Chicago Guide for Teaching & Learning in the Arts

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MUSIC H VISUAL ARTS H DANCE H THEATER

OFFICE of | ARTS | EDUCATION

The Chicago Guide for Teaching and Learning in the Arts

MUSIC H VISUAL ARTS H DANCE H THEATER

OFFICE of | ARTS | EDUCATION Table of Contents

music in Chicago Acknowledgments vi Welcome 1 Introduction: Public School Arts Education at the Crossroads 2 Vision 4 Instructional Planning for Arts Education 8 Building a Unit Plan 10 A Sweet Home Building a Lesson Plan 12 for Blues Music Developing an Assessment Plan 14 28

Music 17 Soundtrack for Elements of a Quality Music Program 18 a City: Chicago Best Practices for Music Teachers 20 Jazz Music 36 g r a d e s p r e -k–2 22 The Developing Music Student 22 Scope and Sequence 24 g r a d e s 3–5 30

The Developing Music Student 30 Latin Music Scope and Sequence 32 Flourishes in Chicago 44 g r a d e s 6–8 38 The Developing Music Student 38 Scope and Sequence 40 h i g h s c h o o l I–II 46 The Developing Music Student 46 Scope and Sequence 48 One City, Many Traditions: Chicago Folk h i g h s c h o o l III–IV 54 Music 52 The Developing Music Student 54 Scope and Sequence 56

Music Sample Lesson Plans 62

Classical Chicago 60 VISUAL ARTS & DANCE in Chicago Visual Arts 67

Elements of a Quality Visual Arts Program 68 Best Practices for Visual Arts Teachers 70

g r a d e s p r e -k–2 72 The Developing Visual Arts Student 72 Chicago’s Scope and Sequence 74 Major Museums 78 g r a d e s 3–5 80 World Dance on The Developing Visual Arts Student 80 the Chicago Scope and Sequence 82 Stage 128 g r a d e s 6–8 88 The Developing Visual Arts Student 88 Scope and Sequence 90 A Legacy of Cultural h i g h s c h o o l I–II 96 Diversity 86 The Developing Visual Arts Student 96 Ballet: An Scope and Sequence 98 Influential Form 136 h i g h s c h o o l III–IV 104 The Developing Visual Arts Student 104 Scope and Sequence 106

Chicago’s Visual Arts Sample Lesson Plans 112 Public Art 94

Jazz and Tap: Dance 117 Uniquely American Forms 144 Elements of a Quality Dance Program 118 Best Practices for Dance Teachers 120

g r a d e s p r e -k–2 122 Murals Tell The Developing Dance Student 122 Chicago’s Scope and Sequence 124 Story 102 g r a d e s 3–5 130 Chicagoans The Developing Dance Student 130 Inspire 132 Modern Scope and Sequence Dance Traditions g r a d e s 6–8 138 152 The Developing Dance Student 138 An Urban Scope and Sequence 140 Renaissance: Chicago h i g h s c h o o l I–II 146 Architecture 110 The Developing Dance Student 146 Scope and Sequence 148

h i g h s c h o o l III–IV 154 Modern Innovators: The Developing Dance Student 154 Pushing 156 Boundaries Scope and Sequence 160 Dance Sample Lesson Plans 162 THEATER in Theater 167 Chicago

Elements of a Quality Theater Program 168 Best Practices for Theater Teachers 170 g r a d e s p r e -k–2 172 The Developing Theater Student 172 Scope and Sequence 174 Improvisation, Chicago Style 178 g r a d e s 3–5 180 The Developing Theater Student 180 Scope and Sequence 182 g r a d e s 6–8 188 The Developing Theater Student 188 Scope and Sequence 190 A Unique Vision: h i g h s c h o o l I–II 196 Directors’ and Playwrights’ The Developing Theater Student 196 Theaters Scope and Sequence 198 186 h i g h s c h o o l III–IV 204 The Developing Theater Student 204 Scope and Sequence 206

Theater Sample Lesson Plans 212 Ensemble Theater: A Arts Integration 217 Chicago Tradition Arts Integration Case Studies 223 194 Arts Integration Sample Unit Plans 230 The Arts Partner in the Schools 233 Teaching the Arts to Special Populations 237 Case Study: Theater and Autism 240

Inspiration Appendix 243 from Within: The Theater of Community Sample Rubrics 244 202 Illinois Learning Standards for Fine Arts 248 General Arts Glossary 256 Glossary of Music Terms 257 Glossary of Visual Arts Terms 259 Glossary of Dance Terms 261 Glossary of Theater Terms 262 Making a Recommended Resources 264 Spectacle 210 Bibliography 266 Acknowledgments 273 Photo Credits 277 Acknowledgments

The Chicago Guide for Teaching and Learning in the Arts began with a vision of a common arts education framework for Chicago Public Schools students. Over the course of three years, the Chicago Public Schools Office of Arts Education collaborated with teachers and principals, arts organizations and teaching artists, university professors and education consultants, and grantmakers in the arts. The result of this joint effort is a curricular framework in music, visual arts, theater, and dance that is sequential and developmentally appropriate—and one that meets state and national arts standards.

First, we extend our gratitude to the more than eighty CPS arts specialist teachers who contributed to the development of the content for the Guide. From the initial gatherings of curriculum committees and focus groups to the latter stages of manuscript development and review, their participation at every stage was critical to the successful completion of this work.

One of our greatest Chicago resources is its rich community of innovative arts institutions. Many thanks to all the teaching artists, arts organizations, museums, cultural institutions, and university faculty who graciously offered their expertise, resources, feedback, and support throughout the development of the Guide. While, we have highlighted a number of these organizations throughout the Guide, they are too numerous for us to feature in detail. We encourage you to visit www.cpsarts.org for a broader list of Chicago’s arts and arts education providers.

Assembling the many pieces of the Guide into a cohesive, visually captivating document would not have been possible without the talents of the supremely capable editorial team at Brainworx Studio and our visionary graphic designer Mary Bowers.

The staff of the Office of Arts Education worked tirelessly on this project. Thanks go to Director David Roche, Project Director N. Charles Thomas, and curriculum supervisors Nancy Cortés, Maliwan Diemer, Emily Hooper Lansana, and William Braddan McClellan for their leadership. The support of Jesus Esquivel, Rosalinda Fierro, Crystal Gerner, Candice Jennings, and Frank Quinn helped to bring this project to fruition.

We are deeply grateful to two arts champions, Ramsey Lewis and Peggy Mueller, whose abiding support and encouragement have been invaluable.

Finally, we are indebted to the Chicago Community Trust and the Illinois State Board of Education for their generous support of this project from its earliest stages.

The names of the many individuals who contributed to the Guide are listed in the appendix. We appreciate the input from the entire Chicago arts education community, who worked to make the Chicago Guide for Teaching and Learning in the Arts a resource that will nurture the next generation of Chicago’s visual and performing artists, directors, arts administrators, and audiences.

vi acknowledgments Welcome

Welcome to The Chicago Guide for Teaching and Learning in the Arts. In your hands, it will become a powerful tool for teaching the arts and for transforming the lives of your students.

Back in the day, when I was at Wells High School in the middle of Chicago’s inner city, we not only had a symphony orchestra but also a marching band, a concert band, and a jazz band. We had ballet classes, modern dance classes, fine arts classes and industrial arts classes. There were choirs as well, one for girls, one for boys and a mixed choir. In other words, there were multiple ways for kids to express their creativity and expand their cultural knowledge. The highlight of our lives was when these classes came together once a year–sometimes twice a year–to put on community performances. The musicians played, the fine arts classes designed the scenery and the industrial arts classes built the sets–the whole school got involved!

The opportunity for students throughout the city to have these kinds of rich experiences is now within our reach. With the publication of The Chicago Guide for Teaching and Learning in the Arts, arts education in the Chicago Public Schools takes a giant leap forward. For the first time, arts specialist teachers, general classroom teachers, school administrators, and arts partners have a common framework for a comprehensive education in visual arts, music, theater, and dance for grades pre-K through 12.

I think the ancient Greeks got it right: we must teach the whole student, not just concentrate on certain aspects of the personality. When the arts are part of a student’s education, an alchemy of sorts turns lesser thought into superior philosophical inquiry and unbidden spirituality. For what transpires between the arts teacher and the student, and between the students and their individual spirits, is nothing short of magic.

Sincerely,

Ramsey Lewis Pianist and Composer

welcome 1 INTRODUCTION: Public School Arts Education at the Crossroads

National Standards and Local Cultures in The Chicago Guide for Teaching and Learning in the Arts

The Chicago Guide for Teaching and Learning The Guide is our attempt to codify in the Arts is a plan as well as a map. a rigorous but flexible approach Like any good guide, it leads the user that can work for all arts educators to places and potential experiences serving the schools. Within four meant to illuminate and inspire. Our strands—Arts Making, Arts Literacy, itinerary takes us to arts resources in Interpretation and Evaluation, and Chicago and our vehicle is the Chicago Making Connections—content and skill Public Schools (CPS)—the first public development are sequentially ordered institution encountered by the vast and aligned with existing national majority of children in the city. The standards. An awareness of the vast destination is clear. We want to direct differences in developmental abilities our children to arts experiences that encountered in every classroom is also enhance their natural abilities to express reflected in this approach. themselves creatively. Now, how does the Chicago offers an immense array of Guide accomplish its goals? resources that can support children The Guide has been developed by the who study the arts in the public school Office of Arts Education, the first system. Local cultural and professional K–12 arts education curriculum office arts communities, as well as well-trained in the Chicago Public Schools that teachers, are among these supports, and encompasses four arts disciplines: all can help students to advance across music, visual arts, theater, and dance. benchmarks in the arts as they move The current debate in public education up the grades. We expect students to that focuses on reforming national graduate knowing not only about the standards, particularly in reading and cultural history of these arts but how math, has influenced our approach. to sing tunefully, draw competently, We hold that individual schools and the move gracefully, and act expressively. school system should be as accountable We expect no less than this, given the for student learning in the arts as they opportunities that can exist for every are for learning in other curriculum child in a twenty-first century American areas. public school when the will and mutual respect is there to align resources for the Implementing this conviction presents task. a challenge. How do we construct a new approach to arts education—one The Guide is our contribution from the that engages all the stakeholders in a curriculum standpoint. It is intended to common agenda that focuses on large- be a living document with information scale improvement and greater quality that users will build on, refine, and arts education opportunities for all extend as they apply it to practical students? experiences related to arts education.

2 public school arts education at the crossroads Schools are the crucibles of public The funders of arts education and culture. The Guide is a tool to bring parents of arts students will discover in about the common agenda for engaging the Guide evidence of the system-wide the many arts education stakeholders. commitment to arts education as a core They are the school leaders, classroom curricular area. That commitment teachers, credentialed and endorsed becomes district policy as the arts move arts teachers, teaching artists, parents, to greater visibility in the educational funders, and college arts educators who landscape. The learning that takes place care deeply about arts education. in the band room, the art studio, the dance class, or the theater is critical • Principals can use the Guide as they build learning for all students in the twenty- a curriculum leadership team for the first century world economy. College arts. The team should include an arts arts educators will build curriculum specialist who can advise on strategic for their teaching-training programs arts program design and partnership premised on these expectations. issues. The vibrant cultural community in • Classroom teachers can turn to the Guide Chicago is poised to invest in this work when they design interdisciplinary with a new and more intense level of projects that not only attend to engagement. There is great need for students’ skill competencies in the arts, coordinated efforts to ensure that but also accomplish larger curricular every child in the system, regardless goals in social studies, math, science, of neighborhood, can enjoy the and literary arts. opportunity to shine as an arts learner. • Credentialed and endorsed arts teachers can Given the proper nurturing and use the Guide as they move students resources, all children can succeed in along a path of accomplishment and this endeavor and graduate from the appropriate evaluation. Chicago Public Schools as expressive, • Visiting teaching artists, the talented confident life artists. That is our practitioners who work directly destination. The Guide is our map. with teachers and students in schools, can use the Guide to enhance David Roche, Ph.D. their understanding of the larger Director educational goals of the CPS arts Office of Arts Education curriculum. They can rely on the Chicago Public Schools Guide for valuable ideas as they design projects and prepare to teach units and individual sessions.

public school arts education at the crossroads 3 Vision

“To neglect the contribution of the arts in education . . . is to deny children access to one of the most stunning aspects of their culture and one of the most potent means for developing their minds.” —elliot w. eisner, professor of education and art, stanford university

Arts As A Core Curriculum

Arts education is not a luxury, but an opportunities to improve judgment and essential and critical part of every child’s decision-making skills by discovering education. multiple solutions for problems. In fact, arts education has been affirmed A broad education in the arts reaches by federal policy, the State of Illinois, the whole student, and this motivates and the Chicago Public Schools to be the student to achieve. Music engages an integral part of education, standing students in thinking about and on equal footing with language arts, organizing sounds; drawing, sculpting, mathematics, science, and other core and other visual arts develop spatial subject areas. acuity; the study of theater strengthens memory through repeating stories To truly understand the value of arts and memorizing dialogues; and dance education, educators go beyond policy builds motor control, awareness of the statements to witness its impact on body, and directionality. Through this student learning firsthand. Over time, curriculum, students have opportunities many observe that although not every to construct meaning through dance student of the arts achieves mastery making, music making, theater making, in a discipline, many are likely to visual art making, or creating within emerge as leaders of their class. Arts other art forms. Emerging from their education helps students understand arts studies, students have a new lens the world with greater complexity and through which to understand and sophistication. Through arts education, interpret the world. students develop their imaginations as they learn to communicate Studies link arts education with overall through complex symbols. They have academic achievement. For example: • Students who study dance score higher than non-dancers on measures of creative thinking, especially in the categories of fluency, originality, and abstract thought. • Low-income students involved in orchestra or band are more than twice as likely to perform at the highest levels in math as their peers who are not involved in music.

4 vision • When compared with students who lack Arts Education and Arts Careers arts instruction, high school students An arts education is also vital for with multiple years of arts classes students who plan to pursue a career in outperform their peers in both the the arts. By participating in sequential verbal and math portions of the SAT. arts instruction at the primary level, students have the foundation to be Benefits for Individuals and the successful in arts-intensive programs in School Students who struggle in other academic high school. Continuing through the areas often shine in ways they never secondary level, interested students can have before when they participate in aim at a wide range of career options, arts experiences. Through the arts, including: these students encounter unique • Academic arts careers, such as certified opportunities to build expressiveness, teachers, professors, and teaching teamwork, and self-esteem. These artists new challenges also help students • Careers as performing and studio develop critical and abstract thinking, artists observation, innovation, analytical skills, and information retention. • Technical and administrative careers All students benefit from honing the in the arts higher-order critical thinking skills Arts Education and the New Global required for many types of learning Economy throughout the school day. Our nation depends on a workforce prepared for the challenges of a twenty- Studying the arts can improve more than first century globally competitive just academic achievement. Studies show economy. For the technological, that students exposed to the arts develop scientific, and service-based jobs of empathy and self-control. They also the future, workers need the ability to learn conflict resolution skills, are more access information and use it effectively tolerant of others, and develop respect to solve important problems. They also and appreciation for other views and need increased ability to communicate perspectives. A student population with and to collaborate. Yet, in the United these skills and attitudes enhances both States, a majority of employers reported the climate of the classroom and the difficulty in finding applicants that school as a whole.

vision 5 arts organizations in selecting partners, management of city-wide assessments, exhibitions and special projects, and development of innovative programs that provide arts instruction in new and effective ways. As the central focus of our work, the OAE has collaborated with educators, grantmakers, and other community partners across the district to develop a vision for providing a rigorous, sequential, and standards-based arts education to all Chicago Public Schools students. The Chicago Guide for Teaching and Learning in the Arts is the culmination of this combined effort. School leaders, arts specialist teachers, general classroom teachers, and arts partners in the Chicago Public Schools can turn to demonstrate creativity and innovation, the Guide and find a common framework traits they rated as highly desirable for for creating curriculum and lesson success. plans, organizing arts activities and field trips, and planning residencies. The According to the U.S. Department of following curricular goals, which are Labor, the arts build the “foundation” articulated in the Guide, are the tenets of skills—creative thinking, problem- our vision for arts education at CPS. solving, collaboration, and self-esteem— needed to meet future employment 1. Every child in every Chicago public needs. In schools that provide school receives a comprehensive sequential, consistent instruction education with a core curriculum that in the arts, students are developing includes high quality instruction in critical skills that are highly valued and the arts for grades Pre-K through 12. necessary in the workplace. OAE believes that opportunities to learn the arts, both within and outside A Vision for Arts Education of the classroom, are an essential part in Chicago Public Schools of a child’s education. This valuable The Office of Arts Education (OAE) instruction can be delivered by general was established in 2006 as a public- classroom teachers and certified arts private partnership to deliver high- instructors as well as by partnering quality, standards-based, and consistent with arts organizations. Because many arts programming to students within high quality opportunities exist beyond Chicago Public Schools (CPS). Since the dismissal of school each day, OAE then, OAE has worked with schools, CPS teachers, and partnering arts organizations to develop students’ abilities to understand and appreciate all art disciplines, including visual arts, music, theater, and dance. Additionally, we provide ongoing professional development to arts educators, opportunities for teachers and principals to network and share best practices, assistance to schools and

6 vision supports a variety of quality programs • Making Connections Teaching students to that take place in school, before and understand the interrelationships of after school, and during weekend and the various arts and the relationships summer programs. To assure that of the arts to other academic subjects, instruction is ongoing and consistent, diverse cultures, careers, and life OAE also maintains that students’ experiences exposure to the arts must begin in the earliest grades and continue throughout 3. A minimum of one full-time arts their years at CPS. Ultimately, our hope specialist teacher is present in each is that through this exposure all students school, and is part of the school’s will develop a lasting awareness of their leadership team. own creative abilities and maintain a An endorsed arts specialist teacher is lifelong engagement in the arts. the foundation for high quality arts instruction in each school. In addition 2. Instruction in the arts follows a developmentally appropriate, to working with the leadership team, sequential curriculum based on a the responsibilities of the arts specialist scope and sequence for arts learning, teacher-leader include monitoring beginning at the primary grade level. after-school arts programming, coordinating with arts partners to The OAE believes that a high quality ensure alignment, quality, and learning sequential arts education begins with a content consistent with district goals, scope and sequence of skills in the arts building in-school assessments and disciplines that details what students coordinating school participation in are expected to know and do in the arts. city-wide assessments and exhibitions. This curriculum teaches the following ways of understanding the arts: We look forward to actualizing this vision through our work with • Art Making Teaching students to schools and with the wider Chicago understand studio skills, practices, and arts education community. Working performance techniques in the arts together, we will strive to elevate the • Arts Literacy Teaching students the role of arts instruction throughout the language and vocabulary of the arts and Chicago Public Schools. We passionately to express ideas and meanings in their believe that an education in the arts artwork serves not only to enrich all students as individuals, but offers a necessary • Interpretation and Evaluation Teaching element of a high quality education for students to reflect on, and to evaluate, the twenty-first century global citizen. their own artwork and artistic process, and that of others

vision 7 Instructional Planning for Arts Education

Scope and Sequence

Offering students a developmentally The scope and sequence not only and sequentially balanced instructional ensures that instruction will provide the plan is a key goal for teachers in all full range of knowledge for the current curriculum areas. To help arts educators year, but also lays the foundation meet that goal, the Guide provides a required for students to succeed in scope and sequence for each of the the following year. Organized by grade music, visual arts, dance, and theater level, Pre-K through 12, each scope disciplines. and sequence in the Guide identifies achievement benchmarks for these four A scope and sequence of instruction main strands: is a critically important tool for effective teaching. It defines a Arts Making By performing or creating clear arc of learning that spans the and constructing new content, students whole curriculum area and all grade actively engage in an arts discipline. levels. When planning instruction, Arts Literacy Students become literate arts educators can use the carefully in the terms, vocabulary, and symbols of constructed framework in the Guide the arts discipline. They use those terms or choose others that are available. to express their ideas while engaging in The scope and sequence they rely on arts making activities and instruction. must show concepts their students are expected to know and skills their Interpretation and Evaluation students are expected to perform, as Students interpret new ideas through well as the developmentally appropriate their arts making. They learn theory and sequence in which they will learn them. criticism of an arts discipline and use those criteria to evaluate art and express new insights. Scope and Sequence

Dance MaKInG Dance LITeRacY InTeRpReTaTIon & evaLuaTIon MaKInG connecTIons Making Connections Students

Skills and Techniques Critical and Creative Interpretation/Communication Cross-curricular Illinois State Goals (IL 25A, 26B; Nat’l 1) Thinking (IL 25B; Nat’l 4, 6) (IL 25B; Nat’l 3) Connections (Nat’l 7) 25. Know the language of • Demonstrate increasing kinesthetic • Discuss interpretations of and • Observe and describe the inter- • Investigate connections between the arts. connect creatively to other arts awareness. relatedness of dance elements. reactions to a dance. dance and other content areas. Through creating and • Utilize and elaborate on the element of • Discuss and explore movement • Create movements to express ideas, • Use technology as a tool for 26. Grade 3 space in dance. similarities and differences in feelings, or stories. exploring dance. performing, understand how works of art are • Utilize and elaborate on the element of time dance sequences. Evaluation (Nat’l 3) Participation Opportunities produced. disciplines and other academic in dance. • Identify at least three personal • Evaluate dance in multiple ways. (IL 27A) • Utilize and elaborate on the element of goals to improve themselves as • Define the role of an audience 27. Understand the role of energy/dynamics in dance. dancers. and performer in dance. the arts in civilizations past and present. • Replicate dance techniques as demonstrated. History and Culture • Define and demonstrate content areas. They increasingly make Choreographic Principles and (IL 27B; Nat’l 5) appropriate behaviors Processes (IL 26A, 26B; Nat’l 2) • Compare and contrast dances while watching, creating, or National Standards • Compare and contrast the differences from various cultures or performing dance. 1 . Identifying and between spontaneous and planned movement. historical periods. • Identify and explore various demonstrating movement connections between the arts discipline • Create a sequence with a beginning, middle, • P e r f o r m a dance or dances opportunities for involvement elements and skills in and end both with and without accompaniment. from various cultures or with dance. performing dance historical periods. • Explore and develop the following partner 2 . Understanding skills: copying, mirroring. • Identify various ways in choreographic principles, which people respond to their and history, culture, careers, and their • Improvise, create, and perform dances processes, and structures environments through dance. based on own ideas and concepts from other 3 . Understanding dance sources. as a way to create and • Create a dance phrase and accurately rep e a t it. communicate meaning personal lives. 4 . Applying and Skills and Techniques Critical and Creative Interpretation/Communication Cross-curricular demonstrating critical and (IL 25A, 26B; Nat’l 1) Thinking (IL 25B; Nat’l 4, 6) (IL 25B; Nat’l 3) Connections (Nat’l 7) creative thinking skills in • Exhibit kinesthetic awareness (control, • Define the role of an audience • Observe and describe the dance • Identify concepts common to dance concentration, focus, and clarity of and performer in dance. elements in various dance movement dance and other content areas, 5 . Demonstrating and movement). studies. • Present multiple solutions to such as English Language Arts, understanding dance Grade 4 • Combine more than one element of dance to a movement problem. • Create and present simple dance Mathematics, Science, Social Each substrand is labeled with in various cultures and Studies, Music, Theater Arts, create dance sequences. • Discuss the role of warm-up sequences that convey meaning. historical periods • Explore the following partner skills: copying, activities. • Explain interpretations of and and Visual Arts. 6 . Making connections leading and following, mirroring. reactions to a dance. • Create a dance sequence that • Identify at least three personal between dance and • Replicate dance techniques as demonstrated. goals to improve themselves Evaluation (Nat’l 3) demonstrates understanding of corresponding grade-level state and a concept or idea from another healthful living Choreographic Principles and as dancers. • Devise and employ various ways to content area. 7. Making connections Processes (IL 26A, 26B; Nat’l 2) History and Culture evaluate dance. • Respond to a dance using between dance and other • Use improvisation to discover and invent (IL 27B; Nat’l 5) another art form; explain the disciplines dance. • Investigate the impact national standards of learning. These relationship between the dance • Create and perform a sequence with a of historical events or or list of complete Illinois Standards for Dance, and the response. Grades 3–4, see page 252-253. beginning, middle, and end. Identify each of significant contributors on the • Use technology as a tool for these parts in the sequence. development of dance. exploring dance. • Demonstrate the ability to work • Investigate aspects of standards are also shown as a list Participation Opportunities independently and cooperatively. dance in various cultures or (IL 27A) • Create a dance phrase, accurately repeat it, historical periods. • Identify and explore various and then vary it by making changes in the • Learn and perform a dance opportunities for involvement elements of dance. reflecting characteristics of a with dance. alongside the scope and sequence. • Create and present simple dance sequences particular culture and that convey meaning. describe the cultural context. • Demonstrate ways to create dance movements.

132 scope and sequence: grades 3 to 4 scope and sequence: grades 3 to 4 133

8 instructional planning for arts education Unit and Lesson Plans

Arts educators use different approaches Benchmarks and learning standards when they incorporate the wealth alone do not ensure student of information from the scope and achievement. Asking, what will sequence into their teaching practices. success look like? is a way to begin The annotated templates for unit and the assessment planning process. lesson plans that follow here, as well as The sample lesson plans also feature the sample lesson plans at the end of assessment strategies, which can be used each discipline section in this guide, before, during, and after instruction. can be used as models for effective Pre-assessments offer opportunities instruction. to gather valuable data about students’ interests and learning styles, which These models illustrate how the strands can make teaching more effective. To and performance indicators in the ensure coverage, check off benchmark scope and sequence can be flexibly descriptors on the scope and sequence adapted or combined to accommodate or mark the date when each learning students’ varying needs. For example, descriptor has been taught and Grade students learning visual arts can 1 assessed. This process leads naturally to identify and use secondary colors in a reflecting on assessment and modifying tempera painting (Arts Literacy and Arts instruction as needed. Making) and then discuss whether their paintings mirror reality (Interpretation and Evaluation). These models guide educators to think ahead about the tools and resources needed to carry out each lesson.

Assessment Strategy Dance Lesson Plan Develop and use a rubric based on the following characteristics: 3–5 Class Dance Grade • Attention span/focus Teacher Name • Spatial awareness Lesson Title Pathways • Unique responses 50 minutes Oct 16 Time Needed • Listening to directions Start Date nstrate these; • Cooperating with others Objectives Explore space elements and create dances that demo • Body awareness improvise based on teacher instruction. • Integration of skills from other lessons Facilities Needed Safe movement space Materials Needed Music can be used but is not required. Standards Addressed IL 25.A.2a, 26.B, 26.B.2a; Nat’l 1, 2, 3, 4

Check each strand of the scope and sequence addressed in this lesson. n Making Connections n Evaluation/Interpretation n Dance Making n Dance Literacy Wrap-up/Cool Down Warm-up Activities ound some dances an be done at different Have students discuss the lesson and think about why they fscuss which parts Students create a movement sequence of 32 counts that c de, and turn in a more visually interesting than others. Students should alsoll di help them begin to rates. It should reach forward high, back low, side-to-si ttern. of their own dances they enjoyed performing most. This wi circular path. Students then learn and perform a partner’s pa recognize movement preferences.

Main Activity Teacher Reflections dy parts. Begin her’s patterns Building A Dance Unit Plan Skywriting. Students write their names in the air using variouslbow bo, knee, toes, What worked: Students particularly enjoyed performing each ot cused during with the pinky finger and then repeat the process with theiting e very small letters during the warm-up. Almost every student was energetic and fo Teacher Name ______Class/Course: ______hip, and nose from different starting positions. Explore wr. Imagine and change skywriting. close to the body, as well as the largest letters possible ave to Grade: ______Duration of ticulatingUnit: Start Date what ______they Stop Date ______This Unit Covers: “fonts” to write secret messages. Have students write soo thata dance they composition h What needs improvement: Some students had trouble ar found visually interesting. Unit Title: ______Theme(s): ______Dance Literacy travel in space. Then have them turn these movements int d have a pe, design, Standards/Benchmarks Addressed: SPECIFIC with transitions as needed between writing. The composition mpositions.shoul Next steps: Continue space exploration including floor plan, ______shating the study of ACTIVITIES: ASSESSMENT STRATEGIES: starting position and an ending position. Students perform co ing in space pointing symmetry, and asymmetry, and provideMultiple opportunities Intelligences/Learning for connec Stylesvelop Addressed: criteria ______to Lesson Focus Points: Emphasize where the movement is go es. Explore space with other areas of the ______curriculum. Help students de can be support their opinions about what is visually interesting. to These live dance skills performance. out that where the body moves is as important as how the body movr away from Modifications for Special Needs ______movement that starts close to the body (near reach space) and fand locomotor used in learning how to “notice deeply” when responding the body (far reach space). Continue to explore axial movementd abody parts. ______movement. This is also an opportunity to review moving isolate Goals/Objectives: ______Dance Making SPECIFIC ______ACTIVITIES: ASSESSMENT STRATEGIES: Unit Materials/Resources Needed: ______3 to 5 163 lesson plans for dance: grades Pre-Assessment Strategy 3 to 5 162 lesson plans for dance: grades Interpretation and Evaluation Activities SPECIFIC ACTIVITIES: ASSESSMENT STRATEGIES:

Dance Activities

SPECIFIC ACTIVITIES: ASSESSMENT STRATEGIES: Making Connection Activities SPECIFIC ACTIVITIES: ASSESSMENT STRATEGIES:

Warm-up Activities

DAY 1: DAY 2: DAY 3: DAY 4: DAY 5:

Teacher Reflections About the Unit

DAY 6: DAY 7: DAY 8: DAY 9: DAY 10:

Follow-up/Next Steps

instructional planning for arts education 9 Building a Unit Plan The template below is a suggested model for incorporating information from an arts education scope and sequence into an effective unit plan.

H Standards and Visual Arts Unit Plan Benchmarks Use the Scope and Teacher Name ______Class/Course: ______Sequence to determine Grade: ______Duration of Unit: Start Date ______End Date ______the standards and benchmarks you will Unit Title: ______Theme: ______cover during the unit. Objectives: ______Standards/Benchmarks Addressed: Multiple Intelligences/Learning Styles Addressed: ______Modifications and H Accomodations ______Consider what your students Modifications and Accommodations for Students with Disabilities: ______Multiple with disabilities will require H Intelligence ______and what will help them be successful during the unit. Plan activities Materials/Resources Needed: ______that address your students’ multiple Bell Ringer Activity DAY 5 DAY 3 DAY 4 intelligences or DAY 1 DAY 2 learning styles.

DAY 10 DAY 8 DAY 9 DAY 6 DAY 7

Warm-Up or H Bell Ringer Activities Pre-Assessment Strategy Jot brief descriptions of activities that will engage students H Pre-Assessment Strategy and prepare them Plan a pre-assessment activity to for learning. discover students’ readiness for learning the standards and for participating in the arts making activities. Use the information to modify instruction. Art Making Strand __ Performance Descriptors Addressed ______ASSESSMENT STRATEGIES: STUDENT ACTIVITIES:

10 building a unit plan Arts Literacy Strand

Performance Descriptors Addressed ______STUDENT ACTIVITIES: ASSESSMENT STRATEGIES:

Activities that H Tie to Strands

As you plan, organize activities to address learning descriptors in the four main Interpretation and Evaluation Strand strands of the scope and sequence. Add Performance Descriptors Addressed ______assessment strategies ______and modify instruction STUDENT ACTIVITIES: ASSESSMENT STRATEGIES: based on the outcomes.

Making Connection Strand

Performance Descriptors Addressed ______STUDENT ACTIVITIES: ASSESSMENT STRATEGIES:

Teacher Reflections About the Unit

Follow-Up/Next Steps

building a unit plan 11 Building a Lesson Plan The template below is a suggested model for incorporating information from an arts education scope and sequence into an effective lesson plan. Sample lesson plans appear at the end of each arts discipline.

Multiple Assessment Strategy H Intelligences Theater Lesson Plan Class Grade Adapt the lesson plan Teacher Name to meet students’ Time Needed Start Date varying needs. Lesson Title Objectives Multiple Intelligences/Learning Styles Addressed H Objectives Modifications and Accomodations for Students with Disabilities Materials Needed Refer to Standards Addressed information from the Unit Plan. Check each strand of the scope and sequence addressed in this lesson. Think about the n Making Connections n Evaluation/Interpretation focus and topic of n Theater Making n Theater Literacy your lesson. Then set objectives. Warm-up Activity

Main H Activity

H Start The Lesson Well-planned activities Teacher Reflections What will you need to prepare for the incorporate lesson? Which warm-up activity will student tie closely to the main activity and interactions make instruction more effective? Add that address discussion questions that set the one or more environment for the main activity. standards and strands.

Main Activity

Follow-Up/Next Steps

12 building a lesson plan Theater Lesson Plan Assessment Strategy Teacher Name Class Grade Start Date Time Needed Lesson Title H Assessment Objectives Strategy Multiple Intelligences/Learning Styles Addressed Note any modifications Modifications and Accomodations for Students with Disabilities or plan how to assess the outcomes of Materials Needed instruction. Then adapt Standards Addressed approaches based on assessment. Check each strand of the scope and sequence addressed in this lesson. n Theater Making n Theater Literacy n Evaluation/Interpretation n Making Connections

Warm-up Activity H Teacher Reflections

To support a focus on goals and outcomes, record observations and insights during and after the lesson, including ideas from teaching partners.

Teacher Reflections

Main Activity

H Follow-up/ Next Steps

Stop to plan a follow- up when your ideas are fresh. Add to your expectations of learning outcomes for these ideas. Follow-Up/Next Steps

building a lesson plan 13 Developing An Assessment Plan

Overview Assessment Strategies and Tools Assessment is a process by which The Office of Arts Education advocates teachers, administrators, and parents the use of authentic assessment, connect evidence of student learning which favors strategies that reflect with particular content standards or more complex learning and creative learning outcomes. It typically falls into experiences. While all authentic one of two broad categories: assessment assessment strategies must meet the for purposes of accountability or criteria of fairness and accuracy, they classroom assessment. When schools are have different purposes and can be used held accountable for student progress at different points of the instructional at the district, state, and national levels, process, as shown in the chart on page they use assessment that results in 15. The suggested authentic assessment hard-data scores, grades, and rankings strategies that follow are only a few of a to measure that progress. In the wide variety of activities that can be used classroom, teachers who seek diagnostic to reflect student learning. information to guide and modify their Arts education asks students to explore instructional approaches use samples of their creativity while they solve artistic student work to provide that ongoing problems. Therefore, an assignment Guide assessment. The focuses on or performance task—whether it is to classroom assessment, the more hands- compose a melody, paint an abstract, on and individualized approach that has create a new dance routine, or perform arts education learning standards as its an original play—often requires a foundation. teacher to judge results that vary widely How to Assess Arts Learning from student to student. To aid in To track student progress most making judgments that have accuracy effectively, arts educators develop an and reliability, teachers can use a rubric assessment plan before they teach a to track students’ success in meeting the concept, skill, lesson, or unit. At the content standards, while still allowing start, they explain to their students what them to express themselves creatively. A the content of the assessment will be rubric is a performance-scoring scale and the method of the assessment. They that lists multiple criteria and specific keep these questions in mind as they values for performance levels, such plan assessment: as numbers or a range of descriptors • What exactly am I assessing? ranging from excellent to poor. For samples of scoring rubrics for the four • How can my students best demonstrate arts disciplines, see Appendix, pages understanding, knowledge, and skills? 244–247. • How does evidence of student learning align with the standards? • How can I best let students know how their work will be evaluated? • How can I use the results of assessment to improve classroom instruction?

14 developing an assessment plan Authentic Type of Purpose When to Use Assessment Assessment Strategies

Pre-assessment to assess prior knowledge, before • small-group sharing which is a combination of the instruction of past experiences learner’s pre-existing attitudes, • small-group games experiences, and knowledge of • whole-class show- a given concept or skill. and-tell activities • use of graphic organizers such as K-W-L charts • questioning

Formative to inform instruction in order at various • review/warm-up Assessment to bring about a higher level points during activities of student understanding and instruction • performance learning; most common type assessment of assessment in the arts • student self- classroom. assessment • peer feedback on presentations and/or performances

Summative to gauge students’ grasp of after instruction • portfolios Assessment standards and performance • written compositions descriptors taught within each • performances of the four strands; based on rubrics aligned with clearly • recitals preset goals and is often used • exhibitions to demonstrate accountability required at the school, system, or state level.

The following assessment approaches an overarching theme or concept, or can be used for the purposes of pre- they may exist as discrete tasks. They assessment, formative assessment, and are often accompanied by a writing summative assessment. assignment that describes, explains, and interprets specific aspects of the • Traditional standardized test items have two product or performance. basic forms: selected response and constructed response. They may • Long-term tasks are those that require the appear as a series of items linked creation of a long-term product or to a particular theme or concept. performance. They apply most often Alternatively the items may have no when it is important to assess not only specific relationship to each other. the final product or performance but also the procedures and strategies • Performance-based tasks are those in which students used, and the multiple students create a work of music, visual solutions they explored, as they created art, dance, or theater. These tasks may the project or long-term task. be structured within the framework of

developing an assessment plan 15 Music Elements of a Quality Music Program

How Do I Make My Music Program Successful?

The lifelong rewards of a quality music education may be too great to measure. But the elements of a good program can and should be measured to ensure every student has the opportunity to succeed. A good music program requires ample room for rehearsals and performances, high-quality materials and instructors, clear goals, and ongoing program evaluation. Below, you’ll find a detailed list of the elements of a quality music program.

A Quality Music Program Requires

Dedicated music rooms. A quality orchestra, chorus, piano laboratory, and music program needs space of its own. general music and theory classes. Each In smaller music programs, a single room should contain storage space as room may be shared by various music well as a television, DVD/DVR player, ensembles. The room should contain and CD player. Ideally, both elementary storage space for instruments and other and high schools would have practice equipment. If available, a second room rooms and computers equipped with may be dedicated to general music up-to-date music software. classes and chorus. That room should be equipped with a television, DVD/DVR High-quality instruments, player, and CD player. Ideally, a third textbooks, and recordings. room would be provided for a piano Elementary school programs should laboratory. In larger school programs, supply a set of general music textbooks there may be separate rooms for band, for K–8 classes in addition to beginning

18 elements of a quality music program band and orchestra books. A well- develop a schedule and learning goals stocked library may contain 100 band, in dialogue with school personnel. orchestra, and chorus arrangements, In both elementary and high schools, and the instructor should seek to performance ensembles such as band, add new arrangements every year. orchestra, and chorus are classified as In addition to standard band and beginning, intermediate, or advanced. for quality music orchestral instruments, percussion At both grade levels, performance- programs: equipment for a marching and/or to-classroom ratio begins at 10:90 n A commitment to concert band and supporting materials for beginners and elevates to 40:60 artistic excellence such as reeds, rosin, mouthpieces, for intermediate. While advanced extra bows, and uniforms (including elementary ensembles should strive for n School, community, and parental support rain gear) would be supplied. Quality a 50:50 ratio, high school ensembles high school programs will include an should strive for a ratio of 70:30. In all n Sequential, standards- acoustic piano in the band, orchestra, cases, students should perform at school based lessons and choral rooms (a small grand piano events and concerts, community events n Experienced, in the choral room is ideal), an electric outside of school hours and, where highly motivated, piano, guitar, and bass with amplifiers, possible, in state and local adjudicated credentialed teachers and a drum set with hardware. A well- events. n In-school funding for stocked high school music library would instruments and texts contain 100 arrangements each for Ongoing evaluation and n State-of-the-art jazz band, jazz combo, concert band, accountability. Ratings of music rehearsal rooms and marching band, and orchestra, with new ensembles at state and local events can storage space arrangements added every year. serve as valuable assessments of a music program’s success and of what work n Appropriate class size A certified music teacher or needs to be done to make the program n Scholarship and career teaching artist. Music staff should more effective. Individual student opportunities be certified and endorsed in music progress may be assessed via written and n Travel opportunities to while teaching artists preferably have a performance assessments determined musical events minimum of two years of college music and administered by the classroom education and experience teaching in a teacher and via solo performance in classroom setting. state and local adjudicated events.

Dedicated, consistent class Funding and support from the periods. For optimum results, school and the community. The elementary teachers should teach their budget for a successful music program classes on a weekly schedule, seeing comes from a school’s internal every grade/class a minimum of once accounts and activities, including per week. Elementary and middle school student fees, performance fees, and teachers should be allowed two prep fund-raising. Funding may also come periods per week as well as a daily lunch from discretionary funds from Local period. High school teachers should School Councils. Grants from various have five periods of daily classes in all philanthropic organizations are also music offerings, one hour per class, available. Parent booster clubs are five days per week. For best results, also a good source of funding; parent performing ensembles should also have involvement has been essential to the rehearsal time incorporated into their success of many music programs.w daily school schedule.

Clearly defined goals. The instructor should set realistic goals and have a command of best practices in classroom management and teacher-student relations. Successful teaching artists

elements of a quality music program 19 H Best Practices for Music Teachers

Veteran teachers, novices, and teaching artists alike may find that their students will benefit from these practices.

Be Prepared Use unit and daily but learning can and should be fun, too. lessons to get ready for class and You are serious about teaching music but determine which standards you will you don’t always have to make the material teach (See pages 62-65). Make sure serious. Music is enjoyable. Strive to all necessary sheet music and/or lyric make learning about music enjoyable, sheets are printed out before class. If too. Your enthusiasm can be contagious. there are different parts to a particular Repeat, Repeat Students, especially piece of music, make sure the parts are younger children, thrive on repetition predetermined and you have a good idea and even enjoy it. Having students about which students will perform which perform a piece they learned in an parts. If instruments are required— earlier class gives them an opportunity whether they are simple percussion to practice and to show what they’ve instruments or recorders—make sure learned. Introduce new material as they are clean and ready to use. appropriate, but remember to circle If recorded music is on the agenda, back, too. make sure you have a working CD player Stay Active Students learn by doing. (or other playback device) and the To young students, music means necessary recorded music. Be sure to movement. Integrate “action songs,” in set up materials beforehand in such a which students perform gestures that way that you (or the students) may easily correspond to music. At the high school retrieve what you need during a project. level, have students notice how their Make it Fun and Educational at positions and movements affect their the Same Time Your goal is to instill technique and how audiences might a knowledge of music in your students, react to these physical cues.

20 best practices Be Your Own Critic If a lesson or Encourage Family Involvement activity isn’t working the way you Communicate with parents and intended, think about how you might guardians regularly to create a change it. Don’t get stuck in comfortable partnership that reinforces the habits. Music is about creativity, and good importance of learning. creative thought is constantly evolving. Incorporate Themes Develop Praise Often As students get older projects that connect to engaging they become more self-conscious themes appropriate for your grade about how they appear to others— level. Choosing themes that connect to how they look and sound, how they student experiences helps motivate them perform on instruments—so make and supports critical thinking. sure to praise students when they make Provide Performance progress. Encouragement and positive Opportunities Give your students reinforcement help children learn and ample time to perform their music appreciate what they are learning, in for others, whether simply in your every grade and at every skill level. classroom or in a larger setting, Promote Self-Expression Choose such as an assembly. Encourage projects that help students reflect on students to participate in non-school who they are as people and as musicians, performances, through community and when possible, let students make organizations and in less-formal settings choices themselves. with their peers, friends, or family. Require a Music Folder Have Teach Students How to Listen to students use one folder to hold their Music Students often have trouble classroom notes, music notation, engaging with the music they hear work sheets, and other information. because they don’t know how to respond They should think of the folder as an to it. To help students appreciate and important and necessary resource. evaluate music, give them the vocabulary needed to describe what they hear. Create an Inspiring Classroom Encourage them to listen actively. Also, An interesting, attractive classroom prepare a set of questions that students environment will motivate and inspire can ask themselves every time they hear a students. Be creative. Have music work of music. playing on a CD player as students enter your classroom. Visual or other • Is the music simple or complex? How stimulation is also effective. Display do you know? an attractive bulletin board or posters • Which features of the piece stand out? both with visual references for class and inspiring images related to musical • Which instruments are being used? performance. • Which instruments are being Introduce Various Genres of featured more than others and why? Music Expose students to different • How does the music make you feel? music genres and styles using What mood does it create? recordings, live performances, and presentations by visiting teaching artists. • If you had written or performed this Help them understand that each genre piece, how would you feel about it? or style has its own properties, and Would you change anything about it? discuss how different musicians use Would your changes change any of those properties to their advantage. your answers to the questions above? Consider your students’ diverse cultural Keep it Simple Activities and experiences and introduce them to assignments should be challenging, music that reflects and celebrates those but be careful not to cover too many experiences. concepts at once. Teach one thing at a time and the learning will stick.

best practices 21 The Developing Music Student pre-k to 2

What Are Students Like at This Learning Level?

For most very young students, being in a music class is a new experience. They are likely to be excited or nervous about what’s expected of them. Focus their natural energy and enthusiasm on simple, highly structured activities that involve plenty of movement and games while guiding them to focus on the music itself. The following is a quick look at the behaviors you are likely to encounter.

Pre-kindergartners simple percussion instruments. Pre-kindergartners are usually adjusting Kindergartners are generally cooperative to their first “classroom” setting, which and seek teacher approval, so group may increase their naturally high levels activities work well. of energy. At times they may find it difficult to sit or stand quietly, as they First graders often have a tendency to fidget and First graders have a strong desire to learn speak out. Language is relatively new and often want to learn everything at to them, and they enjoy expressing once. They are excitable and enthusiastic, themselves in words. They learn best and they can be competitive. They may through their own play, and particularly become excited, but they value and enjoy simple activities that use music, respond to rules and routines. They love repetition, and rhythm. They can learn to try new things. This is a good time to sing nursery rhymes and simple songs to have them sing and identify high/low such as “Mary Had a Little Lamb” and pitch movement, loud/soft dynamics, and “The Farmer in the Dell.” One way to fast/slow movement within songs. It is direct their natural energy and their also a good time to break down the meter natural inclination to move is to have of music even further by having them them respond to music through hand- identify and use percussion instruments clapping and marching. They can also (or clap) to perform the rhythms of perform simple action songs such as quarter and eighth notes. “The Itsy Bitsy Spider.” Second graders Kindergartners Second graders start to get more serious Kindergartners have better self- about learning and life in general. But control than pre-kindergartners and they are still young children who are often respond well to rules. Like fascinated by discovery and love to have pre-kindergartners, they learn best fun. Singing familiar songs as a group is through active play, such as singing a great way to prepare for a new concept or moving to songs. They particularly at this grade level: learning songs in respond to songs that relate to home another language. Regardless of what and community. This is a good time you are singing, encourage students for children to discover their singing to keep the beat, either on simple voices and the different ways they can percussion instruments or through use them, such as singing, speaking, their own body movement as they sing. whispering, and shouting. They can This is also a good time to introduce also discover steady beat through body the musical staff, and the line and space movements, clapping, and playing notes of the treble clef.

22 the developing student: pre-k to 2 What Students Can Do at This Level

The learning outcomes below are based on the Scope and Sequence, which builds instruction sequentially across these levels. Keep in mind that students of different ages may be at the same level.

Pre-K Students Can . . . Grade 2 Students Can . . .

• sing songs and demonstrate • sing and distinguish between high ability to sing loud/soft, high/low, and low intervals on the music and fast/slow staff

• identify high and low through • follow music notation visual icons demonstrating upward and downward movement

• differentiate between singing • listen to and identify pitches that voice and speaking voice move by steps and skips

• identify appropriate audience • identify and exhibit appropriate behavior for listening to music audience behavior for style of music performed

• paint a picture while music plays • relate music note values to math softly in the background

the developing student: pre-k to 2 23 Scope and Sequence

Music MAKING Music LITERACY interpretation & evaluation making connections

Sing (IL 25A, 26B; Nat’l 1) Read and Notate Music Listen and Describe Personal (IL 27B) Illinois State Goals • Sing on pitch individually and in a group. (IL 26A; Nat’l 5) (IL 25A, 26A, 27A; Nat’l 6) • Define music as a means of self- 25. Know the language of • Sing songs and demonstrate ability to sing • Identify high and low through • Differentiate between singing voice expression. the arts. visual icons. and speaking voice. Pre-K loud/soft, high/low, and fast/slow. • Identify the use of music in daily 26. Through creating and • Demonstrate ways of using the voice. • Identify environmental sounds. life. performing, understand • Sing a variety of chants, games, and call- • Listen to and describe (fast/slow, Cross-curricular how works of art are and-response songs. loud/soft) songs that are related to (IL 25B; Nat’l 8) produced. home, community, nature, etc. Play Instruments • Paint a picture while music plays 27. Understand the role of (IL 25A, 26B; Nat’l 2, 3) • Identify differences between loud softly in the background. the arts in civilizations and soft, fast and slow, up and • Clap simple rhythmic patterns individually • Demonstrate through movement past and present. and in a group. down, same and different, strong high/low, loud/soft, fast/slow in and weak. musical selections. • Play simple rhythmic patterns on classroom National Standards instruments. • Discover that music can make you feel emotions. 1. Singing, alone and with • Improvise a response to a rhythmic pattern others, a varied repertoire by clapping. • Listen to musical selections and determine the mood of the music of music (happy vs. sad). 2. Performing on • Identify appropriate audience instruments, alone and behavior for listening to music. with others, a varied Evaluate (Nat’l 7) repertoire of music • Identify criteria for evaluating music 3. Improvising melodies, by distinguishing between music and variations, and noise. accompaniments 4. Composing and arranging Sing (IL 25A, 26B; Nat’l 1) Read and Notate Music Listen and Describe Personal (IL 27B) music within specified K guidelines • Demonstrate the difference between singing (IL 26A; Nat’l 5) (IL 25A, 26A, 27A; Nat’l 6) • Identify music as a means of voice and speaking voice and explore vocal • Identify differences between • Differentiate between environmental self-expression. 5. Reading and notating range. long and short sounds through sounds and organized sound (music). • Identify the use of music in daily music • Sing independently with appropriate visual icons. • Aurally recognize the sound of life. 6. Listening to, analyzing, posture, maintaining the correct pitch and • Identify the difference between classroom instruments. Cross-curricular and describing music steady tempo. high and low pitch through • Demonstrate timbre with classroom (IL 25B; Nat’l 8) 7. Evaluating music and • Sing songs in a group and demonstrate visual icons. instruments (loud, soft, etc.). • Demonstrate through movement music performances ability to sing loud/soft, high/low, fast/slow. • Identify classroom instruments • Listen to and identify same and high/low, loud/soft, and fast/ 8. Understanding by name. • Sing simple rhythmic patterns. different patterns in music. slow in musical selections. relationships between • Sing/move to show high and low, fast and • Recognize simple music forms • Listen to and match musical selec • Name the four fine arts. music, the other arts, and such as call and response. slow, loud and soft, strong beat and weak tions with designated composers. Cultural (IL 26B, 27A; Nat’l 9) disciplines outside the beat. • Listen to and respond to musical • Sing songs representing various arts • Sing call-and-response songs. selections with appropriate body genres and styles from diverse 9. Understanding music in movements. Play Instruments cultures relation to history and (IL 25A, 26B; Nat’l 2, 3, 4) • Distinguish between various • Listen to musical excerpts and culture • Differentiate between fast music and slow environmental sounds. identify how music contributes • Identify steady beat and no beat. For list of complete Illinois Standards for Music, music. to celebrations. Pre-K–K, see pages 248-249. • Play a steady beat on the body. • Recognize simple music forms such • Identify ways that music serves • Improvise and play simple rhythmic patterns as call-and-response. as a profession. to familiar songs on classroom instruments. • Identify and demonstrate appropriate • Compose music using pitched and un-pitched audience behavior for listening to instruments and describe the sound source. music. • Demonstrate the methods used to produce Evaluate (Nat’l 7) sounds on classroom instruments, including • Identify criteria for evaluating a such methods as shaking, scraping, ringing, musical performance. tapping, and hitting.

24 scope and sequence: pre-k to k Scope and Sequence

Music MAKING Music LITERACY interpretation & evaluation making connections

scope and sequence: pre-k to k 25 Scope and Sequence

Music MAKING Music LITERACY interpretation & evaluation making connections

Sing (IL 25A; Nat’l 1) Read and Notate Music Listen and Describe Cross-curricular Illinois State Goals (IL 25A, 26A; Nat’l 5) (IL 26A, 27A; Nat’l 6) (IL 25B; Nat’l 8) • Sing individually and maintain pitch. 25. Know the language of • Sing a song and use hand to show • Identify high/low pitch direction in • Listen to and identify same and • Name the four fine arts and the arts. movement of pitch. music through visual icons. different patterns in musical identify artists associated with 26. Through creating and • Sing songs in a group and • Distinguish between line and space selections. each form (singer, painter,

G rade 1 performing, understand demonstrate ability to sing loud/soft, notes of treble staff. • Listen to and identify similar and dancer, etc.). how works of art are high/low, fast/slow. • Identify and count quarter and eighth different tone colors in selections. Cultural produced. Play Instruments (IL 25A; Nat’l 2) notes. • Listen to and describe dynamics in a (IL 26B, 27A, 27B; Nat’l 9) 27. Understand the role of • Play and classify percussion • Identify expression symbols for musical excerpt. • Identify folk songs and the arts in civilizations instruments such as shakers, loud (f, forte), soft (p, piano), • Listen to and match musical composed songs of Africa, Asia, past and present. scrapers, drums, metals, and woods. crescendo <, and selections with designated Europe, Latin America, and North America. • Keep a steady beat on body and/or diminuendo >. composers. instrument. • Identify same and different phrases; • Distinguish between the sounds of • Sing songs representing various National Standards identify melodic and rhythmic different singing and speaking voices genres and styles from diverse Improvise (Nat’l 3, 4) 1. Singing, alone and with patterns and assign letters to form and describe the range of the voice. cultures. • Improvise simple rhythmic patterns others, a varied repertoire (e.g., AA/AB form). • Identify and demonstrate • Listen to musical excerpts and using body, voice, and instruments. of music appropriate audience behavior for identify how music contributes 2. Performing on style of music performed. to celebrations. instruments, alone and Evaluate (Nat’l 7) with others, a varied • Identify criteria for evaluating the repertoire of music quality and effectiveness of musical 3. Improvising melodies, performances and compositions. variations, and accompaniments 4. Composing and arranging music within specified guidelines Sing (IL 25A; Nat’l 1) Read and Notate Music Listen and Describe Cross-curricular 5. Reading and notating (IL 25A, 26A; Nat’l 5) (IL 25B; Nat’l 8) • Sing individually and maintain pitch. (IL 26A, 27A; Nat’l 6) music • Sing and distinguish between high and • Identify line and space notes of the • Listen to and identify pitches that • Relate musical note values to 6. Listening to, analyzing, low intervals on the music staff. treble staff. move by steps and skips. math. and describing music • Sing and read songs with simple pitch • Identify high and low intervals on the • Listen to and describe the form of Cultural (IL 26B, 27B; Nat’l 9) G rade 2 notation. music staff (hand signals, solfège, familiar songs (AB, ABA). • Sing songs in a group, 7. Evaluating music and etc.). music performances Play Instruments (IL 25A; Nat’l 2, 4) • Identify and describe the elements of representing various genres and • Perform rhythmic patterns in 4/4 • Follow musical notation demonstrating music in musical selections. styles from diverse cultures. 8. Understanding keeping a steady beat. upward and downward movement. • Listen to and match musical • Identify music from various relationships between music, the other arts, and • Play rhythms using half notes, quarter • Identify longer and shorter notes in selections with designated periods of history and culture. notes, eighth notes, and quarter rests. musical notation (half notes, quarter composers. • Establish that African, Asian, disciplines outside the notes, eighth notes, quarter rests, arts • Compose and play rhythm in 2/4 and • Identify and exhibit appropriate and Latin American cultures etc.). 3/4. audience behavior for style of music each have their own identifying 9. Understanding music in • Identify contrasting phrases and performed. musical characteristics and relation to history and Improvise (Nat’l 3) assign letters to form (AB/ABA). (Nat’l 7) instruments. culture • Improvise vocal sounds that suggest Evaluate • Identify the elements of music: • Sing songs in another language, the sounds of various instruments. • Evaluate musical performances For list of complete Illinois Standards for Music, melody, harmony, rhythm, timbre, based on designated criteria. listen to songs from other Grades 1–2, see pages 248-249. • Improvise simple rhythmic patterns. form, pitch, dynamics, tempo, and countries, and locate the mood. countries on a map.

26 scope and sequence: grades 1 to 2 Scope and Sequence

Music MAKING Music LITERACY interpretation & evaluation making connections

scope and sequence: grades 1 to 2 27 MUSIC IN CHICAGO 28 s Buddy Guy American blues music has its roots recording artists, along with a blues in the South of the late nineteenth pianist known as Georgia Tom, who century, where African Americans later achieved fame as the “father” of paired African work songs and gospel music—Thomas Dorsey. The hollers with guitars and harmonicas proliferation and popularity of these to create songs that told of their and other artists like Muddy Waters, troubles. The Great Migration of the Junior Wells, Memphis Slim, twentieth century brought hundreds and Howlin’ Wolf made Chicago of thousands of African Americans the capital for blues recording, to Chicago, many of them carrying sprouting the Delmark and acoustic guitars in their hands and Alligator labels, and most notably, blues licks, rhythms, and lyrics in the Chess label, which captured their heads. on vinyl some of Chicago’s most legendary blues performers from 1956 to 1969. These recordings put the spotlight on Chicago blues nationwide, and brought more notoriety to Chicago performers. Muddy Waters’s popular recordings like “Rollin’ Stone” and “Hoochie Coochie Man” eventually became internationally known, influencing s Koko Taylor artists like the Beatles and the Rolling Stones overseas. many of today’s most popular music styles, including rock and roll, A new guard of blues musicians soul, and R&B, but the older blues A family from the South arriving in emerged in the 1950s and ‘60s tradition is still alive and well today. Chicago. and brought Chicago blues to even Chicago remains a touchstone for more prominence worldwide. Willie blues aficionados and historians, Though there are many variations, Dixon, who had built a modest and today’s blues fans can attend blues music can be characterized by career as a bass player in the 1940s, sessions across the Chicago area. standard I–IV–V chord progressions became a seminal influence on Some of Chicago’s most popular played over twelve bars, as well as the development of Chicago blues blues clubs include Rosa’s Lounge on “blue notes,” flatted third, fifth, and behind the scenes, supervising the West Side, Kingston Mines and seventh notes on the scale. Lyrics recording sessions for Chess and B.L.U.E.S. on the North Side, and often tell stories about hard luck accompanying and writing music for on the South Side, Lee’s Unleaded and hard times. The blues music artists like Waters, Chuck Berry, and Blues, the New Checkerboard that became popular during the Bo Diddley. He signed and produced Lounge, and Buddy Guy’s Legends. early twentieth century in Chicago’s recordings for the artists who would The Chicago Blues Festival, held fast-growing African American become enduring names, including each summer since 1984 in Grant neighborhoods retained these basic Otis Rush, Buddy Guy, Etta James, Park, is the largest free blues festival characteristics, but also evolved to and Koko Taylor. Taylor’s powerful in the world, and the largest of reflect the new setting. Microphones voice and forceful stage presence Chicago’s annual music festivals, and electric amplifiers boosted the carved a place for her at the top of hosting close to 650,000 fans over traditional acoustic sound, reflecting the male-dominated Chicago blues three days. the city’s industrial environment. field, earning her the title “Queen Added to the somber Mississippi of the Blues.” Willie Dixon wrote Virtually anywhere a blues fan Delta blues, with its harmonicas and Taylor’s biggest hit, “Wang Dang finds blues music, it probably twangy guitars, were drums, piano, Doodle,” which made her a fixture contains some degree of Chicago electric guitar, bass guitar, and alto of Chicago blues and became her influence. When you hear a rocking saxophone. A distinctly Chicago signature song. Until her death in blues number played on electric version of the blues emerged. 2009 at the age of 80, the Grammy instruments with an upbeat tempo Award-winning Taylor maintained that doesn’t sound sad at all, you Early Chicago blues artists included a busy schedule of performances can bet it was touched by Chicago. some of the biggest names the genre throughout the United States and Perhaps the best example is the has ever known. In the 1920s and around the world. familiar blues anthem “Sweet Home ‘30s, Alberta Hunter and Tampa Chicago,” to which any Chicagoan Red were among the first blues artists Ultimately, Chicago’s electric blues can’t help but sing along. to make a name for themselves as have influenced the evolution of

29 The Developing Music Student grades 3 to 5

What Are Students Like at This Learning Level?

In this grade band the focus shifts more to the recognition and performance of rhythm rather than just simply moving naturally to the beat. Students are ready to absorb more complex musical concepts. They start to become interested in finding out about music on their own by the end of fifth grade. When their imaginations are engaged, they will stay interested. The following is a quick look at the behaviors you are likely to encounter.

Third graders groups to create music through rhythmic Third graders are beginning to refine and chordal accompaniments on their listening skills, which makes this a classroom instruments. The excitement great time to teach them to sing rounds from a group activity can often result in and partner songs. By this grade they voices escalating; however, students will are usually able to identify line and cooperate if you ask them to quiet down space notes of the treble clef, and they and focus because they enjoy working enjoy doing musical spelling activities. together to create music. This could be They are curious to know how sounds a good time to reinforce some of those are produced on instruments and enjoy earlier ideas about music dynamics, and making simple instruments of their to make a connection between singing own (shakers using cardboard tubes and and speaking, loud voices and soft ones. beads or beans, stringed instruments using tissue boxes and rubber bands, Fifth graders etc.). They are highly social, which Fifth graders are making their very first can make for successful collaborations steps into adulthood, physically. Because at this grade level. Make sure to give of this, they may sometimes experience detailed and clear instructions because, unfamiliar feelings and this often affects as mentioned earlier, they are listening their mood. They show a heightened to every word! interest in the larger world and begin to wonder how they fit in. They enjoy Fourth graders teamwork, so this is a great time to have Fourth graders are becoming more them sing two-part and partner songs. self-aware, which can mean that at times Songs from other cultures are also well they withdraw or hesitate to speak out. received in this grade level as they help To draw them out, plan group musical students discover the world’s vastness activities and be supportive. Some and diversity. Independent study can younger students seem completely be introduced at this grade level, as uninhibited, but by the time fourth well. Have them research the grade approaches some of that openness background of their favorite musician begins to fade. On the other hand, once and then speculate as to how that a fourth-grader is interested in and musician achieved his or her current confident about a new idea or activity, status. This is also a great time to discuss he or she will dive into it with full the importance of discipline in a energy and enthusiasm. Try working in musician’s life.

30 the developing student: grades 3 to 5 What Students Can Do at This Level

The learning outcomes below are based on the Scope and Sequence, which builds instruction sequentially across these levels. Keep in mind that students of different ages may be at the same level.

Grade 3 Students Can . . . Grade 5 Students Can . . .

• improvise simple rhythmic • differentiate between 2/4, 3/4, accompaniment to familiar songs 4/4, and 6/8 meter through movement and playing classroom instruments

• identify the names of line and • identify the key signatures in space notes on the treble clef known selections of music staff

• listen to and identify pitches • listen to and describe the tone that move by steps and leaps color of instruments from a in familiar songs and musical variety of cultures selections

• identify various genres of music • compare and contrast musical in our society styles from various cultures

• investigate connections between • distinguish how the element of music, drama, art, and dance in harmony relates to visual art, theatrical productions theater, and dance

the developing student: grades 3 to 5 31 Scope and Sequence

Music MAKING Music LITERACY interpretation & evaluation making connections

Sing (IL 26B; Nat’l 1) Read and Notate Music Listen and Describe Cross-curricular Illinois State Goals (IL 26A; Nat’l 5) (IL 25A, 25B, 26A; Nat’l 6) (IL 25B, 27A; Nat’l 8) • Sing individually and maintain pitch. 25. Know the language of • Sing music expressively, from written • Identify the names of line and space • Listen to and identify pitches that • Describe the use of music tech the arts. notation demonstrating proper use notes on the treble clef staff. move by steps and leaps in familiar nology in musical production. Through creating and of breath control, pitch, tempo, and • Identify partner songs, rounds, songs and musical selections. • Investigate connections between 26. G rade 3 dynamics. ostinatos. • Listen to and identify the elements music, drama, art, and dance in performing, understand how works of art are • Sing music in various meters from • Identify pitch direction through use of music in listening selections and a theatrical production. produced. various cultures and styles. of hand signs/solfège. songs that represent diverse cultures • Define the role of an audience • Create vocal harmony by singing • Identify pitch intervals on the music and styles. member and a performer in a 27. Understand the role of partner songs, rounds, and ostinatos. staff (steps, skips, and repeated • Identify meter (2/4, 3/4, 4/4) musical production. the arts in civilizations in familiar songs and listening past and present. Play Instruments (IL 26B; Nat’l 2) notes, etc.). • Respond through dance move selections. • Perform easy rhythmic patterns • Identify note and rest values (whole, ments to designated listening and chordal patterns on classroom half, dotted half, quarter, and eighth • Listen to and identify the sounds selections. National Standards instruments using whole, half, quarter, notes and rests). of singing voices and instrument • Create and arrange music to 1. Singing, alone and with and eighth notes and rests. • Identify the instrument families of families according to timbre/tone accompany dramatic readings others, a varied repertoire color. • Play music from written notation the orchestra (woodwinds, strings, and scenes. of music percussion, brass). • Listen to and match musical demonstrating increased accuracy in Cultural (IL 27B; Nat’l 9) 2. Performing on note reading. selections with designated • Identify various genres of music composers. instruments, alone and Improvise (Nat’l 3, 4) in our society. with others, a varied • Exhibit audience etiquette during • Improvise simple rhythmic • Identify and describe in simple repertoire of music live performances. terms music from other cultures accompaniment to familiar songs. 3. Improvising melodies, Evaluate (Nat’l 7) of the world, using the elements • Compose and arrange music to variations, and • Evaluate musical performances of music. accompany dramatic readings and accompaniments scenes. based on designated criteria. • Identify by genre musical examples from different periods 4. Composing and arranging and cultures. music within specified guidelines Sing (IL 26B; Nat’l 1, 4) Read and Notate Music Listen and Describe Cross-curricular (Nat’l 8) 5. Reading and notating • Sing from written notation on pitch (IL 26A; Nat’l 5) (IL 25A, 25B, 26A; Nat’l 6) • Respond through dance music and maintain tempo, breath control, • Identify meter (2/3, 3/4, 4/4), bass • Identify melody or melody with movements to designated 6. Listening to, analyzing, and accuracy of rhythms. clef notes, major and minor tonality, harmony in a listening selection. listening selections. and describing music and steps and skips in written music. • Sing music in various meters from • Identify form of musical selections, • Create and arrange music 7. Evaluating music and G rade 4 various cultures and styles. • Identify a major triad and arpeggio by assigning letters to the form (AB, to accompany readings or music performances • Sing repeated notes, steps, and skips through use of solfège. ABA, etc.). dramatizations. 8. Understanding from written notation. • Classify singers according to their • Describe the difference in major and • Examine the use of music relationships between vocal range (soprano, alto, tenor, minor tonality in listening selections. technology within the arts. • Sing songs with two-part and three- music, the other arts, and bass). part harmony. • Compare and contrast the timbre • Investigate connections between disciplines outside the of instrument families (brass, • Create and arrange simple rhythmic • Categorize musical groups according music and art. Create a work of arts and/or chordal accompaniment to to their size and type (duo, trio, woodwinds, percussion, and strings). art while listening to classical Understanding music in familiar songs and/or readings. quartet, band, orchestra). • Match musical selections with music. 9. relation to history and • Identify form of a canon and a rondo designated composers. Cultural (IL 27A, 27B; Nat’l 9) Play Instruments (IL 26B; Nat’l 2, 3) culture • Play instruments following written in musical selections (AB, ABA, • Analyze the tempo and dynamics in • Compare and contrast various notation individually or in groups. ABACA, etc.). songs that represent diverse cultures genres of music in our society. For list of complete Illinois Standards for Music, and styles. Grades 3–4, see pages 248-249. • Compose and perform music using • Differentiate note value of whole, • Match folk and patriotic songs rhythm and note value already known half, dotted half, quarter, and eighth • Practice concert etiquette as an to their appropriate countries. (whole note, half and dotted half note, notes and rests. actively involved audience member. • Compare music from two quarter note, eighth note, sixteenth note Evaluate (Nat’l 7) cultures. and rests) in AB, ABA, and ABACA form. • Evaluate musical performance based • Compare the roles of music and • Improvise simple rhythmic and/or on designated criteria. musicians in various historical chordal accompaniment to familiar periods. songs. • Analyze the role of work songs in American society.

