Kittatinny Regional Consortium

K-8 Performing Arts Curriculum

Kittatinny Regional High School ​ Fredon Township School Marian E. McKeown Elementary School Sandyston-Walpack Consolidated School Stillwater Township School

[Rev. 2/2019] Board of Education Approval Date: ______

INTRODUCTION The Kittatinny Regional Consortium takes pride in providing a holistic and comprehensive school experience for all children that include the performing arts. The performing arts engage students, not only academically, but socially and emotionally as well. This performing arts curriculum for dance and theatre supports additional core curriculum content areas. Interdisciplinary learning is one of many ways to learn over the course of a curriculum. The Kittatinny Region ​ chooses interdisciplinary learning to deliver performing arts content. This method brings students to a new awareness of the meaningful connections that exist among the disciplines and allows them to synthesize information. Each unit of study includes suggested learning activities to integrate other disciplines. Educators in all branches of education have ​ recommended that efforts be made to make connections between the various elements of the curriculum through curriculum integration. There is certainly opportunity for the integration of the performing arts curriculum with other curriculum areas. Teachers of the performing arts and general classroom teachers will collaborate to ensure that such opportunities are maximized.

Arts Education in the 21st Century Creativity is a driving force in the 21st century global economy, with the fastest growing jobs and emerging industries relying on the ability of workers to think unconventionally and use their imaginations. The best employers the world over will be looking for the most competent, most creative, and most innovative people on ​ the face of the earth ... This will be true not just for the top professionals and managers, but up and down the length and breadth of the workforce ... Those countries that produce the most important new products and services can capture a premium in world market (2007, National Center on Education and the Economy) … ​

Experience with and knowledge of the arts are essential components of the P-12 curriculum in the 21st century. As the ​ ​ state of New Jersey works to transform public education to meet the needs of a changing world and the 21st century workforce, capitalizing on the unique ability of the arts to unleash creativity and innovation in our students is critical for success, as reflected in the mission and vision that follow:

Mission: The arts enable personal, intellectual, social, economic, and human growth by fostering creativity and providing ​ ​ ​ opportunities for expression beyond the limits of language. Vision: An education in the arts fosters a population that: ​ Creates, reshapes, and fully participates in the enhancement of the quality of life, globally. Participates in social, cultural, and intellectual interplay among people of different ethnic, racial, and cultural backgrounds through a focus on the humanities. Possesses essential technical skills and abilities significant to many aspects of life and work in the 21st century. Understands and impacts the increasingly complex technological environment.

Intent and Spirit of the Visual and Performing Arts: ​ The intent and spirit of the New Jersey Visual and Performing Arts Standards builds upon the philosophy and goals of the 1994 National Standards for Arts Education and National Coalition for Core Arts Standards (NCCAS) National Arts ​ ​ ​ ​ ​ ​ Standards, anticipated for final publication in 2014. Equitable access to arts instruction is achieved when the four arts ​ ​ ​ disciplines (dance, music, theatre, and visual art) are offered throughout the P-12 spectrum. Thus, the goal of the standards is that all students have regular, sequential arts instruction throughout their P-12 education.

The expectation of the New Jersey arts standards is that all students communicate at a basic level in each of the four arts ​ ​ disciplines by the end of fifth grade, using the vocabulary, materials, tools, techniques, and intellectual methods of each arts discipline in a developmentally appropriate manner. Beginning in grade 6, student instruction in the arts is driven by specialization, with students choosing one of the four arts disciplines based on their interests, aptitudes, and career aspirations. By the end of grade 12, students are expected to communicate proficiently in one or more arts disciplines of their choice. By graduation from secondary school, all students should, in at least one area of specialization, be able to: Define and solve artistic problems with insight, reason, and technical proficiency. Develop and present basic analyses of works of art from structural, historical, cultural, and aesthetic perspectives. Call upon their informed acquaintance with exemplary works of art from a variety of cultures and historical periods. Relate various types of arts knowledge and skills within and across the arts disciplines by mixing and matching competencies and understandings in art-making, history, culture, and analysis in any arts-related project.

2014 Visual and Performing Arts Standards ​ ​ In view of the pending publication of the National Coalition of Core Arts Standards (NCCAS) National Arts Standards, ​ ​ ​ anticipated for fall 2014, no revisions were made to the 2009 Visual & Performing Arts Standards.

The 2014 visual and performing arts standards align with the 1994 National Standards for Arts Education. In addition, they correlate structurally to the three arts processes defined in the 2008 NAEP Arts Education Assessment Framework: ​ ​ ​ ​ ​ creating, performing, and responding. When actively engaged in these processes, students not only learn about the arts, they learn through and within the arts. The NCCAS National Arts Standards have four clusters (Create, Present, Respond & Connect) as their focal points. This difference will be reconciled in future iterations of New Jersey’s Core Curriculum Content standards in Visual and Performing Arts.

The state and national standards are deliberately broad to encourage local curricular objectives and flexibility in classroom instruction. New Jersey’s visual and performing arts standards provide the foundation for creating local curricula and meaningful assessments in the four arts disciplines for all children. They are designed to assist educators in assessing required knowledge and skills in each discipline by laying out the expectations for levels of proficiency in dance, music, theatre, and the visual arts at the appropriate level of study.

Currently, Media Arts is a component of New Jersey state theatre and visual arts standards. However, the new NCCAS National Arts Standards have expanded the definition, content and approach to media arts to be more comprehensive, and have presented it as a new stand-alone art form. While every state will examine the licensing/certification issues related to Media Arts standards, we recognize the media arts are being taught by a variety of authorized personnel, and standards serve to improve instruction and clarify student outcomes.

Organization of the Standards The organization of the visual and performing arts standards reflects the critical importance of locating the separate arts disciplines (dance, music, theatre, and visual art) as one common body of knowledge and skills, while still pointing to the unique requirements of individual disciplines. There are four visual and performing arts standards, as follows.

Standards 1.1 and 1.2, respectively, articulate required knowledge and skills concerning the elements and principles of ​ the arts, as well as arts history and culture. Together, the two standards forge a corollary to the NAEP Arts process of creating. Standard 1.1 includes four strands, one for each of the arts disciplines: A. Dance, B. Music, C. Theatre, and D. ​ Visual Art; standard 1.2 includes a single strand: A. History of the Arts and Culture. Standard 1.1 The Creative Process: All students will demonstrate an understanding of the elements and principles that ​ ​ govern the creation of works of art in dance, music, theatre, and visual art. Standard 1.2 History of the Arts and Culture: All students will understand the role, development, and influence of the arts ​ throughout history and across cultures.

Standard 1.3 is rooted in arts performance and thus stands as a corollary to the NAEP Arts process of ​ ​ performing/interpreting. Like Standard 1.1, standard 1.3 is made up of four arts- specific strands: A. Dance, B. Music, C. ​ Theatre, and D. Visual Art. Standard 1.3 Performing: All students will synthesize skills, media, methods, and technologies that are appropriate to ​ creating, performing, and/or presenting works of art in dance, music, theatre, and visual art.

Standard 1.4 addresses two ways students may respond to the arts, including (1) the study of aesthetics and (2) the ​ ​ application of methodologies for critique. Standard 1.4 provides a corollary to the NAEP Arts process of responding. This ​ ​ standard pertains to all four arts disciplines, and is comprised of two strands related to the mode of response: A. Aesthetic Responses and B. Critique Methodologies. Standard 1.4 Aesthetic Responses & Critique Methodologies: All students will demonstrate and apply an understanding ​ of arts philosophies, judgment, and analysis to works of art in dance, music, theatre, and visual art.

Proficiency Levels and Grade Band Clusters The grade-band clusters for the visual and performing arts standards correspond to federal definitions of elementary and secondary education, which may have implications for instructional delivery according to licensure. The expectations for student achievement increase across the grade band clusters as follows: Preschool: All students should be given broad-based exposure to, and be provided opportunities for exploration in, each ​ of the four arts disciplines. The goal is that preschool students attain foundational skills that progress toward basic ​ ​ ​ literacy in the content knowledge and skills delineated in the K-2 and 3-5 grade-level arts standards, as ​ ​ developmentally appropriate. Grades K-2 and 3-5: All students in grades K-5 are given broad-based exposure to, and are provided opportunities for ​ participation in, each of the four arts disciplines. The expectation at this level is that all students attain basic literacy in ​ ​ ​ ​ ​ the content knowledge and skills delineated in the K-2 and 3-5 grade- level standards for the arts. Grades 6-8: In grades 6-8, student instruction focuses on one of the four arts disciplines, as directed by student choice. ​ The expectation at this level is that all students demonstrate competency in the content knowledge and skills delineated ​ ​ ​ ​ ​ for the selected arts discipline.

Teaching the Standards: Certification and Highly Qualified Arts Educators The visual and performing arts are considered a "core" subject under the federal No Child Left Behind Act (NCLB-2001). ​ ​ Therefore, all visual and performing arts teachers must meet the "Highly Qualified Teachers" standards within their certificated arts discipline(s). State licensure is the initial gatekeeper for highly qualified status.

Education in the Arts: National and State Advocacy: ​ The Arts Education Partnership provides research information and other guidance to assist in advocating for arts ​ ​ ​ ​ ​ education at the national, state, and local levels. The Partnership also provides information on government funding at the federal and state levels, including the grant programs of two federal agencies: the U.S. Department of Education and the National Endowment for the Arts. At the state level, the New Jersey Arts Education Partnership was established in 2007 as a clearinghouse for information ​ ​ ​ ​ and best practices in arts education, and calls attention to the contribution arts education makes to student achievement. The report, Within Our Power: The Progress, Plight, and Promise of Arts Education for Every Child, is the ​ ​ ​ ​ ​ ​ NJAEPs response to the New Jersey Arts Census Project, the most comprehensive survey ever compiled on the status of arts education in New Jerseys public schools. A Glossary of arts terms used in the 2009 visual and performing arts standards was designed to support implementation ​ ​ ​ ​ of the arts standards.

References: Amdur, S., & Associates (Ed.). (2000). Learning and the arts: Crossing boundaries (proceedings of an invitational meeting ​ ​ for education, art, and youth funders held January 12-14, Los Angeles). Seattle, WA: Grantmakers in the Arts. Online: http://www.giarts.org Asbury, C., & Rich, B. (Eds.). (2008). Learning, arts, and the brain: The DANA foundation consortium report on arts and ​ cognition. New York: DANA Press. ​ Consortium of National Arts Education Associations. (1994). National standards for arts education: What every young ​ American should know and be able to do in the arts. Reston, VA: Music Educators National Conference. Online: ​ http://artsedge.kennedy-center.org/educators/standards.aspx Deasy, R. J. (Ed.). (2002). Critical links: Learning in the arts and student academic and social development. Washington, ​ ​ DC: Arts Education Partnership. Deasy, R. J. (Ed.). (2005). Third space: When learning matters. Washington, DC: Arts Education Partnership. ​ ​ Fisk, E. B. (Ed.) (1999). Champions of change: The impact of the arts on learning. Washington, DC: The Presidents ​ ​ Committee on the Arts and Humanities & Arts Education Partnership. Kendall, J. S., & Marzano, R. J. (2000). Content knowledge: A compendium of standards and benchmarks for K-12 ​ education (3rd ed.). Alexandria, VA: Association for Supervision and Curriculum Development. ​ Literacy in the Arts Task Force. (1989). Literacy in the arts: An imperative for New Jersey schools. Trenton, NJ: Alliance for ​ ​ Arts Education. National Center on Education and the Economy. (2007). Tough choices or tough times: The report of the New Commission ​ on the Skills of the American Workforce. San Francisco: John Wiley & Sons. Online [executive ​ summary]:http://www.skillscommission.org/?page_id=280 National Dance Education Organization. (2005). Standards for learning and teaching dance in the arts: Ages 5-18. Silver ​ ​ Spring, MD: Author. Online: http://ndeo.org/content.aspx?page_id=22&club_id=893257&module_id=55412 New Jersey State Department of Education. (1996). New Jersey Core Curriculum Content Standards. Trenton, NJ: Author. ​ ​ New Jersey State Department of Education. (1999). New Jersey visual & performing arts curriculum framework. Trenton, ​ ​ NJ: Author. New Jersey State Department of Education. (2004). New Jersey visual & performing arts curriculum framework. Trenton, ​ ​ NJ: Author. New Jersey State Department of Education. (2008). Standards clarification project. Trenton, NJ: Author.Online: ​ ​ http://www.nj.gov/education/aps/njscp/ Presidents Committee on the Arts & Humanities & Arts Education Partnership. (1999). Gaining the arts advantage: ​ Lessons learned from school districts that value arts education. Alexandria, VA, & Washington, DC: Authors. ​ Wiggins, G., & McTighe, J. (2005). Understanding by design (2nd ed.). Alexandria, VA: Association for Supervision and ​ ​ Curriculum and Development.

Unit Design Each curriculum unit of study is designed within the Understanding by Design (UbD) framework. Each unit cites the New Jersey Core Curriculum Content Standards for Visual and Performing Arts, New Jersey Student Learning Standards for Technology, and New Jersey Student Learning Standards for 21st Century Life and Career. In addition, Enduring Understandings, Essential Questions, Topics and Objectives are specifically outlined. These clearly Indicate what students need to understand, what they will keep considering, what they will know and what they will be able to do. These items provide the framework that teachers must follow in order to ensure that the New Jersey Core Curriculum Content Standards and curriculum objectives are met. In the assessment column, students will show what that they have achieved the goals of the unit. This section outlines specific assessment and performance tasks that students will engage in to display their level of understanding of unit content. Assessments and performance tasks are written specific to the content taught in each unit. These assessments are varied, including but not limited to, formative assessments, summative assessments, alternative assessments and ​ benchmark assessments. In the ‘Activities’ column, with key learning events and instruction are outlined. This is considered to be the ‘how’ of the curriculum. In this section, exemplary learning activities, integrated accommodations, integrated modifications, ​ interdisciplinary connections, technology integration, 21st century life and career integration activities are suggested. ​ Depending on the individual needs of the students in each classroom, teachers are expected to differentiate these components as needed. Differentiation of content, process and/or product will be necessary depending upon the strengths and needs of the students in the classroom.

Meeting the Needs of Diverse Learners through Differentiation Classrooms are dynamic centers that include students of all backgrounds, ability levels, and interests. In order to meet the specific needs and capitalize on the specific strengths of individual students, differentiation is key. Effective instruction must include a teacher’s commitment to a high level of differentiation. Modifications are designed to change the learning goal and/or objective. Accommodations change the way a student receives information or is tested without changing the learning goal. Integrated modifications, accommodations and differentiation strategies have been built into each unit at every grade level throughout this curriculum. These are specific to the content studied in each unit and target the following student populations: 1. Special Education Students ​ 2. English Language Learners ​ 3. Students At Risk of School Failure ​ 4. Gifted and Talented Students ​ 5. Students with 504 Plans ​ In order to fully meet the needs of students, the implementation of Response to Intervention is also necessary. In 2016, ​ ​ the New Jersey Department of Education (NJDOE), in collaboration with educators, higher education representatives and parents, has developed a set of resources for districts to facilitate implementation of RtI known as “New Jersey Tiered System of Supports (NJTSS)”. NJTSS includes the three-tiered approach to instruction, assessment and intervention found in many models of response to intervention, along with three foundational components: effective district and school leadership, positive school culture and climate, and family and community engagement. Together, these components create an efficient and effective mechanism for schools to improve achievement for all students. NJTSS builds on effective practices and initiatives already in place in schools, and maximizes the efficient use of resources to improve support for all classroom teachers and target interventions to students based on their needs. An RtI program consistent with section 100.2(ii) of the Regulations of the Commissioner must include the following minimum components: · Appropriate instruction delivered to all students in the general education class by qualified personnel. ​ ​ ​ Appropriate instruction in reading means scientific research-based reading programs that include explicit and systematic instruction in phonemic awareness, phonics, vocabulary development, reading fluency (including oral reading skills) and reading comprehension strategies. · Screenings applied to all students in the class to identify those students who are not making academic progress at ​ ​ ​ expected rates. · Instruction matched to student need with increasingly intensive levels of targeted intervention and instruction ​ ​ ​ ​ ​ for students who do not make satisfactory progress in their levels of performance and/or in their rate of learning to meet age or grade level standards. · Repeated assessments of student achievement which should include curriculum based measures to determine if ​ ​ ​ interventions are resulting in student progress toward age or grade level standards. · The application of information about the student’s response to intervention to make educational decisions about ​ ​ ​ ​ ​ ​ changes in goals, instruction and/or services and the decision to make a referral for special education programs and/or services. · Written notification to the parents when the student requires an intervention beyond that provided to all ​ ​ ​ students in the general education classroom that provides information about the: ■ amount and nature of student performance data that will be collected and the general education services that will be provided ■ strategies for increasing the student’s rate of learning ■ parents’ right to request an evaluation for special education programs and/or services.

1. Requires each school district to establish a plan and policies for implementing school-wide approaches and ​ ​ pre-referral interventions in order to remediate a student’s performance prior to referral for special education, which may include the RtI process as part of a district’s school-wide approach. The school district must select and define the ​ specific structure and components of its RtI program, including, but not limited to: ​ a. criteria for determining the levels of intervention to be provided to students b. types of interventions c. amount and nature of student performance data to be collected d. manner and frequency of progress monitoring 2. Requires each school district implementing a RtI program to take appropriate steps to ensure that staff have the knowledge and skills necessary to implement a RtI program and that such program is implemented in a way that is ​ consistent with the specific structure and components of the model. **See Appendix A for comprehensive accommodations and modifications for the above student populations and the Response to Intervention Framework.

21st Century Life and Career One of the goals of the Kittatinny Region is to prepare our students for success as contributing citizens in the 21st Century. New Jersey Student Learning Standards for 21st Century Life and Career are integrated in each unit of study within the grade level bands. In addition, suggested learning activities are outlined to meet the standards selected for the unit.

Interdisciplinary Connections Many areas of the overall curriculum are taught and reinforced through the performing arts. The study of performing arts reinforces the basic concepts taught in all other subject areas. All teachers have the ability and opportunity to meet with colleagues to discuss and design the ways in which the performing arts can be incorporated throughout the school day. Likewise, performing arts teachers are consistently incorporating content from the other core curriculum content areas. Teachers will meet to plan interdisciplinary lessons, activities, and projects that help students make connections and develop meaningful understandings. The opportunity to meet and plan have to be promoted and assisted by the district administration.

Technology Integration Technology plays an integral part in the teaching and learning process throughout the Kittatinny Region. Performing Arts classes and integration should, when possible, make use of technology for a variety of reasons: a) The technology available through numerous software programs is a media in itself. ​ ​ b) The application of technology to creative production is a technique that has come into its own during the twenty ​ ​ first century. c) The performing arts have become a technology-driven discipline. ​ ​ d) The Performing Arts are greatly enhanced by technology. ​ ​ Students utilize technology to access the curriculum, learn new content and apply their knowledge in a variety of ways. New Jersey Student Learning Standards for Technology are integrated in each unit of study, at every grade level. In addition, suggested learning activities are outlined to meet the standards selected for the unit. Each of the schools within the Kittatinny Region has a wide range of media and technology available for staff and student use. Each district has made significant strides toward training their staff in terms of integrating technology into all curriculum areas. In addition, each of the districts has plans to continue to expand the technology they have and to extend the training offerings available to staff. Technology plays an important role in the implementation of the Performing Arts curriculum. Within the limits of available equipment and materials, teachers in the various districts will make regular, appropriate use of the available media. Staff and Program Development ​ Staff development is an essential element of curriculum design that helps to ensure the implementation of the current curriculum. To keep staff abreast of new developments that may affect future curriculum revisions and adaptations, and to encourage professional growth and spirit. Region-Wide staff meetings are used to discuss the topics and importance of the arts to staff and students. In addition, teachers are encouraged to expand their knowledge within the subject by attending professional development sessions throughout the state. Teachers are also asked to embrace curriculum development as an on-going process. They are to research and present new findings in terms of how students learn. New ideas emerge in terms of how programs should be organized and what is important for students to study and learn. Materials for teaching continue to evolve. For these reasons it is important that school districts examine new directions and consider ways to modify, adjust and expand current programs. In order to meet the NJSLS, it is necessary for all teachers to embrace the performing arts and continue to incorporate the performing arts in various subject areas.

Curriculum Pacing Guide

DANCE

Kindergarten - Grade One - Grade Two

20 Weeks Unit 1: The Creative Process, Performance, and Aesthetic Responses September- January

20 Weeks Unit 2: History of the Arts and Culture, Performance, and Aesthetic February- June Responses

Grade Three - Grade Four - Grade Five

12 weeks Unit 1: Elements of Dance and Kinesthetic Movement September- December

12 weeks Unit 2: History of the Arts and Culture January-March

12 weeks Unit 3: Choreography and Performance April-June

Grade Six - Grade Seven - Grade Eight

12 Weeks Unit 1: Elements of Dance and Kinesthetic Movement September - December

12 Weeks Unit 2: History of the Arts and Culture January - March

12 Weeks Unit 3: Choreography and Performance April- June

THEATRE

Kindergarten - Grade One - Grade Two

20 Weeks Unit 1: The Creative Process, Performance, and Aesthetic Responses September- January

20 Weeks Unit 2: History of the Arts and Culture, Performance, and Aesthetic February- June Responses

Grade Three - Grade Four - Grade Five

10 Weeks Unit 1: Elements of Theatre September- November

10 Weeks Unit 2: History of the Arts and Culture November - January

10 Weeks Unit 3: Aesthetic Response February- April

10 Weeks Unit 4: Performance April- June

Grade Six - Grade Seven - Grade Eight

12 Weeks Unit 1: Elements of Theatre September - December

12 Weeks Unit 2: History of the Arts and Culture January - March

12 Weeks Unit 3: Performance April- June

Units of Study Dance Grades K-2

Units of Study Dance Grade 3-5

Units of Study Dance Grades 6-8

Units of Study Theatre Grades K-2

Units of Study Theatre Grade 3-5

Units of Study Theatre Grade 6-8

APPENDICES

Appendix A: Integrated Accommodations and Modifications In addition to the integrated accommodations and modifications that are outlined in each unit of study, this appendix provides resources and information for teachers to consider as they design specific instruction to target the varying needs of the students in their classroom. The classroom teacher has access to student Individual Education Plans and Section 504 Plans. In addition, a teacher may be asked to coordinate a Response to Intervention action plan through Intervention and Referral Services programming. The purpose of integrating accommodations and modifications within each unit of study ensures that the differentiation occurs within the scope and content of the unit of study. Accommodations change the way a student receives information or is tested without changing the learning goal. Modifications change the learning goal or objective. This is important to keep in mind as instruction is designed and differentiated throughout the course of the curriculum.

Special Education Integrated Modifications and Accommodations

Presentation accommodations allow a student to: Listen to audio recordings instead of reading text, Learn content ​ from audiobooks, movies, videos and digital media instead of reading print versions, Work with fewer items per page or line and/or materials in a larger print size, Have a designated reader, Hear instructions orally, Record a lesson, instead of taking notes, Have another student share class notes with him, Be given an outline of a lesson, Use visual presentations of verbal material, such as word webs and visual organizers, Be given a written list of instructions

Response accommodations allow a student to: Give responses in a form (oral or written) that’s easier for him, ​ ​ Dictate answers to a scribe, Capture responses on an audio recorder, Use a spelling dictionary or electronic spell-checker, Use a word processor to type notes or give responses in class, Use a calculator or table of “math facts”

Setting accommodations allow a student to: Work or take a test in a different setting, such as a quiet room with ​ ​ few distractions, Sit where he learns best (for example, near the teacher), Use special lighting or acoustics, Take a test in small group setting, Use sensory tools such as an exercise band that can be looped around a chair’s legs (so fidgety kids can kick it and quietly get their energy out)

Timing accommodations allow a student to: Take more time to complete a task or a test, Have extra time to ​ ​ process oral information and directions, Take frequent breaks, such as after completing a task

Scheduling accommodations allow a student to: Take more time to complete a project, Take a test in several timed ​ ​ sessions or over several days, Take sections of a test in a different order, Take a test at a specific time of day

Organization skills accommodations allow a student to: Use an alarm to help with time management, Mark texts ​ ​ with a highlighter, Have help coordinating assignments in a book or planner, Receive study skills instruction

Assignment modifications allow a student to: Complete fewer or different homework problems than peers, Write ​ shorter papers, Answer fewer or different test questions, Create alternate projects or assignments Curriculum modifications allow a student to: Learn different material (such as continuing to work on multiplication ​ ​ ​ while classmates move on to fractions), Get graded or assessed using a different standard than the one for classmates, Be excused from particular projects

The following is a list of possible accommodations and modifications that can be utilized for students with Special Needs. See the student’s individualized education plan for specific accommodations and modifications that must be implemented. (The following list is sourced from Realtime Student Information System)

Class Work Curricular Procedures:

Review, restate and repeat directions

State expectations clearly

Ongoing monitoring of work produced during class

Preferential seating

Provide visual cues

Use cueing to return to task

Ignore attention seeking behaviors

Provide positive reinforcement

Provide firm consistent consequences

Limit field of choices

Instructional Strategies and Techniques that Address Learning Style:

Multi sensory approach

Stress visual presentation

Stress auditory presentation

Provide positive reinforcement

Provide support/encouragement

Provide structured environment

Set clear limits and consequences

Simplify directions

Provide repetition and practice

Allow frequent activity changes

Provide small group instruction

Reduce work increments Set short-term goals

Preferential seating

Model skills/techniques to be mastered

Have student repeat directions

Techniques and Activities to Support Personal-Social Development:

Small group instruction

Maintain communication between parents and teachers to coordinate efforts

Build confidence by providing opportunities for success

Train in using social skills appropriately

Use of time out

All Instructional Areas

Modifying the Presentation of Materials

Break assignment into segments of shorter tasks

Provide a checklist for long, detailed tasks

Use concrete examples of concepts before teaching the abstract

Reduce the number of concepts presented at one time

Monitor the student's comprehension of language used during instruction

Highlight important concepts to be learned in text of material

Provide clear, concise directions and concrete examples for homework/class work assignments

Assign tasks at an appropriate reading level

Give additional presentations by varying the methods using repetition, simpler explanations, more examples and modeling

Give written directions to supplement verbal directions

Provide due date on written assignments

Familiarize student with any new vocabulary before beginning the lesson

Utilize visual aids such as charts and graphs

Utilize manipulative, hands-on activities

Cue student by calling his/her name before asking questions

Frequently check on progress of independent work

Provide graph paper for math computation Provide clear and well defined worksheets

Modifying the Environment

Use study carrels

Seat student in an area free of distractions

Use preferential seating

Help keep student's work area free of unnecessary materials

Use checklists to help the student get organized

Frequently check the organization of the student's notebook

Monitor the student's use of his/her assignment sheet

Provide opportunities for movement/activity change

Provide a specific place for turning in completed assignments

Modifying Test

Time of test determined by instructor

Modify the content of the test

Allow students to make corrections on returned tests for additional credit

Retake failed tests using alternative strategies

Allow test to be given by special education teacher

Allow use of instructional aids (calculator, computer, etc.)

Location of test determined by instructor

Modify test format

Allow student to type

Allow student to give answers orally

Use word banks

Test only on key concepts

Minimize essay questions

Math tools for tests (fact chart, number line calculator)

Modifying the Grading

Modify homework/class work expectations

Grade determined through collaboration of general/special education teacher

Allow for spelling errors Facilitating Appropriate Behavior

Provide clear and concise classroom expectations and consequences

Consistently enforce school rules

Avoid the use of confrontational techniques

Provide student with alternatives

Designate a 'cooling off' location within the classroom/outside the classroom

Assign activities which require some movement

Use praise generously

Ignore minor annoying behaviors

Monitor levels of tolerance and be mindful of signs of frustration

Speak privately, without the audience of peers, to student about inappropriate behavior

Minimize situations that the student may perceive as embarrassing

Involve parents to coordinate approach

Encourage student to accept responsibility for behavior

Reinforce student for appropriate behaviors

Student has behavior plan

Class Work Curricular Procedures

Limit oral reading unless student volunteers

Reading assistance in content area

Modify reading assignments

Modify writing requirements

Allow additional time to complete work

Use of aids (calculator, computer, tape recorder, etc.)

Reduce length/number of written assignments

Reduce content objectives

Review, restate and repeat directions

State expectations clearly

Ongoing monitoring of work produced during class

Preferential seating

Assist in organizing materials Provide organizational aides: (folders, schedules)

Provide study guides

Provide copies of class notes

Cue students attention

Provide repetition/practice

Simplify verbal/written directions

Teach to learner's multi sensory style

Teach to learner's auditory style

Provide student a daily schedule/established routine

Homework

Reduce length of assignments

Homework assignment book checked by special education or mainstream teacher(s) and parent/guardian daily

Reduced/alternative written work

Reduced/alternative reading work

Access to Special Equipment and Instructional Materials

Computer

Calculator

Electronic speller

Special pens, pencils and paper

Language Arts

Modifying the Presentation of Materials

Provide a checklist for long, detailed tasks

Reduce the number of concepts presented at one time

Assign tasks at an appropriate reading level

Frequently check on progress of independent work

Modifying the Environment

Seat student in an area free of distractions

Use preferential seating

Help keep student's work area free of unnecessary materials Use checklists to help the student get organized

Frequently check the organization of the student's notebook

Modifying Test

Time of test determined by instructor

Modify the content of the test

Allow test to be given by special education teacher

Location of test determined by instructor

Modify test format

Use word banks

Minimize essay questions

Modifying the Grading

Modify homework/class work expectations

Grade determined through collaboration of general/special education teacher

Allow for spelling errors

Facilitating Appropriate Behavior

Provide clear and concise classroom expectations and consequences

Avoid the use of confrontational techniques

Use praise generously

Speak privately, without the audience of peers, to student about inappropriate behavior

Minimize situations that the student may perceive as embarrassing

Encourage student to accept responsibility for behavior

Reinforce student for appropriate behaviors

Class Work Curricular Procedures

Limit oral reading unless student volunteers

Reading assistance in content area

Modify reading assignments

Modify writing requirements

Allow additional time to complete work

Provide study guides

Homework Reduce length of assignments

Reduced/alternative written work

Reduced/alternative reading work

Reading

Modifying Test

Modify the content of the test

Modify test format

Use word banks

Minimize essay questions

Modifying the Grading

Modify homework/class work expectations

Grade determined through collaboration of general/special education teacher

Math

Modifying the Presentation of Materials

Cue student by calling his/her name before asking questions

Frequently check on progress of independent work

Modifying the Environment

Seat student in an area free of distractions

Use preferential seating

Help keep student's work area free of unnecessary materials

Frequently check the organization of the student's notebook

Modifying Test

Modify the content of the test

Modify test format

Use word banks

Facilitating Appropriate Behavior

Provide clear and concise classroom expectations and consequences

Avoid the use of confrontational techniques

Use praise generously

Speak privately, without the audience of peers, to student about inappropriate behavior Minimize situations that the student may perceive as embarrassing

Encourage student to accept responsibility for behavior

Reinforce student for appropriate behaviors

504 Student Integrated Accommodations and Modifications

Examples of General Accommodations • Organizational Strategies • Behavioral Strategies • Presentation Strategies • Evaluation Methods

Environmental Strategies • Provide a structured learning environment • Make separate "space" for different types of tasks • ​ Possible adapting of non-academic times such as lunch, recess, and physical education • Change student seating • Utilize a study carrel • Alter location or personal or classroom supplies for easier access or to minimize distraction • Provide sensory breaks • Provide a written or picture schedule Organizational Strategies • Model and reinforce organizational systems (i.e. color-coding) • Write out homework assignments, ​ check student's recording of assignments • Tailor homework assignments toward student strengths • Set time expectations for assignments • Provide clues such as clock faces indicating beginning and ending times • Teach study/organizational skills • Schedule before or after school tutoring/homework assistance Behavioral Strategies • Use behavioral management techniques consistently within a classroom and across classes • Implement ​ behavioral/academic contracts • Utilize positive verbal and/or nonverbal reinforcements • Utilize logical consequences • Confer with the student's parents (and student as appropriate) • Establish a home/school communication system for behavior monitoring • Post rules and consequences for classroom behavior • Put student on daily/weekly progress report/contract • Reinforce self-monitoring and self-recording of behaviors Presentation Strategies • Tape lessons so the student can listen to them again; allow students to tape lessons • Use computer-aided ​ instruction and other audiovisual equipment • Select alternative textbooks, workbooks, or provide books on tape • Highlight main ideas and supporting details in the book • Provide copied material for extra practice (i.e. outlines, study guides) • Prioritize drill and practice activities for relevance • Vary the method of lesson presentation using multi-sensory techniques: a) lecture plus overhead/board demonstration support b) small groups required to produce a written product c) large groups required to demonstrate a process d) computer-assisted instruction e) peer tutors or cross-age tutors f) demonstrations, simulations g) experiments h) games • Ask student to repeat/paraphrase context to check understanding • Arrange for a mentor to work with student in his or her interest area or area of greatest strength • Provide peer tutoring • Simplify and repeat instructions about in-class and homework assignments • Vary instructional pace • Reinforce the use of compensatory strategies, i.e. pencil grip, mnemonic devices, “spell check” • Vary kind of instructional materials used • Assess whether student has the necessary prerequisite skills. Determine whether materials are appropriate to the student's current functioning levels • Reinforce study skill strategies (survey, read, recite, review) • Introduce definition of new terms/vocabulary and review to check for understanding • Be aware of student's preferred learning style and provide matching instruction materials • Pre-teach and/or re-teach important concepts • Prepare advanced organizers/study guides for new material Assignments • Modify the amount of homework • Use written directions to supplement oral directions • Reduce paper and pencil tasks • Allow for assignments to be word processed • Lower reading level of assignments • Break assignments into a series of smaller assignments • Use highlighted texts Evaluation Methods • Limit amount of material presented on a single page • Provide a sample or practice test • Provide for oral ​ testing • Provide tests in segments so that student hands in one segment before receiving the next part • Provide personal copy of test tools and allow for color-coding/highlighting • Adjust time for completion • Modify weights of tests when grading www.warmlinefrc.org/uploads/5/9/5/8/5958794/section_504_accomodations.pdf https://www.understandingspecialeducation.com/section-504.html https://www.psycom.net/classroom-help-anxious-child-at-school/

Special Education and 504 Integrated Modifications and Accommodations - Tables

TABLE A

Curriculum Area to be Considered General Accommodation to be Specific Procedures used in ​ for Accommodation – Provide a addressed (Environmental, instruction ​ ​ brief description of instructional Organizational, Behavioral, ​ ​ goal/objective Presentation, Evaluation

TABLE B

Modifications Accommodations

Assignment Presentation

Curriculum Response

Setting

Timing

Scheduling

Organization

English Language Learners Integrated Accommodations and Modifications

Tiered Vocabulary Pre-teach vocabulary by selecting Tier 1, Tier 2 and Tier 3 words from the target content/instructional unit.

