JodiS3

=Stage 3 Plan Learning Experiences and Instruction=

// **Note:** **Each lesson must consider the TPACK framework.** // (How are you using technology as a teacher? How are your students using technology?) Aural: Verbal: Physical: Logical: Social: Solitary**: [|Recipes4Success Lesson Library]. Here you will find exciting, standards-based lessons for Tech4Learning products. Each lesson includes step-by-step directions for both teachers and students, as well as links to high-quality examples, templates, and support resources.
 * 1. (W)** **Where** (Students understand that....), **Why** (Real Life), **What** (MLR)
 * 2. (H)** **Hook** (Engage)
 * 3. (E)** **Equip** (Content - Students will know...), **Explore** ([|Graphic Organizer]), **Experience** ([|Cooperative Learning]), and Resources (Include Web resources)
 * 4. (R)** **Rethink, Revise, Rehearse,** and **Refine** (Feedback, [|Checking for Understanding])
 * 5. (E)** **Evaluate** (Formative Assessment)
 * 6. (T) Tailor** (use the seven [|Learning Styles])
 * Visual:
 * 7. (O)** **Organize** (Students will be able to ...), Product (Technology), and Timeframe (total minutes? over how many days?)

=Technology is in bold type= =Lesson 1 / Facet 6 Self-Knowledge= 2. Tribes will need to convice others that their poet's voice in poetry makes them distinctive and memorable. The winning tribe will be granted immunity and cannot be voted off the island. To begin, students will write a journal entry answering the following questions:
 * **Consider the W.H.E.R.E.T.O. elements**. **(L)** ||
 * 1.MLR A2 d. Students analyze the literary devices that define a writer's style and use those elements to interpret the text. In this lesson, tribes will develop a definition of what is meant by //voice// in poetry and defend their poet by persuading others that their poet's voice makes them distinctive and memorable.
 * What do you see?
 * Who are you?
 * Where do you come from?
 * What obstacles have you overcome in life?
 * What do you feel strongly about?

3. Tribes will choose a poem by their poet that they believe answers the following questions about their poet: 4. Students will write a short poem that expresses their personal //voice//. The poem can build upon ideas, images, and themes they explored in their journal, and they can use one of their poet's poems as a model. When they have completed the poem, students will write out a definition of //voice// that uses some of the qualities of voice we discussed in class. They should be prepared to talk in class about the ways in which your poem expresses qualities of their own voice as a writer. 5. Immunity challenge: Read your poet's poem aloud to the class in a way that expresses that author's voice. Then, using the **persuasive map on Read/Write/Think**, outline a persuasive speech in which you convince others that your poet's voice makes them distinctive and memorable. The winning tribe will be safe from elimination. 6. 7. Students will be able to define voice in poetry, and deliver a persuasive speech. Length of lesson: 3 class periods. || =Lesson 2 / Facet 2: Interpretation=
 * What do you see?
 * Who are you?
 * Where do you come from?
 * What obstacles have you overcome in life?
 * What do you feel strongly about?
 * Visual:** use of persuasion map graphic organizer
 * Aural:** listening to others read poems aloud
 * Verbal:** persuasive speech
 * Physical:** writing definitions of voice on chart paper
 * Logical:** proving that the author is distinctive and memorable (reasoning)
 * Social:** working in a tribe
 * Solitary**: writing an individual poem

turn the poet’s words into pictures or doodles.
 * **Consider the W.H.E.R.E.T.O. elements**. **(L)** ||
 * **1.** MLR A2 e. Studnets will identify and analyze recurring themes that appear frequently across traditional and contemporary works.
 * 2.** A picture may be worth a thousand words. In this activity, you are going to

1. You will be choosing a poem to read in class. 2. While you are reading, you will keep a journal, but this is a different kind of journal. In order to respond to your poem, you will be drawing pictures, shapes, symbols, and colors—in other words, doodles. 3. Cover your pages with doodles. 4. After you finish reading and journaling, look over your doodle journal and see if there are any doodles you wish to add to or change.
 * 3.** Reading and Journaling :

