THEMATIC UNITS
GRADE 5

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TIME MARCHES ON AND SO DO WE

Leah Robertson

Through the months of researching this document I have taken many turns and learned an enormous amount of new information. It has been a fascinating journey that I would not have followed if it had not been for Sister Carla Huebner and Dr. Jane Baldridge inviting me to take part in their project. The focus of "time" seemed logical to me since we, in today's society, are so caught up in "doing' and have little time to do things we enjoy or to allow us to grow (in a spiritual way as well as academic). It also seemed, and did hold true for me, that it held the capacity to become many things and could follow many directions. It was difficult to make decisions at times and I had to let go of some fascinating possibilites, such as the time machine for history, home made sundials ("Anno's Sundial by Mitsumasa Anno, a great pop-up book) and clepsydra (pronounced klep-suh-druh, one of the first known time pieces that was water powered). I hope that these lessons will empower students and make them aware of the fact that they do have control over, what can seem to be a very elusive and uncontrollable thing. Perhaps they will begin a life long adventure of the pursuits of time!

The 5th grade curriculum that follows has been set up to provide a general classroom teacher with content information as a statement such as: "Discuss the life cycle of plants" I extended myself the liberty of assuming this information or access to it was already available to you. The information regarding the art projects was presented in a more detailed fashion to supply most if not all of the information to complete a project without any or little formal art background. My hope is to provide a springboard for you and your students to adapt and change any lesson as you see fit or to use any text, literature or videotapes that is more tailored to your classroom. Any of the lessons, even the ones with specific reference from a book can be executed with a substitution of another book or books, so, please do not feel limited or restricted to the books I have used. However some books will make the going easier if you obtain the actual book suggested. These would include the lessons: "In charge of time: in charge of ME"

At the beginning of all but one lesson ("From Mozart to Rembrandt" it is at the end) you will find a quotation that is linked to the lesson. You may choose to share these with your students or prefer to keep them as inspiration for yourself. Recently I have become enamored with the power of quotations and wanted to spread it along.

Estimations on time have been given in 30 or 40 minute lessons. The lessons will vary depending on how much time is given to building information such as "plant life". All of the art projects within a lesson can be completed within the time frames given. I would advise reading over all of the lessons for a full scope. Several can be overlapped such as "From Mozart to Rembrandt" and the extension of "Shadow Music" . Some lessons do not require months of presentation but require considerable time within the space of beginning to end, such as: "Parsley, Sage, Rosemary and Time" to grow the herbs from seeds. As well as, "In charge of time: in charge of ME" where students document how they spend their time over a period of one month.

As you can imagine, this has come to feel almost like a care package of sorts that I am sending off to you through the good graces of Mount Mary College. It would not have been possible without the patience and support of my family; Ed, Garth and Logan; technical support from Steve and Sonny; and the generous loan of the kindergarten model by Judy Wolfe and the second grade model by Jill Lagrange and Judy Kuehn. Thank you all! I would greatly appreciate any input you can offer. Right now communications are restricted to the U. S. Mail. I hope that soon, I will have an e-mail address to communicate more quickly. Good luck and good teaching!

Respectfully submitted,

Leah Robertson, art teacher

CONTENTS

SOCIAL STUDIES

• Lesson: "In charge of time: in charge of ME"
• Art: collage posters
• Lesson: "My-Own Calendar"
• Art: Bas-relief plaster sculptures, studying Maya culture

LANGUAGE ARTS

• Lesson: "Time to Solve the Crime"
• Art: Clay hand built characters based on a Graeme Bases mystery
• Lesson: "June 29, 1999: A Story"
• Art: Writing and illustrating hand made books.

SCIENCE

• Lesson: "Parsley, Sage, Rosemary and Time"
• Art: Contour line drawings documenting seed and plant life
• Lesson: "The Stars, the Sun, and the Moon"
• Art: Tin can planetarium embellished with Native American designs

MATH

• Lesson: "Geo-quilts"
• Art: Paper quilts, studying African American influence
• Lesson: "Fractured Gears"
• Art:Designs utilizing fractions and color

RELIGION

• Lesson: "TIME: The seven days of creation"
• Art: Papier Mache worlds
• Lesson: "Down a Line of Time"
• Art: Interactive time line mobile

MUSIC

• Lesson: "From Mozart to Rembrant"
• Art: Portrait drawings of famous composers
• Lesson: "Shadow Music"
• Art: 3-D sculptures made from foam core board

ART (and COMPUTER)

• Lesson: "Switch, Swatch, the Watch"
• Art: Large "Pop" art watches
• Lesson: "TIME-warp - Surrealism"
• Art: Computer generated drawings after Dali

PHYSICAL EDUCATION

• Lesson: "Dance the Time Away"
• Art: Action painting after Jackson Pollack

DISCIPLINE: Social Studies ". . . . the man who is destined to success is the man who makes time live by making it useful." Arthur Brisbane

TITLE: "In charge of time: In charge of ME"

AUTHOR: Leah Robertson S77 W15730 Woods Road Muskego, WI 53150

GRADE LEVEL:5th Grade

OVERVIEW: Students will learn time Management skills to reduce stress and a way of achieving and setting goals. Students will create a poster and apply their knowledge of design principles with the art of collage.

CONNECTION TO THE CURRICULUM: Social Studies, Art, Computer, Math

TIME: 6 - 40 minute lessons, with observation time extending over 6 weeks

MATERIALS: Paper, pencil, computer spreadsheet program (although this could be done without), markers, "A Kid’s Guide to Managing Time" by Joy Wilt, old magazines, photographs, and newspaper, glue, scissors, art reproductions from collage artists (slides, posters, prints, books)

OBJECTIVES: Social Studies: Chart the way you have changed. Recognize and discuss the need for growth. Set personal goals for yourself. Recognize the health benefits of having control over how you spend your time and yourself. Art: Create a collage poster. Utilize design principles in art production. Observe how fine artists that were initially trained as illustrators use collage. Computer: Learn and apply knowledge of a spread sheet software program to chart personal time Management to achieve goals. If such a program is not available, utilize a graphics program to develop a simple chart to hand graph accomplishments. Math: Estimate time to achieve accomplishments.

PROCEDURE:

• TEACHER PREVIEW: Read or preview "A Kid’s Guide to Managing Time" by Joy Wilt or a similar book on time Management.
• Discuss the human life cycle.
• Discuss how choices made in life effect the future.
• Discuss time and the many ways it is measured (i.e.: second, minute, hour, day, week, month, season, year, etc.)
• List all the ways a 5th grader spends time.
• Discuss how the students feel about how they spend their time.
• Present the concept of time Management and have students begin setting up a chart or graph on the computer to record the way they are currently spending time. They will need two charts a "time chart" and an "activity chart". The "time chart" is set up in hourly increments going down the left side of the page, starting at midnight (i.e.: 1:00 - 2:00) and across the top from left to right the days of the week. The second chart for activity is set up with all of their activities going down the left side of the page and the days of the week itemized across left to right along the top of the page. They will record the number of hours spent during a given day doing each of these activities (i.e.: sleeping, eating, homework, television viewing, etc.).
• Discuss the results of time charting after one week.
• Question the students on how they feel about how they have spent their time. Were there any real surprises? What did they expect to find and what was different?
• Instruct the students to brainstorm a list of goals for themselves. They should include both short term and long term goals, realistic and unrealistic. They may want to get a family member to help give them suggestions about goals they would like to achieve and what they need to do to achieve them (such as short term goals that will help to achieve a long term goal).
• Don’t forget to include incentives or fun goals.
• Instruct students to prioritize three to four goals they think they can manage and would like to work toward accomplishing. Put the remaining list on hold for another time when they may want to try again to set some goals.
• Have students estimate how long it will take them to accomplish their goals.
• Introduce one or more collage artists such as Robert Rauschenberg, Larry Rivers, George Braques, Keith Schwitters.
• Discuss the principles of design: movement, rhythm, pattern, variety, emphasis, unity and repetition and how they help to create a balanced and exciting piece of art.
• Find evidence of the principles in some of the art work produced by the artist introduced above.
• Next, on an 18" x 24" sheet of white sulphite paper they should design another chart that has the days of the month. They should develop a list of things to do daily, weekly and monthly that will enable them to become organized and to achieve their goals.
• Design a collage of motivational images cut from newspapers, magazines, old photos, and hand drawn images to create an exciting functional poster to mount their calendars onto or work it out as a border for their calendar.
• Instruct students to track their time and activities on their calendars for one month. * After one month discuss the success of their efforts. How might they use it in the future to help them achieve goals?
• Compare actual results to their estimates made a month earlier.

SUGGESTED EVALUATION: Self-evaluation of what they learned about the time Management process. (Authentic assessment)

EXTENSION: If it is started early enough in the school year, some students may opt to continue with their goals and share results later on in the school year. Have students interview family or friends for sayings about time (i.e.: "Haste makes waste.", "One step at a time.", etc.) and then illustrate the sayings.

RESOURCES: "A Kid’s Guide to Managing Time" by Joy Wilt from Educational Products Division, "Art Connections" by Kimberly Boehler Thompson and Diana Standing Loftus from Good Year Books 1995, "The Shock of the New" by Robert Hughes from Knopf 1980.

DISCIPLINE: Social Studies "Shadow owes its birth to light." Gay

TITLE: "My-own" Calendar

AUTHOR: Leah Robertson S77 W15730 Woods Road Muskego, WI 53150

OVERVIEW: Calendars of different forms have been used to measure time throughout history. This lesson will allow students to create their own calendar systems and corresponding "glyph" in bas relief while understanding past civilizations and cultures.

