NEXT GENERATION SCIENCE STANDARDS

• PS2.A: Forces and Motion
  • Pushes and pulls can have different strengths and directions. (K-PS2-1) (K-PS2-2)
  • Pushing or pulling on an object can change the speed or direction of its motion and can start or stop it. (K-PS2-1) (K-PS2-2)
• PS2.B: Types of Interactions 
  • When objects touch or collide, they push on one another and can change motion. (K-PS2-1)
• PS3.C: Relationship Between Energy and Forces 
  • A bigger push or pull makes things speed up or slow down more quickly. (secondary) (K-PS2-1)
• ETS1.A: Defining and Delimiting Engineering Problems 
  • A situation that people want to change or create can be approached as a problem to be solved through engineering. (K-2-ETS1-1) (K-PS22)
  • Asking questions, making observations, and gathering information are helpful in thinking about problems. (K-2-ETS1-1)
  • Before beginning to design a solution, it is important to clearly understand the problem. (K-2-ETS1-1)
• ETS1.B: Developing Possible Solutions Designs
  • Can be conveyed through sketches, drawings, or physical models. These representations are useful in communicating ideas for a problem’s solutions to other people. (K-2-ETS1-2)
• ETS1.C: Optimizing the Design Solution: 
  • Because there is always more than one possible solution to a problem, it is useful to compare and test designs. (K-2-ETS1-3)

MARYLAND ARTS STANDARDS

• Anchor Standard 8 Interpret intent and meaning in artistic work. 
• E:P-2:1: Identify subject matter and describe the formal characteristics of art. 
• E:P-2:2: Describe relevant subject matter and formal characteristics that communicate feelings associated with a work of art.

NATIONAL ARTS STANDARDS

• Anchor 1-Generate and conceptualize artistic ideas and work 
• I:P-2:1: Demonstrate the ability to create and perform dance through exploration of a variety of stimuli. 
• I:P-2:2: Develop the ability to combine the elements of dance to create movement Expectations 
• E:P-2:3: Act on creative movement ideas through play, using a variety of shapes, levels, energies, and timing.

SABES LEARNING OBJECTIVES

• Students will be able to explore how we experience push and pull with our bodies. (SABES Chapters 1+2)

WHEN TO USE

• Throughout SABES chapters 1 & 2

KEY VOCABULARY

• push, pull, locomotor, non-locomotor, energy, time, space

KEY SCIENCE IDEAS

• Pushes and pulls can have different strengths and directions. 
• Movement is a change in position. 
• When a ball is pushed or pulled it moves (changes position). 
• A stopped object (at rest) will move in the direction it is pushed or pulled.

ACTIVITY SUMMARY

• 1. Warm-up – Locomotor Freeze Dance 
• 2. PUSH & PULL introduction through dance gestures 
• 3. Visual Analysis of PUSH & PULL images 
• 4. Experience the Push Me and Pull You Dance 
• 5. Forces of Motion Rap

EVALUATION STYLE

•  Observation, performance, sketches, reflection statements, and individual reflections using: 
  • Icon badges for responses 
  • Feelings chart for response 
  • Gestural responses

FORMATIVE ASSESSMENT

• Throughout these activities, educators are encouraged to assess students’ learning by observing their engagement with the movement-based activities.

WHOLE GROUP ASSESSMENT

• There’s a variety of methods that can be used for gathering quick, whole-class responses: 
  • Students can circle choices on a feelings chart
  • Thumbs up, down, or sideways 
  • Use icons for answer cards (see resources for suggestions on graphics for response visuals).

REFLECTION PROMPTS

• Your reflection questions should extend learning by explicitly referencing science content.

EXTENSION

• Teachers can record/transcribe students’s responses to questions and reflection remarks and compile them into a poem or mural. Students can independently respond to divergent thinking questions through journal entries. 

OVERVIEW

Return to Topic

STEPS ONE & TWO

Warm Up: Locomotor Freeze Dance / PUSH & PULL introduction through dance gestures

Pull up the slides and begin this activity with the locomotor freeze dance. Then follow the instructions later on in the video to introduce push and pull:

STEP THREE

Visual Analysis of PUSH & PULL images

STEP FOUR

Experience the Push Me and Pull You Dance

STEP FIVE

Forces of Motion Rap

BRAIN TARGETED TEACHING IN THE CLASSROOM

The Emotional Climate:

• Students will be encouraged to pose their own questions in an inquiry-based approach. There is a great deal of opportunity for student choice within these activities as well. 
• Student and Teacher feedback language is positive and supportive. 
• Be attentive to potential emotional triggers that could impact student participation. This includes modeling consent (e.g., asking before touching) and fostering open conversations about differences and the importance of honoring who each student is.
• Celebrate and cultivate artistic diversity and the opportunity to experience art together.

