Documente Academic
Documente Profesional
Documente Cultură
The Language
of
Masks
!
Shelley!W.!Patterson!
Samford!University!
The Language
of
Masks
Someone once said, Behind every mask there is a face and behind that a
story. What does this statement mean? And, is it true? Have you ever
pondered the thought that masks have a bigger purpose? They may be the
mysterious link between us all?
Masks are everywhere. You can find them sprinkled throughout history. In
almost every culture masks have a presence. Even in our modern world, they
can be seen on Halloween, at festivals and in parades, in museums, and used
for theatrical performances. Have you ever wondered where they come from?
And, more importantly, what they have to say?
Communication is a very important part of our every day lives. Everywhere
you look, people are in constant communication with one another through
emails, phone calls, texting, Instagram, Twitter, and Facebook. But, if we stop
and take a minute to examine the world around us, will we find stories of long
ago hidden in the artifacts of our ancestors? Will these masks communicate
more about who we are and where we came from?
In the next few months, you will explore the language of masks. You will
examine the mask- its purpose, place, and transformation in society. You will
travel the world through the mask and make connections to our modern life.
Finally, you will listen. You will listen to the mask and hear what secrets it
reveals to you and understand it has much to say.
Shelley W. Patterson
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The Language of
Masks
Rationale:
In schools today, students are often taught to rely on memorization of rote facts to master content in the classroom. Many
times, gifted students easily learn the isolated pieces in order to make good grades, soar to the top of the academic world,
and feel undeniably successful. However, these same students can often be found years later struggling in college and life
in general as challenges present themselves that require a person to use higher-order thinking skills and piece together
the isolated facts to look at the big picture or end goal to solve problems. In education, there needs to be a shift in the way
we plan and prepare instruction for the gifted and talented. These students need to have a deeper and more complex
understanding of overarching concepts, so they can apply them to the multi-faceted challenges of the real world. In this
concept-based unit, gifted students will have the opportunity to study the communication through examining the masks of
the world in a whole new way. They will learn to equip themselves with creative and critical thinking skills, which are
needed not only to soar in school, but also in life.
Purpose:
The purpose of this unit is to study and analyze masks of the world to answer the question: Why is communication an
important aspect of a culture? In this unit, students will investigate masks of the world to understand how a cultures
identity can be communicated through this form of art. They will also learn how these mysterious masks have connections
to several modern American traditions and reveal more about who we are as a nation. It is also designed for students to
take on the role of a practicing professional in order to communicate their understanding of a cultures rituals and traditions
through creating an art exhibit to share their knowledge with others.
Target Audience:
This unit was created for 5th grade gifted students. However, due to mature content it is extremely important that teachers
are discerning in using many of the resources that are suggested. While many of resources are authentic and thought
provoking, some of them may need to be slightly altered to censor for the use of 5th grade students. Additionally, this unit
can easily be adapted for grades 6th-8th as it is aligned to 8th grade Social Studies standards.
Peter Drucker said, The most important thing in communication is hearing what isn't said. In an ever-changing, diverse
world, students are constantly being challenged with understanding who they are and who the people are around them.
Communication can be explored far beyond what is written on a page. In this concept based unit, gifted students will have
the opportunity to view the world through the conceptual lense of communication in order to have a deeper understanding
of what makes up a cutlures identity and how it translates personally to them. Additionally, it is important for gifted
students to have to exposure to varied ways of communicating their ideas, feelings, and understandings. Through mask
work, they will learn how other cultures utilized this art form to communicate and apply it in their own lives. This conceptual
unit is designed for gifted students to simultaneously think critically while learning to express themselves creatively.
Prerequisites:
There are not any prerequisites for any students to participate in this conceptual unit.
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Standards
Social Studies:
th
8 Grade ALCOS # 1:
Explain how artifacts and other archaeological findings provide evidence of the nature and movement of
prehistoric groups of people.
8 Grade ALCOS # 4:
Identify cultural contributions of Classical Greece, including politics, intellectual life, arts, literature,
architecture, and science.
th
th
Art:
th
th
Reading:
CCSS.ELA-LITERACY.RL.4.9:
Compare and contrast the treatment of similar themes and topics (e.g., opposition of good and evil) and patterns
of events (e.g., the quest) in stories, myths, and traditional literature from different cultures.
CCSS.ELA-LITERACY.RL.5.7:
Analyze how visual and multimedia elements contribute to the meaning, tone, or beauty of a text (e.g., graphic
novel, multimedia presentation of fiction, folktale, myth, poem).
Science:
Technology:
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Concept Map
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Communication
th
Critical Content/Standards
Facts
Masks are used for
actor
training/performing,
celebrations, spiritual
rituals/religion, in time
of war, and to cope
with tragedy.
Masks are used to
disguise, conceal,
amuse, terrify,
express/ communicate
ideas or feelings to
other people.
Masks can be found in
the traditions and
rituals of many
cultures, including:
African, Ancient
Greek, Italian,
Chinese, Korean,
Native American,
African, and modern
American cultures.
Skills/Processes
Developing
Hypotheses
Recognizing
Attributes
Compare and
Contrast
Analyze
Making Observations
Classifying
Seeing Relationships
Planning
Originality
Collaborating
Performing
Creating/Designing
Research
Organizing
Information
Shelley W. Patterson
Film Director
Historian
Museum
Curator
Theatre
Professor/
Actors
Costume
Designer
Anthropologist
Concepts
Communication
Culture
Identity
Origin
Rituals
Traditions
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Essential Understandings/Generalizations
Students understand that a culture's identity is essential in interpreting the origin of rituals and traditions.
Essential Questions
In what ways does understanding a cultures identity help you interpret the origin of rituals and traditions?
Culminating Performance Task/Summative Assessment
PBL Scenario:
The Jule Collins Museum of Art in Auburn, Alabama is hosting a new exhibit titled, The Language of Masks, to display
at this springs art gala. As the newly hired museum curator, you will assemble a team to help you organize and
prepare for the new exhibit. Your team will consist of two other members, including a commissioned local artist and
anthropologist. Together, you will plan, design, and develop an art exhibit consisting of 5 to 7 mask artifacts to display
at the art gala. The artifacts must communicate one specific cultures rituals, traditions, beliefs, or values through your
exhibit. Your exhibit may include a three-dimensional replica of a mask (required), mock-up drawings, dramatizations,
photographs and/or printed of pictures. The anthropologist will be responsible for the accuracy of the content, the artist
will be responsible for design, and the curator will organize and write the descriptions for the exhibit.
*Students may chose a culture we have studied or a research a new culture.
Instructional Activities
Pre-assessment: Students will complete a Frayer Model Diagram on the concept of Communication.
Throughout the unit, we will keep a concept web of communication displayed on our wall. As we learn new
purposes of communication for the mask, we will add it to our map.
Lesson 1: Students will take a mask gallery walk of various kinds of masks hypothesizing on the purpose of
each mask. Students will complete the concept development group activity.
Lesson 2: Students will learn how to communicate with masks in theatre using the neutral mask. They will
develop tableaux using neutral masks to perform for the class.
Lesson 3: Students will research the use of masks in Ancient Greece theatre. They will compare and contrast
the design and structure of masks for use in comedy vs. tragedy and chorus vs. a central character
(Suggested site: www.richeast.org/htwm/Greeks/theatre/actors.html) We will analyze pictures of masks and
determine what each mask would communicate to the audience.
Lesson 4: Bibliotherapy lesson using the book: Behind the Mask by Yangsook Choi (A young boy begins to
understand his grandfather through learning about the culture his grandfathers mask).
Lesson 5: Students will jigsaw the purpose and cultural meaning behind various Chinese masks (exorcising
masks, Tibetan masks, sorcerers' masks in Yunnan and Guizhou, Shamanic masks and dramatic masks etc.)
Lesson 6: Students will explore the need for Commedia Dellarte and how is originated by discussing why
humor is needed in culture? (Students will become familiar with the impact of the Black Death on Italian
culture.)
Lesson 7: Guest teacher: Daydrie Hague (if available) Students will learn to improvise and delve into the
world of Commedia Delarte by performing skits.
Lesson 8: Students will learn ready folktales, myths, and legends from three West African Tribes. They will
visit virtual museums and picture galleries to analyze the relationship between the design of masks and
folktales, myths, and legends in West Africa.
Lesson 9: American traditions: how do we use masks in our culture and can we see any relationships or
trends that are similar with other cultures? Students will make connections between cultures, rituals, and
traditions. (Why did we originally wear masks on Halloween? Mardi-Gras, masquerade balls, etc.)
Lesson 10: Affective lesson: The Masks We Wear Students will participate in working with neutral masks to
reveal their thoughts/feelings while concealed with a mask.
Lesson 11: Career Fair: Student will visit information centers from three practicing professionals (museum
Name:curator,
Shelleylocal
W. Patterson
Date: June 19, 2014
artist, and an anthropologist) either in person or via Skype.
Lesson 12 (Performance Task): In teams of three, create an art exhibit of 5-7 mask artifacts from the
perspective of one culture.
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Masks
Essential Understandings/Generalizations:
Essential Questions:
Instructional Activities:
Preassessment:1-2 weeks before students will complete a Frayer Model Diagram on the concept of Masks. Throughout the unit,
we will keep a web about masks displayed on our wall. As we learn new purposes for the mask, materials used, and cultural
understandings - we will add it to our map.
3.
Upon entering the room, students will hear the song, Communication, by Mae. As each student sits, they will find a sheet of
paper with the lyrics printed on them. I will direct the students to read the lyrics as we finish listening to the song. Afterwards, I
will ask my students to define, What is communication? and How did the musician in this song communicate?
Students will complete Concept Development Group Activity. In groups of four, students will brainstorm, examples of the
concept of communication onto a Padlet wall. They may represent the examples of communication with words, symbols,
and/or pictures. I will ask students to think of unusual/unconventional ways we communicate to add to the wall, too. Once
student groups have generated their list, I will ask them to categorize the ideas into groups and then, think of non-examples.
Finally, as a whole group, I will demonstrate how to write a generalization about communication from our examples, categories,
and non-examples. Once I have demonstrated it, students will work in groups to write additional generalizations. We will record
them onto our wall concept map about communication.
