Electricity
Arts Integrated Lesson Plans and Materials for Teaching Electricity & SABES Grade 4 “It’s Electric!”
Kinetic and Potential Energy
Pairs with SABES Lesson 3
Students will be able to explore the concepts of kinetic and potential energy through various body percussion experiments and games.
NEXT GENERATION SCIENCE STANDARDS
- Science & Engineering Practices– SEP 3: Planning and Carrying Out Investigations- ES3: Make observations and/or measurements to produce data to serve as the basis for evidence for an explanation of a phenomenon or test a design solution.
- Disciplinary Core Ideas– PS3.A: Definitions of Energy- ES2: Energy can be moved from place to place by moving objects or through sound, light, or electric currents.
- Crosscutting Concepts– CCC 5: Energy & Matter- ES1: Energy can be transferred in various ways between objects.
MARYLAND STATE ARTS STANDARDS
- I:3-5:1: Conceptualize and generate musical ideas for an artistic purpose and context, using appropriate technology as available.
SABES LEARNING OBJECTIVES
- Lesson 3- Types of Energy: Students will be able to design and conduct an investigation to examine two types of energy: kinetic energy (energy of motion) and potential energy (stored energy).
MATERIALS
- Science notebooks, index cards labeled with “Kinetic” and “Potential,” Driving Question Board (DQB), 0401 It’s Electric PowerPoint
ACCESSIBILITY
- Feel welcome to customize body percussion movements to fit all ability needs
- Use noise-cancelling headphones if students have sensitivity to auditory stimulation.
TEACHER BACKGROUND
- Teachers should have an understanding of what body percussion is and how to keep a consistent beat. We suggest viewing the following example as well as short (and fun!) videos to practice your body percussion skills before facilitating these activities with your students:
ENGAGE
Activate prior knowledge by asking students: What is energy?
-
- Energy is the ability to do work.
Explain that today they will explore different types of energy since not all energy is the same.
To demonstrate this idea through embodied cognition, facilitate a game of percussion follow-the-leader.
-
- Invite students to stand up, explaining that we will now play a game of follow the leader. Begin as the leader, clapping your hands at a steady beat and invite students to join in
- Then, stop clapping, holding your hands about six inches apart. Pause here for several seconds.
- Next, begin stomping your feet at a steady beat of your choice. Again, invite students to join you.
- Then, stop stamping, holding one foot (if possible) several inches off the ground.
- Invite students to put their foot down.
Ask students what they noticed or wondered about the game.
Explain that both our hands and feet displayed two types of energy: kinetic and potential.
-
- Name that when our hands or feet are in motion while clapping or stomping, they have kinetic energy. When our hands or feet freeze, making no more sound, they have potential energy. Point out that the word potential means it “could” or “will.”
- Share the curriculum definitions with students (see the SABES slides):
- Kinetic energy is the energy an object has in motion.
- Potential energy is stored energy an object has because of its position (not in motion).
EXPLORE
(Note: Talk with your class about safely moving their bodies throughout the classroom before engaging with the following exploratory prompts):
Show students the “Explore Body Percussion” slide.
Invite students to explore ideas of speed and pitch with kinetic energy with divergent thinking questions like:
-
- How fast can you clap your hands? How slow?
- What other ways can you show kinetic energy with your body? Can you rock back and forth? Spin in a circle? Jump up and down?
- How can you show potential energy with each of these movements? Can you freeze midspin? Where is the potential energy when you are jumping?
Have students explore these movements individually and then in pairs, discussing the differences in feeling between kinetic and potential energy.
APPLY
Kinetic and Potential Energy Percussion Game
Set up: Divide the class into small groups or pairs. One student will perform the body percussion movements, while the other will determine if each movement represents kinetic or potential energy.
Execution: The performing student will execute body percussion movements, and the observing student will either say aloud or whether the movement represents kinetic or potential energy.
-
- Option for differentiation: Use index cards to create small signs that read “Kinetic” or “Potential” for students to hold up instead of saying the terms aloud.