Teacher will identify Tier 1 Vocabulary Words – ELL students know the concept in their primary language but not the label in English. ​ ​

Teacher will identify Tier 2 Vocabulary – Words that are useful to understanding the text, prepositions, and words where student ​ ​ understand the general concept but need more precision. These words can be demonstrated. Pre-teaching http://www.educators/content/introducing

Teacher will introduce Tier 3 Vocabulary – Words that are low-frequency and are found in content books in the upper grades. ​ ​

Peer Review and cooperative learning Use graphic organizers, assign reading partners, use think-pair-share TPS. Making predictions http://www.teachervision.fen.com/skill-builder/reading/48610.html ​ ​

Sample Table: Tier 1 Vocabulary

Tier 2 Vocabulary

Tier 3 Vocabulary

Students at Risk for Failure Integrated Accommodations and Modifications

A student ‘at risk’ is a student who is considered to have a higher likelihood of failing academically and who requires temporary or ongoing intervention to succeed. It can also mean that the student is less likely to be a positive member of the school community. In these cases, student welfare and the inclusion of student welfare strategies are critical. Student-at-risk symptoms may include: challenging behaviors at school, withdrawal, truancy, disengagement, resistance and disconnection. Students at risk for failing require a classroom environment that will nurture them and foster success. These basic ingredients include (Maurice J. Elias, 2009): 1. Caring sustained relationships at school that facilitate trust and communication; 2. Reachable goals that are challenging but within reach of the student; 3.Realistic, hopeful pathways preparing students for obstacles and problems; 4. Engaging school and community settings that provide positive feedback, encourage teamwork and help learning new skills, https://link.springer.com/chapter/10.1007/978-0-387-73317-3_58 http://www.edutopia.org/strategies-help-at-risk-students

Gifted and Talented Integrated Accommodations and Modifications

Curriculum Compacting will be used to (1) define goals and outcomes of the unit of study, (2 determine and document which ​ students have already mastered most or all of the learning outcomes, (3) provide replacement strategies for material already mastered.

Individual Educational Programming Guide Curriculum Areas to be Procedures for Compacting Acceleration and/or Enrichment Considered Basic Material Describe activities Activities Describe activities that ​ ​ For Compacting – Provide a brief that will be used to provide advanced ​ Description of materials to be will be used in basic curricular areas level learning in each area covered during The unit.

Copyright 1978 Creative Learning Press Joe Renzulli

http://gifted.uconn.edu/schoolwide-enrichment-model/identifygt/ https://gifted.uconn.edu/schoolwide-enrichment-model/curriculum_compacting/

The Instructional Products Menu Will be utilized for identified students generating varying outcomes determined as a result of ​ ​ student choice. A curriculum for the gifted should result in both concrete and abstract products.

CONCRETE PRODUCTS ABSTRACT PRODUCTS

Knowledge (deepening) Cognitive Structures

Written Products Problem Solving Strategies

Spoken Products Values

Constructed Products Appreciations

Artistic Performances Self-Actualization

Leadership Behaviors

Sample Table: CONCRETE PRODUCTS Suggested Activity ABSTRACT PRODUCTS Suggested Activity

Knowledge (deepening) Cognitive Structures

Written Products Problem Solving

Spoken Products Values

Constructed Products Appreciations

Artistic Performances Self-Actualization

Leadership Behaviors

Response to Intervention (RTI)

“The Response to Intervention (RTI) approach represents a process for assessing and maximizing the ‘opportunity to learn’ of students who are struggling in any content area. It emphasizes the importance of effective, culturally responsive instruction and early intervening service for all students prior to making a referral to Special Education. By picking up on themes from NCLB and moving away from the Individuals with Disabilities Education Act (IDEA) discrepancy model exclusively used to identify students with learning disabilities, we remove the potentially harmful effects of delaying intervention until a student’s achievement is so low there is little hope of ‘catching up”

The features of RTI focus on “accountability for results.” The features of such as plan include:

● High-quality, culturally-responsive classroom instruction

● Research-based

● Universal screening

● Dyslexia screening

● Continuous progress monitoring

● Early implementation of research-based interventions

● Progress monitoring during intervention

● Program Fidelity

-Kemp & Eaton, 2008, p. 11, from RTI: The Classroom Connection for Literacy: Reading Intervention and Measurement ​ “RtI is best depicted as a model that incorporates the use of a tiered system, which focuses on accountability and academic supports” (Kemp & Eaton, p. 13). (A specific model with interventions for a particular school district is included later in this document.)

Introduction

In 2010, the Response to Intervention (RtI) Committee comprised of administrators from the Office of Curriculum and Instruction, Office of Special Education, and the three elementary schools, general education teachers, special education teachers, and English as a Second Language teachers embarked on a journey to learn about RtI and to collectively develop a plan for student interventions and processes. In 2016, the New Jersey Department of Education (NJDOE), in collaboration with educators, higher education representatives and ​ parents, has developed a set of resources for districts to facilitate implementation of RtI known as “New Jersey Tiered System of Supports (NJTSS)”. NJTSS includes the three-tiered approach to instruction, assessment and intervention found in many models of response to intervention, along with three foundational components: effective district and school leadership, positive school culture and climate, and family and community engagement. Together, these components create an efficient and effective mechanism for schools to improve achievement for all students. NJTSS builds on effective practices and initiatives already in place in schools, and maximizes the efficient use of resources to improve support for all classroom teachers and target interventions to students based on their needs. According to Jim Wright “The greatest strength of any RTI Team is the diversity of experience, skills, and knowledge that its combined membership can draw upon to develop the best intervention plan for a student.” We feel that we have created a team that fulfills this description. Throughout the process, we examined our current state of interventions and our capacity to implement them with efficacy and fidelity and envisioned our desired state of interventions. These examinations have led to the recommendations for curriculum, instruction, assessment, and professional development. The RtI Team will meet annually to review the plan and its recommendations for subsequent years looking into the validity and reliability of our interventions and their subsequent success or lack thereof.

History of Response to Intervention

Although the terms Response to Intervention (RtI) and Tiered Systems of Support are still relatively new to education circles in New Jersey, the concepts are not. Rather, it has been developed over the past several decades. One of the major factors in the birth of RtI has been the widespread dissatisfaction with existing practices to identify and treat children with Learning Disabilities. In 1975, Congress passed Public Law 94-142, the Education of all Handicapped Children Act. This historic legislation required that school districts proactively seek out and identify children with school-related disabilities and provide them with appropriate educational programs (Wright, 2007). As states interpreted the new law, most adopted some version of an IQ-achievement discrepancy approach to diagnose learning disabilities. However, there were many limitations to using such a measure, including the fact that using a discrepancy between IQ and achievement test scores to identify Learning Disabled (LD) students provides no useful information about what academic treatments or interventions might benefit a student. In 2004, Congress reauthorized the Individuals with Disabilities Education Improvement Act (IDEIA 2004) and included landmark language in that law to encourage schools to break free of their reliance on the discredited IQ-Achievement Discrepancy method for identifying Learning Disabilities (Wright, 2007). IDEIA 2004 gave schools the freedom to use the student’s “response to scientific, research-based intervention” diagnostically as a prime indicator of whether the child has a Learning Disability. In sum, IDEIA 2004 was the impetus that paved the way for RtI to enter the doors of school buildings everywhere. In 2014, the New Jersey Senate enacted legislation that required the Commissioner of the Department of Education to ensure that an RTI framework developed and implemented by a school district includes, at a minimum, certain elements that are commonly recognized as core components of any RTI model. These elements include: (1) high quality research-based instruction in the general education setting; (2) universal screening procedures to identify students at risk for poor learning outcomes or behavioral challenges; (3) multiple levels of evidence-based interventions that are progressively more intense, based on the student’s responsiveness; and (4) continuous monitoring of student progress.

The overarching idea behind RtI is targeted instruction to expertly match each student’s need based on a multi-tiered approach to instruction. In a multi-tiered approach, instruction is tailored to meet the students’ individual needs with increasingly intensive levels of targeted intervention and instruction. By identifying struggling students early, educators can provide appropriate interventions to assist them in achieving grade-level benchmarks without falling too far behind their peers in Tier 1. Students who continue to struggle will receive more intensive instruction in a smaller group setting to accelerate their learning and enable them to catch up to the proficient readers in their class (Howard, 2009). An RtI program consistent with section 100.2(ii) of the Regulations of the Commissioner must include the following minimum components: · Appropriate instruction delivered to all students in the general education class by qualified personnel. Appropriate instruction ​ ​ ​ in reading means scientific research-based reading programs that include explicit and systematic instruction in phonemic awareness, phonics, vocabulary development, reading fluency (including oral reading skills) and reading comprehension strategies.

· Screenings applied to all students in the class to identify those students who are not making academic progress at expected ​ ​ ​ rates.

· Instruction matched to student need with increasingly intensive levels of targeted intervention and instruction for students ​ ​ ​ ​ ​ who do not make satisfactory progress in their levels of performance and/or in their rate of learning to meet age or grade level standards.

· Repeated assessments of student achievement which should include curriculum based measures to determine if interventions ​ ​ ​ are resulting in student progress toward age or grade level standards.

· The application of information about the student’s response to intervention to make educational decisions about changes in ​ ​ ​ ​ ​ ​ goals, instruction and/or services and the decision to make a referral for special education programs and/or services.

· Written notification to the parents when the student requires an intervention beyond that provided to all students in the ​ ​ ​ general education classroom that provides information about the: --amount and nature of student performance data that will be collected and the general education services that will be provided --strategies for increasing the student’s rate of learning --parents’ right to request an evaluation for special education programs and/or services.

1. Requires each school district to establish a plan and policies for implementing school-wide approaches and pre-referral ​ ​ ​ ​ interventions in order to remediate a student’s performance prior to referral for special education, which may include the RtI process as part of a district’s school-wide approach. The school district must select and define the specific structure and ​ components of its RtI program, including, but not limited to: ​ a. criteria for determining the levels of intervention to be provided to students ​ ​ b. types of interventions ​ ​ c. amount and nature of student performance data to be collected ​ ​ d. manner and frequency of progress monitoring ​ ​

2. Requires each school district implementing a RtI program to take appropriate steps to ensure that staff have the knowledge and ​ ​ ​ skills necessary to implement a RtI program and that such program is implemented in a way that is consistent with the specific ​ structure and components of the model.

Creating an Instructional Frame for Literacy RTI IS RTI IS NOT

One size fits few One size fits all

School focused Teacher focused

General education initiative Special education initiative

Multi-tiered Single support options

Problem-solving approach Directive approach

Understanding learners’ needs Labeling learners

Emphasis on solutions Emphasis on problems

Early intervention perspective Wait-to-fail perspective

Ongoing assessment One-shot assessment

High-quality instruction Hit-and-miss instruction

Program coordination Program isolation ​ Broad instructional alternatives Narrow instructional alternatives

Acceleration Remediation

Data informed Data driven

Proactive Reactive

Framework Program

Academic intervention Behavioral intervention There are many ideas about what constitutes an effective RtI. Here we have provided a table which lists the key characteristics of a successful RTI and contrasts these with what RTI is not. Source: Howard, 2011. * A core instructional program (Tier 1) should minimally include: ● Core curriculum aligned to the Common Core State Standards (CCSS) and New Jersey Student Learning Standards (NJSLS) ● Student assessment data are used to address the needs of all students regardless of performance level ● Appropriate instruction and research-based instructional interventions that meets the needs of at least 80% – 90% of all learners. Appropriate instruction in reading includes explicit and systematic instruction ​ in the BIG 5: phonemic awareness, phonics, vocabulary development, reading fluency and reading comprehension strategies ● Universal screening administered to all students in the general education classroom three times per year. ● Weekly progress monitoring of students initially identified as at-risk for two to six weeks

● Differentiated instruction based on the abilities and needs of all students in the core program ● A daily, uninterrupted 80 minute blocks of instruction in literacy and mathematics.

Suggested RtI Procedures

STEP # Action

1 Classroom teacher administers a Universal Screening: ● Running Records ● DIBELS ● Dyslexia Screening ● Beginning of Year Assessments – MAP/STAR360 ● Tri-Annual Benchmark Assessments (MAP/STAR360 Assessment)

2 Using Screening Data If a student is initially identified as at-risk based on results from an initial screening in the fall, he/she continues to be progress monitored in the general education setting by the classroom teacher three times during a six week period to confirm or disprove initial risk status. ​ Instruction should be differentiated (small-group or individual) for these initially identified at-risk students during core instruction while additional progress-monitoring data are obtained.

3 Referring teachers will meet with the I&RS Team once they identify students who are not responding to the general education classroom interventions administered by the classroom teacher. The purpose of these meetings will be to identify which students are not responding to the interventions provided by the classroom teacher. Classroom teachers will be asked to bring evidence that “shows” what they have tried within the classroom setting. Students will be referred to the building’s I&RS Team.

4 A Case Manager will be assigned to work with the classroom teacher. The Case Manager is the primary (I&RS) colleague and support throughout the process. 4 Following the initial I&RS Team meeting, recommendations from the Team will be made to keep the student in Tier 1 (Core Instructional Program) with interventions and differentiated instruction to continue to be provided by the classroom teacher with progress monitoring. In this scenario, the Case Manager will follow-up with the referring teacher two weeks after the initial meeting and thereafter for as long as the student continues to receive his/her interventions in the general education setting for up to six weeks. During the meeting, a form to record the minutes will be used to ensure everyone present has a common understanding of student outcomes. OR It is determined that the student has failed to respond to the interventions provided in the general education setting and is referred for Tier 2. In addition to Tier 1, struggling students who don’t meet grade level criteria receive small group supplemental instruction (3-5 students) for 20-30 minutes 3-5 days per cycle. The appropriate intervention specialist who will provide the intervention will send a letter home to inform the parents that the student will receive additional help in a small group of 1:5.

6 Within six to nine weeks of instruction, the I&RS Team convenes to evaluate the progress of students in Tier 2 to determine whether the achievement gap is shortening or widening. At this point, a recommendation will be made for students to remain in Tier 2, move back to Tier 1, or move to Tier 3. Parents will be notified as they were in Step #5. Tier 3: (1-5%) Designed for those students who demonstrate insufficient progress (defined by the parameters of the intervention being used) in Tier 2. Reading Specialist will provide the interventions and will send a letter home to inform parents that the student will receive intensive reading interventions in a group of no more than 1:2.

7 Within three to six months, the I&RS Team convenes to evaluate the progress of students in Tier 3 to determine whether they need to move to Tier 2, remain in Tier 3 or be referred for consideration by the Child Study Team

8 Child Study Team convenes. Student is either (a) evaluated for Special Education and Related Services or (b) remains in the multi-tiered approach.

Tiers are flexible and so based on data review, students can and should be fluidly moving between the tiers. NOTE: In addition to the RTI meetings, the building administration will regularly schedule data meetings with all teachers to review the progress students are making via results compiled in through our Universal Screening Tools. These meetings should take place in November, March, and May, and as needed.

​Samples of Common Types of Assessment Data

We must ensure that we are balancing varied forms of assessment to include the data recommended for RtI and the assessments that will offer a rich bank of information about students. This requires day-to-day assessment that is embedded in the learning process as an instructional informant. Effective instruction IS assessment as each instructional experience is an opportunity to assess the success of learning and each assessment experience embeds good instruction. Throughout this process, we continuously ask questions that will help us to make new and more informed choices: What evidence is there that learning is/is not taking place? What does the existing evidence tell us about this student?

What patterns are emerging to support a broader view?

How can we interpret the data to support our instructional goals?

How can we apply what we know about this student on a daily basis?

What new evidence can we collect to demonstrate success?

(Howard, 2009)

The following assessments are examples of the evidence that classroom teachers and intervention specialists can bring to the RtI Team meetings:

Running Record ​Peer-assessment ​Self-questioning

Miscue analysis ​Listening to reading ​Interest survey

​Anecdotal record ​Questioning ​Strategy reflection

​Portfolio ​Kid watching ​Retelling

​Authentic samples ​Feedback in context ​Literature response

​Spelling analysis ​Student think-aloud ​Sketch/illustration

​Word identification ​Discussion ​Readers’ notebook

​Response log Rubric ​Writing Prompt

​Conference notes ​Checklist ​Questionnaire

​Post-its ​Interview ​Reading survey

​Self-assessment ​Informal inventory

Report Card Grades: including teacher comments and previous years’ achievement. ​ ​ Test/Screening Data: Test records from a student’s cumulative folder illustrate academic strengths and weaknesses. ​ ​ Results from classroom Benchmark Assessments would also provide a useful comparison to grade-level peer performance.

Student Interview: This can be an informal interview you have with the student to assess their perceived academic ​ ​ strengths or behavioral strengths or weakness, preferred methods of learning, and interests.

Class and Homework Grades: Grades from the current year provide a comparison of student’s performance to average ​ ​ ​ class performance.

Attendance/Tardiness Records: This data can be obtained via Infinite Campus. It will be important to look for patterns ​ ​ ​ of absences and tardy arrivals.

Disciplinary Referrals: These referrals will help the I&RS Team to track patterns of misbehavior over history. ​ ​ ​

Completed Work Products: A collection of work students completed independently. ​ ​ ​

Anecdotal Records: Records from the classroom teacher about any aspect of the student’s academic or behavioral ​ ​ performance.

APPENDIX B: Assessments for Performing Arts - Dance and Theatre Assessment evidence is found in the right column in each unit of study. These suggested assessments directly link to Stage One of the unit plan (Enduring Understandings, Essential Questions, Topics and Objectives).

Benchmark Assessments Benchmark assessments are present in each unit of study. Teachers implement this form of assessment in the middle and end of each unit of study. Teachers use this benchmark data to inform instruction throughout the year and gain a deeper understanding of each student’s progress to meeting the student learning standards outlined in each unit of study. The data yielded by these assessments directly relates to the performing arts curriculum as teachers prepare lessons. Throughout the year, learning patterns will be determined and the need for additional resources and /or services will be targeted and addressed throughout the curriculum. Data will be maintained in the Realtime Data Management System and transferred to the school report card at the close of the marking period.

Summative Assessments The Performing Arts curriculum includes a varied repertoire of summative assessments, including, but not limited to, rubrics, oral and written performances, performance tests/quizzes, student performance during class and/or concert, and student participation and effort. These summative assessments allow students to meet personal learning styles and needs and provide a wealth of knowledge to the teacher. Many summative assessments are integrated in nature addressing higher level thinking skills. Standards based report cards or standards referenced report cards may be in place. All scores are entered into Realtime via Gradebook noting progress made toward Student Learning Standard attainment.

Formative Assessments Formative assessments are embedded within each instructional unit and at the conclusion of each instructional lesson. End of lesson/unit questions reflect all aspects of Bloom’s Taxonomy. Teachers utilize formative assessment data to inform instruction, ensuring the success of all students.

Alternative Assessments Alternative assessments are embedded within each instructional unit. Teachers are able to design a variety of alternative assessments to ensure that all students have access to an assessment that fairly and equitably displays their level of learning and mastery of the New Jersey Student Learning Standards.

APPENDIX C: Core Instructional and Supplemental Materials

Core Instructional and supplemental resources are indicated within each unit of study across all grade levels. Each individual school, within the region, has varied core instructional and supplemental materials that fit the needs of the students and staff within the district. Included in this appendix is a list of possible core programs and materials that can be found throughout the schools.

DANCE

Kindergarten Teaching Dance https://www.thepespecialist.com/dance2/ ​ Grade 1 Locomotor Skills with Locomotion Dance Grade 2 http://www.pecentral.org/lessonideas/ViewLesson.asp?ID=132910#.WsaJp2aZOgQ Shake it Senora http://www.pecentral.org/lessonideas/ViewLesson.asp?ID=12807#.WsaJ0maZOgQ The Funky Chipmunk Dance http://www.pecentral.org/lessonideas/ViewLesson.asp?ID=12641#.WsaJ_GaZOgQ The Snowflake Dance http://www.pecentral.org/lessonideas/ViewLesson.asp?ID=12004#.WsaKN2aZOgQ Blueprint Dance: Teaching Dance to Diverse Learners(PreK-12) http://schools.nyc.gov/offices/teachlearn/arts/files/Blueprints/Dance/Dance%20Spec%20Ed% 20Supplement.pdf Creative Dance Integration Lesson Plans Sample book list (choreographers) Glossary of Terms A Mini History of Dance: http://dancersgroup.org/2009/12/a-mini-history-of-dance-education/ Teaching Dance History “White Paper” http://www.danceheritage.org/teachingdancehistory.pdf History of Dance Part 1 https://educationcloset.com/2015/04/06/supporting-history-class-through-the-history-of-dan ce-part-i/ Responding to Dance https://www.ket.org/education/resources/responding-to-dance/

Grade 3 Teaching Dance https://www.thepespecialist.com/dance2/ ​ Grade 4 Locomotor Skills with Locomotion Dance Grade 5 http://www.pecentral.org/lessonideas/ViewLesson.asp?ID=132910#.WsaJp2aZOgQ Shake it Senora http://www.pecentral.org/lessonideas/ViewLesson.asp?ID=12807#.WsaJ0maZOgQ The Funky Chipmunk Dance http://www.pecentral.org/lessonideas/ViewLesson.asp?ID=12641#.WsaJ_GaZOgQ The Snowflake Dance http://www.pecentral.org/lessonideas/ViewLesson.asp?ID=12004#.WsaKN2aZOgQ Blueprint Dance: Teaching Dance to Diverse Learners(PreK-12) http://schools.nyc.gov/offices/teachlearn/arts/files/Blueprints/Dance/Dance%20Spec%20Ed% 20Supplement.pdf https://www.cde.state.co.us/standardsandinstruction/instructionalunits-dance#kinder https://www.louisianabelieves.com/resources/library/k-12-arts-resources Dance Texts: https://www.readworks.org/find-content#!q:Dance/g:/t:0/f:0/pt:/features:/ ​ Dance Artifacts: https://digitalcollections.nypl.org/collections/dance-in-photographs-and-prints#/?tab=navigati on The Evolution of Dance: https://www.ted.com/talks/the_lxd_in_the_internet_age_dance_evolves/up-next#t-408223 Article: What is Hip Hop? https://www.educationworld.com/a_lesson/what-is-hip-hop.shtml ​ PBS Resources: https://nj.pbslearningmedia.org/search/?q=Dance&selected_facets= ​ TED Talk: Why Do We Dance? Teaching Rhythm in Dance: Ideas and Exercises: https://www.tututix.com/teaching-rhythm-dance/ Dancemaker App: https://itunes.apple.com/us/app/dancemaker/id1180809091?mt=8 Heartbeat Dances: https://www.youtube.com/watch?v=x5oq4ErAmW0 ​ The Skeleton Dance:https://www.youtube.com/watch?v=Jpvuqj5nv6U ​ Contemporary Dancing for Beginners: https://www.youtube.com/watch?v=KstgOWbM6vk ​ Hip Hop Dance Moves for Kids: https://www.howcast.com/guides/994-hip-hop-dance-moves-for-kids/ Indian Folk Dance: http://www.youtube.com/watch?v=-knKCPnRpR0 ​ Latin Folk Dance: http://www.youtube.com/watch?v=qihYdSsLhXo ​ Russian Folk Dance: http://www.youtube.com/watch?v=niY0GZpQQSI ​ Glossary of Terms Grade 6 Choreographic Structure: http://www.artsalive.c a/en/dan/make/toolbox /formstructure.asp Grade 7 Book: Dance Composition Basics Capturing the Choreographer's Craft By Pamela Sofras ​ ​ Grade 8 Application: 8 Counts https://itunes.apple.co m/us/app/8counts/id37 9903606?mt=8 Video: Bring in da Noise, Bring in da Funk: https://www.youtube.com/watch?v=Dp_bM_ c-BT0 Video: 42nd Street: https://www.youtube.com/watch?v=R8Q7vcn U9nc ArtsAlive Website: http://artsalive.ca/en/ Great performances PBS: http://www.pbs.org/wn et/gperf/ Dance Styles: http://justdanceballroom.com/styles.asp Contemporary Dance Vocabulary: https://www.contempo rary-dance.org/danceterms.html Glossary of Terms Dance Texts: https://www.readworks.org/findcontent#!q:Dance/g:/t:0/f: 0/pt:/features:/ Dance Artifacts: https://digitalcollections.nypl.org/collections/dance-in-photographs-andprints#/?tab=navigati on The Evolution of Dance: https://www.ted.com/talks/ the_lxd_in_the_internet_age_dance_evolves/upnext#t-408223 Article: What is Hip Hop? https://www.educationworld.com/a_lesson/what-iship-hop.shtml ​ PBS Resources: https://nj.pbslearningmedia.org/search/?q=Dance&se lected_facets= Interpreting Mythology Through Dance: https://artsedge.kennedycenter.org/educators/lessons/grade-6- 8/Interpreting_Mythology_Through_Dance Video: How to Dance Through Time- The Elegance of Baroque https://www.youtube.com/watch?v=9wlU4PP1eUI Telling a Story Through Dance: http://www.sedl.org/afters chool/lessonplans/index.cgi?show_record=125 • Magisto -https://www.magisto.com/ ​ Playbook Dance - https://itunes.apple.com/us /app/playbook.dance/id572 038933?mt=8 Contemporary Dancing for Beginners - https://www.youtube.com/ watch?v=KstgOWbM6vk

Theatre

Kindergarten Glossary of terms Grade 1 Suggested Readings: 25 Just-Right Plays for Emergent Readers by Carol Pugliano-Martin Grade 2 ​ My First Acting Book: Acting Technique for Beginners by Kristen Dabrowski ​ Learning Through Theatre: The Changing Face of Theatre in Education by Anthony Jackson ​ Yeh-Shen: A Cinderella Story from China, retold by Ai-Ling Louie ​ Smoky Mountain Rose: An Appalachian Cinderella by Alan Schroeder ​ Nomi and the Magic Fish: A Story from Africa by Phumla ​ Teaching With Cinderella Stories From Around the World by Kathleen M. Hollenbeck ​ Animal Fables from Aesop, adapted by Barbara McClintock ​ Native American Animal Stories (Myths and Legends) by Joseph Bruchac and Michael J. Caduto ​ ​ String Stories: A Creative, Hands On Approach for Engaging Children in Literature by Belinda ​ Holbrook http://www.pbs.org/parents/arthur/activities/acts/folk tale_play.html?cat=diversity Grade 3 Video: Elements of Drama Grade 4 Video: Drama Grade 5 Elements of Drama: Characters, Plot, Setting & Symbolism Acting: A Student's Guide Kids 4 Broadway Bailey, Diane. Stage Management and Production. Rosen Publishing Group, Inc., 2009 Glossary of Terms Theatre Lesson for Kids: History & Timeline Theatre Lesson for Kids: History of Musical Theatre DeSpain, Lisa. Kids Musical Theatre Anthology. Hal Leonard Corp., 2008. Meserve, Walter J., and Molly Ann Meserve. A Chronological Outline of World Theatre. Feedback Theatre Books, 1992. Broadway video clips that can be used to teaching the art of critique: ● The Lion King: The Circle of Life ● Matilda the Musical ● Annie: It's Hard Knock Life Acting for Kids: Episode 1 Childdrama.com Acting and Improvisation Ackroyd, Judith, and Jo Boulton. Drama Lessons for Seven to Eleven-Year Olds. Routledge, 2012.

Grade 6 PowerPoint: Elements of Drama Grade 7 Video: Elements of Drama Grade 8 Elements of Drama Lesson Plan Glossary of Terms Video: What is Theatre? A Cultural History of Theatre by Jack Watson and Grant McKernie History of the Theatre by Oscar Gross Brockett and Franklin J Hildy The Effect of Gamma Rays On Man-in-the Moon Marigolds by Paul Zindel Our Town by Thornton Wilder A Thousand Cranes by Kathryn Schultz Miller Step on a Crack by Susan Zeder Getting Near to Baby by Y. York Wiley and the Hairy Man by Susan Zeder Still Life with Iris by Steven Dietz Selkie: Between Land and Sea by Laurie Brooks

APPENDIX D: Glossary of Terms

K-2 Dance Unit 1: The Creative Process, Performance, and Aesthetic Responses

Overview: Combining dance with other curriculum areas is an instructional approach that supports kinesthetic learners to understand and deepen their learning through experiential opportunities. Through dance, learners can experience music and art from different cultures, periods, and techniques. Dance can be used as a tool to teach curriculum, while at the same time stimulating creativity. In addition, dance can promote critical thinking, teach learners to make independent decisions, and build confidence in themselves as well as a positive self-image.

Time Frame: Approximately 20 Weeks

Enduring Understandings: Engaging in safe, efficient and effective movement will develop and maintain a healthy, active lifestyle.

Essential Questions: Students will keep considering... • How can the elements of dance be used to express content, emotions, and personal expression? • How can improvisation of movement communicate content, emotions, and personal expression? • How is dance different from other forms of movement? • How can criticism of aesthetic expression improve an individual’s ability to communicate through the arts? • How are body movements isolated or aligned to create different patterns of dance?

