OVERVIEW

Learning Target: I can identify artistic choices, archetypes, and stages of the hero’s journey in a work of art. (T1)

Rationale:

• • Knowledge of Archetypes and Stages of the Hero’s Journey are necessary for them to write their own narrative for the End of Module task.
  • Knowledge of Artistic Choices supports the completion of the Arts Integrated Extension option.

Formative Assessment Option: Use Graphic Organizers to inform instruction regarding strengths and misconceptions.

Summative Assessment Option: Use graphic organizer with a work of art that the students haven’t discussed. Use the provided checklist.

• • Did the student use art vocabulary?
  • Can the student identify the archetype?
  • Can the student identify the stage of the hero’s journey?
  • Can the student make connections to character, settings or events?

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IMPLEMENTATION

First Time

• • To implement this thinking routine, the first time, model the routine for the entire class.

  • Odysseus and the Sirens would be a good artwork to model because the students already have some schema around the narrative.

  • If possible, print the works of art in color so each pair of students or students can see the image clearly and/or as an accommodation.

Visual Analysis Annotation Guide

• • Refer to the accompanying Visual Analysis Annotation Guide to build your capacity in identifying art vocabulary in illustrations. This guide can also be used as a reference for students.

Differentiated Graphic Organizers

• • There are three different versions of the Graphic Organizer for this instructional routine. They are labeled Mild (most support), Medium (less support), and Spicy (no supports). Students can have the option to choose which version they’d like to use. (T2)

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VISUAL ANALYSIS ROUTINE (T3, T6)

What choices did the artist make to help tell the story? Use art vocabulary to be specific.

Teacher Tip: Art vocabulary to focus on if students need an entryway into the image: Color, Shape, Pose, Focal Point, Contrast

• • Where do you notice the archetypes? How do you know?

Teacher Tip: The EOM Task narrative asks students to include all four archetypes. Investigate the ways artists portray the archetypes differently to help the viewer.

• • What stage of the hero’s journey do you think is being shown? Provide evidence.

Teacher Tip: The EOM has options for the fourth and fifth stages.

• • What does the artwork reveal about the story?

Teacher Tip: Ask students to use their inference and prediction skills to support their understanding of the artwork.

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OVERVIEW

Little to no prior experience with or knowledge of art terms (handout 19A):

• • Read through elements of art vocabulary in handout 19A
  • View annotated image of the Ramayana cover, connect highlighted elements with the specific terms they are referencing – how can you guide students to making these discoveries and connections when viewing the Ramayana cover in lesson one?
  • Familiarize yourself with the application of the art terms as they relate to specific elements in the image – use the annotated image to deepen your understanding of how these elements are used in the image to emphasize certain elements of the story

If you are already familiar and comfortable with art vocabulary and concepts:

• • Feel free to jump right into facilitating the lesson while incorporating the provided vocabulary (handout 19A) when analyzing visuals as a class.
  • Gradually incorporate the art vocabulary throughout the module in preparation for lesson 19. This will create a familiarity with the vocabulary so it is not overwhelming when introduced all at once – plus, kids will be excited that they recognize the terms.

The main goal is to connect the art vocabulary to things the students are already seeing and identifying in the illustrations – giving a name to what they are noticing

Suggested Gradual Vocabulary Integration:

• • Teachers can have students keep a running vocabulary list in their notebooks or can create an anchor chart for visual analysis vocabulary that gets added to overtime. As students state what they notice, introduce the vocabulary terms to name these noticeings so they can be put within the context of the visual. Add to the vocab list/chart as the words are introduced, keeping this guide for reference. Continuously reference the art vocabulary when looking at illustrations in the text.

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LESSON 1

Introduce:

• • Color – students may notice the vibrancy of the colors and how colors stick to a character

  • Complementary Colors – when talking about colors, define complementary colors and point out that Rama is blue and orange, while Ravana is purple and yellow – both sets of complementary colors

  • Figure – introduce the term figure when students bring up the size/scale of the characters – Rama is much smaller than Ravana

  • Pose – related to figure, students will notice the poses of the figures and what that may tell you about the story

  • Pattern – patterns help distinguish different elements of things that may be the same or a similar color, a great example is the clothing

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LESSON 6

Introduce:

• • Composition – when students point out different elements of the image like the amputated wing, the crown, and broken flag, talk about how these elements are organized in the image and introduce the term composition.

