Dance and Literature Unit Plan

Laura Natario
Unit Plan
SEDC710
Professor Paulina Callender
July 29, 2020
Unit Plan
Introduction, Overview and Rationale for Unit Plan
Essential Questions: Enduring Understandings:
How does movement exploration and fictional short Movement exploration is a tool that can be used to process and reinforce
story narrative writing inform one another? narrative points of view that are authentic to the content of the storyline and
narrative themes.
How can movement exploration help us to empathize
with our characters and authentically understand the Movement exploration is a tool that can be used to process and reinforce
lived body experience of the overall narrative? narrative formulation and sequencing.
How do we find narrative parallels in our somatic Somatic and written narrative development are symbiotic platforms for short
research and process of fictional short story story construction.
development?
The presentation of narrative movement is just as valid and valuable as the
written narrative form in displaying the ideas, concepts, and themes of creative
works.
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Rationale:
Movement exploration and choreographic construction are significant tools that students can draw from in order to understand fictional
narrative. In relation, fictional narrative writing is also a tool that students can use to construct their own narrative choreographic work. In
the context of Backwards Design, Childre, Sands and Tanner Pope state that “traditional instructional approaches too often fail to engage
learners with disabilities, to address their individual needs, and to ultimately support academic success (14).” It is with this consciousness
that we can see that utilizing somatic inquiry attends to the needs of diverse learners in the classroom. By allowing students to read,
analyze, process through movement, write, and create within a fictional narrative literary unit, they are able to fine tune their creative and
formative processing skills within a diverse context that thus lends itself to the needs of diverse learners. Shanahan defines reading “as the
ability to comprehend, interpret, and use written information. Writing is analogously defined as the ability to compose texts than can
successfully convey an author’s ideas (115).” It is clear through these definitions of reading and writing that movement exploration and
choreographic creation is also a quintessential tool for reading comprehension and to cultivate narrative writing proficiency in students.
The essential questions of this unit will provide students with the knowledge necessary to utilize movement as a vehicle to guide academic
understanding. The group experience of using movement and dance as a processing tool also cultivates empathy for others and facilitates
inquiry into their personal notions of identity. The essential questions and enduring understandings of this unit aim to empower students to
identify with the experiences, emotions, and perspective of different characters. Using the above concepts to guide the construction of this
unit plan will also help students to understand the narrative events in sequence and their resulting outcomes by embodying these
experiences and formulating somatically derived narratives, authentic to their personal lived experience. Jacson and Cooks describe
empowerment as such, “to empower is to facilitate the process of acting and construction reality and knowledge that is recognized by
others. In this sense, empowerment becomes the act and the process of en-abling, that which is the primary objective of education (149).”
The objective of his unit is to empower students and develop their sense of self-recognition and identity, which are integral elements to
success in both a student’s academic and personal life.
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Content Knowledge: Content Skills:
Students will understand how to process elements of Students will be able to utilize narrative literary works as a resource for developing
narrative writing including sequencing, adding details, improvisational movement or choreographed dance. Students will be able to analyze
and formulating perspective. the relationship between the improvised movement or choreographed dance work
and the narrative piece of writing that inspired the movement.
Students will understand how to use dance and NYS Dance Standards DA:Cr1.1.HSI a. Explore a variety of stimuli for sourcing
movement to both process and ultimately create movement to develop an improvisational or choreographed dance study. Analyze
narrative. the process and the relationship between the stimuli and the movement.
Students will understand how to interpret both written Students will be able to collaborate with peers to create and design a narrative dance
and somatic narrative forms and be able to utilize both work using choreographic processes and devices, and the dance structures of
forms in analysis construction. improvisation, observation, abstraction, motif, and characterization to support the
relationship their movement has with the storyline they are developing or reacting
Students will understand how to develop narrative to. Student will be able to explain to peers how the choices they made support the
choreographic work that is based on or inspired by narrative they are presenting or reacting to.
written narrative works. NYS Dance Standards DA:Cr2.1.HSI a. Collaborate to design a dance using
choreographic processes and devices, and dance structures such as improvisation,
Students will understand why movement is important in observation, abstraction, randomization, rondo, canon, motif, retrograde, etc., to
empathizing with the characters experiences and plot support an artistic intent. Explain how the choreographic devices, dance structures,
events in fictional narrative texts. and movement choices clarify, communicate, or effect the artistic
Students will be able to discern themes within a text and motifs within a movement-
based work. Students will be able to compare and contrast the ways in which
themes and motifs develop, are presented and become defined aspects of each work.
Next Gen ELA Standards 9-10R2: Determine one or more themes or central ideas
in a text and analyze its development, including how it emerges and is shaped and
refined by specific details; objectively and accurately summarize a text.
Students will be able to embody, discuss and provide written response to the actions
and sensations of the events and experiences of narrative texts.
Next Gen ELA Standards 9-10R3: Analyze how and why individuals, events, and
ideas develop and interact over the course of a text. In literary texts, analyze how
complex and/or dynamic characters develop, interact with other characters, advance
the plot, or develop a theme. In informational texts, analyze how the author unfolds
an analysis or argument, including the sequence, the introduction and development
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of ideas, and the connections that exist.
Students will be able to facilitate natural sequencing within plot development

through sequencing movement phrases and sentences together and transcribing
those movement phrases and sentences to their written work. Students will also be
able to transcribe the sequencing from literary text
Next Gen ELA Standards 9-10W3c: Use a variety of techniques to sequence
events to create cohesion and a smooth progression of experiences or events.
Students will be able to build structure of narrative through the addition of detail
found within their individual choreographic exploration and then translate those
details into a written narrative. Students will be able to expand their movement
vocabulary through narratively inspired movement explorations and then discuss
and translate newly found movement vocabulary to an expanded literary vocabulary
to be utilized in benefit of their narrative writing.
Next Gen ELA Standards 9-10W3d: Use precise words and phrases, explicit
details, and sensory language to convey a vivid picture of the experiences, events,
setting, and/or characters.