Teacher will then reveal a gallery of masks that are already hung (but covered up) in the room. Student will use a graphic
organizer and take a Mask Gallery Walk with a partner making notes about what culture, circumstance/purpose, and
message they hypothesize the mask is telling them. (Type&I)
2.
Class will read quote, The neutral mask can lead an actor to reject his habitual identification in favor of a deeper, simpler
understanding of his powers of expression. (By Philip Zarrilli) Class will discuss how when using masks you can no longer
communicate with speech or facial expressions, and therefore, you need to expand your vocabulary of what it means to
communicate. You must focus on the most intricate movements of body language in order to communicate your message.
Creative Dramatic (Warm-up): Wearing a neutral mask, students will work on communicating a message without any speech
used. One student will draw a word from two separate bowls (one bowl containing adjectives, and the other containing an
animal). Then, all the students will move throughout the room communicating both the adjective and the animal by
transforming their body language to complete the task (Example: ferocious dog, playful frog, or an injured fox). (Type&I)
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3.
4.
Students will learn how to communicate with masks in theatre using the neutral mask. They will develop tableau using neutral
masks to perform for the class. In groups of 3-4 people, using the neutral masks, create a frozen tableau, which expresses an
emotional state (e.g. fear, pride, aggression, joy). Hold for a count of 5. Show the class. Discussion of what tableau they were
showing, and what communicated the message. Create a statement of the exact opposite emotion (e.g. bravery, modesty,
timidity, misery). Hold for a count of 5. Ask the class, What changed within the actors body language that communicated a
new tableau? (Type&II)
Add new ideas/connections to our mask web.
Guiding Questions: How does the construction of a mask help the audience interpret different meanings? Why were masks so
important in Ancient Greek theatre? How do the masks of Ancient Greek theatre help us to understand the gender roles in their society?
What do the masks of Ancient Greek theatre communicate about societal traditions and rituals during that time in history? How do the
masks of Ancient Greece help communicate its cultures identity? How does communication provide a means of understanding a
cultures identity?
1. Students will look at a picture of Theatre of Dionysus. Groups of four will have a discussion of How theatres have changed
over time?
2. Students will research the use of masks in Ancient Greece theatre. While researching, they will use a Venn-diagram to
compare and contrast the purpose, design and structure of masks for use in comedy vs. tragedy vs. chorus masks. (Suggested
site: www.richeast.org/htwm/Greeks/theatre/actors.html) (Type&I)
3. Once students have an understanding for how Ancient Greek theatre masks were used for communication, teacher will hand
each group envelopes of pictures of Ancient Greek Mask and a compilation of modern poems. Students will read the poems
and choose appropriate masks that actors may have worn if this poem was performed in the Theatre of Dionysus during
Ancient Greek times. (Type&II)
4. Add new ideas/connections to our mask web.
1. Students
2.
Guiding Questions: What are celebrations? What are rituals? How did Chinese culture incorporate masks in their beliefs, celebrations,
rituals, and ceremonies? What do these masks tell us about Chinese culture? How does communication provide a means of
understanding a cultures identity?
1.
2.
3.
4.
5.
6.
Upon entering the room, an animated mask will be talking to the students explaining a brief history of the importance of masks
in Chinese culture. At the end of the animation, the mask will then tell the students which groups they are working in and give
them directions.
Students will jigsaw the purpose and cultural meaning behind various Chinese masks (exorcising masks, Tibetan masks,
sorcerers' masks in Yunnan and Guizhou, Shamanic masks and dramatic masks etc.) Students will first organize into five
separate expert groups studying the sub-categories listed above. They will fill out a graphic organizer about their mask, its
purpose, and how it was used to communicate within Chinese cultural. (Type&I)
Students will use the information from the graphic organizer to write an informative paragraph about their mask.
Students will remain in their expert groups, and use the App iFunFace to capture photographs of Chinese masks, animate the
masks to talk, and then record the information they have learned about their mask. (Type&II)
Then, students will take their individual animations back to secondary groups, and share their expertise with new group.
Add new ideas/connections to our mask web.
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4.
5.
6.
7.
8.
Teacher will pose the questions: What is humor? Why would humor become a necessity during this time? Students will
discuss the need for humor.
Teacher will introduce the characters of Commedia Dellarte by providing each student a character description of each mask
and showing them the mask. Play video http://www.youtube.com/watch?v=h_0TAXWt8hY Ask them if they saw any of the
same comedic techniques in this video that was similar to the comedic techniques in The Three Stooges clip. Discuss the
similarities. (Type&I)
Introduce the ideas of slapstick and improvisation. Ask, Who cares about improvisation? Brainstorm professions that
incorporate improvisation making a Popplet map.
Guest teacher: Daydrie Hague. Students will learn how to move their bodies to embody the characters. Students will learn to
improvise and delve into the world of Commedia Delarte by performing skits. Assign students Commedia Dellarte characters.
Give students scenarios and students have to interact with one another in character. (Type&II)
Add new ideas/connections to our mask web.
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2.
3.
4.
5.
6.
Teacher will discuss a metaphor and students will have the opportunity to share their thoughts about the quotes.
Socratic Circle: Students will answer the questions Why do people feel the need to mask themselves?
How can we break down the barrier of masks?
Is it necessary to mask yourself and when?
Why is it important to reveal your true self?
Students will complete a graphic organizer about, Who I Am?
Students will then students will write the characteristics from their graphic organizer on color scraps of paper. They will then Hodge
Podge the color strips onto their neutral masks in order to reveal who they are behind the mask.
Students will choose a characteristic from their mask that they would like to physically embody through movement. Students will
perform, Who I Am? skits for one another. (Type&II)
http://www.youtube.com/watch?v=FCiYNE_hmNg
http://artchoo.com/african-mask-project/
5. Assess finished exhibits using a scoring rubric. They will also display the exhibits in the spring art show.
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(
(
(
(
Personal Experience
Masks
Individuals(
Cultures
Informa&on
Purposes(
Deni&on(
Definition
Directions: Complete the chart to show what you know about your topic.
Write as much as you can.
Lesson One
Topic: Masks
Content Knowledge/Standards
Standards:
through
Assessment
In this lesson, students will
Know (content): Masks used to
communicate in many cultures.
Understand (concepts/big ideas):
Communication is an important aspect of
culture, and communication often
happens through masks.
Be able to (skills/processes): Brainstorm,
categorize, generalize, and make
observations
Introduction
Teaching Methods
Shelley W. Patterson
Guiding Question(s) for this lesson: What is communication? What are some
unconventional ways to communicate? Can art communicate? What is culture? What are
the components that make up a societys culture?
Preassessment: 1-2 weeks before students will complete a Frayer Model Diagram on the
concept of Masks.
Formative Assessment(s): Teacher observation of discussion and group participation,
journal entry, Mask Gallery Walk graphic organizer, Padlet wall, exit slip
Post-assessment: Throughout the unit, we will keep a web about masks displayed on our
wall. As we learn new purposes for the mask, materials used, and cultural understandings we will add it to our map.
Direct Instruction
Concept Attainment
Cooperative Learning
Simulation
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Learning Activities
1.
2.
3.
Resources
Products
Grouping
Extensions
4.
5.
6.
7.
8.
Lyrics of Communication
Various printed pictures of Masks for Mask Gallery Walk
Recording sheet for the Mask Gallery Walk
Poster Paper
Padlet Wall with generalizations from concept attainment
Mask Gallery Walk graphic organizer
Exit Slip
Whole group: Discussion of lyrics, writing generalizations, debriefing/recording ideas onto
our wall mask web
Small group: Groups of 4: Concept Development Activity, Groups of 2: Mask Gallery
Walk
Individual: Journaling, Exit Slip
There will be a variety of extension links an interest center available for extension.
Extension Links: (discern before assigning these links to students- however, there are
many wonderful resources and activities provided)
http://africa.uima.uiowa.edu
http://www.mardigrasneworleans.com/news/news/mardi-gras-masks-aretradition.html http://art.pppst.com/masks.html
http://broadwayeducators.com/?p=1821
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http://polkmuseumofart.org/exhibitions/exhibition-development/
http://www.greektheatre.gr/greek_theater_masks_2.html
http://www.theplayersjournal.org/archive/using-the-mask/
http://ada201.weebly.com/uploads/5/6/9/6/5696091/masks_--_a_brief_history.pdf
http://masksoftheworld.com/masks/
http://www.brooklynkids.org/attachments/Masks_FIN.pdf
http://www.yale.edu/ynhti/curriculum/units/1993/2/93.02.04.x.html
http://edsitement.neh.gov/lesson-plan/what-masks-reveal#sect-activities
http://art.pppst.com/masks.html
http://cti.itc.virginia.edu/~bcr/studentwork/jones/shell.html
http://cti.itc.virginia.edu/~bcr/African_Mask_Faces.html
http://asianhistory.about.com/od/arthistoryinasia/ss/KoreanMasks.htm
http://australianmuseum.net.au/Masks-from-Melanesia
http://natural-history.uoregon.edu/collections/web-galleries/native-american-masksnorthwest-coast-and-alaska
http://www.way-of-the-samurai.com/Samurai-Masks.html
http://news.nationalgeographic.com/news/2014/06/140610-oldest-masks-israelmuseum-exhibit-archaeology-science/
http://ngm.nationalgeographic.com/2012/04/african-masks/galembo-photography#/07limba-devil-ghongorli-sierra-leone-670.jpg
Interest Centers:
Improvisational Center- a center will be available for students to work on their
improvisational skills. There will be a collection of masks, character descriptions, scenarios,
Readers Theatre scripts, Commedia Dellarte scripts for kids to practice their improv skills:
http://www.pioneerdrama.com/SearchResults.asp?keywords=commedia&nns=on&size=135&time=15-120&nns=on
Peking Opera Mask Center: In this center, there will be videos of Peking Opera Mask
performances, as well as, a notebook (printed PowerPoint) of what all the various colors of
the opera masks mean. Students will come to this center to make a Peking Mask to
represent their personal character traits. They will independently study the meaning behind
the colors, use the supplies (card stock, paints, etc). to create a mask, and a description of
why the colors were chosen.