Reinforce:

• • Color – Ravana in his trademark purple

  • Figure – scale of the characters; although Ravana is much smaller than Jatayu he is able to severely injure him

  • Pose – mid-conflict positioning showing action, can you learn anything from Sita’s pose?

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LESSON 7

Introduce:

• • Line – shows movement and direction, emphasizes barriers and crossing barriers. Talk about lines of sight – if you drew an invisible line following the gaze of each character, where would you end up? What are they looking at?

  • Contrast – Rama’s bright colors against the dull and dark colors of the capital city (p. 92)

Reinforce:

• • Color – supports passing of time, darker and cooler colors for nighttime

  • Complementary Colors – can mention again Rama is blue wearing orange

  • Pose – clenched fist, strong stance, shows determination (p. 84). Rama and his army approach the capital city with much calmer stances compared to the violent poses of Ravana’s army, which supports the character development of each

  • Composition – layout and scale emphasize the massive barrier the ocean presents

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LESSON 10

Introduce:

p.11

• • Focal Point – what is the focal point of the image? How do you know? What does that tell you?

  • Background – the elements of Odysseus’ life are smaller so they appear further away

  • Foreground – the characters are larger so they feel closer, emphasizing them as the focal point

Reinforce:

• • Line – leads the eye to the focal point

  • Composition – center characters surrounded by things in their lives like an embrace, arrangement also shows that these things are related to the center characters

  • Color – vibrant colors convey liveliness

  • Figure and Pose – the scale of the characters emphasize their importance, their pose shows care and connection

  • Pattern – many of the illustrations include small/subtle patterns that in most situations imply texture – clothing, environment, etc.

p. 12

• • Pose – embrace shows love and care – why would Odysseus want to leave?

p. 13

• • Focal Point – What is the focal point in this illustration? How can you tell?
  • Line – Lines from spears and lines of sight lead viewer to the focal point

p. 14-15

Introduce:

• • Symmetry – line of symmetry right at the page fold – the castle is a good illustration of this

  • Balance – two characters on each side help balance the image, it would feel different if all of the characters were on one side

Reinforce:

• • Line – background lines pointing to the depicted gods, lines connecting names to show familial connection

  • Figure – there are more gods than names, the ones that are actually drawn may be more important to the story

  • Composition – Names laid out to show family tree, figures up top so they don’t obstruct important information

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OVERVIEW

Learning Targets

• • I can use my body and facial expression to communicate character and emotion to tell a story.

  • I can collaborate with others to create a tableau to show key moments in a story.

Materials

• • Excerpts from The Odyssey or Ramayana OR Illustrations from The Odyssey or Ramayana

  • Space for Movement

Emotional Considerations

• • Today, we are going to be using our bodies to express characters and emotions. We may look silly, we may look scary or we may look absolutely ridiculous. However, we are always respectful and kind to all of our brave actors.

  • Some students are painfully shy. You know who they are. To support them, one option is to be their ‘stand in’. This means, they turn into your personal director where the student is directing your body pose, position and facial expressions in the tableau. This way, they can still make theatrical decisions and complete their assessment.

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HOOK

Write or project the word ‘pose’ on the board.

• • Ask: What does it mean to pose? (A pose is body positioning and facial expression. It can communicate character or emotion.)

Invite 2 students to the front of the room to Strike A Pose.

• • Ask: What can we learn from just a pose? (T3)

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MINI LESSON

Write or Project the word tableau on the board.

Ask about the word meaning. (Tableaux is a frozen story scene from a story made with people’s bodies).

Show examples of tableaux.

• • Here is a video that describes how to do tableaux.
  • Here is a video to use as a very high quality exemplar.

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GUIDED PRACTICE

Select a scene with action and project it on the board.

Ask: (T3)

• • What is happening?
  • Who is involved?
  • What emotions are present?