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Students will be able to create responsive creative works from narrative texts. They
will be able to create dance works that are responsive to narrative themes that
demonstrate their knowledge of the intricacies of each written narrative work.
Next Gen ELA Standards 9-10W4: Create a poem, story, play, artwork, or other
response to a text, author, theme or personal experience; demonstrate knowledge
and understanding of a variety of techniques and genres. Explain divergences from
the original when appropriate.
Students will be able to utilize movement exploration to craft and develop narrative
composition. Students will be able to recognize writing as a tool for creative
expression and vise versa.
Next Gen ELA Standards 9-10W3: Write narratives to develop real or imagined
experiences or events using effective technique, well-chosen details, and well-
structured event sequences.
Students will be able to understand vocabulary specific to fiction narrative text.

Students will also be to utilize this vocabulary to increase movement vocabulary in
choreography in artistic expression.
Next Gen ELA Standards 9-10L6: Acquire and accurately use general academic
and content-specific words and phrases, sufficient for reading, writing, speaking,
and listening; demonstrate independence in applying vocabulary knowledge when
considering a word or phrase important to comprehension or expression.
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Instructional Resources
The Curious Incident of the The Curious Incident of the Dog in the I chose The Curious Incident of the Dog in the Nighttime by
Dog in the Night-time Nighttime is a coming of age novel by Mark Mark Haddon as the main text for this unit because the book
Mark Haddon Haddon. This novel takes place in 1998 in itself is written from the perspective of the main character that
Swindon, England where 15-year-old is writing the very story that is being read. As the students are
Christopher John Francis Boone lives with his reading and processing the text, they will start to consider
father. The novel opens with Christopher, the elements of creative narrative writing through the main
main character, finding his neighbor’s dog, character, Christopher’s, description of his own creative
Wellington, killed in the neighbor’s garden writing process. The novel also grapples with important
with a fork stuck through the animal. concepts around belonging, the perceived detail of lived
Christopher loves dogs and approaches the experience, independence, the subjectivity of perspective, and
animal because he feels sad for it. He decides dependence on logic. The novel accomplishes this by
then that he will investigate the murder of exploring the lived experience of Christopher who presents to
Wellington and describe his investigation the reader as having a developmental and social disability,
through the book he is writing for school - the although they are never explicitly defined in the text. This
book that is being read. Christopher begins this allows students to begin processing ideas of identity and
investigation against his father’s wishes. It is empathy throughout the storyline which will then be further
apparent in the novel that Christopher has expanded upon during dance and literary-based activities. The
some type of neurological and developmental Curious Incident of the Dog in the Nighttime is a short read at
disorder, although it is never defined in the 221 pages and is accessible to many reading levels as the
text. The reader gleans this information language, writing, and sentence structure are not overly
through the first-person narrative perspective complex. When there is more complex vocabulary introduced,
of the text. For example, we know that it is often defined by the narrator in detail. This is in part to
Christopher attends a special school and finds illustrate the characteristic traits of Christopher and his
it difficult to understand elements of both body logically bound thought process and also is a conscious
language and social metaphor. When example of accessibility.
Christopher and his father get into an
argument, after his father finds the book that
he is writing about the murder investigation
that he was explicitly told not to pursue, a
physical altercation ensues between
Christopher and his father. His father then
takes and hides the book Christopher is
writing. When Christopher seeks out this book,
he finds it along with letters written to him
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from his mother, who his father has told him
has died. Christopher learns through these
letters that his mother is in fact not dead but is
living in London with his neighbor’s ex-
husband. Christopher passes out from the
emotional recourse of finding out this
information and when Christopher’s father
finds him with the letters, he admits to killing
Wellington in an attempt to rid himself off all
deceit to Christopher. Christopher, now afraid
of his father, the murder, runs away to live
with his mother. During this harrowing
journey, Christopher overcomes many of his
fears and anxieties and ultimately reconnects
with this mother. At the resolution of this
novel, Christopher’s mother leaves London
and moves back with him to Swindon and
Christopher begins to process the digressions
of his father and begins healing.
The Curious Incident of the This is physical theatre play based on the I chose this theatrical adaptation of the novel because it relies
Dog in the Night-time novel, The Curious Incident of the Dog in the heavily on choreography to drive the narrative. Also, much
Play/Physical Theatre Night-time. It is quintessentially dependent on like Mark Haddon’s novel, this play takes on the perspective of
adaptation choreography to present much of the narrative Christopher as the primary lens into the story. Everything in
Scott Graham and Steven storyline. It explores each moment of the novel the play is portrayed through Christopher’s perspective. It is
Hogget of Frantic Assembly from the main character, Christopher’s accessible to a diverse range of students because the theatrical
embodied lived experience. This play takes the narrative is simultaneously acted out verbally along with
physicality of the narrative story as the thoughtfully choreographed movement and set design. Though
derivative of the plot presentation. viewing the play of The Curious Incident of the Dog in the
Nighttime, students are provided with an example of how a
narrative work can be translated into a theatrical movement-
based performance.
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Assessments
Summative: Presentation of Narrative Short Story Supported by Choreographic Project
Summative Description: The students will be required to compose a literary short story in tandem with a solo choreography that is inspired by their
writing. The Curious Incident of the Dog in the Nighttime, along with their creative exploration of the story, will serve as a model for their own
construction of narrative. During the third week of this unit, students will investigate and clarify the point of view, characterization, themes/motifs,
plot sequence and formulation and resolutions and begin constructing their original fictional narratives. Student will then explore each section of their
graphic organizers throughout the third week through activities of movement exploration and discussion. After each of these movement explorations
and discussion-based lessons, students will be prompted to transcribe what information or perspective was gained through these explorations to their
short story narrative graphic organizers. At the beginning of the fourth and final week of this unit, students will be asked to formulate an original
fictional story, using a graphic organizer to facilitate the planning process. During this final week of this unit, students will be asked to utilize their
journal reflections and their now detailed narrative graphic organizer into the formation of a 2-3-page fictional narrative. With the final two days of
the unit, students will work on creating a 2-minute self-choreographed solo to be presented to the class that matches their writing.
