Rehearsal Schedule Dolly

Please Note

• You may print this page if you wish.

• Song titles appear in italic type. Required cast appears in (parenthesis).

• “AIS2” means Act One, Scene Two; “AIIS3” means Act Two, Scene Three, and so on.

• Dancing is the name of a specific song/production number in this show (it is not a generic term). When Dancing appears on the rehearsal schedule, it is attended by those performers who had Dancing listed on their casting letters.

• Although the production number The Waiters’ Gallop was not listed on any casting letters, all of the gentlemen with the song Hello Dolly listed on their letter are also in The Waiters’ Gallop.

• We will be “dark” – meaning no rehearsal – on most Fridays. This means Muse performers have most Friday, Saturday and Sunday nights free!

• “Tutti” means the entire cast.

• When a specific character is listed, both the principle and understudy actors for that role attend rehearsal.

• Parade Kids are primarily younger members of the cast who specifically had the term Parade Kids on their casting letters. The name Parade Kids will appear if they are required at a rehearsal.

• “Rehearsal” means a complete run-through of the show.

October

THURS, OCT 19

4:30-6:00
Costume measurements for all cast members (including Parade Kids) and PAs.
6:00-7:30
Parent Orientation Meeting (students will be taken from the measurement area on the third floor to join the meeting in progress).

FRI, OCT 20

Dark

SAT, OCT 21

10:00-1:00
Dancing pgs 35-38
(Dancing performers; minus Barnaby, Cornelius, Molloy, Minnie, Dolly)
10:00-1:00
Elegance pgs 43-44
(Barnaby, Cornelius, Molloy, Minnie)
1:00-2:00
Lunch break
2:00-5:00
Dancing pgs 35-38
(Dancing performers, Barnaby, Cornelius, Molloy, Minnie; minus Dolly)
2:00-4:00
Dolly vocal session
4:00-5:00
Vandergelder vocal session

SUN, OCT 22

1:00-5:00
Dancing pgs 35-38
(Dancing performers; add Barnaby, Cornelius, Molloy, Minnie at 4:00; minus Dolly)
1:00-4:00
Barnaby, Cornelius, Molloy, Minnie vocal session
1:00-2:00
Dolly vocal session

MON, OCT 23

4:30-7:00
Table Read (All cast members and PAs should attend. Parade Kids are not required to attend)
7:00-8:30
Company vocal session (All cast members; minus Parade Kids)

TUES, OCT 24

4:30-6:30
Sunday Clothes pgs 16-18
(Cornelius, Barnaby, Dolly, Ermengarde, Ambrose; no Sunday Clothes performers)
6:30-8:30
AIS3 scene after Ribbons and up to Motherhood March pgs 23-31
(Barnaby, Cornelius, Molloy, Minnie, Vandergelder, Dolly)

WED, OCT 25

4:30-8:30
AIS3 scene after Ribbons up to Dancing, includes Motherhood March pgs 23-35
(Barnaby, Cornelius, Molloy, Minnie, Vandergelder, Dolly)

THURS, OCT 26

4:30-8:30
Opening/I Put My Hand In pgs 1-4
(I Put My Hand In performers, Dolly, Ambrose, Kemper)

FRI, OCT 27

Dark

SAT, OCT 28

10:00-1:00
Waiter’s Gallop pgs 46-52
(Waiters’ Gallop performers – see note at top of this webpage; minus Barnaby, Cornelius, Molloy, Minnie, Vandergelder, Ernestina)
10:00-1:00
AIS2 incl It Takes A Woman pgs 6-18
(Vandergelder, Ermengarde, Barnaby, Cornelius, Dolly, Ambrose; minus the other It Takes A Woman performers)
1:00-2:00
Lunch break
2:00-5:00
Waiter’s Gallop pgs 46-52
(Waiters’ Gallop performers; minus Barnaby, Cornelius, Molloy, Minnie, Vandergelder, Ernestina)
2:00-4:00
Elegance pgs 43-44; AIS3 up to Dancing (incl Ribbons and Motherhood March) pgs 19-35
(Barnaby, Cornelius, Molloy, Minnie, Dolly, Vandergelder)

SUN, Oct 29

1:00-5:00
Hello Dolly pgs 53-55
(Hello Dolly performers; add Dolly at 4:00)
2:00-5:00
Vocal session
(Dolly, Vandergelder, Molloy, Minnie, Barnaby, Cornelius)

MON, OCT 30

4:30-8:30
Waiters’ Gallop and Hello Dolly pgs 46-55
(Hello Dolly performers, Barnaby, Cornelius, Molloy, Minnie, Vandergelder, Ernestina, Dolly)

TUES, OCT 31

4:30-8:30
Opening/I Put My Hand In pgs 1-4
(I Put My Hand In performers, Dolly, Ambrose, Kemper)

 

November

WED, NOV 1

4:30-6:30
Opening/I Put My Hand In pgs 1-4
(I Put My Hand In performers, Dolly, Ambrose, Kemper)
6:30-8:30
It Takes A Woman pgs 8-10
(It Takes A Woman performers, Vandergelder, Barnaby, Cornelius)

THURS, NOV 2

4:30-7:30
It Takes A Woman pgs 8-10
(It Takes A Woman performers, Vandergelder, Barnaby, Cornelius)
7:30-8:30
AIS2 incl It Takes A Woman pgs 6-18
(It Takes A Woman performers, Vandergelder, Ermengarde, Barnaby, Cornelius, Dolly, Ambrose)

FRI, NOV 3

Dark

SAT, NOV 4

10:00-1:00
Act One through Dancing pgs 1-38
(Tutti; minus Parade Kids)
1:00-2:00
Lunch break
2:00-5:00
Act One through Dancing pgs 1-38
(Tutti; minus Parade Kids)

SUN, NOV 5

1:00-5:00
Sunday Clothes pgs 16-18
(Sunday Clothes performers, Cornelius, Barnaby, Dolly, Ermengarde, Ambrose)

Remember to set clocks back this morning!

MON, NOV 6

4:30-6:30
Sunday Clothes pgs 16-18
(Sunday Clothes performers, Cornelius, Barnaby, Dolly, Ermengarde, Ambrose)
6:30-8:30
Before The Parade vocals
(Before the Parade performers, Dolly; minus Parade Kids)

TUES, NOV 7

4:30-8:30
Sunday Clothes pgs 16-18
(Sunday Clothes performers, Cornelius, Barnaby, Dolly, Ermengarde, Ambrose)

WED, NOV 8

4:30-8:30
AIIS2 pgs 46-61
(Only speaking characters at this rehearsal: Rudolph, Barnaby, Cornelius, Molloy, Minnie, Vandergelder, Ernestina, First Cook, Stanley)
4:30-8:30
Holiday Concert rehearsal

Cast, orchestra and PAs in grades 8 and above may perform in the Muse holiday concert as a part of the Tree Lighting at The Greene for thousands of audience members! Watch for details on the Backstage page of musemachine.com.

THURS, NOV 9

4:30-8:30
Before The Parade pgs 39-40
(Before the Parade performers, Dolly; minus Parade Kids)

FRI, NOV 10

Dark

SAT, NOV 11

This morning is the Advance Ticket Sale for families of cast, orchestra and PAs. Details appear on the Backstage page of musemachine.com.

Everything that was originally scheduled on this day now happens one hour earlier, to make arrival more convenient for parents attending the 9am meeting and ticket sale.