Decide which doodles from the journals would best tell your poem to the rest of the class. Remember, they haven’t read your poem. Whichever tribe does the best job depicting the theme of their poem using doodles will win immunity. Place the title of your poem somewhere on your Doodle Splash. When the teacher calls on your group, go to the front of the class and present your Doodle Splash, explaining how your chosen doodles tell your poem. Be sure that you cover the theme of your poem. Timeframe: 1 class period || =Lesson 3/ Facet 4: Perspective=
 * 4.** Share your journals in the tribes and use them to discuss your poem.
 * 5. Use the** [|Doodle Splash Student Interactive] **to create a doodle splash** of your chosen poem. Also fill out the following self-assessment and tribe assessment. [|Student Reflective Assessment]. [|Student Group Assessment] You will then read your poem aloud to the class, then explain how your doodle splash conveys the theme of the poem.
 * 6. (T) Tailor** (use the seven [|Learning Styles])
 * Visual:** putting a poem into graphics
 * Aural:** listening to other tribes desribe their doodles
 * Verbal:** reading the poem aloud and explaining the doodle splash
 * Physical:** doodling
 * Logical:** explaining patterns in the doodle
 * Social:** working with a tribe to create one doodle splash
 * Solitary**: creating their own doodles
 * 7.Using the interactive doodle splash tool on Read/Write/Think****,** create your tribe's final doodle splash. (technology)


 * **Consider the W.H.E.R.E.T.O. elements**. **(L)** ||
 * **1.** Through the use of dramatic reading and the exploration of Internet resources, sixth- through eighth-grade students build a greater understanding of poetry and the poet's voice. Further, the experience requires students to analyze and develop their own interpretation of a poem's meaning and representation through performance. Extension activities involve students giving an oral poetry performance of their own poetry writing. MLR A2 d. Students analyze the literary devices that define a writer's style and use those elements to interpret the text.
 * 2.** Begin by displaying a copy of William Carlos Williams' [|"The Red Wheelbarrow,"] written out in paragraph form. Have students read the paragraph aloud. Next, explain to students that in poetry each line is a unit of meaning. Tell them that the words a writer uses at the end of each line are specifically chosen to build meaning. Then, display a copy of the same poem in its original form. Again, ask students to read the poem aloud. Discuss how its meaning is affected by the way in which the poem is written.

Display several poems on an overhead and engage students in a shared reading of the poems. Read them several times in a variety of ways, placing the emphasis on different words and lines within the poem or reading with a variety of loud and soft expressions. Discuss with students how the reading of the poems affects their meaning.
 * 3.** Next, have students complete the [|In the Poet's Shoes] **WebQuest**. Begin by reading the directions together. Explain to students that they will be using the Internet to evaluate a variety of poets and select a favorite poem. At this time, ask students if they have a favorite poem or poet that they would like to explore. (Note that Shel Silverstein is not included on any of the websites). Encourage students who do not have a favorite poem or poet to ask their parents or grandparents for a suggestion. This is also helpful for students who are overwhelmed by the number of poets at each website. Remind students that although a particular poet may appear on more than one website, they are required to view each poet only once.

Have students complete the [|Thinking About Poetry] handout and the [|Thinking About Poetry Notes] handout as they work on the Internet. These handouts are linked directly to the WebQuest for students to print.

After students have completed the WebQuest and the two Thinking About Poetry handouts, ask them to submit one copy of the poem that they selected for their performance with a one-paragraph explanation for why they selected that poem (see WebQuest for further directions).

=Lesson 4 / Facet 3: Application=
 * 4.** Direct students to print a copy of the [|Preparing for Your Performance] handout (also linked to the Webquest). Allow students time in class or for homework to use this handout to prepare for their presentation. As students prepare, give them time in class to rehearse their performance and to work with peers on meaning and interpretation. Also consider having students tape record themselves reading the poem so that they can hear their performance and practice varying tone, voice, and emphasis.
 * 5.** Set aside a day for the performance. Set the mood by covering desks with butcher or art paper. Ask students to illustrate their favorite lines of the poem and display their drawings around the room.
 * 6. (T) Tailor** (use the seven [|Learning Styles])
 * Visual:** illustrations of favorite lines
 * Aural:** listening to performances
 * Verbal:** reading the poem aloud
 * Physical:** performing in front of the class
 * Logical:** interpreting meaning
 * Social:** working in tribes
 * Solitary**: rehearsing their parts
 * 7.** Students will
 * Analyze a variety of poems from a variety of online resources
 * Compare the concrete similarities and differences of several poems
 * Build connections between personal experience and literature
 * Analyze the elements a poet uses to develop meaning
 * Explore and develop an understanding of audience, speaker, narrator, and writer
 * Analyze mood and theme
 * Explore the impact spoken language has on meaning
 * Use dramatic voice and expression
 * Evaluate their own performance and the performance of others based on a specific evaluation rubric
 * Timeframe: 3 class periods ||


