Final Arts Unit | Custom PHD Thesis

Overview
This assignment is intended as a culminating project—where you have the opportunity to demonstrate your understanding of the main educational frameworks and some basic arts education

content we have been exploring in class. You will do this by creating an Arts Unit.

Your Arts Unit must be:
a) arts focused; b) for grades 3 or above; and c) unified by arts-based big idea, essential question(s).
Your Arts Unit is comprised of:
1) A Unit Overview
Looking for: complete and shows balance, sequence, and unity of lessons

2) Four Lesson Plans
a) A visual arts CPP (Production) problem-solving Lesson Plan
Note: You cannot use the one from your LP Review assignment or used in the course.
Looking for: problem-solving and expressive outcomes and use of art standards

b) A second CPP production problem-solving Lesson Plan from another arts discipline
(dance, drama or creative writing—your choice; but NOT music)
Looking for: problem-solving and expressive outcomes and use of art standards

c) An Arts Criticism or Cultural and/or Historical Perspectives Lesson
(any arts discipline EXCEPT music)
Looking for: writing effective discussion questions and connecting to the familiar.

d) A partially-developed lesson—your choice of arts discipline and arts strand

3) An instructional tool used in teaching one of your lessons or introducing your unit.
Looking for: specific, detailed support of lesson/unit arts content or theme, and complete and ready to use

Formats with support notes are provided at the end for each of the above.
Please follow, clearly label all parts, and attend to all details.

As a culminating assignment, your unit needs to demonstrate understanding and application of:
1.   The National Arts Standards (content and achievement) as guide to identify specific arts content and arts vocabulary that student will explore, learn and practice.
2.   Problem-solving production lessons focused on expressive outcomes
3.   Components of a workshop-lab model presented in class
4.   Higher order thinking (HOT) questions that engender discussion (effective phrasing)
5.   Balanced integration of arts disciplines and strands
6.   Ways to make meaningful connections to students’ daily experiences
7.   Lesson Planning and Curricular development concepts of sequence, balance, and internal consistency.

Criteria impacting points and successful completion, are determined by:
•   Demonstrated understanding and thoughtful application of course content (listed above)
•   Development of meaningful and appropriate instructional resources, aligned with national arts standards.
•   Overall organization and clarity, including adherence to guidelines and formats
•   Work that is turned in on time, complete, grammar/spelling

Unit Overview Format (see course example)
1.   Your Name
2.   Title of your Arts Unit
3.   Grade level focus (choose one: grade 3rd or above)
All of your lessons in your unit need to be age/grade appropriate for one grade level
4.   Unifying Arts ideas, and goals of the Unit—a descriptive summary of
How your lessons are related—What makes this a unit?
The Broad arts education goals for the unit—What do you want to accomplish—students            to explore and understand by the end of the unit?
What 1 or 2 essential arts question(s) do you want students to explore over the course of                the unit?
5.   A sequenced list of the lessons included in your unit
Identified by: Title, Arts Discipline, and Arts Strand
Presented in sequence—the order you might plan to move through the lessons in the unit.
Note: A goal here is to think about building skills and concepts from one lesson to the next.
6.   Brief description of your instructional tool—
What is it? How will you use it? What instructional goals you plan to accomplish in using it?

CPP/Production Lesson Plan Format (same as used in your LP Review)
Remember we are looking for a production problem-solving lesson with expressive outcomes.
We are also looking for internal consistency within the lesson.
Reminder

1. CONTENT SUMMARY: Concisely summarize what students will do—3-5 sentences
Include specific arts content children will use/apply/explore. (vocabulary, skills, ideas)
Show how it a problem-solving and expressive production lesson.

2. ARTS STANDARDS: What arts content and achievement standard(s) does this lesson address?
Identify the Arts Discipline and use national standards and handouts to write these out. (bullet/list)
Standards may be found at http://artsedge.kennedy-center.org/educators/standards.aspx or use the summaries in the Resources Section of COURSE DOCUMENTS; for Creative writing lessons

you need to use the summary sheets on Blackboard

Reminder: Be selective and appropriately choose 1-2 content and achievement standards that focus on arts production.