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Summative Rubric:
CATEGORY 4 3 2 1
Writing Process Student devotes a lot of Student devotes Student devotes some time and Student devotes little
time and effort to the sufficient time and effort effort to the writing and time and effort to the
writing and to the writing and choreographic process but was writing and
choreographic process choreographic process not very thorough. Does choreographic process.
(movement and (movement and enough to get by. Doesn't seem to care.
choreographic choreographic
influences, prewriting, influences, prewriting,
drafting, reviewing, and drafting, reviewing, and
editing). Works hard to editing). Works and gets
make the story and the job done.
choreography
wonderful.
Characters The main characters are The main characters are The main characters are named It is hard to tell who the
named and clearly named and described. and introduced. The reader main characters are.
described in text and Most readers would have knows very little about the Characters have not been
choreographic work. some idea of what the characters. Does not present explored or defined
Most readers and characters looked like. the point of view materials through movement.
viewers could describe Presents the gleaned from movement and
the characters characterization choreography.
accurately. Presents the materials gleaned from
characterization and movement and
point of view materials choreography in writing.
gleaned from movement Includes point of view
and choreography derived from movement
clearly. inquiry or choreography.
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Creativity The story contains many The story contains a few The story contains a few There is little evidence
creative details and/or creative details and/or creative details and/or of creativity in the
descriptions and unique descriptions and unique descriptions/choreographic story/choreography. The
choreographic details choreographic details details, but they distract from author/choreographer
that contribute to the that contribute to the the story/choreography. The does not seem to have
reader\'s or viewers reader\'s or viewers author has tried to use his used much imagination
enjoyment. The enjoyment. The imagination and has somewhat and has not utilized
author/choreographer author/choreographer utilized movement to inform movement to inform
has really used his has used his imagination creative content. creative content.
imagination and clearly and has utilized
has utilized movement to movement to inform
inform creative content. creative content.
Organization The story/choreography The story/choreography The story/choreography is a Ideas and scenes seem to
is very well organized. is pretty well organized. little hard to follow. The be randomly arranged.
One idea or scene One idea or scene may transitions are sometimes not
follows another in a seem out of place. Clear clear.
logical sequence with transitions are used.
clear transitions.
Action Several action verbs Several action verbs are A variety of verbs (passive Little variety seen in the
(active voice) are used to used to describe what is voice) are used and describe verbs that are used. The
describe what is happening in the the action accurately but not in story/choreography
happening in the story/choreography, but a very exciting way. There is seems a little boring.
story/choreography. It is the word choice has not little evidence that action There is no evidence that
clear that those action been fully investigated words have been investigated action words have been
verbs have been defined somatically and does not somatically. investigated somatically.
through somatic make the story as
investigation and exciting as it could be.
choreographic
construction. The story
seems exciting!
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Problem/Conflict It is very easy for the It is fairly easy for the It is fairly easy for the reader to It is not clear what
reader to understand the reader to understand the understand the problem the problem the main
problem the main problem the main main characters face but it is characters face. The
characters face and why characters face and why not clear why it is a problem. problem/conflict has not
it is a problem. The lived it is a problem. The lived The point of view of the main been explored through
body experience of the body experience of the character has been discerned movement.
main character has been main character has been although not analyzed
thoroughly explored and explored and analyzed thoroughly through movement.
analyzed through through movement.
somatic inquiry.
Solution/Resolution The solution to the The solution to the The solution to the character\'s No solution is attempted,
character\'s problem is character\'s problem is problem is a little hard to or it is impossible to
easy to understand, easy to understand, understand and visually discern understand or visually
visually discern in visually discern in in choreography. discern in choreography.
choreography, and is choreography, and is
logical. There are no somewhat logical.
loose ends.
Summative Rationale: Jeffery Bakken states that “with authentic assessments, teachers use a variety of activities to check students’ understanding,
acknowledging that student learning a second language need a variety of ways to demonstrate their understandings of concepts that are not totally
reliant on advanced language skills (121).” Through this project, students are able to demonstrate their understanding of narrative form and creative
construction through both the language of movement and writing. In doing so, they are able to pull concepts from both sources and then derive
information from one of these practices that will help facilitate the completion of each inverse task. Concerning assessment of student understanding
through performance tasks or projects, Children, Sands, Tanner Pope state that to “create one or two tasks or projects that require students to
demonstrate depth of understanding of major or overall unit concepts (9).” This project requires that students both create and present narrative
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through a piece of writing and a piece of choreography. Students can utilize this dual format to be confident in the strength of one facet of their
project and allow that to uphold and facilitate the presentation of the other facet.
Formative: Graphic Organizer
Formative Description: Graphic organizers will be utilized to document the student’s experiences and understandings gained from the classroom
activities and discussions present throughout this unit. There will be a graphic organizer introduced to help facilitate understanding of the fictional
narrative novel The Curious Incident of the Dog in the Nighttime by breaking apart different elements of the story for a deeper understanding of the
text and of the author’s choices. The graphic organizer will be also be a tool later in the unit to aid students in formulating and documenting narrative
details, sequence, and character development. These graphic organizers will eventually be used as reference materials for students when they are
constructing both their analytical choreographic work of the text, as well as a support for their final project in creating a written and choreographed
short story.
Formative Rationale: I chose to use graphic organizers to facilitate understanding of the novel and allow students to explore potential parallels
between their analysis of the text and their own written works. A visual representation of these parallels will be a key tool for differentiated learning
in each lesson. Jeffery Bakken states that “The use of a variety of visual aids, including pictures, diagrams and charts, helps all students and,
especially ELL students. Visuals make both the language and content more accessible to students (122).” I also utilized these graphic organizers so
that students could document their experiences from the movement activities and be able to compare them to their pre-movement activities and initial
understandings. Bakken also states, regarding the use of graphic organizers, that “when students see connections among other content areas, learning
seems more relevant. Concept maps and other graphic organizers can demonstrate connections with other content areas (127).”
