1Teaching History Through Artat the

Springville Museum of Art

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

3All lessons cover social studies, and each lesson also covers at least one area of the arts. In the con-tents section, only the different areas of the arts are listed.Special Education ART Expressing Emotions Through Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Kindergarten ART Where is it? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17Kindergarten ART Have Courage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19K3rd DRAMA Same & Different: George Washington and Abraham Lincoln . . . . . . . . . . . . . . . . . . . . . .231stEarly Elementary ART Frederick the Field Mouse: Beauty and Cooperation . . . . . . . . . . . . . . . . . . .271st ART We All Play Together . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .332nd ART We Can All Play Together . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .373rd ART Its a Beautiful World . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .393rd DRAMA Stories from the Abenaki Nation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .413rd DANCE Conserve and Protect Natural Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .493rd ART Native American Life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .514th ART Erosion and Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .554th ART Adapting to Our Environments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .595th DANCE Underground Railroad and Freedom Poems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .655th ART Grade Artwork Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .755th & 6th Grade DANCE One Can Make a Difference! The History of Civil Rights . . . . . . . . . . . . . . . . . . . .815th Grade (adaptable to all elementary) ART What was America Like? American Regionalism . . . . .89All Elementary Grades ART A Chronological History of Utah Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .95All Elementary Grades MUSIC Folk Music as Historical Insight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .995th Grade High School ART Life and Death Masks: Abraham Lincoln . . . . . . . . . . . . . . . . . . . . . . . . . 1115th Grade High School MUSIC Jazz Music and the Clash of Cultures of the 1920s . . . . . . . . . . . . . . 119High School ART Considering Multiple Perspectives of History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131List of Artists & Artworks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141

Teaching History Through ArtContents

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5Special Education Kindergarten, can be used with all agesby Beth WilliamsOBJECTIVESStudents will discuss how people are similar and different.Students will discuss as a class how colors can express common ideas/emotions in our culture today. Students will compare and contrast the works of Pablo Picasso and other artists, and discuss together what ideas/emotions they may have been trying to express through the colors they used in their artwork.Students will explore their own feelings, ideas and backgrounds in relations to different colors and complete a worksheet exploring their ideas and emotions concerning a color of their choice.Students will produce a piece of artwork using color(s) that represent(s) for them an idea or emotion.STATE CORE OBJECTIVES Social Studies KindergartenStandard 1: Students will recognize and describe how individuals and families are both similar and different. Objective 1: Identify how individuals are similar and different.Fine Arts Visual ArtsStandard 1 (Making): Students will assemble and create works of art by experiencing a variety of art media and by learning the art elements and principles.Standard 2 (Perceiving): Students will find meaning by analyzing, criticizing, and evaluating works of art.Standard 3 (Expressing): Students will create meaning in art.Standard 4 (Contextualizing): Students will find meaning in works of art through settings and other modes of learning.MATERIALSThe Tragedy (1903), Pablo Picasso (National Gallery of Art, Washington D.C.) http://arthistory.about.com/od/from_exhibitions/ig/chester_dale_collection/cdc_nga_2010-11_54.htm Portrait of Suzanne Bloch (1904), Pablo Picasso (Sao Paulo Museum of Art) http://www.picasso-paintings.org/portrait-of-suzanne-bloch-1904-by-pablo-picasso/ Woman With a Crow (1904), Pablo Picasso (Toledo Museum of Art, Toledo, OH) http://enskied.com/picasso?c=picasso_gallery&p=311The Actor (1904), Pablo Picasso (Metropolitan Museum of Art, New York City) http://arthistory.about.com/od/from_exhibitions/ig/picasso-in-the-met/picasso-met-2010-06.htm

Teaching History Through Art:Expressing Emotions through Color

6Storm Spirits on Horizon #6 (1997), Lee Ann Miller (Springville Museum Collection) on CDUntitled Abstract (1981), Sharon Jensen Shepherd (Springville Museum Collection), Abstract (1956), Dale Thompson Fletcher (Springville Museum Collection), Canto (diptych) (1996), Carolyn Ann Coalson (Springville Museum Collection), Amazing Grace (2006), Susan Swartz (Springville Museum Collection), Common Emotions handout, My Colors and Emotions Worksheet, construction paper in red, orange, yellow, green, blue, purple, brown, black, gray and white, watercolor paints, paper, paintbrushes and water.ACTIVITY 1. Invite two volunteers, students or teachers, up to the front of the class. Ask the volunteers questions such as, What is your favorite color? What is your favorite food? What is your favorite book? What food do you dislike? What is your preferred game to play at recess? Try to avoid comparative questions or discussion that might embarrass or hurt feelings of volunteers. Ask volunteers to sit down and then discuss with the class ways in which people around them are similar and different. Answers can be written on the board. Finally, talk about how we can use art to express who we are and how we feel. It can be a safe and inspirational way for us to share ourselves with others. Explain that in this lesson they will have opportunities to explore how they feel and think and to then express some of those ideas through artwork.2. Pin or tape up different colors (i.e. red, orange, yellow, green, blue, purple, brown, gray, white, black) of construction paper on the board or pass them around among the students. Also pin up emoticons depicting different emotions (i.e., happy, sad, angry, scared, excited, hopeful) Point to specific colors and ask students what emotion or idea people might associate with this color. Depending on verbal and cognitive abilities of students involved, this may require more input from the teacher. i.e., Some people think of yellow as a happy color because it reminds them of sunshine and summertime. Other people think of gray as a scary color because it reminds them of thunderstorm clouds.3. After talking about each color, discuss how artists also use color to convey ideas and emotions through color. Show them The Tragedy and Portrait of Suzanne Bloch by Pablo Picasso. Talk about how he painted for a few years using mainly cool blues and grays in his painting, because it was a time in his life where he was sad for a long time. Then show Woman With a Crow and The Actor by Picasso. Tell students how after a few years, he started feeling happier and began painting using different colors, like oranges and pinks. 4. Next pass around (or show through a projector) images of works from Miller, Shepherd, Fletcher, Coalson, and Swartz. Discuss as a group what emotions the artists may have been trying to convey through their artwork. 5. Pass out the My Color Emotions Worksheet and allow students time to choose a color they want to explore. Depending on the ability level of your students and the available aides, choose the worksheet that is most appropriate to your students. Written responses are required for worksheet A, while pictures and/or words can complete worksheet B.6. Once students have filled out their My Color Emotion Worksheet they can move on to producing a piece of art that conveys an emotion through color. Students can draw something specific, such as a recognizable subject, using color to convey an emotion, or they can abstractly portray their emotion using colors, lines and forms. This aspect of the assignment is open to interpretation by the student. The end product should exhibit the students understanding of how emotion can be portrayed through color.ASSESSMENT Students will be assessed along the following criteria, although it will be according to each students