32 scope and sequence: grades 3 to 4 Scope and Sequence

Music MAKING Music LITERACY interpretation & evaluation making connections

scope and sequence: grades 3 to 4 33 Scope and Sequence

music MAKING music LITERACY interpretation & evaluation making connections

Sing (IL 26B; Nat’l 1, 3) Read and Notate Music Listen and Describe Cross-curricular (Nat’l 8) Illinois State Goals (IL 26A; Nat’l 5) (IL 25A, 25B, 26A; Nat’l 6) • Sing individually in an expressive • Distinguish how the element of 25. Know the language of manner maintaining proper pitch • Identify the key signature in known • Listen to and describe the tone color harmony relates to visual art, the arts. and diction, while demonstrating selections of music. of instruments from a variety of theater, and dance. 26. Through creating and appropriate breath control, tempo, • Identify the form of a variety of cultures. Cultural (IL 27A, 27B; Nat’l 9) G rade 5 dynamics, and timbre. pieces of music (rondo, theme, • Listen to and use music terminology performing, understand • Compare and contrast musical how works of art are • Sing musical selections from diverse variations, ABAC, etc.). to describe the form of a variety styles from various cultures. produced. cultures and styles in a variety of • Identify musical terms presto, of pieces of music (rondo, theme, • Examine significant musical music meters (2/4, 3/4, 4/4, 6/8, ritardando, accelerando, staccato, variations, ABAC, etc.). works and historical periods in 27. Understand the role of etc.). legato. • Analyze the uses of elements of which they were created. the arts in civilizations past and present. • Sing a major scale, partner songs, • Use standard terminology when music in musical selections. • Analyze the effect of music in two-part songs, canons, and songs explaining music, music notation, • Listen to and match musical the media and daily life. consisting of only a melody. voices, musical instruments, and selections with designated National Standards • Improvise and sing simple harmonic musical performances. composers. 1. Singing, alone and with accompaniments to familiar songs. • Identify the difference between a • Practice concert etiquette as an others, a varied repertoire Play Instruments (IL 26B; Nat’l 2, 4) partner song, two-part song, round, actively involved audience member of music • Differentiate between 2/4, 3/4, 4/4, canon, call-and-response song, and a during performances. song consisting of only a melody. 2. Performing on and 6/8 meter through movement Evaluate (Nat’l 7) instruments, alone and and playing classroom instruments. • Identify notes within a major scale. • Evaluate musical performances with others, a varied • Play simple rhythmic patterns by • Compose simple rhythmic patterns based on designated criteria. repertoire of music using standard symbols to notate by using standard symbols to notate meter, rhythm, and pitch. meter. 3. Improvising melodies, variations, and • Compose and play rhythmic patterns accompaniments using standard symbols. • Play instruments following written 4. Composing and arranging notation, individually or in ensembles. music within specified guidelines 5. Reading and notating music 6. Listening to, analyzing, and describing music 7. Evaluating music and music performances 8. Understanding relationships between music, the other arts, and disciplines outside the arts 9. Understanding music in relation to history and culture For list of complete Illinois Standards for Music, Grade 5, see pages 248-249.

34 scope and sequence: grade 5 Scope and Sequence music MAKING music LITERACY interpretation & evaluation making connections

scope and sequence: grade 5 35 soundtrack for a city: Chicago Jazz Music GO MUSIC IN CHICA

s Herbie Hancock

Though jazz music originated in New who arrived in Chicago from New and musician-focused clubs like the Orleans, much of its history traces Orleans in 1922. Armstrong was Palm Tavern, Chicago remained a key back to Chicago. In the early recruited by King Oliver, the leader destination. decades of the twentieth century, of the Creole Jazz Band, one of The 1950s brought a renaissance, Chicago’s fast-growing manufacturing, Chicago’s hottest ensembles in the as innovators like Ahmad Jamal, railroad, meatpacking, and other 1920s. Herbie Hancock, and Sun Ra industries brought the city a great Chicago’s jazz recording industry emerged. The Pittsburgh-born deal of wealth, along with an sprang up rapidly in the early 1920s. pianist Jamal arrived in 1951 and exuberant culture for which jazz The Okeh label, which issued early steadily built a fan base with his became the soundtrack. Louis Armstrong sides, had a studio post-bop style. Some of Jamal’s most Promoters from South Side clubs on Chicago’s South Side. In 1926 famous recordings, including the had the money to attract the best jazz the Victor label recorded the Ben hit “Poinciana,” were made during musicians from the South. Among Pollack Orchestra, notable for a long engagement at the Pershing them were members of the band that the first recordings of their young Hotel, the South Side lounge that became the Original Dixieland Jass clarinet player, Benny Goodman, also hosted jazz greats Charlie Parker, Band. During their Chicago stay, the future King of Swing. He was Dizzy Gillespie, and Sun Ra. Herbie the band gained a follower in Bix already affiliated with a group of West Hancock, a classically trained prodigy Beiderbecke, an Iowa-born cornetist Side musicians known as the Austin who played piano with the Chicago attending a boarding school just High Gang, white kids in Chicago Symphony Orchestra at age eleven, north of Chicago in Lake Forest. emulating their heroes from New attended Hyde Park High School Sneaking out of the dorms to play in Orleans. During the 1930s and ’40s, and studied briefly at Roosevelt jazz clubs, Beiderbecke soon became Chicago’s role as capital of jazz music University before leaving Chicago a legend. He was admired by another was challenged by New York, but for New York. He later developed horn player, Louis Armstrong, thanks to the high-end Regal Theater into a Grammy Award-winning, s Bix Beiderbecke s Louis Armstrong s Sun Ra

s s s Herbie Hancock Wolverine Orchestra Anthony Braxton

world-renowned jazz artist. Sun Ra High’s Muhal Richard Abrams winning sound. His records for was also gaining attention in the early contributed to this as early as 1961 Chess helped influence fusion, jazz- 1950s, associating himself as much with his Experimental Band. By funk, and eventually smooth jazz. An with the burgeoning afrocentric 1965, he’d founded the Association international celebrity and a local political movement on the city’s for the Advancement of Creative legend, Lewis still makes his home in South Side as with the traditional Musicians to organize players Chicago, and is Artistic Director of jazz scene. He formed his own record interested in “freeing” jazz. Included Jazz at Ravinia. label, El Saturn, which allowed him were Kelan Philip Cohran, who later Many see jazz as America’s classical complete freedom in recording and led the Artistic Heritage Ensemble; music, and much current activity releasing music. His early releases Roscoe Mitchell, a founder of the Art takes place in the realm of education. included unusual takes on all forms Ensemble of Chicago; and Anthony Columbia College’s Chicago Jazz of jazz, as well as blues and doo-wop. Braxton. The goal of educating youth Ensemble and the Chicago Jazz His most enduring act, however, and bringing ancient African culture Philharmonic provide established was the Arkestra (a re-spelling of into the future set the AACM apart platforms for young musicians. The orchestra), a large ensemble that from the fiercely artistic New York Jazz Institute of Chicago promotes experimented with a wide range of scene, though there was frequent jazz education and performance African and diasporic musical styles. intermingling of players and ideas and manages the Chicago Jazz Fest, He eventually relocated to New between the two. Another important one of the best-attended festivals York in the early 1960s but his label innovator, though of a much in the world. From underground remained in Chicago. The avant- different breed, also appeared during movement to establishment, Chicago garde movement was in full steam in this time. Ramsey Lewis, a Chicago is still a capital of jazz music after Manhattan, and within a few years native and Chicago Public Schools nearly one hundred years. Chicago would be right behind it. alumnus, is best known for merging pop, soul, and jazz into a seamless, Chicago’s afrocentric culture was million-selling, Grammy Award- fertile for a jazz revolution. DuSable 37 The Developing Music Student grades 6 to 8

What Are Students Like at This Learning Level?

Middle school students are going through many changes, both physically and emotionally, as they work through puberty and toward adulthood. The first traces of their adult personalitites are beginning to surface, which means they are becoming more interested in the larger world, including a wide range of music and musical styles. Improvisation and independence can flourish during these years, but group activities are very important because these students value peer relationships highly. The following is a quick look at the behaviors you are likely to encounter.

Sixth graders so opening up a mutually respectful Sixth graders are energetic and dialogue can help build trust. Those social and place a high value on peer swinging emotions can also become an relationships. They may have trouble asset as students relate to the emotional making decisions and need clear aspects of music. Boys’ voices continue instruction and positive reinforcement. to change and it may be necessary to They are starting to become more self- move students to different sections when conscious about the way they look and singing (baritone, bass, etc.). Students sound. Many boys’ voices start to change in this grade often want to sing songs during sixth grade. Boys who used to they have heard on the radio. If possible project their voices when singing may and appropriate, let students sing their now sing softly or make it clear that they own selections. They are more apt to want no part of singing. They often cooperate if they feel the teacher values don’t want to sing alone because they are their opinion. But don’t turn class into afraid their voices will “crack” and the a radio sing-along; continue singing girls will laugh. Consequently, girls who and listening to songs from other were once cooperative about singing can cultures, and compare and contrast be influenced by peer pressure and start musical styles. to withdraw, too. But these students also love to perform for others and can Eighth graders be motivated through formal musical Eighth graders need focused tasks productions or more casual assembly to help them understand larger performances. When they are all in it concepts, but they are also willing to together and are performing for others, make mistakes and try again. They are their outlooks and attitudes tend to less conscious about being “wrong” improve. or making mistakes than they were a year earlier. This is their newfound Seventh graders maturity. It may also be a symptom of Seventh graders may experience being among the oldest kids in school. emotional highs and lows, and sometimes In addition to singing and playing start to show signs of rebellion. At this instruments, allow these students to time students also begin wanting to create and improvise music. This will communicate sincerely with adults, give them a great sense of achievement.

38 the developing student: grades 6 to 8 What Students Can Do at This Level

The learning outcomes below are based on the Scope and Sequence, which builds instruction sequentially across these levels. Keep in mind that students of different ages may be at the same level.

Grade 6 Students Can . . . Grade 8 Students Can . . .

• sing simple melodies in the treble • sight-read melodies and harmonies and bass clef in the treble and bass clef

• play simple melodies, folk songs, • sight-read simple melodies using and simple accompaniments to scale numbers or symbols familiar songs

• use standard terminology in • describe the basic principles explaining music, music notation, of meter, rhythm, tonality, musical instruments and voices, intervals, chords, and harmonic and musical performances progressions

• compare and contrast a variety • compare and contrast the various of tempos in a musical example textures of orchestral works through listening (monophonic, homophonic, polyphonic, etc.)

• compare several cultures of the • classify by genre and style aurally world and examine functions of presented music representative music, composers, and historical of diverse genres, styles, periods, periods in which the music was and cultures, and describe the created characteristics that make it an outstanding work

the developing student: grades 6 to 8 39 Scope and Sequence

Music MAKING Music LITERACY interpretation & evaluation making connections

Sing (IL 26B; Nat’l 1) Read and Notate Music Listen and Describe Cross-curricular (Nat’l 8) Illinois State Goals (IL 26A; Nat’l 5) (IL 25A, 25B, 26A; Nat’l 6) • Sing individually in an expressive manner, • Analyze the inter-relationship of 25. Know the language of • Analyze the uses of elements maintaining proper pitch and diction, while • Use standard terminology the arts by relating the elements the arts. demonstrating breath control, tempo, and in explaining music, music of music in musical selections of music (rhythm, harmony, dynamics. notation, musical instruments representing diverse genres and form, etc.) to other art forms. 26. Through creating and G rade 6 • From memory, sing music written in two and and voices, and musical cultures. • Evaluate how technology performing, understand three parts, with attention to balance and performances. • Listen to and compare and contrast enhances music production how works of art are intonation. • Write and count eighth, a variety of tempos in a musical within various venues. produced. • Sing melodies in the treble and bass clef. sixteenth, and thirty-second example. • Explore a musical style 27. Understand the role of • Sing musical selections from diverse cultures notes and rests in 4/4. • Listen to and describe the tone color (e.g., opera, musical theater). the arts in civilizations and styles in a variety of music meters (2/4, • Identify line and space notes of of instruments heard from a variety Cultural (IL 27A; Nat’l 9) past and present. of cultures. 3/4, 4/4, 6/8, etc.). bass clef. • Compare several cultures of the Play Instruments (IL 26B; Nat’l 2) • Distinguish between treble and • Listen to and match musical world and examine functions National Standards selections with designated • Perform individually or in ensembles, bass clef notes. of music, composers, and 1. Singing, alone and with composers. demonstrating fundamental skills and basic • Read simple melodies in the historical period in which music others, a varied repertoire performance techniques. treble and bass clef. • Practice concert etiquette as an was created. of music actively involved audience member Improvise (Nat’l 3, 4) • Examine significant musical during performances. 2. Performing on • Improvise simple harmonic accompaniments works and historical periods in instruments, alone and Evaluate (Nat’l 7) which they were created. to familiar songs. with others, a varied • Develop criteria for evaluating the • Improvise short songs and/or instrumental repertoire of music effectiveness of music performances. selections using a variety of sounds (body 3. Improvising melodies, sounds, voices, electronic devices, etc.). variations, and • Arrange simple accompaniments to familiar accompaniments songs. 4. Composing and arranging music within specified guidelines Sing (IL 26B; Nat’l 1) Read and Notate Music Listen and Describe Cross-curricular (Nat’l 8) 5. Reading and notating (IL 26A; Nat’l 5) (IL 25A, 26A, 27B; Nat’l 6) • Sing individually with accurate intonation • Determine the use of technology music and rhythm, demonstrating fundamental • Notate meter, rhythm, pitch, • Listen to and identify irregular and in musical presentations, skills and basic performance techniques. and dynamics using standard changing meter in musical selections. art, theatrical, and dance 6. Listening to, analyzing, and describing music • Sing and interpret music symbols and symbols on manuscript paper • Distinguish and describe the basic presentations. G rade 7 terms referring to dynamics, tempo, and or computer. principles of meter, rhythm, tonality, • Identify similarities and 7. Evaluating music and articulation when performing. • Identify characteristics of intervals, chords, and harmonic differences in the meaning of music performances • Sight-read notes in the treble and bass clef. major instrumental forms progressions in a listening selection. common terms used in the arts 8. Understanding • Sing musical selections from diverse (symphonies, concertos, • Listen to and match musical (form, contrast, articulation, relationships between cultures and styles from memory, sonatas, etc.). selections with designated etc.). music, the other arts, and demonstrating appropriate small- and • Create/arrange short pieces composers and identify historical Cultural disciplines outside the large-ensemble performance techniques. using standard notation to facts related to a selection. (IL 25B, 27A, 27B; Nat’l 9) arts record melodies and chordal Play Instruments (IL 26B; Nat’l 2, 3, 4) • Analyze the use of the elements of • Describe music-related 9. Understanding music in accompaniments. • Interpret expressive and technical symbols music in listening selections from vocations and avocations. relation to history and in musical notation. • Sight-read melodies in the diverse cultures and styles. • Compare and contrast culture treble and bass clef. • Demonstrate appropriate concert distinguishing characteristics • Play short pieces which include a melody For list of complete Illinois Standards for Music, • Write and count eighth, etiquette during performances in a of music styles and genres in and chordal accompaniment. Grades 6–7, see pages 248-249. sixteenth, and thirty-second variety of settings. American culture. • Arrange and sight-read simple melodies. notes and rests in various time Evaluate (Nat’l 7) • Distinguish styles of music in • Demonstrate appropriate small- and large- signatures. various cultures and periods and ensemble performance techniques during • Design and apply criteria for identify unique features. formal and informal concerts. evaluating the quality and effectiveness of music and • Describe how the elements of • Improvise melodic variations on given musical performances. music are used in various genres pentatonic melodies. • Evaluate the quality of personal and styles of music. performances.

40 scope and sequence: grades 6 to 7 Scope and Sequence

Music MAKING Music LITERACY interpretation & evaluation making connections

scope and sequence: grades 6 to 7 41 Scope and Sequence

music MAKING music LITERACY interpretation & evaluation making connections

Sing (IL 26B; Nat’l 1) Read and Notate Music Listen and Describe Cross-curricular Illinois State Goals (IL 26A; Nat’l 5) (IL 25A, 25B, 26A; Nat’l 6) (IL 27A; Nat’l 8) • Sing individually with accurate intonation 25. Know the language of • Compare and contrast the various and rhythm, demonstrating fundamental • Describe the basic principle • Describe responsibilities in the arts. skills and basic performance techniques. of meter, rhythm, tonality, textures of orchestral works such technical music-related Through creating and • Sing and interpret a varied repertoire intervals, chords, and harmonic (monophonic, homophonic, and occupations as sound engineer 26. G rade 8 from memory with attention to progressions. polyphonic, etc.). and acoustician. performing, understand how works of art are dynamics, tempo, and articulation. • Read whole notes, half notes, • Distinguish musical works by various Cultural (27B; Nat’l 9) produced. • Sight-read melodies and harmonies in dotted half notes, quarter notes, male and female vocalists, and • Describe how universal concepts the treble and bass clef. eighth notes, and sixteenth notes classify the singing voices (soprano, such as patriotism, love, or peace 27. Understand the role of • Sing musical selections from diverse and rests in duple and triple mezzo soprano, tenor, contralto, can be expressed through music. the arts in civilizations etc.). cultures and styles from memory, meters. • Distinguish instrumental works past and present. demonstrating appropriate small- and • Use standard terminology to • Determine theme and variations in that reflect nationalistic themes. selected musical samples. large-ensemble performance techniques. describe the basic principle of • Classify by genre and style National Standards intervals, sound production of • Listen to and match musical Play Instruments aurally presented music 1. Singing, alone and with musical instruments, voices, and selections with designated (IL 26B; Nat’l 2, 3, 4) representative of diverse genres, others, a varied repertoire musical performances. composers. • Perform simple chordal styles, periods, and cultures, of music accompaniments to familiar songs. • Demonstrate appropriate concert and describe the characteristics etiquette during performances in a 2. Performing on • Improvise patterns, using various that make each an outstanding variety of settings. work. instruments, alone and complex rhythms. with others, a varied Evaluate (Nat’l 7) • Conclude that music is an • Perform short pieces from memory, repertoire of music demonstrating appropriate skills and • Evaluate quality and effectiveness of international medium of 3. Improvising melodies, basic performance techniques music and musical performances. communication. • Describe the role of dance in at variations, and • Compose simple melodies, using scale accompaniments numbers or syllables. least two different cultures or time periods. 4. Composing and arranging music within specified guidelines 5. Reading and notating music 6. Listening to, analyzing, and describing music 7. Evaluating music and music performances 8. Understanding relationships between music, the other arts, and disciplines outside the arts 9. Understanding music in relation to history and culture For list of complete Illinois Standards for Music, Grade 8, see pages 248-249.

42 scope and sequence: grade 8 Scope and Sequence

music MAKING music LITERACY interpretation & evaluation making connections

scope and sequence: grade 8 43 GO MUSIC IN CHICA

s Sones de México Ensemble Latin Music flourishes in chicago Latin music came to the United infrastructure. The program Some of the earliest recordings of States with large waves of Latin ensured rights and extended visas Latin popular music were made American immigration that began for Mexican workers, and many put in Chicago, one of few places around the 1940s. During World down roots in Chicago, Aurora, where the necessary technology was War II, the Bracero Program, and Northwestern Indiana. Puerto available. Conjunto bands recorded an agreement with the Mexican Ricans became naturalized U.S. in Chicago, though most ultimately government, brought much-needed citizens in 1917, but the 1940s labor settled in Texas. One exception was laborers to the United States to shortage motivated thousands to Silvano R. Ramos, whose prolific work on farms and on the nation’s relocate to the mainland. output suggests he stayed in Chicago

44 territory for a small folk group like Raúl Cardona, Carlos Uribe, playing sones and jarochas. Díes and Rey Rubio pushed records from and Victor Pichardo founded the New York’s Fania and Tico labels, Sones de México Ensemble in 1994 amongst others, where they could to preserve and promote traditional be bought at Puerto Rican stores folk songs, bringing them out of like La Voz Hispana. Chicago artists restaurants and small parties and like La Mafia del Ritmo, Tipica 78, into concert venues and cultural and Shorty Ramírez & Orchestra institutions. Since then, their adopted this popular new style, a popularity has spread nationwide, combination of salsa, boogaloo, and and they have been nominated for jazz with the traditional bomba and both a Grammy and a Latin Grammy. plena styles mixed in. The energy s of this movement gave way to disco Silvano R. Ramos Chicago’s Puerto Rican community is in the late 1970s, but nearly thirty smaller in number than the Mexican from 1927 through 1931. Banda years later it is being revived by community, but its vibrant culture Mexicana of South Chicago, led by Angel Melendez and his 911 Mambo resonates just as strongly. During the Cirilio Lopez, a refugee from the Orchestra, as well as the Afro-Latin 1940s, local festivals were imported Cristero War in Mexico, was active in Jazz Ensemble. from Puerto Rico, along with the 1920s. In the 1940s and 1950s, popular performers. Orchestra Chicago-based ensembles performed Director Mario Dumond and sones, polkas, marches, and singer Ángel Santiago visited mariachi, the popular, celebratory Chicago to fill huge venues like style of the Mexican state of Jalisco. the Merry Garden Ballroom, Chicago’s most infamous and other esteemed artists like contribution to Mexican popular Rafael “Congo” Castro and music is the style of norteño music Quique Orchard stayed to take known as duranguense. Although residency at Caribbean clubs its name refers to the Mexican state like Mambo City, El Mirador, Durango, the music originated in and the Cuban Village. Their Chicago before being exported. orchestras played a range of Using similar instruments to Cuban and Puerto Rican styles norteño, including numerous horns including mambo, salsa, and and drums, it replaced the tuba Latin jazz. Chicago held its first with a synthesizer that allowed the major Puerto Rican festival performers to increase the tempo. in 1956 to celebrate El Día Duranguense lyrics emphasize de San Juan, a major event in tales of sex, violence, and narcotic the commonwealth’s capital trafficking, in some cases so much city. A decade later, the first s AfriCaribe that they are banned from radio Puerto Rican parade marched play. Paraiso Tropical De Durango through downtown Chicago, and Patrulla 81 were at the forefront the first citywide event for a Latino Puerto Rico’s traditional music of this cultural shift, but Grupo community. has also been rejuvenated over the Montez de Durango, also from last decade, through the efforts of The incipient Nuyorican culture was Chicago, is the world’s most popular Tito Rodriguez and his AfriCaribe becoming influential outside New duranguense act. organization and Carlos Flores’s York in the late 1960s, with acts like Ensemble Kalinda. They focus on Interest in Mexican folk music in Willie Colon, Ray Barretto, Eddie the music’s African and indigenous Chicago swelled over the last fifteen Palmieri, and Joe Cuba showing up roots, with percussion-heavy forms years, due largely to the Sones de in Chicago to play Puerto Rican clubs like bomba, plena, and decima. The Mexico Ensemble. The band’s leader, like Habana Madrid, Café Olé, and Latin music available in Chicago is Juan Díes, moved to Chicago in the Coco Loco. Radio deejays nearly as diverse as the city itself. early 1990s and discovered fertile latin music festivals

Viva! Chicago Latin Music The Old Town School of Folk Chicago’s World Music Festival attracts fans and performers from Music brings top folk acts from Latin Festival runs all summer and can be around the world to Grant Park for two days America for its Folk and Roots Festival each counted on for a diverse range of Latin of popular and folk music. year. Its La Peña series focuses on Latin music American and Caribbean performers. with events year round. The Developing

Music Student HS I to II

What Are Students Like at This Learning Level?

High school students are required to take one year of music to fulfill their graduation requirements. Students can often select from subjects such as General Music, Music Appreciation, choir, band, orchestra, piano lab, string ensemble, and others. In some cases, depending on the theme or focus of the school, freshman are not allowed to take music classes. In other high schools, students who have gained and mastered various musical skills in elementary school music programs can continue their studies through all four years of high school. High school music coursework does not directly correspond to grade levels, however. A sophomore may find herself sitting next to a senior in a General Music class. The following is a quick look at the characteristics and abilities of students in early high school. • Early high school students can • the concept that students need to absorb complex ideas without a lot of be disciplined and focused when explanation. Their abstract thinking learning music, because incorporating skills are continuing to develop and this work ethic will reflect in their sharpen. Instrumentalists begin to musicianship. Instructors must find understand the mechanics of their innovative ways to motivate students to instruments and how they function practice outside of class since parents as simple machines. Students have tend not to be as involved at the high greater knowledge of how the body school level. functions in order to produce vocal sounds as well as the technical aspects • Freshman and sophomore boys are of how sounds are produced on still experiencing changes in the various instruments. This is a great timbre of their voices and they can time for students to incorporate be apprehensive about singing alone classroom strategies and lessons into and in a group. Instructors should their performances. Whether students adopt an encouraging and reassuring are leaning toward actual musical attitude. Girls are still maturing performance or just an appreciation physically. Some girls may already of music, this is a key time for them be convinced that they sing soprano to develop and refine their personal or alto based on previous vocal aesthetic. Encourage independent experiences in or outside school. It study to supplement structured may be difficult to convince them to lessons. sing in a different section, but they should understand the value of trying • Many freshman and sophmores are something new and gaining a fresh not confident and this can reflect in perspective, even if they eventually their musicianship. Students can be return to their previous section. They easily distracted and sometimes lose should be assured that approaching focus in playing or singing the correct something from a different musical notes and observing the dynamics perspective will make them better required during practice sessions. Be musicians. firm, and positively reinforce

46 the developing student: hs i to ii What Students Can Do at This Level

The learning outcomes below are based on the Scope and Sequence, which builds instruction sequentially across these levels. Keep in mind that students of different ages may be at the same level.

High School Level I High School Level II Students Can . . . Students Can . . .

• sight-read melodies and • sight-read complex musical harmonies of an easy to selections moderate level of difficulty

• improvise stylistically appropriate • improvise stylistically appropriate harmonizing parts harmonzing parts in a variety of genres

• identify major scale degrees by • read and write major and minor I, number (I, ii, iii, IV, V, vi, vii) IV, and V chords

• evaluate a musical performance, • evaluate musical performances composition, arrangement, or and compositions by comparing improvisation by comparing it to them to similar or exemplary similar or exemplary models models and offering constructive suggestions for improvement

• listen to and classify music from • classify by genre or style, and a variety of cultures by style and/ by historical period or culture, or historical period representative aural examples of music and explain the reasoning

the developing student: hs i to ii 47 Scope and Sequence

Music MAKING Music LITERACY interpretation & evaluation making connections teaching standards

Sing Sing (IL 26B; Nat’l 1) Read and Notate Music Listen and Describe Cross-curricular Illinois State Goals (IL 26A; Nat’l 5) (IL 26A; Nat’l 6) (IL 25B; Nat’l 8) • Sing a varied repertoire of vocal 25. Know the language of • Read an instrumental or vocal score literature of an easy to moderate • Compare and contrast tone color, • Explain the ways in which the the arts. level of difficulty, with expression and (vocal score of up to three staves). rhythm, melody, texture, and principles and subject matter attention to phrasing, interpretation, • Read and recognize simple meters, form as applied to various arts of disciplines outside the arts 26. Through creating and pitch, breath control, articulation, and such as 2/4, 3/4, and 4/4. disciplines. (science, social studies, etc.) are performing, understand how works of art are enunciation. • Identify major scale degrees by • Identify sources of American music related to those of music. produced. • Sing a varied repertoire of vocal number (I, ii, iii, IV, V, vi, vii). genres and trace the evolution of Cultural (IL 27A, 27B; Nat’l 9) literature of various meters and • Use standard terminology to describe those genres. • Listen to and classify music 27. Understand the role of rhythms, including some songs from musical principles of balance, • Exhibit informed concert etiquette from a variety of cultures by the arts in civilizations memory, in small ensembles with one intonation, and rhythmic unity. during live performances in a style and/or historical period. past and present. student on a part. variety of settings. • Compare and contrast the role • Perform a varied repertoire of vocal Evaluate (IL 25A; Nat’l 7) and importance of music in our National Standards High School Level I High School Level literature of an easy to moderate • Evaluate a musical performance, society and in everyday life. 1. Singing, alone and with level of difficulty, exhibiting accurate composition, arrangement, or rhythm, intonation, and balance. others, a varied repertoire improvisation by comparing it to of music • Sight-read melodies and harmonies similar or exemplary models. of an easy to moderate level of 2. Performing on difficulty. instruments, alone and Play Instruments (IL 26B; Nat’l 2) with others, a varied repertoire of music • Perform a varied repertoire of instrumental literature of an easy 3. Improvising melodies, to moderate level of difficulty, with variations, and appropriate dynamics and phrasing. accompaniments • Perform a varied repertoire of 4. Composing and arranging instrumental literature of an easy music within specified to moderate level of difficulty, with guidelines expression and technical accuracy, in 5. Reading and notating small ensembles, with one student on music a part. • Use ensemble skills, such as balance, 6. Listening to, analyzing, intonation, and rhythmic unity, when and describing music performing. 7. Evaluating music and • Play major scales and melodies, music performances major and dominant seventh chords. 8. Understanding • Sight-read musical selections of an relationships between easy to moderate level of difficulty. music, the other arts, and Improvise (Nat’l 3, 4) disciplines outside the • Compose stylistically appropriate arts harmonizing parts. 9. Understanding music in • Improvise rhythmic and melodic relation to history and variations in a major and minor key. culture • Improvise melodic variations in folk For list of complete Illinois Standards for Music, songs, standard classical and pop Grade 9, see pages 248-249. songs, and hymns.

48 scope and sequence: high school level i Scope and Sequence

Music MAKING Music LITERACY interpretation & evaluation making connections teaching standards

scope and sequence: high school level i 49 Scope and Sequence

Music MAKING Music LITERACY interpretation & evaluation making connections teaching standards

Sing (IL 26B; Nat’l 1) Read and Notate Music Listen and Describe Cross-curricular Illinois State Goals (IL 26A; Nat’l 5) (IL 25A, 26A; Nat’l 6) (IL 25B; Nat’l 8) • Sing a varied repertoire of vocal 25. Know the language of • Read an instrumental or vocal score literature of a moderate level of • Identify sources of American music • Compare characteristics of two the arts. difficulty, with expression and (vocal score up to 4 staves). genres, trace the evolution of or more arts within a particular attention to phrasing, interpretation, • Read and write rhythmic patterns in those genres, and cite well-known historical period or style and 26. Through creating and pitch, breath control, articulation, and simple and compound meters. musicians associated with them. cite examples from various performing, understand how works of art are enunciation. • Read and write major and minor I, IV, • Interpret and assess expressive cultures. produced. • Sing vocal literature in a variety of and V chords. elements and standard music Cultural (IL 27A, 27B; Nat’l 9) languages, including some songs from • Identify simple song forms, such as symbols while listening to select • Identify music-related careers 27. Understand the role of memory, in small ensembles with one jazz, blues, and rock. musical examples. and how music functions in the arts in civilizations student on a part. past and present. Compose/Arrange Music (Nat’l 4) • Exhibit informed concert etiquette history, society, and everyday • Perform a varied repertoire of vocal during live performances in a life. • Compose melodies and harmonies literature of a moderate level of variety of settings. using simple and compound meters • Classify by genre or style and National Standards

High School Level II High School Level difficulty, exhibiting accurate rhythm, and using major and minor chords. Evaluate (IL 25A; Nat’l 7) by historical period or culture Singing, alone and with intonation, and balance. 1. • Evaluate musical performances and unfamiliar but representative others, a varied repertoire • Sight-read musical selections of a compositions by comparing them aural examples of music; of music moderate level of difficulty. to similar or exemplary models and explain the reasoning. 2. Performing on Play Instruments (IL 26B; Nat’l 2) offering constructive suggestions for instruments, alone and • Perform a varied repertoire of improvement. with others, a varied instrumental literature of a moderate repertoire of music level of difficulty, with appropriate dynamics and phrasing. 3. Improvising melodies, • Perform a varied repertoire of variations, and instrumental literature of a moderate accompaniments level of difficulty, with expression 4. Composing and arranging and technical accuracy, in small music within specified ensembles, with one student on a guidelines part. 5. Reading and notating • Use ensemble skills, such as balance, music intonation, and rhythmic unity when performing. 6. Listening to, analyzing, and describing music • Play major and minor scales and melodies, major, minor, and dominant 7. Evaluating music and seventh chords. music performances • Sight-read musical selections of a 8. Understanding moderate level of difficulty. relationships between Improvise (Nat’l 3) music, the other arts, and • Improvise rhythmic and melodic disciplines outside the variations in a major and minor key. arts • Improvise stylistically appropriate 9. Understanding music in harmonizing parts in a variety of relation to history and genres. culture For list of complete Illinois Standards for Music, Grade 10, see pages 248-249.

50 scope and sequence: high school level ii Scope and Sequence

Music MAKING Music LITERACY interpretation & evaluation making connections teaching standards

scope and sequence: high school level ii 51 MUSIC IN CHICAGO

One City, Many Traditions: Chicago Folk Music

s Jeff Tweedy

Chicago Folk Music Festivals

The Old Town School’s The month-long World Music The Gospel Music Smaller festivals include the Greek Folk and Roots Festival Festival showcases the best of Festival in Millennium Park Festival, Irish American Heritage imports extraordinary music from international music at dozens of events presents over 50 world-class gospel Festival, Celtic Fest, and Taste of every corner of the world to their in various downtown venues. acts, as well as family-centered Romania. current home in Lincoln Square. activities and an art fair. Chicago’s diverse ethnic history has known for his seminal gospel hymn and Newport Folk Festival made him been the basis for its complex and “Take My Hand, Precious Lord.” nationally famous, but his home unique culture, and this is reflected Martin’s “Just A Closer Walk with and most dedicated following was in powerfully in the city’s folk music Thee” is another significant gospel Chicago. Steve Goodman and John traditions. Immigrant communities standard. Dorsey and Martin worked Prine began their careers sharing brought the music of their native in a traditional style, but they were the bill with Gibson at clubs like the countries to the different Chicago innovators as well, crafting a new Quiet Knight and Earl of Old Town. neighborhoods, where the music Their style retained Gibson’s continues to thrive and evolve. troubadour tradition and generally eschewed the grittiness Celtic music is one of the most of Greenwich Village. Goodman popular, filling the pubs of the and Prine both wrote more hits far south and far north sides, as for other artists (most famously well as established venues like the Arlo Guthrie and Bonnie Irish American Heritage Center Raitt, respectively) but their and Gaelic Park. At the beginning local following was immense. of the twentieth century, Chicago Goodman’s most enduring Police chief Francis O’Neill legacy may be the Cubs theme began collecting Irish fiddle tunes song “Go Cubs Go,” still in brought by nineteenth-century use long after his premature immigrants of the global Irish passing. Diaspora. His work resulted in an extensive collection of tunes Most of these artists studied, still played today wherever Irish performed, or taught at the now

Americans congregate. s venerable Old Town School of Thomas Dorsey & Sallie Martin Folk Music. Founded in Chicago In the early twentieth century, in 1957 by two Bob Gibson affiliates, Chicago’s proximity to the musical vocabulary for spirituals and Win Stracke and Frank Hamilton, Paramount record company in paving the way for popular Chicago the school has educated five decades Wisconsin and to Gennett in Indiana gospel artists like Mahalia Jackson, of children and adults, amateurs and made the city a national center for Albertina Walker, and Dorsey’s niece, professionals, perhaps most notably Central and Eastern European the composer and former Chicago Byrds lead singer Roger McGuinn. Its immigrant musicians, and ethnic Public Schools teacher Lena McLin. artistic benefactors today include two record labels developed rapidly. Their success helped make Chicago nationally renowned, Chicago-based Greek musicians, displaced by the the nation’s gospel music capital, with singer-songwriters: Jeff Tweedy, the Turkish-Greek war in the 1920s, more labels producing more gospel Grammy-winning leader of the band brought to the Greektown area singles than anywhere else in the world. Wilco, and alt-country icon Neko Case. the rembetika style of bouzouki Though Nashville would become playing. Polish, Czech, German, Another longtime Old Town School better known for country music, and and Lithuanian newcomers brought affiliate, Ella Jenkins is something New York for the troubadour revival the polka and built a local industry. of an institution in Chicago. of singer-songwriters, Chicago Ukrainian culture, centered on Deemed the First Lady of Children’s was at the forefront of both before the near west side, boasted its own Music, Jenkins has been educating being surpassed. In the 1920s, intricate stage dance with energetic and performing for children for National Barn Dance was broadcast music to accompany it. Romanians, well over a half century. She has on Chicago’s most important radio mostly on the far north side, released dozens of albums on Moe station, WLS, predating the more established several popular mandolin Asch’s Folkways label (reissued on famous Grand Ole Opry. The variety orchestras. Smithsonian Folkways), and leads show drew country music artists the company in CD sales. In 2004, With the Great Migration of African from across the country to satisfy its she received a Grammy Lifetime Americans from the South came the audience of southern migrants and Achievement Award from the twin traditions of country blues and rural Illinoisans able to receive the Recording Academy. gospel singing. Blues hit the bars powerful AM signal. Its popularity and eventually became electrified, waned by the end of the 1950s, Chicago’s folk music roots run deep. but gospel was preserved in the around the time a young Pete Seeger However one defines the genre, by churches, propelled by the creativity disciple and New York transplant its relationship to the traditions of of masters like Thomas Dorsey and named Bob Gibson was gaining a a particular culture or by its roots Sallie Martin, dubbed the “father” large audience at a North Side club in the American folk revival of the and “mother” of gospel music. called Gate of Horn. His recordings 1950s and ’60s, Chicago has played a Dorsey, a record producer, is well and performances at Carnegie Hall role in its development. 53 The Developing

Music Student HS III to IV

What Are Students Like at This Learning Level?

Music students at the junior and senior levels range from the very serious musician intent on continuing his or her studies in college and beginning a professional music career, to the high school musician who may later decide to pursue a different career. The following is a quick look at the characteristics and abilities of students in their late high school years.

• Students become more independent • in-class recitals show progress. Offer and self-directed at this age. Create constructive criticism often, so that assignments that require students students become accomstomed to the to make choices about the subject process. Students who have elected of their work: the genre and style to take their first music class may feel of their music and the instruments intimidated if the class involves per- involved. Some students may form formance. Be aware of this and offer their own musical groups. Give them continuous encouragement so that the opportunities to perform at school student may build confidence. when possible. Juniors and seniors who have studied music and mastered • Students are continuing to mature; some skills during their freshmen and they are at the precipice of adulthood. sophmore years often feel a sense of This is a good time to reinforce the accomplishment and confidence when concept of music as a physical pursuit, they reach higher levels. Their true one that is very tied to physical health. musicianship now begins to emerge. Students may be encouraged to work They have a strong grasp of many out and build muscles if they wish to musical concepts and begin to see the participate in marching bands. Tuba bigger picture of the art form. and bass drum instrumentalists in particular must be able to march and • Students are still evolving but some carry heavy instruments. The same may feel very confident and want is not true of piccolo players, but to volunteer their leadership in a they are still required to march while musical group. Give them room to providing wind for their instruments. lead but continue to provide guidance Singers need to take care of their as needed. Students should be given voices, also. Teachers should make frequent opportunities to perform them aware of the vocal cords’ need for in-class recitals and be evaluated. rest and recovery. Students gain confidence as their

54 the developing student: hs iii to iv What Students Can Do at This Level

The learning outcomes below are based on the Scope and Sequence, which builds instruction sequentially across these levels. Keep in mind that students of different ages may be at the same level

High School Level III High School Level IV Students Can . . . Students Can . . .

• perform a varied repertoire of • sight-read musical selections vocal literature of a moderate to of a high level of difficulty with difficult level and in a variety of expression and technical accuracy languages in small ensembles

• play chromatic melodies and • perform modal melodies and scales, and major and minor 7th scales, and major and minor 11th and 9th chords and 13th chords

• read and write rhythmic patterns • read and write music that in simple and compound meters incorporates complex rhythmic and in uneven time signatures patterns in simple, compound, such as 5/8 and 7/8 and uneven meters

• compare and contrast the role • compare and contrast elements and importance of music in a of music through literature variety of cultures selected for performance and/or listening

• identify and describe the effects • explain how elements, artistic of society, culture, and technology processes (such as imagination on music, electronic instruments, and craftsmanship), and and the human voice, and of the organizational principles (such as transformation and perception of unity and variety or repetition and sound contrast) are used in the various arts and cite examples

the developing student: hs iii to iv 55 Scope and Sequence

Music MAKING Music LITERACY interpretation & evaluation making connections teaching standards

Sing (IL 26B; Nat’l 1) Read and Notate Music (Nat’l 5) Listen and Describe Cross-curricular Illinois State Goals (IL 27B; Nat’l 6) (IL 25B, 27A, 27B; Nat’l 8, 9) • Sing a varied repertoire of vocal • Read an instrumental vocal score 25. Know the language of literature of a moderate to difficult (vocal score of four or more staves). • Compare and contrast the role and • Classify unfamiliar but the arts. level, with expression, technical • Read and write rhythmic patterns in importance of music in a variety of representative aural examples of Through creating and accuracy, and attention to phrasing, simple and compound meters and in cultures. music by culture and historical 26. interpretation, pitch, breath control, uneven time signatures such as 5/8 • Critique the impact of music of period. performing, understand articulation, and enunciation. and 7/8. diverse cultures upon American and • Identify and describe the how works of art are produced. • Sing vocal literature in a variety of • Read and write music using 7th and other societies. effects of society, culture, and languages, including some songs from 9th chords. • Exhibit informed concert etiquette technology on music. 27. Understand the role of memory, in small ensembles with one Compose/Arrange Music (Nat’l 4) as an actively engaged listener • Identify sources of world the arts in civilizations student on a part. past and present. • Compose and arrange music for during live performances in a music genres (swing, Broadway • Perform a varied repertoire exhibiting voices and various electronic and variety of settings. musical, blues, etc.), trace accurate rhythm, intonation, and acoustic instruments. Evaluate (IL 25A, 26A; Nat’l 7) the evolution of those genres, National Standards balance, in small ensembles with one • Make informed, critical evaluations and cite well-known musicians High School Level III High School Level 1. Singing, alone and with student on a part. associated with them. of the quality and effectiveness others, a varied repertoire • Sight-read musical selections of of musical performances, • Identify various roles of music a moderate to difficult level, with compositions, arrangements, (entertainer, teacher, transmitter 2. Performing on technical accuracy, exhibiting and improvisations and apply the of cultural tradition, etc.) that fundamental skills and performance criteria in personal participation in musicians perform in the United instruments, alone and techniques. music. States. Cite representative with others, a varied Play Instruments (IL 26B; Nat’l 2) individuals who have functioned repertoire of music • Perform a large and varied repertoire in each role, and describe their 3. Improvising melodies, of instrumental literature of a activities and achievements. variations, and moderate to difficult level, with • Analyze the contributions accompaniments appropriate dynamics and phrasing. made by different art forms in 4. Composing and arranging • Perform expressively a varied interdisciplinary works (musical music within specified theater, opera, performance art, repertoire of music representing guidelines styles from diverse cultures. etc.). • Examine the science of sound 5. Reading and notating • Use ensemble skills such as balance, music intonation, and rhythmic unity when production as it relates to performing. musical instruments. 6. Listening to, analyzing, and describing music • Play chromatic melodies and scales, and major and minor seventh and 7. Evaluating music and ninth chords. music performances • Sight-read musical selections of a 8. Understanding moderate to difficult level, exhibiting relationships between fundamental skills and performance music, the other arts, and techniques. disciplines outside the Improvise (Nat’l 3) arts • Improvise rhythmic and melodic 9. Understanding music in variations using chromatic and relation to history and pentatonic scales. culture • Improvise rhythmic and melodic For list of complete Illinois Standards for Music, variations in blues and standard pop Grade 11, see pages 248-249. songs. • Improvise original melodies in a variety of styles, over a given chord progression, each in a consistent style, meter, and tonality.

56 scope and sequence: high school level iii Scope and Sequence

Music MAKING Music LITERACY interpretation & evaluation making connections teaching standards

scope and sequence: high school level iii 57 Scope and Sequence

Music MAKING Music LITERACY interpretation & evaluation making connections teaching standards

Sing Sing (IL 26B; Nat’l 1) Read and Notate Music (Nat’l 5) Listen and Describe Cross-curricular Illinois State Goals (IL 25A, Nat’l 6) (Nat’l 8) • Sing a varied repertoire of vocal • Read an instrumental or vocal score 25. Know the language of literature of a high level of of a high level of difficulty. • Compare and contrast elements of • Explain and cite examples of the arts. difficulty, with expression, technical • Read and write music that music through literature selected how elements, artistic processes Through creating and accuracy, and attention to phrasing, incorporates complex rhythmic for performance and/or listening. (imagination, craftsmanship, 26. interpretation, pitch, breath control, patterns in simple, compound, and • Exhibit and explain appropriate etc.), and organizational performing, understand articulation, and enunciation. uneven meters. small- and large-ensemble principles (unity, variety, how works of art are produced. • Sing vocal literature in a variety of • Read and write music using 11th and performance techniques for formal repetition, contrast, etc.) are languages, including some songs from 13th chords. and informal concerts. used in similar and distinctive 27. Understand the role of memory, in small ensembles with one ways in the various arts. Compose/Arrange Music • Exhibit informed concert etiquette the arts in civilizations student on a part. (IL 26A; Nat’l 4) as an actively engaged listener • Explain ways in which the past and present. principles and subject matter • Perform a varied repertoire exhibiting • Compose and arrange melodies in during live performances in a of various disciplines outside accurate rhythm, intonation, and simple and compound meters and variety of settings. National Standards balance, in small ensembles with one (Nat’l 7) the arts are interrelated with High School Level IV High School Level uneven time signatures. Evaluate those of music (Language Arts: 1. Singing, alone and with student on a part. • Evaluate, interpret, and assess • Arrange music of two to four parts compare the ability of music others, a varied repertoire • Sight-read musical selections of a expressive elements of a given in ways that preserve or enhance the and literature to convey images, of music high level of difficulty, with expression expressive effect of the music. work. and technical accuracy, exhibiting feelings, and meanings; physics: 2. Performing on • Compose or arrange rhythms, fundamental skills and performance describe the physical basis of instruments, alone and melodies, chords, and tones using the techniques. tone production in string, wind, with others, a varied combination of an electric keyboard percussion, and electronic Play Instruments (IL 26B; Nat’l 2) repertoire of music and music composition and notation instruments and the human 3. Improvising melodies, • Perform a large and varied repertoire software. voice; etc.). of instrumental literature of a high variations, and • Demonstrate the ability to manipulate Cultural level of difficulty, including atonal and accompaniments rhythms, melodies, chords, tone, and (IL 25B, 27A, 27B; Nat’l 9) contemporary scores, with expression 4. Composing and arranging tone color using the combination of a • Classify by genre or style and and technical accuracy. music within specified synthesizer and a computer. by historical period or culture • Perform expressively a varied unfamiliar but representative guidelines repertoire of music using compound aural examples of music, and 5. Reading and notating meters and rhythms in a variety of explain the reasoning behind music keys and changes of meter. their classifications. • Perform using ensemble skills such 6. Listening to, analyzing, • Identify sources of world music as balance, intonation, and rhythmic and describing music genres, trace the evolution of unity. 7. Evaluating music and those genres, and cite well- music performances • Perform modal melodies and scales known musicians associated and major and minor 11th and 13th with them. 8. Understanding chords. • Identify and describe music relationships between • Sight-read musical selections of a genres or styles that show music, the other arts, and high level of difficulty, exhibiting the influence of two or more disciplines outside the fundamental skills and basic cultural traditions, identify the arts performance techniques. source of each influence, and 9. Understanding music in Improvise (Nat’l 3) trace the historical conditions relation to history and • Improvise rhythmic and melodic that produced the synthesis of culture variations on a variety of modes. influences. For list of complete Illinois Standards for Music, • Improvise original melodies over • Describe the interdisciplinary Grade 12, see pages 248-249. major, minor, 7th, 9th, 11th, and 13th connections that integrate three chord progressions in a consistent or more art forms, such as tonality. pattern, form, mood, emotion, point of view, and interpretation. • Explain the importance of research, development, invention, technology, and entrepreneurship to careers in the arts.

58 scope and sequence: high school level iv Scope and Sequence

Music MAKING Music LITERACY interpretation & evaluation making connections teaching standards

scope and sequence: high school level iv 59 MUSIC IN CHICAGO Classical Chicago operatic works. both classicandcontemporary innovative productions of Theater Chicago Opera isknownforits Besides CSO,Ravinia,andtheLyric Opera,herearemoreopportunitiestohearclassicalmusicinChicago. innovation inclassical music. model forinclusiveness and mission istoserveas anational Chicago Sinfonietta’s Festival The GrantPark Music classical music festivalinthecountry. Chorus. Itiscurrently theonlyfree,outdoor features theGrantPark Orchestraand (nowheldinMillennium Park) Chicago Symphony Orchestra Music ofthe Baroque century works. in theperformance ofeighteenth- chorus andorchestra specializing the Midwest’s premierprofessional is Chicago is an international and dance are featured. It destination for connoisseurs of is also the summer home classical music, boasting outstanding of the Chicago Symphony classical music ensembles and venues Orchestra, which has held that rival those of any city in the world. summer residencies since 1936, the festival’s first year. The Chicago Symphony Orchestra has been consistently lauded as one Originally an amusement of the world’s premiere symphony park—with a baseball orchestras. Established in 1891, it is diamond, electric fountain, the country’s third oldest orchestra. and dance hall—designed World-renowned conductors such as to drum up business for Fritz Reiner, Sir Georg Solti, and the upstart Chicago & Daniel Barenboim have held the Milwaukee Railroad, Ravinia s Lyric Opera position of music director, and this outlasted the railroad to distinguished legacy continues under become host to the oldest summer Chicago opera took longer to find the baton of Riccardo Muti beginning music festival in North America. a home than CSO and Ravinia did. in the 2010–11 season. Known for Ravinia regularly draws an estimated Around the turn of the twentieth its mastery of the orchestral canon, 600,000 listeners annually to attend century, opera was performed including the symphonic works of 150 shows per season. The Martin regularly at the Chicago Auditorium Mahler, Brahms, Shostakovich, and Theater remains from the early (now the Auditorium Theatre of Strauss, the CSO is revered for the years of the festival and welcomes Roosevelt University) and later precision of its ensemble and its audiences for intimate concerts at Ravinia Park’s summer opera majestic brass sound. With over 900 indoors, while outdoors a 3,200- productions. The Civic Opera recordings and 60 Grammy awards seat covered pavilion gives way to an House finally opened in 1929, but to its credit, it commands respect at expansive lawn, where concertgoers the economic devastation of the home and abroad, regularly touring enjoy picnic dinners and listen to Great Depression prevented Chicago internationally to rave reviews. music under the stars. companies from presenting opera Equally esteemed by classical music consistently until the Lyric Opera of lovers is the Chicago Symphony Chicago was founded in 1954. Chorus, a professional chorus With a reputation for lavish established in 1957 by Margaret productions and performances by Hillis as the first permanent choral some of the most celebrated singers ensemble affiliated with a major and musicians in the world, the Lyric U.S. symphony orchestra. The Opera of Chicago has attracted most CSO’s home for over 100 years has of the great operatic voices of our been Orchestra Hall, expanded in time, including Luciano Pavarotti, 1997 into a complex of rehearsal, Leontyne Price, Jessye Norman, performance, administrative, and Renée Fleming, Maria Callas, and dining facilities known as Symphony s Ravinia Festival Plácido Domingo. Lyric Opera has Center. The CSO Association’s During its tenure, the festival has premiered significant new works in Institute for Learning, Access, and hosted a wide range of world-class the operatic repertory, including Training at the Chicago Symphony artists, such as Leonard Bernstein, Anthony Davis’s Amistad in 1997 Orchestra offers a range of Louis Armstrong, Yo-Yo Ma, Duke and William Bolcom’s A View from the community activities and educational Ellington, Van Cliburn, Janis Joplin, Bridge in 1999, and has featured the opportunities for children and and George Gershwin, under the American stage debut of a number of adults, including the reputable Civic music directorship of conducting prominent international stars. Lyric Orchestra, a training orchestra luminaries Seiji Ozawa, James Opera of Chicago is also developing for promising pre-professional Levine, and James Conlon, with the next generation of opera singers musicians. Ramsey Lewis serving as Artistic and audiences. Through its Ryan The CSO has long been associated Director of Jazz at Ravinia. Ravinia Opera Center, Lyric nurtures with Ravinia in north suburban also conducts year-round educational the careers of emerging young Highland Park, Illinois. For many programs in primary and secondary singers with training programs and music lovers, no summer is complete schools throughout Chicago and performance opportunities in full without at least one trip to Ravinia, offers the Steans Institute for Young productions. The company invites a picturesque outdoor venue that Artists, a professional training students to discover opera through a hosts the summerlong festival, where program for emerging classical and number of education programs offered some of the most prominent names jazz musicians. at the Civic Opera House and in in classical, jazz, and popular music schools throughout the Chicago area. Music Lesson Plan

Teacher Name Class Music Grade 3–5 Lesson Title Let’s Count and Play! Start Date Nov. 1 Time Needed 60 minutes Objectives Students will be able to read musical notes and perform easy rhythmic patterns using whole, half, quarter, and eighth notes and rests. Materials Needed Rhythm sticks, CD player, recording of a familiar song in 4/4 meter, chalkboard, chalk, classroom instruments if available Standards Addressed IL 25.A.2c, 26.A.2d, 26.B.2c; Nat’l 2, 5

Check each strand of the scope and sequence addressed in this lesson. n Music Making n Music Literacy n Evaluation/Interpretation n Making Connections

Warm-up Activities Play a recording of a familiar song in 4/4 meter and encourage students to clap along. Ask students what they heard on the recording (singing voices? instruments?). Ask them to describe how the musical accompaniment enhanced the song.

Main Activity: Explain to students that an ostinato is a pattern that repeats many times. Create a rhythm ostinato by repeating a pattern in 4/4. Clap and count the eighth notes and brush hands together for the half notes. Review counting quarter and eighth notes and rests. Then practice clapping the following:

Distribute classroom instruments and instruct groups of students to play designated lines.

62 lesson plans for music: grades 3 to 5 Assessment Strategy Students should be able to play independently and keep a steady beat. Play the recording again. Instruct students to play their designated lines to accompany the recording. Rubric 3 Student played 90% or more of the rhythms accurately. 2 Student played at least 50% of the rhythms accurately. 1 Student played most rhythms incorrectly. 0 Student did not attempt to play.

Wrap-Up/Cool Down After collecting the instruments, instruct students to tell what they learned and enjoyed most about today’s lesson. If time permits, give students a “musical math” sheet to complete. This activity will give them practice counting in 4/4 time.

Teacher Reflections What worked: Students enjoyed playing the instruments! What could be improved: Some students need to review counting eighth notes vs. quarter notes.

lesson plans for music: grades 3 to 5 63 Music Lesson Plan

Teacher Name Class Music Grade HS I–II Lesson Title Sight-reading Melodies and Harmonies Start Date Oct. 1 Time Needed 60–90 minutes Objectives Students will be able to sight-read melodies and harmonies and sing a major scale using syllables. Materials Needed Chalkboard, chalk, CD player and musical recording, a prepared sight-reading worksheet Standards Addressed IL 26.A.4c, 26.A.4d; Nat’l 1, 2, 5, 6

Check each strand of the scope and sequence addressed in this lesson. n Music Making n Music Literacy n Evaluation/Interpretation n Making Connections

Warm-up Activities

Play a recording of “Do, Re, Mi” from The Sound of Music. Distribute copies of the song and encourage students to sing along as the song is played again. Explain to students that this song is based on a major scale. Review that a major scale includes eight consecutive tones from Do to Do (or 1 to 8). Ask students if the musical syllables in the song get higher or lower.

Main Activity

Review the line and space notes of the treble staff with students. Remind them that they can use the mnemonics Every-Good-Boy-Does-Fine for the line notes and F-A-C-E for the space notes. Review the notes middle C and D. Review the fact that in Western music, a half step is the smallest distance between two notes. Two half steps equal one whole step. A flat sign (H) lowers the pitch by one half step, and a sharp sign (G) raises the pitch by one half step. Using a keyboard, demonstrate by playing and signing movements by half steps and then by whole steps. Play and sing a major scale using the musical syllables Do, Re, Mi . . . Introduce the following illustration showing the progression of a major scale: 8 7 C 6 B Do 5 A Ti 4 G La 3 F Sol 2 E Fa 1 D Mi C Re Do

64 lesson plans for music: hs i to ii Review counting and sight-read the following measures using musical syllables:

VB A :: Q Q Q Q Q Q W Q Q Q Q Q Q Q

Assessment Strategy

Connection: Sight read a song from another culture of an easy to moderate level of difficulty. Rubric 3 Student sang or played 90% or more of the notes accurately. 2 Student sang or played at least 50% of the notes accurately. 1 Student sang or played most notes incorrectly. 0 Student did not attempt to sing or play.

Wrap-up/Cool Down

Interpretation: Play a musical selection of an easy level of difficulty, give students a copy of the music, and instruct them to listen and analyze the movement of the melody.

Teacher Reflections

What worked: Most students were able to sight-read the easy melodies and rhythm. What could be improved: Some students were able to clap the rhythm, but they were reluctant to sing. Perhaps we will do a few vocal warm-ups at the beginning of the next lesson to help students feel at ease with their singing.

lesson plans for music: hs i to ii 65 Visual Arts Elements of a Quality Visual Arts Program

How Do I Make My Visual Arts Program Successful?

The lifelong rewards of a quality visual arts education may be too great to measure. But the elements of a good program can and should be measured to ensure every student has the opportunity to succeed. A good visual arts program requires a safe, comfortable environment, high-quality materials and instructors, clear goals, comprehensive curriculum, and ongoing program evaluation. Below, you’ll find a detailed list of the elements of a quality visual arts program.

A Quality Visual Arts Program Requires

A spacious, well-lit work area. High-quality art supplies for a Visual art students at all levels variety of activities. The visual arts need a work space large enough to include drawing, painting, printmaking, accommodate projects in a variety of sculpture, media arts, and other varied mediums. Ideally, an art room has large activities. Students should have first- tables with level surfaces; room for hand exposure to as many art mediums students to move freely as they work; a as possible at the appropriate available in sink with clean, running water; ample sufficient quantity. Cleaning supplies, and secure storage for materials; a drying racks, a working kiln, and black clear view of the instructor; and good and white boards are also essential. lighting. Ideally, the art instructor would also

68 elements of a quality visual arts program have continued access to a computer Connection to the Chicago Visual with an LCD projector, a printer, and a Arts Community. Chicago is home digital camera. to world-renowned art museums and cultural institutions that all A qualified art teacher or teaching CPS students should be given the artist. Qualified, well-trained, and opportunity to experience. Grade for quality visual full-time instructors are crucial to the appropriate fieldtrips should be arts programs: success of a visual art program. Teachers planned in advance, along with pre- and post-visit activities to help students n A commitment to must understand the central concepts artistic excellence and methods of inquiry of visual art engage. Schools and parents must and must create learning experiences support the organization of these n A supportive principal that make the content meaningful to all activities by coordinating permission, and staff students. Sequential arts instruction transportation, and chaperones. n Highly qualified, that incorporates project-based Chicago’s vibrant community of working credentialed/endorsed learning should always be the standard. artists can also be tapped for school teachers Many programs rely on the combined visits, during which they can answer n Standards-based efforts of a classroom teacher and students’ questions about careers in art lessons following a one or more visiting artists. A quality and share their current projects. scope and sequence visual arts partnership allows school n Quality texts administrators, classroom teachers, Ongoing evaluation and representing a broad and visiting artists to meet and plan the accountability. To assess the range of artistic program in advance. Classroom teachers effectiveness of an arts program, perspectives and visiting artists then continue to administrators must be familiar with n Space for art-making collaborate outside the weekly teaching content standards and must understand and exhibitions with session. the program’s overall goals and the consistent access instructor’s methods. Programs should n Appropriate class size Dedicated, consistent class periods be evaluated regularly to ensure that n Access to information and preparation time. all students are given opportunities At the about educational elementary and middle school levels, to work creatively in every medium opportunities beyond classroom teachers need at least one and given constructive feedback to the school setting, or two 45-minute sessions per week to promote development. Students must including scholarship allow students to start new projects and also be evaluated so instruction may be and professional explore various art forms. High school differentiated to address varying needs. options programs should aim to accommodate 90-minute periods whenever possible, Funding and support from the as well as extra periods for advanced school and the community. School study and studio time. Art teachers administrators should provide financial should be given ample time each week to support for the purchase of art supplies plan instruction, prepare art materials and other required materials or and equipment, and coordinate equipment. Ideally at least one full-time exhibitions or other special experiences. art teacher’s salary would be included in every school budget, as well as support Final art projects and student for annual professional development. exhibitions. Finished student art Outside funding organizations may also projects should be displayed in the provide supplementary art materials and classroom and around the school in resources for special art projects. special student exhibitions that celebrate artistic achievement. Teachers, students, and parents should be invited to view student artwork. Sculpture and group installations may also be displayed in non-traditional spaces outside the classroom or school, accounting for safety, weather conditions, and optimal viewing.

elements of a quality visual arts program 69 H Best Practices for Art Teachers

Best practices are general guidelines and suggestions for effective teaching. No matter what your level of experience, you can benefit from incorporating the following best practices into your art classroom.

Be Prepared Use unit and daily lesson Classroom Environment plans to help make the most of your time Create an Inspiring Classroom To with your students. (See pages112–115.) engage and motivate students, display Think through important aspects such stimulating artwork in your classroom. as classroom and materials set-up, visual Set up an exhibit space with student references for each lesson, and teaching work or other images related to the standards. current lesson. Know Your Students Remember that Establish Rules Create a list of rules students arrive each year with a mixed and expectations that define appropriate set of experiences. Art classes can be behavior for your students. Address how intimidating for some students. Make art materials should be handled, general a special effort to know each student’s safety concerns, and the respect you name, personality, and learning style. require students to have for each other’s Interact with students through the work. course of each day, both inside and outside the classroom. Make sure that Exhibit Artwork Take time to display your art projects allow for variation and artwork, both in class and in public flexibility so that all students succeed. areas of the school, and involve students in planning these exhibitions. Students Incorporate Themes Identify themes will take pride in their achievement and that engage students and connect with understand the importance of their their experiences. Working with strong artistic experience. themes motivates students, helps them form opinions, and activates critical Instruction thinking. Plan Bell-Ringer Activities Provide Introduce Various Art Forms transition time for students to settle Continually expose students to different into art class and get focused. Start a art forms by introducing them to discussion, quick drawing activity, game, techniques in drawing, painting, or other exercise, depending on grade sculpture, printmaking, and other level and class needs. media. Help them understand that Pace and Scaffold Instruction each art form has its own properties, Access students’ prior knowledge and and encourage them to explore these help them build Use the scope and properties in their own work. sequence to plan your standards-based Make Connections and Honor instruction throughout the year. Diversity Develop class opportunities or assign art projects that acknowledge Balance Process and Product and embrace students’ cultural Student discovery is an integral part backgrounds. Introducing them to of learning in visual arts. Help your various artists and types of artwork, students take risks and follow their whether folkloric or contemporary, will instincts, emphasizing the process help them examine different points of of art-making as much as the final view and traditions. product.

70 best practices Teach Students to Look at Art Provide Experiences Outside the Help students appreciate and evaluate Classroom Chicago is rich in its art art. Give them the vocabulary to offerings. Plan field trips to museums, describe what they see and provide a set galleries, archives, and artists’ studios to of questions that they can ask themselves expose students to a wide array of artists every time they view art. and art forms. Teach students basic museum etiquette. Promote Student Collaboration Though art activities often require Encourage Family Involvement students to work alone, provide By communicating with parents opportunities for collaboration. or guardians regularly about their Working with others on a project children’s work, you create a partnership helps students develop important that reinforces the importance of communication and social skills. learning and strengthens your school When assigning collaborative projects, arts community. consider each student’s abilities and skills. Require a Sketchbook Have students keep a sketchbook for drawing, doodling, writing down ideas, and pasting images. Even young students can benefit from a sketchbook if they have clear guidelines about how to use it. Evaluate Students in Different Ways Employ a variety of methods to assess students’ progress, such as verbal feedback, written comments, and peer evaluation. Use a rubric and varied assessment strategies to support learning. Leave Time for Reflection Allow time at the end of sessions to review or discuss important concepts introduced in class. Opportunities to reflect help students absorb their art-making processes and experiences. Student reflection also helps the teacher gauge comprehension.

Professional Responsibilities

Be Your Own Critic If an art lesson or project isn’t working out the way you intended, think about what might be improved. Remaining flexible will allow for more creativity in your approach to teaching. Stay in the Loop Technology provides students with constant access to new information and imagery. Understand the available tools and encourage your students to use them. Seek opportunities to develop professionally and support your practice.

best practices 71 The Developing pre-k to 2 Visual Arts Student

What Are Students Like at This Learning Level?

Very young children, no matter what their level of prior experience, are usually eager to make art. Direct their natural energy and enthusiasm with simple, structured activities that help them explore a wide array of materials and encourage self- expression. Though there will be variations in individual student development, most students will exhibit some of the following characteristics.

Pre-kindergartners by the process of art-making than by the At age two to four, students’ drawings final product. consist mostly of scribbles. They begin at the earliest stage with random markings First graders but slowly start to demonstrate more During this grade, six- and seven- control with circular and repeated year-olds’ drawings often reveal what motions. By ages four and five, many will they find most important about their be able to tell a story about their scribbles, subjects. Also, the use of color can be a sign of imaginative thinking and inspired by emotions rather than logic. visualization. These students are hands- Behaviorally, first graders exhibit on, experiential learners who enjoy more complex language skills and can discovering their developing abilities. therefore be quite expressive verbally. Behaviorally, pre-kindergartners are Expressiveness also takes the form of busy exploring language and may talk physical enthusiasm, which can mean out of turn. Because a class environment an increase in movement and a sense is new to them, they may be easily of competition. First graders learn well distracted by others. Keep art projects through discovery. Assign art projects simple and brief so that students stay that allow them to explore and create engaged. Include projects for which with a variety of materials. students can use drawing tools and other materials, such as basic collage materials Second graders and found objects, to create meaningful Seven- and eight-year-olds typically pictures and designs. demonstrate increased awareness of the concept of space. Objects in their Kindergartners drawings show a relationship to other In kindergarten, five- and six-year-olds objects. Colors reflect those found in begin combining circles and lines in ways the real world, and shapes and objects that suggest human or animal forms. The are more easily recognizable. Increased three-finger grip develops, which assists fine motor skills help students feel more them in both writing and drawing. in control as they draw, paint, cut, glue, Behaviorally, many kindergartners and work with clay. begin to demonstrate an understanding At this age, students move from liking to of rules and routines. They tend to be work in groups to working alone. They cooperative and seek teacher approval. often appear more serious than students Because they learn best through hands- at earlier grades; reassurance and on activities, art projects are a natural fit humor on your part can help maintain a for them. They are often more excited positive learning environment.

72 the developing student: pre-k to 2 What Students Can Do at This Level

The learning outcomes below are based on the Scope and Sequence, which builds instruction sequentially across these levels. Keep in mind that students of different ages may be at the same level.

Pre-K Students Can . . . Grade 2 Students Can . . .

