tissue, clay, whatever you decide to call the new time wire, styrofoam, and so on. Remember the units). Embellish the clock with interesting major parts and joints. lines, color, and texture. 6. Note that prisms and moisture in t hr. flir bend 10. Use a drawing and an opaque projector to and spread light to form the color spectrum illustrate concepts such as twice as big or scale (rainbows). Rainbows have been used in sto- ofone to four. ries and songs (pot of gold at the end of the 1 I. Use pictures to illustrate fractions (parts of a rainbow, something good over the rainbow) whole). and in art. Create a story picture, using a rain- 12. Create a book of "silly sets." bow or an abstract picture in which rainbow 13. Use pictures and words to show thedifference colors are used. between numerals (symbols) and numbers (a 7. Use overlapping color circles to show the dif- specific quantity). ference between color facts in pigments. Red, 14. Show progression (going from a preceding yellow, and blue are primary colors used to amount to a different amount by a constant form orange, green, and purple; and color relationship between elements) and prediction facts in light red, green and blue are primary -epetition of an expected pattern. colors used to form cyan, magenta, and yel- 15.t.,..pictograghs to illustrate concepts of sums, low. Make a chart with colored circles. Give differences, products, and quotients. The pic- information about color mixing. tographs can be used to develop an interesting 8. Make a cartoon poster showing the food picture. Variety in size and placement creates pyramid. The cartoon may be funny (a com- a pleasing alrangement of images. Or the pic- ment -oming from one of the elements) or tographs can be used in a mathematics game. serious (a simple headline about pollution or 16. Create a mathematics game for other stu- the preservation of our environment). dents. Have it on a board game with markers, 9. Use lines to show sounds and vibrations cards that you draw if you land on certain music. Remember that a line may vary in squares. Use mathematical combinations and length, width, color, curvature, and direction. vocabulary for the cards and on the boards. It may be horizontal, vertical, or diagonal; 17. Use one of the basic mathematics sins as a rhythmic, dynamic, or static. design motif in a painting and includd pictures to show others what the symbols mean. 16. Make collages to show the function of each of 18. Develop the concepts of additive and subtrac- the sensory parts of the body (nose with pic- tive through sculpture and relief (linoleum) tures of things that smell, ears with things that printmaking. make noise, and so on). Rearrange the parts many times to find the most pleasing arrange- C. Science ment before gluing is done. I. Use watercolors and tempera colors to make 11. Use symbols and abstractions to show energy a picture that shows the difference between (electrical, solar, atomic, hydroelectric,, and opaque and transparent. so ( n). Design an unusual magazine cover, 2. Design a record jacket for a record that has using symbols and abstractions, for a special the sounds of nature on one side and human issue on energy. sounds on the other. Write the descriptions 12. Use printmaking techniques to show cycles for the back of the jacket. (water, growth, seasons) by alternation (one

66 element, then another, then repetition) of catalog. Be sure to give the reason you think symbols. the mask was made. Don't forget things like a 13. Collect textures on a texture hunt. Collect catcher's mask, a surgeon's mask, and a gas rubbings of objects made by humans and mask. things found in nature. Use the sides of var- 7. Recognize that many cultures have mytholog- ious colored crayons or chalks. Cut out your, ical animals. Read about them. What was favorite parts and glue them in a pleasine unusual about them? Create your own animal arrangement. that never was and make it in papier-mache or 14. Go on a nature walk and thaw shapes and clay. forms in nature. Categorize them. Are they 8. Learn about elves, sprites, trolls, and lepre- free-form (asits a tree); geometric (as in a chauns. Make a small puppet for one of these snowflake); symmetrical (as in a -leaf and "little people." Find the country that each fan- some shells)? Do they show radial balance (as tasy creature came from and be able to tell the in a starfish)? Find similar shapes in your own puppet's story. artwork and in the works of great artists. 9. Choose a famous person that you like. After you've read about him or her, draw six pic- D.Social Science tures showing the highlights of his or her life. Put the pictures in chronological order. 1. Recognize tnat primitive peoples often used 10. Choose a famous American, Design a coat of found objects to create musical instruments, arms for him or her.Hint:Checkheraldryin art objects, and so on. Create a sculpture, a an encyclopedia. Use symbols of his or her life musical instrument, a fetish, and so on from as part of your design. Why don't Americans found objects in your own culture: bottle have coats of arms? caps, plastic bottles, steel wool, tabs from 11. Make a visual time line, using drawings and cans, nails and bolts, parts of styrofoam cups, paintings or realia to show events in history. newspapers, wire, and sc on. 12. Make a visual map showing what you see (at 2. Design a flag for a real 6: trr'.ginary country., eye level) as you go from home to school. Be You may look in the flag section of an ency- sure to include direction (compass), a legend, clopedia, but your flag should be different and the scale. from actual flags. 13. Make a crafts map, showing countries and the 3. Find editorial cartoons in a newspaper and crafts they are famous for creating. make a collection of them. Draw your own editorial cartoon, showing a viewpoint you 14. Use masks and creative dramatics to show important events in history. personally think is imtlortant. 4. Recognize that many great people in history 15. Note that throughout history humanity has were thought of as crazy, rebellious, and so formed groups, families, clans, tribes, cultural on by others of their time. Create a wanted groups, national groups, political groups, reli- poster for one person (e.g., George Washing- gious groups, interest groups, and so on. Find ton, Christopher Columbus, Julius Caesar, out more about groups and make a paper Cortez). Be sure to offer a reward, give a phys- mural showing individuals as they function in ical description, and describe unsatisfactory different groups. How many groups do you behavior. belong to? 5. Plan a trip through a country or continent 16. Draw a newspaper advertisement describing a that you would like to visit some day. Use a great invention (or great event) in history. Be map to plan your trip. Design postcards from sure to tell why the invention or event is so interesting spots. Be sure to color pictures and wonderful: why people need it, what it can do write messages describing what you have for the buyer, how it would improve life. seen. Examples of inventions include navigational 6. Recognize that masks are (or were) used by tools, the cotton gin, the steam engine, the almost all societies in the world. There are telegraph, the wheel. four basic purposes for most of people's masks: 17. Plan a party celebrating an event in history. to change, keep, hide, or make safe. There are Design and create party invitations, favors, many ways to make maskscarve, weave, use menus, and costumes. found objects, use papier-mache, and so on. 18. Make a mobile showing different stages of Collect pictures and drawings to make a mask man during primitive times, the Dark Ages,