7needs and abilities: 1. Student participated in class discussion of colors, emotions, and artwork: Yes/No. 2. Student chose a color to explore and attempted to complete a My Colors and Emotions worksheet: Yes/No. 3. Student used chosen color in an art piece to convey an emotion: Yes/No. SOURCEShttp://en.wikipedia.org/wiki/Picasso%27s_Blue_Periodhttp://en.wikipedia.org/wiki/Picasso%27s_Rose_PeriodADAPTATIONS In cases where ability levels differ, use of other media to complete the assignment is appropriate. Other art media options may include colored paper, glue and scissors; crayons, colored pencils or markers. In some cases where a student uses computers to complete work, this assignment can be completed in Microsoft Paint or comparable computer program. It will be appropriate in some cases for a peer tutor, classroom aide, or special educator to assist student in completing worksheet and art piece. For students who exhibit difficulty in expressing and understanding emotions, more discussion and exploration on emotions, how to identify them in ourselves and others, and situations where certain emotions might exist, may be necessary.VARIATIONSDifferent media can be used to explore how color can be used to express emotions. This same lesson could be taught with colored play-dough, colored shaving cream, or colored sand and glue. For students with specific, focused interests, (i.e. if a student perseverates on clocks) the focus of the lesson could include producing artwork themed according to the students interest using an emotive color scheme (painting of a clock using shades of orange). EXTENSIONS Students can learn how to express feelings/themselves through color in other ways, such as:

Explore what different emotions can be portrayed through dance exploration using colored ribbon wands. Compose a poem including feelings regarding colors and/or using colorful markers. Write an essay about how a certain color causes specific emotions and why. Make puppets out of paper bags and add color using construction paper and markers and then

present a puppet show, giving personality and emotions to specific bags according to the colors represented Make up a recipe to show what emotions the student is made of, using different amounts of color as the ingredients. In conjunction with this assignment, produce an art piece that is a self-portrait that visually represents the recipe showing the different emotions/colors that make up the student. As a class, produce a Rainbow Rap, allowing different students to write verses for a specific color. Then perform rap together as a class. Role play what emotions different colors have, taking turns to allow students to explore expressing what emotions they associate with different colors.

8Happy

9Sad

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Excited

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Angry

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Scared

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Hopeful

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(A)My Colors and EmotionsToday I want to explore the color ___________________. This color makes me think of ______________________________________________________________________________________________________________This color feels like ______________________________________________________________________________________________________________________This color smells like ____________________________________________________________________________________________________________________This color sounds like ____________________________________________________________________________________________________________________This color looks like _____________________________________________________________________________________________________________________This color tastes like _____________________________________________________________________________________________________________________This color reminds me of when ____________________________________________________________________________________________________________

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

This color looks like: This color smells like:

This color sounds like: This color feels like:

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

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

Teaching History Through Art:Where Is It?

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distinguish by size: ocean from lake, hills from Mountains, river from stream. Show the class some photographs of various areas of the state and let the students talk about how the artists renditions are different from the photographs, and how each artist has his or her own style.On the map, show the students where some of the places depicted are. Have the students identify North, South, East, and West on the map. Note: Look on the back of the poster/postcard for locations not mentioned in the title of the work.ACTIVITY Have the students choose two or three of the scenic items they have learned about and draw their own landscape that includes those items. Ask the students to create an artwork of somewhere they might like to visit. Remind the students of the rules for neat coloring: short strokes, all going the same direction, slowly and carefully covering all the white paper, not rubbing your hand over the place you just colored and mixing colors together to get your own. If more appropriate for your class, start with part of the rules and add the others as the students master the first rules. (Rules for neat coloring from Joseph Germaine)ASSESSMENT 1. Have the students share their art and tell why they chose those geographical features to draw.2. Did the drawing reflect an understanding of terms?3. Can the students locate the cardinal directions on the map?ENRICHMENT Learn the first verse of the state song. (If necessary Google Utah State Song for audio sample)

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Kindergarten Social Studies, Literacy, and Arts LessonBy Louise NickelsonOBJECTIVESStudents will begin to understand what it means to have courage and be a leader by listening to The Lion and the Mouse, Dancing/Acting out the story, and identifying ways the characters have courage. Students will learn about some early American leaders and discuss how the artist has conveyed the in-dividuals characters or roles. Students will develop skill with art materials as they create an artwork showing a way they could be a leader.UTAH STATE CORESocial Studies Standard 2 (Citizenship): Students will recognize their roles and responsibilities of be-ing a good citizen.Objective 1 Demonstrate appropriate ways to behave in different settings.c. Identify examples of individual honesty and responsibility.d. Identify examples of honesty, responsibility, patriotism, and courage from history, literature, and folklore, as well as from everyday life (e.g., heroes of diverse cultures).e. Demonstrate respect for others, leaders, and the environment.From Social Studies Vocabulary Students Should Know and Use: consequence, courage, patriotism, leader, hero.Visual Arts Standard 1 (Making): Students will assemble and create works of art by experiencing a variety of art media and by learning the art elements and principles.Standard 2 (Perceiving): Students will find meaning by analyzing, criticizing, and evaluating works of art. Standard 3 (Expressing): Students will create meaning in artStandard 4 (Contextualizing): Students will find meaning in works of art through settings and other modes of learning.MATERIALSThe Lion and the Mouse (story included here, or your library may have an illustrated copy) The 2010 Caldecott Medal winner book of The Lion & the Mouse, illustrated and written by Jerry Pinkney (Little, Brown and Company Books for Young Readers) is a wonderful example. It has mostly just pictures, with little text.Images: Use the SMA Poster with Cyrus E. Dallins sculptures, or postcards of the sculptures, or the im-ages on the CD.

Teaching History Through Art:Have Courage

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The Lion and the MouseA small mouse crept up to a sleeping lion. The mouse admired the lions ears, his long whiskers and his great mane. Since hes sleeping, thought the mouse, hell never suspect Im here! With that, the little mouse climbed up onto the lions tail, ran across its back, slid down its leg and jumped off of its paw. The lion awoke and quickly caught the mouse between its claws. Please, said the mouse, let me go and Ill come back and help you someday. The lion laughed, You are so small! How could ever help me? The lion laughed so hard he had to hold his belly! The mouse jumped to freedom and ran until she was far, far away. The next day, two hunters came to the jungle. They went to the lions lair. They set a huge rope snare. When the lion came home that night, he stepped into the trap. He roared! He wept! But he couldnt pull himself free. The mouse heard the lions pitiful roar and came back to help him. The mouse eyed the trap and noticed the one thick rope that held it together. She began nibbling and nibbling until the rope broke. The lion was able to shake off the other ropes that held him tight. He stood up free again! The lion turned to the mouse and said, Dear friend, I was foolish to ridicule you for being small. You helped me by saving my life after all! LESSON 1Read the story to the students and discuss it, helping the students identify how the story demonstrates consequences and courage.Dance & DramaUsing a clear area like the lunchroom, have the students line up and have them walk across the room like a lion would. Side coach students by asking questions like How would a lion hold his head? How would the lion walk as if he were important and strong? Then have students move the way a mouse would, using questions such as How big would a mouses steps be? Would it walk quietly or loudly, quickly or slowly? Do the same for the hunters.Then divide the class into groups of mice, lions, and hunters, and act the story out together, reminding students to move in ways they discovered when they were exploring how different characters move. LESSON 2