Invite volunteers to embody the characters. Focus on pose and facial expression.

Discuss What made this tableau effective?

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INDEPENDENT PRACTICE

1. Divide class into small groups of 3-4.

2. Provide them with a scene to reenact and give them time to rehearse their tableau.

The slides use the scene from the Odyssey covered in Lesson 14.

From the Odyssey (p. 106-107):

• • The gods were watching him. Looking down from the heights of Mount Olympus, they saw him on Calypso’s island. His misery touched the heart of Athene, the goddess with the flashing eyes.
  • “Father Zeus,” she said, “Odysseus has always worshipped you. Why are you so unkind to him?”
  • “I haven’t caused his troubles,” Zeus replied. “They come from Poseiden, the earth shaker. He is taking revenge for the blinding of his son the Cyclops.”
  • “Odysseus has suffered enough!” Athene said passionately.
  • “He has,” said Zeus. And now Poseidon is busy on the other side of the world. Let us decide on how to send Odysseus home.”
  • Athene already had a plan. “Send Hermes to Calypso.” she said. “Order her to let Odysseus go – and to help him on his way.”
  • “Very well,” said Zeus. And he called Hermes over to give him the message.

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SHARE & REFLECT

Have each group share their tableau with the rest of the class guessing what scene from the story they are representing. To welcome each group to the stage and to celebrate their bravery, audience applause is necessary. (T7)

• • The prompt the teacher can say is: Applause, please!
  • After each tableau ask questions regarding the content and/or the art form. (T4)

Ask:

• • What do you think is happening?
  • What pose stood out to you and why?
  • What emotion or idea did you see?

Ask:

• • Where is the action?
  • Do we see levels?
  • Do we see expression?
  • Do we see a story?

Reflect:

As an assessment for learning, students can complete the following reflection questions: (T4)

• • Draw your pose.
  • What pose did you choose to use today in your tableau?
  • What did it communicate?

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MAP STEP ONE

Creating the Land

• • Place about a handful of a small material – like uncooked rice – onto a piece of paper. Slightly spread the rice until it creates a shape that covers 60-75% of the paper.
  • Without shifting the rice too much, trace along the outside edge following close to the edge to create a bumpy, unpredictable line to mimic the look of land on a map.
  • If there are sections that are separate from the main land mass, outline those as well (see example in slides).
  • Once outlined, clean up the material and admire your new land!
  • Students can also use an already created map outline if needed

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MAP STEP TWO

The Hero’s Home/Ordinary World

• • Students decide where their hero is from – mark it on the map with a small ‘X’
  • Using guiding questions (displayed or just verbally posed) help students think about the context of their hero’s home
    • Does your hero live in a city? Out on a farm?
    • Is it warm or cold? What’s the weather like?
  • Have students name their hero’s hometown and write it neatly on the map by their mark
  • As students complete handout 20A, have them add indicators on their map around their hero’s ordinary world and in the unknown world
    • Display various example fantasy maps (Lord of the Rings is a great example)
    • Encourage students to name major map elements like rivers, lakes, forests, mountain ranges, etc.
  • At this time students can also mark the location of the conflict (handout 20A) on their map and add context details

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MAP STEP THREE

Key Event Locations

• • As students create the archetypal characters for their narrative (ally, mentor, shadow), have them think about where and how their hero meets each one (handout 28B)
    • Students can also be encouraged to think about where each character is from – is it a place on the map? Is it labeled yet? This helps with world building and adding context
  • As students develop the stages of their hero’s journey, have them add the locations of each event to the map (if they have not already done so) and mark these spots with an ‘X’ and a number to represent each journey stage:

• • • Call to Adventure
    • Meeting with Mentor
    • Tests, Allies, Enemies
    • Ordeal OR Reward
    • Resurrection OR Return with Elixir

• • Encourage them to think of what environmental features impact each event and if they have indicated these on their map

