What Needs to Happen

1
What Needs to Happen

• Integration of Content Areas
• and
• Collaboration

2
Making Authentic Connections

• Incorporates each content area in a meaningful
  context (as appropriate and maintaining the
  integrity of each discipline)
• Contains measurable student outcome(s)

3
Dance Connections to Math

• Mathematics Grade 4
• COMPETENCY GOAL 2  The learner will understand
  and use perimeter and area.
• 2.01     Develop strategies to determine the area
  of rectangles and the perimeter of plane
  figures.2.02     Solve problems involving
  perimeter of plane figures and areas of
  rectangles.

4
Perimeter Dance

• Using forward, back, and lateral Latin dance
  steps, students will create "Perimeter" dances in
  which they dance in a square or rectangle and
  calculate the perimeter and area of their dances.
  As an extension, students will analyze the
  relationship of perimeter and area, creating
  multiple dances with the same area.
• http//www.ncpublicschools.org/curriculum/artsed/r
  esources/handbook/dance/05perimeter

5
Math in Your Feet

• Dance is considered creative. Math is considered
  to be mostly problem solving. What they both
  have in common is that they both rely on
  creativity to solve problems.
• Dance patterns can be charted (choreography).
  Dance steps include many variables and patterns.
  Shapes and geometric concepts can be and are
  often used in choreography.
• Math in Your Feet is a program that teaches
  math using dance.
• http//www.sciencedaily.com/videos/2008/0503-do_th
  e_math_dance.htm

6
MUSIC Connectionsto mATH

• Mathematics Grade 2
• 1.02     Use area or region models and set models
  of fractions to explore part-whole relationships
  in contexts
• -Represent fractions (halves, thirds, fourths)
  concretely and symbolically.
• -Compare fractions (halves, thirds, fourths)
  using models.
• -Make different representations of the same
  fraction
• -Combine fractions to describe parts of a whole

7
Music and Sound Waves

• When composing music, students will have to
  understand the musical scales including sharps
  and flats, frequency, etc. For example
• The A note has a frequency of 440 hz. That is 9
  white keys below middle C.
• Frequencies between half tones is
  1.0594630943593...
• To calculate the frequency of A, multiply 440
  hertz by 1.059. The answer will be 466.16376...
• If this is repeated 12 times, it will place you
  at an octave higher, which would be 880 hertz.
  Doubling the frequency creates a note an octave
  higher. Dividing the frequency in half creates a
  note an octave lower.
• The movement from one note to another is a
  constant 1.059463 therefore, students are able
  to calculate the number of vibrations per second
  between two random notes.
• http//members.cox.net/mathmistakes/music.htm

8
Composition and Time Signatures

• Students will create original compositions within
  specific guidelines and perform their
  compositions for the class. Compositions will be
  notated using traditional methods.
• Students will be introduced to time signatures,
  so they will learn about fractions, beats, half
  notes, measures, etc.
• http//64.78.42.182/sweethaven/Arts/MusicTheory/le
  ssonmain.asp?lesNum3modNum2
  ?

9
Theatre Arts Connections to Math

• Introductory Mathematics (High School)
• Competency Goal 4 The learner will understand and
  use linear relations and functions.
• 4.01 Develop an understanding of function.
• Translate among verbal, tabular, graphic, and
  algebraic representations of functions.
• Identify relations and functions as linear or
  nonlinear.
• Find, identify, and interpret the slope (rate of
  change) and intercepts of a linear relation.
• Interpret and compare properties of linear
  functions from tables, graphs, or equations.
• 4.02 Write an equation of a linear relationship
  given two points, the slope and one point on the
  line, or the slope and y-intercept.
• 4.03 Solve problems using linear equations and
  inequalities justify symbolically and
  graphically.
• 4.04 Solve problems using the inverse
  relationships of addition and subtraction,
  multiplication and division, squares and square
  roots, and cubes and cube roots.

10
Stage Lighting

• Stage lighting students must know
• The pie formula (the relationships of
  potential, current flow, and rate of doing work).
• P IE or W VA (watts equals volts time
  amps)
• Many other arrangements are also suitable for
  solving specific problems. For example
• P I/E I2R E2/R
• R E/I E2/P P/I2
• http//www.hstech.org/howto/electric/stgmath.htm
• 
  www.charles.kaiser.name/lighting2.htm --gt
  
• 
  

11
Set Design for the Stage

• www.oxfordreference.com/pages/samplep-17
  
  
• 
  ?
• Students lay out a grid for the perspective
  sketch using precise measurements.
• Students determine scale for models of the set
  and have to measure precisely.
• Is it going to be ½ or ¼ scale?
• http//www.stuorg.iastate.edu/ethosmagazine/april0
  7/images/set04sm.jpg ?

