Selected Poems of Joy Harjo - Music Center

2011 Institute for Educators 

Culver City USD Arts Integration Partnership (AIP) 

Model Lessons – Grades 2 - 5 

Prepared by 

Peter Kors and Beth Peterson 

Music Center Master Teaching Artists 

In collaboration with 

Melinda Williams, Director of Education 

Susan Cambigue-Tracey, Director of Special Projects 

Music Center 

Assisted by 

Elena Muslar, Los Angeles County Arts Commission Intern 

 

Curriculum Unit featuring the Anchor Work 

Selected Poems of Joy Harjo 

The Institute for Educators is funded in part by a grant from The Boeing Company. 

The Music Center expresses deepest gratitude to The Ahmanson Foundation for establishing 

the Music Center Institute for Educators Endowment Fund with a landmark contribution. 

The Foundation's vision and commitment will help ensure that the Institute continues 

providing learning opportunities and inspiration for future generations of educators.

Selected Poems of Joy Harjo and N. Scott Momaday 1 

MODEL LESSON ONE – Puppetry Arts 

Introduction to the Anchor Work: Create a Storyboard Print 

MODEL LESSON TWO – Theatre 

Movement and Stillness on Stage – Learning the Walk/Freeze and Tableaux 

MODEL LESSON THREE – Theatre 

The Found Poem 

MODEL LESSON FOUR – Puppetry Arts 

Design a Shadow Puppet 

MODEL LESSON FIVE – Puppetry Arts 

Build a Shadow Puppet 

MODEL LESSON SIX – Theatre 

Choral Reading of the Found Poem 

MODEL LESSON SEVEN – Theatre 

Giving and Taking Focus 

MODEL LESSON EIGHT – Puppetry Arts 

Creating Meaning through Motion and Sound – Bring Your Puppets to Life! 

MODEL LESSON NINE – Puppetry Arts 

Rehearse Your Found Poem Shadow Play 

Table of Contents 

MODEL LESSON TEN – Theatre & Puppetry Arts 

Performing & Reflecting On Your Found Poem Shadow Play 

Additional Resources 44 

Web Resources – General 44 

VAPA Key Content Standards – Theatre 48 

Puppetry Arts Content Standards & Benchmarks – Grades 3 - 5 51 

Music Center Arts Learning Sequence 53 

The Music Center’s Arts Integration Partnership (AIP) Program 54 

AIP Logic Model – BEYOND YEAR ONE 55 

Sequence of 10 Classroom Support Visits 57 

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6 

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13 

19 

23 

27 

30 

36 

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Remember by Joy Harjo 

Remember the sky you were born under, 

know each of the star’s stories. 

Remember the moon, know who she is. 

Remember the sun’s birth at dawn, that is the 

strongest point of time. Remember sundown 

and the giving way to night. 

Remember your birth, how you mother struggled 

To give you form and breath. You are evidence of 

her life, and her mother’s, and hers. 

Remember your father. He is your life, also. 

Remember the earth whose skin you are: 

red earth, black earth, yellow earth, white earth 

brown earth, we are earth. 

Remember the plants, trees, animal life who all have their 

tribes, their families, their histories, too. Talk to them, 

listen to them. They are alive poems. 

Remember the wind. Remember her voice. She knows the 

origin of this universe. 

Remember you are all people and all people 

are you. 

Remember you are this universe and this 

universe is you. 

Remember all is in motion, is growing, is you. 

Remember language comes from this. 

Remember the dance language is that life is. 

Remember. 

2011 Anchor Work Poem 

Selected Poems 

How We Became Human: New and Selected Poems / Joy Harjo. New York : W.W. Norton & Co., ©2002 

Music Center Anchor Work Model Curriculum Unit: Selected Poems of Joy Harjo. 

©2011 Music Center: Performing Arts Center of Los Angeles County. All Rights Reserved. 

Naming by Joy Harjo 

I call my sisters to dress for the stomp dance 

As all the little creatures hum and sing 

in the thick grass around the grounds. 

Lightning bugs are tiny stars 

dancing in the river of dusk. 

Our stomachs are full of meat and fry bread 

and the talk of aunts and uncles. 

Beautiful fire at the center of the dance 

and the dusk has been lit. 

We lace up our turtle shells so we 

can dance into the circle. 

And in this spirit world is the grocery 

store over the hill, and all the houses, 

the river, the sky, and the highway. 

We have been here forever 

say our mother, our father. 

And this is the name we call ourselves 

I tell my sisters, 

this name that gives our legs the music 

to shake the shells-- 

a name that is unspeakable 

by those who disrespect us 

--a name with power to thread us through 

the dark to dawn 

and leads us faithfully to the stars. 

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Eagle Poem by Joy Harjo 

To pray you open your whole self 

To sky, to earth, to sun, to moon 

To one whole voice that is you. 

And know there is more 

That you can't see, can't hear 

Can't know except in moments 

Steadily growing, and in languages 

That aren't always sound but other 

Circles of motion. 

Like eagle that Sunday morning 

Over Salt River. Circles in blue sky 

In wind, swept our hearts clean 

With sacred wings. 

We see you, see ourselves and know 

That we must take the utmost care 

And kindness in all things. 

Breathe in, knowing we are made of 

All this, and breathe, knowing 

We are truly blessed because we 

Were born, and die soon, within a 

True circle of motion, 

Like eagle rounding out the morning 

Inside us. 

We pray that it will be done 

In beauty. 

In beauty. 

How we became human: new and selected poems / Joy Harjo. New York: W.W. Norton & Co., c2002. 



The Delight Song of Tsoai-talee 

By N. Scott Momaday 

I am a feather on the bright sky 

I am the blue horse that runs on the plain 

I am the fish that rolls, shining, in the water 

I am the shadow that follows a child 

I am the evening light, the lustre of meadows 

I am an eagle playing with the wind 

I am a cluster of bright beads 

I am the farthest star 

I am the cold of dawn 

I am the roaring of the rain 

I am the glitter of the crust of the snow 

I am the long track of the moon in a lake 

I am a flame of four colors 

I am a deer standing away in the dusk 

I am a field of sumac and the pomme blanche 

I am an angle of geese in the winter sky 

I am the hunger of a young wolf 

I am the whole dream of these things 

You see, I am alive, I am alive 

I stand in good relation to the earth 

I stand in good relation to the gods 

I stand in good relation to all that is beautiful 

I stand in good relation to the daughter of Tsen-tainte 

You see, I am alive, I am alive 

In the presence of the sun: stories and poems, 1961-1991 / N. Scott Momaday, New 

York: St. Martin's Press, Copyright © 1992. 

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Model Lesson One – Puppetry Arts: Introduction to the Anchor Work– Create a Storyboard 

Grades 2 – 5 

Materials: “Remember” poem written on large paper; dictionary, masking tape; Sentence strips; scissors for each student, red, yellow, white and black construction paper, glue or glue strips, 

pencils, color pencils, pencil sharpeners, Xerox poems for each student; Map of Indigenous nations, DVD or CD player; Remember CD; Shadow Puppet Screen and light source; instruments for sound 

effects; demo show, Teacher & Student assessment portfolios. 

Enduring Understanding: As we explore our connection to Nature and to other people, we can gain understanding of our shared values and universal human heritage. 

Essential Questions Related to Lesson and Unit: How can you tell the poet feels connected to or inspired by nature? What ideas does the poet share with us in that 

which she asks us to remember? 

Big Idea for Lesson 

SUMMARY 

Lesson One Outcomes Creative Task & Criteria Assessment Strategies 

Students will be able to: 

Identify (circle) and define the meaning of 

unfamiliar words or phrases in the poem. (AP) 

Identify important meaning and messages in the 

anchor work. (AV) 

Interpret the meaning of word, phrase or theme of 

the poem through visual art.( (CE) 

Demonstrate through writing, discussing and 

drawing that they have learned the content of the 

lesson. (AP, CE, CRA) 

Teacher will be able to: 

Teach the lesson effectively. 

Assess student learning outcomes. 

Document, collect and label the evidence of 

student learning from this lesson. 

Assessing Prior Knowledge 

What kinds of things are you asked to remember each 

day? 

What do you think is important to remember about 

nature? 

Why it is important to remember how you are related to 

other people? 

CREATE & PERFORM – Becoming an Expert 

Task: Students design and make an image for the 

storyboard that visually represents a word or phrase from 

the poem. 

Criteria 

Student images will: 

Connect to meaning of selected words or phrases from 

the poem. 

Use large and clear imagery and make good use of 

the space in the circle. 

Use design elements, such as shape, color and visual 

texture, to add details and convey emotion. 

Place artwork and sentence strips in the correct 

sequence within the storyboard. 



Teacher: 

Evaluates student comprehension of words, phrases 

and messages in this section of the poem. 

Photographs the storyboard wall to document this 

lesson. Leaves storyboard wall up for unit. 

Labels the photos of the storyboard. 

Identifies elements that should be re-taught and/or 

included in review. 

Student Prompts & Questions: 

Write down the words or phrases from the poem 

that had meaning for you. 

Describe how you feel when you are caught in the 

rain or blown in a strong wind. What do you 

remember about that experience? 

Can you recall a time when you were outdoors and 

listened carefully? What sounds did you hear? What 

did you see? How did this make you feel? 

Enduring Understanding: 

Tell about one thing that the poet is asking us to 

remember. 

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Step-by-Step Sequence of Learning – use these cognitive processes: experience, inquiry, creation, performance, reflection, and assessment 

Model Lesson One / Puppetry Arts: Introduction to the Anchor Work – Create a Storyboard 

Pre-lesson coaching: 

Show maps of the Native American tribes and note the numbers of different cultures and languages among who are now known as Native Americans. 

Review social studies content appropriate to grade level. 

Share ideas from the hand-out about Medicine Shields, including the concepts of the four directions, the circle as symbolizing unity and connection, and 

the idea of “all my relations” – that people are connected to each other and to the natural world. 

ASSESS PRIOR KNOWLEDGE 

What does remember mean? 

o “Think about a time when you were outdoors in Nature. What do you remember? Tell about the sounds, smells, and sights. What did you feel? 

What do you think is important to become aware of in nature? 

Why is it important to learn about how you are related to other people? 

EXPERIENCE – Getting Smarter: Becoming Familiar with the Poem 

Introduction: 

The words that you will hear today are from the poem “Remember” written by Joy Harjo, contemporary poet. Joy Harjo is a renowned Native American 

poet who also performs with her band Poetic Justice. In the past, there were hundreds of tribes or nations of people in North America who we now call 

“Native Americans”. There are still many who live today in cities, small towns and on reservations. 

Teacher/artist reads the poem. Students listen carefully to identify important themes, words and phrases. 

Share images referred to in the poem. 

View a demonstration of a Found Poem Shadow Play. 

Ask a few questions regarding the meaning of the poem: 

What can you recall from experiences you have had when you were outdoors, listening carefully to the sounds around you? What did you hear? 

What did you see? How did this make you feel? 

What are some of the things that the poet asks us to remember? 

In what ways does the poet see people as connected to nature? 

What ideas stand out for you? 

Can you see pictures or images from the words or phrases that the poet has written or you have heard spoken? 

Directions: 

Let’s take a few minutes to read the poem out loud. 

We’ll start in this row – each person reads a line and then the next person takes a turn. Please read loudly and clearly so that everyone can hear you. 

Are there any words or terms that are unfamiliar? 

Now, everyone, look at your own copy of the poem and identify (circle) any unfamiliar words or phrases. 



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Teacher guides group in focusing on one word or phrase at a time. Does anyone know the meaning of this word, or this phrase? 

Next, take a moment on your own to underline words or phrases that you find interesting and feel are important themes or messages in the poem. 

o Teacher guides student sharing of these with the whole group. 

INQUIRE 

Tell which words or phrases bring visual pictures to your mind. 

Name two or three important ideas or themes in this poem. 

Describe what it would sound like to hear the wind sing? 

CREATE & PERFORM – Becoming an Expert: Making a Storyboard 

Task: Students design and make an image for the storyboard that visually represents a word or phrase from the poem. 

Teacher leads students in describing their visual images in response to the poem. 

Students can add details to their drawings to make the images and symbols express more specific feelings and qualities. 

Students select a card with a phrase from the poem and write it on a sentence strip. 

Students design and draw an image on scratch paper that is inspired by a word or phrase from the poem. 

Students make their final drawings on the circle using shape, color, texture, and large clear images that make good use of space. 

When artwork is completed, place it at an appropriate position on the storyboard that corresponds with the order of the poem. 

