Citizenship Unit Plan for 5th Grade

Joni Hough
October 27, 2009
ARTE 5121

THEMATIC/ISSUE UNIT

Theme: Citizenship

Grade: 5

Rationale for the Unit:

These lessons will introduce students to three aspects of citizenship. Students will study art as a social statement when they learn about and create a political cartoon, they will learn about art as public service by creating postcards to send to soldiers who are stationed overseas, and they will learn about art as a unifying symbol as they study the symbolism of flags around the world and then make their own personal flag.

In fifth-grade social studies, students learn about the United States government. It is important that students learn to think critically about government and about the social issues which are dealt with by our elected officials. It is also important that students have the opportunity to express their views in a safe environment. By studying and creating political cartoons, students are expressing their views and participating in the government process.

By the fifth-grade, students are old enough to realize some of the realities of war, such as the homesickness many soldiers face when they are stationed overseas for long periods of time. This gives students the opportunity to empathize with and appreciate the sacrifice of soldiers. At this age, students like to feel that they can make a difference in the world, which they can by sending postcards to soldiers who are stationed overseas.

At this age students are old enough to begin to understand symbolism. By studying to symbolism of a variety of countries’ flags, students learn about specific examples of symbolism and about the priorities of the country they study. Students will utilize what they learn about other countries’ flags to create a flag that is meaningful to them.

This unit also allows students to continue to explore a variety of media. They will use ink for drawing, colored pencils for drawing and coloring, and textiles for painting and sewing.

Students will begin this unit by studying flags and creating a personal flag. In this lesson, students will learn how to use symbolism to communicate meaning. They will also learn about flags from around the world. Second, students will create a postcard to send to a soldier overseas. Through this project, students will learn that art can be use for community service. Students will also explore the use of blending and variation in value. Finally, students will create an editorial cartoon, which will teach them about using art to express their opinions. Students will also learn that editorials are not fact, but the author/artist's opinion.

For the flag lesson, I have selected visual examples that represent countries all over the world. Through these examples students will learn about the symbolism of flags of United States and countries around the world. For the postcard lesson, I have selected examples that are crated by students of a similar age. By doing this, students will be able to associate with skill level and they will not feel overwhelmed. For the final lesson, I have selected examples that cover a variety of contemporary issues with which students should be familiar.


Goal of the Unit:

In this unit, students will learn that political cartoons express the artist’s opinion, not facts, about an issue and students will express their personal opinion about a current issue by creating an editorial cartoon. Students will learn about the symbolism used to create flags and how that communicates the ideals of a country. Students will then use that information to create a flag that communicates their personality. Students will appreciate the sacrifices soldiers make for our country and will perform a public service by sending them postcards.


Content Standards:

1.01 Use the imagination as a source for symbolic expression.
1.03 Use current events as a catalyst for the discussion and production of art.
3.01 Recognize and apply the elements of art in an aesthetic composition.
3.02 Recognize and apply the design principles used in composition.
3.05 Critique his or her own work and that of others in terms of design principles.
3.06 Recognize the validity of one's feelings and impressions when solving visual problems.
3.07 Recognize the value of intuitive perceptions in the problem-solving process when creating art.
5.04 Compare art of one culture to that of another culture or time.
5.08 Recognize there are many universal themes in art throughout history.
6.02 Critique artwork in relation to design principles: emphasis, movement, repetition, space, balance, value, unity.

INDIVIDUAL LESSON PLAN 1

Title: Personal Flag

Class Time: 45 minutes, Number of Classes: 4

Content Standards: 1.01, 5.04, 5.08

Specific Objectives:
1. Students will research the symbolism of flags from a variety of countries.
2. Students will present their research to the class.
3. Students will design a symbol that represents them.
4. Students will use their symbol to create a flag.


Prior Skills/Learning: Students will use their knowledge about the symbolic nature of color for this lesson.


Materials, Visuals, and Resources:

• sheets of felt, 8" x 10"
• fabric paint
• assorted colors of felt
• large needles
• thread
• Picture of American flag
• Handouts about flags and their symbolism (email for copy of handout attachment)

Teacher Preparation: Print handouts for students and an American flag. Research symbolism of the American flag. Gather felt, needles, and thread.