CONNECTIONS: Social Studies, Art (Optional: Science, Religion, Math)

TIME: 5 - 7 40 minute lessons

MATERIALS: Mayan and pre-Columbian art resources (slides, prints, books, encyclopedias, posters, photocopies, etc.), 12" x 18" white drawing paper, pencils, markers, colored pencils, brown tempera paint, brushes or soft rags to apply "stain", old flexible tubs (i.e.: plastic ice cream pails), water, plaster (SEE CAUTION BELOW BEFORE WORKING WITH PLASTER), sand, old wooden spoon or wooden paint stick for stirring plaster, carving tools (clay tools, dull pencils, Bic pen caps, bobby pins) recycled plastic produce bags, newspaper, small boxes approximately 4’" x 6" x 3" (can be made from cardboard and masking tape if desired), optional velcro and hot glue.

OBJECTIVES: Social Studies: Describe where and why early civilizations developed. Explain why beginning times are called pre-historic. Describe and explain how early people sustained life. Name cultures that developed in Central South America. Tell why Mayan cultures died. Art: View, discuss and analyze distinguishing characteristics that associate a particular work of art with a particular style or culture. Distinguish reproductions from originals. Recognize that historical events influence artists. Recognize bas relief sculpture as an art form used historically and culturally. Create a work of bas relief art work. Recognize and identify the similarities and difference between subtractive and additive sculpture.

PROCEDURE:

• Introduce and discuss the Maya history and culture.
• Discuss the use and development of calendars in Maya culture. (NOTE: Inclusion of the Christian and Gregorian calendars may be used comparatively to that of the Maya’s.)
• Display and discuss calendars as Maya bas relief art work. (SUGGESTIONS: Solar and lunar differences, spiritual deities, numerical ideographs, glyphs, pictographs, days, months, seasons, the curvilinear design quality to shapes, use of space, etc.)
• Comparisons to other bas relief sculpture such as: Phoenician, Peruvian, Greek, Roman, Filippo Brunelleschi, Lorenzo Ghiberti, Carlo Simonetta, Giovan Pietro Lasagna, Auguste Rodin, etc.
• Analyze the difference between reproductions and originals.
• LARGE COOPERATIVE LEARNING GROUP: Brainstorm how the students would develop a calendar representing life today. (NOTE: Some ideas to include could be similar to that of the Mayan calendars with ideographs, pictographs, days, month. Math could be incorporated to calculate the number of days in a solar year and lunar year to develop a new representation of weeks and months.) Assign one or two students as recorder. (Would computers be used to gather information? What other types of technology? Might symbols be designed to indicate the variety of technology people depend upon for collecting information and knowledge today?)
• SMALL COOPERATIVE LEARNING GROUP: Break out into groups of four or five students. From the list developed above students will: brainstorm what their calendar format would like and prioritize what information should be included in the calendar.
• LCLG: Present all calendar ideas and democratically choose one or combine ideas from some or all to create one large calendar. Represent this final copy on the board.
• Instruct students to draw their own calendar from the design developed and displayed on the board with pencil and 9" x 12" white drawing paper. Students can include the information collected from the brainstorming list as well as creating some new "glyphs".
• Instruct students to write their names on the outside of their box. They should also tape up any visible holes (check corners) they can detect when they hold their box up to the light. Line the boxes up on newspaper to protect surface in case of leaks.
• Instruct students to draw a design for one single glyph that they will carve in bas relief from the plaster. It could represent a saint, something from the solar or celestial system, number, letter, word, or a symbol of a technological tool used in today’s society.
• CAUTION: It is IMPORTANT not to get any plaster into plumbing! Have enough clean water in a separate container to mix into the plaster. Mix in an area away from the sink. Immediatly pour any unused plaster into a plastic lined waste baseket. Allow remaining bits of plaster to SET-UP in the bucket. Push bucket from side to side to release plaster. Throw dried plaster bits into the trash. While students are drawing their calendars teachers can begin mixing plaster with sand. Mix plaster by filling the plastic ice cream pail 1/3 to 1/2 full of cool water (cool water will slow down the setting time of plaster, hot will speed it up). Pour in approximately 1 cup of clean dry sand (NOTE: this is only to add texture of stone and is not necessay for any other purpose). To this, in the center of the water-filled bucket steadily add the powdered plaster until a small mountain forms above the water level and no longer sifts into the water. Begin stirring until the mixture is smooth and lump free. (NOTE: Simply follow manufacturers instructions on bag or box if this is simpler.) Pour the plaster into the prepared boxes. Tap the boxes gently to surface and pop any air bubbles that might have formed. (HINT: Science can be introduced to observe the exothermic reaction as the plaster begins to set and begins to get warm and then cool.)
• Once the plaster is completely hard students can tear off the box and write their names on the bottom of their plaster with a pencil or marker.
• Students keep the plaster "workable" by placing them in recycled plastic grocery or produce bags. As long as the bags are sealed up they can maintain a "workable state" for a good week or more.
• Transfer their "glyph" design onto the top of the smoothest side of plaster by placing the paper on top and tracing over their lines. An indentation will be transferred to the plaster.. They could also reproduce their image free-hand if they choose.
• Before carving begins instruct students on safety and clean-up rules. Each student should place old newspapers under their work surface to minimize clean-up. Newspapers can be easily tossed out, plaster scraps and all when work sessions are over.
• CAUTION: Students should wipe off their hands after working with dry paper towels to remove as much plaster dust as possible prior to washing with soap and water.
• Instruct students to carve away (subtract) plaster to enhance or show their design. Displaing reproductions of bas relief sculptures for reference is extremely helpful. Generally the easiest place to begin is the contour line of the shapes within the design. Rounding out the edges can provide a "softer", more curvilinear quality to the shapes.
• When the carving is complete allow "glyphs" to air dry. Thin brown tempera paint with water to make a stain, paint on the surface and quickly wipe off from the top surface. The "stain" will remain in the subtracted or low areas. This will create a "patina" that resembles age and wear, as well as enhance the sculptural quality of the art work. The process can be done several times to achieve the desired darkness.
• Be sure students carve their names in the back of their sculptures. (Or paint them on.)
• They can attach Velcro to the back with hot glue if desired and attached to a special day (full moon, summer solstice, birthday, religious holiday) on their calendars. Or carve an angled slot into the back to hang for display on the wall.

SUGGESTED EVALUATION: Teacher observation and questioning. Authentic assessment.

EXTENSION: Calendars could be connected with the graphs made for the Social Studies lesson "In charge of time: In charge of ME". Mathematical connections could be made with adding, subtracting, and dividing to determine the days in a week, month or year. Connections could be made to science and the exothermic reaction while mixing plaster. Cultural and religious connections could be linked to with similar art work.

RESOURCES: "Eyewitness Art: Sculpture" by Mary-Jane Opie from Dorling Kindersley Book 1994, "The Clay Modeling Handbook: Learning from the Masters" by Mario Molteni from Clarkson Potter/Publishers 1989, "A Guide to Ancient Maya Ruins" by C. Bruce Hunter from University of Oklahoma Press 1974, "The World Book Encyclopedia" from World Book, Inc. 1989, Microsoft "Encarta" 1994.

DISCIPLINE: Language Arts "Man's mind when stretched to a new idea never goes back to it's original dimension." Oliver Wendall Holmes

TITLE: Time to Solve the Crime

AUTHOR: Leah Robertson S77 W15730 Woods Road Muskego, WI 53150

GRADE LEVEL: 5th Grade

OVERVIEW: Graeme Base creates a different type of mystery by leaving verbal clues as well as clues hidden within the illustrations in his book "The Eleventh Hour: A Curious Mystery".. Interaction between the viewer, the reader, and the page are used to solve the mystery while they become a part of this literary world with animal characters students create from clay.

CONNECTIONS TO THE CURRICULUM: Language Arts, Art, Social Studies

TIME: 5 - 6 40 minute lessons

MATERIALS: The Eleventh Hour: A Curious Mystery by Graeme Base, paper, pencil, clay (or modeling material such as: Model Magic, Super Sculpey, papier mache, etc.), tools to work the clay, tempera paint or glazes, brushes, containers, water, paper towels or old cloth.

OBJECTIVES: Language Arts: Read, retell, remember a mystery story. Answer detailed questions about a mystery. Tell purpose to inform, entertain, convince. Retell information heard. Art: Identify elements and principles of art in clay forms. Construct clay forms using handbuilding techniques. Recognize that artists use action poses to imply movement and create interest in a work of art. Evaluate action and movement in a work of art. Social Studies: Distinguish between a mistake, a sin, poor choice. Tell how persons know right from wrong.