• paint using washable paint and • paint using tempera, watercolor, varied tools or wax-resistant techniques

• identify primary, light, and dark • classify colors within color colors families (tints, tones, and shades, warm/cool, etc.)

• identify a work of art • identify primary and secondary colors

• notice the difference between • identify the formal elements in an smooth and rough textures artwork (lines, shapes, colors, etc.)

• express feelings through artwork • critique works of art, expressing likes and dislikes

the developing student: pre-k to 2 73 Scope and Sequence

art MAKING arts LITERACY interpretation & evaluation making connections

Construction (IL 26A; Nat’l 1) Elements of Art Art Criticism (Nat’l 5) Personal Connections Illinois State Goals (IL 25A; Nat’l 2) (IL 27A; Nat’l 1, 5) • Paint using washable paint and other tools. • Identify a work of art. 25. Know the language of • Draw using colored chalk, pencils, and crayons. • Identify primary, light, and • Describe a composition using the • Explain and compare various the arts. dark colors; varied lines; personal art experiences.

Pre-K formal elements (lines, shapes, • Create monoprints by stamping objects or 26. Through creating and geometric shapes; textures; colors). Historical/Cultural sponges with tempera. performing, understand types of space; and sizes. • Formulate questions about an Connections (IL 27B; Nat’l 4) • Sculpt pinch pots using modeling medium. how works of art are • Compare and contrast line vs. artwork based on descriptions of • Understand past, present, and • Carve into modeling medium using blunt tools. produced. shape, color vs. texture, shape formal elements. future. • Build sculptures by arranging objects or vs. size. Understand the role of Aesthetic Theory (Nat’l 5) • Explore the customs and 27. manipulating paper. the arts in civilizations Principles of Design • Develop essential questions (What is traditions of various cultures. • Cut materials safely with scissors. past and present. (IL 25A; Nat’l 2) art?, etc.). Interdisciplinary • Glue/paste both soft and hard objects to paper. • Define balance and demon Connections (IL 25B; Nat’l 6) • Construct a collage using paper and found strate, using the body/objects. • Identify types of art found in National Standards objects. • Identify proportion through daily life, including visual arts, 1. Understanding and • Design fiber art using textured fabric and visual examples (house to music, dance, and theater. applying media, string or yarn. mouse, etc.). techniques, and • Become familiar with time arts (photography, Expressive/Interpretive processes video, television, computer imagery, etc.). Qualities (IL 25A; Nat’l 2) 2. Using knowledge of Content (IL 26B; Nat’l 2, 3) • Show emotion using visuals structures and functions • Use the imagination while experimenting with and facial expressions. Choosing and evaluating art-making. 3. • Compare fantasy and reality. a range of subject matter, • Illustrate emotional intent using several • Discuss why people create symbols, and ideas artistic mediums. art (for gifts, museums, Understanding the visual • Design artwork comparing fantasy and reality. functional use, etc.). 4. arts in relation to history and cultures 5. Reflecting upon and Construction (IL 26A; Nat’l 1) Elements of Art Art Criticism (Nat’l 5) Personal Connections K assessing the (IL 25A; Nat’l 2) (IL 25B, 27A; Nat’l 1, 5) • Paint using washable paint and other tools. • Identify the formal elements in a characteristics and merits • Draw using colored chalk, pencils, and crayons. • Identify primary, light, and work of art (lines, shapes, colors). • Identify and provide examples of their work and the dark colors; varied lines; of visual art found in a home, a • Create monoprints by stamping objects or • Describe a composition using the work of others sponges with tempera. shapes; textures; types of formal elements. neighborhood, or everyday life. 6. Making connections space; and sizes. • Create questions about a work of art • Describe personal arts • Sculpt and carve pinch pots using modeling between visual arts and medium or clay and blunt tools. • Compare and contrast line vs. based on the formal elements. experiences. shape, color vs. texture, shape other disciplines • Build sculptures by arranging objects or • Recognize and classify artwork based Historical/Cultural vs. size. on media used (painting, drawing, Connections (IL 27B; Nat’l 4) For list of complete Illinois Standards for Visual manipulating paper. Arts, Grades Pre-K and K, see pages 250-251. Principles of Design • Cut materials safely with scissors. photography). • Compare and contrast when (IL 25A; Nat’l 2) various types of art were created. • Construct a collage using paper, glue, and Aesthetic Theory (Nat’l 5) • Identify visual balance. both soft and hard objects. • Understand essential questions • Understand and explain how art • Define proportion through tells a story of the past. • Create fiber art using textured fabric, string, (What is art? What makes art visual examples. or yarn. “good”?, etc.). • Appreciate the art of world • Explore visual rhythm, cultures. • Experiment with the time arts (photography, emphasis, and unity. computer imagery, etc.), identifying the center Interdisciplinary of an image. • Show contrast using lines, Connections (IL 25B; Nat’l 6) shapes, and colors. Content (IL 26B; Nat’l 2, 3) • Describe emotions communi Expressive/Interpretive • Use the imagination while making art. cated through other art Qualities disciplines. • Illustrate emotional intent using various media. (IL 25A, 27A; Nat’l 2) • Classify the fine arts you can • Design artwork comparing fantasy and reality, • Identify and mirror emotions see or hear. or with community as the subject. found in artwork. • Compare the senses used by • Compare fantasy and reality in artists. artwork.

74 scope and sequence: pre-k to k Scope and Sequence art MAKING arts LITERACY interpretation & evaluation making connections

scope and sequence: pre-k to k 75 Scope and Sequence

art MAKING arts LITERACY interpretation & evaluation making connections

Construction (IL 26A; Nat’l 1) Elements of Art (IL 25A; Nat’l 2) Art Criticism (Nat’l 5) Personal Connections Illinois State Goals (IL 25B, 27A; Nat’l 1, 5) • Paint and draw using tempera, • Identify straight, jagged, vertical, • Identify the formal elements in a 25. Know the language of watercolor, chalk, and craypas. horizontal, and diagonal lines and work of art (lines, shapes, colors). • Demonstrate proper etiquette the arts. • Create relief prints and monoprints by varied textures. • Describe a composition using the when viewing the arts. Through creating and stamping objects with washable paint. • Compare and contrast organic and formal elements. • Create artwork to use in 26.

G rade 1 performing, understand • Sculpt clay using various methods. geometric shapes. • Formulate questions about an celebrations. how works of art are • Classify primary and secondary artwork. • Cut materials safely with scissors and Cultural Connections produced. manipulate glue/paste. colors on the color wheel. Aesthetic Theory (Nat’l 5) (IL 27B; Nat’l 4) 27. Understand the role of • Construct sculptures and collages Principles of Design • Develop and support essential • Examine significant world art the arts in civilizations using found objects. (IL 25A; Nat’l 2) questions (Does the work of art (Sistine Chapel, Taj Majal, Mona past and present. • Weave using paper strips. • Use lines, shapes, and colors to create “mirror” reality? Does that make the Lisa, etc.). • Experiment with photography. balance, rhythm, unity, and contrast. art “good”?, etc.). • Examine Native American culture, symbols, and practices. National Standards Content (IL 26B; Nat’l 2, 3) • Show proportion using varied sizes of similar objects. • Examine how art tells stories of 1. Understanding and • Use color to depict emotions. • Manipulate contrasting elements to the past and is used in cultural applying media, • Depict a realistic environment/still- create emphasis. celebrations. techniques, and life. Expressive and Interpretive • Examine characteristics of world processes • Sketch original ideas to plan artwork. Qualities (IL 25A, 27A; Nat’l 2) cultures. 2. Using knowledge of • Mix primary colors into secondary • Identify and explain how color Interdisciplinary structures and functions colors. creates emotion. Connections (IL 25B; Nat’l 6) Choosing and evaluating • Manipulate lines, shapes, and 3. • Examine realistic works of art. • Explain how mind, body, light, proportions. a range of subject matter, • Define artwork based on the and sound are used in two or symbols, and ideas • Create portraits of family, friends, and processes and media used (painting, more art disciplines. self. 4. Understanding the visual drawing, photography, etc.). • Create artwork using “competing” arts in relation to history textures (wet vs. dry, etc.). and cultures 5. Reflecting upon and Construction (IL 26A; Nat’l 1) Elements of Art (IL 25A; Nat’l 2) Art Criticism (Nat’l 5) Personal Connections assessing the • Paint using tempera, watercolor, or • Classify colors within color families • Identify the formal elements in an (IL 25B, 27A; Nat’l 1, 5) characteristics and merits wax-resist techniques. (tints, tones and shades, warm/cool, artwork (lines, shapes, colors). • Demonstrate proper etiquette of their work and the • Draw using charcoal and oil pastels. etc.). • Describe a composition using the when viewing art. work of others • Create prints by using stencils, • Compare and contrast varied lines formal elements. • Describe art used for cultural 6. Making connections G rade 2 brayers, and tempera. (spiral, curved, thick, etc.). • Analyze how the formal elements are traditions, celebrations, or leisure. between visual arts and • Design sculptures with clay, paper, or • Compare and contrast 2-D and 3-D arranged to tell a story. Historical/Cultural other disciplines found objects. shapes. • Create questions about an artwork Connections (IL 27B; Nat’l 4) For list of complete Illinois Standards for Visual • Construct a collage using textured Principles of Design based on the formal elements. • Examine the importance of Arts, Grades 1–2, see page 250-251. paper, fabric, and other materials. (IL 25A; Nat’l 2) Aesthetic Theory (Nat’l 5) trade to art history (the Silk • Experiment with weaving. • Analyze the balance, proportion, • Develop essential questions from an Road, western settlers, Native Americans, etc.). • Explore human emotions and rhythm, and unity within a expressionist perspective (Does the personalities with photography. composition. artwork express emotions? Does that • Explore world myths and legends depicted in art. • Explore computer imagery. • Explain contrast created through make the art “good”?, etc.). shading. Interdisciplinary Content (IL 26B; Nat’l 2, 3) Expressive/Interpretive Connections • Sketch original ideas to plan artwork. Qualities (IL 25A, 27A; Nat’l 2) (IL 25B, 27A; Nat’l 6) • Create abstract artwork using two or • Explore empathy through works of • Discuss how artists collaborate more formal elements. art. (composers, choreographers, • Create portraits of a personal event. • Analyze abstract works of art. set designers, etc.). • Create a color wheel with primary and • Interpret an artist’s story depicted • Describe sensory elements used secondary colors. through an artwork. in various art disciplines. • Represent objects and space, illustrate • Analyze the effects of using varied • Explain how artists communicate balance, and create visual rhythm. media to depict similar subjects. ideas through the arts.

76 scope and sequence: grades 1 to 2 Scope and Sequence art MAKING arts LITERACY interpretation & evaluation making connections

scope and sequence: grades 1 to 2 77 VISUAL ART IN CHICAGO

s Art Institute of Chicago

The Art Institute’s Michigan Avenue Seurat’s pointillist masterpiece A building first opened in 1893, and to Sunday Afternoon on the Island of La Grande Chicago is renowned for its this day the lion sculptures stationed Jatte. The American collection houses magnificent, world-class art on either side of the entrance are one of the best-known paintings collections. Two major museums instantly recognized as symbols of in our continent’s history, Grant have helped establish this reputation: Chicago’s commitment to the arts. Wood’s American Gothic. Also on view The Art Institute of Chicago and the Each year thousands of visitors flock are significant works by United States Museum of Contemporary Art. to view the museum’s collection painters Mary Cassatt, Winslow comprising masterpieces from Homer, Edward Hopper, Jacob ancient to modern times. In 2009, Lawrence, Georgia O’Keeffe, and the museum debuted its Modern Romare Bearden, and the Mexican Wing. Designed by the architect painter Diego Rivera. Renzo Piano, this addition makes the The Asian collection spans nearly five Art Institute the second-largest art millennia and includes over 35,000 museum in the United States. objects, from household objects The museum’s European collection of ancient times to nineteenth boasts more than 3,500 works dating century woodblock prints, including from the twelfth to the mid-twentieth the familiar Great Wave Off Kanagawa centuries. Major impressionists, by Katsushika Hokusai. Other post-impressionists, and classic highlights include Chinese and modern artists are among the Japanese textiles; Chinese bronzes, museum’s most significant holdings. ceramics, and jades; and Indian and Arguably as iconic as the lions at Southeast Asian sculpture. Smaller the museum’s entrance is Georges but no less exciting is the museum’s s American Gothic collection of African art, with innovative and compelling center of artwork on the local, national, and emphasis on the sculpture of West contemporary art where the public international scene. and Central Africa. Masks, figurines, can directly experience the work and The MCA’s commitment to all headdresses, ritual objects, ceramics, ideas of living artists, understanding aspects of contemporary art— and furniture reflect the culture and the historical, social, and cultural including painting, sculpture, daily life of each nation and region, context of the art of our time.” Its photography, video, performance, as well as their unique modes of current residence located just east and installations—has helped increase expression. of Michigan Avenue near the old the public’s appetite for works that Water Tower, was built in the 1990s, With the addition of the Modern challenge and expand the definition establishing the MCA as one of the Wing, the museum doubled its of art and its place in the world. largest contemporary art museums in education facilities. The new Ryan Artists featured have included the the country. Education Center offers enlarged more established contemporary space where teachers and museum The museum’s holdings consist of names, such as such as Claes staff can orient student groups artwork created primarily after 1945. Oldenburg, George Segal, Robert during museum visits and where Though the MCA has a strong and Rauschenberg, Andy Warhol, and students participate in hands-on art varied permanent collection, it does David Hockney; and artists whose projects. not permanently exhibit many of legacies are still being shaped, such its pieces. Instead, the galleries are as H.C. Westermann, Chuck Close, The Museum of Contemporary chiefly devoted to rotating exhibits Richard Hunt, Cindy Sherman, Jeff Art has stayed true to its mission that feature not only the museum’s Koons, and Kerry James Marshall. since its 1967 founding: “to be an own collection but other important

In addition to its major museums, Chicago has also been home to significant visual artists and art movements. The timeline below offers a quick glance at some of these artists.

Ivan Albright (1897–1983). Known for grotesque hyperrealist style. Significant work: Picture of Dorian Gray (1943).

Archibald Motley, Jr. (1891–1981). Known for paintings of the Black Renaissance in Bronzeville. Significant works: Blues (1929) and Nightlife (1943).

MOTLEY, JR. László Moholy-Nagy (1895–1946). ALBRIGHT Known for photography and design. Came to Chicago in 1937 to open the New Bauhaus School of Design.

Richard Hunt (1935–). Known for hybrid sculptures including organic and industrial materials. Significant work: Farmer’s Dream (1980).

Judy Chicago (1939–). Known for HUNT installation work. Significant work: The PASCHKE Dinner Party (1974–1979).

Chicago Imagists (1950s–1960s). Movement of Figurative and Experimental art developed in Chicago. Significant works: Roger Brown’s Flight of Daedalus and Icarus (1990), Ed Paschke’s Minnie (1974), and Karl Wirsum’s Screamin’ Jay Hawkins.

CHICAGO WIRSUM The Developing GRADES 3 to 5 Visual Arts Student

What Are Students Like at This Learning Level?

From the beginning of third grade to the end of fifth grade, children go from carefree childhood to the brink of adolescence. This is a great time to introduce art projects that engage their imaginations and provide an outlet for self-expression. The following is a quick look at some of the behaviors you’re likely to encounter within this learning level.

Third graders involved in an activity. Because they are At this grade, eight- and nine-year- frequently concerned about neatness, old artists tend to use exaggeration to make sure that you allow enough time express strong feelings. For example, for artwork to be completed with the one person may be drawn much larger care and attention students desire. than others; a simple flower may dwarf a person standing next to it. Fifth graders Socially, third graders enjoy interacting Students at this grade often begin to with others and appreciate humor. In show a self-awareness in their art- the midst of being social, they may also making that leads to increased sensitivity exhibit competitive behavior. Fairness and self-criticism. At this time, many becomes a prominent issue in students’ students become aware of their artistic daily lives. When planning collaborative limitations of ability to depict objects art activities, allow for same-gender realistically. As a result, their work groups or partners, as students at this can appear less spontaneous than in age are more comfortable with this previous grades. arrangement. Because fifth graders are often a mix of ten- and eleven-year-olds, you’ll Fourth graders find that some students are still very In their art projects, fourth graders childlike, while others are maturing often display attention to detail. Their quickly—especially girls. Allow for the attempts at realism, however, may natural differences in these two groups. not necessarily be accurate. Instead, For example, to foster teamwork pair students’ artwork often reflects their students of the same age or who exhibit experiences with a certain object or a similar level of maturity. Create a safe person. and sensitive environment that allows Nine- and ten-year-olds at this grade all students to feel worthwhile as they typically are not risk-takers. They navigate this transitional phase. benefit from having you model what is

80 the developing student: grades 3 to 5 What Students Can Do at This Level

The learning outcomes below are based on the Scope and Sequence, which builds instruction sequentially across these levels. Keep in mind that students of different ages may be at the same level.

Grade 3 Students Can . . . Grade 5 Students Can . . .

• create prints on textured surfaces • create relief block or silkscreen using brayers and paint trays prints

• compare and contrast continuous • analyze artists’ use of lines to and broken lines create one-point perspective

• analyze how formal elements • analyze how formal elements communicate a message create naturalistic imagery

• develop essential questions from • develop arguments when a formalist perspective (What are viewing artwork from a moralist the qualities of a work of art? Do perspective (Can art teach a they make the art “good”?, etc.) moral lesson? Does that make it “good”?, etc.)

• explore tools, processes, and • make artistic choices based on subjects of prehistoric art personal values or sensory impact

• explore the artistic tools, processes, and subjects of Etrusan/Mycenaean, Han Dynasty, and Ancient Greek civilizations

the developing student: grades 3 to 5 81 Scope and Sequence

art MAKING Arts LITERACY interpretation & evaluation making connections

Construction (IL 26A; Nat’l 1) Elements of Art (IL 25A; Nat’l 2) Art Criticism (Nat’l 5) Personal Connections Illinois State Goals (IL 25B, 27A; Nat’l 1, 5) • Draw and paint using varied materials. • Create a color wheel with warm, cool, • Describe a composition using the 25. Know the language of • Create prints using brayers and paint and complementary colors. formal elements (lines, shapes, • Explore careers in art. the arts. trays on textured surfaces. • Compare and contrast continuous colors). • Practice using respectful actions 26. Through creating and • Design wire sculptures using bending, and broken lines. • Analyze how the formal elements when viewing art.

artwork. Qualities (IL 25A, 27A; Nat’l 2) Connections 3. Choosing and evaluating (IL 25B, 27A; Nat’l 6) • Create compositions using continuous • Analyze realistic vs. representational a range of subject matter, and broken lines and illustrate artwork. • Explore world myths and symbols, and ideas legends depicted through art. asymmetrical balance, visual rhythm, 4. Understanding the visual • Discuss how theater uses art. and unity. arts in relation to history • Emphasize crowded vs. empty space and cultures and fore-, middle-, background. 5. Reflecting upon and assessing the Construction (IL 26A; Nat’l 1) Elements of Art (IL 25A; Nat’l 2) Art Criticism (Nat’l 5) Personal Connections characteristics and merits • Draw and paint using varied materials. • Define and classify intermediate and • Describe a composition using the (IL 25B, 27A; Nat’l 1, 5) of their work and the • Create prints using water-based ink, tertiary colors. formal elements (lines, shapes, • Discuss personal interactions work of others brayers, carving tools, and relief blocks. • Compare and contrast real and colors). with and thought processes 6. Making connections implied texture. • Analyze how the formal elements about the arts. • Design papier mâché, clay, and between visual arts and G rade 4 communicate a message. • Identify formal elements in life. plaster sculptures. • Compare and contrast mass and use other disciplines • Construct a collage using found of contour lines. • Interpret the emotional qualities/ • Explore careers in the arts. artist’s intent. For list of complete Illinois Standards for Visual objects, paper, or cardboard. • Compare and contrast positive and Historical/Cultural Arts, Grades 3–4, see page 250-251. • Weave using a loom, shuttle, and yarn. negative space. • Create questions about artwork Connections (IL 27B; Nat’l 4) • Sew using burlap, needles, and yarn. Principles of Design based on the formal elements. • Examine common materials/ • Photograph abstract imagery. (IL 25A; Nat’l 2) Aesthetic Theory (Nat’l 5) themes used in art over time. • Explore drawing/design software. • Analyze accurate proportions of • View, analyze, and discuss artwork • Explore tools, processes, and human body. from multiple perspectives. subjects of ancient Egyptian, Content (IL 26B; Nat’l 2, 3) • Analyze how artists create Mesopotamian, and Aegean/ • Sketch original ideas to plan artwork. visual rhythm and unity within a Mediterranean art. • Use tertiary colors in compositions. composition. • Explore early American history as • Explore positive/negative space. Expressive/Interpretive depicted through visual arts. • Experiment with gestalt. Qualities (IL 25A, 27A; Nat’l 2) Interdisciplinary • Render images with realistic • Analyze abstracted and realistic Connections proportions. images. (IL 25B, 27A; Nat’l 6) • Create visual rhythm with contour lines. • Interpret artists’ use of abstracted • Analyze how two or more arts • Exaggerate to create emphasis/distort images. affect emotional qualities of an reality. • Choose appropriate media in art form (music in a gallery, etc.) • Create unity using specific color schemes. personal art work. • Examine literary themes or characters in art.

82 scope and sequence: grades 3 to 4 Scope and Sequence art MAKING Arts LITERACY interpretation & evaluation making connections

G rade 3 performing, understand twisting, and coiling techniques. • Compare and contrast natural vs. communicate a message. • Explain how art enhances leisure how works of art are man-made shapes and textures. • Interpret the emotional qualities/ time or is used in celebrations. • Build clay sculptures using scoring and produced. slip techniques or additive methods. • Compare and contrast crowded and artist’s intent. Historical/Cultural 27. Understand the role of • Construct a collage using contrasting empty space. Aesthetic Theory (Nat’l 5) Connections (IL 27B; Nat’l 4) the arts in civilizations colors, textures, and shapes. • Define foreground, middle-ground, • Develop essential questions from a • Explore tools, processes and past and present. • Weave using warp, weft, and knotting and background. formalist perspective (What are the subjects of pre-historic art. techniques. Principles of Design qualities of a work of art? Do those • Analyze the importance of • Experiment with photography (mood, (IL 25A; Nat’l 2) qualities “trigger” emotions? Does portraits, landscapes, and National Standards depth, abstract/realistic images). • Compare and contrast symmetrical that make the art “good”?, etc.). functional art to Colonial settlers. 1. Understanding and • Explore computer imagery using and asymmetrical balance. • Analyze varied characteristics of applying media, software programs. • Analyze rhythm and unity in a American ethnic groups (Creole, techniques, and processes Latino, African American, etc.). Content (IL 26B; Nat’l 2, 3) composition. 2. Using knowledge of • Sketch original ideas to plan abstract Expressive/Interpretive Interdisciplinary structures and functions artwork. Qualities (IL 25A, 27A; Nat’l 2) Connections 3. Choosing and evaluating (IL 25B, 27A; Nat’l 6) • Create compositions using continuous • Analyze realistic vs. representational a range of subject matter, and broken lines and illustrate artwork. • Explore world myths and symbols, and ideas legends depicted through art. asymmetrical balance, visual rhythm, 4. Understanding the visual • Discuss how theater uses art. and unity. arts in relation to history • Emphasize crowded vs. empty space and cultures and fore-, middle-, background. 5. Reflecting upon and assessing the Construction (IL 26A; Nat’l 1) Elements of Art (IL 25A; Nat’l 2) Art Criticism (Nat’l 5) Personal Connections characteristics and merits • Draw and paint using varied materials. • Define and classify intermediate and • Describe a composition using the (IL 25B, 27A; Nat’l 1, 5) of their work and the • Create prints using water-based ink, tertiary colors. formal elements (lines, shapes, • Discuss personal interactions work of others brayers, carving tools, and relief blocks. • Compare and contrast real and colors). with and thought processes 6. Making connections implied texture. • Analyze how the formal elements about the arts. • Design papier mâché, clay, and between visual arts and G rade 4 communicate a message. • Identify formal elements in life. plaster sculptures. • Compare and contrast mass and use other disciplines • Construct a collage using found of contour lines. • Interpret the emotional qualities/ • Explore careers in the arts. artist’s intent. For list of complete Illinois Standards for Visual objects, paper, or cardboard. • Compare and contrast positive and Historical/Cultural Arts, Grades 3–4, see page 250-251. • Weave using a loom, shuttle, and yarn. negative space. • Create questions about artwork Connections (IL 27B; Nat’l 4) • Sew using burlap, needles, and yarn. Principles of Design based on the formal elements. • Examine common materials/ • Photograph abstract imagery. (IL 25A; Nat’l 2) Aesthetic Theory (Nat’l 5) themes used in art over time. • Explore drawing/design software. • Analyze accurate proportions of • View, analyze, and discuss artwork • Explore tools, processes, and human body. from multiple perspectives. subjects of ancient Egyptian, Content (IL 26B; Nat’l 2, 3) • Analyze how artists create Mesopotamian, and Aegean/ • Sketch original ideas to plan artwork. visual rhythm and unity within a Mediterranean art. • Use tertiary colors in compositions. composition. • Explore early American history as • Explore positive/negative space. Expressive/Interpretive depicted through visual arts. • Experiment with gestalt. Qualities (IL 25A, 27A; Nat’l 2) Interdisciplinary • Render images with realistic • Analyze abstracted and realistic Connections proportions. images. (IL 25B, 27A; Nat’l 6) • Create visual rhythm with contour lines. • Interpret artists’ use of abstracted • Analyze how two or more arts • Exaggerate to create emphasis/distort images. affect emotional qualities of an reality. • Choose appropriate media in art form (music in a gallery, etc.) • Create unity using specific color schemes. personal art work. • Examine literary themes or characters in art.

scope and sequence: grades 3 to 4 83 Scope and Sequence

Art MAKING arts LITERACY interpretation & evaluation making connections

Construction (IL 26A; Nat’l 1) Elements of Art (IL 25A; Nat’l 2) Art Criticism (Nat’l 5) Personal Connections Illinois State Goals (IL 25B, 27A; Nat’l 1, 5) • Draw and paint on varied surfaces. • Classify monochromatic and • Describe and ask questions about 25. Know the language of • Create relief block or silkscreen prints. neutral colors. a composition using the formal • Compare and contrast the the arts. • Analyze artists’ use of lines to elements. artistic principles found in • Design sculptures using assemblage, 26. Through creating and modeling, casting, and carving create one-point perspective. • Analyze how formal elements create commercial posters or TV ads.

G rade 5 performing, understand techniques. • Compare and contrast the use naturalistic imagery. • Analyze how art is used in daily how works of art are of texture to create naturalistic • Interpret the emotional qualities/ life. • Construct a collage using text, imagery, produced. and found objects. compositions. artist’s intent. Historical/Cultural 27. Understand the role of • Design a cohesive weaving. • Analyze the use of shading to Aesthetic Theory (Nat’l 5) Connections (IL 27B; Nat’l 4) the arts in civilizations • Sew soft sculpture using fabric. create 3-D mass. • Develop arguments when viewing • Explore the artistic tools, processes, and subjects of past and present. • Experiment with video. Principles of Design artwork from a moralist point of (IL 25A; Nat’l 2) view (Can art teach a moral/religious Etruscan/Mycenaean, Han • Photograph photojournalistic images. • Analyze the balance necessary to lesson? Does that make it “good”?, Dynasty, and ancient Greek National Standards • Explore drawing/design software. create a “picture inside a picture.” etc.). civilizations. 1. Understanding and Content (IL 26B; Nat’l 2, 3) • Analyze proportions in still lifes. • Explore 19th-century American applying media, • Sketch original ideas to plan artwork. artwork. • Analyze elements that create techniques, and processes • Use monochromatic and neutral colors. rhythm and unity. Interdisciplinary 2. Using knowledge of Connections • Experiment with value studies, tints, and Expressive/Interpretive structures and functions shades. (IL 25B, 27A; Nat’l 6) Qualities (IL 25A, 27A; Nat’l 2) 3. Choosing and evaluating • Analyze how two or more arts • Create one-point perspective • Analyze realistic vs. naturalistic a range of subject matter, combine to express artists’ compositions. images. symbols, and ideas • Create 3-D compositions with shading message or theme. • Evaluate media used in Understanding the visual and line techniques. 4. naturalistic works of art. arts in relation to history • Create a “picture inside a picture.” and cultures • Render accurate still-life and naturalistic compositions. 5. Reflecting upon and assessing the • Use line rhythm to imply movement, characteristics and merits shading to emphasize mass, and three of their work and the or more elements to create unity. work of others 6. Making connections between visual arts and other disciplines For list of complete Illinois Standards for Visual Arts, Grade 5, see page 250-251.

84 scope and sequence: grade 5 Scope and Sequence

Art MAKING arts LITERACY interpretation & evaluation making connections

scope and sequence: grade 5 85 VISUAL ART IN CHICAGO

Cultural Diversity

A Legacy of

The Chicago Cultural Center

H Chicago’s residents comprise Mexican art in the United dozens of ethnic groups, with States—both traditional and more than a hundred languages contemporary. Founded spoken. Restaurants and markets in 1982 by a group of that reflect different ethnicities teachers, it was first fill its many neighborhoods, named the Mexican Fine while clubs, parades, and Arts Center Museum. To festivals celebrate the unique reflect its national status, contributions of a host of the name was changed cultures. In addition, many in 2006. The museum museums across the city focus strives to preserve and the public’s attention on the encourage an appreciation history and art of specific ethnic of Mexican culture through groups—Chinese, Polish, Jewish, its exhibitions, educational Greek, and Ukrainian, to name s Work from the DuSable Museum programs, and special a few. On these pages, we’ll focus events. The permanent on three of the many culturally museum dedicated to the study, art collection consists of rich venues our city has to offer. collection, and preservation of more than 6,000 pieces. In both its African and African American permanent collection and its special The Chicago Cultural Center, the history and culture. The museum exhibits, the museum embraces the historic landmark located downtown was first located in the home of sin fronteras, or “without borders,” on the corner of Randolph Street its founder, artist and educator definition of Mexican art as artwork and Michigan Avenue, was originally Dr. Margaret Burroughs. In 1973, created on either side of the border. built in the late nineteenth century as the museum moved to its current Works represent a wide range of the city’s main public library. Today, location and was renamed after Jean periods, from ancient artifacts to the through the auspices of the Chicago Baptiste Point DuSable. DuSable 18th-century work of Miguel Cabrera Department of Cultural Affairs, it was a Haitian of African and French to the recent work of Mario Castillo provides hundreds of programs free descent, who established a trading and Hector Duarte. In addition to of charge for the city’s residents. post and settlement in 1779 that its commitment to the visual arts, The many facilities at the Cultural would eventually become Chicago. the museum has supported Mexican Center include a concert hall, a The DuSable Museum owns more culture in other ways. In the mid- theater, exhibit halls, a dance studio, than 15,000 pieces of art and 1990s, the museum acquired a a gallery, and a café. Among its many historical artifacts. The permanent radio station, WRTE 90.5 FM. The offerings, the Cultural Center serves fine art collection includes works by station, Radio Arte, is Latino-owned as an exceptional visual arts venue African American artists including and offers a bilingual media-training that reflects a strong commitment Augusta Savage, Henry O. Tanner, program to young people. The to ethnic heritage and diversity. The Elizabeth Catlett, Archibald Motley, museum also sponsors events that center’s goal is to expose the public to Marion Perkins, and William H. celebrate Mexican culture through artwork that may not be available for Johnson. Special exhibits are also dance, theater, film, literature, view in more traditional museums planned on a regular basis, displaying music, and culinary arts. and galleries around the city and to works from private collections and provide opportunities for local artists other museums and galleries around Work by Miguel Linares Mendoza from

to show their work. Also displayed the country. Each year, the s the National Museum of Mexican Art are national and international DuSable sponsors workshops, traveling shows, expanding the lectures, and special events public’s awareness of the larger visual that help educate the public. arts community. Exhibits cover a Its annual Arts and Crafts variety of areas: architecture, fine Festival promotes the arts, folk arts, crafts, and cultural exhibition and purchase of studies. Gallery talks, lectures, current works by African panel discussions, and educational American artists from programs help support the public’s Chicago and other parts of understanding and appreciation of the United States. the arts. The National Museum of The DuSable Museum of African Mexican Art is located on American History, located in 19th Street in the Pilsen Washington Park at 57th Street and community and is considered South Cottage Grove Avenue, was by many to have the biggest founded in 1961 as an independent and best collection of The Developing grades 6 to 8 Visual Arts Student

What Are Students Like at This Learning Level?

In these “middle years,” students go through tremendous changes, both physically and emotionally. As they reach puberty and inch their way toward adulthood, they may begin to act self-conscious. Their eventual adult personalities are beginning to emerge, along with a desire for more independence. The following is a quick look at some of the behaviors you are likely to encounter at this learning level.

Sixth graders Socially, seventh graders have a strong In art class at this grade level, students desire to be accepted by their peers. often express a strong desire to be At times, they may act rebellious; shown various art techniques that will other times, they may seem withdrawn. assist them in achieving the best results Though they often want to share their in their finished pieces. An increased feelings, they aren’t always sure how. Art ability to think abstractly may show up projects that combine art and writing in the subjects they portray in their can provide opportunities for students artwork. to express themselves in meaningful Eleven- and twelve-year-olds at this ways. grade may sometimes have trouble with tasks that require decision-making. Eighth graders Make sure to provide clear, focused Art students at this grade should be instruction that helps them succeed. encouraged to develop observational Though they sometimes like to challenge skills rather than relying on the artwork the rules, at the same time they need of others, such as that found in comic adults in their lives who empathize books or how-to drawing books. When and offer support. Sixth-graders’ existing models are simply copied, natural interest in current events and students’ ability to improve is limited. social justice can present interesting Direct observation helps develop skills opportunities for discussion and theme- needed to perceive and depict the based art projects. formal elements key to successful art- making. Seventh graders Eighth graders are typically more In grade seven art classes, twelve- and introspective than seventh graders. thirteen-year-olds begin to fall into Though they enjoy the company of two groups: those whose artwork is peers, they often have difficulty working inspired by visual stimuli and those in cooperative groups. As they grapple whose artwork is less visual and instead with the question “Who am I?” they derives from subjective experience. can benefit from art projects that help The visual student, for example, starts them explore their identities. Such to understand how color changes projects help prepare students for the depending on external conditions. The independence and time management nonvisually-minded student sees color skills necessary in high school. as a way to portray personal reactions to the subject being depicted.

88 the developing student: grades 6 to 8 What Students Can Do at This Level

The learning outcomes below are based on the Scope and Sequence, which builds instruction sequentially across these levels. Keep in mind that students of different ages may be at the same level.

Grade 6 Students Can . . . Grade 8 Students Can . . .

• apply digital design techniques • market ideas using graphic design techniques

• classify opaque and transparent • analyze the emotional qualities of colors color

• analyze use of humor in works • interpret meaning of artwork of art based on cultural/historical context

• develop arguments when viewing • analyze artwork from a symbolist artwork from an instrumentalist perspective (Does the artwork perspective (Is this art useful? Does convey a message clearly? Does that make the art “good”?, etc.) that make it “good”?, etc.)

• analyze personal experiences with • explore and develop personal and interest in multiple art forms style

the developing student: grades 6 to 8 89 Scope and Sequence

art MAKING arts LITERACY interpretation & evaluation making connections

G rade 6 performing, understand • Analyze spatial relationships • Create questions about artwork multiple art forms. • Construct a collage using computer- how works of art are within compositions. based on the formal elements. Historical/Cultural generated imagery and other materials. produced. • Create humorous soft sculpture. Principles of Design Aesthetic Theory (Nat’l 5) Connections (IL 27B; Nat’l 4) 27. Understand the role of • Experiment with basket-weaving. (IL 25A; Nat’l 2) • Develop arguments when viewing • Explore the artistic tools, processes, and subjects of past cultures the arts in civilizations • Emphasize photographic mood, function, • Analyze the balance created by artwork from an instrumentalist (Kingdom of Ghana, Byzantine past and present. and intent. multiple elements of art. theory point of view (Is this art useful? Can this art help improve Empire, etc.). • Apply digital design techniques. • Examine how visual rhythm is interrupted within a composition. overall life experiences?, etc.). • Explore early 20th-century American National Standards • Create a video that conveys a mood. • Analyze how “misplaced” objects art. 1. Understanding and Content (IL 26B; Nat’l 2, 3) within a composition upset unity. • Compare/contrast similar ideas in applying media, • Use opaque and transparent colors. different cultures. Expressive/Interpretive techniques, and processes • Create two-point perspective Qualities (IL 25A, 27A; Nat’l 2) Interdisciplinary Connections 2. Using knowledge of compositions. (IL 25B, 27A; Nat’l 6) • Compare and contrast functional structures and functions • Incorporate humor using “wrong” and non-functional artwork. • Compare and contrast connections 3. Choosing and evaluating textures, proportions, or materials. in works from two art disciplines. • Evaluate the use of unorthodox a range of subject matter, • Emphasize spatial relationships in media in artwork. • Analyze careers in which different symbols, and ideas abstract art. artists work together. Understanding the visual • Create compositions to scale. 4. arts in relation to history • Interrupt rhythm using contrasting and cultures colors/lines. 5. Reflecting upon and assessing the Construction (IL 26A; Nat’l 1) Elements of Art (IL 25A; Nat’l 2) Art Criticism (Nat’l 5) Personal Connections characteristics and merits (IL 25B, 27A; Nat’l 1, 5) • Vary materials/processes to draw, paint, • Contrast translucent and opaque/ • Analyze how formal elements of their work and the and create prints. transparent colors. create humor. • Analyze how art is used to provide work of others • Choose printing techniques. • Analyze artists’ use of lines to • Interpret the emotional qualities/ information. 6. Making connections • Design sculptures and jewelry. create optical illusions. artist’s intent. • Develop personal style through

G rade 7 between visual arts and • Capture “essence” in soft sculpture. • Analyze the use of decorative • Make judgments regarding choice of medium, subject matter, or formal elements. other disciplines • Create functional baskets. texture to create visual impact. personal preferences. For list of complete Illinois Standards for Visual Principles of Design • Make judgments about why a work Historical/Cultural • Photograph conceptual imagery. Arts, Grades 6–7, see page 250-251. (IL 25A; Nat’l 2) is “museum worthy.” Connections (IL 27B; Nat’l 4) • Use software for logo and marketing • Analyze how artwork design. • Analyze the balance necessary to Aesthetic Theory (Nat’l 5) create mobiles. communicates/influences cultures. • Explore visual literacy. • Develop arguments from an • Analyze the accuracy of essentialist theory point of view • Explore the artistic tools, • Create a silent/conceptual video. proportions in larger than life- (What is the essence of this processes, and subjects prevalent Content (IL 26B; Nat’l 2, 3) sized works of art. artwork? What are the necessary during major artistic periods. • Use color schemes to create emotion. • Examine how visual rhythm, conditions for this to be considered • Explore 20th-century American • Arrange lines to create optical illusions. emphasis, or unity is created from art? If taken out of context, would post-war artwork. • Create larger than life-sized 3-D minimalist compositions. this still be considered art?, etc.). Interdisciplinary sculptures. Expressive/Interpretive Connections • Create free-standing, balanced Qualities (IL 25A, 27A; Nat’l 2) (IL 25B, 27A; Nat’l 6) compositions with accurate proportions. • Analyze the concept an artist • Compare and contrast works from • Use minimalist techniques to create conveys in conceptual art. two or more disciplines that share rhythm, emphasis, or unity. • Analyze the essential qualities in similar themes. • Create a conceptual composition using works of art. • Analyze careers in which different the essence of an object. • Compare and contrast works that artists collaborate. use minimal multiple media.

90 scope and sequence: grades 6 to 7 Scope and Sequence art MAKING arts LITERACY interpretation & evaluation making connections

scope and sequence: grades 6 to 7 91 Scope and Sequence

art MAKING arts LITERACY interpretation & evaluation making connections

Construction (IL 26A; Nat’l 1) Elements of Art (IL 25A; Nat’l 2) Art Criticism (Nat’l 5) Personal Connections Illinois State Goals (IL 25B, 27A; Nat’l 1, 5) • Vary materials/processes to draw, paint, • Analyze the emotional qualities of • Analyze how organization of the 25. Know the language of and create prints. color. formal elements tells a story. • Identify artistic style. the arts. • Choose printing techniques. • Analyze the use of lines, texture, • Interpret the meaning of artwork • Explore at least two careers in 26. Through creating and • Design collage, sculptures, and jewelry. space, and scale in compositions. based on its cultural/historical art. G rade 8 context. performing, understand • Convey a message with soft sculpture. Principles of Design Historical/Cultural how works of art are (IL 25A; Nat’l 2) • Justify personal preferences. • Create complex baskets. Connections (IL 27B; Nat’l 4) produced. • Analyze the asymmetrical balance • Make judgments about why a work is • Analyze how art/artists influence • Photograph surrealistic imagery. Understand the role of created by varied objects. “museum worthy.” time periods, events, or society. 27. • Market ideas using graphic design. the arts in civilizations • Examine how an artist creates Aesthetic Theory (Nat’l 5) • Explore the artistic tools, • Create video of performance art. past and present. visual rhythm, emphasis, and/or • Analyze artwork from a symbolist processes, and subjects • Construct assemblage works to include unity. theory point of view (Does the art representative of major periods sound, light, or other devices. Expressive/Interpretive convey a message clearly? Does the or styles. National Standards (IL 26B; Nat’l 2, 3) Content Qualities (IL 25A, 27A; Nat’l 2) art imply a message?, etc.). • Explore contemporary American 1. Understanding and • Express emotions using the symbolic • Reflect upon how emotions affect artwork. applying media, qualities of color and line. artwork. • Distinguish ways arts inform vs. techniques, and processes • Create surrealistic and cubist artwork • Analyze the meaning behind entertain. 2. Using knowledge of using abstracted shapes. surrealistic works of art. Interdisciplinary structures and functions • Plan thumbnails and blueprints to scale, • Analyze the social commentary Connections 3. Choosing and evaluating reflecting accurate proportions. and story line necessary for works (IL 25B, 27A; Nat’l 6) a range of subject matter, • Use text to unify social commentary/ of art. • Explore influences for visual symbols, and ideas symbolism. rhythm in art (music, nature, 4. Understanding the visual dance, etc.). arts in relation to history • Compare/contrast varied and cultures artworks/disciplines having similar themes. 5. Reflecting upon and assessing the characteristics and merits of their work and the work of others 6. Making connections between visual arts and other disciplines For list of complete Illinois Standards for Visual Arts, Grade 8, see page 250-251.

92 scope and sequence: grade 8 Scope and Sequence

art MAKING arts LITERACY interpretation & evaluation making connections

scope and sequence: grade 8 93 GO Public Art in Chicago Public Art In Chicago VISUAL ART IN CHICA ART VISUAL

s Cloud Gate

Public art, meaning artwork located One of the early pieces of peace between the United States and in public places, can be divided commissioned public art in Chicago Great Britain. into two basic types: works typically is the Lorado Taft sculpture titled In the downtown area, several works created by individual artists, which Fountain of Time (1922). Located on the by internationally known artists are commissioned, purchased, or western edge of the Midway Plaisance have become familiar landmarks given as gifts; and works that have in Hyde Park, the impressive over the past few decades. Pablo their origins as community projects. concrete structure consists of one Picasso’s untitled immense steel Chicago is fortunate to have a hundred figures marching past sculpture situated in the Daley considerable collection of both. Father Time. The piece was created Center has continued to mystify to celebrate one hundred years of passersby long after its dedication Chicago ranks as one of the most (1967). An abstract work by Spanish prolific cities for producing artist Joan Miró, titled The Sun, the community-based public art. In Moon and One Star (1981), is across the fact, Chicago is often associated street from “The Picasso.” Alexander with the beginnings of the Calder’s Flamingo (1974), an imposing nationwide grass-roots movement orange-red steel sculpture, stands in which artists, community leaders, in the Federal Center Plaza at arts organizations, and residents Dearborn and Adams. Four Seasons work toward the common goal of (1974), a four-sided pastel mosaic creating meaningful, beautiful, by Marc Chagall, beautifies the bank and lasting objects within an urban plaza near the corner of Dearborn setting. The movement began in the and Madison. Jean Dubuffet’s late 1960s with murals that reflected striking Monument with Standing Beast the political, social, and cultural (1984) is located at the State of upheavals taking place during that Illinois Center on Randolph. As time. Community art projects these sculptures went up, the soon grew in number and took on Chicago Public Art Program was a variety of forms, such as mosaics, developed to continue providing city sculpture, benches, windows, and residents with high-quality public art. space designs. Today, seeing art on s Four Seasons the streets of Chicago has become Along Michigan Avenue, east of these so familiar that it’s hard to imagine Loop structures, sits Millennium a time when it wasn’t part of our Park. This park, which officially landscape. opened in 2004, is an important Chicago venue for concerts, gardens, The Chicago Public Art Group and public art. One of its popular (CPAG) has played a key role in the sculptures is Cloud Gate, nicknamed evolution of community art efforts. “The Bean” by the city’s residents For decades, CPAG has provided because of its curved shape. Anish schools, agencies, and organizations Kapoor completed the shiny, three with trained artist-leaders who story sculpture in 2005. Jaume learn to manage projects and Plensa’s Crown Fountain (2004), at communicate with neighborhood the southwest corner of the park, residents while carrying out plans consists of two glass-block towers for permanent, safe, and meaningful on either side of a reflecting pool. public landmarks. Each tower displays a close-up clip One CPAG project, Water Marks of a face, randomly selected from (1998), is recognized as one of the among hundreds of videos. At nation’s largest and most admired various intervals, the faces “spit” community artworks. Situated in water out into the pool, delighting s Gateway Park at the entrance to Agora waders and watchers alike. Unlike Navy Pier, it consists of four mosaic the earlier works, which are meant benches positioned in a landscape to be viewed as one would view static of pathways that recreates the museum pieces, these two art pieces shape of the Illinois and Michigan in Millennium Park invite public Canal. The canal, which linked interaction. Lake Michigan to the Illinois and Another contemporary public art Mississippi Rivers, played a historical piece is the sculptural installation role in the development of the Agora (2006), by Polish artist city’s—and the country’s—commerce Magdalena Abakanowicz. This and transportation. Four years in installation in Grant Park comprises the making, the project represents a 106 headless, armless, nine-foot tall monumental collaboration of talent figures cast in iron, frozen in various and effort on the part of artists, walking stances. For many visitors, landscape architects, engineers, the towering human shapes have historians, and residents. a disquieting yet profound effect.

s Crown Fountain The Developing HS I to II Visual Arts Student

What Are Students Like at This Learning Level?

Art I and Art II don’t necessarily correspond with Grades 9 and 10. Depending on students’ schedules, they may register for one of these classes at any point. An Art I class may include students in grades 9 through 12. A wide range of students’ prior experience with art makes it important to plan activities that will be accessible to all students. The following is a quick look at what you might encounter at this learning level.

• Art I is a graduation requirement • Unlike students at earlier grades, high and a prerequisite for many high school students are sometimes more school art courses. Students may interested in making a final product lack prior experience and feel out of than in the process itself. Depending place in an art studio environment. on their level of experience they Explain how the class will run, what may be reluctant to show what they class expectations are, and how are working on. Use class critiques materials are to be treated. Make to introduce students to talking sure all students understand that about their work and feeling more the open studio environment often comfortable with the process. Class associated with art-making requires critiques will be more successful if responsibility. students understand the importance of respectful, constructive criticism. • High school students have a strong capacity to absorb new information • Students who demonstrate a higher and are usually interested in discussing level of artistic talent may not realize and evaluating what they are learning, it. Assess their needs carefully, and especially if an assignment is relevant provide them with more guidance and to their lives. Survey your students technical skills if they seem receptive. to connect with their personal Encourage gifted or motivated experiences and interests, and then students to seek independent arts assign projects that reflect these. This experiences outside of school. will lead to heightened engagement and a sense of camaraderie. • When using examples to begin a lesson, be mindful that students may attempt to replicate what they see instead of relying on their own abilities. Encourage individuality by • presenting steps in progress instead of finished examples. Also provide students with choices for color schemes, subject matter, or varied materials to allow them freedom to be expressive.

96 the developing student: hs i to ii What Students Can Do at This Level

The learning outcomes below are based on the Scope and Sequence, which builds instruction sequentially across these levels. Keep in mind that students of different ages may be at the same level.

High School Level I High School Level II Students Can . . . Students Can . . .

• apply both teacher- and self- • explain and justify choices made generated ideas within a in creating a work of art composition

• explore and document ideas • work at fine-tuning their skills in within a sketchbook order to successfully convey their ideas

• compare and contrast works of • create artwork that is impacted art by current events that are relevant to society

• explain how the arts function as • analyze and interpret an artist’s a reflection of historical, social, purpose or message based on economic, and personal contexts social, historical, and personal contexts

the developing student: hs i to ii 97 Scope and Sequence

art MAKING arts LITERACY interpretation & evaluation making connections teaching standards

Construction (IL 26B; Nat’l 1) Elements of Art (IL 25A; Nat’l 2) Art Criticism (IL 27A; Nat’l 2, 5) Personal Connections Illinois State Goals (IL 27A; Nat’l 3) • Show proficiency in skills taught in • Analyze how art elements contribute • Describe a work of art using arts 25. Know the language of earlier grades. to the emotional qualities of a work. terminology. • Use analytical and problem- the arts. • Develop a repertoire of a variety of • Evaluate the use of the elements • Examine the social, historical, and solving skills gained in Through creating and tools, technologies, and processes within a composition and how they personal context that informed a producing artwork to solve 26. to be used in creating artistically contribute to an overall cohesiveness. work of art. problems in daily life. performing, understand how works of art are informed works. • Analyze the overarching idea • Explore a variety of careers Principles of Design produced. • Apply both teacher- and self-generated (IL 25A; Nat’l 2) through the use of media, in the field of art and art ideas within a composition. • Explain how the artist uses the processes, and other artistic education. 27. Understand the role of • Explore and document ideas within a principles of design and how they decisions. • Distinguish ways in which art the arts in civilizations sketchbook. contribute to the meaning of a work. • Interpret the purpose and intentions informs and entertains. past and present. • Explore a variety of media via hands- • Evaluate the artist’s use of media in of the work and the artist. • Evaluate how consumer trends affect the types and styles of National Standards High School Level I High School Level on experiences, including drawing, relation to the principles of design. • Develop an educated personal artwork created. painting, 3-D (additive/subtractive), Expressive/Interpretive response to the overall message the 1. Understanding and printmaking, mixed media, technology, Qualities (IL 25A; Nat’l 2) work conveys. Historical/Cultural applying media, fiber art, and photography. • Support inferences about the • Justify an opinion about the Connections techniques, and processes • Initiate a personal style of artwork. purpose and effects of various (IL 25B, 27B; Nat’l 3, 4, 5) artist’s intent with details from 2. Using knowledge of media in terms of informing and • Create clear and focused the composition and other factual • Examine the use of media and structures and functions compositions based on planning, information (time period, other works, persuading the public. ideas in relationship to an artist’s 3. Choosing and evaluating research, and problem solving. etc.). Aesthetic Theory (Nat’l 5) surroundings and heritage. a range of subject matter, (IL 25A, 26A) • Use aesthetic criteria to judge an • Analyze how works of art from Content • Analyze and evaluate the intended symbols, and ideas • Analyze and evaluate how a tool or purpose of a work of art and compare artwork. varied cultures or historical technology can be used to produce a and contrast it with other works. • Develop and support arguments periods communicate ideas 4. Understanding the visual arts in relation to history completed work. • Examine the purposes and effects of when viewing artwork from multiple and express the identity of the society. and cultures • Develop, adjust, and evaluate various media (film, TV, etc.). theories or perspectives. media, techniques, and materials to • Identify the works of major 5. Reflecting upon and successfully communicate an idea. artists or works representative of assessing the particular styles or movements. characteristics and merits • Compare and contrast works of their work and the of art from different periods or work of others movements that share similar 6. Making connections themes. between visual arts and • Discuss art as a political tool of other disciplines expression. For list of complete Illinois Standards for Visual • Analyze Chicago architecture. Arts, Grade 9, see page 250-251. Interdisciplinary Connections (IL 25B; Nat’l 6) • Compare and contrast the processes and technologies of the visual arts with those of other art disciplines (music, dance, etc.). • Compare and contrast a work of art from a particular period with a song, dance, or play from the same period. • Choose or create artwork to illustrate/enhance a literature selection (poetry, short story, essay, etc.) and explain the reasoning behind the choice.

98 scope and sequence: high school level i Scope and Sequence art MAKING arts LITERACY interpretation & evaluation making connections teaching standards

scope and sequence: high school level i 99 Scope and Sequence

art MAKING arts LITERACY interpretation & evaluation making connections teaching standards

Construction (IL 26B; Nat’l 1) Elements of Art (IL 25A; Nat’l 2) Art Criticism (IL 27A; Nat’l 2, 5) Personal Connections Illinois State Goals (IL 27A; Nat’l 3) • Show proficiency in skills taught in • Analyze and evaluate how art • Debate and critique the impact and 25. Know the language of earlier grades. elements contribute to the emotional intent of a series of works by one or • Correlate a relationship the arts. • Choose a primary medium or method qualities of a work. more artists within a theme. between art and personal life Through creating and (2-D, 3-D, photo, drawing) to work in. • Analyze and evaluate the use of the • Describe in clear and concise art (graphic design, fashion, media, 26. performing, understand • Through the use of advanced elements within a composition and terminology the basic ideas and architecture, etc.). how works of art are techniques, hone in on specific media how they contribute to an overall processes within a work. • Use analytical and problem- produced. and fine tune skills to successfully cohesiveness. • Using social, historical, and solving skills gained in convey ideas. Principles of Design personal context, analyze and producing artwork to solve 27. Understand the role of • Research, plan, and revise ideas (IL 25A; Nat’l 2) interpret the artist’s purpose or problems in daily life. the arts in civilizations within a sketchbook that exemplify a • Explain how the artist uses principles message within a given work. • Understand and relate how past and present. connection to personal vision. of design and how they contribute • Defend and debate an opinion of a visual arts skills are used in non- • Develop and complete a portfolio that to the meaning of a work or body of given work or series of works based artistic occupations. National Standards High School Level II High School Level contains at least 8–10 completed works. on overall interpretation. • Evaluate how consumer trends 1. Understanding and works that show both an exploration • Evaluate the artist’s use of media in • Articulate insights gained into the affect the types and styles of applying media, artwork created. of materials and theme development. relation to the principles of design. human experience by examining a techniques, and processes • Create artwork that is impacted by work of art. Historical/Cultural Expressive/Interpretive 2. Using knowledge of current events relevant to society. Qualities (IL 25A; Nat’l 2) Aesthetic Theory (Nat’l 5) Connections (IL 25B, 27B; Nat’l 3, 4, 5) structures and functions Content (IL 25A, 26A) • Explain how artists use their own • Use aesthetic criteria to judge an 3. Choosing and evaluating personal perspectives and points of artwork. • Place a work within a world • Explain and justify choices made in a range of subject matter, creating a work or series of works. view to affect the message conveyed • Develop, support, and research context and draw connections. symbols, and ideas • Apply ideas and theme development in their work. arguments when viewing artwork • Reflect upon how the arts were within a personal vision that is • Make inferences about the artist’s from multiple theories or impacted by an event during a 4. Understanding the visual innovative and imaginative. intent and use details from the perspectives. specific period of time. arts in relation to history composition to support inferences. • Discuss why artwork can be an • Analyze how works of art from and cultures • Analyze and evaluate the intended element of change in society. varied cultures or historical 5. Reflecting upon and purpose of a work of art and compare periods communicate ideas assessing the and contrast it with other works. and express the identity of the characteristics and merits society. • Examine the purposes and effects of of their work and the various media (film/TV, print, multi- • Identify the works of major work of others artists, or works representative media, virtual, etc.). 6. Making connections of particular styles or • Analyze the social commentary the between visual arts and movements. work implies. other disciplines • Compare and contrast works of art from different periods or For list of complete Illinois Standards for Visual Arts, Grade 10, see page 250-251. movements that share similar themes. • Visit medium-specific shows or museums. Interdisciplinary Connections (IL 25B; Nat’l 6) • Compare and contrast the processes and technologies of the visual arts with those of other art disciplines (music, dance, etc.). • Explain the ways in which the principles and subject matter of disciplines outside the arts (science, social studies, etc.) are related to those of the visual arts.

100 scope and sequence: high school level ii Scope and Sequence art MAKING arts LITERACY interpretation & evaluation making connections teaching standards

Construction (IL 26B; Nat’l 1) Elements of Art (IL 25A; Nat’l 2) Art Criticism (IL 27A; Nat’l 2, 5) Personal Connections Illinois State Goals (IL 27A; Nat’l 3) • Show proficiency in skills taught in • Analyze and evaluate how art • Debate and critique the impact and 25. Know the language of earlier grades. elements contribute to the emotional intent of a series of works by one or • Correlate a relationship the arts. • Choose a primary medium or method qualities of a work. more artists within a theme. between art and personal life Through creating and (2-D, 3-D, photo, drawing) to work in. • Analyze and evaluate the use of the • Describe in clear and concise art (graphic design, fashion, media, 26. performing, understand • Through the use of advanced elements within a composition and terminology the basic ideas and architecture, etc.). how works of art are techniques, hone in on specific media how they contribute to an overall processes within a work. • Use analytical and problem- produced. and fine tune skills to successfully cohesiveness. • Using social, historical, and solving skills gained in convey ideas. Principles of Design personal context, analyze and producing artwork to solve 27. Understand the role of • Research, plan, and revise ideas (IL 25A; Nat’l 2) interpret the artist’s purpose or problems in daily life. the arts in civilizations within a sketchbook that exemplify a • Explain how the artist uses principles message within a given work. • Understand and relate how past and present. connection to personal vision. of design and how they contribute • Defend and debate an opinion of a visual arts skills are used in non- • Develop and complete a portfolio that to the meaning of a work or body of given work or series of works based artistic occupations. National Standards High School Level II High School Level contains at least 8–10 completed works. on overall interpretation. • Evaluate how consumer trends 1. Understanding and works that show both an exploration • Evaluate the artist’s use of media in • Articulate insights gained into the affect the types and styles of applying media, artwork created. of materials and theme development. relation to the principles of design. human experience by examining a techniques, and processes • Create artwork that is impacted by work of art. Historical/Cultural Expressive/Interpretive 2. Using knowledge of current events relevant to society. Qualities (IL 25A; Nat’l 2) Aesthetic Theory (Nat’l 5) Connections (IL 25B, 27B; Nat’l 3, 4, 5) structures and functions Content (IL 25A, 26A) • Explain how artists use their own • Use aesthetic criteria to judge an 3. Choosing and evaluating personal perspectives and points of artwork. • Place a work within a world • Explain and justify choices made in a range of subject matter, creating a work or series of works. view to affect the message conveyed • Develop, support, and research context and draw connections. symbols, and ideas • Apply ideas and theme development in their work. arguments when viewing artwork • Reflect upon how the arts were within a personal vision that is • Make inferences about the artist’s from multiple theories or impacted by an event during a 4. Understanding the visual innovative and imaginative. intent and use details from the perspectives. specific period of time. arts in relation to history composition to support inferences. • Discuss why artwork can be an • Analyze how works of art from and cultures • Analyze and evaluate the intended element of change in society. varied cultures or historical 5. Reflecting upon and purpose of a work of art and compare periods communicate ideas assessing the and contrast it with other works. and express the identity of the characteristics and merits society. • Examine the purposes and effects of of their work and the various media (film/TV, print, multi- • Identify the works of major work of others artists, or works representative media, virtual, etc.). 6. Making connections of particular styles or • Analyze the social commentary the between visual arts and movements. work implies. other disciplines • Compare and contrast works of art from different periods or For list of complete Illinois Standards for Visual Arts, Grade 10, see page 250-251. movements that share similar themes. • Visit medium-specific shows or museums. Interdisciplinary Connections (IL 25B; Nat’l 6) • Compare and contrast the processes and technologies of the visual arts with those of other art disciplines (music, dance, etc.). • Explain the ways in which the principles and subject matter of disciplines outside the arts (science, social studies, etc.) are related to those of the visual arts.

scope and sequence: high school level ii 101 GO

Murals Tell VISUAL ART IN CHICA ART VISUAL Chicago’s Story

The word mural first meant “of or Among these were three public morale. Scores of new murals relating to a wall,” but today, the commissioned murals for Lane Tech went up in public locations, again word most often conjures images of College Prep High School, painted including the Chicago Public mural paintings and mosaics. Murals by students at the School of the Art Schools. Among these are Outstanding are works of art applied to the Institute, depicting modern industry. American Women (1938–1940) by surface of a wall and integrated with Margaret Hittle’s Steel Mill shows Edward Millman, located at Lucy the surrounding space, a tradition workers manipulating the enormous Flower Career Academy, which was that holds a prominent place in the machines of a factory, and Gordon at the time a women’s vocational world of today’s urban community Stevenson’s Construction Site shows men school. Painted using the fresco art. Brightly colored images, often at work on the construction of a technique Millman had learned with deep connections to a local skyscraper, dwarfed by massive steel from Diego Rivera in Mexico, the culture, leap off the walls of public beams. Third in the cycle is William mural depicts remarkable American and private spaces alike, enriching E. Scott’s Dock Scene, in which men of women and their contributions to the environment with stories, various nationalities and races labor society, including Jane Addams, messages, and an unexpected side by side, loading freight onto a Susan B. Anthony, Clara Barton, infusion of beauty in an otherwise ship bound for a distant country. Harriet Tubman, Harriet Beecher ordinary space. The cycle emphasizes the role of the Stowe, and Lucy Flower herself. worker in Chicago’s robust Contemporary Chicago by Rudolph Murals became an important means commerce and industry at that time, Weisenborn, located at Nettlehorst of expression during the United evoking the populist spirit of the Elementary School, stands out as the States Progressive Era (1900–1920), Progressive Era. only existing abstract mural from the when social reformers pushed for a WPA period. Weisenborn’s mural more just and equal American During the New Deal Era (c.1934– depicts Chicago through a cubist society. Politicians and educators 1943), Franklin Roosevelt’s lens, conveying the city’s color and commissioned murals in public administration took steps to end the movement. schools to inspire student interest Great Depression through the Works and help shape their values. The Progress Administration (WPA). Chicago’s own mural movement Federal Art Project in Illinois put Murals were one of many WPA began in the late 1960s, at the height hundreds of murals in Chicago’s projects to put unemployed of the Civil Rights Era. Artists from hospitals, post offices, and schools. Americans back to work and boost diverse backgrounds came together, t o p l e f t : Gordon Stevenson, Construction Site, 1909 t o p r i g h t : Bernard Williams, Feed Your Children the Truth, 1994 m i d d l e l e f t : Rudolph Weisenborn, Contemporary Chicago, 1936 m i d d l e r i g h t : Margaret Hittle, Steel Mill, 1909 b o t t o m : John Pitman Weber, TILT (Together Protect the Community), 1976

often with the help of untrained north half shows smaller figures Romero and Hector Duarte began adults and teenagers from the fighting social problems like drugs, painting murals influenced by this community, to bring beauty and gangs, and real estate speculation. tradition. Romero’s mural I’ve Known social change through public art. Feed Your Children The Truth in Ma Rivers is on view at O’Hare Airport, These community art-making efforts Houston Park at 50th Street and and Duarte’s Loteria can be seen at continue today, sometimes with the Cottage Grove Avenue, is Bernard 42nd Street and Ashland Avenue. help of students, through Williams’s 1994 celebration of the The color and beauty of Chicago’s organizations like the Chicago Mural accomplishments of Jessie “Ma” murals assert the color and beauty of Group, which later became the Houston, a civil and prisoner’s its communities. They tell a story of Chicago Public Art Group. In 1976, rights activist. more than one hundred years of John Pitman Weber, a founding Many Chicago murals also follow the urban growth and change, with its member of the CPAG, painted TILT tradition of the Mexican mural struggles—past and ongoing— (Together Protect the Community) at movement, of which renowned featured as prominently as its Fullerton and Washtenaw in Logan artists Diego Rivera, José Clemente triumphs. Continued efforts to Square. The south half of the mural Orozco, and David Alfaro Siqueiros restore existing murals and create shows images of a harmonious, were part. In the 1970s and 1980s, new ones ensure that the story will racially diverse group of people Chicago artists like Alejandro go on. embracing their homes, while the The Developing HS III to IV Visual Arts Student

What Are Students Like at This Learning Level?

Art students in late high school fall into various categories. Some may take advantage of an elective course because it is something that has peaked their interest. Other students are more serious about art; they may be thinking about studying art in college and pursuing a life-long commitment to art-making. The following is a quick look at what you might encounter at this learning level. • At this age, students often have a • Stress the importance of drawing strong need to be independent and from life rather than from existing self-directed. You can take advantage photographs or illustrations. Students’ of this by creating assignments that experience with direct observation will require students to make choices lead them to become more successful about the subject matter in their work, and accomplished artists. the medium they will work in, or the materials they use and so on. • Students who demonstrate advanced art skill can benefit from your • Critiques are an essential part of knowledge of technique. Introduce art-making instruction. Whether your class to visiting artists as role conducting a one-on-one critique or models. This may inspire new ideas a group critique, make sure to create for students’ own work. an environment that is respectful of all students’ work. Hold critiques regularly so students become more • Provide intermediate and advanced comfortable with the process. Also, level students with opportunities to encourage students to get into the focus on artistic careers, portfolio habit of self-evaluation. Building an development and concentrated arts internal sense of their own progress study in both local and national helps reinforce confidence. You may colleges and universities. consider having students critique your work so that you can model appropriate behavior. • Encourage students who are still exploring what art has to offer to reflect on how their own art can contribute to society (locally, nationally, or internationally).

104 the developing student: hs iii to iv What Students Can Do at This Level

The learning outcomes below are based on the Scope and Sequence, which builds instruction sequentially across these levels. Keep in mind that students of different ages may be at the same level.

High School Level III High School Level IV Students Can . . . Students Can . . .

