Teaching History through Art

Teaching History Through Art  at the

Springville Museum of Art 

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These materials are limited to educational and personal personal use. Copyright is retained retained by SWAP and the Springville Museum of Art  2

Teaching History Through Art  Contents

All lessons cover social studies, and and each lesson also covers at least one area area of the arts. In the contents section, only the different areas of the arts are listed. Special Education ART – Expressing Emotions Through Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Kindergarten ART ART – Where Where is it? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17 Kindergarten ART ART – Have Have Courage Courage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19 K–3rd D  DRA RAM MA – Sa Same me & Dif ifffer eren ent: t: Ge Geor orge ge Wash shin ingt gton on an and d Abrah aham am Lin inco coln ln . . . . . . . . . . . . . . . . . . . . . .2 .23 3 1st –E –Ear arlly Ele Eleme ment ntar ary y AR ART – Fred eder eric ick k the the Fi Fiel eld d Mou Mouse se:: Bea Beaut uty y and and Co Coop oper erat atio ion n . . . . . . . . . . . . . . . . . . .2 .27 7 1st  ART – We We All Play Together Together . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33 . 33 2nd A  AR RT – We Can All Play Together . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3 . 37 3rd A  AR RT – It’s a Beautiful World . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 3rd DRAMA – Stories from the Abenaki Nation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 3rd D  DA ANCE – Conserve and Protect Natural Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49 3rd ART – Native American Life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51 4th ART – Erosion Erosion and Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 4th ART – Adapting Adapting to Our Environments Environments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .59 . 59 5th DANCE Underground Underground Railroad Railroad and Freedom Poems Poems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65 5th ART – Grade Grade Artwork Analysis Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .75 . 75 5th & 6th Grade DANCE DANCE – One Can Make Make a Difference! The History of Civil Civil Rights . . . . . . . . . . . . . . . . . . . .81 . 81 5th Grade (adaptable to all elementary) ART ART – What was America Like? American American Regionalism . . . . .89 . 89 All Elementary Grades ART – A Chronological History of Utah Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9 .95 5 All Elementary Grades MUSIC – Folk Music as Historical Insight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9 .99 9 5th G  Grrade — High School ART – Life and Death Masks: Abraham Lincoln . . . . . . . . . . . . . . . . . . . . . . . . . 111 5th Grade — High School MUSIC – Jazz Jazz Music and the Clash of Cultures of the 1920s . . . . . . . . . . . . . . 119 High School ART – Considering Multiple Perspectives of History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131 List of Artists & Artworks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141

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Teaching History Through Art: Expressing Emotions through Color Special Education Kindergarten, Kindergarten, can be used with all ages by Beth Williams OBJECTIVES Students will discuss how people are similar and different. Students will discuss as a class how colors can express common ideas/emotions in our culture today. today. Students will compare and contrast the works of Pablo Picasso and other artists, and discuss together what ideas/emotions they may have have been trying to express through the colors they used in their artwork. Students will explore their own feelings, ideas and backgrounds in relations to different colors and complete a worksheet exploring their ideas and emotions concerning a color of their choice. Students will produce a piece of artwork using color(s) that represent(s) for them an idea or emotion.

STATE CORE OBJECTIVES Social Studies – Kindergart Kindergarten en Standard 1: Students will recognize and describe how individuals and families are both similar and different. Objective 1: Identify how individuals are similar and different. Fine Arts – Visual Arts Standard 1 (Making): Students will assemble and create works of art by experiencing a variety of art media and by learning the art elements and principles. Standard 2 (Perceiving): Students will ind meaning by analyzing, criticizing, and evaluating works of art. Standard 3 (Expressing): Students will create meaning in art. Standard 4 (Contextualizing): Students will ind meaning in works of art through settings and other modes of learning. MATERIALS The Tragedy (1903), Pablo Picasso (National Gallery of Art, Washington D.C.) http://arthistory.about. http://arthistory.about. com/od/from_exhibitions/ig/chester com/od/from_ex hibitions/ig/chester_dale_collection/cdc_nga_ _dale_collection/cdc_nga_2010-11_54.htm 2010-11_54.htm Portrait of Suzanne Bloch (1904), Pablo Picasso (Sao Paulo Museum of Art) http://www.picasso-paintings.org/portrait-ofsuzanne-bloch-1904-by-pablo-picasso/ Woman With a Crow (1904), Pablo Picasso (Toledo Museum of Art, Toledo, OH) http://enskied.com/ picasso?c=picasso_gallery&p=311 The Actor (1904), Pablo Picasso (Metropolitan Museum of Art, New York City) http://arthistory.about. com/od/from_exhibitions/ig/pi com/od/from_ex hibitions/ig/picasso-in-the-met/p casso-in-the-met/picasso-met-2010-06.htm icasso-met-2010-06.htm

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Storm Spirits on Horizon #6 (1997), Lee Ann Miller (Springville Museum Collection) on CD Untitled Abstract  (1981),  (1981), Sharon Jensen Shepherd (Springville Museum Collection),  Abstract  (1956),  (1956), Dale Thompson Fletcher (Springville Museum Collection), Canto (diptych) (1996), Carolyn Ann Coalson (Springville Museum Collection),  Amazing Grace (2006), Susan Swartz (Springville Museum Collection), Common  Emotions handout, My Colors and Emotions Worksheet, Worksheet, construction paper in red, orange, yellow, yellow, green, blue, purple, brown, black, gray and white, watercolor paints, paper, paintbrushes and water.

ACTIVITY 1. Invite two volunteers, students or teachers, up to the front of the class. Ask the volunteers questions such as, What is your favorite color? What is your favorite food? What is your favorite book? What food do you dislike? What is your preferred game to play at recess? Try to avoid comparative questions or discussion that might embarrass or hurt feelings of volunteers. Ask volunteers to sit down and then discuss with the class way wayss in which people around them are similar and different. Answers can be written on the board. Finally, talk about how we can use art to express who we are and how we feel. It can be a safe and inspirational way way for us to share ourselves with others. Explain that in this lesson they will have opportunities to explore how they feel and think and to then express some of those ideas through artwork. 2. Pin or tape up different colors (i.e. red, orange, yellow, green, blue, purple, brown, gray, white, black) of construction paper on the board or pass them around among the students. Also pin up emoticons depicting different emotions (i.e., happy, sad, angry, scared, excited, hopeful) Point to speciic colors and ask students what emotion or idea people might associate with this color color.. Depending on verbal and cognitive abilities of students involved, this may require more input from the teacher. i.e., “Some people think of yellow as a happy color because it reminds them of sunshine and summertime. Other people think of gray as a scary color because it reminds them of thunderstorm clouds.” clouds.” 3. After talking about each color, discuss how artists also use color to convey ideas and emotions through color. Show them The Tragedy and Portrait of Suzanne Bloch by Pablo Picasso. Talk about how he painted for a few years using mainly cool blues and grays in his painting, because it was a time in his life where he was sad for a long time. Then show Woman With a Crow  and  and The Actor  by  by Picasso. Tell students how after a few years, he started feeling happier and began painting using different colors, like oranges and pinks. 4. Next pass around (or show through a projector) images of works from Miller, Shepherd, Fletcher, Coalson, and Swartz. Discuss as a group what emotions the artists may have been trying to convey through their artwork. Worksheet  heet  and 5. Pass out the My Color Emotions Works  and allow students time to choose a color they want to explore. Depending on the ability level of your students and the available aides, choose the worksheet that is most appropri appropriate ate to your students. Written responses are required for worksheet A, while pictures and/or words can complete worksheet B.  they can move on to producing a 6. Once students have illed out their My Color Emotion Worksheet  they piece of art that conveys an emotion through color. Students can draw something speciic, such as a recognizable subject, using color to convey an emotion, or they can abstractly portray portray their emotion using colors, lines and forms. This aspect of the assignment is open to interpretation by the student. The end product should exhibit the student’s understanding of how emotion can be portray portrayed ed through color.  ASSESSMENT  ASSESSMENT Students will be assessed along the following criteria, although it will be according to each student’s

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needs and abilities: 1. Student participated in class discussion of colors, emotions, and artwork: Yes/No. 2. Student chose a color to explore and attempted to complete a My Colors and Emotions worksheet: Yes/No. 3. Student used chosen color in an art piece to convey an emotion: Yes/No. SOURCES http://en.wikipedia.org/wiki/P http://en.wikipedi a.org/wiki/Picasso%27s_Blue_Period icasso%27s_Blue_Period http://en.wikipedia.org/wiki/P http://en.wikipedi a.org/wiki/Picasso%27s_Rose_P icasso%27s_Rose_Period eriod  ADAPTATIONS  ADAPTA In cases where ability levels differ, differ, use of other media to complete the assignment is appropriate. appropriate. Other art media options may include colored paper paper,, glue and scissors; crayons, colored pencils or markers. In some cases where a student uses computers to complete work, this assignment can be completed in Microsoft Paint or comparable computer progra program. m. It will be appropriate in some cases for a peer tutor, tutor, classroom aide, or special educator to assist student in completing worksheet and art piece. For students who exhibit dificulty in expressing and understanding emotions, more discussion and exploration on emotions, how to identify them in ourselves and others, and situations where certain emotions might exist, may be necessary. VARIATIONS Different media can be used to explore how color can be used to express emotions. This same lesson could be taught with colored play-dough, play-dough, colored shaving cream, or colored sand and glue. For students with speciic, focused interests, (i.e. if a student perseverates perseverates on clocks) the focus of the lesson could include producing artwork artwork themed according to the student’s interest using an emotive color scheme (painting of a clock using shades of orange). EXTENSIONS Students can learn how to express feelings/themselves feelings/themselves through color in other ways, such as: · Explore what different emotions can be portra portrayed yed through dance exploration using colored ribbon wands. · Compose a poem including feelings regarding colors and/or using colorful markers. · Write an essay about how a certain color causes speciic emotions and why. · Make puppets out of paper bags and add color using construction paper and markers and then present a puppet show, giving personality and emotions to speciic bags according to the colors represented · Make up a recipe to show what emotions the student is made of, using different amounts of color as the ingredients. In conjunction with this assignment, produce an art piece that is a selfportrait that visually represents the recipe showing the different emotions/colors that make up the student. · As a class, produce a Rainbow Rap, allowing different students to write verses for a speciic color. Then perform rap together as a class. · Role play what emotions different colors have, taking turns to allow students to explore expressing what emotions they associate with different colors.

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Happy

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Sad

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Excited

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Angry

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Scared

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Hopeful

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(A) My Colors and Emotions

Today I want to explore the color ___________________. This color makes me think of ___________________________________________ ___________________________________________________________________ This color feels like ___________________________________________________ ___________________________________________________________________ This color smells like _________________________________________________ _________________________________________________ ___________________________________________________________________ This color sounds like ___________________________ _________________________________________________ ______________________ ___________________________________________________________________ This color looks like __________________________________________________ ___________________________________________________________________ This color tastes like __________________________________________________ ___________________________________________________________________ This color reminds me of when _________________________________________ _________________________________________ ___________________________________________________________________

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(B) My Colors and Emotions Today I want to explore the color ___________________.

This color looks like:

This color smells like:

This color sounds like:

This color feels like:

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http://www.lib.utexas.edu/ maps/utah.html

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Teaching History Through Art: “Where Is It?” Kindergarten Social Science and Visual Arts Lesson By Vicki Gehring OBJECTIVE Students will look at art by Utah artists; identify geographical formations in the artwork; locate the Cardinal directions on a map; and then draw a landscape of their own that includes geographic features they have learned. UTAH STATE CORE Social Studies: Standard 3 (Geography): (Geography): Students will use geographic terms and tools Objective Objectiv e 1. Identify geographic terms that describe their surroundings. b. Identify and describe physical features (e.g., mountain/hill, lake/ocean, river, road/highway). d. Identify cardinal directions on a map. Social Studies Vocabulary: East, West, South, North, Hill, Mountain, River, Ocean, Lake Visual Arts: Standard 1 (Making): Students will assemble and create works of art by experiencing a variety of art media and by learning the art elements and principles. Standard 2 (Perceiving): Students will ind meaning by analyzing, criticizing, and evaluating works of art. Standard 3 (Expressing): Students will create meaning in art  Standard 4 (Contextualizing): Students will ind meaning in works of art through settings and other modes of learning. MATERIALS The following SWAP posters or postcards: Dennis Smith, Keeper of the Gate; Birger Sandzen, Moonrise in the Canyon; John Hafen, Mountain Stream; Maynard Dixon, Road to the River, Mount Carmel, Utah; You may also or digital images (on CD): Lorus Pratt, Fishing Along The Jordan; Paul Lauritz, Crashing Harmony ; and Marguerite Pearson ,  Across the Harbor . Drawing paper pape r, crayons A map of Utah or an outline drawing of the state on the board LESSON Show the students the artwork using the posters or postcards and have the students identify as many geographical geographical features as they can, i.e. hills, mountains, lakes, streams, streams, etc. Help them learn to

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distinguish by size: ocean from lake, hills from Mountains, Mountains, river from stream. stream. Show the class some photographs photograp hs of various areas of the state and let the students talk about how the artists’ renditions are different from the photographs, photographs, and how each artist has his or her own style. On the map, show the students where where some of the places depicted are. Have the students identify identify North, South, East, and West on the map. Note: Look on the back of the poster/postcard for locations not mentioned in the title of the work.  ACTIVITY Have the students choose two or three of the scenic items they have learned about and draw their own landscape that includes includes those items. Ask the students to create an artwork of somewhere somewhere they might like to visit. Remind the students of the rules for neat coloring: coloring: short strokes, all going the same same direction, slowly and carefully covering all the white paper, not rubbing your hand over the place you just colored and mixing colors together to get your own. If more appropriate appropriate for your class, start with part of the rules and add the others as the students master the irst rules. (Rules for neat coloring from Joseph Germaine)

 ASSESSMENT  ASSESSMENT 1. Have the students share their art and tell why they chose those geographical features to draw. draw. 2. Did the drawing relect an understanding of terms? 3. Can the students locate the cardinal directions on the map? ENRICHMENT Learn the irst verse of the state song. (If necessary Google “Utah State Song” for audio sample)

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Teaching History Through Art: Have Courage Kindergarten Social Studies, Literacy Literacy,, and Arts Lesson By Louise Nickelson OBJECTIVES Students will begin to understand what it means to have courage and be a leader by listening to “The Lion and the Mouse,” Dancing/Acting out the story, and identifying ways the characters have courage. Students will learn about some early American leaders and discuss how the artist has conveyed the individuals’ characters characters or roles. Students will develop skill with art materials as they create an artwork artwork showing a way they could be a leader. UTAH STATE CORE Social Studies Standard 2 (Citizenship): Students will recognize their roles and responsibilities of being a good citizen. Objective 1 Demonstrate appropriate ways to behave in different settings. c. Identify examples of individual honesty and responsibility. responsibility. d. Identify examples of honesty, responsibility, patriotism, and courage from history, literature, and folklore, as well as from everyday life (e.g., heroes of diverse cultures). e. Demonstrate respect for others, leaders, and the environment.

From Social Studies Vocabulary Vocabulary Students Should Know and Use: consequence, courage, patriotism, leader, hero. Visual Arts Standard 1 (Making): Students will assemble and create works of art by experiencing a variety of art media and by learning the art elements and principles. Standard 2 (Perceiving): Students will ind meaning by analyzing, criticizing, and evaluating works of art. Standard 3 (Expressing): Students will create meaning in art  Standard 4 (Contextualizing): Students will ind meaning in works of art through settings and other modes of learning. MATERIALS “The Lion and the Mouse” (story included here, or your library may may have an illustrated copy) The copy) The 2010 Caldecott Medal winner book of The Lion & the Mouse, illustrated and written by Jerry Pinkney (Little, Brown and Company Books for Young Readers) Readers) is a wonderful example. It has mostly just pictures, with little text. Images: Use the SMA Poster with Cyrus E. Dallin’s sculptures, or postcards of the sculptures, or the images on the CD.

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The Lion and the Mouse A small mouse crept up to a sleeping lion. The mouse admired the lion’s ears, his long whiskers and his great mane. “Since he’s sleeping,” sleeping,” thought the mouse, “he’ll never suspect I’m here!” With that, the little mouse climbed up onto the lion’s tail, ran across its back, slid down its leg and jumped off of its paw. paw. The lion awoke awok e and quickly caught the mouse between its claws.

“Please,” said the mouse, “let me go and I’ll come back and help you someday.” The lion laughed, “You are so small! How could ever help me?” The lion laughed so hard he had to hold his belly! The mouse jumped to freedom and ran until she was far, far away. The next day, two hunters came to the jungle. They went to the lion’s lair. They set a huge rope snare. When the lion came home that night, he stepped into the trap. He roared! He wept! But he couldn’t pull himself free. The mouse heard the lion’s pitiful roar and came back to help him. The mouse eyed the trap and noticed the one thick rope that held it together together.. She began nibbling and nibbling until the rope broke. broke. The lion was able to shake off the other ropes that held him tight. He stood up free again! The lion turned to the mouse and said, “Dear friend, I was foolish to ridicule you for being small. You You helped me by saving my life after all!” LESSON 1 Read the story to the students and discuss it, helping the students identify how the story demonstrates consequences and courage. Dance & Drama Using a clear area like the lunchroom, have the students line up and have them walk across the room like a lion would. Side coach students by asking questions questions like “How would a lion hold hold his head?” How would the lion walk as if he were important and strong?” Then have students move move the way a mouse would, using questions such as “How big would a mouse’s steps be?” “Wou “Would ld it walk quietly or loudly, loudly, quickly or slowly?” Do the same for the hunters.

Then divide the class into groups of mice, lions, and hunters, and act the story out together together,, reminding students to move in way wayss they discover d iscovered ed when they were exploring how different characters move. LESSON 2 Show the class the images of Dallin’s sculptures, sculptures, briely identifying what each did without attaching a value to their actions. Ask the students to explain why each person was or was not a hero or a leader, leader, explaining the terms as needed needed.. You may want to introduce the term “patriotism. “patriotism .” Have the students identify ways ways the sculptor has conveyed conveyed the character or role the person depicted played. Ask them to think back about the Dance/Drama section of the lesson.

Next, ask the students to identify ways they could be a hero or leader, leader, accepting all reasonable an20

swers. You may want to help the students differentiate between between things they could actually do as opposed to things they wished they could do. Pass out paper and pencils and have have the students draw themselves being a leader or hero. Then have the students color their drawings after you have have demonstrated the neat way to color: short strokes, all the same direction, covering the paper completely, completely, and not putting their hands where they have colored. They may take a while to learn these skills, but they should understand that art is worth the care. If possible, have a teacher’s aide or older students help you write down d own what each student says about the person in their drawing. Display the pictures in the classroom and refer refer to them during the time they’re up when a related topic comes up. EXTENSION 1 Due to the prev prevalence alence of TV shows and other media with superheroes and heroes who can defeat any challenger, you may want to introduce the idea that sometimes it’s best to run away, or get a teacher or parent’s help. Teach the students “Going on a Bear Hunt.” (on next page) EXTENSION 2 Have the class, as a group, write a class story about someone who shows courage.

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Goin’ on a Bear Hunt I’m not afraid It’s a beauful day The sun is shining The birds are singing The bees are buzzing What’s that? Tall grass g rass (Sweeping arm moons making swishing sounds) Going on a Bear Hunt I’m not afraid What’s that? It’s a tall tree (Arm moon climbing up then climbing back down ) Going on a Bear hunt I’m not afraid What’s that? Ohh, it’s mud (March through the mud making sloshing mud sounds ) Going on a Bear Hunt I’m not afraid What’s that? It’s a river We’re going to have to swim (Swim the river) Going on a Bear Hunt I’m not afraid What’s that? Ohh it’s a dark cave (Make gestures and sounds) I can’t see anything I can feel something I can hear something We beer take out our ashlights (Take out ashlight and ick it on) Oh it’s a bear RUN! (Repeat the sequence in reverse quickly and dramacally, slapping thighs and doing all the acons for each verse.)

Wulf Barsch, Bear  BYU MOA

Mahonri Young, Brown Bear  BYU  BYU MOA

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Teaching History Through Art: Same and Different:

George Washington and Abraham Lincoln K-3 Social Studies & Drama Lesson (Includes Adaptations for older students) By Teresa Dayley Love

OBJECTIVES  Students will identify and chart similarities and differences between George Washi Washington, ngton, Abraham Lincoln and a student in the classroom. Students will make progress toward making their pantomimic activity speciic and detailed. Students will pantomime speciic activities of young George Washington and young Abraham Lincoln. STATE CORE OBJECTIVES K-2 Social Studies Standard 1 (Describe how people within their community state and nation are similar and different) 3rd grade Social Studies Standard: Standard: Students will understand cultural cultural factors that shape a community community Pre-K-2 Drama (From drama Learning Map: http://www.schools.utah.gov/CURR/ineart/Elementary/ Drama_PreK-2_Combo.aspx Acting: Observe closely for details. Use my body body to communicate communicate thoughts, feelings and emotions. Sustain concentrated concentrated attentions. Pretend to be a character in a story. story. Use space for pretend. 3rd grade: Acting Standards MATERIALS displaying g a portrait of adult George Washi Washington, ngton, and a portrait of adult • Make a simple poster displayin Abraham Lincoln. Also, cut a hole that will it the face of the student into the poster. poster. (Alternatively, (Alternatively, just obtain two portraits of Washington and Lincoln. You can compare the child by have the child just stand next to the portraits.) strip, or written on white board: board: “ Pantomime is pretending without words.” • As a word strip, Chalkboard d for chart to be developed. • Chalkboar Cat: My little Son, Son, Heber James by James T. Harwood, Portrait of John Han• SWAP images: Boy and Cat: cock  by  by Cyrus Edwin Dallin • Vocabulary list on board, chart or handout: As appropriate to grade level)  pantomime, specific, details, wealthy , breeches, overalls, tricorn • If you Grew Up with George Washington , by Ruth Belov Gross, Scholastic, New York, 1993 • If you grew Up with Abraham Lincoln by Ann McGovern, Scholastic, New York, 1976 • Optional: Various images of George Washington and Abraham Lincoln as boys as found on the Internet. (There are too many to list here.)

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 ACTIVITY Background: Begin a discussion about birthdays. Tell the students that you just love birthdays too, and that you are all going to learn about some people who had birthdays in February. February. But irst, you want to tell them, actually show them, what you had for your favorite favorite birthday dinner last birthday. Ask the children not to shout out the answers until you are inished. Give them a cue to let them know you are are done (“When I fold my arms, arms, I’m done. Then you can raise raise your hands if you you want to guess.”) ”) Then pantomime, in a complete and speciic way, way, a meal. Suggestions: Suggestio ns: Spaghetti, pizza. You may use verbal sounds (“slurping,” (“slur ping,” “snifing “snifing,,” etc.) but no words. Once students have guessed, ask them for the speciic clues that helped them igure out what you were portraying. Point out it is because you carefully showed the details, were speciic speciic that it was so easy to guess the food.

Invite the children too, on your cue, to show you their favorite birthday dinner. dinner. Watch them as they simultaneously multaneous ly make and eat their food. Note the very many different responses, and praise speciicity speciicit y, and detailed pantomimic work. work. You are trying to get a sort of baseline idea of their pantomimic skills so that you can press them to move beyond that baseline later in the lesson. Have all read together the deinition: “Pantomime is pretending without words.”

Gilbert Stewart, The First Good President  (1797)  (1797) En.wikipedia.org/wiki/F En.wikipedia.o rg/wiki/File:Gilbert_Stuar ile:Gilbert_Stuart_ t_ Williamstown_Portrait_of_George_Washington.jpg

Alexander Gardner, Abraham Lincoln, Lincoln, the sixteenth sixteenth President of the United States (1863) http://en.wikipedia.org/wi http://en.wik ipedia.org/wiki/File:Abr ki/File:Abraham_ aham_ Lincoln_November_1863.jpg

Procedure: 1. Introduce the poster poster of the portraits portraits of Washington Washington and and Lincoln. Ask the students to identify similarities and differences between the two men. This should, and will likely be, a wide-ranging wide-ranging discussion containing whatever knowledge the students already have about these gentlemen to the observa24

tions the students make about the portraits. (Artwork, social conventions conventions such as clothing, etc.) 2. Once the above discussion has has run its course, invite a student student to put her face in the cutout space. Ask the class to compare and contrast the student with Washington and Lincoln. 3. Praise the students for all the information information they have have generated. generated. Tell them that you think the inforinformation needs to be organized. A chart (Any type, including a Venn Venn diagram) would help them do that. Ask the students to identify charts they have in the classroom. 4. Make a chart, which will compare compare Washington, Washington, Lincoln Lincoln and the volunteer volunteer student. Be sure to ask for suggestions from the students to create create symbols for the chart. Suggestions for comparison are: As children, did Washington, Lincoln and Student each sleep in a bed? As children, did GW, AL and Student go to school? As children, did GW and AL and Student dream of being President of the United States? As children, did GW and AL and Student wear nice clothes? 5. Help students to make some conclusions from the chart. (“According (“According to this information information that we chose to compare, who is Student most like, Washington or Lincoln?”) 6. Show the two SWAP images. Explain that the man in the sculpture is John Hancock, a contemporary of George Washington. Also explain that in the time they lived lived that the clothes for children were not different than the clothes of adults. Point out all the buttons (a sign of wealth) the rufles at throat and cuff, the vest, breeches, stockings shoes, etc. You might also show any of the images of paintings of young George Washington, which you have located on the Internet. 7. Next show the Images Images of the young young farm boy.. Note that poor young boy young boys’ clothing did not change for many years, and even though this is a boy in 1900, a boy like Abraham Abraha m Lincoln could wear similar clothing. Speak to the worn nature of the clothes, how they may be too small for him. Note his hat and why it would be different from a tri-cornered tri-cornered hat from WashingWashington’s age and class. If you ‘d like, show the images of young Lincoln you have have found on the Internet. 8. Show parts parts of the If You Grew Up… books. This is not the time to read these books to the class, but but to help them get some information from some of the pictures, and you summarize of the information so they will have lots of information to pull from when they do their pantomimes 9. Divide the class class into two groups. Tell students they are are going to pantomime pantomime either young young George Washington, Washi ngton, or young Abraham Abraham Lincoln getting up in the morning and getting dressed. Tell them that when one group is acting, the other is the audience and vice versa. Remind them that pantomime uses no words, though they may use appropriate sounds. Lead the students through the pantomimes, pantomimes, by side coaching. Press them to make make the pantomimes as speciic and detailed as possible. Challenge them when you see nonspeciic behaviors. Lead them through Washington Washington irst, then Lincoln. Cover the following areas: “ Waking up in bed, (Do you make your bed or not?), getting out your long socks, breeches, out of where? Draw Drawer? er? Wardrobe, Wardrobe, off a hook? Get your shirt, shirt, vest. Make sure the fasfastenings are well done, once you put on those clothes. clothes . Also ind your shoes. What about your wig? (Yes, (Yes, young boys of George’s class wore white white wigs.) Adjust it in the mirror. mirror. Where is your tri-cornered hat? 25

Look at yourself in the mirror mi rror.. Take a long bow, bow, just as your dancing master maste r taught you.” Ask the audience to applaud those who have just pantomimed. pantomimed. Praise and point out different different students who did a particul particularly arly good job of making their pantomime “real.” “real.” (Speciic and detailed.) Refer to the vocabulary list list as needed. Add any other words words that came up. Challenge the Lincoln group to do even better than the Washington group. Do the same pantomime activities with Abe Lincoln, as appropriate with his impoverished childhood. Do the same follow up critiques. If there is time, have each child pantomime their own getting up in the morning procedures. procedures. Again, side coach as needed to challenge the students to be speciic and detailed in their pantomimes. Ask all to give themselves a round of applause to end the lesson.