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MAP STEP FOUR

The Journey

• • View “Rama’s Journey” on pages 166 – 169 in Ramayana: Divine Loophole
    • What do they notice? Where do they see the evidence of the archetypes
  • As students begin writing their EOM Hero’s Journey Monomyth (lesson 31), have them connect their locations to show the path of their hero
    • Try using a bright color and dashed line so the journey stands out on the map
  • As they connect their main events, remind them to take note of the terrain their hero will go through on their journey – encourage visualization to help them deepen the context in their writing
    • How will the land impact their journey? How will they overcome these challenges?
    • How are they getting from one place to the next?
    • Who is with them?
    • What is the weather like? Does this cause problems?
  • Students can view map examples and see what they notice and wonder – this can also be done with classmates’ maps towards the end of class

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PEER REVIEW EXERCISE

Lesson 34

• • Students can show their map to a neighbor/table group and describe their hero’s journey as they follow the path on their map – this can help them think through the events of their story and catch any adjustments they might want to make, this also gives low stakes speaking and presenting practice
  • Students who are not presenting will have a checklist with the required characters and journey stages that they can mark off as they listen, this will be given to the presenter when they are finished – this will help the presenter know if they have the required archetypal characters and hero’s journey stages

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EXTENSION OPPORTUNITY

Using the map as a summative assessment and/or integrating the map into the technology portion of the EOM.

• • To expand the map tool into a project, it is suggested that the teacher has students create a map key that indicates terrain, significant locations, and the journey path.

  • Show students example maps that include map keys (included in slides) and prompt discussion on what the symbols mean, how do you know, and how do you think the cartographer (map maker – good vocab word) chose what to include in the key/legend?

  • When creating their own map key students can have the opportunity to add even more world building elements to their maps. Students can create their key around lesson 20 and gradually add to it as they build their map throughout the unit.

  • To integrate their maps in their EOM presentations, students can create cut out paper characters (these can be represented using shapes or symbols if a student does not want to draw a mini version of each character) to move along their Hero’s Journey path. For each slide of their presentation, students can take a photograph of their map with their hero at the corresponding location. As the hero encounters other characters during the different stages of their journey, the other cutouts can be placed at the corresponding locations on the map.

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PART ONE

Inspiration – Lesson 20

• • In this activity, students imagine their archetypes as prompts to help them pull characters from their personal schema.

  • Character Design & Narrative Builder (T3)

  • This graphic organizer can be completed via drawing or writing.

  • Additionally, this graphic organizer can be used as a formative assessment. (T4)

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PART TWO

Embodying the Hero – Lesson 6 & Lesson 20

In this activity, students build on their knowledge of Tableau and come to class embodying their hero using costume, props and pose.

Module connections:

• • Lesson 6 – precise word choice and illustrations supporting the development and understanding of a character
  • Lesson 20 – Development of student’s hero and context
    • Slide 8 activity – Sketch your hero using one of the art elements (handout 19A) to emphasize one of the hero’s traits OR an aspect of their appearance

Setting Up:

Tell your students that they will be becoming their hero – playing the role of their hero – in an upcoming class. It is up to you how much notice you choose to give the students, because they will be using props and/or costume pieces, at least a week is recommended.

Referring back to lesson 6 (handout 6A), discuss how physical characteristics, clothing, accessories, and prop choices can contribute to a character’s development and understanding.

Although this activity can be introduced at the teacher’s discretion, it is suggested that you introduce the activity during/around lesson 20 when students are sketching their heroes and making choices that emphasize their hero’s traits.

In the slides, two illustrations from The Odyssey are provided – these images contain characters with specific visual elements that tell the viewer something about who they are.

The first image (p.11) is looked at in lesson 10 so students should be familiar with how the art vocabulary (handout 19A) is used in the image. See if the students notice anything about Odysseus that tells them something about his character.

• • • Holding a helmet – soldier/warrior
    • Outfit – shows time period and occupation, scarf cape shows status

The next illustration (p.14-15), also looked at in lesson 10, shows multiple gods with distinct costume pieces and accessories that emphasize their traits.