67 the Renaissance, and the modern period. event in the song. You may even use pieces of String events and inventions on four parts of cloth, sticks, and other small real objects. Put the mobile to show the four different stages. your collection together in a collage. Use 19. Take a camera back in a time capsule and colored paper, felt pens, crayonsmany mate- take six photographs showing everyday life rialsto group your items together in an and events at a certain date. Can others guess interesting and aesthetically pleasing way. the identification of your photographs? 3. Make a musical instrument (rattle, drum, 20. Design new stamps and money for an existing whistle or flute, bells, chimes, clacking sticks, country. Show famous people, places,or and so on) from things you find in your envi- events. Include the cost of the stamp. ronment. Embellish the instrument with painted 21. Recognize that the struggle between limited designs. resources (money) and unlimited wants con- 4. Listen to music. Use India ink to draw lines tinues. Do some thumbnail sketches of a that express the emotion or mood of the mural showing this struggle. How do we musicbold and vigorous, quiet and con- make economic choices? Include your expla- trolled, soaring and expanding, and so on. nation in the mural sketches. Then use washes of watercolors to further 22. Create an assemblage of photographs, draw- show the emotional qualities. ings, and actual objects that reflect our own 5. Use construction paper, string, yarn, cloth, culture. Use things you might want to put in a wood sOvings, and other materials to create time capsule or that an archaeologist might a masktfor a play, dance, or story, dig up thousands of years from now. 6. Choreograph four or five frames in a stop- 23. Recognize that every culture hasits folk motion series showing people miming a situa- heroes. Sometimes they become exaggerated tion.Example:A woman sits in a car that gets (like our own tall-tale characters Pecos Bill, a flat tire. She gets out of the car, fixes the John Henry, and Paul Bunyan). Make larger-, flat, and gets back into the car. Suddenly, the than-life banners showing a hero of another other three tires go flat when she slams the car culture or from another time. Use five feet or door. more from a roll of paper. 7. Design a program for a play. 24. Recognize that primitive peoples use many 8. .Design a jacket cover for a record. symbols and motifsinembellishing their 9. Design a costume for a dance in another tools, clothing, shelter, and other personal culture. items. Seven of these symbols or motifs (the 10. Use a pattern to show the rhythm and mood circle, spiral, zig-zag, half moon, dot, S-curve, of a certain musical form. Refer to Mondri- and straight line) can be found repeatedly in an's "Broadway Boogie-Woogie." various forms as design motifs. Use these uni- versal motifs in developing a pattern to be 1 I. Use musicians or musical instruments in ab- used on fabric. stract forms to paint a picture. See Picasso's Three Musiciansor Braque'sMusical Forms. E.Related Arts 12. Design stage settings for a play. What music I.Explore the pattern of steps in the major scale would you use with your play? (whole, whole, half, whole, whole, whole, 13. Make a cardboard-and-doweling shadow pup- half) on the piano or with musical bells. Make pet. Remember to show the puppet in profile. up your own pattern (using any of the 12 Use your puppet with a sheet and a strong notes found in an octave). Play your new light to show a story, dance, and music, or the scale. Make a print, using found objects (a body in movement. What cultures use shadow different object/motif for each tone) to show puppets? the major scale; to show your scale. Show 14. Explore note values and other musical con- your musical pattern through visual motifs. cepts through visual representation, using 2. Listen to a folk song. Collect and draw pic- design elements: line, shape, texture and pat- tures that show the person, place, thing, or tern, color, value, space, and form.

Design new stamps and money foran existing country.

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Elements of Creative Dance inner pace (tempo), and perception.Breath The elements of creative dance include (I) body; (2) rhythm can be a source of stimulation that time; (3) balance; (4) space; (5) motion (energy); and involves and changes the feelings and move- (6) developmental skills. ments of the entire person. Examples would be deep, smooth breath;shortpants; accented Body rhythm; held breath; sighs; and so on. Each per- The body is the tool used to explore the elements of son has a natural feeling of rhythm and time that time, space, and energy. It has a shape and is capable is his or her own. Each person moves at a pace of forming other shapes. The body is an extension of that feels comfortable. We have rhythm in all of the person, and all movement is directed by one's our movements. Dance is an awareness and ideas, feelings, perception, and intent. exaggeration of movement and rhythm. Each Parts of the body that have potential.for movement person needs first to discover his or her own are the head, shoulders, arms, hands, rib cage, hips, drumbeat; then he or she can more easily learn legs, feet, face, fingers, and spine. to expand his or her ability to move to many The body may move its parts in isolation or in different rhythms. Through dance a person's combination or as a total unit. Various parts of the ability to have a greater awareness and control body can initiate movement, such as falling, turning, of time can be extended. pushing, pulling, descending, rising. Various parts of 2. External rhythms. These are rhythms froma source outside the individual, such as a drum- the body can,be used for balancing, either aloneor in combined ways. Examples would be balance on hips; beat, a record, music and sounds, other people's on one hand and one leg; on the shoulders; on the rhythms, words, and so on. Terms used in teach- toes. ing and choreography are as follows: Items to think about in relation to the body include a. Pulse. A basic beat which divides time into the following: regular intervals. 1. In how many ways can each part of the body b. Tempo..The rate of speed, acceleration and move? deceleration. 2. How can you initiate a fall with the hips? c. Meter. Systematically arranged and measured 3. How can you initiate a turn with the shoulders? rhythm. Examples would be 2/4, 3/4, 4/4, 4. Can you move two parts of the body in opposing 6/8. Note: In creative dance, combinations ways? or original meters can be used. 5. Can you do a locomotor movement while mov- d. Accent. Greater stress or emphasis given to ing another part of your body? any beat within a group of beats. 6. In how many ways can you move your body in e. Rhythm. A repetitious series of strong and weak elements. the space around you? In how many wayscan you move your body through space (locomotor)? f. Sequence. A pattern of movements or beats. 7. How do you have to adjust your movements to g, Rondo. A pattern or progression done in a move with a partner? Larger? Smaller? Slower? round. Faster? h. ABA. Two differt themes, combined so that one isfirst and last; the other, the Time middle. Rhythm helps give, dance a structure. Either the Time simply exists. No movement can take place rhythm or the movement can initiate and develop outside of time. We can move through time in differ- an ide#. ent ways: Things to think about as to time include the 1. Internal rhythms. These are rhythms that origi- fcllowing: nate within us, such as heartbeat, pulse, breath. I. How slow or how fast can you perform at any This area of time is relative to each individual given moment? and his or her experiences, nervous system, 2. In how many ways can you vary the rhythm of

69 77 Dance provides us-witha way to explore space.