Show the class the images of Dallins sculptures, briefly identifying what each did without attaching a value to their actions. Ask the students to explain why each person was or was not a hero or a leader, explaining the terms as needed. You may want to introduce the term patriotism. Have the students identify ways the sculptor has conveyed the character or role the person depicted played. Ask them to think back about the Dance/Drama section of the lesson.Next, ask the students to identify ways they could be a hero or leader, accepting all reasonable an-

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

22Wulf Barsch, Bear BYU MOA Mahonri Young, Brown Bear BYU MOA

Goin on a Bear Hunt Im not afraid

Its a beautiful day The sun is shining

The birds are singing The bees are buzzing

Whats that? Tall grass

(Sweeping arm motions making swishing sounds)Going on a Bear Hunt

Im not afraidWhats that? Its a tall tree

(Arm motion climbing up then climbing back down )Going on a Bear hunt

Im not afraidWhats that? Ohh, its mud

(March through the mud making sloshing mud sounds )Going on a Bear Hunt

Im not afraidWhats that?

Its a river Were going to have to swim

(Swim the river)Going on a Bear Hunt

Im not afraidWhats that?

Ohh its a dark cave (Make gestures and sounds)

I cant see anything I can feel something I can hear something

We better take out our flashlights (Take out flashlight and flick it on)

Oh its a bear RUN!

(Repeat the sequence in reverse quickly and dramatically, slapping thighs and doing all the actions for each verse.)

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K-3 Social Studies & Drama Lesson (Includes Adaptations for older students)By Teresa Dayley LoveOBJECTIVES Students will identify and chart similarities and differences between George Washington, Abraham Lincoln and a student in the classroom.Students will make progress toward making their pantomimic activity specific and detailed.Students will pantomime specific activities of young George Washington and young Abraham Lincoln.

STATE CORE OBJECTIVES K-2 Social Studies Standard 1 (Describe how people within their community state and nation are simi-lar and different)3rd grade Social Studies Standard: Students will understand cultural factors that shape a communityPre-K-2 Drama (From drama Learning Map: http://www.schools.utah.gov/CURR/fineart/Elementary/Drama_PreK-2_Combo.aspxActing: Observe closely for details. Use my body to communicate thoughts, feelings and emotions. Sustain concentrated attentions. Pretend to be a character in a story. Use space for pretend.3rd grade: Acting StandardsMATERIALS Make a simple poster displaying a portrait of adult George Washington, and a portrait of adult

Abraham Lincoln. Also, cut a hole that will fit the face of the student into the poster. (Alternatively, just obtain two portraits of Washington and Lincoln. You can compare the child by have the child just stand next to the portraits.) As a word strip, or written on white board: Pantomime is pretending without words. Chalkboard for chart to be developed. SWAP images: Boy and Cat: My little Son, Heber James by James T. Harwood, Portrait of John Han-

cock by Cyrus Edwin Dallin Vocabulary list on board, chart or handout: As appropriate to grade level) pantomime, specific, de-

tails, wealthy, breeches, overalls, tricorn If you Grew Up with George Washington, by Ruth Belov Gross, Scholastic, New York, 1993 If you grew Up with Abraham Lincoln by Ann McGovern, Scholastic, New York, 1976 Optional: Various images of George Washington and Abraham Lincoln as boys as found on the In-ternet. (There are too many to list here.)

Teaching History Through Art:Same and Different: George Washington and Abraham Lincoln

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ACTIVITY Background:Begin a discussion about birthdays. Tell the students that you just love birthdays too, and that you are all going to learn about some people who had birthdays in February. But first, you want to tell them, actually show them, what you had for your favorite birthday dinner last birthday. Ask the chil-dren not to shout out the answers until you are finished. Give them a cue to let them know you are done (When I fold my arms, Im done. Then you can raise your hands if you want to guess.) Then pantomime, in a complete and specific way, a meal. Suggestions: Spaghetti, pizza. You may use verbal sounds (slurping, sniffing, etc.) but no words. Once students have guessed, ask them for the spe-cific clues that helped them figure out what you were portraying. Point out it is because you carefully showed the details, were specific that it was so easy to guess the food. Invite the children too, on your cue, to show you their favorite birthday dinner. Watch them as they si-multaneously make and eat their food. Note the very many different responses, and praise specificity, and detailed pantomimic work. You are trying to get a sort of baseline idea of their pantomimic skills so that you can press them to move beyond that baseline later in the lesson.Have all read together the definition: Pantomime is pretending without words.

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

Gilbert Stewart, The First Good President (1797)En.wikipedia.org/wiki/File:Gilbert_Stuart_Williamstown_Portrait_of_George_Washington.jpg Alexander Gardner, Abraham Lincoln, the sixteenth President of the United States (1863)http://en.wikipedia.org/wiki/File:Abraham_Lincoln_November_1863.jpg

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tions the students make about the portraits. (Artwork, social conventions such as clothing, etc.) 2. Once the above discussion has run its course, invite a student to put her face in the cutout space. Ask the class to compare and contrast the student with Washington and Lincoln.3. Praise the students for all the information they have generated. Tell them that you think the infor-mation needs to be organized. A chart (Any type, including a Venn diagram) would help them do that. Ask the students to identify charts they have in the classroom.4. Make a chart, which will compare Washington, Lincoln and the volunteer student. Be sure to ask for suggestions from the students to create symbols for the chart. Suggestions for comparison are: As children, did Washington, Lincoln and Student each sleep in a bed?As children, did GW, AL and Student go to school? As children, did GW and AL and Student dream of being President of the United States?As children, did GW and AL and Student wear nice clothes?5. Help students to make some conclusions from the chart. (According to this information that we chose to compare, who is Student most like, Washington or Lincoln?)6. Show the two SWAP images. Explain that the man in the sculpture is John Han-cock, a contemporary of George Washing-ton. Also explain that in the time they lived that the clothes for children were not dif-ferent than the clothes of adults. Point out all the buttons (a sign of wealth) the ruffles at throat and cuff, the vest, breeches, stock-ings shoes, etc. You might also show any of the images of paintings of young George Washington, which you have located on the Internet. 7. Next show the Images of the young farm boy. Note that poor young boys clothing did not change for many years, and even though this is a boy in 1900, a boy like Abraham Lincoln could wear similar clothing. Speak to the worn nature of the clothes, how they may be too small for him. Note his hat and why it would be different from a tri-cornered hat from Washing-tons age and class. If you d like, show the images of young Lincoln you have found on the Internet.8. Show parts of the If You Grew Up books. This is not the time to read these books to the class, but to help them get some information from some of the pictures, and you summarize of the information so they will have lots of information to pull from when they do their pantomimes9. Divide the class into two groups. Tell students they are going to pantomime either young George Washington, or young Abraham Lincoln getting up in the morning and getting dressed. Tell them that when one group is acting, the other is the audience and vice versa. Remind them that pantomime uses no words, though they may use appropriate sounds.Lead the students through the pantomimes, by side coaching. Press them to make the pantomimes as specific and detailed as possible. Challenge them when you see nonspecific behaviors. Lead them through Washington first, then Lincoln. Cover the following areas: Waking up in bed, (Do you make your bed or not?), getting out your long socks, breeches, out of where? Drawer? Wardrobe, off a hook? Get your shirt, vest. Make sure the fas-tenings are well done, once you put on those clothes. Also find your shoes. What about your wig? (Yes, young boys of Georges class wore white wigs.) Adjust it in the mirror. Where is your tri-cornered hat?