All families are also asked to drop beverages this morning: one case of soda or water (whatever your student likes to drink with meals). Beverages will be used for student meals during the tech and performance weekends. A parent will collect beverages curbside.

9:00-noon
Before The Parade pgs 39-40
(Before the Parade performers, Dolly; minus Parade Kids)
9:00-noon
Various scenes
(Barnaby, Cornelius, Molloy, Minnie)
noon-1:00
Lunch break
1:00-4:00
Before The Parade pgs 39-40
(Before the Parade performers, Dolly; minus Parade Kids)

SUN, NOV 12

1:00-3:00
Before The Parade pgs 39-40
(Parade Kids only)
3:00-6:00
Holiday Concert rehearsal

MON, NOV 13

4:30-6:30
AIIS2 scenework
(Dolly, Vandergelder, Barnaby, Corneius, Molloy, Minnie)

6:30-8:30
AIIS2 scenework
(Dolly, Vandergelder)

6:30-8:30
Music session
(The following performers are needed: Ben K., Diane, Gabby, Julie, Kiama, Marisha, Noah, Steven, Tommy)

TUES, NOV 14

4:30-8:30
AIIS3 incl It Only Takes A Moment, So Long Dearie pgs 62-67
(Judge, Dolly, Vandergelder, Rudolph, Ernestina, Barnaby, Corneius, Molloy, Minnie, Ambrose, Ermengarde, Clerk, Policeman, selected Waiters, Cooks and Polka performers from previous scene. These are the selected Waiters, Cooks and Polka performers: Abbey F., Ashley, Ben T., Christopher, Fischer, Gabby, Julie, Marisha, Milan, Noah, Zoe.

WED, NOV 15

4:30-7:00
AIIS2,3 incl Waiters’ Gallop, Hello Dolly, It Only Takes A Moment, So Long Dearie pgs 46-67
(Judge, Dolly, Vandergelder, Rudolph, Ernestina, Barnaby, Corneius, Molloy, Minnie, Ambrose, Ermengarde, Clerk, Policeman, Hello Dolly performers, Polka performers)
7:00-8:30
Holiday Concert rehearsal

THURS, NOV 16

4:30-8:30
Holiday Concert rehearsal

FRI, NOV 17

Dark

SAT, NOV 18

10:00-11:30
Polka pgs 60-61
(Polka performers, Ambrose, Ermengarde, Barnaby, Cornelius, Molloy, Minnie)
11:30-12:30
Lunch break
12:30-4:30
Holiday Concert rehearsal
4:30
Travel to Greene
5:30-6:00
Perform at Greene Tree Lighting Event

SUN, NOV 19

1:00-2:30
Before The Parade pgs 39-40
(Parade Kids only)
2:30-5:00
Polka pgs 60-61
(Ambrose, Ana S, Ermengarde, Barnaby, Cornelius, Molloy, Minnie, Polka performers. As a reminder, the Polka performers are Abbey, Ashley S, Ben H, Ben K, Cameron, Charlotte, Christopher, Darian, Gabby, Jayla, Jarred, Julie, Kiama, Marisha, Michael T, Nick, Steven, Tommy, Zoe)

MON, NOV 20

4:30-8:30
Act One
(Tutti; Parade Kids 4:30-6:00; All speaking characters must be off book!)

TUES, NOV 21

4:30-8:30
Act Two
(Barnaby, Cornelius, Molloy, Minnie, Rudolph, Vandergelder, Ernestina, Dolly, Ambrose, Ermengarde, Hello Dolly performers, Polka performers, Judge, Clerk, Policeman. We are not yet doing the finale, so not all performers are required at this rehearsal. Check the scenes and roles listed.)

WED, NOV 22

Thanksgiving Break

THURS, NOV 23

Happy Thanksgiving!
Thanksgiving Break

FRI, NOV 24

Thanksgiving Break

SAT, NOV 25

Thanksgiving Break
Happy Birthday, Joe Deer!

SUN, NOV 26

Thanksgiving Break

MON, NOV 27

4:30-8:30
Dance and music review
(Tutti; minus Parade Kids)

TUES, NOV 28

4:30-8:30
AIIS4 pgs 68-74
(Vandergelder, Barnaby, Cornelius, Molloy, Minnie, Dolly, Ambrose, Ermengarde; no additional performers)

WED, NOV 29

4:30-8:30
AIS3 pos 19-41
(Minnie, Molloy, Barnaby, Cornelius, Dolly, Vandergelder)
4:30-6:00
Dancing and Polka
(Dancing performers and Polka performers)
6:00-8:30
Waiters’ Gallop and Hello Dolly
(Waiters’ Gallop/Hello Dolly performers)
6:30-8:30
Hello Dolly
(additional Hello Dolly performers – these people have been individually notified)

THURS, NOV 30

4:30-6:30
Hello Dolly
(All Hello Dolly (the song) performers, including the newly added female performers)
6:30-8:30
AIIS2&3

(All performers in the restaurant scene and the courtroom scene)

 

December

FRI, DEC 1

Dark

SAT, DEC 2

10:00-1:00
AI and AIIS1 pgs 1-45
(Tutti including Parade Kids)
1:00-2:00
Lunch break
2:00-5:00
AI and AIIS1 pgs 1-45
(Tutti; minus Parade Kids)

This is the press photo day. All company members (cast, Parade Kids, orchestra and PAs) should plan to attend. More specific details will be released nearer the actual date.

SUN, DEC 3

1:00-5:00
AIIS2-4 pgs 46-74
(Tutti; minus Parade Kids)

MON, DEC 4

4:30-8:30
Act One
(Tutti; minus Parade Kids)

TUES, DEC 5

4:30-8:30
Act Two
(This rehearsal requires all male performers, female performers with speaking roles, female performers in the song Hello Dolly, female performers in Polka; no Parade Kids)

WED, DEC 6

4:30-8:30
Act One – understudy focus
(Tutti; Parade Kids 4:30-6:00)

THURS, DEC 7

4:30-8:30
Act Two – understudy focus
(This rehearsal requires all male performers, female performers with speaking roles, female performers in the song Hello Dolly, female performers in Polka; no Parade Kids)

FRI, DEC 8

Dark

SAT, DEC 9

10:00-1:00
Rehearsal
(Tutti; minus Parade Kids)
1:00-2:00
Lunch break
2:00-5:00
Rehearsal
(Tutti; minus Parade Kids)

SUN, DEC 10

1:00-2:00
(Dolly, Barnaby, Cornelius, Molloy, Minnie)
2:00-5:00
Rehearsal
(Tutti; minus Parade Kids)

MON, DEC 11

4:30-8:30
Finale
(Tutti; minus Parade Kids)

TUES, DEC 12

4:30-8:30
Finale
(Tutti; minus Parade Kids)

Happy Hanukkah!

WED, DEC 13

4:30-8:30
Rehearsal
(Tutti; minus Parade Kids)

THURS, DEC 14

4:30-8:30
Sitzprobe
(Tutti; minus Parade Kids)

The Sitzprobe is a concert version of the musical numbers from the show combining the cast and orchestra.

FRI, DEC 15

Dark

SAT, DEC 16

10:00-11:00
Orchestra arrive/rehearse
11:00-1:00
Rehearsal: cast with orchestra
(Tutti; minus Parade Kids)
1:00-2:00
Lunch break
2:00-5:00
Rehearsal: cast with orchestra
(Tutti; minus Parade Kids)

SUN, DEC 17

11:00-2:00
Rehearsal – understudy focus
(Tutti; minus Parade Kids)

The Winter Dance is this evening. Watch for more info on the Backstage page of musemachine.com!