• analyze and evaluate how an • discuss an artist’s style in relation artist portrays his or her ideas to his or her career and how life and to what degree of success events impacted those styles and choices

• choose a primary medium • push the limits of a chosen or method (2-D, 3-D, Photo, medium and show evidence of Drawing) to work in self-discovery

• apply ideas and theme • continue to work, using exemplary development within a distinct techniques, to successfully convey personal vision that is innovative their ideas with evident artistic and imaginative intent

• describe in clear and concise art • explain how an artist created a terminology the basic ideas and specific work and describe the processes within a work steps one would go through in that creative process

• defend and debate an opinion • defend and debate an opinion of of a given work based on overall controversial works or a series or interpretation works

the developing student: hs iii to iv 105 Scope and Sequence

art MAKING arts LITERACY interpretation & evaluation making connections teaching standards

Construction (IL 26B; Nat’l 1) Elements of Art (IL 25A; Nat’l 2) Art Criticism (Nat’l 2, 5) Personal Connections Illinois State Goals • Show proficiency in skills taught in • Analyze and evaluate the effectiveness • Debate and critique the impact and (IL 27A; Nat’l 3) 25. Know the language of earlier grades. of a work and identify the mood. intent of a series of works by one or • Correlate a relationship the arts. more artists within a theme. between art and personal life • Choose a primary medium or method • Evaluate the effectiveness of works of 26. Through creating and (graphic design, fashion, media, (2-D, 3-D, photo, drawing) to work in. art (both student and artist created) • Describe in clear and concise art performing, understand architecture, etc.). • Through the use of advanced in terms of organizational structures terminology the basic ideas and how works of art are techniques, hone in on specific media and functions. processes within a work. • Use analytical and problem- produced. and fine tune skills to successfully Principles of Design • Using social, historical, and solving skills gained in 27. Understand the role of convey ideas. (IL 25A; Nat’l 2) personal context, analyze and producing artwork to solve the arts in civilizations • Research, plan, and revise ideas interpret the artist’s purpose or problems in daily life. • Evaluate the artist’s use of media. past and present. in a sketchbook that exemplify a • Analyze the elements that create message within a given work. • Understand and relate how connection to a personal vision. balance, emphasis, and/or unity in a • Defend and debate an opinion of a visual arts skills are used in non- • Develop and refine an artistic style or composition. given work or series of works based artistic occupations. National Standards visual expression. on overall interpretation. • Distinguish ways in which art 1. Understanding and High School Level III High School Level Expressive/Interpretive informs and entertains. • Develop and complete a portfolio that Qualities (IL 25A; Nat’l 2) • Articulate insights gained into the applying media, human experience by examining a • Evaluate how consumer trends techniques, and processes contains at least 8–10 completed • Make inferences about the artist’s work of art. affect the types and styles of works that show both an exploration intent and use details from the 2. Using knowledge of artwork created. of materials and theme development. composition to support inferences. Aesthetic Theory (Nat’l 5) structures and functions • Evaluate how artistic media has • Create artwork that is impacted by • Analyze the intended purpose of a • Use aesthetic criteria to judge an 3. Choosing and evaluating changed and developed over time. current events relevant to society. work of art and compare and contrast artwork. a range of subject matter, Content (IL 25A, 26A) it with other works. • Review and discuss a variety of Cultural Connections symbols, and ideas aesthetic theories related to the (IL 27B; Nat’l 3, 4, 5) • Explain and justify choices made in • Analyze the social commentary 4. Understanding the visual arts. • Place a work within a world creating a work or series of works. expressed by artwork. arts in relation to history context and draw connections. • Apply ideas and theme development and cultures within a personal vision that is • Research and reflect upon how Reflecting upon and innovative and imaginative. the arts within a specific period 5. of time were impacted by an assessing the event, and how artists used their characteristics and merits voices in response to the event. of their work and the • Analyze how works of art from work of others varied cultures or historical 6. Making connections periods communicate ideas between visual arts and and express the identity of the other disciplines society. For list of complete Illinois Standards for Visual • Identify the works of major Arts, Grade 11, see pages 250-251. artists, or works representative of particular styles or movements. • Compare/contrast works of art from different periods or movements that share similar themes. Interdisciplinary Connections (IL 25B; Nat’l 6) • Compare and contrast the processes of the visual arts with those of other art disciplines (music, dance, etc.). • Explain ways in which the subject matter found in the arts relates to other areas (science, history, etc.).

106 scope and sequence: high school level iii Scope and Sequence art MAKING arts LITERACY interpretation & evaluation making connections teaching standards

scope and sequence: high school level iii 107 Scope and Sequence

art MAKING arts LITERACY interpretation & evaluation making connections teaching standards

Construction (IL 26B; Nat’l 1) Elements of Art (IL 25A; Nat’l 2) Art Criticism (Nat’l 2, 5) Personal Connections Illinois State Goals (IL 27A; Nat’l 3) • Show proficiency in skills taught in • Critique the emotional qualities of a • Debate and critique a series of 25. Know the language of earlier grades. composition and identify/explain the work by one or more artists, and • Use analytical and problem- the arts. • Choose a primary medium or method strengths and weaknesses within a compare to own body of work. solving skills gained in Through creating and (2-D, 3-D, photo, drawing) to work in work. • Defend and debate an opinion producing artwork to solve 26. and work only within that medium. • Evaluate the effectiveness of works of about controversial works or series problems in daily life. performing, understand how works of art are • Push the limits of a chosen medium art in relation to a body of work by a of works. • Explore careers in the field produced. and show evidence of self-discovery. single artist or group of artists • Describe in clear and concise art of art and art education • Further refine artistic style. Principles of Design terminology the basic ideas and and prepare a resume, artist 27. Understand the role of statement, and portfolio. the arts in civilizations • Explain and justify choices made in (IL 25A; Nat’l 2) processes within a work. past and present. creating a work or series of works. • Evaluate and critique the artist’s use • Using social, historical, and • Analyze how careers in the arts are changing because of • Through the use of exemplary of media and rationalize an artist’s personal context, analyze and new technologies and societal techniques, continue to work to choice in media. interpret the artist’s purpose or National Standards message within a given work. changes. High School Level IV High School Level successfully convey ideas with evident • Discuss an artist’s style in relation to 1. Understanding and artistic intent. his or her career, and how life events • Articulate insights gained into the Cultural Connections applying media, human experience by examining a (IL 27B; Nat’l 3, 4, 5) Content (IL 25A, 26A) impacted that style and the artists’ techniques, and processes choices. work of art. • Speculate on life without art and • In a sketchbook, show evidence of 2. Using knowledge of • Draw connections between artists specific media, and discuss art’s research and planning that exemplifies Expressive/Interpretive structures and functions impact on the world as a whole. skill and artistic intent. Qualities (IL 25A; Nat’l 2) and describe and analyze how artists are influenced by one • Place a work within a world 3. Choosing and evaluating • Develop a portfolio that contains at • Make inferences about the artist’s another, while citing specific context and draw connections a range of subject matter, least 10 completed works that show intent and use details from the examples in historical context. to own practices and those of symbols, and ideas clear and convincing evidence of composition to support inferences. others. artistic intent. • Analyze the intended purpose of • Be able to explain how an artist 4. Understanding the visual a work of art, and compare and created a specific work, and • Research and analyze how works arts in relation to history contrast it with other works. describe the steps one would go of art from varied cultures or and cultures through in that creative process. historical periods reflect the • Examine the purposes and effects 5. Reflecting upon and ideas or issues of the society of an artist’s chosen media and how Aesthetic Theory (Nat’l 5) assessing the from which they originate. it relates to the overall message or • Use aesthetic criteria to judge an characteristics and merits theme of the work. artwork. • Identify the defining of their work and the characteristics of specific • Analyze the social commentary • Review/discuss a variety of aesthetic work of others artistic movements or styles. expressed by works of art. theories related to the arts. 6. Making connections • Compare and contrast works • Discuss and formulate an answer to between visual arts and of art from different periods or “What is art?” (specifically discussing other disciplines movements that share similar art’s minimum and maximum limits). themes. For list of complete Illinois Standards for Visual Arts, Grade 12, see pages 250-251. Interdisciplinary Connections (IL 25B; Nat’l 6) • Explain how art forms combine in musical theater, opera, or cinematography. • Compare and contrast the processes and technologies of the visual arts with those of other art disciplines (music, dance, etc.). • Explain the ways in which the principles and subject matter of disciplines outside the arts (science, social studies, etc.) are related to those of the visual arts.

108 scope and sequence: high school level iv Scope and Sequence art MAKING arts LITERACY interpretation & evaluation making connections teaching standards

scope and sequence: high school level iv 109 An Urban Renaissance: Chicago Architecture GO VISUAL ART IN CHICA ART VISUAL

The Rookery

Chicago has earned a reputation as important center of commerce and H. Burnham. From 1906 to 1909, one of the most dynamic cities in the transportation by the time of the Burnham’s “Plan of Chicago,” a world in terms of architecture and fire, the smoldering city attracted broad vision for urban planning and design. For more than a century, thousands of people around the beautification, drove the creation of the city’s buildings have had a country to help rebuild and redefine parks, lake and river front recreation major influence on the direction the city. The downtown area needed areas, and fountains alongside the of architecture, both nationally and to be reconstructed quickly so new buildings. Wood, the main internationally. that businesses could continue. building material prior to the fire, In order to make the most of the was replaced by fire-resistant brick, Chicago is considered the birthplace area’s small commercial lots, tall, stone, and metal. The earliest of the skyscraper, a legacy that compact buildings were designed by ancestor of the skyscraper had been began in the years immediately preeminent architects such as Louis born, and a style eventually known following the Great Chicago Fire Sullivan, William Le Baron Jenney, as the Chicago School had come into of 1871. Already viewed as an John Wellborn Root, and Daniel being. Architects of the Chicago School of the Chicago School, beginning Spertus Museum removed the typically thick, heavy around the 1940s. In his apartment walls used to support tall structures and office skyscrapers, glass and and replaced them with steel frames. steel are not only the materials of This helped achieve a lighter, more his trade but also the essence of his graceful appearance. Many examples style. Mies Van der Rohe’s work of this style have been demolished represented the advent of modern over the years, but some remain, architecture, and his influence in including the Reliance Building at many respects continues to this day. State and Washington, designed in From the 1950s through the 1895 by Burnham and Root; and 1970s, a modern style defined the the Carson Pirie Scott & Company appearance of most new buildings Building at State and Madison, in Chicago. Newly designed works designed by Louis Sullivan in 1899, were to a large degree the product which is known today as the Sullivan of architectural firms rather than Center. individual architects with an artistic Chicago architect Frank Lloyd bent. The John Hancock Center, Wright’s distinctive work became completed in 1970, and the Sears the basis of its own movement. Tower, completed in 1973 (now Arriving here in the 1880s, the called the Willis Tower) are famous young Wright worked for a time as more for their engineering than Sullivan’s draftsman but eventually their aesthetics. embarked on his own attempts at By the 1980s, a movement called stylistic expression, developing what postmodernism was developed as a is referred to as the Prairie School reaction to the minimalist approach of architecture. His buildings to architecture witnessed in the typically reflect the expansive, previous decades. This style often low-lying characteristics of the combined historical architectural Midwest prairie. Wright’s work is elements, such as arches, columns, often described as “organic” because and domes, with otherwise modern of his focus on the relationship structures and materials. between buildings and their natural surroundings. The Robie House Today, Chicago remains a vibrant in Hyde Park, completed in 1910, center of architectural innovation. is a classic example of Wright’s Exciting recent projects include the architectural approach, as is Wright’s Jay Pritzker Pavilion in Millennium own home and studio just west of Park, designed by architect Frank including the Nichols Bridgeway Chicago in Oak Park. Gehry, the new campus buildings at from Millennium Park, designed the Illinois Institute of Technology, German architect Ludwig Mies van by Renzo Piano. These attest designed by Rem Koolhaas, and der Rohe pioneered a second wave to the city’s continuing status the Art Institute’s Modern Wing, as an architectural treasure of international proportion. The Pritzker Pavilion The Chicago Architecture Foundation promotes public interest in Chicago architecture and related design. Through its many tours offered each year to Chicagoans and visitors, the foundation educates the public about our city’s exceptional architectural legacy. Of particular note is its Chicago River boat tour of the downtown area, arguably the best way to view the dynamic skyscrapers clustered at the city’s center.

111 Visual Arts Lesson Plan

Teacher Name Class Visual Arts Grade 3–5 Lesson Title Building Human Figure Wire Sculptures Start Date Nov. 1 Time Needed 45 minutes per lesson Objectives Build sculptures using wire and mixed media; analyze proportions of the human figure; compare/contrast mass vs. contour lines; discuss the formal elements of sculptures. Materials Needed Sketchbooks, pencils, proportional model of human skeleton, wire, self-hardening clay, toothpicks Standards Addressed IL 26A, 26B; Nat’l 1, 2, 3

Check each strand of the scope and sequence addressed in this lesson. n Art Making n Arts Literacy n Evaluation/Interpretation n Making Connections

Prepare in Advance One clay ball (approx. half a pound) per student, two pieces of 18-gauge wire per student, one piece of wax paper per student, water bowls and small sponges set within reach of each student, and sponges, buckets, and towels for clean-up. Have students revisit sketches of figures from a prior art class.

Warm-up Activities Engage students in a discussion by asking the following question: How can we use our figure sketches to begin our sculptures?

Main Activity Have students follow these steps to begin their wire sculptures: 1. Start with a ball of clay; use wax paper as a place mat. 2. Pound and model clay into desired shape for the base of the sculpture. 3. Check that the clay base is at least one inch thick, or “knuckle thick.” 4. Use a toothpick to write your name on the bottom of the clay. 5. Use small (one inch) sponges to smooth the surface of the based if desired (demonstrate an appropriate amount of water). 6. Insert two pieces of wire into the clay base. The wire will serve as the “skeleton” of the sculptures. Place more wire at spots where feet, knees, or hands would be (depends on whether figure is standing, sitting, or kneeling). 7. Pinch clay around the wire to make it stable. Teacher should assist students to complete steps as needed to ensure progress during the next class period.

112 lesson plans for visual arts: grades 3 to 5 Assessment Strategy The teacher should use the following checklist to ensure that students accomplish these steps: [] Clay base formed [] Wire inserted [] Clay pinched around wire

Wrap-up/Cool Down Students will place sculptures on tray labeled with classroom and table color. Classroom helpers place sculptures on shelves to dry. Students at tables use large sponges, water buckets, and towels to clean work areas. Discuss next steps for class next week.

Teacher Reflections What worked: Students enjoyed pounding the clay. Most students responded to signals for quiet. Counting down from 20 helped students know when to stop pounding clay. Toothpicks helped with writing names on the bases. Trays color- coded with room numbers help keep sculptures organized. What needs improvement: Some students used too much water when smoothing the surface of the base; need more frequent reminders. Next steps: Check each student’s sculpture before the end of the day. Begin next demo by twisting where the “waist” of the figure would be to help students focus the pose. During the next class, students will add more wire to build the mass of the figure.

lesson plans for visual arts: grades 3 to 5 113 Visual Arts Lesson Plan

Teacher Name Class Visual Arts Grade HS I–II Lesson Title Figures in Motion Start Date Nov. 1 Time Needed 40 minutes per lesson Objectives Describe gesture drawings and how they differ from other drawings (contour, etc.); complete four gesture drawings with accurate proportions; identify the work, style, and ideas of artist George Segal. Materials Needed Large newsprint, pencils, sturdy table set up in the middle of the classroom, PowerPoint presentation of George Segal’s work Standards Addressed IL 26A, 26B; Nat’l 1, 2, 3

Check each strand of the scope and sequence addressed in this lesson. n Art Making n Arts Literacy n Evaluation/Interpretation n Making Connections

Prepare in Advance Create PowerPoint presentation of George Segal’s work and write discussion questions; set out newsprint and pencils; center the table in the classroom so all students can see it.

Warm-up Activities Ask students: What do you see in George Segal’s work? Have students describe the poses. Then, have a student pose in the same way. Ask: Why might Segal have chosen to depict these poses? What is interesting about them? If you had to choose a pose to create a sculpture, what pose would you choose?

Main Activity Demonstrate the following: 1. Have a volunteer stand on the table and model. Provide warnings for safety. Complete a gesture drawing example, explaining each step. 2. Have the volunteer change the pose. Complete another gesture drawing, emphasizing the quickness and likeness to shape and movement rather than details. Have students complete gesture drawings based on student models. Students complete at least four drawings by the end of the 40-minute period. Walk around the room, assisting students as needed. Any student may volunteer to pose, but no one can pose the same way.

114 lesson plans for visual arts: hs i to ii Assessment Strategy Use the following checklist: [] Students have completed four gesture drawings. [] Students’ drawings capture movement and each is different. [] Students’ drawings use correct proportion.

Wrap-up/Cool Down Students put drawings in their folders. Pencils are collected. Challenge/practice for next class: Complete a gesture drawing of a teacher and bring it to class.

Teacher Reflections What worked: Students enjoyed posing for each other. Many students volunteered to be drawn; tomorrow, students who didn’t get to pose can have a turn. What needs improvement: Some students are drawing too small—perhaps a marker or large drawing pencil can help them loosen up. Some students need a review on proportion. Tomorrow, do another gesture drawing for class, focusing on how to include proportion within the drawing. Next steps: Review correct proportions and how those can be captured quickly in a gesture drawing.

lesson plans for visual arts: hs i to ii 115 Dance Elements of a Quality Dance Program

How Do I Make My Dance Program Successful?

The benefits of dance education go far beyond the recreational. Dance has well- established psychomotor, affective, and cognitive learning benefits, and students come out of a dance unit or program having acquired lifelong skill sets, such as respect for other students’ bodies—and their own—that will serve them well as they learn and grow. Below, you’ll find a detailed list of the elements of a quality dance program.

A Quality Dance Program Requires

A qualified dance instructor. Dance Clear, high, and age-appropriate instructors must have extensive dance expectations. Teachers should develop experience and should have training in a clear, comprehensive syllabus and dance education. Ideally the instructor provide consistent feedback and follow- has expertise in the technique and through. Dance should be the focal artistry of dance as well as its history and point from which all activities stem, as traditions. Whether the dance teacher students will benefit if dance is taught is a visiting teaching artist or a part- or as an art form and discipline worthy of full-time CPS teacher, he or she must study in its own right. Dance education be supported by the principal and other should teach both appropriate technique school staff as an authority figure. It and the relationship of technique to is also helpful to find a teacher whose dance making. On a practical level, teaching style and personality fit well it is important to get students up and with the school and students. moving in every class. When students

118 elements of a quality dance program are encouraged to both think and Dedicated, consistent class do—to express themselves through dance periods. For maximum benefit, a and develop their own identities as dance program should take place over dancers and choreographers—they are a significant length of time. Ideally empowered, and empowered students students would meet more than once a are much more likely not only to stay in week for eight to ten weeks minimum. for quality dance school but also to work harder. At least 50 to 80 minutes should be programs: dedicated to each dance class, though for very young students 35 to 45 minutes n A commitment to A large, open space with artistic integrity and uncarpeted floors. A dedicated dance can suffice. Whatever your schedule, excellence studio with a sprung wooden floor is consistency will be key to obtaining proficiency and progress. n Highly qualified dance ideal, but gyms, cafeterias, auditorium teachers stages, and multipurpose rooms all have potential, depending on the size Ongoing evaluation and n High, age-appropriate of the program and the type of dance accountability. Program outcomes standards and a should be clearly established prior to curriculum that being taught. If necessary, other spaces supports these can be modified to accommodate some the start of the program. While they may styles of dance. For example, desks and change as the program progresses, it’s n Support from school important that teachers, students, and administration and chairs can be moved to the perimeter staff of a regular classroom for a unit on principals understand what needs to be historical dance. In situations like this achieved. Learning should be assessed n Clear and consistent it may be helpful to delineate the dance at each stage of the process. Effective communication tools may include performances, between administration area with masking tape. Note that tiled and faculty or linoleum floors can be slippery, and self-assessments, written responses, concrete can be hard on the feet and interviews, observations, journals, and n Clearly defined joints. tests. expectations n Appropriate space A quality sound system and other Funding and support from the and equipment with supplemental materials. The ideal school and the community. A good consistent access sound system is equipped to play CDs, dance program relies on teamwork and n Appropriate time for MP3s, and cassettes, and is loud enough the support of the principal, other each session school staff, parents, and community to fill the space with music. It can also n Opportunities for be useful to have a video camera, VCR, members to thrive over time. Adequate, students to share and monitor on hand. The CPS Office consistent financial support can allow their learning through of Arts Education has a small lending the dance teacher to enrich his or her performances and library of dance books, DVDs, and curriculum with field trips to dance presentations videotapes, all available for school use. performances and in-school workshops n Opportunities to Other materials and equipment include with local teaching artists and arts attend live dance ballet barres, yoga mats, props (scarves, partner organizations. Engaging outside performances hula hoops, balls, etc.), costumes, partners allows students to connect dance shoes, human-anatomy posters, with role models and mentors, and and a bulletin board dedicated to dance gives them a sense of the world of dance activities. For younger students a box outside their school. Older students can of props for music-making (maracas, then educate the community through drums, shakers, etc.) is ideal. Higher- performances and workshops of their level technique classes benefit from live own, fostering enthusiasm for and music; consider collaborating with the investment in the continued health of music teacher to bring music students in the school’s dance program. as accompanists.

elements of a quality dance program 119 H Best Practices for Dance Teachers

The goal of dance education is to teach students to engage with the art of dance as dancers, dance makers, and dance viewers. All three are equally important in a quality program built on embracing emotional intelligence through the arts, expressing ideas and feelings, and supporting the work of others. The following is a list of best practices you can use to ensure that your teaching succeeds in all these areas and enriches the learning experience at all grade levels.

Planning and Preparation Classroom Environment

Recognize Dance as an Art Form Be a Positive Role Model Dance The study of dance is rich and valuable classes provide a wonderful opportunity in itself and should not be taught solely to help students develop a healthy body as a means of achieving some other image and make healthy life choices. As curricular goal. Remind yourself of this the teacher you are in a unique position as you develop your curriculum. to model attitudes and behaviors they can adopt for themselves. Model not Know your students There’s no being afraid to challenge your body and place to hide in a dance class, and that be empathic to the anxiety and insecurity can leave students feeling exposed and some students might experience when vulnerable. Get to know each of them first being introduced to dance. by name, personality, and learning style. Seek out opportunities to interact with Set High, Age-appropriate students both inside and outside the Standards Dance is universally classroom. accessible. Assume that all students can participate and encourage them all to Balance Process and Performance try. Make sure that the standards, basic Some students might be particularly techniques, and values of dance practice suited to performing; others may have are taught, used consistently, and an aptitude for choreography or critical reflected in assessment methods across analysis. Strive to create a curriculum the board. that engages students in all aspects of making and understanding dance. Establish Your Authority Be encouraging, but clear, firm and Make Connections and Honor consistent in your approach from day Diversity Plan lessons that connect to one. This can help you establish you other areas of your students’ curriculum dance class as a place for real learning. and to their life outside of school. Look for opportunities to assign projects and Instruction activities that acknowledge and embrace Set Clear Rules for Classroom students’ cultural backgrounds. Behavior A successful dance class Be Prepared Consider using unit fosters respect for each student’s skills and daily lesson plans to help organize and abilities and provides a safe space in the days and weeks ahead. Think ahead which to work and create. To establish about classroom set-up, music, and a positive learning environment, create teaching standards. In some situations a list of rules for student behavior the dance environment may be less than the mandate mutual respect from the ideal, but with careful planning you outset. A common understanding can still deliver strong, effective dance of expectations– don’t invade other’s programs. personal space, provide constructive

120 best practices feedback in peer critiques, etc. – will Provide Real-World Experiences help ensure that no one gets hurt, either Outside of the Classroom Field trips physically or emotionally. offer a great way for students to connect what they’re learning to the rest of the Teach Students How to View Dance world. Don’t limit these trips to viewing Seeing great dance along with active professional dance performances – take engagement with movement helps a backstage tour, visit a costume or scene students learn to understand and shop, or talk with a dance videographer. interpret live dance performance. Expose your students to specific Evaluate Students in Different Ways vocabulary they can use to interpret Assess students’ progress by using a and describe their experiences. Create variety of methods including verbal and a list of questions that students can non-verbal feedback, written comments, ask themselves each time they watch a and peer evaluation. Also be sure that performance, such as: “What mood did students take part in ongoing self- the piece create in you?” and “How did assessment. the music add to the overall effect of the Have A Plan B Teaching dance, much work?” like dancing itself, is all about staying Dance Audience Etiquette Each flexible and solving problems in creative live presentation or performance is ways. If a lesson strategy isn’t working a collaborative experience between out, switch to a back-up plan. the performers and the audience. Encourage your students to think of Professional Responsibilities themselves not simply as viewers, but Leave Time for Reflection Dance as active participants in the dance can be an exhilarating physical experience. experience for students, but the thrill Incorporate a Warm-up Every will be fleeting unless you build in dance class should start with warm-up opportunities to put the experience in exercises to prepare student’s bodies context. Leave time at the end of each for the physical challenge of dance. class period for students to reflect on In a technique class the warm-up is and discuss the objectives and outcomes a standard part of the lesson; in an of that day’s lesson, in both oral and introductory movement class a series written form. Have students keep a of simple stretches may suffice. In journal in which they can reflect on all situations a proper warm-up will what they’re learning, and allow them both protect students from injury and to use the journal as a place to express facilitate higher achievement, whether themselves without concern about grades students are learning to square dance or and formal assignments. execute a proper pirouette. Encourage Family and Community Promote Student Collaboration Involvement Communicate with Dance is by nature a collaborative parents and invite them to participate pursuit. Working with others on a in performances and fieldtrips. project or performance helps students Partnerships with families reinforce for develop communication and social students the value of the arts. Outreach skills. When you assign collaborative initiatives, such as a dance camp for projects, consider each student’s neighborhood kids, foster a sense of strengths and abilities. This will allow community investment that supports students to build on one another’s and validates students’ study. particular skill sets and promote team- building, cooperation, and leadership.

best practices 121 The Developing Dance Student pre-k to 2

What Are Students Like at This Learning Level?

Who hasn’t watched a child break into spontaneous dance? Young children love to move. In fact, sometimes they can barely sit still. In a dance class you can give them opportunities to experience that joyful celebration of movement while helping them develop motor skills, expressive potential, and the ability to work productively in a group. For most very young students, being in a dance class is a brand new experience. They are likely to be excited or nervous about both the unfamiliar activities and the alternative classroom configuration. As a result they may be wound up and physically boisterous. This is normal behavior for children at this level. You can use it to their advantage by focusing their natural energy and enthusiasm on simple, highly structured activities that involve movement and games, while guiding them to respect others and interact cooperatively.

Pre-kindergartners First graders Pre-kindergartners need simple, hands- First graders move fast! They are on learning experiences that allow them competitive, noisy, and enthusiastic. to create and explore. They are bursting They are developing a capacity for with energy but can be physically clumsy. more abstract thinking but they still Establish clear physical rules for the benefit from structure and hands- class (for example, “stay within this on experiences. They have increasing space” and “no roughhousing”) and physical competence with large motor build in warm-up and cool-down time skills. While first graders can often be as well as natural stopping places for physically fearless, it’s not uncommon the students when they appear tired or for some to become more withdrawn over-excited. and sensitive. Others may place a lot of emphasis on the result of their work, Kindergartners wanting to make sure they get it “right.” Kindergartners exhibit a bit more Regular feedback and reassurance are physical control in terms of their large important. They learn best through motor skills. They are cooperative and discovery. respond well to rules and routines. Kids this age can also be very literal minded Second graders and eager to please, so it’s good to give Second graders begin to show some them explicit guidelines: “Wiggle your finesse with fine motor skills and arms up, down, and sideways.” “Make a small group games and activities. Like dance with only one leg.” Demonstrate first graders they learn best through each step of the lesson so that they have a discovery. They are curious about clear model. how things work – including human anatomy – and enjoy projects that entail memorization and repetition. Older children may also deal better with change; they are learning to be resilient and bounce back from mistakes.

122 the developing student: grades pre-k to 2 What Students Can Do at This Level

The learning outcomes below are based on the Scope and Sequence, which builds instruction sequentially across these levels. Keep in mind that students of different ages may be at the same level.

Pre-K Students Can . . . Grade 2 Students Can . . .

• identify and demonstrate basic • create a short dance phrase locomotor skills such as walking, combining locomotor and axial running, skipping, and jumping movements (bend, twist, turn, tilt)

• clap and move to the rhythm • demonstrate simple phrases exploring rhythm, meter, and accent

• make up a dance based on simple • create and perform four measures dichotomies such as “fast and of simple movement in 4/4, 3/4, slow” or “stop and go” and 2/4 time

• express emotions and states of • improvise a movement phrase being through movement (happy, that connects states of emotion sad, cold, strong) to qualities of movement (happy = swinging; angry = percussive)

• use their imaginations to create a • create a simple ceremonial dance based on a familiar nursery dance after studying a a ritual or rhyme ceremonial dance from another culture

the developing student: grades pre-k to 2 123 Scope and Sequence

Dance MAKING Dance LITERACY interpretation & evaluation making connections

Skills and Techniques Critical and Creative Thinking Interpretation/Communication Cross-curricular Illinois State Goals (IL 25A, 26B; Nat’l 1) (Nat’l 4, 6) (IL 26B, 27A; Nat’l 3) Connections (IL 25B; Nat’l 7) 25. Know the language of • Identify body parts and range of • Demonstrate more than one solution • Respond to dance movement • Identify connections between the arts. motion. to a movement problem. experiences in a variety of ways. dance and other content areas, Pre-K Through creating and • Practice basic motor skills (walk, run, • Talk about favorite dance activities • Express ideas and feelings through including other art forms. 26. performing, understand leap, hop, jump, skip, gallop). with the class. dance. Participation Opportunities how works of art are • Demonstrate the element of space in • Identify at least three personal goals (IL 27A) produced. dance through exploration (personal/ to improve themselves as dancers. • Show respect and appreciation Understand the role of general, locomotor/non-locomotor History and Culture for the dance movement efforts 27. movement, axial movement, shape, (IL 27B; Nat’l 5) of others. the arts in civilizations level). past and present. • Respond to examples of dances from • Demonstrate the element of time in different countries. dance through exploration (tempo, • Collect images of dancers and their National Standards rhythm). costumes from different countries. 1. Identifying and Choreographic Principles and demonstrating movement Processes elements and skills in (IL 26A, 26B; Nat’l 2) performing dance • Identify and explore patterns in 2. Understanding dance. choreographic principles, • Improvise movement based on processes, and structures teacher-provided ideas. 3. Understanding dance • Move alone and with others. as a way to create and communicate meaning 4. Applying and demonstrating critical and creative thinking skills in Skills and Techniques Critical and Creative Thinking Interpretation/Communication Cross-curricular

K dance (IL 25A, 26B; Nat’l 1) (Nat’l 3, 4, 6) (IL 26B, 27A; Nat’l 3) Connections (IL 25B; Nat’l 7) 5. Demonstrating and • Identify body parts and range of • Identify similarities and differences • Respond to dance movement • Identify connections between understanding dance motion. between dance and other forms of experiences in a variety of ways. dance and one other content in various cultures and human movement. area. • Demonstrate the element of space • Express ideas, feelings, or stories historical periods through exploration (personal/general, • Identify similarities and differences in through dance movement. Participation Opportunities locomotor/non-locomotor, shape, level, dance movement sequences. (IL 27A) 6. Making connections between dance and direction). • Identify at least three personal goals • Show respect and appreciation healthful living • Demonstrate the element of time to improve themselves as dancers. for the dance movement efforts (tempo, rhythm). History and Culture of others. 7. Making connections • Demonstrate the element of energy/ (IL 27B; Nat’l 5) • Demonstrate that one can be between dance and other dynamics. • Identify the existence of dance in involved as a performer or disciplines Choreographic Principles and communities and cultures. audience member. For list of complete Illinois Standards for Dance, Processes • Identify that dance existed in Grades Pre-K–K, see page 252-253. (IL 26A, 26B; Nat’l 2) different time periods. • Demonstrate the difference between spontaneous and planned movement. • Demonstrate patterns in dance. • Identify that dance has a beginning, middle, and end. • Improvise movement based on own ideas or ideas from other sources. • Move alone and with others.

124 scope and sequence: pre-k to k Scope and Sequence

Dance MAKING Dance LITERACY interpretation & evaluation making connections

scope and sequence: pre-k to k 125 Scope and Sequence

Dance MAKING Dance LITERACY interpretation & evaluation making connections

Skills and Techniques Critical and Creative Interpretation/Communication Cross-curricular Illinois State Goals (IL 25A, 26B; Nat’l 1) Thinking (Nat’l 3, 4, 6) (IL 26B, 27A; Nat’l 3) Connections (IL 25B; Nat’l 7) 25. Know the language of • Demonstrate kinesthetic awareness through • Discuss various dance movement • Identify and demonstrate • Identify connections between the arts. identification of body parts and range of similarities and differences experiences and express dance and at least one other motion. between dance and other forms preferences. content area. 26. Through creating and

G rade 1 performing, understand • Demonstrate and explore the element of human movement. • Show ideas, feelings, and stories Participation Opportunities of space (personal/general, locomotor/ • Describe and demonstrate through dance movement. (IL 27A) how works of art are produced. non-locomotor, shape, level, direction, and appropriate behavior when Evaluate (IL 27A) • Describe and show respectful pathways). creating, performing, or viewing • Evaluate dance movement behaviors toward others in 27. Understand the role of • Demonstrate and explore the element of dance movement. sequences. dance movement experiences. the arts in civilizations time (tempo and rhythm). • Solve movement problems alone past and present. • Demonstrate and explore the element of or in a group. energy/dynamics. • Identify at least three personal National Standards Choreographic Principles and goals to improve themselves as 1. Identifying and Processes (IL 26A, 26B; Nat’l 2) dancers. demonstrating movement • Demonstrate and identify the differences History and Culture elements and skills in between spontaneous and planned (IL 27B; Nat’l 5) performing dance movement. • Discuss and explore the role of 2. Understanding dance in celebrations or events. • Demonstrate patterns in dance. choreographic principles, • Demonstrate beginning, middle, and end in • Identify and explore dances from processes, and structures dance. various cultures. 3. Understanding dance • Improvise and create movement based on as a way to create and own ideas and concepts from other sources. communicate meaning • Demonstrate working alone and with others. 4. Applying and • Identify similarities and differences in demonstrating critical and movement sequences. creative thinking skills in dance Skills and Techniques Critical and Creative Interpretation/Communication Cross-curricular Demonstrating and (IL 25A, 26B; Nat’l 1) Thinking (IL 27A; Nat’l 3, 4, 6) (IL 26B, 27A; Nat’l 3) Connections (IL 25B; Nat’l 7) 5. understanding dance • Demonstrate kinesthetic awareness. • Identify the roles of audience • Identify and explain reactions to • Explain connections between in various cultures and members and performers when movement experiences. dance and at least two other • Demonstrate and identify the element historical periods of space in dance (personal/general, viewing dance. • Identify and demonstrate ideas, content areas. G rade 2 locomotor/non-locomotor movement, axial • Demonstrate and explain feelings, and stories through • Improvise, create, and perform 6. Making connections movement, shape, level, direction, pathways). similarities and differences movement or gestures. dance sequences using ideas between dance and healthful living • Demonstrate and identify the element of between dance and other forms Evaluation (IL 27A) and concepts from other time in dance (tempo, rhythm). of human movement. • Evaluate dance movement sequences. sources. 7. Making connections • Demonstrate and identify the element of • Identify at least three personal Participation Opportunities between dance and other energy/dynamics in dance. goals to improve themselves as (IL 27A) disciplines Choreographic Principles and dancers. • Identify, describe, and For list of complete Illinois Standards for Dance, Processes (IL 26A, 26B; Nat’l 2) History and Culture demonstrate appropriate Grades 1–2, see page 252-253. • Demonstrate the differences between (IL 27B; Nat’l 5) behavior when creating, spontaneous and planned movement. • Describe the various roles of performing, or viewing dance. • Create and perform patterns in dance. dance in communities and cultures. • Create simple movement sequences using beginning, middle, and end; identify each of • Identify the existence of dance these parts of the sequence. in different historical periods. • Demonstrate the ability to work effectively • Identify and demonstrate alone and with a partner. dances from various cultures or historical periods. • Identify and describe similarities and differences in dance movement sequences.

126 scope and sequence: grades 1 to 2 Scope and Sequence

Dance MAKING Dance LITERACY interpretation & evaluation making connections

scope and sequence: grades 1 to 2 127 DANCE IN CHICAGO

World Dance on the CHICAGO STAGE

Chicago is famous for its culturally communities, and preserve the and Mark Howard’s Trinity Academy diverse communities, which sustain cultural heritage particular to of Irish Dance. and preserve ethnic traditions. each. The impact of these social Newer waves of immigrants—most Since the mid-nineteenth century organizations can still be seen on of them non-European—have immigrants have found their way to the Chicago’s folk dance scene. The tapped their folk traditions to American heartland in regular waves. Polonia Ensemble, for example, create distinctive performance First came the Irish, followed closely is the folk dance arm of the Polish troupes. One of the best-known is by Germans, British, Scandinavians, Roman Catholic Union of America, Muntu Dance Theatre. Founded and other Europeans. They were whose headquarters at Milwaukee in 1972, Muntu fuses traditional followed by Chinese immigrants, Avenue and Augusta Boulevard dates and contemporary African dance, displaced persons from Eastern and back to 1913. Younger organizations drumming, and folklore with Central Europe, Mexicans and Central dedicated to cultural preservation professional-level technique and Americans, and refugees fleeing wars include the Ukrainian Cultural high production values to create in Asia. By the late 20th century just Center, home to the Hromovytsia performances that have proved wildly about any ethnic group you could Ukrainian Dance Ensemble, and the popular across Chicago (until she name had a presence in the city. Irish American Heritage Center, moved to the White House, Michelle where several Irish dance schools A network of churches, settlement Obama sat on Muntu’s board). practice and perform, including the houses, and social clubs arose Under the artistic direction of P. Spriorad Damhsa performance group to support Chicago’s immigrant Amanieya Payne for more than 20

s Ensemble Español Spanish Dance Theater years, the troupe espouses a holistic vision of arts education. Company members consider themselves both performers and teachers; to Muntu, accurately conveying the cultural and historical significance of each work is as important as delivering a viscerally thrilling show. Natya Dance Theatre, a classical Indian dance company, shares this commitment to performance excellence and cultural preservation. The company uses the ancient tradition of Bharata Natyam, India’s intricately expressive—and rigorous— dance form, to communicate India’s rich heritage of myth and folklore. Natya Dance Theater also seeks to s Polonia Ensemble make this seemingly distant art form relevant to contemporary audiences dance traditions of Mexico, from the showcases the Ibero-Hispanic through cross-disciplinary endeavors storied Mexican Hat Dance to the experience through a blend of such as Sita Ram, the company’s 2006 indigenous Mayan rituals of Chiapas, Spanish ballet, folklore, and the musical adaptation of the Ramayana, thanks to the efforts of the Mexican traditional arts of flamenco. The the epic lyric poem of Hindu Folkloric Dance Company of company’s annual American Spanish scripture, presented in collaboration Chicago. The company celebrates the Dance Festival draws an international with Lookingglass Theater Company rich cultural history of Mexico from array of guest artists to perform, and the Chicago Children’s Choir. pre-Colombian times through its teach master classes, and lead Some of the most dominant dance colonial era and the 1910 revolution. workshops. The MFDC offers free dance traditions in Chicago derive from Drawing from this wealth of training to children and teenagers, the city’s broad and diverse Latino tradition, Luna Negra Dance Theater and draws its company members community. Home to one of the has created an utterly modern from their ranks. largest Mexican populations in the dance idiom. Founded in 1999 by U.S., Chicago has a vibrant network Across town the celebrated Ensemble Eduardo Vilaro, Luna Negra has of social dance venues and schools Español Spanish Dance Theater, the as its mission the simultaneous where salsa, mambo, and merengue longtime company-in-residence at respect for Latino cultural history are alive and well. But so are the folk Northeastern Illinois University, and the articulation of a vibrant, modern Latino identity reflecting

s Muntu Dance Theatre the sweeping cultural changes the community has undergone in recent years. Already prominent in the city’s dance scene, Luna Negra provides emerging Latino choreographers with the chance to develop and express their own distinctly 21st-century aesthetics. Folk and ethnic dance remain a vibrant part of Chicago’s dance community, continuing and renewing cultural traditions and at the same time nurturing creative expression through movement.

129 The Developing Dance Student grades 3 to 5

What Are Students Like at This Learning Level?

From the beginning of third grade to the end of fifth grade, children go from rowdy childhood to the brink of adolescence. This is a great time to introduce and encourage dance practices that engage their imaginations and get them up and moving. This is also the age group where students can, for the first time, realize that they have special talents and skills—it’s no coincidence that this is the age at which dance instruction typically begins in dance studios. These students are ready and able to modify their behavior in response to feedback. They aren’t dominated by peer pressure, so they can still pursue individual, personal responses to problem solving and creativity, but they are also ready to experience dance instruction as more than just exercise or a fun activity. The following is a quick look at some of the behaviors you’re likely to encounter within this learning level.

Third graders and upper body strength, and they’re Third graders love to laugh and be learning to make connections between silly, but they still seek adult attention physical conditioning and ability. They and approval. They learn by exploring also may show increasing interest in and creating and have the capacity to attending dance performances and vigorously engage with projects. They understanding dance as an art form. are still young, though, and benefit Once an activity has engaged their from short, structured activities with interest, fourth graders tend to dive in built-in rest periods. As dancers they with enthusiasm. are developing physical strength and body awareness, and they work well in Fifth graders group situations that allow them each a Fifth graders are usually a mix of chance to excel. Dance classes built on ten- and eleven-year-olds. Physically clear instruction can help your third most ten-year-olds are still children; graders harness their energy, capitalize by eleven, they are starting to hit on their passion for discovery, and work puberty. Their bones hurt, their bodies together collaboratively. are changing, and they are prone to mood swings and emotions they don’t Fourth graders understand. Dance class can be a unique Fourth graders can be more sensitive arena in which to help them navigate than their younger peers—they worry this developmental phase and help them about looking foolish and place a learn what to anticipate as they mature. premium on respect and fairness. But Cognitively they are developing higher- they also love to move and enjoy and order thinking skills and are starting excel at games. Fun, focused dance to question and challenge authority. activities can be great for bringing Activities that allow these young dancers them out of their shells. Physically they to work in teams to solve problems and are developing agility, speed, balance, teach each other work well.

130 the developing student: grades 3 to 5 What Students Can Do at This Level

The learning outcomes below are based on the Scope and Sequence, which builds instruction sequentially across these levels. Keep in mind that students of different ages may be at the same level.

Grade 3 Students Can . . . Grade 5 Students Can . . .

• choreograph and perform a • create and perform a 64-count short dance phrase that explores movement phrase that explores variations in meter (3/4, 2/4, 4/4 meter using exaggerated tempos time) and abstract movement

• create a short dance using • create a complex movement creative combinations of hopping, sequence requiring increased skipping, jumping, and other strength, agility, and balance basic locomotor movements

• develop movement phrases • use both pantomime and dance inspired by states of the natural to express meaning and discuss world (water, wind, etc.) the difference

• watch a performance of a • watch a ballet or modern dance ceremonial dance and identify performance, identify key and analyze its elements elements, and then create a group dance based on them

• watch other students perform and • research and discuss the constructively discuss their work connections between dance and other art forms

the developing student: grades 3 to 5 131 Scope and Sequence

Dance MAKING Dance LITERACY interpretation & evaluation making connections

Skills and Techniques Critical and Creative Interpretation/Communication Cross-curricular Illinois State Goals (IL 25A, 26B; Nat’l 1) Thinking (IL 25B; Nat’l 4, 6) (IL 25B; Nat’l 3) Connections (Nat’l 7) 25. Know the language of • Demonstrate increasing kinesthetic • Discuss interpretations of and • Observe and describe the inter- • Investigate connections between the arts. awareness. relatedness of dance elements. reactions to a dance. dance and other content areas. Through creating and • Utilize and elaborate on the element of • Discuss and explore movement • Create movements to express ideas, • Use technology as a tool for 26. G rade 3 space in dance. similarities and differences in feelings, or stories. exploring dance. performing, understand how works of art are • Utilize and elaborate on the element of time dance sequences. Evaluation (Nat’l 3) Participation Opportunities produced. in dance. • Identify at least three personal • Evaluate dance in multiple ways. (IL 27A) • Utilize and elaborate on the element of goals to improve themselves as • Define the role of an audience 27. Understand the role of energy/dynamics in dance. dancers. and performer in dance. the arts in civilizations past and present. • Replicate dance techniques as demonstrated. History and Culture • Define and demonstrate Choreographic Principles and (IL 27B; Nat’l 5) appropriate behaviors Processes (IL 26A, 26B; Nat’l 2) • Compare and contrast dances while watching, creating, or National Standards • Compare and contrast the differences from various cultures or performing dance. 1. Identifying and between spontaneous and planned movement. historical periods. • Identify and explore various demonstrating movement • Create a sequence with a beginning, middle, • Perform a dance or dances opportunities for involvement elements and skills in and end both with and without accompaniment. from various cultures or with dance. performing dance historical periods. • Explore and develop the following partner 2. Understanding skills: copying, mirroring. • Identify various ways in choreographic principles, which people respond to their • Improvise, create, and perform dances processes, and structures environments through dance. based on own ideas and concepts from other 3. Understanding dance sources. as a way to create and • Create a dance phrase and accurately repeat it. communicate meaning 4. Applying and Skills and Techniques Critical and Creative Interpretation/Communication Cross-curricular demonstrating critical and (IL 25A, 26B; Nat’l 1) Thinking (IL 25B; Nat’l 4, 6) (IL 25B; Nat’l 3) Connections (Nat’l 7) creative thinking skills in • Exhibit kinesthetic awareness (control, • Define the role of an audience • Observe and describe the dance • Identify concepts common to dance concentration, focus, and clarity of and performer in dance. elements in various dance movement dance and other content areas, 5. Demonstrating and movement). studies. • Present multiple solutions to such as English Language Arts, understanding dance G rade 4 Mathematics, Science, Social • Combine more than one element of dance to a movement problem. • Create and present simple dance in various cultures and Studies, Music, Theater Arts, create dance sequences. • Discuss the role of warm-up sequences that convey meaning. historical periods • Explore the following partner skills: copying, activities. • Explain interpretations of and and Visual Arts. 6. Making connections leading and following, mirroring. reactions to a dance. • Create a dance sequence that • Identify at least three personal between dance and • Replicate dance techniques as demonstrated. goals to improve themselves Evaluation (Nat’l 3) demonstrates understanding of a concept or idea from another healthful living Choreographic Principles and as dancers. • Devise and employ various ways to content area. 7. Making connections Processes (IL 26A, 26B; Nat’l 2) History and Culture evaluate dance. • Respond to a dance using between dance and other • Use improvisation to discover and invent (IL 27B; Nat’l 5) another art form; explain the disciplines dance. • Investigate the impact relationship between the dance • Create and perform a sequence with a of historical events or For list of complete Illinois Standards for Dance, and the response. Grades 3–4, see page 252-253. beginning, middle, and end. Identify each of significant contributors on the • Use technology as a tool for these parts in the sequence. development of dance. exploring dance. • Demonstrate the ability to work • Investigate aspects of Participation Opportunities independently and cooperatively. dance in various cultures or (IL 27A) • Create a dance phrase, accurately repeat it, historical periods. • Identify and explore various and then vary it by making changes in the • Learn and perform a dance opportunities for involvement elements of dance. reflecting characteristics of a with dance. • Create and present simple dance sequences particular culture and that convey meaning. describe the cultural context. • Demonstrate ways to create dance movements.

132 scope and sequence: grades 3 to 4 Scope and Sequence

Dance MAKING Dance LITERACY interpretation & evaluation making connections

Skills and Techniques Critical and Creative Interpretation/Communication Cross-curricular Illinois State Goals (IL 25A, 26B; Nat’l 1) Thinking (IL 25B; Nat’l 4, 6) (IL 25B; Nat’l 3) Connections (Nat’l 7) 25. Know the language of • Demonstrate increasing kinesthetic • Discuss interpretations of and • Observe and describe the inter- • Investigate connections between the arts. awareness. relatedness of dance elements. reactions to a dance. dance and other content areas. Through creating and • Utilize and elaborate on the element of • Discuss and explore movement • Create movements to express ideas, • Use technology as a tool for 26. G rade 3 space in dance. similarities and differences in feelings, or stories. exploring dance. performing, understand how works of art are • Utilize and elaborate on the element of time dance sequences. Evaluation (Nat’l 3) Participation Opportunities produced. in dance. • Identify at least three personal • Evaluate dance in multiple ways. (IL 27A) • Utilize and elaborate on the element of goals to improve themselves as • Define the role of an audience 27. Understand the role of energy/dynamics in dance. dancers. and performer in dance. the arts in civilizations past and present. • Replicate dance techniques as demonstrated. History and Culture • Define and demonstrate Choreographic Principles and (IL 27B; Nat’l 5) appropriate behaviors Processes (IL 26A, 26B; Nat’l 2) • Compare and contrast dances while watching, creating, or National Standards • Compare and contrast the differences from various cultures or performing dance. 1. Identifying and between spontaneous and planned movement. historical periods. • Identify and explore various demonstrating movement • Create a sequence with a beginning, middle, • Perform a dance or dances opportunities for involvement elements and skills in and end both with and without accompaniment. from various cultures or with dance. performing dance historical periods. • Explore and develop the following partner 2. Understanding skills: copying, mirroring. • Identify various ways in choreographic principles, which people respond to their • Improvise, create, and perform dances processes, and structures environments through dance. based on own ideas and concepts from other 3. Understanding dance sources. as a way to create and • Create a dance phrase and accurately repeat it. communicate meaning 4. Applying and Skills and Techniques Critical and Creative Interpretation/Communication Cross-curricular demonstrating critical and (IL 25A, 26B; Nat’l 1) Thinking (IL 25B; Nat’l 4, 6) (IL 25B; Nat’l 3) Connections (Nat’l 7) creative thinking skills in • Exhibit kinesthetic awareness (control, • Define the role of an audience • Observe and describe the dance • Identify concepts common to dance concentration, focus, and clarity of and performer in dance. elements in various dance movement dance and other content areas, 5. Demonstrating and movement). studies. • Present multiple solutions to such as English Language Arts, understanding dance G rade 4 Mathematics, Science, Social • Combine more than one element of dance to a movement problem. • Create and present simple dance in various cultures and Studies, Music, Theater Arts, create dance sequences. • Discuss the role of warm-up sequences that convey meaning. historical periods • Explore the following partner skills: copying, activities. • Explain interpretations of and and Visual Arts. 6. Making connections leading and following, mirroring. reactions to a dance. • Create a dance sequence that • Identify at least three personal between dance and • Replicate dance techniques as demonstrated. goals to improve themselves Evaluation (Nat’l 3) demonstrates understanding of a concept or idea from another healthful living Choreographic Principles and as dancers. • Devise and employ various ways to content area. 7. Making connections Processes (IL 26A, 26B; Nat’l 2) History and Culture evaluate dance. • Respond to a dance using between dance and other • Use improvisation to discover and invent (IL 27B; Nat’l 5) another art form; explain the disciplines dance. • Investigate the impact relationship between the dance • Create and perform a sequence with a of historical events or For list of complete Illinois Standards for Dance, and the response. Grades 3–4, see page 252-253. beginning, middle, and end. Identify each of significant contributors on the • Use technology as a tool for these parts in the sequence. development of dance. exploring dance. • Demonstrate the ability to work • Investigate aspects of Participation Opportunities independently and cooperatively. dance in various cultures or (IL 27A) • Create a dance phrase, accurately repeat it, historical periods. • Identify and explore various and then vary it by making changes in the • Learn and perform a dance opportunities for involvement elements of dance. reflecting characteristics of a with dance. • Create and present simple dance sequences particular culture and that convey meaning. describe the cultural context. • Demonstrate ways to create dance movements.

scope and sequence: grades 3 to 4 133 Scope and Sequence

Dance MAKING dance LITERACY interpretation & evaluation making connections

Skills and Techniques Critical and Creative Thinking Interpretation/Communication Cross-curricular Illinois State Goals (IL 25A, 26B; Nat’l 1) (IL 25B; Nat’l 4) (IL 25B; Nat’l 3) Connections (Nat’l 7) 25. Know the language of • Apply kinesthetic awareness in • Identify and examine factors that • Identify and demonstrate • Summarize two or more the arts. development of movement skills and differences between gesture/ can affect the interpretation of a concepts that occur across dance techniques. pantomime/acting and dance. dance. dance and more than one other 26. Through creating and G rade 5 • Combine the elements of space, time, • Define and explain the role of an • Create and perform movement content area. performing, understand and energy/dynamics to create dance audience and performer. sequences that convey meaning. • Create a dance project that how works of art are produced. sequences with a variety of themes and • Observe and describe the Evaluation (Nat’l 3) integrates understanding of a concepts. dance elements in various • Select and utilize ways to evaluate concept or idea from another 27. Understand the role of • Demonstrate the following partner dance movement studies using dance. content area. the arts in civilizations skills: copying, leading and following, appropriate dance vocabulary. • Respond to dance using another past and present. mirroring. History and Culture art form; justify the relationship • Demonstrate the reproduction of dance (IL 27B; Nat’l 5) between the dance and the National Standards sequences from verbal and visual cues. response. • Explain the impact of historical 1. Identifying and Choreographic Principles and events and significant contributors • Use technology as a tool for demonstrating movement exploring and creating dance. Processes (IL 26A, 26B; Nat’l 2, 6) on the development of dance. elements and skills in • Create a warm-up routine and discuss • Explain aspects of dance in various Participation Opportunities performing dance how it prepares the body and mind. cultures and historical periods. (IL 27A) 2. Understanding • Identify and use improvisations and • Learn and perform a dance • Identify and explore various choreographic principles, opportunities for involvement transitions in dance sequences. reflecting characteristics of a processes, and structures • Demonstrate the ability to work alone and particular historical period, and within the dance field. 3. Understanding dance cooperatively. describe the historical context. as a way to create and • Improvise, create, and perform dances communicate meaning based on own ideas and concepts from other sources. 4. Applying and demonstrating critical and • Identify and explore various compositional structures and/or forms of dance. creative thinking skills in dance • Analyze more than one element of a dance composition. 5. Demonstrating and understanding dance in various cultures and historical periods 6. Making connections between dance and healthful living 7. Making connections between dance and other disciplines For list of complete Illinois Standards for Dance, Grade 5, see page 252-253.

134 scope and sequence: grade 5 Scope and Sequence

Dance MAKING dance LITERACY interpretation & evaluation making connections

scope and sequence: grade 5 135 DANCE IN CHICAGO s

Ruth Page Ballet

AN INFLUENTIAL FORM

: Classical ballet may have been born women as mothers and wives, and is touring companies such as American in the French courts of the 17th widely considered the world’s first Ballet Theatre regularly pass through century, but Chicago ballet truly feminist ballet. Beginning in 1955, Chicago, it wasn’t until 1995 that began with Ruth Page, a visionary she toured the United States with the city once again claimed a world- artist who believed dance could her own company, Chicago Opera class classical ensemble, when, under and should be accessible to all. Ballet, and she choreographed and the direction of Gerald Arpino, the Born in Indianapolis and trained staged a Nutcracker that was a staple Joffrey Ballet relocated from New in New York, Page was already an of Chicago’s holiday season from York City to Chicago. accomplished ballerina when she 1965 until the mid-1980s. Upon The Joffrey, founded by settled in Chicago in 1924. At the her retirement she established the choreographer Robert Joffrey time the eclectic Pavley-Oukrainsky Ruth Page Foundation, which now in 1956, is in many ways a Ballet, an affiliate of Chicago runs the Ruth Page Center for the fitting inheritor of Ruth Page’s Grand Opera, was making waves Arts, a dance school, studio, and legacy. Considered by many the with its endorsement of avant- performance space on the Gold quintessentially American ballet garde European techniques such as Coast. troupe, the company showcases the eurythmics and pantomime. As a Page, who died in 1991, was the youth and vigor of its dancers with dancer and choreographer Ruth Page driving force behind Chicago a repertory that ranges from lyrical went a step further, championing the ballet for decades, founding or Romantic pieces by Sir Frederick integration of ballet with modern championing companies such as Ashton—and Joffrey’s own popular dance techniques and with everyday the Ravinia Opera, the WPA Dance Nutcracker—to aggressively angular movements inspired by sports Project, and Chicago Opera Ballet, modern works, like Kurt Jooss’s and popular dance. She found the dance arm of the Lyric Opera German Expressionist antiwar classic inspiration in the most populist of of Chicago. After her retirement, “The Green Table.” American themes, from flappers to Chicago ballet foundered a bit. The football players. Her West Indian- And, like Ruth Page, the Joffrey Balanchine-trained Maria Tallchief, themed La Guiablesse featured a mostly has embraced popular culture the country’s first Native American African American cast from the and modern dance. Consider prima ballerina and herself a former South Side; a 1937 piece, American “Deuce Coupe,” a signature work principal with Chicago Opera Ballet, Patterns, examined the lives of by the modern choreographer founded her own Twyla Tharp set to the music of

company, Chicago s the Beach Boys and originally Boitsov City Ballet, in 1974, staged for the Joffrey in 1973. In but that company it, a solo dancer demonstrates the folded in 1987 basics of ballet vocabulary—tendus, under financial pirouettes, fouettés—while around pressures. her a corps of brightly clad dancers Ballet Chicago, twist and jive their way through a professional movements inspired by popular training program 1960s dances like the Swim and the teaching Balanchine Monkey.“Deuce Coupe” was the first technique, formed piece to capture the pop cultural around the time revolution of the ’60s (the set was Tallchief’s company repainted every night by graffiti closed. And in artists) and explicitly represent 1988, former the tension between classical ballet Bolshoi ballerina and the movement revolutionaries Elizabeth Boitsov, of modern dance. Tharp herself whose Boitsov has described it as being “about Classical Ballet teenagers,” in all their energetic, School has been exploratory glory. teaching classical Today, contemporary Chicago Russian technique companies such as the athletic in Chicago since Hubbard Street Dance Chicago 1980, founded her embrace ballet traditions in their own troupe, Boitsov work and training, fusing them with Classical Ballet modern techniques and popular Company. While dance styles. Ruth Page would be world-renowned proud. The Developing Dance Student grades 6 to 8

What Are Students Like at This Learning Level?

Middle school students are on a wild ride as they work through puberty and take their first tentative steps into adulthood. Their bodies are changing rapidly. By eighth grade some girls will be fully physically developed. As in fifth grade, the dance classroom can also be a unique safe haven for addressing developmental changes. At this age students can also be passionate in their emotions. They are interested in making connections between their lives and the rest of the world. Gifted dance students may already be thinking about a possible career in dance, and all students are becoming aware of the role of social dance in their lives. This is a good time to introduce dance from other cultures of the world, and encourage students to explore movement and dance history on their own. Peer relationships are very important during these years, so group interaction should also be stressed. The following is a quick look at the behaviors you are likely to encounter.

Sixth graders keeping them on task. At this age Sixth graders are energetic and students also want to communicate sometimes have trouble making sincerely with adults, so opening up decisions. Therefore, they need clear a dialogue can be useful. Around the instruction and positive reinforcement, beginning of this grade many students as they are starting to become more start to become interested in current conscious of the way they are perceived. events and social justice, which can A little humor can go a long way to be incorporated into both their own soothe anxieties. Emotions become choreographic ideas and the study of stronger at this age, so lessons focusing dance’s populist history. on dance’s powerful capacity to express feeling and meaning can be quite Eighth graders effective. Eighth graders need focused tasks to help them understand larger concepts, Seventh graders but they are also willing to take risks and Seventh graders benefit from mentoring make mistakes. At this grade level, they as they push boundaries and challenge are less worried about making mistakes perceived authority. They might be than they were even a year earlier. As withdrawn at times. At other times, they develop into adults, their physical they might play the class clown. The abilities increase quickly. This is a great challenge with students this age is age to focus on building technique.

138 the developing student: grades 6 to 8 What Students Can Do at This Level

The learning outcomes below are based on the Scope and Sequence, which builds instruction sequentially across these levels. Keep in mind that students of different ages may be at the same level.

Grade 6 Students Can . . . Grade 8 Students Can . . .

• memorize and demonstrate a • memorize and demonstrate a dance timed to music complex dance set to varying time signatures

• create a dance inspired by a • create, present, and discuss a poem or or other text dance expressing something of personal importance

• understand and discuss how • incorporate various elements of costumes, lighting, music, etc. presentation (lights, costumes) can affect a dance’s meaning into an original dance work

• learn and perform an authentic • use library resources (videos, folk or ceremonial dance from Internet) to research a dance another culture form from another culture or time period

• draw on material from other • integrate music, theater, and subject areas (Language Arts, visual arts into dance creation Social Studies, etc.) to create dance

the developing student: grades 6 to 8 139 Scope and Sequence

Dance MAKING Dance LITERACY interpretation & evaluation making connections

Skills and Techniques Critical and Creative Interpretation/Communication Cross-curricular Illinois State Goals (IL 25A, 26B; Nat’l 1) Thinking (Nat’l 4) (IL 26A; Nat’l 3, 4) Connections (Nat’l 7) 25. Know the language of • Exhibit kinesthetic awareness (alignment, • Identify and discuss specific • Use dance vocabulary to • Create dance sequences the arts. balance, articulation of isolated body describe the movement elements elements that affect the using concepts from other parts, elevation, landing, etc.). observed in a dance. interpretation of a dance, such as content areas (Language Arts, 26. Through creating and G rade 6 • Use space by transferring a spatial pattern • Analyze more than one element sound/silence, music, lighting, set, Mathematics, Science, Social performing, understand from the visual to the kinesthetic. in a composition. props, and costumes. Studies). how works of art are produced. • Utilize time by transferring a rhythmic • Demonstrate appropriate • Identify topics of personal • Create a dance sequence pattern from the aural to the kinesthetic. behaviors while watching, significance and explore them inspired by another arts area 27. Understand the role of • Reproduce dance sequences from verbal, creating, and performing. through dance movement. (Music, Theater, Visual Arts). the arts in civilizations visual, and/or auditory cues. History and Culture Evaluation (Nat’l 3, 4) • Identify concepts used in dance past and present. Choreographic Principles and (IL 25B, 27B; Nat’l 5) • Describe ways to evaluate dance and other content areas. Processes (IL 26A, 26B; Nat’l 2, 6) • Create and demonstrate a from an aesthetic perspective, • Use technology as a tool for National Standards • Create a warm-up routine and discuss how composition based on dance including performer’s skill, style exploring and creating dance. 1. Identifying and it prepares the body and mind. from various cultures and/or of movement, technical elements, Participation Opportunities demonstrating movement visual or emotional impact, • Improvise to discover and invent historical periods. (IL 27A) elements and skills in compositional elements, and intent. movements. • Describe similarities and • Explore various dance- performing dance differences in dance movements • Identify ways to manipulate dance related professions, including 2. Understanding from various cultures and forms. sequences. dancer, artistic director, and choreographic principles, choreographer. • Demonstrate the ability to work alone, with • Identify and explore dance genres processes, and structures a partner, and cooperatively. and innovators from various historical periods. 3. Understanding dance • Create and perform dances based on own as a way to create and • Describe the role of dance in at ideas and concepts from other sources. communicate meaning least two different cultures or • Identify and utilize various compositional time periods. 4. Applying and structures. demonstrating critical and creative thinking skills in Skills and Techniques Critical and Creative Interpretation/Communication Cross-curricular dance (IL 25A, 26B; Nat’l 1) Thinking (Nat’l 4) (IL 26A; Nat’l 3) Connections (Nat’l 7) 5. Demonstrating and • Exhibit kinesthetic awareness (initiation • Describe the movement elements • Create a dance sequence that • Create dance compositions understanding dance of movement and weight shift, fall and observed in a dance using dance communicates a topic of personal using ideas and concepts from in various cultures and recovery, etc.). vocabulary. significance. other content areas (English

G rade 7 historical periods • Manipulate space by transferring a spatial • Analyze a dance composition in • Incorporate and utilize various Language Arts, Mathematics, pattern from the visual to the kinesthetic. terms of space, time, and energy. elements to communicate meaning Science, Social Studies). 6. Making connections between dance and • Manipulate time by transferring a rhythmic History and Culture in a dance. • Create a dance composition healthful living pattern from the aural to the kinesthetic. (IL 25B, 27B; Nat’l 5) Evaluation (Nat’l 4) that utilizes various arts areas • Manipulate energy by demonstrating a • Demonstrate dance styles and • Identify possible aesthetic criteria (Dance, Music, Theater, Visual 7. Making connections range of dynamics/movement qualities. concepts from various cultures or for evaluating dance. Arts). between dance and other • Memorize and reproduce movement historical periods. • Investigate and identify disciplines sequences from verbal, visual, and/or • Compare and contrast dances examples of concepts used in For list of complete Illinois Standards for Dance, auditory cues. and their role in various cultures, dance and another content area. Grades 6–7, see page 252-253. Choreographic Principles and historical periods, and/or styles. • Use technology as a tool for exploring and creating dance. Processes (IL 26A, 26B; Nat’l 2, 6) • Investigate and explain dance • Create a warm-up routine and discuss how styles using many resources, Participation Opportunities it prepares the body and mind. including people in the (IL 27A) • Use improvisation to invent and combine community, videos, computer • Identify and explore various movements. technology, and print sources. dance-related professions, such as those of costumer, lighting • Utilize and demonstrate partnering skills. • Explore and identify various dance styles and innovators from designer, set designer, stage • Create and perform dances based on own various historical time periods. manager, and conductor. ideas and concepts from other sources. • Identify and utilize different choreographic structures/forms.

140 scope and sequence: grades 6 to 7 Scope and Sequence

Dance MAKING Dance LITERACY interpretation & evaluation making connections

scope and sequence: grades 6 to 7 141 Scope and Sequence

dance MAKING dance LITERACY interpretation & evaluation making connections

Skills and Techniques (IL 25A, 26B; Critical and Creative Interpretation/Communication Cross-curricular Illinois State Goals Nat’l 1) Thinking (Nat’l 4) Connections (Nat’l 7) (IL 26A; Nat’l 3) 25. Know the language of • Exhibit kinesthetic awareness in • Use dance vocabulary to describe • Create, present, and explain a • Create dance compositions the arts. movement skills and dance techniques. the movement elements observed dance that communicates a topic of integrating concepts from other Through creating and • Synthesize space by transferring a in a dance. personal significance. content areas (Language Arts, 26.

G rade 8 performing, understand spatial pattern from the visual to the • Identify and explore dance • Incorporate and justify the use of Mathematics, Science, or Social how works of art are kinesthetic. companies and innovators with various elements to communicate Studies). produced. • Synthesize time by transferring a Chicago roots. meaning in a dance. • Create a dance project that integrates various arts areas Understand the role of rhythmic pattern from the aural to the History and Culture Evaluation (Nat’l 4) 27. (Dance, Music, Theater Arts, the arts in civilizations kinesthetic. (IL 25B, 27B; Nat’l 5) • Identify possible aesthetic criteria for Visual Arts). past and present. • Synthesize energy by demonstrating a • Compare and contrast dances evaluating dance. range of dynamics/movement qualities. and their role in various cultures, • Give examples of concepts used • Memorize and reproduce dance historical periods, and/or styles. in dance and other content areas. National Standards sequences from verbal, visual, and/or • Investigate, explain, and evaluate • Use technology as a tool for 1. Identifying and auditory cues. dance forms using many exploring and creating dance. demonstrating movement Choreographic Principles and resources. Participation Opportunities elements and skills in Processes (IL 26A, 26B; Nat’l 2, 6) • Create projects that demonstrate (IL 27A) performing dance knowledge of dance forms and • Create a warm-up routine and discuss • Demonstrate appropriate 2. Understanding innovators from various historical how it prepares the body and mind. behaviors while watching, choreographic principles, time periods. • Use improvisation to invent and combine creating, and performing dance. processes, and structures movements. • Identify and explore various 3. Understanding dance dance-related professions • Manipulate sequence and utilize as a way to create and (dance critic, dance educator, partnering skills in dance compositions. communicate meaning • Create and perform dances from own dance historian, dance notator). 4. Applying and ideas and other sources. demonstrating critical and • Utilize and demonstrate various creative thinking skills in choreographic structures. dance • Compare and contrast two dance Demonstrating and compositions. 5. understanding dance • Create and present dance compositions in various cultures and using abstracted gesture. historical periods 6. Making connections between dance and healthful living 7. Making connections between dance and other disciplines For list of complete Illinois Standards for Dance, Grade 8, see page 252-253.