Standards Topics and Objectives Activities Resources Assessments

1.1 The Creative Process: Students will be able to: Kindergarten Activities • Kindergarten Dance • A final benchmark All students will ● Explore the joy of • Warm-up Brain Activities assessment will be demonstrate an moving. Dance* • Alphabet movement cards given that can be ● Listen to signals and • Listen to signals and used to measure understanding of the • Creative Dance Integration respond to movement respond to movement success with this elements and principles directions. directions. Explore Lesson Plans unit. that govern the creation of ● Listen to a story and locomotor steps https://education.byu.edu/s works of art in dance, dance the words and move (walk, run, gallop, ites/default/files/ARTS/do • Formative and music, theatre, and visual to the rhythm of the and jump). Walking cuments/educational_mov Summative art. words. Hop Hop Hop Song ement.pdf Assessments will be ● Engage in a collaborative • Perform basic axial • Glossary of Terms used for each discussion about 1.1.2.A.1 Identify the movements of turn, activity outlined for improvised dances. stretch, reach, bend, elements of dance in ● Explore stopping and and twist. Cosmic • Core Instructional/ each lesson. going, tempos of fast and Kids Moana Yoga supplemental materials: planned and improvised slow, and simple rhythms. • With a partner, Teaching Dance • Homework, dance sequences. ● Improvise duration, improvise a dance https://www.thepespecialis classwork and exit tempos, rhythms of words, using basic locomotor t.com/dance2/ materials will all be rhythms using various 1.1.2.A.2 Use steps and axial used as data to stimuli, and objects. movements. • Locomotor Skills with improvisation to discover assess student ● Research and identify • Move to slow and Locomotion Dance new movement to fulfill tempos of animals, people fast tempos. Slow and http://www.pecentral.org/l learning. the intent of the and machines. Fast Song essonideas/ViewLesson.as choreography. ● Move to the rhythm of • Practice moving and p?ID=132910#.WsaJp2aZ • Self-assessment: words (syllables) and stopping responding OgQ Give students the 1.1.2.A.3 Demonstrate the investigate rhythm of to a variety of stimuli opportunity to word phrases. • Shake it Senora difference between (e.g. voice, music, consider the quality ● Explore opposites in sound, others). http://www.pecentral.org/l of their own pantomime, pedestrian shapes, levels, sizes, and Improvise moving essonideas/ViewLesson.as learning and movement, abstract moving in and through and stopping varying p?ID=12807#.WsaJ0maZ performance, gesture, and dance space. the duration. OgQ individually and in movement. ● Demonstrate how music • Practice fast and slow collaboration with can change the way they tempos inspired by • The Funky Chipmunk others, with respect 1.1.2.A.4 Apply and adapt move. research of animals, Dance to curricular http://www.pecentral.org/l objectives, content isolated and coordinated ● Develop original people, and machines. Next essonideas/ViewLesson.as benchmarks, and/or body part articulations, choreography and improvise a dance p?ID=12641#.WsaJ_GaZ specified criteria. improvisation of body alignment, balance, based on tempo. OgQ Self-assessment is and body patterning. movement sequences Animal Freeze Dance only used using basic understanding Animal Move and • The Snowflake Dance formatively and 1.3 Performance: All of the elements of dance. Groove Task Cards http://www.pecentral.org/l gives students the students will synthesize ● Music can be used as a (Teachers pay essonideas/ViewLesson.as responsibility of p?ID=12004#.WsaKN2aZ identifying those skills, media, choice and personal and Teachers) Select a song, text, or OgQ competencies and methods, and technologies group spatial relationships • poem that includes challenges in their should be explored. appropriate to creating, rhythm of words and • Blueprint Dance: Teaching own work, and to performing, and/or ● Demonstrate a variety of have students create a Dance to Diverse Learners devise appropriate presenting works of art in movements generated dance based on the (PreK-12) strategies for dance, music, theatre, and through improvisational words. http://schools.nyc.gov/offi improvement. visual art. skills and techniques. This • Create a short dance ces/teachlearn/arts/files/Bl Examples include ueprints/Dance/Dance%20 setting personal will include the elements using two opposite Spec%20Ed%20Suppleme goals and checking of dance time, space, and energy qualities, emotions, and senses nt.pdf one’s progress 1.3.2.A.1 Create and energy. (ex: happy/sad). Use toward them perform planned and ● Will be able to identify an appropriate and comparing improvised movement and judge the differences selection of music. one’s work to the sequences using the between pedestrian • Connect a simple criteria on a rubric sequence using or checklist. elements of dance, with movements and formal opposites and without musical training in dance. incorporating shape • Written or Drawn accompaniment, to ● Demonstrate and and axial or Work (using communicate meaning understand that dynamic locomotor movement. technology when around a variety of alignment of the body is Body Boogie Dance appropriate) themes. associated with • Teaching pantomime • Sharing feelings, coordination and isolation (drinking milk) https://www.youtube. dreams, and wishes 1.3.2.A.2 Create and of different body parts. com/watch?v=UU5Z about dance and perform planned and This will include 8Norssw dancing improvised movement locomotor and non- • Students will share a sequences, alone and in locomotor movements. story demonstrating • Planning and small groups, with ● Express constructive an emotion or feeling documenting variations in tempo, criticism to communicate through dance. choreographic process (sketching meter, rhythm, spatial useful evaluation of both • Students will record a performance (using or collecting ideas level (i.e., low, middle, personal work and the an iPad, Video for a dance) and high), and spatial work of others. Recorder, etc…) and pathway. use peer-critique • Personal responses strategies to assess. to performances 1.3.2.A.3 Define and maintain personal space, 1st and 2nd Grade • Peer Critique/ concentrate, and Activities Assessment: When Use locomotor steps students engage in appropriately direct focus • and axial movements peer assessment or while performing with prepositions critique, they can movement skills. (near, far, over, use rubrics, under, through etc.). checklists, and 1.3.2.A.4 Create and • Planned Dance protocols (using perform original Sequence Video: Go technology) to movement sequences Noodle - Sherlock focus their feedback on the criteria for alone and with a partner Gnomes Move and Groove the task, and should using locomotor and non- • Improvised Dance use protocols for locomotor movements at Sequences: Freeze constructive peer- various levels in space. Dance Freeze Dance to-peer feedback, Colors Listen and such as Move Freeze Dance • “I noticed …” 1.4 Aesthetic Responses • Select a song, text, or • “I like the way & Critique poem that includes … because …” Methodologies: All rhythm of words and • “Have you students will demonstrate have students create a thought of …?” and apply an dance based on the • “I would like to understanding of arts words. suggest …” philosophies, judgment, • Teaching pantomime • Hand Signals: for elementary Ask students to and analysis to works of students display a art in dance, music, https://www.youtube. designated hand theatre, and visual art. com/watch?v=g7Wjl signal to 9x4N3U indicate their 1.4.2.A.3 Use imagination • Connect a simple understanding to create a story based on sequence using of a specific concept, an arts experience that opposites incorporating shape principle, or communicated an emotion and axial or process or feeling, and tell the locomotor movement. • I understand story through each of the Cupid Shuffle ______, four arts disciplines • Create a short dance and can explain (dance, music, theatre, and using two opposite it (e.g., thumbs visual art). energy qualities, up). • I do not yet emotions, and senses (ex: happy/sad). Use understand 1.4.2.A.4 Distinguish an appropriate ______patterns in nature found in selection of music. (e.g., thumbs works of dance, music, • Students will share a down). theatre, and visual art. story demonstrating • I’m not an emotion or feeling completely sure 1.4.2.B.1 Observe the through dance. about basic arts elements in • Students will record a ______performances and performance (using (e.g., wave exhibitions and use them an iPad, Video hand). to formulate objective Recorder, etc…) and assessments of artworks in use peer-critique Performance dance, music, theatre, and strategies to assess. Rubrics visual art. Dance Rubric 1 Dance Rubric 2 1.4.2.B.2 Apply the principles of positive Assessment critique in giving and Resources: receiving responses to Arts Achieve performances. http://www.artsachi eve.org/dance- performance- assessment/ Arts Assessment for Learning http://artsassessmen tforlearning.org/dan ce/ Integration of 21st Century Standards NJSLS 9: 9.2.4.A.1: Identify reasons why people work, different types of work, and how work can help a person achieve personal and professional goals. 9.2.4.A.3: Investigate both traditional and nontraditional careers and related information to personal likes and dislikes. Accommodations and Modifications: Students with special needs: Support staff will be available to aid students related to IEP specifications. 504 accommodations will also be attended to by all instructional leaders. Physical expectations and modifications, alternative assessments, and scaffolding strategies will be used to support this learning. The use of Universal Design for Learning (UDL) will be considered for all students as teaching strategies are considered. Additional safety precautions will be made along with additional staff so all student can fully participate in the standards associated with this Dance curriculum.

ELL/ESL students: Students will be supported according to the recommendations for “can do’s” as outlined by WIDA - https://www.wida.us/standards/CAN_DOs/ This particular unit has limited language barriers due to the physical nature of the curriculum.

Students at risk of school failure: Formative and summative data will be used to monitor student success. At first signs of failure, student work will be reviewed to determine support. This may include parent consultation, basic skills review, and differentiation strategies. With considerations to UDL, time may be a factor in overcoming developmental considerations. More time and will be made available with a certified instructor to aid students in reaching the standards.

Gifted and Talented Students: Students excelling in mastery of standards will be challenged with complex, high level challenges related to the complexity of the Dance requirements. This will include allowing more opportunities to demonstrate creativity and the design of original choreography. English Language Learners Special Education At-Risk Gifted and Talented

• Speak and display • Utilize modifications & • Using visual • Curriculum compacting terminology and movement accommodations demonstrations, • Inquiry-based instruction • Teacher modeling delineated in the student’s illustrations, and models • Independent study • Peer modeling IEP • Give • Higher order thinking • Develop and post routines • Work with directions/instructions skills • Label dance and classroom paraprofessional verbally and in simple • Adjusting the pace of materials • Use multi-sensory teaching written format. lessons • Word walls approaches. Pictures, • Peer Support • Interest based content scarves, hula hoops, hats • Increase one on one time • Real world scenarios balloons, rhythmic • Teachers may modify • Student Driven Instruction instruments, and other instructions by modeling props provide helpful what the students is visual, auditory, and tactile expected to do reinforcement of ideas. • Instructions may be printed • Work with a partner out in large print and • Provide concrete examples displayed for the student to and relate all new see during the time of the movements to previously lesson. learned moves or to typical • Review behavior life skills at home (i.e., expectations and make open and close a door for a adjustments for personal pulling or pushing space or other behaviors as movement). needed. • Solidify and refine • Oral prompts can be given. concepts through repetition. • Change movement requirements to reduce activity time

Interdisciplinary Connections: ELA - NJSLS/ELA: NJSLSA.R2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas. NJSLSA.R7. Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words. Social Studies: 6.1.P.D.3 Express individuality and cultural diversity (e.g., through dramatic play). 6.1.P.D.4 Learn about and respect other cultures within the classroom and community. 6.1.4.D.13 Describe how culture is expressed through and influenced by the behavior of people. Integration of Technology Standards NJSLS 8: 8.1.2.A.1: Identify the basic features of a digital device and explain its purpose. 8.1.2.E.1: Use digital tools and online resources to explore a problem or issue. 8.1.2.B.1: Illustrate and communicate original ideas and stories using multiple digital tools and resources. Career Ready Practices: CRP2. Apply appropriate academic and technical skills. CRP4. Communicate clearly and effectively and with reason. CRP8. Utilize critical thinking to make sense of problems and persevere in solving them. CRP11. Use technology to enhance productivity.

Unit 2: History of the Arts and Culture, Performance, and Aesthetic Responses

Overview: Combining dance with other curriculum areas is an instructional approach that supports kinesthetic learners to understand and deepen their learning through experiential opportunities. Through dance, learners can experience music and art from different cultures, periods, and techniques. Dance can be used as a tool to teach curriculum, while at the same time stimulating creativity and promoting critical thinking. In addition, dance teaches learners to make independent decisions, build confidence in themselves, develop a positive self-image.

Time Frame: Approximately 20 Weeks

Enduring Understandings: • Engaging in safe, efficient and effective movement will develop and maintain a healthy, active lifestyle.

Essential Questions: Students will keep considering... • How is cultural expression represented in dance? • How does societal value affect artistic choice? • How are different body movements used to create or represent dance from different cultures? • How are the values of culture represented in dance? • What determines aesthetic quality? • How can criticism improve artistic quality?

Standards Topics and Objectives Activities Resources Assessments

1.2 History of the Arts and Students will be able to: Kindergarten Activities • Creative Dance • After improvisation Culture: All students will • Recognize that every • Students will perform Integration Lesson Plans dances, reflect and understand the role, student has a cultural and/or watch a dance to • Sample book list discuss how it felt development, and background and that identify the theme to move. (choreographers) influence of the arts dance is part of it. being expressed. throughout history and • Analyze how dancers • Find a word or theme • Glossary of Terms • KWL Chart used to across cultures. use movement to that describes an item • A Mini History of Dance: identify knowledge express artistic on the list and let http://dancersgroup.org/20 of cultural dance. 1.2.2.A.1 Identify concerns such as children use it as 09/12/a-mini-history-of- characteristic theme-based human emotion, inspiration. For dance-education/ • Self-assessment: works of dance, music, culture, gender. example, for 4th of Give students the • Teaching Dance History theatre, and visual art, • Compare and contrast July, fireworks use opportunity to such as artworks based on dances from various explosive movement, “White Paper” consider the quality the themes of family and cultures. for a statue in town http://www.danceheritage. of their own community, • Will compare how square create a high, org/teachingdancehistory. learning and from various historical dance from diverse proud shape. For a pdf performance, periods and world cultures and historical town trolley, create individually and in cultures. eras have common linear pathways using • History of Dance Part 1: collaboration with characteristics and walking, skipping, or https://educationcloset.co others, with respect 1.2.2.A.2 Identify how themes. galloping. However, m/2015/04/06/supporting- to curricular artists and specific works • Understand that people don’t require all the history-class-through-the- objectives, content of dance, music, theatre, danced differently in children to do the same history-of-dance-part-i/ benchmarks, and/or and visual art reflect, and movement, let them specified criteria. different historical • Responding to Dance are affected by, past and periods (past and create their own Self-assessment is https://www.ket.org/educa present cultures. present). movement within a only used • Create a dance based on certain framework. tion/resources/responding- formatively and 1.4 Aesthetic Responses a folk song or world • Angelina Ballerina - to-dance/ gives students the & Critique culture. Friendship Theme) responsibility of Methodologies: All • Learn about folk tales • Engage students in folk identifying students will demonstrate from an authentic dances, square dances, competencies and and apply an culture. line dances, and challenges in their understanding of arts • Construct criticism creative storytelling by own work, and to philosophies, judgment, based on observable dancing on different devise appropriate and analysis to works of criteria. levels based on a folk strategies for art in dance, music, • Recognize clues that tale or world culture. improvement. theatre, and visual art. explain the artist’s Examples include intent. 1st and 2nd Grade setting personal 1.4.2.A.1 Identify Activities goals and checking aesthetic qualities of • Research, learn and one’s progress exemplary works of art in perform simple toward them, as dance, music, theatre, and traditional dances from well as comparing visual art, and identify various cultures (Ten one’s work to the characteristics of the Dances Around the criteria on a rubric artists who created them World 20 Amazing or checklist. (e.g., gender, age, absence Dances from Around the or presence of training, World). Compare and • Written or drawn style, etc.). contrast the elements of work (using dance in each. technology when 1.4.2.A.2 Compare and • Students will perform appropriate) contrast culturally and and/or watch a dance to historically diverse works identify the theme being • Sharing feelings, of dance, music, theatre, expressed. Critique the dreams, and wishes and visual art that evoke dance using the about dance and emotion and that performance rubric. dancing communicate cultural • Find a word or theme meaning. that describes an item on • Planning and the list and let children documenting 1.4.2.A.3 Use imagination use it as inspiration. For choreographic to create a story based on example, for 4th of July process (sketching an arts experience that fireworks use explosive or collecting ideas communicated an emotion movement, for a statue for a dance) or feeling, and tell the in town square create a story through each of the high, proud shape. For a • Personal responses four arts disciplines town trolley, create to performances (dance, music, theatre, and linear pathways using visual art). walking, skipping, or • Peer Critique/ galloping. However, Assessment: When 1.4.2.A.4 Distinguish don’t require all the students engage in patterns in nature found in children to do the same peer assessment or works of dance, music, movement, let them critique, they can theatre, and visual art. create their own use rubrics, movement within a checklists, and 1.4.2.B.1 Observe the certain framework. protocols (using basic arts elements in • Angelina Ballerina - technology) to performances and Friendship Theme) focus their exhibitions and use them • 1. Select a famous feedback on the to formulate objective choreographer. (Sample criteria for the task, assessments of artworks in book list) and should use dance, music, theatre, and 2. Identify protocols for visual art. characteristics (gender, constructive peer- age, training, style) of to-peer feedback, 1.4.2.B.2 Apply the the choreographer. such as principles of positive 3. Select a work created • “I noticed …” critique in giving and by the choreographer • “I like the way receiving responses to and identify aesthetic … because …” performances. qualities that make it • “Have you exemplary. thought of …?” • “I would like to 1.4.2.B.3 Recognize the suggest …” making subject or theme • Hand Signals: in works of dance, music, Ask students to theatre, and visual art. display a designated hand signal to indicate their understanding of a specific concept, principle, or process • I understand______, and can explain it (e.g., thumbs up). • I do not yet understand ______(e.g., thumbs down). • I’m not completely sure about ______(e.g., wave hand).

Performance Rubrics Dance Rubric 1 Dance Rubric 2

21st Century Life and Careers 9.2.4.A.1: Identify reasons why people work, different types of work, and how work can help a person achieve personal and professional goals. 9.2.4.A.3 Investigate both traditional and nontraditional careers and relate information to personal likes and dislikes Accommodations and Modifications: Students with special needs: Support staff will be available to aid students related to IEP specifications. 504 accommodations will also be attended to by all instructional leaders. Physical expectations and modifications, alternative assessments, and scaffolding strategies will be used to support this learning. The use of Universal Design for Learning (UDL) will be considered for all students as teaching strategies are considered. Additional safety precautions will be made along with additional staff, so all student can full participate in the standards associated with this Dance curriculum.

ELL/ESL students: Students will be supported according to the recommendations for “can do’s” as outlined by WIDA - https://www.wida.us/standards/CAN_DOs/ This particular unit has limited language barriers due to the physical nature of the curriculum.

Students at risk of school failure: Formative and summative data will be used to monitor student success. At first signs of failure, student work will be reviewed to determine support. This may include parent consultation, basic skills review, and differentiation strategies. With considerations to UDL, time may be a factor in overcoming developmental considerations. More time and will be made available with a certified instructor to aid students in reaching the standards.

Gifted and Talented Students: Students excelling in mastery of standards will be challenged with complex, high level challenges related to the complexity of the Dance requirements. This will include allowing more opportunities to demonstrate creativity and the design of original choreography. English Language Learners Special Education At-Risk Gifted and Talented

• Speak and display • Utilize modifications & • Use visual demonstrations, • Curriculum compacting terminology and movement accommodations illustrations, and models. • Inquiry-based instruction • Teacher modeling delineated in the student’s • Give • Independent study • Peer modeling IEP directions/instructions • Higher order thinking • Develop and post routines • Work with verbally and in simple skills • Label dance and classroom paraprofessional written format. • Adjusting the pace of materials • Use multi-sensory teaching • Peer Support lessons • Word walls approaches. Pictures, • Increase one on one time • Interest based content scarves, hula hoops, hats, • Teachers may modify • Real world scenarios balloons, rhythmic instructions by modeling • Student Driven Instruction instruments, and other what the students is props provide helpful expected to do. visual, auditory, and tactile • Instructions may be printed reinforcement of ideas. out in large print and • Work with a partner displayed for the student to • Provide concrete examples see during the time of the and relate all new lesson. movements to previously • Review behavior learned moves or to typical expectations and make life skills at home (i.e., adjustments for personal open and close a door for a space or other behaviors as pulling or pushing. needed. movement). • Oral prompts can be given. • Solidify and refine concepts through repetition. • Change movement requirements to reduce activity time. Interdisciplinary Connections: ELA - NJSLS/ELA: NJSLSA.R2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas. NJSLSA.R7. Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words. Social Studies: 6.1.P.D.3 Express individuality and cultural diversity (e.g., through dramatic play). 6.1.P.D.4 Learn about and respect other cultures within the classroom and community. 6.1.4.D.13 Describe how culture is expressed through and influenced by the behavior of people. Career Ready Practices: CRP2. Apply appropriate academic and technical skills. CRP4. Communicate clearly and effectively and with reason. CRP8. Utilize critical thinking to make sense of problems and persevere in solving them. Integration of Technology Standards NJSLS 8: 8.1.2.B.1 Illustrate and communicate original ideas and stories using multiple digital tools and resources.

Englewood Public School District 3-5 Dance Unit 1: Elements of Dance and Kinesthetic Movement

Overview: Combining dance with other curriculum areas is an instructional approach that supports kinesthetic learners to understand and deepen their learning through experiential opportunities. Through dance, learners can experience music and art from different cultures, periods, and techniques. Dance can be used as a tool to teach curriculum, while at the same time stimulating creativity. In addition, dance can promote critical thinking, teach learners to make independent decisions, and build confidence in themselves as well as a positive self-image.

Time Frame: Approximately 12 weeks

Enduring Understandings: • Basic choreographed structures employ the elements of dance. • Movement is developed and generated through improvisation. Form and structure are important when interpreting original choreography. • Musical and non-musical forms of sound can affect meaning in choreography and improvisation. • Compositional works are distinguished by the use of various body movements and sources of initiation (i.e., central, peripheral, or transverse). • Works of art may be organized according to their functions and artistic purposes (e.g., genres, mediums, messages, themes). • Formalism in dance, music, theatre, and visual art varies according to personal, cultural, and historical contexts. • Criteria for determining the aesthetic merits of artwork vary according to context. Understanding the relationship between compositional design and genre provides the foundation for making value judgments about the arts. • Music can be used as a choice and personal and group spatial relationships should be explored.

Essential Questions: Students will keep considering... • Why did we make these movement and spatial choices? • How do dancers make movement and spatial choices? • What are the impacts of movement quality and speed? • How can the elements of dance be used to express content, emotions, and personal expression? • How can improvisation of movement communicate content emotions and personal expression? • How is dance different from other forms of movement? • How can criticism of aesthetic expression improve an individual’s ability to communicate through the arts?

Standards Topics and Objectives Activities Resources Assessments

1.1.5.A.1 Analyze both Students will: • Practice exercises and • https://www.elementsofda • A final benchmark formal and expressive • Exhibit control in balance. combinations that nce.org/ assessment will be aspects of time, shape, • Dance with weight shift, build strength, given that can be space and energy, and transition and flow. awareness, • Elements of Dance Video: used to measure differentiate basic • Distinguish symmetrical coordination and https://www.youtube.com/ success with this choreographic structures in and asymmetrical shapes. control. watch?v=UGuD9Geeb2k unit. various dance works. • Understand conditioning • Explore structures principles (balance, such as Follow the • Dancemaker App: 1.1.5.A.4 Differentiate strength, flexibility, Changing Leader, https://itunes.apple.com/us contrasting and endurance, alignment). Echoing, Pass the /app/dancemaker/id11808 • Formative and complementary shapes, • Understand the Movement. 09091?mt=8 Summative: Asse shared weight centers, relationship of bodily • Have the students ssments will be body parts, body skills to time, space and create a warm up using • List of dance styles and used for each patterning, balance, and energy. balance, strength, descriptive words: activity outlined range of motion in • Understand not only endurance and http://www.dancesteps.co for each lesson. compositions and positive and negative flexibility. m.au/styles/index.php performances. space, but also range, • Listen to signals and shape, levels, directions, respond to movement • Contemporary Dance 1.3.5.A.1 Perform planned symmetry/asymmetry, directions. Vocabulary: • Homework, and improvised sequences moving in place and • Choreograph a short https://www.contemporary classwork and exit with a distinct beginning, through space, pathways dance based on one -dance.org/dance- materials will all middle, and end that and mapping. body part. Include terms.html be used as data to manipulate time, space, shapes, pathways, assess student and energy, and accurately axial and locomotor • Glossary of Terms learning. transfer rhythmic patterns steps. from the auditory to the • Teach a locomotor Core kinesthetic. pattern that includes Instructional/supplemental four of the basic materials: • Self-assessment: Demonstrate 1.3.5.A.4 locomotor steps. Have • Teaching Dance: Give students the developmentally the students vary the https://www.thepespecialis opportunity to appropriate kinesthetic pattern t.com/dance2/ consider the awareness of basic • Create a web of small quality of their anatomical principles, and large movements • Locomotor Skills with own learning and using flexibility, balance, in dance, and the parts Locomotion Dance: performance, strength, focus, of the body they http://www.pecentral.org/l individually and in concentration, and engage. essonideas/ViewLesson.as collaboration with coordination. • Have the students p?ID=132910#.WsaJp2aZ others, with create an 8-count OgQ respect to 1.4.5.A.1 Employ basic, movement phrase that curricular discipline-specific arts accents two of the • Shake it Senora: objectives, content terminology to categorize beats. When http://www.pecentral.org/l benchmarks, works of dance, music, completed, have them essonideas/ViewLesson.as and/or specified theatre, and visual art manipulate the phrase p?ID=12807#.WsaJ0maZ criteria. Self- according to established by varying the space, OgQ assessment is only classifications. levels and directions. used formatively • Play a variety of songs • The Funky Chipmunk and gives students 1.4.5.B.4 Define technical and try to match the Dance: the responsibility proficiency, using the quality of the music to http://www.pecentral.org/l of identifying elements of the arts and the quality of the essonideas/ViewLesson.as competencies and movement. challenges in their principles of design. p?ID=12641#.WsaJ_GaZ OgQ own work, and to

devise appropriate • The Snowflake Dance: strategies for http://www.pecentral.org/l improvement. essonideas/ViewLesson.as Examples include p?ID=12004#.WsaKN2aZ setting personal OgQ goals and checking one’s • Blueprint Dance: Teaching progress toward Dance to Diverse Learners them and (PreK-12): comparing one’s http://schools.nyc.gov/offi work to the criteria ces/teachlearn/arts/files/Bl on a rubric or ueprints/Dance/Dance%20 checklist. Spec%20Ed%20Suppleme nt.pdf

• https://www.cde.state.co.u • Sharing feelings, s/standardsandinstruction/i dreams, and nstructionalunits- wishes about dance#kinder dance and dancing • https://www.louisianabelie ves.com/resources/library/ k-12-arts-resources • Planning and documenting • https://achieve.lausd.net/P choreographic age/6769 process (sketching or collecting ideas for a dance)

• Personal responses to performances

• Peer Critique/ Assessment: When students engage in peer assessment or critique, they can use rubrics, checklists, and protocols (using technology) to focus their feedback on the criteria for the task, and should use protocols for constructive peer- to-peer feedback, such as: • “I noticed …”

• “I like the way … because …”

• “Have you thought of …?”

• “I would like to suggest …”

• Hand Signals: Ask students to display a designated hand signal to indicate their understanding of a specific concept, principle, or process • I understand ______, and can explain it (e.g., thumbs up). • I do not yet understand ______(e.g., thumbs down). • I’m not completely sure about ______(e.g., wave hand).

Performance Rubrics

Dance Rubric 1

Dance Rubric 2

Assessment Resources:

Arts Achieve

http://www.artsachieve .org/dance- performance- assessment/

Arts Assessment for Learning

http://artsassessmentfo rlearning.org/dance/

Alternative Assessment:

• Written or Drawn Work (using technology when appropriate)

• Evaluate informal in- class performances and video evidence of student performances using observation, discussions, drawings, video, and simple student-created rubrics.

Sample Rubric 1 Sample Rubric 2

Integration of 21st Century Standards NJSLS 9: 9.2.4.A.1: Identify reasons why people work, different types of work, and how work can help a person achieve personal and professional goals. 9.2.4.A.3: Investigate both traditional and nontraditional careers and related information to personal likes and dislikes

Accommodations and Modifications: Students with special needs: Support staff will be available to aid students related to IEP specifications. 504 accommodations will also be attended to by all instructional leaders. Physical expectations and modifications, alternative assessments, and scaffolding strategies will be used to support this learning. The use of Universal Design for Learning (UDL) will be considered for all students as teaching strategies are considered. Additional safety precautions will be made along with additional staff so all student can fully participate in the standards associated with this Dance curriculum.

ELL/ESL students: Students will be supported according to the recommendations for “can do’s” as outlined by WIDA - https://www.wida.us/standards/CAN_DOs/ This particular unit has limited language barriers due to the physical nature of the curriculum.

Students at risk of school failure: Formative and summative data will be used to monitor student success. At first signs of failure, student work will be reviewed to determine support. This may include parent consultation, basic skills review, and differentiation strategies. With considerations to UDL, time may be a factor in overcoming developmental considerations. More time and will be made available with a certified instructor to aid students in reaching the standards.

Gifted and Talented Students: Students excelling in mastery of standards will be challenged with complex, high level challenges related to the complexity of the Dance requirements. This will include allowing more opportunities to demonstrate creativity and the design of original choreography.

English Language Learners Special Education At-Risk Gifted and Talented

When providing direct instruction • Create a visual identifying • Incorporate student choice • Create and lead the class in a on dance concepts, utilize: the elements of dance. in activities. warm up using balance, • Vocalization • Create a picture dictionary • Use a graphic organizer to strength and flexibility. • Modeling of dance terminology. categorize elements of • Compare and contrast small • Gestures • Provide alternative dance. and large body movements response choices to • Repeat directions as and the parts of the body they questions on the elements needed. engage. of dance. • Develop an 8-count or longer • Provide alternative routine focusing on one body movement choices to part. Teach routine to peers. kinesthetic movement tasks.

Interdisciplinary Connections: ELA - NJSLS/ELA: NJSLSA.R2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas. NJSLSA.R7. Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words. Social Studies: 6.1.4.D.13 Describe how culture is expressed through and influenced by the behavior of people.

NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively. NJSLSA.SL2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally. 2.5.4.A.3 Explain and demonstrate movement sequences, individually and with others, in response to various tempos, rhythms, and musical styles. 2.5.4.A.4 Correct movement errors in response to feedback and explain how the change improves performance.

NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively. NJSLSA.SL2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally. 2.5.4.A.3 Explain and demonstrate movement sequences, individually and with others, in response to various tempos, rhythms, and musical styles. 2.5.4.A.4 Correct movement errors in response to feedback and explain how the change improves performance. Integration of Technology Standards NJSLS 8: 8.1.5.E.1: Use digital tools to research and evaluate the accuracy of, relevance to, and appropriateness of using print and non-print electronic information sources to complete a variety of tasks. Career Ready Practices: CRP2. Apply appropriate academic and technical skills. CRP4. Communicate clearly and effectively and with reason. CRP6. Demonstrate creativity and innovation. CRP8. Utilize critical thinking to make sense of problems and persevere in solving them. CRP11. Use technology to enhance productivity. CRP12. Work productively in teams while using cultural global competence.

Englewood Public School District 3-5 Dance Unit 2: History of the Arts and Culture

Overview: Combining dance with other curriculum areas is an instructional approach that supports kinesthetic learners to understand and deepen their learning through experiential opportunities. Through dance, learners can experience music and art from different cultures, periods, and techniques. Dance can be used as a tool to teach curriculum, while at the same time stimulating creativity. In addition, dance can promote critical thinking, teach learners to make independent decisions, and build confidence in themselves as well as a positive self-image.

Time Frame: Approximately 12 weeks

Enduring Understandings: • Basic choreographed structures employ the elements of dance. • Movement is developed and generated through improvisation. Form and structure are important when interpreting original choreography. • Musical and non-musical forms of sound can affect meaning in choreography and improvisation. • Compositional works are distinguished by the use of various body movements and sources of initiation (i.e., central, peripheral, or transverse). • Works of art may be organized according to their functions and artistic purposes (e.g., genres, mediums, messages, themes). • Formalism in dance, music, theatre, and visual art varies according to personal, cultural, and historical contexts. • Criteria for determining the aesthetic merits of artwork vary according to context. Understanding the relationship between compositional design and genre provides the foundation for making value judgments about the arts. • Music can be used as a choice and personal and group spatial relationships should be explored.

Essential Questions: Students will keep considering... • How can the elements of dance be used to express content, emotions, and personal expression? • How can improvisation of movement communicate content emotions and personal expression? • How is dance different from other forms of movement? • How can criticism of aesthetic expression improve an individual’s ability to communicate through the arts? • How has the role of dancing been an outlet for expressing feelings of joy in spite of harsh circumstances, and for giving a shared form of sadness? • What are the origins and meanings of different dances throughout history? • What are the cultural influences of certain dances? • What are the similarities and differences among various dances throughout history in relation to the ideas and perspectives of the people from which the dances originate? • How are aspects of culture expressed through dance?