 ASSESSMENT  ASSESSMENT Did the students participate in the charting of speciic information regarding Washington, Lincoln and a Student? (You (You can extend this by making a new chart showing what is same and different between the as young boys and students of today as discovered through through the pantomimes.) Did the students make progress in making their pantomimic work speciic and detailed? Did students pantomime speciic activities of young George Washington and young Abraham Lincoln. Were their pantomimes general or speciic? Did they increase in complexity and accuracy during the side coaching? SOURCES See Materials. EXTENSIONS Have students explore the idea of whether it would have been better to grow up like Washington of Lincoln through the convention of Decision “Alley. “Alley. Have students make tableaux of various everyday activities in the life of Washington Washington and Lincoln as well as everyday everyday classroom students. Titles such as “What I do for Fun?” or “When I’m Hungry Hungry I…” I…” etc. will further students’ understanding understanding of comparing and contrasting the lives of the these two presidents as youngsters and their own contemporary lives. lives.  ADAPTATIONS  ADAPT For older students: There are many many “ If you Grew Up” Up” books in the series. Students could read these on their own, and make individual charts comparing and contrasting various presidents or other historical igures. igures. Students could work in groups to develop develop pantomimes pantomimes to show to other members of the class. They could make their own own “if you grew Up… Up…” book about themselves. themselves. They could do the research to compare and contrast with the current US president.

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Teaching History Through Art: Frederick the Field Mouse: Frederick Beauty and Cooperation First Grade- Early Elementary By Elicia Gray OBJECTIVES Students will investigate the artworks of Ottinger, Brainard, Kimball, Richards, Brienholdt, Gardner, and Fairbanks. Students will read and contemplate “Frederick” by Leo Lionni. Students will learn to identify aspects of beauty found in different paintings. Students will compose an acrostic poem based on a painting. Students will generate a group artwork using oil pastels. Students will create and wear a set of mouse ears. Students will become part of a community as they investigate and respond to artworks. STATE CORE OBJECTIVES Social Studies First Grade Core (Standard 2) (Citizenship): Students will recognize their roles and responsibiliti responsibilities es in the school and in the neighborhood. Objective Objectiv e 1. Describe and demonstrate appropriate social skills necessary for working in a group. Participate in a group activity modeli modeling ng appropriate group behavior. Articulate how individual choices affect self, peers, and others.  Art Objectives Objectives Standard 1 (Making): Students will assemble and create works of art by experiencing a variety of art media and by learning the art elements and principles. Standard 2 (Perceiving): Students will ind meaning by analyzing, criticizing, and evaluating works of art. Standard 3 (Expressing): Students will create meaning in art  Standard 4 (Contextualizing): Students will ind meaning in works of art through settings and other modes of learning.

MATERIALS All images from the Springville Museum of Art Collection are on the CD. Shower; Angel’s Peak George Martin Ottinger, Above Camp Douglas; Bruce Daniel Brainard, Brainard, Afternoon Shower; Angel’s and Kimball E. Warren, Deep Lake Wind River, Wyoming; Lee Greene Richards, Autumn Stream; Floyd E. Breinholt, Box Canyon; Henry Leroy Gardner, Bridal Veil Falls ; John B Fairbanks,  Sunset Wheat Fields Gray construction Paper, Frederick’s Ears Worksheet, Frederick Poem Worksheet  Crayons white butcher paper, oil pastels Children’s Children ’s Book “Frederick” by Leo Lionni 27

ACTIVITY 1. Pass out Frederick’s Frederick’s Ears Wor Worksheet ksheet and ask students to color the ears ears however they desire. Have them cut out the ears, place a dab of glue at the bottom of each ear and pinch to create a fold. Hold fold for 20 seconds. Then bend each ear ear open a bit until until it looks like like a mouse ear. ear. Cut strips of gray construction paper paper long enough to it around the head of a student. Staple in back, and then staple the ears to each side of the construction construct ion paper. paper. When inished, have students place the ears on their desks and come to the rug for a story. 2. Gather students in a circle on the rug and invite invite them to listen carefully as as you read read the book “Frederick” by Leo Lionni. A brief synopsis: While the other ield mice work to gather grain and nuts for winter, winter, Frederick sits on a sunny rock by by himself. “I gather sun rays for the cold dark winter days, days,”” he tells them. Another day he gathers gathers colors and then words. And when the food runs out, it is Frederick, the dreamer and poet, whose endless store of supplies warms the hearts of his fellow mice, and feeds their spirits during the darkest winter days. days. 3. Have a class discussion about about roles and responsibilities. responsibilities. What were were the other mice doing while while Frederick was gathering sun rays? rays? How might the other mice have felt when Frederick was staring at the meadow? meadow? What were the mice doing that showed showed teamwork? teamwork? How is teamwork teamwork important? Did Frederick show teamwork? In what ways did Frederick help the whole group? Point out that this is also a story about individuality and how everyone can make a contribution in their own way. way. Explain that when we work in a group, our actions affect ourselves, ou rselves, but they also affect others. 4. Point out that Frederick Frederick had a special talent. Have students identify that talent (He could recognize beauty, beauty, and he was was a poet.) He also took time time to share these talents talents with others. He was a part of a team that made everyone better. 5. Invite one student to the front front of the class and ask ask him/her to pretend pretend that he/she is FrederFrederick the mouse. Have the student put on the mouse ears. Show the student Afternoon Shower, Shower, (2004) by Bruce Daniel Brainard. Brainard . Invite the student student to imagine she she could feel, touch, taste, taste, or smell anything anything in the painting. painting. What sorts of things things does the student notice? What kinds of things would she want to remember to “bring” with them into the little mouse cave for winter? What are the beautiful elements of the painting? 6. Show a different different painting painting and and have have another volunteer volunteer pretend pretend to be Frederick. Point out that each person might have different different ideas about what is beautiful. Ask the students whether they think it is okay to to have different different ideas. How do different ideas make make a community better? How do beautiful things make make you feel? Are good feelings important important in a community? 7. Explain that students will be divided into into small communities of mice. Divide students into groups and have have them put on their mouse ears. Give each group a large large piece of white butcher paper,, a set of oil pastels, and a copy of one of the artworks listed above. Invite each group to paper investigate investig ate the artwork they have been given, and to imagine that they must look for the beautiful or uplifting parts of the painting. painting. Help them remember that these are are the things that they would like to bring with them into the cave for winter. 8. As they identify the beautiful or memorable memorable parts of the painting, have have them represent represent these items on their large piece of butcher butch er paper. paper. They can represent their ideas in an abstract way, way, or they can represent them in a more formal way way by creating a “copy” of their artwork. Remind students that the whole group must participate. Point out that when you live live in a community each person must do his part and respect others. 9. When students have inished their artworks, have them compose an acrostic poem using the name Frederick . Pass out the Frederick Frederick Poem worksheet worksheet to help them. By deinition, an acrostic poem is one in which the irst letter of each line spells out a name when read from top to bot tom. Students should apply the ideas that that they gathered when looking looking at the painting as as they 28

compose the poem. Poems may be one word or several on each line. 10. After students have inished their poems and their artworks, have them present them to the class. 11. When the presentations are completed, the teacher will have a follow-up discussion about cooperation cooperatio n and unity. Ask: How well did each of the groups work togethe together? r? Were there any problems? If so, how were they resolved? resolved? Emphasize that working working in a group at school is good practice for real life experiences. ASSESSMENT The teacher should carefully review the Frederick Poem worksheet that students composed in groups, checking for completion and quality reasoning. Teacher will monitor student involvement involvement as students are working together. together. Teacher will also evaluate the group artwork, looking for evidence of effort, originality, and completion.

SOURCES Frederick , by Leo Lionni ADAPTATIONS This lesson caters to students with special needs in that it emphasizes and praises those who approach life differently. differently. If need be, students with dificulties dificult ies may be paired with others, or given extra time to complete assignments. Teachers may also wish to point out that individuals with disabilities disabilities are also a big part of communities, and learning to include these people is an important life skill. VARIATIONS Have students take take a walk outside and gather items to bring into the cave. They may also gather ideas, sounds, feelings, and smells to bring with them. EXTENSIONS Invite different different members of the community to come in and talk with students. You may choose to invite a police oficer or a ireman, or even even the school principal. Have them talk about how different members of society have different responsibilities, but they all contribute to making life better in different ways.

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F R E D E R I C K

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Teaching History Through Art: We All Play Together 1st Grade Social Studies and Visual Arts Lesson by Vicki Gehring OBJECTIVE Students will learn the similarities and differences between themselves and students in the past, and between members of their own classroom and will demonstrate their understanding by creating a class mural. UTAH STATE SOCIAL STUDIES CORE Standard 1: Students will recognize how schools and neighborhoods are both similar and different.

MATERIALS SWAP poster, Christian Schussle, Game of Marbles, drawing paper, markers, scissors, glue, a mural-size piece of butcher paper, paint and brushes, etc. Pre- activity Have students ind out from their parents what kind of school games or activities they played when they were in elementary school. LESSON Show poster, Game of Marbles by Christian Schussele, UMF UMFA A Elementary Poster Set

Discuss the following: What are the differences between themselves and these school children? What is the same? Do you know what game they are are playing? Have you ever ever played this game? Have students share the information about the kinds of school games their parents played. What kind of equipment or appara apparatus tus was needed? What is your fav favorite orite game at school? Talk about the differences and similarities between the games they play and the games their parents played. Who do you play with at recess? Discuss the similarities between the games each group of students like to play? What is different?

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 Activity  Activity Explain to the students that they are going to create a mural of themselves on the playground. playground. Have a group of students paint a playground on the mural paper, which includes the playground equipment used by the students. (teacher assistance okay) Have each student draw and cut out a igure of themselves. (optional: give a size suggestion for the igures) Have each student glue his/her igure on the mural according to the playground equipment and/or group of students they play with. Display the mural with the title -”We all play together”  ASSESSMENT  ASSESSMENT Discuss the mural and the differences and similarities they ind when playing games. Review the similarities and differences between generations. Have students discuss how similarities can make connections. VARIATIONS If you do not have room to create a class mural, have small groups of students make “mini murals” using 1 sheet of large paper for the playground per group. Or Or,, have each student create a drawing of themselves playing their favorite game or on their favorite piece of playground equipment.

Playing at School, by Ella, age 6

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Swinging by Sophie, age 3-1/2

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Teaching History Through Art: We Can All Live Together 2nd grade Social Studies and Visual Arts Lesson by Vicki Gehring OBJECTIVE Students will recognize that people can have individual individual differences, but still have many things in common. They will come to learn that their classroom/ neighborhood, etc. is a community. community. UTAH STATE SOCIAL STUDIES CORE Standard 1: Students will recognize and describe how people within their community, community, state, and nation are both similar and different.

MATERIALS Image or poster of Wash Day in Brigham City , by Calvin Fletcher drawing paper, markers or crayons, scissors, glue, two large pieces of butcher paper for murals large enough to accommodate the cut out house drawings made by the students, paints, brushes, etc. music from the various countries represented by class members, library books with pictures of houses/ dwellings from different different countries (a few are included on the CD)

Enrichment activity: play music from various countries during the art activities. Lesson: Part One Show Wash Day in Brigham City and discuss the following How can you tell this picture is not about our day? What things are the same? How is the house in the picture similar to the houses we live in today? today? Talk about why people live in houses, and the common things found in them.  Activity 1:  Activity Have each student draw and color a picture of a house the way they normally do. ( The lesson is counting on the fact that most 2nd graders have a pretty standard way of rendering a house.) *Note: In order to have some control of how the mural will turn out, instructions might be given about a suggested size of the house drawin drawing. g. Organize two groups of students to paint a road, grass area, and sky on each of the two mural papers. Choose one of the painted mural papers and have all the students cut out their house drawin drawings gs and glue them to the mural. mural. Hang up this mural. mural.

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Lesson: Part two Discuss with the class the different countries either they or their ancestors came from or a country they have lived in or visited.  *Note: If the students aren’t familiar familiar with this information, give it as a homework assignment. Have each student ind a book with a picture of a house typical of their country. Talk about why the houses in the various countries are different ( ava available ilable building materials, climate, etc.) Discuss some of the differences and similarities between the way people live. live. (for example: people in tropical countries may still hang clothes outside, Eskimos probably don’t don’t have patios, etc.)  Activity 2:  Activity Have each student draw draw and color a house like the one in their book. Cut it out and glue it on the second mural. Hang the second mural in a place where the students can see both murals. Lesson: Part Three Discuss why the houses in our neighborhoods look more like the irst mural and don’t look like the second mural. Talk about community and what makes a community. Discuss family traditions traditions and how they might be the same or different from their ancestors, and/or their neighbors or class members. Talk about what things class member have in common even though their families may have come from different countries. Ask what they noticed about the music they listened to. Point out that even though the music sounded different, each culture has traditional music.  ASSESSMENT  ASSESSMENT Have the students tell which mural they like the best. Why? Let them tell what they have learned from making the murals. Give students credit for completing their part in the murals. Ask the students what they have learned about themselves and the other students in the class. Evaluate whether the students have improved their understanding of community.

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Teaching History Through Art: It’s a Beautiful World 3rd Grade Social Studies & Visual Art Lesson by Vicki Gehring

OBJECTIVE Students will learn how people and communities adapt to the environment (ecosystem) in which they live. UTAH STATE SOCIAL STUDIES CORE Social Studies: Standard 1: Students will understand how geograph geography y inluences community location and development. MATERIALS SMA images (on CD): Paul Sample, Winter Holiday ; Fredric Whitaker, Fountain Granada library books with images of dwellings of the different geographical regions (a few are included on the CD) 9 x 12 drawing paper and 12 x 18 drawing paper pencils, markers, crayons crayons or colored pencils, scissors, glue LESSON Show the SMA images and discuss the differences in the lifestyles of people who might live in the kind of climates indicated in the pictures. pictures. Assess what the students know about about how people in different different geographical regions live. (Tropical, arctic, etc.)

Divide the class into four groups each assigned to a different geographical region: tropical desert  mountainous arctic Assign the students to research the ecosystem and topography topography of their assigned region, and write a short collaborative collaborative report about the lifestyle and dwellings of the people in that region, and how their life style is inluenced by the environment, with an emphases on how people have adapted to that environment, environm ent, including, if possible, changes that that have occurred occurred in modern times. See if they can ind a recording of some traditional music typical of some of the people of their region.  Activity 1:  Activity Divide each group into two sections. One section to create one or more landscape drawings drawings of the

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region on the 12 x 18 papers and color it with markers, and the other to draw dwellings and animals typical of the region on the 9 x 12 papers, and color them with crayons crayons or colored pencil. They will then create a collage(s) by cutting out the dwelling and animal drawings and gluing them on the landscapes. Note: The students coloring the landscapes will need to completely ill in the paper with the markers. Scribbled coloring will not make a successful collage.  ACTIVITY 2: Each group will present their collage(s) to the class and share their report and the music typical of the people from that region.  ASSESSMENT  ASSESSMENT Did the students come to understand how the ecosystem of the region inluenced the lifestyle of the people as well as the style and structure of their dwellings?

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Teaching History Through Art: Stories from the Abenaki Nation  A Third Grade Blended Social Studies/Drama Lesson by Teresa Dayley Love, BYU Dept. of Theatre and Media Arts, [email protected] OBJECTIVES Students will experience Abenaki (a Northeastern native native people) stories through the oral storytelling tradition, choral reading, playmaking and process drama conventions. The students will identify will identify how elements within two Abenaki stories serve as expressions of the culture (speciically language, language, religion, customs) of that people.

Students will demonstrate their dramatic abilities to use sensory recall, and develop creative voice, visual and movement expression as appropriate to the story. Students will develop an understanding of how story is used in the Abenaki culture. This will be demonstrated by students’ active active and thoughtful participation in class discussion as well as the scenes students create. UTAH STATE CORE OBJECTIVES Social Studies Third Grade Standard II: Students will understand cultural factors that shape a community. community. Objective Objective 1: Evaluate Evaluate key factors that determine how a community develops. Indicators: a. Identify the elements elements of culture (e.g. language, religion, customs, customs, artistic expression, expression, systems systems of exchange). b. Describe how stories, folktales, folktales, music, and artistic creations creations serve serve as expressions expressions of culture. culture. Drama (from 3rd Grade Rainbow Teaching Chart) Use cultural tales with choral readings, reader’s theatre, narrative narrative mimes, etc. to apply and practice: sensory recall, visualization, expressive voice, expressive expressive movement 

Use process drama techniques with grade level curriculum, classroom situations, and community events to deepen understanding. (Background for teachers: Teacher Teacher learn to tell two short Abenaki stories: Glooskap and Wasis, the Baby , and Azban, the Racoon. Teachers should also be familiar with the idea of storytelling being central to Abenaki culture, and indeed many North American Native cultures. See “Sources” at the end of this document for links to the stories, as well as a script for the Choral Reading.  Student Prior Knowledge: · Students should be aware aware that many indigenous peoples lived in North America before the 41

arrival arrival of European settlers, and that the Abenaki people lived in the areas of what is now the northeast US and Canada. Students should have generalized generalized knowledge of what life for native native peoples at that time might include, such as hunting, ishing, basket making, homebuilding, homebuilding, family roles, tribal councils, etc. as well some geographical aspects of the northeast. · It is preferable, preferable, but not necessary, necessary, students have had some experience with Drama as described in the K-2 Drama Student Learning Maps) MATERIALS Butcher Paper and crayons and markers Time frame: One hour to an hour and a half. Can be divided into two two half-hour sessions, or even three three sessions, if desired.  ACTIVITY  1. Teachers and Students participate in the theatre game “Emotional “Emotio nal Orchestra.” Orchestra.” As Facilitato Facilitatorr, teacher puts special emphasis on helping students heighten their initial creative choice, and also respond to the directions of the conductor appropriately. appropriately. Point out how bodily expression became naturally added as vocal expression was heightened and or decreased.

2. Teacher gathers students to the classroom classroom storytelling rug. Teacher recalls to the students’ minds the facts facts the students student s already know about the Abenaki people. Teacher then asks students to close their eyes and imagine themselves to be one of the Abenaki, all those years ago, sitting in a gathering, perhaps around a campire, or maybe by the ocean, or perhaps in a wigwam, as a community storyteller (a Nudatlogit) prepares prepares to tell the story of Glooskap and Wasis. Have them not only visualize visualiz e themselves in that role, but also to “hear, “hear, see and feel” the environment environment around them. “What sound do you hear? What is the temperature temperature of the air? Is it light or dark dark outside? Show by the way you you are sitting if you are on sand, or a grass mat, or a blanket. When you know who and where you are in this environment, you may open your eyes, and I will tell you the story of Glooskap and Wasis..the Baby!”

Kenneth Lile Hawk, Nave American Storyteller hp://knitonepearlonion.blogspot.com/2012/1 hp://knitonepearlonion.blogspot.c om/2012/10/ 0/ the-tree.html

3. The teacher tells the the story. story. At the end of the story the teacher tells tells the students she will clap clap three times, and then they will “be back in the classroom, as our regular selves.” selves.” Teacher and students discuss the story. story. Possible discussion questions: questions: What is this story about? What is it really really about? Why would a teller relate relate this story? Why Why would people listen? listen? As answers come up such as to entertain, to teach, or to warn one another, another, etc. the teacher shares her knowledge of how important storytelling is in this culture (which, she remembers to inform the children, still exists today in modern times.) 3. The teacher leads a choral reading reading of Glooskap and Wasis, the Baby  using  using the script. She helps students decide how to use their voices to show the intention of the words chosen to tell the story. story. Creative ative choices are discussed and tried out before the classroom performance. performance. 42

4. The teacher leads a post performance discussion asking if they have have anything to add about what the story is about, or why it would be told long ago, now that they have participated as storytellers themselves. Possible questions to begin this discussion might include: “What did you learn playing playing Glooskap? Or the baby, baby, Wasis? Wasis? Or one of the women? What do you know now you didn’t know before?” She then asks students to identify things things they know about being an an Abenaki in ancient ancient times. A list is generated, and written on the board under topic titles of Language, Religion Religion and Customs. A mark is placed by those things that children say they learned just from hearing the story. (If the session is to be divided, this is a good place to do so. Remember to do a warm warm up before startstarting the next section if a signiicant period of time has passed between the two sessions. ) 5. Teacher invites the children children to the storytelling rug again. again. This time she says that she will clap clap three times and they will be back in time, as the Abenaki person they were before, ready ready to hear another story. story. This time the teacher tells the story of Azban, the Racoon. 6. At the end of the story, after clapping again to bring the students “back”, the teacher invites the children children to act out the story. story. She assigns parts, including those in the role of audience member. member. (Note: It is important to realize that inanimate objects, trees, rocks, etc, as certainly the waterfall are all parts worthy of acting out.) Any clear space in the classroom can be the “stage.” “stage.” 7. Teacher then narrates the story, story, pausing to leave “spaces” for the student actors to perform action, action, speak dialogue, etc. etc. After the irst playing, she can lead discussion as to how successful they were at making the story come alive through their creative creative choices, especially of body, voice, and mind (imagination). Suggestions can be made, repeated playing can take place or new students student s actors may take over over.. The teacher can leave out the narration and let the actors carry on the plot events by themselves. themselves. Or, Or, a student, or pair of students may narrate narrate while classmates act. 8. Discussion is held. “Why would this story be important to tell? What is it about (plot)? What is it really about about (issues)? Who would need to hear this?” If this has not come come up before, the the teacher introduces the fact that the Abenaki people did not strike their children as punishment, but would often use stories for discipline. In other words, if you got into trouble, they would tell you a story that was supposed to teach you what to do to be a good member of the community, community, or warn you about consequences that could happen to you if you you kept up your bad behavior. behavior. Also, children childre n told other children stories. 9. Students are then divided divided into groups of three or four four. They are told to come up with a situation situation in which somebody might need to be told the story of Azban and his adventure with the waterfall. waterfall. The last line of their scene should be “Oooooo! You need to hear the story story about Azban!” Azban!” Have them repeat this line several times so they know it well. 10. If students are new to such dramatic dramatic work, work, the teacher can help the whole group group come up with a list of situations dealing with pride, recklessness, not doing your chores, or being in the wrong place at 43

the wrong time, time, etc. Then students can choose one one situation to enact. enact. It doesn’t matter matter if two groups choose the same situation because it will likely likely be acted acted out differently differently “Scenes should be very short, but we should be able to tell by the way you use you body and voice what is going on and why the story should be told to at least one member of the group.” 11. Students perform scenes for one another. another. Teacher Teacher facilitates discussion regarding students’ successes at expressing their ideas through their creative creative choices as evidenced through their expressive expressive bodies and voices.  ASSESMENT  ASSESMENT Keep students in their performing groups. groups. Give each group a large large piece of butcher paper and crayons crayons or markers, for Role on the Wall activity. Teacher instructs the students to trace around the body of one of the students in the group. Then they are are to use that form, form, and label it “Nudatlogit , the Abenaki Storyteller Storytell er..” They are to write within the form all the things they have learned about storytelling in the Abenaki culture. The teacher may remind them by asking asking questions such as “Why did the Abenaki tell stories long long ago? What were were the stories about? When did they they tell stories? stories? Do they still still tell stories? Who told the stories? Who listened? What What new Abenaki Abenaki words do you know from from these stories? What do you now know about Abenaki religious beliefs?” If they have time students can draw outside the form any images they liked from any of the stories they heard or scenes they participated in or watched as they’ve been learning about about Abenaki storytelling. Teacher should post the student’s work, and use what they have done to assess if learning outcomes have have been met. Teacher marks on Class Spiral Learning Learning Map Drama learning learning outcomes that were accomplished in this lesson. Students may also mark their milestone on their own Student Spiral Learning Maps.

SOURCES http://www.abenakination.org/stories.html , http://www.abenakination.org/azban.html and http://py http://pyramidme ramidmesa.netirms.com/alg sa.netirms.com/algonquin1.html onquin1.html · Teacher should shoul d be able to facilitate the warm up theatre game Emotional Orchestra. For one version, see: http://play http://plays.about.com/od/actvities/qt/ s.about.com/od/actvities/qt/orchestra.htm orchestra.htm · Teacher should shoul d have a basic working knowledge of how to direct a choral reading. There are many resources describing choral choral reading on line but this is a very good one: http://education. byu.edu/arts/documents/LisaBeanChor byu.edu/arts/documen ts/LisaBeanChoralReading.pdf  alReading.pdf  Third grade Drama Rainbow Teaching Chart  http://www.schools.utah.gov/curr/ http://www .schools.utah.gov/curr/FineArt/Cor FineArt/Core_Curriculum/Elementar e_Curriculum/Elementary/documents/FY08-09_ y/documents/FY08-09_ Rainbow_Charts/Dance/Dance%20Teaching%20Map_Third.pdf  3-6th Grade Drama Class Spiral Learning Map 3-6th Grade Student Spiral Learning Map http://www.schools.utah.gov/curr/ http://www .schools.utah.gov/curr/FineArt/Cor FineArt/Core_Curriculum/Elementar e_Curriculum/Elementary/FY08-09_Learni y/FY08-09_Learning_Maps/ ng_Maps/ Drama/Drama_3-6_Combo.pdf  Glooskap and Wasis script by Teresa Dayley Love (See on Next Page)

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Glooskap and Wasis, the Baby.