your breath? Can you involve your entire body explored are thetgarious ways in which one can in the exaggerated rhythm of your breath? physically balance alone and with others. Can 3. Explore motion and stillness. you move and then balance? Can you discover 4. How is size related to time? How much time do the balance point between two extremes? Where you need to do large movements? Small move- is the center of balance in the body? What comments? binations of parts of the body can you balance 5. 'Discover the rhythms of basic movements, such on? as walking, running, skipping, jumping. Change the rhythm or tempo of these movements. Space 6. Create a rhythmic pattern of your own. Put the Persons relate space to the way in which they per- rhythm into any part of your body. Move the ceive their own sizes and shapes. The persons are the rhythmic pattern in place with your feet. Move points of reference. No movement can take place the pattern, using your entire body through without space. Dance provides us with a way to space. Change the movements but not the explore space and use it in a variety of ways: rhythm. Change the rhythm but not the move- I.Shape.The body and its parts are capable of ments. forming and moving various shapes and combi- 7.1n how many ways can you show accents with nations of shapes: your body in movement? a. Shapes can be round, curved, straight, sharp, angular, bent, flat, bumpy, closed, or open. Balance e. b. Shapes can be- put into motion. Balance is the middle point between two extremes. c. Shapes can be outlined in the air (space) at Any concepts of movement can be taught through any level. development, variation, and extreme opposites (con- d. Shapes can be formed by body parts or the trasts).Creative dance allows each individual to body as a whole. extend his or her awareness, skills, and abilities to e. Shapes can be walked or run through space solve problems creatively. It should constantly pro- on the floor. vide a challenge rather than give answers directly; The f. Shapes can be made by two or more people process is the most important part of dance: working together.. I. Development.In dance, the termdevelopment g.Shape is a basic part of dance and creative meansto extend a basic idea or movement movement. Every movement we make has a beyond its point of origin. It may end by being shape. Through dance we allow each person completely different from the original. It is the to control shape and exaggerate it in anyway progressive growth of a movement or idea he or she desires. through variouschangesevolution. 2.Directions.Directions are relative to each per- 2.Variation.In dance, the termvariation meansto son in space unless specific room directions are add to or change in some way a movement or designated for a whole group: idea, retaining in some way the original. For a. Right and left are meaningful only as they example, the tempo, rhythm, shape, size, direc- relate to each person's front and center. tion, or energy output could varYany movement. b. Up and down are meaningful only as they 3. Opposites.In dance, the termoppositesusually relate to each individual. refers to contrast. Through the exploration or c. Directions have a variety of meanings and experience of the extreme of any movement, a interpretation for each person. greater emphasis is felt or seen, making it easier d. Directions include up, down, right, left; for- to disqover the possibilities in between the two ward, backward, diagonal, circular. opposites as well. Examples of opposites are e. Directions can be explored with parts of the up/down; side/side; before/after; forward/ back- body.in an axial mannermovement around ward; big/little; move/stop; strong/light; weak- one part of the body serving as an axis. /strong; pushing/pulling. f.Directions can be explored moving through The space in between the balance point is the space in locomotor movement. most exciting to explore in movementsuch as g.Directions can be used separately or in any falling, turning, jumping, leaping. Also to be combination.

70 3.Levels.Movement can take place at any hori- physically, emotionally, and mentally. These skillsare zontal plane of space. Level can be experienced the basis or foundation on which movement increa- as a development from one level to another or as tive dance isbuilt.Specific developmental, skills a contrast from one level to another. The pupil include grasping, focusing, arching, bending, crawl- should attempt to create three different shapes ing, creeping, climbing, standing,falling, rocking, at three different levels apd repeat with three ,.squatting, rolling, walking, running, jumping, gallop- motions. mg, hcpping, skipping, turning, leaping, swinging, Things to do and think about inspace include the pushing, pulling, sliding, lunging, stretchilis, twisting, following: . 1 and contracting. I. Make your body or any part of your body form Items to think about in the matter of developmen- a round shape; a straight shape; an angular tal skills include the following: shape. Choose three shapes andmove from one to another in sequence. 1. 1 n how many ways can you develop or vary each of the above movements? 2. Change the energy involved tomove from one shape to another. Can you do the samemove- 2. Can you combine any two or three of themove- ments both fast and slow? ments listed previously into a movement pattern 3. How can you move up and down, sideto side, (e.g., reaching and running and stopping)? forward and backward? 3. Can you change the size, direction,energy, 4. Can part of you move up while part ofyou rhythm, or tempo (e.g., reach towardsomeone; moves down? turn and run away and stop)? 5. In how many ways can you design thespace you 4. Can you change the motivation for any of the have to work in? items listed previously? Angry? Sad? Silly? Shy? 6. Follow and relate to the movements ofa partner Happy? Much. energy? Little energy? through space.. , 7. How can you move in a small, low space? A Questions to stimulate thinking about the world narrow high space? A large round space? A around us include the following: square space? A zig-zag path? I. What kinds of things might stimulate movement? Motion (Energy) 2. What things do you know that have motion? Force is necessary to put shape, rhythm, andother Observe them. Try them. ideas into active stillness or motion in time. Energy 3. What things suggest shape or rhythm? can be released in many different ways depending on 4. What are the shapes, rhythms, and energy out- the motivation. The way in whichenergy is released put cvarious animals? Underwater creatures? gives movement its quality, feeling,or reason. Feelings? Colors? Thought? Music? Examples of different ways in whichenergy is 5. What poems .might stimulate movement? released and directed are swinging, thrusting,slow 6. What kinds of ideas or stories do your children and controlled,:tast and vibrating, shaking,contract- have that can be danced or explored through ing, stretching, c,Ilapsing (little energy), suspending, movement? pushing, pulling, and bouncing.(Note:Energy works very closely with the elements of time and space.) The teacher may wish to have the class work in various ways: .., Developmtntal Skills I. Explorationalone; in groups; with partners These are the movements and physical patterns that 2. Improvisation each of us develops during the process of growing 3. Choreography, with beginning, mid le, and ending 1 Y ktiit-