(Resource link: http://www.paulnoll.com/China/Opera/China-opera-colors.html)
Differentiation/
Ascending Intellectual Demand
Shelley W. Patterson
Throughout the unit, students will have opportunity to choose their practicing
profession, culture of focus, choice in presentation, and method of creating final
projects.
Quotes, poetry, and literature will be of varying levels, so that all students can find
literature to work with on their independent level.
Student discussions will be scaffolded, and teacher can work with students
independently as needed.
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Hook:
As students enter the room, the song, Communication (by Mae), will be playing aloud. On each desk, I will have placed
a printed copy of the lyrics. (As each student comes into my room) Boys and girls, please find your name plate and
notice there are a set of lyrics and a highlighter on your desk. Please take a moment and read over the lyrics as you
listen to the song play. You do not need your highlighter right now, we will use those in just a moment.
(Once the song has finished playing, I will say to my students-) In this song, the artist continuously sings about
communication. Lets look back at the lyrics. Can you find and highlight the verse where, he says:
Communication is calling us, it's all in us,
A celebration, for you and me, and the universe,
Our destination, oh,
(How we find the answer)
When we search beyond ourselves, you know we always learn
(We've become so clever)
Let our walls crumble and burn away,
(We can change forever)
Can we lend a better hand then the one that we've been?
What does the artist mean by, Communication is calling us, its all in is. A celebration, for you and me, and the universe,
Our destination, oh, How we find the answer? I am going to give you about 3-4 minutes to turn and talk to your group
about what you think the artist means by these lyrics. You may jot down its meaning on in the margins of the paper if you
would like. You only need one secretary to record the groups ideas, unless you have differing opinions. (I will set my
timer, which my students are accustomed to, and after 3-4 minutes, say:). Okay, boys and girls, what do you think the
artist meant? (Each group will have a representative read their responses). All of your responses are wonderful, this song
may have different meanings to different people. However, I agree with many of you that the artist was saying that
communication is a very important part of our everyday lives and not only for us, but he says for the universe. Look at
what he says a moment later, How we find the answer when we search beyond ourselves, you know we always learn. It
is almost like the artist and I are kindred spirits, because I agree communication is a very important part of who we are,
how we learn, and it tells us about things that are beyond our personal lives.
Concept Attainment:
Over the next several months, we are going to be exploring the world of communication, and how it plays a very present
and important part of our lives. Sometimes, we dont even realize how big of a role communication plays in our lives. But,
just think about it communication occurs in almost everything we do- ALL DAY LONG! Are there times when it is
challenging to communicate with others? When? Why? (Wait for responses.) You guys are right. Communication can be
challenging when you speak different languages or have other interferences.
I am going to divide you all into groups of four. I will come around and give you an animal. If you are a lion, go to table 1.
If you are a monkey, go to table 2. If you are an otter, go to table 3. If you are a panda, go to table 4. If you are a
parakeet, go to able 5. Finally, if you are a platypus, go to table 6. We are going to do an activity, where we are going to
think a little bit deeper about communication. Please choose one person in your group to be the secretary for this activity.
Secretaries you will see that each group has a laptop and there is a web tool called Padlet pulled up on the screen. If you
will watch me, I am going to show you how to use Padlet. First of all, you can click anywhere on the wall of Padlet and a
vritual sticky note comes up. You are going to click on the wall, and in the first space, type in your groups animal name.
Then, you are going to type in the box a response to the question (after you have discussed it as a group). I will be
walking around to listen to your discussions. I am only going to give you about 6-7 minutes complete this task, so stay
focused. Once your group has completed your sticky note, hit enter and it will show up on the SmartBoard. If you cannot
see someones sticky note come up, please refresh your computer, and it will pop up. You may also post pictures of your
ideas. (I will demonstrate as I talk, and it will show up on my SmartBoard) If you would like to add pictures, you need to
move your mouse on the bottom of the sticky note. Do you see the icon that looks like a figure eight with a line through it?
If you want to add a picture to your wall, you may open the Google search engine, search for images you think illustrate
the idea of communication, then click on the image, copy the url to the picture (not the site), and paste it into where that
icon is on the virtual sticky note. Just like this (I will add a picture of a music note.) Really awesome, isnt it? Remember
you have to answer two parts. The prompt says if you had to define the word communication what would you say?
What is communication? Make sure your whole group discusses the answers before typing it into Padlet. Any questions?
You may start. (Probable responses: Communication is talking or sending a message to someone else. Communication
is how people transfer information through spoken language, etc.) Now, I will have posted an additional prompt. I see you
all are posting some perfect examples. But, I want you to think a little deeper. What are some unusual or unconventional
ways of communication? For example, does communication always happen through word of mouth? Can non-living
things communicate, too? Give me some examples of nonliving things that communicate? (Allow time, 5 minutes, for
student responses on Padlet wall.) Wow, you all have some great ideas of things that communicate. I think we are all
starting to understand why Mae describes communication as our destination, because it is a very important part of our
everyday lives and who we are, isnt it?
What I would like for you to do now, is to look at all of the examples of the Padlet wall. I would like for your groups to see
if you can create categories or groups for your examples and ideas to go into. You may use your ideas or borrow others
ideas from the Padlet wall. You are not going to type this part into Padlet. You are going to categorize it onto a blank
sheet of paper. You may want to make a graphic organizer to well, organize you ideas! For example, we have already
talked about how both living and nonliving things communicate. So, that would be two separate categories. I may put
teachers, friends, animals, and family into the living category. Then, I could put books, computers, instruments, and
music into another category titled- nonliving things. I would like for you to take five minutes with your group and see if
you can think of additional categories. Understand? Okay, brainsTHINK! (Put five more minutes on my timer. Once time
is up, say:) Tell me some of your categories, and I will write them on this poster paper. (Some examples may be: art,
language, writing, technology, body language, entertainment etc.)
Now, boys and girls, lets really see who wore their thinking caps today. Now, we are going to brainstorm some nonexamples of communication. This one is going to be a little more challenging to answer. But, think of things that do not
communicate? Ask yourself: What evidence do you have that these things do not communicate? For example, do all
nonliving things communicate? I know this one is a little more brain boggling, but try to think of 5-6 non-examples and
post it onto our Padlet wall. I am going to give you 5-7 minutes. Ready? Begin. (I will start with five minutes and check in.
If they need an additional two minutes, I will allot it to them.) Okay, by looking at your responses. I can see that most of
you typed in objects that definitely do not communicate. What does this tell us about communication? (Wait for
responses). You are right most things communicate- that is why thinking of non-examples was more challenging. Are
there any subgroups or categories, we could place these objects in? (Wait for responses. I will list groups/categories on
the board).
Okay, the last task for us to do with these brainstormed ideas we have created is to use them to write generalizations
about communication. You will use the categories/groups to write your generalizations, not the examples and nonexamples. A generalization is a broad statement that can apply to many examples. For example, what broad statement
could I say about living and non-living things and communication? I could write (I will write this on the board as I say it-)
Both living and nonliving things communicate. Does that apply to many examples? Yes! Okay, lets try one more. Lets
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use the category of entertainment. Who communicates through entertainment? You are right actors do, screen writers,
musicians, and film directors. Good! Could we group them into people? Okay. So, could we say, People communicate
through entertainment or Entertainment communicates peoples ideas? Now, I would like you to try to think of 3 or four
generalizations in your group. I am going to come around and give you a sheet of poster paper and a marker, so choose
a new secretary to record your ideas. You will have about 7 minutes to do this activity. (I will start the timer for 7 minutes.
At the end of the lesson, we will share our ideas. We will post them on the wall.) We are going to post our generalizations
on the wall. As we learn new ideas through this lesson, we are going to add to our wall. You will find throughout this unit,
that lots of ideas are going to connect, so we may need to reorganize and create new groups or new generalizations.
Debriefing:
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Wow, you all have discussed a lot about communication and culture. Do you all agree that communication is an important
aspect of a culture? Yes, I do, too. We are going to be exploring this concept more in depth each week. (I will post this
generalization on the wall). On this wall, I am also going to write the word, Masks. I have documented many of the ideas
that you discussed on your Frayer Models last week. Lets review many of your ideas. (Class discussion of ideas). As we
learn new ideas through our investigation, it is very important that we document it on our wall. At the end of this unit, you
will be given the opportunity to act as a practicing professional and create an art exhibit to communicate what your have
learned about the cultures identity. (Give them the Unit Narrative and the Culminating Performance Task Assignment).
We will talk more about the details of your final project, next week. However, it is important for you to understand that you
are going to be conducting research and investigations throughout the next several months, which will help you with your
art exhibit. So, please make sure you are documenting new ideas on our class web a priority. Does everyone
understand? Please take these two forms home to share with your parents, and let them know that you many bring
resources from home, however, the culminating task will be completed at school.
Unfortunately, it is about time to go. However, I have one last question for you to answer. I am going to come around and
give you a sticky note. On it, I would like you to answer the question, Can art communicate? Please make sure to
elaborate on your answer and do not just write yes or no. Then, write your name at the top, and stick it on the
laminated poster paper for 5th grade on your way out the door. I am so excited about this unit, and I hope you are, too. I
will see you next week!
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Lesson Two
Lesson Length:
Discipline(s): Art
45-60 minutes
Content Knowledge/Standards
through
Standards:
th
th
Teaching Methods
Shelley W. Patterson
Demonstration/Modeling
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Learning Activities
5.
Cooperative Learning
Coaching
Visualization
Making Observations/Creative Dramatic (Warm-up): Students will work on
communicating a message without any speech used. Students will be broken into
two groups: Group A and Group B. One student from Group A will draw a word
from two separate bowls (one bowl containing adjectives, and the other containing
an animal). Then, Group A students will move throughout the room communicating
both the adjective and the animal by transforming their body language
communicate the message while Group B students observe and take notes. Then,
someone from Group B will draw an adjective/animal from the two bowls and
move throughout the space depicting that animal/adjective while Group A
observes and take notes. (Example: ferocious dog, playful frog, or an injured fox).
(Type&I)
Listing Attributes/Creative Dramatic (Debriefing/ Process discussions):
Students will sit in one large circle. We will discuss how is felt to participate in the
warm-up, how we utilized body language to help us communicate, and how it
would have been different if we were not allowed to use facial expressions to
communicate the animal or activity. Teacher will ask the students to share some of
their observations of what they saw as others communicated the messages.