The Physical Space:

• Investigate novel spaces to hold class – e.g. gym, playground, hallway, cafeteria 
• Create space for large group movement, or small groups alternating with some students observing and sketching while others dance. 
• Bluetooth speakers are beneficial for freeze dance and other games. 
• Define an adaptive space for all participants (L-shaped rather than U-shaped seating).
• Create optimum viewing for image projection, audience, and drawing from observation. 
• Consider sensory sensitivities, such as lighting and strong fragrances. Opt for minimal concentrated oils if using a diffuser and soft white lighting instead of fluorescent lighting if possible.

Learn More:

Learn more about Brain Targeted Teaching via Dr. Mariale Hardiman’s site and explore the arts integrated overlay below along with the push and pull overlay resources:

ROOT BRANCH MEDIA GROUP – BRING ROOT BRANCH TO YOUR SCHOOL!

All video content made in partnership with Baltimore’s Root Branch Media Group.

NOELLE TOLBERT

Noelle Tolbert:  A true engineer of movement. An esteemed cultivator of physical ingenuity developed by a deeply rooted connection to her community and the audience in which she engages. Leading a life of artistry, Noelle represents feminine power, ancestral guidance, intuition and strength through dance, choreography, performance art, teaching, and collaborations. Baltimore based artist, this city has become a sustaining platform, building a youth dance program at Chesapeake Arts Center in Brooklyn Park, servicing over 300 students, providing mentorship to PVA students through professional development training / choreography at Brooklyn Park Middle School, recently joining The Moving Company as Hip Hop choreographer, and a dance resident artist at LeMondo creating programming and performance opportunities for local artists. With growth and development, Noelle continues to seek opportunities that are both intellectually and artistically challenging, as she works to connect with Baltimore to bring dance and the arts to areas that need healing.

CLARE GRIZZARD

Clare O’Malley Grizzard (she/her) has over 25 years of experience as a K-12 fine arts educator and arts integration specialist in Baltimore City. She has worked at Johns Hopkins University School of Education, focusing on integrating fine arts and learning sciences. Clare teaches at the Maryland Institute College of Art and consults nationally and internationally in arts integration and museum education. She holds a B.F.A. from Pratt Institute and a master’s in art education from the Maryland Institute College of Art.

NEXT GENERATION SCIENCE STANDARDS

• PS2.A: Forces and Motion
  • Pushes and pulls can have different strengths and directions. (K-PS2-1) (K-PS2-2)
  • Pushing or pulling on an object can change the speed or direction of its motion and can start or stop it. (K-PS2-1) (K-PS2-2)
• PS2.B: Types of Interactions 
  • When objects touch or collide, they push on one another and can change motion. (K-PS2-1)
• PS3.C: Relationship Between Energy and Forces 
  • A bigger push or pull makes things speed up or slow down more quickly. (secondary) (K-PS2-1)
• ETS1.A: Defining and Delimiting Engineering Problems 
  • A situation that people want to change or create can be approached as a problem to be solved through engineering. (K-2-ETS1-1) (K-PS22)
  • Asking questions, making observations, and gathering information are helpful in thinking about problems. (K-2-ETS1-1)
  • Before beginning to design a solution, it is important to clearly understand the problem. (K-2-ETS1-1)
• ETS1.B: Developing Possible Solutions Designs
  • Can be conveyed through sketches, drawings, or physical models. These representations are useful in communicating ideas for a problem’s solutions to other people. (K-2-ETS1-2)
• ETS1.C: Optimizing the Design Solution: 
  • Because there is always more than one possible solution to a problem, it is useful to compare and test designs. (K-2-ETS1-3)

MARYLAND ARTS STANDARDS

• Anchor Standard 8 Interpret intent and meaning in artistic work. 
• E:P-2:1: Identify subject matter and describe the formal characteristics of art. 
• E:P-2:2: Describe relevant subject matter and formal characteristics that communicate feelings associated with a work of art.

NATIONAL ARTS STANDARDS

• Anchor 1-Generate and conceptualize artistic ideas and work 
• I:P-2:1: Demonstrate the ability to create and perform dance through exploration of a variety of stimuli. 
• I:P-2:2: Develop the ability to combine the elements of dance to create movement Expectations 
• E:P-2:3: Act on creative movement ideas through play, using a variety of shapes, levels, energies, and timing.

SABES LEARNING OBJECTIVES

• Students will be able to explain: What is speed? What does it mean to speed up? What does it mean to slow down? (SABES Chapters 3+4)

WHEN TO USE

• Throughout SABES chapters 3 & 4

KEY SCIENCE IDEAS

• Pushes and pulls can have different strengths and directions. 
• Pushing or pulling on an object can change the speed or direction of its motion and can start or stop it. 
• A bigger push or pull makes things speed up or slow down more quickly.