Standards Topics and Objectives Activities Resources Assessments

1.2.5.A.1 Recognize works Students will be able to: • Maintain a dance • Dance Texts: • Evaluate informal in- of dance, music, theatre, • Describe who dances a journal that includes https://www.readworks.or class performances and visual art as a dance, and where, responses to g/find- and video evidence of reflection of societal values when and why it is performances, content#!q:Dance/g:/t:0/f: student performances and beliefs. danced. vocabulary lists, 0/pt:/features:/ using observation, • Examine the cultural drawings and discussions, 1.2.5.A.2 Relate common origins of a variety of notation. • Dance Artifacts: drawings, video, and artistic elements that define dance forms from • Learn a dance from https://digitalcollections.n simple student- distinctive art genres in around the world. one’s heritage and ypl.org/collections/dance- created rubrics. dance, music, theatre, and • Identify clues about teach it to the class, in-photographs-and- • Evaluate written visual art. history and culture in explaining when and prints#/?tab=navigation reflections on dance dance movements, by whom the dance is principles, including 1.2.5.A.3 Determine the costuming and musical performed, and its • The Evolution of Dance: reports and journal impact of significant accompaniment. cultural significance. https://www.ted.com/talk responses, using a contributions of individual • Identify and research • Learn elements of a s/the_lxd_in_the_internet student-created artists in dance, music, the significant dance style (e.g., Tap, _age_dance_evolves/up- rubric. theatre, and visual art from contributions of a Modern Dance) and next#t-408223 • Analyze primary diverse cultures throughout cultural social dance examine its roots. source documents on history. and its impact on • Research the • Article: What is Hip the history of certain today’s social dances. originator of a Hop? dances and the 1.4.5.A.2 Make informed • Explore themes, technique. https://www.educationwo cultures of origin. aesthetic responses to values, and beliefs that • Research a specific rld.com/a_lesson/what-is- • Conduct short artworks based on are reflected in a dancer/choreographer hip-hop.shtml research projects on structural arrangement and dance. with a guided group the cultural origins of personal, cultural, and • Observe using appropriate • PBS Resources: dance to support historical points of view. commonalities and websites, in addition https://nj.pbslearningmedi analysis, reflection, differences in group, to creating a a.org/search/?q=Dance&s and research. 1.4.5.A.3 Demonstrate how circle and chain summary. elected_facets= • Use technology to art communicates ideas dances in content in • Watch a live create a presentation about personal and social relation to societal performance or video • TED Talk: Why Do We on the impact of values and is inspired by an beliefs and values. of ritual or Dance? dance on specific individual’s imagination • Create and share a ceremonial dance. groups of people and and frame of reference group, circle or chain • Learn and perform an • Navajo Bow and Arrow historical events. (e.g., personal, social, dance influenced by authentic ceremonial Dance political, historical the social practices of or ritual dance (e.g. • Formative and context). a specific culture Ve David from Israel, • Dancing on the Freedom Summative: Asses demonstrating clear Troika from Russia or Trail sments will be 1.4.5.B.1 Assess the content and form. Hasapikos from used for each application of the elements • Perform group, circle, Greece). • Telling a Story Through activity outlined of art and principles of or chain dances from • Create a simple ritual Dance for each lesson. design in dance, music, various world cultures. or ceremonial dance theatre, and visual artworks by studying a • Glossary of Terms using observable, objective particular culture. Use criteria. the elements based on Core • Homework, that culture to create Instructional/supplemental classwork and exit 1.4.5.B.3 Use discipline- the movement for the materials: materials will all specific arts terminology to dance. • Teaching Dance: be used as data to evaluate the strengths and https://www.thepespeciali assess student st.com/dance2/ learning. weaknesses of works of dance, music, theatre, and • Locomotor Skills with visual art. Locomotion Dance: http://www.pecentral.org/ • Self-assessment: lessonideas/ViewLesson. Give students the asp?ID=132910#.WsaJp2 opportunity to aZOgQ consider the quality of their • Shake it Senora: own learning and http://www.pecentral.org/ performance, lessonideas/ViewLesson. individually and in asp?ID=12807#.WsaJ0m collaboration with aZOgQ others, with respect to curricular • The Funky Chipmunk objectives, content Dance: benchmarks, http://www.pecentral.org/ and/or specified lessonideas/ViewLesson. criteria. Self- asp?ID=12641#.WsaJ_Ga assessment is only ZOgQ used formatively and gives students • The Snowflake Dance: the responsibility http://www.pecentral.org/ of identifying lessonideas/ViewLesson. competencies and asp?ID=12004#.WsaKN2 challenges in their aZOgQ own work, and to devise appropriate • https://www.cde.state.co. strategies for us/standardsandinstructio improvement. n/instructionalunits- Examples include dance#kinder setting personal goals and checking • https://www.louisianabeli one’s eves.com/resources/librar progress toward y/k-12-arts-resources them and comparing one’s • https://achieve.lausd.net/P work to the criteria age/6769 on a rubric or checklist.

• Sharing feelings, dreams, and wishes about dance and dancing

• Planning and documenting choreographic process (sketching or collecting ideas for a dance)

• Personal responses to performances

• Peer Critique/ Assessment: When students engage in peer assessment or critique, they can use rubrics, checklists, and protocols (using technology) to focus their feedback on the criteria for the task, and should use protocols for constructive peer- to-peer feedback, such as: • “I noticed …”

• “I like the way … because …” • “Have you thought of …?” • “I would like to suggest …” • Hand Signals: Ask students to display a designated hand signal to indicate their understanding of a specific concept, principle, or process • I understand ______, and can explain it (e.g., thumbs up). • I do not yet understand ______(e.g., thumbs down). • I’m not completely sure about ______(e.g., wave hand).

Performance Rubrics

Dance Rubric 1

Dance Rubric 2

Assessment Resources:

Arts Achieve http://www.artsachieve .org/dance- performance- assessment/

Arts Assessment for Learning http://artsassessmentfo rlearning.org/dance/

Alternative Assessment:

• Written or Drawn Work (using technology when appropriate)

Integration of 21st Century Standards NJSLS 9: 9.2.4.A.1: Identify reasons why people work, different types of work, and how work can help a person achieve personal and professional goals. 9.2.4.A.3: Investigate both traditional and nontraditional careers and related information to personal likes and dislikes. 9.1.4.E.1: Determine factors that influence consumer decisions related to money 9.1.8.E.4: Prioritize personal wants and needs when making purchases needs when making purchases Accommodations and Modifications: Students with special needs: Support staff will be available to aid students related to IEP specifications. 504 accommodations will also be attended to by all instructional leaders. Physical expectations and modifications, alternative assessments, and scaffolding strategies will be used to support this learning. The use of Universal Design for Learning (UDL) will be considered for all students as teaching strategies are considered. Additional safety precautions will be made along with additional staff so all student can fully participate in the standards associated with this Dance curriculum.

ELL/ESL students: Students will be supported according to the recommendations for “can do’s” as outlined by WIDA - https://www.wida.us/standards/CAN_DOs/ This particular unit has limited language barriers due to the physical nature of the curriculum.

Students at risk of school failure: Formative and summative data will be used to monitor student success. At first signs of failure, student work will be reviewed to determine support. This may include parent consultation, basic skills review, and differentiation strategies. With considerations to UDL, time may be a factor in overcoming developmental considerations. More time and will be made available with a certified instructor to aid students in reaching the standards.

Gifted and Talented Students: Students excelling in mastery of standards will be challenged with complex, high level challenges related to the complexity of the Dance requirements. This will include allowing more opportunities to demonstrate creativity and the design of original choreography.

English Language Learners Special Education At-Risk Gifted and Talented

• Use sentence/paragraph • Use sentence/paragraph • Invite parents/guardians to • Create an original dance frames to assist with writing frames to assist with participate in sharing based on the cultural themes reports. writing reports. cultural themes and dances. and dance elements of a • Create a word wall with • Create a word wall with • Provide an outline for particular style. cultural dance cultural dance journal entries and study • Incorporate multiple types of names/vocabulary. names/vocabulary. guides. resources, including text, • Work with a partner to • Utilize graphic responses • Provide extended time for video, interviews, etc., into a develop written reports and in journals. written responses and report on a dancer or journal entries. • Provide extended time for reports. choreographer from specific • Provide extended time for written responses and time period or culture. written responses and reports. • Write detailed reflections to reports. live and/or video performances

Interdisciplinary Connections: ELA - NJSLS/ELA: NJSLSA.R2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas. NJSLSA.R7. Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in word NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively.

NJSLSA.SL2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally. NJSLSA.R7. Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words. NJSLSA.R10. Read and comprehend complex literary and informational texts independently and proficiently with scaffolding as needed. NJSLSA.W4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task.

Social Studies: 6.1.4.A.14 Describe how the world is divided into many nations that have their own governments, languages, customs, and laws. 6.1.4.D.13 Describe how culture is expressed through and influenced by the behavior of people.

Career Ready Practices: CRP2. Apply appropriate academic and technical skills. CRP4. Communicate clearly and effectively and with reason. CRP7. Employ valid and reliable research strategies. CRP11. Use technology to enhance productivity. CRP12. Work productively in teams while using cultural global competence. Technology Standards: 8.1.5.E.1: Use digital tools to research and evaluate the accuracy of, relevance to, and appropriateness of using print and non-print electronic information sources to complete a variety of tasks. 8.1.5.A.1 - Select and use the appropriate digital tools and resources to accomplish a variety of tasks including solving problems. 8.1.5.A.2 - Format a document using a word processing application to enhance text and include graphics, symbols and/ or pictures.

3-5 Dance Unit 3: Choreography and Performance

Overview: Combining dance with other curriculum areas is an instructional approach that supports kinesthetic learners to understand and deepen their learning through experiential opportunities. Through dance, learners can experience music and art from different cultures, periods, and techniques. Dance can be used as a tool to teach curriculum, while at the same time stimulating creativity. In addition, dance can promote critical thinking, teach learners to make independent decisions, and build confidence in themselves as well as a positive self-image.

Time Frame: Approximately 12 weeks

Enduring Understandings: • Basic choreographed structures employ the elements of dance. • Movement is developed and generated through improvisation. Form and structure are important when interpreting original choreography. • Musical and non-musical forms of sound can affect meaning in choreography and improvisation. • Compositional works are distinguished by the use of various body movements and sources of initiation (i.e., central, peripheral, or transverse). • Works of art may be organized according to their functions and artistic purposes (e.g., genres, mediums, messages, themes). • Formalism in dance, music, theatre, and visual art varies according to personal, cultural, and historical contexts. • Criteria for determining the aesthetic merits of artwork vary according to context. Understanding the relationship between compositional design and genre provides the foundation for making value judgments about the arts. • Music can be used as a choice and personal and group spatial relationships should be explored.

Essential Questions: Students will keep considering... • How can the elements of dance be used to express content, emotions, and personal expression? • How can improvisation of movement communicate content emotions and personal expression? • How is dance different from other forms of movement? • How can criticism of aesthetic expression improve an individual’s ability to communicate through the arts? • How has the role of dancing been an outlet for expressing feelings of joy in spite of harsh circumstances, and for giving a shared form of sadness? • What are the origins and meanings of different dances throughout history? • What are the cultural influences of certain dances? • What are the similarities and differences among various dances throughout history in relation to the ideas and perspectives of the people from which the dances originate? • How are aspects of culture expressed through dance?

Standards Topics and Objectives Activities Resources Assessments

1.1.5.A.2 Analyze the use Students will: • Improvise • Teaching Rhythm in • Evaluate informal in- of improvisation that • Select themes, discuss and collaboratively on a Dance: Ideas and class performances fulfills the intent of and plan, and develop theme. Exercises: and video evidence of develops choreography in movement in collaboration • Create a dance with https://www.tututix.com/t student performances both its form and structure. with peers, in partners and peers, using group eaching-rhythm-dance/ using observation, in small groups formations, a variety discussions, drawings, 1.1.5.A.3 Determine how • Create a short dance with of locomotor and non- • Dancemaker App: video, and simple accompaniment (such as peers incorporating locomotor movements, https://itunes.apple.com/u student-created sound, spoken text, or several movement phrases expressive dynamics s/app/dancemaker/id1180 rubrics. silence) can affect with a beginning, middle and changing spatial 809091?mt=8 choreography and and end paths. Sample Rubric 1 improvisation. • Understand choreographic • Dance with • Heartbeat Dances: Sample Rubric 2 devices (repetition) and responsiveness to https://www.youtube.com 1.3.5.A.2 Use rhythm, tempo and /watch?v=x5oq4ErAmW • A final structures (theme and improvisation as a tool to mood of music. 0 benchmark create and perform variation) • Work in silence or in assessment will movement sequences relation to text. • The Skeleton Dance: be given that incorporating various • Create a set of agreed- https://www.youtube.com can be used to spatial levels (i.e., low, upon criteria for /watch?v=Jpvuqj5nv6U measure middle, and high), tempos, evaluating dance with success with an spatial pathways. teacher and peers. • Contemporary Dancing this unit. • Improvise non-metric for Beginners: 1.3.5.A.3 Create and and breath rhythms https://www.youtube.com perform dances alone and alone, with a partner /watch?v=KstgOWbM6v in small groups that and with a group. Add k • Formative and communicate meaning on a voice, sound, Summative: A variety of themes, using percussion or music. • Hip Hop Dance Moves ssessments will props or artwork as • Compare and contrast for Kids: be used for creative stimuli. works by https://www.howcast.com each activity choreographers /guides/994-hip-hop- outlined for 1.3.5.A.5 Perform basic • Improvise movements dance-moves-for-kids/ each lesson. sequences of movement of the joints in the from different styles or body. Then create a • Indian Folk Dance: traditions accurately, dance with a partner http://www.youtube.com/ demonstrating proper that is focused on joint watch?v=-knKCPnRpR0 alignment, balance, action. Perform and • Homework, initiation of movement, analyze the dance. • Latin Folk Dance: classwork and and direction of focus. • Create an individual 8 http://www.youtube.com/ exit materials count locomotor and watch?v=qihYdSsLhXo will all be used 1.4.5.B.2 Use evaluative axial movement as data to tools, such as rubrics, for phrase. Teach the • Russian Folk Dance: assess student self-assessment and to phrase to a partner. http://www.youtube.com/ learning. appraise the objectivity of Join with another watch?v=niY0GZpQQSI critiques by peers. group to combine four movement phrases to • Glossary of Terms 1.4.5.B.5 Distinguish ways create a 32 count • Self- in which individuals may phrase. Perform and assessment: disagree about the relative reflect. Give students merits and effectiveness of the opportunity artistic choices in the to consider the creation and performance quality of their of works of dance, music, own learning theatre, and visual art. and performance, individually and in collaboration with others, with respect to curricular objectives, content benchmarks, and/or specified criteria. Self- assessment is only used formatively and gives students the responsibility of identifying competencies and challenges in their own work, and to devise appropriate strategies for improvement. Examples include setting personal goals and checking one’s progress toward them and comparing one’s work to the criteria on a rubric or checklist.

• Sharing feelings, dreams, and wishes about dance and dancing

• Planning and documenting choreographic process (sketching or collecting ideas for a dance)

• Personal responses to performances

• Peer Critique/ Assessment: When students engage in peer assessment or critique, they can use rubrics, checklists, and protocols (using technology) to focus their feedback on the criteria for the task, and should use protocols for constructive peer-to-peer feedback, such as:

• “I noticed …” • “I like the way … because …” • “Have you thought of …?” • “I would like to suggest …” • Hand Signals: Ask students to display a designated hand signal to indicate their understanding of a specific concept, principle, or process • I understand ______, and can explain it (e.g., thumbs up). • I do not yet understand ______(e.g., thumbs down). • I’m not completely sure about ______(e.g., wave hand).

Performance Rubrics

Dance Rubric 1

Dance Rubric 2

Assessment Resources:

Arts Achieve

http://www.artsachieve .org/dance- performance- assessment/

Arts Assessment for Learning

http://artsassessmentfo rlearning.org/dance/

Alternative Assessment:

• Written or Drawn Work (using technology when appropriate)

Integration of 21st Century Standards NJSLS 9: 9.2.4.A.1: Identify reasons why people work, different types of work, and how work can help a person achieve personal and professional goals. 9.2.4.A.3: Investigate both traditional and nontraditional careers and related information to personal likes and dislikes

Accommodations and Modifications: Students with special needs: Support staff will be available to aid students related to IEP specifications. 504 accommodations will also be attended to by all instructional leaders. Physical expectations and modifications, alternative assessments, and scaffolding strategies will be used to support this learning. The use of Universal Design for Learning (UDL) will be considered for all students as teaching strategies are considered. Additional safety precautions will be made along with additional staff so all student can fully participate in the standards associated with this Dance curriculum.

ELL/ESL students: Students will be supported according to the recommendations for “can do’s” as outlined by WIDA - https://www.wida.us/standards/CAN_DOs/ This particular unit has limited language barriers due to the physical nature of the curriculum.

Students at risk of school failure: Formative and summative data will be used to monitor student success at first signs of failure student work will be reviewed to determine support this may include parent consultation, basic skills review and differentiation strategies. With considerations to UDL, time may be a factor in overcoming developmental considerations. More time and will be made available with a certified instructor to aid students in reaching the standards.

Gifted and Talented Students: Students excelling in mastery of standards will be challenged with complex, high level challenges related to the complexity of the Dance requirements. This will include allowing more opportunities to demonstrate creativity and the design of original choreography.

English Language Learners Special Education At-Risk Gifted and Talented • Display labeled images of • Choose rhythm, tempo, or • Invite parents/ guardians to • Compare and contrast dance movements. theme to focus on when view and /or participate in choreography from two or • Use body movement to dancing to a particular a dance performance. more dance styles and present respond to theme / emotion piece. • Break choreography into findings to peers. in sound • Create a 4-count smaller pieces. • Develop longer movement • Restate dance steps aloud movement phrase to share • Conference with teacher phrases individually and in before performance. with peers. during the dance planning collaboration with peers. • Add a simple vocal or process. • Create a movement pattern to percussion phrase to music. respond to a spoken text with • Work with a peer to emphasis on symbolism and develop a short theme. choreography routine. Interdisciplinary Connections: ELA - NJSLS/ELA: NJSLSA.R2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas. NJSLSA.R7. Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words. Social Studies: 6.1.4.D.13 Describe how culture is expressed through and influenced by the behavior of people.

NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively. NJSLSA.SL2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally.

2.5.4.A.3 Explain and demonstrate movement sequences, individually and with others, in response to various tempos, rhythms, and musical styles. 2.5.4.A.4 Correct movement errors in response to feedback and explain how the change improves performance.

Integration of Technology Standards NJSLS 8: 8.1.5.A.1 Select and use the appropriate digital tools and resources to accomplish a variety of tasks including solving problems.

Career Ready Practices: CRP2. Apply appropriate academic and technical skills. CRP4. Communicate clearly and effectively and with reason. CRP6. Demonstrate creativity and innovation. CRP12. Work productively in teams while using cultural global competence.

6-8 Dance Unit 1: Elements of Dance and Kinesthetic Movement

Overview: In this unit, students will recognize choreographic structures, study various styles of movement, begin to create and demonstrate dance composition, and assess observable dance criteria through informal class performances. In addition, students will begin to maintain a digital or paper dance portfolio.

Time Frame: Approximately 12 weeks

Enduring Understandings: • The elements of dance, dance structures, and choreographic devices serve as both a foundation and a departure point for choreographers. • Space, time, and energy are basic elements of dance. • Dancers use the mind-body connection and develop the body as an instrument for artistry and artistic expression.

Essential Questions: Students will keep considering... • What social relationships and roles are implied by the facings, contact, and leader/follower relationships between partners? • In what ways do my muscles need to work to accomplish this movement? • How does social dancing affect my aerobic condition? Physical strength? • How are forms of dance influenced by time, place, and people? • What controls the dance; the dancer or the music? • How is dance an important element in a culture? • What is the process for creating an original work? • What makes an effective dance performer? • What makes an effective dance performance? • How does one critique a dance performance?

Standards Topics and Objectives Activities Resources Assessments

1.1.8.A.1 Interpret the Students will: • Manipulate movement • Choreographic • Maintain a dance choreographic structures of • Recognize the phrases with devices Structure: portfolio over time contrast and transition, the choreographic structures such as repetition, http://www.artsalive.c (paper or digital) with inversion, retrograde. a/en/dan/make/toolbox journal reflections, process of reordering and of contrast and transition, • Explore structures /formstructure.asp research ideas, chance, and the structures and the process of such as Call notation, videos, of AB, ABA, canon, call reordering or of chance in and Response, • Book: Dance photographs, and response, and dance masterworks. Flocking. Composition Basics- clippings about dance narrative. • Analyze the manipulation • Teach a movement Capturing the from magazines and of elements of dance used phrase that includes Choreographer's Craft newspapers, dance strength, flexibility By Pamela Sofras resources and 1.1.8.A.2 Analyze dance for choreographic intent and endurance. Have performance “notes.” techniques and styles to in dance master works the students alter the • Application: 8 Counts discern the compositional (e.g., changes in rhythm, phrase by https://itunes.apple.co • Evaluate informal in- use of the elements of proportion, spatial manipulating the m/us/app/8counts/id37 class performances dance and choreographic relationships, dynamics tempo, accents, 9903606?mt=8 and video evidence of principles relating to etc.). directions, levels and student performances dynamics, as well as to • Create and demonstrate a energy qualities. • Video: Bring in da using observation, • Analyze how varying discussions, discern spatial solo or group dance Noise, Bring in da the use of force affects drawings, video, and relationships. composition which Funk: the way a movement https://www.youtube.c simple student-

blends variety in body feels, is perceived, and om/watch?v=Dp_bM_ created rubrics. 1.1.8.A.4 Integrate a patterns, range of motion, is interpreted. c-BT0 variety of isolated and varied balances, variation • Teach a complex Sample Rubric 1 coordinated movements in in the elements of dance, locomotor and axial • Video: 42nd Street: Sample Rubric 2 dance compositions and and application of major sequence. Have the https://www.youtube.c students alter the performances, making use muscle groups and proper om/watch?v=R8Q7vcn Self-Assessment sequence’s breath and U9nc • Journal entries of all major muscle groups, body mechanics. metric rhythms, spatial • Self-reflection proper body mechanics, • Manipulate the aspects of directions, shaping of • ArtsAlive Website: • Peer Assessment body patterning, balance, time, space and weight to the body and energy http://artsalive.ca/en/ • Pair-share qualities. and range of motion. communicate meaning in • Peer evaluation and movement using • Connect the locomotor • Great performances observation 1.2.8.A.2 Create a combinations of effort and axial sequence to a PBS: story. See what multimedia presentation http://www.pbs.org/wn Teacher Assessment: actions, movement sections of the et/gperf/ • Lesson task checklist comparing and contrasting dynamics and qualities to movement sequence past and contemporary communicate meaning in relate to different Dance Styles: • • Performance task works of dance, music, improvisation and characters in the story. http://justdanceballroo theatre, and visual art that choreographed solo or Discuss the m.com/styles.asp checklist represent important ideas, group works. connections. • Maintain a theatre • Execute movement issues, and events that are • Verbally differentiate the • Contemporary Dance portfolio over time sequences in a variety Vocabulary: (paper or digital) with chronicled in the histories purposes between of dance forms with https://www.contempo journal reflections, of diverse cultures. utilitarian and non- accuracy. rary-dance.org/dance- research ideas, utilitarian dance works. • Make spontaneous terms.html notation, videos, 1.3.8.A.1 Incorporate a • Analyze and assess the choices in a dance photographs, clippings broad range of dynamics form, function, partnering with • Glossary of Terms about theatre from sensitivity to the and movement qualities in craftsmanship and magazines and partner. planned and improvised newspapers, theatre originality of two • Explain the technical solo and group works by opposing dance works in demands of a style. resources and manipulating aspects of the same dance style • Learn vocabulary performance “notes.” time, space, and energy. (e.g., Bring in da Noise, related to descriptive • Evaluate informal in- Bring in da Funk versus and technical dance class performances 1.3.8.A.3 Create a dance 42nd Street). terms. and video evidence of • Create a document to with peers, demonstrating • Objectively assess student performances highlight dances the ability to understand observable criteria studied. using observation, and use choreographic regarding content, form, discussions, drawings, structures such as ABA, technical proficiency and video, and simple theme and variation, canon, formal structures in student-created call and response, various self and peer rubrics. counterpoint. generated works of dance using rubrics and holistic 1.4.8.A.2 Identify works of scoring guides. dance, music, theatre, and Sample Assessments visual art that are used for utilitarian and non- • Sample Assessment #1 utilitarian purposes. • Sample Assessment #2 • Sample Assessment #3 1.4.8.A.7 Analyze the form, function, craftsmanship, and originality of Sample Scoring Guides representative works of • Sample Scoring Guide dance, music, theatre, and #1 visual art.

• Sample Scoring Guide #2 • Sample Scoring Guide 1.4.8.B.2 Differentiate #3 among basic formal structures and technical proficiency of artists in Alternative Assessments works of dance, music, • Journal entries theatre, and visual art. • Self reflection – Mapping ones journey • Pair-share • Peer evaluation and observation • Lesson task checklist • Performance task checklist

Integration of 21st Century Standards NJSLS 9: 9.2.8.B.3 Evaluate communication, collaboration, and leadership skills that can be developed through school, home, work, and extracurricular activities for use in a career.

Accommodations and Modifications:

English Language Learners • Students will be supported according to the recommendations for “can do’s” as outlined by WIDA - https://www.wida.us/standards/CAN_DOs/ • Review previously learned dance terminology. Include terms for human emotions. Students will use their bodies to express a series of emotions. Give a secret cue card to each student with an emotion written on it. Use a variety of cues from strong to subtle, e.g., fear or shyness. Instruct students to mime their word and have the class guess the emotion. When expressed, write the name of the emotion on the board. Write a brief scene on the board. Students in pairs will dance to relate the emotions created by the scene.

Students with Disabilities • The students’ needs will be addressed on an individual and grade level using a variety of modalities. Accommodations will be made for those students who need extra time to complete assignment. • Adjust or modify the general education program enabling students with disabilities to participate in and benefit from learning activities and experiences based on the core curriculum content standards and demonstrate understanding and application of the content standards.” These modifications may be those identified as best practice. • Each pupil manifests his or her learning abilities, learning style, and learning preferences in a unique way. Consequently, the type of adaptations needed and the program in which the adaptations will be implemented are determined individually within the IEP or 504 planning processes. • The adaptations for the arts classroom are instructional as well as physical. Some adaptations may structure students’ learning in an explicit and systematic way, including presenting and organizing instruction. An example of instructional adaptation may be placing greater emphasis on foundation skills. Examples of physical demands include dexterity, flexibility, use of a variety of tools and materials, and safety considerations. For these reasons, it is essential that the arts teacher understand the nature of the student’s disability and access the individual education program.

Students at Risk of School Failure • The students’ needs will be addressed on an individual and grade level using a variety of modalities. Accommodations will be made for those students who need extra time to complete assignment.

Gifted and Talented • Alternate learning activities/units: Opportunities to pursue alternate activities permit students to engage in new learning and avoid the boredom of repeating instruction or unnecessary practice in skills already mastered. • Independent Study: Students conduct carefully planned, self-directed research projects carefully monitored by the teacher. Prerequisites include instruction in field-based and library research skills, the scientific method, and other authentic types of inquiry. • Advanced thinking processes: Assignments in all curriculum areas should emphasize higher-level thinking skills such as synthesis, analysis, and evaluation. • Guest speakers/dance studios: University faculty, parents, business and industry leaders, or other teachers in specific areas can provide information on topics beyond the teacher’s expertise. • Mentors/Internships: Both mentors and internships allow students to interact with adult experts in fields of mutual interest and increase awareness of potential careers. Mentors act as role models. • Alternate resources: This category may include materials from a higher grade level or access to business, university, and community resources such as laboratories, libraries, and computer facilities. • Exchange programs: Students attend schools in a different community or country to enrich educational experiences.

English Language Learners Special Education At-Risk Gifted and Talented ● Vocalization ● Provide adequate space for ● Enroll parents as dance ● Create and lead the class in a ● Modeling movement. advocates in the school. warm up using balance, ● Use Gestures ● Play one song to match the ● Incorporate student choice strength and flexibility. ● Modified Assignments quality of movement. in selection of songs. ● Compare and contrast small ● Native Language ● Create a 4-count ● Use a graphic organizer to and large body movements Translation (peer, online movement. categorize movements. and the parts of the body they assistive technology, ● Create a web of small ● Repeat signal directions as engage. translation device, bilingual movements in dance needed. ● Develop an 8-count or longer dictionary) ● Provide alternative ● Pair visual prompts with routine focusing on one body ● Extended time for movements/ oral response verbal presentations. part. Teach routine to peers. assignment completion as choices. ● Ask students to restate ● Conduct research and provide needed ● Pair visual prompts with information, directions, presentation of cultural topics. ● Highlight key vocabulary verbal presentations. and assignments. ● Design surveys to generate ● Use graphic organizers ● Ask students to restate ● Repetition and practice and analyze data to be used in information, directions, ● Model skills / techniques to discussion. and assignments. be mastered. ● Debate topics of interest / ● Repetition and practice ● Extended time to complete cultural importance. ● Model skills / techniques to class work. ● Authentic listening and be mastered. ● Provide copy of class reading sources that provide ● Extended time to complete notes. data and support for speaking class work. ● Preferential seating to be and writing prompts. ● Provide copy of class mutually determined by the ● Exploration of art and/or notes. student and teacher artists to understand society ● Preferential seating to be ● Student may request to use and history. mutually determined by the a computer to complete ● Implement RAFT Activities student and teacher. assignments. as they pertain to the types / ● Student may request to use ● Establish expectations for modes of communication a computer to complete correct spelling on (role, audience, format, topic). assignments. assignments. ● Anchor activities ● Establish expectations for ● Extra textbooks for home. ● Use of Higher Level correct spelling on ● Student may request books Questioning Techniques assignments. on tape / CD / digital ● Provide assessments at a ● Extra textbooks for home. media, as available and higher level of thinking. ● Student may request books appropriate. on tape / CD / digital ● Assign a peer helper in the media, as available and class setting appropriate. ● Provide oral reminders and check student work during independent Interdisciplinary Connections: NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively. NJSLSA.SL2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally. 2.5.8.A.3 Create, explain, and demonstrate, as a small group, a planned movement sequence that includes changes in rhythm, tempo, and musical style (creative, cultural, social, and fitness dance). 2.5.8.A.4 Detect, analyze, and correct errors and apply to refine movement skills. Integration of Technology Standards NJSLS 8: 8.1.8.A.2 Create a document (e.g. newsletter, reports, personalized learning plan, business letters or flyers) using one or more digital applications to be critiqued by professionals for usability. Career Ready Practices: CRP2. Apply appropriate academic and technical skills. CRP4. Communicate clearly and effectively and with reason. CRP6. Demonstrate creativity and innovation. CRP12. Work productively in teams while using cultural global competence.

Unit 2: History of the Arts and Culture

Overview: In this unit, students will study the origins of dance forms within a historical and cultural context, as well as aesthetic movements, spatial patterning, contrasting dance style, and technological advancements and influences. Students will continue to maintain an ongoing paper or electronic dance portfolio.

Time Frame: Approximately 12 weeks

Enduring Understandings: • Technological advances have influenced the way we see dance on television and screen. • Spatial patterning can influence cultural performances. • Culture can have a social and political impact on dance.

Essential Questions: Students will keep considering... • How do new social dances and variations on social dance steps arise? • What impact has dance had on culture and society throughout history? • What are the similarities and differences among dances of various cultures? • What role does dance play in the culture of a specific country or region? • What are dance styles and how are they categorized in genres? • What are the technical demands of the various styles of dance? • How is dance language used to describe specific aesthetic differences and similarities between styles and artists? • How is music and style connected? • How are forms of dance influenced by time, place and people?