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Look at yourself in the mirror. Take a long bow, just as your dancing master taught you. Ask the audience to applaud those who have just pantomimed. Praise and point out different students who did a particularly good job of making their pantomime real. (Specific and detailed.) Refer to the vocabulary list as needed. Add any other words that came up. Challenge the Lincoln group to do even better than the Washington group. Do the same pantomime activities with Abe Lincoln, as appropriate with his impoverished childhood. Do the same follow up critiques.If there is time, have each child pantomime their own getting up in the morning procedures. Again, side coach as needed to challenge the students to be specific and detailed in their pantomimes.Ask all to give themselves a round of applause to end the lesson. ASSESSMENT Did the students participate in the charting of specific information regarding Washington, Lincoln and a Student? (You can extend this by making a new chart showing what is same and different between the as young boys and students of today as discovered through the pantomimes.)Did the students make progress in making their pantomimic work specific and detailed?Did students pantomime specific activities of young George Washington and young Abraham Lincoln. Were their pantomimes general or specific? Did they increase in complexity and accuracy during the side coaching?SOURCES See Materials.EXTENSIONSHave students explore the idea of whether it would have been better to grow up like Washington of Lincoln through the convention of Decision Alley. Have students make tableaux of various everyday activities in the life of Washington and Lincoln as well as everyday classroom students. Titles such as What I do for Fun? or When Im Hungry I etc. will further students understanding of comparing and contrasting the lives of the these two presidents as youngsters and their own contemporary lives.ADAPTATIONS For older students: There are many If you Grew Up books in the series. Students could read these on their own, and make individual charts comparing and contrasting various presidents or other historical figures. Students could work in groups to develop pantomimes to show to other members of the class. They could make their own if you grew Up book about themselves. They could do the research to compare and contrast with the current US president.

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Teaching History Through Art:Frederick the Field Mouse:Beauty and Cooperation

First Grade- Early ElementaryBy Elicia GrayOBJECTIVES Students will investigate the artworks of Ottinger, Brainard, Kimball, Richards, Brienholdt, Gardner, and Fairbanks.Students will read and contemplate Frederick by Leo Lionni. Students will learn to identify aspects of beauty found in different paintings.Students will compose an acrostic poem based on a painting.Students will generate a group artwork using oil pastels.Students will create and wear a set of mouse ears.Students will become part of a community as they investigate and respond to artworks.STATE CORE OBJECTIVESSocial Studies First Grade Core (Standard 2)(Citizenship): Students will recognize their roles and responsibilities in the school and in the neigh-borhood.Objective 1. Describe and demonstrate appropriate social skills necessary for working in a group. Participate in a group activity modeling appropriate group behavior. Articulate how individual choices affect self, peers, and others.Art ObjectivesStandard 1 (Making): Students will assemble and create works of art by experiencing a variety of art media and by learning the art elements and principles.Standard 2 (Perceiving): Students will find meaning by analyzing, criticizing, and evaluating works of art. Standard 3 (Expressing): Students will create meaning in artStandard 4 (Contextualizing): Students will find meaning in works of art through settings and other modes of learning.MATERIALSAll images from the Springville Museum of Art Collection are on the CD.George Martin Ottinger, Above Camp Douglas; Bruce Daniel Brainard, Afternoon Shower; Angels Peak and Kimball E. Warren, Deep Lake Wind River, Wyoming; Lee Greene Richards, Autumn Stream; Floyd E. Breinholt, Box Canyon; Henry Leroy Gardner, Bridal Veil Falls; John B Fairbanks, Sunset Wheat Fields Gray construction Paper, Fredericks Ears Worksheet, Frederick Poem WorksheetCrayons white butcher paper, oil pastelsChildrens Book Frederick by Leo Lionni

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

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compose the poem. Poems may be one word or several on each line.10. After students have finished their poems and their artworks, have them present them to the class. 11. When the presentations are completed, the teacher will have a follow-up discussion about cooperation and unity. Ask: How well did each of the groups work together? Were there any problems? If so, how were they resolved? Emphasize that working in a group at school is good practice for real life experiences.ASSESSMENT The teacher should carefully review the Frederick Poem worksheet that students composed in groups, checking for completion and quality reasoning. Teacher will monitor student involvement as students are working together. Teacher will also evaluate the group artwork, looking for evidence of effort, originality, and completion.SOURCESFrederick, by Leo LionniADAPTATIONS This lesson caters to students with special needs in that it emphasizes and praises those who ap-proach life differently. If need be, students with difficulties may be paired with others, or given extra time to complete assignments. Teachers may also wish to point out that individuals with disabilities are also a big part of communities, and learning to include these people is an important life skill.VARIATIONS Have students take a walk outside and gather items to bring into the cave. They may also gather ideas, sounds, feelings, and smells to bring with them.EXTENSIONS Invite different members of the community to come in and talk with students. You may choose to invite a police officer or a fireman, or even the school principal. Have them talk about how different members of society have different responsibilities, but they all contribute to making life better in dif-ferent ways.

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1st Grade Social Studies and Visual Arts Lessonby Vicki GehringOBJECTIVE Students will learn the similarities and differences between themselves and students in the past, and between members of their own classroom and will demonstrate their understanding by creating a class mural.UTAH STATE SOCIAL STUDIES CORE Standard 1: Students will recognize how schools and neighborhoods are both similar and different.MATERIALS SWAP poster, Christian Schussle, Game of Marbles, drawing paper, markers, scissors, glue, a mural-size piece of butcher paper, paint and brushes, etc.Pre- activity Have students find out from their parents what kind of school games or activities they played when they were in elementary school.LESSONShow poster, Game of Marbles by Christian Schussele, UMFA Elementary Poster Set Discuss the following: What are the differences between themselves and these school children?What is the same?Do you know what game they are playing? Have you ever played this game?Have students share the information about the kinds of school games their parents played. What kind of equipment or apparatus was needed?What is your favorite game at school?Talk about the differences and similarities between the games they play and the games their parents played.Who do you play with at recess?Discuss the similarities between the games each group of students like to play?What is different?