MON, DEC 18

4:30-5:30
Notes for Understudy Performance
(Tutti: minus Parade Kids)
5:30-8:30
Understudy Performance
(Tutti: minus Parade Kids)

This is the tentative Understudy Performance. Families of the understudy cast are invited to attend via RSVP on the Backstage page at musemachine.com. Non-flash photos are welcomed; NO video. Entire cast (minus Parade Kids) must attend.

TUES, DEC 19

4:30-8:30
Rehearsal
(Tutti; Parade Kids 4:30-6:00)

DEC 20—Jan 2

Winter Break
Merry Christmas!
Happy Kwanza!
Happy New Year!

January

WED, JAN 3

4:30-9:00
Rehearsal
(Tutti; minus Parade Kids)

THURS, JAN 4

5:00-10:00
Rehearsal: primarily Act One spacing
(Tutti; Parade Kids 5:00-8:00)

From this date forth, all rehearsal are held at the Victoria Theatre except January 8.

FRI, JAN 5

5:00-10:00
Rehearsal: primarily Act Two spacing
(Tutti; minus Parade Kids)

SAT, JAN 6

10:00-10:00
Tech Rehearsal (Act One x2) with costumes and make-up
(Tutti)

Dinner provided between rehearsals.

SUN, JAN 7

10:00-10:00
Tech Rehearsal (Act Two x2) with costumes and make-up
(Tutti; minus Parade Kids)

Dinner provided between rehearsals.

MON, JAN 8

4:30-8:30
Rehearsal
(Tutti; minus Parade Kids)

This rehearsal is in the Muse Studio.

TUES, JAN 9

5:00-10:00
Rehearsal with tech, costumes and make-up
(Tutti)

All remaining rehearsals and performances are in the Victoria Theatre – tutti!

WED, JAN 10

5:00-10:00
Rehearsal with tech, costumes and make-up
(Tutti)

THURS, JAN 11

Performance: Opening Night
6:00: Call
7:00: Curtain
10:30: End

FRI, JAN 12

Performance
7:00: Call
8:00: Curtain
11:30: End

SAT, JAN 13

Performances
2:00: Call
3:00: Curtain
*Dinner provided between performances
7:00: Call
8:00: Curtain
11:00: End

SUN, JAN 14

Performance
1:00: Call
2:00: Curtain
5:00: End

Muse Captains

This guide provides tips, how-to’s and best practices for high school and middle school Muse Machine advisors.

Over the months ahead, a great deal of information from the advisor archives will be adapted and added to this new online version of the Advisor Handbook. We’ll launch with info about getting a new Muse club up and running, in-school performances and student Muse Captains – read on!

What are They?

Muse Machine recommends that all club advisors use the Muse captains in some way. The system helps take some of the responsibilities off of club advisors, but more importantly it gives Muse members an opportunity to grow into leaders and gain experiences to help them after school.
Many different possible roles fall under the label of Muse captain including:

1. Muse News Editor

a. Great for a student that is interested in writing or a future in public relations. This student is in charge of pulling together information from all the arts disciplines in the school or represented by Muse Machine into an in-school newsletter called Muse News.

2. Muse Photographer

a. Responsible for recording Muse Machine events as stills or videos. Great for the budding photographer who is great at taking photos without flash to minimize disruptions to performances and demonstrations (when they are allowed to capture them).

3. Social Media Coordinator

a. This student understands social media like Facebook, Twitter, and Instagram and is ready to use those mediums to promote the Muse club.

4. Out-of-School Program captain

a. This Muse captain and their team works to plan Out-of-School Programs with guidance from the club advisor

5. In-School Performance representative

a. This Muse captain and their team works to plan In-School Programs with guidance from the club advisor

All Muse captains, regardless of title, should be prepared to promote the Muse club around the school to prospective members or performance attendees. They also should be ready to help with In-School Performances and selecting Muse members to work with on their teams to make sure all tasks are accomplished as efficiently as possible.

Each captain should have a team of about five students (more or less depending on the size of your club) to work with to accomplish their tasks, as part of being a good leader is learning how and when it is appropriate to delegate. This will also help future Muse captains see the role in action, nurture interest in each subject area, and prepare members to lead the team themselves.

Finding Your Muse Captains

When looking for the ideal Muse captain, you might be tempted to gravitate towards students recognized as leaders throughout the school. Do not let these preconceived ideas blind you to the other students in your Muse club that are ready to volunteer and develop their understanding of different art forms. The selection process for new Muse captains should begin in the spring for the upcoming year (except for the first year of the Muse club, when they will be selected in the fall).

To get the best applicants, we recommend that you write up the responsibilities of each Muse captain role so that students understand what is expected of them before they apply. How you handle the application process is up to you, but we suggest that it be a formal system that is repeated each year to convey the responsibility the role entails. For example, some Muse clubs let current Muse captains have input into the choice of their successors, others do not.

Tips on Preparing for the In-School Performances

This guide provides tips, how-to’s and best practices for high school and middle school Muse Machine advisors.

Over the months ahead, a great deal of information from the advisor archives will be adapted and added to this new online version of the Advisor Handbook. We’ll launch with info about getting a new Muse club up and running, in-school performances and student Muse Captains – read on!

When you are getting ready to welcome artists to your school, it is recommended to create a checklist to keep track of everything that needs to be done for a smooth performance. Arrange tasks into three groups: those that need to be accomplished before the day of the in-school performance, those that occur on the day of the show, and tasks that need to be completed after the in-school performance. To keep track of everything, make a note of when each item is completed and who is responsible for it.
If this list looks especially intimidating, consider creating Muse captain positions within your club to help you carry out these tasks. In the absence of Muse captains, consider other faculty members who might be able to assist you, especially if they have had to organize larger performances or presentations at your school.

Example Checklist:

Before In-school Performance:

1. Determine where most of the in-school performances will be held.
2. Create a social media plan to promote the performance.
a. Depends on which social media outlets your club uses.
b. In some cases, Muse Machine will provide examples for you to use.
3. Distribute link to TED-Ed lesson plan to all students who will be attending in-school performance using school-approved methods.
4. Distribute any handouts to promote the Muse Machine club to non-members and announce upcoming event to members.
5. Invite special guests to the performances, such as principal, administration, school board members, etc.
6. Prepare a press release for the performance using the Muse Machine press release template (COMING SOON).
7. Understand all tech requirements for your in-school performance.
a. Arrange for refreshments for performers.
b. Arrange for proper school performance space and make sure that the space is clean and prepared for the performance.
c. Check on the necessary sound and lighting equipment and other arrangements.
d. Depending on the size of the audience, make sure there are sufficient teachers in attendance.
8. Plan out any announcements and remarks that should be made at the performance.
a. Remember to recognize any funders present at the performance.
b. Check the Muse Machine website under Teachers tab for introductions for each of the in-school performances.
c. Devise a fun way to educate students about Audience Etiquette.
d. Make sure you are aware of a performer’s photography policy before you consider photographing any part of a Muse Machine performance.

The Day of the In-school Performance

1. Double-check that the performance space is clean and ready for the performers.
2. Greet the performers when they arrive.
3. If you keep social media accounts for your club, consider taking a selfie with the performers to use, if there is time.
4. Make sure the Muse Machine poster is on the stage or in the performance space.
5. Greet the audience.
a. Introduce the artists using Muse introductions.
b. After reviewing Audience Etiquette, have everyone take selfies to promote the performance, then ask them to put all phones away!