Standards Topics and Objectives Activities Resources Assessments

1.2.8.A.1 Map historical Students will: • Learn social dances • Dance Texts: • Maintain a dance innovations in dance, • Analyze the impact of the from various periods. https://www.readworks.or portfolio over time music, theatre, and visual advent of video • Compare and contrast g/find- (paper or digital) with content#!q:Dance/g:/t:0/f: journal reflections, art that were caused by the technology and its traditional cultural dance styles shown by 0/pt:/features:/ research ideas, creation of new influence on dance American or visiting notation, videos, technologies innovations (e.g., dance in dance companies. • Dance Artifacts: photographs, clippings movies; dance in music • Reflect upon the https://digitalcollections.n about dance from videos; dance on TV; emotional response to ypl.org/collections/dance- magazines and 1.2.8.A.2 Differentiate past dance in reality shows). a dance and use in-photographs-and- newspapers, dance and contemporary works of • Compare and contrast the expressive language to prints#/?tab=navigation resources and dance, music, theatre, and use of spatial patterning report experiences. performance “notes.” visual art that represent and relationships in past • Choose from a “grab • The Evolution of Dance: • Create PowerPoint bag of countries,” and https://www.ted.com/talks/ presentations on important ideas, issues, and and contemporary dance research the dances of the_lxd_in_the_internet_a choreographers who events that are chronicled works from world cultures the country chosen. ge_dance_evolves/up- greatly impacted in the histories of diverse (e.g., French Baroque • Create a simple ritual next#t-408223 dance. cultures. verses Alwin Nikolais’s or ceremonial dance • Evaluate written illusionary space). by studying a • Article: What is Hip Hop? reflections on dance 1.2.8.A.3 Analyze the • Observe how social and particular culture then https://www.educationwor principles, including use the elements based ld.com/a_lesson/what-is- reports and journal social, historical, and cultural values, from past on that culture to hip-hop.shtml responses, using a political impact of artists and contemporary create the movement. student-created rubric. on culture and the impact choreographers (e.g., Ruth • Learn and perform an • PBS Resources: • Evaluate informal in- of culture on the arts. St. Denis- exoticism, authentic ceremonial https://nj.pbslearningmedi class performances Katherine Dunham-Afro- or ritual dance (e.g. a.org/search/?q=Dance&se and video evidence of 1.4.8.A.1 Generate Caribbean dance heritage, Hora Agadati from lected_facets= student performances observational and Erik Hawkins- Israel, Tinikling from using observation, Philippines or • Interpreting Mythology discussions, drawings, emotional responses to examination of native Progressive Circle Through Dance: video, and simple diverse culturally and American culture, Bill T. from USA). https://artsedge.kennedy- student-created historically specific works Jones-contemporary • Read about and view center.org/educators/lesso rubrics. of dance, music, theatre, African-American works of ns/grade-6- • Additional and visual art. condition etc.), influenced contemporary modern 8/Interpreting_Mythology Assessments may the dynamics of their choreographers and _Through_Dance include: 1.4.8.A.3 Distinguish works. identify influences • Analyzing primary from other dance • Video: How to Dance source documents among artistic styles, • Trace the social and genres. Through Time- The on the history of trends, and movements in political impact on the • Research the influence Elegance of Baroque certain dances and dance, music, theatre, and culture of the arts and as of African-American, https://www.youtube.com/ the cultures of visual art within diverse well as artists impact on Latin/South American, watch?v=9wlU4PP1eUI origin. cultures and historical eras. culture in the 20th and and European on • Conduct short 21st centuries (e.g., Jazz American social • Glossary of Terms research projects dances and social on the cultural 1.4.8.A.4 Compare and Dance; Musical Theatre; dance music. origins of dance to contrast changes in the Tap Dance; Hip Hop; • Research the support analysis, accepted meanings of Ballroom Dance etc.). connections between reflection, and known artworks over time, • Research and perform two dance styles. research given shifts in societal dances that illustrate • Compare and contrast • Use technology to norms, beliefs, or values. similar and/or contrasting dances by various create a presentation American styles associated with on the impact of dance choreographers (e.g., on specific groups of 1.4.8.B.3 Compare and technological advances, Merce Cunningham’s contrast examples of world dance styles, and Rainforest, Alvin people and historical archetypal subject matter in the socio-political impact Ailey’s To Bird With events. works of art from diverse of artists on cultures. Love, José Limón’s • Maintain a theatre cultural contexts and The Moor’s Pavane). portfolio over time historical eras by writing • Compare and contrast (paper or digital) with traditional cultural critical essays. journal reflections, dance styles shown by research ideas, American or visiting dance companies. notation, videos, • Make a “family tree” photographs, clippings of a dance form, about theatre from including major artists magazines and and dates of significant newspapers, theatre works. resources and performance “notes.” • Evaluate informal in- class performances and video evidence of student performances using observation, discussions, drawings, video, and simple student-created rubrics.

Sample Assessments

• Sample Assessment #1 • Sample Assessment #2 • Sample Assessment #3

Sample Scoring Guides

• Sample Scoring Guide #1 • Sample Scoring Guide #2 • Sample Scoring Guide #3

Alternative Assessments • Journal entries • Self reflection – Mapping ones journey • Pair-share • Peer evaluation and observation • Lesson task checklist • Performance task checklist

Integration of 21st Century Standards NJSLS 9: 9.2.8.B.4 Evaluate how traditional and nontraditional careers have evolved regionally, nationally, and globally.

Accommodations and Modifications:

English Language Learners

• Students will be supported according to the recommendations for “can do’s” as outlined by WIDA - https://www.wida.us/standards/CAN_DOs/ • Review previously learned dance terminology. Include terms for human emotions. Students will use their bodies to express a series of emotions. Give a secret cue card to each student with an emotion written on it. Use a variety of cues from strong to subtle, e.g., fear or shyness. Instruct students to mime their word and have the class guess the emotion. When expressed, write the name of the emotion on the board. Write a brief scene on the board. Students in pairs will dance to relate the emotions created by the scene.

Students with Disabilities

• The students’ needs will be addressed on an individual and grade level using a variety of modalities. Accommodations will be made for those students who need extra time to complete assignment. • Adjust or modify the general education program enabling students with disabilities to participate in and benefit from learning activities and experiences based on the core curriculum content standards and demonstrate understanding and application of the content standards.” These modifications may be those identified as best practice. • Each pupil manifests his or her learning abilities, learning style, and learning preferences in a unique way. Consequently, the type of adaptations needed and the program in which the adaptations will be implemented are determined individually within the IEP or 504 planning processes. • The adaptations for the arts classroom are instructional as well as physical. Some adaptations may structure students’ learning in an explicit and systematic way, including presenting and organizing instruction. An example of instructional adaptation may be placing greater emphasis on foundation skills. Examples of physical demands include dexterity, flexibility, use of a variety of tools and materials, and safety considerations. For these reasons, it is essential that the arts teacher understand the nature of the student’s disability and access the individual education program.

Students at Risk of School Failure

• The students’ needs will be addressed on an individual and grade level using a variety of modalities. Accommodations will be made for those students who need extra time to complete assignment.

Gifted and Talented

• Alternate learning activities/units: Opportunities to pursue alternate activities permit students to engage in new learning and avoid the boredom of repeating instruction or unnecessary practice in skills already mastered. • Independent Study: Students conduct carefully planned, self-directed research projects carefully monitored by the teacher. Prerequisites include instruction in field-based and library research skills, the scientific method, and other authentic types of inquiry. • Advanced thinking processes: Assignments in all curriculum areas should emphasize higher-level thinking skills such as synthesis, analysis, and evaluation. • Guest speakers/dance studios: University faculty, parents, business and industry leaders, or other teachers in specific areas can provide information on topics beyond the teacher’s expertise. • Mentors/Internships: Both mentors and internships allow students to interact with adult experts in fields of mutual interest and increase awareness of potential careers. Mentors act as role models. • Alternate resources: This category may include materials from a higher grade level or access to business, university, and community resources such as laboratories, libraries, and computer facilities. • Exchange programs: Students attend schools in a different community or country to enrich educational experiences.

English Language Learners Special Education At-Risk Gifted and Talented • Assign a native language • Use sentence/paragraph • Invite parents/guardians to • Create an original dance partner. frames to assist with participate in sharing based on the cultural themes • Build background writing reports. cultural themes and dances. and dance elements of a knowledge through • Leveled texts for analyzing • Provide an outline for particular style. discussions if material is primary and secondary journal entries and study • Incorporate multiple types of culturally specific to the sources guides. resources, including text, United States • Create a world wall with • Provide extended time for video, interviews, etc., into a cultural dance written responses and report on a dancer or names/vocabulary. reports. choreographer. • Utilize graphic responses • Write detailed reflections to in journals. live and/or video • Provide extended time for performances. written responses and reports. Interdisciplinary Connections: NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively. NJSLSA.SL2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally. NJSLSA.R7. Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words. NJSLSA.R10. Read and comprehend complex literary and informational texts independently and proficiently with scaffolding as needed. NJSLSA.W4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience. Integration of Technology Standards NJSLS 8: 8.1.8.A.2 Create a document (e.g. newsletter, reports, personalized learning plan, business letters or flyers) using one or more digital applications to be critiqued by professionals for usability. 8.1.8.D.4 Assess the credibility and accuracy of digital content. Career Ready Practices: CRP2. Apply appropriate academic and technical skills. CRP4. Communicate clearly and effectively and with reason. CRP7. Employ valid and reliable research strategies. CRP11. Use technology to enhance productivity. CRP12. Work productively in teams while using cultural global competence.

6-8 Dance Unit 3: Choreography and Performance

Overview: In this unit, students will interpret dance imagery and begin to apply symbolism, as well as traditional and non-traditional dance to their own original works. Students will complete an ongoing paper or electronic dance portfolio.

Time Frame: Approximately 12 weeks

Enduring Understandings: • Symbolism and imagery enhance the substances and quality of dance. • Traditional and non-traditional elements can generate new ideas and expressions in dance. • Objective observation of dance can aid dancers and choreographers in improving their work.

Essential Questions: Students will keep considering... • How do our individual styles affect a group performance? • How can I recognize this dance to enhance its expressiveness? • How can I use music more effectively to support my theme?

Standards Topics and Objectives Activities Resources Assessments

1.1.8.A.3 Examine how • Interpret the • Create a work with • Telling a Story Through • Maintain a dance dance compositions are characteristics of imagery peers using original Dance: portfolio over time influenced by various and representation in movement material http://www.sedl.org/afters (paper or digital) with devices to manipulate chool/lessonplans/index.cg journal reflections, social themes and arts various dance works and phrases, and a clear i?show_record=125 research ideas, media (e.g., dance for apply symbolism to a choreographic notation, videos, short original structure. • Magisto - photographs, clippings camera, interactive, choreographic work. • Take video footage of https://www.magisto.com/ about dance from telematics). • Differentiate the elements only classmates’ feet magazines and of style and design of a and legs as they are • Playbook Dance - newspapers, dance 1.3.8.A.2 Choreograph and traditional and non- rehearsing a dance; https://itunes.apple.com/us resources and repeat with only the /app/playbook.dance/id572 performance “notes.” perform cohesive dance traditional dance work and upper body; use to 038933?mt=8 • Evaluate informal in- works that reflect social, apply conventional and revise performance. class performances historical, and/or political non-conventional • With peers, create a • Hip Hop Dance Moves for and video evidence of themes. elements of style to video of students Kids - student performances express new ideas in self- dancing to weave into https://www.howcast.co using observation, 1.3.8.A.3 Choreograph and generated choreography. a performance. m/guides/994-hip-hop- discussions, drawings, • Interpret a dance in dance-moves-for-kids/ video, and simple perform movement • Objectively assess terms of content student-created sequences that demonstrate observable criteria (narrative, themed or • Contemporary Dancing for rubrics. artistic application of regarding content, form, abstract) and context Beginners - anatomical and kinesthetic technical proficiency and (theatrical, ritual or https://www.youtube.com/ Sample Rubric 1 principles as well as formal structures in social). watch?v=KstgOWbM6vk Sample Rubric 2 rhythmic acuity. various self and peer • Analyze a dance’s generated works of dance content and • Indian Folk Dance: • Maintain a theatre social/cultural context. 1.3.8.A.4 Use media arts using rubrics and holistic http://www.youtube.com/ portfolio over time • Produce a performance watch?v=-knKCPnRpR0 (paper or digital) with and technology in the scoring guides. with peers, taking creation and performance various roles, and • Latin Folk Dance: journal reflections, of short, original analyze the skills http://www.youtube.com/ research ideas, choreographic needed for such jobs. watch?v=qihYdSsLhXo notation, videos, compositions. photographs, clippings • Russian Folk Dance: about theatre from http://www.youtube.com/ 1.4.8.A.5 Interpret magazines and watch?v=niY0GZpQQSI symbolism and metaphors newspapers, theatre embedded in works of • Glossary of Terms resources and dance, music, theatre, and performance “notes.” visual art. • Evaluate informal in- class performances 1.4.8.A.6 Differentiate and video evidence of between “traditional” student performances works of art and those that using observation, do not use conventional discussions, drawings, elements of style to express video, and simple new ideas. student-created rubrics. 1.4.8.B.1 Evaluate the effectiveness of a work of art by differentiating between the artist’s Sample Assessments technical proficiency and the work’s content or form. • Sample Assessment #1 • Sample Assessment #2 • Sample Assessment #3

Sample Scoring Guides

• Sample Scoring Guide #1 • Sample Scoring Guide #2 • Sample Scoring Guide #3

Alternative Assessments • Journal entries • Self reflection – Mapping ones journey • Pair-share • Peer evaluation and observation • Lesson task checklist • Performance task checklist

Integration of 21st Century Standards NJSLS 9: 9.2.8.B.3 Evaluate communication, collaboration, and leadership skills that can be developed through school, home, work, and extracurricular activities for use in a career.

Accommodations and Modifications:

English Language Learners • Students will be supported according to the recommendations for “can do’s” as outlined by WIDA - https://www.wida.us/standards/CAN_DOs/ • Review previously learned dance terminology. Include terms for human emotions. Students will use their bodies to express a series of emotions. Give a secret cue card to each student with an emotion written on it. Use a variety of cues from strong to subtle, e.g., fear or shyness. Instruct students to mime their word and have the class guess the emotion. When expressed, write the name of the emotion on the board. Write a brief scene on the board. Students in pairs will dance to relate the emotions created by the scene.

Students with Disabilities • The students’ needs will be addressed on an individual and grade level using a variety of modalities. Accommodations will be made for those students who need extra time to complete assignment. • Adjust or modify the general education program enabling students with disabilities to participate in and benefit from learning activities and experiences based on the core curriculum content standards and demonstrate understanding and application of the content standards.” These modifications may be those identified as best practice. • Each pupil manifests his or her learning abilities, learning style, and learning preferences in a unique way. Consequently, the type of adaptations needed and the program in which the adaptations will be implemented are determined individually within the IEP or 504 planning processes. • The adaptations for the arts classroom are instructional as well as physical. Some adaptations may structure students’ learning in an explicit and systematic way, including presenting and organizing instruction. An example of instructional adaptation may be placing greater emphasis on foundation skills. Examples of physical demands include dexterity, flexibility, use of a variety of tools and materials, and safety considerations. For these reasons, it is essential that the arts teacher understand the nature of the student’s disability and access the individual education program.

Students at Risk of School Failure • The students’ needs will be addressed on an individual and grade level using a variety of modalities. Accommodations will be made for those students who need extra time to complete assignment.

Gifted and Talented • Alternate learning activities/units: Opportunities to pursue alternate activities permit students to engage in new learning and avoid the boredom of repeating instruction or unnecessary practice in skills already mastered. • Independent Study: Students conduct carefully planned, self-directed research projects carefully monitored by the teacher. Prerequisites include instruction in field-based and library research skills, the scientific method, and other authentic types of inquiry. • Advanced thinking processes: Assignments in all curriculum areas should emphasize higher-level thinking skills such as synthesis, analysis, and evaluation. • Guest speakers/dance studios: University faculty, parents, business and industry leaders, or other teachers in specific areas can provide information on topics beyond the teacher’s expertise. • Mentors/Internships: Both mentors and internships allow students to interact with adult experts in fields of mutual interest and increase awareness of potential careers. Mentors act as role models. • Alternate resources: This category may include materials from a higher grade level or access to business, university, and community resources such as laboratories, libraries, and computer facilities. • Exchange programs: Students attend schools in a different community or country to enrich educational experiences.

English Language Learners Special Education At-Risk Gifted and Talented • Display labeled images of • Choose rhythm, tempo, or • Invite parents, neighbors, • Compare and contrast dance movements. theme to focus on when friends, the school choreography from two or • Use body movement to dancing to a particular principal and other more dance styles and present respond to theme / emotion piece. community members to findings to peers. in sound • Create a 4-count attend class performances. • Develop longer movement • Restate dance steps aloud movement phrase to share • Break choreography into phrases individually and in before performance. with peers. smaller pieces. collaboration with peers. • Add a simple vocal or • Conference with teacher • Create a movement pattern to percussion phrase to music. during the dance planning respond to a spoken text with • Work with a peer to process. emphasis on symbolism and develop a short theme. choreography routine. Interdisciplinary Connections: NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively. NJSLSA.SL2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally. 2.5.8.A.3 Create, explain, and demonstrate, as a small group, a planned movement sequence that includes changes in rhythm, tempo, and musical style (creative, cultural, social, and fitness dance). 2.5.8.A.4 Detect, analyze, and correct errors and apply to refine movement skills. Integration of Technology Standards NJSLS 8: 8.1.8.A.2 Create a document (e.g. newsletter, reports, personalized learning plan, business letters or flyers) using one or more digital applications to be critiqued by professionals for usability. Career Ready Practices: CRP2. Apply appropriate academic and technical skills. CRP4. Communicate clearly and effectively and with reason. CRP6. Demonstrate creativity and innovation. CRP12. Work productively in teams while using cultural global competence.

Dance Glossary of Terms 6-12

AB: A two-part compositional form with an A theme and a B theme; the binary form consists of two distinct sections that share either a character or quality.

ABA: A three-part compositional form in which the second section contrasts with the first section. The third section is a restatement of the first section in a condensed, abbreviated, or extended form.

Abduction: The movement of a body part away from the midline. Abstract: Dance movement removed from a representational context; dance as the “thing-in- itself ”; movement through space in time as its own subject matter.

Accent: An emphasis or stress on certain musical counts or within specific movements. Accumulation: Repeating a sequence with the addition of one movement each time, e.g., 1, 1-2, 1-2-3.

Adduction: Movement of a body part toward the midline.

Aesthetics: A guiding principle in matters of beauty or artistic taste; a heightened sense of beauty; the branch of philosophy that deals with beauty, art, and artistic principles.

Agility: Moving with ease or kinetic flow.

Alignment: In ballet and modern dance, the placement of the body’s segments one above the other so that the ear, shoulder, hip, knee, and ankle are as close as possible to a straight line that extends at right angle to the floor. Alignment in other dance forms may involve a different relationship between the segments of the body; proper alignment in a dance form allows for the greatest freedom of movement with the least amount of strain.

Apron: The area of the stage that extends toward the audience in front of the curtain line. Articulation: Movement, with clarity and precision, of specific parts of the body that have jointed connectors, e.g., head (neck), arms (shoulders, elbows, wrists), hands (wrists, fingers), torso (shoulder girdle, spine), hips (lower spine, pelvic girdle, hip joints), legs (hips, knees, ankles), feet (ankles, toes).

Asymmetrical: A body shape or choreographic formation in which one side of the midline is not a mirror image of the other side.

Axial: A movement organized around the axis of the body in which the dancer remains in one spot in space, e.g., bending, stretching, twisting swinging; a non-traveling movement. Backstage: The areas of a traditional proscenium stage not seen by the audience, e.g., the spaces concealed by the side and rear curtains, the dressing areas, scene or costume shop, etc. Ballet: A form of dance originally developed in the 18th-century French court with a codified movement vocabulary. Advanced female ballet dancers work en pointe, wearing hard-tipped shoes that enable them to stand on the tips of their toes. A dancer must train in a consistent, rigorous daily ballet program for a minimum of three years before starting pointe work. Ballet training in soft slippers is often practiced by professional dancers specializing in modern, jazz, or tap dance to build a beautiful line and strength in leg extensions turns, and jumps.

Blocking: Planning and practicing the sequence of formations and positions of dancers on stage in a dance work.

Brushes: Standing warm-up movements executed with straight legs in which the working foot “brushes” the floor away from the standing leg until the foot is entirely extended in a point, with the toes either on or off the floor. In modern and jazz dance, these can be done with the legs parallel or turned out and from various starting positions; in ballet, they are done turned out from various starting positions and are called tendus when culminating with the toes touching the floor, dégagés when culminating with the toes off the floor.

Call and Response: A choreographic form, characteristic of African dances, in which a solo dance leader demonstrates and/or calls out dance steps, and the group responds by either repeating the step or with another step or movement combination. The same process can be used with two groups instead of a solo and a group.

Canon: The equivalent of a musical “round,” in which an identical movement phrase is performed by two or more dancers or groups of dancers, with staggered starting points.

Center Stage: The area in the middle of the floor space outlined by a proscenium stage.

Chance Operations: A choreographic device, deeply explored by Merce Cunningham, in which various methods may be used to obtain random selection or organization of movements or movement phrases, e.g., rolling dice to determine the order of phrases to be performed; also called “chance procedures.”

Character: The mood, feeling or style of a dance or a section of a dance; a specific role performed by a dancer in a dance.

Choreographic Device: A compositional process used to organize movements within a dance, e.g., canon, counterpoint, chance, unison.

Choreographic Structure: The overarching compositional form in which movements are organized in adance, e.g., AB, ABA, theme and variation, rondo, etc.; syn. “choreographic form.” Choreographer: An artist who creates dances; one who originates and/or chooses movements and organizes them into a dance work.

Circumduction: Movement of a body part so that its extremity makes a circular path.

Collapse: Movement characterized by a release of the muscles so that the body’s weight gives in to gravity.

Combination: A series of connected movements forming a dance phrase.

Composition: The activity of putting movements together into a short dance study or a complete dance.

Concert: A formal performance of dance, featuring either a full-length dance work or a series of separate shorter dance works.

Contact Improvisation: Spontaneous partnered movement in which one dancer responds instantly to movements done by the other, leading to a seamless flow of movement initiation and response. The form is characterized by use of the floor, rolling and tumbling, and non-gender- specific lifting using natural momentum and leverage.

Content: The subject matter or meanings of a work of art, as distinguished from its formal aspects.

Contraction: A shortening of the muscles of any part of the body, resulting in a pulling inward; in Martha Graham technique, a shortening of the muscles in the front of the torso, as in exhaling.

Contrast: The use of movements with different or opposite dynamics (use of energy or effort), shapes, use of space or time.

Counterbalance: To oppose with equal weight or force, preventing a shape from collapsing.

Counterpoint: The juxtaposing of different movement phrases against each other simultaneously.

Critical Protocol: A set of guidelines and procedures meant to be followed during discussions of dance performance and choreography.

Cue: An external stimulus that motivates a movement or change of movements; a movement in a dance that motivates other dancers in the dance to perform certain movements; a point in a dance work at which a lighting or musical change occurs.

Cue-to-Cue: A technical stage rehearsal in which the dancers take the places they would be in at each lighting change without performing the movements in between those changes.

Curtain Line: On a proscenium stage, the imaginary line marking where the bottom of the front curtain hits the stage floor.

Dance Elements: The Body (shapes and actions); Dynamics (movement qualities through energy and time); Space; and Relationship (between dancers, dancers and audience, dance and music).

Dance Drama: A dance presentation using relationships between characters to convey a narrative; characteristic of Indian, Chinese, Japanese, and Southeast Asian classical dance productions.

Dance Flooring: A flexible, portable floor covering that provides traction and a predictable surface for bare feet and various types of dance shoes; composed of a specially designed composite material. It generally comes in six-foot widths that are unrolled onto the floor and taped together with gaffer’s tape.

Dance in the Round: A dance meant to be viewed from all sides, rather than from only one viewpoint as in a traditional theater.

Dance Score: A graphic representation of a dance using standard or invented elements.

Design: In choreography, the patterns and arrangement of movement in a dance.

Downstage: The area of a proscenium stage closest to the audience.

Dynamics: In music, the degree of loudness, softness, and attack; in dance, the degree of effort (force, energy) and the speed (time) with which a movement is executed; syn. movement quality.

Echoing: Repeating a movement exactly as shown.

Effort: The degree of energy or force with which a movement is executed, and the directness or indirectness of the movement; as defined by Rudolf Laban, effort actions include punch, press, flick, float, slash, glide, wring, and dab.

Ensemble: A group of dancers working together in a dance piece.

Exploration: A process in which suggestions made by a leader or teacher result in spontaneous original movement; also called “movement investigation.” Expressionism: An aesthetic movement in the arts characterized by the principle of depicting the artist’s subjective emotions and responses, rather than reflecting objective reality.

Extension: Stretching any limb away from the midline; for the legs, defined by the degree of angle in the hip joint formed by a leg raised and held in a controlled fashion.

Facing: The direction towards which the front of the body is positioned.

Figure: A specific self-contained pattern of steps; in particular, a step pattern (with accompanying arm links and hand holds) executed by a couple in ballroom and swing dancing; also used to describe specific ice-skating moves. Improvisation in ballroom and swing dancing involves the spontaneous choosing and ordering of figures.

Flexion: Bending or folding a limb, resulting in a decrease in the angle of the joint.

Flocking: A group follow-the-leader activity in which the leader changes when the group changes its directional facing, very much like a flock of birds.

Floor Pattern: The pathway traced on the floor by dancers traveling through space.

Flow: Transmitting energy from one part of the body to another to link movements without a break.

Focal Point: A place within a group of dancers or on the stage that naturally draws the audience’s attention.

Focus: The direction of the dancer’s face and eyes; a dancer can project this focus into near or far space; focus can also be sharp or soft.

Fourth Wall: The imaginary wall between the audience and the performers in a proscenium stage setting; “breaking” the fourth wall involves the performer directly addressing the audience, either verbally or physically.

Framework: A description or suggestion that limits movement materials discovered during exploration and improvisation.

Fusion: Dance that blends several genres or styles to create a new way of moving.

Gel: The medium used to give color to white light produced by theatrical lighting instruments.

General Space: All the available space through which a dancer can move and which is also available to other dancers; differentiated from “personal space”; in a studio or room, also called “room space.”

Genre: A type or category of dance, e.g., ballet, jazz, modern dance, tap, European folk dance, African dance, ballroom dance.

Elevation: The height of the body off the floor in a jump or leap.

Energy: The degree and control of force in a movement in terms of impulse and follow-through; ranges from light to strong, and from free to bound.

Gesture: A movement of the body or part of the body that expresses an emotion or idea, e.g., a wave, reach, fist shake, stamping of the foot, nod of the head; a movement emblematic of a working activity such as planting, hunting, or fishing; a movement emblematic of a daily activity such as washing the face. Gestures are intensified and delineated with performer focus when used in mime; they are extended into larger movements and abstracted into related movements when used as a basis for developing movement vocabulary in dance.

Glow Tape: A special photosensitive tape that glows in the dark, used to mark dancers’ opening placement onstage; used as an aid for finding places in total blackness.

Gobo: A metal mask with a pattern of shaped cutouts that is placed at the gate of a lighting instrument to project a pattern of light and shadow on the stage floor or backdrop.

Grid: The system of pipes erected at ceiling level in a theater from which the lighting instruments are hung.

Hop: To go into the air, taking off from one foot and landing on the same foot.

Hot Spot: The most intense place in a pool of light thrown onto the stage by a lighting instrument.

Hyperextension: Extreme extension of a joint; extension of a joint beyond what is physically healthy or technically useful.

Imagery: Ideas, visual pictures, colors, objects, feelings, and sensations either suggested by dance movement or serving as a motivation for the creation of dance movement.

Improvisation: Original movement created spontaneously in a free or structured environment. Involves an instantaneous choice of actions on the part of the dancer affected by chance elements, such as the movement choices of other dancers or musicians in the room. It may involve focused and concentrated movement exploration of a specific movement problem or idea, or may be a simple individual response to music.

Impulse: The initial starting point or origin of a movement, e.g., breath, musical beat, or melodic line, physical reaction to a movement or effort action; syn. impetus.

Intent: In a dancer, the inner motivation made manifest in movement; in a piece of choreography, the desired effects or meanings to be communicated.

Interdisciplinary: Involving two or more arts disciplines.

Isolation: Movement restricted to one area of the body, e.g., eyes, head, hands/fingers, shoulders, rib cage, or hips; important in jazz dance; also used in African dance, Indian classical dance.

Interpretation: The step in dance analysis and/or criticism in which the viewer infers meanings from the form and content of a dance work; also, the unique choices of dynamic phrasing, character, attack, and musicality made by an individual dancer in performing a set piece of choreography.

Jazz: A dance form that developed along with jazz music; a major influence in Broadway show choreography; characterized by sharp body isolations, a presentational aesthetic, high kicks, and pelvic movements.

Jump: To go into the air, taking off from two feet and landing on either two feet or one foot.

Juxtaposition: In choreography, placing two or more different dance phrases side by side or one in front of the other so that they are performed simultaneously.

Kinesphere: The space surrounding the body of a dancer at any one moment, which includes all directions and levels as far as the dancer can reach with limbs or torso.

Kinesthetic: Pertaining to the ability of the body’s sensory organs in the muscles, tendons, and joints to both respond to stimuli and to relate information about body position, movement, and tension.

Kinesthetic Awareness: Conscious awareness of the kinesthetic sense.

Labanotation: A symbolic notation system for recoding and analyzing human and animal movement developed by Rudolf Laban.

Leading: Refers to the part of the body that initiates or leads a movement; also, in partnered social dancing, the part taken by the person who determines the order of steps, signals cues to the partner which figure to execute, and guides the partner through space.

Leap: To go into the air, taking off from one foot and landing on the other foot.

Legs: Curtains at the sides of the stage that hide the dancers waiting to enter the performance area.

Level: The height of the dancer in relation to the floor, e.g., high, middle, low.

Light Boom: A vertical standing pipe weighted at the bottom on which lighting instruments are hung; generally used in the wings at the sides of the stage.

Literal: Non-abstracted, verbatim, directly representational in relation to a stimulus such as text, dramatic situation, or musical accompaniment.

Locomotor Movement: Movement that travels through space, e.g., walk, run, leap, hop, jump, skip, slide, gallop.

Lyrical: A movement quality that is calm and controlled with sequential flow, smooth transitions, and extended limbs.

Manipulation: Varying and developing movement phrases by changing the use of shape, dynamic energy, space or time, or by applying devices such as repetition, accumulation, or retrograde.

Material: Refers to movement phrases that have been developed and will be used in creating a choreographed dance work.

Meter: The division of music into small groups of pulse beats. Binary meters (as in a march) have pulse beats that can be counted in twos; ternary meters (as in a waltz) have groups of pulse beats that are counted in threes; mixed meters change the numbers of pulse beats in different measures.

Minimalism: A movement form based on repeated use of the same movement or movement phrase with only slight changes.

Mirroring: A partnering activity in which a dancer simultaneously reflects the positions and movements of a partner as if gazing into a mirror.

Motif: A recurring movement idea, shape, or form that appears in a dance composition.

Motif Notation: A system of recording and analyzing movement using simple pictorial symbols; based on Labanotation, which is more exact and extensive.

Mount: To place and position a dance onstage once the choreography is completed.

Movement Quality: The effect created by the varied uses of effort (force), attack, and energy in a movement; syn. dynamics.

Movement Sentence: A brief sequence of related movements that has a sense of continuity and rhythmic completion, with a beginning, middle, and end; it is delineated by stillness at the beginning and end; syn. phrase.

Movement Theme: A complete idea in movement that can be manipulated and altered; can be expressed by varied or related movement phrases.

Music Visualization: Choreography that directly expresses the structure, rhythms, and melodies of a piece of music in movement terms.

Narrative: A choreographic form that tells a story through character and/or situational development.

Negative Space: The space surrounded by parts of a dancer’s body, or the space between dancers and/or prop elements, and the air shapes thus created; becomes part of the visual design of a dance work. Negative space can be charged with energy.

Non-Literal: Choreography that is non-representational, communicating directly through movement that needs no translation; an emotional theme or dramatic impact can nevertheless be achieved.

Non-Locomotor Movement: Movement done in place rather than traveling through space; syn. axial movement.

Opposition: Position or movement of the arm in opposition to the leg, e.g., the left arm moves to the right while the left leg moves to the left. Walking involves simple front-back opposition of the same arm and leg.

Organic: Dance movement or choreography that has an interrelationship of parts similar to the organization of parts in nature; movements that flow naturally from each other.

Pedestrian Movement: Everyday movement as it is executed by the average person not trained as a dancer; non-stylized movement.

Percussive: Movement characterized by sharp movements with sudden stops, strong effort, and angular shapes.