 * **Consider the W.H.E.R.E.T.O. elements**. **(L)** ||
 * **1.** |||| In the course of participating in the "Poetry Writing" project students will: ||
 * [|1.] || Identify unique characteristics of the poetry genre. ||
 * [|2.] || Practice poetry writing skills such as rhythm, rhyming, and descriptive vocabulary. ||
 * [|3.] || Follow the writing process to create original poetry. ||
 * [|4.] || Understand how to review and revise their own writing. ||
 * [|5.] || Use Web technology to post original writing online. ||

Visit her "[|Write Your Own Poem Riddle]" page for riddle writing tips or [|Riddle Writing Hints.] Share an //I Spy// book with students, if possible, to familiarize them with the poetic style. Tap out the rhythmic pattern with students as they read. Read aloud Jean Marzollo's "[|Write Your Own //I Spy// Riddle]" page with students. Encourage students to view the [|published pieces of poetry] to use as models for their own work. Invite them to tour the //[|I Spy]//[| gallery] for models.
 * 2.** Author Jean Marzollo leads students on a poetry writing journey using her riddle-writing style from the award-winning I Spy series. Using models of her published riddles and photographs from her books, Ms. Marzollo turns a complex writing style into a simple format that young students can copy and extend.
 * 3.** Jean Marzollo
 * 4.** Jean Marzollo: Encourage students to write four lines of a riddle poem. Remind them to notice the placement of rhyming words and punctuation. You may wish to encourage eager writers to return to this section on a monthly basis to publish new I Spy work.

When students are done with their drafts, have them exchange papers with a peer for comments. Partners can write their comments on the draft itself. Then have students follow the [|revising guidelines]. If you are working with a Classport partner class, exchange drafts via e-mail for peer review and comment. While students revise their drafts, have them check for spelling, grammar, and punctuation mistakes.

Give students time to complete any unfinished work. Use this time to schedule a poetry performance day. Assess students' proficiency with the poetry writing activity by consulting the appropriate [|poetry rubric]. You may wish to review students' journal with them.

**5.** Once students have completed their revision, have them follow directions to **Publish Online with** [|Jean Marzollo]. =Lesson 5 / Facet 5: Empathy=
 * 6. (T) Tailor** (use the seven [|Learning Styles])
 * Visual:** Looking for clues on I Spy pages
 * Aural:** listening for alliteration
 * Verbal:** reading riddles aloud and rhyming
 * Physical:** illustrations on butcher paper
 * Logical:** rhyming patterns
 * Social:** working in tribes
 * Solitary**: writing their own riddles
 * 7.** Once students have crafted their own poems, they can submit them to Scholastic's Poetry Collection using a simple interactive form. After being reviewed by Scholastic.com staff, **the students' poems may be published online**! Students can view all accepted poetry submissions in the archive. Timeframe: 3 class periods ||

Students will:
 * **Consider the W.H.E.R.E.T.O. elements**. **(L)** ||
 * **1.**
 * understand the origins of "The Black National Anthem" in reference to author, time, purpose, circumstance, and mood.
 * Students will analyze and discuss the figurative language and imagery of the poem to better understand the text.
 * Students will recognize the effect that music and rhythm have on written words.
 * 2.** How does a poem or a song express feelings and meanings? This lesson will explore the origins of "The Black National Anthem," which was originally a poem by James Weldon Johnson entitled //Lift Every Voice and Sing//. By analyzing the poem's figurative language, students will come to understand how the poem conveys a sense of hope and unity despite hardship. The poem was later set to music by the poet's brother, J. Rosamund Johnson, and became known as "The Black National Anthem." Students will also learn how the addition of music further enhances the messages of imagery of the poem's words, helping the song to become an anthem for African-Americans.
 * 3.**