A Choral Reading, based on the Abenaki Tale  by Teresa Dayley Love The parts can be divided any any way you’d like. This is only one suggestion: Group 1: Boys Group 2: Girls Group 3: Boys and Girls It is important to color the words by varying, pacing, pitch, tone and volume. Express the emotions dramatically! And remember, remember, this this is a funny story!(Well, story!(Well, maybe not to to Glooskap!) Speeches can be divided within the group, so that some lines can be solos, or two or three voice, or however you’d like. Sound ef fects and rhythms can certainly certainly be added. Give students as much creative leeway as they can handle, and as will serve the story.

All We are the Abenaki Group 1 We tell to teach and teach to tell. Group 2 Our children learn, Group 3 Learn very well! Group 1 Here is a story about someone who bragged too much about himself. Group 2 Glooskap! Group 3 Who-skap? Group 2 Glooskap, the First Man, Man, the Creator of Men, the Maker Maker of All Things. The Mighty Glooskap!

Group 1 I am Glooskap. You see those mountains over there? I made them. I have have battled sorcerers and won! I have fought goblins and iends and won! I have tamed the wind, captured summer, vanquished win ter! I am the most clever and the most strong! strong! I have conquered conquered all and none have have conquered me!

Group 2 Yet! 45

Group 1 What did you say? Group 2 You have not been conquered!...YET! Group 1 You haven’t heard of my glorious adventures?

Group 2 The battles against sea serpents serpents and giants? The battles against Darkness Darkness and Magic? Glooskap, your strength is legendary, your courage ferocious! It’s all very impressive. Group 1 No one shall conquer Glooskap! Group 2 Except Wasis! Group 1 Huh? What did you say? Group 2 Wasis! Wasis Wasis is the very mighty creature who will conquer Glooskap. Group 1 Wasis! But Wasis is a baby! Group 3 A baby! Group 2  I say a baby baby will conquer the mighty Glooskap! Group 1 That’s laughable! Group 2 We shall see. Group 1 (Sweetly) Come here Wasis...Come here Wasis. Wasis. Group 3 (Makes baby noises that mean “No!”) Group 1 46

 Never fear, fear, I have an idea. Babies like babies, and babies like animals. animal s. I shall turn myself into a baby bird. (Makes bird noises.) Come here Wasis! Wasis! Little, sweet Wasis, Wasis, come to me! Group 2  (Begins to laugh, in derision.) Group1 (More irmly irmly.) .) Wasis, come here!...Why you little--Don’t you know who I am? Group 2 Guess not! Group 1 (Threateningly) (Threatenin gly) You don’t want to get me angry. angry. Come here Wasis! Wasis! Group 3  (Bursts into loud wails.) Group 1 Now what? Group 2 Well, you’re the mighty Glooskap! Group 1 I know! I call forth forth all my my magical powers. I’ll spin terrible spells! I’ll dance to raise the dead! (Sound effects that make us think that Glooskap has done all the things he just said he would!)  What do you think of that, Wasis? Group 3 (Completely unafraid “Wasis” “Wasis” bursts out laughing.) Group 1  I give up! Group 3 (Pointing at Glooskap) Glooskap) GOO,GOO! Group 2 So every time you hear babies say Group 3 GOO,GOO! All Remember the time a baby conquered-Group 1 47

Even the mighty All Glooskap! Group 1 We tell to teach and teach to tell. Group 2 Our children learn, Group 3 Learn very well! All We are the Abenaki.

Abenaki Couple, arst unknown 18th C watercolor hp://commons. wikimedia.org/wiki/ File:Abenakis.jpg

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Teaching History Through Art:

Conserve and Protect Natural Resources

Third Grade Social Studies & Dance Lesson by Chris Roberts

OBJECTIVES: Students will be able to explain and give examples of what it means to reduce, reuse, and recycle. Students will properly warm-up, warm-up, move and create a dance to show the concepts of reducing, reusing, and recycling. UTAH STATE CORE OBJECTIVES: Third Grade Social Studies Standard 1, Obj. 3: Describe ways to conserve and protect natural natural resources (e.g. Reduce, reuse, recycle). MATERIALS: Drum, music, plastic bag, milk jug, McDonald’s bag, cardboard box (from a toy or electronic game), and a movie about a recycling plant (or better than that; a ield trip to a recyclin recycling g plant).  ACTIVITY:  ACTIVITY: Discuss background knowledge knowledge of students’ understanding of the “3 R’s”. R’s”. Discuss what they are doing right now in their personal and family family lives to implement them. Take the class to a recycling plant or show them a movie of a recycling recycling plant. This step should be done before beginning beginning the dance class. Moving: Bring students to gym or open space (like a vestibule) or arrange space in classroom. Lead students in a warm-up that begins slowly and builds up to more movement. Include activities that build strength (push-ups, squats), endurance (jumping jacks for 1 min.) and lexibility (stretching). Investigating: Review elements of dance (Body, Energy, Space and Time) while exploring the 3 R’s.

Reduce: Body: Make large movements with various body parts and whole body and then reduce to very tiny movements. Energy: Try different explosive movements with body parts and with whole body and then reduce to soft movements. Space: Locomote (walk, run, skip, gallop, slide, jump, hop, leap) through general space (the whole space) and gradually reduce space to smaller and smaller while still moving without touching other dancers. 49

Time: Start with a high shape and slowly (take as much time as possible) melt down. Have the students begin in a high shape again but this time reduce the time to get down by half. Start again and reduce that time by half (1/4 of original time). Start again and reduce time by half again (1/8 of the original time). Reuse: Have students get into small groups of 5 to 6 and form circles. Give each group one of the following: plastic bag, milk jug, McDonald’s bag, and cardboard box. Have each student share with the group another way to use the object their group has. Students should show this through movement (only use words if necessary). Have each group choose their best idea and then go around and have each group share with the whole group. Recycle: Discuss the steps that objects go through in a recycling plant and begin exploring movement ideas to show those steps. Students may wish to include sounds. Creating Discuss with students if whole group wants to work together to create a dance showing the 3 R’s or if they want to divide into 3 groups with each group creating creating a dance on one of the 3 R’s. After the decision is made, allow the students to begin creating creating their dance. Remind them there has to be a clear beginning, middle, and and end. This part of the lesson will take time, so allow students students to work on it for a period or two. Show the inished product to other classes, especially younger students.  ASSESSMENT:  ASSESSMENT: 1. Did the dance clearly clearly teach the concepts of the 3 R’s? 2. Did the dancers show performance commitment during during their entire dance? dance? 3. Did the students listen to each other and and cooperate cooperate during group group work? work? 4. Did the audience enjoy the performance? performance?

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Teaching History Through Art: Native American Life 3rd Grade Social Studies, Literacy, and Visual Arts Lesson By Louise Nickelson OBJECTIVES Students will examine artworks artworks to discover clues to Native Native American life. They will learn about the Ute Indians, about their culture, make a beaded headband or bracelet, and wear the item while they listen to a Ute story. UTAH STATE CORE OBJECTIVES Social Studies Third Grade Standard II: Students will understand cultural factors that shape a community. Objective 1: Evaluate key factors that determine how a community develops. Indicators: a. Identify the elements of culture (e.g. language, religion, customs, artistic expression, systems of exchange). b. Describe how stories, folktales, music, and artistic creations serve as expressions of culture. Objective Objectiv e 2: Explain how selected indigenous cultures of the Americas have changed over time. Visual Arts Standard 1 Making, Standard 4 Contextualizing

Maynard Dixon, Round Dance, BYU MOA

MATERIALS images of artworks: Joseph Henry Sharp, Playing the Game; Lou Jene Carter, Navajo Girl ; Cyrus E. Dallin, Appeal to the Great Spirit , Chief Wash Washakie akie, and Sacajewea; John Hafen, Teepee; Minerva Teichert, Indian Captives at Night ; Maynard Dixon, Round Dance. Examples of Beading Copy of Ute Children’s story (included here) or a book about a native legend Small colored glass beads, wooden beads, antler antler,, or porcupine quills (optional) Beading graphs, brown paper or brown paper bags, crayons or markers, scissors, glue Information on the Ute tribe from your Social Studies text or from one of the sources.

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 ACTIVITY Show the class the images of the artworks and ask them to identify some things that were important to the Native Americans, Americans, based on the images. For example, example, they hunted animals, they liked to dance, they played played games, they made useful items, which they decorated, etc. Ask students to discuss what everyday every day life might have been like for the Native Americans: what did they eat and how did they get that food? Where did they liuve? liuve? What might they have have done for fun? How did they feel about the land and the animals that lived in their areas?  ART PROJECT Native Americans irst used natural materi als, often in the shape of some kind of bead, to decorate their clothing and personal items. Show the class some images and ask the students to identify or to brainstorm what may may have been used as beads. If you have some beads made from natural materials, show the students. Then show them the small glass beads and ask the students to think about where and when the Nativ Native e Americans got glass beads. Show the class some images of beaded items decorated with glass beads. Explain that they are going to make a beading design.

Ask the students to think about where Native Americans got their ideas for their beaded Beaded Horse Bag, Ute designs. Help them to to understand that that most Public Domain of the designs were very simpliied. For hp://en.wikipedia.org/wiki/File hp://en. wikipedia.org/wiki/File:UteBeadwor :UteBeadworkHorseBag. kHorseBag.jpg jpg example, lighting or a series of mountain peaks might become zig-zag lines, and an animal would be indicated by by its basic shapes. Give students a sheet of paper for planning their design. They should make several several simple sketches and choose the best design. Encourage them to keep keep the designs simple by showing them examples examples from the beadbeadwork. Pass out the beading graphs and have have students use one to make a light sketch on, indicating the outlines of the shapes. They can then choose the colors for their design. When they have have chosen the colors, they should carefully recreate recreate the design on the second piece of beading graph paper, paper, leaving out the outlines. When they are done with the designs, they they can carefully cut out the designs designs and glue them onto a long piece from a brown paper sack which is then glued or stapled so it can it their head or wrist. You You will need strips of paper 2” larger than the child’s head or wrist. LITERACY  Explain that one way to understand the early Native Americans is to experienc experience e their customs. You may have have a member of the community you can invite to share a traditional story with the students, you can use the one included here, or a storybook storybook your school has. Help the students understand how important their stories were for a people who did not have a written language.  ASSESSMENT  ASSESSMENT Younger students can be assessed simply for completion of the project and for participation in the class discussion. Older students should also be assessed for originality originality of design and for neatness.

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SOURCES Ute Story from http://utemountainute.com/legends.htm http://utemountainute.com/legends.htm Basic history and culture http://en.wikipedia.org/wiki/Ute_Indians History and culture culture from the point point of view of the Utes Utes http://utemountain http://utemountainute.com/story ute.com/story.htm .htm Children’s Children ’s books about Native Americans, recommended by Native Americans http://americanindiansinchildrensliterature.blogspot.com/2010/07/ sinchildrensliter ature.blogspot.com/2010/07/top-ten-book top-ten-books-recommended-for s-recommended-for.html .html LITERACY EXTENSION You can choose to have the class write their own legend. Put the completed story in a binder and let students add artwork to the story if they have inished their assignments.  ART EXTENSION EXTENSION Older students can make a beaded bag or vest. You will need a small paper sack (like a lunch sack) or a medium-sized grocery bag for for each student. Students can fringe the ends of the bag or vest by by cutting narrow slits into the edges of the bag. Size the beading graphs to it the project you are making.

Springtime and the Bear Dance

When spring came and the last of the snows were falling in the mountains, the Utes prepared for the special time of the year year.. This was the time when each family and band met together for celebrations. It would be a happy time of visiting, dancing, wedding celebrations, story telling, and playing games. Many of the people in the seven Ute Bands may not have even seen the others during the harsh winter unless they were attacked by an enemy tribe. So springtime would be the time for a great celebration It would all begin with the Bear Dance. Dance. The Utes had a story about how they irst learned the Bear Dance. They said that a man went to sleep and had a dream about a bear. bear. He dreamed that if he would go the a place in the mountains, a bear would teach him something of great strength. When he woke up, he went up to the mountain and saw al bear dancing back and forth. The bear spoke to the man who listened to his words of wisdom and then the bear taught him how to do this dance and to sing the Bear Dance song. The man came home and taught the dance and song to his people. Every spring after that, the Utes gathered for this important celebration. The Utes have always always loved to sing and dance and play games. They often danced before traveling to a new camp and then again when they arrive at the new encampment. In the early days the Bear Dance was their favorite, but they knew many other dances. They liked the Bear Dance because they felt it was a dance of strength which usually lasted for several days and which always ended with a great feast. For the Bear Dance, the Utes played and sang to the music of the morache or rasp. The music of the morache is supposed to sound like a bear waking from his long winter nap. The Bear Dance became a favorite favorite of other Indian tribes, who learned it from the Utes. http://utemountainute.com/legends.htm

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Teaching History Through Art: EROSION: Erosion and Art 4th Grade Social Studies & Visual Arts Lesson, adaptable for all ages by Elicia Gray OBJECTIVES Students will investigate the artworks of Covington, Dibble, Tallant, Breinholt, Kimball, Salisbury, Fairbanks, Munger, Gardner, Christo and Jeanne-Claude, and Smithson. Students will evaluate the validity of environmental art. Students will participate in a debate about environ e nvironmental mental art and public health and safety. Students will compose a personal artist’s statement based on their artwork. Students will generate a diorama that will add to, adapt, or mimic a Utah landscape. Students will share their projects and ideas with the whole class. UTAH STATE CORE OBJECTIVES Social Studies Fifth Grade Core  (Standard 1) Students will understand the relationship between the physical geography in Utah and human life - Examine the interaction interactionss between physical geography and public health and safety - Examine the forces at work in creating the physical geography of Utah Visual Art Objectives Standard 1 (Making): Students will assemble and create works of art by experiencing a variety of art media and by learning the art elements and principles. Standard 2 (Perceiving): Students will ind meaning by analyzing, criticizing, and evaluating works of art. Standard 3 (Expressing): Students will create meaning in art  Standard 4 (Contextualizing): (Contextualizing): Students will ind meaning in works of art through settings and other MATERIALS  Angel’s Landing, Zions, (Isaac) Loren Covington; Between Big & Little Cottonwood Canyon, George S. Dibble; Black Rock, Great Salt Lake, Richard H. Tallant; Box Canyon, Floyd E. Breinholt; Entrance to  Zion’s, Ranch S. Kimball; Great White Throne, John B. Fairbanks; Bridal Veil Falls, Henry Leroy Gardner; (all SMA images, on the CD) Images of Robert Smithson’s Spiral Jetty (on CD) Other images in sources Images of works by Christo and Jeanne-Claude, bed sheet, twine, chair, chair, cardboard boxes, packaging peanuts, fabric scraps, found objects, glue gun, salt dough  ACTIVITY 1. Gather students onto the carpet and explain that you are now going to create a piece of art for them to enjoy. enjoy. Grab one of their chairs and drape it lightly with a sheet, then wrap it with twine. Stand back and say say, “This is my art. It is called Daniel’s Chair, Wrapped. Step back back and and let

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students investigate investigate what what you have have just done. Let students argue the validity validity of such a piece. piece. Is it art? What about it is or is not art? Why? Be sure to ask questions of an ethical ethical nature as as well. Is the sheet hurting the chair? What if it was not a chair chair under the drape. What if it was a living living thing? Would Would it change your opinion of the “art” if it did damage to the environ environment, ment, or to the object? Introduce students to the artists Christo Christo and Jeanne-Claude. Explain that they are are a married couple who create environmental environmental works of art. Some of their works include the wrapping of the Reichstag in Berlin and the Pont-Neuf bridge in Paris, the 24-mile (39 km)-long artwork called Running Fence in Sonoma and Marin counties in California, and  The Gates in New York City’s Central Park. Park. Show images of these works works if possible. possible. What is different different about these works? Their work is enormous and often controversial, controversial, but the artists have repeatedly repeatedly denied that their projects contain any deeper meaning. meaning. They claim their works are are purely aesthetic. The purpose of their art, they contend, is simply to create works of art or joy and beauty and to create new ways ways of seeing familiar things. How might covering or draping draping something help us to see things differentl differently? y? How do you think viewers feel about Christo and Jeanne-Claude’s works? works? What are some of the setbacks they might encounter? Summarize the New York York Times article about the Artist’s new project called Over the River . This project is a $50 million dollar dollar installation of anchored anchored fabric over over the Arkansas River in Colorado. Colorado. The project will include eight suspended panel segments totaling 5.9 miles along a 42-mile stretch of the river. river. It will take two years to construct, and will be in place for two two weeks. Divide students into into two groups. groups. One group should support the artists, and the other should oppose the artists’ artists’ project. In groups have have students brainstorm brainstor m the effects of both sides. What environmental environmental impact could the project have? have? How could a big project project like this affect a small town? What about land land and animals? animals? How might the project affect businesses? Think about the interactions between between physical geography geography and public health and safety. (You may have students peruse the article entitled Evaluating Installation Art, Should Environmental Cost Be Considered?  Link  Link provided below) Stage a debate between between the two sides. Is there an easy easy solution to this artistic problem? problem? “Every artist in the world likes his or her work to make people think. Imagine how many people were thinking, how many professionals were thinking and writing in preparing that environmental impact statement.”-- Christo Introduce students to Robert Smithson’s Spiral Jetty. This monumental earthwork is located on the Great Salt Lake in Utah. Using black basalt rocks and earth from from the site, the artist created a coil 1,500 feet long and 15 feet wide that stretches out counter-clockwise into the translucent red water. water. Emphasiz Emphasize e that this is a massive artwork found in Utah that transformed the landscape of an area. area. What is a jetty? How is the Spiral Jetty  different  different that a jetty that is built for protection? Have a discussion about artist’s artist’s intent, and how that affects artworks. Pass out images of Covington, Dibble, Tallant, Breinholt, Kimball, Salisbury, Fairbanks, Munger, and Gardner. Gardner. Invite students to identify identify the landscape that is unique to Utah. Utah. What types of different environments environments are are represented? What makes them unique? unique? What forces of nature nature were at work in creating this physical geography? Explain that students will be creating some environmental environmental art in the form of a diorama just like Christo and Jeanne-Claude and Smithson. Students must choose a geographic area in Utah that they would like to use as a “canvas.” “canvas.” Next they will decide on a method of integrating an art piece. They can add to the landscape, like Christo and Jeanne-Claude, they can adapt  the  the landscape, like Smithson, or they can mimic the landscape like all of the painters they just reviewed. Invite students to ill out the Environmental Art Worksheet in order to help them work through their idea. 56

cardboard box to use to create their idea. Now that students have 9. Give each student a small cardboard selected a speciic environment, they may begin adding, adapting, or mimicking different physi cal attributes. Students can do this in a number of ways, but packaging peanuts peanuts and salt dough are simple ways ways to provide texture and sculptural sculptural elements. Invite students to integrate integrate found objects and images. Students may use low heat glue guns guns in order to secure items in place. place. 10. When sculptures are inished, invite students to create a title and an artist’s statement for their work. What are some of the problems they they encountered? How did they resolve resolve those probproblems? 11. Invite students to share their projects with the class.  ASSESSMENT  ASSESSMENT The teacher will evaluate the “Environmental Art Worksheet. Worksheet.”” The teacher should carefully review the artist’s statement. The teacher will also evaluate the dioramas, dioramas, looking for evidence of effort, originality, and quality completion. SOURCES http://en.wikipedia.org/wiki/Chr http://en.wikipedi a.org/wiki/Christo_and_Jeanne-Cla isto_and_Jeanne-Claude ude http://www.nytimes.com/2010/11/ http://www .nytimes.com/2010/11/26/us/26artist.html?ref=chr 26/us/26artist.html?ref=christo isto http://hyperallergic.com/11316/ev http://hyper allergic.com/11316/evaluating-in aluating-installation-art-en stallation-art-environmentalvironmental-cost/ cost/ http://governor http://gov ernor.utah.gov/phot .utah.gov/photos/Photos%20from% os/Photos%20from%202008/04%20-%20April/04-14202008/04%20-%20April/04-14-08/Spiral 08/Spiral%20 %20 Jetty%20Visit/ (this site has images that include close-ups)  ADAPTATION  ADAPTA For very young children, have them create different landscapes or regions out of clay or even play dough. Show how different elevations elevations have completely completely different landscapes throughout throughout Utah. VARIATION Choose a destination and have students create a piece of earth art or environ environmental mental art. Show pictures of Andy Goldsworthy and have students compare and contrast these works with Smithson and Christo and Jeanne-Claude. EXTENSION Organize a ield trip to go and see the Spiral Jetty. Jetty. Experience environmental art personally personal ly by walking walking on the Jetty.

Robert Smithson, Spiral Jetty Photograph by Rickety http://www.rickety.us/wp-content/uploads/2010/11/Spiral_Jetty_08.jpghttp://leroyspinkist. blogspot.com/2010/05/blog-post_27.html

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Environmental Art Worksheet  1. I have have chosen to _____add_____adapt______mimi _____add_____adapt______mimicc a landscape. (please (please choose one)

2. The area area or landscape I have chosen is: (Please (Please describe in detail)

3. What are are the physical characteristics of the area?

4. Please explain explain how you you will add/adapt/mi add/adapt/mimic mic the area.

5. What supplies will you need in order to complete your diorama? (It would be helpful to integrate a photograph of the area somewhere in your diorama)

6. What environmental environmental problems might might you encounter? How will your project affect affect the community,, the wildlife, the landscape? community

7. What other ideas or dificulties dificulties will you need need to address?

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Teaching History Through Art: Adapting to Our Environments

4TH GRADE Social Studies and Visual Arts Lesson by Amanda Toler

OBJECTIVES Students will be able to: -Analyze -Anal yze the various landscapes of Utah -Infer how the environment one lives in can affect how homes are built, what clothes are worn, what jobs are available, food is eaten, transportat transportation ion and so on. -Create a new environment and infer its effect on a population and paint a representa representation tion of the environment. UTAH STATE CORE OBJECTIVES Fourth Grade Social Studies: Utah Studies Standard I: Students will understand the relationship between the physical physical geography in Utah and human life. Objective Objectiv e 1: Classify major physical geographic attributes of Utah. Objective Objectiv e 2: Analyze how physical geography affects human life in Utah. Indicators: a. Identify population concentrations in the state and infer causal relationships between population and physical geography. c. Compare the development of industry and business in Utah as it relates to its physical geography geography (e.g. mining, oil, agriculture, tourism). d. Make inferences about the relationships between the physical geography geography of Utah and the state’s communication and transportation systems ( e.g. trails, roads, telegraph, rail lines). Objective Objectiv e 3: Analyze how human actions modify the physical environment. Indicators: a. Describe how and why humans have changed the physical environment of Utah to meet their needs (e.g. reservoirs, irrigation, climate, transportation systems and cities).

MATERIALS -pencils, paper, paint, crayons, brainstorming worksheet. -information on Utah landscapes and natural resources and inluences on living conditions. Possible Utah landscape images: Birger Sandzen, Moonrise in the Canyon, Moab; Calvin Fletcher, Wash Day in Brigham City ; Maynard Dixon, Road to the River ; plus any of the other Utah Landscapes on the CD

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Additional Landscapes: John Tullidge, Minnie Lakes; Reuben Kirkham, Castaway ; Paul Lauritz, Crashing Harmony ; Gilbert, Near Monterey ; John Heber Stansield, Canadian Rockies; Montague Charman, Going Home  ACTIVITY  Motivation: To introduce the idea of adapting to the environment change the layout of the classroom for a day. When students walk in perhaps the heat will be up higher or the room will be very cold and the desks will be place on top of each other or in a different order. order. Students will have to adapt to the classroom environment environ ment so they can still learn. Where will they sit? How will they cool down or get warmer warmer so they can concentrate on learning? learning? Discuss how the environment surrounding surrounding a community can greatly affect the way the way the people there live.