Originality/ Elaboration/ Creative Dramatic (Dramatic Activity): Students will
learn how to communicate with masks in theatre using the neutral mask. Teacher
will ask students to think of cultures that may use a neutral mask. Do we ever see
individuals using neutral masks in our culture? They will develop tableau using
neutral masks to perform for the class. In groups of 3-4 people, using the neutral
masks, create a frozen tableau, which expresses an emotional state (e.g. fear,
pride, aggression, joy). Hold for a count of 5. Show the class. Discussion of what
tableau they were showing, and what communicated the message. Create a
statement of the exact opposite emotion (e.g. bravery, modesty, timidity, misery).
Hold for a count of 5. Ask the class, What changed within the actors body
language that communicated a new tableau? (Type&II)
Metacognition/ Creative Dramatic (Debriefing/ Journaling): Students will write in
their journals reflecting on how it felt to redefine communication by taking away
facial expressions and communicating solely through their bodies. Answer the
questions: 1). How did using a neutral mask help you communicate your tableau
more effectively? 2). How did wearing the mask pose challenges for you in
terms of communicating to your audience? 3). Can you reveal a message while
hiding?
Debrief the day: Add new ideas/connections to our mask web.
1.
2.
3.
4.
Resources
Products
Grouping
Extensions
There will be a variety of extension links an interest center available for extension.
Extension Links: (discern before assigning these links to students- however, there are
many wonderful resources and activities provided)
http://africa.uima.uiowa.edu
http://www.mardigrasneworleans.com/news/news/mardi-gras-masks-aretradition.html http://art.pppst.com/masks.html
http://broadwayeducators.com/?p=1821
http://polkmuseumofart.org/exhibitions/exhibition-development/
Shelley W. Patterson
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http://www.greektheatre.gr/greek_theater_masks_2.html
http://www.theplayersjournal.org/archive/using-the-mask/
http://ada201.weebly.com/uploads/5/6/9/6/5696091/masks_--_a_brief_history.pdf
http://masksoftheworld.com/masks/
http://www.brooklynkids.org/attachments/Masks_FIN.pdf
http://www.yale.edu/ynhti/curriculum/units/1993/2/93.02.04.x.html
http://edsitement.neh.gov/lesson-plan/what-masks-reveal#sect-activities
http://art.pppst.com/masks.html
http://cti.itc.virginia.edu/~bcr/studentwork/jones/shell.html
http://cti.itc.virginia.edu/~bcr/African_Mask_Faces.html
http://asianhistory.about.com/od/arthistoryinasia/ss/KoreanMasks.htm
http://australianmuseum.net.au/Masks-from-Melanesia
http://natural-history.uoregon.edu/collections/web-galleries/native-american-masksnorthwest-coast-and-alaska
http://www.way-of-the-samurai.com/Samurai-Masks.html
http://news.nationalgeographic.com/news/2014/06/140610-oldest-masks-israelmuseum-exhibit-archaeology-science/
http://ngm.nationalgeographic.com/2012/04/african-masks/galembo-photography#/07limba-devil-ghongorli-sierra-leone-670.jpg
Interest Centers:
Improvisational Center- a center will be available for students to work on their
improvisational skills. There will be a collection of masks, character descriptions, scenarios,
Readers Theatre scripts, Commedia Dellarte scripts for kids to practice their improv skills:
http://www.pioneerdrama.com/SearchResults.asp?keywords=commedia&nns=on&size=135&time=15-120&nns=on
Peking Opera Mask Center: In this center, there will be videos of Peking Opera Mask
performances, as well as, a notebook (printed PowerPoint) of what all the various colors of
the opera masks mean. Students will come to this center to make a Peking Mask to
represent their personal character traits. They will independently study the meaning behind
the colors, use the supplies (card stock, paints, etc). to create a mask, and a description of
why the colors were chosen.
(Resource link: http://www.paulnoll.com/China/Opera/China-opera-colors.html)
Differentiation/
Ascending Intellectual Demand
Shelley W. Patterson
Throughout the unit, students will have opportunity to choose their practicing
profession, culture of focus, choice in presentation, and method of creating final
projects.
Quotes, poetry, and literature will be of varying levels, so that all students can find
literature to work with on their independent level.
Student discussions will be scaffolded, and teacher can work with students
independently as needed.
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Class will read quote, The neutral mask can lead an actor to reject his habitual identification in favor of a deeper,
simpler understanding of his powers of expression. (By Philip Zarrilli) Class will discuss how when using masks
you can no longer communicate with speech or facial expressions, and therefore, you need to expand your
vocabulary of what it means to communicate. You must focus on the most intricate movements of body language
in order to communicate your message. The teacher will ask, In what ways can you communicate without using
spoken language? Teacher will record their answers on poster paper.
Warm-Up Activity:
Okay, boys and girls Now that we have come up with this list of ways people communicate beyond spoken
language, we are going to delve a little deeper into the idea of using body language to communicate. As you see
in my hand, I am holding a mask. How would you describe this mask? Teacher will wait for students to respond.
You are exactly right! This mask is plain and boring. In theatre, many actors and actresses use this mask to train
themselves how to communicate more effectively on stage. Now, we are not going to use the neutral mask right
away, because I first want you to make observations about how we use our facial expressions to communicate
messages without using spoken language. We are going to participate in creative dramatics today. I know for
some of you it is going to push you outside your comfort zone, but I think if you just focus on the task it will
become easier as you go. When you are participating in creative dramatics, you are going to use something called
improvisational skills- in the entertaining world many call it improv. What that means is that there is not a right
answer or a script, you have to use your imagination and visualize what you would think you should do and then,
physically embody what you have envisioned. We have already participated in some forms of creative dramatics
this year, but today I am going to introduce you to a new activity. First of all, I am going to split everyone into two
groups: Group A and Group B. Teacher will walk around and assign each student a group. Here is what is going
to happen: First Group A will participate in creative dramatics, while Group B observes and takes notes about how
they see their classmates communicating a message. Now, do not worry about anyone mocking you or teasing
you, because we are all a family and we are going to respect and support each other. Plus, the roles will reverse
in a minute, and I know that they will want the same respect when it is their turn to practice imrprov. One person
from Group A will come up two the two jars on my desk. In one jar, there are cards of pictures of animals, and in
the other, there are adjectives written on them. What the leader will do is choose two cards, read them, and then
share the cards with the group. For example, they may pull out a picture of a penguin and the adjective lonely.
Once, everyone in the group understands the two words the leader pulled from the jar, it is their job to transform
into the phrase (i.e. lonely penguin). Once they transform their face and body, they must move throughout the
space while Group B observes what they see, as well as, writing down guesses about what adjective/animal they
are embodying. So, actors you may ask yourself How would this animal move normally? How would they
move if they were lonely? How do I need to manipulate my body and face to take on that character I am trying to
play? How should I interact with other animals that feel this same way? Remember you CANNOT use spoken
language or even sound effects. You must communicate to Group B who you are completely using
unconventional methods of communication. Once Group A has had ample time to move through the space, we
will reverse roles. We will do this process a couple of times, so that you may have opportunity to observe several
times. You guys ready? Group B get your journals ready. Group A, go to my desk area to draw your
adjective/animal. After each group has gone at least twice. Great work boys and girls. I, too, was jotting down
Shelley W. Patterson
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what I saw in terms of communication. Everyone, please grab your journals and lets form a circle in the middle of
the space. Everyone may sit where you are.
Debriefing:
Who would like to start off by sharing how it felt to participate in communicating without using spoken language?
Student responses. What did you have to rely on to communicate your animal character? Student responses Did
the spectators have trouble figuring out who you were? Student responses Now, lets see if we can make a list of
what we observed the actors doing as they moved through the space? Students will share observations while
teacher documents them on poster paper. Great! You all made lots of observations. You all noticed what I did.
Without language, you heavily have to rely on movements of the eyes, face, and body. When you take away
language, you notice more of the micro-movements of the actor. I noticed I was definitely keying into peoples
eyes. But, what if I took your facial expressions away, too? How might that present even more challenges? What
might you all have done differently? Student responses.
Teacher will go and retrieve the neutral masks and pass one out to each child. I would like all of you to take a
minute and look at the mask in your hand. Earlier, you described the mask as plain and boring, but many actors
and actresses use these masks to communicate more effectively on stage. What sort of challenges would using
these masks present? And, how would it Help actors? Student responses. Well, these masks have a name- it is
called the neutral mask. What makes it neutral? You are right! They do not show any expression or emotion. They
are neutral- which means neither happy, sad, worried, scared, or dumbstruck. Can anyone think of a culture or
even a time in our culture when you have seen a mask like this used? Yeah- Jason on Halloween has a sort of
neutral mask. I think that is what makes him so creepy. But, think about mimes. No- they do not technically wear a
mask. But, they paint their faces white and often do not show facial expressions. Believe it or not, I have trained
using neutral masks. I actually have a degree in theatre, and when I was studying to become an actress I had
challenges morphing my body into a new character. I want you guys to think for a second. If you were in Walmart
and you saw a women walk in, but you couldnt see her face- but, you KNEW it was your grandmother. How did
you know? Believe it or not, we memorize each others body movements. When you are trying to become a new
character, it is challenging to transform the way you normally move into the way a new character moves. Often
times, we think if we have a grumpy face- then, people understand we are grumpy. But, if you are truly grumpy
does just your face change? No way! Your entire body morphs. Right? So, today we are going to see why so
many cultures on stage and off stage use masks for this purpose to reveal messages in unique ways. I am going
to divide you into groups of four. Do not worry, because I have already designated the groups. In this group, you
are going to be given two words that have opposite meanings. In your group, you are going to create two separate
tableaus. Teacher will write tableau on the board. A tableau is a dramatically striking scene. So, you and your
group are going to have to put on your neutral mask and convey the message of the first word by creating a
frozen dramatic scene. You will have to put great emphasis on body language to convey the message. But, once I
say freeze- You may not move. It has to be a frozen dramatic scene. You will hold the first scene for 5 seconds,
and then when I say scene two- you will slowly move into you second scene to portray the opposite meaning.