Criteria 

Student images will: 

Connect to meaning of specific, selected words or phrases from the poem. 

Use large and clear imagery and make good use of the space in the circle. 

Use design elements, such as shape, color and visual texture, to add details that enhance images, ideas and meaning. 

Place artwork and sentence strips in the correct sequence within the storyboard. 

REFLECT - Making Connections 

In what ways does the poet express that we are connected to nature and to other people? 

What is the poet asking us to remember? 

What is the poet saying to you through her poem? 

ASSESS 

View and discuss the storyboard in relation to comprehension of words, phrases and messages in this section of the poem. 

Share their drawings and describe connections to the content of the poem. 

Explain important meanings of the poetry segment. 

VOCABULARY sundown, struggled, form, evidence, tribes, origin, universe, motion, language 



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Model Lesson Two / Theatre: Movement and Stillness on Stage – Learning the Walk/Freeze and Tableaux 


Materials: Still camera, video camera, thesaurus, dictionary, Teacher & Student Assessment Portfolios. 


Essential Questions Related to Lesson and Unit: How can I be a team player in motion and in stillness? 

Big Idea for Lesson: Teamwork is vital in theatre and in life. 

Lesson Two Outcomes 

SUMMARY 

Creative Task & Criteria Assessment Strategies 



Demonstrate the ability to work together as a team A tableau is a frozen scene. How can we make a 

or an ensemble. (CRA) 

tableau exciting? 

Name some examples of action packed pictures. 

(Example: sports photography) 

Teacher will: 



Document and collect the evidence of student 

learning from this lesson. 


Task: Compose a sequence of three tableaux from the 

poem “Remember.” 

Criteria 

Students will: 

Explore ways to interpret each of the three scenes 

from the poem. 

Use three levels in the Tableaux: low, medium, high. 

Use strong energy in each tableau. 

Use slow-motion Walk/Freeze to transition from one 

tableau to another. 

Incorporate sharp shapes in the first tableau; combine 

sharp and curved shapes in the second tableau; use 

curved shapes in the third tableau. 



Teacher: 

Takes photographs or video to document first creative 

task. 

Label images with appropriate task or student 

outcomes. 

Identifies elements that should be re-taught and/or included 

in review. 


In what other activities is teamwork necessary? 

Look up synonyms for “tableau.” 


A tableau is worth a thousand words, true or false? 

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Step-by-Step Sequence of Learning – use these cognitive processes: experience, inquiry, creation, performance, reflection, assessment 

Model Lesson Two – Theatre: Movement and Stillness on Stage – Learning the Walk/Freeze and Tableaux 

Pre-lesson coaching: 

Show pictures of paintings that depict a tableau. Hang the pictures in the class for students to look at. 


A tableau is a frozen scene. How can we make a tableau exciting? 

Name some examples of action packed pictures. (Example: sports photography) 

EXPERIENCE – Getting Smarter 

Preparation to teach The Walk/Freeze: 

Define the stage perimeters. 

Divide class into two groups (performers and audience). 

Work with one group at a time; the other group is the audience. When one group is done, switch to the other. 

Teach the Walk/Freeze: 

o Briefly explain the areas of the stage: Stage left, right; center stage; upstage, downstage. 

o Find a place to stand on the stage as far away from something or somebody as possible. 

o A “cue” signals when to go and when to stop. This is your cue: (a handclap) 

o When you hear the cue, please walk anywhere you want to on the stage. Here are the rules: 

Natural walking only 

No touching anybody or anything 

o When you hear the cue again, please freeze. “Freeze” rules are: 

Regular or normal way of stopping 

No funny freezes (for now) 

Freeze like ICE, not JELLO 

Add freezing in sharp or curved shapes 

o Add slow motion walking to the Walk/Freeze 

Side coaching: “If you’re walking behind somebody, walk the other way. If you’re walking next to somebody, walk the other way.” 

The Action-Packed Tableaux: 

Definition: A tableau is a still image, a frozen moment or "a snapshot". It is created by posing still bodies and communicates a living representation of an event 

(location and action). 

INQUIRE 

How can tableaux clarify the meaning of the poem? 



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CREATE & PERFORM – Becoming an Expert: Teamwork in Stillness and in Motion 

Task: Compose a sequence of three tableaux from the poem “Remember.” 

Instructions: 

Each of the four groups will: 

Explore ways to interpret each of the three scenes from the poem. 

Compose a sequence of three tableaux. 

Make transitions from one to the other with the Walk/Freeze. 

First tableau: “Remember the sun’s birth at dawn . . . the strongest point of time.” 

Second tableau: “Remember the plants, trees, animal life . . . listen to them. . . They are alive. . ” 

Third tableau: “Remember the sundown and the giving away to night.” 

Model the task with one group: 

Criteria 


Explore ways to interpret each of the three scenes from the poem. 

Use three levels in the Tableaux: low, medium, high. 

Use strong energy in each tableau. 

Use slow-motion Walk/Freeze to transition from one tableau to another. 

Incorporate sharp shapes in the first tableau; combine sharp and curved shapes in the second tableau; use curved shapes in the third tableau. 

Teacher takes video or photographs to document the first creative task, then labels with task or outcomes that the students are performing. 


What would look better in a tableau, freezing like ICE or JELLO? Why? 

Compare and contrast working together as a team in sports (or any other project) and in theatre. 

What did you learn about awareness of each other, awareness of the space? 

ASSESS 

In their journals, have students: 

Describe the experience of doing the Walk/Freeze using one or more of the new vocabulary words. (e.g., “We did the Walk/Freeze to practice teamwork 

on the stage.” Or: “It was easy/hard to stay inside the perimeter of the stage.”) 

Describe other activities (sports, playing in the yard, etc.) where teamwork is necessary. 

Give other examples of “tableau”. 

VOCABULARY spontaneous, teamwork, theatre, perimeter, audience, stage, cue, spatial (space), tableau, tableaux, stage left, stage right, center stage, 

upstage, downstage. 

Teacher Follow Up: 

Preview poem with class before next session. 



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Model Lesson Three – Theatre: The Found Poem 


Materials: photocopies of Found Poem, paper and pencils, large sheets of paper (1 per group), scissors, tape, Teacher & Student Assessment Portfolios. 


Essential Questions Related to Lessons and Unit: Why do most stories have a Beginning, Middle and End? 

Big Idea for Lesson: Creativity is the ability to connect apparently unrelated ideas. 

SUMMARY 

Lesson Three Outcomes Creative Task & Criteria Assessment Strategies 


Create and perform a Found Poem with a clear 

beginning-middle-end. 

(AP, CE, AV, CRA) 

Teacher will: 



Document, collect and label the evidence of student 



What is a Found Poem? 


Task: Create a Found Poem using “Remember” and 

other poems by Native American poets. 

Criteria 

The Found Poem must have: 

Selections from “Remember” and other Native 

American poems. 

A Beginning that starts with an idea or image. 

A Middle that adds another idea or image that is 

different from the first idea or image. 

An Ending that blends the two ideas or images 

together or has one idea/image that is stronger than 

the other. 



Teacher: 

Uses video to document poetry. 

Labels with appropriate student task or outcome. 

Notes how the class has progressed in their 

teamwork efforts since Model Lesson One. 

o Any re-teaching or practice needed. 

o Teamwork skills. 

Uses rubric for Model Lesson Three at the end of 

the lesson. 


In their journals: 

Describe how their team worked together when 

they created their Found Poem. 

Write about how their team created the beginning, 

middle and end in their Found Poem. 


“Beginning, Middle and End” is found in many 

forms in our lives and worlds. List three to five. 

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Model Lesson Three – Theatre: The Found Poem 


What is a Found Poem? 

EXPERIENCE - Getting Smarter 

Teacher Preparation: 

Photocopy the poems, one for each student. 

Directions for students to create a Found Poem: 

Explain and review the formal elements of Beginning, Middle and End. 

Give an example: 

o Beginning: Once there were three little pigs… 

o Middle: Each pig built a house, one of straw, one of wood, one of brick. A wolf blew down the houses of straw and wood. 

o End: But he couldn’t blow down the house of brick and gave up. 

Model how lines from different poems can be combined to form a new poem. 

Give one set of the photocopied poems to each student. 

Divide the students into groups of four or five each. 

Within the group, ask students to take turns reading the poems out loud to each other. 

Have each student decide which of the lines they want to include in their Found Poem. 

Have students write their lines on a strip of lined paper. 

Tell the group to develop the Beginning, the Middle and the End of the Found Poem, by switching around the order of the papers they wrote on until they 

have a satisfactory sequence. One they can agree on. 

Explain that sometimes other lines may have to be chosen to create a Beginning, Middle and End. 

Example: 

Remember the wind 

That you can’t see, can’t hear; 

A name with power to thread us through 

The dark to dawn. 

Ask each group to write their chosen lines in the proper sequence on a large piece of paper to be used for later exercises and as a scenario for their Shadow 

Play. 



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INQUIRE 

Can you find another – maybe better way – to explain the Beginning, Middle and End? Structure? Sequence? 

CREATE & PERFORM – Becoming an Expert: The Found Poem 

Task: Create a Found Poem from “Remember” and other poems by Native American poets. 

Criteria 

The Found Poem must have: 

Selections from “Remember” and other Native American poems. 

A Beginning that starts with an idea or image. 

A Middle that adds another idea or image that is different from the first idea or image. 

An Ending that blends the two ideas or images together or has one idea/image that is stronger than the other. 



What did you learn about connecting several different ideas to make a new idea? (a new thought?) 

ASSESS 

In their journals: 


Describe how their team worked together in order to create their Found Poem. 

Write how their team created the beginning, middle and end in their Found Poem. 

Enduring Understanding 

“Beginning, Middle and End” is found in many forms in our lives and worlds. List three to five. 

Teacher: 

Documents Found Poetry (in a collection/portfolio). 

Labels documentation examples with appropriate student task and/or outcomes. 

Notes how the class has progressed in their teamwork efforts from Model Lesson One. 

Uses video to document the creative task. 

Labels documentation with appropriate student task or outcomes. 

VOCABULARY scenario, Found Poem, phrase, poetry, sequence, beginning-middle-end, interpret, meaning 



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MODEL LESSON 3 / ASSESSMENT RUBRICS 

Above Proficient Proficient Below Proficient 

Uses words and/or phrases from 

“Remember” with exceptional 

comprehension 

Selects words and/or phrases from two, or 

more, other Native American poems 

Has a powerful and effective Beginning 

built on a specific idea or image 

Selects several new images or thoughts 

that effectively contrast with first idea 

Effectively brings the poem to an End, 

completing the idea 

Is highly self-motivated 

Consistently uses thinking skills to 

create the Found Poem 

Consistently states new insights gained 

through the work 

Consistently solves problems in a 

creative way 

Is highly focused on the task 

Consistently cooperates and 

collaborates with the other members of 

the group 

The Found Poem 

Uses several words and/or phrases from 

“Remember” showing comprehension 

Uses words and/or phrases from one 

other Native American poem 

Has a clear Beginning built on a 

specific idea or image 

Selects some new images or thoughts 

that contrast with first idea 

Brings the poem to an End, completing 

the idea 

Insight Assessment (Motivation/Affect) 

Is mostly self-motivated 

Sometimes uses thinking skills to create 

the Found Poem 

Sometimes states new insights gained 

through the work 

Often solves problems in a creative way 

Is mostly focused on the task 

Mostly cooperates and collaborates with 

the other members of the group 



Uses a few words and/or phrases from 

“Remember,” but lacks comprehension 

Uses some words and phrases from another 

Native American poem, but they don’t 

always relate to main idea 

Has a Beginning that is unclear or weak 

Selects a few new images or thoughts that do 

not contrast with first idea 

Does not clearly bring the poem to an End, 

nor complete the idea 

Is rarely self-motivated and easily loses 

interest 

Lacks the use of thinking skills to create the 

Found Poem 

Rarely states new insights gained through the 

work 

Rarely attempts to solve problems in a 

creative way 

Lacks focus on the task 

Rarely cooperates and collaborates with the 

other members of the group 

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Model Lesson Four – Puppetry Arts: Design a Shadow Puppet 


Materials: Scissors for each student, bright paper colors in squares for practice cuts, larger black paper for last practice cut, blank paper for design, pencils, handout with brief history of shadow 

puppetry & images of historical shadow puppets, copies of each group’s Found Poem, black tag board for actual puppets, attachments for moving parts, paper cut samples. 