Art History Show various Utah landscape landscape paintings and discuss the geographic make-up make-up of Utah. Why does Utah have so many different types of landscapes? For example, there are different kinds of mountains in southern Utah than in Northern Northern Utah. How were these these mountains formed? formed? How did indigenous people live differently differently in the different parts of Utah? Why did Utahans settle in the areas that they did? For example, why would we choose to live in Utah Valley rather than on top of a mountain? Aesthetics Many people come to Utah because the landscape is said to be so diverse and beautiful. Have students explore explore the aesthetic question, “What is Beauty?” by analyzing various images of Utah’s landscape. Students should be put into small groups with postcards or posters of various photographs photographs or paintings of Utah landscapes. landscapes. The students should put these images in order from what the group considers the most beautiful to the least beautiful beautiful landscape. Each group should present their inal decisions and sup port their reasoning reasoning to the class. class. As a class, discuss the different reasons each group Evening, View West West of Springdale Springdale Carol P. Harding, Zion Evening, thought different landscapes were more (1997) SMA beautiful or aesthetically aesthetically pleasing. pleasing. Have students write or draw what they would consider the most beautiful landscape they would want to live in. Art Criticism Each student will receive an image of a landscape. These can all be different Utah landscapes or any landscape. The students will use a basic criticism model (describe, analyze, analyze, interpret, interpret, judge) that is modiied to explore the landscape. Have students write as follows: -Describe: Students should describe describe exactly exactly what they see in the image. What are the colors? Is the landscape lat, mountainous, full of water? -Analyze: -Anal yze: Based on the description of the landscape, students must write about what the environ environment ment is like. Does it seem like like a cold place? A desert? How was the landscape formed based on what they have learned about land land formations? What resources may be available? available? 60

-Interpretation: Students should now interpret how life would be lived in this type of landscape if -Interpretation: people were to to populate there. there. What kinds of clothes should they wear? wear? What would some of the jobs be? How would transportation transportation be set up? What would people people build their homes like? like? -Judgment: Have students write whether they would want to live in this environment and why or why not. Studio After a thorough introduction to environ environments ments and adapting to one’s environment, students will have a chance to create their own environment. environment. Each student should brainstorm an environment environment and all the details of what would happen if it were populated. These environments environments should be created by the student and should be something they personally have have never experienced. They could be an environment in a different country or planet they have heard about or even an environment read about in a book like one by Dr. Suess, or an environment they completely make up like Candyland . Have students ill out the brainstorming sheet included at the end of the lesson. After the brainstorming is complete, the students will paint a landscape of the environment they created. The image should include a living quarter for a resident and perhaps perhaps an image of a person and what type of clothes people may wear. wear. A business may be included to show what kind of jobs people in this environm environment ent might have.  ASSESSMENT  ASSESSMENT Assess the Critique in the Criticism activity like an essay essay.. The inal studio project should be graded with a rubric such as the one below:

CRITERIA

Score 1-5

Crafsmanship: Was the drawing or painting done well? Did the student take the time to draw or paint neatly? Brainstorming: Were all the questions answered on the brainstorming sheet thoroughly? Creativity: Did the student create a new environment that is unamiliar? Were the student’s ideas creative? Fulfillment o requireme requirements: nts: Does the final picture include the color o the environment and the landscape? Does it include at least one example o a home and a person p erson and what the person would wear? Use o class time: Did the student use class time wisely ocusing on completing the assignment in a timely manner while maintain maintaining ing quality? TOTAL POINTS

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SOURCES USOE curriculum site for 4 th grade Social Studies content  Springville Museum of Art website collection images  ADAPTATIONS  ADAPT For younger younger ages give students the criteria for the environment instead of having them make it up. Then the students must draw the environment based on the information information presented. Older students may want to address even more detail and create the landscape using sculpture techniques. VARIATIONS The idea of adapting to one’s environment can be taken in many different directions. For example, example, in the art realm, the teacher can focus on installation art and how creating an artwork for a speciic site can change its meaning and the audience reaction. How can changing the environment environment in a small space change people’s reactions? reactions? A good artist to look at would be Sandy Sandy Skoglund. Skoglund. This can also be a tool to have student studentss analyze the difference between the environments they are in every day. day. How do they act at home compared compared to how they act at school? How does the environment environment they are in seem to change their behavior? EXTENSIONS A great literacy extension would be to have students create a tourist guide to the environment or landscape they created. Have them look at tourist guides for Utah and what is included and then design and write one for their creation.

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MY NEW ENVIRONMENT QUESTION What is the basic landscape? (Mountainous, flat, desert, water, green, brown, red etc.)

ANSWER

How was the landscape created? (Erosion, earthquake, tornado, candy ell rom the sky etc.)

What is the climate? (Four seasons, always cold, 3000 degrees, weather changes every second, windy, no gravity etc.)

What would a typical home look like? li ke? Why? (Utah homes usually have slanted roos because o the snow needing to all off so it does not become to heavy and cave in the roo.) What different different types o clothes would people need to wear and different times o the year? (Warm (W arm clothes, cool clothes, or i little gravity perhaps heavier clothes so people don’t float away) What kind o animals may be present in this environment? (Skin o animal, water dwelling, land dwelling)

What types o jobs will be needed? (Utah has a lot o mining jobs because o natural resources like oil, copper, and coal)

What kinds o transportation would be best? (Flying cars, trains, roads with cars)

Would you like to live in the environment you created? Why or why not?

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Teaching History Through Art:

Underground Railroad and Freedom Poems 5th Grade Social Studies and Dance Kelby McIntyre-Martinez McIntyre-Martinez and Chris Roberts Essential Questions: The key idea, the “bigger conceptual picture” What does freedom mean to you as an individual? As a society? Culturally? As a nation? OBJECTIVES Students will be able to write an original freedom poem and create an original freedom poem dance through the use of energy, energy, space, and time (body percussion, locomotor and axial movements, pathways). way s). Students will be able to complete these objectiv objectives es as they engage in the creative and writing process; students will generate several drafts of their freedom poems and freedom dances. UTAH ST UTAH STA ATE CORE ST STANDARD ANDARDS S Fine Art Core: Dance 5th grade – Research/Create Cultural Objective Create a group dance based on two principles discovered (one from each genre). Using unique movement. Dance 5th grade – Analyze/Integrate Dance a 16 count rhythm pattern in a canon/round. Analyze Analyze music and choreography that uses the canon/round structures. Social Studies Social Studies Fifth Grade Standard III: Students will understand the rights and responsibilities guaranteed in the United States Constitution and Bill of Rights. Objective 2b. Identify how the rights of selected groups have changed and how the Constitution relects those changes (e.g. women, enslav enslaved ed people). Social Studies Fifth Grade Standard I: Students will understand how the exploration and colonization of North America transformed human history. Compare the geographic and cultural differences between the New England, Middle, and Southern colonies (e.g., religious, economic, political). Language Arts: Language Arts 2nd – 6th Pre-writing Generate ideas for writing by reading, discussing, researching, and relecting on personal experiences. Language Arts 2nd – 6th Compose a Draft  Draft  Draft ideas on paper in an organized manner

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Explicit Vocabulary Vocabulary In Both Areas of Instruction: Fine Art Vocabulary: Energy, Space, Time, Locomotor, Axial, Hambone, Body Percussion, Poly-rhythms. Social Studies Studie s Vocabulary Vocabulary:: Underground Railroad, Railroad , North America, West West Africa, Civil War, War, Slavery, Slavery, Culture, Human Rights, Liberty. MATERIALS  Freedom poem template, the picture book Show Way  written  written by Jacqueline Woodson, map of the United States of America, boom box, Music: “Follow The Drinking Gourd.” Gourd.”

LESSON PLAN INSTRUCTIONS: How to lead this integrated lesson with your students.

1. Wa Warm rm Up: Body Percussion/ Percussion/Hambone Hambone with the Slave Song – Mutton Stew If you want to get to Heaven let me tell you what to do You gotta grease your feet in Mutton Stew Slide right out of the slippery sand And ooze on over to the promised land Incorporate Freedom Train dance and leap to Freedom as the class crosses the Mason Dixon Line. 2.

Partners: Leading and Following Following – one person is the leader and the other partner partner has has to follow the leader. a. Leaders should be be encouraged encouraged to use levels, energy energy,, and and various various axial movements. b. Let each student have an opportunity to lead. c. Guiding Questions: i. Discuss how it felt to have all the power over someone else. ii. Discuss how it felt when you had no power what-so-ever.

3.

Discuss the Underground Railroad as we we look through the book Show Way Way by Jacqueline Woodson a. Guiding Questions: i. What emotion do the images evoke? ii. What would you do if you were taken from your family? iii. What colors do you see? iv.. What movement qualities are present in the illustrat iv illustrations ions (energy, shapes, levels)

4.

Create a group group tableau tableau inspired inspired by by one of the illustrations using energy energy and and space a. Using hand claps or a drum, as you clap have the students: i. change the direction of their focus ii. change an arm position iii. change their back b. Discuss how the energy and focused changed as they adjusted their bodies

5.

Create a FREEDOM WORD WALL a. Have students share the irst word that comes to their mind when they think of FREEDOM b. Write each word on the word wall and hang it up in front of the class. c. This will help students create their Freedom Poems. 66

6.

Freedom Poem Creation: Concrete to Symbolism to Abstraction a. Break students into small groups and have them write their irst freedom poem draft  b. Have students share it with the class and gain feedback and insight. c. Have students create movement to their poem using time (body percussion) space and energy. d. Now have student studentss create a second draft of their poem and tweak movements accordingly. accordingly. e. Final draft - have students inalize their written and performance creations.

7.

Sharing: a. Have students share their pieces. b. The irst time they share, have students speak their poem as as they dance. c. Connect each group’ group’ss poem (one group group performs and freezes, the the next next group group performs performs etc.)

8.

Putting It All Together ogether:: Take the voice away! Add in music Follow Follow the Drinking Gourd. a. Connect each group’ group’ss poem. Each group starts on stage in an opening tableau (starting position) b. The whole class will start with the Mutton Stew body percussion, no voice. c. Each group will then return to their opening tableau. d. Each group group will will perform perform their Freedom Poem, no voice voice as the other groups remain frozen in their tableaux. (one group performs and freezes, then next group performs etc.) e. Finally, have each group connect for the Freedom Train dance. f. As the class winds around into a straight line, they hold hands and leap together to freedom. g. Take a bow!

9.

Cool Down and Relection: a. Guiding Questions: i. How did taking our voices awa away y and adding music enhance our movement and the story we were telling through our Freedom Poems? ii. What are some historical facts that you learned through this process? iii. What can we learn from our past? iv.. What does freedom mean to you as an individual? iv v. To us as a society society?? Culturally? vi. As a nation?

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FREEDOM POEM

Freedom looks like __________________________________________

Freedom smells like _________________________________________

Freedom tastes like _________________________________________

Freedom sounds like ________________________________________

Freedom feels like ___________________________________________

Template Developed by Kelby McIntyre-Martinez College of Education, University of Utah

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African American History Timeline Time

Event

Fine Arts Acvity

1619

The First African Slaves Arrive in Virginia

Middle Passage acvity with shape and space

 photograph of a newspaper adversement from the 1780’s LOC 1787

Slavery is made illegal in the Northwest Northwest territory. territory. Slavery is made ilillegal in the Northwest territory.

1793

• Eli Whitney’s invenon invenon of the coon gin greatly greatly increases the demand for slave labor. • A federal fugive fugive slave law is enacted, providing providing for the return slaves who had escaped and crossed state lines.

Mapping acvity  – compass rose rose & mapping

poster adversement for run away away slaves from 1860 LOC 1800

Gabriel Prosser, an enslaved African-American blacksmith, organizes a slave revolt intending to march on Richmond, Virginia. The conspiracy conspirac y is uncovered uncovered,, and Prosser and a number of the rebels are hanged. Virginia’s slave laws are consequently ghtened.

1808

Congress bans the importaon of slaves from Africa.

1820

The Mis Misssouri Co Compromise ba bans slavery north of of th the so southern boundary of Missouri.

1831

William Lloyd Garrison begins publishing the Liberator Liberator,, a weekly pa pa-Persuasive arguarguper that advocates the complete abolion of slavery. He becomes one ments and essays of the most famous gures in the abolionist movement.

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1838

The Talking Drum

Muon Stew Because of the perceived potenal of talking drums to “speak” in a tongue unknown to slave traders and thus to incite revolt, resistance and rebellion, in 1838 these and other drums were banned from use by Africans in the United States.

“If you want to get to heaven let me tell you what to do – you goa grease your feet in muon stew. Slide right out of the slipslippery sand and ooze on over to the promised land”

Handbone & Step dance 1846

Frederick Douglass launches his abolionist newspaper.

1849

Harriet Tubman escapes from slavery and becomes one of the most eecve and celebrated celebrat ed leaders of the Undergrou Underground nd Railroad.

1852

Harriet Beecher Stowe’s novel, Uncle Tom’s Cabin is published. It becomes one of the most inuenal works to sr an-slavery senments.

1857

The Dred Sco case holds that Congress does not have the right to ban slavery in states and, furthermore, that slaves are not cizens.

1861

The Co Confederacy is is founded wh when th the de deep So South secedes, an and th the Civil War begins.

Slow moon ght scenes

1863

President Li Lincoln is issues th the Em Emancip ipa aon Pr Procla lam maon, de decla larring “that all persons held as slaves” within the Confederate states “are, and henceforward shall be free.”

Freedom poems Freedom tastes like ______;

70

Quilt making art acvity

1865

• Congress establishes the Fr Freedmen’s Bureau to pr protect th the ri rights of newly emancipated blacks (March). • The Civil War War ends (April 9). • Lincoln is assassinated assassinated (April 14). • The Ku Klux Klan is formed in Tennesse ennessee e by ex-Confederates ex-Confederates (May). • Slavery in the United States States is eecvely ended when 250,000 slaves in Texas nally receive the news that the Civil War had ended two months earlier (June 19). • Thirteenth Amendment Amendment to the Constuon Constuon is raed, prohibing prohibing slavery (Dec. 6)

1865-1 186 5-1866 866

Black code Black codess are are passed passed by by Southe Southern rn sta states tes,, dras drasc call ally y restri restricn cng g the rights of newly freed slaves.

1867

A series of Reconstrucon acts are passed, carv rviing the former Confederacy Confeder acy into ve military districts and guaran guaranteeing teeing the civil rights of freed slaves.

1868

Fourteen entth Amendmen entt to the Constuon is raed, dening cizenship. Individuals born or naturaliz naturalized ed in the United States are American cizens, including those born as slaves. This nullies the Dred Sco Case (1857), which had ruled that blacks were not cizens.

1870

Fieenth Am Amendment to to th the Co Constuon is is ra raed, gi giving bl blacks th the right to vote.

1879

The Black Exodus takes place, in which tens of thousands of African Americans migrated from southern states to Kansas.

1896 18 96

Plesssy v. Fer Ples erg gus uson on:: Th This is la land ndma mark rk Su Sup prem eme e Cou ourt rt dec ecis isio ion n hol old ds th tha at racial segregaon is constuonal, paving the way for the repressive Jim Crow laws in the South.

1909

1920’s

The Naonal Associaon for the Advancementt of Colored People is Advancemen founded in New York by prominent black and white intellectuals and led by W.E.B. Du Bois.

The Harlem Renaissance ourishes in the 1920s and 1930s. This literary, arsc, and intellectual movement fosters a new black cultural identy.

Rap-a-tap-tap acvity

The “Hot Chocolates” at the Coon Club xroads.virginia.edu/~asi/musi212/emily/style gallery.html Educaonal Fair Use

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1947

Jackie Robinson breaks Major League Baseball’s color barrier when he is signed to the Brooklyn Dodgers by Branch Rickey.

1948

Although African Americans had parcipated in every major U.S. war, it was not unl aer World War II that President Harry S. Truman issues an execuve order integrang the U.S. armed forces.

1952

Malcolm X becomes a minister of the Naon of Islam

1954

Brown v. Board of Educaon of Topeka, Kans. declares that racial seg regaon in schools is unconstuonal (May 17).

1955

A young black boy, Emme Till, is brutally murdered for allegedly whistling at a white woman in Mississippi. Two white men charged with the crime are acquied by an all-white jury. They later boast about comming the murder. The public outrage generated by the case helps spur the civil rights movement (Aug.). Rosa Parks refuses to give up her seat at the front of the “colored secon” of a bus to a white passenger (Dec.1). In response to her arrest Montgomery’s black community launch a successful year-long bus boyco. Montgomery’s buses are desegregated on Dec. 21, 1956.

1957

The Southern Chrisan Leadership Conference (SCLC), a civil rights group, is established by Marn Luther King, Charles K. Steele, and Fred L. Shulesworth (Jan.-Feb.)

1963

Marn Lu Luther Ki King is is ar arrested an and ja jailed du during an an-segregaon protestss in Birmingham, Ala. He writes “Leer from Birmingham Jail,” protest which advocated nonviolent civil disobedience.

Choreograph 3 part dances or theatre tableaux based on phrases The March on Washington for Jobs and Freedom is aended by about from the I have a 250,000 people, the largest demonstraon demonstraon ever seen in the Dream speech naon’s capital. Marn Luther King delivers his famous “I Have a Dream” speech. The march builds  momentum for civil rights legislaon (Aug. 28).

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1964 19 64

Pres esid iden entt Jo John hnso son n sig igns ns th the e Civ ivil il Ri Righ ghts ts Act ct,, th the e mos ostt swee eep pin ing g ci civi vill rights legislaon since Reconstrucon. It prohibits discriminaon of all kinds based on race, color, color, religion, or naonal origin (July 2). Marn Luther King receives the Nobel Peace Prize. (Oct.)

1965

Malcolm X, black naonalist and founder of the Organizaon of Afro-American Unity, is assassinated (Feb. 21).

In six days of riong in Was, a black secon of Los Angeles, 35 people are killed and 883 injured (Aug. 11-16). 1968 19 68

Mar rn n Lut uthe herr Kin ing, g, Jr Jr.., is as assa sass ssin ina ated in Me Memp mphi hiss, Ten enn. n. (A (Ap pri rill 4) 4).. President Johnson signs the Civil Rights Act of 1968, prohibing disdiscriminaon in the sale, rental, and nancing of housing (April 11).

1992

The rst race riots in decades erupt in south-central Los Angeles aer They call me… step a jury acquits four white police ocers for the videotaped beang of & African dance African-American African-Americ an Rodney King (April 29).

2008

On November 4, Barack Obama, becomes the rst African American to be elected president of the United States.

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74

Teaching History Through Art: Artwork Analysis Tool Tool 5th Grade Social Studies & Visual Arts Lesson (can be adapted to any grade)

The Library The  Library of Congress process Congress process for looking at a piece of art involves three steps:

Observe, Reect, Question 1.  Descriptio  Description n (Observe) (Observe) 

What is the source of this picture/photograph?________________________________ 



Who is the artist?______________________________________________________ 



What is the date? If there is no date, can you guess the period?__________________   ____________________________________________________  ________________________ _____________________________________________  _________________ 

2.  Artwork Analysis (Reect) (Reect) 

Write a brief description of the artwork:_____________________________________  Use the chart below to list people, objects, and activities in the artwork or pho to.

 People



Objects

Activities

What was the purpose of the artwork or photo? (visual pleasure, commercial commission, poster, advertising, propaganda, etc.)__________________________________________ 



How would you describe the mood of the picture?______________________________  ____________________________________________________  ________________________ _______________________________________________  ___________________ 



What makes this an effective or ineffective piece of art?__________________________   ____________________________________________________  ________________________ _______________________________________________  ___________________ 

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3.

What questions does the artwork bring to mind? ( Question )______________________   _____________________________________________________  __________________________ ______________________________________________  ___________________ 



Is this artwork meant to convey a message? If so, what?__________________________ 



Is this artwork an effective piece of work, one that is attractive attractive and appealing to the viewer? Why or why not?__________________________________________________ 

 How to analyze a Primary source: (From the American Art Museum conference session) We are commenting on, not illustrating history. Content: ( Observation) What does it say? Composition: (Interpretation) (Interpretation) How does it say it? Context: (Research) Who created it? Who is it intended for? What is it? When was it created? Why was it created? How was it created? Questions: What do you see? Generate lists. What do you think is going on? What decisions has the artist made in terms of lighting, color, focus? Learning to look strategies: Visual Vi sual thinking strategies   Observation Dividing up the artwork  Westward Course picture: look at the land, the people, the border  Matching text and image Acting out the artwork 

(large images on the CD) Is this a real place? (Land appears empty.) empty.) This comes with a cost. This artist used triangles a lot. See the Madonna-like gure in the 1861 draft for the mural? Compare with the nal version. See a black man has been added? How does that change The meaning of the picture? Also added American ags in the nal version of the mural. See Daniel Boone and William Rogers Clark portraits on the bottom border. Clark is wearing an ermine Westward Course mural discussion:

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Emanuel Leutze, Westward the Course of Empire Takes its Way  (1861)

Emanuel Leutze, Westward the Course of Empire Takes its Way  (mural study) (1861)

77

cap which was a gift to him. Dogs, tools were added to nal version. version. It is also more fertile, green terrain  No burial in nal version. It appears that the artist got better reports after her had made the rst draft of the picture. He had never  been there. Is this a primary source? Yes and no. It is a reaction to the Emancipation Proclamation. The artist did did leave a description of why he painted the picture. See the native Americans in the top border running awa y from an eagle? The borders have Biblical, historical, and mythological scenes in them. This is the same painter as George Washington Crossing the Delaware. Delaware.

VARIATION

You can adapt this approach a pproach to any artwork that relates to your social studies curriculum and to any age group.

The following page is a suggestion for a way you can use the

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Fifth Grade Art Bulletin Board Schedule By Sara Hacken [email protected]

Month

Theme

September

Men’s Portraits

October

Sea, Boats (Explorers)

November

Animals (Vertebrates)

December

Christmas

January

Women

February

Impressionism

March

Pictures Man with a Golden Helmet  (Rembrandt)   (Rembrandt) Man with Bandaged Ear  (Van  (Van Gogh) Head of Man (Klee) Boats at Argenteuil (Monet) Breezing Up (Winslow Homer) Fur Traders Descending the Mississippi (Bingham) Peaceable Kingdom (Hicks) Virgin Forest  (Rousseau)  (Rousseau) The Bullfight (Goya) Young Hare (Durer) Numbering at Bethlehem (Breughel) St. Joseph (De la Tour) Christina’s Wor World ld (Wyeth) The Lacemaker  (Vermeer)  (Vermeer) Mona Lisa (DaVinci)  An Afternoon at La Grande Jatte (Seurat) Luncheon of the Boat Party  (Renoir)  (Renoir) I and My Village (Chagall)

Figure Study

April

Astronomy and Sky (Moon unit)

May

Mother and Child (Mother’s Day)

Dempsey and Firpo ( Bellows) The Dancing Class ( Degas) Night Watch (Rembrandt) Blue Boy  (Gainsborough)  (Gainsborough) Starry, Starry Night  (Van  (Van Gogh) View of Toledo (El Greco) Rockets and Blue Lights (Turner) The Cradle (Morrisot) Mother and Child  (Picasso)  (Picasso) Gypsy with Baby (Modigliani)

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Teaching History Through Art:

One Can Make a Difference!  The History of Civil Rights Martin Luther King (6 th grade), Ruby Bridges (1st  -5th grades) Written by Holly Markgraf-Mayne [email protected] 6th grade curriculum Standard V: Objective Objectiv e 2: Assess the impact of social and political movements in recent United States history. history. th a. Identify major social movements of the 20  century (e.g. the women’s movement, movement, the civil rights movement , child labor reforms). b. Identify leaders of social and political movements Objective3: a. Assess differing points of view on the role of the US as a world power (e.g. inluencing the spread of democracy, supporting the rule of law, advocating human rights, b. Identify a current current issue facing facing the world and and propose a role role the United States States could play in in being part of a solution civil rights, education, genocide. st  1  grade Social Studies Grade Standard II: Students will understand cultural factors that shape a community 5th grade Standard III: Students will understand the rights and responsibilities guaranteed  in  in the United States Constitution and Bill of Rights. Objective 2b. Identify how the rights of selected groups have changed and how the Constitution relects those changes (e.g. women, enslaved enslaved people). nd 2  grade Objective 1b. Explain ways people respect and pass on their traditions and customs. This lesson has several parts and may be used and adapted to it your individual grades. There are so many layers to these lessons. There is however, however, an underlying theme, the difference one person can make and how it can effect and change history.

Equipment Needed: Hand Drum (for cueing); Music (I Have a Dream Mix, or your choice)  Book: Martin’s Big Words by Doreen Rappaport (can ind to watch on Teacher Tube, and fantastic for all grades especially 6 th), The Story of Ruby Bridges by Robert Coles (grades 1-5), Show Way by Jacqueline Woodson (grades 1-5) March On! The Day My Bother Martin Changed the World by Christine King Farris 81

*This can be used as one lesson, or best if used as two. Mirroring I would do one day, day, and then the book another day. EXPERIENCE/IDENTIFY :  What makes a good leader? What makes a good follower? (Ask these questions but don’t have student’s answer them just yet, let them start to think about it. They will answer it later. later.

Have students mirror any movement that you begin to do slowly. slowly. Use levels (high, medium, low); use the Energy qualities of smooth and sustained movement. Make sure every student can follow you exactly, as if they were watching in a mirror. (You can play slow tempo music) EXPLORE/INVESTIGATE After you have lead the students, have students (back to back with another student) ind a partner and repeat the same exercise taking turns who leads and who follows. Direct them to do it without talking. As you walk around the room students should be able to stay together if they are not remind them a good leader never moves faster then the follow can follow. follow. The movement should be exactly the same that it is hard for you to tell who is the leader and who is the follower follower.. Then challenge them to switch on their own who leads and follows without stopping and without saying a word with the movement continuously continuously going. This invol involves ves high concentration, and the room should be silent except for the music playing and cues that the teacher is giving. CONNECT/ANALYZE Pull students back together and ask them the same questions that you did at the beginning of class. What makes a good leader? What makes a good follower? What changes as a leader you had to make so that the follower could follow? How did it feel to be the leader/follower? Did you you like being the leader or follower and why?

You could choose to have students repeat the same exercise and improve upon what they have just discussed, or you can go on to the next part. (I like to repeat the exercise exercise you are able to see a big difference after students have analyzed what they have just done.) *Here you choose what book you are going to use to best it your curriculum and grade. Words ds by Doreen Rappaport  Book: Martin’s Big Wor Music: I Have a Dream mix.

EXPLORE/INVESTIGATE We are now going to learn about a man that was a great leader. Read, or show book. (Upper grades you might have them write down any words or phrases that stick out in their mind as you read.) (You may have phrases from the book already printed on paper and cut out for each group, or you could have them written on your board, or you could use the ones your students wrote down.)

Pick one phrase you can model for students and do together so they understand what you are asking them to do. Dance the phrase out using dance elements: Body, Body, Time, Space, and Energy “You are as good as anyone”  “When I grow up I’m going get big words, too”  “Everyone can be great” teachings of Gandi 82

“Love, others said Hate”  “Hate cannot drive out hate: Only love can do d o that”  “Sooner or later all the people of the world will have to discover a way to live together”  “When the history books are written someone will say there lived black people who had the courage to stand up for their rights”  “Wait! For For years I have heard the word “wait” we have waited more than 340 years for our rights”  “Love is the key to the problems of the world”  “I have a dream that one day in Alabama little black boys and little black girls will join hands with little white boys and little white girls as sisters and brothers… brothers…”  ” 

CREATE/PERFORM Get into groups of 4 or 5 and give students one of these phrases. Have the groups come up with movement that represents their phrase. Have students begin with a group shape and end in a group shape. Also make sure as they are coming up with the movement they use levels, ind a way to make it travel, not to pantomime but to exagger ate, or use interesting gestural gestural movements. Have students add a turn while they do their movements etc. This should take 10-15 min. Have them show each other do it with the words irst. After everyone has performed give feedback. What did you like and why? Did you see levels, traveling through the space, beginning and ending shapes, turns, etc? What could they do to make it better? Revise: give students 4 min. or so to make changes. Show again, without words with music. CONNECT/ANALYZE What did you like that we did today? Was there anything that you learned about yourself that you didn’t know? Is your life different today because of Martin Luther King Jr.? How did he solve problems? How did he change the history of our country? What things are different today because of him and what he believed? Can one person make a difference? How?