Teaching History Through Art:We All Play Together

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

Playing at School, by Ella, age 6

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Swinging by Sophie, age 3-1/2

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2nd grade Social Studies and Visual Arts Lessonby Vicki GehringOBJECTIVE Students will recognize that people can have individual differences, but still have many things in common. They will come to learn that their classroom/ neighborhood, etc. is a community.UTAH STATE SOCIAL STUDIES CORE Standard 1: Students will recognize and describe how people within their community, state, and nation are both similar and different.MATERIALS Image or poster of Wash Day in Brigham City, by Calvin Fletcherdrawing paper, markers or crayons, scissors, glue, two large pieces of butcher paper for murals large enough to accommodate the cut out house drawings made by the students, paints, brushes, etc. music from the various countries represented by class members, library books with pictures of houses/dwellings from different countries (a few are included on the CD)Enrichment activity: play music from various countries during the art activities.Lesson: Part OneShow Wash Day in Brigham City and discuss the followingHow can you tell this picture is not about our day?What things are the same?How is the house in the picture similar to the houses we live in today?Talk about why people live in houses, and the common things found in them.Activity 1:Have each student draw and color a picture of a house the way they normally do. ( The lesson is counting on the fact that most 2nd graders have a pretty standard way of rendering a house.)*Note: In order to have some control of how the mural will turn out, instructions might be given about a suggested size of the house drawing.Organize two groups of students to paint a road, grass area, and sky on each of the two mural papers.Choose one of the painted mural papers and have all the students cut out their house drawings and glue them to the mural. Hang up this mural.

Teaching History Through Art:We Can All Live Together

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Lesson: Part twoDiscuss with the class the different countries either they or their ancestors came from or a country they have lived in or visited. *Note: If the students arent familiar with this information, give it as a homework assignment.Have each student find a book with a picture of a house typical of their country.Talk about why the houses in the various countries are different ( available building materials, climate, etc.) Discuss some of the differences and similarities between the way people live. (for example: people in tropical countries may still hang clothes outside, Eskimos probably dont have patios, etc.)Activity 2:Have each student draw and color a house like the one in their book. Cut it out and glue it on the second mural. Hang the second mural in a place where the students can see both murals.Lesson: Part ThreeDiscuss why the houses in our neighborhoods look more like the first mural and dont look like the second mural. Talk about community and what makes a community.Discuss family traditions and how they might be the same or different from their ancestors, and/or their neighbors or class members.Talk about what things class member have in common even though their families may have come from different countries.Ask what they noticed about the music they listened to.Point out that even though the music sounded different, each culture has traditional music.ASSESSMENTHave the students tell which mural they like the best. Why?Let them tell what they have learned from making the murals.Give students credit for completing their part in the murals.Ask the students what they have learned about themselves and the other students in the class.Evaluate whether the students have improved their understanding of community.

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Teaching History Through Art:Its a Beautiful World

3rd Grade Social Studies & Visual Art Lessonby Vicki GehringOBJECTIVE Students will learn how people and communities adapt to the environment (ecosystem) in which they live.UTAH STATE SOCIAL STUDIES CORE Social Studies: Standard 1: Students will understand how geography influences community location and development.MATERIALS SMA images (on CD): Paul Sample, Winter Holiday; Fredric Whitaker, Fountain Granada library books with images of dwellings of the different geographical regions (a few are included on the CD)9 x 12 drawing paper and 12 x 18 drawing paperpencils, markers, crayons or colored pencils, scissors, glueLESSONShow the SMA images and discuss the differences in the lifestyles of people who might live in the kind of climates indicated in the pictures. Assess what the students know about how people in different geographical regions live. (Tropical, arctic, etc.)Divide the class into four groups each assigned to a different geographical region:tropicaldesertmountainousarcticAssign the students to research the ecosystem and topography of their assigned region, and write a short collaborative report about the lifestyle and dwellings of the people in that region, and how their life style is influenced by the environment, with an emphases on how people have adapted to that environment, including, if possible, changes that have occurred in modern times.See if they can find a recording of some traditional music typical of some of the people of their region.

Activity 1:Divide each group into two sections. One section to create one or more landscape drawings of the

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

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A Third Grade Blended Social Studies/Drama Lessonby Teresa Dayley Love, BYU Dept. of Theatre and Media Arts, mathulove@gmail.comOBJECTIVES Students will experience Abenaki (a Northeastern native people) stories through the oral storytelling tradition, choral reading, playmaking and process drama conventions. The students will identify how elements within two Abenaki stories serve as expressions of the

culture (specifically language, religion, customs) of that people.Students will demonstrate their dramatic abilities to use sensory recall, and develop creative voice, visual and movement expression as appropriate to the story.Students will develop an understanding of how story is used in the Abenaki culture. This will be demonstrated by students active and thoughtful participation in class discussion as well as the scenes students create.UTAH STATE CORE OBJECTIVESSocial StudiesThird Grade Standard II: Students will understand cultural factors that shape a community.Objective 1: Evaluate key factors that determine how a community develops. Indicators:a. Identify the elements of culture (e.g. language, religion, customs, artistic expression, systems of exchange). b. Describe how stories, folktales, music, and artistic creations serve as expressions of culture.Drama (from 3rd Grade Rainbow Teaching Chart)Use cultural tales with choral readings, readers theatre, narrative mimes, etc. to apply and prac-tice: sensory recall, visualization, expressive voice, expressive movementUse process drama techniques with grade level curriculum, classroom situations, and community events to deepen understanding.(Background for teachers: Teacher learn to tell two short Abenaki stories: Glooskap and Wasis, the Baby, and Azban, the Racoon. Teachers should also be familiar with the idea of storytelling being cen-tral to Abenaki culture, and indeed many North American Native cultures. See Sources at the end of this document for links to the stories, as well as a script for the Choral Reading. Student Prior Knowledge:

Students should be aware that many indigenous peoples lived in North America before the

Teaching History Through Art:Stories from the Abenaki Nation

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arrival of European settlers, and that the Abenaki people lived in the areas of what is now the northeast US and Canada. Students should have generalized knowledge of what life for native peoples at that time might include, such as hunting, fishing, basket making, homebuilding, fam-ily roles, tribal councils, etc. as well some geographical aspects of the northeast.

It is preferable, but not necessary, students have had some experience with Drama as described in the K-2 Drama Student Learning Maps)MATERIALS Butcher Paper and crayons and markersTime frame: One hour to an hour and a half. Can be divided into two half-hour sessions, or even three sessions, if desired.ACTIVITY1. Teachers and Students participate in the theatre game Emotional Orchestra. As Facilitator, teacher puts special emphasis on helping students heighten their initial creative choice, and also respond to the directions of the conduc-tor appropriately. Point out how bodily expression became naturally added as vocal expression was heightened and or decreased.2. Teacher gathers students to the classroom storytelling rug. Teacher recalls to the students minds the facts the students already know about the Abenaki people. Teacher then asks students to close their eyes and imagine them-selves to be one of the Abenaki, all those years ago, sitting in a gathering, perhaps around a campfire, or maybe by the ocean, or perhaps in a wigwam, as a community storyteller (a Nudatlogit) prepares to tell the story of Glooskap and Wasis. Have them not only visualize themselves in that role, but also to hear, see and feel the environment around them. What sound do you hear? What is the temperature of the air? Is it light or dark outside? Show by the way you are sitting if you are on sand, or a grass mat, or a blanket. When you know who and where you are in this environ-ment, you may open your eyes, and I will tell you the story of Glooskap and Wasis..the Baby!3. The teacher tells the story. At the end of the story the teacher tells the students she will clap three times, and then they will be back in the classroom, as our regular selves. Teacher and students discuss the story. Possible discussion questions: What is this story about? What is it really about? Why would a teller relate this story? Why would people listen? As answers come up such as to entertain, to teach, or to warn one another, etc. the teacher shares her knowledge of how important storytelling is in this culture (which, she remembers to inform the children, still ex-ists today in modern times.)3. The teacher leads a choral reading of Glooskap and Wasis, the Baby using the script. She helps stu-dents decide how to use their voices to show the intention of the words chosen to tell the story. Cre-ative choices are discussed and tried out before the classroom performance.