• www.oxfordreference.com/pages/samplep-17

12
Visual Arts Connections to Math

• Grade 3
• COMPETENCY GOAL 1 The learner will model,
  identify, and compute with whole numbers through
  9,999.
• 1.05     Use area or region models and set models
  of fractions to explore part-whole relationships.
  
• Represent fractions concretely and symbolically
  (halves, fourths, thirds, sixths, eighths).
• Compare and order fractions (halves, fourths,
  thirds, sixths, eighths) using models and
  benchmark numbers (zero, one-half, one) describe
  comparisons.
• Model and describe common equivalents, especially
  relationships among halves, fourths, and eighths,
  and thirds and sixths.
• Understand that the fractional relationships that
  occur between zero and one also occur between
  every two consecutive whole numbers.
• Understand and use mixed numbers and their
  equivalent fraction forms.

13
Human Proportions

• The distance from the top of the head to the chin
  is about 1/7 of his total height (from head to
  toe).
• The width of the shoulders is ¼ the height of a
  person.
• The length from top to bottom of the buttocks is
  1 head.
• The length of the foot is equal to the length of
  the forearm.
• The distance from the hip to the toes is 4 heads.
  

http//www.animatedbuzz.com/tutorials/images/propo
rtion04.jpg
14
Facial Proportions

• The eyes are halfway between the top of the head
  and the chin.
• The bottom of the nose is halfway between the
  eyes and the chin.
• The mouth is 1/3 to ½ way between the nose and
  the chin.
• The corners of the mouth line up with the centers
  of the eyes.
• The top of the ears line up above the eyes, on
  the eyebrows.
• The bottom of the ears line up with the bottom of
  the nose.
• The top center of the teeth and the eyes form a
  triangle.
• The distance from one side of the head to the
  other side is equal to 5 eyes.

15
Fractals

• http//math.rice.edu/lanius/frac/
• 
  ?
• A fractal is generally a rough or fragmented
  geometric shape that can be split into parts.
• http//spanky.triumf.ca/
• http//mathforum.org/alejandre/workshops/fractal/f
  ractal3.html
• http//www.ccs.neu.edu/home/fell/COM1201/PROGRAMS/
  RecursiveFractals1.gif ?

16
Linear Perspective

• Linear Perspective is used in theatre arts and in
  visual arts. The following links may inspire
  many ideas.
• http//www.math.nus.edu.sg/aslaksen/projects/persp
  ective/
• http//studiochalkboard.evansville.edu/draw.html
• http//www.myamericanartist.com/2006/12/linear_per
  spect.html
• http//www.olejarz.com/arted/perspective/
• http//rourkevisualart.com/wordpress/wp-content/up
  loads/2007/03/linear_perspective.jpg
  ?
• 
  

17
Global Awareness Writing Theatre Arts

• Identify some of the characters and ideas from
  the commedia dellarte, and write an essay that
  compares it to a similar style of theatre from
  another century (for example, Molieres comedies,
  slapstick comedy of the early 1900s, etc.).

18
Global Awareness Writing Visual Arts

• Students identify and discuss certain firsts in
  art
• Research the contributions of an artist from
  another country and write a paper about the
  artist. Two examples are listed here
• Graciela Rodo-Boulanger of Bolivia
• Lim Kok Boon of Indonesia

19
Civic Literacy Social Studies Music

• The learner will explore examples of and
  opportunities for active citizenship, past and
  present, at the local and state levels. Grade 8
  SCS
• Research songs from the past that were composed
  for the sake of political protest. Discuss their
  meanings and their purposes. Some examples are
• Blowin in the Wind by Bob Dylan
• War by Edwin Starr
• Where Have All the Flowers Gone? by Pete Seeger
• Compose a song of your own that tackles one of
  todays issues using appropriate notation, time
  signature, and expressive devices.

20
Health Literacy Physical Education Science
Dance

• The learner will conduct investigations, use
  models, simulations, and appropriate technologies
  and information systems to build an understanding
  of the complementary nature of the human body
  system. Grade 7 SCS
• Conduct a mini-unit on kinesiology, addressing
  specific muscle groups affected most by dance,
  including specific treatments for sore muscles.
• Students should know who to contact in case of
  emergencies such as broken or fractured bones,
  dizziness, etc.
• Make sure to provide a diagram of the
  musculoskeletal system and have students identify
  muscles and tendons affected by specific dance
  movements.
• http//www.geocities.com/vienna/strasse/5503/danc
  etips.html (Dance Tips).