Essential Questions Related to Lesson and Unit: How can shapes and shadows portray characters and express meaning and ideas? 

Big Idea for Lesson: Elements of shape in shadow puppet design are tools to help communicate emotion and meaning in the Found Poem Shadow Play. 

SUMMARY 

Lesson Four Outcomes Creative Task & Criteria Assessment Strategies 


Select and use an image or idea from their Found 

Poem as a basis for their puppet design. (CE) 

Identify a variety of visual elements (i.e., shape, 

silhouette, scale, positive and negative space) and 

apply them to their shadow puppet design. 

(AP, CE) 

Apply a variety of cutting techniques in executing 

their design. (AP) 

Demonstrate through discussing, drawing and 

cutting that they have learned the content of the 

lesson. (AP, CE) 




Document and collect the evidence of student 



What are some examples of Shadow Puppetry you have 

seen? 

What are the unique capabilities of shadow puppets? 

What are the dreamlike qualities in Shadow Puppetry? 


Task Students make a design for their shadow puppet that 

meaningfully relates to the Found Poem. 

Criteria 

In groups, student puppet designs will: 

Be based on an image or character from the group 

Found Poem 

Be simple, clear and large enough to be “readable” 

Represent the intended image or character 

Incorporate sharp and curving shapes, or a 

combination of these two 

Be in silhouette form, rather than a detailed 

drawing 

Have negative spaces within the positive spaces 



Teacher: 

Makes notes in assessment portfolio about the ability of 

each group to work cooperatively. 


reviewed. 

Guides students in sharing and discussing their designs 

and practice cuttings. 

Uses rubric for Model Lesson Four at the end of the 

lesson. 


Name one or two elements of shadow puppet design. 

Describe how your group cooperated in assigning each 

member one or more images to design. 


How can shapes and shadows portray images or 

characters and express meaning and ideas? 

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Step-by-Step Sequence of Learning - use these cognitive processes: experience, inquiry, creation, performance, reflection, assessment 

Model Lesson Four – Puppetry Arts: Design a Shadow Puppet 

Prior to the Lesson: Teachers guide student groups in deciding who will make the puppets for each line in the Found Poem. Students are familiar with the 

line of poetry that will be the basis for their puppet design. Teachers share video clips of shadow puppetry with students. 


What are some examples of Shadow Puppetry that you have seen? 

What is unique or special that you can you do or show with shadow puppets? 

What are the dreamlike, imaginative qualities in Shadow Puppetry? 


Introduction: 

Present historical/cultural context for Shadow Puppetry. (Refer to handout) 

Show examples of shadow puppets from different cultures. 

Demonstrate a sample of shadow puppets. 

Lesson Instructions: 

“In this lesson we will practice techniques to create different visual effects. Each of you will choose an image from your group’s Found Poem as an 

inspiration for your puppet design. We will work in this lesson and the following lesson to design and complete your shadow puppet.” 

Let’s look at some of the design elements that the puppeteer used to create a shadow puppet. Teacher shares examples of these elements on the screen to 

connect elemental concepts with visuals demonstrated on the Shadow Screen. 

o Shape: Observe how this triangle and oval come together to form a fish. Combinations of shapes give the puppets meaning. 

o Shapes are important to shadow puppetry, because we will not see drawn details or much color, but we will find the meaning from the outlines of the 

shapes, which we will see as a shadow. 

o Silhouette: Observe how Teacher draws a simple face on the paper. Can you see it on the screen? When you are designing for shadow puppets, you 

need to consider the silhouette, the outer contours of the shape. 

Let’s see an example of a face that is a silhouette. We see the shape through what is cut out and what remains for you to see as a shadow on the 

screen. 

o Positive space is the filled-in or solid space. Negative space is the empty space between, inside and around the shapes. 

Artists who make paper cuts help us see shape. 

o Teacher shares sample paper cuts from China, Mexico and the artist, Henri Matisse. 

Now we will make a series of three paper cuts to practice making various shapes. 

For each shape we will first talk about the shape and see examples. Next, I will demonstrate a practice cut and then you will make a cut. 



14

Sharp Shapes: 

o Look at some of the sharp shapes in the work of Henri Matisse. What parts of the design are composed of sharp shapes? 

o What are some of the images on our list that have a lot of sharp shapes? (Students’ list.) 

o Sharp Shapes are like triangles, squares. They have only sharp edges and points. 

Teacher demonstrates a sample Sharp Shape cut, followed by giving instructions for students to make their own cuts. 

Instructions/ Sharp Shapes: 

Hold the paper and make a straight cut and then stop, turn the paper and make another crisp cut to make a sharp shape. 

Make your practice cut of a sharp shape on the orange paper. 

Hold up your paper cut for everyone to see. 

Curving Shapes: 

o Next, we are going to make Curving Shapes. Curving shapes are flowing without sharp edges. What are some examples of Curving Shapes? 

Teacher demonstrates a sample Curving Shape cut and then instructs students. 

Instructions/ Curving Shapes: 

Gently turn the paper as you are cutting and this will help to you give the shape its curve. 

Make your practice cut of a curvy shape on the blue paper 

Hold up your paper cut so that others can see it. 

Combination Shapes: We are going to practice making a shape that has both sharp and curvy shapes to create a meaningful image. 

Now think of a plant, an animal, a fish or a flower – something from nature. 

You will use a combination of sharp shapes and curved shapes to cut it out of black paper. 

o Teacher demonstrates making a cut-out that uses a combination of sharp shapes and curving shapes to represent its meaning. 

Students choose any image to make practice cuts using the black paper. 

Use the cutting techniques that you just practiced, combine both sharp and curvy shapes. 

Hold your image up so everyone can see. 

What you have done is to make a silhouette – a cut-out that shares meaning only through its shape. Look at a few of your images on the screen. 

Observe how even very simple shapes are beautiful. What “character” and meaning do they communicate on the shadow screen? 

Size and Scale: 

Teacher then demonstrates the concept of scale using different sized puppets. 

o Why is size important in a shadow puppet? Shadow puppets need to be large enough to be seen and small enough to fit in the screen. 

o What else does size tell us about a character or image? (size relationship, emotional relationship, power relationship) 

INQUIRE 

What are the core images that should be included in the shadow play performance of our Found Poem? 

What are the specific shadow images that we need to make to visually portray the ideas and characters of the shadow play? 



15

CREATE & PERFORM – Becoming an Expert: Design a Shadow Puppet 

Task: Students make a design for their shadow puppet that meaningfully relates to the Found Poem. 

Criteria 

In groups, student puppet designs will: 

Be based on an image or character from the group Found Poem 

Be simple, clear and large enough to be “readable” 

Represent the intended image or character 

Incorporate sharp and curving shapes, or a combination of these two 

Be in silhouette form, rather than a detailed drawing 

Have negative spaces within the positive spaces 

Instructions/Teacher Facilitation: 

In your group, brainstorm the shadow puppet images from your Found Poem. 

Ask one group member to make a list of the images in the order they appear in your poem (5 - 10 minutes to make this list). 

What are some of the core images and big ideas you identified in your found poems? On a chart, list examples from your group. 

Each student will design a puppet that interprets a specific line in the poem and connects to its meaning. 

Make sure that each person in the group has at least one puppet image to create. Some students may make more than one puppet. Some images may 

appear in multiples so can be made by more than one student. 

Check and confirm that all needed puppets are being designed. 

Students who finish quickly can begin drawing out their refined design on the large, black tag board. 

Side coaching: Teacher checks with each group to confirm whether each member has chosen an image for their shadow puppet design. 

If there are only a few puppets identified from the poem, ask how students can add visual elements? 

Encourage students to share design ideas not only in the puppet image – but in what it can do with puppet movement or surprise visual elements to share 

the story. 

Brainstorm ideas with students who are unclear or unable to select an image for their design. 

Side Coaching: Students who are not confident can be reminded that simple images are powerful. Students who need to be challenged can be encouraged to 

add more detail to their work or to cut out more intricate pieces within the puppet’s shape or to make puppets with elements that transform. 


How do shapes and shadows portray images or characters and express ideas without words? 

How does creating a shadow puppet help you think differently about the words and meaning of the poem? 



16

ASSESS 

Explain concepts of design for shadow puppets. 

Share drawings or “mock ups” (experimental cuttings) and their meanings. 

Describe ways in which they used design elements to create the puppet design. 

Discuss how shapes and shadows can portray images and express ideas inspired by the poem’s content 

Lesson Extension: Add moving parts to articulate puppets 

Instructions: 

Observe a puppet with one moving part on the screen that requires two control rods. 

What do you notice about how the puppet was made? 

o Some of the puppets have connectors – called brads – that allow them to articulate body part movement. 

o Others have taped hinges so that they can first be seen one way and then opened to reveal something else. 

Remember, this effect can be created either by making a hinge that opens to “reveal” or by making two puppets that the puppeteer 

overlaps and then removes one to reveal the other. 

If you are planning a moving part for your puppet, plan for only two control rods. 

Why? (One puppeteer will operate the puppet and has only two hands to do so.) 

Lesson Extension: Cut interior spaces within puppets and working with color 

Instructions: 

Let’s practice making some interior (negative) spaces in the puppets to add design possibilities. 

Fold the paper slightly and cut, puncturing the paper and then making cuts to add texture. 

Add color with tissue paper or thin plastic and/or color with markers. 

o Tape the paper or plastic on the back of the puppet with care not to tape over the cut out segments. (This requires substantial additional time.) 

VOCABULARY Found Poem, design, images, shadow puppet, positive space, negative space, shape, scale, silhouette, rod, wire cutters, puppeteer, screen, 

light, “reveal” 

Helpful Hints and Success Strategies: 

Before the Lesson 

Each student knows his/her line from the Found Poem 

Each student understands the meaning of his/her line from the Found Poem. 

After the Lesson –strategies to reinforce and continue learning 

Students assess their designs to confirm how their shadow puppet design connects to the meaning of the line that they plan to present. 

Students assess their designs to confirm that the puppet design is mechanically sound -can be cut and hold together- and that its meaning will be 

understood from its shape. Some students may draw a scene such as a landscape rather than specific puppet image. Encourage students to choose which 

of the scene could become the core puppets and remind students that the puppet movement will share the story. For example – a full sun puppet that can 

rise and set in the space may be a stronger puppet design choice than a sunset image that cannot move or change. 



17

MODEL LESSON 4 / ASSESSMENT RUBRIC 


Is clearly based on an image or 

character from group Found Poem 

Is inventive, yet simple, clear and large 

enough to be “readable” 

Clearly and powerfully represents the 

intended image or character 

Consistently shows sharp and curving 

shapes, or a combination of these two 

Is a well-crafted silhouette, rather than a 

detailed drawing 

Has several, well-designed negative 

spaces within the positive spaces 

Is highly self-motivated with a keen 

level of interest 

Consistently uses thinking skills and 

works independently 


creative way 


Is most often comfortable with 

challenge and complexity 

Puppet Design 

Is based on an image or character from 

group Found Poem 

Is simple, clear and large enough to be 

“readable” 

Represents the intended image or 

character 

Mostly shows sharp and curving shapes, 

or a combination of these two 

Is a silhouette, rather than a detailed 

drawing 

Has a few negative spaces within the 

positive spaces 

Insight Assessment ( Motivation/Affect) 

Is mostly self-motivated and shows 

interest 

Uses some thinking skills and mostly 


Sometimes solves problems in a 

creative way 


Is sometimes comfortable with 

challenge and complexity 



Is not clearly based on an image or 

character from group Found Poem 

Is not simple, clear or large enough to 

be “readable” 

Doesn’t clearly represent the intended 

image or character 

Sometimes, but not always, shows sharp 

and curving shapes, or a combination of 

these two 

Is not a silhouette, but rather a detailed 

drawing 

Has no negative spaces within the 

positive spaces 


interest 

Lacks the use of thinking skills and the 

ability to work independently 


creative way 

Lacks focus on the task; is easily 

distracted 

Is not comfortable with challenge and 

complexity 

18

Model Lesson Five – Puppetry Arts: Build a Shadow Puppet 


Materials: Found Poem, scissors for each participant, pencils, glue, tissue paper, plastic and markers, rods – wire or bamboo, wire cutters, large black tag board for each participant, Shadow Puppet 

screens; light source for each screen, metal fasteners for moving parts, masking tape; Teacher & Student Assessment Portfolios. 

Enduring Understanding As we explore our connection to Nature and to other people, we can gain understanding of our shared values and universal human heritage. 