Kenneth Little Hawk, Native American Storytellerhttp://knitonepearlonion.blogspot.com/2012/10/

the-tree.html

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

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the wrong time, etc. Then students can choose one situation to enact. It doesnt matter if two groups choose the same situation because it will likely be acted out differently Scenes should be very short, but we should be able to tell by the way you use you body and voice what is going on and why the story should be told to at least one member of the group. 11. Students perform scenes for one another. Teacher facilitates discussion regarding students suc-cesses at expressing their ideas through their creative choices as evidenced through their expressive bodies and voices. ASSESMENT Keep students in their performing groups. Give each group a large piece of butcher paper and crayons or markers, for Role on the Wall activity. Teacher instructs the students to trace around the body of one of the students in the group. Then they are to use that form, and label it Nudatlogit, the Abenaki Storyteller. They are to write within the form all the things they have learned about storytelling in the Abenaki culture. The teacher may remind them by asking questions such as Why did the Abenaki tell stories long ago? What were the stories about? When did they tell stories? Do they still tell sto-ries? Who told the stories? Who listened? What new Abenaki words do you know from these stories? What do you now know about Abenaki religious beliefs? If they have time students can draw outside the form any images they liked from any of the stories they heard or scenes they participated in or watched as theyve been learning about Abenaki storytelling. Teacher should post the students work, and use what they have done to assess if learning outcomes have been met. Teacher marks on Class Spiral Learning Map Drama learning outcomes that were accomplished in this lesson. Students may also mark their milestone on their own Student Spiral Learning Maps.SOURCEShttp://www.abenakination.org/stories.html, http://www.abenakination.org/azban.htmland http://pyramidmesa.netfirms.com/algonquin1.html

Teacher should be able to facilitate the warm up theatre game Emotional Orchestra. For one version, see: http://plays.about.com/od/actvities/qt/orchestra.htm Teacher should have a basic working knowledge of how to direct a choral reading. There are many resources describing choral reading on line but this is a very good one: http://education.byu.edu/arts/documents/LisaBeanChoralReading.pdf

Third grade Drama Rainbow Teaching Charthttp://www.schools.utah.gov/curr/FineArt/Core_Curriculum/Elementary/documents/FY08-09_Rainbow_Charts/Dance/Dance%20Teaching%20Map_Third.pdf3-6th Grade Drama Class Spiral Learning Map3-6th Grade Student Spiral Learning Maphttp://www.schools.utah.gov/curr/FineArt/Core_Curriculum/Elementary/FY08-09_Learning_Maps/Drama/Drama_3-6_Combo.pdf Glooskap and Wasis script by Teresa Dayley Love (See on Next Page)

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Glooskap and Wasis, the Baby.A Choral Reading, based on the Abenaki Tale by Teresa Dayley LoveThe parts can be divided any way youd like. This is only one suggestion:

Group 1: BoysGroup 2: Girls

Group 3: Boys and GirlsIt is important to color the words by varying, pacing, pitch, tone and volume. Express the emotions dra-matically! And remember, this is a funny story!(Well, maybe not to Glooskap!) Speeches can be divided within the group, so that some lines can be solos, or two or three voice, or however youd like. Sound ef-

fects and rhythms can certainly be added. Give students as much creative leeway as they can handle, and as will serve the story. AllWe are the AbenakiGroup 1We tell to teach and teach to tell.Group 2 Our children learn,Group 3Learn very well!Group 1Here is a story about someone who bragged too much about himself.Group 2Glooskap!Group 3Who-skap?Group 2Glooskap, the First Man, the Creator of Men, the Maker of All Things. The Mighty Glooskap!

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

Group 2Yet!

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Group 1What did you say?Group 2You have not been conquered!...YET!Group 1 You havent heard of my glorious adventures?Group 2The battles against sea serpents and giants? The battles against Darkness and Magic? Glooskap, your strength is legendary, your courage ferocious! Its all very impressive.Group 1No one shall conquer Glooskap!Group 2Except Wasis!Group 1Huh? What did you say?Group 2Wasis! Wasis is the very mighty creature who will conquer Glooskap.Group 1Wasis! But Wasis is a baby!Group 3A baby!Group 2 I say a baby will conquer the mighty Glooskap!Group 1Thats laughable!Group 2We shall see.Group 1(Sweetly) Come here Wasis...Come here Wasis. Group 3(Makes baby noises that mean No!) Group 1

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

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

Abenaki Couple, artist unknown

18th C watercolorhttp://commons.

wikimedia.org/wiki/File:Abenakis.jpg

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Third Grade Social Studies & Dance Lessonby Chris RobertsOBJECTIVES: Students will be able to explain and give examples of what it means to reduce, reuse, and recycle.Students will properly warm-up, move and create a dance to show the concepts of reducing, reusing, and recycling.UTAH STATE CORE OBJECTIVES: Third Grade Social Studies Standard 1, Obj. 3: Describe ways to conserve and protect natural resources (e.g. Reduce, reuse, recycle).MATERIALS: Drum, music, plastic bag, milk jug, McDonalds bag, cardboard box (from a toy or electronic game), and a movie about a recycling plant (or better than that; a field trip to a recycling plant).

ACTIVITY: Discuss background knowledge of students understanding of the 3 Rs. Discuss what they are doing right now in their personal and family lives to implement them. Take the class to a recycling plant or show them a movie of a recycling plant. This step should be done before beginning the dance class.Moving:Bring students to gym or open space (like a vestibule) or arrange space in classroom. Lead students in a warm-up that begins slowly and builds up to more movement. Include activities that build strength (push-ups, squats), endurance (jumping jacks for 1 min.) and flexibility (stretching).

Investigating:Review elements of dance (Body, Energy, Space and Time) while exploring the 3 Rs.Reduce: Body: Make large movements with various body parts and whole body and then reduce to very tiny movements.Energy: Try different explosive movements with body parts and with whole body and then reduce to soft movements.Space: Locomote (walk, run, skip, gallop, slide, jump, hop, leap) through general space (the whole space) and gradually reduce space to smaller and smaller while still moving without touching other dancers.

Teaching History Through Art: Conserve and Protect Natural Resources

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

ASSESSMENT: 1. Did the dance clearly teach the concepts of the 3 Rs?2. Did the dancers show performance commitment during their entire dance?3. Did the students listen to each other and cooperate during group work?4. Did the audience enjoy the performance?