After In-school Performance

1. Send completed press release to local publications.
a. Track press coverage after press release.
2. Share performance story in school publications.
3. Update student member database as new students join Muse Machine.
4. Send thank-you notes to artists, funders, and other appropriate parties.
5. Post pictures on school or Muse Machine club social media.

Quick Start Guide

Introduction

Welcome to the Muse Machine family! Since its founding in 1982, Muse Machine has relied on the dedication of teachers and staff just like you to help spread resources and experiences to where they are most needed. As you go through this guide, please remember that Muse Machine staff is ready to answer any questions you might have as you move forward to start a club in your school.

 

Talking With Your School

Investigate Student Interest

Many schools can benefit from the addition of Muse Machine to its list of co-curricular activities available to students. When considering whether Muse Machine is the right fit for yours, remember that this organization is not only for “theater kids.” Being in Muse as a student is a fun and a good way to learn more about the Dayton region and meet a wider range of students from across the area. Besides that, the arts can help all students form connections to curriculum and discover diverse cultures. Engagement with different types of artistic expression will also help young people find what outlet is best for their own interests. When your administration is considering adding a Muse club, they should consider the diverse group of students the organization assists.

 

Meet with School Leadership

When you know that your student body is ready for Muse Machine it’s time to talk to your school administrators. If you have not led a club or organization before, it’s essential for you to learn what your school requires of advisors.

We know sometimes it is difficult to talk about money but this is the time for you to ask what funding is available from your district or school. That will help you decide whether additional funding may be needed to pay for performances. It is also important for you to know your district’s policies for handling money that could come from membership dues or that will be remitted to Muse Machine for performances. Consider this list (COMING SOON) from the Muse fiscal officer for good financial practices for your club beyond what might be required by your administration.

Before you start Muse Machine in your school, it is important to learn your institution’s rules for keeping students safe and everything running smoothly. Several schools have procedures for working with students outside of class that you should study. There are many great opportunities for Muse Machine students to travel to professional performances in the region for out-of-school performances. To bring your students to these shows, get to know policies pertaining to student transportation and the additional rules your school might have about off-site events. If you need any assistance from Muse Machine, feel free to reach out. We are available for phone consultations, we can come to the school, and we can talk with administrators and other teachers to help make Muse a reality in your district.

In-school performances by Muse Machine artists are one of the many key parts of bringing our organization to your school. That means that you need to learn your school’s policies for reserving the large spaces needed for them, like the auditorium or gymnasium. These performances will also require students to leave class during the day, and you should also confirm how best to do that to ensure no feathers are ruffled.

 

Preparing For Your First Year

Plan Ahead

Your first year leading a Muse Machine club in your school will be very busy, so it is best to prepare as much as possible beforehand. Consider your school’s schedule and create a calendar of in-school and out-of-school performances that you can use to help get students interested in joining Muse Machine. To learn more about reserving tickets and in-school performances visit the Teacher Resources section of the Muse Machine website.

For out-of-school performances, it’s best to think socially when planning an outing. Do not just plan a performance; think of what can be done to make it extra special. For example, if you are coming to see the Muse Machine musical in January, find a nearby restaurant for dinner so that students can talk about what they are excited for in the show and enjoy some time away from their normal school responsibilities . Some examples of affordable eateries near downtown’s performance spaces include:

  • Spaghetti Warehouse
  • Flying Pizza
  • Uno’s
  • Subway
  • Basil’s On Market (more affordable for lunch before a matinee)
  • Table 33
  • Marilyn’s Grill

Before you take your group of students to a performance, make sure they are prepared for what’s ahead. Consider going over the etiquette guide (COMING SOON) before the performance, and if you are headed to a restaurant let them look at a menu to help them budget for their time downtown.

As time progresses, you will be able to know what went well in previous years to improve for the future. In your first year, think of what shows, music, and artists have been popular to help guide your choices. Then start small and work your way up as you learn what is successful. You can always talk with Muse Machine Secondary Program staff for ideas that have worked at other schools in the past.

Looking in All the Right Places

You have performances and you have passion—now it is time to find the right students for your Muse Machine club. We can give you a whole list of things that can work, from school announcements to posters; but as an educator you know what works best for your particular school. Remember that, while Muse Machine is an arts education organization, not only theater students will love to get involved. Muse Machine graduates over the years have gone on to a wide variety of professions. Arts are great for everyone to learn more about the world around them and how to express themselves, and we welcome students of all backgrounds.

As you are starting out, it is a great time to talk to other extracurricular or co-curricular advisors to see what they do to find new students for their clubs. If these teachers have a love for the arts, too, see if you can get them to be co-leaders with you to help shoulder the work ahead. It is also good to get other teachers involved with Muse Machine to assist with performances where additional member supervision might be required.

Once you have assembled the students that will be the initial members of your Muse club, consider adding the Muse Captain position. This title is used to cover a variety of roles that are student leadership within the club, from photographer, to newsletter specialist, to performance leader and more. It allows students to step up and guide the group in the direction they want it to go, grow it into something bigger, as well as offer assistance to the Muse teacher. For more information about this role, check out our in-depth Muse Captain guide.

Setting the Stage (Correctly)

One of the pieces of preparation that often gets overlooked when preparing for the debut year of Muse Machine is getting ready for in-school performances. Different schools have different processes and equipment in large presentation spaces, but it is important that you understand the rules for each space. When you book an in-school performance, Muse Machine will provide the performers’ technical requirements and they must be followed exactly for everything to run as it should. Discuss with school administration how best to get members out of class when it’s time, and also decide on etiquette that each member should use when leaving rooms and attending performances to limit disruptions to other students.

When preparing for your first in-school performance, check out our Tips on Preparing for the In-school Performances for a sample checklist of things to complete before, during and after the event.

 

Putting Preparation into Practice

Make it a Habit

As you begin to establish Muse Machine in your school, think about the future of the club. You have done everything you can to get started on the right foot, now you can lay the groundwork to inspire years of students to follow.

It’s no lie that kids these days are busy. They often have several extra-curricular activities, not to mention homework. Your Muse Machine group should establish a regular meeting time to help students keep track of the organization. You could decide based on general availability that your meetings will be the second Thursday of every month, or every other Wednesday, for example. It is a good idea to hype up in-school performances to make them the big events in the school year they should be. Also consider a mini-pep rally before your first in-school performance to help build interest in Muse membership for the year ahead.

Ready to Take Charge

As you gain your footing running a student organization, consider how formal you want your club to be. Muse Machine leaves it up to advisors to decide if their clubs will have officers or other named leadership roles. One you might want to consider is the role of Muse Captain. The title can be applied to several roles, but in general it is a student (or students, if your group is large enough) who helps the facilitator run the club. While final responsibility would still fall on staff, a Muse Captain(s) could help come up with a strategy for promoting performances, create meeting plans and fill other leadership roles. For more information about the intricacies of these positions and how it could work for your school, visit the Muse Captain guide.

We won’t sugarcoat it for you—your first year might be time consuming as you learn the ropes of Muse Machine and how to run a club in your school. Once you get the ball rolling with a good kick-off, however, future years should run smoothly. Whether this is your first year or your tenth, please remember that Muse Machine staff is always here to help if you have questions or concerns.