Book: Show Way by Jacqueline Woodson (grades 1-5) Music: Black Spirituals We are now going to learn what a Show Way  is.  is. Read the book. Soonie’s great-grandma was only seven when she was sold away from her parents in Virginia and sent to South Carolina. All she had was a piece of muslin from her mother, mother, two needles, and bright red thread. She was raised by Big Mama, who cared for the plantation plantation children and at night whispered whispered stories of freedom. Big Mama taught great-grandma great-grandma how to sew messages and directions into quilt patterns, a Show Way Way. The quilt-making tradition traditi on is passed down through successive generations of women in the family. family. The Show Ways were maps with directions to freedom. freedo m. A Show Way is a quilt with secret meanings, and the image works as both history and haunting metaphor in this exquisite picture book. Based on Woodson’s Woodson’s own history, history, the unforgettable story tells of African American women across generations, from slavery and the civil rights movement to the present. The cut-out jacket design is impressive, impressive, as is Talbott’s Talbott’s mixed-media artwork artwork inside, which extends Woodson’s clear poetic narrative with beautiful collages that make use of big triangles, squares, and curves to emphasize portraits portraits and landscapes and show connections and courage. The irst doublepage spread is of anguished separation when Soonie’s great-grandmother is sold “without her ma or pa.” pa.” Growing up on a plantation in South Carolina, Carolina, Soonie learns from Big Mama about children “growing up and getting themselves free,” free,” and also how to sew quilts with signs that show the way to 83

freedom. Time passes: Soonie’s granddaughter, granddaughter, Georgiana, has twin girls who march for freedom in the 1960s. The inal glorious spread shows Georgiana’s granddaughter, granddaughter, Jacqueline Woodson, laughing at home with her own beloved daughter, daughter, Toshi Georgiana, whose picture is embedded in a quilt, connecting her with those who came before. A must for the classroom, this story will move many readers readers to explore their own family roots; civil rights, history, and culture. owes to those who came before her. EXPLORE/INVESTIGATE

Show Ways were part of the Underground Railroad to help free slaves. The Slaves would use talking drums to send messages (like they did in Africa) of how to escape. When the Masters igured it out they took away their drums. So the Slaves would use “Body Percus sion” to send their secret messages. Teach: Right hand slaps your right thigh, Left hand slaps your left thigh, and clap, repeat again but this time don’t clap your hands instead snap your right hand. Repeat 4 times. Slide to your right 1 clap on 2, slide to your left 3 clap on 4 repeat slide to right 5 clap 6, slide to left 7 clap on 8. Repeat 12345678. Hit your chest with your right hand 2 times (count 1&) snap right hand on count 2 repeat 3&4. Hit your left shoulder with right hand 5 hit chest & (right hand) snap right hand 6 both hands on thighs 78. Repeat several times making sure all students are successful. Slow it down if you need to. Repeat, Repeat. CREATE/PERFORM  After students can do it, have them make up their own 4 Body Percussion counts. Put that all together and practice a few times. Next piece, Have students describe what a quilt looks like and describe des cribe it. It has tread that ties it all together, together, cut of severa severall different pieces, takes a lot of time and work, is beautiful when its inished etc. We are going to ind a way to all move in our own special way and igure out how we all can connect. 16 counts or more if needed. Are we connected using levels and different body parts to connect? Let’s try it again. (Repeat) Find a way to make the connected shape breathe together. 3 sets of 8 counts Ask students, is it easy to connect? What makes it easy or hard and why? Make Make those changes and Try Try it again. Repeat. Have Have them do the whole dance together with music. CONNECT/ANALYZE Ask: Is it important that we help others? Should everyone have the opportunity to be free, and why? Should we know the history of where we come from and why it’s important? What is your life like and how is it different?

Younger grades 1-2 Music: Follow the Drinking Gourd or music of your choice tempo of a ballad. EXPLORE/INVESTIGATE Have students dance with scarves creating different loor and air pathways using levels (high medium low) creating the secret pathway to freedom that the slaves took. See if they can use the Energy quality of smooth and quiet, sometimes sneaking. 30 counts. Before they begin dancing have them make a beginning shape. After the 30 counts of pathways pathways hit the drum and have them make a new interesting shape. (Hold for 8 counts) Have the girls continue holding their shape while the boys dance through them. Have boys freeze in a shape and girls dance in and out through them (each taking 16 counts). Have all students facing front lift their scarves holding two corners tilting them from side to side stretching with their bodies. 4 counts on each side repeat 3 times. Slide to the right 4 times and to the left 4 slides. Have

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students ind a partner and have one person be the leader and the other the follower and dance creat ing loor pathways (16 counts) inding their way to freedom. Have students ind an interesting way to move showing they found their way to freedom and inish in a creative shape together. CREATE/PERFORM Have students do the whole thing with music a couple of times. CONNECT/ANALYZE Ask students what did they like? Did they learn anything that they didn’t know before? Is it important to know our own family history and culture? Is it part of who we are and why? What is freedom? Who should be free?

Book: The Story of Ruby Bridges by Robert Coles (grades 1-5) EXPLORE/INVESTIGATE We are going to learn le arn how one little girl made a difference in our country. Read book. We are going to make shapes of different characters in our story. Think about what kind of feelings each character has and put that into your shape.

The Mob-- What kind of emotion do they have? (Anger, mad, mean,) Show me your shape representing those feelings. (Twisted, sharp, angular shapes) · The Police— Power, strength (long straight lines with energy) · Ruby Bridges— small, young, strong (lower levels, concentrated energy) Have students memorize the 3 shapes. Practice them, hit the drum and call out shape one the mob, shape 2 the police, 3 Ruby. Ruby. Do this several times until students are clear and use the same shapes. (Also make sure the shapes are on different levels) Explore all the ways the Mob would move (sharp, mean, loud or big with body etc) Explore all the ways the Police would move. Explore all the ways Ruby would move. (Skips, twirling, jumps etc.) Put it all together in a sequential order. order. First make Ruby’s (shape 3) hold for 8 counts, and then have them move 16 counts like Ruby. Ruby. Hit drums call out shape1 the Mob hold for 8 counts then have students move in sharp, punching movement movement 16 counts. Shape 2 the police hold for 8 counts, and then move how a Policeman would move using the whole body (more straight and angular movement) 16 counts and freeze. ·

CREATE/PERFORM Now you can set it up like the story. Have some of your students represent each group. Have the Mob on two sides that Ruby and the Police have to go through to get to the school. Have the students get into their shapes. Have the police close to the mob and group that represents Ruby on the inside. Make sure the Mob doesn’t cross the lines but can move around in the outside space. Have them use the counts and movements that you practiced previous. You can also create it how you would want to have students dance it. For example example maybe you would have the Mob use more axial movement (stays in place) instead of locomotor (moves through space).

Make sure they are clear on how each character moves. Then you can create transitions using locomotor movement (skipping, sliding, hop, jump etc) or stretching for your students to rotate and be able to dance each part. 85

Mob Mob Mob Police Police  

Ruby

------Police--------Police--------Mob

Mob

CONNECT/ANALYZE Can you imagine what it would be like if you weren’t allowed to go to school? Would that be fair? Why or Why not? How would YOU feel if you weren’t allowed to go to school because your eyes were the wrong color, or your hair? How did you feel when you danced each characters part? (Police, Ruby, Mob) What did you like that we did today? Was there anything that you learned about yourself that you didn’t know? Is your life different today because of Ruby Bridges? How did she solve problems? How did she change the history of our country? What things are different today because of her and what she believed? Can one person make a difference? How? CONNECT/ANALYZE (This has 5th grade questions for any lesson used) CONNECT/ANALYZE 5th grade additional questions: What rights and responsibilities are guaranteed in the United States Constitution and Bill of Rights? How have the rights of selected groups (blacks) changed and how does the Constitution relect those changes (e.g. women, enslaved people)?

The Civil Rights Struggle in Modern Times 1954 -- U.S. Supreme Court declares school segregation unconstitutional in Brown v. Board of Education of Topeka ruling. *1955 – Rosa Parks refuses to move to the back of a Montgomery, Alabama, bus as required by city ordinance; boycott follows and bus segregation ordinance is declared unconstitutional. Federal Federal Interstate Commerce Commission bans segregation on interstate trains and buses. massive resistance to Supreme Court desegrega1956 – Coalition of Southern congressmen calls for massive tion rulings. Martin led the Montogomery Bus Boycott. The United States Supreme Court ruled that the laws requiring segregation on buses were unconstitutional. *1957 -- Arkansas Gov. Orval Rubus uses National Guard to block nine black students from attending a Little Rock High School; following a court order, order, President Eisenhower sends in federal troops to ensure compliance. Carolina, 1960 -- Four black college students begin sit-ins at lunch counter of a Greensboro, North Carolina, restaurant where black patrons are not served. Congress approves a watered-down voting rights act after a ilibuster by Southern senators. Washington, D.C., into Southern states. 1961 -- Freedom Rides begin from Washington, *1962 -- President Kennedy sends federal troops to the University of Mississippi to quell riots so that James Meredith, Meredith, the school›s irst black student, can attend. The Supreme Court rules that segregation is unconstitutional in all transportation facilities. The Department of Defense orders full integration integration of military reserve units, the National Guard exexcluded.

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1963--Martin Luther King Jr. Gave his March on Washington “I Have a Dream” speech.  Named Man of the Year by Time magazine. 1963 -- Civil rights leader Medgar Evers is killed by a sniper’s bullet. Race riots prompt modiied martial law in Cambridge, Maryland. Dr. Martin Luther King Jr. delivers “I Have a Dream” speech to hundreds of thousands at the March on Washington. Church bombing in Birmingham, Alabama, leaves four young black girls dead. 1964 -- Congress passes Civil Rights Act declaring discrimination based on race illegal after 75-day long ilibuster. Three civil rights workers disappear in Mississippi after being stopped for speeding; found buried six weeks later later.. Riots in Harlem, Philadelphia. 1964- Martin Luther King Jr. at age 35 became the youngest man to receive the Noble Peace Prize. 1965 -- March from Selma to Montgomery, Alabama, to demand protection for voting rights; two civil rights workers slain earlier in the year in Selma. Malcolm X assassinated. Riot in Watts, Los Angeles. New voting rights act signed. 1966 -- Edward Brooke, R-Massachusetts, elected irst black U.S. senator in 85 years. 1967 -- Riots in Detroit, Newark, New Jersey. Thurgood Marshall irst black to be named to the Supreme Court. Carl Stokes (Cleveland) and Richard G. Hatcher (Gary, Indiana) elected irst black mayors of major U.S. cities. 1968 -- Martin Luther King Jr. assassinated in Memphis, Tennessee; James Earl Ray later convicted and sentenced to 99 years in prison. Poor People›s March on Washington -- planned by King before his death -- goes on. 1973 -- Maynard Jackson (Atlanta), irst black elected mayor of a major Southern U.S. city. 1975 --Voting Rights Act extended. 1978 -- Supreme Court rules that medical school admission programs that set aside positions based on race are unconstitutional (Bakke decision). 1979 -- Shoot-out in Greensboro, North Carolina, leaves ive anti-Klan protesters dead; 12 Klansmen charged with murder. 1983 -- Martin Luther King Jr. federal holiday established.

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Teaching History Through Art:

What Was America Like? (The good old days!)  American Regionalism 5th Grade & Elementary Social Studies, Literacy & Visual Arts Lesson By Joseph Germaine OBJECTIVE Students will demonstrate an understanding of early and middle 20 th century America by studying the work of the American Regionalist painters and writing a short essay on what they think life was like, what was different, what was surprising about people at that time based on the subject matter of the paintings. MATERIALS Reproductions and books of the work of Grant Wood, Thomas Hart Benton, John Steuart Curry, and perhaps Edward Edward Hopper (a few are included on the CD). There are some other artists from the Utah collection that can be used such as Calvin Fletcher. Fletcher. PROCESS: The learning thrust of this lesson is to study the work of American artist who painted works that depict “Life in America” and to help students develop an appreciation for what life was like in early 20 th century America. Paintings can be a valuable window into the history history of the past. This lesson can either have a broad range of times and places or in this case a much narrower view. We want to know what it was like to live in America in the 1920’s and 1930’s. This era includes post World War I, the Roaring 20’s, the Stock Market Crash of 1929, the Great Depression, the Dust Bowl and the beginning of the move to Urbanization. This is a lively and dramatic period in American history and Grant Wood, The Birthplace of Herbert Hoover, West we are lucky to still have a few survivors of Branch, Iowa (1931), Public Domain the era with us. We will will focus on the work of hp://commons.wikimedia.org/wiki/File:Grant_Wood_Birthplace_of_ the three première Regionalists, Grant Wood, Herbert_Hoover_MIA_81105.jpg 1891-1942, Thomas Hart Benton, 18891975, and John Steuart Curry, Curry, 1897-1946. All three of these artists worked a lot in the rural, American Mid Western Western life genre. This is the American History we want to focus on.

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Regionalism not only depicted rural American life but had a strong inluence on what it actually was and how we all thought about it by championing an emerging “American “American value system.” These types of images were popular in periodicals and advertisements of the day. day. The regionalists were often called American Scene Painters. Even children’s books illustrations illustratio ns were inluence inluenced d and they frequently turned their attention to the rural life as America’s America’s cultural backbone. The basic concept of the Regionalist movement was was that it was “the people’s art” and anyone could be depicted doing any normal everyday activity. activity. Check out Holling Clancy Holling, author and illustrator of Paddle to the Sea, 1942 and many more. Do you think the culture was inluenced by the art or was the art inluenced by the culture? The answer answer is YES! YES!

Covers of Paddle-to-the-Sea by Holling Clancy Holling and Blueberries for Sal by Robert McCloskey Both are images of book covers and are used here to illustrate the idea being discussed. hp://en.wikipedia.org/wiki/File:PaddleToTheSea.jpg hp://upload.wikimedia.org/wikipedia hp://upload. wikimedia.org/wikipedia/en/2/21/ /en/2/21/Blueberries_f Blueberries_for_Sal.jpg or_Sal.jpg

Using posters and prints, divide students into small discussion groups and let them choose which images to use for discussion. We usually focus on the 1920’s and 1930’s. The time focus can can be broader or narrower depending on the part of the History and Social Studies Curriculum you are working on. For the Regionalists lesson lesso n we can focus on the work of Wood, Benton and Curry. Curry. There are other artists who it somewhat into this category of recording American Life during the early 20 th Century. Try the early work of Maynard Dixon, The Forgotten Man, 1934 or Dorothea Lange, Migrant Mother , 1936. Some other related artists that would work for this project are some of the genre type paintings of Edward Edwar d Hopper 1882-1967, George Bellows 1882-1925 and of course, Norman Rockwell 1894-1978. Even Mahonri Young Young painted and sculpted images of social reality. Have students choose several images of one artist. Let them discuss what this artist had to say in his paintings about what it was like to live in the “good old days.” days.” Also address, “how good it was or wasn’t in the ‘good old days.” days.” After a brief discussion about “compare and contrast, contrast,”” have students write down what they observed in the artwork that relates to “real life.” Here are some questions for looking: >What were the homes like? What is similar and what is different? >What are the modes of transporta transportation? tion? Are Are they the same today? >What did the clothes look like? Would they look ok today? Would Would you wear them to school? 90

>What does the rural landscape look like? Can you still see this open kind of country today? Where? >What inventions do you think changed how we live? >Research to ind out when these inventions were made. >What T.V .V.. shows do you think people watched? >What books do you think they were reading? The point here is to compare and contrast our lives today in our homes and communities with the lives of people in the mid 20 th century in their homes and communities as seen in the various artworks of the Regionalists. Regionalists. What was was similar and what was different? different? How do you you feel about about it? Why are are thing different or the same? Writing examples examples from the “Good Old Days” project.  Arbor Day  by  by Grant Wood

In “Arbor Day” by Grant Wood it is a painting of school kids planting trees for Arbor Day. We did it too. The difference is how how the school looks. In the picture it is a little wooden building with one big room. My school has many classrooms and is a large building. There is a kid  pumping water for the tree and we have faucets and hoses. I guess they didn’t have water inside their school either. The worst thing in this picture is the little white building behind the schoolhouse. Mr. Germaine said it was called a outhouse outhouse or a privy. It was the bathroom. It sounds really bad to me and I’m I’m positive I would wait until I got home. The kids all look barefoot but we have shoe rules even when it is hot. The clothes look different too. Way back in the back is a farmer plowing a eld with a horse and in the very front is a man in a wagon with horses. Now we got tractors and cars. I am glad I live now but it looks sorta like fun to live in the olden days. I am glad I don’t have to be in the same classroom with with my little brother. That would really suck. By Kylie, 6th grade. The History of Country Music by Thomas Hart Benton

I like this picture picture cause I love country music. It is all about country music. There are people singing and dancing and playing all kinds of instruments. We play the same instruments today but I’m not sure the music sounds sounds the same. It was  probably old time music back then. There are ddles and guitars and banjos. There is a instrument in the front that I don’t know. Teacher said it is a dulcimer. Everybody is dressed different from us. The ladies have on funny hats hats like pioneers. They don’t wear bonnet hats hats today. The train has smoke and way in the back is a steamboat with smoke. We don’t don’t have those today. today. We still got boats boats and trains but they are much better cause they are new. I like this picture picture cause it’s like I can hear it. it. By Dallin, 4th grade Image: Iowa Quarter, Reverse Side 2004 Image based on Grant Wood’s Arbor Day  Public Domain hp://com hp://commons.w mons.wikimedia.org/wiki/File:Iowa_qu ikimedia.org/wiki/File:Iowa_quarter arter,_reverse_side,_2004. ,_reverse_side,_2004.jpg jpg

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Tornado Over Kansas by John Steuart Curry

It looks like a farm. There are too many animals. They don’t have shoes. I have shoes. I only have a dog. There is a toy wagon in front. I like it. I don’t even have a wagon. And there is a tornado coming but we don’t get tornados now. By Bryant, 4th grade  American Gothic by Grant Wood

I don’t like this picture too much. It is about olden times but it looks just like my Grandma and Grandpa do but they are older. older. My Grandpa wears overalls and is baldheaded too and my Grandma combs her hair the same and they don’t like to smile too much. I don’t think nothing much changes. Olden stuff stuff is just old. By Reese, 3rd grade. This writing was submitted by by the students and then entered into the computer. computer. Some of the spelling and grammar errors errors are intact but most of the spelling errors have been corrected. I tend to let the students’ writing stand as is.

Students hold their chosen images for wring “ In The Good Old Days” Le to right, Carrie holding  Arbor Day  by  by John Steuart Curry, Kalani holdhold ing The Wreck of Old 79, by Thomas Hart Benton, Josh holding Iowa’s Product  by  by Grant Wood.

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EXTENSIONS and VARIATIONS: VARIATIONS: For a different writing project, have students describe what it might have been like on a speciic day and what they might ind themselves doing and what they were doing it with. Have students name the day and place and what they were doing. The more speciic the day and activity is, the easier it will be to describe. Read to each other in the discussion group and have fellow students evaluate. Have students create an original work of art that depicts the activities of the day they were writing writing about. Any medium medium will work. I like to use watercolor for this project, but use what ever you feeling comfortable with and have the resources to provide. For this kind of writing project I usually have students work from Calvin Fletcher’s 1929 painting Wash Day in Brigham City .

REMEMBER: History is not what happened in the past but what was recorded about the past and MUSIC, DANCE, DRAMA and VISUAL ART are legitimate ways of recording something about what what happened in the past. past. Oh Yeah! Everything is in the past because whatever you think is happening now is immediately the past the moment you think of it.

Rosie, 6th grade, holding an image of Wash Day in Brigham City , 1929 by Calvin Fletcher

The obvious way to extend this lesson is to have students take one of the Regionalists’ works works and translate it visually into today’s environment using current clothes and homes and technology and tools and inventions inventions and living conditions. Pen and ink with watercolor watercolor is a good illustrative medium. Another natural is to use the work of Norman Rockwell to learn about life in the early to mid 20 th century.. To extend this idea into other arts genre, students can write songs, choreograph dances or create tury dramatic interpretations interpretations of these genre paintings. Use the music of Woody Guthrie or Aaron Copeland’s music such as “Billy The Kid,” “Appalachian Spring,” “Rodeo” and “Fanfare for the Common Man.” Try using the photographic work of Dorothea Lange, Migrant Mother, 1936  from the Great Depression and perhaps Maynard Dixon’s social commentary work, The Forgotten Man, 1934. Try using Edward Hopper’s “urban landscapes. landscapes.”” Winslow Homer is a great hit among my elementary students. Of course we should not overlook the work of Utah’s own regionalist genre painters such as George M. Ottinger’s, Self-Portrait as Fire Chief,  1877, James T. Harwood’s Harvest Time in France, 1890, most of C.C.A Christensen’s work, Calvin Fletcher’s Washday in Brigham City , 1929, Irene Fletcher’s Cache Valley Innocence, LaConte Stewart’s, Private Car , 1937, Carlos Andreson’s work, and many more. One of our fav favorite orite ways to learn history from art is to look through bound copies of old magazines like Life, Look, Times, National Geographic and so on. 93

Don’t forget forget that all of this can be done in other culture such as Europe, Latin America and Asia. We have used the grand tradition in Japanese Woodblock Woodblock Prints to see what life was like in the mid 17 th and 20th centuries. The ukiyo-e (pictures of the loating world) is a genre of woodblock prints or woodcuts of extreme skill and beauty that depicts much of real life and drama. We use this to understand “life in Japan” while while we create our own collagraphic prints based on ukiyo-e. ukiyo-e. Japanese history is hard for Westerners to grasp but the visuals tell an understandable story. RESOURCES: “Utah Art” by Swanson, Olpin and Seifrit, 1991 “Artist in Overalls, The Life of Grant Wood” by John Duggleby “Thomas Hart Benton: A Life” by Justin Wolff, 2012 “Renegade Regionalists: Regionalists: The Modern Independence of Grant Wood, Thomas Hart Benton, and John Steuart Curry” by James M. Dennis, 1998 “Thomas Hart Benton: Drawing from Life” by Henry Adams, 1993 “John Steuart Curry: Inventing the Middle West” by Patricia Junker, Charles C., Thomas Hart Benton, 1998 “The Regionalists”, by Julia Williams, 1976

DVD’s “Who’s The Artist? Painters of the American Scene” by Crystal Productions “Dropping In On Grant Wood” by Crystal Video Websites: Arthistory.about.com/od/from_e Arthistory .about.com/od/from_exhibitions/ig/a xhibitions/ig/americanev mericanevolution/ olution/ This is a terriic website from the Corcoran Gallery’s collection of American art. The exhibition is titled The American Evolution: A History through through Art. There are over 200 images dating back to colonial times. This is were we get many many of the images we use in this lesson. http://smofa.org/collections/index.html

I know this may be self-promoting but you should really check out the Springville Art Museum’s collection. This website is well organized and easy to navigate navigate and a must, especially for studying studying Utah History. I use images from this site nearly everyday in my Element Elementary ary classroom classroom.. Check it out!

Irene Fletcher, Laid Of, and Cache Valley Innocence From Plowing Carlos Andreson, A Break From

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Teaching History Through Art:

A Chronological History of Utah Art  Elementary Social Studies & Visual Art Lesson OBJECTIVE Students will demonstrate a chronological understanding and appreciation of Utah history as recorded in the art and artifacts of the past by organizing postcard-size postcard-size images of Utah art and artifacts in chronological order and trying to glimpse the “Nature of the Times” as recorded in the artwork. MATERIALS Use the postcards from Springville Art Museum and put them in chronological order. order. PROCESS This is a simple and accessible lesson that does not take a long time but can have powerful learning results. I irst started doing this when Bob Nickelson Nickelson printed up the postcards postcards from the Springville Museum of Art’s collection. collection. Please get a set. I was not sure sure what to to do with them until I had a group of very quick fourth graders on an inside rainy day. day. We played “concentration” “concentratio n” and “organized the 4 motifs of landscape, portrait, still life and design. It worked and really really occupied their minds for the lunch hour. There are also some great sets of posters with lessons and history on the back that are available through the Museum. Before you get started, remind your students that this is only the history of Utah since the pioneers came in 1847. See the extensions lesson on the “Native” “Native” population of Utah, Utah, prepioneer settlement.

Here is a way to use these postcard images to learn history. There are several sets of cards. Edit through so you can use about 9 or 10 that ill in a decent time line of artworks. Too many images will frustrate the younger students but with 5 th and 6th graders, the more the merrier. merrier. Let the students know that just looking at subject matter isn’t enough because some very recent artists have painted pictures of pioneers pioneers and Indians. Indians. Remind the students to to look for stylistic stylistic clues to the dates. dates. If students are struggling, try adding titles and artist’s names to their available information before before they turn the postcards over. over. After the students have discussed the order and lined them up, without your interference, interferen ce, let them turn the cards over and check out the dates and then line them up again. Have them discuss what changed in their order, what didn’t, and maybe why why.. This is a game. It should be fun and maybe maybe a little noisy. noisy. Like all games, games, it should be repeated often. After a few times most students will know and and remember the sequence. Mess with them by by adding new or different images. images. I th have some 6  grade students who can rattle off about 50 titles and artists and approximate approximate dates. Can you? Maybe you should play play this game with with them. It is good to model learning learning to your your students. It is amazing what one can learn from play. postcards come from The Springville Springville Art Museum. Museum. The BYU Museum of Art also RESOURCES: The postcards has a packet. Many museums have have a collection of postcard postcard size images to use. I have found found that many 95

art institutions will send some images free of charge if you only ask. Don’t be afraid afraid to make your own more speciic packets to help students learn history by studying art. Nearly everything we know about our ancient past is the Art that our progenitors produced going clear back to cave paintings. VARIATIONS and EXTENSIONS Try having having the students line up the cards by by birth date of the artists. It changes the order a lot. Try to ind other ways ways of organizing and categorizing the images. I have also augmented the Springville cards by cutting up a copy of “Utah Art” to make more postcards. One of my families donated a tattered copy of the book, and I already had two in my classroom so we cut it up to make usable images to study from and to play the “Chronology “Chronolo gy Game.” I know that to many teachers teachers,, cutting up a book may sound horriic, horriic , so please forgive me. My only excuse excuse is that “small human minds were calling”. calling”.