Performance Art: Performance pieces that do not fall into the usual categories of dance, theater, or visual art; performance that blends several kinds of artistic categories and conventions.

Personal Space: The “space bubble” immediately surrounding a dancer, including all levels and directions reachable by extending the limbs and torso; syn. kinesphere.

Phrase: A brief sequence of related movements that have a sense of continuity and rhythmic completion; delineated by stillness at the beginning and end; syn. movement sentence.

Positive Space: The space filled by the body of the dancer; the shape of the dancer’s body in space.

Proscenium: The architectural arch that defines the viewing space of a traditional theatrical stage. Performances on a proscenium stage are meant to be viewed from one direction only.

Pulse: An underlying steady beat, expressed in the body, either arising internally or in response to a musical beat; rhythms are patterns laid over and in relation to a pulse.

Reflect: To consider one’s responses to experiencing or observing dance, in either framed or open discussion.

Relationship: Dancers’ connections to or positions relative to their own bodies or parts of their bodies, another dancer or dancers, the audience, the stage space, music, or sets and costumes.

Release: A relaxing and lengthening of the muscles in any part of the body; in Martha Graham technique, an opening up of the front of the body, as in breathing in. It also refers to the technique developed by Trisha Brown that uses a release of tension in the joints to facilitate a relaxed, rapidly flowing style of movement.

Repetition: To perform a movement at least twice in a row.

Respond: To experience a reaction to performing or observing dance; to express a response to dance orally, in writing, or in movement.

Retrograde: To perform a dance movement or phrase backwards, in the body and in its spatial path; retrograde used in movement exploration can lead to the discovery of new and unexpected movements. It is also used as a device in sections of choreography.

Revise: To rework dancing or choreography with the goal of improving practice or product.

Rhythm: A structure of movement patterns in time, in relation to a pulse.

Rondo: A choreographic structure based on alternation between a repeated section (A) and contrasting episodes (B, C, etc.), e.g., ABACADA.

Rotation: Turning of the whole body around itself; a pivoting of a bone on its axis, limited by the joint (external rotation—away from the midline; internal rotation—toward the midline); in the legs, the degree of rotation is identified as turned out, parallel, or turned in.

Rubric: An assessment instrument used for evaluation that includes criteria and scored levels of performance.

Sagittal: Referring to the median plane of the body, and movements that align with that plane.

Sequence: An ordered series of connected movements.

Sequential Movement: A movement characterized by an impulse that originates in one part of the body and travels one after the other through connected body parts.

Shape: The spatial contours of the body, such as curved, angular, twisted, straight, symmetrical, or asymmetrical; the overall form of a dance; v.t. to give form to a piece of choreography.

Site Specific: Choreography that is intentionally designed to make use of a performance environment, e.g., a park, a public building or plaza, a warehouse.

Skip: A step followed by a hop.

Slide: A traveling movement in which the legs are separated by sliding one foot along the floor in any direction until both legs are bent, and bringing the other leg to meet it such that both legs straighten and the body is momentarily lifted off the ground. A gallop is a form of slide. In ballet, this movement is called chassé.

Somatic: Having to do with the body and its sensory organs.

Space: The area in which dance takes place; defined by the use of size, shape, levels, directions, pathways and focus.

Spatial Design: The arrangement of bodies in space.

Spatial Pattern: The pathways on the floor or in the air through which a movement travels; in choreography, spatial patterns in group dances can best be viewed when an audience is placed above the level of the stage.

Stage Left: The direction to the left of a performer facing the audience on a proscenium stage.

Stage Right: The direction to the right of a performer facing the audience on a proscenium stage.

Standing Leg: Refers to the leg bearing the dancer’s weight, leaving the other leg free to move on and off the floor.

Style: A distinctive manner of moving; describes the appearance and movement principles of a dance genre or a specific technique; also applies to an individual approach to moving.

Suspend: To temporarily hang in space at the very top of a swinging, jumping, or leaping movement, before gravity pulls the body back down. Drawing out this moment of lingering in the air can create an exciting dynamic and a sense of suspense similar to the feeling of being at the top of a roller coaster hill.

Sustained: Movement that is smoothly executed with flow and continuity, without apparent starts or stops.

Swing: Movement based on the principle of a pendulum: starting suspended, falling by giving into gravity in an arced pathway, and rising back to suspension with momentum in the opposite arced pathway. Swings may be whole-body movements, or maybe movements of individual parts of the body, e.g., arms, legs or hips.

Theme: The ideational content that informs a piece of choreography. A theme for a dance may be taken from the movement itself (e.g., Expanding and Contracting in Space), or from other sources (e.g., ideas, images, principles, or emotions found in the world or in other arts and disciplines). Also, a movement theme refers to a phrase of movement in a dance work that can be developed or varied.

Theme and Variations: A choreographic structure in which a movement phrase is established, and then followed by a number of variations, ending with a repetition of the original phrase. The variations do not alter the essential intent and character of the initial phrase.

Time: The duration of movement; may be continuous, as in slow-motion movement; alternatively, may be broken up into increments by natural elements such as breathing, or into beats, meters, and rhythms at varying speeds.

Traditional Dance: Dance forms that have arisen out of the tradition of a people and are performed throughout that culture in substantially the same way, as opposed to original forms that have been created by a single individual, e.g., Indian Bharata Natyam and Haitian Shango are traditional dance forms; Martha Graham and Merce Cunningham styles are not. Ballet may be said to have arisen from Western European traditional social dances, but then developed by a series of individuals and altered for dramatic purposes. However, it should be noted that both traditional dance forms and non-traditional dance forms may be social, ritual, or theatrical in their purpose and performance, or a combination of these categories.

Transition: Moving from one movement to another, or one shape to another. The quality of transitions affects the overall flow of dancing: transitions may be smooth or abrupt. There are techniques that support control of transitional moments.

Transpose: To render a dance phrase into another dance style or form of expression.

Unison: Movements performed simultaneously by two or more dancers.

Upstage: The area on a proscenium stage that is farthest from the audience.

Variation: A choreographic device in which an initial phrase of movement is treated differently by changing the use of the body, dynamics, levels, directions, speed, or use of music, without altering its essential character or intent.

Vibratory Movement: Movement characterized by rapidly repeated bursts of percussive energy, shaking, or trembling; can be whole-body movement or movement of a part of the body.

Visual Image: A motivation for movement that resembles a picture held in the mind.

Warm-up: Movements and movement phrases designed to raise the core body temperature and stretch the muscles in preparation for dancing. In a dance class, the warm-up may contain elements of the movement that will appear in the movement combinations later in the class. A warm-up is most effective when the dancer approaches it as dancing, investing it with focus and expression.

Wellness: Physical, mental, emotional, and spiritual good health.

Wing: The areas at the sides of a proscenium stage, situated behind and hidden by the legs.

Working Leg: The leg that is actively moving on or off the floor; opposite of “standing leg.”

K-5 Glossary of Terms Dance Curriculum ● Accent: Emphasis that results in a beat being louder or longer than another in a measure. ● Agility: The ability to change direction ● Alignment: Body placement or posture ● Asymmetry: Uneven, irregular design ● Axial movement: Movement that revolves around the axis and is performed in place. (flexibility, strength, stability, improvise) ● Body Bases: Body parts that support the rest of the body ● Breath Rhythm: An internal rhythm established by the movement in relation to breath ● Call & Response: A choreographic form in which one soloist or group performs, with the second soloist or group entering in response to the first. ● Conditioning Principles: Strength Flexibility Stability Endurance ● Direction: forward, backwards, sideward, up, down ● Duration: length of movement (long/short). ● Dynamics: The degree of energy, intensity, or power in the execution of movements. ● Folk Dance: Traditional dances of a country which reflect the social customs and norms ● Energy: Defines how one moves. ● Improvise: Create and perform spontaneously or without preparation. ​ ● Levels: low/medium/high ● Locomotor: Steps that travel through space ● Meter: Measure or unit of a metrical verse. ● Metric Rhythm: Grouping of beats in a recurring pattern. ● Negative Space: The space surrounding objects and things (positive space) ● Note Value: The relative duration of a musical note ● Pathways: Patterns or designs created on the floor or in the air ● Qualities of motion: Characteristics of movement. ● Relationships: The body’s position relative to something or someone ● Ritual/ceremonial dance: A dance that is performed as part of a ceremony or religious event/ritual ● Shape: form of the body ● Size: continuum from small to large ● Space: Defines where one moves. ● Tempo: Speed of movement (fast /slow). ● Time: Defines when one moves. ● Warm-up: As series of exercises/movements to ready the mind and body parts. KittatinnyEnglewood Regional Public School Consortium District

Unit 1: The Creative Process, Performance, and Aesthetic Responses

Overview: This curriculum addresses four basic domains of learning: Psychomotor--developing perceptual and expressive skills and techniques; Cognitive--assimilating knowledge and developing higher order thinking skills; Affective--cultivating positive attitudes toward art and the discipline, and about themselves in relation to art; and Aesthetic--deriving pleasure from a combination of senses, emotions, intellect, philosophy, imagination and spirit. In addition, it is structured so as to allow for the maximum of crossover with other parts of the Elementary curriculum to create a whole learning approach. It is a guiding principle of this curriculum that drama can and should be used as a way of approaching the study of every subject, and that it can do so without compromising those curricular goals to which it is uniquely suited.

Time Frame: Approximately 20 Weeks

Enduring Understandings: • Theatre artists acquire skills in creative thinking, which allows them to exercise flexibility when making decisions and creating worlds through imagination. • Theatre artists use curiosity, questioning, observations, experiences, and problem solving to generate ideas, concepts, and feelings that shape a work of theatre.

Essential Questions: Students will keep considering... • How do we use voice and movement to tell a story? • Why do we change our voice for retelling parts of a story? • How do actors communicate with the audience? • How do we use body language to communicate? • How do we use voice to express feelings, emotions or mood? • Why do we pretend?

Standards Topics and Objectives Activities Resources Assessments

1.1.2.C.1 Identify basic Students will be able to: • Teach students about Teacher elements of theatre and • Recognize, mirror and using stage voices. • Creative Drama Observations/Assessm describe their use in a create emotions described Game idea: Give each Classroom ents variety of theatrical in stories and dramatic child a simple phrase, • Use a variety of performances play. easy to memorize. • Zoom Playhouse vocal tones and Example: "Anthony, breath control to come here." or "Open • Glossary of Terms create a character’s 1.1.2.C.2 Express stage • Respond within imaginary the door." Each feelings and directions, areas of the circumstances to objects, student then has to say Suggested Readings: mood. stage, basic stage settings and conditions. their line in three or • Use basic analysis movements, and parts of a • Use emotional expression four different tones of • 25 Just-Right Plays for skills to perform a script using correct theatre and imaginary objects in voice to convey Emergent Readers by character within a terms (e.g., setting, dramatic play. different meanings. Carol Pugliano-Martin scene. costumes, plot, theme, • Sustain focus in the • Improvisation: Pretend • Performance etc.). imaginary world of the you have a box of • My First Acting Book: rubrics activity, sharing or shoes (or use an actual Acting Technique for • Performance task 1.1.2.C.3 Distinguish performance. shoe box). Take Beginners by Kristen checklist between characters, • Contribute positively and imaginary shoes out Dabrowski • Written or Drawn actors, and the self by responsibly to ensemble and make a big deal Work (using demonstrating respect for activities. about putting them on • Learning Through technology when personal space, creative • Demonstrate sensitivity to (a ballerina will lace Theatre: The Changing appropriate): movement, and the emotional and physical up to her knees, a Face of Theatre in o Sharing pantomime skills safety of self and others. fireman will pull on Education by Anthony feelings, while interacting with • Sustain concentration, high boots, etc.). Then, Jackson dreams, and others in creative drama focus and commitment in silently, act out the wishes about and storytelling. group activities with a character (dance, put theatre and shared performance goal. out fires climbing acting. 1 1.1.2.C.4 Describe the • Respond to and ladders, etc.) Have the o Planning and use of the technical incorporate directions. other kids guess the documenting theatrical elements by • Use the body and voice character. acting process examining examples of expressively. • Call out basic stage (sketching or theatrical design in • Use the body in a variety directions (e.g., down collecting ideas productions. of movements that show right, left center, etc.), for acting). an understanding of size, with students moving o Personal shape, weight and spatial to the area of the stage responses to 1.3.2.C.1 Portray relationships of high, designated by the performances. characters when given middle and low. teacher. The task may specifics about • Demonstrate physical self- be extended by giving Performance Rubrics circumstances, plot, and control in large and fine students a sequence of thematic intent, motor skills. movements from area • Self-Assessment: demonstrating logical • Use the body and face to to area and adding Give students the story sequence and create and react to simple activities. The opportunity to informed imaginary conditions. stage floor may be consider the character choices. labeled to facilitate quality of their

this exercise. own learning and

1.3.2.C.2 Use voice and • Create and mirror shapes • Passing stories on: performance, movement in solo, paired, and movements with other Read a story and retell individually and in and group pantomimes students. it verbally. Then act collaboration with and improvisations. • Create and imitate human, out key sections of the others, with respect inanimate and animal story, share it with to curricular 1.3.2.C.3 Develop characters. another class, and objectives, content awareness of vocal range, • Demonstrate an have that class pass it benchmarks, personal space, and understanding of how on to another class. and/or specified character-specific vocal physical environment and The last class may criteria. Self- and creative movement the elements impact share the story as a assessment is only choices. behavior. performed play. used formatively • Use learned physical and • If You Give a Mouse a and gives students 1.4.2.A.3 Use imagination vocal skills to create a Cookie Lesson Plan: the responsibility to create a story based on variety of characters Creative drama with of identifying an arts experience that including human, literature. Starts with a competencies and communicated an emotion inanimate and animal relaxation leading to a challenges in their or feeling, and tell the characters. warm-up. Then own work, and to story through each of the • Demonstrate a preliminary reading the book to the devise appropriate four arts disciplines understanding of specific class. Followed by strategies for (dance, music, theatre, and character desires and choral reading from improvement. visual art). needs. the class then a cool Examples include • Demonstrate an down. setting personal understanding of sequence • St. George and the goals and checking 1.4.2.A.4 Distinguish of character actions. Dragon Pantomime one’s progress patterns in nature found in • Imitate and create basic Lesson toward them, as works of dance, music, emotions. • Voice and Occasion: well as comparing theatre, and visual art. • Understand and use basic First create an open one’s work to the

vocabulary related to stage space in your criteria on a rubric 1.4.2.B.1 Observe the directions and areas of the classroom and have or checklist. basic arts elements in stage. students sit in a circle. • Hand Signals: Ask performances and • Identify the beginning, Each student selects students to display exhibitions and use them middle and end of a story. one index card from a a designated hand to formulate objective • Differentiate between container. On the card, signal to indicate assessments of artworks in actor and character. a location (i.e., couch, their understanding dance, music, theatre, and • Demonstrate an desk, gym, bus, park) of a specific visual art. understanding of the “5 and a person (i.e., concept, principle, Ws” (Who? What? When? friend, teacher, or process. 1.4.2.B.2 Apply the Where? Why?) when guardian) are principles of positive critique in giving and viewing a theater work or provided. Pick a o I receiving responses to hearing a story. student to select one understand____ performances. • Retell a story individually stuffed animal or toy ______, and or in groups with attention from a pile you can explain it to accurate sequencing. gathered before class, (e.g., thumbs • Demonstrate an then place it anywhere up). understanding of sequence in the circle. Invite the o I do not yet of actions through student to speak to the understand pantomime. object as if it were the ______• Pantomime simple daily person listed on the (e.g., thumbs activities, including index card in the down). healthful practices in appropriate tone of o I’m not eating and hygiene. voice for the given completely sure • Participate in poetry and location. After the about prose choral readings with student speaks, the rest ______group or solo response. of the class guesses (e.g., wave the location of the hand). conversation and whom the doll or toy represents. Continue Peer Critique/ until every student has Assessment a chance to speak. • When students • Story: Going on a engage in peer Bear Hunt - Teacher assessment or reads “Going on a critique, they Bear Hunt” to students can use rubrics, and has them mimic checklists, and his voice repeating protocols (using lines using appropriate technology) to voice and volume. focus their Vary the pitch and feedback on the volume of their voice criteria for the (stylized by either task, and should stretching them out or use protocols speaking them short for constructive and punctuated) to get peer-to-peer the students to explore feedback, such vocal range. The as different settings (e.g. o “I noticed …” tall grass; Are there o “I like the way bugs living in the … because …” grass? Is the grass o “Have you taller than you? If so, thought of …?” how would you move o “I would like to through very tall suggest …” grass?) are explored. When an action occurs • 3-2-1 in the story, they stop o Students and ask students what identify: the action might sound o 3 things they like to create sound discovered effects. They model o 2 interesting the sound and has things they students mimic or noticed come up with their o 1 question they own sounds. The still have teacher helps the children create some Alternative actions and facial Assessments expressions • Journal entries appropriate for • Self reflection - volume, pitch, and Mapping ones jour style of the words, ney based on their • Use technology to experience with the create a reading of “Going on a presentation Bear Hunt.” Children make sounds with their hands, feet, and voices. (e.g., rub their hands together, stomp their feet, clap, pat, whisper, vocal gibberish is encouraged to match the action). The audience guesses what the gestures, expression, noises, and actions mean.

Integration of 21st Century Standards:

9.2.4.A.4 Explain why knowledge and skills acquired in the elementary grades lay the foundation for future academic and career success.

Accommodations and Modifications: Students with special needs: Support staff will be available to aid students related to IEP specifications. 504 accommodations will also be attended to by all instructional leaders. Physical expectations and modifications, alternative assessments, and scaffolding strategies will be used to support this learning. The use of Universal Design for Learning (UDL) will be considered for all students as teaching strategies are considered. Additional safety precautions will be made along with additional staff so all student can fully participate in the standards associated with this Theatre curriculum.

ELL/ESL students: Students will be supported according to the recommendations for “can do’s” as outlined by WIDA - https://www.wida.us/standards/CAN_DOs/

Students at risk of school failure: Formative and summative data will be used to monitor student success. At first signs of failure, student work will be reviewed to determine support. This may include parent consultation, basic skills review and differentiation strategies. With considerations to UDL, time may be a factor in overcoming developmental considerations. More time will be made available with a certified instructor to aid students in reaching the standards.

Gifted and Talented Students: Students excelling in mastery of standards will be challenged with complex, high level challenges related to the complexity of the Theatre requirements. English Language Learners Special Education At-Risk Gifted and Talented

• Speak and display • Utilize modifications and • Using visual • Curriculum compacting terminology and movement accommodations demonstrations, • Inquiry-based instruction • Teacher modeling delineated in the student’s illustrations, and models • Independent study • Peer modeling IEP. • Give • Higher order thinking • Develop and post routines • Work with directions/instructions skills • Label theatre and paraprofessional verbally and in simple • Adjusting the pace of classroom materials • Use multi-sensory teaching written format. lessons • Word walls approaches. Pictures, • Peer Support • Interest based content scarves, hula hoops, hats • Increase one on one time. • Real world scenarios balloons, rhythmic • Student Driven Instruction instruments, and other • Teachers may modify props provide helpful instructions by modeling visual, auditory, and tactile what the student is reinforcement of ideas. expected to do. • Work with a partner • Instructions may be printed • Provide concrete examples out in large print and hung and relate all new up for the students to see movements to previously during the time of the learned moves or to typical lesson. life skills at home (i.e., • Review behavior open and close a door for a expectations and make pulling or pushing adjustments for personal movement). space or other behaviors as • Solidify and refine needed. concepts through • Oral prompts can be given. repetition. • Change movement requirements to reduce activity time.

Interdisciplinary Connections:

ELA: NJSLSA.R3. Analyze how and why individuals, events, and ideas develop and interact over the course of a text. NJSLSA.R4. Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone. NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively. NJSLSA.W10. Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range of tasks, purposes, and audiences.

Social Studies: 6.1.4.D.18 Explain how an individual’s beliefs, values, and traditions may reflect more than one culture. 6.1.4.D.19 Explain how experiences and events may be interpreted differently by people with different cultural or individual perspectives. 6.1.4.D.20 Describe why it is important to understand the perspectives of other cultures in an interconnected world. Integration of Technology Standards NJSLS 8: 8.1.2.B.1 Illustrate and communicate original ideas and stories using multiple digital tools and resources. Career Ready Practices: CRP1. Act as a responsible and contributing citizen and employee. CRP11. Use technology to enhance productivity.

Englewood Public School District K-2 Theatre Unit 2: History of the Arts and Culture, Performance, and Aesthetic Responses

Overview: This curriculum addresses four basic domains of learning: Psychomotor--developing perceptual and expressive skills and techniques; Cognitive--assimilating knowledge and developing higher order thinking skills; Affective--cultivating positive attitudes towards art and the discipline or are, and about themselves in relation to art; and Aesthetic--deriving pleasure from a combination of senses, emotions, intellect, philosophy, imagination and spirit. In addition, it is structured so as to allow for the maximum of crossover with other parts of the Elementary curriculum to create a whole learning approach. It is a guiding principle of this curriculum that drama can and should be used as a way of approaching the study of every subject, and that it can do so without compromising those curricular goals to which it is uniquely suited.

Time Frame: Approximately 20 Weeks

Enduring Understandings: • Theatre artists work individually and as a contributing team member. • Theatre artists acquire specific skills and knowledge to use in creating theatre. • Theatre fosters an understanding of oneself and his or her place in the world. • Theatre interprets and reflects upon history, society, and culture.

Essential Questions: Students will keep considering... • How does theatre communicate values? • How do we use our imagination to tell a story? • How are the values of culture represented in theatre? • How do we respond to theatre?

Standards Topics and Objectives Activities Resources Assessments

1.2.2.A.1 Identify Students will be able to: • Many theater, opera or Suggested Readings: Teacher characteristic theme-based • Connect storytelling and musical theater • Yeh-Shen: A Cinderella Observations/Assessm works of dance, music, drama, as well as companies produce Story from China, retold ents theatre, and visual art, recognize how oral versions of Cinderella in by Ai-Ling Louie • Use a variety of such as artworks based on traditions are related to a variety of forms and vocal tones and the themes of family and the written word. from various cultures • Smoky Mountain Rose: An breath control to community, from various • Recognize the and perspectives. Watch Appalachian Cinderella create a character’s historical periods and relationship between a performance of by Alan Schroeder feelings and world cultures. theater and community, Cinderella and mood. and between theater and encourage the students • Use basic analysis 1.2.2.A.2 Identify how culture(s). to decode the • Nomi and the Magic Fish: skills to perform a artists and specific works • Understand that theater performance. A Story from Africa by character within a of dance, music, theatre, comes from a desire to Additionally, students Phumla scene. and visual art reflect, and pretend and act things can compare the • Performance are affected by, past and out. film/video with • Teaching With Cinderella rubrics present cultures • Distinguish between storytelling or readings. Stories From Around the • Performance task Western and non- • Explore stories that are World by Kathleen M. checklist 1.4.2.A.1 Identify Western storytelling and thematically or Hollenbeck • Written or Drawn aesthetic qualities of theater traditions. dramatically similar Work (using exemplary works of art in • Recognize that theater, appearing in a variety of • Animal Fables from technology when dance, music, theatre, and regardless of place or cultures (e.g., animal Aesop, adapted by Barbara appropriate): visual art, and identify culture, tells us about myths, hero or McClintock o Sharing characteristics of the ourselves and our lives. Cinderella stories). feelings, artists who created them • Listening to folktales • Native American Animal dreams, and (e.g., gender, age, absence from around the world Stories (Myths and wishes about or presence of training, can enrich children’s Legends) by Joseph theatre and style, etc.). understanding of many Bruchac and Michael J. acting. cultures. Decide on a Caduto o Planning and 1.4.2.A.2 Compare and story with your children documenting contrast culturally and and work with them to • String Stories: A Creative, acting process historically diverse works turn it into a play. Hands On Approach for (sketching or of dance, music, theatre, Engaging Children in collecting ideas and visual art that evoke Literature by Belinda for acting). emotion and that Holbrook o Personal communicate cultural responses to meaning. • http://www.pbs.org/parent performances. s/arthur/activities/acts/folk 1.4.2.B.1 Observe the tale_play.html?cat=diversi Performance Rubrics basic arts elements in ty performances and • Self-Assessment: exhibitions and use them Give students the • Glossary of Terms to formulate objective opportunity to assessments of artworks in consider the dance, music, theatre, and quality of their visual art. own learning and performance, individually and in 1.4.2.B.2 Apply the collaboration with principles of positive others, with respect critique in giving and to curricular receiving responses to objectives, content performances. benchmarks, and/or specified 1.4.2.B.3 Recognize the criteria. Self- making subject or theme assessment is only in works of dance, music, used formatively theatre, and visual art. and gives students the responsibility of identifying competencies and challenges in their own work, and to devise appropriate strategies for improvement. Examples include setting personal goals and checking one’s progress toward them, as well as comparing one’s work to the criteria on a rubric or checklist. • Hand Signals: Ask students to display a designated hand signal to indicate their understanding of a specific concept, principle, or process. o I understand______, and can explain it (e.g., thumbs up). o I do not yet understand ______(e.g., thumbs down). o I’m not completely sure about ______(e.g., wave hand).

Peer Critique/ Assessment • When students engage in peer assessment or critique, they can use rubrics, checklists, and protocols (using technology) to focus their feedback on the criteria for the task, and should use protocols for constructive peer-to-peer feedback, such as o “I noticed …” o “I like the way … because …” o “Have you thought of …?” o “I would like to suggest …”

• 3-2-1 o Students identify: o 3 things they discovered o 2 interesting things they noticed o 1 question they still have

Alternative Assessments • Journal entries • Self reflection - Mapping ones jour ney • Use technology to create a presentation

21st Century Life and Careers

9.2.4.A.3 Investigate both traditional and nontraditional careers and relate information to personal likes and dislikes. 9.2.4.A.4 Explain why knowledge and skills acquired in the elementary grades lay the foundation for future academic and career success.

Accommodations and Modifications: Students with special needs: Support staff will be available to aid students related to IEP specifications. 504 accommodations will also be attended to by all instructional leaders. Physical expectations and modifications, alternative assessments, and scaffolding strategies will be used to support this learning. The use of Universal Design for Learning (UDL) will be considered for all students as teaching strategies are considered. Additional safety precautions will be made along with additional staff so all student can fully participate in the standards associated with this Theatre curriculum.

ELL/ESL students: Students will be supported according to the recommendations for “can do’s” as outlined by WIDA - https://www.wida.us/standards/CAN_DOs/

Students at risk of school failure: Formative and summative data will be used to monitor student success. At first signs of failure, student work will be reviewed to determine support. This may include parent consultation, basic skills review and differentiation strategies. With considerations to UDL, time may be a factor in overcoming developmental considerations. More time will be made available with a certified instructor to aid students in reaching the standards.

Gifted and Talented Students: Students excelling in mastery of standards will be challenged with complex, high level challenges related to the complexity of the Theatre requirements. English Language Learners Special Education At-Risk Gifted and Talented

• Speak and display • Utilize modifications and • Using visual • Curriculum compacting terminology and movement accommodations delineated demonstrations, • Inquiry-based instruction • Teacher modeling in the student’s IEP illustrations, and models • Independent study • Peer modeling • Work with paraprofessional • Higher order thinking • Give • Develop and post routines • Use multi-sensory teaching skills directions/instructions • Label theatre and approaches. Pictures, • Adjusting the pace of classroom materials scarves, hula hoops, hats verbally and in simple lessons • Word walls balloons, rhythmic written format. • Interest based content instruments, and other • Peer Support • Real world scenarios props provide helpful • Increase one on one time • Student Driven Instruction

visual, auditory, and tactile • Teachers may modify reinforcement of ideas. instructions by modeling • Work with a partner. • Provide concrete examples what the students is and relate all new expected to do. movements to previously • Instructions may be printed learned moves or to typical out in large print and life skills at home (i.e., displayed for the student to open and close a door for a see during the time of the pulling or pushing movement). lesson. • Solidify and refine • Review behavior concepts through repetition. expectations and make adjustments for personal space or other behaviors as • Change movement needed. requirements to reduce • Oral prompts can be given. activity time.

Interdisciplinary Connections:

ELA: NJSLSA.R3. Analyze how and why individuals, events, and ideas develop and interact over the course of a text. NJSLSA.R4. Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone. NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively. NJSLSA.W10. Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range of tasks, purposes, and audiences.

Social Studies: 6.1.4.D.18 Explain how an individual’s beliefs, values, and traditions may reflect more than one culture. 6.1.4.D.19 Explain how experiences and events may be interpreted differently by people with different cultural or individual perspectives. 6.1.4.D.20 Describe why it is important to understand the perspectives of other cultures in an interconnected world. Career Ready Practices: CRP1. Act as a responsible and contributing citizen and employee. CRP2. Apply appropriate academic and technical skills. CRP4. Communicate clearly and effectively and with reason. CRP6. Demonstrate creativity and innovation. CRP8. Utilize critical thinking to make sense of problems and persevere in solving them. CRP11. Use technology to enhance productivity. Integration of Technology Standards NJSLS 8: 8.1.2.B.1 Illustrate and communicate original ideas and stories using multiple digital tools and resources. 8.1.2.A.2 : Create a document using a word processing application. 8.1.2.A.4: Demonstrate developmentally appropriate navigation skills in virtual environments. 8.1.2.C.1: Engage in a variety of developmentally appropriate learning activities with students in other classes, schools, or countries using various media formats such as online collaborative tools, and social media.

3-5 Theatre Unit 1: Elements of Theatre

Overview: This curriculum addresses four basic domains of learning: Psychomotor--developing perceptual and expressive skills and techniques; Cognitive--assimilating knowledge and developing higher order thinking skills; Affective--cultivating positive attitudes towards art and the discipline or are, and about themselves in relation to art; and Aesthetic--deriving pleasure from a combination of senses, emotions, intellect, philosophy, imagination and spirit. In addition, it is structured to allow for the maximum of crossover with other parts of the Elementary curriculum to create a whole learning approach. It is a guiding principle of this curriculum that drama can and should be used as a way of approaching the study of every subject, and that it can do so without compromising those curricular goals to which it is uniquely suited.

Time Frame: Approximately 10 Weeks

Enduring Understandings: • Theatre artists acquire skills in creative thinking, which allows them to exercise flexibility when making decisions and creating worlds through imagination.

Essential Questions: Students will keep considering... • What are the 5 W’s and how are they used in identifying setting, plot and character? • How can you identify the setting? • What are key elements in creating a stage?

Standards Topics and Objectives Activities Resources Assessments

1.2.5.A.1 Recognize Students will: • Compare two • Video: Elements of Drama Teacher Observation works of dance, music, • Assess the application of productions of the • Use a variety of theatre, and visual art as the elements of art and same play by different • Video: Drama vocal tones and a reflection of societal principles of design in artistic teams/cultures. breath control to values and beliefs dance, music, theatre, and • Hypothesize the ways • Elements of Drama: create a visual artworks using in which a story would Characters, Plot, Setting & character’s 1.2.5.A.3 Determine the observable, objective change by being Symbolism feelings and mood. impact of significant criteria. written by a different • Use basic analysis contributions of • Define technical person from a different • Acting: A Student's Guide skills to perform a individual artists in proficiency, using the time and place. character within a dance, music, theatre, elements of the arts and • Research an artist • Kids 4 Broadway scene. and visual art from principles of design. whose work • Performance transformed a genre rubrics diverse, cultures • Analyze the use of (e.g., Beckett, Ibsen) • Bailey, Diane. Stage • Performance task throughout history. technical theatrical or represented a break Management and checklist elements to identify how with the old form, Production. Rosen Self-Assessment 1.4.5.A.3 Demonstrate time, place, mood, and (e.g., Stanislavski, Publishing Group, Inc., • Self reflection - how art communicates theme are created. Jerome Kern). 2009. Mapping ones ideas about personal and • Identify how the script • Use cultural tales with journey social values and is requirements of choral readings, • Glossary of Terms • Critique a inspired by an environment, time and reader’s theatre, performance of individual’s imagination actions influence the narrative mimes, etc. script using pre- and frame of reference design of a scene. to apply and practice developed criteria. (e.g., personal, social, • Observe the relationship performance Peer Assessment political, historical between the actor and the techniques. • Pair-share context. audience. • Locate and identify • Peer evaluation • Identify and understand theater artifacts from and observation the principal types of contemporary or theater and performance historical theater using • Critique a spaces. original documents or performance of script using pre- • Identify the basic area of reprints, including a stage and a theater. programs, articles, developed criteria. • Describe a setting that posters, and photos of Teacher Assessment will enhance the mood of notable theater • Performance a scene (e.g., a forest on a professionals. rubrics moonless night). • Use online resources • Performance task • Identify how light can be to deepen checklist used to suggest the students’ setting and mood of the understanding of play. theater performance Sample Rubric by researching historical and cultural Sample Assessment 1: setting, period dress Grade 3 and customs. Sample Scoring Guide 1: • Create a simple Grade 3 timeline with graphics and text illustrating the Sample Assessment 2: major eras of theater Grade 3 history, from antiquity Sample Score Guide 2: to contemporary times. Grade 3

Sample Assessment 3: Grade 3 Sample Scoring Guide 3: Grade 3

Sample Assessment 4: Grade 5 Sample Scoring Rubric 4: Grade 5

Sample Assessment 5: Grade 5 Sample Scoring Rubric 5: Grade 5

Sample Assessment 6: Grade 5 Sample Assessment 6: Grade 5

Alternative Assessments may include: • Analyzing primary source documents on the history of theatre in various cultures. • Conduct short research projects on the cultural origins of theatre to support analysis, reflection, and research. • Use technology to create a presentation • Evaluate informal in- class performances and video evidence of student performances using observation, discussions, drawings, video, and simple student-created rubrics.