PROCEDURE:

• Discuss mysteries as a form of fictional writing.
• Introduce and read aloud The Eleventh Hour: A Curious Mystery by Graeme Base.
• Instruct students that they are to re-create one of the characters from the story out of clay.
• Display for observation and discussion samples of artist's sculptures that show action and movement. Examples might include: Auguste Rodin's work "The Kiss" and "The Crouching Woman", Edgar Degas' "Dancer", Gianlorenzo Bernini's "Apollo and Daphne" and Roman sculpture of athletic figures. Discuss the way an artist depicts movement or action? How are the limbs of the character or figure positioned? (This can be pointed out in both 2 and 3 dimensional art works.) Does it cause the viewer to imagine what is going on? More so than if the character was static or still in pose? Do you think the artist had models pose while they created the art work? Do you think direct observation from a model would help or make the job easier? Would working from photographs be a solution if you did not have someone to pose for you?
• Observe the characters illustrated in the book and discuss how Mr. Base created movement with his animals. Students might consider using these and other reference material collected from "Encarta", the web, library books, or magazines to find a particular pose to help motivate and help them in creating their character.
• OPTION: At this point you may choose to begin each drawing session with an anticipatory set discussing mysteries, knowing right from wrong, making choices, using logic in our lives as well as to solve the mystery of The Eleventh Hour; or another approach might be to have an ongoing discussion while students work on their projects using these topics. Utilize the open-ended mystery aspect of the story to encourage students to discuss, convince and entertain each other as they speculate on who the thief is. (The answer to the mystery are in a sealed section at the end of the book and can be revealed at the end of the lesson.)
• Have them begin by drawing sketches of their character in a particular pose that depicts action or movement. You may want to re-read the story so that it is fresh in their minds if it has been a day or two. (HINT: Students could volunteer to read a page or two.)
• Discuss the rules of using clay in your classroom.
• NOTE: Be sure to cover the clay projects securely with recycled plastic to protect against drying out between times. It may be necessary to place a few sheets of paper toweling or old cloth moistened with water to keep the clay moist, especially if working extends over a weekend.
• HINT: It may be helpful to have a piece of cardboard that has been covered with plastic for students use while building their characters. This helps in clean-up and transportation from storage to work areas.
• Instruct and model for students hand building techniques that they can employ to build their characters. If you are using clay be sure to caution students about the limitations of clay (i.e.: even thickness, slipping and scoring for adding clay on, no piece can be thicker than your thumb or it must be hollowed out, etc.).
• Encourage students to consider details and surface textures to create interest. They may wish to include cryptic messages somewhere on their figures as Mr. Base did in his illustrations.
• Allow characters to dry and fire when ready. (This may take 3 - 7 days depending on the moisture and size of the character.)
• If glazing is used, instruct students on the proper use of ceramic glazes.
• If painting is done, instruct students on the proper use of tempera paints.
• Provide time to glaze (and fire again after glazing) or paint with tempera (If pieces are painted they may be Asealed@ with a clear spray varnish such as Krylon).
• (Discussion and instruction of color mixing and blending could be included at this point is desired.)

SUGGESTED EVALUATION: Teacher observation and questioning of retelling and remembering the story. Classroom critique or evaluation of the inclusion of motion and action into their characters. A list of questions might be placed on the board or handed out to help them focus and alleviate nervousness. Questions might include some of the same questions asked at the outset of this lesson in regards to the masters discussed earlier such as Rodin and Degas.

EXTENSION: Two groups could be formed to re-create Horace's house. One group to create characters and the second group(or students done early could) create a 3 dimensional floor plan of the rooms in Horace's house. The characters could be moved about in Horace's house to help solve the mystery. Biographies could be written about the characters that each student chose to create, developing a life history and how they became friends with Horace. Prior to solving the mystery each student could write their ending to the story with a prediction of how the mystery is solved. An even larger Aset@ could be made and costumes worn to develop a play or human maze to act out the mystery, or use it as a taking off point to create something entirely new. The characters could be used or other lessons to portray situations where choices are made and recognize the differences between good and evil, right and wrong.

RESOURCES: The Eleventh Hour: A Curious Mystery by Graeme Base from Harry N. Abrams, Inc. 1989, Eyewitness Art: Sculpture by Mary-Jane Opie from Dorling Kindersley Book 1994, Arts and Crafts in the Classroom by Earl W. Linderman and Marlene M. Linderman from Macmillan Publishing Company 1984.

DISCIPLINE: Science "A journal is like pages from your soul. . . ". SARK

TITLE: Parsley, Sage, Rosemary and Time!

AUTHOR: Leah Robertson S77 W15730 Woods Road Muskego, WI 53150

GRADE LEVEL: 5th grade

OVERVIEW: Students will understand the growth of plants by growing their own herb seeds while enhancing observation with contour line drawings and written record keeping.

CONNETION TO THE CURRICULUM: Science, Art, Computer, Religion, Social Studies

TIME: 5 - 30 minute lessons

MATERIALS: Paper, pencils, erasers, clear or Styrofoam cups, potting soil, variety of herb seeds, water, markers to label cups, water, sun, garden catalogs,

OBJECTIVES: Science Describe, observe, and understand the process of seed development into a plant and it’s life cycle. Name four uses of herbs to humans. Describe how humans have changed some herbs. Diagram and label parts of plant, seed and flower. Art: Understand the value of direct observation through the use of contour line drawings. Identify the differences between organic and geometric shapes. Learn and apply knowledge of value as it relates to form and shape. Observe and recognize the historical and cultural connections with plants and art. Computer: Gain and expand skill in accessing information from software programs. Religion: Express concern for sick, dying and aging. Social Studies: Describe a variety of historical civilizations connected with herbal usage. Compare past and present customs and lifestyles that used herbs.

PROCEDURE:

• Discuss gardening and its variables from economic to leisure.
• Generate conversation by asking students if they have or know someone who gardens.
• Connect conversations with the economical, therapeutic, and agricultural importance plants have had for all living things throughout history.focus discussion on herbs and their religious, therapeutic and historical importance.
• Discuss plants as symbols. Such as the use of flowers in the Song of Solomon. the laurel wreath used in ancient Greece, the use of Rue in holy water.
• Discuss the life cycle of plants.
• Begin research on herbs. (Use the computer, the "web", encyclopedia, dictionary, books, etc.)
• Discuss how to plant and care for seeds (herbs). (HINT: Flower books and catalogs might be a great resource as well.) (HINT: Visitors from local farmers market, greenhouse, or hobbyist would increase enthusiasm and enhance knowledge of planting skills and "how to" information. A field trip to a local farmers market, greenhouse, park or Whitnal Park Botanical Gardens would be excellent inspiration.)
• Begin planting a small variety of easily grown herb seeds. Good plants to begin with might include: parsley, mint, lemon balm, lemon balm, chives, basil, savory, cilantro, dill, chamomile, and thyme.
• Instruct students to keep a sketch diary and written journal of each profound stage of plant development. (HINT: Planting seeds in clear plastic glasses might aid in viewing as the seeds begin to root. Plant seeds near walls of cup to better observe.) The drawing process will take less time in the beginning; as plants develop more time may be required. You may want to plan ahead for this project and overlap it with other lessons to allow for the growth and development of the plant.
• Model for students how to begin a contour line drawing while they observe plants directly. As the days progress you may want to include more information about form as an art element. Geometric verses organic shapes. How shape differs from form. Encourage them to be scientific observers and look for as many clues as they can about their newly emerging life forms. Include written description of growth and development.
• Model how to incorporate value as a means to describe form. Light areas are generally closer to you. Darker areas tend to recede. Ask them if color has value? How can they demonstrate that? Does overlapping indicate space? What about the size of something? Continue to include journal writing of plant growth and development.
• As seeds develop begin labeling the parts of the plant.
• Expand knowledge of herbs before each drawing session with topics such as annuals, perennials, planting and harvesting times, grafting, breeding, hybridization, pesticides, herbicides, greenhouses, hydroponics, biomes, crop rotation, heirloom plants, organic farming, etc. How some herbs and other plants are used to deter pests from crops such as marigolds next to tomatoes. How plants such as foxglove (digitalis) have been used medicinally.
• Share the book by Sara Middas "Sara Midda’s South of France - A Sketchbook" which is a journal or diary of her garden experiences. It includes wonderful, yet simple watercolor paintings of her environment and gardens.

SUGGESTED EVALUATION: Rubrics, teacher observation, self-evaluation

EXTENSION: Landscape architecture can become a part of this assignment as well. If a space exists on school grounds, herb plants could be planted into a newly created garden plot that has or has not been designed on computer. Community connections could be made if there is an empty lot, nursing home, church, etc. that might benefit from the beautification of a small herb garden. Closure to the unit might include foods prepared with a variety of herbs grown or a tea party to encourage social skills and cultural connections. Plant markers might be made from painted rocks or recycled juice cans labeled with permanent markers or acrylic paint. More ambitious students could continue study of plants and their botanical names and origins.

RESOURCES: Job 38:27, Proverbs 15:17, "The Giving Tree" by Shel Silverstein to be read for motivation or at tea party, "Sara Midda’s South of France - A Sketchbook" by Sara Middas from Workman Publishing, 1990. Seed catalogs with hand drawn images include: "Shepard’s Garden Seeds (excellent resource!) 30 Irene Street, Torrington, Connecticut 06790; Vermont Bean Seed Company, Garden Lane, Fair Haven, VT 05743 (Excellent ink drawings); R.H. Shumway’s P.O. Box 1, Graniteville, SC 29829 (also, excellent drawings); Jung Quality Seeds 335 S. High Street, Randolph, WI 53957-0001 (very few drawings but reasonable prices). Other magazines that might be beneficial: "Mother Earth News" and "Organic Gardening".

DISCIPLINE: Science "God gave man an upright countenance to survey the heavens, and to look upward to the stars." Ovid

TITLE: The Stars, the Sun and the Moon

AUTHOR: Leah Robertson S77 W15730 Woods Road Muskego, WI 53150

GRADE LEVEL: 5th Grade

OVERVIEW: After students study the solar system and existing constellations they will create a "tin can planetarium" adapted on the book "The Night Sky Book: An Everyday Guide to Every Night" by Jamie Jobb.

CONNECTION TO THE CURRICULUM: Science, Art, Computer, Language Arts

TIME: Three to Five, 30 minute lessons

MATERIALS: "The Night Sky Book" by Jamie Jobb, "From Sea to Shining Sea" compiled by Amy Cohn tin coffee cans, rubber bands, construction paper, white paint or glow-in- the-dark paint, nails of varying size, flashlights and a dark room.

OBJECTIVES:

• Science: Compare, contrast, and locate constellations and galaxies in the sky. Draw the constellations and tell the name and story behind constellations.
• Art: Design a 3 dimensional planetarium with surface decoration.
• Computer: Use computer skills to research constellation names and stories.
• Language Arts: Read and retell Native American Indian myth.