Again, no movement is allowed once I say freeze. After each group goes, we will stop for a moment to discuss
what we observed, how their body movement made an impact, and how we saw their body language change
when the message changed. Does everyone understand what to do? I will give you 10 minutes to work in your
groups to brainstorm and practice your two tableaus, and then we will return to our circle. I will be walking around
to coach anyone that is having a stumbling block. Any questions? Teacher divides them into groups and passes
out tableau cards. After 10 minutes, okay boys and girls, time is up. Please return to the circle and group 1 come
into the center to perform. Everyone, please pay close attention to how they use their bodies to communicate in
the tableau scenes. Also, does the neutral mask assist you into paying closer attention to body language both as
the actor and audience? Each group will perform and discussions will take place.
Shelley W. Patterson
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Page 24
Journaling:
You guys have done a wonderful job today! I could see that several of you had a moment where you felt
uncomfortable throughout this process, but I am proud of you for pushing through and having new experiences.
What I would like for you to do now is to collect your journal. I want to reflect on what we have done today, and
about what we have learned about communication. On the board, I have written several questions to probe your
mind. I would like you to read the questions, and choose two to respond to in your journals. Try to think about your
process of thinking today and what steps you had to go through when answering these questions. Once you are
finished, please leave your journal on your desk for me to read if you would like to share. You may either
participate in one of the interest centers or complete minute minders on my board if your finish early. I hope you
are as excited as I am about this unit on masks. I cannot wait for you to see what wonderful things you will be
learning about in the next few weeks.
Students will write in their journals reflecting on how it felt to redefine communication by taking away facial
expressions and communicating solely through their bodies. Answer the questions: 1). How did using a neutral
mask help you communicate your tableau more effectively? 2). How did wearing the mask pose challenges for
you in terms of communicating to your audience? 3). Can you reveal a message while hiding?
&
&
&
&
&
&
&
&
&
&
&
&
Shelley W. Patterson
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Lesson Three
&
Lesson Length:
60-80 minutes
Content Knowledge/Standards
Standards:
th
8 Grade ALCOS # 1:
Explain how artifacts and other archaeological findings provide evidence of
the nature and movement of prehistoric groups of people.
8 Grade ALCOS # 4:
Identify cultural contributions of Classical Greece, including politics,
intellectual life, arts, literature, architecture, and science.
3rd - 5th Grades Technology # 8:
Collect information from a variety of digital sources.
through
th
th
Teaching Methods
Shelley W. Patterson
Hook for this lesson: Students will look at a picture of Theatre of Dionysus. Groups of
four will have a discussion of How theatres have changed over time?
Cooperative Learning
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Learning Activities
Resources
Products
Grouping
Extensions
1.
Strategy-Based Instruction
Independent Investigations
Comparing and Contrasting: Students will research the use of masks in Ancient
Greece theatre. While researching, they will use a Venn-Diagram to compare and
contrast the purpose, design and structure of masks for use in comedy vs. tragedy
vs. chorus masks. (Suggested site:
www.richeast.org/htwm/Greeks/theatre/actors.html (Type&I)
2. Seeing Relationships/ Decision Making: Once students have an understanding for
how Ancient Greek theatre masks were used for communication, teacher will hand
each group envelopes of pictures of Ancient Greek Mask and a compilation of
modern poems. Students will read the poems and choose appropriate masks that
actors may have worn if this poem was performed in the Theatre of Dionysus during
Ancient Greek times. (Type&II)
3. Debrief the day: Add new ideas/connections to our mask web.
4. 3-2-1 Exit Slip: Tell me Three things you know, Two things that surprised you, a
and one question you have about Ancient Greek Masks.
Picture of Theatre of Dionysus
Venn- Diagram Graphic Organizer
Modern Poems
Assortment of pictures of Ancient Greek Masks
Venn- Diagram
3-2-1 Exit Slip
Whole group: Adding ideas to the Mask Web
Small group: Discussion of Theatre of Dionysus (pairs), Matching theatre masks to
modern poetry (groups of 4), Venn-Diagram Activity (groups of 4)
Individual: 3-2-1 Exit Slip
There will be a variety of extension links an interest center available for extension.
Extension Links: (discern before assigning these links to students- however, there are
many wonderful resources and activities provided)
http://africa.uima.uiowa.edu
http://www.mardigrasneworleans.com/news/news/mardi-gras-masks-aretradition.html http://art.pppst.com/masks.html
http://broadwayeducators.com/?p=1821
http://polkmuseumofart.org/exhibitions/exhibition-development/
http://www.greektheatre.gr/greek_theater_masks_2.html
http://www.theplayersjournal.org/archive/using-the-mask/
http://ada201.weebly.com/uploads/5/6/9/6/5696091/masks_--_a_brief_history.pdf
http://masksoftheworld.com/masks/
http://www.brooklynkids.org/attachments/Masks_FIN.pdf
http://www.yale.edu/ynhti/curriculum/units/1993/2/93.02.04.x.html
http://edsitement.neh.gov/lesson-plan/what-masks-reveal#sect-activities
http://art.pppst.com/masks.html
http://cti.itc.virginia.edu/~bcr/studentwork/jones/shell.html
http://cti.itc.virginia.edu/~bcr/African_Mask_Faces.html
http://asianhistory.about.com/od/arthistoryinasia/ss/KoreanMasks.htm
http://australianmuseum.net.au/Masks-from-Melanesia
http://natural-history.uoregon.edu/collections/web-galleries/native-american-masksnorthwest-coast-and-alaska
http://www.way-of-the-samurai.com/Samurai-Masks.html
http://news.nationalgeographic.com/news/2014/06/140610-oldest-masks-israelmuseum-exhibit-archaeology-science/
http://ngm.nationalgeographic.com/2012/04/african-masks/galembophotography#/07-limba-devil-ghongorli-sierra-leone-670.jpg
Interest Centers:
Shelley W. Patterson
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Page 27
Shelley W. Patterson
Throughout the unit, students will have opportunity to choose their practicing
profession, culture of focus, choice in presentation, and method of creating final
projects.
Quotes, poetry, and literature will be of varying levels, so that all students can
find literature to work with on their independent level.
Student discussions will be scaffolded, and teacher can work with students
independently as needed.
EDUC578
Page 28
Lesson Four
Masks of China
Topic: Masks of China
Lesson Length:
50-60 minutes
Content Knowledge/Standards
Standards:
th
Korea,
through
th
Shelley W. Patterson
Hook for this lesson: Upon entering the room, an animated mask will be talking
to the students explaining a brief history of the importance of masks in Chinese
EDUC578
Page 29
culture. At the end of the animation, the mask will then tell the students which groups
they are working in and give them directions.
Teaching Methods
Learning Activities
Resources
Products
Grouping
Demonstration/Modeling
Cooperative Learning
Independent Investigations
1. Identifying Characteristics/Judging Essential and Incidental Evidence,
Juding the Accuracy of Informaiton: Students will jigsaw the purpose and
cultural meaning behind various Chinese masks (exorcising masks, Tibetan
masks, sorcerers' masks in Yunnan and Guizhou, Shamanic masks and
dramatic masks etc.) Students will first organize into five separate expert
groups studying the sub-categories listed above. They will fill out a graphic
organizer about their mask, its purpose, and how it was used to communicate
within Chinese cultural. (Type&I)
2. Summarizing: Students will use the information from the graphic organizer to
write an informative paragraph about their mask in their journal.
3. Creating: Students will remain in their expert groups, and use the App
iFunFace to capture photographs of Chinese masks, animate the masks to
talk, and then record the information they have learned about their mask.
(Type&II)
4. Then, students will take their individual animations back to secondary groups,
and share their expertise with new group. Students will document what they
learned on their graphic organizers, and glue them in their notebooks.
5. Debrief the Day: Add new ideas/connections to our mask web.
iPads
iFunFace App downloaded for each iPad
Graphic organizer
Research materials/ sites about exorcising, Tibetan, sorcerer, shamanic masks,
and dramatic masks: http://traditions.cultural-china.com/en/16T34T135.html
http://traditions.cultural-china.com/en/16T34T135.html
(BE DISCERNING WHEN GATHERING THESE MATERIALS)
iFunFace animations
Completed graphic organizer
Informative Paragraph in Journal
Whole group: Adding new ideas to our Mask Web
Small group: Jigsaw (groups of 4-5)
Individual: Actual construction and sharing of iFunFace animations
Extensions
Extension Links: (discern before assigning these links to students- however, there are
many wonderful resources and activities provided)
http://africa.uima.uiowa.edu
http://www.mardigrasneworleans.com/news/news/mardi-gras-masks-aretradition.html http://art.pppst.com/masks.html
http://broadwayeducators.com/?p=1821
http://polkmuseumofart.org/exhibitions/exhibition-development/
http://www.greektheatre.gr/greek_theater_masks_2.html
http://www.theplayersjournal.org/archive/using-the-mask/
http://ada201.weebly.com/uploads/5/6/9/6/5696091/masks_--_a_brief_history.pdf
http://masksoftheworld.com/masks/
http://www.brooklynkids.org/attachments/Masks_FIN.pdf
http://www.yale.edu/ynhti/curriculum/units/1993/2/93.02.04.x.html
http://edsitement.neh.gov/lesson-plan/what-masks-reveal#sect-activities
http://art.pppst.com/masks.html
http://cti.itc.virginia.edu/~bcr/studentwork/jones/shell.html
http://cti.itc.virginia.edu/~bcr/African_Mask_Faces.html
http://asianhistory.about.com/od/arthistoryinasia/ss/KoreanMasks.htm
Shelley W. Patterson
EDUC578
Page 30
http://australianmuseum.net.au/Masks-from-Melanesia
http://natural-history.uoregon.edu/collections/web-galleries/native-american-masksnorthwest-coast-and-alaska
http://www.way-of-the-samurai.com/Samurai-Masks.html
http://news.nationalgeographic.com/news/2014/06/140610-oldest-masks-israelmuseum-exhibit-archaeology-science/
http://ngm.nationalgeographic.com/2012/04/african-masks/galembophotography#/07-limba-devil-ghongorli-sierra-leone-670.jpg
Interest Centers:
Improvisational Center- a center will be available for students to work on their
improvisational skills. There will be a collection of masks, character descriptions,
scenarios, Readers Theatre scripts, Commedia Dellarte scripts for kids to practice their
improv skills:
http://www.pioneerdrama.com/SearchResults.asp?keywords=commedia&nns=on&size=135&time=15-120&nns=on
Peking Opera Mask Center: In this center, there will be videos of Peking Opera Mask
performances, as well as, a notebook (printed PowerPoint) of what all the various colors of
the opera masks mean. Students will come to this center to make a Peking Mask to
represent their personal character traits. They will independently study the meaning
behind the colors, use the supplies (card stock, paints, etc). to create a mask, and a
description of why the colors were chosen.