Essential Questions Related to Lesson and Unit How can I use shape, scale, positive and negative space to build a puppet that represents an image or “character” from the 

Found Poem? 

Big Idea for Lesson Shape, scale, and positive/negative space elements are used to create a silhouette for the shadow puppet to help communicate its “character” – to make a 

visual connection to the meaning of the Found Poem. 

SUMMARY 

Lesson Five Outcomes Creative Task & Criteria Assessment Strategies 


Incorporate prior knowledge of shape, scale and 

positive and negative space to produce their 

shadow puppet from their design. (AP, CE) 

Apply cutting techniques to their shadow puppet 

design. (AP) 

Complete their shadow puppet by attaching a rod 

to it. (AP) 

Demonstrate through discussing and building a 

shadow puppet that they have learned the content 

of the lesson. (AP, CE, CRA) 







What are the design possibilities and limitations to 

consider when designing shadow puppets? 

When building puppets, what devices can be used to 

add movement or elements of surprise? 


Task: Students will make a shadow puppet that connects 

meaningfully to the Found Poem. 

Final Task Criteria 


Incorporate shape, scale, silhouette, positive and 

negative space. 

Firmly attach a control rod to the puppet. 

Present a clear visual connection to the Found Poem. 

Test “cut out” puppet on the screen to check 

effectiveness; refine if needed. 

Demonstrate cooperative teamwork. 



Teacher: 

Notes in assessment portfolio observations about 

students’ ability to work cooperatively in their groups. 

o Are they all able to accomplish the task? 



Asks students to assess whether the control rods are 

attached firmly to the puppet so it can be used many 

times. 

Student Prompts & Questions: Shadow Puppetry 

What part will your puppet play? 

What does it represent from the poem? 

Explain the word or phrase that inspired your puppet 

design. 

How does your puppet image connect to the Found 

Poem? 


Describe what you learned about the Found Poem from 

making your puppet? 

Tell what surprised you as you looked at your 

completed puppet? 

19


Model Lesson Five – Puppetry Arts: Build a Shadow Puppet 

Prior to the Lesson: Teachers guide students in assessing the designs for their shadow puppets to: 

Confirm how their shadow puppet design relates to the meaning of the line that they plan to present. 

Verify that the puppet design is mechanically sound – can hold together when cut. 

Validate that the puppet’s meaning will be understood from its shape. 


Has the group reviewed the Found Poem and confirmed that all core images are assigned and that each group member has a puppet image design to add to 

the performance? 

What are the design possibilities and limitations to consider when designing for shadow puppets? 

Identify strategies to add elements of movement or surprise to the puppet design. 

Remember that we are designing the look of the puppet as well as how it will move. How does the movement of the puppet help tell the story? 


Lesson Overview: 

Last session we began to design shadow puppet characters. You also had a chance to practice making cuts. Today we will work to build a shadow puppet. 

Teacher reviews the design elements for the construction of shadow puppets from Lesson Four. 

Teacher restates the Task and Criteria from Lesson Four. 

Directions – Look on the screen as teacher demonstrates: 

Observe examples of students’ puppets from previous lesson. 

Identify successful elements and use of form, scale, positive and negative space, moving parts, “reveals,” etc. 

Side coaching: 

What are technical elements that we should consider as we transfer our design on to the tag board and construct the puppets? 

Remember that one puppeteer is operating one puppet – so it should be designed with only two rods. 

Discuss/Experiment: 

Review the designs and refine the plan. 

Sketch ideas for additional puppets needed. 



20

INQUIRE 

What size is ideal for the current design that will both be large enough for audience to see from across the room, and is in a good size relationship with the 

other puppets being planned for the show? 

Remember that we will draw puppets that can move – not a still scene. If you have drawn a scene – think about what elements should be puppets and 

imagine how their movement will help tell the story of that moment. For example, if the sun is rising, do you only draw the shape for that moment – or 

could you draw a whole sun that can rise and then go into the sky fully formed? 


Task: Students will make a shadow puppet that connects meaningfully to the poem. 

Criteria 


Incorporate shape, scale, silhouette, positive and negative space. 

Firmly attach a control rod to the puppet. 

Present a clear visual connection to the Found Poem. 

Test “cut out” puppet on the screen to check effectiveness; refine if needed. 

Demonstrate cooperative teamwork. 

Instructions: 

Review and revise puppet design. Think about using shape, scale, positive and negative space, movement and how your puppet image or “character” 

represents something from the poem e.g., is it a star? Is it earth that transforms to people? Is it the singing wind? Or is it another distinct image that 

represents the ideas in the poem? 

o Draw image, or images, on tag board, incorporating the elements of shape, scale, silhouette, positive and negative space. 

o Make a clear visual connection to some aspect of the Found Poem. 

o Teachers give their ―okay‖ before final image is cut, in case scale adjustments are needed. 

o Cut out puppet and test on screen; make additional cuts as needed. 

o Add attachments for moving parts. 

o Rig puppets for movement. 

o Take turns testing the images on screen; make needed adjustments as needed. 

o Repeat the process with additional puppets. 

o Work cooperatively with team members throughout the process. 


Do we have all the puppet images that we need to visually present our group’s Found Poem for the Shadow Puppet performance? 

What does the image that you chose mean to you and why did you choose it? How did you show your ideas about the line of poetry through the puppet 

design? 

What discoveries did you make in the process of creating your puppet? 



21

ASSESS 

How does the puppet make use of positive and negative space to convey meaning? 

Are the control rods attached firmly to allow for repeated use? 

Does the image connect meaningfully to the Found Poem? 

VOCABULARY shadow puppet, positive space, negative space, shape, silhouette, rod, wire cutter, puppeteer screen 



Each student reviews puppet design to confirm visual connection to meaning of Found Poem line and reviews to check that it is a puppet design rather 

than a scene design. 

During the Lesson 

Teachers/Artists give their ―okay‖ to students before they cut final puppet to assess viability of scale and shape. 

Consider enlisting teacher aids/parent volunteers to work at cutting and puppet assembly stations. 

Following the Lesson 

Teachers identify aids and parents to help complete challenging cuttings of final designs. 

Students complete puppets and attach sticks. 

Teachers guide students in storing completed puppets by groups together with script of each group’s Found Poem. 



22

Model Lesson Six – Theatre: Choral Reading of the Found Poem 


Materials: Still camera, video camera, dictionary, chart paper and markers, Teacher & Student Assessment Portfolios. 

Enduring Understanding for Unit: As we explore our connection to Nature and to other people, we can gain understanding of our shared values and universal human 

heritage. 

Essential Questions Related to Lesson and Unit: What are the advantages of choral reading? 

Big Idea for Lesson: Words have power when spoken as one voice by an ensemble. 

SUMMARY 

Lesson Six Outcomes Creative Task & Criteria Assessment Strategies 


Perform choral reading, speaking with 

expression(AP, CE) 

Teacher will: 






What does “projecting your voice” mean? 

What is Choral Reading? 

What is “reading with expression?” 


Task: Students perform the Walk/Freeze, incorporating 

qualities of the poem with expressive Choral Reading. 

Criteria 


Use movements that reflect the qualities of the poem. 

Look at the focus point when freezing and speaking. 

Speak as “one voice.” 

Accent the chosen single syllable to communicate 

intended meaning. 

Clearly articulate the words. 

Speak with a dynamic range. 



Teacher: 

Notes how the class progresses from imprecise Choral 

Reading to “sounding as if one voice is speaking.” 

Takes photographs or video (to record sound) to 

document first Choral Reading to listen to and critique in 

relation to criteria. Labels with student task/outcomes. 



Uses rubric for Model Lesson Six at the end of the lesson 

to assess student learning outcomes. 


Describe how you felt when you spoke the Found Poem 

in unison. 

Describe how it felt to walk using the qualities of the 

poem. 


Choral reading has long been a part of every culture. 

What are examples of Choral Reading today? 

23


Model Lesson Six – Theatre: Choral Reading of the Found Poem 


What does “projecting your voice” mean? 

What is choral reading? 

What is “reading with expression?” 

EXPERIENCE - Getting Smarter: Add Choral Reading of the Found Poem and Expressive Movement to the Walk/Freeze 

While in their seats, the entire class memorizes, out loud, selected phrases from, or all of an entire Found Poem: 

o Example: “Remember the wind/That you can’t see, can’t hear/--a name with power to thread us through the dark to dawn.” 

Experiment with putting an accent on various single syllables of each phrase and analyze the slight changes of meanings with changing the accented 

syllable. 

o Examples: 

o “Remember the wind/That you can’t see, can’t hear/--a name with power to thread us through the dark to dawn.” 

o OR: “Remember the wind/That you can’t see, can’t hear/--a name with power to thread us through the dark to dawn.” 

o OR: “Remember the wind/That you can’t see, can’t hear/--a name with power to thread us through the dark to dawn.” 

Side coaching: Choral reading is when a group of people speaks the same words, sounding as one voice. Listen to each other to sound like “one 

voice” speaking. 

Divide class into two groups, as in Lesson Two (performers and audience). 

Directions for adding the Focus Point to the Walk/Freeze: 

Do the Walk/Freeze. 

Add these qualities from the poem: Flowing like wind; circular movements, like the stars revolving 

Practice using the stage space: Moving in line from Stage Left to Stage Right and vice versa; moving from Upstage to Down Stage and vice versa 

On the freeze, the actors look at the focus point. 

Side coaching: The focus point is a spot (use a post-it with a red X written on it) in the center of the wall behind the audience. In moving your 

Shadow Puppet, going from US to DS means the image goes from blurry to sharp and vice versa. Shadow Play puppet moves can also include 

flowing motion and circular motion. 

Directions for adding the selected Found Poem phrase to the Walk/Freeze 

Do the Walk/Freeze, using Poetic qualities and Shadow Play puppet moves. 

On the Freeze, the group speaks the phrase to the focus point. 

Experiment with various accented single syllables as chosen by the teachers 

. 



24

INQUIRE 

For the audience: How does movement that uses Poetic Qualities and Shadow Play puppet moves look as opposed to regular walking? 

How does choral reading add power to the spoken word? 

How does changing the accented syllable influence the meaning or feeling of the phrase? 

CREATE & PERFORM – Becoming an Expert: 

Preparation: A selected Found Poem in large print is posted on the center of the wall on the designated Focus Point, or the students memorize an 

entire Found Poem while in their seats. 

Task 

Students perform the Walk/Freeze, incorporating qualities of the poem with expressive Choral Reading. 

Criteria 


Use movements that reflect the qualities of the poem. 

Look at the focus point when freezing and speaking. 

Speak as “one voice.” 

Accent the chosen single syllable to communicate clearer meaning and feeling. 

Clearly articulate the words. 

Speak with a dynamic range. 



How will you use the way you learned to move today with your puppets in your Shadow Play 

How does it feel to speak “as a team” compared to by yourself? 

What did you learn about the different “moods” or meanings created by the different ways of speaking? 

How does the way you speak communicate meaning? 

ASSESS 

In their journals, students: 

Describe how they felt when they spoke the Found Poem in unison. 


Every culture has used choral reading to project a more powerful spoken word. Are there examples of how we do it today? 

Teacher: Notes how the class progresses from imprecise Choral Reading to “sounding as if one voice is speaking” and uses video or sound 

recording to document progress and listen to assess performance based on the criteria. 

VOCABULARY project (as in “throw forward”), Choral Reading, unison, accented and unaccented syllable, circular motion, speaking with expression 



25



Consistently moves with qualities that 

reflect the poem 

Consistently stops on cue and looks 

clearly and steadily at the “focus point “ 

when frozen 

Consistently speaks as one unified 

voice, rather than as individuals in own 

timing 

Consistently accents the chosen syllable 

to communicate the intended meaning 

Always clearly articulates the words 

Consistently speaks with appropriate 

dynamics 

Is highly self-motivated and energized 

Is highly engaged in learning 

Greatly values the learning process 

Consistently solves problems with 

originality 


Walk/Freeze with Choral Reading 

Mostly moves with qualities that reflect 

the poem 

Mostly stops on cue and looks clearly at 

the “focus point “ when frozen 

Mostly speaks as one voice (in unison), 

rather than as individuals in own timing 

Mostly accents the chosen syllable to 

communicate the intended meaning 

Mostly articulates the words 

Mostly speaks with appropriate 

dynamics 


Is mostly self-motivated and energized 

Is usually engaged in learning 

Somewhat values the learning process 

Usually solves problems with 

originality 

Is usually focused on the task 



Inconsistently moves with qualities that 

reflect the poem 

Does not always stop on cue and lacks 

clarity and steadiness in looking at the 

“focus point “ when frozen 

Rarely speaks in unison as one voice 

Does not accent the chosen syllable and 

lacks ability to communicate the 

intended meaning 

Lacks articulation when speaking the 

words 

Does not speak with appropriate 

dynamics 

Demonstrates a low level, if any, of 

self-motivation and energy 

Is not engaged in learning 

Does not value the learning process 

Rarely, if ever, solves problems 

Is rarely focused on the task 

26

Materials: Chart paper and markers, Teacher & Student Assessment Portfolios. 