21
Creativity/Innovation Skills Writing Dance

• Give students a list of creative choices
  connected to new ideas that evolved as a result
  of necessity (e.g., creating the first
  automobile). Students then establish a structure
  of creative inventiveness.
• Create dance movements that communicate their
  processes.
• Write an essay that explains the steps in their
  creative approach.
• Revise and perform their dances. As an
  extension, relate how the steps they took are
  similar to the ways inventors/discoverers/
• technicians approach creative solutions (or
  should approach creative solutions) to their
  problems.

22
Critical Thinking/Problem Solving Science
Math Visual Arts

• Fibonacci numbers are used in art, architecture,
  and music. They also appear in nature
  everywhere.

http//fy.chalmers.se/kuzmin/HOBBY/TABLE/STORY/Im
age31.gif
23
Communication/Collaboration Skills
Writing/Speaking Music

• Record the group singing or playing a piece of
  music.
• In small, collaborative groups, evaluate the
  quality and effectiveness of the performance
  using specific criteria and offer constructive
  suggestions for improvement.
• Explain in writing how each individual's part
  contributes to the overall sound quality of the
  group. Examine how the director communicates to
  the ensemble in order to facilitate the
  collaborative performance of the piece (tempo,
  dynamics, blend, balance, etc).

24
Information Literacy Writing Dance

• Assign historical dance figures for students to
  research, such as Pierre Rameau, Carlo Blasis,
  Jerome Robbins, Agnes DeMille, Alvin Ailey, Twyla
  Tharp, Mikhail Baryshnikov, and Martha Graham.
  Supply students with specific questions to help
  them determine the credibility of their
  resources. Two sample questions might be
• How recently was the article about your topic
  published?
• Does it cover the topic in enough depth?
• Students need to evaluate their sources
  carefully, and select only the sources that are
  reliable, accurate, and authoritative based on
  specific criteria.

25
Media Literacy Reading Music

• Lead a discussion about how different media
  portrays popular music (e.g., feature news
  stories on broadcast news, editorials, newspaper
  articles, etc.). Get a variety of perspectives.
  Ask leading questions such as
• How does the writer view particular artists whose
  albums and singles have reached the top 40 in the
  charts?
• Does the feature or article seem to be biased
  towards specific types of popular music?
• How do you think the feature or article will
  affect the publics view of the music?

26
ICT Literacy Writing Arts

• Discuss the role of publicist (for a dramatic
  production, dance recital, choral recital, art
  exhibition, etc.).
• Have students act as publicists to compose a
  publicity package using various applications on
  the computer. The student will become familiar
  with
• creating and transferring files
• transferring digital images to email attachments
• inserting hyperlinks

27
Social and Cross-Cultural Skills Science
Theatre Arts

• Discuss the scientific principles of color theory
  as they pertain to stage lighting. Have students
  divide into small groups.
• Each group is to select a concept of stage
  lighting theory and prepare models, computer
  simulations, or other means of presentation, to
  test hypotheses relating to the concept.
  Examples may include
• Gels (color filters) can dramatically transform
  colors onstage.
• Principles of reflection, refraction, and
  absorption create varying effects onstage.

28
Productivity and Accountability Music

• Have students listen to a recording of themselves
  singing or playing composed or original works of
  music (or, use a recording of a piece of music).
• Collaboratively develop criteria for evaluating
  the quality and effectiveness of the performance
  or composition. This may be done by developing a
  rubric as a class. This rubric may then be used
  by students to apply the jointly developed
  criteria in their own personal listening and
  performing of music.

29
Collaboration
30
Planning Time

• According to the teachers surveyed, no
  collaborative planning takes place with the
  following
• media coordinator (82),
• technology facilitator (83),
• dance, music, theatre arts or visual arts
  teachers (range of 90-98),
• physical education teacher (90),
• foreign language teacher (98),
• special education teachers (75),
• LEP (ESL) teacher(s) (86)

31

• Ways to Collaborate

32
Written Communication
33

• Common Planning Times

34

• Informances" at PTA or other school events.

• newsletters to educate students, staff, and
  parents of important aspects of the curriculum
  and how each content area fits into the total
  school program.

35

• Whole school effort teachers, parents, and
  administrators see how the SCS is being delivered
  as well as how connections are being made within
  and across other content areas.