3. ENGAGE & INSPIRE: How will you prepare and engage students’ interest and imaginations?
Identify specifics of what you will say or do to start the lesson.

4. SHARE & REFLECT: How will students share their work, experience and learning with each
other in meaningful ways that validate outcomes and highlight arts learning?
Provide specifics of what you will ask students to notice or share about their work

5. STUDENT ASSESSMENT: (standards-based assessment)
How will you determine understanding of the arts content (from standards and vocabulary)?
What will you look for? (see, hear, read) What assessment strategies and tools will you use?

6. RESOURCES: List any other resources you will need/use to support implementation.
BE SPECIFIC—for example if you are using images/examples—(which ones exactly)

Remember we are looking for an AC or CHP lesson—Note that this may include a hands-on activity component—BUT the primary focus is on learning ways to respond to and interpret CONTENT of

art (Aesthetics & Arts Criticism) OR learning about the CONTEXT (time and place) of art (Cultural & Historical Perspectives).

1. CONTENT SUMMARY: Concisely summarize what students will do—3-5 sentences
Include specific arts content children will use/apply/explore. (vocabulary, skills, ideas)
Write this as you have practiced in the production lessons—

Example from the Visual Metaphor Portrait Activity (self-portrait) Aesthetics & Arts Criticism focus

By looking and responding to a non-representational work by W. Kandinsky, students will be introduced to the expressive (communicative) qualities of some elements (line, shape, color)

and principles (pattern/repetition, contrast and emphasis) of design. Students will practice articulating reasons for their individual responses using because statements. They will be

introduced to making interpretations of a work and recognize that interpretations may be impacted by (a) our own individual responses—including associations/memories as well as
(b) compositional choices of the artist.

Be selective and choose 1-2 content and achievement standards that focus on either AC or CHP.
(Remember your key words—such as describe, explain, interpret, know….)

Also be sure to identify / include standards related to the focus of your discussion.
For Example: For the above Visual Metaphor Portrait Activity—I would need to be sure to include a standard related to “understanding structures” (#2) given my focus on teaching about the

elements and principles of design.

3. DISCUSSION QUESTIONS
NOT INCLUDING possible Refrain Questions such as “What do you see that makes you say that?” Or
What do they have in common? (How are they similar or different)? Or follow-up questions (see
example)

Write 3-5 discussion questions you would ask. Attend to phrasing.
Include teaching notes—a summary of the ‘types of answers’ you expect to hear from students
and the arts content you would want to ‘highlight’ in the discussion—this should relate to your standards focus.

Example: Referring to the Kandinsky picture in the Visual Metaphor Self-Portrait Activity
What if I told you this was a portrait—
Primary Question: What do you think this person is like?
Follow-up as needed: How old do you think they are? What do you think they do as a profession? Would you like to spend time with them? (why/why not?)
(Followed with—What do you see that makes you say that?)

Teaching Notes: Things I would expect from students and highlight
• To notice compositional elements such as the organic shapes; bright, vivid colors; black lines and scratchy/jagged line quality. Point out that the elements of design (which are non-

representational) have expressive qualities and the capacity to communicate—
• A range of reasons for their responses and interpretations—including personal associations or memories; individual responses to colors, shapes, jagged lines; comparison (contrast) of

the colors/shapes with the black jagged lines. Point out that interpretation can be impacted by (a) our own individual responses—including associations/memories as well as (b) compositional

choices of the artist.

4. MAKING CONNECTIONS: Relating to the familiar
Briefly describe at least 1 way you might relate your lesson content to students’ daily lives and experiences outside of school (NOT other lessons or activities that you provide).

Something you might expect them to be familiar with, curious about, or have before they ever do anything with you.