142 scope and sequence: grade 8 Scope and Sequence

dance MAKING dance LITERACY interpretation & evaluation making connections

scope and sequence: grade 8 143 DANCE IN CHICAGO Jazz and Tap Uniquely American Forms

s Savoy Ballroom

s The Chicago Human Rhythm Project Two quintessentially American dance of the Chicago tap scene. With Other Chicago jazz companies forms, jazz and tap came to Chicago the late Kelly Michaels, Alexander include River North Chicago Dance in the early 20th century, when the co-founded the above-mentioned Company, Joel Hall Dancers, and Great Migration of southern African Chicago Human Rhythm Project, Jump Rhythm Jazz Project. Each Americans to cities in the north led a performance, education, and takes the hybrid, fluid nature of to an explosion of African American outreach group that now hosts the jazz in a distinctive direction. River talent. Jazz music thrived in South oldest summer tap festival in the North is a contemporary repertory Side clubs like the Savoy Ballroom, world. company with roots in jazz and where black Chicagoans flocked to ballet that frequently incorporates Gus Giordano, a legendary figure dance. Latin themes and music. Joel in contemporary jazz dance, opened Hall celebrates multiculturalism An ever-changing hybrid, jazz his namesake studio in Evanston through a blend of jazz, ballet, dance was born out of the meeting in 1953. Today Giordano’s sleek modern, and “street” dance styles. of African American vernacular sinuous technique, as embodied by Jump Rhythm Jazz founder Billy dance with ballet, musical theater, his company, Giordano Jazz Dance Siegenfeld has developed his own and social dance styles from the Chicago, is considered a defining signature technique that harnesses Charleston to the Frug. Like its element of modern jazz. Now the expressive power of rhythm and namesake music, jazz has proven under the direction of Giordano’s percussion to encourage a “full- to be an enduring form of creative daughter, Nan, the company also bodied” approach to dancing. expression, at turns sensual, lyrical, hosts the annual Jazz Dance World and percussive. What we now know Congress, an international gathering And, of course, rhythm and as tap dance evolved as a reaction to celebrating jazz dance, every summer. percussion are the driving force the forbidding of African drumming behind the contemporary tap Broadway show dancer Lou Conte by early American slaveholders. explosion, which shares the opened his own studio in 1974, Enslaved Africans adapted their improvisatory traditions of jazz teaching tap, ballet, and jazz, and the traditional dances to clearly reflect music, rap, and spoken word poetry. students from these classes formed drum rhythms into a style of It is grounded in precise technique the core of what would become syncopated, percussive dancing. With but full of explosive, expressive Hubbard Street Dance Chicago. the dawn of minstrel shows, and later potential. Though HSDC has grown to become vaudeville, tap evolved from elements Thanks to dancers such as tap of Irish jigs and clog superstar Savion Glover, tap dancing, flat footing, and is more popular, accessible, other step dance forms. It and relevant than ever. Locally, became a popular theatrical Chicago Tap Theatre focuses form along with soft-shoe on storytelling, with works such and jazz. as “Little Dead Riding Hood,” A genre-defining tap dancer, a retelling of the tale of Red Chicago’s Jimmy Payne Riding Hood through tap. The is credited with keeping exuberant M.A.D.D. Rhythms tap’s vaudeville roots alive. channels tap’s percussive power His Afro-Cuban themed to connect with young dancers “Calypso Carnival” packed and encourage both discipline in the crowds at the Blue and creativity. Angel on Rush Street in Just as the styles we now call jazz the 1940s, and he went on and tap were once vernacular to train generations of tap forms, today new generations dancers through his Jimmy of dancers across Chicago Payne School of Dance. are inspired by the energy of His son, Jimmy Payne, Jr., s Chicago Tap Theatre street dance to hone the latest, picked up the torch after his uniquely American form: hip- father’s death in 2000, performing one of the city’s most high-profile hop. Young teaching companies such as part of the Chicago Human modern dance companies, it began as Culture Shock Dance Troupe and Rhythm Project and teaching at as a jazz ensemble and its athletic, Fusion Dance Company celebrate Columbia College Chicago. eclectic repertoire remains grounded the connections between dance and in the jazz tradition, showcasing work Another internationally recognized urban culture—paving the way for by Bob Fosse and Twyla Tharp. tap artist, Lane Alexander has also the next phase in the ever-changing been a driving force in the vitality definition of jazz and tap. The Developing Dance Student HS I to II

What Are Students Like at This Learning Level?

At the high school level, dance coursework may not directly correspond to grade: a 9th grader and a 12th grader may both be enrolled in Dance I. Thus, it’s more important than ever that teachers recognize and accommodate differences in maturity and development. High school students study dance for different reasons. Some may see it as a fun way to get exercise. Others may see dance education as a supplement to study in other performing arts. Some may be trying to figure out if they have talent. Others may already be pursuing extra-curricular dance study, with an eye toward a future career. But most early high school students share the following developmental characteristics. • Students at this age can think •may struggle with a sense of identity abstractly and understand complex and ambition, with high expectations ideas without many examples. They competing with bouts of low self- demonstrate a strong ability to absorb esteem. They are also coming to terms new information and are interested in with their newfound sexuality. In a discussing and evaluating what they’re coeducational class some students may learning, especially if it has relevance to be shy and awkward; others may be their lives and goals. Structured lessons aggressive. that allow for independent study and expression work well for these teens. • Students at this age are still developing: They are also starting to articulate and bones are growing, muscle mass refine an individual aesthetic and to increasing, and fine motor skills being think about future career goals. They honed. Fourteen- and fifteen-year-old may not know it, but they’re thirsty girls in particular can have profoundly for role models. Visiting teaching ambivalent feelings about these changes artists can provide great examples of and can be harsh judges, fixating adults working as professional dancers on their weight and other perceived and help students make connections “flaws.” They may feel particularly between what they’re doing in class vulnerable in a dance class. Patience, and its potential application in the real empathy, and constructive feedback are world. important. • Early high school students are testing boundaries. They seek independence and responsibility, and challenge authority, while being very attuned to the expectations of their peers. They may often experience intense emotions they don’t always understand. They

146 the developing student: hs i to ii What Students Can Do at This Level

The learning outcomes below are based on the Scope and Sequence, which builds instruction sequentially across these levels. Keep in mind that students of different ages may be at the same level.

High School Level I High School Level II Students Can . . . Students Can . . .

• identify and demonstrate the • demonstrate mastery of a variety basic differences between the of intermediate dance techniques elements of ballet, modern, tap, in the various genres of ballet, and jazz dance modern, tap, and jazz

• understand the fundamentals of • choreograph a dance using dance vocabulary (plié, relevé, classical dance vocabulary sauté, etc.) to express principles such as balance, contrast, unison, and repetition, etc.

• with a group, create and perform • use lighting, costumes, and sound a dance that uses movement to to affect a piece’s meaning and express meaning derived from a interpretation social issue

• identify the common themes in • analyze the similarities and folk dances from two different differences between dance forms cultures from two different cultures, such as the tango and the waltz

• demonstrate understanding • demonstrate a mastery of of the basic elements of basic elements of performance performance (kinesthetic and (kinesthetic and special spatial awareness, focus, clarity awareness, focus, clarity of of movement) movement)

the developing student: hs i to ii 147 Scope and Sequence

dance MAKING dance LITERACY interpretation & evaluation making connections

Skills and Techniques (Nat’l 1) Critical and Creative Thinking Interpretation / Cross-curricular Illinois State Goals (IL 27A; Nat’l 4, 6) Communication Connections (Nat’l 7) • Recognize and demonstrate 25. Know the language of • Demonstrate and define basic dance (IL 25A, 26A; Nat’l 3) kinesthetic awareness through proper • Identify, draw conclusions about, the arts. body alignment and technique. vocabulary. • Identify a variety of artistic or predict connections between Through creating and • Recognize and demonstrate that • Demonstrate understanding of decisions that are required to create dance and other content areas. 26. performing, understand different dance forms have various concentration and focus as part of and perform dance. • Use technology as a tool for techniques and vocabularies. the role of a performer of dance. • Recognize and demonstrate the exploring and creating dance. how works of art are produced. • Demonstrate the use of basic to • Explore the challenges and use of the human body as an Participation Opportunities beginning level dance technique. opportunities facing professional instrument of expression. (Nat’l 4) 27. Understand the role of • Identify a variety of artistic decisions dance companies in America. • Recognize and demonstrate • Demonstrate appropriate the arts in civilizations that are required to create and • Evaluate how consumer trends in understanding of how technical/ audience etiquette using good past and present. perform dance. the arts affect the type and styles of theatrical elements used in a dance listening skills, attentive behavior, dance compositions. can influence its interpretation and High School Level I High School Level Choreographic Principles and and respect for the audience and National Standards meaning. Processes (IL 25A, 26B; Nat’l 2) History and Culture performers. 1. Identifying and (IL 25A, 26A; Nat’l 4) • Use improvisation (free and (IL 25B, 27B; Nat’l 5) Evaluation • Identify careers related to dance demonstrating movement structured) to discover and generate • Identify ways that dance reflects, • Identify and discuss possible in contemporary society. elements and skills in movement. records, and influences history. aesthetic criteria for evaluating performing dance dance, including skill of performer, • Explore movement with a partner • Identify patterns, relationships, and Understanding style and quality of movement, 2. or group and exhibit spontaneous trends in dance in different cultures, technical elements, visual or choreographic principles, decision-making to select movement and discuss how aesthetic judgments emotional impact, compositional processes, and structures for dance. vary between them. elements, and choreographer’s 3. Understanding dance • Observe and discuss significant • Identify and explore a range of stimuli intent. as a way to create and (visual, auditory, tactile, kinesthetic) dance works with respect to • Recognize and explain the use of communicate meaning to create dance movement. historical, cultural, philosophical, lighting, setting, props, costumes, • Recognize and explain how the and/or artistic perspectives. 4. Applying and and other technical/theatrical demonstrating critical and creative process in dance is elements in communicating intent. influenced by personal movement creative thinking skills in styles. dance • Observe, recall, and describe—using 5. Demonstrating and main ideas and supporting details— understanding dance the use of dance elements in a variety in various cultures and of significant choreographic works. historical periods • Define and identify basic 6. Making connections choreographic principles. between dance and healthful living 7. Making connections between dance and other disciplines For list of complete Illinois Standards for Dance, Grade 9, see page 252-253.

148 scope and sequence: high school level i Scope and Sequence dance MAKING dance LITERACY interpretation & evaluation making connections

scope and sequence: high school level i 149 Scope and Sequence

dance MAKING dance LITERACY interpretation & evaluation making connections

Skills and Techniques (Nat’l 1) Critical and Creative Thinking Interpretation/Communication Cross-curricular Illinois State Goals (IL 27A; Nat’l 4, 6) (IL 25A, 26A; Nat’l 3) Connections (Nat’l 7) • Demonstrate kinesthetic awareness 25. Know the language of • Discuss the relationships between through proper body alignment and • Describe how the human body is • Identify or predict commonalities the arts. technique. dance elements in compositions. used as a tool for communication. and differences between dance Through creating and • Explore and demonstrate the use of • Formulate and answer aesthetic • Explain how personal experience and other content areas, with 26. dance techniques and vocabularies. questions (What elements make a influences the interpretation of a regard to fundamental concepts, performing, understand how works of art are • Demonstrate the use of beginning to particular dance that dance? How dance. materials, elements, and ways of produced. intermediate level dance technique, much can a dance be changed by • Analyze and examine the influence communicating meaning. focusing on articulation, strength, an individual before it becomes a of technical/theatrical elements • Explore the use of a variety of 27. Understand the role of flexibility, agility, and coordination. different dance? How does one define on interpretation and meaning in technology to enhance or alter the arts in civilizations • Plan, organize, memorize, and a dance?, etc.). dance. the movement experience. past and present. accurately perform extended • Identify and demonstrate Evaluation (IL 25A, 26A; Nat’l 4) Participation Opportunities movement sequences. understanding of the role of an • Critique the works of selected (Nat’l 4) National Standards

High School Level II High School Level audience in dance. • Demonstrate understanding of the choreographers through research • Identify dance as a vocation 1. Identifying and • Demonstrate concentration and focus element of space (locomotor, non- and observation. and profession and relate the demonstrating movement as a performer of dance. locomotor/axial, pathways, direction, discipline of dance to other elements and skills in levels, shape, personal space, general • Explore and evaluate how society and aspects of life. performing dance space). consumer trends affect the type and 2. Understanding • Demonstrate understanding through styles of dance compositions. choreographic principles, applying the use of the dance element • Demonstrate personal progress processes, and structures of time (tempo, beat, rhythm, accent, through performance and/or the organic rhythm). creation and use of a dance portfolio, 3. Understanding dance • Demonstrate understanding through journal, choreographic work, or other as a way to create and applying the use of the dance element medium. communicate meaning of movement energy/dynamics (flow, History and Culture 4. Applying and space, time, weight). (IL 25B, 27B; Nat’l 5) demonstrating critical and Choreographic Principles and • Identify the purpose and function creative thinking skills in Processes (IL 25A, 26B; Nat’l 2) of dance in particular cultures or dance • Use improvisation to discover and historical periods. 5. Demonstrating and generate movement for choreography. • Identify, examine, and describe understanding dance • Recognize and demonstrate that Chicago-based dance companies in various cultures and improvisation with others can release and/or innovators. historical periods intuitive movement possibilities. • Identify and examine dancers and/ 6. Making connections • Choreograph a simple dance focusing or dance innovators from a particular between dance and on a selected stimulus (visual, time period. healthful living auditory, tactile, kinesthetic). 7. Making connections • Combine the creative process with between dance and other personal movement style to produce a disciplines movement sequence. • Explore the choreographic principles, For list of complete Illinois Standards for Dance, Grades 10, see page 252-253. such as unity, variety, contrast, repetition, and transition. • Identify, explore, and demonstrate how the use of technical/theatrical elements can affect the choreographic structure and intent.

150 scope and sequence: high school level ii Scope and Sequence dance MAKING dance LITERACY interpretation & evaluation making connections

OVERFLOW

scope and sequence: high school level ii 151 DANCE IN CHICAGO

s Doris Humphrey

s Katherine Dunham Chicagoans Inspire Modern Dance Traditions

s Chicago Moving Company

s Mordine and Company Dance Theater Today the term “modern dance” Caribbean dance traditions to create early American modern dance lives is commonly used as an umbrella a distinctively modern movement on in the work of Oak Park-based covering a broad range of movement vocabulary built around a flexible Momenta Dance Theatre, which traditions and techniques, some as torso and spine and articulated pelvis presents historical work by the giants established and codified as those of and limbs. of the day—Duncan, St. Denis, ballet. But in the early 20th century, Humphrey, and Graham among Humphrey, Dunham, and practitioners of “modern” dance them. other idiosy ncratic visionaries were specifically reacting against like maverick dancer Sybil Chicago is also home to several ballet’s rigid aesthetic rules. At that Shearer—whose home and studio institutions that bring touring time classical ballet emphasized in Northbrook, Illinois, is now companies to town on a regular basis. lightness and elevation, its sylphs and maintained as an artists’ retreat—laid In addition to the Dance Center princesses posing on pointe to reach the foundation for the vital and of Columbia College Chicago, the for the sky. Pioneers of modern creative modern dance scene that has Museum of Contemporary Art and dance like Isadora Duncan danced thrived in Chicago since the mid- the Harris Theater both present an barefoot, embodying expressive 20th century. Shirley Mordine, one impressive range of modern dance. freedom through simple skips and of the scene’s prime movers, moved Recent years have seen performances leaps. Later, Martha Graham’s severe, to town in 1969 to found the Dance by high-level artists such as Mark angular style was a stark rebuke of Center of Columbia College. Under Morris Dance Company, the Bill T. ballet’s romantic ideal of feminine her direction the Dance Center Jones/Arnie Zane Dance Company, beauty. developed into a force in modern the Martha Graham Dance Company, Graham’s contemporary, Doris dance education, with a diverse and more. And the monthlong Humphrey, was another pioneering training program and a performance Dance Chicago festival brings a modernist. Born and raised in series that draws world-class modern multidisciplinary array of talent to Oak Park, she studied under Ruth companies from around the world. numerous Chicago venues each year, St. Denis and Ted Shawn before Her own critically acclaimed presenting international stars side by rejecting their exotic aesthetic for her company, Mordine and Company side with Chicago artists embodying own powerful expressive vision. Her Dance Theater, presents dramatic, the best of the city’s modern dance dances were based on the principle innovative modern work grounded in past, present, and future. of fall and recovery, in which drama technically sophisticated movement is created by the tension between emanating, like Dunham’s, from the gravity and the body in motion. spine and torso. Humphrey was inspired by nature, Another godmother of Chicago myth, Freudian psychology, and by dance, Nana Shineflug, founded the the German Expressionist artists of Chicago Moving Company in 1972, the 1920s and ’30s. Her iconic “Life and it remains one of the city’s most of the Bee” featured dancers scuttling popular, and idiosyncratic, modern sideways across the stage, knees and troupes. Shineflug’s choreography elbows akimbo; the piece climaxes fuses powerful modern dance with the killing of one “queen bee” technique with movement inspired by by another. yoga, mathematics, and Far Eastern Around the same time, Katherine culture and religion. CMC also hosts Dunham, was taking dance in a the annual Other Dance Festival, a different direction. As a student at three-week performance showcase the University of Chicago, Dunham for some of the city’s best and most was fascinated by the popular innovative modern dance artists. dance traditions of the African Hubbard Street Dance Chicago American community, and turned an carries on the vernacular tradition ethnographic eye on the origins of of Katherine Dunham with a high- the Lindy Hop and the Black Bottom powered, athletic hybrid of ballet, Dance. She won a fellowship to study jazz, and modern. Thodos Dance black dance in the Caribbean, but Chicago performs lyrical modern later abandoned academic work for a work by artistic director Melissa career on Broadway, in Hollywood, Thodos as well as eclectic work and with her own Katherine by Broadway choreographer Ann Dunham Company. Her trailblazing Reinking, Chicago Dancing Festival Dunham Technique fused jazz and creator Lar Lubovitch, and others. s popular dance forms with Afro- Thodos Dance Chicago And the expressive tradition of 153 The Developing Dance Student HS III to IV

What Are Students Like at This Learning Level?

Dance students at this intermediate-to-advanced level are often quite serious about their goals. Even if they are not planning on becoming professional dancers, they might be thinking about studying dance in college, pursuing a related career in the performing arts, or exploring a dance-oriented profession such as sports nutrition or kinesiology. All probably have well-developed, individual aesthetic ideas. The following is a quick look at some of the behaviors you are likely to encounter in this diverse, challenging mixture of students.

others—especially their peers—and • Students at this level have developed often sensitive to the slightest higher order thinking skills and criticism. Encourage dance students understand complex, abstract to keep a journal and get into the ideas without the need of extensive habit of self-evaluation. Building an examples. At this level dance fluency internal sense of their own progress entails complicated, embodied helps reinforce confidence. knowledge. Students are able to synthesize the physical and intellectual • Physically, these students are reaching components of dance, perceiving, adulthood. Girls are usually fully analyzing and evaluating movement developed while boys may still be while performing it at a technically adding muscle mass and shooting proficient level. Already looking up in height, but in general they are toward the future, they have a strong more comfortable with their bodies need to be independent and self- than 15-year-olds. As they become directed. You can take advantage technically accomplished dancers of this by creating assignments that these students will work hard and push require students to make choices themselves physically. Instruction in about the subject of their work, the healthy nutrition, conditioning, and style they will work in, the music and injury prevention are an important presentation tools they will use, and part of any upper-level dance study. so on. • Emotionally, these young adults are works-in-progress. Though more mature than their early-teen counterparts, they often lack the ability to make decisions, display good judgment, and control impulses. The discipline, structure, and physical rigor of dance class can be an excellent means of helping students of this age learn self-control and become better decision-makers. Juniors and seniors are very conscious of the opinions of

154 the developing student: hs iii to iv What Students Can Do at This Level

The learning outcomes below are based on the Scope and Sequence, which builds instruction sequentially across these levels. Keep in mind that students of different ages may be at the same level.

High School Level III High School Level IV Students Can . . . Students Can . . .

• consistently perform intermediate • demonstrate a high level of to advanced dance technique consistency in performing grounded in ballet, jazz, and advanced technique modern fundamentals

• use improvisation to effectively • validate the use of improvisation solve movement problems in choreography

• choreograph a dance expressing • constructively critique the creative an emotional state and revise process used by a fellow student it over time, articulating the to choreograph a dance decisions made

• develop movement studies • choreograph dances reflecting the demonstrating dance styles of styles of noted choreographers other cultures or time periods

• keep a journal documenting • identify and analyze various personal progress and goals of careers in dance dance study

the developing student: hs iii to iv 155 Scope and Sequence

dance MAKING dance LITERACY interpretation & evaluation making connections

Skills and Techniques (Nat’l 1) Critical and Creative Thinking Interpretation / Cross-curricular Illinois State Goals (IL 25A, 27A; Nat’l 4, 6) Communication (IL 26B; Nat’l 3) Connections (IL 25B; Nat’l 7) • Consistently demonstrate kinesthetic 25. Know the language of • Demonstrate the consistent use awareness through the use of proper • Relate one’s creative process to • Create an interdisciplinary the arts. body alignment with various dance of concentration and focus as a personal movement style. project (dance and other content 26. Through creating and techniques. performer of dance. • Communicate personal feelings areas) based on a theme. performing, understand • Demonstrate the use of intermediate • Analyze the use of dance and ideas through movement, with • Identify and explore dance level dance technique. elements and their relationships in individual style and clarity. and dance-related professions how works of art are produced. • Analyze and use different dance compositions. • Create a dance that effectively in contemporary society techniques and vocabularies • Identify and research dance communicates meaning, such and analyze topics such as 27. Understand the role of in comparing, contrasting, and companies in America and abroad. as a social theme or personal qualifications, salaries, job the arts in civilizations summarizing. • Demonstrate personal progress experience. duties, and skills needed. past and present. • Demonstrate consistency and through performance and the creation Evaluation (IL 25A; Nat’l 4) Participation Opportunities reliability in performing intermediate and use of a dance portfolio, journal, • Scrutinize a performance for (IL 27A; Nat’l 4) National Standards to advanced dance technique. choreographic work, or other medium. • Research and explain High School Level III High School Level accuracy and summarize findings in 1. Identifying and Choreographic Principles and History and Culture a written format. opportunities for involvement demonstrating movement Processes (IL 25A, 26A, 26B; Nat’l 2) (IL 27B; Nat’l 4, 5) • Relate and examine viewer opinions in dance, using main ideas and elements and skills in • Demonstrate partner skills, including • Explore and demonstrate the dance with peers in a supportive and supporting details. performing dance style(s) of selected cultures or • Explore and analyze post- copying, leading and following, constructive manner. 2. Understanding historical periods. secondary opportunities for mirroring, flocking, and weight- choreographic principles, sharing. dance education. • Analyze the role of dance in processes, and structures • Analyze the use of differing stimuli in two cultures or time periods by personal choreography. comparing, contrasting, and 3. Understanding dance as a way to create and • Create dance compositions using summarizing to make informed communicate meaning choreographic principles such as decisions. abstruction, contrast, repetition, and • Analyze, compare, and contrast the 4. Applying and transition. works of dance innovators from demonstrating critical and • Explore the choreographic principles, various time periods. creative thinking skills in such as abstruction, contrast, dance repetition, and transition. 5. Demonstrating and • Choreograph a dance clearly understanding dance illustrating at least two dance in various cultures and elements (space, time, energy/ historical periods dynamics). 6. Making connections • Apply selected aesthetic criteria to between dance and analyze personal choreography and healthful living that of others. 7. Making connections between dance and other disciplines For list of complete Illinois Standards for Dance, Grade 11, see page 252-253.

156 scope and sequence: high school level iii Scope and Sequence dance MAKING dance LITERACY interpretation & evaluation making connections

scope and sequence: high school level iii 157 Scope and Sequence

dance MAKING dance LITERACY interpretation & evaluation making connections

Skills and Techniques (Nat’l 1) Critical and Creative Thinking Interpretation / Cross-curricular Illinois State Goals (IL 25A, 27A; Nat’l 4, 6) Communication (IL 26B; Nat’l 3) Connections (IL 25B; Nat’l 7) • Demonstrate kinesthetic awareness 25. Know the language of • Formulate and justify a personal set with a high level of consistency and • Compare, contrast, and summarize • Explore and demonstrate the arts. reliability, through the use of proper of aesthetic criteria for dance. creative decisions in choreographic connections between dance and body alignment while performing • Consistently and reliably demonstrate works. other content areas or art forms. 26. Through creating and performing, understand dance. concentration and focus as a Evaluation (IL 25A; Nat’l 4) Participation Opportunities how works of art are • Demonstrate the use of advanced performer of dance. (IL 27A; Nat’l 4) • Critique the creative process used in produced. level dance technique. • Assess the role of dance in choreographing a dance, articulating • Explore and analyze professional • Choreograph dances exemplifying a society as an expressive art form, what was lost or gained by artistic opportunities in the dance field. 27. Understand the role of selected dance technique. entertainment, conveyor of artistic decisions made. • Explore education and training the arts in civilizations • Demonstrate a high level of values, and contributor to the • Write a critique of a live dance required for affiliated fields, such past and present. consistency and reliability in accomplishments of civilization. performance from an audience- as dance therapy, body therapy, performing advanced dance • Demonstrate, critique, and member perspective. and physical therapy. National Standards

High School Level IV High School Level evaluate personal progress through technique. • Critique how effectively technical/ • Explore opportunities for post- 1. Identifying and performance and the creation and • Revise, refine, and evaluate for theatrical elements in choreography secondary training. demonstrating movement use of a dance portfolio, journal, accuracy the performance of a affect the meaning of dance. elements and skills in choreographic work, or other selected dance. performing dance medium. Choreographic Principles and History and Culture 2. Understanding Processes choreographic principles, (IL 25A, 26A, 26B; Nat’l 2) (IL 27B; Nat’l 4, 5) processes, and structures • Use improvisation in choreography. • Choreograph or explore dances demonstrating the style of noted 3. Understanding dance • Justify the use of cooperative skills in choreographers. as a way to create and improvisation and choreography. • Perform and describe the similarities communicate meaning • Demonstrate the selection and use of and differences between two forms stimuli in personal choreography. 4. Applying and of dance or two choreographers. demonstrating critical and • Improvise, create, and perform • Evaluate the development of dance, creative thinking skills in dances based on own ideas and focusing on the purpose of dance, concepts from other sources. dance dance genres and styles, artistic • Utilize and manipulate various 5. Demonstrating and conflicts and resolutions, significant understanding dance structures and/or forms of dance in contributors, and/or innovations. dance compositions. in various cultures and • Explain how works of art in different historical periods • Choreograph a dance and revise over media from the same culture or time, articulating the reasons for the time period can reflect the artistic, 6. Making connections changes made. cultural, and historical context. between dance and • Integrate movement with healthful living choreographic intent to communicate 7. Making connections ideas with individual style and clarity. between dance and other disciplines For list of complete Illinois Standards for Dance, Grades 12, see page 252-253.

158 scope and sequence: high school level iv Scope and Sequence dance MAKING dance LITERACY interpretation & evaluation making connections

Skills and Techniques (Nat’l 1) Critical and Creative Thinking Interpretation / Cross-curricular Illinois State Goals (IL 25A, 27A; Nat’l 4, 6) Communication (IL 26B; Nat’l 3) Connections (IL 25B; Nat’l 7) • Demonstrate kinesthetic awareness 25. Know the language of • Formulate and justify a personal set with a high level of consistency and • Compare, contrast, and summarize • Explore and demonstrate the arts. reliability, through the use of proper of aesthetic criteria for dance. creative decisions in choreographic connections between dance and body alignment while performing • Consistently and reliably demonstrate works. other content areas or art forms. 26. Through creating and performing, understand dance. concentration and focus as a Evaluation (IL 25A; Nat’l 4) Participation Opportunities how works of art are • Demonstrate the use of advanced performer of dance. (IL 27A; Nat’l 4) • Critique the creative process used in produced. level dance technique. • Assess the role of dance in choreographing a dance, articulating • Explore and analyze professional • Choreograph dances exemplifying a society as an expressive art form, what was lost or gained by artistic opportunities in the dance field. 27. Understand the role of selected dance technique. entertainment, conveyor of artistic decisions made. • Explore education and training the arts in civilizations • Demonstrate a high level of values, and contributor to the • Write a critique of a live dance required for affiliated fields, such past and present. consistency and reliability in accomplishments of civilization. performance from an audience- as dance therapy, body therapy, performing advanced dance • Demonstrate, critique, and member perspective. and physical therapy. National Standards

scope and sequence: high school level iv 159 DANCE IN CHICAGO

Modern Innovators: Pushing Boundaries

s The Seldoms

Twenty-first-century modern dance their own idiosyncratic aesthetic spaces. The goal: to make dance is wildly diverse, encompassing identities. accessible to all, and to marry it to innovators of every stripe. What the era’s ideals of social and personal Just as early modern pioneers these innovators have in common, transformation. From its founding turned the movement vocabulary of in Chicago and in the dance world in 1974 until it folded in 1989, the ballet on its head, early postmodern as a whole, is a commitment to MoMing Dance and Arts Center choreographers questioned the questioning established definitions promoted postmodern dance to established conventions of modern of dance. Contemporary Chicago, with performances by dance. In the 1960s and ’70s, radical choreographers draw inspiration leading choreographers such as experimentalists aimed to strip from every genre—ballet, jazz, tap, Trisha Brown and Meredith Monk. dance of virtuosity and theatricality, street, and social dance, as well the Today, the tradition lives on at creating works built on everyday modern traditions of twentieth- venues like Links Hall, a Lakeview movements, like walking and century masters such as Martha performance space founded in 1978 skipping, and performing them in Graham and Merce Cunningham. and dedicated to independent street clothes and in nontraditional From such diverse sources they craft dance and performance. Links Breakbone joins programming includes workshops other Chicago in dance-theater techniques like the companies in avant-garde Japanese art of butoh as challenging the well as weekly contact improvisation notion that dance “jams” and public performances by performances must an array of local fringe artists. take place in a theater. Breakbone Unlike early postmodern dancers, has staged work today’s technical innovators do not on a rooftop and shun virtuosity. Rather, many have in a sculpture developed their own unique—and at garden. But that’s times radical—movement styles. The nothing compared acrobatic Chicago Dance Crash fuses to local company, contemporary dance with techniques the Seldoms. drawn from breakdancing, aerobics, This small, coolly and the Brazilian martial art of intellectual s capoeira. The company’s smash- Breakbone DanceCo company focuses on site-specific hit 2007 “movement play,” Tiger work in unorthodox spaces, Prawn: The Mountain Mover, employed including the Cultural Center’s a high-powered blend of kung-fu composers (including pop-violinist Preston Bradley Hall, Millennium and modern dance to create a full- Andrew Bird), School of the Art Park’s Lurie Garden, and a parking length performance accessible to an Institute-trained costumer Heidi garage. In 2005 the Seldoms audience new to dance. Similarly, for Dakter, and theater artist Leslie premiered GIANT FIX, a full- her Breakbone DanceCo, founder Buxbaum Danzig (500 Clown) to length work staged in the empty Atalee Judy had developed her own create the 2007 evening-length swimming pool at Hamlin Park. By signature “Bodyslam Technique”—a solo performance My Name Is A creating work for nontraditional bold, punishing style inspired by Blackbird. Other groups, such as the performance venues, the Seldoms punk rock. Breakbone’s apparently all-female Zephyr Dance, Thodos and others seek to challenge the fearless dancers crash into each Dance Chicago, and Lucky Plush traditional relationship of performer other, the walls, and the floor Productions create visually striking to the stage, and that of audience to with abandon. Judy’s work is often work through close collaboration performer. dark and challenging, exploring with set and costume designers. emotionally and politically charged Dance has always been a collaborative Lucky Plush also works with video issues such as sexual violence to art form, and the Seldoms and other and other new media artists to convey her passionate worldview to contemporary Chicago companies explore the potential of new an audience outside the mainstream. pursue active partnerships with technologies in performance. cutting-edge artists in other media. These and many, many other dance In 2007, for artists are continually breaking example, the new ground, paving the way for Seldoms joined Chicago’s next generation of dancers forces composer and choreographers with the help Richard of institutions like the Auditorium Woodbury, Theatre at Roosevelt University, the who created Athenaeum Theatre, the Museum the score for of Contemporary Art, and the the Hurricane Harris Theater—all significant Katrina- venues that support the city’s vital inspired Overflow dance community. And young using sound dancers interested in exploring the produced by potential of dance as a vehicle for the pipes from creative expression are well served by a demolished college-level programs at Columbia church College Chicago and Northwestern organ. Molly University, vital training grounds for Shanahan/ the next generation of innovators. Mad Shak drew together three s Chicago Dance Crash Dance Lesson Plan

Teacher Name Class Dance Grade 3–5 Lesson Title Pathways Start Date Oct 16 Time Needed 50 minutes Objectives Explore space elements and create dances that demonstrate these; improvise based on teacher instruction. Facilities Needed Safe movement space Materials Needed Music can be used but is not required. Standards Addressed IL 25.A.2a, 26.B, 26.B.2a; Nat’l 1, 2, 3, 4

Check each strand of the scope and sequence addressed in this lesson. n Dance Making n Dance Literacy n Evaluation/Interpretation n Making Connections

Warm-up Activities Students create a movement sequence of 32 counts that can be done at different rates. It should reach forward high, back low, side-to-side, and turn in a circular path. Students then learn and perform a partner’s pattern.

Main Activity Skywriting. Students write their names in the air using various body parts. Begin with the pinky finger and then repeat the process with the elbow, knee, toes, hip, and nose from different starting positions. Explore writing very small letters close to the body, as well as the largest letters possible. Imagine and change “fonts” to write secret messages. Have students write so that they have to travel in space. Then have them turn these movements into a dance composition with transitions as needed between writing. The composition should have a starting position and an ending position. Students perform compositions. Lesson Focus Points: Emphasize where the movement is going in space pointing out that where the body moves is as important as how the body moves. Explore movement that starts close to the body (near reach space) and far away from the body (far reach space). Continue to explore axial movement and locomotor movement. This is also an opportunity to review moving isolated body parts.

162 lesson plans for dance: grades 3 to 5 Assessment Strategy Develop and use a rubric based on the following characteristics: • Attention span/focus • Spatial awareness • Unique responses • Listening to directions • Cooperating with others • Body awareness • Integration of skills from other lessons

Wrap-up/Cool Down Have students discuss the lesson and think about why they found some dances more visually interesting than others. Students should also discuss which parts of their own dances they enjoyed performing most. This will help them begin to recognize movement preferences.

Teacher Reflections What worked: Students particularly enjoyed performing each other’s patterns during the warm-up. Almost every student was energetic and focused during skywriting. What needs improvement: Some students had trouble articulating what they found visually interesting. Next steps: Continue space exploration including floor plan, shape, design, symmetry, and asymmetry, and provide opportunities for connecting the study of space with other areas of the curriculum. Help students develop criteria to support their opinions about what is visually interesting. These skills can be used in learning how to “notice deeply” when responding to live dance performance.

lesson plans for dance: grades 3 to 5 163 Dance Lesson Plan

Teacher Name Class Dance Grade HS I–II Lesson Title Space and Shape in Choreography Start Date Nov 20 Time Needed 90 minutes Objectives Demonstrate understanding of choreographic form and employ spatial elements in choreography. Facilities Needed Safe movement space Materials Needed Music that uses ABA form Standards Addressed IL 25.B.4, 26.B; Nat’l 1, 2, 4

Check each strand of the scope and sequence addressed in this lesson. n Dance Making n Dance Literacy n Evaluation/Interpretation n Making Connections

Warm-up Activities Using action words like melt, sprawl, sink, and rise, create a series of shapes that continually morph into new forms. Use prompts that allow for a full range of stretches as well as aerobic activity.

Main Activity With a group, create a dance composition in ABA form. The A section of the dance should focus on demonstrating locomotor movement with direct spatial intent and floor pattern. The B section of the dance should be of equal length and use axial movement, shape, and design. Repeat the A section. Introduce music that has ABA form. Adapt the dance to follow the musical form.

164 lesson plans for dance: hs i to II Assessment Strategy Develop and use a rubric based on the following characteristics: • Form • Inventiveness • Problem-solving • Application of earlier skills • Cooperation • Completing work on time • Performance skills Have students write a self-evaluation of their participation and contributions during the class session, and have them refer back to it in future classes.

Wrap-up/Cool Down Have students discuss the way in which each group used spatial elements. Discuss the relationship of the movement to music and the role of form in successful choreography.

Teacher Reflections What worked: Students showed a strong grasp of the different types of movement and the applications of those types of movement in choreography. What needs improvement: Some students had trouble adapting their dance compositions to the music. Have students explore different pieces of music in ABA form that might work better with their compositions. Next steps: Make connections to musical forms that use ABA. Create other dances that use ABA form. Continue experiences that explore personal space, general space, and design. Introduce symmetry and asymmetry. View live dances and DVDs, and critique choreographic form and use of space.

lesson plans for dance: hs i to II 165 Theater Elements of a Quality Theater Program

How Do I Make My Theater Program Successful?

High-quality theater training at the elementary, middle, and high school levels can give students the tools to express themselves with confidence; work together cooperatively; and develop their skills in abstract thinking, text analysis, and literary interpretation. To accomplish these goals, they need a safe, comfortable learning environment, high-quality instructors and materials, clear goals, and ongoing program evaluation. Below, you’ll find a more thorough discussion of the elements of a quality theater program.

A Quality Theater Program Requires

A performance space. Whether a • Scripts and theatrical texts. Teachers need class takes place in a regular classroom, access to appropriate resources for a gymnasium, or an auditorium, it scripts and other theater-related is important that there be a clean, texts. Securing performance rights open performance area. Classroom can be a complex, time-consuming, instruction and presentation should and expensive process. include a defined playing space and a • Costumes. Whether from a simple specific seating area for the audience costume box at the early elementary when applicable. Most often this simply level or a full costume shop in the means clearing the desks and other later high school years, access to furniture to the sides of the room. For a a selection of costumes will help formal production, the ideal space will students make the most of the include a dedicated theater complete characters they create. with working stage lights, drapes, and sound system. Performances may also • Makeup and masks. These are important take place in a gym or auditorium, where transformational tools that can help a quality sound system will support young performers as they learn to successful productions. Seating must create and sustain characters. allow all members of the audience to • Sets. These can range from a simple clearly view the performers. Large-scale open classroom area with a few chairs productions also often require: or cubes at the early elementary • Additional technical support, level to a full stage set at later high including up-to-date lighting and school levels. To build and decorate sound equipment complete sets, schools need a variety of supplies on hand, including tools, • A box office and lobby basic furniture, and paint. These sets • Dressing room should be enhanced with appropriate lighting and sound equipment. High-quality texts, supplies, and equipment. A well-rounded theater The ideal theater program will include program, focusing on both process and storage space for all of the above so that performance, includes the following: programs can build their resources over time.

168 elements of a quality theater program A qualified theater teacher or Ongoing evaluation and teaching artist. Qualified, well- accountability. Theater education trained instructors are the backbone requires multiple forms of assessment, of any successful theater program. and learning should be assessed at each Illinois State Certification with a stage of the theater process. Effective Drama/Theatre Endorsement is tools may include both qualitative for quality preferred. Teachers who have college- and quantitative forms of assessment: theater level training equivalent to a Bachelor portfolios, performances, rubrics, programs: of Arts in Theater will have the most self-assessment, written response, n A commitment to comprehensive content knowledge and interviews, observations, journals, and artistic excellence experience. When generalist teachers tests. n A supportive principal are delivering theater instruction, they and staff Funding and support from the can benefit from ongoing professional n Highly qualified, development focused on theater arts. school and the community. While credentialed/ Many programs rely on the combined some schools commit significant endorsed teachers efforts of a classroom teacher and one resources for their theater programs, n Standards-based or more visiting teaching artists. The many depend on substantial help from lessons that follow the most effective partnerships allow the outside funding sources. Teachers scope and sequence classroom teacher and visiting artists to often take on the responsibility of of learning plan and collaborate together outside writing grants, and many parents’ n Adequate texts the weekly teaching session. organizations are involved in other areas for student use, of fundraising. representing the quality and diversity Dedicated, consistent class of a broad range periods. For optimal results at the It is best to develop a budget and of theatrical elementary and middle school levels, fundraising plan that draws upon perspectives theater instruction should occur at least multiple sources. Theater production n Performance once per week during each marking can be an expensive endeavor from opportunities in the period. At the high school level, one the securing of rights to a production form of classroom session per day is recommended. to designing and producing sets and presentations, costumes. The revenue from school assemblies, staged readings, showcases, Clearly defined goals. At all levels productions can be a support but cannot or full-scale of theater training, students should solely fund theater programs. productions participate in both the performance and n Space for rehearsal production aspects of theater making. and performance with At each grade level, final presentations, consistent access performances, or exhibitions must n Appropriate class size demonstrate the stated learning goals. n Opportunities For example, the final presentation for students to of a playwriting program should participate in all focus specifically on demonstrating aspects of the students’ writing skills rather than their theater-making process from performance skills. performance to production roles Connection to the Chicago Theater n Information for Community. Chicago is home to an students on how to internationally lauded theater scene. access opportunities Quality theater training programs can beyond the school capitalize on this richness by seeking setting, including scholarship and out and scheduling ongoing field professional options trips as well as classroom visits from n Opportunities to professional theater artists working attend high quality in the community. They should also theater productions provide students with information on how to access theater opportunities beyond the classroom.

elements of a quality theater program 169 H Best Practices for Theater Teachers

Theater training should engage students with the experience of theater from the perspectives of both the practitioner and the audience member, and to be critically responsive to the work. Use these best practices to incorporate standards and techniques that will enrich students at any grade level.

Be Prepared Use unit and daily lesson both the practitioner and the audience. plans to prepare for the days and weeks To nurture this level of investment in ahead. (See pages 212-215 for sample your students, it’s important to establish lesson and unit plans.) Think about that the theater classroom is a place the important aspects of theater setup, where they are free to express themselves materials, and learning standards. In truthfully and creatively. That said, a typical theater class, you will have make sure that any instructor or peer only 45 minutes to carry out each day’s critiques focus on the individual’s work, lesson. Being well prepared will help you not on the individual himself or herself. make the best possible use of the time. Leave time at the end of each class period for students to reflect on and Set Rules for Classroom Behavior discuss the objectives and outcomes of A successful theater class fosters respect that day’s session. for each student’s creativity and ideas, and provides a safe haven to work, Promote Student Collaboration play, share, and learn. To ensure a Though theater students often work on comfortable, creative environment, individual projects, the discipline offers create a list of expectations and rules for natural opportunities for collaboration student behavior that mandate mutual and team building. Working with respect from the outset. After you have others on a project or performance established the rules with your students, helps students build important post them in the classroom for easy communication and social skills needed reference. in real-world situations. When you assign collaborative projects, consider Plan and Incorporate Warm-up each person’s strengths and abilities. Activities In some ways, a theater class mirrors a rehearsal process. Design Appropriate Instruction Ideally, classes will begin with a warm- Theater depends on personal up activity. Whether you use physical relationships. So it’s important that you stretches, tongue-twisters, or movement get to know each of your students by with music, warm-ups can help name, personality, and learning style. students become more comfortable with Make sure that the standards, basic themselves and their classmates, which techniques, and values of theater practice in turn can lead to higher levels of trust are taught, used consistently, and within the group. Try to introduce new reflected in assessment methods. Use a warm-up activities periodically to keep curriculum that includes opportunities students engaged. Eventually, you might for all learners to succeed. encourage students to design some of Evaluate Students in Different Ways the warm-ups themselves. Assess students’ progress by using a Commit to End-of-Class Reflection variety of methods, including verbal Time Theater requires a great deal of feedback, written comments, and peer emotional investment on the part of evaluation. Have students take part in ongoing self-assessment.

170 best practices Explore All Aspects of Theater Provide Real-World Experiences Making Some students may be Outside the Classroom To engage particularly suited to performing; others your students with the world of may have an aptitude for design, professional theater making, arrange playwriting, or stage management. Strive for periodic off-site trips during which to create a curriculum that engages students they might attend a play, take a backstage in all aspects of theater making, not just tour, visit a costume or scene shop, in the rehearsal and performance of a or take a workshop with professional single work of live theater. theater practitioners. Create an Inspiring Classroom To Teach Students How to View engage and motivate students, maintain Theater Today’s students are skilled a display of eye-catching examples of at viewing and interpreting mass theater practices and practitioners, media and technology. But viewing live including photos, masks, and posters. theater requires different skills. Build You can also encourage your students these skills by exposing your students to bring in theater-related images they to specific vocabulary they can use to encounter outside of school. interpret and describe their theater experiences. Create a list of questions Encourage Family Involvement students can ask themselves each time Communicate with parents and involve they watch a theatrical presentation. For them in aspects of their children’s example: theater training. For example, invite them to attend student presentations • What particular characters (people) did or to chaperone theater-related field you connect to? trips. Create family partnerships that • What aspects of the plot (story) reinforce for students the value of the particularly struck you? arts in general and theater in particular. • How would you describe the theme Require a Journal Have students (main idea) of the work? keep a journal in which they can reflect on new ideas and discoveries, jot down • What is your reaction to the style of character sketches or bits of dialogue, the piece performed? or develop their self- and peer- • What was your impression of the assessment skills. Though you may wish dialogue (spoken language) in the to look at their journals occasionally, performance? allow students to use the space without concern about grades and formal • What mood did the various aspects of assignments. the performance create for you? Celebrate Cultural Diversity Look • If you had been performing this for opportunities to assign projects and work, how do you think you would activities that acknowledge and embrace feel about it? students’ cultural backgrounds.Work with • How did the lights, scenery, culturally diverse plays and adaptations costumes, and sound add to the and discuss the cultural setting. Assign overall effect of the work? character studies based on students’ families and members of their In all your teaching, stress the steps community or neighborhood to give that go into making, understanding, them the opportunity to bring their own and appreciating a successful theater stories to life. Connecting to students’ experience. cultural backgrounds allows them to take an active part in their learning.

best practices 171 The Developing Theater Student pre-k to 2

What Are Students Like at This Learning Level?

For many very young students, being in a theater class is a brand new experience. They’re likely to be excited or nervous about what’s expected of them. You can focus their natural energy and enthusiasm on simple, highly structured activities that involve plenty of movement and make believe, while guiding them to respect each other and interact cooperatively as a group. The following is a quick look at some of the behaviors you are likely to encounter within this learning level.

Pre-kindergartners First graders Pre-kindergartners tend to be First graders are risk-takers: quick- adventurers who like to explore moving, competitive, noisy, and language. They typically have short enthusiastic. By this time, they are attention spans and plenty of energy and gaining more elaborate language skills often talk out of turn. They may find and can be quite verbally expressive. it difficult to sit still. They can be very They begin to move into more abstract clumsy; collisions are commonplace. thinking. They love surprises, which can They love being read to, and make- be ideal when it comes to participating believe is already a large part of their in theater games and activities. They daily lives, which makes them naturals have increasing physical competence for theater training. They particularly with large motor skills. While they enjoy simple hands-on activities that use respond well to rules, routines, and music, repetition, and rhythm. repetition, they also love trying new things. They tend to enjoy partner work Kindergartners and individual projects, and they learn Kindergartners come in primed for best through discovery. learning. They’re curious, but they need a blend of structure and discovery/ Second graders exploration. Over the course of the Second graders are beginning to notice school year these children begin to the world around them. They enjoy display much more elaborate language games and activities that feature themes skills. They respond well to rules and from everyday life. They tend to be routines and tend to enjoy structured more serious than children at earlier games such as Duck, Duck, Goose and levels; a little humor on your part can Red light, Green light. You will note go a long way to lighten the mood. that they can only focus on quiet, seated Second graders have a lot of energy so activities for about 15-20 minutes at a they sometimes work too quickly; on time. They learn best from social and the upside, they bounce back with ease collaborative play. after making mistakes. They love games and puzzles. Because they may tend to give up easily, encouragement and redirection are great teaching strategies to use with them.

172 the developing student: pre-k to 2 What Students Can Do at This Level

The learning outcomes below are based on the Scope and Sequence, which builds instruction sequentially across these levels. Keep in mind that students of different ages may be at the same level.

Pre-K Students Can . . . Grade 2 Students Can . . .

• enter into a make-believe • use movement and pantomime (pretend) situation as if it were to create human, inanimate, and real animal characters

• listen attentively and respectfully • use the primary tools (body, voice, to teacher and classmates and mind) to portray characters and feelings

• follow directions, respecting the • cooperate with peers in small rules of dramatic play (focus, decision-making and artistic freeze, personal space) choices

• identify the primary tools of the • identify story elements including actor (body, voice, and mind) plot, character (traits and relationships), conflict (problem) and message (moral)

• develop appropriate reactions to • create and use puppets, masks, moments in a classroom sharing and costumes in enacting or theatrical performance (listen, characters and stories laugh, applaud)

Activities The following brief activities can help you engage students.

Pre-K/Kindergarten Students sit or wind at their backs. As students become stand in a circle. Show them photos comfortable, you can gradually move or cartoon images that illustrate basic into sillier, more creative directives, emotions such as happy, excited, sad, such as asking how their walk would or worried. Identify several of these change if they were wading through jelly with them. Then read aloud a book or stepping on hot coals. containing visuals of easily identifiable Grade 2 Students work in pairs to make emotions. Maurice Sendak’s Where up, rehearse, and perform a brief story. the Wild Things Are and Judith Viorst’s You might have them read an existing Alexander and the Terrible Horrible No Good story and then work together to create Very Bad Day are good examples. Ask an alternate ending. Alternatively, you volunteers to identify the various could give them a prompt such as “You emotions represented as you point to are decorating your birthday cake when the illustrations. suddenly…” or “You wake up in the Grade 1 Students sit or stand in a middle of the night and to see a star circle. Tell them to start walking in a shining through your window. You have circle. They should walk at the same three wishes and …” Give students some rate. Then tell them to keep walking time to work on their stories and then in a circle but to imagine that it is present them to the class. After each raining. Ask: “How does your walk presentation, ask the students in the change?” Next, you might have them audience to offer feedback about what try walking against the wind or with the they found most effective.

the developing student: pre-k to 2 173 Scope and Sequence

theater MAKING theater LITERACY interpretation & evaluation making connections

Skill Development Terms and Tools Evaluation (IL 27A; Nat’l 7) Interdisciplinary Connections Illinois State Goals (IL 25A, 26A, 26B; Nat’l 1, 2, 4) (IL 25A, 26A) (IL 25B; Nat’l 3, 6) • Express reactions to live theater. 25. Know the language of • Listen attentively and respectfully to teacher • Create and use puppets, masks, • Identify the primary tools of • Develop appropriate reactions at the arts. and classmates. the actor (body, voice, mind). and costumes in enacting

Pre-K given moments in a classroom 26. Through creating and • Develop spatial awareness and physical self Theater History / sharing or theatrical performance characters and stories. performing, understand control, including awareness of size, shape, Research (Nat’l 5) (listen, laugh, applaud). Cultural Connections weight, height, and speed. (IL 27B; Nat’l 8) how works of art are • Communicate information to produced. • Follow directions, respecting the rules of peers about people, events, • Use movement and dialogue to dramatic play (focus, freeze, personal space). time, and place related to enact multicultural folklore and 27. Understand the role of • Develop focus and concentration while classroom dramatizations. world literature based on teacher the arts in civilizations participating in dramatic activities. read-aloud. past and present. • Participate in: imaginative play, narrative National Standards pantomime, and whole class dramas. Script writing by • Enter into a make believe (pretend) situation 1. as if it were real. planning and recording improvisations based on • Use movement and pantomime to create personal experience and animal characters. heritage, imagination, • Enact an improvisation between two simple literature, and history characters. Acting by assuming • Use vocal and non-vocal sounds to portray 2. animal characters. roles and interacting in improvisations Performance (IL 26B; Nat’l 2) Designing by visualizing • Retell stories through guided dramatic play 3. from text read aloud. and arranging environ ments for classroom dramatizations Skill Development Terms and Tools Interpretation (Nat’l 7) Personal Connections 4. Directing by planning K (IL 25A, 26A, 26B; Nat’l 1, 2, 4) (IL 25A, 26A, 27A) • Identify the setting for the story. (Nat’l 8) classroom dramatizations • Mirror shapes and movements with teacher and • Identify the primary tools of • Restate setting, characters, and • Experience live or recorded 5. Researching by finding classmates. the actor (body, voice, mind). story events through pictorial, performances. information to support • Follow directions and develop focus and • Distinguish between actor visual, and physical aides. • Share the role of film and classroom dramatizations concentration during dramatic play. and audience. • Describe characters, setting, and television in one’s family life. 6. Comparing and • Participate in: imaginative play, improvisation, • Engage in discussion about events seen or portrayed in formal Interdisciplinary Connections connecting art forms narrative pantomime, and whole-class dramas. dramatic process. or informal productions. (IL 25B; Nat’l 3, 6) by describing theater, • Use movement and pantomime to create • Distinguish drama from • Recall the character/family • Identify and distinguish the art dramatic media (such animal characters. music, dance, and visual art. relationships in stories, plays, forms from one another. as film, television, and • Use vocal and non-vocal sounds to portray Theater History / puppets shows, etc. • Create and use puppets, masks, electronic media), and animal characters. Research (Nat’l 5) Evaluation (IL 27A; Nat’l 7) and costumes in enacting other art forms • Participate in group decision-making about • Communicate information to • Express reactions to live theater. characters and stories. 7. Analyzing and explaining artistic choices. peers about people, events, • Develop appropriate reactions at • Incorporate a dance into a personal preferences Performance (IL 26B; Nat’l 2) time, and place related to given moments in a classroom dramatic activity. and constructing mean • Use the primary tools to portray feelings, classroom dramatizations. sharing or theatrical performance • Incorporate a piece of music into ings from classroom create environments, and express characters. (listen, laugh, applaud). a dramatic activity. dramatizations and from • Repeat sequence of events through verbal and • Distinguish among film, television, theater, film, television, nonverbal communication. and live theater. and electronic media productions Production (Nat’l 3) Cultural Connections • Adapt a space for playing out a story. (IL 27B; Nat’l 8) 8. Understanding context • Use movement and dialogue to by recognizing the role of enact multicultural folklore and theater, film, television, world literature. and electronic media in daily life

174 scope and sequence: grades pre-k to k Scope and Sequence theater MAKING theater LITERACY interpretation & evaluation making connections

scope and sequence: grades pre-k to k 175 Scope and Sequence

theater MAKING theater LITERACY interpretation & evaluation making connections

Skill Development Terms and Tools Interpretation (Nat’l 7) Personal Connections Illinois State Goals (IL 25A, 26A, 26B; Nat’l 1, 2, 4) (IL 25A, 26A, 27A) (Nat’l 8) • Restate setting, characters, and 25. Know the language of • Define and distinguish between • Experience live or recorded • Demonstrate spatial awareness and main idea through pictorial, visual, the arts. physical self control. actor and audience. and physical aids. performances. Through creating and • Create and mirror shapes and movements • Identify the primary tools of the • Recall stories about individual • Distinguish one’s experience 26. G rade 1 with teacher and classmates. actor (body, voice, mind). experiences. of film and television from live performing, understand how works of art are • Work singly, in pairs, and as a group • Identify the secondary tools of • Identify character traits displayed theater. produced. to participate in imaginative play, theater (sets, props, costumes, through verbal or nonverbal Interdisciplinary improvisation, and story dramatization. makeup, sound, lighting). expression. Connections (IL 25B; Nat’l 6) 27. Understand the role of • Create dialogue for retelling a story in one’s • Identify story elements, • Distinguish dialogue from prose in • Incorporate a dance into a the arts in civilizations own words. including plot, character, story narration. dramatic activity. past and present. setting, conflict, and message. • Participate in group decision-making about • Describe characters, setting, and • Incorporate a piece of music National Standards artistic choices. • Recognize story sequence events portrayed in formal or into a dramatic activity. 1. Script writing by Performance (IL 26B; Nat’l 2) (beginning, middle, end). informal productions. • Integrate sound, movement, and planning and recording • Create characters and demonstrate ideas/ • Engage in discussion about Evaluation (IL 27A; Nat’l 7) drawing into dramatic play. dramatic process. improvisations based on emotions through gestures and movement. • Reflect on their own and classmates’ Cultural Connections personal experience and Theater History / Research work, identifying strengths and areas • Use vocal expression and character traits (IL 27B; Nat’l 8) heritage, imagination, (Nat’l 5) for improvement. to portray a variety of real and non-real • Use movement and dialogue literature, and history characters. • Communicate information to • Express reactions to live theater. to enact multicultural folklore, 2. Acting by assuming Production (Nat’l 3) peers about people, events, • React appropriately at given world literature, and community time, and place related to roles and interacting in • Select costume pieces, props, and scenery moments in a classroom sharing or experiences. classroom dramatizations. improvisations to enhance character. theatrical performance. • Identify the geographic location, 3. Designing by visualizing • Arrange a space and materials for playing historical time period, or cultural and arranging environ out a story. context of dramatic material. ments for classroom dramatizations Skill Development Terms and Tools Interpretation (Nat’l 7) Personal Connections 4. Directing by planning (IL 25A, 26A, 26B; Nat’l 1, 2, 4) (IL 25A, 26A, 27A) • Make predictions about characters, (Nat’l 8) classroom dramatizations • Identify and use the five senses in sensory • Identify and experiment with setting, and events based on story • Discuss similarities and 5. Researching by finding recall and pantomime exercises. the secondary tools of theater content. differences between live and information to support • Work singly, in pairs, and as a group to (sets, props, costumes, • Identify and discuss emotions and recorded theater. classroom dramatizations G rade 2 participate in imaginative play, narrative makeup, sound, lighting). thoughts evoked by performances. • Recall and enact stories about 6. Comparing and pantomime, improvisation, storytelling, and • Identify story elements (plot, • Describe characters, setting, community experiences. connecting art forms story dramatization. character, setting, conflict, and events portrayed in theater Interdisciplinary by describing theater, • Participate in teacher-guided playwriting of message). productions. Connections dramatic media (such simple dramas. • Recognize story sequence Evaluation (Nat’l 7) (IL 25B; Nat’l 3, 6) as film, television, and • Work in small groups to dramatize a (beginning, middle, end). • Reflect on their own and classmates’ • Create and use puppets, masks, electronic media), and problem and its resolution. • Retell a story using storytelling work, identifying strengths and areas and costumes in enacting other art forms • Acquire basic skills to react and interact or story dramatization. for improvement. characters and stories. 7. Analyzing and explaining with characters on stage. • Identify how characters attempt • Explain reasons behind artistic • Identify the geographic location personal preferences • Repeat or paraphrase dialogue from a story to solve problems and resolve choices. of dramatic material. and constructing mean to create a drama. conflicts. • Compare and contrast the moral ings from classroom Performance (IL 26B; Nat’l 2) • Describe the role of the of the story in various fables dramatizations and from • Create characters and demonstrate ideas narrator. and fairytales. theater, film, television, and emotions using gestures, blocking, Theater History / Research • Read with dramatic expression and electronic media vocal expression, and movement. (Nat’l 5) various simple scripts. productions Production (Nat’l 3) • Communicate information to Cultural Connections 8. Understanding context • Transform space and materials for acting peers about people, events, (IL 27B; Nat’l 8) by recognizing the role of out simple dramas. time, and place related to • Enact multicultural folklore and theater, film, television, classroom dramatizations. world literature. and electronic media in daily life

176 scope and sequence: grades 1 to 2 Scope and Sequence theater MAKING theater LITERACY interpretation & evaluation making connections

scope and sequence: grades 1 to 2 177 s iO THEATER IN CHICAGO

Improvisation,

A dictionary might define Compass Players. Operating in a This allowed them the freedom to improvisation as the makeshift performance space in a bar create their own dialogue, much of extemporaneous creation Chicagoof music, on the campus of the University of it comedic, Styleon the spot in front of writing, speech, or movement. By Chicago, they began experimenting a live audience. From these early that definition, most of us improvise with a series of improvisational sketches evolved a form of theatrical our way through life just by thinking, games that had been codified in the expression that has fueled American conversing, moving from one place work of Sills’s mother, Viola Spolin. comedy, film, television, theater, to another, and gesturing. But The games helped performers to and advertising ever since. improvisation for the theater is a tap their own creativity and build One extremely powerful offshoot very specific kind of extemporaneous both their performance skills and from the early days of improv performance. Commonly referred to their onstage rapport. Basing their was Second City, a now legendary as “improv,” it was born right here in rehearsal and performance style improvisational comedy theater Chicago. in part on commedia dell’arte founded in 1959 by alumni from traditions, the Compass performers In the mid-1950s, David Shepherd the Compass Players including worked not from scripts but from and Paul Sills founded an innovative Paul Sills. Second City’s brand a series of general plot points. theater company they dubbed the of fast-paced, political, often irreverent comedy won much acclaim and widespread popularity in the early 1960s. Over the years it became a proving ground for young improvisers from all over the country. Today Second City has facilities in Los Angeles and Toronto. It offers a multi-tiered training program steeped in the improv traditions of the Compass Players, as well as curriculum-based workshops for K–12 students in Chicago. While the main stage shows now rely mostly on scripted material that has been honed through rehearsal, many performances offer a free post-show improv set based on audience suggestions. These sessions provide Second City with fodder for future shows. s Second City’s student program Although Second City is an iconic as musical improv comedy, as well full roster of improv and specialized presence in the improv scene, it is as corporate-level training that comedy classes. by no means the only game in town. teaches business people how improv Chicago boasts a number of highly techniques can help them perform The Long and the Short of Improv regarded companies including creatively (and competitively). iO (formerly known as Improv- There are two main categories of ComedySportz is quick to clarify Olympic) and ComedySportz. improv: short-form (often called the meaning of its name: it’s not sketch comedy) and long-form (also Founded more than 25 years ago stand-up comedy about sports—it’s known as The Harold). In short- by Charna Halpern and the late, improv comedy played as a sport. At form, players create brief, punchy great Chicago improviser Del each ComedySportz performance scenes based around an improv Close, iO is not only a popular two improv teams battle for laughs game and taking off from audience destination and proving ground for from the audience. The show is suggestions. Long-form is more young improvisers, but also a vital fueled by ideas and suggestions from narrative, much of it depending recruitment center for popular TV the assembled crowd. At the end on the audience’s familiarity with shows such as Saturday Night Live, of the show, the audience votes on a set of well-defined characters. In MADtv, and The Colbert Report. which team they found the funniest. Chicago both forms have staunch Its training center features five levels Like its competitors at Second City advocates, but short-form is Improvisation, of improv classes, a comedy writing and iO, ComedySportz features a probably the more popular. program, and specialty classes such respected training program with a Improv’s Influence on the Entertainment World Since its beginnings, improv Chicago Style has become a huge force in the entertainment world. In fact, when it comes to theater training, many actors as well as teachers believe that improvisation is an essential skill for all types of theater. Improv requires practitioners to be fully present in the moment and to commit totally to their fellow performers. Good acting, writing, and directing require the same thing, as do many other collaborative and creative activities. Training in improv builds a foundation for all kinds of careers—

s in the arts and elsewhere. Comedy Sportz 179 The Developing Theater Student GRADES 3 to 5

What Are Students Like at This Learning Level?

From the beginning of third grade to the end of fifth grade, children go from curious childhood to the brink of emotional adolescence. This is a great time to introduce and maintain theater practices and concepts that grab their attention, engage their imagination, and keep them from the fallback mantra of “I’m bored.” The following is a quick look at some of the behaviors you’re likely to encounter within this key learning level.

Third graders that modeling new activities will likely be Third graders love to laugh and joke a crucial part of curbing your students’ around. They play hard and, unaware anxiety and inhibitions. Once they are of their own limitations, tire quickly. interested and confident about a project Though highly social, they tend to be or activity, fourth graders are tenacious competitive and argumentative. You will about doing well. no doubt hear the refrain “That’s not fair” in regard to just about anything. Fifth graders Redirecting their attention to the task Fifth graders are usually a mix of at hand is usually the best teaching ten- and eleven-year-olds. Physically tactic. Clear instruction and focused most ten-year-olds are still children; theater activities can help them harness by eleven, they are starting to mature their energies, capitalize on their sexually and may experience a wide range passion for discovery, and work together of emotions. Helping students negotiate collaboratively. this bridge between childhood and adolescence can be tricky. Because they Fourth graders are preoccupied with how they fit into Fourth graders may avoid taking risks the world, they tend to be very sensitive because they really dread looking to criticism. They enjoy teamwork but foolish. They enjoy and excel at games, can be rigid about saving face. Active however, and focused theater games instruction and hands-on activities work in particular can be great for bringing well with them. them out of their shells. Bear in mind

180 the developing student: grades 3 to 5 What Students Can Do at This Level

The learning outcomes below are based on the Scope and Sequence, which builds instruction sequentially across these levels. Keep in mind that students of different ages may be at the same level.

Grade 3 Students Can . . . Grade 5 Students Can . . .

• use sense memory to enhance • apply playwriting skills by writing and inform pantomime activities monologues, dialogues, and short scenes

• develop appropriate onstage and • make expressive use of secondary offstage behavior tools of theater (sets, costumes, makeup, props, lighting, sound) in activities or performances

• identify theater terminology • use emotional recall as the basis (audition, rehearsal, projection, for character choices casting, rehearsing, blocking)

• listen to constructive criticism • define the roles of people who and respond in a positive way work in the theater (actor, director, playwright, designer)

• create geometric shapes (line, • increase literacy skills by circle, oval, triangle, diamond, dramatizing stories, poems, and square, rectangle, etc.) using books from world literature body movement, imagination, and spatial awareness

Activities The following brief activities can help you engage students.

Grade 3 To help build your students’ Grade 4 To continue working on ability to focus and use their voices, their vocal skills and projection, assign give them several tongue twisters. Start students an activity in which they create slowly with an easy one such as “Mad distinctive voices to represent different money mad bunny.” When they have contexts. For example, inside vs. outside mastered doing this one slowly, ask voice; talking in a library; telling a them to increase their speed while secret; talking on the phone; and so on. still saying each word clearly. When Grade 5 Have students select and retell they get proficient at this, move on to a familiar story such as a fairy tale in a tougher one: “Brad’s big black bath which they use at least three different brush broke.” If students are interested, character voices. they might follow up by creating tongue twisters of their own.

the developing student: grades 3 to 5 181 Scope and Sequence

Theater MAKING Theater LITERACY interpretation & evaluation making connections

Skill Development Terms and Tools (IL 25A, 25B, 27A) Interpretation (IL 26A; Nat’l 7) Personal Connections Illinois State Goals (IL 25A, 26B; Nat’l 1, 4) (IL 27A; Nat’l 7, 8) • Distinguish between improvisation • Relate what characters think and feel 25. Know the language of • Use sense memory to inform and scripted drama or comedy. during a dramatic scene. • Use personal experience as the the arts. pantomime activities. • Identify the vocabulary of dramatic • Observe how the diversity of basis for character choices. Through creating and • Develop effective body language structure (beginning/middle/end, students within a group contributes • Discuss the role of film and 26. G rade 3 through spatial awareness. conflict/resolution, climax). to artistic choices. television, technology, and performing, understand how works of art are • Tell stories effectively using character • Identify the “5 Ws” (Who? What? • Convey personal reactions to various electronic media. produced. voices, and body movement, and When? Where? Why?) when analyzing texts. • Discuss the similarities and narration. short plays. • Correlate personal experiences to differences between live and 27. Understand the role of • Participate in guided playwriting. • Identify theater terminology stage experiences. recorded theater. the arts in civilizations past and present. • Expand basic skills to react and (audition, rehearsal, projection, Evaluation (Nat’l 7) Interdisciplinary casting, blocking). Connections (IL 25B; Nat’l 3, 6) interact with characters on stage. • Reflect on own work, identifying National Standards • Make decisions, accept responsibility, • Identify the roles of people who strengths and receiving constructive • Incorporate dance and music 1. Script writing by and learn to compromise. work in the theater (actor, director, criticism. appropriate to cultural or playwright, designer). historical context of dramas. planning and recording • Express through characterization the • Communicate emotions and improvisations based on meaning inferred from text. • Examine the roles of sound, thoughts evoked by performances. • Create costumes and props props, costumes, scenery, stage appropriate to cultural and personal experience and Performance (IL 25A, 26B; Nat’l 2) management, and directing. historical background of dramas. heritage, imagination, • Develop appropriate onstage and literature, and history offstage behavior. Theater History / Research • Dramatize stories, poems, and (Nat’l 5) books from world literature. 2. Acting by assuming • Use gesture, facial expression, body roles and interacting in language, and voice to express character. • Communicate information to peers Cultural Connections about people, events, time, and place (27B; Nat’l 8) improvisations Production (Nat’l 3) related to classroom dramatizations. • Enact dramas reflecting a 3. Designing by visualizing • Make expressive use of secondary variety of historical periods, and arranging environ tools in activities, sharings, and/or regions, and cultures. ments for classroom performances. dramatizations • Create simple scenery and costumes. 4. Directing by planning classroom dramatizations Skill Development Terms and Tools (IL 25A, 25B, 27A) Interpretation (Nat’l 7) Personal Connections Researching by finding (IL 25A, 26A, 26B; Nat’l 1, 4) • Distinguish between improvisation • Communicate emotions and thoughts (Nat’l 7) 5. • Participate in physical representations and scripted drama or comedy; evoked by performances. • Correlate personal experiences information to support classroom dramatizations of characters and events. distinguish between stage directions Evaluate (IL 26A; Nat’l 7) to stage experiences. Comparing and • Participate in effective storytelling and spoken text. • Reflect on live theater, as well as • Create and enact short stories, 6. G rade 4 using voices and movement. • Apply the vocabulary of dramatic their own and classmates’ work, poetry, or personal experiences connecting art forms • Employ the basic concepts of time, structure (beginning/middle/end, identifying strengths and giving about community. by describing theater, space, and action. conflict/resolution, climax). constructive criticism. Interdisciplinary dramatic media (such as film, television, and • Apply playwriting skills by writing • Identify the “5 Ws” (Who? What? • Identify examples of effective use Connections (IL 25B; Nat’l 3, 6) electronic media), and monologues, dialogues, and short When? Where? Why?) when analyzing of secondary tools (sets, costumes, • Dramatize stories, poems, and scenes individually and in groups. or improvising short plays. lighting, etc.). books from world literature. other art forms Performance (IL 25A, 26B; Nat’l 2) • Define theater terminology • Explore social and ethical issues • Create geometric shapes using 7. Analyzing and explaining • Create improvised dialogue and (rehearsal, projection, casting, etc.). raised by dramatic material. body movement, imagination, personal preferences movement appropriate to character • Define the roles of people who and spatial awareness. and constructing mean and situation. work in the theater (actor, director, • Use body, voice, imagination, and ings from classroom • Respond to and build upon ideas of playwright, designer). collaboration to create machines dramatizations and from others on stage. Theater History / Research and original inventions. theater, film, television, and electronic media • Enact monologues, dialogue, and (Nat’l 5) Cultural Connections productions asides within a story or drama. • Reference stories to determine (IL 27B; Nat’l 8) technical needs. Production (Nat’l 3) • Enact dramas reflecting a 8. Understanding context by recognizing the role of • Make expressive use of secondary • Communicate information to peers variety of historical periods, theater, film, television, tools. about people, events, time, and place regions, and cultures. related to classroom dramatizations. and electronic media in • Incorporate sound and movement into • Demonstrate knowledge of daily life the design process. cultures, societies, and religions.

