LESSON PLAN Art Education DepartmentTEACHERS NAME _Joan Schlough__________ DATE(S) OF LESSON__4/23 and 4/30___SCHOOL Koenig Elementary GRADE 3rd LENGTH OF LESSON ____2+_ 60 min. per.TITLE OF LESSON: Kinesthetic Identification Experience (KIX)______________ _________RELATIONSHIP TO THE UNIT: (Kinesthetic Identification Experience-KIX)KIX relates to the big idea, discrimination and its antithesis tolerance, and explores the sub-themes from alesson, Teaching Reverence for Life, by Lindberg in Meyer (2002), “friendship, caring, service, and courage”(p. 277). The experience will affect “how they view other people, their classmates, people in the town wherethey live, and those from different cultures….most importantly, their role and potential contributions to society”(p. 276).RELATIONSHIP TO LIFE:KIX simulates values clarification strategy emphasizing nuance of difference, promotes awareness of potentialbias, and cumulates in renewal through the identification experience.I. PROBLEM/ACTIVITY:Students assign symbols to their interests, hobbies, favorite subjects and foods, personal and physicalcharacteristics, and aspirations, drawing at least two symbols on small square cards. Students attach symbols toa large connect card to align symbols with other students’ symbols like dominoes. In addition to being able tomove the entire domino card to different parts of a display board or even different boards, each of the twosymbols are moveable, as all of the aforementioned components are mounted with Velcro. Part of theexperience includes exhibiting cards, using separate display boards. Students experience how separate may notbe equal and how sorting methods are demoralizing and rejoining offers renewal. Students attempt to connectwith their peers or certain peers more frequently, by analyzing interests less rigidly, attaching and reattachingcards, and drawing more symbols to facilitate a match with a symbol of another.II. GOAL(S):KNOW… basic vocabulary related to their study of art (Performance Standard A.4.2). that art is a basic way of thinking and communicating about the world (Performance Standard A.4.6). that art is influenced by artists, designers, and cultures (Performance Standard B.4.4). how the design of the art changes its meaning (Performance Standard C.4.3). about basic concepts in art, such as “form follows function,” “less is more,” balance, symmetry, and originality (Performance Standard D.4.6) how to create works of art that have meanings (Performance Standard G.4.4). creating or looking at art can bring out different feelings (Performance Standard I.4.6). their own ideas about the purposes and meanings of art (Performance Standard J.4.5).UNDERSTAND… that their choices are shaped by their own culture (Performance Standard B.4.5). their creative process to better understand their work (Performance Standard C.4.9). art communicates ideas and meanings of other artwork (Performance Standards G.4.1-2). that creating or looking at art can bring out different feelings (Performance Standard I.4.6). their own ideas about the purposes, meanings, and value of art as a basic part pf being human (Performance Standards J.4.5-6). and apply the role of art criticism and aesthetic knowledge in art and design (Performance Standard J.4.7).