Another way to use this idea is to make a set of postcard images of Native American artifacts artifacts from the Utah region. Some of the cultures you may want to research are are the Paleo-Indian, 12000 years ago, Archaic Peoples, Fremont Culture, Basket Makers (early Anasazi), Anasazi, Shoshone, Goshute, Ute and Navajo. Nav ajo. There are are others. Many images can be legally downloaded downloaded from the Internet. Internet. Be carful. I have made replica artifacts for the Museum of Peoples and Cultures at BYU and have made other replica artifacts and use photographs photographs of these items to avoid copyright issues. If you are interested, contact me at Shelley Elementary in American Fork. Photography chronology chronolog y is a terriic way way to teach history. history. I have taught photography to my students for years and we have accrued a large number of historical photographs of Utah, (my students just love Elie Anderson) the United States and of other regions of the world, especially especially the South Paciic and Hawaii.i. I feel good about using old books from D.I to cut out examples and to make postcard- size imHawai ages. I don’t believe there is any any copyright infringement infringement doing this.

With a little imagination you will come up with your own way to use artistic statements and artifacts to teach your students history. history. The visual image is a powerful memory device.

Danika (4th), Briney (4th), Cheyenne (6th), Laila (6th) studying the postcard images to determine the chronological chronologi cal order order.. The point here is to get stustu dents to “really” look at the images for subject maer and stylisc details and clues to learn from each other in a collaborave way way..

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It took this very talented group, group, st along with Clayton (1 ) over 40 minminutes to agree on the order of the images. I helped by taking taking all of the gure sculptures sculptures out. Because the the sculptures are mostly of historical gures it is confusing as to when they were created. We decided to do this again with sculptures only but the sculpture cards took in the whole history of mankind starng with the Lion Man, from the Hohlenstein-St Hohlenstein-Stadel adel Caves in Germany about 30,000 BC. We are constantly updang the sculpture project which currently ends with Antony Gormley’s Iron Man, 2005 and Anish Kapoor’s, Turning the World Upside Down , 2010.

Now they turn the cards over to see the accurate dates. There are 20 images to organize and they only had 7 in the right place although many were adjacent to the right images but in the wrong overall chronology. There was a lot of discussion, laughter and “Oh Wows” going on. This is an interesng spectator sport. It is also called “learning.” Remember: One cannot learn what one already knows and frequently the “Joy of Learning” can be noisy.

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This is the nished order of the cards. It only took 5 minutes to arrange arrange them once they had the correct correct dates. The students were encouraged to look carefully at the order. order. By the end of this project I noced that these students were were using tle names and arst names to idenfy the images. This was self-taught self-taught and not necessarily part of the objecve of this lesson. lesson. We all seem to be able to learn easily what we think  we  we need to know. know. The next day they tried it again and got 17 out of 20 without looking at the dates and it only took 7 or 8 minutes. On the third try they got them all correct in just under under 5 minutes without seeing the dates.

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Teaching History Through Art  American Folk Music as Historical Insight  Elementary Music, Social Studies, and Visual Arts Lesson By Joseph Germaine OBJECTIVES Students will demonstrate an understanding of “folk music” and traditional songs as a window into the historical past by learning to sing a traditional folk song, rewriting their own lyrics, and illustrating the song. MATERIALS Some common traditional tunes and lyrics in the form of CD’s, DVD’s or sheet music writing materials and whatever art supplies necessary for the illustration. (I usually have the students do pen and ink drawings with black ballpoint and use colored pencils if color is needed.) We also use the Internet extensively as well as our school library for research research purposes. We also use the Orem Audio Library’s Library’s extensive extensive collection of folk music.

BACKGROUND: Folk music includes both traditional music and the genre that evolv evolved ed from it during the 20th century folk music revival. revival. The term originated originated in the 19 th century but is often applied applied to music that is older. older. Some types of folk music are also called called “world music.” music.” Wikipedia suggests that traditional folk music is music transmitted by mouth, music of the lower class or common people, and as music with with unknown composers. composers. For our our elementary grades purposes we will deine folk music as “music that tells a story about history.” The irst step, of course, is to be exposed to and learn some simple and familiar familiar folk songs. Here is a list of some obvious traditional traditional songs that might be considered folk songs: All The Pretty Horses The Ants Go Marching The Bear Went Over The Mountain B-I-N-G-O Bicycle Built For Two My Darling Clementine Do Your Ears Hang Low This is Sophia’s illustraon of “Dem Bones.” Home On The Range Sophia is in the rst grade.

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I’ve Been Working On The Railroad Lavender Blue Dilly Dilly Little Liza Jane Dem Bones Down in the Valley The Erie Canal For He’s a Jolly Good Fellow Michael Row The Boat Ashore My Bonnie Lies Over The Ocean Oh Susannah, by Stephen Foster Polly Wally Doodle Red River Valley Row, Row, Row Your Boat  She’ll Be Coming Around The Mountain Skip To My Lou Buffalo Gals Cockles and Mussels When Johnny Comes Marching Home Yankee Doodle Dandy Of course there are hundreds more, and you should choose the ones that you are familiar with and comfortable with so you can teach them to your “Oh Susannah” (banjo on my knee) students. I accompany accompany the singing with with ukulele but by Laila, 6th grade any instrument instrument will do. I use the Uke instead instead of the piano because it is easier to maintain eye contact with my students and with very young students, eye contact is an essential part of the relationship. To make this a history-oriented lesson it is important to share some of the history of the music and some historical color commentary of the time and theme of the song to help students illustrate the song later.

PROCESS After students have sung several of the songs enough to remember them (it won’t take long) it is time to illustrate the folksong. If some historical background background is available and some discussion about what the song means it becomes very easy for the students to imagine a picture for the lyrics. I have the students irst do the illustration illustratio n in pen and ink. If they think that color would make the illustration better, then we have have colored pencils to use for that. It can also be a watercolor watercolor project. If you want want students to watercolor make sure you give them a heavier gauge paper like a 60 weight sulphite white. CRITERIA—ASSESSMENT If you keep the work as a pen and ink project, make sure the students are given the criteria of using black and white and three shades of gray all done with a black ballpoint. ballpoint. If it is a watercolor project, make sure they know know to mix colors to get their own. If it is to be a colored pencil project, project, make sure the students use the “Neat” coloring strategy of short strokes, all going the same direction, slowly and carefully covering all the white paper, not rubbing your hand over the place you just colored, and mixing colors together to get your own.

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“Skip To My Lou, “ by James, 4th grade

When the students have completed their illustration illustrat ion it is time to rewrite the lyrics. Have them irst sing the song (especially the rhythm and cadence) to your version, and then have them create their own words. For most students students this is dificult because because they want want to do it all at once. So have them them irst think of “subject matter” for their song like pets, someplace they have been, something they like to do or eat or wear… wear… Make sure they they start with a theme and the rest will fall fall into place. Help with rhyming, especially with young young students. Help by proofreading proofreading to make sure sure the rhythm and beat work. work. Do not “red-pencil” “red-pencil” the work. work. That is a kind of grafiti. grafiti. Coach the students by by asking pointed pointed questions instead of telling them how to ix it. We want student ownership to be prominent.

This is a short and simple lesson to present. present. The work comes in the research. research. Make sure you you have done your research, so you can guide your students with theirs. Books, CD’s, and Movies are great sources of history about somewhat obscure topics. American folk music is a powerful and unacknowlunacknowledged folk literature. It is, in fact, a powerful expressive culture that relects and dramatizes the same kinds of themes found in formal American literature: literature: personal empowerment, freedom within a social structure, preserving tradition within a protean world, maintaining values, and inding strategies for seeking justice. Be assured that American folk folk music constitutes an important important if much neglected chapter in American culture, and that its themes and concerns often overlap with those of the more formal culture. Instead of writing books and plays, plays, the artists of the folk music tradition craft songs and ballads, hymns and protests. Their art has generally been oral, oral, passed on by word of mouth, or by custom and imitation. One must remember that at the time most of what what we think of as folk music music was created by the average, common person who was illiterate. Singing and story telling was their literature. EXAMPLES: Here are some examples of what we have done in my class: Bicycle Built For Two: This song was originally originally titled “Daisy Belle.” It was written by Harry Dacre Dacre and published in 1892. Dacre was an English composer who who immigrated to the United States. He brought his bicycle with him to America and was was charged a duty fee. A friend suggested that if it had been a bicycle bicycle for two he

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would have been charged charged twice as much. Dacre was taken taken with the phrase, “Bicycle Built for Two” Two” and soon used it in a song. The song was irst performed performed in London but soon became a popular song in America. It was irst published in 1892 and soon became a national hit. In those days days before records, radio or T.V T.V.. a song became popular because of the printed printe d sheet music. A point of interest is that the earliest patent for a tandem (fore to aft) bicycle built for two was not until 1898 by Danish inventor inventor Mikael Pedersen. Pedersen. This only happened happened after the song became popular. popular. Pedersen also invented invented a “side by side” bicycle called a “sociable.” In 1961 this song became the irst song so ng ever sung by a computer. computer. It was also used in the 1968 ilm “2001: Space Odyssey” and creepily sung by a mentally deteriorating computer named HAL 9000. Every song has a story. This is called HISTROY!

Lyrics: The lyrics that most of us are familiar with are actually actually the chorus to the original. Daisy, Daisy, give me your answer, do… I’m half crazy all for the love of you. It won’t be a stylish marriage, I can’t afford a carriage, But you’ll look sweet upon the seat. Of a bicycle built for two. New lyrics by Milton, 3 rd grade ICECREAM IS WHAT WE WANT 

We like ice cream Give us a bowl today If you can’t do it  You better just go away We need to eat some right now We need to eat it some how But when we’re through We’re telling you It really did taste like WOW! I’m not really sure what “like wow” means but I am assured that older High School sisters use it constantly. I believe it is considered “retro.”

“The Lion Sleeps Tonight”, by Mia, 1st grade

Oh, My Darling, Clementine: “Oh, My Darling, Clementine” is an American western folk ballad usually credited to Percy Montrose Montrose (1884). The song is believed to have been based on another earlier song called “Down by the River Liv’d a Maiden” by H. S. Thompson (1863). (1863 ). The melody is probably derived form an old Mexican love ballad popular during the California gold rush in 1849.

While the song starts out as a romantic ballad sung by a bereaved bereaved lover it rapidly deteriorates into a tongue-in-cheek tongue-incheek parody. parody. For example, example, in the second verse we learn that Clementine’s feet are so big that she has to wear boxesalso her feet were so big that she died from a splinter in her toe that caused 102

her to fall fall down and drown. Not exactly the stuff of a love song. Finally, the lover forgets Clementine after one kiss from her “little sister sis ter..” The exact setting for this song is a bit nebulous but is probably set during the California gold rush. Lyrics: In a cavern, in a canyon, Excavating for a mine Dwelt a miner forty niner, And his daughter Clementine Chorus Oh my darling, oh my darling, Oh my darling, Clementine! Thou art lost and gone forever Dreadful sorry, Clementine Light she was and like a fairy, And her shoes were number nine Herring boxes, without topses, Sandals were for Clementine. Chorus

Drove she ducklings to the water Drove Ev’ry morning just at nine, Hit her foot against a splinter, Fell into the foaming brine. Chorus Ruby lips about the water, Blowing bubbles, soft and ine, But, alas, I was not swimmer, So I lost my Clementine. Chorus How I missed her! How I missed her, How I missed my Clementine, But I kissed her little sister, I forgot my clementine.

This is a good starter for studying about the westward movement movement and the California gold rush. There are many other verses verses that have been sung and published for this song. Some are not appropriappropriate for young students. New Lyrics by Abe, 5 th grade. Oh! A Black Cat In My Path

I was walking down the sidewalk  When a black cat crossed my path It really scared me so I kicked it  And my brother started to laugh

My brother cried and told my Mommy I was really scared by now I tried to ix it but I couldn’t  Just because I didn’t know how

I was sorry for the kitty So I kicked my brother too Then I igured out the problem I was wearing just one shoe

If you’re ever on the sidewalk  And a big black cat walks by Turn around and walk away And by now you should know why

This was a somewhat collaborati collaborative ve effort with a couple of pals. They wouldn’t let me see all of the verses and I didn’t really want to.

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Yankee Doodle: The origins of “Yankee Doodle” date back to the Seven Years’ Years’ War, War, (1754-1763). (1754-17 63). In North America it was known as the French French and Indian War. War. Later it was sung as a patriotic American Amer ican song and today it is the state anthem of Connecticut. Yankee Doodle is a pre-Revolutionary pre-Revolutionary War War song originally sung by British military oficers to mock the disheveled and disorganized colonial “Yankees” with whom they had served during the French and Indian War. War. It is believed that the tune originally original ly came from a British nursery rhyme, Lucy Locket . One version of the Yankee Yankee Doodle lyrics is generally generally attributed to Doctor Richard Shuckburgh, a British Army surgeon.

As a term, Doodle irst appeared in the early seventeenth century, and is thought to derive from Low German dudel or dodel, meaning fool or “simpleton.” “simpleton.” The Macaroni wig was was an extreme fashion in the 1770’s and became contemporary slang slang for foppishness. Macaroni, in mid-18th century England, was a fashionable fellow who dressed and even spoke in outlandishly affected and epicene manner. manner. The term pejoratively referred to a man who “exceeded the ordinary bounds of fashion”. fashion”. This pseudo-fashpseudo-fas hionable was also associated with the great-vowel-shift in London in the mid-1700s, which has given rise to what Americans think of as a British accent. The “Macaronis” were were precursors to the “dandies”.. The macaroni is also Italian type dumpling pasta associated dies” associated with the “ill-breed” and regarded as “coarse peasant fare”. fare”. The implication implicatio n here is that the Yankees Yankees were so unsophisticated that they thought that sticking a feather in a cap would make them the height of fashion. By the end of the Revolutionary War War the Colonial Soldiers had adopted it as a comic marching song, which of course defused its anti-colonial propaganda propaganda intensions. intensions. There is a good lesson in there about how to overcome bullying slander. There are some terriic paintings that could accompany this song. Try “The Spirit of ‘76” by Archibald MacNeal Willard, circa 1875. (on the CD, and on the next page, upper right)

The history of words, their pronunciation pronunciation and meaning and evolution is called Etymology. Etymology. The study of language is called Linguistics and Literacy is the study of reading and writing and Orthography is the study and use of standardized systems for using writing symbols. You can see that there are many kinds of historical research that does not focus on politics and war. war. Lyrics: The earliest known version of the lyrics comes from 1755. Before it was was “Yankee “Yankee Doodle,” it was “Brother Ephraim,” Ephraim,” probably Colonial Ephraim Williams of the Massachusetts Colonial Militia Brother Ephraim sold his Cow And bought him a commission; And then he went to Canada To ight for the Nation; But when Ephraim he came home He proved an arrant coward, He wouldn’t ight the Frenchmen there For fear of being devour’d (Note that the sheet music, which accompanies these lyrics, reads, “The Words to be Sung through the Nose, & in the West Country drawl & dialect.”) There are many versions and a long list of verses but here is today’s version. 104

YANKEE DOODLE

Yankee Doodle went to town A-riding on a pony, Stuck a feather in his cap And called it macaroni. Chorus: Yankee doodle keep it up, Yankee doodle do odle dandy dandy,, Mind the music and the step, And with the girls be handy. Fath’r and I went down to camp, Along with Captain Gooding, And there we saw the men and boys As thick as hasty pudding. Chorus:

Hasty pudding was a popular poor person’s person’s food in both England and America. It was made of boiled milk and grain: grain: wheat or oats or corn. It was thick and sticky but but it worked. My grandmother called called it Lumpy Dick. Dick. It was a Mormon Pioneer staple. staple.

New Lyrics: I taught Yankee Yankee Doodle to my irst graders. I was surprised that no one knew this song although some thought it was familiar but couldn’t couldn’t remember any lyrics. After singing it 5 or 6 times they all pretty well knew the words and for sure knew the melody. melody. Kindergarteners and irst irs t graders have a very hard time with rhyme because they don’t don’t understand syllables. We write songs by using alliteration . That is, we list on the board all of the words we can think of that start with the same sound; in this case, the “Y” sound. We then edit through them to ind words and syllables that it the rhythm and cadence of the tune. These songs don’t make any any sense, but we have learned something sensible from the nonsense. YUCKY YODLE

Yucky Yodel You Yo-Yo Yellow Years You’re Yawning Yahoo Yesterday Yard Yam Eucalyptus Yogurt  O.K. eucalyptus doesn’t start with a Y but it does have a Y sound and it its and this is ART! When we sing the new lyrics the students are so excited, but I have had concerned parents call to know why we were were “perverting” patriotic songs. They were not calmed by my explanation explanation that the original song was a put down to patriotic Americans, and the song the kids created was not related to either the original Yankee Yankee Doodle or the drinking song melody that the verse was based on.

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When Johnny Comes Marching Home

The lyrics to “When Johnny Comes Marching Home” were written by an Irish-American band leader, Patrick Gilmore, during the American Civil War. The irst sheet music publication was in 1863 and was credited to Louis Lambert. Lambert was actually actually Gilmore but published under a pseudonym probably probably because Irish immigrants immigrants were not very popular in the United States at the time. Gilmore is said to have written the song for his sister who was engaged to a young Army oficer. oficer. There is some specu lation that the tune was originally an Army Army drinking song, “Jonny Fill Up The Bowl.” Bowl.” “When Johnny Comes Marching Home” was immensely immensely popular in both the North and the South during the war. war. It was also very popular in England and has been revived many times as new wars are fought and young soldiers soldie rs march away away. The children’s song, “The “Th e Ants Go Marching Two By Two” Two” was written to the same melody. Lyrics: The original lyrics lyrics written by Gilmore Gilmore are: When Johnny comes marching home again Hurrah! Hurrah! We’ll give him a hearty welcome then Hurrah! Hurrah! The men will cheer and the boys will shout  The ladies they will turn out  And we’ll all feel gay When Johnny comes marching home. The old church bell will peal with joy Hurrah! Hurrah! To welcome home our darling boy, Hurrah! Hurrah! The village lads and lassies say With roses they will strew the way, And we’ll all feel gay When Johnny comes marching home. (The song was originally published with two more verses.) words to Abraham Lincoln’s Lincoln’s New Lyrics: Here are some new lyrics written by a sixth grader using the words Gettysburg Address. Four score and seven years ago, hurrah hurrah Our fathers made something new and then, hurrah hurrah A new nation in liberty And dedicated to equality They all gave their lives so our nation might survive Any nation so conceived, hurrah hurrah And dedicated can long endure, hurrah hurrah They gave their lives so we could live Those brave men living and dead They all gave their lives so our nation might survive 106

The whole world will little note, hurrah hurrah Or long remember what we say, hurrah hurrah But we’ll never forget what they did here It’s for the living to inish the work  For they who fought here have so nobly advanced It is for us to be dedicated, hurrah hurrah To this great task remaining for us, hurrah hurrah That government of the people By the people and for the people Shall never perish from upon the earth

 “I wrote these words to Johnny Came Marching Home but I used the words to the Gettysburg Address by Lincoln. They didn’t exactly match up and I had to add some extra syllables to make it work. I don’t think President Lincoln will mind. Mr. Germaine gave me a book of famous speeches and I took it home and worked on it all weekend. I got a little help from my sister but it is mostly mine. Our Dad was in Afghanistan and when I read the speech and sang the old song it made me think of him. When I showed it to him he cried a little. By Jared, 6th  grade

Avard Tennyson Fairbanks, Portrait Bust of Abraham Lincoln  (1963) SMA Collecon

This is a little long for a short lesson outline, but I wanted wanted to share this beautiful beautiful story with you. What we do as art teacher really does matter. matter. Jason is a gifted young student who can draw amazing pictures with words. We need it all.

RESOURCES Teaching American History With Favorite Folk Songs,  by Tracey Tracey West. West. This book includes a CD and song sheets.  A Folk Song History of America, by Samuel L. Forcucci. Forcucci. This book is a little deep for most Elementary students but is great for teachers to develop a little background to teach from. Folk Song Style and Culture, by Alan Lomax. This book is written by the most important folk music archivist in America and is chuck full of interesting tid bits about things we think we know but don’t. Patriotic Music Companion Fact Fact Book: The Chronological History of Our Favorite Favorite Traditional  American  American Folk Songs. A great resource resource but pretty pretty intense. Life Flows On in Endless Song: Folk Songs and American History  (Music  (Music in America series) by Robert V. Wells. This is a beautiful book with a gentle sentiment about American American music.

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DVD: Classic American Folk Music Films DVD: 1940’s-1950’s Historic Folk life, Folksongs, Folk Dance, and Historical Films featuring Pete Seeger playing the banjo , 2006. If you are are not already a fan of Pete Pete Seeger,, this DVD will make Seeger make you one. I use it a lot. WEBSITES interesting fact sites. www.sqidoo.com>Music>Music Genres>Folk This site is thick and leads to other interesting primarily an an extensive extensive list of popular popular songs in America America by www.contemplator.com/ america / This site is primarily date, subject matter and style. lore.net/folk lore/2010/10/ lore/2010/10/american_folksongs .html This is a great great site for lyrics lyrics of americanfolk lore.net/ many folksongs and stories for children. Also try Wikipedia.com EXTENSIONS Remember that HISTORY HISTORY is not what happened in the past but rather it is what was recorded about what happened in the past. Songs are a historical record as are are paintings and drawings drawings and writings. Not all history history is old. History happens happens the moment moment one records records it. It is the moment moment after NOW! The past is all around us. It does not disappear or go away away.. Sometimes we are unaware unaware of it, but that of course is a choice we make. It is still there to be discovered. discovered.

Here are some of the many variations variations and extensions to this folk music lesson: Try to broaden broaden the scope of the lesson to include World Music folk traditions. In third-world countries countries where literacy is not universal, the singing and story-tellin story-telling g tradition is the cultural glue that holds the culture together. together. The Mexican culture has an amazingly large body of folk music that tells the story of their development as a cultural and national identity identit y. Many “American” “American” folk song catalogues include includ e familiar Mexican songs. Most of us know “La Bamba, Bamba,” Cielito Lindo, La Cucaracha, Cucaracha, or Besame Mucho. I have many many Spanish-speaking Spanish-speak ing students in my art classes and using traditional music in their language is alwa always ys a big hit. Don’t forget Irish and British folk songs, Italian Italian and German, Native Native American, Caribbean, Asian, and Paciic Islander songs: all reveal insight into the culture and histories. Instead of illustrating the folk songs in this lesson, we can create dances that illustrate the story in the folk song. I am aware that most of you have have the same performance anxiety that I have about dancing, dancing, but I promise you that dancing a little ditty that “illuminates” the words to “She’ll Be Coming ‘Round The Mountain,” or “Yankee Doodle” will open learning vistas for you and your students that you cannot get to in any other ways. To make a dance project from a folk song, it is pretty prett y important for you as the “learning facilitator” facilitator” to irst demonstrate. It is ok to work within the range of your current limitations, but it is not ok to abdicate. One only gets good at dancing by by dancing. Solo dances are great, but group group choreographed choreograp hed dances rock (no pun intended). Get the students together in groups and have them create dance steps to dramatize dramatize the story in the song. Freefor Freeform m and free association of body movement to a song is also a powerful learning learni ng activity. The more parts of your brain you you use to learn an idea the easier it is to retrieve the information when you need to use it. This is all true for Dramatic presentation presentation of folk song content also. My older students can improvise a dramatic scenario scenario to one of these songs at the drop of a hat. Once the more bashful and retiring retiring students see their learning colleagues risking it to make a dramatic point and have some fun, the easier it is to get them all out of their protective protective shell and into the “expressive” world that we are supposed to be introducing and making available. One of our tried and true upper grades (5 th & 6th) homework assignments is to research the oldest (whatever we are studying) they can ind. This is mostly a computer search project and not everyone 108

has the resource. I asked the students to try to ind the “oldest song in America.” They found one called “Old 100.” It was published in 1612 by Henry Ainsworth, eight years years before the Pilgrims landed at Plymouth Rock. Rock. The lyrics were were the words to Psalm 100 and and sung to an older tune, “Shout to Jehovah all the Earth.” Unfortunately, we were never able to ind an audio recording of this song, so ng, but we did ind a reprint reprint of the sheet music. The oldest American published publish ed song we have have found so far is “The Bay Psalm Book,” Book,” printed in Cambridge, Massachusetts in 1640 without music but with a preface written by John Cotton.