71 Terms for Creative Dance Technique:The specific skills that teach positions, These terms are additional the terms given pre- steps, and patterns for any dance form. viously in this chapter. Terms for Poetry Chance dance:A dance that evolves from a specific Chance poems:Some of the most perfect and beauti- plan or game with rules and options. The move- ful experiences seem to happen by chance. One ments in the dance are determined by the way in need only observe happenings in nature to confirm which the game progresses and in which options the fact: the journey of a butterfly, a jet trail imixing occur. with a rainbow at sunset, a storm at its beginning or Choreographer:The person who creates and designs end. And so with poetry, if we permit the materials dances. of languagewordsto recreate their relationships Choreography:The art of arranging ideas and move- in a chance way. ments into dance. Conversation poems:Poems which speak to each Connections:A union, attachment, or joining of ideas, other to create a conversation. They consist of a people, body parts. weaving together of two or more voices into a Counterbalance:A weight that balances another. spoken-musical tapestry. These p6ems may preex- Dance score:The notation and mapping of a dance. ist or may be created from spontaneous conversation. Improvisation:Arrangement, invention, movement, Poster and mobile poems?Poems that consist of a or design without previous preparation. collection of words and pictures fritz,m different Isolation:To place'or move something by itself, apart sources that are connected like a collage. They are from other things or the whole. found poems in a way because they consist of found Joints:The mechanism by which two bones in a body materials. They are also concrete poems in a way are joined. There are four basic types of joints: ball because the visual aspect is.a very important part of and socket (shoulder and hip); hinge (elbow and their being. They are poster poems when the mate- knee); sliding (wrists and ankles); and atlas and axis rials are connected on poster paper. They are (neck). mobile poems when the materials are made into a Kinesthetic sense:Ability to sense motion and, to mobile that can freely float about and chang make distinctions between quality and quantity of Sound poems:Poems for the voice that are con- motion. structed from the sounds of language apart from Kinetic:Changes of motion produced by forces. In actual words. They are often created through the the case of dance, motion is produced through the breaking of words into their component parts or use of the nerves, muscles, and joints, directed by the use of whatever sounds express the feelings the mind. being called upon. Sound poems may be con- Lever:A rigid piece capable of turning about one structed for a solo voice or for a group symphony point or axis when force is applied. The lever sys- of ten to 12 voices led by a conductor. The sounds tem of the body is based on joints and muscles. mi random (improvised) or specific. Two or more bodies can also create levers. Periphery:The external boundary or surface of any Terms for Drama body. Also, the distance round or about that boun- Emotionals:Emphasis on what the voice tells: (1) dary. Theperiphery of the space means the outer loud, soft; (2) dialect; (3) word stress; (4) intona- - limits or edge. tion; and (5) vocabulary. Potential energy:Held energy that can be put into Historiodrama:Drama involving the problems expe- motion. In dance, potential energy is also known as rienced by people in history. Drama is used as a active stillness.When shapes are created and held, base for more study. they should exhibit this type of energy. Also, there Improvisations:On-the-spot dramas concerned with is a sense of potential energy before any movement (I) the characters; (2) the relationships of the char- is begun. acters; (3) the place; and (4) the problem. Static :Bodies or forces at restr iii equilibrium, pas- Observationals:Ways to get children to become more sive rather than active. aware of (I) people; and (2)ithe physical environment. Supports:The stable parts that weight is placed upon. Sociodrama:,Dramainvolving pecple. and solutions In dance, people can support their body on any to their problems. number of body parts; or two people can work Trusters:Ideas to build good feelings between chil- together so that one person balances and supports dren. Trust is built so that children are willing to the weight of the other. take risks.

72 Terms for Music Da capo(abbreviated D.C.): Indication that the Accompaniment:A subordinate musical part that music is to be repeated from the beginning.Da supports, the main theme or melody. capo al fineindicates that the, music is to be Acoustics:Study of the physical properties of sound. repeated, from the beginning to the wordfine. Arpeggio:Literally, "harp-like"; the notes of a chord Decrescendo(abbreviated dec/escj: Gradually get- sounded in succession rather than simultaneously. ting softer. A symbol 0) ,s also used. Articulation:In singing or playing, the way in which a Descant:A term for a countermelody sounded simul- tone is begun and ended. taneously with the main/melody or 'theme of the A tempo:A return to normal tempo after slowing music. / down or speeding up. Diatonic:The tones of\ylte major or minor scale; Atonal music:Music not in any key or without opposite of chromatic) tonality. Duration:Length of time during which a vibration or Augmentation:Lengthening of the note value of a sound lasts. theme or melody. Dynamic marks:Signs or words indicating the degree Ballad:A song that tells a story in which all verses area of loudness or softness. sung to the same melody; also, a narrative poem. Ensemble:A group of vocal or instrumental musi- Ballet:A group dance in which pantomime and con- cians; also, the quality of teamwork in a group's ventionalized movements are used to tell a story. performance. . t Bar line:A vertical line on the staff marking off a Expression:The use of all the nuances of tempo; measure. dynamics, phrasing, accent, touch, and so on, by Beat: The basic unit of time and the underlying pulse which the combination and succession of souna in music; the basic unit within a measure. are transformed into a vital interpretation of a Body percussion:Sounds made by clapping the piece of music. hands, slapping the thighs and chest, or stamping*,Finale:The last part of 5 composition. the ground. ,.. Fugue:A contrapuntal composition in which a theme Cadence:A succession of chords, usually two, at the is stated and developed according to a set pattern. Harmony:The simultaneous sounding of tones pro- end of a muscial phrase or section or at the end of a ... composition, giving a feeling of rest or finality. ducing a musically meaningful sound. Homophonic:Music in which there is one melody line Canon:A composition in which a melody, stated in together with choral accompaniment. one part, is imitated for its entire length in one or more other parts. Interval!The distance in pitch between two tones. Introduction:A sloW opening section frequently Chord:Three or more tones sounded simultaneously. found at the beginning of symphonies. Chromatic:The tones outside the diatonic scale,cindi- Key signature:The sharps or flats placed on the staff cated by the use of accidental signs; opposite of at:the beginning of a composition to indicate the diatonic. , key in which the music is written. Chromatic scale:A succession, up or down, of twelve Measure:A group of beats, the first of which is often half-tones. , accented, set off by bar lines. , Classicism:A musical style that is characterized by Mel5die rhythm:The rhythmic pattern ef a melody. emotional restraint and in which formal structure Melody:A sequence of pitches that havcithythmic 1 and design play a predominant part. The term usu- organization. ally refers to the period of Haydn and Mozart, the Melodypattern: A grouping of tones of varying second half of the eighteenth century and the early pitches forming a recognizable unit. nineteenth century. Meter:The basic scheme or grouping of beats and Coda: Aconcluding section of a musical composition. accents within the measure as indicated by the time Contour:The shape of a melody. signature at the beginning of the composition. See Countermelody:A, melody sounded simultaneously alsotime signature. with the main melody. Modulation:The change from one key to another in Counterpoint:Music in which two or more melodic the course of a composition. lines are sounded simultaneously; the technique of Motif:A short melodic figure or fragment of a theme. writing such music.. Movement:A part or self-contained section of a Crescendo(abbreviatedcresc.):Gradually getting larger composition, such as a symphony, sonata, or louder. A symbol (<) is also used. concerto. i

