PROCESS DRAMA FROM TEXT:
I.
Standards
A. Utah State Core Curriculum
Standard(s)
SOCIAL STUDIES STANDARDS:
UEN 5th Grade Social Studies, “Standard 4: Students will
understand that the 19th century was a time of incredible change for the United
States, including geographic expansion, constitutional crisis, and economic
growth.
Objective 3 Evaluate the course of events of the Civil War
and its impact both immediate and long-term.
a. Identify
the key ideas, events, and leaders of the Civil War using primary sources (e.g.
Gettysburg Address, Emancipation Proclamation, news accounts, photographic
records, diaries).
b. Contrast the impact of the war on individuals in various
regions (e.g. North, South, West).”
DRAMA STANDARD:
UEN 5th Grade Theater “Standard 2: Acting A student
will cooperate, imagine and assume roles, explore personal preferences and
meanings, and interact in classroom dramatizations.”
B. Central Focus
a.
Unit Summative Assessment
II. Intended Learning Outcomes
A. Lesson Objective
Students will understand how terrible and sad the Civil War
was, and how it impacted people emotionally.
B. Learning Target/Indicator
1. Students will participate in a process drama, playing the
various roles of people who were alive during the Civil War, being able to
empathize with the types of people that they portray.
2. Students will write about what they felt during the
process drama, after discussion and finishing the process.
III. Assessment of Student
Progress
A.
Pre-assessment.
B. Ongoing Formative Assessment.
C.
Final
Formative Assessment (as needed).
IV. Preparation
A.
Students’
prior knowledge and skills.
B. Teacher preparation.
a. Materials
Just in Time, Abraham Lincoln by Patricia Polacco.
Paper, or a journal for
students to write about the experience.
C.
Plan
for Differentiation
D. Academic Language
a. Language Function
Students will express their
feelings as they empathize with those from the past and the story.
b. Language Demand
i.
Syntax
Students will describe their
feelings, beginning with how they felt before the process drama, and how their
feelings changed through the experience.
ii.
Vocabulary
Empathize, Empathy, Antietam,
Civil War, Lincoln, Glass Plates, Photographs, Museum, Reenactment.
iii.
Discourse
Students will discuss their
feelings, as well as write about them.
c.
Language Support
Students will be guided in
their actions, and have vocabulary explained to them.
E.
Technology
Use and Purpose
F.
Student
preparation (if applicable).
V. Instructional Procedures (including differentiation)
A. Instructional model(s)
Warm Up: Explain to students
that they will be acting along with the story of a book. Have students think
about how they were in the role of characters during their plays, and during
their Civil War booklet activity.
a. (Steps for the model)
Process Drama:
1. Introduce the book, Just in
Time, Abraham Lincoln by Patricia Polacco. Ask students what they think the
story will be about based the title and cover. How does the cover make them
feel?
2. Role-play: Read the first page, and ask students to imagine they
are on a train heading for Washington D.C., just like the main characters. Tell
students to imagine that they are being told to put away all of their
electronic devices for the trip. Ask them how they would feel at this moment.
3. Questions: Ask students if they know anything about Harper’s Ferry,
what they know about photographs during the Civil War, and ask them what they
think makes Mr. Portufoy “a ‘true expert’ on the Civil War.” (p.2)
4. Questions: Pages 3-5, Ask students to imagine they saw Civil War
relics, uniforms, and so on. How would they feel? Do they think it would have
been cool to have been in the war? What do they think it was like?
5. Role-play: Teacher will ask for two students to play the role of
the two boys in the story. These students will step out the door and wait while
the class gets into their roles.
6.Teacher in Role: The teacher will take on the role of Mr. Portufoy,
and tell the students the text from the book. That they will be in 1962, and
that their rule is that they can’t tell anyone they are from the future. (p.
5). Tell students to walk out of the door.
7. Role-play: Turn off lights in the classroom to represent how it is
dark outside, while it was light before (day). Have students in the classroom
get into Still Image (Tableus). Some
students will be posed as town folk, others as soldiers. The students will be
frozen in their role, and the two students playing the boys will be allowed to
come back into the classroom.
8. Thought-tracking: Ask the two boys to go around and ask the still
students to describe who they are, and what they are feeling and doing.
9. Teacher in Role: Teacher will play the photographer and ask the
boys to hurry along to their destination.
10. Role Play: Select a student to play Abraham Lincoln, but do not
tell the students who it is until teacher in role has bowed and said “’Mr.