Bullying

Developed by Sean Hurley
Coy Middle School, Beavercreek
Study Hall/Music
Grade Level: 6

Introduction

Bullying has become a serious problem in schools. Nearly 1 in 3 students (27.8%) report being bullied in school (National Center for Education Statistics 2013). It often leads to serious problems such as thoughts of suicide for individuals, or to schoolwide problems such as the Columbine, Colorado, incident in which two alienated students decided to kill their fellow students. Solutions to the problem of bullying are elusive, but one way to prevent it is to talk to young people before it happens. Sean Hurley, choir teacher at Coy Middle School in Beavercreek, Ohio, used what he learned at the Muse Machine Summer Institute in 2016 to help students talk about themselves and address issues they may be facing. He used the River Story exercise that he acquired from Ping Chong & Company to help his study hall students find and address key incidents in their lives that have shaped them to be where they are today. The key message being that we are all different and we are all facing difficult issues in our lives. We invite you to see his lesson and perhaps gather information on how you can design a similar lesson for your students.

Print lesson plan

Non-Arts Discipline

School Climate

Strand/Process

Student lead sharing

Content Statement

Enduring Understandings:
Part of being human is to communicate with other people.

Level of Inquiry (confirmation/structured/guided/open)

  • Students will be given opportunities to ask questions specific to identity and belonging in our specific school.

Essential Questions

  • Why are humans usually inclined to communicate with others?
  • Why do humans seemingly have a need to congregate and socialize?
  • What types of attributes help humans bond with true friendship?

Content Elaborations

Students will learn how to make statements about their identity and how they can use that knowledge to help themselves become more connected with peers.

Expectations for Learning

Students will demonstrate this learning by writing short statements about what kinds of identifiers, which with they feel strongly associated.

Instructional Strategies

Students will be engaged and supported in learning by the teacher taking an active role in modeling and help guiding students to discover their identifiers which will help them make connections with other students in the school.

Assessment (Pre and/or Post)

Students will know how well they are learning by being able to discover their identifiers, be able to write down a specific instance where they feel the identifier is valid, and be able to get into groups with peers with similar identifiers.

Materials & Resources

Materials list for teachers:

  • Projector

Materials list for students:

  • Paper
  • Writing utensil

Student Performance Tasks

The goal is to have students discover the personal identifiers of what defines their identity. Once they find their identifiers, students will use the information to find common interests with other students.

  • Teacher will describe the seeming human need of belonging in a culture or family type atmosphere.
  • The teacher will demonstrate through their own experiences how to find their identifiers.
  1. Father/Mother
  2. Teacher
  3. Musician
  4. Church Member
  •  Students will be asked to write words that identify them.
  • Students will be asked to share their three strongest identifiers with the class.
  • The teacher will help students organize themselves into groups with commonality.
  • Students will then write a few sentences in first-person and using present-tense verbs so the action feels it is currently taking place in the story.
  • “I look across the street and see an elderly man who seems to be struggling to carry his groceries.” Students will write about a specific time when their identifiers have strong emotions in their life.
  • Students will share in their groups and peer-edit to make sure the verbs are present-tense.

If they feel safe to do so, students will share their stories with the entire class.

Career Connections

Helping people understand what defines them as an individual will also help them understand their relationship to other people. This is a valuable exercise to be able to repeat in any phase of life for important self-reflection and leadership.

Diverse Learners

Diverse learners will be helped with more one on one guided discovery. Students will still share, as much as they are able, and will still participate in student groups.

Interdisciplinary Connections

This lesson can be integrated with the SI 2016’s: Name Origin, River Rocks, or Cross-Curricular Introduction, and Undesirable Elements.

The River Rocks exercise is particularly evident in this lesson. The River Rocks exercise had participants place “rocks,” symbolizing memories, in a river traveling from the past to the present. The rocks/memories are placed in the river chronologically. Each memory is a deeply impactful experience which shaped the flow of the “river,” symbolizing life. The exercise inspired me to translate the activity to students and get them to remember impactful memories.

The goal is to get them to open up about topics in their life they feel comfortable sharing. Eventually, students will do the same activity but the topic will change from “identifiers” to bullying. Students will write about a time they were bullied in the first person and in present-tense. Discussing bullying in this manner could have a profound impact on a level of compassion/empathy a student feels towards his or her peers. It is my feeling that Ping Chong’s Undesirable Elements Theater is a great way to get students to open up and share experiences they may not want to discuss through the writing of a script for a play or participating in this lesson. This lesson could be a great way to get dialogue started about how to change bullying culture.

Technology Connections

Free programs, like Google Forms technology, could be a good way to have students anonymously give information about identity, the way they see peers interact, and other social norms of you school.

Home/At Work Connections

Students will be asked to apply their discoveries about their identity and how peers form friend groups in their school. They will be challenged to find students who are not part of student groups and find common identifiers with those students.

Hamilton and the American Revolution

Developed by Keisha Jordan
Dayton Early College Academy, Dayton
Social Studies/History
Grade Level: 8

Summary

Hamilton, the amazing new play on Broadway, has humanized the historical figures who designed the American Revolution. Because of this play, there is a renewed interest in history in general and in the revolution in particular! Young people have come in droves to see the play, and teachers are pleased to see the interest it has garnered! Instead of dusty old figures, Lin Manuel Miranda has told the story of vibrant, flawed humans who designed America to be a free nation where everyone is welcome. Keisha Jordan, teacher at the Dayton Early College Academy, has designed a lesson based on what she learned at the Muse Machine Advanced Teacher Training Seminar 2016. Not only did the participants learn about the production, they saw it live as well! Please enjoy Keisha’s interpretation of the history of the period in this lesson plan.

Non-Arts Discipline

Social Studies

Strand/Process

History; Historical Thinking & Skills

Content Statement

1. Primary and secondary sources are used to examine events from multiple perspectives and to present and defend a position.

2. The outcome of the American Revolution was national independence and new political, social and economic relationships for the American people.

Enduring Understandings:
Students will be able to describe the difference between Federalists and Republicans.
• Students will be able to support a claim with evidence from a text.

Level of Inquiry (confirmation/structured/guided/open) Circle and describe

Students are given the rivers activity to invoke personal reflections, realizations, and inquiries.

Essential Questions
• Which ideas are best for the nation? Federalists’ or Republicans’?

 

Content Elaborations

Students will learn …
• to make connections between today and historical events
• to use the arts to express their learning
• to use appropriate evidence to support a claim

 

Expectations for Learning

Students will demonstrate this learning by…
• Writing lyrics that reflect the views of Federalists and Republicans

 

Instructional Strategies

• Visual Discovery
• Whole Class Discussion
• Graffiti Walk

 

Assessment (Pre and/or Post)

• Their ability to draft stanzas that reflect the views of both Federalists and Republicans.

 

Materials & Resources

• History Alive! Native Americans through Industrialism textbook or other reading describing Federalists and Republicans
• Jefferson & Hamilton quotes
• Fed/Repub T-chart
• Lyrics to Hamilton “Cabinet battle” (divided into stanzas, cut up and placed around the room on poster paper in stations)
• Video recording of Hamilton Cabinet Battle

 

Key Vocabulary

• Sourcing
• Great Compromise
• National Bank
• Federalist
• Republican

 

Student Performance Tasks

Before class… Place posters around room, each with a different stanza from Cabinet Battles 1 and 2.

WARM UP – Project an image of a Clinton v. Trump debate with prompt – “Visual discovery – What do you notice? What do you think is happening? Use evidence to support your theory.” Students share responses with elbow partners and once students have an opportunity to share, cold call students to share thoughts with the entire class. Ask students about the political parties each represents and steer conversation to the beginning of political parties.