Part 1: Analysis and Discussion of Poem
Locate and review the lyrics to "The Black National Anthem." There are various copies available online, including:

[|Poets.org] //http://poets.org/viewmedia.php/prmMID/15588// [|Xavier University of Louisiana] //http://xavier.xula.edu/naacp/anthem.html//

Distribute copies of the poem to students. Read the poem aloud to class dramatically, using voice intonation and facial expression. Ask students what they think the poem is about. Does it remind them of any other poem or song that they know? //(Answers will vary.)// Distribute copies of the [|Vocabulary Handout] to the students in order to provide them with terminology definitions. Now discuss with students background information regarding the poem's author, purpose, origin, and circumstances. Tell students that the poem, //Lift Every Voice and Sing//, was set to music and has become known as "The Black National Anthem." James Weldon Johnson, a lawyer, educator, writer and activist for African-American rights, wrote the poem. He lived from 1871 to 1938. He was a man of many talents who served as a role model for his fellow African-Americans. In 1900, Johnson was serving as a school principal in his hometown of Jacksonville, Florida, and was asked to speak at a celebration of Abraham Lincoln's birthday. He decided instead to write a //poem//, and then soon decided that the poem should be set to music. He asked his brother, J. Rosamond Johnson, who was a music teacher, to compose music for the poem. The song became very popular among church choirs, and was included in hymn books used in religious services. Since that time, "Lift Every Voice and Sing" has been widely regarded as an anthem for African Americans and symbolic expression of the struggle of African-Americans for civil rights in this country. Tell students that they first will study the words of the poem to understand how the poem's figurative language, imagery, and mood contribute to its meaning. Write these lines (from two different parts of the poem) on the board: Direct students to read the lines carefully. What does harmony mean? Ask whether "harmony" can really "ring." State that these are examples of figurative language. Explain that figurative language is essential in certain types of writing, such as a poem or song, to help convey meaning and expression. It is a way of writing that conveys precise meanings in an artistic manner, by describing one thing in terms of another. The poet has a story to tell, and the language he or she uses must convey the emotional content of that story. If the writer does not create an image, he may lose the reader's attention and may not give feeling to the meaning that he is trying to communicate. How would the meaning be different if the figurative language was not there, such as "Till earth and heaven ring with Liberty" or "we have come over a way with tears"? Ask students to locate at least one other example of figurative language in the poem. Write these lines (from different parts of the poem) on the board: Direct students to read the lines carefully. Ask students to think carefully and describe what types of feelings the lines create when they are read. (Answers will vary.) Explain that the use of these words is the poet's way of conveying a mood. Write these lines from the poem on the board: Direct students to read these lines carefully. Ask them what images come to mind as they are reading. Do these words make them "see" anything? Have students substantiate their explanations. Explain that phrases such as "listening skies," "rolling sea," "white gleam of our bright start" and "shadowed beneath Thy hand" are all types of imagery. How would the meaning be different if the imagery were not there? Offer students the first example without imagery: "Let our rejoicing rise high and let it resound." How is this different? How does imagery create a different level of meaning?
 * 1) //Till earth and heaven ring, Ring with the harmonies of Liberty//
 * 2) //We have come over a way that with tears has been watered//
 * 1) //Let our rejoicing rise//
 * 2) //Sing a song full of the faith//
 * 3) //Let our rejoicing rise//
 * 4) //Out from the gloomy past//
 * 5) //God of our weary years//
 * 6) //God of our silent tears//
 * 1) //Let our rejoicing rise,//
 * 2) //High as the listening skies,//
 * 3) //Let it resound loud as the rolling sea.//
 * 4) //Where the white gleam of our bright star is cast//
 * 5) //Shadowed beneath Thy hand//

Part 2: The Poem as a Song
Review with students an analysis of the anthem. Discuss its message of unifying African Americans in their struggle for equal rights in this country and to convey the hope of a better future. Review with students that the poem //Lift Every Voice and Sing// as set to music by the poet's brother, J. Rosamond Johnson. You might also display [|original sheet music] for "Lift Every Voice and Sing". Explain to students that words of a song are called //lyrics//. Now they are going to examine how the poem's words take on a different level of meaning when they are set to music. Ask students what kinds of music they listen to. What is special about music that creates special feelings, memories, or meanings? Tell the students that you are going to play some music for them and that they need to listen carefully. Have students listen to one or more of various musical versions of "Lift Every Voice and Sing" at these Web sites:

[|National Public Radio] //http://www.npr.org/ramfiles/me/20020204.taeolians.lift.ram// [|University of Virginia Library] //http://www.lib.virginia.edu/speccol/exhibits/music/overview.html//

Conduct a guided music lesson by posing the following questions and writing student responses on the board or chart paper:
 * How does the music affect the words?
 * How does the music affect the mood and emotion of the lyric?
 * What do you think the singer(s) wants listeners to feel when they hear the song?
 * What emotions or feelings to you hear? Joyfulness, sadness, anything else?
 * Where do you think the singers are singing?
 * How does one person singing (solo) compare to a group of people singing together (such as a choir)?
 * Why do you think people sing together, such as in a choir?
 * How does harmony affect the music?
 * Identify rhythm in each music selection.
 * Ask students to identify the tempo of each music piece as either fast or slow. Do they prefer a fast tempo or a slow one? Why?
 * Compare and contrast the words as a poem with the words set to music. Which has more of an effect on them? Which do they prefer? Why?
 * 4.**

Part 3: "The Black National Anthem" Today
Have students investigate events in African-American civil rights history that have occurred in the United States since the anthem was composed. Outlines can be found at the following:

[|Civil Rights Timeline] (Info Please) //http://www.infoplease.com/spot/civilrightstimeline1.html// [|The Civil Rights Movement] (Abbeville Press) //http://www.abbeville.com/civilrights/washington.asp//

Divide students into small groups. Have them select an event that they researched and use that event to create an original lyric that could be set to music. They might think of the verse as an updated addition to "The Black National Anthem." Have students put their new lyric to a beat. It can have the same beat as the anthem does or another one. Have students meet as a class to share their new anthem lyrics.
 * 5.**

Assessment:
Refer to the [|Assessment Rubric]. Timeframe: 4 class periods || =Lesson 6 / Facet 1: Explanation=
 * 6. (T) Tailor** (use the seven [|Learning Styles])
 * Visual:** visualizing imagery
 * Aural:** listening to the music
 * Verbal:** sharing anthem lyrics aloud
 * Physical:** tap out rhythms with hands and/or feet
 * Logical:** rhythmic patterns
 * Social:** working in tribes
 * Solitary**: writing their own lyrics
 * 7. Students will be able to write lyrics and music to create a new "Black National Anthem" using Garageband**


 * **Consider the W.H.E.R.E.T.O. elements**. **(L)** ||
 * **1.** Students will * use all five senses to describe known objects.
 * explain the purpose and effect of using sensory imagery when describing something.
 * write a poem using sensory images.
 * identify sensory images in Pat Mora’s poem “Echoes.”
 * discuss how sensory images contribute to the poem’s meaning.
 * write a paragraph using textual evidence that explains how sensory images affect the poem’s meaning.


 * 2.**
 * 1) Because students will be working with food, allow students to wash their hands and/or have students disinfect with hand sanitizer at the beginning of the session.
 * 2) Divide the class into groups of three or four students and explain that each group is going to get a bag that contains a different edible object. Their job is to feel and listen to the object before taking it out of the bag to look at, smell, and taste it. Once they have engaged all five of their senses to explore their objects, each group must use the [|Using Your Senses] graphic organizer to describe the object according to each of the five senses. One student from each group should record all the information onto the [|Using Your Senses] graphic organizer, listing students’ names next to their answers.
 * 3) Have each group choose a student to present their object along with the answers that the group recorded. Ask the presenters to read each box of the [|Using Your Senses] graphic organizer without stopping to show how their answers already sound like a poem.
 * 4) As a whole class, discuss how the sensory images they created change the way they think about and understand the objects in their bags. Ask students:
 * Do the sensory images make the objects more interesting?
 * Do they help the objects come to life? Explain.
 * Do the images help you better relate to the objects using your senses? Explain.
 * 3.**
 * 1) For the remainder of class time, have students use the objects from their bags or choose a new object to write a poem about. Share the [|Sensory Imagery in Poetry Checklist] with students, and explain that they will be evaluated based on the requirements on the checklist. They must use at least three of the five senses, but are encouraged to use as many as possible in the poem. The goal is for them to use their senses to describe something so well that their audience senses it too. Students may want to start by making a list similar to the one they created on the [|Using Your Senses] graphic organizer so that they have a variety of sensory images they can use in their poems.
 * 2) Students may need to finish writing their poems at home. Explain that volunteers will have a chance to share their poems aloud in the next session.