Integration of 21st Century Standards NJSLS 9: 3rd & 4th Grade 9.2.4.A.4 Explain why knowledge and skills acquired in the elementary grades lay the foundation for future academic and career success. 5th Grade 9.2.8.B.3 Evaluate communication, collaboration, and leadership skills that can be developed through school, home, work, and extracurricular activities for use in a career.

Accommodations and Modifications:

Students with special needs: Support staff will be available to aid students related to IEP specifications. 504 accommodations will also be attended to by all instructional leaders. Physical expectations and modifications, alternative assessments, and scaffolding strategies will be used to support this learning. The use of Universal Design for Learning (UDL) will be considered for all students as teaching strategies are considered. Additional safety precautions will be made along with additional staff so all student can fully participate in the standards associated with this Theatre curriculum.

ELL/ESL students: Students will be supported according to the recommendations for “can do’s” as outlined by WIDA - https://www.wida.us/standards/CAN_DOs/

Students at risk of school failure: Formative and summative data will be used to monitor student success. At first signs of failure, student work will be reviewed to determine support. This may include parent consultation, basic skills review and differentiation strategies. With considerations to UDL, time may be a factor in overcoming developmental considerations. More time and will be made available with a certified instructor to aid students in reaching the standards.

Gifted and Talented Students: Students excelling in mastery of standards will be challenged with complex, high level challenges related to the complexity of the Theatre requirements. This will include allowing more opportunities to demonstrate creativity and the design of original works.

English Language Learners Special Education At-Risk Gifted and Talented • Speak and display • Create a visual identifying • Incorporate student choice • Create and lead the class in a terminology and movement the elements of theatre. in activities. theatre games, activities, or • Teacher modeling • Create a picture dictionary • Use a graphic organizer to process drama techniques. • Peer modeling of theatre terminology. categorize elements of • Curriculum compacting • Develop and post routines theater. • Inquiry-based instruction • Label theatre and classroom • Provide alternative • Repeat directions as • Independent study materials response choices to needed. • Higher order thinking skills • Word walls questions on the elements • Using visual • Adjusting the pace of lessons of theatre. demonstrations, • Interest based content • Utilize modifications and illustrations, and models • Real world scenarios accommodations • Give delineated in the student’s directions/instructions • Student Driven Instruction IEP. verbally and in simple • Work with written format. paraprofessional • Peer Support • Use multi-sensory teaching • Increase one on one time. approaches. Pictures, • Teachers may modify scarves, hula hoops, hats instructions by modeling balloons, rhythmic what the student is instruments, and other expected to do. props provide helpful • Instructions may be printed visual, auditory, and tactile out in large print and hung reinforcement of ideas. up for the students to see • Work with a partner during the time of the • Provide concrete examples lesson. and relate all new • Review behavior movements to previously expectations and make learned moves or to typical adjustments for personal life skills at home (i.e., space or other behaviors as open and close a door for a needed. pulling or pushing • Oral prompts can be given movement). • Solidify and refine concepts through repetition. • Change movement requirements to reduce activity time.

Interdisciplinary Connections: ELA: NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively. NJSLSA.SL2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally. NJSLSA.R3. Analyze how and why individuals, events, and ideas develop and interact over the course of a text. NJSLSA.R4. Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone. NJSLSA.W10. Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range of tasks, purposes, and audiences.

Social Studies: 3rd and 4th Grade 6.1.4.D.18 Explain how an individual’s beliefs, values, and traditions may reflect more than one culture. 6.1.4.D.19 Explain how experiences and events may be interpreted differently by people with different cultural or individual perspectives. 6.1.4.D.20 Describe why it is important to understand the perspectives of other cultures in an interconnected world. 5th Grade 6.2.8.D.1.b Describe how the development of both written and unwritten languages impacted human understanding, development of culture, and social structure.

Integration of Technology Standards NJSLS 8: 8.1.5.A.1 Select and use the appropriate digital tools and resources to accomplish a variety of tasks including solving problems. 8.1.5.E.1 Use digital tools to research and evaluate the accuracy of, relevance to, and appropriateness of using print and non-print electronic information sources to complete a variety of tasks.

Career Ready Practices: CRP2. Apply appropriate academic and technical skills. CRP4. Communicate clearly and effectively and with reason. CRP6. Demonstrate creativity and innovation. CRP12. Work productively in teams while using cultural global competence.

3-5 Theatre Unit 2: History of the Arts and Culture

Overview: This curriculum addresses four basic domains of learning: Psychomotor--developing perceptual and expressive skills and techniques; Cognitive--assimilating knowledge and developing higher order thinking skills; Affective--cultivating positive attitudes towards art and the discipline or are, and about themselves in relation to art; and Aesthetic--deriving pleasure from a combination of senses, emotions, intellect, philosophy, imagination and spirit. In addition, it is structured to allow for the maximum of crossover with other parts of the Elementary curriculum to create a whole learning approach. It is a guiding principle of this curriculum that drama can and should be used as a way of approaching the study of every subject, and that it can do so without compromising those curricular goals to which it is uniquely suited.

Time Frame: Approximately 10 Weeks

Enduring Understandings: • Theatre artists acquire skills in creative thinking, which allows them to exercise flexibility when making decisions and creating worlds through imagination. • Theatre artists use curiosity, questioning, observations, experiences, and problem solving to generate ideas, concepts, and feelings that shape a work of theatre. • Theatre requires active participation. • Theatre artists are aware of their thinking process and analyze their own learning in order to evaluate and make choices for improving the quality of their work. • Theatre interprets and reflects upon history, society, and culture.

Essential Questions: Students will keep considering... • How can you recognize the cultural and historical context of a dramatic work? • How can you identify the historical environment of a theatrical work using scene, costumes and props?

Standards Topics and Objectives Activities Resources Assessments

1.2.5.A.1 Recognize works Students will: • Compare two • Theatre Lesson for Kids: Teacher Observation of dance, music, theatre, • Identify and understand productions of the History & Timeline • Use a variety of and visual art as a the purposes of theater in same play by different vocal tones and reflection of societal values various eras and cultures. artistic teams/cultures. • Theatre Lesson for Kids: breath control to and beliefs. • Understand the role of • Hypothesize the ways History of Musical Theatre create a theater in various in which a story would character’s 1.2.5.A.3 Determine the communities. change by being • DeSpain, Lisa. Kids feelings and mood. impact of significant written by a different Musical Theater contributions of individual • Identify major historical person from a different Anthology. Hal Leonard • Use basic analysis artists in dance, music, periods of theater. time and place. Corp., 2008. skills to perform a theatre, and visual art from • Recognize that theater has • Research an artist character within a diverse cultures throughout a distinct history reflecting whose work • Meserve, Walter J., and scene. history. the society and culture of transformed a genre Molly Ann Meserve. A • Performance its time. (e.g., Beckett, Ibsen) Chronological Outline of rubrics 1.4.5.A.3 Demonstrate how • Describe what can be or represented a break World Theatre. Feedback • Performance task art communicates ideas deduced about a with the old form, Theatre Books, 1992. checklist about personal and social society/community’s (e.g., Stanislavski, Self-Assessment values and is inspired by an values based on a Jerome Kern). • Glossary of Terms • Journal entries individual’s imagination representative play from • Use cultural tales with • Self reflection - and frame of reference that culture. choral readings, Mapping ones (e.g., personal, social, • Demonstrate how art reader’s theatre, journey political, historical communicates ideas about narrative mimes, etc. context). personal and social values to apply and practice • Critique a and is inspired by an performance performance of individual’s imagination techniques. script using pre- developed criteria. and frame of reference • Locate and identify (e.g., personal, social, theater artifacts from Peer Assessment political, historical contemporary or • Pair-share context). historical theater using • Peer evaluation • Describe the culture in the original documents or and observation world of a play and reprints, including • Critique a compare it to the world programs, articles, performance of that produced the play. posters, and photos of script using pre- • Recognize works of notable theater developed criteria. dance, music, theatre, and professionals. Teacher Assessment visual art as a reflection of • Use online resources • Performance societal values and beliefs. to deepen rubrics • Articulate cultural, students’ • Performance task historical and social understanding of checklist context of their original theater performance by work. researching historical Sample Rubric and cultural setting, period dress and Sample Assessment 1: customs. Grade 3 • Create a simple timeline with graphics Sample Scoring Guide 1: and text illustrating the Grade 3 major eras of theater history, from antiquity Sample Assessment 2: to contemporary times. Grade 3

Sample Score Guide 2: Grade 3

Sample Assessment 3: Grade 3

Sample Scoring Guide 3: Grade 3

Sample Assessment 4: Grade 5

Sample Scoring Rubric 4: Grade 5

Sample Assessment 5: Grade 5

Sample Scoring Rubric 5: Grade 5

Sample Assessment 6: Grade 5

Sample Assessment 6: Grade 5

• Alternative Assessments may include: • Analyzing primary source documents on the history of theatre in various cultures. • Conduct short research projects on the cultural origins of theatre to support analysis, reflection, and research. • Use technology to create a presentation • Evaluate written reflections on theatre principles, including reports and journal responses, using a student-created rubric.

Integration of 21st Century Standards NJSLS 9: 3rd & 4th Grade 9.2.4.A.4 Explain why knowledge and skills acquired in the elementary grades lay the foundation for future academic and career success. 5th Grade 9.2.8.B.3 Evaluate communication, collaboration, and leadership skills that can be developed through school, home, work, and extracurricular activities for use in a career.

Accommodations and Modifications:

Students with special needs: Support staff will be available to aid students related to IEP specifications. 504 accommodations will also be attended to by all instructional leaders. Physical expectations and modifications, alternative assessments, and scaffolding strategies will be used to support this learning. The use of Universal Design for Learning (UDL) will be considered for all students as teaching strategies are considered. Additional safety precautions will be made along with additional staff so all student can fully participate in the standards associated with this Theatre curriculum.

ELL/ESL students: Students will be supported according to the recommendations for “can do’s” as outlined by WIDA - https://www.wida.us/standards/CAN_DOs/

Students at risk of school failure: Formative and summative data will be used to monitor student success. At first signs of failure, student work will be reviewed to determine support. This may include parent consultation, basic skills review and differentiation strategies. With considerations to UDL, time may be a factor in overcoming developmental considerations. More time and will be made available with a certified instructor to aid students in reaching the standards.

Gifted and Talented Students: Students excelling in mastery of standards will be challenged with complex, high level challenges related to the complexity of the Theatre requirements. This will include allowing more opportunities to demonstrate creativity and the design of original works.

English Language Learners Special Education At-Risk Gifted and Talented • Speak and display • Create a visual identifying • Incorporate student choice • Create and lead the class in a terminology and movement the elements of theatre. in activities. theatre games, activities, or • Teacher modeling • Create a picture dictionary • Use a graphic organizer to process drama techniques. • Peer modeling of theatre terminology. categorize elements of • Curriculum compacting • Develop and post routines • Provide alternative theater. • Inquiry-based instruction • Label theatre and classroom response choices to • Repeat directions as • Independent study materials questions on the elements needed. • Higher order thinking skills • Word walls of theatre. • Using visual • Adjusting the pace of lessons • Utilize modifications and demonstrations, • Interest based content accommodations illustrations, and models • Real world scenarios delineated in the student’s • Give • Student Driven Instruction IEP directions/instructions • Work with verbally and in simple paraprofessional written format. • Use multi-sensory teaching • Peer Support approaches. Pictures, • Increase one on one time scarves, hula hoops, hats • Teachers may modify balloons, rhythmic instructions by modeling instruments, and other what the student is props provide helpful expected to do visual, auditory, and tactile • Instructions may be printed reinforcement of ideas. out in large print and hung • Work with a partner up for the students to see • Provide concrete examples during the time of the and relate all new lesson movements to previously • Review behavior learned moves or to typical expectations and make life skills at home (i.e., adjustments for personal open and close a door for a space or other behaviors as pulling or pushing needed movement). • Oral prompts can be given

• Solidify and refine concepts through repetition. • Change movement requirements to reduce activity time

Interdisciplinary Connections: ELA: NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively. NJSLSA.SL2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally. NJSLSA.R3. Analyze how and why individuals, events, and ideas develop and interact over the course of a text. NJSLSA.R4. Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone. NJSLSA.R7. Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words. NJSLSA.W4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience. NJSLSA.W10. Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range of tasks, purposes, and audiences.

Social Studies: 3rd & 4th Grade 6.1.4.A.14 Describe how the world is divided into many nations that have their own governments, languages, customs, and laws 6.1.4.D.13 Describe how culture is expressed through and influenced by the behavior of people. 5th Grade 6.2.8.D.1.b Describe how the development of both written and unwritten languages impacted human understanding, development of culture, and social structure.

Integration of Technology Standards NJSLS 8: 8.1.5.A.1 - Select and use the appropriate digital tools and resources to accomplish a variety of tasks including solving problems. Career Ready Practices: CRP2. Apply appropriate academic and technical skills. CRP4. Communicate clearly and effectively and with reason. CRP6. Demonstrate creativity and innovation. CRP12. Work productively in teams while using cultural global competence.

3-5 Theatre Unit 3: Aesthetic Response

Overview: This curriculum addresses four basic domains of learning: Psychomotor--developing perceptual and expressive skills and techniques; Cognitive--assimilating knowledge and developing higher order thinking skills; Affective--cultivating positive attitudes towards art and the discipline or are, and about themselves in relation to art; and Aesthetic--deriving pleasure from a combination of senses, emotions, intellect, philosophy, imagination and spirit. In addition, it is structured to allow for the maximum of crossover with other parts of the Elementary curriculum to create a whole learning approach. It is a guiding principle of this curriculum that drama can and should be used as a way of approaching the study of every subject, and that it can do so without compromising those curricular goals to which it is uniquely suited.

Time Frame: Approximately 10 Weeks

Enduring Understandings: • Theatre artists embrace creative risks and the opportunity to learn from the choices they make. • Theatre artists acquire skills in creative thinking, which allows them to exercise flexibility when making decisions and creating worlds through imagination. • The arts demand learning to reach beyond one’s perceived capacities by taking creative risks. • Theatre artists are aware of their thinking process and analyze their own learning in order to evaluate and make choices for improving the quality of their work. • Theatre artists share stories about the human experience. • Theatre fosters an understanding of oneself and his or her place in the world.

Essential Questions: Students will keep considering... • What are some methods that can be used to support and critique yourself and your peers in positive way? • How can you review a theater event based on the elements found in the performance and production of the dramatic work being observed?

Standards Topics and Objectives Activities Resources Assessments

1.1.5.C.1 Evaluate the Students will: • Identify and express in Broadway video clips that can Teacher Observation characteristics of a well- • Review a theater event a class discussion be used to teaching the art of • Use a variety of made play in a variety of based on observed students’ favorite parts critique: vocal tones and scripts and performances. elements in theater of a performance. breath control to performance and • Evaluate a production • The Lion King: The create a 1.4.5.A.2 Make production. based on the based on Circle of Life character’s informed aesthetic the merits of its feelings and mood. responses to artworks • Understand theater as a physical realization, • Matilda the Musical • Use basic analysis based on structural shared communal direction, blocking, skills to perform a arrangement and experience between actors’ interpretation • Annie: It's Hard character within a personal, cultural, and audience and actor. of character, design, Knock Life scene. historical points of view. • Develop an understanding faithfulness to the • Performance of personal aesthetic and ideas of the • Glossary of Terms rubrics 1.4.5.B.1 Assess the choice as related to playwright, and clarity • Performance task application of the production intent. of communication. checklist elements of art and • Critique themselves and • Critique the technical Self-Assessment principles of design in others in a respectful and proficiency of a • Journal entries dance, music, theatre, constructive manner. production based on • Self reflection - and visual artworks using • Use reflection and how well sets, light Mapping ones observable, objective analysis to evaluate their and sound are used in journey criteria. work and the work of their realizing the director’s peers in a productive way. vision. • Critique a 1.4.5.B.5 Distinguish • Compare, connect, and performance of ways in which individuals incorporate art forms by script using pre- may disagree about the describing and analyzing developed criteria. relative merits and methods of presentation Peer Assessment effectiveness of artistic and audience response for • Pair-share choices in the creation theater and dramatic • Peer evaluation and performance of media, including film, and observation works of dance, music, television, electronic • Critique a theatre, and visual art. media, and other art performance of forms. script using pre- developed criteria. Teacher Assessment • Performance rubrics • Performance task checklist

Sample Rubric

Sample Assessment 1: Grade 3

Sample Scoring Guide 1: Grade 3

Sample Assessment 2: Grade 3

Sample Score Guide 2: Grade 3

Sample Assessment 3: Grade 3

Sample Scoring Guide 3: Grade 3

Sample Assessment 4: Grade 5

Sample Scoring Rubric 4: Grade 5

Sample Assessment 5: Grade 5

Sample Scoring Rubric 5: Grade 5

Sample Assessment 6: Grade 5

Sample Assessment 6: Grade 5

Alternative Assessments may include: • Analyzing primary source documents on the history of theatre in various cultures. • Conduct short research projects on the cultural origins of theatre to support analysis, reflection, and research. • Use technology to create a presentation on the impact of theatre on specific groups of people and historical events. • Evaluate written reflections on theatre principles, including reports and journal responses, using a student-created rubric.

Integration of 21st Century Standards NJSLS 9: 3rd & 4th Grade 9.2.4.A.2 Identify various life roles and civic and work‐related activities in the school, home, and community. 9.2.4.A.4 Explain why knowledge and skills acquired in the elementary grades lay the foundation for future academic and career success. 5th Grade 9.2.8.B.3 Evaluate communication, collaboration, and leadership skills that can be developed through school, home, work, and extracurricular activities for use in a career.

Accommodations and Modifications:

Students with special needs: Support staff will be available to aid students related to IEP specifications. 504 accommodations will also be attended to by all instructional leaders. Physical expectations and modifications, alternative assessments, and scaffolding strategies will be used to support this learning. The use of Universal Design for Learning (UDL) will be considered for all students as teaching strategies are considered. Additional safety precautions will be made along with additional staff so all student can fully participate in the standards associated with this Theatre curriculum.

ELL/ESL students: Students will be supported according to the recommendations for “can do’s” as outlined by WIDA - https://www.wida.us/standards/CAN_DOs/

Students at risk of school failure: Formative and summative data will be used to monitor student success. At first signs of failure, student work will be reviewed to determine support. This may include parent consultation, basic skills review and differentiation strategies. With considerations to UDL, time may be a factor in overcoming developmental considerations. More time and will be made available with a certified instructor to aid students in reaching the standards.

Gifted and Talented Students: Students excelling in mastery of standards will be challenged with complex, high level challenges related to the complexity of the Theatre requirements. This will include allowing more opportunities to demonstrate creativity and the design of original works.

English Language Learners Special Education At-Risk Gifted and Talented • Provide list of vocabulary • Work with a peer to • Incorporate student • Write detailed reflections to words commonly used with develop a critique/review choice in activities. live and/or video responding to/critiquing of a short theatre • Use a graphic organizer to performances. works of art (theater). performance. categorize elements of • Create and lead the class in a • Add visual word walls to • Create a visual theater. theatre games, activities, or better illustrate the meaning identifying the elements • Repeat directions as process drama techniques. of content vocabulary. of theatre. needed. • Curriculum compacting • Speak and display • Create a picture dictionary • Using visual • Inquiry-based instruction terminology and of theatre terminology. demonstrations, • Independent study movement • Provide alternative illustrations, and models • Higher order thinking skills • Teacher modeling response choices to • Give • Adjusting the pace of lessons • Peer modeling questions on the elements directions/instructions • Interest based content • Develop and post routines of theatre. verbally and in simple • Real world scenarios • Label theatre and classroom • Utilize modifications and written format. • Student Driven Instruction materials accommodations • Peer Support • Word walls delineated in the student’s • Increase one on one time IEP • Teachers may modify • Work with instructions by modeling paraprofessional what the student is • Use multi-sensory teaching expected to do approaches. Pictures, • Instructions may be printed scarves, hula hoops, hats out in large print and hung balloons, rhythmic up for the students to see instruments, and other during the time of the props provide helpful lesson visual, auditory, and tactile • Review behavior reinforcement of ideas. expectations and make • Work with a partner adjustments for personal • Provide concrete examples space or other behaviors as and relate all new needed movements to previously • Oral prompts can be given learned moves or to typical life skills at home (i.e., open and close a door for a pulling or pushing movement). • Solidify and refine concepts through repetition. • Change movement requirements to reduce activity time

Interdisciplinary Connections: ELA - NJSLS/ELA: NJSLSA.R2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas. NJSLSA.R7. Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words. NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively. NJSLSA.SL2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally.

Social Studies: 3rd & 4th Grade 6.1.4.A.14 Describe how the world is divided into many nations that have their own governments, languages, customs, and laws 6.1.4.D.13 Describe how culture is expressed through and influenced by the behavior of people. 5th Grade 6.2.8.D.1.b Describe how the development of both written and unwritten languages impacted human understanding, development of culture, and social structure.

Physical Education: 2.5.4.A.3 Explain and demonstrate movement sequences, individually and with others, in response to various tempos, rhythms, and musical styles. 2.5.4.A.4 Correct movement errors in response to feedback and explain how the change improves performance. Integration of Technology Standards NJSLS 8: 8.1.5.A.1 - Select and use the appropriate digital tools and resources to accomplish a variety of tasks including solving problems. Career Ready Practices: CRP2. Apply appropriate academic and technical skills. CRP4. Communicate clearly and effectively and with reason. CRP6. Demonstrate creativity and innovation. CRP8. Utilize critical thinking to make sense of problems and persevere in solving them. CRP11. Use technology to enhance productivity. CRP12. Work productively in teams while using cultural global competence.

3-5 Theatre Unit 4: Performance

Overview: This curriculum addresses four basic domains of learning: Psychomotor--developing perceptual and expressive skills and techniques; Cognitive--assimilating knowledge and developing higher order thinking skills; Affective--cultivating positive attitudes towards art and the discipline or are, and about themselves in relation to art; and Aesthetic--deriving pleasure from a combination of senses, emotions, intellect, philosophy, imagination and spirit. In addition, it is structured to allow for the maximum of crossover with other parts of the Elementary curriculum to create a whole learning approach. It is a guiding principle of this curriculum that drama can and should be used as a way of approaching the study of every subject, and that it can do so without compromising those curricular goals to which it is uniquely suited.

Time Frame: Approximately 10 Weeks

Enduring Understandings: • Theatre artists embrace creative risks and the opportunity to learn from the choices they make. • Theatre artists acquire skills in creative thinking, which allows them to exercise flexibility when making decisions and creating worlds through imagination. • The arts demand learning to reach beyond one’s perceived capacities by taking creative risks. • Theatre artists use curiosity, questioning, observations, experiences, and problem solving to generate ideas, concepts, and feelings that shape a work of theatre. • Theatre artists embrace creative risks and the opportunity to learn from the choices they make. • Theatre artists acquire specific skills and knowledge to use in creating theatre. • Create a setting appropriate to a story. Use simple objects and materials for props, costumes, and physical settings. Use variations of voice, movement, and gesture for different characters.

Essential Questions: Students will keep considering... • How can you apply imaginative, analytical and process skills needed when creating original dramatic works?

Standards Topics and Objectives Activities Resources Assessments

1.5.C.1 Create original Students will: • Write an original • Acting for Kids: Episode 1 Teacher Observation plays using script-writing • Create original plays using exchange between two • Use a variety of formats that include stage script-writing formats that characters in which a • Childdrama.com vocal tones and directions and technical include stage directions conflict is revealed. breath control to theatrical elements, and technical theatrical • Create and perform a • Acting and Improvisation- create a demonstrating elements, demonstrating scene using at least Ackroyd, Judith, and Jo comprehension of the comprehension of the three of the senses to Boulton. Drama Lessons character’s elements of theatre and elements of theatre and communicate the for Seven to Eleven-Year- feelings and mood. story construction. story construction. reality of the Olds. Routledge, 2012. • Use basic analysis • Plan and improvise plays environment, or the skills to perform a 1.4.5.B.2 Use evaluative based on personal character’s situation. • Glossary of Terms character within a tools, such as rubrics, for experience and heritage, • Through storytelling scene. self-assessment and to imagination, literature, or puppetry, tell a • Performance appraise the objectivity of and history for informal short original or rubrics critiques by peers. and formal theater. traditional story using • Performance task • Cooperate, imagine and theater skills. checklist assume roles, explore • Develop a real or Self-Assessment personal preferences and imaginary character • Journal entries meanings, and interact in and perform as that • Self reflection - classroom dramatizations. character. Mapping ones • Develop scenes journey through improvisation theater games or • Critique a writing that have performance of distinct characters. script using pre- • Improve a scene based developed criteria. on written material Peer Assessment such as a newspaper • Pair-share article or journal. • Peer evaluation • Create a drama based and observation on a short story or • Critique a poem. Use simple performance of costumes, props, and script using pre- light to enhance the developed criteria. drama. Teacher Assessment • Work as a member of • Performance an ensemble. rubrics • Performance task checklist

Sample Rubric

Sample Assessment 1: Grade 3

Sample Scoring Guide 1: Grade 3

Sample Assessment 2: Grade 3

Sample Score Guide 2: Grade 3

Sample Assessment 3: Grade 3

Sample Scoring Guide 3: Grade 3

Sample Assessment 4: Grade 5

Sample Scoring Rubric 4: Grade 5

Sample Assessment 5: Grade 5

Sample Scoring Rubric 5: Grade 5

Sample Assessment 6: Grade 5

Sample Assessment 6: Grade 5

Alternative Assessments may include: • Analyzing primary source documents on the history of theatre in various cultures. • Conduct short research projects on the cultural origins of theatre to support analysis, reflection, and research. • Use technology to create a presentation on the impact of theatre on specific groups of people and historical events. • Evaluate written reflections on theatre principles, including reports and journal responses, using a student-created rubric. • Evaluate informal in-class performances and video evidence of student performances using observation, discussions, drawings, video, and simple student-created rubrics.

Integration of 21st Century Standards NJSLS 9: 9.2.4.A.1 Identify reasons why people work, different types of work, and how work can help a person achieve personal and professional goals.

Accommodations and Modifications:

Students with special needs: Support staff will be available to aid students related to IEP specifications. 504 accommodations will also be attended to by all instructional leaders. Physical expectations and modifications, alternative assessments, and scaffolding strategies will be used to support this learning. The use of Universal Design for Learning (UDL) will be considered for all students as teaching strategies are considered. Additional safety precautions will be made along with additional staff so all student can fully participate in the standards associated with this Theatre curriculum.

ELL/ESL students: Students will be supported according to the recommendations for “can do’s” as outlined by WIDA - https://www.wida.us/standards/CAN_DOs/

Students at risk of school failure: Formative and summative data will be used to monitor student success. At first signs of failure, student work will be reviewed to determine support. This may include parent consultation, basic skills review and differentiation strategies. With considerations to UDL, time may be a factor in overcoming developmental considerations. More time and will be made available with a certified instructor to aid students in reaching the standards.

Gifted and Talented Students: Students excelling in mastery of standards will be challenged with complex, high level challenges related to the complexity of the Theatre requirements. This will include allowing more opportunities to demonstrate creativity and the design of original works.

English Language Learners Special Education At-Risk Gifted and Talented • Create visual of common • Work with a peer to • Invite parents/guardians to • Compare and contrast character emotions. develop a short theatre view and/or participate in a performance techniques from • Display labeled image of performance. theatre performance. two or more theatrical styles stage components. • Highlight individual • Break dialogue into and present findings to peers. • Highlight individual speaking parts to provide smaller pieces. • Write and performer longer speaking parts to provide visual assistance during • Conference with teacher theatrical works, individually visual assistance during performance. during the acting planning and in collaboration with performance. • Work with a peer to process. peers. • Provide list of vocabulary develop a critique/review • Incorporate student choice • Create and lead the class in a words commonly used with of a short theatre in activities. theatre games, activities, or responding to/critiquing performance. • Use a graphic organizer to process drama techniques. works of art (theater). • Create a visual categorize elements of • Curriculum compacting • Add visual word walls to identifying the elements theater. • Inquiry-based instruction better illustrate the meaning of theatre. • Repeat directions as • Independent study of content vocabulary. • Create a picture dictionary needed. • Higher order thinking skills of theatre terminology. • Adjusting the pace of lessons • Interest based content • Speak and display • Provide alternative • Using visual • Real world scenarios terminology and response choices to demonstrations, • Student Driven Instruction movement questions on the elements illustrations, and models • Teacher modeling of theatre. • Give • Peer modeling • Utilize modifications and directions/instructions • Develop and post routines accommodations verbally and in simple • Label theatre and classroom delineated in the student’s written format. materials IEP • Peer Support • Word walls • Work with • Increase one on one time paraprofessional • Teachers may modify • Use multi-sensory teaching instructions by modeling approaches. Pictures, what the student is scarves, hula hoops, hats expected to do balloons, rhythmic • Instructions may be printed instruments, and other out in large print and hung props provide helpful up for the students to see visual, auditory, and tactile during the time of the reinforcement of ideas. lesson • Work with a partner • Review behavior • Provide concrete examples expectations and make and relate all new adjustments for personal movements to previously space or other behaviors as learned moves or to typical needed life skills at home (i.e., • Oral prompts can be given open and close a door for a pulling or pushing movement). • Solidify and refine concepts through repetition. • Change movement requirements to reduce activity time •

Interdisciplinary Connections: ELA - NJSLS/ELA: NJSLSA.R2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas. NJSLSA.R7. Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words. NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively. NJSLSA.SL2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally.

Social Studies: 3rd & 4th Grade 6.1.4.A.14 Describe how the world is divided into many nations that have their own governments, languages, customs, and laws 6.1.4.D.13 Describe how culture is expressed through and influenced by the behavior of people. 5th Grade 6.2.8.D.1.b Describe how the development of both written and unwritten languages impacted human understanding, development of culture, and social structure.

Physical Education: 3rd & 4th Grade 2.5.4.A.3 Explain and demonstrate movement sequences, individually and with others, in response to various tempos, rhythms, and musical styles. 2.5.4.A.4 Correct movement errors in response to feedback and explain how the change improves performance. 5th Grade 2.5.6.A.3 Create and demonstrate planned movement sequences, individually and with others, based on tempo, beat, rhythm, and music (creative, cultural, social, and fitness dance). Integration of Technology Standards NJSLS 8: 8.1.5.A.1 Select and use the appropriate digital tools and resources to accomplish a variety of tasks including solving problems. Career Ready Practices: CRP2. Apply appropriate academic and technical skills. CRP4. Communicate clearly and effectively and with reason. CRP6. Demonstrate creativity and innovation. CRP12. Work productively in teams while using cultural global competence.

Englewood Public School District 6-8 Theatre Unit 1: Elements of Theatre

Overview: In this unit, students will gain in-depth understanding of theatrical elements, principles, and conventions as well as develop their acting skills.