PROCEDURE:

• Discuss and identify constellations and contrast with galaxies.
• Read aloud the "The Coyote Helps Decorate the Night" retold by Harold Courlander and/or "How the Slave Helped Each Other" retold by William Faulkner, both found in the book, "From Sea to Shining Sea" compiled by Amy Cohn.
• Instruct students to use the computer to find information about constellations (if computers availability is limited or not available utilize library books or classroom text).
• Instruct students to choose a favorite constellation and record any information they can learn about it. (i.e.: name, story, etc.)
• Each student will create a "tin can constellation" using their favorite constellation.
• Both ends of the can should be removed.
• Instruct students to cut a black piece of construction paper approximately one inch larger than the opening of the can. When completed each student should have a round piece of black construction paper to fit over one end of the can with a one inch margin. You may find it helpful to instruct the students to center the can onto the paper and draw a pencil line around to rim of the can. This will allow them a guide to center their constellations within this space.
• Indicate in pencil, with a small "x" where the stars are to be located. A variety of different sized nails should be used to pierce the x’s (larger sized nails for larger stars and smaller nails for smaller stars). CAUTION: Placing the paper over a pad of newspaper or old magazine is desirable to protect working surfaces. Remind students to keep fingers clear of the nails when making holes.
• Cut a few slits into margin just shy of the pencil line to allow for a good fit.
• Secure constellation paper onto can with tight fitting rubber band.
• For the outside of the can, fit a piece of black construction paper around can to completely cover it. (NOTE: Be sure to decorate this paper before gluing to the outside of the can as it is much easier to decorate lying flat on a work surface.) Decorate with Native American designs and paint.
• Wrap decorated paper around can and secure with glue or tape.
• In a dark room, view constellation by shinning a flashlight through the bottom, open end of the can up toward constellation end to illuminate image. The constellation image will be projected onto the ceiling or wall.

SUGGESTED EVALUATION: Peer tutoring: each student will present his/her constellation to the class and explain the name, story and location.

EXTENSION: Have a "star party" and invite younger classmates to take part in the tutoring. Visit a local planetarium or invite an amateur or professional astronomer to visit the classroom. Have students design their own constellation and create a name and story to accompany it. Integration with music could be considered by teaching students the song "Follow the Drinkin’ Gourd" arranged by Carl Miller also found in "From Sea to Shining Sea".

RESOURCES: Coyote Helps Decorate the Night retold by Harold Courlander and

How the Slaves Helped Each Other retold by William J. Faulkner both from the book From Sea to Shining Sea compiled by Amy L. Cohn from Scholastic Inc. 1993, American Indian Design and Decoration by LeRoy Appleton Dover Publications Inc., 1971, The Night Sky: An Everyday Guide to Every Night by Jamie Jobb and illustrated by Linda Bennett from Brown Paper School Book by Little Brown and Co. 1977, Microsoft "Encarta" 1994.

P.S. I found all of the Brown Paper School Books to be incredible finds. They offer of huge array of fun and exciting learning projects that where simple and economical to do. If you can find a copy it will be great fun for you and the students!

DISCIPLINE: Math "Their quilts were journals in cloth on which they could focus their remembrances" Patricia Cooper and Norma Bradley "The Quilters"

TITLE: Geo-quilts of Heritage

AUTHOR: Leah Robertson S77 W15730 Woods Road Muskego, WI 53150

GRADE LEVEL: 5th Grade

OVERVIEW: Quilts have long since been a functional art form that spoke to many people in a variety of ways. Students will learn to apply their geometry skills to creating a work of art that communicates a message and beauty.

CONNECTION: Math, Art, Social Studies

TIME: 5 - 6 30 minute lessons

MATERIALS: Tag board, sulphite paper, pencils, markers (or colored pencils, or discarded gift wrapping paper), meter sticks, rulers, glue, compass, scissors, resource material for quilts (slides, prints, photocopies, calendars, books, etc.) and OPTIONAL: hole punch, colorful yarn.

OBJECTIVES: Math: Identify geometric shapes. Recognize and utilize geometric shapes as a formal design element in art. Identify, draw and utilize fractions to increase complexity in designs. Art: Recognize quilting as a means of artistic expression. Utilize color and shape in design development. Recognize the cultural and historical value of quilting. Recognize quilts as a functional and fine art form. Identify and utilize the elements and principles of design. Social Studies: Evaluate historical and cultural quilt work and how it has changed over the centuries. Language Arts: Recognize that literature is a useful tool in creating art and learning about other cultures. Observe quilting as a tradition passed on to new members of a culture.

PROCEDURE:

• Introduce and discuss the history of quilts. (Connections to Colonial America and Native American cultures can also be made.)
• Suggested reading: "The Keeping Quilt" by Patricia Polacco Simon & Schuster, 1988 (or any other similar book; the entire chapter "Let My People Go" includes a rich selection of song and prose about African-American heritage in the book entitled "From Sea to Shining Sea" compiled by Amy L. Cohn from Scholastic, Inc. 1993)
• Discuss the original functional intent of quilting and how it evolved into something a new 20th century art form. African-American, Amish and Quaker cultures used them to tell stories of family heritage and history. Today quilts are experiencing a new status to commemorate AIDS victims, paralleled with abstract art in fine art galleries and as a viable means of expression through the use of shape and color.
• Students could search some of the art museums on the "web" for information and viewing of quilts.
• Review the elements and principles of design. ("Art Connections" by Kimberly Boehler Thompson and Diana Standing Loftus Good Year Books, 1995)
• Observe quilt designs and patterns. ("Quilt National" from 1995, calendars that display quilts, "Early American Trades Coloring Book" by Peter F. Copeland Dover Publishers, 1984, actual quilts, slides, posters, photocopies, invite hobbyists’ in to discuss and share their work)
• Discuss: the names of the patterns, how color is used, observe the geometric shapes, how many can they find, how is a quilt unified, what is common in most quilts (borders).
• Supply each student with a sheet of paper to generate ideas for their pattern.
• Discuss geometric shapes and dividing those shapes by using fractions. What if you cut up the fractured pieces and replace them into a new pattern? Encourage experimentation. (SUGGESTION: One or more students could "hide" a clock within one or more of the panels to be searched for later when it is all assembled.)
• Supply each student with a piece of tag board 6 to 8 inches square. Instruct them to transfer their final design onto the board and color it in with markers.
• Instruct students to sign there name discreetly on the front of their design. On the back of their design they should include their name and the name of their design.
• You may choose to leave them as individual works or for a temporary display they could all be placed on the floor and arranged and rearranged until a pleasing overall design is achieved. A photograph could be taken to preserve the image. This may be expanded by either of the following ideas:
• OPTION: Instruct students to punch holes along all four sides at one inch intervals using a ruler and a pencil. Weave the panels together with brightly colored yarn overlapping them so that you are stitching together two panels at once.
• OR:You may choose to glue them to a large piece of cardboard, finish it with a crepe paper border or tissue and mount it to a wall.

SUGGESTED EVALUATION: Classroom discussion upon viewing completed quilt; did they use color and geometric design expressively? How did some people vary their designs with fractions? Was this helpful? What could be changed? What story could be told about their quilt? One student could start and each person add a couple of lines or ideas. This could be recorded on tape or video and become part of the quilts display.

EXTENSION: Students could write short stories or poems about the design they have created. A theme could be assigned at the start of the lesson to create some continuity (i.e.: a specific time in history, slavery, clocks, school, religious, etc.). Some students could cut recycled paper, cloth or wrapping paper into the shapes of their designs. To view a quilt show at a local church bazaars, gallery or craft shop. Show and tell quilts shared from students homes.

RESOURCES: "Art Connections" by Kimberly Boehler Thompson and Diane Standing Loftus from Good Year Books, 1995, Microsoft "Encarta" 1994, "Early American Trades Coloring Books" by Peter F. Copeland from Dover Publishers, 1980, "The Keeping Quilt" by Patricia Polacco from Simon & Schuster, 1988, search the "web" for The Ebony Rainbow Quilting Sisters.

DISCIPLINE: Math "Your sole contribution to the sum of things is yourself." Frank Crane

TITLE: Fractured Gears

AUTHOR: Leah Robertson S77 W15730 Woods Road Muskego, WI 53150

OVERVIEW: The round gears that activate movement for a watch provide the backdrop for students to discuss and learn about color and fractions.

CONNECTIONS: Math, Art

TIME: 4 - 6 30 minute lessons

MATERIALS: Tempera paint or watercolor paint, brushes, water, water containers, newspaper, 12" x 18" tag board, compasses, rulers, scissors, pinking shears or Fiskars paper edgers, glue, construction paper, color wheel, art resources (slides, posters, prints, books, photocopies, etc.)

OBJECTIVES: Math: Draw, define, name a radius, diameter, secant and tangent. Draw, define and name fractions. Demonstrate correct use of a compass. Art: Observe, recognize and identify the colors that make up the color wheel. Use primary colors to mix other colors. Observe and recognize color schemes and how artists use them to create balance.