Option for Variations: Use materials like a scarf or a balloon: Hold the object up in the air, and ask students to name when the object is experiencing kinetic energy, and when potential energy can be observed.
Option for Extension: Challenge students to write a song about kinetic and potential energy and incorporate it into a hand-clapping game.
REFLECT
Guide students in a closing discussion or provide time for students to respond to the reflection questions below in their science notebooks:
What did you learn about kinetic and potential energy?
How did the body percussion activities help you understand these concepts?
What was challenging about identifying kinetic and potential energy?
Where else do you notice kinetic and potential energy? (This final question serves as a bridge into the content to be explored in Lesson 4.)
ASSESS
To evaluate if students have learned the ideas of kinetic and potential energy from this lesson, we suggest:
Formative Assessment: During the lesson, observe students’ engagement and participation in the activities. Listen to their explanations of kinetic and potential energy concepts during discussions. Observe their ability to correctly identify kinetic and potential energy in the games and exploration sessions, and provide corrections when needed.
EMBODIED COGNITION
Our brains learn through the body. When students use movement, gesture, or hands-on exploration, they’re not just “acting out” learning—they’re wiring knowledge more deeply. Embodied cognition means the body helps the brain understand, remember, and apply ideas. In arts-integrated lessons, students physically experience concepts, which boosts engagement and long-term understanding.
BRAIN TARGETED TEACHING IN THE CLASSROOM
The Emotional Climate:
-
- Engaging in music-making games can increase positive engagement in the classroom, expect lots of laughter as students clap and stomp along during the activities below.
- For some students, this type of activity may prove overstimulating. If you observe a student experiencing sensitivity to auditory stimulation, we suggest:
-
- Allow students to participate at a comfortable distance from the source of the sound.
- Provide noise-canceling headphones or earplugs. Both options can help students manage their sensory input while still being able to participate in the activity.
-
The Physical Space:
-
- All activities included in this resource set can be facilitated with students seated at their desks, however, we recommend encouraging students to stand and engage for full embodied cognition. If possible, play the whole group game while standing in a circle.
ROOT BRANCH MEDIA GROUP – BRING ROOT BRANCH TO YOUR SCHOOL!
All video content made in partnership with Baltimore’s Root Branch Media Group.
MURRAY PIPER – BRING MURRAY TO YOUR SCHOOL!
Murray S. Piper, noted Performer, Instructor, Clinician & Adjunct Professor at Johns Hopkins University Peabody Preparatory. Murray is the founder and director of Passionate Drumming & Music Lessons, which was driven from his early passion for drums. Murray received his B.S. music degree with a concentration in instrumentalists from Morgan State University. Murray has been teaching drums/percussion since 2004. Murray is also a teaching artist for the BSO Orchkids program in Baltimore, MD. Between 2017-2019, Piper was the lead percussionist for the University of Maryland Baltimore County dance department. In 2016, Murray was accepted as a member of the National Association of Music Merchants (NAMM). Murray is extraordinary in all styles of music such as Rock, Jazz, Gospel, Christian, Latin, Marching, Classical, Blues, and many more. Piper is an Emmy Nominated drummer for his outstanding role in the 2015 Stage Musical “Oh Gospel” The Evolution of Gospel Music. His drumming and percussion career has launched him into one of the most sought after instructors & drummers of our time. Piper’s skill level and personality has brought him some major partnerships with some of the biggest names in the industry such as Odery Drums, RBimusic, VicFirth, Sabian, Sledgepad, StickPro, JAMTec USA, and Evans. Piper has performed with many Steller’s and Grammy artists such as Richard Smallwood, Tamela Mann, Marvin Sapp, Dorinda Clark Cole, Isaiah D. Thomas, American Idol contestants, Broadway Musicals, Washington DC Orchestra, Sunday Best contestants, and Washington Talented Agency Bands. Connect and work with Murray via the AED Arts Directory!