connections art makes to other subjects and life (Performance Standards K.4.1-3). the role that personal traits, such as independent thinking, courage, integrity, insight, dedication, and patience, play in creating quality art and design (Performance Standard L.4.3).BE ABLE TO… develop a basic mental storehouse of images (Performance Standard A.4.1). explore the elements and principles of design (Performance Standards C.4.1-1). explore what makes quality design (Performance Standards C.4.1-2). use design to improve artwork (Performance Standard C.4.4). use sketching to develop ideas for their artwork (Performance Standard C.4.6). develop basic skills to produce quality art (Performance Standard C.4.7). explore the natural characteristics of materials and their possibilities and limitations (Performance Standard C.4.8). develop personal responsibility for their learning and creative process (Performance Standard C.4.10). use problem-solving strategies that promote fluency, flexibility, elaboration, and originality (Performance Standard D.4.6). communicate basic ideas by producing studio art forms, such as drawings, and graphic design (Performance Standards E.4.1-2). use the visual arts to express ideas that cannot be expressed by words alone (Performance Standard E.4.5). talk and write about the meanings of artworks and design (Performance Standard G.4.3). show differences among colors, shapes, textures, and other qualities [line] of objects in their artwork (Performance Standard H.4.3). work alone and with others to develop visual ideas and objects (Performance Standard I.4.7). talk about art in basic terms (Performance Standards J.4.10). connect their knowledge and skills in art and to other areas, such as the humanities, sciences, social studies, and technology (Performance Standard K.4.1). invent new ways to communicate ideas and solutions to problems in art (Performance Standard K.4.2). use what they are learning about life, nature, the physical world, and people to create art (Performance Standard K.4.3). develop conceptual thought processes, and learn to use metaphors to arrive at original ideas (Performance Standards L.4.1-7).III. a. OBJECTIVE(S):1. Once students have been shown and have discussed different symbols, experimented with the kinestheticabilities of a KIX, and felt and observed the surface quality and brilliance of different media choices, they willdemonstrate the sum of these observations by assigning their own symbols to aspects of their identity, using themedia effectively, having had prior experience assigning symbols to their identity and freedom in choosingmedia. (Bloom-Comprehension and application)2. Responding to imposed limitations of design choices and exhibition space, students will identify symbolmatches with their peers and connect their KIX to their peers KIX, keeping count of the number of possibleconnections that they can or cannot make, based on like interests or based on imposed limitations. (Bloom-Comprehension and analysis)3. Having participated in a run through of KIX, discovering how difficult or easy it was for them to makeconnections, students will be asked to supplement, change, or reinterpret their symbols in order to make themaximum connections, explaining the process or design choices in writing or orally regardless of whether theirscore increased, decreased, or stayed constant. (Bloom-Synthesis and evaluation)
III. b. ASSESSMENTS1. Students create at least two symbols that represent an aspect of their identity, drawn lightly in 3H pencil first,outlined with black felt-tip pen, colored in with crayon, colored pencil, or both, and drew only wavy or onlyjagged lines around the border of the domino card. The small squares are centered on the larger domino card,their names are written in felt-tip black pen four times, once on each side of the card. Each symbol square’sbackground is colored completely. The point of setting up all these conditions facilitates an impossible list ofqualifications, and simulates social restrictions, like discriminatory legislation.2. Twice students record the names of the other students they make KIX connections with and the number ofthe difference between the scores on a log. Students give an explanation, either in writing or orally, why theirKIX scores stayed the same, increased, or decreased. Incentives are given for making a great number ofconnections, inspiring students to find nuance in their difference. For example, even though football andbaseball are different sports, they are both played with balls. This encourages students to redesign a symbol asrepresenting all ball sports as opposed to just one sport, which stimulates assigning syncretic meaning toinclusivity and tolerance.3. Students share during classroom discussion what they had to do in order to make more connections, or makepreferred connections. Also, in discussion, students suggest things they did to their KIX in order to connect withtheir friends, or how they made suggestions to help their friends make more connections, or why they wouldavoid recording some connections, even though they know it will hurt their score. This aspect of the thoughtprocesses represents bias awareness, the theme tolerance versus discrimination, friendship, service, caring, andcourage.IV. RESOURCES AND MATERIALSArt vocabulary for Word Wall: symbol, design, mediaTask analysis for each day on the board and on separate seat sheetBooks: Sneetches by Dr. Seuss Signs & Symbols by Gerd ArntzExamples and non-examples of student sketches and resulting symbolsTeacher samples of KIX:Ball sports and unicycling Learning and equality