Vocabulary Concepts:
Symbol- something that stands for or suggests something else by reason of relationship, association, convention, or accidental resemblance; especially : a visible sign of something invisible (the lion is a symbol of courage)

Procedures for the Classroom:
1. Setting the Stage: Did you know that the US flag is a symbol? Define symbol. You are going to work in pairs and select a flag to research and share your findings with the class. Then you get to create your own flag that represents you. (3-5 minutes)

2. Demonstration of Techniques or Processes:

• Day 1 - Show American flag. Have students point out the symbolism of the American flag.

1. White signifies purity and innocence
2. Red, hardiness & valour
3. Blue, the color of the Chief
4. 50 stars, each state of the US (5-7 minutes)

• Day 2 or 3 (depending on student progress) - Demonstrate how to do a running stitch.

3. Time to Work:

• Day 1 - Divide students into pairs. Have students select a flag from the handouts and present information about their flag to the class. (20-30 minutes)

• Day 2 - Students will design a symbol that represents them. Students will begin cutting out their symbol for their flag. (35 minutes)

• Day 3 and 4 - Student will sew their symbols to their flags. (30-45 minutes)

4. Clean-up: (5-10 minutes)

5. Closure: Students will share their flags with the class for critique. Students will explain their symbols. Students will state what they liked/disliked about this lesson. (15 minutes)

Assessment:

Excellent, Good, or Needs Improvement

Student researched the flag of their choice.
Student clearly presented research to the class.
Student designed a personal symbol.
Student created a neat, well designed flag.

Teacher's comments:

Student's comments:

Adaptations for Students with Special Needs:
Students with limited English proficiency will partner with a student who is more proficient with English and instructions will be written in students’ native languages if possible. Step-by-step instructions will be written for students with ADHD.

INDIVIDUAL LESSON PLAN 2

Title: Editorial Cartoons

Class Time: 45 minutes, Number of Classes: 3

Content Standards: 1.01, 1.03, 3.05, 3.06, 6.02

Specific Objectives:
1. In groups of three to four, students will list a minimum of ten current issues they wish to draw about and brainstorm about ways to illustrate each issue.
2. Each student will analyze their group’s list and select an appropriate idea to illustrate.
3. Each student will draw an editorial cartoon which demonstrates their opinion about a current issue.
4. Students will critique their own work, and that of other students, in relation to design principles, and on how successfully they communicated their opinion.


Prior Skills/Learning:
Students will have prior knowledge of current issues which they have discussed in their social studies class. Students have learned about the use of symbolism in artmaking by creating personal flags. Students also have previous experience critiquing their own work and the work of others, in relation to design principles.

Materials, Visuals, and Resources:

• examples of editorial cartoons (email for copy of examples)
• drawing paper
• pencils
• sharpies

Teacher Preparation: Gather examples of editorial cartoons. Have drawing paper, pencils, and sharpies available for students.

Vocabulary Concepts:
Editorial cartoon: An editorial cartoon, also known as a political cartoon, is an illustration or comic strip containing a political or social message, that usually relates to current events or personalities.


Procedures for the Classroom:
1. Setting the Stage: Explain that freedom of speech is a constitutional right and that drawing is a form of free speech. The right to free speech is considered to be one of the most important rights people possess in the U.S. Ask students to give examples of ways that people express their rights through free speech. Define editorial cartoon when it is mentioned (mention political cartoons if students do not.) (3-5 minutes)

2. Demonstration of Techniques or Processes: Show students two examples of editorial cartoons. Have students explain the meanings of each cartoon. (5-7 minutes)

3. Time to Work:

• Day 1 - Divide students into groups of three or four, depending on class size. Have students practice explaining two more cartoons. Have students brainstorm about current issues and how they might illustrate them. Have each student select an issue that they would like to illustrate for their editorial cartoon. (20-30 minutes)

• Day 2 - Students will draw their cartoons in pencil. (40 minutes)