(Resource link: http://www.paulnoll.com/China/Opera/China-opera-colors.html)
Differentiation/
Ascending Intellectual Demand
Shelley W. Patterson
Throughout the unit, students will have opportunity to choose their practicing
profession, culture of focus, choice in presentation, and method of creating final
projects.
Quotes, poetry, and literature will be of varying levels, so that all students can
find literature to work with on their independent level.
Student discussions will be scaffolded, and teacher can work with students
independently as needed.
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Lesson Five
Masks of Italy
Topic: Masks of Italy
Content Knowledge/Standards
Lesson Length:
Two 60 minute sessions
Standards:
3rd - 5th Grades Technology # 12:
Create a product using digital tools.
3rd - 5th Grades Technology # 9:
Use technology tools to organize, interpret, and display data.
3rd - 5th Grades Technology # 10:
Use digital environments to collaborate and communicate.
9th - 12th Grades Anatomy and Physiology Elective #15:
Identify physiological effects and components of the immune system.
through
th
Shelley W. Patterson
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Introduction
Hook for this lesson: Students will watch a clip from The Three Stooges:
http://www.youtube.com/watch?v=PdBvBtdbQpw
Teacher will reveal to students that this type of entertainment originated from Commedia
Dellarte. Teacher will explain that as we explore the world of Commedia Dellarte- they
need to be thinking of other ways Commedia Dellarte has transformed and translates into
modern entertainment.
Teaching Methods
Learning Activities
Resources
Products
Grouping
Direct Instruction
Cooperative Learning
Simulation
Demonstration/Modeling
1. Students will become familiar with the impact of the Black Death on Italian
culture. They will watch two clips
http://www.youtube.com/watch?v=pRZYb2Jl22g and
http://www.youtube.com/watch?v=DyE8z_Ztifc (Type&I)
2. Interpretation: Teacher will give out copies of Ring Around Rosy rhyme.
There will be a discussion of what the true meaning of the rhyme meant and its
relationship to the Bubonic Plague.
3. Teacher will pose the questions: What is humor? Why would humor become a
necessity during this time? Students will discuss the need for humor.
4. Recognizing Attributes/Seeing Relationships/Imagery: Teacher will
introduce the characters of Commedia Dellarte by providing each student a
character description of each mask and showing them the mask. Play video
http://www.youtube.com/watch?v=h_0TAXWt8hY Ask them if they saw any of
the same comedic techniques in this video that was similar to the comedic
techniques in The Three Stooges clip. Discuss the similarities. (Type&I)
5. Inductive Thinking: Introduce the ideas of slapstick and improvisation. Ask,
Who cares about improvisation? Brainstorm professions that incorporate
improvisation making a Popplet map.
6. Flexibilty/Originality/Imagery: Guest teacher: Daydrie Hague. Students will
learn how to move their bodies to embody the characters. Students will learn to
improvise and delve into the world of Commedia Dellarte by performing skits.
Assign students Commedia Dellarte characters. Give students scenarios and
students have to interact with one another in character. (Type&II)
7. Students will write in their journals, answering the prompt: How has the
influence of Commedia dellarte impacted my life in modern times?
8. Debrief the lesson: Add new ideas/connections to our mask web.
Extensions
Extension Links: (discern before assigning these links to students- however, there are
Shelley W. Patterson
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Page 33
Shelley W. Patterson
Throughout the unit, students will have opportunity to choose their practicing
profession, culture of focus, choice in presentation, and method of creating final
projects.
Quotes, poetry, and literature will be of varying levels, so that all students can
find literature to work with on their independent level.
Student discussions will be scaffolded, and teacher can work with students
independently as needed.
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Lesson Six
Lesson Length:
45 minute session
Content Knowledge/Standards
Standards:
CCSS.ELA-LITERACY.RL.4.9:
Compare and contrast the treatment of similar themes and topics (e.g.,
opposition of good and evil) and patterns of vents (e.g., the quest) in stories,
myths, and traditional literature from different cultures.
CCSS.ELA-LITERACY.RL.5.7:
Analyze how visual and multimedia elements contribute to the meaning, tone, or
beauty of a text (e.g., graphic novel, multimedia presentation of fiction, folktale,
myth, poem).
through
th
Assessment
In this lesson, students will
Know (content): African culture communicates
many of their beliefs through masks, which can
be a representation of their myths, folktales, and
legends.
Understand (concepts/big ideas):
Communication provides a means of
understanding three West African tribes cultural
identity and belief systems.
Be able to (skills/processes): Compare and
contrast, See relationships, recognize attributes,
make observations, and think inductively.
Shelley W. Patterson
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Introduction
Hook for this lesson: Teacher will read the West African tale, Anansi and the MossCovered Rock- retold by Eric A. Kimmel. Teacher will ask the students if they believe this
story to be true? Students will define the meaning of folktales, myths, and legends.
Explain to students that Anansi originates from the West African culture of Ashanti of
Ghana.
Teaching Methods
Learning Activities
Resources
Products
Grouping
Extensions
Shelley W. Patterson
Direct Instruction
Jurisprudence
Collaborative Learning
1. Students will explore three West African Cultures: the Bambara of Mali, the
Yoruba of Southwestern Nigeria, and the Ashanti of Ghana. Students will read
two more myths: How Twins Came Among the Yoruba and The Ancient Myth of
the Twi Wara (the Bambara of Mali). (Type&I)
2. Compare and Contrast, Recognizing Attributes, Making Observations,
Inductive Thinking, and Seeing Relationships: Students will then take virtual
trips to online photo galleries and museums to see if they can find masks that
represent any of the spirits, gods, and characters in the story. If they think they
find one, they will display the picture of the mask to the class and elaborate on
their reason in linking this mask to the myth or folktale in their journals. (Type&
II)
Resource links:
http://www.zyama.com/index.htm
http://africa.uima.uiowa.edu/chapters/
http://www.artic.edu/aic/collections/afr
3. Debriefing the Day: Add news ideas/connections to our mask web.
Whole group: Reading of Anansi and the Moss-Covered Rock- retold by Eric A. Kimmel
and discussion
Small group: Virtual Field Trip Discussion (partner work)
Individual: Journaling
Extension Links: (discern before assigning these links to students- however, there are
many wonderful resources and activities provided)
http://africa.uima.uiowa.edu
http://www.mardigrasneworleans.com/news/news/mardi-gras-masks-aretradition.html http://art.pppst.com/masks.html
http://broadwayeducators.com/?p=1821
http://polkmuseumofart.org/exhibitions/exhibition-development/
http://www.greektheatre.gr/greek_theater_masks_2.html
http://www.theplayersjournal.org/archive/using-the-mask/
http://ada201.weebly.com/uploads/5/6/9/6/5696091/masks_--_a_brief_history.pdf
http://masksoftheworld.com/masks/
http://www.brooklynkids.org/attachments/Masks_FIN.pdf
http://www.yale.edu/ynhti/curriculum/units/1993/2/93.02.04.x.html
http://edsitement.neh.gov/lesson-plan/what-masks-reveal#sect-activities
http://art.pppst.com/masks.html
http://cti.itc.virginia.edu/~bcr/studentwork/jones/shell.html
http://cti.itc.virginia.edu/~bcr/African_Mask_Faces.html
http://asianhistory.about.com/od/arthistoryinasia/ss/KoreanMasks.htm
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http://australianmuseum.net.au/Masks-from-Melanesia
http://natural-history.uoregon.edu/collections/web-galleries/native-american-masksnorthwest-coast-and-alaska
http://www.way-of-the-samurai.com/Samurai-Masks.html
http://news.nationalgeographic.com/news/2014/06/140610-oldest-masks-israelmuseum-exhibit-archaeology-science/
http://ngm.nationalgeographic.com/2012/04/african-masks/galembophotography#/07-limba-devil-ghongorli-sierra-leone-670.jpg
Interest Centers:
Improvisational Center- a center will be available for students to work on their
improvisational skills. There will be a collection of masks, character descriptions,
scenarios, Readers Theatre scripts, Commedia Dellarte scripts for kids to practice their
improv skills:
http://www.pioneerdrama.com/SearchResults.asp?keywords=commedia&nns=on&size=135&time=15-120&nns=on
Peking Opera Mask Center: In this center, there will be videos of Peking Opera Mask
performances, as well as, a notebook (printed PowerPoint) of what all the various colors of
the opera masks mean. Students will come to this center to make a Peking Mask to
represent their personal character traits. They will independently study the meaning
behind the colors, use the supplies (card stock, paints, etc). to create a mask, and a
description of why the colors were chosen.
(Resource link: http://www.paulnoll.com/China/Opera/China-opera-colors.html)
Differentiation/
Ascending Intellectual Demand
Shelley W. Patterson
Throughout the unit, students will have opportunity to choose their practicing
profession, culture of focus, choice in presentation, and method of creating final
projects.
Quotes, poetry, and literature will be of varying levels, so that all students can
find literature to work with on their independent level.
Student discussions will be scaffolded, and teacher can work with students
independently as needed.
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Lesson Seven
Masks of America
Topic: Masks of America
Lesson Length:
Discipline(s): Art
45-60 minutes
Content Knowledge/Standards
Standards:
through
th
Assessment
In this lesson, students will
Know (content): Many of the traditions of
American Mask Culture originates form other
cultures, and we are all connected in many of our
cultural practices.
Understand (concepts/big ideas): Understanding
various identities of other cultures can help you
interpret the origins of American rituals and
traditions.
Be able to (skills/processes): Discriminate the
same and different, see relationships, make
decisions, identify points of view, summarize,
and compare and contrast.