73 8 V Opera:A drama with costumes and scenery in which Theme:A series of tones constituting a basic element all or most of the, text is sung to the accompaniment in the construction- of a musical composition. of an orchestra. Timbre:Tone quality or tone color. Operetta:A short opera of a light character contain- Time signature:Figures written on the staff at the ing spoken dialo ue as well as singing. beginning of a composition indicating the meter or Oratorio: missetting of an extended narrative, the kind and number of beats used in a measure. usu of a re igious or contemplative nature, for Tonality:Basically, the same as key. The term is also chos, solo voices, and orchestra. used to denote the entire system of the major and Osti A persistently repeated melodic or rhythmic minor keys as distinct from modality (music based figure. on the church modes). Its opposite is atonality. Over re:An orchestral piece introducing an opera, Tone:A sound with a definite pitch constituting the oratorio, and so on; also, a term sometimes used for basic building material of music. a self-contained concert piece. -Variation.form:A musical form in which a melody or Pentatonic. scale:A five-tone scale. theme is stated and is followed by a series of modifi- Phrase:A section of a melody forming a recognizable cations of the melody or of sections that are more unit in itself. or less derived from the melody. Also known as Phrasing:The manner in which a musical idea is theme and variations. expressed. Pitch: The highness or lowness of a tone. Terms. for Visual Arts Polyphonic:Music in which several melodies are intent/oven. Abstract:Forms or colors (or both) entirely indepen- Program music:Music based on an extramusical sub- dent of the subject of the painting or sculpture. ject such as a poem or story, a painting, a patriotic Asymmetrical balance:Equal weights on either side subject, or an historical event. of a center line (but not the same objects as in symmetry). Pulse:The regularly reiterated beat felt-thtaughout a piece of, music. Axis:A line around which a turning body rotates or 4Refrain:A section of a song that recurs at the end of may be supposed to rotate; a straight line through each stanza or verse; sometimes called the chorus. the center of an object. Background: Requiem:A composition for voices and instruments That part in a picture against which the that has a number of sections and is based on a principal elements, motifs, or subjects are represented. sacred text. Balance:Arrangement of art elements to produce a Rhapsody:A composition in a free fantasy style. visual equilibrium (fOrmal, informal, and 'radial Rhythm:The organization, of musical tones, with balance being basic types); one of the design principles. regard to their duration as distinct from their 4, pitches. Collage:Composition (often abstract) of flat objects Rondo:A Tusicz.1 composition with an intermittently pasted on a surface for artistic effect. Color: recurring theme and contrasting sections interspersed. Visual sensation dependent on the reflection or Scale:A fixed succession of single tones ascending or absorption of light from a given surface (hue, value, descending by steps. and intensity being the primarj, characteristic s);, an art element. . Score:The musical notation showing all the parts Complementary hues:Colors that lie directly oppo- allotted to various performers in an ensemble. site one another on the color wheel. Sequone:The repetition of a short melodic figure or Contrast: Useof opposites in proximity (light phrase at different pitch levels. and dark, rough and smooth, and so on). Suite:A compOsition consisting of a number of Design;Organization; the arrangement of interde- instrumental, piLes., pendent parts to form a Coordinated whole. Symphonic poem:An orchestral composition based Dimension:Any measurable length, breadth, or thick- on an extramusical subject. ness (or parts which give the illusion of depth on a Syncopation:A shifting of accent; accent on a weak two-dimensional surface). beat. Distort:To twist or bend out of its expected ,shape. Synthesizer:An electronic mechanism used in com- Dominance:To make prominent car primary. posing and producing electronic music. Earthcolors:Any of several pigments prepared from Tempo:The'Tate oispeed at which a piece of music is any materials from nature (such as ocher, umber). perfornie0 Earth colors are characteristically muted, especially Texture:The thinness or thickness of a sound. in comparison with chemical dyes or colors.

74 '!ra k s, Element:A fundamental part. In art the elements are over and over so that an observer can predict the line, color, value, shape/form and space, texture/ sequence. pattern. Pointillism:Design, drawing, painting formed by the Form:The shape generally of a volume or mass; an use of small dots placed next to one another. This art element. technique was used by the impressionists, in print- Geometric shap.s:Mathematical shapes with expected ing techniques such as aquatint and mezzotint, by number of sides, angles, curvature, and so on, usu- pop artists such as Lichtenstein. ally classified by names such as triangles, pyramids, Positive space:Areas representing objects in a draw- squares, cubes, rectangles, and soon. ing or painting; areas taken up by actual- mass in a Graphics:Arts dependent or related strongly to draw- sculpture. ing. Cnmmercial art and printmaking are of*?.n Primary colors.Red, yellow, blue. All other colors included. can be mixed from these three colors. Horizon line:Line of apparent meeting of sky with Proportion:Relative size between parts. earth or sea. Realistic:s' irks of art that have the true or actual Implied line:Visual lines formed when looking at world represented rather than the artist's imagination. edges, objects in a row, and soon. Reproduction: A copy of a picture, painting, drawing, Intensity.Degree of a color's purity or saturation. A sculpture, and so forth. color can be neutralized or its :ntensity decreased Rhythm:Organized movement in a work of art. by the addition of varying ?,nounts of the color Scale:Fullest amount; the degree of vividness or pur- across from it on the color wheel. ity of color. Line:A slender, continuous mark showing progress- Sculpture:Objects formed of wood, clay, plastics, ing movement; the delineation of movement; an art metal, stone, and soon. element. Secondary colors:Orange, green, purple. They are Mass:Largest, simplest, most fundamental shapes to formed by mixing primary colors. which the component parts of a painting, a piece of Shape.Quality of an object wherein the object has an !,culpture, a building, and so on, can be reduced. external surface or outline. Shapes are either geo- Matte:A dull or nonshiny surface. metric or organic and are two-dimensional. (Forms Media: Plural of medium. Materials used in artistic are three-dimensional.) expression. Space:The distance between or around shapes and 4/fixed media:Use of more than one type of art mate- masses; an art element. rial (e.g., watercolor and crayon). Stipple:To draw, paint, or engrave by the use of dots Mobile:A form of sculpture Or vented in the 1930s by or short strokes instead of lines. ralder) in which obji.cts are connected by wires or Symmetrical balance:Situation in which one-half an string so that a gentle touch or wind can cause them object is the mirror image of the other half. to move. Tactile:Refers to textures that can be felt with the Montage:The sticking of one layer over another fingertips; related to the sense of touch. (often used as in photomontage in which photo- Texture:The surfacequalityof materials, either graphs are pasted over an unusual or incongruous actual or visual; an artelement. background). This technique is much used in adver- Three-dimensional:Existing in space in length, width, tising. and depth. Mood:A specific state of mind or feelings purposely Thumbnail sketch:A small drawing, usually done in created by elements in a work of art. the planning stages of composing a work of art. Motif(ormotive):A decorative element; a distinct Transparent: Admitting the passage of lig' t and per- design or visualtheme. mitting a clear view of objects. Mural:Painting placed or executed on a wall. Papier--quIche:Technique using paper pulp or strips Two-dimensional:Existing in space in length and combined with size, paste, resin, and so on. The width. objects formed inthis way can be molded or Unity:Quality of oneness. All elements work together formed into various shapes when wet and become for a clear purpose oridea. hard and tough when dry. Value scale:Scale ranging from black to intermediate Pattern:A design formed when an object is repeated grays to white.