PROCEDURES:

• Discuss and display the color wheel. (Primary, secondary, intermediate or tertiary colors.)
• Display art reproductions along with a color wheel and discuss color schemes. (Analogous, arm, cool, complementary, triad.)
• Identify the use of color schemes in art works such as Da Vinci's Mona Lisa, Matthias Grunewald's The Crucifixion, Sandro Botticelli's The Birth of Venus, or Theodore Geicault's The Raft of the Medusa.
• Instruct students to make eight 4" circles using a compass on the tag board.
• Discuss fractions, circumference, diameter, radius and tangent.
• Instruct students to divide circles with rulers and pencils into fractions. Associations to time (12:00, 3:00, 6:00, 9:00, etc.) can be made with fractions (1/2, 14, 1/8, 1/16, etc.). Students should have a variety of circles to represent a variety of fractions. (i.e.: one circle will represent 1/2, one circle could represent 4 quarters, etc.).
• Discuss other areas in life that utilize fractions such as cooking, tools, and money).
• Instruct students to choose a color scheme they want to use (working with three colors and variables of those colors is advisable to ensure success: i.e. red, orange, yellow-orange, and the addition of white or black to give variables). SUGGESTION: Students could choose a color scheme from one of the art reproductions used as referece.
• Encourage students to consider patterns using contrasting colors (light and dark colors such as pale orange and dark red-orange) to add interest and variety.
• Once circles are painted instruct students to cut out the circles using pinking shears or Fiskars paper edgers to achieve a gear type edge. Some circles can be cut into fractions and some should be left whole.
• Students choose a contrasting color of construction paper to arrange their shapes onto. Encourage students to experiment with the shapes, trying a variety of possible solutions to create the most pleasing design.
• Once students are pleased with a design instruct them to glue the pieces onto the construction paper.
• Display and evaluate the final design work. Discuss both design and color schemes chosen. Is there a sense of balance? Unity? Emphasis? How is pattern used to create movement and flow? Variety? Interest? What did they learn about mixing and blending colors?

SUGGESTED EVALUATION: Classroom critique, self-evaluation.

EXTENSION: Rather than mounting the "gears" onto construction paper they could be mounted onto a pop-up page. Moving gears could be included with brass fasteners. Connections could be made to science by mixing food coloring and water for color mixing experimentation.

RESOURCES: "The Art of Seeing" by Paul Zelanski and Mary Pat Fisher from Prentice- Hall Inc. 1991, "Art Connections: Integrating Art Throughout the Curriculum" by Kimberly Boehler Thompson and Diana Standing Loftus from Good Year Books 1995, "Art Lessons for the Middle School A DBAE Curriculum" by Nancy Walkup Reynolds from J. Weston Walch Publisher 1992.

DISCIPLINE: Religion "As long as he held up his hand, time stood still."

TITLE: Time: The Seven Days of Creation

AUTHOR: Leah Robertson S77 W15730 Woods Road Muskego, WI 53150

GRADE LEVEL: 5th Grade

OVERVIEW: It is a difficult concept to believe that God created the world and all it's creatures in 7 days. Throughout discussion and examination students will increase their faith as they see God's power alter or change time. The concept of time measurement and how it has changed over the centuries will be examined and discussed. Students will create their own image of the world as a symbol of their faith and understanding of God's power.

CONNECTION TO THE CURRICULUM: Religion, Art, Social Studies

TIME: 3 - 5 30 minute sessions

MATERIALS: Old newspaper or recycled paper, balloons, papier mache paste (i.e.: Ross Art Paste) or Elmer's Glue and water, tempera paint, pencils, tag board strips 1" by 6" to act as a display stand, OPTIONAL: smocks or old shirts, shallow cans or lids to stabilize balloons and papier mache projects as they are being made.

OBJECTIVES: Religion: To explain the first 5 chapters of the book of Genesis. To explain how God has the power to change time. Tell why God is sometimes a mystery and hard to understand. Describe their faith in God. Art: Develop skills in building a three dimensional sphere. Apply their knowledge of local color through the use of tempera paints. Demonstrate proper usage of art supplies including; paint, brushes, papier mache and work areas. Social Studies: Demonstrate consideration of others while using a potentially Amessy@ media in community environment such as a classroom. Describe and build the shape of the earth. Draw and locate the continents and oceans of our planet. Describe the planet Earth as a setting for all humans.

PROCEDURE:

• Discuss and expand the students knowledge of the first book of the Bible. (The discussions of God, faith, creation, and time could be ongoing while the students are working on their projects.)
• Introduce the concept of our planet Earth.
• Have students examine and become familiar with maps of the world and globes.
• Discuss the Earth as a setting for all humans. This discussion could include environments, adaptations, comparisons in culture and lifestyles. The book People by Peter Spier may be helpful to emphasis the similarities and differences in humans.
• With student involvement develop a list of social considerations (or rules) that will be important for all students to use while working with papier mache and paints. Considerations might include: set-up, getting supplies ready, preparing individual work areas, traffic, use of paint, being environmentally aware by recycling materials when possible and not wasting materials, using materials properly and clean-up duties. It might be helpful to have a student or two write these up on a poster that is conveniently displayed and to generate a list for special clean-up jobs that could be rotated on a daily basis.
• Give each student a balloon and instruct them to blow it up. (Have extras on hand and be prepared for peer assistance as this can be very difficult for many students. You may check with building custodian to see if your school has an air compressor available for classroom use.)
• Distribute shallow tuna cans or jar lids, at this point if you are using them. It might be a good idea for students to write their names onto both the stand and balloon with permanent marker.
• Demonstrate how to tear narrow strips of paper and immerse into the liquid paste material.
• Begin applying coated strips in overlapping rows to cover the entire balloon. Leave a bit of the balloon exposed on the tied end, this will give you access to pop the balloon with a small space remaining to cover with more papier mache. Allow the balloons to dry completely before popping the balloons. (NOTE: If papier mache is not thoroughly dry it may collapse during popping) Continue to cover the hole left from the balloon until it is completely covered. Three to four layers total should be sufficient.
• Allow to completely dry before beginning to draw the continents and ocean images onto the sphere with pencil to represent the planet Earth. HINT: Having a globe and maps to observe will be helpful.
• Paint with local colors using tempera paint.
• Fit a tag board strip so the world is supported by the ring. Before securing with tape or staple, you may wish to paint the support or include quotes from the Bible written in calligraphy. Then secure with tape or staple.
• The Earth can be displayed in the support without rolling about.

SUGGESTED EVALUATION: Teacher observation and questioning during discussion. Production performance of globe. Rubrics may be used for product evaluation.

EXTENSION: Students that finish early may want to identify and label continents, oceans, and so forth. Prayers could be written using poetry to describe student's faith or understanding of God's creation. Identify and label Holy land locations. Locate and label important locations to Jesus on the globe.

RESOURCES: The Holy Bible, People written and illustrated by Peter Spier from Doubleday 1980, classroom geography or social studies books and globes.

DISCIPLINE: Religion "When love and skill work together expect a masterpiece." John Ruskin

TITLE: Down a Line of Time

AUTHOR: Leah Robertson S77 W15730 Woods Road Muskego, WI 53150

GRADE LEVEL: 5th Grade

OVERVIEW: Students will create a biblical time line that is integrated with art. It will be suspended from the ceiling as an ongoing installment project to be a constant visual reminder and reference that is added onto as important events are discussed and taught.

CONNECTION TO THE CURRICULUM: Religion, Art, Social Studies, Math

TIME: 4 - 5 30 minute lessons and continued throughout school year as long as teacher and students are motivated.

MATERIALS: The Holy Bible, history or social studies books, "The Creative Impulse" by Dennis J. Sporre or any art history book for resource, tag board 12' x 18', string or yarn, paper clips, scotch tape, colored markers, "Sharpie" black permanent marker, pencils, a variety of art reproductions or copies.

OBJECTIVES: Religion: Name the books of the Bible. Relate historical development of the books of the Bible. Relate and describe some of the historical events that were occurring simultaneously during the development of the books of the Bible. Art: Recognize and name some of the art that was simultaneously being created during the development of the books of the Bible. Recognize similarities to historical, religious and artistic influences. Recognize the strong influence that religion had on art. Social Studies: Recognize historical events during the time the Bible was being documented. Recognize some of the historical events that lead up to this moment in time and followed the development of the Bible. Gain understanding for the social climate during this time in history. Math: Demonstrate understanding of measuring with a ruler.

PROCEDURE:

• Introduce and discuss the historical and religious climate prior to the writing of the Bible.
• Introduce and discuss the chronology of the writing of the books of the Bible.
• Introduce and discuss the historical and religious climate that followed this period in history.
• Assign each student a different time in history or a specific book from the Bible to make. (NOTE: The time period could be listed as Pre-historic, 1600's, or 1850 to 1860 depending on how much information occurred during that particular time frame and how much you wish to highlight.)
• Instruct students to begin in pencil to make a line horizontally across the top of their 12' x 18' tag board card. Trace over this pencil line with a bold black marker or Sharpie. This is the date line. Short vertical lines can be used to indicate 10, 50, or 100 year breaks like so : _______l_____ . (See NOTE above.) The remaining space can be divided into as many horizontal bands according to teacher discretion. SUGGESTION: Bands to consider might be religion, culture, country or place, art, key events (historical, political, technology, etc.) Sample timelines for both teacher and student observation is helpful.
• To increase student involvement and motivation a variety of images can be hand created and colored or found from magazines, newspapers, etc. cut out, glued onto tag board and suspended from the corresponding location on the timeline with string and paper clips. This enables students to watch their learning grow. Items to include:
• Students can make and color appropriate a book of the Bible ( or other images such as countries, a depiction of historical events, etc.).
• Art work can be copied from the computer, magazines, hand created to duplicate original work or as shards of pottery found at an archeological site, etc.
• Reproductions of actual objects from a particular time in history (arrows, bones, toy dinosaurs, etc.)
• To assemble the time line: punch 2 - 3 holes in to top horizontal edge of the "cards". Have the students tie string or yarn 12' to 16' long to the holes. Attach each "card" in successive order with paper clips and suspend from the classroom ceiling. Art work and drawings of historical or religious events can be suspended from holes punched in the bottom edge and tied with string as they are learned throughout the year.