• Day 3 - Students will finish their pencil drawings. Students will go over their pencil drawings in Sharpie. (30 minutes)

4. Clean-up: Students will clan up their area each day. (5-10 minutes)

5. Closure:

• Day 1 - Students will share their ideas with the class. (5 minutes)

• Day 2 - Students will share what they like/dislike about the project so far. (5 minutes)

• Day 3 - Students will share their cartoons with the class for critique. Students will comment on the use of design principles and the effectiveness of the communication of ideas. (15 minutes)

Assessment:

Excellent, Good, or Needs Improvement

Student actively participated in group discussion.
Student selected an appropriate current issue to illustrate.
Student drew an editorial cartoon which demonstrated his/her opinion about a current issue.
Student used time wisely, worked diligently, respected other students, and helped maintain the art room.

Teacher's comments:

Student's comments:


Adaptations for Students with Special Needs:
Students with limited English proficiency will partner with a student who is more proficient with English and instructions will be written in students’ native languages if possible. Step-by-step instructions will be written for students with ADHD.

INDIVIDUAL LESSON PLAN 3

Title: Postcard to a Soldier

Class Time: 45 minutes, Number of Classes: 2

Content Standards: 1.03, 3.01, 3.02, 3.07

Specific Objectives:
1. Students will discuss what would be appropriate subject matter for a postcard to a solder.
2. Students will design three thumbnail sketches and select the one with the best composition.
3. Students will draw a 4 x 6 postcard with color pencils.
4. Students will create variation in color values.
5. Students will write a short introductory note and address postcard with address provided by the teacher.

Prior Skills/Learning: Students have previously worked with the elements and principles of design.

Materials, Visuals, and Resources:

• 4 x 6 unlined note cards
• newsprint
• color pencils
• examples of previous students’ work (email for copy of examples)
• postage

Teacher Preparation: Get current addresses for soldiers stationed overseas. Have note cards, newsprint, and color pencils available for students. Get enough postage to send postcards overseas.

Vocabulary Concepts:
Mail art: Art that is sent through the mail.
Blending: Combining two, or more, colors to create a new color.
Value: The lightness or darkness of a value.

Procedures for the Classroom:
1. Setting the Stage: How do you feel when you get mail? Image that you are a soldier away from home for a long period of time. What would you miss? If you received a postcard from home how would you feel? What would you want to see on that postcard? (Write answers on the board.) Explain to students that today we are going try to make some soldiers feel good by sending them a postcard. (3-5 minutes)

2. Demonstration of Techniques or Processes: Review blending techniques and process of creating variations of values. Review principles of design. (5-7 minutes)

3. Time to Work:

• Day 1 - Students will draw thumbnail sketches of their design. Students will begin working on final postcard. (20-30 minutes)

• Day 2 - Students will finish drawing their postcards. Students will write introductory message and address postcards.

4. Clean-up: (5-10 minutes)

5. Closure: Students will share their work with the class for critique. Students will state what they liked/disliked about this lesson. (15 minutes)

Assessment:
1. Did student participate in discussion, show respect toward classmates, and help maintain the art room?
2. Did student create an appropriate postcard to send to a soldier?
3. Did student create three thumbnail sketches and utilize design principles when selecting their final composition?
4. Did student use a variety of values?
5. Did student write an introductory note on postcard?

Adaptations for Students with Special Needs:
Students with limited English proficiency will partner with a student who is more proficient with English and instructions will be written in students’ native languages if possible. Step-by-step instructions will be written for students with ADHD.

Teaching Philosophy

Joni Hough

November 13, 2009

ARTE 5121

Teaching Philosophy

The most important part of an art educator’s job is to teach every student, regardless of age, race, sex, religion, culture, national origin, financial circumstances, and mental and physical ability or disability, to be a responsible global citizen.

An art education program based on the central themes of “sense of self,” “sense of place,” and “sense of community,” in conjunction with art that is multicultural and culturally relevant, students will learn about themselves, their neighbors in their community, and their neighbors around the world and across time periods.