Disc golf and science Peace and musicAssessment tools:Guiding questions for writing and an example of the log to record the number of KIX scores.Lists of ideas about incentives and facilitations of KIX sessions.Rubric for Kinesthetic Identification Experience (KIX)Images:Symbols mounted on cardstockExamples of art with syncretic meaning:All art images will be shown on a screen with a laptop and projector. All of my cultural exemplars are LGBTartists, who assert their identities and cultural context in their work. Heterosexual artists such as Käthe Kollwitzor Shepard Fairey lend themselves to these themes well, but using the work of LGBT artists in the curriculumgives the gay community visibility in curriculum, as contributing in the world, and to our field. See Appendix Cto search for developmentally appropriate LGBT artists at your grade level. If teaching at the middle school Irecommend Jasper Johns and if teaching at the high school, I recommend Erin Forrest.Examples of art with syncretic meaning by LGBT artists:Zero Generation (2004) by Rachel Carns Radiant Baby (ca 1978) by Keith Haring
Mr. Rabbit (1962) by Maurice Sendak Portrait of a German Officer (1914) by Marsden HartleyMaterials:1-bristol paper 5x8”2 or more-Bristol papers 3x3”crayonscolored pencilsblack felt-tipped pens3H pencils and eraserssketch paperVelcro, double-stick (may need alternative, depending on display system)V. MOTIVATIONTOPIC QUESTION(S): Who can explain the ways Nike, Converse, or The Gap is like Sylvester McMonkey McBean? What does Mr. McBean mean by “You can’t teach a Sneetch?” Look at these symbols. Is there one that you’d like to wear? What if you would get in trouble if you didn’t wear the symbol?
ASSOCIATION QUESTION(S): Was there ever a time you tried to change something about yourself so you would be more like other people? The kind of clothes you wear…how you run…liking sports…VISUALIZATION QUESTION(S) Why would a radiant baby be a symbol for a man? What type of symbol could you make to stand for a whole bunch of different people?TRANSITION QUESTION(S) Do you think you could pick symbols to express your feelings or your personality? Do you think some symbols express certain personalities more than others? Do you think any of this artwork is like a self-portrait? Can you think of a computer icon that is a symbol for search or to make something bigger…a logo that is a symbol for a computer…? Do you know what emoticons are?VI. SAFETY CONCERNS Closely monitor the display boards during KIX sessions. Assigning students to small groups in order toencourage turn taking limits skirmishes, budging, or poor manners. Close situations are opportune times forbullying and harassing, requiring close monitoring. In addition, a slight accident could severely harm Faith, whohas been diagnosed with Idiopathic Thrombocytopenia Purpura (ITP), making a minor cut to the skin or a bumpon the head a serious concern, since her platelets are low. The KIX sessions are collaborative and kinesthetic,but do not resemble a contact sport. All materials are non-toxic, precut, and otherwise safe. Elijah’s, asthma can flare up if he uses sharpiepens or other permanent markers. The black felt-tip pens in this lesson’s materials are safe.VII. ADAPTATIONS AND MODIFICATIONS All assertions as to syncretic meaning are valid as long as the student can defend their choice, in varyingways made available to them. If there are LGBTQ youth and by Q, I mean questioning, the privacy of thewritten response safeguards the student’s personal journey with self-concept. Some symbols may seem closer toHammurabi’s Code than the student’s personal voice. Students,’ who self-concepts are on the rise, may seemdisingenuous occasionally. This may be a self-sustaining or protective behavior more than a devious or evasivebehavior. Accompany Brandon G. to display board, so that his decision is supported, so that he may feel lessintimidated in a close group, and so that he can maintain his concentration if group is noisy. Zach has similarnoise and over-stimulation issues. It is likely an escalation from one student or a general increase in the noiselevel of the class as a whole will ensue. Anthony and Trenten, if attending art with their regular class, requirethe close physical proximity of the teacher to mitigate their explosiveness. In addition, Conor may have a meltdown, if asked to try to think of another idea, because he will likely only want to make two symbols for videogames. Be aware of one Jehovah Witness, one self-identified Nazi, and two students with assertive Judeo-Christian beliefs. The Nazi made a swastika in printmaking and I have also seen many crosses, which so far hasnot been a problem, for other students but certainly has addressed my own value clarifications. Although theswastika prints and sometimes cross art is skillfully created, I did not include this work in the district art showor even display the work in the art room. I do not censor these forms of freedom of speech but I choose otherwork to display if it is available. Students, including Sophi, who resist speaking in front of their peers may choose writing and vice versa.These students may also require more time. Every class I write the description of each step in the procedures for that lesson. Katana likes having thatdescription at her seat, so she can focus on each step and check off each completed task.