182 scope and sequence: grades 3 to 4 Scope and Sequence

Theater MAKING Theater LITERACY interpretation & evaluation making connections

scope and sequence: grades 3 to 4 183 Scope and Sequence

theater MAKING theater LITERACY interpretation & evaluation making connections

Skill Development Terms and Tools Interpretation (IL 26A; Nat’l 7) Personal Connections Illinois State Goals (IL 25A, 26A, 26B; Nat’l 1, 4) (IL 25A, 25B, 27A; Nat’l 3) (IL 27A; Nat’l 7) • Retell or re-create favorite 25. Know the language of • Speak audibly and clearly. • Distinguish between improvisation performance moments. • Enact challenges and struggles the arts. • Demonstrate effective body language. and scripted drama or comedy; • Articulate how artistic choices that others have faced. 26. Through creating and • Contribute to successful group distinguish between stage support the portrayal of a character. • Correlate personal experiences performing, understand G rade 5 directions and spoken text. collaborations. Evaluation (IL 25B; Nat’l 7) to stage experiences. how works of art are • Physically represent characters and • Identify the “5 Ws” when • Reflect on live theater, as well as own Interdisciplinary produced. events. analyzing, improvising, or writing and classmates’ work, identifying Connections 27. Understand the role of scenes or short plays. strengths and giving constructive (IL 25B; Nat’l 3, 6) the arts in civilizations, • Participate in effective storytelling using past and present. character voices and body movement. • Use theater terminology and the criticism. • Incorporate dance, music, vocabulary of dramatic structure. • Participate in individual, partner, and • Accept constructive criticism and costumes, and props appropriate National Standards small group playwriting. • Define the roles of people who use suggestions to improve work. to cultural or historical context 1. Script writing by the work in the theater (actor, director, of dramatic material. creation of improvisations • Use gestures, blocking, and movement • Identify examples of effective use playwright, designer). and scripted scenes based to display ideas and emotions. of secondary tools (set, costumes, • Dramatize selections from world • Integrate technical theater lighting, etc). literature. on personal experience • Refine improvisational skills through and heritage, imagination, elements. • Create geometric shapes using dramatic exercises. literature, and history Theater History / Research body movement, imagination, • Use emotional recall as the basis for 2. Acting by developing (Nat’l 5, 8) and spatial awareness. character choices. basic acting skills to • Describe the role of theater during • Use body, voice, imagination, Performance (IL 25A, 26B; Nat’l 2) portray characters who different time periods. and collaboration to create interact in improvised and • Create improvised dialogue and • Apply research to script writing, machines/inventions. scripted scenes movement. acting, design, and directing Cultural Connections 3. Designing by developing • Portray character motivations and choices. (IL 27B; Nat’l 8) environments for impro relationships. • Reference stories to determine • Enact dramas reflecting a variety vised and scripted scenes • Use blocking to nonverbally convey technical needs. of historical periods, geographic 4. Directing by organizing character, mood, and actions. regions, and cultures. rehearsals for improvised and scripted scenes • Enact monologues, dialogue, and asides • Explore different versions of 5. Researching by using within a story or drama. the same story from diverse cultural and historical Production (Nat’l 3) cultures, recognizing universal information to support • Make expressive use of secondary tools. character types. improvised and scripted scenes 6. Comparing and incorpora ting art forms by analyzing methods of presentation and audience response for theater, dramatic media (such as film, television, and electronic media), and other art forms 7. Analyzing, evaluating, and constructing meanings from improvised and scripted scenes and from theater, film, television, and electronic media productions 8. Understanding context by analyzing the role oftheater, film, television, and electronic media in the community and in other cultures For list of complete Illinois Standards for Theater, Grade 5, see pages 254-255.

184 scope and sequence: grade 5 Scope and Sequence

theater MAKING theater LITERACY interpretation & evaluation making connections

scope and sequence: grade 5 185 THEATER IN CHICAGO

A Unique Vision: DIRECTORS’ AND PLAYWRIGHTS’ THEATERS Chicago theater companies come produces ambitious seasons of plays director Dennis Zacek formalized about for many different reasons. in both its mainstage and studio his theater’s commitment to Like the well-known Steppenwolf theaters, and routinely books in the playwrights by creating the Victory Theatre Company, many companies work of international companies Gardens Playwrights Ensemble, are formed around a high-caliber such as Canada’s Shaw Festival which includes such longtime VG acting ensemble. However, this city and France’s Théâtre des Bouffes collaborators as Gloria Bond Clunie, is also home to a number of theaters du Nord. Since its comparatively Claudia Allen, Joel Drake Johnson, at which the driving artistic force humble beginning, CST has grown and Pulitzer Prize winner Nilo comes from talented directors and to become one of Chicago’s healthiest Cruz. Victory Gardens operated for playwrights. and wealthiest theaters. It is housed 25 years at a multi-theater venue in an elegant facility on Navy Pier on Lincoln Avenue before moving Directors’ Theaters overlooking Lake Michigan. Since three blocks north to the historic At the venerable Goodman Theatre, 1991, CST’s arts-in-education Biograph Theatre in 2006. The all programming reflects three program, Team Shakespeare, has theater’s programming includes a guiding principles: quality, diversity, brought the bard’s words and ideas vibrant six-play mainstage season, and community. To achieve these to life through live performance, educational outreach and off-night principles, the Goodman has created workshops, discussions, and presentations, a summer youth a small but powerful coalition of innovative learning programs. More program, and a training center that nationally and internationally than 50,000 teachers and students offers year-round classes in acting, renowned associate artists—among playwriting, and directing. them writer/director Mary Zimmerman, director Chuck Smith, Chicago Dramatists celebrated writer/actor/director Frank Galati, its thirtieth anniversary in 2009. and writer/actor Regina Taylor. From the beginning, the goal of The mutual commitment between this tireless institution has been to the theater and its gifted associates develop and promote new plays and creates a crucible for artistic playwrights that will contribute to the experimentation and exploration of national and international theater new ideas. To reach into the future, repertoires and enrich the lives of the Goodman has also created future audiences. Chicago Dramatists the Michael Maggio Directing provides opportunities for both Fellowship, awarded annually to aspiring and seasoned playwrights to an early-career Chicago director. expand their professional networks, The fellowship provides a financial showcase their work to the larger stipend, mentoring, hands-on marketplace, and collaborate with opportunities to work as a directing theater personnel and audiences in assistant on Goodman productions— the creative process. From first draft and, in some cases, to take on to final production, writers are the full directing duties for smaller focus of all the Chicago Dramatists’ festival shows. For the Goodman, programming, which includes a sustained collaboration with its core three-play mainstage season and a of artists adds fundamental depth, staged reading series that presents diversity, and continuity to its overall new plays in development just about programming. The Goodman also s The Goodman Theatre every Saturday afternoon of the year. offers education programs through The company, under the artistic the public schools, including a free direction of Russ Tutterow, also participate in Team Shakespeare each student subscription series and boasts a thriving playwrights-in-the- school year, making CST one of the teacher training programs. schools program as well as year- largest theater-education providers round classes for adult playwrights While Shakespeare plays are the main in the nation. at all levels of creative development. draw at Chicago Shakespeare Theatre Playwrights’ Theaters Many locally and nationally respected (CST), the company’s ongoing Winner of the 2001 Tony Award writers have written for Chicago success depends to a great extent on for Best Regional Theater, Victory Dramatists’ stage, including Rebecca the creative reach of founding artistic Gardens Theater has for more than Gilman, Lydia R. Diamond, Tanya director Barbara Gaines. A respected 35 years held fast to its mission Saracho, and Brett Neveu. director herself, Gaines has a to develop new plays by means remarkable ability to attract visionary of ongoing relationships with directors from all over the world to diverse writers. In 1997, artistic work at her theater. The company

ss Victory Gardens Theater 187 The Developing Theater Student grades 6 to 8

What Are Students Like at This Learning Level?

As they negotiate the difficult path into puberty, middle school kids are often at the mercy of their hormones and emotions. Girls can become fixated on body image, while boys experience the deepening of their voices. At the same time, they are in discovery mode, exploring their place in the larger world by expanding peer relationships and examining current events and multicultural issues. The following is a quick look at some of the behaviors you’re likely to encounter with students at this level.

Sixth graders limits of “class clown” or disrupt in Sixth graders have energy to spare and other ways. Students’ emotions tend to can be a bit scattered when it comes run high, which can be a plus when they to decision making. Clear instruction are channeled into performance and and encouragement from you can help writing-based activities in healthy ways. alleviate some of the self-consciousness Theater training can also be a great and awkwardness they may feel about way to improve peer dynamics through their relative status within the school collaboration. community and the larger world. This age group is interested in social issues Eighth graders and current events. Designing theater Eighth graders are typically full of instruction to include these themes—as energy and express it in any way they well as liberal amounts of humor—will can—with big gestures, bursts of help you engage and activate your laughter, and sudden increases in students. volume. At this age, their abstract- thinking skills are improving. They Seventh graders are less self-conscious about making Seventh graders begin to test boundaries mistakes. They try hard, and if they as they move into puberty. They fail, they try again. This combination can be moody, withdrawn, and even of factors can help them excel in their openly rebellious. For teachers, the theater training. Many adult theater emphasis should be on keeping students artists claim their commitment to the motivated and on task while effectively art form began during their final year of managing the few that may push the middle school.

188 the developing student: grades 6 to 8 What Students Can Do at This Level

The learning outcomes below are based on the Scope and Sequence, which builds instruction sequentially across these levels. Keep in mind that students of different ages may be at the same level.

Grade 6 Students Can . . . Grade 8 Students Can . . .

• develop focus and concentration • collaborate with classmates to in order to sustain improvisations, create and perform original, scene work, and performance improvised scenes

• practice playwriting techniques • synthesize research, observation, given circumstances, and acting skills to create characters in formal and informal presentations

• examine and discuss introductory • compare and demonstrate levels of the directing process: different acting methods and research, plan and collaborate, theories audition, cast, block, and direct

• produce written, verbal, and • use descriptive vocabulary and visual responses to written and/or creative thinking in the critiquing performed material process

• describe how theater and • demonstrate a basic knowledge of related media have reflected and American theater history, which transformed various cultures may include the study of African, throughout history Asian, Native and Latin American, and other cultures

Sample Activities The following brief activities can help you engage your middle school students.

Grade 6 Design an assignment in be a story, a description of a situation which students research and discuss or emotional state, or a rant about characters in literature from different a problem. Ask students to focus on time periods. They should consider creating a strong emotional through- the impact of the particular historical line as they write. period on the characters’ modes of Grade 8 Assign students to review dress, speech, and social customs. a public, school, or classroom Grade 7 Ask students to write a one- or performance or presentation. In their two-page monologue that reflects the critiques, they should focus specifically internal self of a character who is their on the element of character, describing age but who lives somewhere else. The character traits, emotional arcs, and monologue can take any form; it might overall believability.

the developing student: grades 6 to 8 189 Scope and Sequence

theater MAKING theater LITERACY interpretation & evaluation making connections

Skill Development (IL 25A; Nat’l 1, 2, 4) Terms and Tools Interpretation Personal Connections Illinois State Goals (IL 25A, 26A, 27A) (IL 25B, 26A; Nat’l 7) (Nat’l 6, 8) • Use the body and voice in a variety of ways 25. Know the language of to express character, emotion, motivation, • Describe the roles of people • Infer meaning from a script to create • Explore how theater and other the arts. and relationship. who work in the theater and characters. media relate to real life. 26. Through creating and • Transform real and imagined objects to musical theater (director, • Analyze live theater using drama/ Interdisciplinary performing, understand G rade 6 create an environment for a scene or play. choreographer, librettist, house theater vocabulary. Connections (Nat’l 6) how works of art are manager, etc.). • Develop performance skills while working in • Analyze film, television, and • Create monologues, dialogues, produced. diverse styles and forms of theater. • Use basic acting and theater electronic media productions. and short plays in response to 27. Understand the role of • Interpret dialogue expressively from vocabulary. • Compare and contrast two plays that interdisciplinary prompts, ideas, the arts in civilizations, scripted drama. • Discuss the roles and share similar themes. or pictures. past and present. responsibilities of the designer National Standards • Develop proficiency in vocal projection and Evaluation (IL 26A; Nat’l 7) • Adapt stories, myths, and fairy and production staff. Script writing by the articulation. • Produce written, verbal, and visual tales into improvised scenes. 1. creation of improvisations • Practice playwriting techniques. • Examine introductory levels of responses to written and performed • Communicate how theater can the directing process. and scripted scenes based Performance (IL 26B; Nat’l 2) dramatic material. synthesize all the arts. • Reference a script to determine on personal experience • Perform a monologue revealing character. • Explain how artistic choices support Cultural Connections technical needs for a dramatic and heritage, imagination, the portrayal of characters. (IL 27B; Nat’l 8) literature, and history • Create or find costume pieces and props to presentation. aid in defining a character. • Research and apply the cultural 2. Acting by developing Theater History / Research and historic context of dramatic basic acting skills to Production (Nat’l 3, 4) (Nat’l 5, 8) material. portray characters who • Act as the director. • Demonstrate a basic knowledge • Describe how theater has interact in improvised and • Plan/create a simple set for dramatic of European theater history. reflected and transformed scripted scenes presentations. • Use a variety of research various cultures throughout 3. Designing by developing • Use the secondary elements to enhance methods and technology to history. environments for impro classroom and school performances. support production. vised and scripted scenes 4. Directing by organizing rehearsals for improvised and scripted scenes Skill Development (IL 25A; Nat’l 1, 2, 4) Terms and Tools Interpretation Personal Connections 5. Researching by using • Practice techniques for vocal and physical (IL 25A, 26A, 27A) (IL 25B, 26A; Nat’l 7) (Nat’l 8) cultural and historical conditioning. • Analyze the dramatic structure • Use theater vocabulary to analyze • Explore peaceful conflict information to support • Use the body and voice to express character, of a scene or play (plot, theme, live theater, as well as own and resolution through improvisation improvised and scripted scenes emotion, motivation, and relationship. conflict). classmates’ work. and role playing. G rade 7 • Recognize and discuss different • Examine techniques used by theater • Write dramatic material inspired 6. Comparing and incorpora • Incorporate directions appropriately. ting art forms by analyzing acting methods and theories. artists to convey mood. by personal and historical • Develop performance skills while working in methods of presentation events. diverse styles of theater. • Describe the roles of people • Compare and contrast two plays that and audience response for • Write original scenes and one-act plays. who work in the theater and share similar themes. Interdisciplinary theater, dramatic media musical theater (director, (Nat’l 6) • Practice audition skills. Evaluation (IL 26A; Nat’l 7) Connections (such as film, television, choreographer, librettist, house • Write dramatic material inspired and electronic media), and Performance (IL 26B; Nat’l 2) • Evaluate an actor’s skill in creating a manager, etc.). believable character. by interdisciplinary prompts, other art forms • Collaborate to create and perform original, • Use acting and theater • Read and appraise dramatic ideas, and pictures. 7. Analyzing, evaluating, and improvised scenes. constructing meanings vocabulary. material. • Integrate other art forms into • Perform a monologue revealing character. • Notate blocking in a script. dramatic presentations. from improvised and • Analyze and critique theater, film, scripted scenes and from Production (Nat’l 3, 4) • Reference a script to determine television, and electronic media Cultural Connections theater, film, television, • Select effective design elements. technical requirements. productions from various cultures. (IL 27B; Nat’l 8) and electronic media • Use basic design concepts to create a set. Theater History / Research • Respond to constructive criticism. • Interpret dramatic material productions • Practice the responsibilities of the (Nat’l 5, 8) from past eras in light of 8. Understanding context production staff. • Demonstrate a basic knowledge contemporary experience. by analyzing the role of • Practice the directing process. of non-Western theater history. • Explore how art forms from theater, film, television, • Use rehearsal time effectively to brainstorm, • Use various research methods other cultures relate to theater. and electronic media in experiment, plan, and rehearse. and technology to support • Communicate how different art the community and in production. forms have been affected by other cultures society. For list of complete Illinois Standards for Theater, Grades 6–7, see pages 254-255.

190 scope and sequence: grades 6 to 7 Scope and Sequence theater MAKING theater LITERACY interpretation & evaluation making connections

scope and sequence: grades 6 to 7 191 Scope and Sequence

theater MAKING theater LITERACY interpretation & evaluation making connections

Skill Development Terms and Tools Interpretation (IL 26A; Nat’l 7) Personal Connections Illinois State Goals (IL 25A; Nat’l 1, 2, 4) (IL 25A, 26A, 27A; Nat’l 3) (Nat’l 8) • Analyze live theater, as well as own 25. Know the language of • Demonstrate techniques for physical and • Analyze the dramatic structure of and classmates’ work. • Explore peaceful conflict the arts. vocal conditioning. a scene or play. • Write detailed character analyses or resolution and through 26. Through creating and • Incorporate directions appropriately. • Compare and utilize different biographies. improvisation and role playing. performing, understand G rade 8 • Develop performance skills while working acting methods and theories. • Analyze and critique theater, film, • Explore the connection between how works of art are in diverse styles of theater. • Use the secondary elements to television, and electronic media dramatic situations and produced. • Interpret dialogue expressively from enhance performances. productions from various cultures. students’ own lives. 27. Understand the role of scripted drama. • Define the roles of people who Evaluation (IL 26A; Nat’l 7) • Explore social and ethical issues the arts in civilizations, past and present. • Demonstrate proficiency in vocal work in the theater and musical • Evaluate an actor’s skill in creating a raised by dramatic material. projection and articulation. theater. believable character. Interdisciplinary National Standards • Write, critique, and produce original • Expand acting and technical • Respond to constructive criticism. Connections 1. Script writing by the scenes and one-act plays. theater vocabulary. (IL 25B, 27A; Nat’l 6) creation of improvisations and scripted scenes based • Participate in auditions. • Compare and contrast different • Compare and contrast the approaches and themes of a on personal experience Performance (IL 26B; Nat’l 2) theater spaces and their technical requirements. live theater piece and a different and heritage, imagination, • Collaborate to create and perform literature, and history • Reference a script to determine version of the same material. original, improvised scenes. 2. Acting by developing • Create written dramatic material technical requirements. basic acting skills to • Create and perform an original monologue based on interdisciplinary revealing character. Theater History / Research portray characters who (Nat’l 5, 8) prompts, personal experiences, • Synthesize research, observation, and interact in improvised and and historical events. scripted scenes acting skills to create characters. • Demonstrate a basic knowledge of American theater history. • Synthesize several art forms into 3. Designing by developing Production (Nat’l 3, 4) dramatic presentations. environments for impro • Select effective design elements. Cultural Connections vised and scripted scenes • Design and build a set. (IL 27A, 27B; Nat’l 8) 4. Directing by organizing • Assume the roles and responsibilities of • Explore how art forms from rehearsals for improvised the production staff. other cultures relate to theater. and scripted scenes Researching by using • Take on the responsibilities of the • Compare and contrast how 5. cultural and historical director. society and various art forms information to support • Use rehearsal time effectively to impact each other. improvised and scripted brainstorm, experiment, plan, and scenes rehearse. 6. Comparing and incorpora ting art forms by analyzing methods of presentation and audience response for theater, dramatic media (such as film, television, and electronic media), and other art forms 7. Analyzing, evaluating, and constructing meanings from improvised and scripted scenes and from theater, film, television, and electronic media productions 8. Understanding context by analyzing the role of theater, film, television, and electronic media in the community and in other cultures For list of complete Illinois Standards for Theater, Grade 8, see pages 254-255.

192 scope and sequence: grade 8 Scope and Sequence

theater MAKING theater LITERACY interpretation & evaluation making connections

scope and sequence: grade 8 193 THEATER IN CHICAGO communities. and serving disenfranchised to across-culturalaudience people, whilereaching out history oftheAfrican American programs thatperpetuatethe innovative productionsand Theater Black Ensemble Steppenwolf andCongoSquareareonly twooutofChicago’s multiculturalconstellationofensemble-basedtheaters.Hereare afewofthecity’s othercompanies: isrecognizedfor of Chicago The House Theatre effects. roll andeye-popping special storytelling lacedwith rock-and- audiences throughfeatsof a spiritofcommunityinits

aims tocreate MPAACT African continentand itsDiaspora. the culturesandtraditions ofthe artistic expressiongrounded in Afrikan CenteredTheatre,an Theatre) nurturesandsustains Association ofAfrikanCentered

(Ma’at Production Project Silk Road Theatre Diaspora communities. peoples oftheSilkRoad andtheir address themesrelevant tothe backgrounds, whose works Eastern, andMediterranean playwrights ofAsian,Middle showcases Teatro Luna experience andtrue lifestories. are basedonautobiographical talent. Theiroriginalworks specializes inshowcasingLatina female Latinacompanythat s Steppenwolf is anall- Steppenwolf

Over the past three decades, a seamless, living world on the ignited hit shows such as Sam Chicago has received wide acclaim stage. To accomplish this unity, Shepard’s True West and Lanford for the quality of its theater. actors often band together to form Wilson’s Balm in Gilead. More recently, The city boasts five regional their own ensemble companies, a the family drama August: Osage County Tony Awards for excellence in practice that gives them the freedom won the company multiple Tony theater—for Steppenwolf Theatre to perform together and hone their Awards as well as a Pulitzer Prize (1985), Goodman Theatre (1992), skills in multiple shows—often over a for its author, ensemble member Victory Gardens (2001), Chicago period of many years. Beginning in Tracy Letts. With three performance Shakespeare Company (2008), and the mid-1970s, theater practitioners spaces, a thriving professional Signature Theatre (2009). This is began to trend away from the cluster theater school, and a highly regarded a glamorous distinction to be sure, of large downtown venues to create Steppenwolf for Young Adults but a large measure of Chicago’s small theater companies all over the program, Steppenwolf continues success can be traced back to the city. Many of these new companies to break new artistic ground while city’s gritty can-do philosophy, a vital took up residence in converted never losing sight of the ensemble part of making theater here. This is storefront buildings with cheap ethic that brought the company the city that works—and its endlessly rent, which gave them the freedom together in the first place. resourceful theater community to take creative risks and produce Congo Square Theatre Company’s reflects that ethic. If you ask fans to any kind of theater they liked. The reputation also rests squarely on describe the Chicago style of acting, storefront theater movement, as the talents of its acting ensemble. you’ll likely hear words like gutsy, it has become known, was—and Founded in 1999 with a mission raw, honest, and totally committed. continues to be—a significant part to produce theatrical work born And chances are it won’t be too of this city’s ensemble theater scene. of the African Diaspora and other long before you hear another word: The best-known and most decorated world cultures, Congo Square’s ensemble. of Chicago’s ensemble theaters is programming merges richly poetic Steppenwolf Theatre Company. Loosely defined, ensemble theater plays with a visceral, no holds- Founded in 1976 by nine young is an approach to acting that aims barred acting style. The company actors, it has in the intervening years for a unified effect achieved by quickly rose to prominence, grown to a multifaceted 42-member all members of a cast working developing a loyal fan base with ensemble that includes actors, together on behalf of the play, the help of playwright August directors, filmmakers, and writers. rather than emphasizing individual Wilson, a supporter from the Many Steppenwolf members work all performances. The goal is to create theater’s inception. Over the over the world in theater, film, and years, Chicago audiences have television, but they remain deeply been treated to acclaimed Congo committed to the company that has Square presentations of Wilson’s nurtured them throughout the years. plays The Piano Lesson, Seven Guitars, In the early days, Steppenwolf’s and Joe Turner’s Come and Gone. explosive ensemble acting style Before his death in 2005, Wilson requested that anyone wishing to make a donation in his name should give to one of four organizations—among these was Congo Square Theatre Company.

195 s Congo Square Theatre Company The Developing Theater Student HS I to II

What Are Students Like at This Learning Level?

At the typical Chicago high school, theater courses are not broken out by grade level, so ninth graders may end up in an acting or playwriting class together with twelfth graders. That means teachers must accommodate learners at different levels. It’s important to understand that high school students take theater courses for many different reasons. Some are just looking for a fun, easy class within a schedule of more rigorous academic coursework. Others may see participating in theater as a way to make friends or gain a community. Still others may have the goal of beginning an eventual career in the theater. No matter what students’ reasons are, there are some cognitive, emotional, and physical characteristics common to students at the freshman and sophomore levels. • Students at this age have made the • Freshman and sophomore students’ transition to more abstract thinking. bodies are still developing. They are They can digest and synthesize gaining better control of fine motor complex ideas with relative ease, and skills. At the same time, they can be they readily connect with new concepts very self-conscious about their bodies. that relate to their lives. They are Girls in particular can become fixated also beginning to seriously consider on their weight or other aspects of their future educational and career their appearance. This may result in goals. They may put up a cool front, their being more physically and/or but whether they are aware of it or emotionally closed. Encouragement not, they are looking for role models. and positive feedback can help them to For many freshman and sophomore participate with less self-consciousness theater students, a gifted classroom in class activities. teacher or visiting teaching artist can provide the spark that transforms a passing interest in theater to a lifetime commitment. • Students at this age often test boundaries by challenging authority. Theater can motivate students to open up in positive ways. However, emotional and physical boundaries should be set at the start of any group session and reiterated frequently.

196 the developing student: hs i to ii What Students Can Do at This Level

The learning outcomes below are based on the Scope and Sequence, which builds instruction sequentially across these levels. Keep in mind that students of different ages may be at the same level.

High School Level I High School Level II Students Can . . . Students Can . . .

• create a back story (biography) of • write a two-person scene a character and use it to develop a detailed characterization

• create improvised dialogue that • use improvisation as an approach reveals character motivation, to scripted material advances plot, provides exposition, and conveys theme

• discuss the collaborative • devise an organizational chart relationships and interdependence to demonstrate the structure of artists who work in the theater and flow necessary to the development and presentation of a theatrical production

• understand and describe the form • evaluate personal progress and structure of plays through the creation and use of a portfolio of theater work

• understand and relate how • understand and relate how the theater-related media and fundamentals of different art other associated areas provide forms relate to the study, process, occupational opportunities in the and production of theater world of work

the developing student: hs i to ii 197 Scope and Sequence

theater MAKING theATER LITERACY interpretation & evaluation making connections teaching standards

Skill Development Terms and Tools Interpretation Personal Connections Illinois State Goals (IL 25A, 26A; Nat’l 1, 2) (IL 25A, 26A; Nat’l 3) (IL 25A, 27A; Nat’l 7) (Nat’l 7, 8) 25. Know the language of • Understand and participate in vocal and • Identify the antagonist and • Discuss character growth or change • Articulate insights gained the arts. physical warm-ups to develop articulation, protagonist and explain how they in a piece of dramatic literature. into human experience by 26. Through creating and breath control, focus, and creativity. relate to conflict and theme in a • Analyze how dramatic literature is examining the world of a play performing, understand • Develop strong vocal projection and clear piece of dramatic literature. used to inform and persuade. and the moral, intellectual, how works of art are diction. • Demonstrate knowledge of the • Read, understand, and relate the and emotional choices the produced. • Define what an ensemble is and contribute processes and documents used basic content of a play. characters make. 27. Understand the role of to effective ensemble building. in performance preparation • Understand and describe the form • Discuss, and/or write about the arts in civilizations, • Write a monologue. (actor’s journal, director’s and structure of plays. sources for information past and present. notebook, designer’s drawings, about theater productions, • Develop the mind, body, and voice as • Identify character traits and given National Standards renderings, floor plans, scale personalities, trends, etc. creative, performing instruments. circumstances from a play. 1. Script writing through models, light and sound cue • Understand and relate how improvising, writing, and

High School Level I High School Level • Use improvisation to expand listening, • Show through discussions or writing plans). theater and theater-related refining scripts based on response, and evaluation skills and an appreciation for theater as a • Identify the areas of a theater media provide occupational personal experience and to explore character and storyline composite art form. (stage, backstage, wings, opportunities in the world of heritage, imagination, development. house/seating, sight lines, fly Evaluation (Nat’l 7) work. literature, and history (IL 26A, 26B; Nat’l 2) Performance space) and types of stages • Critique one’s own work and the • Understand and relate how 2. Acting by developing, • Analyze, interpret, memorize, and perform (proscenium, thrust, arena, site- work of peers using written and oral theater skills are used in non- communicating, and a scripted scene from dramatic literature. specific). formats. theatrical occupations. sustaining characters in improvisations and • Portray a character based on script • Discuss the collaborative • Analyze a review of a play, Interdisciplinary informal or formal analysis and research. relationships and identifying areas of personal Connections (IL 25B; Nat’l 6) productions • Create a back story (biography) of a interdependence of artists who agreement and disagreement. • Use visual art principles to 3. Designing and producing work in the theater. character and use it to develop a detailed • Demonstrate personal progress create effective stage pictures. by conceptualizing characterization. • Recognize the basics of theater through the creation and use of a • Participate in a musical theater and realizing artistic architecture. portfolio of theater work. • Create improvised dialogue that reveals production. interpretations for informal character motivation, advances plot, • Relate the uses of technical or formal productions • Analyze the interdependence of provides exposition, and conveys theme. theater spaces for rehearsal, all the arts as they contribute to 4. Directing by interpreting construction, performance, and dramatic texts and • Use improvisation formats as a theatrical production. presentations. storage. organizing and conducting • Understand and relate how • Understand and discuss the rehearsals for informal or • Memorize and present a monologue in an theater is a synthesis of all arts. informal setting. components of technical theater formal productions • Compare and contrast play 5. Researching by evaluating Production (IL 26A; Nat’l 3, 4) (scenery, costume, makeup, lighting, sound, props). structure in relation to other and synthesizing cultural • Contribute to onstage and offstage forms of literature. and historical information aspects of a theatrical performance, • Recognize and identify the terms to support artistic choices used in the technical theater • Investigate and discuss the communicating clearly and respectfully 6. Comparing and integrating process. technical elements in different with fellow actors, director, and crew media. art forms by analyzing members. • Identify and describe types of traditional theater, dance, Cultural Connections rehearsals. music, visual arts, and • Design, construct, and operate secondary (IL 25B, 27B; Nat’l 8) tools (technical theater elements) safely • Understand and use the new art forms • Compare and contrast the and effectively. vocabulary of directing. 7. Analyzing, critiquing, and treatment of similar themes in constructing meanings • Compare audience behavior at various Theater History / Research plays from various cultures and types of performances, and practice (IL 27B; Nat’l 5, 8) from informal and formal historical periods. theater, film, television, appropriate audience behavior at theater • Research and assemble • Analyze and discuss issues and electronic media events. information to begin a time line of contemporary relevance productions of theater history, including non- • Rehearse following a rehearsal schedule. presented in dramatic literature. 8. Understanding context Western theater. • Demonstrate an understanding of and • Explore and demonstrate by analyzing the role of • Understand and relate how assume different roles on technical crews. storytelling of non-Western theater, film, television, theater originated and evolved. • Understand and utilize production theater. and electronic media in • Investigate and use theater- the past and the present scheduling and organization. • Develop and relate a worldview related Internet sites. of theater in society. For list of complete Illinois Standards for Theater, Grade 9, see pages 254-255.

198 scope and sequence: high school level i Scope and Sequence theater MAKING theATER LITERACY interpretation & evaluation making connections teaching standards

scope and sequence: high school level i 199 Scope and Sequence

theater MAKING theater LITERACY interpretation & evaluation making connections teaching standards

Skill Development Terms and Tools Interpretation Personal Connections Illinois State Goals (IL 25A, 26A; Nat’l 1, 2) (IL 25A, 26A; Nat’l 3) (IL 25A, 27A; Nat’l 7) (Nat’l 7, 8) 25. Know the language of • Lead in a physical and vocal warm-up. • Articulate character motivation in • Discuss character growth or change • Understand, discuss, and/or the arts. • Demonstrate strong vocal projection terms of objectives and obstacles. in a piece of dramatic literature. write about careers in technical 26. Through creating and and clear diction. • Understand and diagram plot • Analyze how dramatic literature is theater and related areas. performing, understand • Define what an ensemble is and structure. used to inform and persuade. • Recognize and express that how works of art are contribute to effective ensemble • Understand and diagram the • Read independently, analyze, and theater and related areas play produced. building. physiology of the body and vocal understand two plays by different a role in the world of work as 27. Understand the role of • Write a two-person scene. production. playwrights in different periods. occupational opportunities. the arts in civilizations, past and present. • Use improvisation to retain • Demonstrate knowledge of the • Understand and relate the form and • Create an example of a spontaneity and ensemble. processes and documents used in structure of dramatic genre. professional resume. National Standards 1. Script writing through • Demonstrate and expand dramatic performance preparation (actor’s • Evaluate personal progress through Interdisciplinary improvising, writing, and concepts through improvisations. journal, director’s notebook, the creation and use of a portfolio Connections (Nat’l 6)

High School Level II High School Level designer’s drawings, renderings, floor refining scripts based on • Use improvisation as an approach to of theater work. • Use visual art principles plans, scale models, light and sound personal experience and scripted material. • Learn and convey the concept of (composition, positive and heritage, imagination, cue plans). negative space, level, line, • Demonstrate appropriate audience central dramatic questions. literature, and history • Identify the areas of a theater (stage, rhythm, color, focal point) to behavior at theater events. • Analyze plays for physical, social, 2. Acting by developing, backstage, wings, house/seating, and psychological dimensions. create effective stage pictures. communicating, and Performance (IL 26A, 26B; Nat’l 2) sight lines, fly space) and types of • Distinguish connotative (subtext) • Participate in a musical theater sustaining characters • Analyze, interpret, memorize and stages (proscenium, thrust, arena, and denotative meaning of production. in improvisations and perform a scripted scene. site-specific). language in a dramatic text. • Analyze the interdependence of informal or formal • Portray a character based on script • Discuss the collaborative relationships productions • Analyze text for character clues and all the arts as they contribute to analysis and research. and interdependence of artists who objectives. a theatrical production. 3. Designing and producing • Create a back story (biography) of work in the theater. by conceptualizing • Analyze self and others verbally and • Understand and relate how a character and use it to develop a • Understand, discuss, and/or write and realizing artistic through keeping entries in a journal. the fundamentals of different detailed characterization. about the components of technical art forms relate to the study, interpretations for informal • Read, discuss, and/or write about or formal productions • Create improvised dialogue that theater (scenery, costume, makeup, process, and production of plays to gain an understanding reveals character motivation, advances lighting, sound, props). theater. 4. Directing by interpreting of the role of the director in the plot, provides exposition, and conveys • Devise an organizational chart to dramatic texts and production. Cultural Connections theme. demonstrate the structure and flow of organizing and conducting (IL 25B, 27B; Nat’l 8) rehearsals for informal or • After reading a play, memorize and a theatrical production. • Understand, discuss, and/or write about the process of rehearsal and • Compare and contrast the formal productions perform a monologue from it in an Theater History / Research production. treatment of similar themes in 5. Researching by evaluating informal setting. (IL 27B; Nat’l 5, 8) plays from various cultures and and synthesizing cultural Evaluation (Nat’l 7) Production (IL 26A; Nat’l 3, 4) • Understand, discuss, and/or write historical periods. and historical information • Critique one’s own work and the • Contribute to onstage and offstage about the evolution of play structure • Analyze and discuss issues to support artistic choices work of peers using written and oral aspects of a theatrical performance, from early Greek to contemporary of contemporary relevance 6. Comparing and integrating formats. communicating clearly and drama. presented in dramatic literature. art forms by analyzing • Analyze a review of a play, traditional theater, dance, respectfully with fellow actors, • Develop a time line of theater • Articulate insights gained identifying areas of personal music, visual arts, and director, and crew members. history that includes social context, into human experience by agreement and disagreement. new art forms • Design, construct, and operate playwrights, and genres. examining the world of a play 7. Analyzing, critiquing, and secondary tools (technical theater • Evaluate plots and themes. and the moral, intellectual, constructing meanings elements) safely and effectively. • Attend a play and reflect on it and emotional choices the verbally or through writing entries in from informal and formal • Create and follow a rehearsal characters make. theater, film, television, a journal. schedule. and electronic media • Understand and operate the tools of • Write reviews of plays or other productions theater construction (power tools, related art forms. 8. Understanding context sewing machine, lighting and sound • Demonstrate giving and receiving by analyzing the role of equipment, etc.). constructive criticism. theater, film, television, • Evaluate personal progress through and electronic media in the creation and use of a portfolio the past and the present of theater work. For list of complete Illinois Standards for Theater, Grade 10, see pages 254-255.

200 scope and sequence: high school level ii Scope and Sequence theater MAKING theater LITERACY interpretation & evaluation making connections teaching standards

Skill Development Terms and Tools Interpretation Personal Connections Illinois State Goals (IL 25A, 26A; Nat’l 1, 2) (IL 25A, 26A; Nat’l 3) (IL 25A, 27A; Nat’l 7) (Nat’l 7, 8) 25. Know the language of • Lead in a physical and vocal warm-up. • Articulate character motivation in • Discuss character growth or change • Understand, discuss, and/or the arts. • Demonstrate strong vocal projection terms of objectives and obstacles. in a piece of dramatic literature. write about careers in technical 26. Through creating and and clear diction. • Understand and diagram plot • Analyze how dramatic literature is theater and related areas. performing, understand • Define what an ensemble is and structure. used to inform and persuade. • Recognize and express that how works of art are contribute to effective ensemble • Understand and diagram the • Read independently, analyze, and theater and related areas play produced. building. physiology of the body and vocal understand two plays by different a role in the world of work as 27. Understand the role of • Write a two-person scene. production. playwrights in different periods. occupational opportunities. the arts in civilizations, past and present. • Use improvisation to retain • Demonstrate knowledge of the • Understand and relate the form and • Create an example of a spontaneity and ensemble. processes and documents used in structure of dramatic genre. professional resume. National Standards 1. Script writing through • Demonstrate and expand dramatic performance preparation (actor’s • Evaluate personal progress through Interdisciplinary improvising, writing, and concepts through improvisations. journal, director’s notebook, the creation and use of a portfolio Connections (Nat’l 6)

scope and sequence: high school level ii 201 THEATER IN CHICAGO

Inspiration from Within: The Theater of Community

“The Windy City.” “City of the Big Chicago, the State of Illinois, and 180 mainstage productions penned Shoulders.” “The Second City.” the Nation.” Along the way eta has by black playwrights—and 98 percent “The City That Works.” Chicago has picked up more than 120 awards and of those productions have been world never been at a loss for nicknames. honors for quality programming and premieres. From the beginning, a And when it comes to some of the community service, and it has helped pivotal part of the company’s mission city’s hardest working theatrical thousands of children experience and has been its commitment to arts institutions, yet another Chicago explore the joy of live performance. education programming both within nickname springs to mind: “City of its own facility and through residency Incorporated in 1971, eta Creative Neighborhoods.” Take a look at two partnerships with the public schools. Arts Foundation spent a few years as very different Chicago theaters that It offers comprehensive training in an itinerant troupe before putting have made it their mission to create theater, dance, and music as well as down roots on Chicago’s South Side. programming strongly bonded to an annual eight-week youth theater The company bought and converted their community and neighborhood. summer camp. Many young children a building that eventually would who take part in eta’s programs stay eta Creative Arts Foundation come to house not only a 200- connected with the organization Chicago theaters are known for seat theater, but also a library, an throughout their high school years setting their sights high, and eta educational workshop space, and an and far beyond. Creative Arts Foundation is a prime art gallery as well. Over the years, example. For nearly 40 years this eta has made itself an integral part Albany Park Theater Project company has worked tirelessly of its primarily black neighborhood, On the other side of town, another to fulfill its aim of becoming “a offering residents a performing arts community-based theater company major cultural resource for the complex, an educational facility, and has been making its own mark. The preservation, perpetuation, and a community meeting hall—all under Albany Park Theater Project (APTP) promulgation of the African one roof. During that same period, is an ensemble of youth artists who American aesthetic in the City of the company has produced more than collectively write, choreograph, s eta Creative Arts Foundation Inspiration from Within: The Theater of Community

compose, and stage theatrical s Albany Park Theater Project performance by connecting works dedicated to and based them as vital parts of their upon real-life stories of shared community. Every show working-class and immigrant is followed by a conversation Americans, including facilitated by the ensemble Albany Park residents. As members. There are also Northwestern University diverse special events that professor of performance allow audiences to explore the studies Dwight Conquergood themes of the performances once put it, “it walks the in new ways. These events balance beam between artistic have included community craft and social conscience.” forums on undocumented immigrants, moderated Albany Park is a neighborhood discussions about increasing of 57,000 people located on access to college for Chicago Chicago’s northwest side. It Public School students, and is home to one of the city’s Field Park cultural center, which also even a Persian cooking class. most diverse communities—more has come to serve as a community than 50 percent of residents were gathering place. At a typical APTP As APTP has built its reputation, born outside the United States. show, audience members are taken it has drawn audiences from across Founded in 1997, APTP started on a journey deep into the life Chicago. Yet the company still relies by presenting performances at experiences of people who live among to a very large extent on the core neighborhood libraries, schools, and them. The productions engage audience that serves as its inspiration churches. Today the company has audience members in ways that take and its mission—the community of its own theater space in the Eugene them beyond simply watching a Albany Park. 203 The Developing HS III to IV Theater Student

What Are Students Like at This Learning Level?

High school juniors and seniors may sign up for theater classes for a wide variety of reasons. Some are deeply interested in one or more aspects of theater and may even plan to pursue it as a career. Others are interested in theater but, due to limited exposure to training, have no idea whether they actually possess a talent for it. Still others may take a theater class because it sounds like fun or because they assume it will be an easy A. The following is a quick look at some of the behaviors you are likely to encounter from students at this learning level.

• Third- and fourth-year high school professionals in the theater who have students are young adults. Many of done the same. Teach students to them have started to take on adult make peer feedback constructive, and responsibilities such as holding an expose all students to regular peer and after-school job or playing a role in teacher feedback. Students should also caring for their families. They may be encouraged to evaluate themselves seem very grown up, but these students regularly, honestly, and rigorously. may still be mastering adult skills like • Maintain an element of play in good decision-making and control of your teaching, even with older their impulses. Theater training can students. Use playful exploration as a help students develop these skills and foundation for creative assignments. can give them opportunities to safely This will help students maintain explore the increasingly complex world focus, stimulate their imaginations, they move through. and encourage them to participate as • If motivated, junior and seniors can fully as possible. be self-directed and tenacious about • Some students will still be exploring completing a task. Design individual what theater has to offer. Provide them and group activities that allow them with opportunities to try different to make and build upon their choices theater-related tasks. If students are in theater. Give them the freedom to not interested in performing, have pursue the techniques and aspects of them try stage-managing or working theater they are most interested in. on set crew. • Creating theater requires taking risks • Challenge advanced students with and the ability to learn from mistakes. more complex scripts and characters. Students in this age group can be very Deepen their skills at interpretation sensitive to criticism, so it’s important and evaluation by exposing them to to clearly explain that criticism is high-quality theater performances a normal and necessary part of the and examining the ways they can work theater making process. Model toward professional quality. learning from mistakes and share examples of well-known

204 the developing student: hs iii to iv What Students Can Do at This Level

The learning outcomes below are based on the Scope and Sequence, which builds instruction sequentially across these levels. Keep in mind that students of different ages may be at the same level.

High School Level III High School Level IV Students Can . . . Students Can . . .

• use accents, dialects, and • define the term ensemble and physical gestures to create contribute to effective ensemble characters building

• direct classmates in scene work • contribute to onstage and for classroom presentation and/ offstage aspects of theatrical or performance; demonstrate performance, communicating casting, blocking, rehearsing, clearly and respectfully with coaching, interpreting, critiquing, fellow actors, director, and crew supporting, and communicating members vision

• learn and demonstrate actor • research the role of the techniques such as script scoring dramaturg

• write a review of a play, analyzing • write critiques of their own the directorial and design choices theatrical work evident in the production

• participate in a musical theater • articulate insights into human production experience by examining the world of a play and the moral, intellectual, and emotional decisions the characters make

the developing student: hs iii to iv 205 Scope and Sequence

theater MAKING theater LITERACY interpretation & evaluation making connections teaching standards

Skill Development (IL 25A, 26A; Nat’l 1, 2) Terms and Tools Interpretation Personal Connections Illinois State Goals (IL 26A, 26B; Nat’l 1, 3, 4) (IL 25A, 26A; Nat’l 7) (IL 27A; Nat’l 8) • Use personal memories of emotional 25. Know the language of experiences to portray feelings truthfully • Demonstrate knowledge • Discuss character growth or change • Compare and contrast the arts. during improvisations and scripted drama. of the audition process in a piece of dramatic literature. productions with historical 26. Through creating and • Use accents, dialects, and physical gestures for theater, film, and • Analyze the interaction of the events or personal experiences. performing, understand to create characters. television (monologue, scene primary tools and the secondary • Understand, discuss, and/ how works of art are • Express the subtext of a scene through verbal preparation, cold reading, tools in conveying mood in a or write about the uses of produced. and nonverbal means. vocal, music, and dance, theatrical production. a resume for a professional 27. Understand the role of voice-over demo, resume, • Sustain strong vocal projection and clear • Read independently and analyze theater artist. the arts in civilizations, headshots, reel). diction. three plays by different playwrights • Demonstrate an understanding past and present. • Use playwriting techniques • Define what an ensemble is and contribute to from different periods. of theater as a collaborative art. National Standards to develop characters, plot, effective ensemble building. • Learn and relate how the central Interdisciplinary 1. Script writing through and theme through asides, dramatic question shapes a play. Connections (IL 25B; Nat’l 6) improvising, writing, and • Create written and improvised dialogue that soliloquies, allegory, symbol, refining scripts based on • Analyze a play as director. • Use visual art principles High School Level III High School Level reveals character motivation, advances plot, mood, and metaphor. personal experience and provides exposition, and conveys theme. • Examine and discuss non-Western (composition, positive and • Understand and perform heritage, imagination, plays not previously studied. negative space, level, line, • Write monologues, scenes, and/or one-act the functions of characters literature, and history rhythm, color, focal point) to plays in script format, with vivid dialogue and such as foil, protagonist, • Analyze live theatrical productions 2. Acting by developing, create effective stage pictures. clear stage directions. antagonist, incidental, and to see how technology is used. communicating, and • Write a three-person scene or an ensemble agent of fate. Evaluation (IL 25A, 26A; Nat’l 7) • Participate in a musical theater sustaining characters production. in improvisations and piece alone, with a partner, or with a group. • Learn and utilize actor • Use written and oral formats to informal or formal • Develop, memorize, and present scene work techniques such as script critique one’s own work and the • Demonstrate an understanding productions as an individual and as an ensemble. scoring. work of peers. of theater as a synthesis of all the arts. 3. Designing and producing Performance (IL 26B; Nat’l 2) • Demonstrate, discuss, and/or • Write a review of a play, analyzing • Analyze the interdependence of by conceptualizing • Analyze, interpret, memorize, and perform a write about the components the directorial and design choices all the arts as they contribute to and realizing artistic scripted scene. of technical theater. evident in the production. a theatrical production. interpretations for informal • Prepare contrasting monologues to Theater History / Research • Evaluate strengths and weaknesses or formal productions demonstrate range of abilities. (IL 27A, 27B; Nat’l 5, 8) of one’s own and others’ voices. Cultural Connections 4. Directing by interpreting (IL 27B; Nat’l 8) • Demonstrate the principals of blocking and • Research careers in theater, • Continue to evaluate strengths and dramatic texts and • Recognize the distinguishing composing stage pictures. including teaching, acting, weaknesses of self and others organizing and conducting characteristics of theater from rehearsals for informal or Production (IL 25A, 26A; Nat’l 3, 4) directing, designing, technical verbally and through writing entries theater, and supporting in a journal. diverse cultures. formal productions • Direct classmates in scene work, occupations. • Learn and use appropriate criteria • Analyze how the secondary 5. Researching by evaluating demonstrating casting, blocking, rehearsing, and synthesizing cultural for assessing technical design and tools (set, costumes, makeup, coaching, interpreting, critiquing, supporting, • Research playwrights’ lives and historical information and/or work. practice. props, lights, sound) transmit and communicating vision. information about the cultural to support artistic choices • Explore and demonstrate non- • Write critiques of the technical • Contribute to onstage and offstage aspects context/historical time period of 6. Comparing and integrating Western theater practices. aspects of a formal or informal of a theatrical performance, communicating a play. art forms by analyzing • Prepare research for a production. traditional theater, dance, clearly and respectfully with fellow actors, • Review and analyze traditional director. • Read and research a play, view a music, visual arts, and director, and crew members. and non-traditional art forms. • Investigate technology production of it, and evaluate. new art forms • Design, construct, and operate secondary • Articulate insights gained available at the school site to • Analyze personal progress through 7. Analyzing, critiquing, and tools safely and effectively. into human experience by incorporate into productions. the creation and use of a portfolio constructing meanings • Research, explore, and create masks for examining the world of a play from informal and formal • Demonstrate a familiarity of theater work. neutral and character work. and the moral, intellectual, theater, film, television, • Take an active role in rehearsal and with the evolution of theater and emotional choices the and electronic media production. and knowledge of the characters make. productions distinguishing characteristics • Understand and use tools employed in theater 8. Understanding context of major periods of theater in construction. by analyzing the role of the Western tradition. • Direct a two-person scene. theater, film, television, and electronic media in the past and the present For list of complete Illinois Standards for Theater, Grade 11, see pages 254-255.

206 scope and sequence: high school level iii Scope and Sequence theater MAKING theater LITERACY interpretation & evaluation making connections teaching standards

scope and sequence: high school level iii 207 Scope and Sequence

theater MAKING theater LITERACY interpretation & evaluation making connections teaching standards

Skill Development (IL 25A, 26A; Nat’l 1, 2) Terms and Tools Interpretation Personal Connections Illinois State Goals (IL 26A, 26B; Nat’l 3, 4) (IL 25A, 26A; Nat’l 7) (IL 27A; Nat’l 8) • Use accents, dialects, and physical gestures 25. Know the language of to create characters. • Demonstrate knowledge • Discuss character growth or change • Analyze the effect of personal the arts. • Express the subtext of a scene through verbal of the audition process in a piece of dramatic literature. cultural experience on self- 26. Through creating and and nonverbal means, demonstrating an under for theater, film, and • Analyze the interaction of the created theatrical works. performing, understand standing of a character’s emotional wants, television (monologue, scene primary and the secondary tools • Research careers in the theater, how works of art are needs, intentions, motivations, and inner life. preparation, cold reading, in conveying mood in a theatrical including teaching, acting, produced. • Sustain strong vocal projection and clear vocal music and dance, production. directing, designing, technical 27. Understand the role of diction. voice-over demo, resume, • Read independently and analyze theater, and supporting the arts in civilizations, headshots, reel). • Define what an ensemble is and contribute to four plays by different playwrights occupations. past and present. effective ensemble building. • Examine and discuss in different periods. • Analyze, discuss and/or National Standards technological advances in • Create written and improvised dialogue that • Analyze and report on the differing write about jobs in a selected 1. Script writing through theater and special effects. reveals character motivation, advances plot, approaches of master teachers in theatrical field. improvising, writing, and • Use available new technology vocal production. refining scripts based on High School Level IV High School Level provides exposition, and conveys theme. Interdisciplinary or new uses of existing personal experience and • Write monologues, scenes and/or one-act Evaluation (IL 25A, 26A; Nat’l 7) Connections (IL 25B; Nat’l 6) technology to support the heritage, imagination, plays in script format, with vivid dialogue and • Use written and oral formats to • Use visual art principles school theater arts program. literature, and history clear stage directions. critique one’s own work and the (composition, positive and Theater History / 2. Acting by developing, • Write a scene in a specific genre or time period. work of peers. negative space, level, line, communicating, and Research • Write a review of a play, analyzing rhythm, color, focal point) to sustaining characters • Demonstrate responsibility and motivation for (IL 27A, 27B; Nat’l 5, 8) independent work. the directorial and design choices create effective stage pictures. in improvisations and • Research two or more • Study and use stage combat techniques. evident in the production. • Participate in a musical theater informal or formal playwrights or styles. production. productions • Continue improvisation for spontaneity and • Recognize one’s own individual • Research and examine the strengths and remaining challenges. • Analyze the interdependence of 3. Designing and producing ensemble. work of master teachers by conceptualizing • Refine and express knowledge of all the arts as they contribute to • Study and use two or more acting methods by who specialize in body work/ and realizing artistic assessing technical design. a theatrical production. master teachers. movement. interpretations for informal Cultural Connections (IL 26B; Nat’l 2) • Write critiques of one’s own work. or formal productions Performance • Research the role of a (IL 27B; Nat’l 5, 8) • Analyze, interpret, memorize, and perform a dramaturg. • Critique personal progress through 4. Directing by interpreting the continuing use of a portfolio of • Demonstrate a familiarity with dramatic texts and scripted scene or monologue. • Research an actor’s life and/ theater work. the evolution of theater and organizing and conducting • Demonstrate improvisational skills in a formal or body of work from theater knowledge of the distinguishing • Write a reflection of the one-act rehearsals for informal or setting. history or modern stage. characteristics of major periods directing experience. formal productions • Develop original work and present as a one- • Research a period theater in the Western tradition. 5. Researching by evaluating act play. piece. • Recognize the distinguishing and synthesizing cultural • Participate in student-directed works. • Demonstrate a familiarity characteristics of theater from and historical information Production (IL 25A, 26A; Nat’l 3, 4) with the evolution of theater diverse cultures. to support artistic choices • Direct classmates in scene work, and knowledge of the • Analyze how the secondary 6. Comparing and integrating demonstrating casting, blocking, rehearsing, distinguishing characteristics tools (set, costumes, makeup, art forms by analyzing traditional theater, dance, coaching, interpreting, critiquing, supporting, of major periods of theater in props, lights, sound) transmit music, visual arts, and and communicating vision. the Western tradition. information about the cultural new art forms • Contribute to onstage and offstage aspects • Analyze and report on new context/historical time period of trends in theater performance. a play. 7. Analyzing, critiquing, and of a theatrical performance, communicating constructing meanings • Analyze and report on clearly and respectfully with fellow actors, • Research and identify cultural from informal and formal director and crew members. theatrical developments in and historical sources of theater, film, television, • Design, construct, and operate secondary technology. American theater, including and electronic media tools safely and effectively. musical theater. productions • Take a leadership role in the technical aspects • Compare and contrast art forms 8. Understanding context of productions. in specific cultures and/or by analyzing the role of historical periods. theater, film, television, • Apply knowledge of the components of and electronic media in technical theater. • Articulate insights gained into human experience by examining the past and the present • Direct a one-act play. the world of a play and the For list of complete Illinois Standards for Theater, moral, intellectual, and emotional Grade 12, see pages 254-255. choices the characters make.

208 scope and sequence: high school level iv Scope and Sequence theater MAKING theater LITERACY interpretation & evaluation making connections teaching standards

scope and sequence: high school level iv 209 THEATER IN CHICAGO

s Redmoon Theater Making A Spectacle

Strange figures glide past you on played out in neighborhoods, parks, Redmoon is one of a handful of local six-foot stilts. Mythical creatures museums, and formal gardens as well theaters that combines its storytelling pop up seemingly out of nowhere. as traditional theater venues. Versed with spectacular visuals and special Clouds billow in the branches of in mask work and many different effects. These theaters—using a tree. An enormous head leans forms of puppetry, from bunraku techniques involving clowning and over a wall and greets you in a deep (a traditional Japanese form in which circus acrobatics, computer, lighting, foghorn voice. Eerily beautiful multiple puppeteers operate the video effects, and more—have found music surrounds you. It might seem puppets in full view of the audience) loyal audiences in Chicago. Perhaps as if you have wandered onto some to marionettes (puppets that are the best-known of the spectacle strange, magical planet. But in fact controlled from above by strings) theaters is Lookingglass Theatre you are experiencing a performance to shadow puppets, the gifted Company. Formed by a group of by Chicago’s popular Redmoon folks at Redmoon create visual and Northwestern University grads in Theater. This company’s diverse aural worlds to engage the hearts 1988, Lookingglass combines a spectacle-based performances and minds of children and adults physical, improvisational, ensemble- include massive public celebrations alike. based rehearsal process with training in theater, dance, music, and circus arts. The company’s powerhouse ensemble includes internationally renowned director and MacArthur grant recipient Mary Zimmerman and television, film, and stage actor David Schwimmer. Housed in a sleekly designed theater in the historic Water Tower Pumping Station on Michigan Avenue, Lookingglass offers audiences eclectic theatrical fare composed of new plays, adaptations, and re- envisioned classics. But the company has long been involved in theater education as well; a vast amount of its programming goes toward s Lookingglass Theatre training and outreach. In fact, its earliest workshop level, Tweedle Tots, is designed for children eighteen smaller ensembles to research and exhilarating, inspirational, and months to three years old. One of create a pair of new works for the accessible to all.” stage. Past shows include Pocketful the most successful Lookingglass Less well known but no less of Posies, a musical about children programs is the Young Ensemble, artistically daring is the small in the Middle Ages during a time of which is selected annually from a performance company known as plague, and Stories from the Attic, a diverse group of performers aged 500 Clown, whose mission is “to piece about memory and aging based eight to eighteen. Participants take use circus arts, improv, and action- on interviews with older adults. The part in an intensive audition process. based performance to produce final step of the process comes in the The talented young artists who are theater that catapults the performers spring when the Young Ensemble selected spend the next schoolyear into extreme physical and emotional members rehearse and perform the training with Lookingglass ensemble risk.” Their work shifts the audience collaborative work they have made. members and guest artists free from passive to active observers The Young Ensemble is one more of charge. In the fall, the Young and creates a charged environment part of Lookingglass’s overall mission Ensemble members are trained in a that underscores and celebrates “to redefine the limits of theatrical wide variety of theater techniques. the unpredictable power of the experience and to make theater In the winter, they divide into two theatrical moment. The company is made up of only five members: Molly Brennan (performer), Adrian

s 500 Clown Danzig (performer), Leslie Buxbaum Danzig (director), Paul Kalina (performer), and Dan Reily (master builder and designer). In addition to performing, 500 Clown offers high school-, college-, and professional- level workshops in clowning, mask work, and adaptation. All workshops flow from a series of questions that address the company’s basic performance principles: What does it mean to take risks? To follow impulses? To discover? To be resilient? Working in partnership with institutions such as Steppenwolf Theatre Company and the University of Chicago, 500 Clown has carved out an impressive niche in the city’s theater community and has won legions of loyal fans along the way.

211 Theater Lesson Plan

Teacher Name Class Theater Grade 3–5 Lesson Title Earliest Theater Start Date Dec. 3–4 Time Needed 45 minutes per lesson Objectives Students will: Transmit clear ideas through physical rather than vocal language; appreciate the use of movement/pantomime as a means of communication; work effectively in small groups; develop an understanding of roles that are important in daily life both in contemporary and ancient times. Materials Needed Large sheets of paper or a blackboard to record the discussion. Paper and/or cloth can be used for sets and costumes, but this is not required. Standards Addressed IL 26.B.2b, 27.B.2; Nat’l 2, 4

Check each strand of the scope and sequence addressed in this lesson. n Theater Making n Theater Literacy n Evaluation/Interpretation n Making Connections

Setting the Environment Question: When did theater start? Set-up (teacher script): Once upon a time before television or internet, before movies or DVDs, before cell phones or texting, people used stories to communicate. Even before they had a common spoken or written language, communities gathered together to reflect and remember events of the day. Often they spoke through movement and gesture. At times, these stories were written on tablets or cave walls as a means of preserving and recording important moments. In theater we must be able to communicate clear emotions and intentions. Strong actors can convey their objectives even when they are not speaking. This lesson will help us to develop skills in both analyzing situations and communicating effectively. Now let’s see if we can make this ancient time come to life!

Warm-up Activity Ask: What activities did early humans do? Write answers. Students should say things like “hunt,” “gather,” and “cook.” Break students into groups of hunters, gatherers, caretakers, and cooks. Each group creates their own physical vocabulary of five words depicting their roles. This physical vocabulary should tell the story of what it is like to be a hunter, gatherer, caretaker, or cook.

212 lesson plans for theater: grades 3 to 5 Main Activity Have each group come up with a physical demonstration of their vocabulary words. These “word plays” should be presented in silence. Students communicate their actions without vocalization. Students present their “word plays” and, through repetition, teach the rest of the class their words and actions. Audience members try to guess the words/actions of each group once they have participated in the actions. Have the groups discuss the process of trying to communicate without words. How would these presentations be different if they were allowed to talk? Audience discusses whether the group’s actions were clearly communicated. Discuss connections to modern life. Did the “word plays” seem similar to any actions that are part of students’ lives today?

Assessment Strategy Have the students keep a journal throughout the activity. Give them the following questions to guide their reflections.• 1. How would your storytelling have been different if you were allowed to use dialogue? 2. Were you able to create movements to express your roles? Did you understand the movements created by the other groups? How is “talking” with strong gestures different from using strong words? 3. How many new words or actions did you present? 4. Did the actions help you to understand the life of a hunter, gatherer, cook, or caretaker? 5. Create a list of five words to describe roles in modern life (student, teacher, parent, etc.). Are there any similarities to the roles from ancient times? 6. Divide the page in half. Write “Ancient times” on the top of one column and “Today” on the other. Compare the activities of “ancient times” with those in your daily life. 7. How did collaborating with a group impact your work? If possible, document student performances through photos and/or video.

Teacher Reflections What worked: Students seemed to enjoy the challenge of telling stories without words. It helped to have them begin the process of creating gestures about a different place and time. Students began with a common challenge. The timing forced students to accomplish a specific task within a finite period, which encouraged them to remain on task. They enjoyed trying to guess the meaning of the actions and movements of their peers. Notes for next time: It might be helpful to give students some images of mime or sign language so that they have visual examples of ways people communicate without words.

lesson plans for theater: grades 3 to 5 213 Theater Lesson Plan

Teacher Name Class Theater Grade HS I–II Lesson Title Unrequited Love Start Date Feb. 18–19 Time Needed 45 minutes per lesson Objectives Read and analyze a Shakespearian monologue, discuss staging and character development, and identify the primary emotions illustrated in this text. Compare the language in this text with that of a contemporary love song. Materials Needed Text of monologue from Twelfth Night, lyrics to a contemporary song Standards Addressed IL 26.B.4b; Nat’l 1, 2, 3, 4

Check each strand of the scope and sequence addressed in this lesson. n Theater Making n Theater Literacy n Evaluation/Interpretation n Making Connections

Setting the Environment Discuss the moment prior to the monologue presented here.

Warm-up Activities Lead students in a sense memory warm-up on love. Use the following prompts: • Remember a moment from your childhood when you felt loved. Notice the smells, sounds, etc. • Think of two people who are truly in love. Do they speak differently to each other than to outsiders? What is different in their voices? Their gestures? Ask the following discussion questions: What is Orsino’s situation? Have you ever seen someone who behaved like Orsino?

Main Activity Read monologue out loud with the whole class. Have students describe what Orsino is feeling and support their answers with clues from the text. Ask: Have you ever felt this way or known anyone who had a similar experience? Then play a recording of a contemporary love song. Compare and contrast the characters’ experiences. Have students break into small groups. Each group must find a way to tell Orsino’s story. Choose from the following: a) Dramatize what you have read so far. Create a staged reading of Shakespeare’s text. b) Create your own contemporary version of Orsino’s monologue. Note: This lesson is intended to help students develop understanding of the text. Demonstrating performance skills is a natural next step once students have mastered the interpretation of a text. Subsequent lessons should focus on developing and utilizing performance skills.

214 lesson plans for theater: hs i to ii Assessment Strategy Use qualitative judgments to analyze and critique each group. Use a rubric to guide the discussion. Rubric for analyzing group reflections on Orsino’s monologue. Rubric:

Skill Exceeds Meets Does Not Meet Expectations Expectations Expectations Uses language Uses language Language Language to effectively to communicate communicates a communicates communicate a high level of satisfactory level minimal the main ideas information, of information, information. of Orsino’s thought, and thought, and monologue. feeling. feeling. Presentation Sustains focus Maintains focus Lacks focus and demonstrates and concentration and concentration concentration. focus and throughout the throughout concentration. presentation. most of the presentation. Works productively Group presentation Group presentation Group presentation as a group reflects the demonstrates shows the ideas to create a perspective of the the perspective of only one or two presentation. collective rather of some of the members. than individuals. group.

Wrap-up/Cool Down Ask students the following discussion question: What discoveries did you make about Orsino’s character or situation from this process?

Teacher Reflections What worked: Students were able to access the meaning of Orsino’s monologue because they could relate well to the concept of unrequited love. Students seemed to enjoy being able to choose from a number of methods of analyzing the text and preparing a presentation. Working in small groups allowed students to support each other’s strengths and challenges. Several students seemed to be invested in the lesson because of the challenge of connecting the classical text with contemporary language or music. Next steps: Have students refine the work developed through this process to create polished presentations that demonstrate their performance skills.

lesson plans for theater: hs i to ii 215 Arts Integration Arts Integration in the Public Schools

Overview

The core focus of the Chicago Guide for Teaching and Learning in the Arts is to provide a scope and sequence of skills and knowledge students are expected to master in the arts. To meet these arts education objectives, the Office of Arts Education supports the high quality delivery of a variety of instructional approaches, methods, and strategies. Among them is arts integration, an approach to arts education practiced widely in the Chicago Public Schools (CPS). This portion of the Guide gives an overview of the many ways arts integration is practiced in CPS. The section begins with a broad definition of arts integration and a description of different ways educators implement this approach in the classroom. It explains best practices in arts integration, which provide a foundation for instruction in the classroom. The case studies that follow illustrate how CPS has implemented a variety of successful arts integration models. Finally, a sample unit plan provides a framework for building standards-based arts integration lessons.