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3rd Grade Social Studies, Literacy, and Visual Arts LessonBy Louise NickelsonOBJECTIVESStudents will examine artworks to discover clues to Native American life. They will learn about the Ute Indians, about their culture, make a beaded headband or bracelet, and wear the item while they listen to a Ute story.UTAH STATE CORE OBJECTIVESSocial Studies Third Grade Standard II: Students will understand cultural factors that shape a community.Objective 1: Evaluate key factors that determine how a community develops.Indicators:a. Identify the elements of culture (e.g. language, religion, customs, artistic expression, systems of exchange).b. Describe how stories, folktales, music, and artistic creations serve as expressionsof culture.Objective 2: Explain how selected indigenous cultures of the Americas have changed over time.Visual Arts Standard 1 Making, Standard 4 ContextualizingMATERIALS images of artworks:Joseph Henry Sharp, Playing the Game; Lou Jene Carter, Navajo Girl; Cyrus E. Dallin, Appeal to the Great Spirit, Chief Washakie, and Sacajewea; John Hafen, Teepee; Minerva Teichert, Indian Captives at Night; Maynard Dixon, Round Dance. Examples of BeadingCopy of Ute Childrens story (included here) or a book about a native legendSmall colored glass beads, wooden beads, antler, or porcupine quills (optional)Beading graphs, brown paper or brown paper bags, crayons or markers, scissors, glueInformation on the Ute tribe from your Social Studies text or from one of the sources.

Teaching History Through Art:Native American Life

Maynard Dixon, Round Dance, BYU MOA

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ACTIVITY Show the class the images of the artworks and ask them to identify some things that were important to the Native Americans, based on the images. For example, they hunted animals, they liked to dance, they played games, they made useful items, which they decorated, etc. Ask students to discuss what everyday life might have been like for the Native Americans: what did they eat and how did they get that food? Where did they liuve? What might they have done for fun? How did they feel about the land and the animals that lived in their areas?ART PROJECTNative Americans first used natural materi-als, often in the shape of some kind of bead, to decorate their clothing and personal items. Show the class some images and ask the stu-dents to identify or to brainstorm what may have been used as beads. If you have some beads made from natural materials, show the students. Then show them the small glass beads and ask the students to think about where and when the Native Americans got glass beads. Show the class some images of beaded items decorated with glass beads. Explain that they are going to make a beading design.Ask the students to think about where Native Americans got their ideas for their beaded designs. Help them to understand that most of the designs were very simplified. For example, lighting or a series of mountain peaks might become zig-zag lines, and an animal would be indicated by its basic shapes. Give students a sheet of paper for planning their design. They should make several simple sketches and choose the best design. Encourage them to keep the designs simple by showing them examples from the bead-work. Pass out the beading graphs and have students use one to make a light sketch on, indicating the outlines of the shapes. They can then choose the colors for their design. When they have chosen the colors, they should carefully recreate the design on the second piece of beading graph paper, leaving out the outlines. When they are done with the designs, they can carefully cut out the designs and glue them onto a long piece from a brown paper sack which is then glued or stapled so it can fit their head or wrist. You will need strips of paper 2 larger than the childs head or wrist.LITERACYExplain that one way to understand the early Native Americans is to experience their customs. You may have a member of the community you can invite to share a traditional story with the students, you can use the one included here, or a storybook your school has. Help the students understand how important their stories were for a people who did not have a written language.ASSESSMENT Younger students can be assessed simply for completion of the project and for participation in the class discussion. Older students should also be assessed for originality of design and for neatness.

Beaded Horse Bag, UtePublic Domain

http://en.wikipedia.org/wiki/File:UteBeadworkHorseBag.jpg

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SOURCES Ute Story from http://utemountainute.com/legends.htmBasic history and culture http://en.wikipedia.org/wiki/Ute_IndiansHistory and culture from the point of view of the Utes http://utemountainute.com/story.htmChildrens books about Native Americans, recommended by Native Americans http://americanindian-sinchildrensliterature.blogspot.com/2010/07/top-ten-books-recommended-for.htmlLITERACY EXTENSIONYou can choose to have the class write their own legend. Put the completed story in a binder and let students add artwork to the story if they have finished their assignments.

ART EXTENSIONOlder students can make a beaded bag or vest. You will need a small paper sack (like a lunch sack) or a medium-sized grocery bag for each student. Students can fringe the ends of the bag or vest by cut-ting narrow slits into the edges of the bag. Size the beading graphs to fit the project you are making.

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

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4th Grade Social Studies & Visual Arts Lesson, adaptable for all agesby Elicia GrayOBJECTIVES Students will investigate the artworks of Covington, Dibble, Tallant, Breinholt, Kimball, Salisbury, Fair-banks, Munger, Gardner, Christo and Jeanne-Claude, and Smithson.Students will evaluate the validity of environmental art. Students will participate in a debate about environmental art and public health and safety.Students will compose a personal artists statement based on their artwork.Students will generate a diorama that will add to, adapt, or mimic a Utah landscape.Students will share their projects and ideas with the whole class.UTAH STATE CORE OBJECTIVESSocial Studies Fifth Grade Core (Standard 1) Students will understand the relationship between the physical geography in Utah and human life- Examine the interactions between physical geography and public health and safety- Examine the forces at work in creating the physical geography of UtahVisual Art ObjectivesStandard 1 (Making): Students will assemble and create works of art by experiencing a variety of art media and by learning the art elements and principles.Standard 2 (Perceiving): Students will find meaning by analyzing, criticizing, and evaluating works of art. Standard 3 (Expressing): Students will create meaning in artStandard 4 (Contextualizing): Students will find meaning in works of art through settings and other

MATERIALS Angels Landing, Zions, (Isaac) Loren Covington; Between Big & Little Cottonwood Canyon, George S. Dibble; Black Rock, Great Salt Lake, Richard H. Tallant; Box Canyon, Floyd E. Breinholt; Entrance to Zions, Ranch S. Kimball; Great White Throne, John B. Fairbanks; Bridal Veil Falls, Henry Leroy Gardner; (all SMA images, on the CD) Images of Robert Smithsons Spiral Jetty (on CD) Other images in sourcesImages of works by Christo and Jeanne-Claude, bed sheet, twine, chair, cardboard boxes, packaging peanuts, fabric scraps, found objects, glue gun, salt doughACTIVITY

1. Gather students onto the carpet and explain that you are now going to create a piece of art for them to enjoy. Grab one of their chairs and drape it lightly with a sheet, then wrap it with twine. Stand back and say, This is my art. It is called Daniels Chair, Wrapped. Step back and let