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Formative: Presentation of Group Choreographic Works based on The Curious Incident of the Dog in the Night-time
Formative Description: Students will collaborate in small groups to create 2-3-minute pieces of choreography based on their understandings of the
novel, The Curious Incident of the Dog in the Night-time and it’s physical-theatre-adaptation. Students will utilize the detailed narrative graphic
organizers and response journals from the previous week of this unit to construct this creative work. Students will work in heterogenous small groups
of students who are more literarily inclined matched with students who are more movement inclined. Each group will focus on a plot element derived
from the class’s “ideal theatrical rendition” of the narrative that are constructed and agreed upon together. Students will then present these group
works to the class for discussion and class wide analysis.
Formative Rationale: I chose this assignment because it was a highly collaborative and cooperative opportunity for students. It allows students to feed
off of one another and build community through a class-wide agreement upon subject matter, small group creation of material based on that subject
matter, and finally a class-wide presentation of the material. In regard to cooperative learning, Jeffery Bakken states that “CRC often incorporates
strategies that utilize cooperative learning and whole-language instruction, includes self-esteem building, and recognizes multiple intelligences and
diverse learning styles (128).” He regards to the discussion task that will follow this performance of choreographic work, Bakken goes on to note that
“this process will help to promote how different people can have different views/ideas based on their unique individual experiences and cultural
backgrounds (128).” After reading and processing a text, there must be a way in which to assess the comprehension of said text. This assessment
project meets that need; as Connors, Bickens, and Bittman describe, “after finishing a novel, there should be a cumulative activity or project.
Students will be able to work in groups with a choice of several roles, which is a structure that easily accommodates the differentiation of tasks, as
appropriate. In addition to reviewing skills and content in a differentiated fashion, these creative culminations are often simply enjoyable, funny, and
exciting as students get to act, laugh, and argue. As a result, participating in these activities makes the novels ‘stick’ with students; the more students
remember books, the more likely they will be able to use these books on state exams and as guidance for life (12-13).” The presentation of these
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works as a class-wide performance event will reaffirm student understanding of the text in relation to the larger understanding of the classroom
community, instilling a shared sense of classroom identity.
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Scope and Sequence
Week 1
Instructional Goals: Content and Skills
Sequence of Activities
Assessments
Ideas for Differentiation to Support Struggling Students
Monday
Content Knowledge:
Students will understand why movement is important in empathizing with the characters experiences and plot events in fictional narrative texts.
Content Skills:
Students will be able to utilize narrative literary works as a resource for developing improvisational movement or choreographed dance. Students will be able to analyze the
relationship between the improvised movement or choreographed dance work and the narrative literary work that inspired the movement.
NYS Dance Standards DA:Cr1.1.HSI a. Explore a variety of stimuli for sourcing movement to develop an improvisational or choreographed dance study. Analyze the process
and the relationship between the stimuli and the movement.
Students will be able to embody, discuss and provide written response to the actions and sensations of the events and experiences of narrative texts.
Next Gen ELA Standards 9-10R3: Analyze how and why individuals, events, and ideas develop and interact over the course of a text. In literary texts, analyze how complex
and/or dynamic characters develop, interact with other characters, advance the plot, or develop a theme. In informational texts, analyze how the author unfolds an analysis or
argument, including the sequence, the introduction and development of ideas, and the connections that exist.
Students will be able to understand vocabulary specific to fiction narrative text. Students will also be to utilize this vocabulary to increase movement vocabulary in choreography
in artistic expression.
Next Gen ELA Standards 9-10L6: Acquire and accurately use general academic and content-specific words and phrases, sufficient for reading, writing, speaking, and listening;
demonstrate independence in applying vocabulary knowledge when considering a word or phrase important to comprehension or expression.
Do Now/Writing Prompt: student will summarize assigned reading (p 1-53) of unit text The Curious Incident of the Dog in the Night-time by Mark
Haddon in 2-3 sentences and write down at least 1 question they have about the assigned text or a connection they made to their own lives in journal.
(5 minutes)
Vocabulary Instruction: students will discuss definitions of these words as a class and record these definitions in journals. (5 minutes)
1. Slander
2. Apocryphal
3. Social Emotional Learning
Turn-and-Talk: Students will consider these questions in partnerships - What do you think about how Christopher views the world? How does
Christopher read social emotional cues? How do you read social emotional cues? (5 minutes)
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Dance Activity: Christopher’s teacher, Siobhan, draws him smiley faces to denote emotions and asks him how he interprets these smiley faces and
what they mean. Christopher writes the meanings of these smiley faces down on pieces of paper that he keeps in his pocket for later use. In relation to
how he understands social emotion cues, Christopher describes his process as such, “I said that I wasn’t clever. I was just noticing how things were,
and that wasn’t clever. That was just being observant. Being clever was when you looked at how things were and used the evidence to work out
something new (25).” Christopher uses his advanced observational skills to work out how people are feeling based on what Siobhan teaches him
about emotional responses.
Students will break into small groups and each draw a smiley face that denotes a certain emotion to them. Students will trade these smiley face
drawings and explore how to interpret these smiley faces given to them through dance movement exploration. Students will discuss how they
interpreted these smiley faces in their bodies, what descriptive details to these emotions were brought up through exploration and how they compared
to the emotion that the smiley face drawer was trying to convey. (25 minutes)
Ven Diagram Worksheet Response: students will record and respond to their experience of the dance activity. (5 minutes)
Share-Out: students will share journal reflection or movement activity highlights as a class. (10 minutes)
- Do Now/Writing Prompt
- Vocabulary: notation of vocabulary words and definitions in journal
- Participation in Think-Pair-Share: informal observations
- Movement Participation in Dance Activity
- Ven Diagram Worksheet
- Classroom Reflection Participation
Do Now: struggling students will be given a teacher created Do Now model to reference.