Introduction
Teaching Methods
Learning Activities
Hook for this lesson: Teacher will read the book, Behind the Mask by Yangsook
Choi (A young boy begins to understand his grandfather through learning about the
culture his grandfathers mask). Ask: Do you think the young boy has a new appreciation
for his grandfathers mask at the end of the story? Why?
Lecture
Cooperative Learning
1. Students will answer the journal prompt: How are masks important to you?
2. American traditions: Teacher will give a PowerPoint Presentation about the
3.
4.
5.
Resources
Products
Grouping
Extensions
Extension Links: (discern before assigning these links to students- however, there are
many wonderful resources and activities provided)
http://africa.uima.uiowa.edu
http://www.mardigrasneworleans.com/news/news/mardi-gras-masks-aretradition.html http://art.pppst.com/masks.html
http://broadwayeducators.com/?p=1821
http://polkmuseumofart.org/exhibitions/exhibition-development/
http://www.greektheatre.gr/greek_theater_masks_2.html
http://www.theplayersjournal.org/archive/using-the-mask/
http://ada201.weebly.com/uploads/5/6/9/6/5696091/masks_--_a_brief_history.pdf
http://masksoftheworld.com/masks/
http://www.brooklynkids.org/attachments/Masks_FIN.pdf
http://www.yale.edu/ynhti/curriculum/units/1993/2/93.02.04.x.html
http://edsitement.neh.gov/lesson-plan/what-masks-reveal#sect-activities
http://art.pppst.com/masks.html
http://cti.itc.virginia.edu/~bcr/studentwork/jones/shell.html
http://cti.itc.virginia.edu/~bcr/African_Mask_Faces.html
http://asianhistory.about.com/od/arthistoryinasia/ss/KoreanMasks.htm
http://australianmuseum.net.au/Masks-from-Melanesia
http://natural-history.uoregon.edu/collections/web-galleries/native-american-masksnorthwest-coast-and-alaska
http://www.way-of-the-samurai.com/Samurai-Masks.html
http://news.nationalgeographic.com/news/2014/06/140610-oldest-masks-israelmuseum-exhibit-archaeology-science/
http://ngm.nationalgeographic.com/2012/04/african-masks/galembophotography#/07-limba-devil-ghongorli-sierra-leone-670.jpg
Interest Centers:
Shelley W. Patterson
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Page 39
Shelley W. Patterson
Throughout the unit, students will have opportunity to choose their practicing
profession, culture of focus, choice in presentation, and method of creating final
projects.
Quotes, poetry, and literature will be of varying levels, so that all students can
find literature to work with on their independent level.
Student discussions will be scaffolded, and teacher can work with students
independently as needed.
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Lesson Eight
Lesson Length:
Discipline(s): Art
60-90 minutes
Content Knowledge/Standards
Standards:
th
Shelley W. Patterson
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Page 41
Teaching Methods
Learning Activities
Resources
Products
Grouping
Extensions
Shelley W. Patterson
Direct Instruction
Strategy-Based Instruction
Socratic Questioning
Role Playing
Cooperative Learning
Jurisprudence
1. Seeing Relationships: Teacher will discuss a metaphor and students will have the
opportunity to share their thoughts about the quotes. Ask: Do we wear metaphorical
masks?
2. Making Observations/ Judging Information/ Recognizing Assumptions
Formulating Questions:
Socratic Circle: Students may answer the questions Students will read the poem.
Annotate the poem.
Explain/Remind them of the process/rules of Socratic Circles
Create two circles one inner (discussion) circle, and an outer (listening/notetaking circle)
Reverse roles, so the listeners become the talkers and the talkers become
the listeners.
Students will complete the Socratic Circle Feedback Form as they are
observing the inner circle, but participating in the outer circle to assist in
guiding them on given appropriate feedback.
3. Determine Benefits and Drawbacks, Identifying Points of View, Problem
Solving, Planning, and Decision Making:
Six Thinking Hats:
Teacher will review how to use the Six Thinking Hats
Teacher will present the scenario to the class (attached)
Students will look at the situation from six differing perspectives, and do some
Green-hat thinking about alternative solutions
4. Identifying Characteristics: Students will complete a graphic organizer about,
Who I Am?
5. Students will then students will write the characteristics from their graphic organizer
on color scraps of paper. They will then Hodge Podge the color strips onto their
neutral masks in order to reveal who they are behind the mask.
6. Students will choose a characteristic from their mask that they would like to
physically embody through movement. Students will perform, Who I Am? skits for
one another. (Type&II)
7. Debrief the Day:&Add new ideas/connections to our mask web.
Quotes
Shel Silverstein poem Masks
List of Character Traits
Socratic Circle Feedback Form
Six Thinking Hats Scenario
Six Thinking Hats Poster/ Explanation
Personal Mask Artwork
Socratic Circle Observation Sheet
Whole group: Six Thinking Hats
Small group: Socratic Cricles (half class discuss, half class observe)
Individual: Annotation of Masks poem, journaling, Who Am I? Graphic organizer and skit
There will be a variety of extension links an interest center available for extension.
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Extension Links: (discern before assigning these links to students- however, there are
many wonderful resources and activities provided)
http://africa.uima.uiowa.edu
http://www.mardigrasneworleans.com/news/news/mardi-gras-masks-aretradition.html http://art.pppst.com/masks.html
http://broadwayeducators.com/?p=1821
http://polkmuseumofart.org/exhibitions/exhibition-development/
http://www.greektheatre.gr/greek_theater_masks_2.html
http://www.theplayersjournal.org/archive/using-the-mask/
http://ada201.weebly.com/uploads/5/6/9/6/5696091/masks_--_a_brief_history.pdf
http://masksoftheworld.com/masks/
http://www.brooklynkids.org/attachments/Masks_FIN.pdf
http://www.yale.edu/ynhti/curriculum/units/1993/2/93.02.04.x.html
http://edsitement.neh.gov/lesson-plan/what-masks-reveal#sect-activities
http://art.pppst.com/masks.html
http://cti.itc.virginia.edu/~bcr/studentwork/jones/shell.html
http://cti.itc.virginia.edu/~bcr/African_Mask_Faces.html
http://asianhistory.about.com/od/arthistoryinasia/ss/KoreanMasks.htm
http://australianmuseum.net.au/Masks-from-Melanesia
http://natural-history.uoregon.edu/collections/web-galleries/native-american-masksnorthwest-coast-and-alaska
http://www.way-of-the-samurai.com/Samurai-Masks.html
http://news.nationalgeographic.com/news/2014/06/140610-oldest-masks-israelmuseum-exhibit-archaeology-science/
http://ngm.nationalgeographic.com/2012/04/african-masks/galembo-photography#/07limba-devil-ghongorli-sierra-leone-670.jpg
Interest Centers:
Improvisational Center- a center will be available for students to work on their
improvisational skills. There will be a collection of masks, character descriptions, scenarios,
Readers Theatre scripts, Commedia Dellarte scripts for kids to practice their improv skills:
http://www.pioneerdrama.com/SearchResults.asp?keywords=commedia&nns=on&size=135&time=15-120&nns=on
Peking Opera Mask Center: In this center, there will be videos of Peking Opera Mask
performances, as well as, a notebook (printed PowerPoint) of what all the various colors of
the opera masks mean. Students will come to this center to make a Peking Mask to
represent their personal character traits. They will independently study the meaning behind
the colors, use the supplies (card stock, paints, etc). to create a mask, and a description of
why the colors were chosen.
(Resource link: http://www.paulnoll.com/China/Opera/China-opera-colors.html)
Differentiation/
Ascending Intellectual Demand
Shelley W. Patterson
Throughout the unit, students will have opportunity to choose their practicing
profession, culture of focus, choice in presentation, and method of creating final
projects.
Quotes, poetry, and literature will be of varying levels, so that all students can find
literature to work with on their independent level.
Student discussions will be scaffolded, and teacher can work with students
independently as needed.
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Now that we have discussed what it means to wear a metaphorical mask. We are going to take a closer look at
Shel Sliversteins poem, Masks, that is written in the center of all the quotes. You are going to participate in
Socratic Circles as you have before. However, you to refresh your memory... lets take a look at the Socratic
Questioning Poster on the wall (see attached). First, you will read the text once. Then, you will reread the text a
second time annotating it. In order to annotate it, remember:
1.
2.
3.
4.
5.
Why dis the two people feel the need to mask themselves?
How can we break down the barrier of masks?
Is it necessary to mask yourself and when?
Why is it important to reveal your true self?\ What might have happened if the two characters showed a glimpse of blue?
Do specific cultures expect people to mask themselves?
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I am really impressed with some of the ideas you all presented in the Socratic Circles. I can tell you all are thinking
deeply about these metaphorical masks we wear, and the potential challenges they create for oneself and
understanding your own personal identity. It really has me thinking about potential solutions to help people
express who they are without having to wear a metaphorical mask. Recently, I came across an idea of how we
could solve this problem. Before I present the scenario to you, I need for you all to get out your Edward DeBono
Six Thinking Hats. Remember, when we are using the Six Thinking Hats, each hat is looking at the problem from
a different perspective.
Blue Hat- is the facilitator. They have control of the thinking, help organize the thoughts of the group, asks the
right questions to keep everyone on track, and they sum up everyones ideas to help define the best solution.
They will begin and end the discussions today, as they are the leader of the group.
White Hat- will read the scenario and will present the facts to the group. They are the neutral hat. They will
examine what facts are present, missing, and needed to solve the problem.
Read Hat- is full of emotion. They are the opposite of the white hat. They discuss how they feel, intuitions they
may have, and do not need to justify their answers.
Yellow Hat- is the ray of positivity. They look at everything in a sunny way. They try to find the most optimistic view
and benefits to each situation.
Black Hat- is the serious hat. They are the most cautious and careful hat. They point out potential challenges,
dangers, and obstacles that might be present within the scenario.
Green Hat- is all about growth. They are innovative thinkers who come up with creative alternative ideas to solve
problems. They have new ideas, new concepts, and new perceptions.