Model Lesson Seven – Theatre: Giving and Taking Focus 


Enduring Understanding for Unit: As we explore our connection to Nature and to other people, we can gain understanding of our shared values and universal human 

heritage 

Essential Questions Related to Lesson and Unit: How does a group support a soloist? 

Big Idea for Lesson: Effective teamwork is a give-and-take strategy. 

SUMMARY 

Lesson Seven Outcomes Creative Task & Criteria Assessment Strategies 


Support ensemble members by giving and taking 

focus. (AP, CE) 

Teacher will: 


Assess student learning. 




What does give and take mean? 

What does projecting the voice mean? 


Task: Students Perform the Walk/Freeze, giving and 

taking focus. 

Criteria 


Project energy and intention of words to the Focus 

Point. 

Give focus to the speaker. 

Emphasize the selected syllable to give meaning to the 

phrase. 

Articulate words clearly. 



Teacher: 

Notes how the class progresses from not being able to 

give and take focus to being able to give and take focus. 

Use sound recording or video to chart progress. 

Notes how this exercise improves each student’s ability 

to give and take focus 


Describe how giving and taking focus strengthens team 

work. 

27


Model Lesson Seven – Theatre: Giving and Taking Focus 


What does “give” and “take” mean? 

What does projecting the voice mean? 

EXPERIENCE - Get Smarter: Add Giving and Taking Focus to the Walk/Freeze 

While in their seats, each students reviews the one or two memorized phrases from their Found Poem 

Divide class into two groups as in previous Walk Freeze lessons , have first group go up on stage 

Directions for adding Giving and Taking Focus to the Walk/Freeze: 

Everyone on stage gets a number. 

Actors do the Walk/Freeze. 

On the freeze, the number one is called. 

The actor who is number one looks at the Focus Point and speaks the text, projecting the voice, taking focus. 

All the other actors look at (give focus to) the actor who is number one. 

This is continued with all consecutive numbers. 

Between numbers, the Walk/Freeze may be resumed until the next freeze. 

Side coaching (To an actor who isn’t giving focus) Where are you supposed to look? 

INQUIRE 

What happens when actors give focus to the person who is talking? 

What happens when someone isn’t giving focus to the person who is talking? 



28

CREATE & PERFORM – Becoming an Expert: Walk/Freeze plus Giving and Taking Focus 

Preparation for the Creative Task: 

In their seats, prepare the students for the task by reviewing the vocal qualities to use in speaking the tongue twisters: 

Task: Students Perform the Walk/Freeze, giving and taking focus. 

Criteria 


Project energy and intention of words to the Focus Point. 

Give focus to the speaker. 

Emphasize the selected syllable to give meaning to the phrase. 

Articulate words clearly. 



Describe the difference between giving and taking focus. 

How does giving and taking focus strengthen teamwork? 


How did the speaker inspire and excite you? 

Do you know what the speaker meant to communicate to you? 

ASSESS 

In their journals, students will: 

Describe how giving and taking focus strengthens teamwork. 

Describe the meaning that is communicated by accenting the selected syllable. 

Teacher notes how the class progresses from not being able to give and take focus to being able to give and take focus. Use video or sound recording 

to chart progress. 

Teacher notes how this exercise improves each student’s ability to give and take focus. 

VOCABULARY give focus, take focus, projection, vocal qualities, give and take 



29

Model Lesson Eight – Puppetry Arts: 

Creating Meaning through Motion & Sound – Bring Your Puppets to Life! 


Materials: Found poems, Shadow puppets, Shadow puppet screens and stands, light source for shadow screens and extension cords, control rods, masking tape, sound effects instruments and 

handmade items (pot lids, cans w/gravel, etc), tag board; Teacher & Student Portfolios. 


Essential Questions Related to Lesson and Unit: How does puppet movement show my interpretation of the poem and communicate my ideas to the audience? 

Big Idea for Lesson: Experimenting with puppet movement gives us the skills we need to effectively manipulate the puppets and communicate ideas and emotions 

in an expressive way. 

SUMMARY 

Lesson Eight Outcomes Creative Task & Criteria Assessment Strategies 


Demonstrate effective puppet movement across 

vertical, horizontal and diagonal space. (AP) 

Communicate emotion and meaning through puppet 

movement. (CE) 

Connect with sound accompaniment for their puppet 

movement performance. (AP, CRA) 

Demonstrate through writing, discussion and 

performance that they have learned the content of the 

lesson. (AP, CE, CRA) 






What does puppet movement tell us about a character? 

How does puppet movement enhance the mood of the 

performance? 

How does the audience experience the puppet when it is 

close to the light; when it is away from the light? 


Task: Students perform an individual entrance, a unique 

movement/emotion, and an exit with their shadow puppet. 

Criteria 

Student practice and puppet performance has: 

Lighting unblocked by the puppeteer. 

A unique puppet entrance. 

Puppet movement that suggests action and emotion. 

A dramatic puppet exit. 

A connection between sound and movement. 



Teacher: 

Notes in assessment portfolio... 



Uses rubric for Model Lesson Seven at the end of the 

lesson to assess student learning outcomes. 


Shadow Puppet Movement 

Identify examples of work from the class that really 

shared meaning and emotion through use of puppet 

movement. 

Describe key movement strategies for successfully 

manipulating shadow puppets. 

Share what was surprising to you as you viewed the 

puppets in motion on the screen. 


What aspects of this puppetry movement exercise would 

you like to bring into the performance of your work? 

How did the use of movement and emotion help you to 

further explore the meaning and ideas in your Found 

Poem? 

30


Model Lesson Eight – Puppetry Arts: Creating Meaning through Motion & Sound – Bring Your Puppets to Life! 

Prior to the Lesson: 

Teachers guide students to complete all puppets and attach sticks and moving parts 

Teachers guide students in storing completed puppets by groups together with script of each group’s found poem 


How does the audience experience the puppet when it is close to the light? When it is away from the light? 

What does puppet’s movement tell us about its character and personality? 

How does the puppet’s movement communicate the mood of the performance? 


Preparation: Now that the puppets are completed, let’s animate them – bring them to life with movement and sound. First we will practice some of the 

techniques used in manipulating a shadow puppet. Then we will give all puppeteers an opportunity to develop a unique character for their puppet by giving it an 

entrance, a movement, an emotion and an exit. These actions will be accompanied by sound. 

Light and Shadow – Size, Sharpness or Blurriness 

Directions: 

Turn on the light behind the screen. 

Show and explain where the puppeteer must sit in order to properly manipulate the puppet without blocking the light 

Place the puppet close to the screen. 

Slowly move the puppet away from the screen, closer to the light. 

Ask these questions: 

What do you see when I place the puppet on or close to the screen? 

What do you see when I move the puppet away from the screen, closer to the light? 

How does the size and sharpness of the shadow change when I move it toward the light? Away from the light? (compare/contrast) 

(Image is smaller and sharper when it is close to the screen; larger and less detailed when it’s closer to the light, away from the screen.) 

After this demonstration, teacher steps away from the screen to lead the entire class in practicing the movements with an imaginary screen and light 

source. The students mirror your movements. 



31

Timing Your Puppet Movements 

Directions: 

Move the puppet across the screen quickly. 

Move the puppet across the screen slowly. 

Ask this question: 

o What happens when I move my puppet quickly? Slowly? 



Using the Screen Space – Various Ways the Puppet Can Move Within the Screen 

Directions: 

Move the puppet vertically, horizontally and diagonally within the screen space. 

o What is a strong move/position for the puppet? A weak move/position for the puppet? 

Demonstrate these movements: walking, swimming, dancing, flying, skipping, falling…. 


o What movements did I use to make the puppet walk, swim, and so forth? 

o How would you do this? 



Use of Screen Space – Movements that Suggest Emotion: 

A shadow puppet’s movement can suggest emotion. 


What emotions can you name for my puppet to portray? (angry, happy, surprised, dreamy) 

What emotion does this movement suggest? 

How did the movement suggest that emotion? 

Side coaching: After this demonstration, teacher steps away from the screen to lead the entire class in practicing the movements with an imaginary 

screen and light source. The students mirror your movements. 

Use of Screen Space – Entrances and Exits 

How and where does the puppet first appear on the screen? 

o Does it pop on suddenly or fade in? 

Demonstrate a few possibilities (e.g., puppet appears suddenly or emerges slowly; appears from the left, the right, the middle, top or bottom; stays on the 

edge or moves to the center of the screen). 

o How would you invent a different entrance? 

After your puppet plays its part, it needs to exit. 

o How and where does the puppet leave the screen? 



32

Demonstrate a few possibilities (e.g., puppet leaves suddenly or slowly; exits to the left, the right, from the middle, top or bottom or edge of the screen). 

After this demonstration, step away from the screen to lead the entire class in practicing the movements with an imaginary screen and light source. The 

students mirror your movements. 

Here is a list of six techniques for you as the puppeteer to use in manipulating your puppet. Note: Teacher posts list on wall chart. 

1. Position yourself and your puppet in relation to the light source (puppet visibility) 

2. Perform effective, dramatic entrances and exits 

3. Show the action your puppet is performing and suggest what your puppet is feeling ( movement to convey action and emotion) 

4. Effectively use the screen space 

5. Control the speed at which your puppet moves across the screen (vary speed of movement) 

6. Coordinate music and sound with puppet movement 

Ask this question: What were some of the examples we saw that worked well for the puppet movement? 

INQUIRE 

How can my choice of puppet movement for the character show its connection to the poem? 

How can I express various emotions, movement qualities, and entrance and exit of my shadow puppet in the proper relationship to the light? 


Preparation for the Creative Task: 

Tell the students that they will line up in their groups. Every student in each group will take a turn performing. You will cue their puppet’s entrance by 

making a sound. As the sound continues, the puppet will perform its action/emotion. When the sound stops, your puppet will exit. 

Task Students individually perform an entrance, a unique movement/emotion, and an exit with their shadow puppet. 

Criteria 

Student practice and puppet performance will have: 

Lighting unblocked by the puppeteer. 

A unique puppet entrance. 

Puppet movement that suggests action and emotion. 

A dramatic puppet exit. 

A connection between sound and movement. 


What was surprising to you about this puppet movement performance? 

How can thoughtful movement of the shadow puppet communicate ideas and themes from the poem? 



33

ASSESS 

Review posted Criteria for the task to reflect on levels of accomplishment and areas for development and refinement. 

Identify examples of work from the class that really shared meaning and emotion through use of shadow puppet movement. 

Describe key movement strategies for successfully manipulating shadow puppets. 

Share what was surprising to you as you viewed the puppets in motion on the screen. 

Lesson Extension Use exaggerated movement to clarify a range of the puppet’s emotions. 

VOCABULARY vertical, horizontal, diagonal, shadow puppet, image, puppeteer, entrance, exit, playing the puppet, lighting, blocking, sound, movement, 

connection 



34



Consistently performs without blocking 

the lighting 

Individually performs an original, or 

surprising, entrance with puppet 

Puppet movement always suggests 

specific action and strong emotion 

Performs a dramatic, or surprising, exit 

with puppet 

Consistently, and sensitively, coordinates 

puppet with the corresponding music or 

sound 

Is highly self-motivated and energized 

Is highly engaged in learning 

Greatly values the learning process 

Greatly values the performing process 

Consistently performs with originality 


Creating Meaning through Motion & Sound 

Mostly performs without blocking the 

lighting 

Individually performs a clear entrance 

with puppet 

Puppet movement mostly suggests 

specific action and emotion 

Performs a clear exit with puppet 

Mostly coordinates puppet with the 

corresponding music or sound 


Is somewhat self-motivated and 

energized 

Is mostly engaged in learning 

Mostly values the learning process 

Mostly values the performing process 

Mostly performs with originality 




Rarely, or never, performs without 

blocking the lighting 

Has difficulty performing a clear 

entrance with puppet 

Puppet movement is unclear, or out of 

control, and lacks emotion 

Puppet exit is unclear 

Rarely coordinates puppet with the 

corresponding music or sound 

Lacks self-motivation and energy 

Is not engaged in learning 

Does not value the learning process 

Does not value the performing process 

Does not perform with originality 

Is not focused on the task 

35

Model Lesson Nine – Theatre & Puppetry Arts: Rehearse Your Found Poem Shadow Play 


Materials: Found Poems, Shadow puppets, Shadow puppet screens and stands, Light source for shadow screens and extension cords, Control rods, Masking tape, Sound Effects instruments and 

handmade items (optional), Tag board; Teacher & Student Portfolios. 