What Is Arts Integration? teachers, both art teachers and teachers of Broadly speaking, arts integration is other subjects, collaborate with art specialists instruction that blends content and skills to implement their arts integration project or from one arts discipline—music, visual unit. Whatever the model, teachers typically arts, dance, and theater—with another focus on a common theme, problem, or arts discipline or academic subject. The inquiry that engages students in making most successful arts integration is more cross-disciplinary connections. than academics with arts activities added Why Choose this Approach? on. Successful arts integration stands on a foundation of carefully planned learning When delivered successfully, arts integration goals. Teachers follow a scope and sequence, can have a profoundly positive effect on reflecting state or national standards for arts student learning and engagement. Students and other curricular areas, and are often have multiple opportunities to enhance supported by partnerships with outside critical thinking skills by making connections arts organizations. Quality arts instruction across arts and academic disciplines. Teachers builds on students’ existing knowledge and of arts integration observe that students skills. Each of the integrated arts disciplines enrich and deepen their academic knowledge is taught consistently and is reinforced while developing their creative expression. throughout the unit. At the same time, students demonstrate a greater understanding of the importance of Chicago Public Schools currently employ the arts in the evolution of human thought various models of arts integration and expression. Ultimately, the basis for instruction. One arts discipline, such as high quality arts integration is high quality music or theater, may be used to enhance instruction. instruction in science, social studies, math, How Does Arts Integration Work? English language arts, or foreign languages. Teachers may also integrate more than one Effective arts integration units and lessons discipline, such as theater and visual arts, in can be carried out in different ways, but a multidisciplinary arts unit. Some classroom planning is always critical. Arts integration aims to make meaningful arts connections

218 arts integration in the public schools that add depth to learning. How do teachers Collaboration is often a key element in arts create arts integration units without simply integration. A classroom teacher may team adding more to the curriculum? How do with an arts specialist teacher or other faculty they avoid reducing the arts to entertainment in their school. Credentialed teachers may only? Developing standards-based learning look outside the school to engage a teaching goals in each discipline helps ensure that artist or an arts organization residency. These each subject is taught with equal integrity. partners work together to plan how they will Focusing on a particular topic or theme can meet goals for a lesson or unit that integrates result in meaningful connections between more than one discipline. subject areas. Effective arts integration One reward of collaboration is the unique instruction often begins with a topic that opportunity to work professionally with lends itself to study from several points of others on a mutual goal that benefits view. Teachers guide students as they explore students. A theater artist who is used to the topic and its related themes, helping producing ensemble works may be inspired students to establish relationships among by the experience of collaborating with a different ideas. social studies teacher. A visual artist whose Before developing an arts integration unit, main work takes place in a private studio may teachers consider instructional goals. How develop new insights co-teaching with a math will the instruction integrate with other teacher in a high school. For the partners, content areas and concepts students are the ultimate reward is effective instruction of learning? Which teaching partners will work both disciplines through arts integration. together as a team to meet instructional goals? Will additional costs need to be budgeted to implement the plan?

Best Practices for Arts Integration

The collaborative approach to planning engaging activities are important. Which and the endless opportunities for making warm-up activities for the art discipline connections among disciplines lead to a will best launch the daily lesson? Which variety of instructional choices for arts activities best support teaching in the integration implementation. How do content area? educators determine whether their choices • Collaborate. Work with other subject teachers, will lead to a successful arts integration arts specialists, and teaching as you set goals experience? The following best practices and design lesson plans. Learn from their can be used as a standard for planning expertise and experience, and incorporate and evaluating a successful arts integration your own. program. These best practices guided the creation of programs described in the CPS arts • Take notes. Whether you teach alone or with integration case studies on pages 223–229. a teaching team or arts partner, record your observations and reflections after • Establish clear instructional goals. Since an arts teaching daily lessons and at the end of the discipline and an academic subject are unit. Capturing experiences and insights interwoven during instruction, establishing along the way provides inspiration for new clear learning goals for each subject will and better ways to implement future arts produce the best outcome. A good unit integration units. or lesson plan will incorporate goals for both disciplines and align with state and • Support and enhance sequential learning. Arts national standards and resources, such as integration programs are most valuable the scope and sequence. As you identify when they support and enhance sequential, learning goals for your unit, consider the standards-based learning for both the arts theme students will focus on. Substantive, discipline and the academic subject being

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arts integration in the public schools 219 taught. Sequential arts instruction allows • Be flexible. An arts integration plan may students to learn at an appropriate pace and include a residency by a visiting artist. To to build on previous knowledge. manage a residency, develop a schedule that meets instructional needs and • Assess outcomes for all integrated instructional areas. accommodates the availability of the visiting Plan ahead when and how to measure arts partner. A longer residency that allows students’ progress in both instructional students to build a deeper, more lasting areas. Pre-assessment, formative relationship with the visiting artist is often assessment, and summative assessment all preferable to a short visit. In a yearlong play important roles in helping teachers residency with the artist visiting once per achieve their instructional goals. For week, the artist-student relationship has example, a teacher may plan a unit that the greatest opportunity to develop. More integrates learning objectives for both frequent visits can enhance a shorter theater and the American Revolutionary residency. For example, an artist residency War. Pre-assessment informs the teacher can achieve its goals during a five-week of students’ background knowledge in period with the artist visiting the classroom both disciplines. Formative, or ongoing, two or three times per week. Advance assessment helps the teacher address planning and ongoing dialogue within individual needs and improve students’ the teaching team will lead to a successful learning outcomes. Summative assessment residency that significantly enhances informs the teacher how students have met students’ experience in the arts. instructional goals following a lesson or unit of instruction. This assessment may • Choose an organizing theme or question. Having take the form of a performance designed students explore a particular theme to assess both students’ mastery of vocal or essential question is an effective projection, staging, and blocking, as well and rewarding way to organize an arts as their knowledge of the historical period. integration unit. Identify a topic that Information from the assessment becomes lends itself to study from several points a guide for future instructional planning. of view and choose one or more themes or essential questions. Keep in mind • Communicate plans to students. Students will that the organizing themes and questions benefit most from arts integration when should foster learning in all of the they understand the goals and strategies integrated subject areas. Guide students of the unit. Explicitly tell students both through their exploration of the theme, the what—the instructional objectives of providing them with opportunities to use the unit, and the how—the arts integration their new knowledge and construct new strategies and methods chosen. Explain understandings. Design opportunities in advance when assessment will take for students to express their new place as well as the content and form of understandings through the arts. the assessment. Ensure that your students understand the learning goals for both • Emphasize process over product. In an effective the academic content area and the arts arts integration program, students explore discipline. Provide opportunities for them techniques and materials and learn to to express the theme-based or inquiry- make sense of art. Teaching partners based connections and discoveries they may decide that a culminating product, make during and after the instruction. such as a portfolio of work or a final performance, is a key element of the unit • Engage educators school-wide in arts integration goals. instruction, but the new skills, knowledge, The larger school community can reap and understanding gained in the process rewards from arts integration units if it is of creation are just as important as the aware of the instructional plans and goals. product itself. Choose a project that To achieve these benefits, arts integration requires students to demonstrate their planning should include communicating knowledge and involves them in discovery with the school principal and other learning and creative problem solving. classroom teachers. Since these projects are often based on

220 arts integration in the public schools students’ interests, plan ways for students availability with school staff. Teachers to make their own creative decisions, and the principal may have outlined working independently or in groups. Build fundraising plans, explored expectations in ongoing, or formative, assessment for a culminating event for the arts opportunities to guide students’ progress. integration program, and created a list of Maintain a balance of emphasis so that required school documentation. Someone students understand progress in their own may have researched the number and learning while they create the culminating availability of classrooms needed. Gather product or event. the initial information and use it as a starting point for more focused planning. • Align instruction with standards and benchmarks. Effective arts integration meets learning 2. Articulate the vision. standards for each of the integrated At the launch of the collaborative planning disciplines. To align learning standards for the actual program, articulate the with the planned activities throughout the initial arts integration vision. As the unit, use the scope and sequence as well as planning progresses, take note of decisions state or national standards for each of the that may alter the initial vision and plans, integrated disciplines. Coming together and communicate those changes to all after each partner works individually to stakeholders. identify standards for his or her particular teaching area helps to ensure that standards 3. Schedule meetings for collaborative planning. will be addressed. Partners may have Plan a comprehensive meeting schedule questions as they review these objectives well before the first day the teaching team side by side. Do these goals complement meets with students. Before classes start, one another? What activities might best meetings can address broad goals and incorporate more than one teaching objectives, detailed instructional planning, standard? The music, visual arts, dance, and how supplies and materials will be and theater scopes and sequences in the gathered. While classes take place, meet Guide have learning objectives, along with to assess how well instructional goals are state and national standards for pre-K being met. After the unit of instruction, through high school. Complete state plan a meeting for reflection and standards for the arts are in the Appendix, evaluation. Consider who, in addition to pages 248–255. Benchmarks, courses of the teaching partners for the arts and for study, and curriculum guides are other other subject matter disciplines, should useful resources. As teaching partners draw attend the planning meetings. upon these resources, they ensure that all students have the opportunity to reach the 4. Set a collaborative tone at the initial meeting. same high performance levels. At the first meeting, take the opportunity The Critical Element: Planning and to capture the enthusiasm that brought Collaboration diverse partners to participate in an Arts integration is built on a foundation of arts integration program. The way the collaboration and comprehensive planning. team works together affects the learning While different projects move ahead in a outcomes just as lesson plans, goals, and variety of ways, all successful arts integration other success predictors do. From the programs incorporate these principles start, set aside time for learning about the and strategies. Use them as a guide when backgrounds, teaching philosophies, and developing an arts integration program. experiences of the teachers or teaching artists and continue that conversation 1. Build on preliminary planning. throughout the program. This dialogue Before beginning arts integration offers many rewards for members of a planning, consult with everyone involved teaching team who may not have worked in developing the arts integration unit. together before. When team members An independent teaching artist may have agree about what they want to accomplish discussed his or her background and {continued next page}

arts integration in the public schools 221 and have clear expectations of how to work together, students reap the greatest reward through quality instruction. 5. Develop engaging activities that meet instructional goals. When the teaching team has agreed on the broad issues of goals, themes, and standards, move forward to plan activities that will engage students and deliver high quality instruction. As you craft the details of the activities, think about the roles that each team member will play in the classroom. Will one partner lead the group or will the leaders alternate? Pre-thinking activities, roles, and outcomes together help the lessons to flow smoothly and allow teaching partners to focus on content and supporting students.

6. Use an instructional planning tool for collaborative planning. The unit plan on pages 230-232 of this Guide reflects the best practices for teaching an arts integration lesson, with emphasis on goals, strategies, standards, and activities for the multiple integration areas. If necessary, adapt the sample plan to accommodate the unique needs of your program. After adapting the unit plan, check that the team has maintained the appropriate attention to the core success factors.

222 arts integration in the public schools Arts Integration Case Studies

Clearly, no single definition or The result is the following set of case studies. interpretation of arts integration applies to They bring to life the recommendations for all situations. To more accurately portray the best practices, planning, and collaboration rich and varied landscape of this instructional that begin this section. Three Chicago arts approach in Chicago and Chicago Public organizations share their perspectives on arts Schools (CPS), six practitioners were integration. An individual teaching artist asked: What is your own definition of arts describes her methods and philosophy. CPS integration? How do you describe the administrators show how arts integration methodologies and principles that guide your goes beyond the classroom to involve whole program? What is it like to be in a classroom schools and learning communities. The where a successful arts integration experience work of these practitioners provides only a takes place? glimpse of what teaching with arts integration accomplishes in CPS.

CASE STUDIES

For more information about arts integration programs and practitioners, consult the resources in the Appendix or contact the Office of Arts Education.

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ARTS INTEGRATION CASE STUDY: Chicago Arts Partnerships in Education (CAPE) Chicago Arts Partnerships in Education (CAPE) envisions itself as “a living laboratory” where a community of artists and teachers break new ground in arts education as they work to infuse arts throughout the curriculum. Since 1992, CAPE has supported research and practice on effective teaching and learning through the arts and documented information on methodology and pedagogical approaches. To find more about their work, see www. capeweb.org and Renaissance in the Classroom: Arts Integration and Meaningful Learning. More than 200 participants in the CAPE network contributed to this CAPE publication.

Defining Arts Integration Putting the Program into Action In the CAPE laboratory, arts integration CAPE’s residencies, programs, and units occurs because arts learning is explicitly combine learning in academic subject areas connected to other academic learning. with rigorous training in arts practices. In Teachers and artist partners work together an arts integration unit at Mark Sheridan as co-planners and co-teachers. CAPE’s Academy, fourth grade students met photo Executive Director, Amy Rasmussen, adds, and video production arts objectives as they “Through arts integration, educators learned about history through biographies of create dynamic intellectual challenges while famous inventors. providing opportunities for all students to During the unit, the fine arts teacher represent their learning in multiple media.” instructed fourth graders on camera technology, shots, angles, and artistic Program Structure and Methodology expression through film. Students then CAPE bases its model of instruction on John practiced with digital still cameras and Dewey’s premise that optimal learning takes camcorders. Students also researched place when people have real and substantive specific information about the inventors. problems to solve or questions to answer. This research served as a springboard for In CAPE practice, this becomes an inquiry the student-written biographical stories, approach, one that Ms. Rasmussen sees as which were the content of the student having specific benefits for arts integration. videos. Students helped create a rubric and “Through our arts curriculum development, used it multiple times. They applied it as we identify common themes and ideas across they watched their initial footage and made networks of classrooms and schools.” She decisions about what to change, what to cut, finds that inquiry offers opportunities for and what effects to add. The teachers and collaboration and sharing of successful teaching artists used it to evaluate student practices. “It’s a process that does not put performances, filming technique, content, in place a set of pre-designed activities, but and storyline. They also used it to determine creates a common approach for addressing how well the students were able to self-assess curriculum content and standards, with their work. ample freedom for creativity, and room for developing a wide-range of effective teaching strategies based on the needs of individual learners.”

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ARTS INTEGRATION CASE STUDY: McKinley Park School—Whole School Arts Integration The breadth of the arts integration work at McKinley Park School may be its most remarkable feature. With arts content and programming having a place in every classroom and in all of the curriculum development, McKinley Park practices true whole school arts integration. Frances Garcia, the principal at McKinley Park, seeks classroom teachers who express openness to art and a desire to implement whole school arts integration into their classroom practice. She engages parents, staff, and the community in fundraising and in other volunteer efforts to help the school meet its goals.

Defining Arts Integration Putting the Program into Action For Frances Garcia, arts integration must Social studies, 3-D visual arts, dance, and provide students with authentic experiences cultural awareness all blended in a whole that are ongoing and positive. “We are school arts integration project about the instilling a love of art from Pre-K on Aztec Empire. During this social studies unit, through the grades,” she says. Ms. Garcia is Mr. Ferrer, with the support of Ms. Garcia, enthusiastic about the “dynamite teachers who worked with students, staff, parents, and are teaching the arts with a touch of culture.” other community volunteers to construct Her teaching team includes bilingual support a 20-by-30-foot model of the city of and cultural awareness teacher Alejandro Tenochtitlan. It depicted the city as it existed Ferrer. He believes the arts integration in 1519, when the Spanish explorer Hernán approach has the potential to make a deep Cortés first arrived in Mexico. The group’s impact on students. “We are trying to detailed design included Tenochtitlan’s captivate the science of the intellect and the elaborate system of canals and chinampas, the soul, bringing them together to artificial islands of arable land that supplied make a complete child.” food sold in the city’s central market. The model also showed Moctezuma’s zoo, which Program Structure and Methodology might have been the world’s first. Students Ana Romero, a National Board certified fine used clay, plaster, and wood to build the arts teacher, provides visual art instruction model. At the culmination of the project, to students in all grades during 40-minute this large-scale model was displayed at the sessions occurring two or three times each McKinley Park School gymnasium, the week. Her curriculum develops organically rotunda of the James R. Thompson Center, from other disciplines taught at each grade and the Newberry Library. The school’s level. Other arts programs take place before folkloric dance group performed at the and after school. Ms. Garcia directs a opening ceremony of the library exhibition. folkloric dance program, Mr. Ferrer directs Local newspapers chronicled the tour. the poetry program, and the fifth grade teacher conducts the drama program. Leadership is a key, according to Ms. Garcia. “It starts with someone for whom the arts are a priority.” She emphasizes that if principals can communicate their positive vision of the importance of the arts, teachers will support the arts integration approach and make it a success.

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ARTS INTEGRATION CASE STUDY: Center for Community Arts Partnerships (CCAP) and Project AIM The Center for Community Arts Partnerships (CCAP) has worked since 1998 to develop and implement arts education programming in Chicago. This organization focuses on creating and cultivating partnerships among Columbia College students and faculty, public schools, and community-based organizations. The Arts Integration Mentorship Project (Project AIM) is a CCAP School Partnerships initiative led by Cynthia Weiss. Project AIM provides professional and program development to foster arts integration in nine public schools and more than fifty classrooms. It also trains and works with a talented cadre of visual, musical, performing, literary, and media artists.

Defining Arts Integration • immerse in inquiry and big ideas Project AIM facilitates arts integration as • make, revise, and share work a dynamic teaching and learning process, • perform and exhibit developed through long-term partnerships among teaching artists, arts specialists, and • reflect and assess classroom teachers. In AIMprint: New Relationships • revisit intentions for teaching and learning in the Arts and Learning, co-edited by Cynthia Weiss and Amanda Leigh Lichtenstein, arts Putting the Program into Action integration is defined as: Sabin Shout Outs is an interdisciplinary arts- • an educational field that specializes integrated unit developed at Sabin Magnet essentially in relationships—among people, School by photographer Joel Wanek, poet ideas, curricula, processes, themes, and Jenn Morea, and three classroom teachers. areas of study, with arts learning at the To explore the guiding question, How can center of these relationships a photo documentary project featuring • the process of merging standards-based school staff and faculty help students develop learning in the arts with learning in other a greater understanding and respect for academic subject areas the school community?, students worked in groups to conduct oral histories of Program Structure and Methodology school staff, develop meaningful interview questions, learn poetic structures, translate Project AIM residencies take place during their interviews into ode poems, photograph the school day. The arts integration teaching their subjects in their work settings, and team is made up of classroom teachers and create photographic collages. Then they teaching artist partners from the AIM artist critiqued and shared their work and reflected cadre. The teaching teams examine the on their learning through discussion and parallel processes across reading, writing, writing. In the process, students learned and art making in order to create curriculum framing, composition, and point-of- that moves back and forth across these view—standards-based concepts from both processes. The concept and practice of a photography and language arts curricula. Learning Spiral is an AIM arts integration The teaching team observed that the resulting instructional model. During this organic student work showed evidence of great respect process all participants have the opportunity for the photographic subjects as well as high- to: quality art and writing. The project was also • discover intentions for teaching and exhibited at the “Talkin’ Back” show at the learning Museum of Contemporary Photography at • create a safe community of learners Columbia College Chicago. • learn in the language of the arts

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ARTS INTEGRATION CASE STUDY: eta Creative Arts Foundation Chicago’s eta Creative Arts Foundation is a leading African American performing institution. Founded in April, 1971, eta soon began to provide training and performance opportunities for both adults and children. The foundation’s on-site arts education training program, which provides ongoing learning opportunities for students six to eighteen years old, follows a sequential arts curriculum in dance, music, and drama. In the mid-1980s, the organization began to partner with the Chicago Public Schools and other groups, embracing arts integration as an instructional approach. From the start, eta staff observed that students who were struggling academically thrived during the performance experience. Foundation president Abena Joan P. Brown recalls that performing helped students to suddenly “hit their mark” in multiple new ways.

Defining Arts Integration Putting the Program into Action At eta, arts integration programs must In one partnership, the reading teacher and integrate artistic disciplines with other teaching artist planned to use music and disciplines and include these components: drama to deepen seventh grade students’ • culture—preserving, promulgating, and understanding of certain texts. Rather than perpetuating the African American aesthetic focusing on preparation for a performance, the teaching team aimed at improving student • creativity—developing students’ creative achievement. The class read aloud a culturally thinking abilities while nurturing skills- relevant novel from the curriculum, based arts learning in a variety of disciplines emphasizing fluency skills. When students • curriculum—creating authentic connections noted a challenging part of the text, they used between academic curriculum areas and arts improvisation techniques for the purpose learning skills of analyzing and better understanding the information. Students reflected on the Program Structure and Methodology literature in the form of a song, a scene, or Muntu Dance Theatre, eta, and the a poem. Each week the teacher and teaching Community Film Workshop became a artist monitored students’ comprehension consortium that worked to implement arts of the text and allowed students time to integration programs in five schools. As develop their performance skills in context the group planned customized programs, of the literature. As a result, students members set the goals of meeting the specific quickly addressed their learning challenges needs of each school, keeping in mind the and collaborated with their peers to create school’s community, its environment, and solutions. the SIPAAA, or school improvement plan. The benefits of eta partnerships are Participants agreed that the focus would evident to participants. A school principal be on “developing a process rather than observed that “the artists that have provided, a program.” They also established that “a drama, dance, spoken word, and drum- real partnership” exists when schools and line instruction have made an incredible partnering arts organizations: difference in how the children view • view arts integration as a valuable teaching themselves, reinforced connections to methodology curriculum, and exposed them to art forms • respect and understand the unique that would otherwise not be available.” approaches each has used • are invested in building long-term relationships among teachers, artists, students, and communities

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ARTS INTEGRATION CASE STUDY: Amanda Leigh Lichtenstein, Teaching Artist Teaching artists are the practitioners who join with classroom teachers, students, staff, faculty, or members of the community to create unique and innovative arts integration programs. One Chicago-based teaching artist is Amanda Leigh Lichtenstein who writes nonfiction and poetry. As a veteran teacher, her practice is varied. She uses different arts education approaches, such as arts integration nda aesthetic education, and works with different organizations including Urban Gateways, Chicago Arts Partnerships in Education (CAPE), Chicago Public Schools, and Project AIM, an initiative of the Center for Community Arts Partnerships (CCAP) at Columbia College. She and CCAP’s Cynthia Weiss co-edited AIMprint: New Relationships in Arts and Learning, which tells the story of the CCAP’s arts integration mentorship program and offers a rich array of arts education teaching tools. In 2006, Lichtenstein presented as a teaching artist at UNESCO’s first World Conference on Arts Education.

Defining Arts Integration to grapple with materials to explore our Arts integration is the process of making questions, we change perspectives and we meaning and creating “elegant fits” make new meanings.” among ideas, concepts, and disciplines, Ms. Lichtenstein believes. Like many arts Putting the Program into Action integration educators, Ms. Lichtenstein To put this practice and philosophy into believes that deep learning occurs during action, Ms. Lichtenstein partnered with instruction as two subject areas are being Project AIM/CCAP in a program to explore integrated. She has found this learning where and how rules are defined and made process to be more valuable than having across disciplines. As a teaching artist she students work throughout a unit to create collaborated with math teacher Luke Albrecht a final product or performance. “Arts to apply surrealist principles used by the integration is about making audacious Oulipo group. This group of experimental connections and relationships between and writers used mathematics principles to among disparate concepts, questions, people create poems and other writings. Oulipo and places, thoughts and feelings,” she says, writers created their own rules that changed “and using them to arrive at new descriptions traditional writing forms in order to explore of a shared world and new expressions for new meanings. The teaching team designed complex ideas.” a unit that achieved rich, elegant integration and fostered standards-based learning in the Program Structure and Methodology integrated subject areas. Ms. Lichtenstein When creating a program, Ms. Lichtenstein observed clear benefits to this arts integration draws from many sources of inspiration. “I approach. “Shuttling across disciplines, approach teachers, students, community students in eighth grade began to unravel partners, my artist friends, and, of course, the concept of rule making—by breaking inspiring media, cultural, and political and bending them.” The project led to an sources.” She synthesizes ideas and creates experimental book structure featuring poems engaging hands-on curriculum that “invites based on mathematics. provocation around big ideas and questions about those big ideas.” She plans dynamic processes and expects transformative results. “All projects begin with generative questions that change as we change. As we begin

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ARTS INTEGRATION CASE STUDY: Fine and Performing Arts Magnet Cluster Program (FPAMCP) The Fine and Performing Arts Magnet Cluster Program (FPAMCP) is a network of over fifty arts-focused elementary schools in Chicago Public Schools, established to enhance educational opportunities in neighborhood schools. Lead arts teachers in the program work with other arts teachers and classroom teachers to plan activities and share best practices. Students in FPAMCP schools receive intensive, direct, and integrated instruction in one or more of the following of the fine arts disciplines: dance, visual arts, music, theater, and/or media arts.

Defining Arts Integration neighborhood and/or magnet program The Magnet Cluster Program defines professional learning communities. Regular curriculum integration as the equal and meetings are scheduled so that magnet cluster meaningful connection of essential content lead teachers and classroom teachers can in a magnet focus area with essential plan and reflect collaboratively. Schools in content in one or more subject areas. To the cluster share resources and plan events be successful, the integrated content must together. During annual planning meetings, be meaningful and equally balanced. In FPAMCP schools select a common theme to the FPAMCP arts integration model, fine explore through curriculum and projects at and performing arts are integrated into all the schools throughout the year. all subjects in the school. This program’s administrators, teachers, and arts partners Putting the Program into Action believe that an arts-based curriculum Language arts, social studies, and theater arts encourages students to attain both academic were integrated during the “Inheritance and and artistic excellence, and helps students Community” unit at Higgins Community develop a life-long participation in the arts. Academy. Participants included sixth and seventh grade students, their classroom Program Structure and Methodology teachers, and arts partners from Chicago’s The Magnet Cluster Program has eight Music Theatre Workshop. As they explored dimensions of implementation: leadership the unit theme, students learned literacy commitment, curricular integration, and social studies concepts. Participating in professional development, instructional active discussion and writing exercises, they effectiveness, intra- and inter-school began to discover and better understand the collaboration, parental involvement, concept of inheritance and their place in community partnerships, and opportunities their community. They learned theater arts for accelerated student learning. These also skills by developing their stage techniques form a framework for teachers to implement through various exercises. Their discussions programs. Administrators at FPAMCP and writing evolved into a script based on the schools support lead arts teachers by dynamics of a migration experience from the providing time and increased opportunities west coast to Chicago. With characters that to collaborate with classroom teachers, to co- bring the communal experience to life, the teach lessons, and to coach and mentor their script dramatized how a group maps a strategy colleagues. As these lead teachers integrate for living, working, and playing together. arts into all subjects and provide professional Their script became a one-act, fifteen- development in curriculum integration and minute play that was presented at the school’s instruction, they work directly with both annual Fine Arts Festival. students and other teachers. Documentation from this and other arts integrated units FPAMCP supports opportunities for these can be found online at www.bccla.net/units. professionals to meet as school-based,

arts integration guide: case studies 229 Arts Integration Unit Plan

Teacher Name Artist’s Name Grade 6 Art Form Photography Reading Content Poetry Unit Title “Our School Shouts Out” Documenting the Community through Photography: Interviews with Poetry Start Date September 14 End Date November 20 Objectives Students will work collaboratively to conduct effective interviews, learn and use different poetic forms, and learn processes to create photographic portraits. Multiple Intelligences To assist students in developing visual-spatial intelligence through photography techniques, and interpersonal intelligence through developing portraits of school staff and detecting and responding appropriately to the desires and motivations of others. Standards Addressed IL Fine Arts 25A3e, 26A3e; IL Language Arts 1C3e, 2A3c, 3C3a, 4A3a, 5C3b Materials Needed Digital cameras, ink jet cartridges, digital photo paper, mat board for mounting photos, glue sticks.

Guiding Questions How can a student photo documentary project that features a broad spectrum of school staff help sixth graders to develop a respect for the school community and building? How can students learn to make photo portraits that honor the subjects of their work?

Prepare in Advance Assemble instructional and inspirational resources. Photographic images by Abelardo Morell. Poetry: “Shout Out” by Sekou Sundiata; “Odes to Common Objects” by Pablo Neruda. Key vocabulary words: framing, composition, portrait, close up/wide shot; lighting, interview, anaphora, praise poem, focus, horizontal, vertical. Prepare interview protocol.

Pre-Assessment Strategy Tell students that they will be conducting interviews and that good interview questions are appropriate and respectful. As a group, have them brainstorm what they know about interviews, suggest good interview questions, and tell why the questions are appropriate and respectful.

230 unit plan: arts integration Integrated Unit Goals: Arts and Literacy

Art Form: Photography Academic Content: Reading

Students will Students will • make an effective portrait with a • develop interview questions and digital camera conduct meaningful interviews • establish eye contact with a subject • learn how poetry can create a written and learn how looking into a camera portrait that extends the meaning of changes the relationship that a a photograph viewer has to a portrait • write, using a wide range of • set up different kinds of stages and strategies and processes to action portraits communicate with different • understand the transformative power audiences of photography

Integrated Unit Activities: Arts and Language Arts

Check each strand of the Visual Arts scope and sequence addressed in the unit. n Arts Making n Arts Literacy n Evaluation/Interpretation n Making Connections

Check each strand of the Language Arts scope and sequence addressed in the unit. n Reading n Literature n Writing n Writing n Listening and Speaking n Communicating

Weeks 1–4: Introduce and Engage • Introduce photography and photographic concepts and digital cameras. • Students work with resident photographer to photograph from a shot list. • Introduce School Documentary Portrait Project. • Students look at images of Cuban factory workers and discuss respect for workers. Weeks 5–8: Develop and Create • Students establish photo teams and plan portraits and interviews. • Students photograph subjects, their work environment, and relevant objects; they conduct interviews. • Students work with resident poet to compose odes about their subject, learning poetic structures and forms. Weeks 9–10: Respond and Refine • Students write in response to photographs and interviews. • Students work with resident poet to create “Shout Out” poems modeled on the Sundiata poem. • Students complete their portraits, mounting them, adding poems, and creating borders with images from the work environments.

unit plan: arts integration 231 Assessment Strategy: Culminating Event Student work will be displayed in three ways: at the school; at an exhibit at the Museum of Contemporary Photography at Columbia College; at the school’s arts showcase.

Teacher Reflections What worked: Students had the opportunity to learn about, respect, and value school personnel. I learned a vast amount about the school community as well. This unit helped students gain an understanding that is usually difficult for them—how to see things from others’ points of view and how to begin to empathize. The guest writer was phenomenal in inspiring the kids to write creatively and openly.

Artist Reflections Though I have been in arts residency as a photographer here for four years, I connected to the school in a deeper way by meeting many of the staff and learning about them. Now they are approaching me to ask to see their portraits. This connection enriches the students and me as well.

Student Reflections “There are unlimited ways you can take pictures.” “Sometimes you have to change and add some unusual stuff to make a picture look better.” “The person that was photographed will feel important about the job they do.”

232 unit plan: arts integration Arts Partner in the Schools CPS The Arts Partner in the Schools

Notes for a Successful Artist Residency

Visiting arts instructors play a major role in Chicago Public Schools arts education programs. Certain ideas and principles described below will help you design an effective residency that satisfies both your goals and those of the school you’ll be working in.

Making Connections with In the Classroom Schools Some residencies have the goal of Residencies can take many forms, but integrating the arts into academic whether you’re proposing a single subjects, such as language arts, social project, a lecture-demonstration, studies, math, and science. If this is or a multi-week unit, it’s important the case, consider how your lesson to keep the school’s needs in mind. might relate to other aspects of the Many visiting artists develop longterm curriculum. For example, if elementary relationships with a particular school, students are writing stories, you might returning year after year. In proposing teach them the theater technique of the initial residency, be clear about making storyboards to illustrate events your objectives and how you intend in the story. to accomplish them. Explain, for Students have different ways of learning instance, how you might adapt your and different backgrounds that existing practice into lessons that work influence how they express themselves. in 45-minute blocks of time. Get a Some students may not feel comfortable sense of what prior experience the sharing in a group or asking questions. students—and their teachers—have Learn as much as you can about the had. Look at the school’s other arts students you’ll encounter—their programs and see how your residency backgrounds, individual learning might best fit the curriculum, with an styles, and prior experiences. eye toward continuity. Ask teachers for Work with the classroom teacher to a sample list of projects students have establish clear guidelines about how already completed. If your residency is teaching artists should interact with short, consider pulling together some students so that you, the classroom additional activities a classroom teacher teacher, and the students know what can use for follow-up. If you’re in the to expect. Communicate with the school for a week or more, use the scope school leadership about the rules and and sequence to help you plot out daily procedures for student behavior, and lesson plans that build on each other. establish a clear understanding with the Many state and local agencies fund classroom teacher about the roles both artists’ residencies in Chicago Public the teacher and the teaching artist will Schools. For a list of funders, see the play in classroom management. Department of Cultural Affairs’ Chicago Artists Resource Web site at www. chicagoartistsresource.org.

234 arts partner in the schools Understanding Standards Making, Arts Literacy, Interpretation and Curriculum and Evaluation, and Making Connections. Each strand itemizes The National Standards for Arts learning benchmarks for each grade. Education provide general guidelines For example, the scope and sequence for about what students should study and be sixth grade music lists this benchmark able to achieve in four arts disciplines: in the Music Making strand: “Sight read music, visual art, dance, and theater. simple melodies in the treble and bass The standards explain the appropriate clef.” You can use this as both a starting benchmarks and objectives by broad point for writing a lesson plan and a grade-level groups. The Illinois means of assessing student performance. Learning Standards for Fine Arts are At the end of the lesson, verify that the based on the national standards. students accomplished the learning goal. As a teaching artist, you represent both It’s important not to overlook this final your organization and your discipline. step. Teachers and principals need to You are responsible for providing clear be able to track students’ progress in the and comprehensive instruction. So it’s context of state and national standards, important to prepare a detailed lesson and, just as importantly, you’ll need to plan in advance of your residency. quantify the effects of your residency for A scope and sequence, which is an your funders. Evaluate students’ work outline of learning goals organized on a regular basis, and keep a record by grade level, can be useful both of these assessments throughout your in planning a lesson with a specific residency. outcome in mind and as an assessment On pages 10–13, you will find more tool. The scope and sequence created specific instruction about how to use the for this Guide is organized into four scope and sequence to write lesson and thematically driven “strands”: Arts unit plans.

arts partner in the schools 235 Teaching Special Populations Teaching Students with Disabilities

Students with physical, emotional, cognitive, or learning disabilities often respond powerfully to arts education. For students with communication challenges, arts education can provide meaningful outlets for nonverbal expression. For students with emotional disorders, it can provide a means of learning to productively channel and express profound emotions. For students with physical disabilities, the arts can provide opportunities for outstanding achievement. And for teachers, the arts offer a uniquely rewarding platform for connecting with these students.

Reaching the Goal of Full Inclusion to develop lessons that have the critical Chicago Public Schools (CPS) aims for full supports needed so that these students will inclusion of students with disabilities, a goal meet curricular goals. Keeping in mind their that benefits all students. Every student with visual, auditory, and kinesthetic learners, a disability is assessed annually by a team of teachers plan ahead for authentic assessment education professionals, in cooperation with and take steps to address these multiple the student’s parents, and then provided intelligences for all students. To monitor the with an Individualized Education Program effectiveness of the strategies and lessons, (IEP). This plan identifies learning goals they participate in team meetings and use for the student as well as the special supports other methods of sharing information. and services required to meet those goals. The IEP guides the teacher in adapting Student self-evaluation is often a useful teaching techniques and curriculum to meet strategy. When planning a unit or lesson, individual student needs. This important tool teachers encourage students to provide helps the teacher build on students’ abilities feedback about how successfully they used rather than focus on their disabilities. While particular strategies in the past. With this the IEP is one element of a quality education information, the teacher can modify a lesson for each child with a disability, another is the by incorporating more effective strategies. knowledge and comfort level of the educator Many teachers find it helpful to ask students who teaches students with disabilities. To with physical disabilities which classroom meet its goal of successful inclusion, CPS resources will best address their needs. offers teachers professional development This early groundwork helps teachers to training through the Office of Specialized better understand students’ capabilities and Services. to recognize opportunities to offer them choices, a practice that increases students’ Strategies for Successful Inclusion confidence. Teachers rely on information What are successful strategies for creating gained from student self-evaluations to help inclusive learning environments? Schools them develop realistic goals and assessments. in which the principals, teachers, and other staff strive to learn about the unique needs Students with disabilities will benefit from of all students are more successful in their many strategies that are commonly used inclusion efforts. These educators encourage when teaching students in the general communication among faculty, parents, and population. Teachers offer empathy rather specialists as they identify and implement than judgment as they become increasingly appropriate strategies for their students with familiar with students’ perceptions and use disabilities. Collaboration is an important that information to modify their instruction. part of the process. Teachers work together For students who have difficulty with fluent

238 teaching students with disabilities communication, teachers provide During arts education instruction, adequate “wait” time so that students students demonstrate specific physical, can respond appropriately. Knowing emotional, and learning differences. that some students with disabilities These suggested teaching strategies have difficulty with abstract concepts, emphasize student strengths as they help teachers provide simple, concrete students learn through remediation or directions; break down lessons into accommodation approaches. clear, attainable tasks; and use concrete examples during instruction. They Strategies for Remediation eliminate environmental distractions • A student who has trouble speaking or for students who have difficulty understanding spoken language can concentrating. As teachers strive to be taught using strategies that require improve outcomes in many classroom “showing” rather than “telling.” A settings for all students, they maintain music teacher can demonstrate a new high expectations and keep students’ rhythmic pattern, and use gestures strengths uppermost in their minds. and intonation to help communicate meaning. A Rich Learning Community An inclusive classroom is a rich • A student with impaired motor skills learning community for all its can succeed using adaptive tools. In members. Regular-education students an art class, for example, paintbrushes in inclusion classrooms demonstrate can be modified with larger handles an increased acceptance of individual that are easier to grip and fixed heads differences, higher self-esteem, that are easier to control. and a strong willingness to forge • If a student has difficulty friendships. Underachieving students understanding directionality or benefit from the clarity and feedback problems remembering the order provided by teachers of students with of dance steps, the dance teacher disabilities. These benefits are sustained can break movements down into when teachers nurture effective their simplest component parts. The communication within the classroom teacher can also place numbered and incorporate ongoing progress footprints on the floor or use other monitoring for every student. visual aids to help the student direct Students with disabilities often are his or her movements. grouped together, yet each student is • Students who are uncomfortable unique. Teachers observe how students touching unfamiliar materials, such demonstrate different strengths as as wet papier-mâché, can use gloves they face a variety of challenges in the or other supports that allow them to inclusion classroom. How do teachers complete an art project or participate choose from the wide range of teaching in other tactile experiences. strategies at their disposal to successfully address those differences? Teachers Strategies for Accommodation first assess whether student learning • A student with a hypersensitive sensory will be achieved through remediation integration dysfunction can participate or accommodation. Strategies for in lessons by learning less content remediation focus on adapting how during a lesson. For example, while a lesson is taught. Remediation teaching a movement phrase in a dance techniques include adding visual aids lesson, the teacher can reduce sensory and using task analysis, signals, or sign stimuli by removing the music and language. Strategies for accommodation keeping the classroom quiet. focus on changes to the lesson content itself.

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teaching students with disabilities 239 • A student with a hyposensitive response to sensory stimulus can be placed in a sensory- rich environment and given extra time to warm up physically (bouncing a ball, jumping rope, dancing, etc.). • A student with autism who avoids physical contact can be included in a theater lesson on “mirroring” by adapting the lesson so that students mimic each other’s movements but do not touch. • Cooperative learning and peer tutoring can be very effective ways of helping students with disabilities. The general education students who act as tutors benefit by learning patience, sensitivity, and other valuable life skills. Students with disabilities may find it difficult to appropriately express themselves when a learning environment is not supporting their success. Teachers can look for underlying causes when a struggling student avoids the lesson or refuses to participate. Is the student distracted? Is the physical or verbal “acting out” a signal that the student is frustrated with a requirement of the lesson? Teachers who respond to signs of discomfort and frustration with patient, clear, individualized attention maximize students’ potential for achievement. Arts education has proven advantages for students with disabilities. Educators report evidence that music improves cognitive functions, visual art is a conduit that visually impaired or blind students use to articulate a hidden inner landscape, theater helps students with autism learn to express emotion, and dance allows students who struggle with verbal communication to express themselves physically. By focusing on students’ abilities rather than their limitations, teachers of the arts can play a critically important role in helping these students learn, grow, and succeed.

240 teaching students with disabilities Arts Education: Theater and Autism

CASE STUDY The Cumulus Kids: Students with Autism Agassiz Elementary School Arts education in the Chicago Public Schools extends to students with special needs. For more than a decade, Agassiz Elementary School has applied theater education methods for students with autism spectrum disorder (ASD) in their Cumulus Kids: Students with Autism program. At the beginning of this long-term residency, students struggled to act out a simple children’s book read by the teacher. Now, students audition, memorize lines, and perform an entire play without adults on stage while making accurate connections between expressions and emotions. Agassiz, a public school committed to the fine and performing arts, has been partnering with Chicago Arts Partnerships in Education (CAPE) since 1993 to create this and other arts education programs.

Program Structure and Design In the program, students with autism who Cumulus Kids: Students with Autism is an were seven through fifteen years old met in arts integration project led by David Rench, forty-minute classes once a week for twenty- a special education teacher, and Jacqui five weeks. The teaching team was comprised Russell, the artistic director and founder of Rench, Russell, and two other Agassiz of the Chicago Children’s Theatre. While teachers. collaborating to design the program, Rench and Russell focused on improving students’ Program Methodology and Focus literacy and emotional awareness through Teaching artist Jacqui Russell suggested that drama. They recognized that students with the teaching team use an emotions alphabet autism encounter more obstacles when as a tool to help students recognize, describe, they are asked to give and receive common and label emotions. To reflect the integrated facial cues, discern emotional expressions arts curriculum goals, Rench and Russell in others, or identify feelings in themselves. planned a culminating project. Students Rench and Russell chose an inquiry approach would showcase these emotions in an original and then developed the following questions theater performance or movie. to address the integrated instructional During the first half of the program, the strands. teaching team introduced six emotions Special Education Strand Inquiry (angry, confused, goofy, happy, sad, Question How does an arts integration project worried). During class, the teaching team influence students’ processing of information and how can modeled the emotions using masks and body teachers assess that learning? language. To establish baseline data, teachers photographed students as they attempted Teacher’s Questions Can children with autism to demonstrate the emotions. Teachers interpret the emotions of others in the classroom and also read aloud books and interpreted the on stage? Can they learn to use facial expression, body characters’ emotions based on description language, and voice to match their dialogue? and illustrations. Later in the program, a second set of six emotions were introduced Artist’s Question Can drama games teach students and taught. with autism how to recognize and show simple and complex emotions by using and studying facial expression and body Preparation for the culminating performance language? began with Rench and another teacher writing the script for a play incorporating

arts education: theater and autism 241 the twelve emotions. Students auditioned for Later, the teachers turned to a rich array of roles, with every student taking a role. The literature with illustrations of characters. practices and performances allowed students Students found the characters’ exaggerated to demonstrate standards-based learning facial expressions and body language easier goals of the integrated arts strands: special and more engaging to imitate. education (emotional knowledge), literacy (interpret works of literature), and theater Successes (staging, props). An element of successful instruction for A variety of assessments were used to monitor teaching recognition of emotions was the progress. Information from pre-assessment, variety of activities planned. While one half which occurred during initial class sessions, of the students learned the facial expressions was used to modify the design of the and body gestures from the drama games program to better meet students’ needs. and drama exercises, the other half had During instruction, teachers photographed success due to the song “If You’re Happy students to assess their progress in showing and You Know It.” Allowing students to use emotions, and students used mirrors to self- photography was a successful approach. One monitor their facial expressions compared student took photos of his regular education to how others looked. Students also had peers and was able to advise them on how to the opportunity to make suggestions, such change their expressions to show the desired as which emotions to focus on. These were emotion. This student demonstrated that he sometimes used in the instructional content. could apply the skills he learned in class to teach his peers. Challenges As the unit progressed the teaching team The format and pace of the drama sessions noticed that their students incorporated were unfamiliar to students. Due to autism, the skills they learned into their everyday even students who were used to the format lives. They observed students on a field trip often had a difficult time picking up the who said, “We’re going to the zoo. I am so language cues normally used to begin and end excited,” or “He’s over there. I think he’s a a lesson. In response, the teaching team spent little bashful.” Students could also reflect on more time directly helping students learn their own learning. To describe what they how to react during the activities, and they worked on with Ms. Russell, students replied consistently started and ended sessions with using the language of emotions, such as “We “the drama song” to alert students to change were working on our feelings. Oh, like happy, their behaviors. sad, angry, and silly—like goofy.” Practicing their parts for the play presented Parents noticed positive results in their challenges for some students. About half of children as a result of instruction. Typical the students were significantly below their comments were “He is much more aware grade level in reading ability, and on-level of people’s emotions than in the past. If students were often not fluent readers. Two he’s watching TV, he might say, ‘Wow! She’s teachers made audio recordings of the play upset!’ or ‘Is he being silly?’” or “He is more and arranged for students to listen to the aware of an emotion by looking at a person’s tapes during lunch periods. Students with face.” leading roles took a tape home to listen and practice as part of their homework. At the performances, most students had memorized their lines and many could recite the whole play from memory. Initially, the teaching team used human models to teach emotions. This approach proved challenging for students with autism, who found it difficult to recognize the subtle cues that helped them identify feelings.

242 arts education: theater and autism Appendix Sample Rubrics: Music

A Sample Music Rubric: Elementary A music instructor or judge might use a rubric like the one below to assess a choral/ensemble performance.

5 (I) Superior 4 (II) Excellent 3 (III) Good 2 (IV) Fair 1 (V) Poor Balance/ Group achieves Group achieves Group has good Group is not Group is Blend balance excellent blend blend with balanced most consistently out throughout. most of the lapses often. of the time. of balance. time. Intonation The group Group is mostly Group Group has Complete performs in tuned well. intonation is frequent lapses lack of tonal tune with rare inconsistent. of pitch. centering. lapses. Expression, Always Usually Sometimes Very little Stylistically Style, and stylistically stylistically stylistically interpretation incorrect; no Phrasing accurate. accurate. accurate. throughout. phrasing. Rhythm/ Tempi are Tempi are Inaccurate Rhythms are No rhythmic Tempo accurate. usually tempi used rarely aligned. accuracy accurate. frequently. throughout; no pulse. Technical Ensemble Good technical Limited Very little Facility is non- Facility performs with facility with facility in both facility exhibited existent. great agility. some problems. selections. throughout. Stage Group is Group is mostly Some students Many Few students Presence uniform in uniform in are not focusing distractions. are focused on appearance. appearance. on conductor. director.

A Sample Music Rubric: High School A music instructor or judge might use a rubric like the one below to assess a band or orchestra performance.

5 (I) Superior 4 (II) Excellent 3 (III) Good 2 (IV) Fair 1 (V) Poor Intonation In tune Some sections Problems occur Sections are Problems exist throughout. are not in within the not in tune in at least 80 tune in each same sections throughout to 85% of selection. throughout. all selections performance. performed. Rhythm Rhythmic Good rhythmic Problems Incorrect Rhythmic pulse patterns pulse. become more patterns. Pulse is non-existent. are correct prevalent. is inconsistent throughout. throughout. Technique Quality is Infrequent Some sections Few attempts Most of the consistent lapses of are played at correct music is throughout. musicality. poorly. performance. incorrectly performed. Balance/ Ensemble and Isolated Some sections Overplaying in Each segment Blend sections meld problems in overplay most sections. does not listen together. each selection. throughout. to the others. Interpretation Proper phrasing Correct notes; Little regard to Very seldom uses No phrasing at all times; attempts to phrasing. correct phrasing or style. Many continuous use get the idea of as set down in wrong notes. of nuance. music. music. Articulation/ Clear, concise, Isolated Some Attempts at No attempt Bowing consistent inconsistencies; breakdowns in proper bowing/ to play bowing. some clarity each selection. articulation. Many consistently. problems. breakdowns.

244 appendix SampleSample Rubrics Rubrics: CONTINUED Visual Arts

A Sample Visual Arts Rubric: Elementary

4 ACCOMPLISHED 3 DEVELOPING 2 BEGINNING 1 LACKING Fully and consistently All concepts not fully Concepts attempted; Concepts absent with no developed concepts; developed; some little attention to detail attention to detail clear and purposeful attention to detail attention to detail attempted

SCORE DESCRIPTION OF CONCEPTS TEACHER COMMENTS ___ /4 ARTS LITERACY: Appropriate use of key vocabulary/terms ___ /4 ARTS MAKING: Appropriate, neat, and creative use of mediums INTERPRETATION and EVALUATION: Discussion, analysis, ___ /4 and evaluation of works of art from an aesthetic perspective MAKING CONNECTIONS: Exploration of connections between ___ /4 self and the world of art throughout history SOCIAL/EMOTIONAL LEARNING: Safe and responsible use of ___ /4 materials; respect for classmates, teachers, and self ___ /20 TOTAL POINTS GRADING SCALE A = 19-20, B = 17-18, C = 15-16, D = 13-14, F = 12/below

A Sample Visual Arts Rubric: High School

Skills: Creativity: Composition: Craftsmanship: Appreciation: Demonstrated Expressed an Exhibited evidence Created a finished Identified effective use of individual style of ideas/methods work that adheres strengths and materials, tools, using personal discussed in class. to guidelines and weaknesses in and processes. experiences and completed work to their work and expression. the best of their clearly explained. ability. Exemplary control Personal expression Exemplary use Craftsmanship Self-assessment of the use of is unique and of problem exceeds is accurate, 5 materials, tools, well thought out. solving skills to expectations of completed work and processes. Work is visually meet and exceed assignment. expresses new appealing. requirements. knowledge/skills. Proficient control Personal Adequate thought Craftsmanship Self-assessment of materials, expression is process, problem completes all is proficient, 4 tools, and original and work solving is clear guidelines and completed work processes. is appealing to and evident. consideration of shows thought of viewer. choices is evident. new skills. Limited control Work is unique, Problem solving is Craftsmanship is Self-assessment of the use of personal not supported or underdeveloped is complete, materials, tools, expression is seen in artwork, and work looks work shows little 3 and processes. minimal. thought process is unfinished, does influence of new lacking. not meet all skills. guidelines. Novice control Development Evidence of Craftsmanship Self-assessment of the use of of idea/unique thought process is doesn’t support is incomplete, 2 materials, tools, qualities is vague. completed work, work does not and processes. lacking, personal few guidelines are show new skills. expression is weak. met. Minimal or no No personal Little or no Guidelines are No self- control of the use expression, thought process not met, effort is assessment, work 1 of materials, tools, thought process evident, lacking lacking. does not translate and processes. not evident. developed ideas. new skills. 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5

*half points can also be given* Total Points: ______Grade: ______

sample rubrics 245 SampleSample Rubrics Rubrics: CONTINUED Dance

A Sample Dance Rubric: Elementary A dance teacher might use a rubric like the one below to assess a beginning-level student’s understanding and performance of a learned piece of choreography.

Criteria (Apply to each category.) 4 Demonstrated clearly, convincingly, and appropriately 3 Demonstrated somewhat clearly, convincingly, and appropriately 2 Demonstrated with limited knowledge or understanding 1 Demonstrated unclearly, unconvincingly, and inappropriately 0 Task not attempted

Categories 4 3 2 1 0 Knowledge of Movement/Choreography: Student has command of movement and sequence.

Musicality: Student has understanding of the timing, counts, tempo, and rhythm.

Energy/Enthusiasm: Student displays a positive attitude.

Individual Responsibility: Student has taken time to prepare on their own; not reliant on others.

A Sample Dance Rubric: High School A dance teacher might use a rubric like the one below to assess a high school student’s understanding and performance of a learned piece of choreography.

Criteria Poor/ 1 pt Fair/ 2 pts Good/ 3 pts Excellent/ 4 pts Knowledge of Remembers only a Demonstrates Demonstrates Demonstrates Choreography few of the steps/ some knowledge good knowledge of excellent movements. of choreography, choreography. Few knowledge of the but unsure of errors. choreography. movements. Executes with few or no mistakes.

Technique Demonstrates Demonstrates Demonstrates Demonstrates little to none of only some attention to great attention to the technical understanding of most details of technique; shows elements within the technical elements; technique, but proficiency within choreography or as hasn’t attained full the dance style. explained in class. proficiency yet.

Performance The student is The student is The student is The student is fully Skills not very focused, generally focused, confident, and committed and concentrated, but the energy communicates is able to engage or committed to is low and/or with other the audience performance. inconsistent. dancers and the completely through audience through their performance. eye contact and facial and body expression.

Musicality Usually unaware Occasionally Demonstrates Demonstrates of music and dances off beat; clear awareness complete phrasing. has some difficulty of music and awareness. with awareness. phrasing with few mistakes.

TOTAL SCORE: ______

246 appendix SampleSample Rubrics Rubrics: CONTINUED Theater

A Sample Theater Rubric: Elementary A theater teacher might use a rubric like the one below to assess students’ understanding and performance of a simple pantomimed action.

Criteria (Apply to each category.) 4 Portrayed creatively, convincingly, and appropriately 3 Portrayed somewhat creatively, convincingly, and appropriately 2 Portrayed with limited creativity and appropriateness 1 Portrayed with no creativity—unconvincing, inappropriate 0 Task not attempted

Categories 4 3 2 1 0 Movement: Actions are coordinated, appropriate, convincing, and easily identified.

Sensory Elements: Actions employ multiple senses and communicate size, shape, weight, temperature, etc.

Characterization: Specific actions are imaginative and clearly demonstrate strong character choices.

A Sample Theater Rubric: High School A teacher might use a rubric like the one below to assess students’ scene work.

Skill Exceeds Expectations Meets Expectations Does Not Meet Expectations

Demonstrates Maintains focus and Demonstrates focus Often breaks focus and concentration and concentration throughout and concentration concentration. believability. scene. during most of the scene. Authentically Creatively enacts the Enacts the text in a The actions are dramatizes text scene demonstrating text clear fashion. disconnected from the text. of scene. and subtext. Presents fully Actors consistently During moments actors Character development is developed integrate body, voice and use body, voice and inconsistent. characters. emotions to dramatize emotion to portray unique characters. characters. Scene reflects Actors interact naturally Performance reflects Actors seem competitive the work of an and with integrity. some collaboration. rather than cooperative. ensemble.

sample rubrics 247 Illinois Music Standards

Illinois State Goals for 27.A.1b Identify how the arts 27. Understand the role of the Early Elementary contribute to communication, arts in civilizations, past and 25. Know the language of the celebrations, occupations, and present. arts. recreation. 27.A. Analyze how the arts 25.A. Understand the sensory 27.B. Understand how the arts function in history, society, and elements, organizational shape and reflect history, society, everyday life. principles, and expressive and everyday life. 27.A.2a Identify and describe qualities of the arts. 27.B.1 Know how images, the relationship between the arts 25.A.1c Identify differences in sounds, and movement convey and various environments (home, elements and expressive qualities stories about people, places, and school, workplace, theater, (between fast and slow tempo; times. gallery, etc.). loud and soft dynamics; high Illinois State Goals for Late 27.A.2b Describe how the and low pitch/direction; long Elementary arts function in commercial and short duration; same and 25. Know the language of the applications (mass media, different form, tone color, or arts. product design, etc.). timbre, and beat). 25.A. Understand the sensory 27.B. Understand how the arts 25.B. Understand the similarities, elements, organizational shape and reflect history, society, distinctions, and connections in principles, and expressive and everyday life. and among the arts. qualities of the arts. 27.B.2 Identify and describe 25.B.1 Identify similarities in 25.A.2c Identify elements and how the arts communicate the and among the arts (pattern, expressive qualities such as tone similarities and differences sequence, mood, etc.). color, harmony, melody, form among various people, places, 26. Through creating and (rondo, theme, and variation), and times. performing, understand how rhythm/meter, and dynamics in a Illinois State Goals for works of art are produced. variety of musical styles. Middle/Junior High School 26.A. Understand the processes, 25.B. Understand the similarities, 25. Know the language of the traditional tools, and modern distinctions, and connections in arts. technologies used in the arts. and among the arts. 25.A. Understand the sensory 26.A.1c Identify a variety of 25.B.1 Identify similarities in elements, organizational sounds and sound sources and among the arts (pattern, principles, and expressive (instruments, voices, sequence, mood, etc.). qualities of the arts. environmental sounds, etc.). 26. Through creating and 25.A.3c Identify and describe 26.A.1d Relate symbol systems performing, understand how changes in elements and (icons, syllables, numbers, works of art are produced. expressive qualities (crescendo, letters, etc.) to musical sounds. 26.A. Understand the processes, ritardando, fermata, meter, 26.B. Apply the skills and traditional tools, and modern sforzando, etc.). knowledge necessary to create technologies used in the arts. 25.B. Understand the similarities, and perform in one or more of 26.A.2c Classify musical distinctions, and connections in the arts. sound sources into groups and among the arts. 26.B.1c Sing or play on (instrumental families, vocal 25.B.1 Identify similarities in classroom instruments a variety ranges, solo/ensembles, etc.). and among the arts (pattern, of music representing diverse 26.A.2d Read and interpret the sequence, mood, etc.). cultures and styles. traditional music notation of note 26. Through creating and 27. Understand the role of the values and letter names. performing, understand how arts in civilizations, past and 26.B. Apply the skills and works of art are produced. present. knowledge necessary to create 26.A. Understand the processes, 27.A. Analyze how the arts and perform in one or more of traditional tools, and modern function in history, society, and the arts. technologies used in the arts. everyday life. 26.B.2c Sing or play acoustic 26.A.3c Describe the processes 27.A.1a Identify the distinctive or electronic instruments involved in composing, roles of artists and audiences. demonstrating technical skill. conducting and performing. 26.A.3d Read and interpret traditional music notation in a varied repertoire.

248 appendix Illinois Music Standards CONTINUED

26.B. Apply the skills and 26. Through creating and 25.A.5 Analyze and evaluate knowledge necessary to create performing, understand how student and professional works and perform in one or more of works of art are produced. for how aesthetic qualities are the arts. 26.A. Understand the processes, used to convey intent, expressive 26.B.3c Sing or play with traditional tools, and modern ideas, and/or meaning. expression and accuracy a variety technologies used in the arts. 25.B. Understand the similarities, of music representing diverse 26.A.4c Analyze ways in which distinctions, and connections in cultures and styles. musical sounds are produced and among the arts. 27. Understand the role of the and how they are used in 25.B.5 Understand how different arts in civilizations, past and composing, conducting, and art forms combine to create an present. performing. interdisciplinary work (musical 27.A. Analyze how the arts 26.A.4d Demonstrate the ability theater, opera, cinematography, function in history, society, and to read written notation for a etc.). everyday life. vocal or instrumental part. 26. Through creating and 27.A.3a Identify and describe 26.B. Apply the skills and performing, understand how careers and jobs in and among knowledge necessary to create works of art are produced. the arts and how they contribute and perform in one or more of 26.A. Understand the processes, to the world of work. the arts. traditional tools, and modern 27.A.3b Compare and 26.B.4c Create and perform technologies used in the arts. contrast how the arts function music of challenging complexity 26.A.5 Analyze and evaluate in ceremony, technology, and length with expression. how the choice of media, tools, politics, communication, and 27. Understand the role of the technologies, and processes entertainment. arts in civilizations, past and support and influence the 27.B. Understand how the arts present. communication of ideas. shape and reflect history, society, 27.A. Analyze how the arts 26.B. Apply the skills and and everyday life. function in history, society, and knowledge necessary to create 27.B.3 Know and describe everyday life. and perform in one or more of the arts. how artists and their works 27.A.4a Evaluate how consumer shape culture and increase trends in the arts affect the types 26.B.5 Create and perform understanding of societies, past and styles of art products. a complex work of art using and present. a variety of techniques, 27.A.4b Analyze how the Illinois State Goals for technologies, and resources and arts are used to inform and independent decision-making. Early High School persuade through traditional and 25. Know the language of the contemporary art forms. 27. Understand the role of the arts. arts in civilizations, past and 27.B. Understand how the arts present. 25.A. Understand the sensory shape and reflect history, society, elements, organizational and everyday life. 27.A. Analyze how the arts principles, and expressive function in history, society, and 27.B.4a Analyze and classify the everyday life. qualities of the arts. distinguishing characteristics 25.A.4 Analyze and evaluate of historical and contemporary 27.A.5 Analyze how careers in the effective use of elements, art works by style, period, and the arts are expanding based on principles, and expressive culture. new technologies and societal changes. qualities in a performance in 27.B.4b Understand how the arts music. change in response to changes in 27.B. Understand how the arts 25.B. Understand the similarities, society. shape and reflect history, society, distinctions, and connections in and everyday life. Illinois State Goals for Late and among the arts. 27.B.5 Analyze how the arts High School 25.B.4 Analyze and evaluate shape and reflect ideas, issues, 25. Know the language of the or themes in a particular culture similar and distinctive arts. characteristics of works in two or or historical period. more of the arts that share the 25.A. Understand the sensory same historical period or societal elements, organizational context. principles, and expressive qualities of the arts.

illinois standards 249 Illinois Visual Arts Standards

Illinois State Goals for 27.B.1 Know how images, sounds, 27.A.2a Identify and describe Early Elementary and movement convey stories the relationship between the arts 25. Know the language of the about people, places, and times. and various environments (home, arts. Illinois State Goals for school, workplace, theater, gallery, etc.). 25.A. Understand the sensory Late Elementary elements, organizational 25. Know the language of the arts. 27.A.2b Describe how the arts function in commercial principles, and expressive qualities 25.A. Understand the sensory of the arts. applications (mass media, elements, organizational product design, etc.). 25.A.1d Identify the elements principles, and expressive of line, shape, space, color, and qualities of the arts. 27.B. Understand how the arts texture; the principles of repetition shape and reflect history, society, 25.A.2d Identify and describe the and everyday life. and pattern; and the expressive elements of 2- and 3-dimensional qualities of mood, emotion, and space, figure ground, value, 27.B.2 Identify and describe pictorial representation. and form; the principles of how the arts communicate the 25.B. Understand the similarities, rhythm, size, proportion, and similarities and differences distinctions, and connections in composition; and the expressive among various people, places, and among the arts. qualities of symbol and story. and times. 25.B.1 Identify similarities in and 25.B. Understand the similarities, Illinois State Goals for among the arts (pattern, sequence, distinctions, and connections in Middle/Junior High School mood, etc.). and among the arts. 25. Know the language of the 26. Through creating and 25.B.2 Understand how elements arts. performing, understand how and principles combine within an 25.A. Understand the sensory works of art are produced. art form to express ideas. elements, organizational 26.A. Understand the processes, 26. Through creating and principles, and expressive traditional tools, and modern performing, understand how qualities of the arts. technologies used in the arts. works of art are produced. 25.A.3d Identify and describe the 26.A.1e Identify media and tools 26.A. Understand the processes, elements of value, perspective, and how to use them in a safe and traditional tools, and modern and color schemes; the principles responsible manner when painting, technologies used in the arts. of contrast, emphasis, and unity; drawing, and constructing. and the expressive qualities 26.A.2e Describe the of thematic development and 26.B. Apply the skills and relationships among media, sequence. knowledge necessary to create and tools/technology, and processes. perform in one or more of the arts. 25.A.3e Analyze how the 26.A.2f Understand the artistic elements and principles can be 26.B.1d Demonstrate knowledge processes of printmaking, organized to convey meaning and skills to create visual works weaving, photography, and through a variety of media and of art using manipulation, eye- sculpture. technology. hand coordina¬tion, building, and 26.B. Apply the skills and imagination. 25.B. Understand the similarities, knowledge necessary to create distinctions, and connections in 27. Understand the role of the and perform in one or more of and among the arts. arts in civilizations, past and the arts. present. 25.B.3 Compare and contrast the 26.B.2d Demonstrate knowledge elements and principles in two or 27.A. Analyze how the arts function and skills to create works of more art works that share similar in history, society, and everyday visual art using problem solving, themes. life. observing, designing, sketching, and constructing. 26. Through creating and 27.A.1a Identify the distinctive performing, understand how roles of artists and audiences. 27. Understand the role of the works of art are produced. 27.A.1b Identify how the arts arts in civilizations, past and present. 26.A. Understand the processes, contribute to communication, traditional tools, and modern celebrations, occupations, and 27.A. Analyze how the arts technologies used in the arts. recreation. function in history, society, and everyday life. 26.A.3e Describe how the 27.B. Understand how the arts choices of tools/technologies shape and reflect history, society, and processes are used to create and everyday life. specific effects in the arts.