75 Selected Retineace4

Jazz or Primitive(drum rhythms). Hoctor Dance Records. H LP -3020. Books Kinetic Transparencies.Orion. LP-121. Cratty, ByrantJ. Movement Behavior and Motor Learning Modern Dance Technique Environments.Hoctor Dance (Third edition). Philadelphia: Lea & Febiger, 1973. Records. HLPS-4247. Dimondstein, Geraldine.Children Dance in the Class- Movin'.Hap Palmer. Educational Activities. AR-546. room.New York: Macmillan Publishing Co., Inc., 197 c. Music for Composition.Educational Activities. Dimondstein, Geraldine.Exploring the.Arts with Children. Palm Leaf Rag.Scott Joplin. Angel. S-36074. New York: Macmillan Publishing Co., Inc., 1974. Peter, Paul, and Mommy.WS-1785. Gilbert, Anne G.Teaching the Three R's Through Move- Short Circuits.Ruth White. Angel. S-36042. ment Experiences.Minneapol;s: Burgess Publishing Co., The Sting.Scott Joplin. MCA-390. 1976. Strictly Percussion.Hoctor Dance Records. HLP-4084. Gilbert. Cecile.International Polk Dance at a Glaaa, Switche.'-on Bach.Columbia. MS-7194. (Second edition). Minneapolis: Burgess Publishing Co., 1974. B. Folka.1(',quare Dance(all with instructions) Hammond, Sandra Noll.Ballet Basics.Palo Alto, Calif.: The Fundamentals cf. Square Dancing,by Bob Ruff and Mayfield Publishing Co., 1974. Jack Murtha. LP -6001, Level 1. Harris, Jane; Anne Pittman; and Marlys Waller.Dance a International Folk Dance Mixer.Gateway Records. GSLP- While: Handbook of Folk, Square, and Social Dance 3528. (Fifth edition). Minneapolis: Burgess Publishing Co., 'Israeli Folk Dances.Israeli Music Foundation. LP-5/6. 1978. ir The Whole World Dances.Geula Gill. Elektra Records. Hood, Marguerite,.Teaching Rhythm' and Using Class- EKS-7206. room Instruments.Englewood Cliffs, N.J.: Prentice- Hall, Inc., 1970. Creative Drama Joyce, Mary.First Steps in Teaching Creative Dancing. Burns, Marilyn.The Book of Think.Boston: Little, Brown Palo Alto, Calif.: Mayfield Publishing Co., 1973. & Co., 1976. Murray, RuthLovell. Dance in Elementary Education: A Program for Boys and Girls(Third edition). New York: Contains excellent ideas for development of thinking Harper & Row Pubs., Inc., 1975. skills. North, Marian.Composing Movement Sequences.New Drama! Theatre Framework for California Public Schools. York: Wheaton & Co., 1961. Sacramento: California State Dcpartment of Education. Oxenford, Lyn.Design for Movement.New York: Theatre 1974. Arts Books. 1954. Contains a rationale for creative drama and many Salkin, Jeri.Body Ego Technique: An Educational awl useful ideas. Therapeutic Approach to Body Im,ge and Self-Identity. Springfield, Ill.: Charles C. Thoma. Pub., 1973. English Language Framework for California Public Schools: Kindergarten Through Grade Twelve.Sacramento: Cali- fornia State Department of Education, 1976. Recordings A well- written, practical guide emphasizing the involvement of the pupil in the process of lanaage. A. Creative Modern Dance and Movement Ernst, Ken.Games Students Play and What to Do About Authentic Sound Effec. Created and prod, -ed by Jack Them.Millbrae, Calif.: Celestial Arts Publishing Co., Holzman. Volumes 6 and 11. Elektra Records. EKS- 1972. 7256. Dueling Banjos: Deliverance.Elektra Records. EKA-7238 Behavior problems define' Means of handling them French Dances of the Renaissance.Nonesuch. H-1036. in a practical way discusbcd. Guitar Man.RCA Camden. CAS-2245. Fiarotta, Phyllis, and Noel Fiarotta.The You and Me Her- The In Sound from Way Out.Vanguard. VSD-79222. itage Tree.New York: Workman Publishing Co., Inc., Jazz Is Now.Orion. LP-110. 1976.

76 Greer, Mary, and Bonnie Rubenstein.Will the Real Creativity and Learning. Edited by Jerome Kagen. Boston: Teacher Please Stand Up? Santa Monica, Calif.: Good- Beacon Press, Inc., 1967. year Publishing Co., 1972. Crook and others. Silver Burdett Music Series. Morris- Primer for humanistic education. Contains stories, town, N.J.: Silver Burdett Co. biographies, and excellent ideas to help pupils get to know themselves and others. Dennis, Brian. Experimental Music in Schools: Towards a New World of Sound. New York: Oxford Univ. Press, Kohl, Herbert. Reading, How to: A People's Guide to Inc., 1970. Alternative Methods of Learning and Testing. New York: Bantam Books, Inc., 1973. Konowitz, Bert. Music Improvisation as a Classroom Method. Sherman Oaks, Calif.: Alfred Publishing Co., Begins in the primary grades and continues through Inc., 1973. the upper elementary grades. Contains step-by-step Reference for teachers of children in upper grades. strategies to make reading real and functional. Littell, Joy, and Josepl: Littell. The Language of Man. Landeck, Beatrice, and others. Making Music Your Own. Books 1-4. Evanston, Ill.: McDougal, Littell & Co., Morristown, N.J.: Silver Burdett Co., 1954. 1972. Landis, Beta, and Polly Carder. The Eclectic Curriculum For the teacher who wants to update language. Con- in American Music Education: Contribu'ions of Dal- temporary, with many clever ideas for creative drama. croze, Kodaly, and Orff. Washington, 0.C.: Music Edu- McCaslin, Nellie. Creative Dramatics in the Classroom cators National Conference, 1972. (Second edition). New York: Longman, Inc., 1974. Interesting historical material. Covers the full scope of improvisational drama. Lorton, Mary Baratta. krkjobs: Activity-Centered Learn- Approaches drama from the aspect of (1) encouraging ing for Early Childhood Education. Reading, Mass.: creativity and culture; and (2) helping children know Addison-Wesley Publishing Co., Inc., 1972. each other. Can be used as a model in designing materials for Moffett, James, and Betty J. Wagner. Student-Centered music learning centers. Language Arts and Reading K -13: A Handbook for Marsh, Mary V. Explore and Discover Music: Creative Teachers (Second edition). Boston: Houghton Mifflin Approaches to Music Education in Elementary and Co., 1976. Middle-Junior High Schools. Nev York: Macmillan An outstanding book of philosophy and how-to book Publishing Co., Inc., 1970. that focuses on the totality of language, including Monsour, Sally. Music in Open Education. Englewood writing and creative drama. Cliffs, N.J. : Center for Applied Research in Education, Osborn, Alex. Applied Imagination (Third edition). New Inc., 1974. York: Charles Scribner's Sous, 1963. Music and Movement Improvisations. Threshold Early An inspirational book for all concerned with creative Learning Library, Grades K-2. Vol. 4. New York: Mac- thinking. millan Publishing Co., Inc., 1972. Paulus, Trina. Hope for the Flowers. Paramus, N.J.: Teacher's guide to principles and practical activities Paulist/Newman Press, 1972. that make meaningful noise evolve into music. What is life all about? Two caterpillars discover the Paynter, John, and Peter Aston. Sound and Silence: Class- reason they were made. Thougnt-provoking and good room Projects in Creative Music. New York: Cambridge for discussion. University Press, 1970. Tallon, Robert. Rotten Kidphabets. New York: Holt, Recording accompanying book discusses some of the Rinehart & Winston, Inc., 1975. ideas presented in the book. An enjoyable alphabet book, full of humor, shatter- Williams, Peter. Making Musical Instruments. Mills ,,nd ing the dull stereotypes of beginning books. Boon Lively Craft Cards: Set 2. London: Mills and Wilde, Oscar. The Happy Prince and Other Stories Balti- Boon, Ltd., 1971.' more: Penguin Books, Inc., 1973. Twenty plasticized job cards for building playable Stories that emphasize love and raring between peo- music instruments. Appropriate for learning centers. ple. Adaptable for pantomimend improvisation. Available from Magnamusic-Baton, Inc., in the U.S. Willmah, Fred. Electronic Music for Young People. Engle- Music wood Cliffs, N.J.: Center for Applied Research in Edu- Boardman, E., and B.. Landis. Exploring Music Series. cation, 1974. New York: Holt, Rinehart, & Winston, Inc. 1971 Appropriate for group or individual experie, ces.