Vocabulary Instruction: Struggling students will be given access to sample sentences and image references for each vocabulary word.
Turn-and-Talk: struggling students will be given discussion points to facilitate understanding and discussion with partner.
Dance Activity: Struggling students will be given access to a list of page numbers from the novel that contain emotional reactions from the characters
in the novel to consider.
Ven Diagram Worksheet: Struggling students will be provided with an additional worksheet containing supplementary questions to consider when
filling out the diagram.
Share-Out: Struggling students will be offered a list of discussion prompts to consider when participating in the Share-Out.
Tuesday
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Content Knowledge:
Content Skills:
relationship between the improvised movement or choreographed dance work and the narrative piece of writing that inspired the movement.
Do Now/Writing Prompt: student will summarize assigned reading (p 53-102) of unit text The Curious Incident of the Dog in the Night-time by
Mark Haddon in 2-3 sentences and write down at least 1 question they have about the assigned text or a connection they made to their own lives in
journal. (5 minutes)
1. Body Language
2. Verbal Language
3. Red Herring
Share-Out: Students will be asked to stand in a circle during this discussion and encouraged to utilize their body movement to help explain their
ideas. Student will discuss these questions as a class - What do you think body language is? How does Christopher interpret body language? How do
you interpret body language? What comes first, body language or verbal language? Which is more complex? Which is more finite? (5 minutes)
Dance Activity: Christopher notes in the novel “I find people confusing. This is for two main reasons. The first main reason is that people do a lot of
talking without using any words (14).” Christopher finds reading body language very difficult. Body language is a complex and intuitive form of
communication. Many similar body movements can mean very different things depending on small divergent details in the way and quality in which
body’s perform these movements.
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Christopher also has an affinity for Sherlock Holmes and identifies deeply with this literary character. He finds the quote of Sherlock Holmes “The
world is full of obvious things which nobody by any chance ever observes” very similar to how he also views the world. Christopher speaks to the
Red Herrings in his life. Body language is similarly full of Red Herrings in that people are always trying to conceal their true feelings so that they are
not too vulnerable.
Students will explore the idea of Laban movement sentence structure. They will break into small groups and each group will brainstorm action words
they either may pull directly from text or from their understanding of the events of the text. One student from each group will be identified as the
scribe and write down this list during small group brainstorming. Each group will then choose 3 action words from this list to create a movement
sentence out of that relates to Christopher’s experience in the assigned section of the text. For example, on page 78 Christopher is comparing his
memory to a film. He is able to remember specific photographic details and searches through his memories to know if he remembers someone or
something. It is also how he knows how to act in a difficult situation. Students could comprise a sentence from the words remember, picture, and
search. Students will develop a movement sentence in small groups utilizing a 3-action word movement sentence of their own creation. They will
focus on literally translating these 3-action words into a movement phrase. (25 minutes)
Turn-and-Talk: students will share Ven diagram reflections or movement experience highlights as in partnerships and discuss. (10 minutes)
- Participation in Share-Out: informal observations
- Turn-and-Talk Reflection Participation
Share-Out: Struggling students will be given movement-based examples of the topics covered in discussion to facilitate understanding.
Dance Activity: Struggling students will be given access to a list of page numbers from the novel that contain many action words to inspire their
word selection.
Turn-and-Talk: Struggling students will be offered a list of discussion prompts to consider when participating in partnership discussion.
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Wednesday
Content Knowledge:
Content Skills:
1. Homunculus
2. Imagined thought
3. Metaphor
4. Embody
Turn-and-Talk: Students will consider at least 2 of these questions in partnerships - How does Christopher view the logical thought in comparison
to interpretive or imagined thought? What opinion does he have on simile and metaphor in creative writing? How do we translate these types of
thought or creative writing functions to dance?
How do logic and imagination present in dance movement? (OR) What does it mean to be abstract in movement? What does it mean to be literal in
movement? (OR) What is mimery? What does it mean to embody something? (5 minutes)
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Dance Activity – Christopher speaks to the idea of constructing imagined realities when relating the mind to a computer. He describes this behavior
as such, “And people are different than animals because they can have pictures on the screen in their heads of things which they are not looking at.
(117).”
The same student groupings from the previous lesson will regroup and revisit their 3-action word movement sentence. They will explore the
difference between the literal translation of their movement sentence that they created during the previous lesson and create a new abstraction of the
same sentence. (20 minutes)
Presentation and Discussion – small groups will present their two movement sentences to the class (from this lesson and the previous) and students
will discuss the differences they saw between the two dance translations and which felt more authentic to the true definition of the 3 words in their
sentence. (15 minutes)
- Presentation and Discussion Participation
Do Now: Struggling students will be given a teacher created Do Now model to reference.
word selection.
Presentation and Discussion: Struggling students will be offered a list of responsive statement formats to consider when participating in movement
presentation discussion.
Thursday
Content Knowledge:
20
Content Skills:
Students will be able to facilitate natural sequencing within plot development through sequencing movement phrases and sentences together and transcribing those movement
phrases and sentences to their written work. Students will also be able to transcribe the sequencing from literary text
Next Gen ELA Standards 9-10W3c: Use a variety of techniques to sequence events to create cohesion and a smooth progression of experiences or events.