Teaching History Through Art:EROSION: Erosion and Art

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students investigate what you have just done. Let students argue the validity of such a piece. Is it art? What about it is or is not art? Why? Be sure to ask questions of an ethical nature as well. Is the sheet hurting the chair? What if it was not a chair under the drape. What if it was a living thing? Would it change your opinion of the art if it did damage to the environment, or to the object?2. Introduce students to the artists Christo and Jeanne-Claude. Explain that they are a married couple who create environmental works of art. Some of their works include the wrapping of the Reichstag in Berlin and the Pont-Neuf bridge in Paris, the 24-mile (39 km)-long artwork called Running Fence in Sonoma and Marin counties in California, and The Gates in New York Citys Central Park. Show images of these works if possible. What is different about these works? Their work is enormous and often controversial, but the artists have repeatedly denied that their projects contain any deeper meaning. They claim their works are purely aesthetic. The purpose of their art, they contend, is simply to create works of art or joy and beauty and to create new ways of seeing familiar things. How might covering or draping something help us to see things differently? 3. How do you think viewers feel about Christo and Jeanne-Claudes works? What are some of the setbacks they might encounter? Summarize the New York Times article about the Artists new project called Over the River. This project is a $50 million dollar installation of anchored fabric over the Arkansas River in Colorado. The project will include eight suspended panel segments totaling 5.9 miles along a 42-mile stretch of the river. It will take two years to con-struct, and will be in place for two weeks. Divide students into two groups. One group should support the artists, and the other should oppose the artists project. In groups have students brainstorm the effects of both sides. What environmental impact could the project have? How could a big project like this affect a small town? What about land and animals? How might the project affect businesses? Think about the interactions between physical geography and public health and safety. (You may have students peruse the article entitled Evaluating Installation Art,

Should Environmental Cost Be Considered? Link provided below)4. Stage a debate between the two sides. Is there an easy solution to this artistic problem? Every artist in the world likes his or her work to make people think. Imagine how many people were thinking, how many professionals were thinking and writing in preparing that environmental impact statement.-- Christo5. Introduce students to Robert Smithsons Spiral Jetty. This monumental earthwork is located on the Great Salt Lake in Utah. Using black basalt rocks and earth from the site, the artist created a coil 1,500 feet long and 15 feet wide that stretches out counter-clockwise into the translucent red water. Emphasize that this is a massive artwork found in Utah that transformed the land-scape of an area. What is a jetty? How is the Spiral Jetty different that a jetty that is built for protection? Have a discussion about artists intent, and how that affects artworks.6. Pass out images of Covington, Dibble, Tallant, Breinholt, Kimball, Salisbury, Fairbanks, Munger, and Gardner. Invite students to identify the landscape that is unique to Utah. What types of dif-ferent environments are represented? What makes them unique? What forces of nature were at work in creating this physical geography?7. Explain that students will be creating some environmental art in the form of a diorama just like Christo and Jeanne-Claude and Smithson. Students must choose a geographic area in Utah that they would like to use as a canvas. Next they will decide on a method of integrating an art piece. They can add to the landscape, like Christo and Jeanne-Claude, they can adapt the landscape, like Smithson, or they can mimic the landscape like all of the painters they just reviewed. 8. Invite students to fill out the Environmental Art Worksheet in order to help them work through their idea.

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9. Give each student a small cardboard box to use to create their idea. Now that students have selected a specific environment, they may begin adding, adapting, or mimicking different physi-cal attributes. Students can do this in a number of ways, but packaging peanuts and salt dough are simple ways to provide texture and sculptural elements. Invite students to integrate found objects and images. Students may use low heat glue guns in order to secure items in place.

10. When sculptures are finished, invite students to create a title and an artists statement for their work. What are some of the problems they encountered? How did they resolve those prob-lems?11. Invite students to share their projects with the class.

ASSESSMENT The teacher will evaluate the Environmental Art Worksheet. The teacher should carefully review the artists statement. The teacher will also evaluate the dioramas, looking for evidence of effort, original-ity, and quality completion.SOURCEShttp://en.wikipedia.org/wiki/Christo_and_Jeanne-Claudehttp://www.nytimes.com/2010/11/26/us/26artist.html?ref=christohttp://hyperallergic.com/11316/evaluating-installation-art-environmental-cost/http://governor.utah.gov/photos/Photos%20from%202008/04%20-%20April/04-14-08/Spiral%20Jetty%20Visit/ (this site has images that include close-ups)ADAPTATION For very young children, have them create different landscapes or regions out of clay or even play dough. Show how different elevations have completely different landscapes throughout Utah.VARIATION Choose a destination and have students create a piece of earth art or environmental art. Show pictures of Andy Goldsworthy and have students compare and contrast these works with Smithson and Christo and Jeanne-Claude.EXTENSION Organize a field trip to go and see the Spiral Jetty. Experience environmental art personally by walking on the Jetty.Robert Smithson, Spiral JettyPhotograph by Ricketyhttp://www.rickety.us/wp-content/uploads/2010/11/Spiral_Jetty_08.jpghttp://leroyspinkfist.blogspot.com/2010/05/blog-post_27.html

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Environmental Art Worksheet1. I have chosen to _____add_____adapt______mimic a landscape. (please choose one)2. The area or landscape I have chosen is: (Please describe in detail)3. What are the physical characteristics of the area?

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

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

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

7. What other ideas or difficulties will you need to address?

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4TH GRADE Social Studies and Visual Arts Lessonby Amanda TolerOBJECTIVES Students will be able to:-Analyze the various landscapes of Utah-Infer how the environment one lives in can affect how homes are built, what clothes are worn, what jobs are available, food is eaten, transportation and so on.-Create a new environment and infer its effect on a population and paint a representation of the envi-ronment.UTAH STATE CORE OBJECTIVES Fourth Grade Social Studies: Utah Studies Standard I: Students will understand the relationship between the physical geography in Utah and hu-man life. Objective 1: Classify major physical geographic attributes of Utah. Objective 2: Analyze how physical geography affects human life in Utah. Indicators: a. Identify population concentrations in the state and infer causal relationships between population and physical geography. c. Compare the development of industry and business in Utah as it relates to its physical geography (e.g. mining, oil, agriculture, tourism). d. Make inferences about the relationships between the physical geography of Utah and the states communication and transportation systems (e.g. trails, roads, telegraph, rail lines). Objective 3: Analyze how human actions modify the physical environment. Indicators: a. Describe how and why humans have changed the physical environment of Utah to meet their needs (e.g. reservoirs, irrigation, climate, transportation systems and cities). MATERIALS -pencils, paper, paint, crayons, brainstorming worksheet.-information on Utah landscapes and natural resources and influences on living conditions.Possible Utah landscape images: Birger Sandzen, Moonrise in the Canyon, Moab; Calvin Fletcher, Wash Day in Brigham City; Maynard Dixon, Road to the River; plus any of the other Utah Landscapes on the CD

Teaching History Through Art:Adapting to Our Environments

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Additional Landscapes: John Tullidge, Minnie Lakes; Reuben Kirkham, Castaway; Paul Lauritz, Crashing Harmony; Gilbert, Near Monterey; John Heber Stansfield, Canadian Rockies; Montague Charman, Going Home

ACTIVITYMotivation:To introduce the idea of adapting to the environment change the layout of the classroom for a day. When students walk in perhaps the heat will be up higher or the room will be very cold and the desks will be place on top of each other or in a different order. Students will have to adapt to th