77 Visual Arts United States and Puerto Rico; The Art of Ancient Greece; The Art c.f Ancient Rome; The Art of Ancient Books Peru; The Art of Ancient Mexico; The Art of the Etrus- Art Education Framework. Sacramento: California State cans; The Art of China; The Art of India; The Art of Department of Education, 1971. Japan; The Art of Africa; Art and Archaeology. New Basic art reference for teachers. York: Macmillan Publishing Co., Inc., 1965-1973. Bager, Bertel. Nature as Designer. New York: Van Nos- Books are written so that upper grade elementary stu- trand Reinhold Co., 1976. dents can explore the books independently. Teacher reference or high-interest book for science- Grater, Michael. Paper Faces. New York: Taplinger Pub- oriented gifted students. For grade four or higher. lishing Co., Inc., 1967. Baskin, Leonard, and others. Hosie's Alphabet. New York: Contains ideas for making masks through paper Viking Press, Ir ..1.,1972. sculpture. Primary approach to art andletters.Beautifully Hunt, Kari, and Bernice' Carlson. Masks and Mask Mak- illustrated. ers. Nashville: Abingdon Press, 1961. Batterberry,. Mi.chael. Discovering Art Series: Greek and Discusses people who make masks and the use of Roman Art; Art of the Middle Ages; Art of the Early masks. Renaissance; Seventeenth and Eighteenth Century Art; Klager, Max. Letters, Type, and Pictures: Teaching Alpha- Nineteenth Century Art; Twentieth Century Art; Chi- bets Through Art. New fork: Van Nostrand Reinhold nese and Oriental Arr. New York: McGraw-Hill Book .., Co., 1975, Co., 1968- -1972. Paperbound teacher reference for art activities and Basic, easy-to-understand art history series for the concepts. Many examples of student work. teacher or for older children. MacAgy, Doug, and Elizabeth MacAgy. Going for a Walk Brommer, Gerald F., and George F. Horn. Art in Your with a Line. New York: Garden City, N.Y.: Doubleday World. Worcester, Mass.: Davi-. Pubns., Inc.,1977. & Co., Inc., 1459. .°1'1 Contains excellent examples of student work. Has Excellent book on moder.. art. basic, simple explanation of art eteats, art princi-. Meilacli, Dona. Soft Sculpture and Other Soft Art Forms. pies, and art heritage. New York:- Crown Pubs., Inc., 1974. Capon, Robin. Introducitcs Design T'echr pies: 7i; Varia- Paz, Octavio. In Praise of Hands: Contemporary Crafts of tions on a Theme. New York: Watsor Guptill Pt.bns., the World. Boston: New York Graphic Society in Green- Inc., 1972. wich, 1974. Outstanding book in which fish are used to teach Adult book exploring the crafts of the world, showing design techniques in a creative way. similarities and differences among peoples. Cataldo, John W. Words and Calligraphy for Children. Quirarte, Jacinto. Mexican-American Artists. Austin: Univ. New York: Van Nostrand Reinhold Co., 1969. of Texas Press, 1973. Includes examples from primary scnool through high Raboff, Ernest. Art for Children Series. Garden City, N.Y.: school. Illustrates creative uses of written and printed Doubleday & Co., Inc., 1968-1975. words. Series featuring Van Gogh, Gauguin, Rembrandt, Coming to Our Senses. The Significance of the Arts for Picasso, Raphael, Chagali, Klee, Da Vinci, Toulouse- American Educationa Panel Report. New York: McGraw- Lautrec, Renoir. For Liiildren in grade four or higher. Hill Book Co., 1977. Reed, Carl, and Burt Towne. Sculpture from Found Daniels, Harvey, and Silvie Turrrer. 'Simple Printmaking Objects.Worcester, Mass.: Davis Pawns., Inc., 1974. ;a: Children. New York: Van Nostrand Reinhold Co., Teacher's book on three-dimensional design. I ,2. Rowland, Kurt. Learning .to See Series. New York. Van Excellent source of ideas, with many examples of stu- Nostrand Reinhold Co., 1971. dent work. Student workbooks and work sheets; teacher's guide. Fearing, Kelly, and others. The CreUtive Eye. Austin, Tex.' ExplorK specific topics such as pattern through visu- 'W. S. Berson & Co., 1.969. In two volumes. als, text, and studeht activities. Contains famous art works and text discussing each Sedgwick, Paulita.Mythological Create... APictorial artist's image, motivation, and procedure. Dictionary. New York: Holt, Rinehart & Winston, Inc., (ilubok, Shirley. The Art of the Southwest Indian; The '1974. Art of the Northwest American Indian, The Art of the A ,basic book on mythological creatures useful ii unit North American Indian; The Artof the Spanish in the on monsters. A