By sufficiently planning, incorporating knowledge of artistic and psychological development, integrating many disciplines to appeal to all students’ interests, and utilizing a variety of teaching strategies, every child can be motivated to learn in a way that meets his or her needs.

Notes on “10 Teaching and Learning Strategies in a ‘Choice-Based’ Art Program” by Nan Hathaway

Hathaway, N. (2008, September). 10 teaching and learning strategies in a choice-based art program. Arts & Activities. Retrieved November 1, 2009 from http://teachingforartisticbehavior.org/articles.html


“This system (a choice-based art program) honors individual learning styles and preferences, enabling children to work from their own strengths and interests and to draw on prior knowledge and experience.”

“Students may work alone or with peers, may “specialize” or may sample from a wide array of options. Students can persist with one project over many weeks, or try a variety of activities during a single class period. In this way, multiple learning styles and preferences are served.”

1. TEACHER-DELIVERED WHOLE-GROUP MINI-LESSON
“Most classes begin with a brief (five-minute) lesson—a demonstration of a new material or technique or an introduction of a new artist or style.”

“Often, original art (student or adult) is viewed and discussed, as are art reproductions or video clips.”

“Introducing topics this way assures that standards are addressed for all students.”

“Since the classroom is set up for students to access on their own, they can think about what they’d like to do ahead of time and arrive to class ready to work.”

2. TEACHER-DELIVERED SMALL GROUP LESSON
“Sometimes clusters of students have similar needs or interests, or work together on a single project, dividing and sharing the work. When this occurs, specific lessons can be designed and targeted to support this type of learning in a small group setting.”

“Organic groupings of this kind benefit students with varied abilities but similar interests; in essence, this is differentiating activities by student interest without regard to ability.”

3. TEACHER-DELIVERED INDIVIDUAL LESSON
” By noticing individual student art direction, the teacher can target lessons to support individual inquiry and pursuit. Noting and illustrating ties between student art and the art of others, across time and across cultures, the teacher can address art history and aesthetics in a way that is personally meaningful.”

4. INFORMAL PEER-TO-PEER TEACHING
“Often a student becomes an expert with a certain material or procedure and can ‘peer coach’ students with less developed skills.”

“Peer teaching also provides opportunity for classroom leadership.”

5. STUDENT “EXPERTS” TEACHING WHOLE GROUP
“Creating a ‘community of artists’ is an important goal in a choice-based art program. Recognizing what each artist has to offer the community is an important role for the teacher to embrace.”

6. CLASSROOM AS ‘SILENT LESSON PLAN/TEACHER’
“The classroom can be set up in numerous distinct ‘centers’ or ‘studios,’ each appointed with the materials and tools needed to make art. Here students can also find related references and resources (books, prints, examples of student work, etc.).”

“’Menus’ are created and displayed, describing procedures for setup and cleanup, or other essential information.”

“These centers include written information, pictographs and real art objects, all of which help get necessary information across to students with various learning predispositions.”

“Students who use and maintain learning centers feel a sense of ownership and control in the classroom.”

7. GUEST EXPERTS
“Exposure to adults passionate about their own art informs and supports the work done in the classroom, broadens horizons and presents new possibilities.”

8. FIELD TRIPS
“Planning trips to art museums, events and galleries heightens awareness and exposes students to the greater world of art.”

9. INDIVIDUAL INQUIRY
“Through individual exploration, practice, research and presentation, students may act as their own guide and teacher.”

“While exposure to a variety of options exists in a choice-based classroom, provisions are made for students to have art experiences that develop at their own pace, over time, going deep into areas of interest and gaining true proficiency with their selected medium.”

“In fact, relearning what authentic child-created art looks like is a challenge for many adults who have come to view teacher-directed art as the norm.”

10. CLASS DISCUSSION/REFLECTION
“Students are invited to talk about their work at the end of each class during an ‘artist’s share.’”

“Students are guided in providing thoughtful feedback for classmates and in ways to discuss art beyond a simple ‘show-and-tell’ format.”

“As students talk about their art, there is opportunity for the teacher to frame student work using pertinent art vocabulary and to reinforce artistic behaviors.”

