Selected Poems of Joy Harjo - Music Center

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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. ASSESS PRIOR KNOWLEDGE 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? EXPERIENCE - Getting Smarter 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. 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. 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? 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. 15
Page 1 and 2: 2011 Institute for Educators Culver
Page 3 and 4: Remember by Joy Harjo Remember the
Page 5 and 6: Model Lesson One - Puppetry Arts: I
Page 7 and 8: Teacher guides group in focusing on
Page 9 and 10: Step-by-Step Sequence of Learning -
Page 11 and 12: Model Lesson Three - Theatre: The F
Page 13 and 14: INQUIRE Can you find another - mayb
Page 15: Model Lesson Four - Puppetry Arts:
Page 19 and 20: ASSESS Explain concepts of design f
Page 21 and 22: Model Lesson Five - Puppetry Arts:
Page 23 and 24: INQUIRE What size is ideal for the
Page 25 and 26: Model Lesson Six - Theatre: Choral
Page 27 and 28: INQUIRE For the audience: How does
Page 29 and 30: Materials: Chart paper and markers,
Page 31 and 32: CREATE & PERFORM - Becoming an Expe
Page 35 and 36: Demonstrate a few possibilities (e.
Page 37 and 38: MODEL LESSON 8 / ASSESSMENT RUBRIC
Page 41 and 42: ASSESS In their journals, have stud
Page 45 and 46: MODEL LESSON 10 / ASSESSMENT RUBRIC
Page 47 and 48: o Online Educator Network http://ww
Page 49 and 50: New Horizons for Learning website H
Page 51 and 52: Historical and Cultural Context 3.1
Page 53 and 54: Puppetry Arts Content Standards, St
Page 55 and 56: Music Center Arts Learning Sequence
Page 57 and 58: Beyond Year One AIP Logic Model - B
Page 59 and 60: Sequence of 10 Support Visits & Tea

Selected Poems of Joy Harjo - Music Center

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