End discussion with, “Today, you will learn more about the first major political parties, specifically their beliefs about how the new government should operate.”

CLASSWORK – Pass out the Federalist v. Republican handout and direct students to partner up and read aloud to each other, switching readers every 1-2 paragraphs. Students should read aloud with feeling. While reading, each student completes the t-chart. Once students are finished reading, cold call pairs to share characteristics of each group. Clarify any confusion.

Next, play the Cabinet Battle #1 video. Afterward, lead brief conversation about student’s first thoughts. Briefly explain it depicts a debate between Jefferson and Hamilton.

Now, explain the Graffiti Walk. Students will take their completed T-Chart and go to each poster around the room and for each stanza, write 1) which side the quote belongs to, Federalist or Republican, 2) their evidence, 3) a related hashtag, image, question or connection, 4) their initials. Allow students to move from poster to poster either on their own or with the use of a timer.

After 7-10 minutes of the graffiti walk, pass out the complete lyrics to Cabinet Battles 1 and 2, and ask students to just recap to which side Jefferson (Republican) and Hamilton (Federalist) belongs.

Students will now make up 2 stanzas to “add” to either Cabinet Battle, reflecting the perspective of either Federalists and Republicans. Students will perform at the start of the next class. Allow students to select their party, or assign.

 

Career Connections

• Music
• Visual art
• Persuasive writing

 

Diverse Learners

• First, this is a Graffiti Walk activity where students will rotate around the room at their own pace. This will allow students to dissect information and respond on their own time.
• Second, students will have a variety of ways to obtain and respond to information, including drawing images, creating interesting quotes, asking questions, incorporating music, or making connections.
• Finally, the activity is scaffolded with the warm up, reading and t-chart, so students who need more support will have it. Similarly, students who are more advanced, are able to make deeper connections when creating their lyrics.

 

Interdisciplinary Connections

The lesson directly connects to Hamilton, as it draws on the lyrics of 2 Hamilton songs to teach the difference between 2 groups.

It also connects with the question, “who tells your story?”, a concept seen in Hamilton, Shuffle Along, the Bushwick Collaborative and throughout our experience at ATTS.

 

Technology Connections

• Use student’s online textbook, or create online resource with reading
• Student created gSlides presentation with Fed/Repub lyrics
• Students may record their created stanzas, and post on Google Classroom

 

Home/At Work Connections

Students will draft one additional stanza for Cabinet Battle to reflect the views of either Federalists or Republicans (the side they did not select in the last classroom activity).

 

“Burghers of Calais” by Auguste Rodin

Developed by Kathleen McCrillis
Miami East High School, Casstown
French
Grade Level: French III or IV (may be adapted to French I or II, history, or Cultural Literacy)

Introduction

History has many lessons for those who listen. For those who pay attention much can be gathered from the music, dance, and visual art of a given period in time. French teacher Kathleen McCrillis, from Miami East High School, uses what she learns at workshops to construct lessons with a depth of understanding not often seen at the high school level. In this case she asks her French I students to examine the work of Auguste Rodin, Burghers of Calais, to examine the distress of some of those involved in The Hundred Years War between France and England. Kathleen uses an activity learned at the Muse Machine’s Advanced Teacher Training Seminar 2016 at the Noguchi Museum in New York City where they were asked to write down what they saw, what they thought, and what they wondered about a particular sculpture before revealing anything about the piece. Kathleen uses this method with her French students as well as observation, tableau, sketching, and group sharing, as vehicles of learning for her students. Please examine this masterful lesson as an example of the best design of instructional strategies gleaned from an educational seminar.

Competencies, Process and Content Statements

Communication Standard

Communicate in languages other than English, both in person and via technology.

Interpretive Communication (Reading, Listening/Viewing)

Competency # 1

  • Derive meaning from messages and texts using listening, reading and viewing strategies.
  • Make use of print and digital resources to understand the meaning of new words and expressions.
  • Utilize knowledge of word families/characters and cognates to figure out the meaning of new words and expressions.

Competency #3

  • Comprehend and interpret information in authentic messages and informational texts.
  • Follow complex instructions, directions and requests.

Interpersonal Communication (Speaking/Signing, Listening/Viewing, Reading and Writing)

Competency # 3

  • Express preferences, feelings, emotions and opinions about familiar and some unfamiliar topics.
  • Ask and answer more nuanced questions about feelings, emotions and preferences.

 Presentational Communication (Speaking/Signing and Writing)

Competency # 2

  • Present information, concepts and viewpoints on familiar and some unfamiliar topics from across disciplines.
  • Create and present more extensive lists and classifications.

Competency # 3

  • Present literary, creative and artistic endeavors to audiences near or far.
  • Recite or retell authentic stories, folktales, poems, rhymes and legends using appropriate gestures.

Cultures Standard: Gain and use knowledge and understanding of other cultures.

Competency # 2

  • Experience the target language and culture(s) and share information and personal reactions with others.
  • Analyze, explain and create replicas of important objects, images and symbols.
  • Use authentic digital and print media.

Enduring Understandings

  • The human experience is the same across cultures and time.
  • There is a very heavy human cost to war.

Level of Inquiry (confirmation/structured/guided/open) Circle and describe

The activities in this lesson plan reflect a structured inquiry, where the students investigate teacher-presented questions through a prescribed procedure.  Even though these are high school level students, they are operating with much lower language skills, in a foreign language.

Essential Questions

  1. What are the shared human experiences across cultures and time?
  2. What are the human costs of war?

Content Elaborations

Students will learn …

  • New French vocabulary, related to history and art.
  • The history of a true event that took place during the Hundred Years War, the Seige of Calais, from 1346-1347, whereby six citizens were willing to sacrifice their lives to save the rest of the inhabitants of their city, which was not uncommon during the Middle Ages.
  • The name and style of Auguste Rodin, one of the most important French sculptors of the second half of the nineteenth century, and considered one of the fathers of modern sculpture.
  • The title and background of one of his greatest works, Les Bourgeois de Calais (The Burghers of Calais).

Students will practice and strengthen their skills in… listening, speaking, reading, and writing through interpretive, intrapersonal, and presentational communication.  The entire class will be conducted in French.

Expectations for Learning

Students will demonstrate this learning by…

  • Staying in the target language, French, the entire class period.
  • Participating in all of the individual, group, and whole class activities.
  • Orally answering teacher questions about the content both today and tomorrow.

Instructional Strategies

  • Co-operative learning
  • Integration of content areas
  • Nonlinguistic representations

Assessment (Pre and/or Post)

The teacher will use formative assessment as he/she walks about the room, looking at student writing, listening to student conversations, and observing their contribution to their group.  The teacher will provide immediate feedback to individual students and also write down observations in an anecdotal notebook to adjust instruction based on individual needs.

Materials & Resources

Materials list for Teachers:

  1. SmartBoard and computer
  2. 4-5 8 ½ by 11 sheets of cardstock and felt pens for each group of six
  3. Classroom set of large French/English dictionaries for those students who prefer that reference to an online dictionary, such as wordreference.com

Materials list for Students:

  1. a smart device for each student( phone, tablet, or laptop)
  2. notebook and writing utensil

Key Vocabulary

  • Le bourgeois– solid citizen of a city
  • Calais– city in northern France
  • La sculpture– sculpture
  • L’oeuvre– work
  • La guerre– war
  • Le monde– world
  • Le coût– cost
  • Le tableau vivant– scene of silent and motionless costumed actors depicting a work of art.