Examples: Referring to the Kandinsky and Portrait activities
1. Ask students if they have ever had their “portrait” done? Have students share experiences—What was that like? How did they feel about the ‘results’? (and why) Where is the portrait

now? How many reasons can ‘we’ think of for why someone might want their portrait done? (moves into functions/purposes content discussion)

2. Have students bring in an object or image of something or some place that is important or of interest to them. It cannot be a photograph or image of a particular person or group of

people. Have them keep it secret from classmates (for now). Collect the ‘things’ secretly—make a display—see if students can match items with fellow students (maybe a free-time/learning

center activity). Discuss how they ‘made’ the matches and how ‘things’ can give us clues or suggest stories about people.

5. RESOURCES: List any other resources you will need/use to support implementation.
BE SPECIFIC—for example if you are using images/examples—(which ones exactly)

Extension Lesson Plan Format (Partially Developed Lesson)
Reminder: Your choice of arts discipline (except music) and strand. Identify a lesson idea that would help you “fill out” your unit.

1. CONTENT SUMMARY: Concisely summarize what students will do—3-5 sentences
Include specific arts content children will use/apply/explore. (vocabulary, skills, ideas)

you need to use the summary sheets on Blackboard

Be selective and appropriately choose 1-2 content and achievement standards.

3. Explain how this lesson contributes to the unit and relates to the others lessons.

4. RESOURCES: List any other resources you will need/use to support implementation.
BE SPECIFIC—for example if you are using images/examples—(which ones)

Instructional Tools Guidelines and Format
The instructional tool can be for a single lesson or more general for the unit.
It is something that you will use with students that presents arts content (it is NOT a piece a technology, in and of itself i.e. a white board

It can take many formats.
There are several format options for the tools themselves—including: Power Point Presentation; Posters and visual displays; Collections of examples/artifacts for display, discussions, or

activity/learning center prompts; a worksheet (with your answers) that children will use; a book you will read. Some examples have been used in class—such at the AC Power points.

Your Tool needs to provide SPECIFIC details. It needs to be complete, in your hands and ready to use.
A goal would be that one of your peers could easily use / adapt your tool.

To share this with your peers, I have suggested a power point–but could also be a word document–depends on what and how you expect to use the teaching tool.

You need to present/document your teaching tool and include:
1) Visual documentation of your teaching tool—
For example: take a picture of your display/poster
Create a digital file of the images you will use
Make copies of the story prompts or poetry formats and examples you will use.
2) Summary and Teaching notes:
a) How you intend to use your tool—and any special tips or instructions for using.
b) How it supports/relates to your integrated arts unit and SPECIFIC arts learning you want students to gain from this tool.
c) Related resources and sources you used in creating this tool.
3) (Optional) Ideas for additional teaching tools—things you would like to add or ways want to
expand on what you have developed.

AAD 430/530 SAMPLE (Ballard 2013) R-1

EXAMPLE OF A UNIT OVERVIEW based in part on our course activities—although not all of the lessons described below are completed in all of the courses. ALSO I have included some additional

Explanatory NOTES/Reminders in this color text.

Title: Exploring Identity and What Stories can the arts tell us about ourselves and others?
Teaching unit example: for 4th grade

REMINDERS—The following are NOT options for a unit focus—you may have single lessons dealing with parts of these—but NOT the focus of the unit (more than one lesson)
Emotions/feelings (not isolated from things we communicate about)
Elements or Principles of design—these are tools (not things we communicate about)
A Medium—these are tools (not things we communicate about)
Communication – too broad, all art is about communication
Cultural Diversity – too broad, all art is cultural and diverse

LOOK to the BIG ideas, purposes of art, and commonalities of shared human experiences for the unifying focus of your unit.

LIST OF LESSONS (in sequence with title, arts discipline*, and strand**)
What If?, Visual Arts, AC
Non-representational Self portrait, Visual Arts, CPP
Drawing Analogies, Visual Arts and Creative Writing, CPP
Dance Studio Explorations, Dance, CPP
Gesture Drawing and Action Figures, Visual Arts, CPP
(could also be basis for Creative Writing)
Chair Adventure, Creative Writing, CPP
Who is She?, Visual Arts, AC/ CHP
(has possible VA and CW follow-up lessons)
Celebration, Story Hats, Visual Arts, CPP

Art Criticism (AC)
Cultural and Historical Perspectives (CHP)

BIG IDEAS, ESSENTIAL QUESTIONS and GOALS
Essential Questions: What stories can the arts tell us about ourselves and others? What is a portrait?