Essential Questions Related to Lesson and Unit: What new understanding of the anchor work poem did you get from doing the Shadow Play? 

Big Idea for Lesson: Creativity is being able to find the connections between apparently unrelated ideas. 

SUMMARY 

Lesson Nine Outcomes Creative Task & Criteria Assessment Strategies 


Produce a shadow play, using text, puppet 

movement and sound. 

(AP, CE, HCC, AV, CRA) 

Demonstrate through writing, discussing, and 

performance that they have learned the content of 

the lesson. 

Teacher will: 


Assess student learning outcome. 




What three elements of poetry did we learn? 


What is giving & taking focus in Solo Reading? 

What techniques for manipulating your puppet have you 

learned? 


Task: Students perform a small group shadow play. 

Criteria 

Performance must demonstrate: 

Use of six puppet manipulation techniques. 

―Giving and Taking‖ Focus in Choral and Solo Reading. 

Narration that stresses appropriate syllables to indicate 

meaning. 

Clear articulation of words when speaking. 

Music and sound effects that adds emphasis to the puppet 

performance. 



Teacher: 

After discussing the anchor work, notes if the students 

have a better understanding of poetry. 

Notes how all or selected students progressed in their 

vocal delivery. 

Notes how the class has progressed in their teamwork 

efforts since Model Lesson One. 



Describe how your team worked together when you 

created your performance. 

Write about how you will build upon the work you 

have done to prepare for the final shadow puppet 

performance. 

Write what you learned about poetry. 


In what ways do the ideas from the poems have 

meaning for you and your own life? 

36


Model Lesson Nine – Theatre & Puppetry Arts: Rehearse Your Found Poem Shadow Play 


What are the three elements of poetry we learned? 


What is solo reading with giving and talking focus? 

What are the techniques for manipulating your puppet you have learned? 


Differentiating instruction: Grades 2 - 3 have one group puppeteer, while second group narrates and performs sound effects. 

Grades 4 - 5 break into puppeteers, and narrators and musicians within each group. 

Directions: Model the following steps with one group before each individual group practices the sequence by themselves. 

Each group selects TWO or THREE puppeteers and ONE to THREE narrators and musicians. 

o Teacher devises strategies in which this is done objectively and fairly. 

Each group differentiates and assumes their correct positions. 

o Puppeteers sit behind their imaginary screen, thinking about where the light source is 

They should position themselves so they will not block the light. 

o Narrators sit to the left or right of the screen in the same line as the screen. 

They should be able to see both the puppeteers and the images on the screen. 

o Musicians sit on the opposite side of the screen from the narrators in a position. 

They should be able to see the images on the screen. 

Puppeteers lay the shadow puppets on top of each other in REVERSE ORDER of the puppets’ appearance. 

Narrators divide the lines they will speak as soloists, and which lines will be read in Choral Reading. 

Puppeteers determine which puppets they will manipulate. 

o Teacher devises strategies in which this is done objectively and fairly. 

As the lines are spoken and the scenario (vocabulary in Lesson Five) progresses: 

o The puppeteers COORDINATE the entrance of each puppet with the appropriate lines. 

o The puppeteers COORDINATE the action/emotion of each puppet with the appropriate lines. 

o The puppeteers COORDINATE the exit of each puppet with the appropriate lines. 


Who is speaking in the performance of your Found Poem? 

To whom are the puppets and puppeteers speaking? 

How are the puppets behind the screen communicating the lines of the poem to the audience in front of the screen? 

What are the responses, actions, and emotions of the puppeteers and their puppets in performing the Found Poem for the audience? 



37

Instruction: Tell your students that the words determine the ACTION, for example: 

“you are all people and all people are you” 

o ACTION: Appears to be one person – opens into stream of connected people. 

“All is in motion, is growing, is you.” 

o ACTION: Person dancing amidst growing plants etc. 

Directions: 

When they are speaking, the narrator looks at the focus point. 

The narrator when they are not speaking looks at the screen. 

When doing the Choral Reading, the speakers look at the focus point. 

Side coaching: The students may need help tweaking the performance to give it a clear Beginning, Middle and End. 

To simplify: Teacher narrates while students manipulate puppets. 

To challenge: Devise more complex scenarios involving more challenging puppet actions. Also, rehearse and refine the puppet performance for greater 

quality and coordinate with sound and speech. 

Lesson Extension Add music. Add sound. 

INQUIRE 

What new understanding of the anchor work poem did you get from doing the Shadow Play? 

What new understanding do you have about working as a team? 

CREATE & PERFORM – Becoming an Expert: 

Task: Students perform a small group Shadow Play. 

Criteria 



―Giving and Taking‖ Focus in Choral and Solo Reading. 

Narration that stresses appropriate syllables to indicate meaning. 


Music and sound effects that adds emphasis to the puppet performance. 


Compare and contrast seeing a Shadow Play with seeing a movie, a television show, a play. What are the similarities and differences? 

How did you and your teamwork together? How did you resolve differences? How did you choose the Narrators? Puppeteers? 



38

ASSESS 

In their journals, have students: 

Describe how their team worked together when they created their performance. 

Write what they will do to build upon the work they have done to prepare for the performance. 

Write what they learned about poetry. 


Tell what working together on the performance taught you about living in harmony with each other. 

Teacher makes note and documents: 

After discussing the anchor work, notes if the students have a better understanding of poetry. 

Notes how all or selected students progressed in their vocal delivery. 

Notes how the class has progressed in their teamwork efforts since Model Lesson One. 


VOCABULARY manipulate, Choral Reading, Solo Reading, puppeteer, narrator, reverse order, solemnly, give and take focus. 



All carefully gather puppets scripts with found poems together for each group. This will save much time during the lesson. 

Please check that all puppets and scripts are available before the lesson 

Grades 2-3 – teacher matches groups that will take turns teaming for puppetry and narrator/musicians. 

Grades 4-5 – Groups review found poem and divide into narrator, musician and puppeteer roles amongst group. 

During the Lesson 

Groups alternate using the screens and practicing without screens. 

Teachers/Artists travel to observe rehearsals and provide feedback to groups 

Following Lesson 

Teacher provides additional rehearsal time before Lesson 10. 



39

Model Lesson Ten – Theatre & Puppetry Arts: Performing and Reflecting on Your Shadow Play 


Materials: Found Poems, Shadow puppets, Shadow Puppet Screens and stands, light source for shadow screens and extension cords, control rods, masking tape, sound effects instruments and 

handmade items (optional), tag board; Teacher & Student Assessment Portfolios. 


Essential Questions Related to Lesson and Unit: What new understanding of the anchor work poem did you get from doing the Shadow Play? 

Big Idea for Lesson: A performance is a combination of everything we’ve learned and created so far. 

SUMMARY 

Lesson Ten Outcomes Creative Task & Criteria Assessment Strategies 


Produce a shadow play, using text, puppet movement 

and sound. 

(AP, CE, HCC, AV, CRA) 

Demonstrate through writing, discussing, and 

performance that they have learned the content of the 

lesson. 

Teacher will: 





Lead a reflection/assessment with the class related to 

learning outcomes from the unit. 


What are the various layers we’ve created so far? 



Criteria 


Use of six puppet manipulation techniques 

o Puppet visibility; 

o Unique entrance & dramatic exit; 

o Movement to convey action and emotion; 

o Use of screen space; 

o Varied speed of movement; 

o Coordination of music/sound with puppet 

―Giving & taking‖ of focus in Choral &Solo Reading. 

Use of syllable accentuation for expressive reading of 

Found Poem script. 

Clear articulation of words when speaking 

Use of sound effects to complement and accentuate 

puppet movement. 



Teacher: 

After discussing the anchor work, notes if the students 

have a better understanding of poetry. 

Notes how all or selected students progressed in their 

vocal delivery. 

Notes how the class has progressed in their teamwork 

efforts since Model Lesson One. 


Labels video or photos with appropriate task and/or 

outcomes. 

Uses rubric for Model Lesson Ten at the end of the 

lesson to assess student learning outcomes. 


Describe how your team worked together when you 

created your performance. 

Write what you would do differently if you were to do 

another Shadow Play. 

Write what you learned about poetry. 


Describe what inspired you about your performance. 

Tell what was inspiring about the performances you 

saw. 

40


Model Lesson Ten: Theatre & Puppetry Arts: Performing and Reflecting on Your Shadow Play 


What are the various layers we’ve created so far? 

Directions: Review the criteria for the roles of narrators, puppeteers, musicians and audience. 

EXPERIENCE - Getting Smarter: Rehearsing Your Shadow Play 

Each group will have ten minutes to preset puppets, check script and briefly review the sequence of the performance and the roles of each person in the 

group. 

o Divide the lines of the Found Poem script. 

o Rehearse puppet movements that connect in meaning with the line from the Found Poem. 

o Rehearse reading parts of the Found Poem script, including syllable accentuation. 

o Rehearse solo parts of the Found Poem script, including Giving and Taking Focus and syllable accentuation. 

o Rehearse sound effects that complement the puppetry image and motion. 

INQUIRE 

What new understanding of the anchor work poem did you get from rehearsing the Shadow Play? 

What new understanding do you have about working as a team? 



Criteria 



o Puppet visibility; unique entrance & dramatic exit; movement to convey action and emotion; use of screen space; varied speed of movement; 

coordination of music/sound with puppets. 

―Giving & taking‖ of focus in Choral & Solo Reading. 

Use of syllable accentuation for expressive reading of Found Poem script. 


Use of sound effects to complement and accentuate puppet movement. 

Teacher Tip: Each group performance and then sharing of feedback should be based on the posted criteria. 



41


Compare and contrast seeing a Shadow Play with seeing a movie, a television show, a play. 

How did you and your team work together? How did you resolve differences? How did you choose the narrators? 

ASSESS 

In their journals, ask students to: 

Describe how their team worked together when they created their performance. 

Write what they would differently if they were to do another Shadow Play. 

Write what they learned about poetry and the anchor work poem. 


What inspired you about the performance you presented? 

What was inspiring about the performances you saw? 

Teacher makes note and documents: 

Notes how the class has progressed in their teamwork efforts since Model Lesson One. 

Notes students’ proficiency in vocal delivery and puppet manipulation. 

Uses video to document and label the creative task. 