• • Athene
  • Zeus
    • Crown – king of gods
    • Lightning bolts – well known characteristic of Zeus across fables
  • Poseidon
    • Trident – weapon associated with the ocean, well known prop of the god
    • Net shirt – nets are often used to catch fish in the ocean
  • Hermes
    • Athletic looking clothing – suggests he moves great distances
    • Wings on his headpiece – Hermes is known as the messenger god who uses his small wings to bring these messages far and wide

Using the provided Embodying the Hero Graphic Organizer, have students brainstorm what possible props or costume pieces they could create or acquire to emphasize the character traits of their hero when becoming them for class. Students can use the sketch they created of their hero to help guide them in this activity.

Exit Ticket

As an exit ticket, students can be asked to describe what their hero would do in a specific scenario, for example: a nearby bridge starts to collapse, what does your hero do? Encourage them to consider their hero’s flaws as well. Does your hero have the strength to hold up the bridge until everyone is a safe distance away? Can your hero help direct traffic to get people off the bridge quicker? Does your hero have the knowledge to provide medical care to injured people while waiting for emergency services? Does your hero have such low self confidence that they don’t think they would be helpful?

This exit (or entry) ticket structure can be used with different scenarios leading up to the day the students will embody their character. Teachers can use the three pre-created Character Building Scenarios that are formatted as printable with two copies on each sheet (half sheets – cut in half after printing) or can post the questions as an assignment on google classroom or other online classroom platform. Teachers that would like to are encouraged to come up with their own scenario questions.

Teacher Prep

For this activity, it is important to create opportunities to make choices based on the characteristics of their hero. It is up to the teacher how in depth the room preparation will be.

Assessment

As a formative assessment, have students create a social media post from the perspective of their character using a monomythstagram template. Students will need to come up with a username, sketch a post, and create the caption – all while acting as their hero. Their post should showcase a trait of their hero.

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PART THREE

Paper Dolls – Lesson 28 LOW TECH

In this activity, students design versions of their archetypes.

Paper Doll Reference Sheets:

• • Here are the Paper Doll reference sheets*. You can use them in three different low tech ways. *Make a copy to edit your own.

• • Draw: Students can use the Paper Doll reference sheet as drawing references. The teacher might say, “Here are some examples of how to draw the parts of your hero.” This version uses copy paper, pencil, and colored pencils.

OR

• • Trace: Students can use the Paper Doll reference sheets to trace using a window, lightbox, or vintage projector. This version uses copy paper, pencils, colored pencils, and printed reference sheets.
    • If you have limited window space or lightboxes, create a sign up sheet with a time limit as necessary.

Physical Facilitation Tip:

• • Print two copies of the reference sheet sets per table. Keep each set in a manila folder. As these are reference sheets, students can reuse them over and over again and between multiple classes.
  • Always keep a stapled master copy in a golden sparkly folder on your desk that only you can access. This is for you only. This is so you can make copies as needed.

Collage: Students can use the Paper Doll reference sheets to cut out and paste into collages. This version uses a folder with a printed set of references for each student, scissors, glue, pencils, and colored pencils. Bonus supplies: ultra fine tip sharpies and/or dual sided acrylic paint markers.

Collage Facilitation Tip:

Scissors, Glue, Pencils and assorted markers can be stored in one bin for each table.

Summative Assessment: Here is an Archetype Design Rubric that you can use to assess the Low Tech version. (T4)

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PART THREE

Paper Dolls – Lesson 28 HIGH TECH

Here is the Canva version of the Paper Doll reference sheets*. You can use them in two different high tech ways. *Make a copy to edit your own.

1. Build from Bank: Students can use the Paper Doll reference sheets to build their character.

• • Students build their characters by duplicating images from the bank, editing as necessary, and combining the elements together. Use the Canva Skills Chart to support students.
  • Digital Facilitation Tip: Coming in November

2. Archetype Design Template: Students can use the Canva Archetype Design Template* to design their characters. *Make a copy to edit your own.

• • This includes a sentence about the special details for each archetype and a sentence about artistic design choices.
  • Here is a finished example.
  • Digital Facilitation Tip: Coming in November

Summative Assessment:

Here is an Archetype Design Rubric that can be used to assess the High Tech Version of this activity. It aligns directly with the Archetype Design Template. (T4)

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