250 appendix Illinois Visual Arts Standards CONTINUED

26.B. Apply the skills and 26. Through creating and 25.B. Understand the similarities, knowledge necessary to create performing, understand how distinctions, and connections in and perform in one or more of works of art are produced. and among the arts. the arts. 26.A. Understand the processes, 25.B.5 Understand how different 26.B.3d Demonstrate knowledge traditional tools, and modern art forms combine to create an and skills to create 2- and technologies used in the arts. interdisciplinary work (musical 3-dimensional works and time 26.A.4e Analyze and evaluate theater, opera, cinematography, arts (film, animation, video, how tools/technologies and etc.). etc.) that are realistic, abstract, processes combine to convey 26. Through creating and functional, and decorative. meaning. performing, understand how 27. Understand the role of the 26.B. Apply the skills and works of art are produced. arts in civilizations, past and knowledge necessary to create 26.A. Understand the processes, present. and perform in one or more of traditional tools, and modern 27.A. Analyze how the arts the arts. technologies used in the arts. function in history, society, and 26.B.4d Demonstrate knowledge 26.A.5 Analyze and evaluate everyday life. and skills that communicate how the choice of media, tools, 27.A.3a Identify and describe clear and focused ideas based on technologies, and processes careers and jobs in and among planning, research, and problem support and influence the the arts and how they contribute solving. communication of ideas. to the world of work. 27. Understand the role of the 26.B. Apply the skills and 27.A.3b Compare and arts in civilizations, past and knowledge necessary to create contrast how the arts function present. and perform in one or more of in ceremony, technology, 27.A. Analyze how the arts the arts. politics, communication, and function in history, society, and 26.B.5 Create and perform entertainment. everyday life. a complex work of art using 27.B. Understand how the arts 27.A.4a Evaluate how consumer a variety of techniques, shape and reflect history, society, trends in the arts affect the types technologies, and resources and and everyday life. and styles of art products. independent decision-making. 27.B.3 Know and describe 27.A.4b Analyze how the 27. Understand the role of the how artists and their works arts are used to inform and arts in civilizations, past and shape culture and increase persuade through traditional and present. understanding of societies, past contemporary art forms. 27.A. Analyze how the arts and present. 27.B. Understand how the arts function in history, society, and Illinois State Goals for shape and reflect history, society, everyday life. Early High School and everyday life. 27.A.5 Analyze how careers in the 25. Know the language of the arts. 27.B.4a Analyze and classify the arts are expanding based on new 25.A. Understand the sensory distinguishing characteristics technologies and societal changes. elements, organizational of historical and contemporary 27.B. Understand how the arts principles, and expressive art works by style, period, and shape and reflect history, society, qualities of the arts. culture. and everyday life. 25.A.4 Analyze and evaluate 27.B.4b Understand how the arts 27.B.5 Analyze how the arts the effective use of elements, change in response to changes in shape and reflect ideas, issues, principles, and expressive society. or themes in a particular culture qualities in a visual piece. or historical period. Illinois State Goals for 25.B. Understand the similarities, Late High School distinctions, and connections in 25. Know the language of the arts. and among the arts. 25.A. Understand the sensory 25.B.4 Analyze and evaluate elements, organizational similar and distinctive principles, and expressive characteristics of works in two or qualities of the arts. more of the arts that share the same historical period or societal 25.A.5 Analyze and evaluate context. student and professional works for how aesthetic qualities are used to convey intent, expressive ideas, and/or meaning.

illinois standards 251 GIllinoiseneral Dance Glossary Standards

Illinois State Goals for 27.A.1b Identify how the arts 27. Understand the role of the Early Elementary contribute to communication, arts in civilizations, past and 25. Know the language of the arts. celebrations, occupations, and present. recreation. 25.A. Understand the sensory 27.A. Analyze how the arts elements, organizational 27.B. Understand how the arts function in history, society, and principles, and expressive shape and reflect history, society, everyday life. qualities of the arts. and everyday life. 27.A.2a Identify and describe 25.A.1a Identify the elements 27.B.1 Know how images, the relationship between the arts of personal and shared space, sounds, and movement convey and various environments (home, direction in space, quick and slow stories about people, places, and school, workplace, theater, speed, firm and fine force; the times. gallery, etc.). principles of AB choreographic Illinois State Goals for 27.A.2b Describe how the form and sequence; and the Late Elementary arts function in commercial expressive qualities of mood and 25. Know the language of the arts. applications (mass media, emotion. product design, etc.). 25.A. Understand the sensory 25.B. Understand the similarities, elements, organizational 27.B. Understand how the arts distinctions, and connections in principles, and expressive shape and reflect history, society, and among the arts. qualities of the arts. and everyday life. 25.B.1 Identify similarities in 25.A.2a Identify and describe 27.B.2 Identify and describe and among the arts (pattern, the elements of pathways, level, how the arts communicate the sequence, mood, etc.). focus, range in space, sustained similarities and differences 26. Through creating and and percussive qualities of among various people, places, performing, understand how speed; the principles of ABA and times. works of art are produced. and round choreographic form, Illinois State Goals for 26.A. Understand the processes, contrast, and repetition; and the Middle/Junior High School traditional tools, and modern expressive qualities of mood and 25. Know the language of the technologies used in the arts. emotion. arts.. 26.A.1a Understand that the 25.B. Understand the similarities, 25.A. Understand the sensory body is the primary tool of dance distinctions, and connections in elements, organizational and identify secondary tools and among the arts. principles, and expressive (pictures, visual aids, words, 25.B.2 Understand how elements qualities of the arts. props, recordings, etc.). and principles combine within an 25.A.3a Describe how elements 26.B. Apply the skills and art form to express ideas. are combined and contrasted; knowledge necessary to create 26. Through creating and identify the principles of and perform in one or more of performing, understand how transition, variety, and balance; the arts. works of art are produced. and identify the expressive 26.B.1a Perform basic locomotor 26.A. Understand the processes, qualities of movement. movements, non-locomotor traditional tools, and modern 25.B. Understand the similarities, movements, and traditional technologies used in the arts. distinctions, and connections in dance forms and create simple 26.A.2a Describe processes and among the arts. dance sequences. (conditioning, practicing, etc.) 25.B.3 Compare and contrast the 27. Understand the role of the used to prepare the body as a elements and principles in two or arts in civilizations, past and tool of dance and how visual more art works that share similar present. aids, stories, poetry, props, themes. 27.A. Analyze how the arts music, and technology are used 26. Through creating and function in history, society, and for performance of dance. performing, understand how everyday life. 26.B. Apply the skills and works of art are produced. 27.A.1a Identify the distinctive knowledge necessary to create 26.A. Understand the processes, roles of artists and audiences. and perform in one or more of traditional tools, and modern the arts. technologies used in the arts. 26.B.2a Demonstrate control, coordination, balance, elevation, and accuracy in rhythmic response and awareness of choreographic form.

252 appendix Illinois Dance Standards CONTINUED 26.A.3a Describe how 25.B.4 Analyze and evaluate Illinois State Goals for body actions, types of similar and distinctive Late High School accompaniment, lighting, characteristics of works in two or 25. Know the language of the arts. costuming, and processes more of the arts that share the (reordering, refining, etc.) same historical period or societal 25.A. Understand the sensory influence the expressive qualities context. elements, organizational of dance. principles, and expressive 26. Through creating and qualities of the arts. 26.B. Apply the skills and performing, understand how knowledge necessary to create works of art are produced. 25.A.5 Analyze and evaluate student and professional works and perform in one or more of 26.A. Understand the processes, the arts. for how aesthetic qualities are traditional tools, and modern used to convey intent, expressive 26.B.3a Demonstrate body technologies used in the arts. ideas, and/or meaning. alignment; movement from 26.A.4a Analyze how resources, 25.B. Understand the similarities, center; awareness of accent, technologies, and processes are meter, and phrasing; and step distinctions, and connections in combined to express meaning in and among the arts. patterns from different dance dance and evaluate expressive styles and forms. content, stylistic differences, and 25.B.5 Understand how different 27. Understand the role of the aspects of production. art forms combine to create an interdisciplinary work (musical arts in civilizations, past and 26.B. Apply the skills and present. theater, opera, cinematography, knowledge necessary to create etc.). 27.A. Analyze how the arts and perform in one or more of function in history, society, and the arts. 26. Through creating and everyday life. performing, understand how 26.B.4a Create and perform a works of art are produced. 27.A.3a Identify and describe composition communicating careers and jobs in and among clear and focused ideas based on 26.A. Understand the processes, the arts and how they contribute planning, research, and complex traditional tools, and modern to the world of work. problem solving related to technologies used in the arts. 27.A.3b Compare and specific guidelines. 26.A.5 Analyze and evaluate contrast how the arts function 27. Understand the role of the how the choice of media, tools, in ceremony, technology, arts in civilizations, past and technologies, and processes politics, communication, and present. support and influence the communication of ideas. entertainment. 27.A. Analyze how the arts 27.B. Understand how the arts function in history, society, and 26.B. Apply the skills and shape and reflect history, society, everyday life. knowledge necessary to create and everyday life. and perform in one or more of 27.A.4a Evaluate how consumer the arts. 27.B.3 Know and describe trends in the arts affect the types how artists and their works and styles of art products. 26.B.5 Create and perform shape culture and increase a complex work of art using 27.A.4b Analyze how the a variety of techniques, understanding of societies, past arts are used to inform and and present. technologies, and resources and persuade through traditional and independent decision-making. Illinois State Goals for contemporary art forms. Early High School 27. Understand the role of the 27.B. Understand how the arts arts in civilizations, past and 25. Know the language of the arts. shape and reflect history, society, present. and everyday life. 25.A. Understand the sensory 27.A. Analyze how the arts elements, organizational 27.B.4a Analyze and classify the function in history, society, and principles, and expressive distinguishing characteristics everyday life. qualities of the arts. of historical and contemporary 27.A.5 Analyze how careers in the 25.A.4 Analyze and evaluate art works by style, period, and culture. arts are expanding based on new the effective use of elements, technologies and societal changes. principles, and expressive 27.B.4b Understand how the arts qualities in a performance in change in response to changes in 27.B. Understand how the arts dance. society. shape and reflect history, society, and everyday life. 25.B. Understand the similarities, distinctions, and connections in 27.B.5 Analyze how the arts and among the arts. shape and reflect ideas, issues, or themes in a particular culture or historical period.

illinois standards 253 Illinois Theater Standards

Illinois State Goals for 27.A.1a Identify the distinctive 27. Understand the role of the Early Elementary roles of artists and audiences. arts in civilizations, past and 25. Know the language of the arts. 27.A.1b Identify how the arts present. 25.A. Understand the sensory contribute to communication, 27.A. Analyze how the arts elements, organizational celebrations, occupations, and function in history, society, and principles, and expressive recreation. everyday life. qualities of the arts. 27.B. Understand how the arts 27.A.2a Identify and describe 25.A.1b Understand the shape and reflect history, society, the relationship between the arts elements of acting, locomotor and everyday life. and various environments (home, and nonlocomotor move¬ment, 27.B.1 Know how images, sounds, school, workplace, theater, vocal and nonvocal sound, and and movement convey stories gallery, etc.). story making; the principles of about people, places, and times. 27.A.2b Describe how the plot, character, setting, problem/ Illinois State Goals for Late arts function in commercial resolution, and message; and Elementary applications (mass media, the expressive characteristics of product design, etc.). simple emotions. 25. Know the language of the arts. 27.B. Understand how the arts 25.B. Understand the similarities, 25.A. Understand the sensory shape and reflect history, society, distinctions, and connections in elements, organizational and everyday life. and among the arts. principles, and expressive qualities of the arts. 27.B.2 Identify and describe 25.B.1 Identify similarities in how the arts communicate the and among the arts (pattern, 25.A.2b Understand the elements similarities and differences sequence, mood, etc.). of acting, scripting, speaking, among various people, places, improvising, physical movement, and times. 26. Through creating and gesture, and picturization (shape, performing, understand how line, and level); the principles of Illinois State Goals for works of art are produced. conflict/resolution and theme; Middle/Junior High School 26.A. Understand the processes, and the expressive characteristics 25. Know the language of the arts. traditional tools, and modern of mood and dynamics. 25.A. Understand the sensory technologies used in the arts. 25.B. Understand the similarities, elements, organizational 26.A.1b Understand the tools distinctions, and connections in principles, and expressive of body, mind, voice, and simple and among the arts. qualities of the arts. visual/aural media; and the 25.B.2 Understand how elements 25.A.3b Understand how the processes of planning, practicing, and principles combine within an elements of acting, directing, and collaborating used to create art form to express ideas. playwriting, and designing or perform drama/theater. 26. Through creating and combine with the principles of 26.B. Apply the skills and performing, understand how tension, rhythm, pattern, unity, knowledge necessary to create works of art are produced. balance, repetition, and idea to and perform in one or more of communicate. the arts. 26.A. Understand the processes, traditional tools, and modern 25.B. Understand the similarities, 26.B.1b Demonstrate individual technologies used in the arts. distinctions, and connections in skills (vocalizing, listening, and among the arts. moving, observing, concentrating, 26.A.2b Describe various ways 25.B.3 Compare and contrast the etc.) and group skills (decision the body, mind, and voice are elements and principles in two or making, planning, practicing, used with acting, scripting, and more art works that share similar spacing, etc.) necessary to create staging processes to create or themes. or perform story elements and perform drama/theater. characterizations. 26.B. Apply the skills and 26. Through creating and performing, understand how 27. Understand the role of the knowledge necessary to create works of art are produced. arts in civilizations, past and and perform in one or more of present. the arts. 26.A. Understand the processes, traditional tools, and modern 27.A. Analyze how the arts 26.B.2b Demonstrate actions, technologies used in the arts. function in history, society, and characters, narrative skills, everyday life. collaboration, environments, simple staging, and sequence of events and situations in solo and ensemble dramas.

254 appendix Illinois Theater Standards CONTINUED 26.A.3b Describe the use of the 25.B.4 Analyze and evaluate Illinois State Goals for Late primary tools (body, mind, and similar and distinctive High School voice) and the support tools characteristics of works in two or 25. Know the language of the arts. (costumes, scenery, props, lights, more of the arts that share the make-up, sound) to convey an same historical period or societal 25.A. Understand the sensory idea through acting, playwriting, context. elements, organizational and designing a drama or theater principles, and expressive 26. Through creating and qualities of the arts. activity. performing, understand how 26.B. Apply the skills and works of art are produced. 25.A.5 Analyze and evaluate knowledge necessary to create student and professional works 26.A. Understand the processes, for how aesthetic qualities are and perform in one or more of traditional tools, and modern the arts. used to convey intent, expressive technologies used in the arts. ideas, and/or meaning. 26.B.3b Demonstrate storytelling, 26.A.4b Understand how the 25.B. Understand the similarities, improvising, and memorizing primary tools, support tools and scripted material supported by distinctions, and connections in creative processes (researching, and among the arts. simple aural and visual effects and auditioning, designing, directing, personal background knowledge rehearsing, refining, presenting) 25.B.5 Understand how different needed to create and perform in interact and shape drama, art forms combine to create an drama/theater. theater, and film production. interdisciplinary work (musical 27. Understand the role of the theater, opera, cinematography, 26.B. Apply the skills and etc.). arts in civilizations, past and knowledge necessary to create present. and perform in one or more of 26. Through creating and 27.A. Analyze how the arts the arts. performing, understand how works of art are produced. function in history, society, and 26.B.4b Create and perform an everyday life. ensemble drama or theater scene 26.A. Understand the processes, 27.A.3a Identify and describe using research, collaboration, traditional tools, and modern careers and jobs in and among characterization, and staging technologies used in the arts. the arts and how they contribute in combination with aural and 26.A.5 Analyze and evaluate to the world of work. visual technologies (video, lights, how the choice of media, tools, 27.A.3b Compare and sets, costumes, make-up, sound, technologies, and processes contrast how the arts function props, etc.). support and influence the in ceremony, technology, 27. Understand the role of the communication of ideas. politics, communication, and arts in civilizations, past and 26.B. Apply the skills and entertainment. present. knowledge necessary to create 27.B. Understand how the arts 27.A. Analyze how the arts and perform in one or more of shape and reflect history, society, function in history, society, and the arts. and everyday life. everyday life. 26.B.5 Create and perform 27.B.3 Know and describe how 27.A.4a Evaluate how consumer a complex work of art using artists and their works shape trends in the arts affect the types a variety of techniques, culture and increase understand and styles of art products. technologies, and resources and independent decision-making. ing of societies, past and present. 27.A.4b Analyze how the Illinois State Goals for arts are used to inform and 27. Understand the role of the Early High School persuade through traditional and arts in civilizations, past and present. 25. Know the language of the arts. contemporary art forms. 27.A. Analyze how the arts 25.A. Understand the sensory 27.B. Understand how the arts shape and reflect history, society, function in history, society, and elements, organizational everyday life. principles, and expressive and everyday life. qualities of the arts. 27.B.4a Analyze and classify the 27.A.5 Analyze how careers in the distinguishing characteristics arts are expanding based on new 25.A.4 Analyze and evaluate technologies and societal changes. the effective use of elements, of historical and contemporary principles, and expressive qualities art works by style, period, and 27.B. Understand how the arts in a performance in theater. culture. shape and reflect history, society, and everyday life. 25.B. Understand the similarities, 27.B.4b Understand how the arts distinctions, and connections in change in response to changes in 27.B.5 Analyze how the arts and among the arts. society. shape and reflect ideas, issues, or themes in a particular culture or historical period.

illinois standards 255 General Glossary of Terms

Below are definitions of some of the terms used in the Guide.

accommodation An approach to instruction multiple intelligences A theory of intelligence that describes changes to the content of a lesson in developed in the 1980s by Howard Gardner. He order to support a student’s individual differences. identified several types of intelligences, including musical, spatial, kinesthetic, and naturalist. authentic assessment Multiple forms Everyone has all the intelligences, but in different of assessment that reflect student learning, proportions. achievement, and attitudes on instructionally- relevant classroom activities. pedagogy The art of teaching—especially the conscious use of particular instructional methods. autism A pervasive developmental disorder that is characterized by impaired communication, performance descriptors (or benchmark excessive rigidity, and emotional detachment. indicators) Statements that explain what students can do in order to meet the benchmarks and benchmarks Progress indicators for gauging standards; they also change at each grade level. student achievement within each standard; they help measure student achievement over time and portfolio A collection of student work chosen therefore change from grade to grade. to exemplify and document a student’s learning progress over time. Students are often encouraged best practices Strategies, activities, or or required to maintain a portfolio illustrating approaches that have been shown through research various aspects of their learning. and evaluation to be effective and/or efficient. progress monitoring The process of constructed response A non-multiple-choice collecting and evaluating data to make decisions item that requires some type of written or oral about the adequacy of student progress. response. reliability The level of consistency among diagnostic Referring to assessments that the scores or ratings assigned to products, educators administer in order to identify the performances, and other authentic assessments by proficiency levels of specific areas of student teachers who judge them. performance and modify their instruction to make it more appropriate. remediation An approach to instruction that addresses methods, supports, and aids added to differentiated instruction (also called a lesson in order to support a student’s individual differentiated learning) A process to approach differences. teaching and learning for students of differing abilities in the same class. The intent of rubric A performance-scoring scale that lists differentiating instruction is to maximize each multiple criteria for performance and provides student’s growth and individual success by meeting values for performance levels, such as numbers or each student where he or she is, and assisting in a range of descriptors ranging from excellent to the learning process. poor. formative assessment An assessment used to scope and sequence The essential provide the information needed to adjust teaching understandings, knowledge, skills, and processes and learning while they are happening. that are required for instruction and the logical, sequential, and meaningful order in which they are inclusion The practice of educating all children to be taught. in the same classroom, including children with physical, mental, and developmental disabilities. selected response Assessments that use Inclusion classes often require a special assistant objective approaches such as multiple choice, to the classroom teacher. matching, and true/false questions. Individualized Education Program (IEP) sensory integration dysfunction A A plan that identifies learning goals for the student neurological disorder that causes the inability and the special supports and services required to to process stimuli from the five senses. With meet those goals. Sensory Integration Dysfunction, input is sensed normally, but there is a problem with processing K-W-L chart A graphic organizer for activating it. This abnormal processing can cause distress. students’ prior knowledge by asking them what they An affected person can either be hyposensitive or already know, having them specify what they want hypersensitive. to learn, and after instruction or reading, having them discuss what they learned. summative assessment An assessment used to gauge, at a particular point in time, student learning standards Specific statements of learning relative to content standards. knowledge and skills.

256 appendix Glossary of Terms: Music

accelerando Quickening the pace. melody A succession of notes varying in pitch and having a recognizable musical shape. arpeggio A chord whose notes are performed in succession, not simultaneously. meter The pattern in which a steady succession of rhythmic pulses is organized; also called time. articulation The direction or performance technique that affects the transition or continuity mezzo soprano Type of female voice halfway on single note or between multiple notes or sounds. between soprano and contralto range. baritone Male voice between bass and tenor. monophony When all parts (if there are multiple parts) move in parallel rhythm and pitch. bass The lowest male voice. note value The duration of a note. brass Collective term for musical instruments made of brass or other metals and blown ostinato A persistently repeated musical figure or directly through a cup-shaped or funnel-shaped rhythm. mouthpiece. percussion Collective name for instruments in call-and-response Alternation between two which a resonating surface is struck by the player. performers or groups of performers. phrase A small group of notes forming what is canon A composition, or section of a recognized as a unit of melody. composition, in which a melody announced by one pitch The property according to which notes voice or instrument is repeated by one or more appear to be “high” or “low” in relation to each other voices or instruments. other. This is determined by the frequency of composition A piece of music regarded as the vibrations of the sound-producing agent. result of a deliberate individual creative act. polyphony When two or more parts move with concerto Usually a three-part musical work in rhythmic independence. which one solo instrument is accompanied by an presto Fast. orchestra. rest value The duration of a rest between notes. contralto Lower type of female voice. rhythm Aspect of music concerned with the crescendo Increasing in loudness. distribution of notes in time and their accentuation. diction Correct and clear enunciation in singing. Related to the concept of meter. diminuendo Becoming gradually softer. ritardando Becoming slower. dynamics The gradations of loudness and rondo A musical form with a principal theme that softness in music. alternates with one or more contrasting themes. ensemble The quality of teamwork in round A musical composition in which two or performance; also, a group of performers. more voices or instruments perform exactly the same melody, but with each voice beginning at enunciation Singing or speaking words clearly. different times. harmonic progression (also called chord signature The time signature, which gives the progression) A series of musical chords, or chord meter of a piece of music, and the key signature, changes, that establishes or contradicts a tonality. which lists the sharps and flats in the key the music harmony The simultaneous sounding of notes in is in, both appear at the beginning of a piece of a way that is musically significant. music. The time signature does not appear again unless the meter changes, but the key signature homophony When two or more parts move appears on every staff. together in harmony, the relationship between them creating chords. solfège Method of ear-training and sight-reading by which the pupil names each note of a melody by interval The distance between two notes. singing it. intonation Tuning of pitch. sonata Usually a work in three or four movements legato Smoothly. for one or two players.

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glossary 257 Glossary of Terms: Music CONTINUED

soprano The highest type of female voice. tonality (major and minor) A general adherence to the key system. staccato A method of performance denoted by a dot over the note, and signifying that the note tone color The quality that distinguishes a note is to be made short—and thus detached from as performed on one instrument. its successor—by being held for less than its full triad A three-note chord consisting of a particular length. note plus its third and fifth above. staff A set of horizontal lines upon which notes variation A passage of music intended as are placed in written music notation. a varied version of some given passage. Such strings Collective term for instruments that variations may diverge only slightly from the theme, are stringed, including violins, violas, cellos, and mainly by melodic ornamentation. basses. woodwinds Collective name for those types symphony An orchestral work of a serious nature of wind instruments historically and generally and a substantial size. Most are in four movements. made of wood—either blown directly or through a reed. Examples include flute, clarinet, oboe, and tempo Time or pace. bassoon. tenor Highest male voice. timbre An individual quality of sound. This usually refers to the characteristic difference between the tone colors of different instruments.

258 appendix Glossary of Terms: Visual Arts

assemblage A 3-D work constructed from critique A critical review or discussion of artwork or including objects and materials not typically or literature. associated with sculpture which are adhered cubist A view of art in which objects are broken together onto a surface. up and seen from different angles. asymmetrical The description of a form or emphasis Any forcefulness that gives importance composition that displays a varied arrangement of or dominance (weight) to some feature or features parts around either side of a central axis. of an artwork. background The part of a picture or scene essentialist A view of art that claims any that appears to be farthest away from the viewer, specific entity has a set of characteristics that all usually nearest the horizon. entities of that kind must possess. balance The visual impression of order in a etching A printing process in which a design or composition. image is scored into a metal or acrylic plate. brayer An inking roller that is used in various expressionist A view of art that values forms of printmaking. It is usually made of plastic emotional experience over physical reality. or rubber and set in a metal frame attached to a wooden handle. fiber art Artworks using materials such as thread, yarn, or fabric. carving The process of shaping a mass of solid material by breaking down the surface and using foreground The area of a picture or field of tools to cut away sections of the material. vision, often at the bottom, that appears to be closest to the viewer. casting The process of making a 3-D object within a mold, usually to reproduce the form of an formal elements The basic units and the original sculpture. means artists use to create and design works of art. Some formal elements include point, line, charcoal A drawing medium made by charring shape, space, color, and texture. fine sticks of wood under intense heat. formalist A view of art that emphasizes form, or coiling A technique of building a hollow form structural qualities, over content or context. from long, narrow rolls of clay. The rolls are laid on one another to form clay walls. Usually a pottery free-standing The description of a sculpture hand-building technique. that can be viewed from all sides. collage The technique of creating an image geometric shape Shape that has a mathematic or design by adhering various materials to a flat design, composed of straight lines or shapes from support. Materials might include paper, card, geometry, including circles, ovals, rectangles, and fabric, and string. cubes. color wheel A diagram arranged to show the gestalt A physical, psychological, or symbolic relationships of primary colors and secondary arrangement or pattern of parts so unified as a colors. whole that its properties cannot be derived from a simple summation of its parts. complementary colors A pair of colors that may be described as opposite and mutually instrumentalist The view that art should lead enhancing. The complementary pairs are red and to social good. green; blue and orange; and yellow and violet. medium The material or technical method that composition The organization of different an artist works with. elements within the overall structure of a work of art. modeling The process of making a sculpture by shaping a form in a malleable material. contour lines Lines that surround and define the edges of a mass, figure, or object, giving it monochromatic colors All the colors (tints, shape and volume. tones, and shades) of a single hue. contrast Used to create emphasis, contrast refers monoprint Any single, unique image taken by to the arrangement of opposite elements (i.e. light impressing one surface on another that has been vs. dark, rough vs. smooth and small vs. large) treated with ink, paint, or dye. cool colors Any colors in the range of blue, blue- moralist The view that art should reveal green, and blue-violet hues. important ethical messages. {continued next page}

glossary 259 Glossary of Terms: Visual Arts CONTINUED

mural A large painting applied to a wall or ceiling. secondary colors The three colors made by mixing pairs of primary colors in equal naturalistic composition A work that shows proportions. The secondary colors are orange, the realistic representation of objects, figures, green, and violet. and natural forms as they actually appear, without symbolic or theoretical interpretation. shade The mixture of a color with black, which reduces lightness. negative space The space around and between the subject(s) of an image. stencil A template used to draw or paint identical letters, numbers, symbols, shapes, or patterns neutral colors Any of a range of mixed grays every time it is used. and beiges that have no distinctive tendency toward a particular hue. Black and white can also be still-life composition A painting or other described as neutral colors. representation of a group of inanimate objects. oil pastel A drawing medium consisting of symbolist A type of art that uses symbols to pigment mixed with an oil and compressed into represent ideas and emotions. stick form. symmetrical The description of a form or opaque Often refers to a color that is not composition that displays a balanced arrangement transparent or translucent; impenetrable by light. of similar components around a central axis. optical illusion A visual effect characterized by tempera A water-based paint. visually perceived images that differ from objective tertiary colors Color produced by mixing two reality. secondary colors. organic shape Free-form shapes that are thumbnails Reduced-size versions of pictures. usually flowing and curvy, as opposed to geometric. tint The mixture of a color with white, which papier mâché A material used for making increases lightness. small sculptures and ornamental objects, basically consisting of shredded paper soaked in a liquid tones The gray quality of a color produced by glue or paste. adding its complement. pastel A stick of color made from powder- or oil- translucent Permits light to pass through based pigments, used for drawing. but diffuses it so that people and objects on the opposite side are not clearly visible. perspective The illusion of depth on a two- dimensional surface. transparent Permits light to pass through and sheer enough that people and objects on the pinch pot A ceramic pot formed by hand. opposite side can be seen clearly. positive space The space occupied by the main value An element in art that refers to lightness or subjects of the work. darkness of a color. primary colors The colors red, blue, and yellow, visual rhythm Regular repetition of elements of which cannot themselves be mixed from other art to produce the look and feel of movement. colors but can be used to mix all other hues. warm colors Any colors included in the range of proportion The dimensions and scale of various red, red-orange, orange, or orange-yellow hues. parts or components of an image or object in relation to each other and to the thing as a whole. watercolor Paint consisting of finely ground pigments that are mixed with water. representational The description of an image or motif that is a realistic or recognizable depiction wax-resist A method of combining drawing and of the physical appearance of its subject. painting in an image using wax to draw on paper, then coating the drawing with watercolor paint, scale The actual measurement of an image or which is repelled by the wax. object. scoring and slip A method used to join pieces of clay together with a creamy mixture of clay and water.

260 appendix Glossary of Terms: Dance

abstracted gesture A gesture that conveys an mirroring Movement in which the leader and emotion, concept, or image in an abstract way. follower face each other. The follower imitates the leader as if in a mirror. accent Emphasis on a particular step or move in a pattern. movement sequence A series of movements, longer than a phrase but shorter than a section of accumulation a choreographic device or a dance. structure where new movements are added to existing movements in a successive manner, pantomime To express emotions or tell a story by means of gestures and facial expressions. agility The power of moving quickly and easily. phrase A division of a composition, usually alignment The alignment of the body part with consisting of two, four, or eight measures. respect to the torso. props Objects requires on stage that are not articulate To express, form, or present costumes or scenery. movement with clarity and effectiveness. rhythm The way movement in time is organized artistic director A person who is responsible for or put together. Can be syncopated or accented. the administration of a dance company. rondo A sequential pattern. axial movement (also called non-locomotor movement) Movement that happens around the sequence The order of the movements in a body. Twisting, turning, reaching, and bending are dance. axial movements. technique Anatomically correct strategies that canon A single theme or movement sequence as seek to achieve the articulation and execution of a in musical form that repeats or recurs. style of dance. choreographer The person who creates and tempo The speed of the music. arranges the steps and patterns of a dance work. theme The topic, or basic idea. compositional element An aspect of transition A change from one sequence to the choreographic practices such as spatial design. next. conductor A person who directs an orchestra or unity Dancers moving together and working as a chorus. whole. dance notation The system of recording variation 1. Any movement of footwork that is movement through writing it down in figures and different from the original footwork. 2. A solo dance symbols. that can be part of a larger work. flexibility The ability to bend and move easily. Range of movement in joints and ability to stretch large muscle. flocking Collecting into one group. improvisation Spontaneous, congenial movement responses. kinesthetic awareness An awareness or sense of your own movements and the movements of others. leading and following Two roles of partner dancing. The leader guides the overall structure of the dance, and the follower completes the moves suggested by the leader. locomotor movement Movement that travels through general space. Walking, running, hopping, jumping, skipping, leaping, galloping, and sliding are locomotor movements.

glossary 261 Glossary of Terms: Theater

accent The specific sound qualities of the speech foil A character whose personality and physical of a region. appearance contrast with those of the protagonist. agent of fate A person, situation. house manager The person responsible for the day-to-day operations of a theater allegory A form of extended metaphor, in which building, including ticket sales, ushering, and the objects, persons, and actions in a narrative, are maintenance of the building. equated with the meanings that lie outside the narrative itself. improvisation Speaking or acting without a script. antagonist A person, situation, or the protagonist’s own inner conflict that is in opposition incidental A character that rarely plays a major to the protagonist’s goals. role in the story and tends to serve as part of the backdrop of a scene. arena stage A performance space in which the audience sits all around the stage; sometimes librettist The writer of a text used in an extended called “in-the-round.” musical work such as an opera, operetta, musical, or ballet. articulation The clear and precise pronunciation of words. monologue A story, speech, or scene performed by one actor alone. audition An interview-like opportunity in which actors are able to demonstrate their talents, meet motivation A character’s reason for doing or the person hiring the cast, and leave impressions of saying things. the themselves. pantomime To act without words through facial back story A biography of a character before the expression and gesture. action of a play. playwright A person who writes dramatic blocking Coordination of actors’ movements on literature or drama. These works may be written stage. specifically to be performed by actors or they may be closet dramas or literary works written using casting Choosing actors to play specific roles in dramatic forms but not meant for performance. a play. primary tools In acting, the primary tools are choreographer An artist who designs body, voice, and mind. movement for the stage. projection Using voice or gestures forcefully cue A trigger for an action to be carried out at a enough to be perceived at a distance. specific time. Common cues include light cues and sound cues. props Everything required during the action of a play that does not count as furniture, costume, or dialect Language features particular to the scenery. Props may include objects like eyeglasses, speech of a specific region. knitting, or telephones. dramatic structure The structure of a play, proscenium stage A performance space in including exposition, rising action, climax, falling which the audience views the action as if through a action, and resolution. picture frame. dramaturg A special consultant who provides protagonist The main character of a play and specific, in-depth knowledge and literary resources the character with which the audience identifies to a director, producer, or entire theater company. most strongly. Responsibilities may include selection of plays, working with authors on adaptations of text, and rehearsal The act of practicing in preparation for writing programming notes for the company. a public performance. emotional recall The technique of calling upon rendering A finished representation of a set your own memories of emotions to understand a or costume, produced with colored pencil, paint, character’s emotions. pastel, marking pens, or computer graphics. fly space The area above a stage where lights, scenery Onstage decoration to help establish the drops, and scenery may be flown, or suspended on time and place of a play. wire ropes. script The text of a play.

262 appendix Glossary of Terms: Theater CONTINUED

script scoring Making notations on a copy of a script. Actors often add notes about motivation or specific actions during a scene. secondary tools In acting, the secondary tools are sets, props, costumes, makeup, sound, and lighting. set The onstage physical space and its structures in which the actors perform. sight lines Lines indicating visibility of onstage and backstage areas from various points in the theater. Sight lines have to be considered when designing sets and staging action so that as much as possible everyone in the theater can see everything vital to the play. soliloquy A character’s speech to himself or herself. The character reveals personal thoughts without addressing another speaker. stage combat Physical conflict onstage, both armed and unarmed. symbol A concrete image used to represent an abstract concept or idea. thrust stage A combination of the proscenium and the arena stages, with the audience sitting on two or three sides of the acting area. voice-over A recording of a voice that plays over other sounds. wings The left and right sides of a stage immediately outside the scenery, unseen by the audience.

glossary 263 Recommended Resources

The sources on these pages are recommended for arts education teachers at many levels for creating and enhancing meaningful and engaging lessons.

Recommended Multi- Noblit, George W., H. Dickson Corbett, Bruce L. Disciplinary Resources Wilson, and Monica B. McKinney. Creating and Sustaining Arts-Based School Reform: The A+ Associations and Organizations Schools Program. New York: Routledge, 2008. Americans for the Arts. Rowe, Melissa K. Arts Education Partnerships: http://www.americansforthearts.org/. Lessons Learned from One School District “Art Curriculum Glossary.” CCSESA Statewide Arts Experience. Pittsburgh, PA: RAND Corporation, Initiative. 2004. http://www.ccsesaarts.org/CCSESA_FILES// Weiss, Cynthia, and Amanda Leigh Lichtenstein. CCSESA_VOCAB_LIST.pdf. AIMprint: New Relationships in the Arts and Art Resources in Teaching (A.R.T.). Learning. Chicago: Columbia College Chicago, http://www.artresourcesinteaching.org/. 2008. Arts Education Partnership. http://www.aep-arts.org/. Recommended Music Resources Building Curriculum, Community, and Leadership Associations and Organizations Through the Arts (BCCLA). American Orff-Shulwerk Association http://www.bccla.net/. www.aosa.org Center for Community Arts Partnerships (CCAP). Center for Black Music Research, Columbia College http://www.colum.edu/ccap. Chicago Chicago Arts Partnerships in Education (CAPE). http://www.colum.edu/CBMR http://www.capeweb.org/. Chicago Consortium of Community Music Schools eta Creative Arts Foundation. http://www.chicagomusicschools.org http://www.etacreativearts.org/. National Association for Music Education (MENC) Illinois Art Education Association. http://www.menc.org http://www.ilaea.org/iaea/. Illinois Music Educators Association (IMEA) The Marwen Institute. http://www.ilmea.org http://www.marweninstitute.org/. Jazz Institute of Chicago National Art Education Association. http://www.jazzinchicago.org http://www.naea-reston.org/olc/pub/NAEA/ Music Teachers National Association (MTNA) home/. http://www.mtna.org Office of Arts Education, Chicago Public Schools. International Music Products Association (NAMM) http://www.cpsarts.org/. http://www.namm.org United States Department of Education. National Association of Negro Musicians, Inc. (NANM) http://www.ed.gov/index.jhtml. http://www.nanm.org Urban Gateways http://www.urbangateways.org Books Bond, Judy, et al. Spotlight on Music. New York: Books Macmillan/McGraw-Hill, 2008. Davis, Jessica Hoffman. Why Our Schools Need the Arts. New York: Teachers College Press, 2007. Blocher, Larry, et al. Teaching Music through Performance, Chicago: GIA Publications, Inc. Fowler, Charles. Strong Arts, Strong Schools: The http://www.teachingmusic.org Promising Potential and Shortsighted Disregard of the Arts in American Schooling. New York: Oxford Choksy, Lois. The Kodály Method I: Comprehensive University Press, 1996. Music Education. Upper Saddle River, NJ: Prentice Hall, 1998. McCarthy, Kevin F., et al. Gifts of the Muse: Reframing the Debate About the Benefits of the Arts. Choksy, Lois. The Kodály Method II: Folksong to Pittsburgh, PA: RAND Corporation, 2004. Masterwork. Upper Saddle River, NJ: Prentice Hall, 1998.

264 appendix Recommended Resources CONTINUED

DeGraffenreid, George, et al. Music: Its Role and Rosenberg, Martin, and Frances Thurber. Gender Importance in Our Lives. New York: Glencoe/ Matters in Art Education. Worcester, MA: Davis McGraw-Hill, 2006. Publications, 2007. Suzuki, Shinichi. Young Children’s Talent Education Strickland, Carol. The Annotated Mona Lisa: A and Its Method. Los Angeles: Alfred Publishing Crash Course in Art History from Prehistoric to Company, 1999. Post-Modern. Kansas City, MO: Andrews McMeel Publishing, 2007. Recommended Visual Arts Wachowiak, F., and R. Clements. Emphasis Art: A Resources Qualitative Art Program for Elementary and Middle Schools. Boston: Pearson Education, 2006. Associations and Organizations Chicago Public Art Group. 2009. Recommended Dance Resources http://cpag.net/home/ Associations and Organizations Illinois Art Education Association. 2009. http://www.ilaea.org/iaea/ National Dance Association. http://www.aahperd.org/nda/ National Art Education Association. 2009. http://www.naea-reston.org/olc/pub/NAEA/ National Dance Education Association. home/ http://www.ndeo.org/ Illinois Association for Health, Physical Education, Books Recreation, and Dance. Barbe-Gall, Francoise. How to Talk to Children about http://www.iahperd.org/ Art. Chicago: Chicago Review Press, 2005. Books Barrett, Terry. Talking About Student Art. Worcester, Craine, Debra, and Judith Mackrell. Oxford MA: Davis Publications, 1997. Dictionary of Dance. New York: Oxford University Burton, David. Exhibiting Student Art: The Essential Press, 2004. Guide for Teachers. New York: Teachers College Kassing, Gayle, and Danielle M. Jay. Dance Press, 2006. Teaching Methods and Curriculum Design. Cornett, Caludia. Creating Meaning Through Champaign, IL: Human Kinetics, 2003. Literature and The Arts. Upper Saddle River, New Jersey: Prentice Hall, 2007. Recommended Theater Freedman, Kerry. Teaching Visual Culture. New York: Resources Teacher’s College Press, 2003. Associations and Organizations Gerber, Beverly Levett, and Doris M. Guay, eds. Reaching and Teaching Students with Special American Association of Theater and Education. Needs Through Art. Reston, VA: National Art http://aate.timberlakepublishing.com/index.asp. Education Association, 2006. Chicago Children’s Theater. Hetland, Lois, et al. Studio Thinking: The Real http://www.chicagochildrenstheatre.org/ Benefits of Visual Arts Education. New York: Educational Theater Association. Teachers College Press, 2007. http://www.edta.org/ Hume, Helen D. The Art Teacher’s Book of Lists. New Illinois Theatre Association. York: Prentice Hall, 1998. http://www.illinoistheatre.org/ Lark-Horovitz, B., H. Present-Lewis, and M. Luca. The International Association of Theater for Children Understanding Children’s Art for Better Teaching. and Young People, United States Chapter. Reston, VA: National Art Education Association. http://www.assitej-usa.org/ Linderman, M. G. Art in the Elementary School. International Drama/Theatre and Education Boston: McGraw-Hill, 1997. Association. Martin, Judy. Longman Dictionary of Art. Essex: http://idea-org.net/ Longman Group Limited, 1986. {continued next page}

recommended resources 265 References

The sources below were referenced during the creation of the guide.

Multi-Disciplinary “Illinois Professional Teaching Standards.” Illinois Content-Area Standards. “About eta—Staff.” eta Creative Arts. 2009. http://www.isbe.state.il.us/profprep/pdfs/ipts.pdf. http://www.etacreativearts.org/about_eta/ contract_services.html. The Kennedy Center. ARTSEDGE. 2009. http://artsedge.kennedy-center.org/. Anderson, Lorin W., et al. A Taxonomy for Learning, Teaching, and Assessing: A Revision of Bloom’s “Let Your Style Take Shape.” VSA Arts. Taxonomy of Educational Objectives. New York: http://www.vsaarts.org/documents/resources/ Allyn & Bacon, 2000. parentsteachers/VSA_LetYourStyle_TG2.pdf Aprill, Arnold. Personal interview. 2009. “Lt. Gov. Pat Quinn Joins Newberry Library in Presenting New Exhibit.” The Newberry Library. 16 “Art Curriculum Glossary.” CCSESA Statewide Arts November 2006. Initiative. http://www.newberry.org/media/AztecCityModel. http://www.ccsesaarts.org/CCSESA_FILES// html. CCSESA_VOCAB_LIST.pdf. Lincoln Center Institute. 2009. Booth, Eric. The Music Teaching Artist’s Bible: http://www.lcinstitute.org/. Becoming a Virtuoso Educator. New York: Oxford University, 2009. Lowenfeld, Viktor. Creative and Mental Growth. New York: Macmillan, 1947. Brown, Abena Joan. Personal interview. 2009. “Mission and History.” Chicago Arts Partnerships in Burnaford, Gail, Arnold Aprill, and Cynthia Weiss. Education. 2009. Renaissance in the Classroom: Arts Integration http://www.capeweb.org/about.html. and Meaningful Learning. Philadelphia: Lawrence Erlbaum, 2001. Mitchell, Diane, et al. “Effects of Traditional Versus Tactual/Kinesthetic Instruction on Junior High Farwell, Terry. “Visual, Auditory, Kinesthetic School Learning-disabled Students.” Academic Learners.” FamilyEducation. Exchange Quarterly. Fall, 2002. http://school.familyeducation.com/intelligence/ teaching-methods/38519.html/ National Art Education Association. 2009. http://www.naea-reston.org/olc/pub/NAEA/home/. Flatley, David. Personal interview. 2009. Rasmussen, Amy. Personal interview. 2009. “Formative and Summative Assessment.” Active Learning for Critical Thinking. 2009. Sikkema, Scott. Personal interview. 2009. http://activelearning.uta.edu/FacStaff/formsum.htm. “Teaching Special Kids.” Education World. Fowler, Charles. Strong Arts, Strong Schools: The http://www.education-world.com/a_curr/ Promising Potential and Shortsighted Disregard of curr139.shtml/ the Arts in American Schooling. New York: Oxford “Understanding Sensory Integration Issues.” University Press, 1996. The Arc in Jefferson County. Greene, Maxine. Variations on a Blue Guitar: The http://www.arcjc.org/includes/downloads/ Lincoln Center Institute Lectures on Aesthetic sensory.pdf Education. New York: Teachers College Press, “Unit Plan.” Arts Integration Mentorship (AIM). 2007. 2001. Weiss, Cynthia. Personal interview. 2009. Hetland, Lois, et al. Why Our Schools Need the Arts. New York: Teachers College Press, 2008. Weiss, Cynthia, and Amanda Leigh Lichtenstein. AIMprint: New Relationships in the Arts and “Illinois Fine Arts Learning Standards.” Illinois Learning. Chicago: Columbia College Chicago, State Board of Education. 2009. 2008. http://www.isbe.state.il.us/ils/fine_arts/ standards.htm. “What Is Sensory Integration Dysfunction?” SensoryNation.com “Illinois Learning Standards.” Illinois State Board of http://www.sensorynation.com/what.html Education. 2009. http://www.isbe.state.il.us/ils/. Wood, Chip. Yardsticks: Children in the Classroom, Ages 4–14. 3rd Edition. Greenfield, MA: Northeast Foundation for Children, 2007.

266 appendix References CONTINUED

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Links Hall. Sheehy, Carolyn A. “Dance Companies.” http://www.linkshall.org/. Encyclopedia of Chicago. 2005. Chicago Historical Society. Lucky Plush Productions. http://www.encyclopedia.chicagohistory.org/ http://www.luckyplush.com/. pages/360.html. Luna Negra Dance Theater. 2009. Thodos Dance Chicago. 2009. http://www.lunanegra.org/. http://www.thodosdancechicago.org/. Mara, Thalia. The Language of Ballet: A Dictionary. Zephyr Dance. Princeton, NJ: Princeton Book Company, 1987. http://zephyrdance.com/. Mexican Folkloric Dance Company of Chicago. 2008. http://www.mexfoldanco.org/. Momenta. http://www.momenta-dance.org/splash.php. Moore, Nancy G. “Modern and Postmodern Dance.” Encyclopedia of Chicago. 2005. Chicago Historical Society. http://www.encyclopedia.chicagohistory.org/ pages/833.html. Moore, Nancy G. “MoMing Dance and Arts Center.” Encyclopedia of Chicago. 2005. Chicago Historical Society. http://www.encyclopedia.chicagohistory.org/ pages/835.html. The Morrison-Shearer Foundation. http://www.sybilshearer.com/. Muntu Dance Theatre of Chicago. http://www.muntu.com/. Museum of Contemporary Art. http://mcachicago.org/. “My Name is a Blackbird.” Molly Shanahan/Mad Shak. http://www.madshak.com/projects_blackbird. html. Natya Dance Theatre. http://www.natya.com/index.html. Nugent, Walter. “Demography.” Encyclopedia of Chicago. 2005. Chicago Historical Society. http://www.encyclopedia.chicagohistory.org/ pages/962.html. Polonia. 2009. Northwest Center Traditional Polish Folk Dancers. http://dance.prcua.org/poloniaensemble/. River North Chicago Dance Company. 2007. http://www.rivernorthchicago.com/default3.asp. Ruth Page Center for the Arts. 2008. http://www.ruthpage.org/. The Seldoms. 2006. http://www.theseldoms.org/.

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Theater IO Improv. http://www.ioimprov.com/. Adler, Tony. “Improvisational Theater.” Encyclopedia of Chicago. 2005. Chicago Historical Society. Lookingglass Theatre Company. http://www.encyclopedia.chicagohistory.org/ http://lookingglasstheatre.org/content/. pages/631.html. Maryland Fine Arts Education Instructional Tool Kit. Albany Park Theater Project. Maryland State Department of Education. 2006. http://www.aptpchicago.org/. http://mfaa.msde.state.md.us/source/ MDFAeducation_1a.asp “California Educational Theater Association Position Paper.” 2007. MPAACT. 2009. http://www.cetoweb.org/pdf/CETA_Position_ http://www.mpaact.org/. Paper.pdf Nelson, Andrew. “Applied Theatre and Autism: An “CAPE Research & Action: Agassiz.” Chicago Arts Opportunity for Evidence.” ArTRAN. 1.1 (2009): Partnerships in Education. 2007. 6–10. http://www.capeweb.org/research_action/view_ Payne, Joyce. “A Guide to Authentic Assessments.” units.php?id=13&page=tab1. ArtsEdge, a program of The John F. Kennedy Chicago Children’s Theater. 2009. Center for the Performing Arts. http://www.chicagochildrenstheatre.org/. http://artsedge.kennedy-center.org/ content/3337/ Chicago Dramatists. http://www.chicagodramatists.org/home/index. Rasaka Theatre Company. html. http://www.rasakatheatre.org/. Chicago Shakespeare Theater. Redmoon Theater. http://www.chicagoshakes.com/. http://www.redmoon.org/. Christiansen, Richard. A Theater of Our Own: A “Rubrics for Assessment and Grading.” Academy History and a Memoir of 1,001 Nights in Chicago. of Art University. 2006. Evanston, IL: Northwestern University Press, http://faculty.academyart.edu/resources/rubrics. 2004. asp The ComedySportz Theatre. The Second City. http://www.comedysportzchicago.com/. http://www.secondcity.com/. Congo Square Theatre Company. 2006. Steppenwolf Theatre Company. 2009. http://www.congosquaretheatre.org/. http://www.steppenwolf.org/. Creamer, Tom, Lisa Dillman, and Steve Scott. “Students Enjoy a Week Full of Drama, Courtesy of Robert Falls at Goodman Theatre: The First Twenty Jacqui Russell.” MASCblog. 2 December 2008. Years. http://mascblogger.blogspot.com/2008/12/ students-enjoy-week-full-of-drama_02.html. “Creative Drama Criteria Assessment.” ArtsWork: The Kax Herberger Center for Children and the Teatro Luna. Arts at Arizona State University. 2009. http://www.teatroluna.org/. http://artswork.asu.edu/arts/teachers/ Teatro Vista. assessment/discipline3.htm http://www.teatrovista.org/. eta Creative Arts. Creative Arts Foundation, Inc. Unus, Wafa. “Autism Education and Chicago Public http://www.etacreativearts.org/. Schools.” Associated Content. 29 May 2007. 500 Clown. http://www.associatedcontent.com/ http://www.500clown.com article/255688/autism_education_and_chicago_ public.html?cat=4. Goodman Theatre. http://www.goodmantheatre.org/. Victory Gardens. http://www.victorygardens.org/content/. The House Theatre of Chicago. http://www.thehousetheatre.com/. “Visual and Performing Arts Framework.” California Department of Education. 2004. “Indicators of Quality Fine Arts Programs.” Texas http://www.cde.ca.gov/ci/vp/cf/ Coalition for Quality Arts Education. 2007. http://www.tcqae.org/web_files/ IndicatorsQualityArtsProgramsElemSchsK-5.pdf

272 appendix Acknowledgments

City of Chicago Rebecca Hankin, Writer Richard M. Daley, Mayor Susan Lee, Northwestern University, Lead Dance Curriculum Consultant Anne Lefkowitz, Writer Chicago Board of Education Lisa Mazza, Editorial Consultant Michael Scott, President John Morrison, Photo Researcher Clare Muñana, Vice President Colleen O’Brien, Senior Editor, BrainWorx Studio Members: Hillary Ostermiller, Senior Editor, BrainWorx Studio Norman R. Bobins Sandra Petroshius, Editorial Director, BrainWorx Tariq Butt, M.D. Studio Alberto A. Carrero, Jr. Patricia Pike, Lead Music Curriculum Consultant Peggy A. Davis Jacqueline Raimo, Editorial Consultant Roxanne M. Ward Jennifer Planey Saylor, Lead Art Curriculum Consultant Robert Sevier, Writer Chicago Public Schools Ron Huberman, Chief Executive Officer Barbara J. Eason-Watkins, Ed. D., Chief Education Content Development Officer Administrators Diane Dorsey, Office of Specialized Services CPS Office of Arts Education Sharon Dunn, NYC Department of Education David Roche, Director Frances Garcia, McKinley Park Elementary School Nancy A. Cortés, Visual Arts Curriculum Supervisor Mario Rossero, Office of Academic Enhancement Maliwan Diemer, Dance Curriculum Supervisor Lori R. Vallelunga, Hope Institute Learning Academy Jesus Esquivel, Field Supervisor Music Teachers Rosalinda Fierro, Office Manager Timothy Anderson, Schurz High School Crystal Gerner, Administrative Assistant Peter Bartels, Parkside Elementary Community Candice Jennings, Administrative Assistant Academy Emily Hooper Lansana, Theater and Literary Arts Gloria E. Brown, Whitney M. Young Magnet High Curriculum Supervisor School (Retired) William Braddan McClellan, Music Curriculum Carole H. Butler, Curie Metro High School (Retired) Supervisor Andrew Buchanan, Hearst Elementary School Frank Quinn, Arts Production Supervisor Sarah Buino, Foreman High School N. Charles Thomas, Arts Development Supervisor Dr. Kimberly Carlos, Daniel Hale Williams School of and Project Director, Chicago Guide for Teaching Medicine and Learning in the Arts Katherine Courtenay, Carver Primary School Linda DeGuzman, Perez Elementary School Project Staff Barry K. Elmore, Poe Classical School Michael Austin, Writer Heidi Farrand, Kellogg Elementary School/Cassell Lynn Bailey, Lead Art Curriculum Consultant Elementary School Martha Bayne, Writer Laurence Glenzer, Foreman High School Emily Blum/Valerie Denny Communications, Writer Arthur Griffin, Best Practice High School Mary Bowers, Designer Joelle Irvin, Clinton Elementary School Angela Bowman, Editorial Consultant Teresa Jazo, Bateman Elementary School Eiren Caffall, Lead Theater Curriculum Consultant/ H. Chip Johnson, Hope College Prep Writer Joseph Lawrence, School of Leadership Kerry Catlin, Lead Theater Curriculum Consultant Kenneth M. Lenon, Kenwood Academy (Retired) Lisa Dillman, Writer {continued next page}

acknowledgments 273 Acknowledgments CONTINUED

Octavia Lord, Shoop Math-Science Technical Darien Parker, Everett Elementary School Academy Shana Pearlmutter, Bell Elementary William Marsland, Stone Elementary Scholastic Jennifer Planey Saylor, Fulton Elementary Academy Patrick Rand, Pickard Elementary School Kelly Ogden-McCollom, Lionel Hampton Fine and Performing Arts School Virginia Reardon, Schmid Elementary School Laura Pahr, Holmes Elementary School Carmen Rivera-Kurban, Lowell Elementary School Regina Parker Johnson, Kohn Elementary School Kay Silva, Lincoln Park High School Thelma Parks, Gage Park High School Sheri Smith, Manierre Elementary School Larry L. Polk, Simeon Career Academy High School Christian Smith, Mather High School Maria Richardson, Sabin Elementary Magnet School Mary Snyder, Beethoven Elementary School Amy Rubic, Hitch Elementary School Megan Stytz, Yates Elementary School Melinda Russell, Kohn Elementary School Jule Toole, Mitchell Elementary School Daniel Salyers, Smyser Elementary School Heather Walters, Chicago Academy Elementary Mara Schack, Vaughn Occupational High School School Sheri Smith, Manierre Elementary School Krystal Grover Webb, Ruggles Elementary School Heidi Jo Stirling, Carpenter Elementary School Jesse Wyss, Curie Metro High School Janet E. Underwood, Kenwood Academy (Retired) Christina Ward-DeLeon, Clinton Elementary School Dance Teachers Kirsten Alley, Farragut Career Academy Carolyn Williams, Chicago Academy Elementary School Darlene Blackburn, Dunbar High School Natalie Davis, Cassell Elementary School Visual Arts Teachers Jeanette Gordon, Whitney Young High School Francis Allende-Pellot, Foreman High School Jessica Klink, Alcott Elementary School Camille Anderson, Amundsen High School Eileen Sheehan, Kipling Elementary School Lynn Bailey, Bronzeville Scholastic Institute Gina Spears, Boone Elementary School Katrina Barge, Cooper Elementary Dual Language Heidi Jo Stirling, Carpenter Elementary School Academy Jennifer Vincent, Alcott Elementary School Allison Beaulieu, Dett Elementary School Martin Black, Gunsaulus Scholastic Academy Theater Teachers Sharon Bluemke, Banneker Elementary School Heather Bowden, Goldblatt Elementary School Kirsten Cone, Talcott Elementary School Michelle Cleek, Pershing West Middle School Ross Frellick, Lincoln Park High School Alexandra Coffee, Claremont Academy Carolyn Grantham, Sherman Elementary School Catherine Conde, Ravenswood Elementary Kristen Hanson, Lane Technical High School Susan Dardar, Gallery 37 Advanced Arts Education Jan Heyn-Cubacub, Agassiz Elementary School Program Jon Nemeth, Kenwood Academy High School Robyn Esposito, Hearst Elementary School Robert Schroeder, Clemente High School Rodney Finley, Davis Elementary School Adjora Stevens, Goldblatt Elementary School Emily Forrest-Mattfield, Harte Elementary School Janna Walson, Rauner College Prep Art Helbig, Casals Elementary School Joseph Zarrow, Kenwood Academy High School Kathi Hoban, Hitch Elementary School Matthew Jackson, Simeon Career Academy High Arts Organizations School Multi-Disciplinary Arts Benjamin Jaffe, Kenwood Academy High School Arnold Aprill, Chicago Arts Partnerships in Education Elyn Koentopp-Vanek, Chicago Military Academy Abena Joan Brown, eta Creative Arts Foundation Laura Miracle, Pasteur Elementary School Amanda Lichtenstein, Urban Gateways Alejandro Ontiveros, Lowell Elementary School Robin Redmond, Illinois Education Foundation

274 appendix Acknowledgments CONTINUED

Scott Sikkema, Chicago Arts Partnerships in Alexandra Meda, Theatro Luna Education Marchae Miller, Free Street Theatre Julie Simpson, Urban Gateways Mara O’Brien, 826 Chi Robert Tenges, Old Town School of Folk Music Lizzie Perkins, Lookingglass Theater Music June Podagrosi, Child’s Play Touring Theatre Troy Anderson, Merit School of Music Jacqui Russell, Chicago Children’s Theater Lauren Deutsch, Jazz Institute of Chicago Leslie Shook, DePaul University J. Richard Dunscomb, Columbia College of Chicago Merissa Shunk, Adventure Stage Christine Taylor, Ravinia Jenny Stafford, Theatre Bldg Kara Kane, Chicago Opera Theater Kait Steele, 826 Chi Visual Arts Liz Stigler, Poetry Foundation Walt Hansen, Art Resources in Teaching Lisa Viscusi, Chicago Humanities Festival Marge Kelly, Marwen Institute Shawn Wallace, Qi Music Group Julie MacCarthy, Art Resources in Teaching Ray Yang, Hyde Park Art Center Reviewers Dance Troy Anderson, Merit School of Music Claire Bataille, Lou Conte Dance Studio Lynn Baber, Northlight Theater Vaune Blalock, Muntu Dance Theater Zahra Glenda Baker, eta Creative Arts Foundation Gail Kalver, River North Dance Company Janet Barrett, Northwestern University Debbie Kristofek, DanceWorks Chicago Anne Becker, Columbia College Nicole Losurdo, Auditorium Theatre Vaune Blalock, Muntu Dance Theatre Elizabeth Millman, Joffrey Ballet Carole H. Butler, Curie Metro High School (Retired) Marianne Shymanik, Ruth Page Dance Center Diane Chandler, Jazz Institute of Chicago Theater Alexandra Coffee, Claremont Academy Lindsey Barlag, Steppenwolf Theatre Company Mica Cole, Free Street Theater Nora Blakely, Chocolate Chips Theater Rives Collins, Northwestern University Diana Campos, Free Street Theatre Catherine Conde, Ravenswood Elementary School Mica Cole, Free Street Theater David Flatley, Columbia College Center for Community Arts Partnerships Robert Cornelius, Victory Gardens Theater Benjamin Jaffe, Kenwood Academy High School Ilesa Duncan, Pegasus Players Marge Kelly, Marwen Institute Rueben Echols, Black Ensemble Theater Pierre Lockett, Joffrey Ballet Sharon Evans, Live Bait Theater Nicole Marroquin, School of the Art Institute of Malik Gilani, Silk Road Theater Project Chicago Paula Gilovich, About Face Theater Evan Plummer, CPS Fine and Performing Arts Magnet Robert Goodwin, University of Chicago Cluster Program Hallie Gorden, Steppenwolf Theatre Company Barbara Radner, DePaul University Lynne Pace Green, American Theatre Company Amy Rasmussen, Chicago Arts Partnerships in Marilyn Halperin, Chicago Shakespeare Theatre Education Juliet Hart, TimeLine Theatre Company Sharon Reed, Illinois State Board of Education Katie Hartstock, Poetry Foundation Mark Riggleman, Lyric Opera of Chicago Lela Headd, Chopin Theater Kate Rogers, Lyric Opera of Chicago Barbara Kanady, Northlight Theatre Jennifer Siegenthaler, Terra Foundation for American Art Quraysh Ali Lansana, Gwendolyn Brooks Center/CSU Christine Taylor, Ravinia Daren Leonard, Healthworks Theatre Cynthia Weiss, Columbia College Center for Frances Limoncelli, Lifeline Theatre Community Arts Partnerships Nicole Losurdo, Auditorium Theatre Jesse Wyss, Curie High School

acknowledgments 275 Photo Credits

front exterior PAGE 31 CPS Keller Photo by John Booz Photo by John Booz

front interior PAGE 34 CPS Ravinia Festival Photo by John Booz Courtesy of Ravinia Festival

back interior PAGE 35 Lyric Opera Ravinia Festival photo by Dan Best Courtesy of Ravinia Festival

back exterior PAGE 36 Ballroom Dancing Finals competition Jazz Institute of Chicago Photo by John Booz Photo: © Lauren Deutsch

PAGE 4 PAGE 37 top left CPS Archives of Traditional Music, Indiana University Photo by John Booz Photograph courtesy of the Archives of Traditional Music, Indiana University PAGE 5 Galileo Elementary Math & Science School Acd PAGE 37 top middle Photo by John Booz Archives of Traditional Music, Indiana University Photograph courtesy of the Archives of Traditional PAGE 6 top Music, Indiana University Bronzeville Scholastic Institute Photo by Lynn Bailey PAGE 37 top right Jazz Institute of Chicago PAGE 6 bottom Photo: © Lauren Deutsch Curie Metropolitan High School for the Performing & Technical Arts PAGE 37 bottom left Courtesy of the Dance Department of Curie Archives of Traditional Music, Indiana University Metropolitan High School for the Performing & Photograph courtesy of the Archives of Traditional Technical Arts, photo by Jaime Ramirez Music, Indiana University

PAGE 18 PAGE 39 Ravinia Festival CPS Courtesy of Ravinia Festival Photo by John Booz

PAGE 20 PAGE 42 Ballroom Dancing CPS Photo by John Booz Victor Powell

PAGE 23 PAGE 43 CPS Lyric Opera photo by Evan E. Plummer photo by Dan Best

PAGE 28 PAGE 44 photograph by Derrick Santini Sones de México Ensemble Photo courtesy of Sonés de Mexico Ensemble PAGE 29 right ©2007; Photographer Todd Winters New York Public Library Photo courtesy General Research and Reference, PAGE 45 left Schomburg Center for Research in Black Culture, The Arhoolie Foundation New York Public Library Photo Courtesy The Arhoolie Foundation; http:// www.arhoolie.org PAGE 29 left Alligator Records PAGE 45 right © Marc Norberg AfriCaribe Photo by Mark Joseph

276 appendix Photo Credits CONTINUED

PAGE 47 PAGE 86 CPS City of Chicago Victor Powell Photography by Patrick L. Pyszka, courtesy of the Chicago Department of Cultural Affairs PAGE 52 Old Town School of Folk Music PAGE 87 top Photo by Paul Natkin DuSable Museum Collection of the DuSable Museum PAGE 53 GTN Pictures PAGE 87 bottom Photo courtesy of George Nierenberg “Gusano” or “The Worm” by Miguel Linares Mendoza PAGE 55 National Museum of Mexican Art Permanent Curie High School Collection Photo by John Booz Photo by Kathleen Culbert-Aguilar PAGE 60 PAGE 89 Chicago Symphony Orchestra CPS photo by Todd Rosenberg Victor Powell PAGE 61 top PAGE 92 Lyric Opera CPS Photo by Dan Rest photo by Suzanne Downs-Breo PAGE 61 bottom PAGE 93 Ravinia Festival Curie High School Courtesy of Ravinia Festival Photo by John Booz PAGE 68 PAGE 94 Little Village High School Cloud Gate Photo by John Booz Photo by Shihmei Barger PAGE 71 PAGE 95 top Franklin Academy © 2009 Artists Rights Society (ARS), New York / Photo by John Booz ADAGP, Paris: Detail Photo by Jon Miller - Hedrich PAGE 73 Blessing CPS PAGE 95 middle Victor Powell Chicago Park District PAGE 78 Courtesy of Chicago Park District, 2008 All photos PAGE 95 bottom Photography © The Art Institute of Chicago Chicago Park District PAGE 79 Howard Ash Richard Hunt’s “Farmer’s Dream” PAGE 97 Courtesy of the Museum of Contemporary Art, CPS Chicago by gift of Mallinckrodt Group Inc. in Photo by John Booz recognition of Richard A. Lenon PAGE 102 All other photos The Chicago Conservation Center Photography © The Art Institute of Chicago Image courtesy of the Chicago Conservation PAGE 81 Center and publication “Art for the People” CPS PAGE 103 top Photo by John Booz CPAG PAGE 84 Feed Your Child the Truth, Artist Bernard Williams, McKinley Park Elementary School Chicago Public Art Group, 1994 Photo Courtesy of McKinley Park Elementary PAGE 103 middle left School The Chicago Conservation Center PAGE 85 Image courtesy The Chicago Conservation Center Chicago Arts Partnerships in Education (CAPE) and publication “Art for the People” Photo courtesy of Chicago Arts Partnerships in Education

photo credits 277 Photo Credits CONTINUED

PAGE 103 middle right PAGE 137 The Chicago Conservation Center Boitsov Classical Ballet Image courtesy The Chicago Conservation Center Photo by Zoltan Horvath, Courtesy of Boitsov and publication “Art for the People” Classical Ballet

PAGE 103 bottom PAGE 139 CPAG Boone School TILT. Together Protect the Community, Artist John Photo by John Booz Pitman Weber, Chicago Public Art Group, 1976 PAGE 142 PAGE 105 Curie High School CPS Photo by John Booz Photo by John Booz PAGE 143 PAGE 110 Community Schools Initiative, Office of Extended Chicago History Museum Learning Opportunities Photo by Bill Engdah - Hedrich-Blessing Jocelyn Moralde Photography, courtesy of the Chicago History Courtesy of Community Schools Initiative, Office Museum (HB31760h) of Extended Learning Opportunities, CPS

PAGE 111 top PAGE 144 top Spertus Institute of Jewish Studies Library of Congress Photo by William Zbaren, Courtesy of the Spertus Photos by Russell Lee Institute of Jewish Studies PAGE 144 bottom PAGE 111 bottom Chicago Human Rhythm Project City of Chicago Photo by William Frederking, courtesy of Chicago Howard Ash Human Rhythm Project

PAGE 118 PAGE 145 The Joffrey Ballet Chicago Tap Theatre Photo by Herbert Migdoll; Courtesy of The Joffrey photo by Josh Hawkins Ballet PAGE 147 PAGE 123 Mather High School McCauliffe School Photo by John Booz Photo by John Booz PAGE 152 top left PAGE 128 Doris Humphrey Society Ensemble Español Center for Spanish Dance & Courtesy of the Doris Humphrey Society Music Photo - Joe Davis PAGE 152 top middle Mordine & Company Dance Theater PAGE 129 top Mordine & Company Dance Theater/William Polonia Ensemble Frederking Teresa J. Pacyniak PAGE 152 top right PAGE 129 bottom Library of Congress Muntu Dance Theatre of Chicago Studio IRIS, Library of Congress, Music Division. Marc C. Monaghan PAGE 152 bottom PAGE 131 Chicago Moving Company CPS photo by Joshua Dreyfus Photographer - Cheryl Mann PAGE 153 PAGE 134 Thodos Dance Chicago Hubbard Street Dance Company Cheryl Mann photo by Todd Rosenberg PAGE 155 PAGE 135 Curie High School Armstrong School Photo by John Booz Photo by John Booz PAGE 160 PAGE 136 The Seldoms Ruth Page Foundation Anthony La Penna Courtesy of Ruth Page Foundation

278 appendix Photo Credits CONTINUED

PAGE 161 top PAGE 202 Breakbone Dance Company eta Creative Arts Foundation photo by Carl Wiedemann Photo by Ken Simmons

PAGE 161 bottom PAGE 203 top Dance Crash Chicago eta Creative Arts Foundation Photo by Lindsay Schlesser Photo by Ken Simmons

PAGE 171 PAGE 203 bottom CPS Albany Park Theater Project Victor Powell Photo Amy Braswell

PAGE 178 all images PAGE 205 iO Chicago Shakespeare Theater Angela Manginelli, iO Chicago Photo by Michael Brosilow

PAGE 179 top PAGE 210 The Second City, Inc. Redmoon Redmoon “The Balloon Man” photo by Sean PAGE 179 bottom Williams Comedy Sportz Photo by Johnny Knight PAGE 211 top Lookingglass Theatre Company PAGE 184 Photo by Michael Brosilow CPS Photo by John Booz PAGE 211 bottom 500 Clown PAGE 185 Photo by Michael Brosilow Chicago Arts Partnerships in Education (CAPE) Photo Courtesy of Chicago Arts Partnerships in PAGE 223 left Education Amanda Lichtenstein Photo by Maya Erdelyi-Perez PAGE 186 Victory Gardens Theater PAGE 223 right Liz Lauren Hubbard St. Dance Company photo by Sinead Kimbrell PAGE 187 Goodman Theater PAGE 235 Photo by Peter Wynn Thompson Chicago Symphony Orchestra Dan Rest PAGE 192 McKinley Park Elementary School Photo Courtesy of McKinley Park Elementary School

PAGE 193 Bontemps - CPS Photo by John Booz

PAGE 194 Steppenwolf Theatre Company Photo by Michael Brosilow

PAGE 195 Congo Square Theatre Company Photo by Michael Brosilow

PAGE 197 Albany Park Theater Project Photo Amy Braswell

PAGE 195 Congo Square Theatre Company Photo by Michael Brosilow

photo credits 279