RACHAEL BARILLARI
Rachael Barillari is the manager of the Baltimore Arts Integration Project and the founder of Soul Stori LLC, which produces integrative curricula and resources that seamlessly incorporate SEL and the arts into educational settings. She has served as an Adjunct Professor at Johns Hopkins’ School of Education and has authored several publications, including “The Compassion Formula: Where Head Meets Heart For Greater Well-Being.” Her work emphasizes compassionate and holistic learning environments that nurture every child’s creative core. Rachael holds a Masters in Teaching from JHU and a Masters in Educational Psychology from Columbia University. She is a certified Integrative Wellness Coach and HeartMath Trainer, as well as a former Baltimore City Schools teacher.
Forms of Energy
Pairs with SABES Lesson 4
Students use embodied cognition as a memory technique for recalling and categorizing the different forms of energy. Additionally, students explore sound energy through the use of various sound-producing objects.
NEXT GENERATION SCIENCE STANDARDS
- Science & Engineering Practices– SEP 3: Planning and Carrying Out Investigations- ES3: Make observations and/or measurements to produce data to serve as the basis for evidence for an explanation of a phenomenon or test a design solution.
- Disciplinary Core Ideas– PS3.A: Definitions of Energy- ES2: Energy can be moved from place to place by moving objects or through sound, light, or electric currents.
- Crosscutting Concepts– CCC 5: Energy & Matter- ES1: Energy can be transferred in various ways between objects.
MARYLAND STATE ARTS STANDARDS
- Anchor Standard 10: Synthesize and relate knowledge and personal experiences to make art.
SABES LEARNING OBJECTIVES
- Lesson 4—Forms of Energy: Students will plan and carry out an investigation to determine how we use different forms of energy within the school building, home, and community. Forms of energy include mechanical, electrical, light, thermal, and sound.
MATERIALS
- Science notebooks, Sticky Notes, Chart paper or whiteboard, Various objects that produce sound (e.g., musical instruments, bells, whistles, and other found classroom objects)
ACCESSIBILITY
- Having students spread out if at all possible for the activities supports students in proprioceptive sensory input (body spatial awareness) and auditory processing.
TEACHER BACKGROUND
- Teachers should have an understanding of the various energy types and examples in their school building.
- It is important to consider any auditory processing challenges amongst students prior to the sound exploration or centerpiece game described below.
ENGAGE
Begin by activating prior knowledge. Ask students:
-
- What is energy? Energy is the ability to do work.
- What is kinetic versus potential energy? Kinetic energy is the energy an object has in motion. Potential energy is stored energy an object has because of its position (not in motion).
Remind students that energy can take on many forms. Display the “Different Energy Types” slides here for review.
MOVEMENTS FOR MEMORY
After reviewing mechanical, electrical, light, thermal, and sound energy on the slide or via discussion, invite students to collaborate with you as a class to develop a gestural movement that represents each type of energy. Below are some movement ideas for getting started.
-
- Mechanical Energy: Students can pretend to turn a crank or wheel, representing mechanical energy used in machines.
- Electrical Energy: Students can make a circular motion with their hands to represent electrons moving in a circuit. They can also mimic flipping a switch on and off to demonstrate the flow of electricity.
- Light Energy: They can also make a sweeping motion with their hands to represent light rays spreading out.
- Thermal Energy: Students can rub their hands together briskly to demonstrate friction and the resulting heat. They can also pretend to warm their hands over a “campfire” by holding them out in front of them.
- Sound Energy: Students can cup their hands around their mouths and pretend to “shout” (silently), to represent how sound waves are produced. They can also tap their fingers on a desk to simulate the vibrations that create sound.
Use these hand motions throughout the unit for repeated rehearsal of material through embodied cognition (these practices support long-term retention of knowledge in students’ memories).
APPLY
Types of Energy Examples
Display three anchor charts around the classroom labeled “thermal/heat”, “sound,” and “light.” Give students three sticky notes.
-
- On note one, invite students to write down one object they can think of here in the school that uses thermal/heat energy.
- For note 2, do the same for “sound” energy, and for note 3, for “light” energy.
- Give students a few minutes to create their three sticky notes, then have students add their sticky notes to the anchor charts.