SUGGESTED EVALUATION: Teacher observation. A game could be played to "test" student knowledge of the historical placement of the books of the Bible by mixing up the time line "cards" and hanging them up in correct order Or by removing the Books and replacing them in correct order. This type of quiz can encourage deductive reasoning could be expanded to include other content areas studied in the classroom.

EXTENSION: Stories could be developed from invented or real historical figures. The student could be a reporter or writing a letter to a friend or family member depicting a particular historical event or describing cultural life in a given time period.

RESOURCES: The Holy Bible, "The Creative Impulse: An Introduction to the Arts" by Dennis Sporre from Prentice-Hall Inc. 1990 (it has an excellent time line in it that includes general, literary, philosophical, visual art, dance, music and architectural historical overviews), "Games for Teaching Art" by Sandra L. H. Alger from J. Weston Walch Publisher 1995.

DISCIPLINE: Music

TITLE: From Mozart to Rembrandt

AUTHOR: Leah Robertson S77 W15730 Woods Road Muskego, WI 53150

GRADE LEVEL: 5th Grade

OVERVIEW: Recent research points to the idea that listening to music while working or creating expands and strengthens the creative process. This lesson provides learning about great composers such as; Bach, Mozart, Gershwin and Chopin while making connections and similarities to the visual arts as students create portrait drawings of the composers studied.

CONNECTION TO THE CURRICULUM: Music, Art

TIME: 3 - 5 30 minute lessons

MATERIALS: Musical recordings of selected composers as well as; photocopies, posters, and books that have portraits of these composers, also prints, posters, photocopies, slides of portraiture from master artists such as; Rembrandt, da Vinci, van Gogh, pencils, paper, optional: charcoal and mirrors

OBJECTIVES: Music: Recognize the music of great composers. Study the life of great composers. Recognize some the connections between art, history and society. Art: Recognize the art principle of proportion as it relates to a portrait. Identify proportion in art work. Recognize the expressive quality the element line can have in art. Gain awareness to the connections between art and music. Recognize the value of "direct observation".

PROCEDURE:

• Introduce and discuss composers (teacher choice dependent upon availability of resource material).
• Introduce and discuss their music.
• Have students observe portraiture done by master artists (see list above).
• Display these works so they can be referenced during this lesson.
• Discuss and demonstrate the human face utilizing correct proportions.
• Observe how master artists use proportion and line to create expression and meaning.
• Discuss similarities between proportion and expression in art and music.
• Provide each student with a Xerox copy of one of the composers you have chosen to highlight for this lesson.
• Provide background music written by the composers you are highlighting.
• Instruct students to apply what they have learned about proportion and expressive line to create a portrait from a Xerox copy (this is your "direct observation") of a composer. (HINT: Encourage students to begin loosely and with a light touch of the pencil so they can easily make corrections.)
• Encourage students to refer to the master artist portraits for direction and inspiration, taking and using any ideas they can and transfer to their portraits.

SUGGESTED EVALUATION: Rubrics or portfolio samples of line, proportion, and expression.

EXTENSION: For students who finish in advance, suggest they use mirrors and draw a self-portrait. Consider using partners and posing for one another in teams taking turns drawing and posing. Discuss the difference in drama or interest by changing the direction of the pose from straight on, to three-quarters, profile, worms-eye-view, etc. Observe a performance by a local school or community orchestra. Pre-record small excerpts of each of the composers you have studied and see if the students can guess which one is which.

RESOURCES: "Art Lessons for the Middle School: A DBAE Curriculum" by Nancy Walkup Reynolds from J. Weston Walch 1992, Microsoft "Encarta" 1994, "The Creative Impulse: An Introduction to the Arts" by Dennis J. Sporre from Prentice Hall 1990

"What is music? This question occupied my mind for hours last night before I fell asleep. The very existence of music is wonderful, I might even say miraculous. Its domain is between thought and phenomena. Like a twilight mediator, it hovers between spirit, but it is spirit subject to the measurement of time. It is matter, but it is matter that can dispense with space." Heinrich Heine

DISCIPLINE: Music "Art is nothing more than the shadow of humanity" Henry James

TITLE: Shadow Music

AUTHOR: Leah Robertson S77 W15730 Woods Road Muskego, WI 53150

GRADE LEVEL: 5th Grade

OVERVIEW: Students will identify specific instruments while listening to a variety of musical experts and create a visual image of the musician and instruments through a 3 dimensional approach to art production.

CONNECTION TO THE CURRICULUM: Music, Art

TIME: 4 - 5 30 minute lessons

MATERIALS: 30" x 40" foam core board sheets, tempera paint, brushes, water, palettes, water containers, paper towels, rulers or meter sticks, xacto knifes, pencils, variety of musical instruments

OBJECTIVES: Music: Identify specific instruments while listening to a musical selection. Identify musical instruments by name and be able to draw them. Art: Recognize the difference between 2 dimensional and 3 dimensional art. Through art production create a 3 dimensional art piece. Recognize the creative potential that shadows can have in creating art. Recognize and identify positive and negative shapes.

PROCEDURE:

• Continue to develop students visual ability to identify musical instruments.
• Continue to develop student auditory ability to identify specific musical instruments in a piece of music.
• View the "The Three D’s" video from the "Eureka" series, if available.
• Introduce and discuss the difference between positive and negative shapes and spaces. Identify examples of positive and negative space from realistic artwork or photographs.
• Introduce and discuss the differences between 2 dimensional and 3 dimensional art work known as sculpture. Three dimensional artwork has: 1) height 2) width 3) depth and can be viewed from all sides.
• Arrange students in homogeneous groups of 3 to 4 students per group. Then divide the groups up into an "A" groups and "B" groups. Hopefully you will end up with two groups labeled "A" and two groups labeled "B".
• Choose a bright sunny day and position group "A" closely together pretending (or actually) playing their instruments. A strong shadow with interesting effects of positive and negative shapes should be created from their bodies and instruments. They may want to move around and change positions to find the best composition for their silhouette. (HINT: If working indoors choose a fairly dark room with one strong direct light source such as a spotlight.)
• Holding as still as possible, group "B" will position the foam core board to capture the most interesting silhouette and trace this contour onto the board with pencil.
• Once this is completed, they trade off and group "B" poses for their silhouette to be drawn by group "A".
• Once the silhouette is drawn the negative shapes (the areas that lie between the figures and instruments) are cut out of the foam core with an xacto knife. CAUTION: Please instruct students on the proper use and care of using a sharp and potentially hazardous tool. Close adult supervision is required. Certain classrooms can handle these very maturely while others cannot, use your discretion.
• At this point, with negative shapes removed, the remaining structure can be painted with tempera paints. This is a good opportunity to listen to a variety of music that could enhance creative visual inspiration. Visual artist, such as Paul Klee and Wassily Kandinsky, that were also musicians, might also encourage a more lyrical and abstract response to the painting process. Inclusion of musical notes and staff might be appropriate. (Don’t forget to paint both sides of the board.)
• Support tabs, 8" x 6", should be constructed from leftover pieces to fit into the bottom of the painted board to enable it to stand freely. A notch should be cut from the stand the width of the foam core (usually it is 1/4" thick) and at least 3 to 5 inches deep to accommodate the structure.
• A minimum of two will be required for each silhouette. (SUGGESTION: You may want to have students paint the supports also.)
• When they are all complete they may be arranged in a large group and allow the viewer to move in and around the musical space.

SUGGESTED EVALUATION: Teacher observation and assessment for instrument identification. Public display of art work in common area of school.

EXTENSION: If supplies are ample some or all students could work on independent silhouettes in "A" and "B" groups. They could create a large mural for a backdrop to display their sculptural structures. The mural could include portraits of both musical and visual artists that have been studied or researched. (HINT: The portraits created from the music lesson "From Mozart to Rembrandt" could be used for this.) It could be a community outreach project and "installing" the completed sculpture in a nursing home foyer or a public building (library, bank) with a musical performance given by the students. Vocational connections could be discussed for professional musicians and sculptures. A high school or middle school orchestra could be invited to perform. A visit to a local orchestra or band performance.

RESOURCES: "The 3-D’s" from the "Eureka" video series from PBS, "Composition" by Sarah Kent and "Sculpture" by Mary-Jane Opie from the "Eyewitness Art" book series a Dorling Kindersley Book, 1994.

DISCIPLINE: Art : A. . . . Remember you are the adventure. . . A SARK

TITLE: Switch, Swatch the Watch

AUTHOR: Leah Robertson S77 W15730 Woods Rd. Muskego, WI 53150

GRADE LEVEL: 5th Grade

OVERVIEW: Funky watches, like Swatch and Jurassic Park, can become 21st a "Pop"@ inspiration to create a super large watch of one=s own design while learning about the famous A "POP"@ art movement and some of the elements of design.

CONNECTIONS TO THE CURRICULUM: Art, Social Studies, Math

TIME: 6 - 8 40 minutes sessions

MATERIALS: Pop art resource materials, samples of actual Swatch or other funky watches or advertisement photographs, cardboard or tag board, paper, pencils, Sharpie markers, colored markers (or tempera paint brushes, water, containers), glue, staples, rulers, compass, construction paper, brass fasteners, and optional self- drying clay or papier mache.

OBJECTIVES: Art: To recognize and identify Pop art. To become familiar with Pop artists (i.e. Claus Oldenberg, Roy Lichtenstein, Andy Warhol, Wayne Thiebaud, James Rosenquist) Gain understanding of the principles of design and be able to apply them. Explore the vocational opportunities of visual designers and commercial artists. Social Studies: Recognize that time is relative and moves in different ways for different people and at different times in our life. Recognize some of the ways time pieces have changed throughout history and the reasons why they have changed. Evaluate the social importance of being on time. Math: Recognize and identify geometric shapes used in their watch designs. Using a grid system, enlarge the watch pattern to whatever size they can make their watch (teacher discretion). Apply their knowledge of fractions to divide space evenly. Create and design a compass tool.