Time Frame: Approximately 12 weeks

Enduring Understandings: • All roles of a production team are valuable and interdependent. • Adjusting elements of style, setting, music, props, lights, and color integrated with the performers creates a unique aesthetic experience for the audience. • Knowledge of spatial and sensory awareness, movement, and other techniques establish theatre preparation and warm-up techniques, including strategies for safe and correct use of the voice. • The status of traditional theatrical roles (including director, stage manager, designers, operators, actors, producers) often dictates hierarchical structure within a production.

Essential Questions: Students will keep considering... • How do we respond emotionally to diverse works of theatre? • How do different components contribute to the overall theatrical performance? • How do symbolism and metaphor contribute to meaning in the arts?

Standards Topics and Objectives Activities Resources Assessments

1.1.8.C.4 Define the areas Students will: • Stage a short scene • PowerPoint: Elements • Maintain a theatre of responsibility (e.g., • Identify the members of a showcasing different of Drama portfolio over time actor, director, producer, production team and areas of responsibility (paper or digital) with scenic, lighting, costume, explain how these roles that are integral to a • Video: Elements of journal reflections, stagehand, etc.) and are interdependent. theatrical production Drama research ideas, necessary job skills of the • Understand how sound (e.g., actor, director, notation, videos, front and back-of-house and lighting create mood set designer, lighting • Elements of Drama photographs, clippings members of a theatre in performance events. designer, sound Lesson Plan about theatre from company. • Identify key jobs integral designer, costume magazines and to producing a play (e.g., designer.). • Glossary of Terms newspapers, theatre 1.4.8.A.2 Identify works of actor, director, set • Direct a short scene in resources and dance, music, theatre, and designer, lighting collaboration that performance “notes.” visual art that are used for designer, sound designer, demonstrates a • Evaluate informal in- utilitarian and non- costume designer.) and directorial vision and class performances utilitarian purposes. research the duties and choices. and video evidence of responsibilities of these • Research various student performances 1.4.8.A.5 Interpret positions. theatre personnel, their using observation, symbolism and metaphors • Interpret symbolism and responsibilities, the discussions, drawings, embedded in works of metaphors used in selected skills and training that video, and simple dance, music, theatre, and theatre masterworks; go into the position, student-created visual art. apply metaphor and and how they work rubrics. symbolism in the creation collaboratively to 1.4.8.A.6 Differentiate and performance of an make a theatre Sample Assessments between “traditional” original scene, and production. • Sample Assessment #1 works of art and those that interpret symbolism and • Identify and discuss • Sample Assessment #2 do not use conventional metaphors used in theatre symbols and • Sample Assessment #3 elements of style to express scenes created by peers. symbolism in a new ideas. • Differentiate between selected design. Sample Scoring Guides “traditional” and non- • View and evaluate • Sample Scoring Guide 1.4.8.A.7 Analyze the traditional theatre productions with #1 form, function, masterworks and analyze regard to the design • Sample Scoring Guide craftsmanship, and the form, function, and production #2 originality of craftsmanship, and elements. • Sample Scoring Guide representative works of originality of the work. #3 dance, music, theatre, and • Differentiate among basic visual art. formal structures and Alternative Assessments technical proficiency of • Journal entries 1.4.8.B.1 Evaluate the artists in peer and • Self reflection – effectiveness of a work of professional theatrical Mapping ones art by differentiating productions as well as use journey between the artist’s rubrics and scoring guides • Pair-share technical proficiency and to evaluate the • Peer evaluation and the work’s content or form. effectiveness of a theatre observation work. • Lesson task checklist • Performance task checklist

Integration of 21st Century Standards NJSLS 9: 9.2.8.B.4 Evaluate how traditional and nontraditional careers have evolved regionally, nationally, and globally.

Accommodations and Modifications:

Students with special needs: Support staff will be available to aid students related to IEP specifications. 504 accommodations will also be attended to by all instructional leaders. Physical expectations and modifications, alternative assessments, and scaffolding strategies will be used to support this learning. The use of Universal Design for Learning (UDL) will be considered for all students as teaching strategies are considered. Additional safety precautions will be made along with additional staff so all student can fully participate in the standards associated with this Theatre curriculum.

ELL/ESL students: Students will be supported according to the recommendations for “can do’s” as outlined by WIDA - https://www.wida.us/standards/CAN_DOs/

Students at risk of school failure: Formative and summative data will be used to monitor student success. At first signs of failure, student work will be reviewed to determine support. This may include parent consultation, basic skills review and differentiation strategies. With considerations to UDL, time may be a factor in overcoming developmental considerations. More time and will be made available with a certified instructor to aid students in reaching the standards.

Gifted and Talented Students: Students excelling in mastery of standards will be challenged with complex, high level challenges related to the complexity of the Theatre requirements. This will include allowing more opportunities to demonstrate creativity and the design of original works.

English Language Learners Special Education At-Risk Gifted and Talented • Create a word wall with key • Create a visual identifying • Incorporate student choice • Create and lead the class in a theatre terms/vocabulary. the elements of theatre. in activities. theatre games, activities, or • Create a picture dictionary • Use a graphic organizer to process drama techniques. of theatre terminology. categorize elements of • Provide alternative theater. response choices to • Repeat directions as questions on the elements needed. of theatre. Interdisciplinary Connections: NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively. NJSLSA.SL2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally. Integration of Technology Standards NJSLS 8: 8.1.5.A.1 Select and use the appropriate digital tools and resources to accomplish a variety of tasks including solving problems. Career Ready Practices: CRP2. Apply appropriate academic and technical skills. CRP4. Communicate clearly and effectively and with reason. CRP6. Demonstrate creativity and innovation. CRP12. Work productively in teams while using cultural global competence.

6-8 Theatre Unit 2: History of the Arts and Culture

Overview: In this unit, students will study selected theatrical material as well as identify and categorize historical/cultural heritages and theatrical conventions.

Time Frame: Approximately 12 weeks

Enduring Understandings: • Actors can draw on personal experiences, culture, literature, and history to create drama and improvisations, and assume roles within dramatizations. • Directors ensure that historical and cultural components, theatrical traditions and conventions, and technical aspects of production are consistent with the intent of the playwright. • Cultural references and relationships are embedded within scripted scenes and influence and inspire character development.

Essential Questions: Students will keep considering... • How does theatre influence life and life influence theatre over time? • In what ways do we see the origins of theatre still present in more modern drama? • How does theatre influence society? • How does society influence theatre? • How do past and contemporary works differ in the ideas and events they represent?

Standards Topics and Objectives Activities Resources Assessments

1.1.8.C.1 Analyze the Students will: • Contrast and compare • Video: What is • Maintain a theatre structural components of • Articulate the cultural, one major Western and Theatre? portfolio over time plays and performances historical, and social one non-Western type (paper or digital) with from a variety of Western context of their original of theater, recognizing • A Cultural History of journal reflections, and non-Western work and a clear statement similarities in intended Theatre by Jack research ideas, theatrical traditions and of theme. purpose and Watson and Grant notation, videos, from different historical • Identify major movements performance style, McKernie photographs, clippings eras. and periods in history, such as an ancient about theatre from recognizing that theatre Greek arena and • History of the Theatre magazines and 1.2.8.A.1 Map historical reflects the society and Vietnamese water by Oscar Gross newspapers, theatre innovations in dance, culture of its time. puppets. Brockett and Franklin resources and music, theatre, and visual J Hildy performance “notes.” art that were caused by • Describe and discuss a • Compare and contrast • Create PowerPoint the creation of new written text or live early theatrical texts to • Glossary of Terms presentations on actors technologies. performance in terms of contemporary who greatly impacted social, historical and performances theatre. 1.2.8.A.2 Differentiate cultural context. • Use online and video • Evaluate written past and contemporary • Identify and articulate the resources to research reflections on theatre works of dance, music, cultural and historical and guide the creation principles, including theatre, and visual art components of the work of a project that reports and journal that represent important and how these examines Greek, responses, using a ideas, issues, and events components create a Roman or early non- student-created rubric. that are chronicled in the particular world of Western theatre • Evaluate informal in- histories of diverse behaviors. • Research and write a class performances cultures. • Compare and contrast profile of a NYC and video evidence of changes in the accepted theatre, including the student performances 1.2.8.A.3 Analyze the meanings of known performance history, using observation, social, historical, and artworks over time, given architecture, as well as discussions, drawings, political impact of artists shifts in societal norms, the historical, social video, and simple on culture and the impact beliefs, or values. Create and political context of student-created of culture on the arts. and perform in when the theatre was rubrics. stylistically nuanced scene built. 1.4.8.A.1 Generate work from known plays, • Plan and improvise Alternative Assessments observational and aligned to the cultural plays based on • Analyzing primary emotional responses to norms and theatrical personal experience, source documents on diverse culturally and conventions appropriate to heritage, imagination, the history of theatre historically specific works the era of the play. literature, and history and the cultures of of dance, music, theatre, • Categorize historical for informal and origin. and visual art. innovations in Western formal theater. • Conduct short and non-Western theatre • Compare and contrast research projects on 1.4.8.A.3 Distinguish history up to and including examples of archetypal the cultural origins of among artistic styles, the early 20th century that subject matter in theatre to support trends, and movements in stemmed from the creation works of art from analysis, reflection, dance, music, theatre, of new technologies. diverse cultural and research and visual art within • Distinguish ways that contexts and historical • Use technology to diverse cultures and theatre has reflected and eras by writing critical create a presentation historical eras. impacted the society and essays. on the impact of culture of its time in • Create and perform a theatre on specific 1.4.8.A.4 Compare and Western and non-Western theatre piece using groups of people and contrast changes in the theatrical traditions. masks from a chosen historical events. accepted meanings of • Apply characteristics of historical era or known artworks over various Western and non- tradition (e.g., Greek, Sample Assessments time, given shifts in Western theatrical Commedia Dell’Arte). • Sample Assessment societal norms, beliefs, or traditions to scene work • Collaborate to write a #1 values. that emulates theatre of short play based on a • Sample Assessment various and diverse eras historical or current #2 1.4.8.B.3 Compare and and cultures up to and event. • Sample Assessment contrast examples of including the 21st century. #3 archetypal subject matter in works of art from Sample Scoring Guides diverse cultural contexts • Sample Scoring and historical eras by Guide #1 writing critical essays. • Sample Scoring Guide #2 • Sample Scoring Guide #3

Integration of 21st Century Standards NJSLS 9: 9.2.8.B.4 Evaluate how traditional and nontraditional careers have evolved regionally, nationally, and globally.

Accommodations and Modifications:

Students with special needs: Support staff will be available to aid students related to IEP specifications. 504 accommodations will also be attended to by all instructional leaders. Physical expectations and modifications, alternative assessments, and scaffolding strategies will be used to support this learning. The use of Universal Design for Learning (UDL) will be considered for all students as teaching strategies are considered. Additional safety precautions will be made along with additional staff so all student can fully participate in the standards associated with this Theatre curriculum.

ELL/ESL students: Students will be supported according to the recommendations for “can do’s” as outlined by WIDA - https://www.wida.us/standards/CAN_DOs/

Students at risk of school failure: Formative and summative data will be used to monitor student success. At first signs of failure, student work will be reviewed to determine support. This may include parent consultation, basic skills review and differentiation strategies. With considerations to UDL, time may be a factor in overcoming developmental considerations. More time and will be made available with a certified instructor to aid students in reaching the standards.

Gifted and Talented Students: Students excelling in mastery of standards will be challenged with complex, high level challenges related to the complexity of the Theatre requirements. This will include allowing more opportunities to demonstrate creativity and the design of original works.

English Language Learners Special Education At-Risk Gifted and Talented • Use sentence/paragraph • Use sentence/paragraph • Invite parents/guardians to • Create an original play based frames to assist with writing frames to assist with participate in sharing on the cultural themes and reports. writing reports. cultural plays. theatre elements of a • Create a word wall with • Create a world wall with • Provide an outline for particular style. cultural theatre cultural theatre journal entries and study • Incorporate multiple types of names/vocabulary. names/vocabulary. guides. resources, including text, • Work with a partner to • Utilize graphic responses • Provide extended time for video, interviews, etc., into a develop written reports and in journals. written responses and report on an actor or journal entries. • Provide extended time for reports. playwright from specific time • Provide extended time for written responses and period or culture. written responses and reports. reports. Interdisciplinary Connections: NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively. NJSLSA.SL2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally. NJSLSA.R7. Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words. NJSLSA.R10. Read and comprehend complex literary and informational texts independently and proficiently with scaffolding as needed. NJSLSA.W4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience. Integration of Technology Standards NJSLS 8: 8.1.8.A.2 Create a document (e.g. newsletter, reports, personalized learning plan, business letters or flyers) using one or more digital applications to be critiqued by professionals for usability. 8.1.8.D.4 Assess the credibility and accuracy of digital content. Career Ready Practices: CRP2. Apply appropriate academic and technical skills. CRP4. Communicate clearly and effectively and with reason. CRP7. Employ valid and reliable research strategies. CRP11. Use technology to enhance productivity. CRP12. Work productively in teams while using cultural global competence.

6-8 Theatre Unit 3: Performance

Overview: In this unit, students will plan a dramatization, take part in its production, and discuss the results. Students will study characterization to expand the definition of characters.

Time Frame: Approximately 12 weeks

Enduring Understandings: • Theatre artists acquire skills in creative thinking, which allows them to exercise flexibility when making decisions and creating worlds through imagination. • The arts demand learning to reach beyond one’s perceived capacities by taking creative risks. • Theatre artists use curiosity, questioning, observations, experiences, and problem solving to generate ideas, concepts, and feelings that shape a work of theatre. • Theatre artists explore playfully without a preconceived plan. • Characterization results from careful analysis of roles and incorporates appropriate vocal delivery, movement, costuming, and makeup. • Improvising dramatizations include plot, characterization, and setting.

Essential Questions: Students will keep considering... • Why is it important to create a personality and a background for a character? • How do posture, breathing, and voice control affect a presentation? • How do movements, gestures, and expressions help improve and support a scene? • How do performers use vocal techniques to communicate meaning and character?

Standards Topics and Objectives Activities Resources Assessments

1.1.8.C.2 Determine the Students will: • Create appropriate Suggested Plays • Maintain a theatre effectiveness of various • Define “believability” by physical gestures and • The Effect of Gamma portfolio over time methods of vocal, identifying common traits facial expressions that Rays On Man-in-the- (paper or digital) with physical, relaxation, and of believable align to a character. Moon Marigolds by Paul journal reflections, acting techniques used in performances. • Participate in group Zindel research ideas, actor training. • Differentiate between a exercises, drills, • Our Town by Thornton notation, videos, character’s actions, improvisations and Wilder photographs, clippings 1.1.8.C.3 Differentiate intentions and internal theater games. • A Thousand Cranes by about theatre from among vocal rate, pitch, dialogue as well as apply Kathryn Schultz Miller magazines and and volume, and explain these distinctions to the • Rehearse and perform • Step on a Crack by Susan newspapers, theatre how they affect portrayal of a character. a scene in front of Zeder resources and articulation, meaning, • Analyze scripted scenes to others. • Getting Near to Baby by performance “notes.” and character. determine how a • Research and portray a Y. York • Evaluate informal in- character's objectives character, using at • Wiley and the Hairy Man class performances 1.3.8.C.1 Create a method change throughout a scene least one appropriate by Susan Zeder and video evidence of for defining and and how his or her tactics costume piece, prop, • Still Life with Iris by student performances articulating character and subtext change within gesture, need and Steven Dietz using observation, objectives, intentions, and a scene in response to the physical shape. • Selkie: Between Land and discussions, drawings, subtext, and apply the actions of other characters. • Provide feedback to Sea by Laurie Brooks video, and simple method to the portrayal Apply the analysis to the scenes performed by student-created of characters in live portrayal of characters in a peers in the “director’s Glossary of Terms rubrics. performances or performance. voice,” noting recorded venues. • Maintain focus and character choices, Sample Assessments concentration in order to vocal projection and • Sample Assessment 1.3.8.C.2 Create and sustain improvisations, stage pictures. #1 apply a process for scene work and • Demonstrate physical • Sample Assessment developing believable, performance. and vocal warm-ups #2 multidimensional • Use distinct physical, used as preparation for • Sample Assessment characters in scripted vocal and emotional rehearsal and #3 and improvised choices, to build a performance. performances by believable, multi- Sample Scoring Guides combining methods of dimensional character and • Sample Scoring Guide relaxation, physical and perform a scene and/or #1 vocal skills, acting monologue within the • Sample Scoring Guide techniques, and active context of two different #2 listening skills. genres. Compare and • Sample Scoring Guide contrast the stylistic #3 1.4.8.B.2 Differentiate choices in each scene. among basic formal • Make imaginative and Alternative Assessments structures and technical expressive use of scenery, • Journal entries proficiency of artists in props, costumes, lighting • Self reflection – works of dance, music, and sound in Mapping ones theatre, and visual art. improvisations, scene journey work and performances. • Pair-share • Use the body and voice • Peer evaluation and expressively in theater observation exercises, improvisations, • Lesson task checklist scene work and • Performance task performances. checklist • Use theatrical improvisation, both short and long form, as a means of exploring character development (from a physical, vocal and emotional standpoint) while also focusing on objectives and tactics.

Integration of 21st Century Standards NJSLS 9: 9.2.8.B.3 Evaluate communication, collaboration, and leadership skills that can be developed through school, home, work, and extracurricular activities for use in a career.

Accommodations and Modifications:

Students with special needs: Support staff will be available to aid students related to IEP specifications. 504 accommodations will also be attended to by all instructional leaders. Physical expectations and modifications, alternative assessments, and scaffolding strategies will be used to support this learning. The use of Universal Design for Learning (UDL) will be considered for all students as teaching strategies are considered. Additional safety precautions will be made along with additional staff so all student can fully participate in the standards associated with this Theatre curriculum.

ELL/ESL students: Students will be supported according to the recommendations for “can do’s” as outlined by WIDA - https://www.wida.us/standards/CAN_DOs/

Students at risk of school failure: Formative and summative data will be used to monitor student success. At first signs of failure, student work will be reviewed to determine support. This may include parent consultation, basic skills review and differentiation strategies. With considerations to UDL, time may be a factor in overcoming developmental considerations. More time and will be made available with a certified instructor to aid students in reaching the standards.

Gifted and Talented Students: Students excelling in mastery of standards will be challenged with complex, high level challenges related to the complexity of the Theatre requirements. This will include allowing more opportunities to demonstrate creativity and the design of original works. English Language Learners Special Education At-Risk Gifted and Talented • Create visual of common • Choose time, place, mood • Invite parents/guardians to • Compare and contrast character emotions. or theme to focus on view and/or participate in a performance techniques from • Display labeled image of when performing a theatre performance. two or more theatrical styles stage components. and present findings to peers. • Highlight individual particular theatrical • Break dialogue into • Write and performer longer speaking parts to provide piece. smaller pieces. theatrical works, individually visual assistance during • Work with a peer to • Conference with teacher and in collaboration with performance. develop a short theatre during the acting planning peers. performance. process. • Highlight individual speaking parts to provide visual assistance during performance. Interdisciplinary Connections: NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively. NJSLSA.SL2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally. Integration of Technology Standards NJSLS 8: 8.1.5.A.1 Select and use the appropriate digital tools and resources to accomplish a variety of tasks including solving problems. Career Ready Practices: CRP2. Apply appropriate academic and technical skills. CRP4. Communicate clearly and effectively and with reason. CRP6. Demonstrate creativity and innovation. CRP12. Work productively in teams while using cultural global competence.

6-12 Glossary of Terms Theatre Curriculum

● Act: To represent, perform, interpret, communicate a character other than oneself; a major division of a play. ● Actor: In performing a role or representing a character in a play, the actor uses vocal as well as physical techniques to bring the character to life for the audience. Posture, gestures, facial expressions, tone, pitch, rate, and diction all help to create and present the desired characterization. ● Advertise: To call public attention to an event. ● Antagonist: The antagonist sets the conflict in motion by offering an obstacle to the protagonist’s objective. ● Apron: The curved part of the stage that extends beyond the main curtain. ● Arena Stage: Also called theatre-in-the-round and central staging. There is seating on all sides of the stage. ● Aside: The dramatic device in which a character speaks his/her thoughts aloud unheard by other characters on stage at the same time. ● Audition: An action-oriented interview between director and actors for the purpose of deciding who will be cast in what role; usually involves script reading, performing a prepared monologue, and/or improvisation. ● Backdrop: A painted piece of muslin hung from the battens to depict a scene. ● Backstage: This designation also applies to the wings area and, loosely, can be used to indicate anything in the physical plant that is not stage or house. ● Basic Makeup: Applying base, highlights, and shadow to improve or alter facial structure for the stage. ● Batten: A wood or metal pipe from which stage lights, drops, and scenery are hung. ● Blackout: Stage goes to complete black; the blackout lighting cue is often used for a startling effect at the end of a scene. ● Blocking: The actor’s basic stage positioning given to the actor by the director or used in self-direction. ● Blocking Symbols: X=Cross E=Entrance EX=Exit C=Center SR=Stage Right SL=Stage Left DC=Down Center DSR= Down Stage Right DSL=Down Stage Left UC=Up Center USR=Up Stage Right USL=Up Stage Left RC=Right Center USRC=Up Stage Right Center USLC=Up Stage Left Center LC=Left Center DSRC=Down Stage Right Center DSLC=Down Stage Left ● Center Bow: A movement at the waist that demonstrates acknowledgment and thanks to the audience for coming to the performance. ● Box Office Manager: A person in charge of selling the tickets for a production. ● Box-set: A feature of realistic theatre, a two- or three-walled set representing the interior of a room. ● Cat-walk: A narrow bridge above the stage providing access to stage scenery or lighting units. ● Cast: 1. (verb) to assign the roles of a dramatic production to actors; 2. (noun) the group of actors with specific roles in a play or narrative. ● Character: A person or entity (e.g., animal) in a play, or the personality of that person or entity (e.g., animal). ● Characterization: The art of developing the character (e.g., their life, emotions, choices, motivations, objectives). ● Choices: The decisions of the actor or director regarding how a character will be interpreted in a given production. Most directors prefer to allow the actors some rehearsal time to explore their own choices before deciding what will best serve the show. ● Choral Speaking: Reciting, in unison, a poem or piece of literature. ● Chorus: In classical drama, the chorus was used to narrate offstage events. Commedia ‘del Arte: The basic plots derived from Roman comedy, and the cast of stock characters including Arlecchmo, Columbine, Pierrot, Pantaloon, Pagliaccio, Punchinello, and Scaramouche. The players appear in masks and in costumes that became the convention for the genre (e.g., the black-and-white “domino” costume of Arlecchino). ● Concentration: The actor’s focus on the moment of the play. ● Conflict: Conflicts generally are described either as “human against human” (e.g., an equal struggle), “human against self” (e.g., a psychological struggle), and “human against an outside force” (e.g., an uneven struggle against some greater force such as nature, the gods, or some organization). ● Costumes: Clothing worn by the actors in a performance. ● Cue: The action or words that signals what happens next. ● Creative Drama: An improvisational, nonexhibitional, process-centered form of theatre in which participants are guided by a leader to imagine, enact, and reflect upon human experience. ● Crew: Group of people working on technical aspects of production (e.g., set crew, costume crew, lighting crew, sound crew, running crew). ● Comedy: A play that treats characters and situations in a humorous way and has a happy ending. ● Culture: The arts, beliefs, customs, institutions, and all other products of human work and thought at a particular time period. ● Cyc: Short for Cyclorama. It is a huge, light blue curtain at the back of the stage that can be made to look like the sky. ● Denouement: The solution to the conflict in the play, the untangling of the complications, and conflict between antagonist and protagonist. ● Dialogue: Two or more characters speaking with each other. ● Diction: The word choice made by the playwright; also, the enunciation of the actors as they say their lines. ● Director: Person responsible for coordinating, guiding, and developing of all aspects of a production so that the performance represents a unified vision. ● Dramatize: To present or view a story in a dramatic way. ● Dramatic Criticism: An evaluation and analysis of a play according to accepted aesthetic principles. ● Dramatic Play: Play in which children take on different roles (e.g., housekeeper, grocery store checker, camp counselor). ● Dramaturg: An assistant to the director who researches the culture, period, and literary references in a play. ● Ensemble: Acting in which a cast works together as a team to create a total effect rather than a group of individual performances. ● Exposition: As part of dramatic structure, the information that is often presented at the beginning of a play. Here the playwright may set the atmosphere and tone, explain the setting, introduce the characters, and provide the audience with any other information necessary to understand the plot. ● Expressionism: A highly symbolic and poetic style of drama that features distorted, oversimplified, and symbolic characters rather than realistic characters. ● Falling Action: The action after the climax of the plot. (see denouement.) ● Fourth Wall: The invisible wall of a set through which the audience sees the action of a play. ● Front of House: 1. The part of the theatre in front of the proscenium arch. For example, the lighting equipment placed there is referred to as front of house lights. 2. Non-stage related production concerns, such as ticket sales, seating, concessions, and theatre house maintenance by the front of house staff. ● Gel: A thin piece of colored plastic, available in a wide variety of colors, that can be cut and fitted to a light to color the beam directed onto the stage. ● Genre: Each of the main genres may be subdivided by style or content. Comedy, for example, may be absurdist, comedy of humors, comedy of manners, or romantic. Genre studies examine a particular work in relation to others of the same kind, determining how closely it meets the characteristics in that genre. ● Gesture: An intentional movement of the arms, hands, or other parts of the body that expresses or emphasizes a feeling or idea. ● Graphic Organizer: A visual representation of organized data relating to a content area that integrates knowledge, fosters organization, and links higher order thinking skills. ● Grid/Gridiron: A steel framework above the stage to which lines are attached to fly scenery and lights. ● Ground Plan: A bird’s-eye view of a stage set; also called a floor plan that often includes scenery placement. ● House: The place where the audience sits. ● House Manager: The person in charge of the theatre house, seating people, ushers, etc. ● Improvisation: A spontaneous scene or episode created without a script by an actor or actors. ● Lazzi: Plural for Lazzo, the Italian word meaning “trick” or “joke.” Refers to comic bits or business, often repeated for humor (see Commedia ‘del Arte). ● Leg: A tall, narrow curtain that an actor can stand behind before an entrance without being seen. ● Lighting Plot: A plan, usually drawn to scale, showing the placement of lighting instruments. ● Mask: To use backing, such as flats, draperies, and drops to hide backstage areas from the view of the audience. ● Melodrama: Features emotional action (more than motivation), stock characters, and a strict black- and-white view of morality (i.e., virtue rewarded and evil villains punished). ● Mime: Acting without words or props. Monologue: A work written to be spoken by just one person. ● Motivation: The reason a character does something; the reason for an action. ● Musical: A production consisting of a series of song and dance scenes, as well as spoken words. ● Nonverbal Communication: Communication without words. ● Objective: The goal a character has in a particular scene or throughout the play. ● Obstacle: A person, place, or thing that gets in the way of a characters reaching their objective. ● Off Book: When an actor has his lines memorized and doesn’t need to look at the script. ● Open Script: A written dialogue with no apparent plot, given circumstances, or specific characters. ● Orchestra Pit: The place where the orchestra or band is set up: usually in the front of the theatre or under the stage. ● Oral Interpretation: Interpreting and communicating a story or script primarily through voice, facial expression, posture, and minimal gestures. In formal theatre, used in specialized presentations like Readers Theatre and storytelling. ● Pantomime: Creating an imaginary object through hand and body movement. ● Personal Review: An announcement in print or broadcast media of a production with some description of the cast, plot, and technical elements. ● Places: A stage manager’s term. It means you go to your first entrance and are quiet so that he/she knows you are ready and can start the show. ● Play Space: Any space where drama takes place (e.g., classroom, stage, auditorium). ● Playwright: A person who writes a play. ● Portfolio: An organized, systematic record of student work chosen by the student and teacher that documents growth in student learning. Portfolio types usually include process, product, and cumulative portfolios. ● Producer: The person who puts together a theatrical production: obtains financial backing; leases rights to the play; rents the theatre; hires the directors, designers, crews; and supervises the budget. ● Prompt Book: A notebook containing a script pasted on large pages with areas for notes. The notebook also contains production notes, blocking, and all lighting, sound, and special effects cues. ● Props: Short for stage properties. Usually divided into four categories: hand props, set props, dress props, and effects not produced within the lighting and sound boards. ● Proscenium Stage: A performance space in which the audience views the action as if through a picture frame. ● Readers Theatre: A performance at which a play is read aloud for an audience rather than memorized. ● Rendering: A sketch or illustration of a proposed product, often used to depict scenery that reflects the meaning and intent of a play. ● Resolution: A period of time in which the conflict in the play is ended. ● Rigging: The process of hanging scenery or lights; the handling of stage curtain or drops. ● Rising Action: The events of a play leading up to the climax; the creation of conflict; the entanglement of forces. ● Role-Play: Taking on a role in a play or improvisation. Scene: A division of an act or of the play itself. ● Scrim: A drop made from sharkstooth scrim or theatrical gauze and dyed or lightly painted: it becomes transparent when lit from behind. ● Script: The text of a play, motion picture, or broadcast. ● Script Analysis: The separation of the script into its parts in order to determine/understand its nature. ● Setting: The surroundings in which the action of the play develops; also the units of scenery that combine to suggest a particular place. ● Sight Line: Lines indicating visibility of onstage and backstage areas from various points in the house or audience. ● Stage Crew: The backstage technical crew responsible for running the show. ● Stage Manager: The person in charge backstage during the performance. ● Stage Property: Anything that the actor handles onstage as well as furniture and other items used to enhance the set. ● Story Board: The depiction of the script in comic book form to help visualize a play. ● Story Dramatization: An improvised play based on a story and used in informal drama. At the elementary level, students are usually guided by a leader who reads or tells a story while the students take on roles. At upper levels, students assume the various roles and work in ensemble to dramatize the story, often interchanging roles and experimenting with ideas. ● Storytelling: The process of orally interpreting a story with a script or from memory using voice, facial expression, and gestures. ● Strike: To take down the set. ● Synthesis: The combination of separate elements into a single or whole unit. ● Tableau: A frozen picture. ● Tech Control Center: The place where the lighting and sound operation equipment is setup and run. ● Technical Elements: Lighting, sound, makeup, costumes, set design/construction, props. ● Theme: What the play means as opposed to what happens. ● Thrust Stage: A combination of the proscenium and arena stages, where the audience sits on two or three sides of the acting area. ● Tragedy: A play in which the protagonist fails to achieve desired goals or is overcome by opposing forces and, in many tragedies, dies. ● Understudy: Someone who learns a role for the purpose of performing in the absence of the primary actor cast in that role. ● Unit Set: A stage setting consisting of units of scenery that are capable of being rearranged in various combinations for different scenes. ● Venues: Types of performance space. ● Verbal Communication: Communicating with words. ● Wings: The offstage area to the right and left of the set used as entrances but concealing backstage areas.

K-5 Glossary of Terms Theatre Curriculum

● Audience: the act and behaviors of watching others or self in a live or recorded performance. ● Caretaking: working to engage, supports, and encourage other actors in a dramatization. ● Character: person animal, or object in a story ● Conflict: tension between two or more characters or between action and ideas. ● Costumes: clothing worn in a drama to depict character. ● Critique: A critical review or commentary, especially one dealing with works of art or literature. A critical discussion of a specified topic. ● Dialogue: when characters talk with each other. ● Events: what happens in a story. ● Expressive movement: using qualities of movement to enhance sensory experience. ● Expressive voice: using voice qualities of pitch, tempo, and rhythm to enhance sensory experience. ● Imitate: copy or reproduce voice or movement qualities. ● Light and color: visual sensations to help create mood. ● Mood : the feel of a piece ● Musical sound: melody or sound created by voice or musical instruments used to enhance dramatizations. ● Pantomime: the telling of a story without words, by means of bodily movements, gestures, and facial expressions. ● Plot structure: sequence of events leading to a climax and resolution ● Pitch: the quality of a sound governed by the rate of vibrations producing it; the degree of highness or lowness of a tone. ● Props: A portable object other than furniture or costumes used on the set of a play or movie. ● Sensory recall: the ability to remember and almost feel again a particular sensory experience. ● Setting: the place the story happens. ● Sound Effects: sounds used to enhance dramatizations ● Tempo: the rate or speed of motion or activity; pace. ● Tension: the atmosphere created by unresolved inharmonious situations. ● Tone: a modulation of the voice expressing a particular feeling or mood. ● Visualization: the formation of a mental image or picture.