President…’ …‘An honor’” (p. 8).
11. Question: How might Abraham Lincoln be feeling right now? What do
you think? What do you know about him already?
12. Guided Imagery/Visualization: Teacher will narrate as the boys
travel in the stage coach with the President to the sight of the battle,
impressed with the “actor” who is “playing” Abraham Lincoln.
13. Role-play: Ask the two students and Lincoln student to step outside
the room again, and close their eyes. Imagining that they are walking the hills
and the battlefield just described.
14. Tableu / Role Play: Have remaining students lie down around the
classroom as though they were the dead soldiers from the battle. Show them the
illustrations depicting this scene, and ask them to remain silent and still as
they listen, imagining how the battle must have felt for these soldiers who
gave their lives.
15. Role Play: Have the two students enter back into the classroom.
Show them the illustrations, and describe what they are seeing. Ask them how
they feel in this moment. Then have the President come in, and read page where
Lincoln discusses the battlefield with the boys. Tell the student that they
feel it is their fault (next page as well).
16. Role Play / Questions: Ask students how they would feel were they
President Lincoln. Ask students how they would try and comfort President
Lincoln. Remind students of the one rule not to tell they are from the future.
What would they say to the President? Class discussion.
17. Read: Read what the boys say to the President.
18. Tableu / Role Play: Have a student play General McLellan, and have
the students freeze in place for a photograph. Discuss how still they must
remain.
19. Narrate: Teacher narrates or reads as the boys return to Harper’s
Ferry. Ask students how they would feel to be “’…stuck in 1862…’” (p.22 of
text).
20. Role play: Tell two students to go back out the door, and close
it, imagining they are stuck in 1862. Have
students return to their seats while the boys are outside. Then Teacher in Role have students return
into the classroom, and lecture them for breaking the rule and telling Lincoln
they were from the future. Finish
reading the story.
21. Discussion: Ask students how the drama made them feel, what have
they learned about the Civil War? About war in general?
22. Writing: Have students write about their feelings, either on a
paper, or in their Civil War journals.
●
Attach any supplementary
materials you will use in your lesson.
VI. Accommodations
Reflection
(questions from rubric):
What
worked well?
Adapting
a book about the Civil War worked really well for Process Drama. I think that
the students did a good job overall. There was some giggling, but overall the
students did a good job staying serious, and putting themselves in the roles.
There were some students who seemed to learn from this lesson, and enjoyed it.
There were students that seemed excited to have drama. It helped that they had
done process drama before, and that they performed reader’s theater / play
recently as well.
What did
you learn?
It took
a lot longer than I anticipated: about 44 minutes, and that was before they
were done writing their reflections in their Civil War diaries. I cut some out,
and shortened the end the story as well. Most of the emphasis was in the
middle, which was where I wanted it. I probably focused too much on the
beginning of the lesson. It was good overall.
What
would you do again, or change in the future?
I would
have more roles for more students, I would do better at Teacher in Role, and I
would have prepared the students more for their tableaus as well. There were
things that I could have improved on. Less time at the beginning, jumping more
in. And a better warmup would have been good as well. I will teach 5th grade
next year, and will improve and adapt this better for next year.
Did your
students achieve the learning goals for the lesson?
Students
learned more about Abraham Lincoln’s personal feelings about the war, which
actually fits the standard. That was great. At least one student remarked how
war seemed more harsh, or sad than before, something along those lines. I did
not have much time to listen to their diary entries, but we had discussion at
the end that was good.
INTEGRATED ART LESSON I:
This lesson basically already existed, but I created the lesson plan. It is based heavily on a lesson my homeroom teacher already had.
I.
Standards
A.
Utah State
Core Curriculum Standard(s)
5th Grade Social Studies:
Standard 4, Objective 4: Understand the impact
of major economic forces at work in the post-Civil War.
b.
Describe the wide-ranging impact of the Industrial Revolution (e.g. inventions,
industries, innovations).
c.
Evaluate the roles new immigrants played in the economy of this time.
5th Grade Fine Arts, Drama:
Strand: CREATE (5.T.CR.): Students will
conceptualize, generate, develop, and organize artistic ideas and work. They
will complete and refine drama works (Standards 5.T.CR.1-7)
Standard 5.T.CR.3: Write or record simple
dramas that include the five Ws of who, what, where, when, and why.
B. Central Focus
a. Students
will learn about the Industrial Revolution in the United States.
II.
Intended
Learning Outcomes
A.