Student Performance Tasks

The students will…

  • Copy key vocabulary words for the lesson from the SmartBoard and repeat them after the teacher.
  • View a large, SmartBoard image of Auguste Rodin’s Les Bourgeois de Calais (The Burghers of Calais), without yet being given the title or artist’s name.
  • Jot down words and phrases in a notebook, answering three questions about the sculpture, written on the board and read aloud by the teacher:
  1. Qu’est-ce que tu vois? (What do you see?)
  2. Qu’est-ce que tu penses? (What do you think?)
  3. Qu’est-ce que tu te demandes? (What do you wonder?)
  • Get put into groups of 6 to share their answers aloud.
  • Choose one member of their group to share a summary of their thoughts with the class.
  • Remaining in their groups for the rest of the class, use their smart phones, tablets, or laptops to go to Wikipedia.fr and type in the title of the work, Les Bourgeois de Calais.
  • Answer three questions:
  1. Qui est l’artiste? (Who is the artist?)
  2. Quand a-t-il créé cet oeuvre? (When did he create this work?)
  3. Cette scène était pendant quelle guerre dans l’histoire de France?

(This scene was during what war in the history of France?)

  • Share their answers with the group, then the class.
  • Viewing the French Wikipedia article on the SmartBoard, listen to a brief explanation by the teacher of the situation of the six figures in the sculpture and how their story turned out.
  • In their group, research on their smartphones , tablets, or laptops and write down their answers on 8 ½ by 11 sheets of cardstock to the following questions:
  1. Où sont les guerres dans le monde aujourd’hui? (Where are the wars in the world today?
  2. Quelles sont les conséquences, ou les coûts humains de la guerre? (What are the consequences, or human costs, of war?
  3. As a group, in front of the class, share their results aloud and visually on the cards. Turn them in to the teacher to be displayed on a bulletin board.
  • Each member pick one of the six figures to sketch in their notebook, so that all of the six figures are covered for each group. Use their devices to find images.
  • Each group create a tableau vivant of Les Bourgeois de Calais.

As a group, decide what each person should bring to class tomorrow (ex. bedsheet, rope, etc.) to best create the tableau and be photographed.

Career Connections

• S. Army linguistics
• Foreign Service
• international business and finance
• engineering with international companies
• teaching
• mission work
• travel industry

Diverse Learners

The students will be put into diverse ability groups so that all groups have an opportunity for success with the activities. Peer collaboration will give students the opportunity to contribute their particular gifts and to benefit from others’ gifts. The activities of this lesson incorporate the three learning styles: visual, auditory, and kinesthetic. Analyzing the visual art, reading the French website on their smart devices, and seeing the answers to questions on card stock will appeal to the visual learners. Hearing the directions aloud, discussing their thoughts within their groups, and hearing the teacher explain the history that can be read on the SmartBoard will appeal to the auditory learners. Having the freedom to get out of their seats and take a closer look at the artwork on the SmartBoard, sketching a figure in their notebook, and using their body to create a tableau will appeal to the kinesthetic learners.

The activities have also been planned with multiple intelligences in mind: visual-spatial, verbal-linguistic, bodily-kinesthetic, interpersonal, and intrapersonal.

Interdisciplinary Connections

In my 19 years as a Muse Machine advisor, I have incorporated ideas from ATTS, the Muse Machine Summer Workshops, and other Muse teacher development offered throughout the year in countless ways into my French I, II, III, and IV classes, as well as a Cultural Literacy class I taught for six years. Muse Machine has inspired whole units, as well as creative and engaging activities to incorporate into virtually any unit I teach. It has also validated my own instincts on the very nature of teaching.

In this particular lesson, the first activity came from what I experienced on the ATTS 2016 trip at the Noguchi Museum, founded and designed by Japanese-American artist, Isamu Noguchi. There, my group was shown several large sculptures by Noguchi and asked to write down what we saw, what we thought, and what we wondered. Without being given any background information or critical analysis, we were given the freedom to explore and react to these works in silence, on our own. It was an empowering way to engage in the art. It made the encounter much more personal, so the sharing and discussion afterward was much richer. In this first activity of my lesson, I have tried to give students a similar intimate, reflective space in their first encounter with Rodin’s intensely emotional sculpture.

The sketching activity that comes later in the lesson was inspired by an experience I had on the ATTS 2015 trip at the Metropolitan Museum of Art. After a very helpful workshop on writing essential questions, we were taken into one of the galleries and asked to sketch Emanuel Leutze’s mammoth painting, Washington Crossing the Delaware. Imagine my consternation at being given such a task, when drawing is one of my least natural inclinations! But Muse Machine workshops at their best challenge teachers to get out of their comfort zones and grow in the ways they expect their students to grow and to feel what their students feel in that awkward moment before discovery. I was amazed at how much more I was able to get out of the painting when I had to really pay attention to the detail, by drawing it. This past school year, when I had French II students spend 10 minutes drawing Rodin’s most famous works, I was truly amazed by how each individual captured them. One student, whose work is included here, seemed to effortlessly capture the essence of Rodin’s works, without having taken any art classes in high school.

The final activity, the tableaux vivants, is another idea that I got from a Muse workshop years ago. It’s an idea that has been around for a long time, but it was new to me then, and I have had students create tableaux over the years to portray a vocabulary word or capture a scene from literature. The purpose of the activity in this lesson is to have each student study the stance and facial expression of their “character” so they can imitate it and, hopefully, start to better understand the pain involved with war, Rodin’s ability to express emotion, and the universality of human experience.

Technology Connections

The teacher will use the classroom SmartBoard to display a large photo of the work of art. With this technology, the classroom is more than ever able to be transformed into a “museum.” When students are sharing ideas, they can show the entire class what they saw in the art. The teacher will also use the SmartBoard to experience a French website together with the students, having the students come up and circle where they found answers to questions and highlight main ideas.

The students will use their smartphones, tablets, or laptops to both answer discreet questions and research more open ended questions.

Home/At Work Connections

In my French classroom students usually have daily homework in grammar or literature. For this lesson, the only homework is to bring in items from home for them to wear or hold to create the final tableau to be photographed and put on display, along with the text put on the cardstock that was created about wars and consequences around the world today.

A Lesson in Writing Poetry

Developed by Dawn Stamper
Beavercreek High School, Beavercreek
Language Arts
Grade Levels: 9-12

Introduction

The Summer Institute 2016 provided by the Muse Machine, brought the world renowned Ping Chong & Company to Dayton, Ohio. Teachers called it one of the most relevant workshops they have attended in several years! Many of them used activities from the workshop as inspiration for their lessons in the fall of 2016. Dawn Stamper, language arts teacher at Beavercreek High School, did just that with her students as she guided them through the process of writing poetry. Deftly using samples and outlines, she taught them how to write poetry using methods she learned during the workshop. The skillful techniques used are reflected in the lesson plan and in the samples provided by her students. We hope the reader enjoys them as much as we do!

Non-Arts Discipline

English Language Arts

Strand/Process

CCS W.11-12.3 (D,E), W.11-12.4, W.11-12.5, W.11-12.6 RL 11-12.6

Content Statement

Enduring Understandings:
Writing poetry is an introspective and reflective process.

Level of Inquiry (confirmation/structured/guided/open)

  • Students will have structured pre-writing activities to guide them into the creation of their poem.