This lesson is designed for the elementary level. The guiding questions, cultural exemplars, teacher examples, and mediation of the KIX session procedures are based on their developmental level. VIII. PROCEDURES Day 1 Body: Instructional Input (15 min.) Show my KIX samples. Review what we know about symbols. Remember the symbols students made in 2nd grade to represent themselves. Explain what the symbols on my samples mean to me. Show examples of how other artists have used symbols and brainstorm symbols we know, including logos, icons, and emoticons. Use the book Signs and Symbols if needed. Read Sneetches: This is a quick read without prompting discussion. The second read is after the first KIX connecting session and before students redesign or make more symbols for the second session. Modeling and Demonstration (10 min.) Demonstrate sketching, show students’ samples of sketches. Demonstrate lightly drawing best versions of best ideas on squares in 3H pencil, show student sample. Demonstrate outlining with felt-tip pen and coloring with media, crayon, colored-pencil, or both, in layered technique. Distribution: Line up by tables, when called upon, to collect materials on the counter or in the back of the classroom. Return to counter, independently for more supplies, when needed. Checking for Understanding (25 min.) Students use 1, 5 x 8” papers to provide the base of domino for the symbols. The border is created by tracing around the 3 x 3” squares, and then filled in with either wavy or zigzag lines. Students will attach Velcro to the back of the 5 x 8” paper to attach, detach, and reattach, to the display boards, and on the 3 x 3” papers, to attach to the 5 x 8” papers. Students use 2, 3 x 3” papers to draw and color the symbols that they will interchange and identify connections from their best sketches. Students make first attempt at the KIX connect. Students record their results. Clean-up: Put media and artwork away according to our procedures. Day 1 closure (10 min.) Read through rubric. Play “Line up Game” (student named). Teacher asks a vocabulary question and the students find the term on the Word Wall, lining up when they answer it correctly. Day 2 Body: Instructional Input (15 min.) Opening reflection on 1st day progress. Consider formal elements. Review rubric. Reread Sneetches. Show images of symbols mounted on card stock. The other side of card shows these images:
Jewish family wearing stars and boys with stars. Modeling and Demonstration (5 min.) Review procedures. Task analysis is shown on the board, and available on paper to take to student’s table. Distribution: Line up by tables, when called upon, to collect materials on the counter or in the back of the classroom. Return to counter, independently for more supplies, when needed. Checking for Understanding (25 min.) Students make and/or finish at least two identifying symbols. Teacher gives new sets of limitations, for example, only the cards with the same types of lines (wavy or zigzag) around the border can connect if they are on the board marked with the triangle. The other board, students are told, will be displayed in the lobby. Students reconnect, recording the new number of connections, explaining and/or defending their results in orally or in writing. Clean-up according to procedure. Day 2 closure (15 min.) Teacher and students hold discussion and share results and reflection, tell whole class, and tell me privately in oral or written form. Students check to be sure their name is on rubric, KIX, and the results log. KIX remain on the display boards. IX. CLOSURE AND REFLECTION Hold group reflection of the first session’s progress at the beginning of second class period: Show progress, ask students to guess whose symbol is whose. Point out how many of them blended their colors, giving brilliance to the simple shapes, and made great color contrast, which made a simple shape powerful. Compare to other symbols. Hold discussion and/or writing session at the end of the second class period: Students are free to keep readjusting their KIX. The teacher can reassert new parameters and students can practice discerning the nuances of differences and broaden their ideas of identification and inclusivity to realize Chief Seattle’s (1855) words, “all things are bound together. All things connect” (n. p.)