VOCABULARY manipulate, Choral Reading, solo reading, puppeteer, narrator, reverse order 



42



Demonstrates six, or more, techniques 

for puppet manipulation: puppet 

visibility; dramatic entrance; dramatic 

exit; movement to convey emotion; use 

of screen space; variation of movement 

speed 

Consistently “gives and takes” focus 

when doing individual and group 

Choral Reading 

Always coordinates music/sound with 

puppet movement (depending on role as 

a musician or puppeteer) 

Always cooperates and coordinates with 

other members of group 

Always remembers the sequence of the 

puppet performance 

Is consistently on time with cues and 

personal responsibilities 

Is highly self-motivated 

Consistently uses thinking skills and 



creative way 

Consistently demonstrates strong, clear 

focus throughout performance 

Greatly values the performing process 

Performing and Reflecting on Your Shadow Play 

Demonstrates four to five techniques 




of screen space; vary speed of 

movement 

“Gives and takes” focus when doing 

individual and group Choral Reading 

Usually coordinates music/sound with 

puppet movement (depending on role 

as a musician or puppeteer) 

Usually cooperates and coordinates 

with other members of group 

Usually remembers the sequence of the 

puppet performance 

Usually on time with cues and personal 

responsibilities 


Is self-motivated enough to do the task 

Uses some thinking skills and mostly 

works individually 

Sometimes solves problems in a 

creative way 

Mostly demonstrates strong, clear 

focus throughout performance 

Values the performing process 



Demonstrates three, or less, techniques 




of screen space; vary speed of movement 

Rarely “gives and takes” focus when 

doing individual and group Choral 

Reading 

Rarely, if ever, coordinates music/sound 

with puppet movement (depending on 

role as a musician or puppeteer) 

Rarely cooperates or coordinates with 

other members of group 

Has difficulty remembering the sequence 

of the puppet performance 

Is rarely on time with cues and personal 

responsibilities 


interest 

Lacks the use of thinking skills and 

needs lots of adult help 


creative way 

Rarely, or never, demonstrates strong, 

clear focus throughout performance 

Does not value the performance process 

43

Additional Resources for Selected Poems of Joy Harjo 

Shadow puppetry sites: 

www.shadowlight.org 

bibliography, DVDs, YouTube clips - the premier US shadow puppetry 

www.chinesetheatreworks.org 

History of Chinese traditions of shadow puppetry 

Discussion of Traditional techniques and Modern Innovations 

www.karogoz.net 

History of Turkish Shadow puppets 

www.outreachworld.org 

Shadow puppetry in South India 

www.wikipedia.org - Wayang Kulit 

www.unima-usa.org - International puppet organization; workshop and event listings 

www.puppeteers.org - Puppeteers of America- books, DVD, workshops 

www.lapuppetguild.org - listing of local shows, workshops, puppetry events 

www.aktalakota.org - Akta Lakota Museum and Cultural Center – Piece on the Medicine Wheel 

www.google.com/images 

Search "Tribes of the Indian Nation" map shows the tribes on a map of what is now the United States: 

native_american_map.jpg 

http://www.amazon.com/s/ref=nb_sb_noss?url=search-alias%3Dstripbooks&fieldkeywords=Poetry+Speaks+to+Children+Elise+Paschen+editor 

Poetry Speaks to Children (Book & CD) (Read & Hear) by Elise Paschen, 

Music Center Education and Family Programs 

http://www.musiccenter.org/education/index.html 

General Web Resources 

Other Music Center websites: 

o Institute for Educators 

http://musiccenter.org/institute/ 

o Sample curriculum units developed by 2005 participants 

http://musiccenter.org/education/nea_plans.html 

o Artsource® curriculum units 

http://musiccenter.org/artsource/index.html 



44

o Online Educator Network 

http://www.musiccenter.org/educators/index.html 

CREATE is Culver City Unified School District’s Arts for All district-wide initiative to provide quality 

K-12 arts education and to integrate the arts into the curriculum. 

http://artsccusd.org 

American Alliance for Theatre and Education 

Organization dedicated to promoting standards of excellence in theatre and theatre education, connecting 

artists, educators, researchers and scholars with each other, and providing opportunities for membership to 

learn, exchange, expand and diversify their work, their audience and their perspectives. 

www.aate.com 

Americans for the Arts 

National organization that supports the arts and culture through private and public resource development. 

www.artsusa.org 

ArtLex 

An online art vocabulary lexicon 

www.artlex.com 

Arts Education Partnership 

National collation of arts, education, business, philanthropic and government organizations promoting the 

essential role of the arts in the learning and development of every child and in the improvement of 

America’s schools 

www.aep-arts.org 

ArtsEdge 

The arts education initiative of the Kennedy Center, offering a range of programs, curricula, links and 

resources for educators 

www.artsedge.kennedy-center.org/teach 

Arts for Learning 

A K-12 multimedia professional development project created by Young Audiences Inc, participating 

Young Audience chapters and national arts and arts education organizations across the country 

www.arts4learning.org 

Arts in Every Classroom, The 

A collaborative project of The Annenberg Foundation and the Corporation for Public Broadcasting (CPB), 

Learner.org offers a video library, sample curricula and resources 

www.learner.org/channel/libraries/artsineveryclassroom 

Association for the Advancement of Arts Education, The 

The AAAE teaches teachers how to use the arts to teach social studies, science, math and language arts 

through arts integration 

http://www.oaae.net/OPP/aaae.html 



45

California Alliance for Arts Education 

The CAAE promotes, supports and advocates for visual and performing arts education for preschool 

through post-secondary students in California schools 

www.artsed411.org 

California Art Education Association 

http://www.caea-arteducation.org/ 

California Arts Council 

The state arts council for California, offering grant programs, the arts license plate and links to arts 

organizations across the state, as well as updates on the state’s funding of the arts and arts education 

http://www.cac.ca.gov/ 

California Assembly of Local Arts Agencies 

A non-profit, member-supported organization representing California’s 250 local arts agencies 

www.calaa.net 

California Association for Music Education, The 

http://www.calmusiced.com/ 

California Dance Education Association 

http://www.cdeadance.org/ 

California Department of Education-Visual & Performing Arts 

http://www.cde.ca.gov/ci/vp/ 

California State Visual & Performing Arts Content Standards 

http://www.cde.ca.gov/be/st/ss/index.asp 

California State PTA (SMARTS) 

http://www.capta.org/sections/programs-smarts/index.cfm 

Center for Educator Development in the Fine Arts 

The Center for Educator Development in the Fine Arts (CEDFA) is a project funded by the Texas Education Agency to promote 

student achievement in the fine arts by defining and supporting quality professional development for Texas educators, based on 

the Fine Arts TEKS. 

http://finearts.esc20.net/aboutcedfa/aboutcedfa_home3.html 

Federal Resources for Educational Excellence 

Teaching and Learning Resources from Federal Agencies 

http://www.free.ed.gov/subjects.cfm?subject_id=1 

Los Angeles County Arts Commission 

http://www.lacountyarts.org/artseducation.html 

Massachusetts Cultural Council 

About Teacher Institutes and Anchor Works 

http://www.massculturalcouncil.org/programs/institute_faqs.html#anchor 

Music-In-Education National Consortium 

http://www.music-in-education.org/ 



46

New Horizons for Learning website 

Howard Gardner’s Theory of Multiple Intelligence and Arts Education 

http://www.newhorizons.org/strategies/mi/front_mi.htm 

National Art Education Association (NAEA) 

http://www.naea-reston.org/membership.html 

National Endowment for the Arts 

www.arts.gov 

Meeting the Standards by Susan McGreevy-Nichols 

Susan McGreevy-Nichols’ article on how to develop a standards-based instructional unit for your class. 

http://www.dance-teacher.com/backissues/jan01/k12.shtml 

Scholastic Art & Writing Awards 

Awards in the visual and literary arts open to K-12 students through local and regional networks 

http://www.scholastic.com/artandwritingawards/ 

The California Arts Project (TCAP) 

The state’s subject matter project in Visual & Performing Arts, TCAP’s mission is to deepen teachers’ 

knowledge of dance, music, theatre and visual arts, to enhance student success pre-kindergarten through 

post-secondary, and to develop instructional strategies to support the Visual & Performing Arts Content 

Standards and framework in California’s public schools 

http://csmp.ucop.edu/tcap/ 

TeachingArts.org 

A gateway site to arts education organizations and information in California 

www.teachingarts.org 

Young Audiences Inc. 

The national umbrella organization for Young Audiences’ chapters nationwide is the largest and oldest 

provider of arts education in the U.S. 

www.youngaudiences.org 



47

Visual and Performing Arts Framework for California Public Schools 

CCUSD Recommended Theatre Standards* 

*Selected by the CCUSD Front & Center Theatre Collaborative Teacher Advisory Committee, July 2010 

The content standards are grouped under five visual and performing arts strands: 

1.0 ARTISTIC PERCEPTION (AP) 

Processing, Analyzing, and Responding to Sensory Information through the Language and Skills Unique to Theatre 

Students observe their environment and respond, using the elements of theatre. They also observe formal and informal works of theatre, film/video, and electronic media and 

respond, using the vocabulary of theatre. 

2.0 CREATIVE EXPRESSION (CE) 

Creating, Performing, and Participating in Theatre 

Students apply processes and skills in acting, directing, designing, and script writing to create formal and informal theatre, film/videos, and electronic media productions and to 

perform in them. 

3.0 HISTORICAL AND CULTURAL CONTEXT (HCC) 

Understanding the Historical Contributions and Cultural Dimensions of Theatre 

Students analyze the role and development of theatre, film/video, and electronic media in past and present cultures throughout the world, noting diversity as it relates to theatre. 

4.0 AESTHETIC VALUING (AV) 

Responding to, Analyzing, and Critiquing Theatrical Experiences 

Students critique and derive meaning from works of theatre, film/video, electronic media, and theatrical artists on the basis of aesthetic qualities. 

5.0 CONNECTIONS, RELATIONSHIPS, APPLICATIONS (CRA) 

Connecting and Applying What Is Learned in Theatre, Film/Video, and Electronic Media to Other Art Forms and Subject Areas and to Careers 

Students apply what they learn in theatre, film/video, and electronic media across subject areas. They develop competencies and creative skills in problem solving, communication, 

and time management that contribute to lifelong learning and career skills. They also learn about careers in and related to theatre. 

Grade Two 

Artistic Perception 

1.1 Use the vocabulary of theatre, such as plot (beginning, middle, and end), scene, sets, conflict, script, and audience, to describe theatrical experiences. 


1.2 Use body and voice to improvise alternative endings to a story. 

Creative Expression 

2.1 Perform in group improvisational theatrical games that develop cooperative skills and concentration. 


2.2 Retell familiar stories, sequencing story points and identifying character, setting, and conflict. 


2.4 Create costume pieces, props, or sets for a theatrical experience. 



48

Historical and Cultural Context 

3.1 Identify theatre and storytelling forms from different cultures. 


3.2 Identify universal characters in stories and plays from different periods and places. 

Aesthetic Valuing 

4.1 Critique an actor's performance as to the use of voice, gesture, facial expression, and movement to create character. 


4.2 Respond to a live performance with appropriate audience behavior. 


4.3 Identify the message or moral of a work of theatre. 

Connections, Relationships, Applications 

5.2 Demonstrate the ability to participate cooperatively in the different jobs required to create a theatrical production. 

Grade Three 


1.1 Use the vocabulary of theatre, such as character, setting, conflict, audience, motivation, props, stage areas, and blocking, to describe theatrical experiences. 


2.1 Participate in cooperative script writing or improvisations that incorporate the Five Ws. 


3.2 Identify universal themes in stories and plays from different periods and places. 


4.1 Develop and apply appropriate criteria or rubrics for evaluating a theatrical experience. 


5.1 Use problem-solving and cooperative skills to dramatize a story or a current event from another content area, with emphasis on the Five Ws. 

Grade Four 


1.1 Use the vocabulary of theatre, such as plot, conflict, climax, resolution, tone, objectives, motivation, and stock characters, to describe theatrical experiences. 


1.3 Demonstrate how voice (diction, pace, and volume) may be used to explore multiple possibilities for a live reading. Examples: I want you to go. I want you to go. I 

want you to go. 



49


2.2 Retell or improvise stories from classroom literature in a variety of tones (gossipy, sorrowful, comic, frightened, joyful, sarcastic). 


3.1 Identify theatrical or storytelling traditions in the cultures of ethnic groups throughout the history of California. 


3.2 Recognize key developments in the entertainment industry in California, such as the introduction of silent movies, animation, radio and television broadcasting, and 

interactive video. + 


4.1 Develop and apply appropriate criteria or rubrics for critiquing performances as to characterization, diction, pacing, gesture, and movement. 


5.1 Dramatize events in California history. 

Grade Five 


1.1 Use the vocabulary of theatre, such as sense memory, script, cue, monologue, dialogue, protagonist, and antagonist, to describe theatrical experiences. 


2.1 Participate in improvisational activities to explore complex ideas and universal themes in literature and life. 


3.3 Analyze ways in which theatre, television, and film play a part in our daily lives. 


4.1 Develop and apply appropriate criteria for critiquing the work of actors, directors, writers, and technical artists in theatre, film, and video. 


5.1 Use theatrical skills to dramatize events and concepts from other curriculum areas, such as reenacting the signing of the Declaration of Independence in history social 

science. 



50

Puppetry Arts Content Standards, Strands & Benchmarks, Grades 3 - 5 

Draft Developed by Beth Peterson in partnership with the 

Music Center: Performing Arts Center of Los Angeles County 


Processing, Analyzing, and Responding to Sensory Information through the Language and Skills unique to Puppetry Arts 

1.1 Use the vocabulary of Puppetry Arts such as character, setting, conflict, audience, motivation, props, stage areas, blocking, 

puppeteers, narrator, to describe a puppetry arts experience 

1.2 Identify the Who, What, When Where, and Why in a puppetry arts experience 

1.3 Identify and describe how the placement of layers in the foreground, middle ground and background of a puppet theater 

give the illusion of depth, space and place 

1.4 Compare and contrast two works of art in two different forms of puppetry arts, i.e., -shadow play and Toy Theater 

1.5 Identify and describe visual elements of design – line, contrast, texture, scale, space, value – that are used effectively in the 

creation of puppets, images or set 

1.6 Identify, describe and explore how elements of puppet and mask movement – giving of focus, specific movement choices 

for characters, orientation of puppets to audience among different forms – are used effectively in the creation of puppetry 

arts scenarios 


Creating, Performing and Participating in Puppet Theatre 

2.1 Create unique movements to express character or image within the limitations of 2-dimensional puppet forms 

(i.e., use vertical, horizontal, and lateral space, use of light and shadow etc.) 