Arts Discipline

Essential Questions

  • How does poetry contribute to our understanding of self, others, and the world?
  • How does poetry contribute to our understanding of fictional characters?

Content Elaborations

Students will learn …

  • To use a primary source to find details and support for use in writing.
  • To write form a point of view different than their own.

Expectations for Learning

Students will demonstrate this learning by…

  • Writing a poem in the style of George Ella Lyons, “Where I am From.”

Instructional Strategies

Students will be engaged and supported in learning by…

  • Teacher modeling and examples.

Student Performance Tasks

Using the scaffolds provided write a poem using a character from the summer reading list. Be sure to use the “I Am From” format of George Ella Lyons. (Provided with this plan)

Career Connections

  • Writing
  • Art
  • Graphic design

Diverse Learners

  • Students will be able to illustrate by hand, use a computer to graphically design, or express through color.
  • Alternative reading – Tuesdays With Morrie by Mitch Album.

Interdisciplinary Connections

This lesson was inspired by an activity from the Muse Machine Summer Institute 2016. This lesson could easily fit into an Art, ELA, or Technology study.

Technology Connections

Students can graphically design their poem to illustrate parts of their poem or the novel.

Home/At Work Connections

Students will read The Tension of Opposites as their summer reading assignment.

Part One – Summer Reading

All students will obtain and read a copy of Kristina McBride’s young adult novel, The Tension of Opposites.

Alternative reading: Tuesdays With Morrie by Mitch Albom.

Part Two – Poem Analysis and Pre-Writing

Students will read and Analyze the poem “Where I am From” by George Ella Lyons

Students will then complete pre-writing activities that will develop into two different “Where I’m From” poems – one for themselves and one for one of the main characters from the novel they read.

Part Three – Simplistic Wisdom

Students will illustrate or graphically design their poem to make it publisher ready.

“Dar and the Spear-Thrower” by Marjorie Cowley

Developed by Farhat Bobby Khan
Morton Middle School, Vandalia
Language Arts/Writing
Grade Level: 6

Introduction

The Muse Machine Summer Institute 2016 inspired teachers in different ways to weave the institute theme of, “Undesirable Elements” into their lessons with students. Farhat Bobby Khan, from Morton Middle School in Vandalia, Ohio, used this theme to inspire the writing that her sixth grade students were required to do for language arts. She asked them to retell and illustrate the plot of the novel, “Dar and the Spear-Thrower” by Marjorie Cowley. They were asked to listen to it again and then to write their ideas as a choral piece for the whole class to recite. Such original thinking came from this idea! Bobby’s students proudly demonstrated their visual art and their choral speaking for the principal and other guests when the lesson concluded!  You can see for yourself what a great job they did!

Non-Arts Discipline

Language Arts

Strand/Process

Reading: Literature/ Key Ideas and Details

Content Statement

  1. Cite textual evidence to support analysis of what the text says explicitly as well as inference drawn from the text.
  2. Determine a theme or central idea of a text and how it is conveyed through particular details; provide a summary of the text distinct from personal opinions or judgment.
  3. Describe how a particular story’s or drama’s unfolds in series of episodes as well as how the characters respond or change as the plot moves toward a resolution.

Enduring Understandings:
Imaginative texts can provide rich and timeless insights into universal themes, dilemmas and social realities of the world. Literary text represents complex stories in which the reflective and apparent thoughts and actions of human beings are revealed. Life therefore shapes literature and literature shapes life.

Arts Discipline

Writing Process

Strand/Process

Writing: Text Types and Purpose

Content Statement

  • Write narratives to develop real or imagined experiences or events using effective technique, relevant descriptive details, and well-structures event sequences.
  • Engage and orient the reader by establishing a context and introducing a narrator and/or characters; organize an event sequence that unfolds naturally and logically.
  • Use narrative techniques, such as dialogue, pacing, and description, to develop experiences, events, and/or characters.

Enduring Understandings:

  • Writers share information, opinion and ideas by using multiple techniques and text types. This knowledge allows them to communicate in appropriate and meaningful ways to achieve their intended purpose.
  • Listen to the novel “Dar and the Spear-Thrower” by Marjorie Cowley.
  • Illustrate each chapter after listening to the corresponding chapter.
  • Unfamiliar words were projected on the screen to aid student understanding.
  • They were assessed by taking an AR (Accelerated Reader) test.
  • Students were given the option to choose a character and describe the relative details about the setting, plot, problem/solutions, and climax.
  • The student peer-edited the information they wrote about the character.
  • In the end, the teachers compiled students’ edited scripts into a complete narrative named as “The Undesirable Elements of Dar and Toreg’s Clan.”
  • The students practiced reading their script along with body actions such as unison clap, snaps, and stomps.

Essential Questions

  • How do readers communicate experiences or events using descriptive details with a well-structured events sequence?

Content Elaborations

  • Students will learn how to cite evidence from the text to understand the explicit analysis of the text, as well as inferences made.
  • Along with determining the theme of a text, central idea, and how details impact the personal opinions and/or judgment of the characters.
  • Students will learn how to detect changes in the characters and how the story changes the characters’ mood and perception of the world.

Expectations for Learning

  • Students will demonstrate learning by listening and completing the illustrations, which will show their understanding. The illustrations reflect the main idea, setting, characters, and plot of each chapter.
  • Students will learn to write a descriptive paragraph using the paragraph rubric and the tool kit from Story Works (Scholastic  Magazine) to guide their writing.
  • Students will develop oral and non- verbal communication skills.

Instructional Strategies

  • Students will be engaged in reading along with the teacher, pausing at unfamiliar words, figurative language, concepts, and dramatic scenes to reflect.
  • Modeling fluency, enunciation and expression.
  • Students will be shown previous examples of student’s illustrations.
  • Showed a cohesive paragraph that was constructed using the writing process along with a paragraph rubric.

Assessment (Pre and/or Post)

  • Students will know how well they are learning by viewing the movie The Neanderthals and using a Venn diagram to compare and contrast the two pre-historic species.
  • After completing the reading of the novel Dar and the Spear Thrower by Marjorie Cowley the students will take an AR test.
  •  The writing process will be assessed with the attached rubric: for the topic sentence and keeping the promise of the topic. The cohesiveness of the paragraph will also be considered as an important factor for the students understandings.

Materials & Resources

  • Text Book Dar and the Spear-Thrower for all students and the teacher.
  • Manila paper folded in rectangles for each chapter’s illustration.
  • Colored pencils or crayons
  • Smart board with pictures of unfamiliar objects and relevant scenes projected for student’s understandings.

Student Performance Tasks

Students illustrated each chapter, with the title, chapter number reflection of the setting, event, climax, plot, solution, and compare/contrast after daily reading.

Career Connections

tudents will develop team spirit, collaboration, acceptance of diversity and professional communication skills.

Diverse Learners

Students with IEP,504 or ESL will be directed and given extended time to complete the daily assignments .Extra intervention will be provide administered as needed. The gifted /tag students will have to add additional elements to their illustrations.

Interdisciplinary Connections

 After interviewing the summer institute participants by Ping Chong and Company I was inspired to require my students to create their own “Master Piece”.  My students created their individual script about the characters of” Dar and The Spear Thrower”. The presentation is almost a replica of the summer workshop theme of “Undesirable Elements.”

Technology Connections

The students will take an A.R. Test. The smart board projected the movie, scenes and unfamiliar words for students understanding.

Home/At Work Connections

Finished and uncompleted illustrations were taken home to be shared and completed

Paragraph Writing Rubric