Lesson
Objective
Students will learn what child labor was like
during the industrial revolution.
B.
Learning
Target/Indicator
Students will create, and perform roles as
child laborers during the industrial revolution, displaying proper dramatic and
historical information. They will be interviewed by other students, who will
ask them questions to learn more about their role and the time period.
III. Assessment of Student Progress
A.
Pre-assessment.
Students will be asked to share what they
already know about the industrial revolution, and child labor. The teacher will
give background information as needed, depending on student levels of
understanding.
B. Ongoing Formative Assessment.
Teacher will observe, and redirect, as
students prepare and perform their historical roles and interviews.
C.
Final Formative
Assessment (as needed).
Teacher will ask students to summarize what
they learned and felt as they prepared, and performed their roles, as well as
interviewed peers.
IV. Preparation
A.
Students’
prior knowledge and skills.
Students need to be able to create and perform
roles, as well as have a basic understanding of the Industrial Revolution.
Students must also be able to take on the role of interviewer and accept the
role their peers have adopted.
B.
Teacher
preparation.
a.
Materials
Collection of photographs depicting child
laborers (http://www.archives.gov/education/lessons/hine-photos/ and/or
http://www.loc.gov/pictures/search/?st=grid@c=100&co=nclc), for students to
adapt to a role and perform from.
Students will need paper and writing utensils
to create their roles, and write down their questions and answers for the
interviews.
b. Study
Teacher will research the information on the Hine photos, to
be able to describe them to students and understand the historical context.
C.
Plan for
Differentiation
Students will have the option to have a cue card
with them, to help them know their role, but this will be optional.
D.
Academic
Language
a.
Language
Function
Students will create roles, and use
appropriate language for their roles, as well as discussion one with another in
their roles. Students will then discuss what they learned after the
performances and interviews.
b.
Language
Demand
i.
Syntax
Students will organize their ideas of their
characters into the 5 W’s.
ii.
Vocabulary
Industrial Revolution, Child Labor, Immigrant,
5 W’s (Who, What, Where, When, Why), Role, Performance, Perform, Interview
iii.
Discourse
Oral, students will speak in roles, and
discuss their learning.
c.
Language
Support
Students will be given vocabulary definitions
and guidance as they are to create their roles, as well as modeled examples.
E.
Technology
Use and Purpose
None.
F.
Student
preparation (if applicable).
None required.
V.
Instructional Procedures (including differentiation)
A.
Instructional
model(s)
a.
The
teacher(s) will put up the photographs around the room.
b.
The
instructor will ask students what they already know about the Industrial
Revolution, and if they have heard about child labor during that time period.
c.
The class
will discuss what students share.
d.
The
instructor will explain to students that they will be taking on roles as child
laborers, and as interviewers, and will take turns interviewing each other.
They will need to remember 5 W’s as they create their roles, or the parts they
will play: Who, What, Where, When, and Why. They will then perform these roles
as they are interviewed.
e.
Students will
be divided up into group 1, and group 2, to ensure as close to an even amount
of interviewers to roles.
f.
Students will
be given time to wander the gallery, and view the images around the room.
g.
After 5-10
minutes, students will be told to choose the photograph that they will create a
role from, and to develop their character.
h.
Give students
10-15 minutes to create their roles (5 W’s, and ideas from interview
questions).
i.
Have one
group perform their roles first, and tell the other group to each find one
person to interview. Students will need paper to write down the questions and
answers for the interviews.
j.
Possible
interview questions include (given by Michelle Nielson):
“1. What
is your family like?
2.
How many brothers / sisters
3.
Hours
4.
Wages
5.
What do you do with your wages
6.
Put out $ yourself?
7.
What do with unsold papers/
8.
Why smiling?
9.
How long worked? Choice or have to?
10.
Where do you live?
11.
Who is your boss? Like?
12.
Do you have any competition?
13.
Hardest part of your job?
14.
Afraid?
15.
Friends
16. How
do you sell more papers?”
k.
After about 5
minutes (students will ask at least 15 questions) students will switch roles,
and have the other group assume their roles, and the other students become
interviewers.
l.
After all
students have performed, and interviewed, the class will gather to discuss what
they felt and learned from the performances and interviews. What drew them to
the photograph they chose? How did they choose the answers to the 5 W’s for
their role?
m.
Formatively
Assess what students share at the end of the lesson, then share information
from the Hine website as appropriate.
●
Attach any
supplementary materials you will use in your lesson.