1. Stimulate/Stimuli
2. Kinesthetic
3. Empathy
4. Kinesthetic Empathetic Response
Share-Out: Students will be asked to stand in a circle during this discussion and encouraged to utilize their body movement to help explain their
ideas. Student will discuss these questions as a class - What does it mean to be overstimulated? (OR) Would you rather be out in a large crowd or
cozy at home by yourself? (OR) How does Christopher feel when he’s at the train station? What tactics does Christopher utilize to calm him down
when he feels very anxious? Do you ever feel anxious while watching dance? What kind of dance makes you feel anxious/calm? Why would a
choreographer want to make an audience anxious/calm? Have you ever watched a dance performance that had too much going on on-stage? How did
you react to this performance? (5 minutes)
Dance Activity: When Christopher enters the train station, he is overstimulated by a new place with a lot of busyness going on in it. Christopher
notices all the details about new places and spaces. He describes the feeling as such, “And when I am in a new place, because I see everything, it is
like when a computer is doing too many things. And when I am in a new place and there are lots of people there it is even harder because people are
21
not like cows and flowers and grass and they can talk to you and do things that you don’t expect, so you have to notice everything that is in the place,
and also you have to notice things that might happen as well. And sometimes when I am in a new place and there are lots of people there it is like a
computer crashing and I have to close my eyes and put my hands over my ears and groan, {…} (143).”
Christopher feels overwhelmed when there is too much going on in a place and turns off. Similarly, when there is too much going on in a piece of
choreography, an audience member can turn off and become visually exhausted. There are benefits to overstimulating an audience like building
energy and intentional anxiety on stage but if it goes on for too long, you risk taxing an audience and disengaging them from the performance.
Contrastingly, symmetry can illicit calmness in an audience. Asymmetry is a way to provoke anxiety in audience without exhausting them.
Students will split into two groups. Both groups will be instructed to recreate the scene where Christopher is trying to find the train to London at the
station through abstract and literal (referenced in previous lessons) dance choreography. Both groups will try to create something that feels as anxious
as possible while being sure to attend to the embodiment of any emotional aspects (referenced in lesson 1) of Christopher’s harrowing journey.
After students have completed and rehearsed their train station dances, one group will sit down as audience while the other performs their train
station dance. After viewing, students of the audience group will be given the chance to manipulate the other groups dance so that it becomes more
calm and serene feeling. They will be allowed to redesign the structure of the work (rearranging dancers in space, adding/taking dancers away, and/or
augmenting speed of movement) but must maintain the works emotional intent, movement elements and choreographic phrasing. The groups will
then flip and repeat the exercise. (30 minutes)
Turn-and-Talk: students will share Ven diagram reflections or movement experience highlights as in partnerships and discuss. (5 minutes)
- Participation in Share-Out: informal observations
- Turn-and-Talk Reflection Participation
Share-Out: Struggling students will be given movement-based examples of the topics covered in discussion to facilitate understanding.
word selection.
22
Turn-and-Talk: Struggling students will be offered a list of discussion prompts to consider when participating in partnership discussion.
Friday
Content Knowledge:
Content Skills:
Students will be able to compare and contrast the ways in which themes and motifs develop, are presented and become defined aspects of each work.
Next Gen ELA Standards 9-10R2: Determine one or more themes or central ideas in a text and analyze its development, including how it emerges and is shaped and refined by
specific details; objectively and accurately summarize a text.
their journal. (5 minutes)
Vocabulary Instruction: students will discuss definitions of these words in relation to the text as a class and record these definitions in journals. (5
minutes)
1. Vulnerable
2. Theme
3. Motif
23
Turn-and-Talk: Students will consider at least 2 of these questions in partnerships - Why does Christopher dream of everyone in the world besides
people like him dying of a virus? What does his solitude-based world look/feel like? Have you ever been on stage on your own? Have you ever
danced in a room by yourself? How does it feel? How does it feel different than when you are dancing in a group? How does it feel different dancing
on your own for no audience and for a big audience? Does it feel freeing or vulnerable? Why do you think it makes you feel that way? (5 minutes)
Dance Activity: Christopher says that in his dream “I can go anywhere in the world and I know that no one is going to talk to me or touch me or ask
me a question. But if I don’t want to go anywhere I don’t have to, and I can stay at home and eat broccoli and oranges and licorice laces all the time,
or I can play computer games for a whole week, or I can just sit in the corner of the room and rub a $1 coin back and forward over the ripple shapes
on the surface of the radiator. And I wouldn’t have to go to France (199).” He goes on to describe more and more things that he could do in his
dream-world and finishes this description of what if’s with “And then the dream is finished, and I am happy (200).” Dance and movement can act as
a form of therapy just as well as it can act as a form of performance and virtuoso. It can be just for you or a sharing of you with others. Dance is by
definition a space for choice of who and how you share your body in movement.
Students will be directed to choose one theme, motif, or inspirational quote from the text and create a short one-minute solo choreography inspired by
it. This will be a highly individualized task. Students will be advised (if there are permissions by the school) to go find a quiet space away from
others to work. Students will be held on the honor system in that they will be expected to work but not be checked in on. After creating this solo,
students can either choose to perform it in front of the class, record it and send it to the teacher or write about it through an extra reflective written
assignment to be completed during the creative process with option to finalize and revise in their own time if they choose to do so. (25 minutes)
Presentation and Discussion: Students who chose to perform their solos for the class will do so during this time. Class will discuss their experience
in both creating and watching the solo creations of their peers. Students will reflect upon how other aspects of the unit influenced their creative
process and final works. (10 minutes)
- Presentation and Discussion Participation
Do Now: Struggling students will be given a teacher created Do Now model to reference.
24
Dance Activity: Struggling students will be given access to a list of page numbers from the novel contextualize and illustrate elements of theme and
motif within the novel.
Presentation and Discussion: Struggling students will be offered a list of responsive statement formats to consider when participating in movement
presentation discussion.