 * 1) Start by asking two or three volunteers to read the poems they wrote. Remind students of the need for respectful attention as volunteers read and ask members of the class to point out examples of sensory imagery from the students’ poems. Discuss why students chose the images they did and how the images affect the meaning of their poems. Ask all students to turn in their poems.
 * 2) Now give students a copy of the poem “Echoes” by Pat Mora. Ask them to locate the word “Zacatecas” in the poem, circle it, and write in the margin “a city in Mexico.” Have three volunteers go to your classroom map of North America and point out the following places: Zacatecas, Mexico (where the maid in the poem is from); Santa Fe, New Mexico (where Pat Mora lives); and the city where you are located. Place push pins in the map in those three places. (If you do not have a wall map, use one of the alternatives in the Resources section above and adapt accordingly). Ask if anyone has ever visited the first two places, and, if so, ask for descriptions. Have students keep these settings in mind as you read the poem.
 * 3) Read the poem to students twice. The first time they can either read along or underline places where they see Pat Mora using one of the five senses to describe something. After you have read the poem twice, have students take a few minutes to label which senses are used next to each underlined passage they underlined during your readings.
 * 4) During classroom discussion, students should be able to explain what the poem is about (using the map to locate the people in the poem and to show how close we as Americans are to Zacatecas, Mexico) and how sensory imagery works to make the poem more meaningful or easier to understand.
 * 5) Have each student use the [|Explaining the Images] writing exercise sheet to write a paragraph explaining what “Echoes” is about and how the sensory images affect the poem’s meaning. Students should use textual evidence in the form of paraphrased or quoted examples from the poem to support their answers. If you want, share the [|Example Explanatory Paragraph] with students as a model before they get started.
 * 6) Students should finish writing their explanatory paragraphs at home and turn them in at the beginning of the next session.


 * 4.**
 * 1) Ask students to turn in their [|Explaining the Images] writing exercise sheets.
 * 2) Return the student poems that the class wrote during session one. Ask students to read their poems to themselves or trade with a partner and underline all sensory imagery in their poems.
 * 3) Have students think about how sensory images are working in their poems and what they might want to revise to make images stronger or work harder to convey a message. If they are working with partners, have them discuss their reactions to their partners’ poems.
 * 4) Give them time to revise their poems, and invite volunteers to share their poems with the class, discussing how sensory images are working in their poems or what changes they made.
 * 5) Have students complete the [|Sensory Imagery in Poetry Checklist] to turn in with their revised poems.
 * 5.** **Use ReadWriteThink online interactives** [|Acrostic Poem Tool] and [|Diamante Poem Tool] to challenge students to create sensory poetry in a specific poetic form.
 * 6. (T) Tailor** (use the seven [|Learning Styles])
 * Visual:** looking at objects
 * Aural:** listening to objects
 * Verbal:** reading poems aloud
 * Physical:** touching objects
 * Logical:** acrostic and diamante patterns
 * Social:** working in small groups
 * Solitary**: graphing their own responses
 * 7.** Students will be able to **Use ReadWriteThink online interactives** [|Acrostic Poem Tool] and [|Diamante Poem Tool] to create sensory poetry in a specific poetic form. Timeframe: 2 class periods

Note: I did not get to complete lesson 5 of this unit, as we simply ran out of time. When I teach this unit again (and I will), I will definitely teach it in the spring. Although students did a great job on all of the assessments, learned a lot, worked cooperatively, and really enjoyed the unit, it was HECTIC! Between NWEA testing and NECAPS, we really rushed some things that should have had more time allotted. I may have been a little generous in my grading of some assessments due to the time constraints that were placed on the unit, so I would like to teach it again with more time for each lesson. ||

2004 ASCD and Grant Wiggins and Jay McTighe