- After all the sticky notes have been put up, have students do a “Station Rotation” and look at what other students put on the charts.
EXTENSION
Exploring Sound Energy with Instruments
Serves as strong prior knowledge building for the second 4th-grade SABES unit Arts Integration Overlay, “Music To My Ears”
Explain to students that sound energy comes from vibrations, or waves, moving through a solid, liquid, or gas.
-
- Show this video “Sound and vibration: do you hear what I hear?” for a strong visual example.
- Note: We recognize the video is intended for lower elementary student use, but we still recommend it as an appropriate introduction to this concept.
- Gather various objects that produce sound, such as musical instruments (if accessible), bells, whistles, or classroom materials like rulers that can be clapped together or rubber bands stretched across an empty tissue box.
- Arrange the objects in different stations around the classroom.
- Divide the class into small groups and assign each group to start at a different station.
- Explain to students that they will have a few minutes at each station to explore the sound-producing object and discuss among their group what they notice about the sound it makes.
- Encourage students to pay attention to the pitch (high or low), volume (loud or soft), and other characteristics of the sound.
- Rotate the groups through each station, giving them enough time to explore and discuss the sound at each one.
- Show this video “Sound and vibration: do you hear what I hear?” for a strong visual example.
Try this game to allow students to explore sound waves through hands-on experiences and help them understand how sound travels and how we perceive it:
-
- Arrange students in a circle with one student standing in the center.
- The student in the center must identify what sound they hear and where it is coming from (e.g., to their right, behind them).
- Encourage them to explain how they can tell the direction of the sound and what characteristics help them determine the sound’s properties, such as the pitch (is the sound high or low?)
- Allow each student a turn to be in the center.
Note: For students with an auditory processing disorder, being the centerpiece in the game above could be highly challenging and distressing due to being unable to tell which direction a sound is coming from. To support these students, consider providing additional cues or support during the activity. This could include visual aids or gestures to indicate the direction of the sound.
ASSESS
To assess students’ learning following these experiences, we suggest:
Artful Reflections:
Ask students to “show what they know” about the thermal, sound, and light energy by:
-
- A. Writing a poem
- B. Writing a song
- C. Or drawing an informational poster
Explain that in whatever option they choose, students should
-
- Name/show what EACH energy type looks like/sounds like when it is in kinetic form
- Name/show what EACH energy type looks like/sounds like when it is in potential form
- Name/show an example of EACH in your school building
Concept Mapping:
-
- Before the lesson begins, have students create a circle in the center of three consecutive pages in their science notebook. In the center of circle 1, have them write “heat/thermal,” in circle 2, “sound,” and in circle 3, “light.”
- Throughout the lesson’s learning experiences and explorations, have students come back to their maps and add information that they learned.
- At the end of the class period, have students share with a peer or with the group 1 or 2 specific learnings from the day, and 1 or 2 concepts they are now wondering about.
EMBODIED COGNITION
Our brains learn through the body. When students use movement, gesture, or hands-on exploration, they’re not just “acting out” learning—they’re wiring knowledge more deeply. Embodied cognition means the body helps the brain understand, remember, and apply ideas. In arts-integrated lessons, students physically experience concepts, which boosts engagement and long-term understanding.
THE POWER OF ARTFUL REPETITION
Just like practicing a dance or a song, “repeated rehearsal” strengthens neural pathways. Each time students revisit a skill or idea—through sketching, dramatizing, or reflecting—their brains build stronger connections, helping learning “stick.” Repetition with variation keeps the brain curious and improves memory and mastery over time.
BRAIN TARGETED TEACHING IN THE CLASSROOM
The Emotional Climate:
-
- Partner and small-group work supports social skill development in fourth graders. Before starting, model what respectful collaboration and disagreement sound like. Afterward, use positive narration to recognize students who demonstrate responsible decision-making, emotional regulation, and effective teamwork.
The Physical Space:
-
- For these exploratory activities, provide as much space as possible for students to spread out and move freely. If classroom space is limited, consider using the gym, cafeteria, or an outdoor area.