Each hat will have about 1 minute to share their perspective in the order that the Blue Hat chooses, except the red
hat that only has 30 seconds to talk. As the Blue Hat is the organizer/facilitator they may choose to allow someone
to speak for longer or again if needed. Feel free to ask questions, and to request to switch your thinking hats. At
the end of the discussion, the blue hat will pull all the ideas together and present a collective solution to me. Blue
Hat your group may switch the hats around as needed and as you see fit.
Here is the scenario:
Emerging research suggests bottled up emotions can make people more aggressive. Scientists are linking this
aggression to increase in school violence rising over the past decade. A team of specialists including: scientists,
pediatricians, parents, and counselors have come up with a solution to help todays youth express themselves
openly, so they do not have to harbor negative or worrisome feelings alone. They have created a new innovative
expression cap that is able to translate a students thought and emotions and display it on a screen that sits on top
of the brim of the hat. Starting in January of 2015, a new national policy states that all students that attend the
public school system must wear an expression cap during school hours. The hope is that if students feelings are
out in the open, then aggression will decrease along with school violence.
Shelley W. Patterson
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Lesson Nine
Lesson Length:
Discipline(s): Art
Content Knowledge/Standards
Standards:
th
Teaching Methods
Shelley W. Patterson
Hook for this lesson: Brainstorming: Students will work in pairs to answer the
question, Who care about masks? They will generate a list of 20 to 25 professionals that
care about masks.
Coaching
Role Playing
Simulation
Mentorships
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Learning Activities
1.
2.
3.
4.
Resources
Products
Grouping
Extensions
Formulation Questions: Teacher will inform students that three practicing professionals
(museum curator, local artist, and an anthropologist) will be visiting us shortly either in
person or via Skype. Students will have 15 minutes to generate 5 questions, they would
like to ask each practicing professional about their jobs and if they have any connections
to masks. (Type&II)
Interviewing: Students will visit career stations to see demonstration/presentation.&
(Type& I)& After each station, there will be a Question/Answer segment. Students will
have 25 minutes at each station. They will take notes, videotape, or record each session
to obtain information for their PBL scenario. (Type&II)
Decision Making: After the practicing professionals leave, students will complete
applications for the job of their choice and turn it into my box not later than Friday of that
week.
Planning/ Creative Problem Solving: Students will fill out a K-N-D Graphic Organizer.
Once they have completed job applications, the teacher will put them into specific
groups. They will fill out a K-N-D (what do you know? What do you need? What do you
need to do?) form regarding their PBL Scenario.
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Interest Centers:
Improvisational Center- a center will be available for students to work on their
improvisational skills. There will be a collection of masks, character descriptions, scenarios,
Readers Theatre scripts, Commedia Dellarte scripts for kids to practice their improv skills:
http://www.pioneerdrama.com/SearchResults.asp?keywords=commedia&nns=on&size=135&time=15-120&nns=on
Peking Opera Mask Center: In this center, there will be videos of Peking Opera Mask
performances, as well as, a notebook (printed PowerPoint) of what all the various colors of
the opera masks mean. Students will come to this center to make a Peking Mask to
represent their personal character traits. They will independently study the meaning behind
the colors, use the supplies (card stock, paints, etc). to create a mask, and a description of
why the colors were chosen.
(Resource link: http://www.paulnoll.com/China/Opera/China-opera-colors.html)
Differentiation/
Ascending Intellectual Demand
Shelley W. Patterson
Throughout the unit, students will have opportunity to choose their practicing
profession, culture of focus, choice in presentation, and method of creating final
projects.
Quotes, poetry, and literature will be of varying levels, so that all students can find
literature to work with on their independent level.
Student discussions will be scaffolded, and teacher can work with students
independently as needed.
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Lesson Ten
Masks Exhibit
Lesson Length:
4 week (1.5 hour
Content Knowledge/Standards
it
sessions)
Standards:
th
Teaching Methods
Shelley W. Patterson
Formative Assessment(s): Google Docs, teacher observations, and self reflection sheets
Post-assessment: Mask Exhibits with descriptions and references (must include 5-7
artifacts)
Hook for this lesson: Students will take a online or real field trip to look at art exhibits
and how they are displayed. (May be arranged on a day prior to this class.)
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Learning Activities
Resources
Products
Grouping
Extensions
1.
Brainstorming: Give out rubric and discuss cultures they may choose. Brainstorm
many cultures they may want to do (studied and not studied).
2. Planning/ Decision Making/ Prioritizing/Judging the Credibility of a Source/
Creative Problem Solving: Review PBL Scenario: In teams of three, create an
art exhibit of 5-7 mask artifacts from the perspective of one culture. Students will
keep up with process, research, and task assignment through Google Docs.
The Jule Collins Museum of Art in Auburn, Alabama is hosting a new exhibit titled,
The Language of Masks, to display at this springs art gala. As the newly hired
museum curator, you will assemble a team to help you organize and prepare for
the new exhibit. Your team will consist of two other members, including a
commissioned local artist and anthropologist. Together, you will plan, design, and
develop an art exhibit consisting of 5 to 7 mask artifacts to display at the art gala.
The artifacts must communicate one specific cultures rituals, traditions, beliefs, or
values through your exhibit. Your exhibit may include a three-dimensional replica of
a mask (required), mock-up drawings, dramatizations, photographs and/or printed
of pictures. The anthropologist will be responsible for the accuracy of the content, the
artist will be responsible for design, and the curator will organize and write the
descriptions for the exhibit. What will your masks say?
3. Creating: Review process of making mask: Guest teacher: Tracy Olenick- show
strategies on mask making and samples of masks. (Type&I)&&
4. Other resources for mask making techniques: (Type&II)
http://www.youtube.com/watch?v=FCiYNE_hmNg
http://artchoo.com/african-mask-project/
5. Assess finished exhibits using a scoring rubric. They will also display the exhibits
in the spring art show.
6. Reflecting: Students will complete self-reflection sheets regarding planning,
process, and product of their individual work.
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http://www.yale.edu/ynhti/curriculum/units/1993/2/93.02.04.x.html
http://edsitement.neh.gov/lesson-plan/what-masks-reveal#sect-activities
http://art.pppst.com/masks.html
http://cti.itc.virginia.edu/~bcr/studentwork/jones/shell.html
http://cti.itc.virginia.edu/~bcr/African_Mask_Faces.html
http://asianhistory.about.com/od/arthistoryinasia/ss/KoreanMasks.htm
http://australianmuseum.net.au/Masks-from-Melanesia
http://natural-history.uoregon.edu/collections/web-galleries/native-american-masksnorthwest-coast-and-alaska
http://www.way-of-the-samurai.com/Samurai-Masks.html
http://news.nationalgeographic.com/news/2014/06/140610-oldest-masks-israelmuseum-exhibit-archaeology-science/
http://ngm.nationalgeographic.com/2012/04/african-masks/galembo-photography#/07limba-devil-ghongorli-sierra-leone-670.jpg
Interest Centers:
Improvisational Center- a center will be available for students to work on their
improvisational skills. There will be a collection of masks, character descriptions, scenarios,
Readers Theatre scripts, Commedia Dellarte scripts for kids to practice their improv skills:
http://www.pioneerdrama.com/SearchResults.asp?keywords=commedia&nns=on&size=135&time=15-120&nns=on
Peking Opera Mask Center: In this center, there will be videos of Peking Opera Mask
performances, as well as, a notebook (printed PowerPoint) of what all the various colors of
the opera masks mean. Students will come to this center to make a Peking Mask to
represent their personal character traits. They will independently study the meaning behind
the colors, use the supplies (card stock, paints, etc). to create a mask, and a description of
why the colors were chosen.
(Resource link: http://www.paulnoll.com/China/Opera/China-opera-colors.html)
Differentiation/
Ascending Intellectual Demand
Shelley W. Patterson
Throughout the unit, students will have opportunity to choose their practicing
profession, culture of focus, choice in presentation, and method of creating final
projects.
Quotes, poetry, and literature will be of varying levels, so that all students can find
literature to work with on their independent level.
Student discussions will be scaffolded, and teacher can work with students
independently as needed.
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COMMUNICATION
(lyrics by Mae)
I was born in '82, a poor man's son,
When it came to hand-me-downs, he only gave me one,
At first I was ungrateful, and once I was confused.
La la la la la la la la,
La la la la la la la la, la la, la la
I said communication,
Is calling me, and yes it's all in me
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1
2
3
4
5
6
7
8
9
10
11
12
Culture
Purpose
Message
Mask # 1
Mask # 2
Mask # 3
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Mask # 4
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Mask # 5
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Mask # 6
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Mask # 7
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Mask # 8
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Mask # 9
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Mask # 10
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Mask # 11
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Mask # 12
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CATEGORY
Understanding of
Culture
Communication of
Culture
Knowledge of Mask
Construction
Attractiveness/
Craftmanship
Description of Mask
Google Docs
Sources
Score
The$Jule$Collins$Museum$of$Art$
Presents
The Language of
Masks
Spring$2015$
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&&&&&&&&&&&&&&&&&&&&ADJECTIVE&CARDS&
&
FEROCIOUS&
FROLICKY&
(MEAN)&
(PLAYFUL)&
LAXIDASICAL&&
ANXIOUS&
(LAZY)&
(NERVOUS)&
APPREHENSIVE&
TIMID&
(WORRIED)&
(SHY)&
CONCEITED&&
TRANQUIL&
(PROUD)&
&(CALM)&
AFFECTIONATE& INQUISITIVE&
(LOVING)&
(CURIOUS)&
BEWILDERED& DISTRESSED&
(CONFUSED)&
(SAD)&
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TABLEAU CARDS
Fear
Bravery
Pride
Modesty
Aggression Timidity
Joy
Misery
Liberated Enslaved
Triumphant Humiliated
Amused Disturbed
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Quotes
Sometimes its not the people
who change. Its the mask
that falls off.
A mask tells us more than a
face.
Behind every mask there is a
face, and behind that a story.
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Who Am I?
They say I am
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Truthfully, I am
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Poor
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
Average
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
Excellent
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
2). Name specific people who did one or more of the above criteria well.
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Socratic Circles
How to Annotate Text:
6. Circle unfamiliar words.
7. Underline Key phrases.
8. Note word patterns, repetitions.
9. Keep track of the story or idea as it unfolds.
10.
Write down questions (???) in margins.
To Participate Effectively in Socratic Questioning, One
Must :
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