What is the oldest song known to history? In 1972 Professor Anne Kilmer at U.C. Berkley transcribed transcribed one of the oldest known pieces of music notation in the the world. The music had been written on clay clay tablets in the cuneiform style in the “Hurrian” language language and found in the Ugarit ruins in Syria. The tablets date back to approximately approximately 1400 B.C. and contain a hymn to the moon god’s wife, Kikal. The tablets also contain detailed performance instructions instructions for a singer and harpist. I wonder how many songs have been sung to and about the moon. Another variation variation to this lesson is the focus on the work of Stephen Foster (1826-1864). Many of the old minstrel songs that he wrote have have older antecedents in the Slave Spirituals’ tradition but since these were never published Foster Foster got the copyright. Foster is considered by most historians historians to be the irst great American songwriter. so ngwriter. He is best known for songs such suc h as “Camp Town Town Races,” “Old Folks Folks At Home,” “My Old Kentucky Home,” “Old Black Joe,” and “Beautiful “Beautifu l Dreamer,” Dreamer,” to name a few. few. Have students learn the song and create aesthetic responses to the music in the form of visual art, dance, drama, or other music. One of our fav favorite orite things to do with this original “folk song” lesson is to scan the original lyrics, the new lyrics and student illustrations and maybe some history into the computer computer,, print them up and then trade them between the students and have students collate them into homemade books. There are a lot of Evening for Educators bookmaking lessons and many ine bookbinding resources in books and online online sites. Just Google bookbinding. Other associated projects that we have tried are to write our own “folk” songs about speciic histori cal subjects. With fourth grade we usually write write a pioneer “westward movement” movement” song and sing it on our annual “handcart” “handcart” trek. Sometime we collaborate collaborate on a speciic song about the history of American Fork.. These songs are seldom worth remembering Fork remembering past the class but are are great learning devices. devices. If you learn it in a song, you will always always remember it. Other song and illustration illus tration subjects subject s are War War,, Politics, Native Americans, Pioneers, Gold Rush, Local Geography and Western History.

For one more variation on this folk music project, we decided to write a song about the history of American Fork. This was a 6th grade project and we did this in class and at home after reading a short history of American Fork that we found online. The irst thing was to decide what melody we wanted to use. Students were invited invited to bring in songs that they thought would be accessible for new lyrics. This of course bred a lot of heated argument as each class divided up into red and blue states and couldn’t agree on anything but we were able to ind common ground based on common need and em phasizing common good, so we could get the job done and and move on. In the end most of the students settled on an old Johnny Horton song, “ The Battle of New Orleans ” that was a hit back in 1959. Hey! There is some history to it. Each work group wrote wrote a verse based on a segment of the town’ town’ss history and added a chorus. This is what they came came up with. It may be a little cumbersome cumbersome to it the lyrics lyrics into the old melody, but the history is accurate.

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THE BATTLE FOR AMERICAN FORK In 1850 we loaded up our carts We left Salt Lake City with very heavy hearts. In 1852 Utah Lake looked so pretty We started up a town and called it Lake City. Chorus: First there were the Adams then there were the Chipmans And then there were the Eldredges, Ira & John We settle settled d by the river--river---The The natives weren’t too happy We had to build a fort but it didn’t last too long In 1860 we changed our name cities name To American Fork but the town was still the same We started up some farms and upend up some stores & The irst Territory Public School, who could ask for more? Chorus: We got the railroad in 1870 Had a feud with Lehi over the sugar factory. By 1890 it was all a done deal We built A.F A.F.. Co-operative and Chipman’s Mercantile Well we got down to business and built Geneva Steel Mill We celebrate the Steel Days and probably always will. We built ourselves a Hospital and fancy Health Care Center They ilmed us in ‘The Sandlot’, ‘Footloose’ and in all the other. Chorus: There used to be big ields and chicken coups and barns A lot of open spaces and a lot of family farms. Now our town is growing with houses and with stores And everywher everywhere e you look there are people with lawn mowers.

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Teaching History Through Art: Life and Death Masks Abraham Abraha m Lincoln Upper Elementary, Elementary, Junior High, High School Social Studies and Visual Arts Lesson By Elicia Gray OBJECTIVES Students will investigate the artworks of Malin, Porter, Dallin and Fraughton. Students will evaluate the difference between Lincoln’s life masks in 1860 and 1865. Students will learn some interesting facts about Abraham Lincoln. Students will generate a plaster Life Mask much like the one belonging to Abraham Lincoln. Students will compose a freestyle poem based on their Life Mask. Students will become part of a team as they create and display their Life Masks. UTAH STATE CORE OBJECTIVES Social Studies Fifth Grade Core (Standard 4) Students will understand that the 19th century was a time of incredible change for the United States, including geographic expansion, constitutional crisis, and economic growth. -Evaluate -Eva luate the course of events of the Civil War and its impact both immediate and long-term. -Identify the key ideas, events, and leaders of the Civil War using primary sources. Visual Arts Objectives Standard 1 (Making): Students will assemble and create works of art by experiencing a variety of art media and by learning the art elements and principles. Standard 2 (Perceiving): Students will ind meaning by analyzing, criticizing, and evaluating works of art. Standard 3 (Expressing): Students will create meaning in art  Standard 4 (Contextualizing): Students will ind meaning in works of art through settings and other modes of learning. MATERIALS Chief John Duncan, Ute, Millard Fillmore Malin; Negro Head, Elbert Hindley Porter; One Nation, Edward J. Fraughton; Jimbo (1928) Cyrus Edwin Dallin; Phillip, Son of Kicking Bear, Cyrus Edwin Dallin; (all SMA and on CD), Documentaries about Lincoln’s Life Masks (History Channel), Abraham Lincoln Life Masks Worksheet, Vaseline, hair dryers, plaster gauze, paper  ACTIVITY 1. Ask students the following following question: How much can you tell about an individual just just by looklooking at their appearance? Show students the sculptures by Malin, Porter, Fraughton, and Dallin. Divide students into groups and give give each group a picture of one of the sculptures. Invite them to make a list of the things they can can infer just by looking looking at the images. How old are the individindivid-

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uals? What is their ethnicity? ethnicity? Have they experienced experienced loss? Do they seem innocent? Share the following quote from Edward Edward J. FraughFraughton: “My quest as a sculptor has been to sculpt a three-dimensional design. Sculpture should never never be designed from a narrow narrow point of view.. The best sculpture makes view makes you move around around it. A painter directs your eye from one part of the picture to another, another, the sculptor surrounds it.” it.” How can sculptures give give us a better “likeness” of an individual? Pass out the “Abraham “Abraham Lincoln Life Masks” worksheet worksheet,, and invite students to scrutinize the masks. What can can they infer? Are the masks on one side of the worksheet different than those on the other side of the worksheet? What are are the similarities? What are the the differences? differences? Are students able to infer more about Lincoln because they are familiar with his life? Pass out the Abraham Abraham Lincoln True/F True/False alse quiz, and and ask students students to make their best guesses about the information information given. given. (All of the answers are true) Discuss the answers answers in detail, and talk about the reasons why Abraham Lincoln was—and is—a beloved igure in American history. (Some answers may include: He freed the slaves, He united a country that was divided, He was honest, He came from a poor family and still became the President of the United States… and so forth.) Show one of the documentaries documentaries from from the History History Channel Channel about Death masks (some links are are provided provided below). Point out that Death masks (or life masks) were often made of prominent individuals individuals because they provided provided a complete record of the way way a face looked. looked. They were even more precise than a photograph because of their threedimensional nature. nature. Explain that life and and death masks were created created by placing plaster/gauze plaster/gauze strips on the face and allowing the plaster to dry. dry. When the plaster was dry, dry, the mask was removed, creating a perfect cast of the individual. The cast was then illed with beeswax or other materials that could be cast in bronze. Invite students to re-visit re-visit the life life masks of Lincoln, and this time, time, point out that these two masks were made only ive years apart, yet Lincoln seems to have aged considerably more than that. What are some of the things that may have “aged” Lincoln so quickly? Experts have hypothesized that the burdens of his high ofice may ex plain his premature aging. Some other reasons may include: He never could escape the pressures pressures of being the Commander in Chief. Chief. He was emotionally connected to every wound experienced in the Civil War.. He was painfully aware of the more than 600,000 lives that were War lost in the Civil War. War. He experienced experience d loss on a very personal level as well—out of his four children, children, only one lived lived to see adulthood. Stress accelerates the aging process. Explain that that many times life experiences experiences are are shown in in subtle ways ways in our appearance. appearance. Point out that just like like Lincoln, our faces may may tell a story as well. Inform students that they will be making making their own life masks, similar similar to Abraham Lincoln. 112

10. Organize Organize students into groups of three. Each student will have the chance to be a doctor, doctor, a nurse, and a patient. The doctor applies the plaster, plaster, the nurse cuts the strips, and the patient has the plaster put upon his/her his/her face. Remind students that they must be be patient during the whole process. When Lincoln was was asked about the plaster experience experience in 1860 he said it was “Anything but bu t pleasant.” ple asant.” 11. Before you begin, make sure that each group has 1 hair dryer, 1 warm bucket of water, 1 long strip of plaster (4-6 feet long) and and one pair of old scissors. The patient will sit on the table. The patient must cover his/her face with Vaseline. The patient must also cover his/her lap and shoulders with old shirts or aprons. 12. The nurse (whose hands should remain dry) will cut strips of plaster about 1”x4” in diameter. diameter. The doctor will then soak one strip at a time in warm water for a couple of seconds, and then apply the plaster to the patient’s face. Begin with an “X” in between the eyes, and overlap strips after that. When inished, the mask should have 2-3 layers of plaster. 13. When the layers are complete complete,, use a hair dryer to quickly dry plaster. Before removing the mask, have the teacher check for hardness. The teacher may remove remove the mask by pulling gently on the edges. 14. When the irst mask is inished, have have students trade places so that each person in the group has the chance to be the doctor, doctor, the nurse, and the patient. 15. After all of the masks have been completed, compare the masks to the sculptures that students encountered at the the beginning of the the lesson. What are the the similarities? What are the the differences? Then have students compare compare their masks with the Lincoln Life Masks. What are the similarities and differences? 16. Just as they did with the Lincoln masks, have students spend some time evaluating their own images. Have students make a list of the things they they observe. What stories do their faces tell? What kinds of life experiences experiences might be portrayed? portrayed? Then have have students make predictions. predictions. If they were to make the same masks in ive ive years how would they change? What kinds of things would be evident in their faces? 17. Using the lists they just composed, have students create a freestyle poem about their mask. Students should include brief tidbits about their own appearance, as well as information about their life and/or future future life. Also invite students to create create a title for their mask. 18. Display Display masks and poems in the hall for everyone to see. Are other students able to identify who the mask belongs to? What other observations observations do other students make about the masks? masks? 19. Have students ill out the “Lincoln Life Masks—what I learned” worksheet and discuss indings.  ASSESSMENT  ASSESSMENT Teacher will evaluate the “Abraham “Abraham Lincoln Quiz.” Teacher should shou ld carefully review the freestyle freestyl e poem and the “Lincoln Life Masks—what I learned” worksheet. Teacher will monitor student involvement as students are working together. together. Teacher will also evaluate the masks, looking for evidence of effort, originality, and completion.

SOURCES http://myloc.gov/Multimedia http://my loc.gov/Multimedia/LincolnLifeM /LincolnLifeMasks.aspx asks.aspx http://www.youtube.com/w http://www .youtube.com/watch?v=JE7lHV0J41w atch?v=JE7lHV0J41w http://www.youtube.com/watch?v=l1Jp7wQh8C8  ADAPTATIONS  ADAPTA Some students are extremely nervous nervous about the idea of putting plaster on their faces. For these students, you may provide a plastic mask for them to plaster, or you may ask another student to be proxy

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so that every student still ends up with with a mask. If students do not have a mask mask of their own face made, have them evaluate a photograph of themselves for the introspecti introspective ve part of the lesson. VARIATIONS Have students paint or decorate their masks, and explain that traditional masks it into a number of different categories. Some may include disguise, protection, entertainment, or concealment. Explore the different types of masks that can be found in different countries throughout history. EXTENSION Complete an authentic rendition of a Life Mask by pouring beeswax or plaster into the mold that students have created. created. You may also choose to gently gently place clay inside of the mold. These types of masks would be much easier to compare to those that were made of Abraha Abraham m Lincoln.

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Aba�a� Linco�n  True or False  _______1. He was known as “The Great Emancipator Emancipator..”  _______2. He felt enslaved as a child.  _______3. He didn’t shy away away from from a sight.  _______4. He wanted wanted to be a man of peace, peace, but was prepared prepared to be a man of force. force.  _______5. He was full of fun fun and loved frolicking frolicking and laughing.  _______6. He said, “Let us have have faith that that right makes makes might.” might.”  _______7. He was an inventor inventor..  _______8. He tested tested new weapons by shoong shoong them on the White House House lawn.  _______9. He was the tallest tallest U.S. U.S. President at at 6’4”. 6’4”.  _______10.. His tall hat once saved  _______10 saved his life life by taking a bullet for for him.  _______11.. He created the Secret  _______11 Secret Service the day day before before he was assassinated. assassinated.  _______12.. He was photographed  _______12 photographed with his killer. killer.  _______13.. He was the most  _______13 most photographed person person of his me.  _______14.. The second most photographed  _______14 photographed person person of Lincoln’s Lincoln’s me was an actor actor named John Wilkes Booth—The same man who later shot and killed him.  _______15.. He had four children,  _______15 children, and only one survived into adulthood.  _______16.. He was the rst  _______16 rst president president to have a beard.  _______17.. His wife was  _______17 was called Mary Todd Todd Lincoln, who was brought brought up into a very very wealthy family.  _______18.. Mary’s parents  _______18 parents disagreed disagreed with her marrying Abraham Abraham because he had a poor background.  _______19.. He was strong,  _______19 strong, and a talented talented wrestler. wrestler.  _______20.. Lincoln, one week before  _______20 before his death, death, had a dream of someone someone crying in the White House. When he found the room, he looked in and asked who had passed away. The man in the room said the President. When he looked in the con, it was his own face he saw.

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Lincoln Life Masks—What I learned Take a few minutes to relect on your experience with the Life Masks. Think about some of the things that we discussed what were the most interesting things you remember? What were some of your “ah-Ha!” moments? Make a list of at least ten of these ideas.

1. 2. 3. 4. 5. 6. 7. 8. 9. 10.

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Teaching History Through Art:

Jazz Music and the Clash of Culture in the 1920s

5th Grade — High School Music & Social Studies Lesson By Jeffery D. Nokes

BACKGROUND One of the themes of the 1920s in United States history is the clash between traditional culture and rapidly changing society. An inlux of immigrants, the growth of cities, new technologies, the newlywon right to vote for women, continued racial discrimination, discrimination, new scientiic theories, Prohibition Prohibition,, and new forms of music were all causes and symptoms of this clash. This lesson uses jazz music, and people’s reaction to it, as a medium for exploring this cultural clash. OBJECTIVES 1. Students will explore explore the clash clash between tradition and change that occurred during the 1920s. 2. Students will make make connections connections between the the recurring historical clash clash between tradition and change and current similar conlicts. 3. Students will contrast contrast jazz music produced in the 1920s with other forms forms of popular popular music from that era. 4. Students will practice practice “sourcing” and and “perspective “perspective acknowledgement” acknowledgement” when working working with primary source historical documents. 5. Students will use historical documents documents as evidence evidence to support support an interpretation interpretation of a historical historical question. MATERIALS 1. Copy of “Jazz Document Analysis” Analysis” graphic organizer for each student  student  2. Copy of “Jazz Age Documents” for each student  3. PowerP PowerPoint oint presentation presentation with embedded music links links (for anticipatory anticipatory set) and documents (for document analysis activity) if possible PROCEDURES 1. Anticipatory set: play students an example example of jazz music from from the 1920s followed followed by music that would not be considered jazz. Allow students to discuss the difference between the two songs. Continue to alternate between jazz and non-jazz through 4 or 5 selections with students discussing the characteristics of all of the examples and how they are different from the non-examples. Students might name the examples as being “jazz” and should point out characteristics of jazz such as scatting, rifing (you might have to give these terms as students give descriptions of what they hear), African American performers, spontaneity, spontaneity, certain types of instruments, etc. 119

Below are links to some examples and non-examples that are available on “youtube”:

     

               

Examples: When the Saints go Marching in http://www.youtube.com/watch?v=wyLjbMBpGDA When You’re Smilin’ http://www.youtube.com/watch?v=bOH_mioL3TU Big Butter and Egg Man from the West  http://www.youtube.com/watch?v=W1g2BH2Wi1Q Tiger Rag http://www.youtube.com/watch?v=CaPeks0H3_s Singin’ Singin’ the Blues http://www.youtube.com/watch?v=0Ue9igC7lI Saint Louis Blues http://www.youtube.com/watch?v=D2TUlUwa3_o Non-Examples: Carolina Moon http://www.youtube.com/watch?v=-GkoZBOfVaw That Old Irish Mother of Mine http://www.youtube.com/watch?v=IUJkcFU6D-c I’ll be with You in Apple Blossom Blosso m Time http://www.youtube.com/watch?v=LREpVzEQ1T8 My Little Bimbo http://www.youtube.com/watch?v=wPW_u7HH8DM Old Man River http://www.youtube.com/watch?v=eh9WayN7R-s T for Texas http://www.youtube.com/watch?v=qEIBmGZxAhg

2. Document Analy Analysis sis Activity A. Explain to students students that in spite spite of the seemingly seemingly harmless sound of songs songs like “When You’re Smilin’” there was considerable opposition to jazz music. The students are going to consider two questions as they look at historical documents: 1) Why was there opposition to jazz music? 2) How did jazz musicians respond to the opposition? B. Pass out the “Jazz Document Analysi Analysis” s” graphic graphic organizer organizer C. Model for the students your analysis analysis of the excerpt excerpt from from the magazine. magazine. Show them how to consider the source. Talk them through illing out the irst row of their graphic organizer. D. Model with students an analysis analysis of the quote from a Denver Denver Co-ed. Have Have them contrast this source with the previous source. E. Allow students to work work in groups groups on the remaining remaining documents. Circulate Circulate as they work. F. After they have inished all of the documents in their packet, show the video: “I Love to Sin ga” (Warner (Warner Brothers, 1936). (This can be found online). Consider it as an artifact of 1936. (Analyze it like an archeologist would think about an old piece of pottery or other artifact). What do you observe in the video? (For example, the traditional musicians musicians speak with a German accent.) What can you infer based on your observations? observations? (Classical music came out of Germany and so classical musicians were more often opposed to jazz.) 120

G. Engage the whole class in a debrieing. Discuss the two original questions. Why was their opposition to jazz music? How did jazz musicians respond to the opposition? Require students to cite speciic examples from the documents to support their interpretations (For example, a student might claim that the jazz musicians embraced their bad reputations. Both the concert advertisement and the photograph suggest that the jazz musicians wanted to be seen as rebellious.) The graphic organizer provides a place for them to write answers these questions, either on their own before discussion, or during a class discussion. H. If there is time left in class, discuss with the whole class other instances instances of the cultural cultural clash of the 1920s. (For example, the Scopes Monkey Trial or women bobbing their hair.) Ask students if they can think of examples of a current cultural clash where some people favor tradition and others favor something new. The graphic organizer provides a place for them to answer these questions, either on their own or during a class discussion.  ASSESSMENTS  ASSESSMENTS 1. The anticipatory anticipatory set is meant to be be inductive. inductive. Help students self-assess their understanding understanding of jazz music as you play examples and non-examples, discovering and reining their ideas as the activity continues. 2. The graphic organizer provides provides a chance chance to review whether students understand understand and apply apply the “sourcing” strategy when working with documents and whether they use the documents as evidence to support their interpretations. 3. The graphic organizer can be used to assess their ability to make make connections between historical cultural clash and current cultural clashes.

 ADAPTATIONS/EXTE  ADAPTA TIONS/EXTENSIONS NSIONS 1. Students might read read the entire article article “Does Jazz put the Sin in Syncopation?” Syncopation?” rather rather than the short excerpt. 2. Discuss one or more of the following clashes between tradition and change in the 1920s a. The Scopes Monkey Trial b. Prohibition c. The Harlem Harlem Renaissance Renaissance vs. the resurgence resurgence of the Ku Klux Klan d. Changing clothing styles for women e. Changes in courtship 3. Lead the class in a discussion about the dangers of eliminating eliminating some traditions traditions and the dangers dangers of clinging to other traditions? How should you judge?

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Jazz Age Documents

Document 1: Magazine Article Excerpt  “Therefore, it is somewhat of a rude awakening for many of these parents to ind that America is facing a most serious situation regarding its popular music. Welfare Welfare workers tell us that never in the history of our land have there been such immoral conditions among our young people, and in the surveys made by many organizations organizations regarding these conditions, the blame is laid on jazz music and its evil inluence on the young people of to-day. Never before have such outrageous dances been permitted in private priv ate as well as public ballrooms, and never has there been used for the accompaniment of the dance such a strange combination of tone and rhythm as that produced by the dance orchestras of today.”

Source: Excerpt from “Does Jazz Put the Sin in Syncopation?” by Anne Shaw Faulkner, head of the Music Department, General Federa Federation tion of Wom Women’s en’s Clubs. Published in Ladies Home Journal , August 1921. (See full text below).

Document 2: Quote 1 from an interview “ To To me the Jazz Age signiies an age of free dom in thought and action. The aver average age young person of today is not bound by the strict conventions which governed the actions of previous generations.” 

Source: Unidentiied Denver Coed, Sunset Magazine, 1926. Found at http://www. trailend.org/dow-jazzage.htm

John Held Jr., Dancin’ in the Jazz Age (1920) SMA

Document 3: Quote 2 from an interview “When my grandmother found out I was playing jazz music in one of the sporting houses in the District, she told me that I had disgraced the family and forbade forbade me to live at the house… She told me that devil music would surely bring about my downfall but I just couldn’t put it behind me.” Source: Jelly Roll Morton, jazz composer. Culture Shock: The TV Series and Beyond: “The Devil’s Music: 1920’s Jazz”, Jazz”, PBS.

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Document 4: Political Cartoon

Caption reads: “These men were great from the ears up, but now you have to be great from the knees down.” Source: Political cartoon from the mid 1920s. Source unknown. Document 5: Photograph

Source: King Oliver’s Creole Jazz Band 1923 by an unidentiied photographer. (This is a copyrighted photo, but teachers can use a copy in their their classroom. Original is at the Louisiana State Museum. http://www.knowla.org/image.php?rec=298 Document 6: Ad

Source: Advertisement Advertisement for a Jazz concert by the Lucas Jazz band, mid 1920s, Buffalo, New York  This is a recreation recreation of the ad (all that was readable). readable). A larger copy is included on the CD.

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“Does Jazz Put the Sin in Syncopation?” by Anne Shaw Faulkner, head of the Music Department of the General Federation of Women’s Clubs. Published in Ladies Home Journal , August 1921, pp. 16-34.

We have all been taught to believe that “music soothes the savage beast,” but we have never stopped to consider that an entirely different type of music might invoke savage instincts. We have been content to accept all kinds of music, and to admit music in all its phases into our homes, simply because it was music. It is true that frequently father and mother have preferred preferred some old fav favorite orite song or dance, or some aria from opera, to the last “best seller” which has found its way into the home circle; but, after all, young people must be entertained e ntertained and amused, and even if the old-fashioned parents did not enjoy the dance music of the day, day, they felt it could really do no harm, because it was music. Therefore, it is somewhat of a rude awakening for many of these parents to ind that America is facing a most serious situation regarding its popular music. Welfare Welfare workers tell us that never in the history of our land have there been such immoral conditions among our young people, and in the surveys made by many organizations organizations regarding these conditions, the blame is laid on jazz music and its evil inluence on the young people of to-day. Never before have such outrageous dances been permitted in private priv ate as well as public ballrooms, and never has there been used for the accompaniment of the dance such a strange combination of tone and rhythm as that produced by the dance orchestras of today.

Certainly, if this music is in any way responsible for the condition and for the immoral acts which can be traced to the inluence of these dances, then it is high time that the question should be raised: “Can music ever be an inluence for evil?” The Rebellion In history there have been several great periods when music was declared to be an evil inluence, and certain restrictions were were placed upon the dance and the music which accompanied it. But all of these restrictions were made by the clergy, who have never been particularly enthusiastic about dancing anyway. Today, however, the irst great rebellion against jazz music and such dances as the “toddle” and the “shimmy” comes from the dancing masters themselves. Realizing the evil inluence of this type of music and dancing, the National Dancing Masters’ Association, at their last session, adopted this rule: “Don’t permit vulgar cheap jazz music to be played. Such music almost forces dancers to use jerky half-steps, and invites immoral variations. It is useless to expect to ind reined dancing when the music lacks all reinement, for, after all, what is dancing but an interpretation of music?”

Several of the large dance halls in the big cities are following the lead of the proprietor of one of them Several in Chicago, who, when he opened his establishment a few years ago, bravely advertised advertised that no jazz music and no immoral dances would be allowed on his loor. loor. His announcement was met with ridicule, but his dance hall has become the most popular one one in Chicago. The place is crowded every every evening, and yet nothing except waltzes and two-steps are allowed on the loor and absolutely no jazz music is tolerated. That jazz is an inluence for evil is also felt by a number of the biggest country clubs, which have forbidden the corset check room, the leaving of the hall between dances and the jazz orchestras-orchestras--three three evils which have also been eliminated from many municipal dance halls, particularly when these have been taken under the chaperonage of the Women’s Clubs.

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King & Carter Jazzing Orchestra, Houston, Texas (1921) Photo by Robert Runyon, University of Texas at Ausn, Public Domain hp://en.wikipedia.org/wiki/File:J hp://en. wikipedia.org/wiki/File:Jazzing_orch azzing_orchestra_192 estra_1921.png 1.png

Still another proof that jazz is recognized as producing an evil effect is the fact that in almost every big industry where music has been instituted it has been found necessary to discontinue jazz because of its demoralizing effect upon the workers. This was noticed in an unsteadiness and lack of evenness in the workmanship of the product after a period when the workmen had indulged in jazz music. Many people classify under the title of “jazz” all music in syncopated rhythm, rhythm, whether it be the ragtime of the American Negro or the csardas of the Slavic people. Yet Yet there is a vast difference between syncopation and jazz. To To understand the seriousness of the jazz craze, which, emanating from America, has swept over the world, it is time that the American public should realize what the terms ragtime and jazz mean; for the words are not synonymous, as so many people suppose. The Elements of Music Out of Tune Jazz is not deined in the dictionary or encyclopedia. But Groves’ Dictionary of Music says that “rag time is a modern term of American origin, signifying in the irst instance broken rhythm and melody, especially a sort of continuous syncopation.” syncopation.” The Encyclopedia Britannica sums up syncopation as “the rhythmic method of tying two beats of the same note into one tone in such a way as to displace the accent.”” Syncopation accent. Syncopation,, this curious rhythmic accent on the short beat, is found in its most highly developed forms in the music of the folk who have been held for years in political subjection. It is, therefore, an expression in music of the desire for that freedom which has been denied to its interpret interpreter er.. It is found in its most intense forms among the folk of all the Slavic countries, especially in certain districts of Poland and Russia, and also among the Hungarian gypsies.