ROOT BRANCH MEDIA GROUP – BRING ROOT BRANCH TO YOUR SCHOOL!
All video content made in partnership with Baltimore’s Root Branch Media Group.
MURRAY PIPER – BRING MURRAY TO YOUR SCHOOL!
Murray S. Piper, noted Performer, Instructor, Clinician & Adjunct Professor at Johns Hopkins University Peabody Preparatory. Murray is the founder and director of Passionate Drumming & Music Lessons, which was driven from his early passion for drums. Murray received his B.S. music degree with a concentration in instrumentalists from Morgan State University. Murray has been teaching drums/percussion since 2004. Murray is also a teaching artist for the BSO Orchkids program in Baltimore, MD. Between 2017-2019, Piper was the lead percussionist for the University of Maryland Baltimore County dance department. In 2016, Murray was accepted as a member of the National Association of Music Merchants (NAMM). Murray is extraordinary in all styles of music such as Rock, Jazz, Gospel, Christian, Latin, Marching, Classical, Blues, and many more. Piper is an Emmy Nominated drummer for his outstanding role in the 2015 Stage Musical “Oh Gospel” The Evolution of Gospel Music. His drumming and percussion career has launched him into one of the most sought after instructors & drummers of our time. Piper’s skill level and personality has brought him some major partnerships with some of the biggest names in the industry such as Odery Drums, RBimusic, VicFirth, Sabian, Sledgepad, StickPro, JAMTec USA, and Evans. Piper has performed with many Steller’s and Grammy artists such as Richard Smallwood, Tamela Mann, Marvin Sapp, Dorinda Clark Cole, Isaiah D. Thomas, American Idol contestants, Broadway Musicals, Washington DC Orchestra, Sunday Best contestants, and Washington Talented Agency Bands. Connect and work with Murray via the AED Arts Directory!
RACHAEL BARILLARI
Rachael Barillari is the manager of the Baltimore Arts Integration Project and the founder of Soul Stori LLC, which produces integrative curricula and resources that seamlessly incorporate SEL and the arts into educational settings. She has served as an Adjunct Professor at Johns Hopkins’ School of Education and has authored several publications, including “The Compassion Formula: Where Head Meets Heart For Greater Well-Being.” Her work emphasizes compassionate and holistic learning environments that nurture every child’s creative core. Rachael holds a Masters in Teaching from JHU and a Masters in Educational Psychology from Columbia University. She is a certified Integrative Wellness Coach and HeartMath Trainer, as well as a former Baltimore City Schools teacher.
Circuits
Pairs with SABES Lesson 12
In this role-play circuit activity, students are divided into groups representing the parts of the circuit: the battery, wire, and light bulb. Students act out the flow of electricity, with the battery providing power, the wire forming a circuit, and the light bulb lighting up, demonstrating the circuit’s completion using body percussion. Note: Extensions and adaptations to this activity are also provided.
NEXT GENERATION SCIENCE STANDARDS
- Science & Engineering Practices-SEP 2: Developing and Using Models: ES4: Develop and/or use models to describe and/or predict phenomena.
- Disciplinary Core Ideas
- PS3.A: Definitions of Energy- ES2: Energy can be moved from place to place by moving objects or through sound, light, or electric currents.
- PS3.B: Conservation of Energy and Energy Transfer- ES3: Energy can also be transferred from place to place by electric currents, which can then be used locally to produce motion, sound, heat, or light. The currents may have been produced, to begin with by transforming the energy of motion into electrical energy.
- Crosscutting Concepts-CCC 4: Systems and System Models- ES1: A system can be described in terms of its components and their interactions.
MARYLAND STATE ARTS STANDARDS
- Anchor Standard 6: Convey meaning through the presentation of artistic work.
- Anchor Standard 10: Synthesize and relate knowledge and personal experiences to make art.
SABES LEARNING OBJECTIVES
- Lesson 12- Simple Circuits: Students will develop a model of a simple circuit using a light bulb, wire, and battery to identify how energy flows.