(Reminder these are broad, open-ended questions with many possible appropriate answers; your unit lessons are just some of the ways that you could explore some of the answers to your

questions. They might be the same for several different units—not just your own.)

In this exploration of identity, students will focus on different facets and experiences that contribute to making us who we are. This unit de-emphasizes a focus on physical appearance (the more

expected approach), in favor of how we are on the inside, how our actions, interactions with others, and memories relate to who we are. Students will create several portraits in a range of media

(and disciplines) and begin to understand that as a concept, “portraits” can take a variety of forms.

Students will explore how different arts disciplines (dance, creative writing and visual arts) can be used to tell stories about who we are. This exposure can help them develop an awareness of

their own artistic strengths and preferences; as well as some new skills, vocabulary, and an appreciation of less familiar or comfortable media and disciplines.

Building an awareness of the complexity of their own identities, is intended to also begin to develop an awareness and appreciation of others—and recognition of shared identities and how much

we all have in common while also having our own individual stories.

OVERVIEW OF LESSONS AND ARTS CONTENT (note this is several more lessons than you will include, but gives you examples of ways to summarize a lesson; you want to include the primary arts

content and how it supports and contributes to the big idea/theme explorations; it is a partial variation of each lesson’s content summary)

Students are introduced to the concepts of representational and non-representational art through the What if? Art Criticism activity. They learn about how subject matter and design structures

(composition) work together to communicate meaning. The expressive potential of design structures is a particular emphasis, as they will use this in a follow-up production lesson.

Building on the What if? activity, in the Non-representational Self portrait lesson students will further explore and apply how the elements and principles of design can be used to communicate

who we are on the inside and things we can’t see —recognizing that identity isn’t just about physical appearance and how we look on the outside.

In the Drawing Analogies lesson, students practice technical skills of drawing realistically as inspiration for an Ode and writing analogies about their hands—recognizing that our memories,

experiences and what we do (with our hands/activities) contributes to who we are, and how others might perceive us.

Drawing Analogies leads into ideas about gesture, movement and how actions can tell stories. In a related mini cluster, beginning with the Dance Studio activity, students learn about the basic

elements of dance (time, space and force/energy). Using their names to initiate a dance gesture, students are inspired to create an individual movement phrase; then in small groups, these

individual phrases are combined into a dance sequence and presented using chance dance choreography. Combined, these dances explore the idea of group movement as portrait; and how our

relationships with others impact our identity.

Inspired by their movement/dance explorations, students then practice gesture drawing techniques to capture action/movement by using proportion, asymmetry, line direction and

angles/levels. These technical exercises are the basis for making “action figure” stamps that become the inspiration for character portraits and story telling.

In the collaborative Chair Adventure activity, students practice using personification in creative writing, and a 3-step story development process focused on character and setting, conflict, and

resolution. In exploring identity, this can be developed further to consider how objects (our own or other’s) might tell stories about who we are; as well as further consideration of how our

interactions with others impacts our identity.

Who is she? combines Art Criticism and a little Cultural & Historical Perspectives to introduce the concept of practicing curiosity (asking questions). Students learn how to look for clues about

identity in portraits, by noticing facial expression and body language (posed or action), costume and props, setting and background.

They may build on these clues to: a) write a bio story (similar to What if activity); and/or action story with the character as protagonist (similar to the chair adventure activity except inspired

by a portrait); and b) adding to their action figure stamp character portraits.

Celebration, Story Hats incorporates aspects of the three facets of production—attention to media, subject matter, and composition. Using found objects and materials, students will design a

functional hat that is worn and seen from all sides (3-Dimensional); and that visually tells stories that celebrate their own lives (past, present, and future dreams/goals).

Students will parade their hats in class. Then without talking, form small groups of 3-5 students, based on the visual clues on their hats about things they have in common with one another. Each

group will create a shared identity and write a proclamation about the beliefs and values of their “hat community.”

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