PROCEDURE:

• Begin discucsion of the Pop art movement (1950=s to 1960=s).
• Explain that it was a spin-off of the Abstract Expressionist art movement. It was based on observation of everyday images, to close the gap between life and art. Many of the artists were trained as commercial artist. Suggested Pop artists: Claes Oldenberg, George Segal, Andy Warhol, Robert Rauschenberg.
• Display reproductions of Pop art through the use of; video, film, slides, posters, books, prints, computers, or encyclopedias.
• Discuss commercial art as a vocational pursuit.
• Introduce and discuss the principles of design (variety, emphasis, pattern, movement, balance, rhythm, and unity). Ask the students to locate evidence of these principles in the art work displayed. How did the artist achieve this? (Answers will vary.) Can they find evidence of these principles in their clothes? Commercial (or packaged) items in the room or around them?
• You may wish to enhance the concept of the principles by using an overhead projector and a variety of cut paper pieces. In several plastic bags store a variety of different geometric and organic shapes in varying sizes. Demonstrate for them the concept of movement using one of the bags contents, laying them out on the overhead screen. Then ask one of the students to come up and demonstrate the next and so on. After they begin to make connections have students come up and create a display and have the class guess which principle they have created. (A variety of materials could be included in each bag, such as: twigs, varying lengths of yarn, blocks, coins, etc.)
• Have students observe a sample of watches and how the appearance of watches has changed over the past 30 to 50 years (materials, faces, numbers, no numbers, etc.) Finish focus on Swatch brand watches.
• Discuss the importance of being on time in our society. What would it be like if we didn't't have time? Discuss different time zones in the world, information can be found on the Web (search under "Time".
• Begin with a few, small, loose sketches (Thumbnail sketches@) of their watch designs that include some of the principles of design, along with color considerations.
• Using a ruler or meter stick enlarge pattern to teacher specifications onto the 18' x 36' tag board (the size can vary depending on how much space you have for storage and availability of tag board).
• Sketch the face, numbers, dials, designs onto cardboard watch with pencil.
• The geometric face can be made with the aid of a compass. (To make larger circles make a compass using a long strip of cardboard with holes on either end. Attach one end of the strip with a large safety pin or 't' pin to hold it in place and place a pencil in the other end while spinning it around. Two people might make this job easier with one person holding the safety pin secure and another person drawing the circle with the pencil.)
• Fractions can be discussed as a tool to help divide the face space up evenly.
• The hands of the watch can be attached by making holes in the wide end of the hands and connecting them to the face with the brass fasteners. (Different length fasteners are available to accommodate the thickness of the board.)
• OPTION: A three dimensional material called Model Magic by Crayola can be molded and added on to the board to extend the design to include a physical texture. Papier mache could also be incorporated in a similar manner.
• Instruct students to color or paint their watches.
• OPTION: A clasp can be fabricated using wire (coat hanger wire will work but can be a bit stiff for young hands) to simulated the clasp or fastener of a real watch band.
• OPTION: If using tempera paint the watches may be sprayed OUTSIDE where there is good ventilation and adult supervision with a spray acrylic fixative such as; "Krylon" Crystal Clear or "Blair" No-Odor Spray Fix.

SUGGESTED EVALUATION: Performance assessment of art production using the principles of design and inspiration from Pop art and everyday objects.

EXTENSION: Gears could be fashioned from cardboard and layered and attached to the face with brass fasteners, making more parts moveable and interactive. Computers could be used to research reports on commercial art careers. A commercial artist could come in as a guest speaker. If watches were made with tag board (which will allow some flexibility) a simultaneous project involving a small group or a rotating group of students could papier mache a large hand and wrist to display the watches. Role playing about being on time and being late, knowing how to handle being late (etiquette). Iconography could be introduced and a further connection made to Early Christian art. Trompe l'oeil could be introduced and the use of "faux" finishes through out art and design and utilized in their personal watch designs.

RESOURCES: Microsoft "Encarta" 1994, Sax Arts and Crafts Supplies in New Berlin, WI., "Eyewitness Art Sculpture" by Mary-Jane Opie from Dorling Kindersley 1994, "Art Career Guide" by Donald Holden from Watson-Guptill Publications 1973, and the Random House "Dictionary of Art and Artists" general editor Sir David Piper from Random House 1988.

DISCIPLINE CONTENT: Art ". . . The whole world awaits your surprise!" SARK

TITLE: Time Warp - Surrealism

AUTHOR: Leah Robertson S77 W15730 Woods Rd. Muskego, WI 53150

GRADE LEVEL: 5th Grade

OVERVIEW: Through observation, discussion, and production students will become familiar with the artists and art movement known as Surrealism by producing their own Surrealistic drawing with the aid of a computer.

CONNECTION TO THE CURRICULUM: Art, Computer, Language Arts

TIME: 6 - 7 30 minute lessons

MATERIALS: A variety of Surrealistic art reproductions (post cards, posters, books, prints, videos, films, slides, etc.), paper, pencils, computer, computer graphics software program (i.e. Paintshop, Linkway, Printshop, Hyperstudio), colored pencils.

OBJECTIVES: Art: Gain knowledge and identify Surrealistic art and artists. Demonstrate the connection of symbolism, distortion, brainstorming and dreams as a motivational tools to create a work of art. Become familiar with and use the computer as a tool in art production. Computer: Students will demonstrate the process of art production on the computer by creating a Surrealistic drawing. Language Arts : Students will use and apply correct grammar and story writing skills to write a story based on a Surrealistic painting.

PROCEDURE:

• A week prior to beginning this lesson instruct the students to begin keeping a daily journal of their dreams. Tell them to focus in on colors, images, scenery and the feeling of the dreams.
• On the board write the names of the five Surrealistic artists you plan to study. (i.e.: Salvador Dali, Giorgio de Chirico, Rene Magritte, Joan Miro, Henri Rousseau).
• Introduce the art movement known as Surrealism (1925 into the early 1940's). It followed the art movement known as Dada and was based on fantasy, the unconscious, and dream states. The founder, French poet and critic Andre Breton's research of Freudian psychology, broke the way for both the literary and visual Surrealistic artists.
• Show examples of the artists work through reproductions in the form of slides, prints, posters, postcards, books, encyclopedias and computers.
• Begin a discussion of the work by asking for the students to describe what they see in the reproductions. One or all students could keep a list that would later be copied and distributed to generate ideas for their own art work.
• A Venn diagram might be one approach to list objects found in the pictures that are from a dream-like state and objects that are reality based. Images that overlap would include objects that are distorted or exaggerated.
• Ask the students to observe how the artist used contrast in value, color, form and imagery to create angst or uncomfortable drama that might help to create a dreamlike appearance.
• Discuss and observe how the artist used distortion.
• Next, introduce two of the artist's studied the first day (i.e.: Dali and Miro, Chirco and Rousseau, Magritte and Dali). Ask the students to compare and contrast some of the differences between the two artists. To extend this aspect of the lesson or on a future date you may want to have the student compare and contrast one of the Surrealist reproductions with a reproduction from another art movement such as Cubism or Impressionism to test their sensitivity to the differences in either of the art movements.
• Display a limited number of reproductions (five or more is good) and ask them to pick ONE of the paintings. Direct them to write a story about what they see in the painting and what they think might be going on within the space of the work of art. The length of the story may be tailored to how much time is available. On the same day or a subsequent day display the same reproductions and ask several of the students to read their stories, without telling the name or artist of the painting they have chosen, and see if the students can guess which painting they wrote about.
• Hand out the lists or copy of the Venn diagram (or both) that were developed from the previous day. Ask them to choose a variety of objects, images, and scenery to begin developing an idea for their Surrealistic painting. Have them review their "dream journals" to enhance the fantasy or dreamlike state of the painting. The only image that they MUST include is that of a clock or time piece.
• They should begin by making small, quick sketches with little or no detail (thumbnail sketches) to get ideas for compositional layout. Once this step is complete they are to create a contour line drawing with the aid of a computer software program such as "Window's Paintbox".
• If computer access is limited, print their contour line drawings and they can add color with colored pencils. If access if not a consideration they may color them on the computer as well. Suggest to students that they do not have to be limited to using "local color" (actual colors of an object) but to consider using "interpretive color" (imaginary colors) to enhance or dramatize the dreamlike state of their work of art.

SUGGESTED EVALUATION: Classroom critique aided by teacher directed questioning and observation.

EXTENSION: Encourage distortion or abstract imaging in those students that show desire or capability (i.e. Dali's melting clocks or amorphous shapes). Suggest focus of painting to express a mood or feeling through the use of specific colors, shapes or high contrast in lights and darks (such as Magritte). The students who finish early could be encouraged to write a story about their own Surrealistic art. Consider displaying the group of Surrealistic artwork in a prominent place somewhere in the school. If stories were written be sure to attach them to the drawings for display.

RESOURCES: Microsoft "Encarta" 1994, "The Art of Seeing" by Paul Zelanski and Mary Pat Fischer from Prentice-Hall Inc. 1991.

DISCIPLINE: Language Arts & Computer "You must do the thing you think you cannot do." Eleanor Roosevelt

TITLE: June 29, 1999: A Story

AUTHOR: Leah Robertson S77 W15730 Woods Road Muskego, WI 53150

GRADE LEVEL: 5th Grade

OVERVIEW: Time is a relative element. Sometimes we are painfully aware of time (when we’re late) or we can be totally oblivious to it (when we’re involved in art making). Upon examination of writer and illustrator David Wiesner and his book "June 29, 1999", this lesson explores the concept of time and how it can be a catalyst for literary and visual creativity. Students will become writer and illustrator while producing their own story and illustrations.