MATERIALS
- Circuit Game Slides
STUDENT PRIOR KNOWLEDGE SUPPORT
ENGAGE
Role Play Circuit with Body Percussion
Students are divided into groups representing battery, wire, or light bulb. They act out the flow of electricity, with the battery providing power, the wire forming a circuit, and the light bulb lighting up, demonstrating the circuit’s completion.
-
- Divide the class into groups and assign each group a role: battery, wire, or light bulb.
- Arrange students in a circle.
- Have the “battery” start by clapping their hands to represent providing power.
- The “wires” then join hands to form a circle.
- A “wire” student closest to the “battery” group places a hand on one of these students’ shoulders, representing the formation of a circuit.
- Finally, as the final “wire” student approaches the “light bulb” group at the end of the circuit, the “light bulb” group demonstrates lighting up by tapping their shoulders or heads, representing the flow of electricity and the light turning on.
- Encourage the students to repeat this sequence and switch roles to understand how each component contributes to the circuit.
ASSESS
To assess students’ learning in this lesson, a combination of the following strategies can be used:
Formative Assessments/Observations:
-
- Problem-Solving Skills: Observe how students adapt and problem-solve if the cups are not moving as expected. Do they adjust their shaking technique or try different approaches?
- Peer Interaction (SEL Observation): Observe how well students work together in their groups. Are they collaborating effectively to achieve the goal?
Ongoing Checks for Understanding: Following the game, ask students to explain how their actions with the body percussion circuit relate to real circuits. Do they understand the role of energy in this process?
Performance Assessment: Evaluate how well students complete the task. Do they successfully act out the aspects of the circuit?
BRAIN TARGETED TEACHING IN THE CLASSROOM
The Emotional Climate:
-
- Because these activities rely heavily on collaboration, set clear expectations for how students interact before beginning. Model what positive participation, communication, and encouragement look and sound like. This helps build trust, empathy, and a safe learning environment for all.
The Physical Space:
-
- These activities work best when students can stand in a circle with room to move comfortably. Some versions include light physical contact, such as a hand on a shoulder or holding hands to form a circuit.
- Note: Always respect students’ comfort levels with touch. Establish a shared signal or gesture for “no contact” and adapt by having students stand nearby and gesture respectfully to the next person in the circuit.
- These activities work best when students can stand in a circle with room to move comfortably. Some versions include light physical contact, such as a hand on a shoulder or holding hands to form a circuit.
ROOT BRANCH MEDIA GROUP – BRING ROOT BRANCH TO YOUR SCHOOL!
All video content made in partnership with Baltimore’s Root Branch Media Group.
MURRAY PIPER – BRING MURRAY TO YOUR SCHOOL!
Murray S. Piper, noted Performer, Instructor, Clinician & Adjunct Professor at Johns Hopkins University Peabody Preparatory. Murray is the founder and director of Passionate Drumming & Music Lessons, which was driven from his early passion for drums. Murray received his B.S. music degree with a concentration in instrumentalists from Morgan State University. Murray has been teaching drums/percussion since 2004. Murray is also a teaching artist for the BSO Orchkids program in Baltimore, MD. Between 2017-2019, Piper was the lead percussionist for the University of Maryland Baltimore County dance department. In 2016, Murray was accepted as a member of the National Association of Music Merchants (NAMM). Murray is extraordinary in all styles of music such as Rock, Jazz, Gospel, Christian, Latin, Marching, Classical, Blues, and many more. Piper is an Emmy Nominated drummer for his outstanding role in the 2015 Stage Musical “Oh Gospel” The Evolution of Gospel Music. His drumming and percussion career has launched him into one of the most sought after instructors & drummers of our time. Piper’s skill level and personality has brought him some major partnerships with some of the biggest names in the industry such as Odery Drums, RBimusic, VicFirth, Sabian, Sledgepad, StickPro, JAMTec USA, and Evans. Piper has performed with many Steller’s and Grammy artists such as Richard Smallwood, Tamela Mann, Marvin Sapp, Dorinda Clark Cole, Isaiah D. Thomas, American Idol contestants, Broadway Musicals, Washington DC Orchestra, Sunday Best contestants, and Washington Talented Agency Bands. Connect and work with Murray via the AED Arts Directory!