ACTIVITY SUMMARY

• 1. Warm-up – Head, Shoulders, Knees and POSE!
• 2. Discussion and Movement Improv
• 3. Visual Analysis – students look closely at images that depict either stillness or speed
• 4. Speed Dance
• 5. Forces of Motion Rap (Review and learn new verse)

EVALUATION STYLE

•  Observation, performance, sketches, reflection statements, and individual reflections using: 
  • Icon badges for responses 
  • Feelings chart for response 
  • Gestural responses

FORMATIVE ASSESSMENT

• Throughout these activities, educators are encouraged to assess students’ learning by observing their engagement with the movement-based activities.

WHOLE GROUP ASSESSMENT

• There’s a variety of methods that can be used for gathering quick, whole-class responses: 
  • Students can circle choices on a feelings chart
  • Thumbs up, down, or sideways 
  • Use icons for answer cards (see resources for suggestions on graphics for response visuals).

REFLECTION PROMPTS

• Your reflection questions should extend learning by explicitly referencing science content.

EXTENSION

• Teachers can record/transcribe students’s responses to questions and reflection remarks and compile them into a poem or mural. Students can independently respond to divergent thinking questions through journal entries. 

OVERVIEW

Return to Topic

STEPS ONE & TWO

Warm-up – Head, Shoulders, Knees and POSE! / Discussion and Movement Improv

Pull up the slides and begin this activity with head, shoulders, knees and POSE! followed by discussion and movement improv:

STEP THREE

Visual Analysis – students look closely at images that depict either stillness or speed

STEP FOUR

Speed Dance

STEP FIVE

Forces of Motion Rap

Return to the Forces and Motion Rap (also in slides) to add on additional lyrics to practice with your students.

Return to Topic

BRAIN TARGETED TEACHING IN THE CLASSROOM

The Emotional Climate:

• Students will be encouraged to pose their own questions in an inquiry-based approach. There is a great deal of opportunity for student choice within these activities as well. 
• Student and Teacher feedback language is positive and supportive. 
• Be attentive to potential emotional triggers that could impact student participation. This includes modeling consent (e.g., asking before touching) and fostering open conversations about differences and the importance of honoring who each student is.
• Celebrate and cultivate artistic diversity and the opportunity to experience art together.

The Physical Space:

• Investigate novel spaces to hold class – e.g. gym, playground, hallway, cafeteria 
• Create space for large group movement, or small groups alternating with some students observing and sketching while others dance. 
• Bluetooth speakers are beneficial for freeze dance and other games. 
• Define an adaptive space for all participants (L-shaped rather than U-shaped seating).
• Create optimum viewing for image projection, audience, and drawing from observation. 
• Consider sensory sensitivities, such as lighting and strong fragrances. Opt for minimal concentrated oils if using a diffuser and soft white lighting instead of fluorescent lighting if possible.

Learn More:

Learn more about Brain Targeted Teaching via Dr. Mariale Hardiman’s site and explore the arts integrated overlay below along with the push and pull overlay resources:

ROOT BRANCH MEDIA GROUP – BRING ROOT BRANCH TO YOUR SCHOOL!

All video content made in partnership with Baltimore’s Root Branch Media Group.

NOELLE TOLBERT

Noelle Tolbert:  A true engineer of movement. An esteemed cultivator of physical ingenuity developed by a deeply rooted connection to her community and the audience in which she engages. Leading a life of artistry, Noelle represents feminine power, ancestral guidance, intuition and strength through dance, choreography, performance art, teaching, and collaborations. Baltimore based artist, this city has become a sustaining platform, building a youth dance program at Chesapeake Arts Center in Brooklyn Park, servicing over 300 students, providing mentorship to PVA students through professional development training / choreography at Brooklyn Park Middle School, recently joining The Moving Company as Hip Hop choreographer, and a dance resident artist at LeMondo creating programming and performance opportunities for local artists. With growth and development, Noelle continues to seek opportunities that are both intellectually and artistically challenging, as she works to connect with Baltimore to bring dance and the arts to areas that need healing.

CLARE GRIZZARD

Clare O’Malley Grizzard (she/her) has over 25 years of experience as a K-12 fine arts educator and arts integration specialist in Baltimore City. She has worked at Johns Hopkins University School of Education, focusing on integrating fine arts and learning sciences. Clare teaches at the Maryland Institute College of Art and consults nationally and internationally in arts integration and museum education. She holds a B.F.A. from Pratt Institute and a master’s in art education from the Maryland Institute College of Art.