CONNECTION TO THE CURRICULUM: Language Arts, Art, Computer

TIME: 8 - 10 30 minute lessons

MATERIALS: Computer, paper, David Wiesner’s book "June 29, 1999" (and others of his if possible), white drawing paper 18" x 12", pencils, colored pencils, markers, watercolor (optional),

OBJECTIVES: Language Arts: Compose and write a business letter. Write and illustrate a small book. Define and name a type of fiction. Art : Recognize the vocational characteristics of begin an illustrator. Create, produce and illustrate a book. Identify qualities of illustrative art that enhance and relay a story. Identify and utilize the elements of art to create illustrations. Computer: Demonstrate correct use of the row of home keys. Compose and write a letter using word processing.

PROCEDURE:

• Introduce the writer and illustrator David Wiesner to students.
• Read aloud his book entitled: "June 29, 1999".
• Discuss the educational and personal requirements and job description of an author and an illustrator.
• Discuss possible questions they would like to ask of the author. Examples might include: What does a typical day look like for an author/illustrator? Where does he come up with ideas for his books? Illustrations? How did he get his first book published? When did he know he wanted to become an author/illustrator? What special education does one need for this type of career? What other interests does he have? What kind of books does he like to read? What is his favorite story from childhood? What visual artists have influenced his art? How does he start a watercolor painting for an illustration? Which comes first the story or the illustrations?
• Instruct students to compose and write a letter to David Wiesner using word processing. proof read using spell checker.
• Instruct students to create and write their own story (beginning, middle with conflict or problem, and ending or resolution) about a happening on June 29, 1999.
• Instruct and model for students how to make a book. (NOTE: Instructions for an excellent hand-sewn book can be found in "Art Connections: Integrating Art Throughout the Curriculum" by Kimberly Boehler Thompson and Diana Standing Loftus. However any book pattern may be followed and utilized.)
• Students should neatly copy their text into their books and leave pages or spaces throughout for illustrations. (IDEA: Text could be typed using a word processor, printed and glued into place on the correct pages of the book. Care would need to be considered to make the sentence length "fit" within the page size of the book.)
• To create a feel of authenticity, have students review and create a cover page that includes such information as: title, copyright, author, illustrator, summary, etc. Use any book as a model to observe.
• Instruct students to illustrate appropriate sections of their story with markers and/or colored pencils (watercolors may also be an option).
• Students should create a variety of illustrations that create an image from the text and begin a life of their own. Students should be reminded to consider and include the elements of art (line, shape, form, space, color, value, and texture). These illustrations can be outlined LIGHTLY in pencil and then painted with watercolor on separate paper. Cut and trim to fit and glue into the appropriate spot in the book. (They could be painted directly into the book but frustration can sometimes ruin enthusiasm when errors occur. This approach allows for errors to become opportunities to learn from.)

SUGGESTED EVALUATION: Celebrate with a bookworm party and have students read their stories aloud or pass their books to one another to read independently. Have a book discussion about the success of their stories. Optional bookworms (gummy worms) and other earthly delights may be provided for refreshment. The school or local librarian or reading specialist could be included as a special guest. A literary award (such as Caldecott) could be created and students could vote on which story is worthy of this dubious honor.

EXTENSION: Consider writing letters to local bookmakers. Invite a local bookbinder or author/illustrator in to share information about their careers with the class. Contact the local museum or art museum to find out more about book making. Search the web for additional information about these careers. Many artists and authors will do a "artist in residency" program and spend several days sharing their expertise with classrooms.

RESOURCES: "June 29, 1999" by David Wiesner from Clarion books 1992; "Art Connections: Integrating Art Throughout the Curriculum" by Kimberly Boehler Thompson and Diana Standing Loftus from Good Year Books 1995; "Encarta" Microsoft 1994, "Eyewitness Art: Watercolor" by Michael Clarke from Dorling Kindersley Book 1993.

DISCIPLINE: Physical Education "I go to nature to be soothed and healed, and to have my senses put in tune once more." John Burroughs 1839 - 1906

TITLE: Dance the Time Away!

AUTHOR: Leah Robertson S77 W15730 Woods Road Muskego, WI 53150

GRADE LEVEL: 5th Grade

OVERVIEW: Students will learn kinesthetically to interpret music and create an action painting using their feet. They will become aware of the emotive quality of music, dance and art. As well as making related connections between the three art forms.

CONNECTION TO THE CURRICULUM: Physical education, Music, Art, Technology

TIME: 5 - 8 40 minute lessons

MATERIALS: Tempera paint (or pre-gessoed canvas), large sheets (4’ x 5’) or a roll of butcher paper or similar type product, old dish tubs or low, flat containers to hold paint in, video equipment, masking tape, water hose or buckets of water to clean up, boom box, variety of music, exercise video, interpretive dance or videos of plays such as "Peter and the Wolf", art work from abstract expressionist Jackson Pollack (prints, posters, slides, Xerox copies, art books, etc.).

OBJECTIVES: Physical Education: Gain appreciation and understanding of the health benefits of exercise. Perform a variety of exercises including: basic positions, stretching and slow motion repeated a certain number of times. Music: Recognize and distinguish expressive qualities in music. Recognize that music can be a connecting link with rhythmic physical activity and art. Art: Identify distinguishing characteristics of a particular artist. Create an action painting within a large or small group situation. Recognize the act of creating art can be an expressive outlet. Technology: Create a documentary video of there learning experience.

PROCEDURE:

• Review the importance and varieties of calisthenics.
• Select and preview an exercise video. Instruct students to observe the correlation between the rhythm and changing beat of the music to the physical movement and rhythm.
• Instruct students to follow along with a portion or all of the video.
• You may choose to discuss what they enjoyed or disliked about the music, movement or calisthenics chosen for the particular video. If an interpretive dance video is available, view it at this point.
• You may wish to make the selection of music to be used in the video or you may allow the students to do this. Sound tracks from a favorite movie is a simple way to obtain a selection of music with varied mood and rhythm. (NOTE: Exploring alternative music might be of interest to broaden their musical palettes.)
• Display and discuss the "action paintings" of abstract impressionist artist Jackson Pollack. Direct discussion to have students observe: color, movement, unity, emphasis, and expressive quality. Why did he choose to paint by pouring and "flinging" paint rather than the traditional method of application with a brush? Could he have achieved this same "feel" to his paintings in a traditional approach? Why or why not? What shapes, images, or objects can they see in the paintings? If you could attach a "feeling" to one of his paintings what would it be?
• Instruct students about cooperative team learning groups. Divide the class into small homogenous groups of 3 - 4 students per group.
• Designate one group to be the directors and film crew. (They should be instructed on proper use, handling, and working of the video equipment.) (HINT: If this is not possible within your school invite a parent or teacher to be the "director".)
• **** (NOTE: If the video tape is going to be a documentary of this lesson, taping could begin at this point and continue throughout the process. If the video is to become an exercise video taping should begin when the painting and dancing portion is started.) *****
• Play previously selected music and have students create an interpretive dance that incorporates specific calisthenics. Have one group of students observe and be the critics and act as choreographers. Is there repetition of movement? How does timing change or enhance the "feel" of the dance? Is there a unified direction to their movements? Can they see a connection or correlation to the music and their actions? Once a short dance is created and agreed upon rehearse it. The dance should last any where from 5 to 15 minutes in length (teacher discretion).
• Outside or in a large room fill 3 - 5 old tubs with about one inch of tempera paint that has been thinned slightly with water (to the consistency of cream). Each tub is to be filled with a different color. (NOTE: Keep in mind if you are using yellow and blue overlapping areas on the paper canvas will become green! Cool!) Instruct students the day before to wear shorts for this activity or roll up their pant legs to avoid getting paint on their clothes.
• If you are using paper, tape it securely to the floor with masking tape. One 4’ x 5’ sheet of butcher paper (or the largest size sheet you can work comfortably and safely on within your space) for each dancing group.
• Have each member of the group step into one tub of color with their bare feet. Begin the music and instruct the students to perform the dance they have rehearsed.
• They will need to re-load their feet every few movements or so with paint throughout the dance.
• Allow the paint to dry completely before removing from the floor. (10 - 30 minutes depending on the consistency of the paint and how heavily it was applied.
• Choose a site to display the art work and view the video.
• Instruct students to clean-up all equipment, themselves and the area.

SUGGESTED EVALUATION: Critique the video and art work. Invite a different class to follow along with the video. Teacher observation and evaluation of performance and cooperation of cooperative groups.

EXTENSION: Preview a play that utilizes music, dance and art such as "The Nutcracker" or "Peter and the Wolf" to create emotive expression and kinesthetic connections. Canvas could be used in place of paper and installed into a pre-determined location. Additional elements of art could be added with brushes to the paintings after the dance, to create unity, detail, emphasis, etc. if desired or deemed necessary. Digital camera equipment could be utilized and installed onto a computer if such equipment is available. View a local dance or theater group. One group could compose the music to be performed for the video. Connections to various vocational areas could be highlighted (camera operation, director, film editing, choreographer, producer, etc.). Music selections could be focused on songs that relate to time such as: "Time Marches On" by Tracy Lawrence, "Time Passages" by Al Stewart, "Seasons in the Sun" by Rod McKuen and Terry Jacks, "Time Is On My Side" by the Rolling Stones, "Turn! Turn! Turn! To Everything There is a Season" by the Byrds, "Who Knows Where the Time Goes" by Judy Collins, etc. If time is limited, the painting aspect of this lesson could be eliminated and the video and dance elements would become the visually artistic component.