Week 2 Instructional Goals: Sequence of Activities Assessments Ideas for Differentiation

Content and Skills to Support Struggling
Students
25
Monday Content Knowledge: Do Now/Writing Prompt: - Do Now/Writing Do Now: Struggling
Students will understand Students will write down how Prompt students will be given a
how to interpret both
written and somatic
they imagine what this play - Share-Out teacher created Do Now
narrative forms and be might look like on stage if Participation: model to reference.
able to utilize both forms they were to create a play or informal
in analysis construction. choreographic work from this observations Share-Out: Struggling
novel. They will be asked to - Graphic Organizer students will be given
Students will understand
why movement is
describe what the set would Play Observations movement-based examples
important in empathizing look like and choose one scene - Turn-and-Talk of the topics covered in
with the characters from the novel and describe Participation discussion to facilitate
experiences and plot how it would be interpreted understanding.
events in fictional theatrically in their journal. (5
narrative texts.
minutes) Watch Play/Graphic
Content Skills: Organizer: Struggling
Students will be able to Share-Out: Students will students will be given
discern themes within a discuss their imagined play descriptions of specific
text and motifs within a structures to the class and details to look for in play
movement-based work.
combine their ideas when considering each
Students will be able to
compare and contrast the collaboratively to imagine the question.
ways in which themes class ideal theatrical
and motifs develop, are presentation of this novel. This Students will be encouraged
presented and become will be written down on the to stand, walk around room
defined aspects of each
whiteboard and kept and or try out movement in their
work.
Next Gen ELA added to throughout the week. own bodies to facilitate
Standards 9-10R2: (5 minutes) understanding.
Determine one or more
themes or central ideas in Watch Play: Students will Turn-and-Talk: Turn-and-
a text and analyze its watch The Curious Incident of Talk: Struggling students
development, including
how it emerges and is the Dog in the Night-time will be offered a list of
shaped and refined by Play/Physical Theatre discussion prompts and
specific details; adaptation sentence starters to consider
objectively and Scott Graham and Steven when participating in
accurately summarize a Hogget of Frantic Assembly. partnership discussion.
text.
(40 minutes)
Graphic Organizer: Student

will be prompted to complete
26
a graphic organizer during the
viewing of this play. The
graphic organizer will prompt
students to consider the
questions – How is the
movement of the actors
displaying the narrative? What
differences do you see
between the play and the
novel? What similarities do
you see between the play and
the novel? Which choices did
the playwrights make were
surprising to you? Would you
have made the same creative
choices as the playwrights
made? Would you have made
different choices?
Turn-and-Talk: Students will

share their observations in
partnerships and try out
memorable movement
highlights from play
choreography. Students will
discuss why those
choreographic moments were
memorable. (5 minutes)
Tuesday Content Knowledge: Do Now/Writing Prompt: - Do Now/Writing Do Now: Struggling
Students will understand Students will write down 2-3 Prompt students will be given a
written and somatic
hypothesis about how they - Share-Out teacher created Do Now
narrative forms and be think the play will develop. (5 Participation: model to reference.
able to utilize both forms minutes) informal
in analysis construction. observations Share-Out: Struggling
Share-Out: Students will - Graphic Organizer students will be given
why movement is
discuss their hypothesis to the Play Observations movement-based examples
class and combine their ideas - Turn-and Talk of the topics covered in
27
important in empathizing collaboratively to add to the Participation discussion to facilitate
with the characters class ideal theatrical understanding.
experiences and plot
events in fictional
presentation of this novel from
narrative texts. the previous classes’ Watch Play/Graphic
whiteboard ideas. The class Organizer: Struggling
Content Skills: will discuss how their version students will be given
Students will be able to of the play contrasts and is descriptions of specific
discern themes within a
text and motifs within a
similar to what they’ve details to look for in play
movement-based work. already seen in the Frantic when considering each
Students will be able to Assembly’s version. (5 question.
compare and contrast the minutes)
ways in which themes Students will be encouraged
and motifs develop, are
presented and become
Watch Play: Students will to stand, walk around room
defined aspects of each watch The Curious Incident of or try out movement in their
work. the Dog in the Night-time own bodies to facilitate
Next Gen ELA Play/Physical Theatre understanding.
Standards 9-10R2: adaptation
Determine one or more
Scott Graham and Steven Turn-and-Talk: Turn-and-
themes or central ideas in
a text and analyze its Hogget of Frantic Assembly. Talk: Struggling students
development, including (40 minutes) will be offered a list of
how it emerges and is discussion prompts and
shaped and refined by Graphic Organizer: Student sentence starters to consider
specific details;
will be prompted to complete when participating in
objectively and
accurately summarize a a graphic organizer during the partnership discussion.
text. viewing of this play. The
28
different choices? Did you
foresee any of these choices
being made in your Do Now
hypothesis?
Turn-and-Talk: Students will

share their observations in
partnerships and try out
memorable movement
highlights from play
choreography. Students will
discuss why those
memorable. (5 minutes)
29
Wednesday Content Knowledge: Do Now/Writing Prompt: - Do Now/Writing Do Now: Struggling
written and somatic
why movement is
discuss their hypothesis and Play Observations movement-based examples
important in empathizing combine their ideas - Turn-and Talk of the topics covered in
with the characters collaboratively to add to the Participation discussion to facilitate
experiences and plot class ideal theatrical understanding.
events in fictional presentation of this novel from
narrative texts.
the previous classes’ Watch Play/Graphic
Content Skills: whiteboard ideas. The class Organizer: Struggling
Students will be able to will discuss how their version students will be given
discern themes within a of the play contrasts with what descriptions of specific
text and motifs within a they’ve already seen in the details to look for in play
movement-based work.
Frantic Assembly’s version. (5 when considering each
compare and contrast the minutes) question.
ways in which themes
and motifs develop, are Watch Play: Students will Students will be encouraged
presented and become watch The Curious Incident of to stand, walk around room
defined aspects of each
the Dog in the Night-time or try out movement in their
work.
Next Gen ELA Play/Physical Theatre own bodies to facilitate
Standards 9-10R2: adaptation understanding.
Determine one or more Scott Graham and Steven
themes or central ideas in Hogget of Frantic Assembly. Turn-and-Talk: Turn-and-
a text and analyze its (40 minutes) Talk: Struggling students
development, including
how it emerges and is will be offered a list of
shaped and refined by Graphic Organizer: Student discussion prompts and
specific details; will be prompted to complete sentence starters to consider
objectively and a graphic organizer during the when participating in
accurately summarize a viewing of this play. The partnership discussion.
text.