“Teaching With Documents: Photographs of Lewis Hine: Documentation of
Child Labor
Background
"There
is work that profits children, and there is work that brings profit only to employers.
The object of employing children is not to train them, but to get high profits
from their work."
-- Lewis
Hine, 1908
After the Civil War, the
availability of natural resources, new inventions, and a receptive market
combined to fuel an industrial boom. The demand for labor grew, and in the late
19th and early 20th centuries many children were drawn into the labor force.
Factory wages were so low that children often had to work to help support their
families. The number of children under the age of 15 who worked in industrial
jobs for wages climbed from 1.5 million in 1890 to 2 million in 1910.
Businesses liked to hire children because they worked in unskilled jobs for
lower wages than adults, and their small hands made them more adept at handling
small parts and tools. Children were seen as part of the family economy.
Immigrants and rural migrants often sent their children to work, or worked
alongside them. However, child laborers barely experienced their youth. Going
to school to prepare for a better future was an opportunity these underage
workers rarely enjoyed. As children worked in industrial settings, they began
to develop serious health problems. Many child laborers were underweight. Some
suffered from stunted growth and curvature of the spine. They developed
diseases related to their work environment, such as tuberculosis and bronchitis
for those who worked in coal mines or cotton mills. They faced high accident
rates due to physical and mental fatigue caused by hard work and long hours.
By the early 1900s many
Americans were calling child labor "child slavery" and were demanding
an end to it. They argued that long hours of work deprived children of the
opportunity of an education to prepare themselves for a better future. Instead,
child labor condemmed them to a future of illiteracy, poverty, and continuing
misery. In 1904 a group of progressive reformers founded the National Child
Labor Committee, an organization whose goal was the abolition of child labor.
The organization received a charter from Congress in 1907. It hired teams of
investigators to gather evidence of children working in harsh conditions and
then organized exhibitions with photographs and statistics to dramatize the
plight of these children. These efforts resulted in the establishment in 1912
of the Children's Bureau as a federal information clearinghouse. In 1913 the
Children's Bureau was transferred to the Department of Labor.
Lewis Hine, a New York
City schoolteacher and photographer, believed that a picture could tell a powerful
story. He felt so strongly about the abuse of children as workers that he quit
his teaching job and became an investigative photographer for the National
Child Labor Committee. Hine traveled around the country photographing the
working conditions of children in all types of industries. He photographed
children in coal mines, in meatpacking houses, in textile mills, and in
canneries. He took pictures of children working in the streets as shoe shiners,
newsboys, and hawkers. In many instances he tricked his way into factories to
take the pictures that factory managers did not want the public to see. He was
careful to document every photograph with precise facts and figures. To obtain
captions for his pictures, he interviewed the children on some pretext and then
scribbled his notes with his hand hidden inside his pocket. Because he used
subterfuge to take his photographs, he believed that he had to be
"double-sure that my photo data was 100% pure--no retouching or fakery of
any kind." Hine defined a good photograph as "a reproduction of
impressions made upon the photographer which he desires to repeat to
others." Because he realized his photographs were subjective, he described
his work as "photo-interpretation."
Hine believed that if
people could see for themselves the abuses and injustice of child labor, they
would demand laws to end those evils. By 1916, Congress passed the
Keating-Owens Act that established the following child labor standards: a
minimum age of 14 for workers in manufacturing and 16 for workers in mining; a
maximum workday of 8 hours; prohibition of night work for workers under age 16;
and a documentary proof of age. Unfortunately, this law was later ruled
unconstitutional on the ground that congressional power to regulate interstate
commerce did not extend to the conditions of labor. Effective action against
child labor had to await the New Deal. Reformers, however, did succeed in
forcing legislation at the state level banning child labor and setting maximum
hours. By 1920 the number of child laborers was cut to nearly half of what it
had been in 1910.
Lewis Hine died in
poverty, neglected by all but a few. His reputation continued to grow, however,
and now he is recognized as a master American photographer. His photographs
remind us what it was like to be a child and to labor like an adult at a time
when labor was harsher than it is now. Hine's images of working children
stirred America's conscience and helped change the nation's labor laws. Through
his exercise of free speech and freedom of the press, Lewis Hine made a
difference in the lives of American workers and, most importantly, American
children. Hundreds of his photographs are available online from the National
Archives through the National Archives Catalog .”
VI. Accommodations
If needed, the teacher could use a microphone
to help any students who are hard of hearing better obtain the information
being shared.
RESOURCE:
From the website, the Process Drama tools:
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