RACHAEL BARILLARI
Rachael Barillari is the manager of the Baltimore Arts Integration Project and the founder of Soul Stori LLC, which produces integrative curricula and resources that seamlessly incorporate SEL and the arts into educational settings. She has served as an Adjunct Professor at Johns Hopkins’ School of Education and has authored several publications, including “The Compassion Formula: Where Head Meets Heart For Greater Well-Being.” Her work emphasizes compassionate and holistic learning environments that nurture every child’s creative core. Rachael holds a Masters in Teaching from JHU and a Masters in Educational Psychology from Columbia University. She is a certified Integrative Wellness Coach and HeartMath Trainer, as well as a former Baltimore City Schools teacher.
Engineering Design Challenge
Pairs with SABES Lessons 19-23
Arts integration options and extensions.
LESSONS 19 & 20
What is home to me? (Arts-Enhanced SEL Integration)
1. Listening and Reflection Exercise
-
-
Play a calming song, such as “Weightless” by Marconi Union. Encourage students to close their eyes and reflect on what home means to them. Students can also “stop and jot” their ideas, or draw them as they listen to the song.
- Encourage students to share their ideas after the reflection with either an elbow partner or the class.
- Journaling is another option for sharing ideas if your students do not wish to share aloud.
-
2. Tiny Dream Home Visualization
-
-
Ask students to imagine an ideal tiny home, focusing on both the feeling and aesthetics they hope to achieve. Provide them with art supplies to create visual representations of their dream tiny homes, incorporating elements that are meaningful to them. This activity can lead to deeper discussions about personal values and preferences, as well as inspire creative design solutions for the EDC.
- Suggested background music:
-
LESSON 21
Tiny Homes Planning (Integrating Visual Arts)
1. Visual Brainstorming with Paper and Crayons/Colored Pencils
-
- In the Tiny Homes Planning lesson, students will engage in research to generate ideas for designing tiny homes. To facilitate this process, teachers can provide large pieces of paper and crayons/colored pencils, allowing students to visually brainstorm and explore their ideas. This visual exploration serves as a crucial part of their research, enabling them to visualize and conceptualize their designs more effectively.
2. Paired Feedback on Visual Brainstorming
-
- Once students have completed their drawings, they can present them to their peers and teachers. This presentation serves as an opportunity for discussion regarding the feasibility of their designs. Students can receive feedback on their concepts, discussing aspects such as functionality, practicality, and creativity. This collaborative discussion enhances their critical thinking skills and helps them refine their ideas to create more viable and innovative designs.
LESSSONS 21-23
Artful Methods to Support All Learners
1. Visual Examples
-
- When exploring tiny homes, it’s beneficial to show students as many examples as possible of different designs to inspire their creativity and understanding of the concept. You can showcase various styles, layouts, and innovative features that make tiny homes unique and efficient living spaces. Increase engagement by showing students some of your personal favorite designs!
2. Becoming an Architect
-
- For the design aspect, consider using graph paper to create floor plans to help students more accurately scale their drawings and visualize the dimensions of each room and area within the home. This can also introduce them to architectural drafting techniques and spatial planning.
3. Using a Picture Bank & Visual Symbols
- Provide students with a picture bank containing various elements that they can choose from to include in their tiny house designs. These elements can range from specific features like windows, doors, and furniture to more specialized items such as solar panels or water-saving fixtures.
- The use of a picture bank is beneficial for Universal Design for Learning (UDL) as it holistically meets diverse learning needs. For neurodiverse students, having visual aids can support comprehension and decision-making. For English Language Learners (ELL) or Multilingual Learners (ML), the visual representation helps bridge language barriers and allows for a better understanding of the task.
- Furthermore, the picture bank supports creativity studies by providing a structured approach to the design process. It offers students a range of options to choose from, allowing them to express their creativity within a framework. This balance of flexibility and structure encourages students to think critically about their choices while also fostering a sense of autonomy and creativity.