78 .-, Shalleck, J.Masks.New York: Viking Press, Inc., n.d. Masks.Color; 12 min. Film Association. Sourcebook and referenLe for students and teachers Shows collection of primitive and modern masks. Dis- interested in the creation and use of masks. cusses role of masks in cultural and artistic life of Taylor, Talus, and Annette Tison.The Adventures of various peoples. Three Colors.Mountain View, Calif.: World Pubns., Sources of Art.Color; 12 min. Marie Larkin Productions. 1971. Examples from nature, professional artists and stu- Primary book. Story of a boy who discovers how dents. Designed to show that no two people see the colors are created. Overlay sheets used. same world in the same way. Wachowiak, Frank.Emphasis Art: A Qualitative Art Pro- Sun Symbol in Art.Color;15 min. BFA Educational gram for the Elementary School,New York: Harper & Row Pubs., Inc., 1977. Use of nature motif with student examples. Discusses elementary art methods for teaching basic Why Man Creates.Color; 25 min. Saul Bass and Associates. principles of design, proportion, and color. Many illustrations. Periodicals Films Art and Man,Scholastic Magazines, Englewood Cliffs, N.J. Art for the Space Age.Color; 10 min. Oxford Films. Art Education,Journal of the NAEA, 1916 Association Discusses the use of photocopy machi.ies to make art Dr., Reston, Va. forms. Arts and Activities,8150 N. Central :'ark Ave., Skokie. Art from Computers.Color; 10 min. National Broadcast- IL 60076. ing Co. Educational Enterprises. School Arts,8809 Oakleigh Road, Baltimore, Md. Discusses structure and intentions of coml. uter graph- Art Reproductions ics. Relatesrt to the mechanical. High interest for the gifted .lent. Contrasts the computer operator Abrams Artprints, American Book Company; 300 Pike and the computer as the creative element in the St., Cincinnati, OH 45202. process. Alva Reproductions, 3030 Northern Blvd., Long Island City, NY 11101. Design.Color; 11 min. Wayne Thiebaud Productions. Artex Prints, Inc., Westport, CT 06880. Animated film exploring design elements. New York Graphic Society, 140 Greenwich Ave., Green- Designing with Everday Materials: Corrugated Pape$. wich, CT 06831. Color; 12 min. Shorewood Reproductions, 10 E. 53rd St., New York, NY 10022. Discovering Art Series. Nine color films. 14 to 21 minutes in length. Titles includeDiscovering Color(15 min.); Unicorn Art Publications, 18676 Ventura Blvd., Tarza.ia, Discovering Composition(16 min.);Discovering Crea- CA 91356. tive Pattern (17 min.); Discovering Dark and Light(18 min.);Discovering Form(21 min.);Discovering Ideas Filmstrips for Art(16 min.);Discovering Line (17min.);Discover- Contemporary Artists at Work(parts1 and 2). Harcourt ing Perspective(14 min.); andDiscovering Texture(16 Brace Jovanovich Films (sound filmstrip). Slide sets min.) Pam Burnford Productions. interviewing artists (e.g. Calder, Lichtenstein). Tapes. How to Make a MaskiColor and black and white; II min. and. Flides by Educational Dimension Corporation. - Baily Films, Inc. Man's, Many Masks(parts1 and 2), Office of the Orange Four steps in making a mask are shown, k..nd the ways County Superintende,ntiof Schools, 1:04 Civic Center of creating facial features and expressions are demon- Dr., West, Santa Ana, CA 92701. strated. Venice Film Festival winner. VSL(Visual Sources for :.earning). Four-unit resource, 28 In Praise of Hands.Color; 27 min. filmstrips each, containin?, 20 reproductions of works of art related to a topic (e.g., "Portraits"). Address: 180 Nonverbal film showing craftsmen of the world. For Harvard Ave., Stamford, CN 06902. gifted children in upper grades. Loon's Necklace.Color; II min. EncyclopaeCia Britannica Other Materials Educational Corp. The Aesthetic Eye: Generative IdeasandTeacher to Teacher Indian lzgend of how the loon (a water bird) obtains Tr.:. The Aesthetic Eyc Project. Los Angeles County its markings. Uses authentic masks from Canada. Board of Education. Making a Mask.Color; 6 min. International Film Bureau. Places for People..CEMREL aesthetic educP.Lon units Tie-on masks and slip-on masks shown. Use 9! wet (especially the new unit in architecture). Address. 3120 paper and paste to make masks demonstrated! 59th St., St. Louis, MO 63139.

79 Reinhold Visuals. Large portfolios of photographs (black face, Portfolio 5. Color, Portfolio 6: Movement,. Portfolio and white and colored) with alt education concepts. Van 7: Perception; and Portfolio 8: Space. Nostrand Reinhold Co., 7625 Empire Dr., Florence, Self-Expression and Conduct, The Humanities. New York: Kentucky. The series includes Portfolio 1. Line, Portfo- Harcourt Brace Jovanovich, Inc. A multimedia program lio 2. Mass, Portfolio 3:Organization, Portfolio 4. Sur- developed by the Center for the Study of Instruction.

Otlevt Adlie-etakee rifociibuke it7reDeftevetateat Exiseecuflofe

Arts for the Gifted and Talented, Grades 1-6, is one of approximately 450 publications that are available from the California State Department cf Education. Some of the more recent publications or those frequently used by persons involved in the education of gifted and talented students are the following: Accounting Procedures for Student OrOnizations (1979) SI 50 Arts for the Gifted and Talented, Grades 1-6 (1981) 2.75 Bilingual Program, Policy, and Assessment Issues (1980) 3.25 California Private School Directory 5.00 California Public School Directory 11 00 California Public Schools Selected Statistics I 50 California's Demonstration Programs in Reading and Mathematics (1980) 2:00 Curriculum Guide for Teaching Gifted Children Literature, Grades 1-3 (1978) 85 Curriculum Guide for Teaching Gifted Children Science. Grades 1: (1977) .85 Curriculum Guide for Teaching Gifted Children Science, Grades 4-4. (1977) .85 Curriculum Gia for Teaching gifted Children Social Sciences, Grades I--3 (1977) .85 Curriculum Guide for Teaching Gifted Children Social Sciences. Grades 4-6 (1977) .85 Directory of Expertise, Gifted and Talented (1979) .85 Discussion Guide for the California School Improvement Program (1978) 1.50 District Master Plan for School Improvement,(1979) 1.50* Education of Gifted and Talented Pupils (1979) 2.50 Guide for Teaching Literature and Story Writing to Gifted Children (1981) 2.75 Mentally Gifted Minors R.source Directory (1978) .85 Putting It Together with Parents (19791 85* Reading Framework for California Public Schools (198C) '1.75 Relationship Between Nutrition and Student Achievement. Behavior, and Health (1980) 4 00 Science Framework for California Public Schools (1978) 1.6.: School Improvement Making California Education Better (brochure) (1980 NC Student Achievement in California Schools i25 Students' Rights and Responsibilities Handbook (1980) 1.501 Ttaching About Sexually Transmitted Diseases (1980) 1 65 Teaching Gifted Children Literature, Grades 4-6 (1978) .85 Teaching Gifted' Children Literature. Grades 7-9 (1978) 85 Teaching Gifted ChildrenLiterature and Languages, Grades 9-12 (1978) 85 C;f:c,1 Cradcs fl;70) of Teaching Gifted Children Social Sciences, Grades 7-9 (1977) 85 Toward More Human Schools (1981) 1 75 Orders should be directed to: California State Department of Education P O. Box 271 Saci amento, CA 95802 Rmittance or pu ase order must accompany order Purchase orders without checksareaccepted only from gmernnient gencies in California Sales tax should be added to al! orders from California puchasers. A complete list of publications available from the Department may be obtained by writing to the 'address listed above.

Also available in Spanish, at the price indicated ,,Developed for implementation of Sch'' Improvement

77 t)9 (03 0964 & 03-1052) '9563 & 89499 300 8 81 5M