2.2 Create sketches to explore ideas for puppet, mask and stage design 

2.3 In teams, create a moving visual sequence of images that explores themes or deepens understanding of a song, 

poem, study topic, or piece of literature 

2.4 Participate in cooperative scriptwriting, storyboarding or improvisation with puppets or masks that incorporate the 

Five W’s 

2.5 Create simple puppet or mask scenarios that share information through a balance of spoken words, visual 

images, movement and sound 

2.6 Through the performance of puppet or mask scenarios, demonstrate a basic knowledge of blocking and use of 

stage areas 

2.7 Explore uses of rhythm and movement in the visual design and/or puppet movement in the scenario 

2.8 Incorporate design elements of scale, use of positive and negative space, and interplay of light and shadow, to 

create shadow puppets and shadow puppet play 

2.9 Create a balance of movement, stillness, and focus for the puppets to express the meaning of the scenario 



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Understanding the Historical and Cultural Dimensions of Puppet Theatre 

3.1 Compare and describe different forms of puppetry that share similar themes, and are from different cultures and different 

time periods 

3.2 Identify mask and puppetry artists from students’ own communities, counties, or states and discuss local or regional puppetry 

arts traditions 

3.3 Identify and describe masks or puppets from different parts of the world and the cultural and historical roles that they played in 

their place of origin 

3.4 Identify and write about a form of puppetry or mask arts that reflects the student’s own cultural background 


Responding to, Analyzing, and Critiquing Puppetry and Mask Arts Experiences 

4.1 Develop and apply appropriate criteria or rubrics for evaluation of different forms of puppetry arts experience 

4.2 Identify successful visual design elements, movement strategies, and expressive qualities of students’ own puppetry or 

mask art works and performances, and describe what might be done to improve them 

4.3 From the audience perspective identify and explain the successful compositional, performance, and communicative 

qualities of a piece of puppet or mask theatre 

4.4 Describe how layers of visual images, movement, text, and emotion contribute to the meaning of a piece of puppetry theatre 


Connecting and Applying What is Learned in Puppetry Arts to Other Art Forms and Subject Areas and to Careers 

5.1 Use problem-solving and cooperative skills to create puppets and visual images to dramatize a story or current event in any 

content area, with emphasis on the five W’s 

5.2 Develop problem-solving and communication skills by working collaboratively on a production and performance team 

5.3 Explain how the time management, problem-solving, cooperation and self discipline skills that are required for creating 

puppet and mask arts, apply to other school activities 

5.4 Describe how the use of puppet and mask arts has affected people’s lives in a variety of cultures 



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Music Center Arts Learning Sequence 

ASSESSING PRIOR KNOWLEDGE 

ANCHOR WORK 

Enduring Understandings 

OVERARCHING CONCEPT 

Introduce Big Ideas and Themes 

Assess Prior Knowledge 

Experience 

Presentation of Anchor Work 

Artistic Perception (AP)* 

Arts Knowledge, Skills & Processes 

to Get Smarter 

Historical/Cultural Context (HCC)* 

Artistic Principles 

Inquire 

Essential Questions 

MAKING CONNECTIONS GETTING SMARTER 

Create & Perform 

Creative Expression (CE)* 

Knowledge, Skills & Processes 

to Become an Expert 

Final Task & Criteria 

Perform/Present Original Creation 

Reflect & Assess 

Deepening Questions 

Making Personal Meaning 

Aesthetic Valuing (AV)* 

Links to Other Curriculum Areas 

and Content Standards 

Connections, Relationships, Application (CRA)* 

Evaluate 

Key VAPA Content Standards 

Rubric 

BECOMING AN EXPERT 

*Visual and Performing Arts Framework for California Public Schools, Kindergarten Through Grade Twelve 

© 2004 by the California Department of Education. 



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The Arts Integration Partnership (AIP) Program: 

During the Institute for Educators’ summer arts immersion, teachers benefit from the 

modeling, collaboration and support of Music Center professional artists. This summer 

experience, combined with a series of artist classroom support visits during the school 

year, enables teachers to: 

Implement a series of anchor work model lessons; 

Learn and practice techniques for guiding and assessing student creative work; 

and 

Increase their competency in integrating the arts into their grade level curriculum 

The AIP program also includes a Leadership Strand to provide: 

Learning opportunities and tools for principals and lead teachers to use to 

increase their knowledge, ability and understanding to support arts education. 

Transformative experiences through the AIP anchor work content, teaching 

strategies and program partnerships to further district and school goals. 

About The Anchor Work Approach: 

The National Endowment for the Arts defines an anchor work as: 

…a recognized significant work of art in any discipline that has sufficient 

artistic merit and intellectual heft to warrant careful aesthetic examination; rigorous 

analysis; criticism; and discussion of artistic principles as well as cultural, civic, or social 

implications that students can draw from the work. 

The Music Center believes that models of artistic excellence should be at the 

core of all arts learning. Great works of art can provide a powerful aesthetic experience 

and help deepen understanding of important ideas and concepts. When chosen carefully, a 

single work of art can serve as the focal point for curriculum development and sustained study. 

This “anchor work approach” is a nationally recognized arts learning model. As teachers, 

administrators and/or students study a masterful, enduring work of art – from either the 

performing, visual or literary arts genres – they strengthen their arts skills and knowledge, gain 

deeper understanding about enduring themes and ideas, and make connections to other 

concepts across the curriculum. 

In the Music Center’s approach to studying anchor works, learners express 

personal meaning through structured creative exercises and performances. As 

learners gain skills in the arts, they develop new tools to communicate their 

understanding of important ideas. Their exploration of these “big ideas” provides 

authentic connections to other core subjects such as literature, language arts, history, 

social studies, science or math. Anchor work content embodies broad perspectives 

and enduring values from our human history. Interpretation and “meaning- making” 

processes promote relevancy to gaining deeper understanding. Touching both mind 

(intellect) and emotions, works of art inform our understanding of the human 

experience by engaging multiple dimensions of our intelligence. 



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Beyond Year One 

AIP Logic Model – BEYOND YEAR ONE 

The following depicts the expectations for two plus years of participation in the AIP. This 

timeline could be applicable for several years (not just year two) depending on the levels of 

commitment and growth of participants. This stage of the logic model could be used in the 

following ways: 

To focus/anticipate longer-term goals 

To chart the direction of the AIP 

To recruit new teachers and schools 

To garner broad support (potential funders) 

Teacher outcomes are based on teachers who participate beyond the first year. It is our understanding that students 

will only have the opportunity to participate for one year. Student outcomes in this section continue to be based on 

student participation for Year One (the previous year) only. 

Beyond Year One Outcomes 

Music Center Outcomes 

Music Center continues to play integral role in providing professional development to teachers 

participating in the AIP 

Music Center continues to provide ongoing support for arts programming infrastructure at the 

school and district levels 

Music Center revises AIP on ongoing basis to meet needs of student, teacher, school, and 

district goals 

District Outcomes 

AIP continues to expand into new elementary classrooms 

AIP continues to expand into middle school classrooms 

AIP participants begin to build learning communities across elementary, middle and high 

schools (linked from Teacher Capacity) 

Principals and district staff work to support the conceptual framework surrounding the AIP 



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School Outcomes 

Principals continue to encourage buy-in for the AIP 

Principals continue to provide effective program support 

Schools have begun to develop professional learning communities dedicated to supporting 

classroom growth and effectiveness for the AIP (link to Teacher Capacity—system of 

mentorship and support) 

AIP is part of the school’s curriculum, and overlaps with other core areas of learning 

Teacher Outcomes 

Teachers continue to participate in the AIP beyond Year One 

Teachers who continue to participate in AIP in 2011-2012: 

o Successfully implement and assess anchor work-based model lessons 

o Develop facility in adapting the anchor work approach to learning across the 

curriculum 

o Have begun to integrate the anchor work approach to learning across the curriculum 

o Use successful and engaging teaching strategies that they have learned through the 

AIP in other areas of the curriculum 

Continuing and new program teachers participate in professional learning communities 

dedicated to supporting classroom growth and effectiveness for the AIP 

Student Outcomes 

As a result of cultivating students’ appreciation for the arts and art-related skills, students 

approach learning in the arts and other areas with an increased receptivity toward learning new 

concepts and skills 



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Sequence of 10 Support Visits & Teacher Follow Up/Preparation for Lessons featuring Selected Poems of Joy Harjo 

Date: 

Model Lesson ONE – Puppetry: Introduction to the Anchor Work – 

Create a Storyboard Print 

Artist models investigation of poem, print making and storyboard 

process. 

Teacher observes, gives feedback 

Date: 

Model Lesson TWO – Theatre: Movement and Stillness on Stage – 

Learning the Walk/Freeze & Tableaux 

Artist models 


Date: 

Model Lesson THREE – Theatre: The Found Poem 

Teacher demonstrates 

Artist observes teacher; gives feedback 

Teacher uses rubric to assess 

Date: 

Model Lesson FOUR – Puppetry: Design a Shadow Puppet 

Artist models 

Teacher observes and co-teaches 


Date: 

Model Lesson FIVE – Puppetry: Build a Shadow Puppet 

Artist models and Teacher Co-teaches 

Artist and Teacher travel to students to ensure readable scale and use 

of shapes 

Artists and Teacher assist when needed with fine detail cuts 



Teacher Follow-up & Preparation 

Teacher teaches on their own between visits to reinforce practice 

Teacher posts storyboard with students placing captions and prints in 

sequential order of the poem 

Curriculum integration strategies: 


Teacher teaches on their own in-between visits to reinforce practice 


Teacher introduces the additional poems to the class that will be used in the 

creation of students’ Found Poem 



Teacher works with students to complete their found poems 

If time allows, Teacher show some of the shadow puppetry clips from the 

DVD 

Teacher prepares supplies 


Teacher Follow-up & Preparation (Check on Puppetry supplies, materials) 

Teacher reviews and continues Lesson #4 on their own between visits for 

o Students to complete their puppet designs that connect in content to each 

student’s line in the found poem 


Teacher Follow-up & Preparation (Check on Puppetry supplies, materials) 


students to complete building their puppets. 


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Sequence of 10 Support Visits & Teacher Follow Up/Preparation for Lessons featuring Selected Poems of Joy Harjo 

Date: 

Model Lesson SIX – Puppetry: Choral Reading of the Found Poem 

Artist models 

Teachers observes and takes turns leading 


Date: 

Model Lesson SEVEN – Theatre: Giving and Taking Focus 

Artist models 

Teacher observes and participates 

Teacher & Artist supervise a screen for the puppet movement practice 

Teacher uses rubric to assess student learning outcomes 

Date: 

Model Lesson EIGHT – Puppetry: Creating Meaning through 

Motion & Sound – Bring Your Puppets to Life! 

Artist models 


Date: 

Model Lesson NINE – Theatre & Puppetry: Rehearse Your Found Poem 

Shadow Play 

Rehearsal and “Performance!” 

Teacher and artist co-teach 

Date: 

Model Lesson TEN – Theatre & Puppetry: Performing and Reflecting on 

Your Found Poem Shadow Play 

Final student performance and reflection 

o Teacher leads 

o Artist observes, coaches and/or co-teaches 

o Students use criteria to discuss their own/others’ performances 





Teacher guides students in practicing skill in “speaking as one voice” and 

“communicating meaning” 




students to complete practice of puppet movement 




students to reinforce practice. 

(grades 2,3) Teacher matches groups for performance so that one group will 

narrate and perform sound effects for the other group’s performance and vice 

versa. Both groups will have copies of the found poems. 

(grades 4,5) Teacher provides team time for student to decide who will narrate, 

puppeteer or do sound effects for their group’s performance 



Teacher and students repeat Shadow Play performance before Visit Ten 


Culminating Week / Follow-up 

Teacher follows-up with students to debrief their learning/understanding of 

poem 

Evaluation meeting scheduled for teachers and Music Center staff 

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Selected Poems of Joy Harjo - Music Center

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