SUMMARY
“In a choice-based art classroom, students are doing the authentic work of real artists every day. The focus is squarely on learning. It is acknowledged that all learners of all ages and at all levels can also take the role of teacher, and that teachers are also learners. The environment is carefully designed and appointed to facilitate diverse learners and to provide multiple entry points.”

“In this setting, individuality, flexibility, personal relevancy, independence and accountability are valued and supported.”

Notes on Guidelines for Teaching Art to Children and Youth Experiencing Significant Mental/Physical Challenges

Author(s): Doug Blandy, Ernest Pancsofar, Tom Mockensturm
Source: Art Education, Vol. 41, No. 1, Teaching Art (Jan., 1988), pp. 60-66
Published by: National Art Education Association
Stable URL: http://www.jstor.org/stable/3194135
Accessed: 19/08/2009 23:05


“This article will propose six guidelines for art educators working with children and youth experiencing significant mental and physical challenges.”

“The guidelines assume that art specialists in local schools will identify content that is considered to be of value for all students, including those experiencing significant mental/physical challenges.”

Guideline One: The Use of Age- Appropriate Materials
“The art specialist should select materials and experiences that are chronologically age-appropriate to substitute for those of earlier years.”

“With some creativity, an art specialist can modify a seemingly inappropriate situation or material to a student's satisfaction and allow the student to be perceived as a more competent individual.”

Guideline Two: Incorporate the Principle of Partial Participation
“This guideline is directed to students who fail to complete all the steps of an activity and where individualized assistance has not resulted in expected gains.”

“I. Conduct a non-disabled person inventory by evaluating the performance of a non-disabled peer in a given art activity.”

“II. Conduct a significantly mentally/physically challenged student inventory by evaluating the performance of the student having difficulty with the art activity. This inventory should take careful note of what the student can and cannot do.“

“III. Determine the skills that the student with challenges can probably acquire. This determination can be made by looking at what the student can presently do; considering the student's history; talking with other teachers and significant others in the student's life; and by talking with the student.”

“IV. Determine the skills associated with the activity in question which the student probably cannot acquire by using the strategies listed in III.“

“V. Given the information obtained in I. through IV., generate several hypotheses as to how the activity can be adapted for the student.“

“VI. Inventory the skills associated with the adaptations using a non-disabled peer.”

“VII. Based on those adaptations which seem possible, choose an individualized adaptation by considering the information obtained in III., IV., and VI.”

“VIII. By referring to IV. determine which skills can now be acquired through the use of the adaptation.”

Guideline Three: Development of a Cue Hierarchy
“Cues should be graduated with the least amount of intervention by the art specialist followed by a greater amount in those cases where a student fails with the lesser intervention.”

“Each student's cue hierarchy should be included in the Individualized Education Plan and attached to all correspondence to art educators who provide intermittent services to the students.”

Guideline Four: Analysis of Current and Subsequent Environments
“Survey questions can address the availability of art materials and work space in the home, the hobbies of family members, leisure activities, knowledge, attitudes, values, and beliefs about art, and the family's use of community art resources.”

“Once this relationship is established it can be periodically reinforced through informal telephone conversations, classroom produced newsletters, teacher/parent/student conferences, home visits, and the Individual Education Plan conference.”

Guideline Five: Attention to Multi-Cultural Issues in Art Education
“Students with significant mental/physical challenges must also participate in art education programs that recognize and celebrate ethnic, racial, occupational, regional, religious, generational, and other multi-cultural influences.”

Guideline Six: Participation in the Greater Art Community
“I. Encourage your students to participate in local, regional, national, and international juried and un-juried exhibits which are not specifically for people with disabilities.”

“II. In your capacity as an art specialist act as an advocate for the programmatic and physical accessibility of art museums, cultural art centers, galleries, and other arts institutions.”

“III. Encourage your students to become members of art institutions and interest groups.”

“IV. Link your students to the art community through trips to art institutions and art openings and by subscribing to local, regional, national, and international art publications.”

“V. In your capacity as an art specialist, seek memberships on local, regional, national, and inter-national curriculum committees and advocate for non-segregating programs for people with disabilities.”