EXECUTIVE FUNCTIONING & DESIGN THINKING
Planning a tiny home activates executive functions—like organization, planning, flexibility, and working memory. Students must set goals, visualize outcomes, weigh options, and adapt based on feedback, all of which strengthen the prefrontal cortex.
EMOTIONAL REGULATION & AESTHETIC ENGAGEMENT
Listening to music, visualizing “home,” and designing a personally meaningful space help students access the brain’s emotional centers (amygdala and limbic system). When learning connects to emotion, the brain encodes memories more deeply. The calming background music and reflective journaling also help regulate arousal levels, supporting focus and creativity.
VISUAL-SPATIAL PROCESSING
Drawing floor plans, using graph paper, and exploring spatial relationships engage the parietal lobes—critical for spatial reasoning and visualization. This supports math and engineering concepts while simultaneously reinforcing creativity through the arts.
MULTISENSORY INTEGRATION
Combining sound (music), movement (drawing/gesturing), and sight (visual examples, picture banks) engages multiple sensory systems at once. This strengthens the brain’s ability to integrate information across modalities—an essential skill for higher-order learning and transfer.
SOCIAL BRAIN & PERSPECTIVE-TAKING
Collaborating, presenting designs, and receiving peer feedback activate social cognition networks in the brain, particularly the medial prefrontal cortex and temporoparietal junction—areas linked to empathy and understanding others’ perspectives. These experiences nurture emotional intelligence and communication skills alongside academic learning.
ROOT BRANCH MEDIA GROUP – BRING ROOT BRANCH TO YOUR SCHOOL!
All video content made in partnership with Baltimore’s Root Branch Media Group.
MURRAY PIPER – BRING MURRAY TO YOUR SCHOOL!
Murray S. Piper, noted Performer, Instructor, Clinician & Adjunct Professor at Johns Hopkins University Peabody Preparatory. Murray is the founder and director of Passionate Drumming & Music Lessons, which was driven from his early passion for drums. Murray received his B.S. music degree with a concentration in instrumentalists from Morgan State University. Murray has been teaching drums/percussion since 2004. Murray is also a teaching artist for the BSO Orchkids program in Baltimore, MD. Between 2017-2019, Piper was the lead percussionist for the University of Maryland Baltimore County dance department. In 2016, Murray was accepted as a member of the National Association of Music Merchants (NAMM). Murray is extraordinary in all styles of music such as Rock, Jazz, Gospel, Christian, Latin, Marching, Classical, Blues, and many more. Piper is an Emmy Nominated drummer for his outstanding role in the 2015 Stage Musical “Oh Gospel” The Evolution of Gospel Music. His drumming and percussion career has launched him into one of the most sought after instructors & drummers of our time. Piper’s skill level and personality has brought him some major partnerships with some of the biggest names in the industry such as Odery Drums, RBimusic, VicFirth, Sabian, Sledgepad, StickPro, JAMTec USA, and Evans. Piper has performed with many Steller’s and Grammy artists such as Richard Smallwood, Tamela Mann, Marvin Sapp, Dorinda Clark Cole, Isaiah D. Thomas, American Idol contestants, Broadway Musicals, Washington DC Orchestra, Sunday Best contestants, and Washington Talented Agency Bands. Connect and work with Murray via the AED Arts Directory!
RACHAEL BARILLARI
Rachael Barillari is the manager of the Baltimore Arts Integration Project and the founder of Soul Stori LLC, which produces integrative curricula and resources that seamlessly incorporate SEL and the arts into educational settings. She has served as an Adjunct Professor at Johns Hopkins’ School of Education and has authored several publications, including “The Compassion Formula: Where Head Meets Heart For Greater Well-Being.” Her work emphasizes compassionate and holistic learning environments that nurture every child’s creative core. Rachael holds a Masters in Teaching from JHU and a Masters in Educational Psychology from Columbia University. She is a certified Integrative Wellness Coach and HeartMath Trainer, as well as a former Baltimore City Schools teacher.
