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/resources/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_the_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/lessonmain.asp?lesNum=3&modNum=2

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 = IEor 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 -->

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/april07/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/proportion04.jpg

14. Facial Proportions • The eyes arehalfwaybetween the top of the head and the chin. • The bottom of the nose ishalfwaybetween the eyes and the chin. • The mouth is1/3 to ½ waybetween 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/fractal3.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/perspective/ • http://studiochalkboard.evansville.edu/draw.html • http://www.myamericanartist.com/2006/12/linear_perspect.html • http://www.olejarz.com/arted/perspective/ • http://rourkevisualart.com/wordpress/wp-content/uploads/2007/03/linear_perspective.jpg

17. Global Awareness + Writing + Theatre Arts • Identify some of the characters and ideas from the commedia dell’arte, and write an essay that compares it to a similar style of theatre from another century (for example, Moliere’s comedies, slapstick comedy of the early 1900’s, 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 today’s 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/dancetips.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. • Createdance movements that communicate their processes. • Writean essay that explains the steps in their creative approach. • Revise and performtheir 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/Image31.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 public’s 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.