For the same reason it was the natural expression of the American Negroes and was used by them as the accompaniment for their bizarre dances and cakewalks. Negro ragtime, it must be frankly acknowledged, is one of the most important and distinctively characteristic characteristic American expressions to be found in our native music. Whether ragtime will be the cornerstone of the American School of Music may be a subject for discussion; but the fact remains that many of the greatest compositions by past 125

and present American composers have been inluenced by ragtime. Like all other phases of syncopa tion, ragtime quickens the pulse, it excites, it stimulates; but it does not destroy destroy.. What of jazz? It is hard to deine jazz, because it is neither a deinite form nor a type of rhythm; it is rather a method employed by the interpreter in playing the dance or song. Familiar hymn tunes can be jazzed until their original melodies are hardly recognizable. recognizable. Jazz does for harmony what the accented syncopation of ragtime does for rhythm. In ragtime the rhythm is thrown out of joint, as it were, thus distorting the melody; in jazz exactly the same thing is done to the harmony. harmony. The melodic line is disjointed and disconnected by the accenting of the partial instead of the simple tone, and the same effect is produced on the melody and harmony which is noticed in syncopated rhythm. The combination of syncopation and the use of these inharmonic partial tones produces a strange, weird effect, which has been designated “jazz. “jazz.””

The jazz orchestra uses only those instruments which can produce partial, inharmonic tones more readily than simple tones--such as the saxophone, the clarinet and the trombone, which share honors with the percussion instruments that accent syncopated rhythm. The combination of the syncopated rhythm, accentuated by the constant use of the partial tones sounding off-pitch, has put syncopation too off-key. Thus the three simple elements of music--rhythm, melody and harmony--have been put out of tune with each other. Its Effect  Jazz originally was the accompaniment of the voodoo dancer, stimulating the half-crazed barbarian to the vilest deeds. The weird chant, accompanied by the syncopated rhythm of the voodoo invokers, has also been employed by other barbaric people to stimulate brutality and sensuality. sensuality. That it has a demoralizing effect upon the human brain has been demonstrated by many scientists.

There is always a revolutionary revolutionary period of the breaking down of old conventions and customs which follows after every great war; and this rebellion against existing conditions is to be noticed in all life to-day.. Unrest, the desire to break the shackles of old ideas and forms are abroad. So it is no wonder to-day that young people should have become so imbued with this spirit that they should express it in every phase of their daily lives. The question is whether this tendency should be demonstrated in jazz--that expression of protest against law and order, that bolshevik element of license striving for expression in music. The human organism responds to musical vibrations. This fact is universa universally lly recognized. What instincts then are aroused by jazz? Certainly not deeds of valor or martial courage, for all marches and patriotic hymns are of regular rhythm and simple harmony; decidedly not contentment or serenity serenity,, for the songs of home and the love of nativ native e land are all of the simplest melody and harmony with noticeably regular rhythm. rhythm. Jazz disorganizes all regular laws laws and order; it stimulates to extreme deeds, to a breaking away from all rules and conventions; it is harmful and dangerous, and its inluence is wholly bad. A number of scientiic men who have been working on experiments in musico-therapy with the in sane, declare that while regular rhythms and simple tones produce a quieting e ffect on the brain of even a violent patient, the effect of jazz on the normal brain produces an atrophied condition on the brain cells of conception, until very frequently frequently those under the demoraliz demoralizing ing inluence of the persistent use of syncopation, combined with inharmonic partial tones, are actually incapable of distinguishing between good and evil, right and wrong.

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Such music has become an inluence for evil.

Last winter, winter, at one of the biggest high schools in one of our largest cities, a survey was made of the popular songs of the day by the music supervisor, supervisor, who suggested that a community sing be held for one assembly each week. He requested the students to bring all the popular songs to school that a choice might be made of what to sing. s ing. At the end of two weeks he had in his ofice over two thousand “best sellers.” He asked the student body to appoint from among themselves a committee of six to choose the songs to be sung at the assembly. assembly. This committee, after going through the two thousand songs, chose forty as being “it for boys and girls to sing together.” With this evil inluence surrounding our coming generation, it is not to be wondered at that degeneracy should be developing so rapidly in America. In a recent letter to the author, Dr. Henry van Dyke says of jazz: “As I understand it, it is not music at all. It is merely an irritation of the nerves of hearing, a sensual teasing of the strings of physical passion. Its fault lies not in syncopation, for that is a legitimate device when sparingly sparingly used. But ‘jazz’ is an unmitigated cacophony, cacophony, a combination of disagreeable sounds in complicated discords, a willful ugliness and a deliberate vulgarity.” Never in the history of America have we more needed the help and inspiration which good music can and does give. The music department of the General Federation of Women’s Clubs has taken for its motto: “To Make Good Music Popular, and Popular Music Good.” Let us carry out this motto in every home in America irmly, steadfastly, determinedly, until all the music in our land becomes an inluence for good.

Bird, Elzy J. “Bill”, Dancing, U.S.O. Springeld MO No. 1 (1943)

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Name __________________________ Date __________________________ Jazz Document Analysis

Use evidence from historical documents to answer the following questions: Why was there opposition to jazz music? How did jazz musicians respond to the opposition? Tex extt

Source Sour ce and and Con Conte text xt (Who said it? Who were they speaking to? Why did they say it? What was going on around them?)

Summary (What did they say? What were their main ideas?)

E  D  x  o  c   c   e r  1   p :   t   A  r   t   i    c  l    e D   o  c  2  :   Q   u  o  t    e 1  D   o  c   3  :   Q   u  o  t    e 2   C  D   a  o r   c   t    o 4   o :  n P   o l   i    t   i    c   a l   D   o  c   5  :  P  h   o  t    o

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Analysis Notes (Do you trust this source? Why or why not? What patterns do you see across documents? What evidence does this give?)

Text

Source

Summary

Analysis Notes

D   o  c   6  :  A   d 

D   o  c   7  :   C   a r   t    o  o n

Why was there opposition to jazz music?

How did jazz musicians respond to the opposition?

 Now think about how this relates to the larger context of history. history. How was opposition to jazz a symptom of the cultural clash of the 1920s?

 Now make a connection to today. What are some some areas today where there is a clash between tradition and change?

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Image, Upper le: Dutch Gap, Virginia. Picket staon of Colored troops near Dutch Gap canal Digital ID: (digital (digital le le from original neg. neg. of le half) half) cwpb 01930 hp://hdl.loc.go hp://hdl.loc.gov/loc.pnp/cw v/loc.pnp/cwpb.01930 pb.01930 Reproducon Reproduc on Number: LC-DIG-cwpb-0193 LC-DIG-cwpb-01930 0 (digital le from original neg. of le half) LC-DIG-cwpb-01929 (digital le from original neg. of right half) Repository: Library of Congress Congress Prints and Photograp Photographs hs Division Washington, D.C. 20540 USA hp://hdl.loc.gov/ loc.pnp/pp.print

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Teaching History Through Art: Considering Multiple Perspectives in History

High School Art and History classes (Grades 10-12) Written by Bus and Jethro Gillespie OBJECTIVES: 1. Students will research an historical event or time period from at least two different perspectives. 2. Students will analyze their research, and consider  how  how the different perspectives perspectives from their chosen historical event or time period it (and/or do not it) together. 3. Students will create an artwork (video, performance, photo, painting, etc.), which demonstrates evidence of their indings from at least two perspectives from a historical event or time period. 4. Students will present  their  their artwork to the class, and explain what they have learned, what they chose to make, and why. UTAH STATE CORE OBJECTIVES: This lesson helps fulill some objectives from all four of the main standards standards (Making, (Making, Perceiving, Expressing, and Contextualizing) that have been outlined for each of the Visual Arts classes by the Utah State Ofice of Education. (http://www.schools.utah.gov/CURR/ineart/Secondary/Visual-Art-and-Film.aspx ) Depending on the chosen time period or historical event, this lesson also fulills part of the required Depending core curriculum for Social Studies- United States History 1: (http://www http://www.uen.org/core/cor .uen.org/core/core.do?courseNum=6120 e.do?courseNum=6120)) • • • • •

Standard 1- Students will interpret the role of geography in shaping United States history. Standard 2- Students will investig investigate ate the relationship between events of different time periods. Standard 3- Students will understand the changes caused by European exploration exploration in the Americas. Standard 4- Students will analyze European colonization and settlement of North America. Standard 10- Students will understand the development of the American West West following the Civil War.

MATERIALS:

-

History books or computer lab with Internet for researching (if possible, a collaboration with a cooperating in-house History teacher) 131

-

The student art project for this lesson is designed to be open-ended and adaptable to various art classes, therefore the choice of materials can be decided by the teacher (for a mediaspeciic class), or left for the students to decide what materials they want to use depending on their own project.

 ACTIVITY::  ACTIVITY

1. The teacher can introduce a historical historical event event or time period to to the students, discussing varivarious viewpoints about the event. 2. Show various various professional professional and historical historical examples of artists’ work work that deal with multiple perspectives perspectiv es of history (see below- “Sources” section for some examples in this lesson). 3. Have students research a historical event (either alone or in groups) and ind at least two different perspectives perspectives from the event, and at least 2 sources for each e ach perspective(see attached worksheet “Research “Research”). ”). 4. Using the indings from their research, give students time to analyze, consider, and brain storm how they will synthesize the data into a useful manner for an art project. Use a large brainstorming brainst orming cloud format. 5. Give students students time and necessary materials to create an art art project that that comes out of the research, data, and brainstor brainstorming. ming. 6. Give each each student (or group of students) time in class class to present their their project, explaining explaining their process and conclusions (see attached worksheet “Assessment”). “Assessment”).  ASSESSMENT:  ASSESSM ENT:

Most of the assessment for this project could be formati formative—helping ve—helping students during informal conversations, class discussions, discussions, and studio time in class. The teacher could use the attached assessment sheet as a tool for a summative, summative, inal assessment for the projects. SOURCES:

Robert F. Berkhofer, B erkhofer, The White Man’s Indian: Images of the American Indian from Columbus to the Present , Vintage Books, 1979

 

William Kentridge (Art21- South African) http://www.art21.org/artists/william-kentridge/videos Yinka Shonabare, MBE (Art21- Headless sculptures) http://www.art21.org/artists/ http://www .art21.org/artists/yinka-shonib yinka-shonibare-mbe/videos are-mbe/videos

 

Shane Cotton, (New Zealand Maori artist) http://www.thearts.co.nz/artist_page.php&aid=24

 

David’s “Coronation of Napoleon” http://en.wikipedia.org/wiki/The_Coronation_of_Napoleon Matthew C. Perry (US Commodore to Japan)   http://en.wikipedia.org/wiki/Matthew_C._Perry Mary Reid Kelley (Art21- French Revolution performance performance)) 132

 

 

http://www.art21.org/artists/mary-reid-kelley/videos Walton Ford (Art21- Watercolorist/ researcher researcher)) http://www.art21.org/artists/walton-ford/videos

 ADAPTA  ADAPT ATIONS: For younger grades, the teacher could choose one speciic historical event to research, or make a short list for the students to choose from. The teacher could also simplify the process by choosing certain articles or readings for the students. Teachers could also specify the art media to be used. VARIATIONS: There are many ways in which this lesson could be varied to it the schedules, interests, and cultures of different schools and situations. For example, with collaborating teams of Art teachers and History teachers, Art teachers could invite History teachers to be present for the inal presentations and help assess the projects.

Research

Name_________________________________Per______

1. Time Period Period or Historical Event to be studied (example: Civil War)

2. Find at least two differing perspectives written about this event or time period. What are they? Be speciic. (example: 1. White people from New York in 1860, 2. White People from Alabama in 1860, 3. Black People from Alabama in 1860) 1.

2.

3.

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3. Find historical sources (original if possible) written written from each of these perspectives. perspectives. Read at least 2 sources for each perspective  and take notes about what stands out to you. List your sources below1. 2.

3. 4.

5. 6.

Assessment

Name____________________________________Per_______

1._______ Students chose a clear historical time period or event. 2._______ Students chose at least 2 differing perspectives to research. 3._______ Students used at least 4 historical sources in their research. 4._______ Students made notes (gathered ( gathered data) about their reading. 5._______ Students created a brainstorm cloud to help analyze their data. 6._______ Students created an original art project based on their indings.

7._______ Students’ art project was technically crafted and conceptually sound (appropriate (appropri ate to material, time given, & teacher discression). 8._______ Students presented their art project to the rest of the class, and were able to effectiv effectively ely communicate their understandings. 134

Teaching History Through Art:

Barriers: Addressing Student Barriers to Teach the Berlin Wall High School Social Studies and Visual Arts Lesson by Kellie Hardin OBJECTIVES Students will learn about physical barriers in the world, speciically the Berlin Wall. Students will talk about the difference between social, physical and emotional barriers. Students will learn a new art technique (paint transfers). Students will break a barrier in their own lives. Students will visually represent an experience. STATE CORE OBJECTIVES Standard 1: Students will assemble and create works of art by experiencing a variety of art media and by learning the art elements and principles. Standard 1, Objective 1: Explore a variety of art media, techniques, and processes. Standard 2: Students will ind meaning by analyzing, criticizing, and evaluating evaluatin g works of art. Standard 3: Students will create meaning in art. Standard 3, Objective 1: Create content in works of art. Standard 4: Students will ind meaning in works of art through settings and other modes of learning. Standard 4, Objective 1: Align works of art according to history, geography, and personal experience. Pieces of the Berlin Wall Standard 4, Objective 2: Synthesize art with other educational subjects. Standard 4, Objective 3: Evaluate Evaluate the impact of art on life outside of school.

MATERIALS Images: New Americans by Nicholas Britsky, Britsky, 1974 (Springville Museum of Art, on CD) Tilted Arc by Richard Serra http://www.daschkenasphoto.com/#/Tilted%20Arc%20Richard%20 Serra/Tilted%20Arc%20Richar Serra/Tilt ed%20Arc%20Richard%20Serra/10 d%20Serra/10 Mining the Museum by Fred Wilson http://www.artsjournal.com/lyover/Wilson-silver-shackles.jpg

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El Bocho + CNN’s Berlin Wa Wall ll Tape Art Project (http://vimeo.com/11892811) Flash Mobs (https://www.youtube.com/watch?v=7EYAUazLI9k)  ACTIVITY  Introduction: The class will address address the concept of barriers (emotional, physical, physical, social, etc.) They will discuss artists who use barriers in their work and respond to the discussion visually. visually. Talk about the building and fall of the Berlin Wall, and Flash Mobs. Talk about the Berlin Wall as a physical barrier and Flash Mobs as an activity that breaks breaks social barriers. Challenge students to do something that makes them uncomfortable or breaks a barrier. barrier. Give them a few days to complete the challenge challeng e at home. Students will be taught a new technique technique that they can choose to use or not, and given given a constraint. In this class, students are are required required to not use words words in their project. project. Once they are are done with their project, ask students how they felt felt about the constraint. constraint. Was it it good or bad? Did it enable or stile? How did you feel about the freedom to use the technique or not?

Art History: Show students work from the following artists. Talk Talk about how each artist breaks a barrier of some sort. Show them one artist a day in the beginning of class for the duration of the project. Richard Serra, Tilted Arc Fred Wilson, Mining the Museum Matthew Ritchie, The Universal Cell  http://www.matthewritchie.com/ projects/15UniversalCell/src/ projects/15Uni versalCell/src/images/imimages/image1.jpg El Bocho (CNN’s Going Beyond Borders Berlin Wall 20th Anniversary Tape Art) Flash Mobs Frank Warren, Postsecret  http://www.postsecret.com/ http://www .postsecret.com/

Links: Here are some links to videos on barriers.

Richard Serra, Tilted Spheres Photo by Ian Muo CCS-AA 2.0 es.wikipedia.org/wiki/Ar es.wikiped ia.org/wiki/Archivo:Rich chivo:Richard-Serra ard-Serra-Tilted-Spheres1 -Tilted-Spheres1.jpg .jpg

1. CNN’s Go Beyond Borders (http://vimeo.   com/11892811) (http://www.ted.com/talks/ .ted.com/talks/jr_s_ted_prize_wish jr_s_ted_prize_wish_use_art_to_turn_t _use_art_to_turn_the_world_inside_out.ht he_world_inside_out.html) ml) 2. Ted Wish (http://www 3. History of Berlin Wall (http://www.5min.com/Video/The-Berlin-WallHistory119996232, http://   www.youtube.com/watch?v=zmRPP2WXX0U),

4. Fall of Berlin Wall (http://www.youtube.com/watch?v=zmRPP2WXX0U ) 5. The Trial of Tilted Arc (http://www (http://www.sfmoma.org/exp .sfmoma.org/explore/multimedia/v lore/multimedia/videos/90) ideos/90) Discussion Questions: Talk about barriers constructed for us and ones we put up ourselves. Talk about self-imposed limitations, and the concept of “can’t.” List some good barriers and bad barriers. How does one break barriers barriers that are bad? By being uncomfortable? uncomfortable? How does being uncomfortable inspire change? How does the artist of the day do that? 136

Technique: Paint transfers. transfers. Students will learn how to mix ink and cornstarch together and roll it onto a Plexiglass plate. They will place a paper on the solution and draw an outline of an image of their choice onto the paper. paper. When I did this technique, I gave gave the students the choice to use it in their inal project or not. All that was required required of them concerning this technique technique was to learn it, then choose to use it or not. Studio: Students have studio time to create a project that responds to the prompt (do something that makes you uncomfortable) in whichever whichever medium they choose. When I did this project, I had students making drawings, drawings, paintings, 3-D sculptures using energy drink drink cans, painting Barbie dolls, etc. I felt like having an open prompt allowed the students to use their creativity and ind the best way for them to get their idea across.

 ASSESSMENT  ASSESSMENT At the end of the lesson, I have attached two worksheets. worksheets. The irst one is for students to brainstorm ideas and choose a barrier to break. The second one is for students to complete after they have broken a barrier. barrier. They will brainstorm how to turn their experience experienc e into a visual art piece. After students have inished their projects, ask the class, “How did you feel being given a constraint?” A few student responses: • I told my dad I loved him multiple times one day until he told me he loved me back. He is a gruff farmer and shows his love but never says it. • I went and sat on the curb next to a homeless man and had a conversation with him. • I went to church goth. • “I want to wake up every morning, look in the mirror and look deeply and say one thing about myself about what I like. like. I can’t say say anything negative negative about about myself. By doing this challenge I learned that I am beautiful, smart, that I can’t let myself down. I learn that I am worth something and that I am not worthless.” witho ut make-up on or doing my hair hair.. I usually do those things every day. day. I got • I came to school without the nappy award of the day in Drill Team Team that day. My friends thought tho ught I was crazy, crazy, but I didn’t care.

SOURCES 1. CNN’s Go Beyond Borders (http://vimeo.com/11892811) 2. Ted Wish (http://www (http://www.ted.com/talks/ .ted.com/talks/jr_s_ted_prize_wish jr_s_ted_prize_wish_use_art_to_turn_t _use_art_to_turn_the_world_inside_out.ht he_world_inside_out.html) ml) 3. History of Berlin Wall (http://www (http://www.5min.com/Video/The-Ber .5min.com/Video/The-Berlin-W lin-WallHistory119996232, allHistory119996232, http://www.youtube.com/watch?v=zmRPP2WXX0U), 4. Fall of Berlin Wall (http:/ (http://www.youtube.com/watch? /www.youtube.com/watch?v=zmRPP2W v=zmRPP2WXX0U XX0U ) 5. The Trial of Tilted Arc (http://www (http://www.sfmoma.org/exp .sfmoma.org/explore/multimedia/v lore/multimedia/videos/90) ideos/90) 6. Flash Mobs (https: (https://www.youtube.com/watch //www.youtube.com/watch?v=7EYA ?v=7EYAUazLI9k) UazLI9k) 7. El Bocho + CNN’s Berlin Wall Tape Art Project (http://vimeo.com/11892811) Mining the Museum by Fred Wilson (artsjournal.com) 8. 9. Tilted Arc by Richard Serra (daschkenasphoto.com)

 ADAPTATIONS  ADAPTA For younger students, talk about physical barriers and make a small 3-D Great Wall of China using cardboard cardboar d and paper mache. This is a good time to teach students about scale and and proportion.

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VARIATIONS You may teach students any technique you choose and make them use it in their inal project. Have students break a barrier in groups in class instead of individually outside of class.

EXTENSIONS Focus more on physical barriers in the world; Talk about the Great Wall of China and the Iron Curtain. Talk about their purposes and the history behind them. Have students invent their own physical barrier as a class.

Barriers Worksheet #1

Name ___________ Period ______

What is a barrier? Are barriers good or bad?

Write down some social, emotional, or physical barriers.

“In a way, way, each of us is in our own prison. It’s the prison of biology, the social structure structu re of your life, and how that is both sort of a challenge and an opportunity.” -Matthew Ritchie What does Matthew Ritchie mean when he says we are each in our own prison?

How do you break a bad barrier?

Challenge: Do something that makes you uncomfortable, changes a routine, or breaks down a barrier.. Really do it, because your project will address your challenge. Brainstorm below: rier

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Barriers Worksheet #2

Name ___________ Period ______

Challenge: Do something that makes you uncomfortable, changes a routine, or breaks down a barrier.. Really do it, because your project will address your challenge. rier For my challenge, I...

By doing this challenge, I learned...

Your job now is to use what you you learned in your challenge to inspire your Barriers Barrie rs Project. Brainstorm below about how you can visually represent your experience. 1.

2.

3.

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Teaching History Through Art  Artists & Artworks Springville Museum of Art Images Bruce Daniel Brainar Brainard, d, Afternoon Shower  (2004)  (2004) Nicholas Britsky, New Americans (1974) Carolyn Ann Coalson, Canto (diptych) (1996) Lou Jene Carter, Navajo Girl  Montague F. Charman, Going Home (1946) Carolyn Coalson, Canto (Isaac) Loren Covington, Angel’s Landing Russell Cowles, Farmer and the Raincloud  Linda Curley, Rabbit Brush (2007) Spirit  Cyrus E Dallin, Appeal to the Great Spirit  Chief Was Washakie hakie   Jimbo Paul Revere Phillip, Son of Kicking Bear  John Hancock    Sacajewea With Massasoit  George Dibble, Between Big and Little Cottonwood Canyon (1938) Maynard Dixon, Road to the River, Mount Carmel, Utah Round Dance (BYU MOA) John B Fairbanks, Great White Throne Sunset Wheat Fields Calvin Fletcher, Wash Day in Brigham City  (1929)  (1929) Dale Thompson Fletcher, Abstract (1956) Irene Fletcher, Cache Valley Innocence Edward Fraughton, One Nation Henry Leroy Gardner, Bridal Veil Falls  (1927) Arthur Hill Gilbert, Near Monterey  (1930)  (1930) John Hafen, Mountain Stream Teepees James T. Harwood, Boy and Cat: My Little Son, Heber James (Boy with a Bun)  (1910) John Held Jr., Dancin’ in the Jazz Age Ranch Kimball, Entrance to Zion’s Reuben Kirkham, Castaway  (1882)  (1882) Paul Lauritz, Crashing Harmony  (1930)  (1930) Millard Fillmore Malin, Chief John Duncan, Ute (1935) Lee Anne Miller, Storm Spirits on Horizon #6 Gilbert Davis Munger, Great Salt Lake Utah and the Wasatch Mountains (1880)

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George Martin Ottinger, Above Camp Douglas (1868) Marguerite Stuber Pearson,  Across the Harbor  (1966)  (1966) Elbert Hindley Porter, Negro Head  (1930)  (1930) Lorus B. Pratt, Fishing Along the Jordan (1916) Lee Greene Richards, Autumn Stream (1930) Paul Starrett Sample, Winter Holiday  (1954)  (1954) Sven Birger Sandzen, Moonrise in the Canyon Joseph Henry Sharp, Playing the Game Sharon Jensen Shephard, Untitled Abstract  (1981)  (1981) Dennis Von Smith, Keeper of the Gate Lawrence Squires, Cornstalks and Pumpkins  (1919) John Heber Stansield, Canadian Rockies Susan Swartz, Amazing Grace Richard Tallant, Black Rock, Great Salt Lake  (1890) Minerva B. Kohlhepp Teichert, Indian Captives at Night  (1939)  (1939) John Elliot Tullidge, Minnie Lake (1887) Glen H. Turner, The Broken Windmill, Missouri (1948) Kimball Warren, Angel’s Peak  Frederic Whitaker, Fountain Granada (1959) Other Images  Abenaki Couple, an 18th-century watercolor by an unknown artist.  Abraham Lincoln, the sixteenth sixteenth President of the United States (1863) Ancient Citadel of Bam, Kerman, Iran 500 BC or earlier Beading Examples Thomas Hart Benton, Cut the Line (1944) John Steuart Curry, Ajax  (1937)  (1937) Edgar Degas, The Parade (Race Horses Before the Stands) (1872) House, Adobe, Yemen House, Switzerland House, Making Adobe Bricks 1 House, Making Adobe Bricks 2 How to Build an Igloo Igloos Jazz Ad Making Adobe Bricks 2 Making Adobe Bricks 1 Martin Luther King Jr., Photograph by Dick DeMarsico (1964) Emanuel Leutze, Westward the Course of Empire Takes its Way  (1861)  (1861) Emanuel Leutze, Westward the Course of Empire Takes its Way  (Mural Study) (1861) Richard Serra, Tilted Spheres Robert Smithson, Spiral Jetty and Spiral Jetty 2 Stewart, Portrait of George Washi Washington ngton Sudanese Thatched House Ute Petroglyphs West German children play on the newly erected Berlin Wall, 1962. Archibald MacNeal Willard, The Spirit of ’76 c. 1875 Grant Wood, The Birthplace of Herbert Hoover, West Branch, Iowa (1931)

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