30
hypothesis?
Small Turn-and-Talk:
Students will share their
observations in small groups
and try out memorable
movement highlights from
play choreography. Students
will discuss why those
memorable. Students will try
to consider verbally the
techniques the actors used to
be able to be able to lift one
another successfully. (5
minutes)
Thursday Content Knowledge: Do Now/Writing Prompt: - Do Now/Writing Do Now: Struggling
written and somatic
31
Students will understand discuss their hypothesis and Play Observations movement-based examples
why movement is combine their ideas - Movement of the topics covered in
important in empathizing
with the characters
collaboratively to add to the Participation in discussion to facilitate
experiences and plot class ideal theatrical Dance Activity understanding.
events in fictional presentation of this novel from - Share-Out
narrative texts. the previous classes’ Participation: Watch Play/Graphic
whiteboard ideas. The class reflective Organizer: Struggling
Content Skills:
will discuss how their version observations students will be given
discern themes within a of the play contrasts with what descriptions of specific
text and motifs within a they’ve already seen in the details to look for in play
movement-based work. Frantic Assembly’s version. (5 when considering each
Students will be able to minutes) question.
compare and contrast the
ways in which themes
and motifs develop, are Watch Play: Students will Students will be encouraged
presented and become watch The Curious Incident of to stand, walk around room
defined aspects of each the Dog in the Night-time or try out movement in their
work. Play/Physical Theatre own bodies to facilitate
Next Gen ELA
adaptation understanding.
Standards 9-10R2:
Determine one or more Scott Graham and Steven
themes or central ideas in Hogget of Frantic Assembly. Turn-and-Talk: Turn-and-
a text and analyze its (30 minutes) Talk: Struggling students
development, including will be offered a list of
how it emerges and is
Graphic Organizer: Student discussion prompts and
shaped and refined by
specific details; will be prompted to complete sentence starters to consider
objectively and a graphic organizer during the when participating in
accurately summarize a viewing of this play. The partnership discussion.
text. graphic organizer will prompt
32
hypothesis?
Dance Activity: Students will

try out some of the
choreographic lifts used in the
play. Students will begin in
partnerships and play with
ideas of lead and follow when
sharing weight through the
hands. Then one student will
be lifted by a large group
similar to the lift the actors
perform in “Astroboy”. (10
minutes)
Share-Out: Students will be

asked to share their experience
of embodying the movement
and choreography of the play.
They will be prompted to
imagine themselves
performing this choreography
while maintaining character.
They will be asked to consider
the question – did this
movement aid in my
understand of the narrative or
did it inhibit it? (5 minutes)
33
Friday Content Knowledge: Do Now/Writing Prompt: - Do Now/Writing Do Now: Struggling
Students will understand Students will be asked to Prompt students will be given a
how to develop narrative
choreographic work that
consider their ideal version of - Share-Out teacher created Do Now
is based on or inspired by the theatrical interpretation of Participation: model to reference.
written narrative works. this novel. They will be asked informal
to look at the whiteboard and observations Share-Out: Struggling
Content Skills: formulate a sequence of major - Movement students will be given
collaborate with peers to
events in relation to Participation in movement-based examples
create and design a choreography and play Dance Activity of the topics covered in
narrative dance work structure. Student will be - Participation in discussion to facilitate
using choreographic provided with a graphic Presentation and understanding.
processes and devices, organizer to facilitate this Discussion
and the dance structures
of improvisation,
process. (5 minutes) Dance Activity: Struggling
observation, abstraction, students will have access to
motif, and Share-Out: Students will the play to review content.
characterization to share and discuss how they
support the relationship filled out their event Presentation and
their movement has with
sequenced graphic organizers. Discussion: Struggling
the storyline they are
developing or reacting to. Students will discuss and students will be offered a
Student will be able to agree upon a class-wide list of responsive statement
explain to peers how the sequence of major narrative formats to consider when
choices they made and choreographic events participating in movement
support the narrative they
based on the whiteboard presentation discussion.
are presenting or reacting
to. context developed by the class
NYS Dance Standards throughout the week. (10
DA:Cr2.1.HSI a. minutes)
Collaborate to design a
dance using Dance Activity: The class
choreographic processes
and devices, and dance will then be divided into small
structures such as groups. Each small group will
improvisation, be assigned a major narrative
observation, abstraction, and choreographic event from
randomization, rondo, the Share-Out to explore
canon, motif, retrograde,
etc., to support an artistic choreographically. Each group
intent. Explain how the will collaboratively create a 1-
choreographic devices, 2-minute dance included at
dance structures, and least 2 choreographic
34
movement choices components inspired from the
clarify, communicate, or play and 1 movement
effect the artistic
highlight from each student’s
Students will be able to previous week dance activity
create responsive creative explorations.
works from narrative
texts. They will be able Presentation and Discussion:
to create dance works
that are responsive to
Small groups will present their
narrative themes that choreographic works in the
demonstrate their sequence agreed upon by the
knowledge of the class. After all groups have
intricacies of each gone, students will be
written narrative work.
Next Gen ELA
prompted to discuss the
Standards 9-10W4: through-lines between groups
Create a poem, story, of their work and where they
play, artwork, or other might think those
response to a text, author, commonalities are derived
theme or personal
from.
experience; demonstrate
knowledge and
understanding of a
variety of techniques and
genres. Explain
divergences from the
original when appropriate
Week 3 Instructional Goals: Sequence of Activities Assessments Ideas for Differentiation

Content and Skills to Support Struggling
Students
Monday Content Knowledge: Do Now/Graphic - Do Now/Graphic Do Now/Graphic Organizer
Students will understand Organizers: Students will Organizers and Graphic Organizer
how to process elements
of narrative writing
decide who their main - Share-Out Reflection: Struggling
including sequencing, character is, ways in which Participation students will be given an
adding details, and they might identify with their - Movement additional worksheet that
formulating perspective. main character and use their Participation in presents contextual
35
own experiences to think Dance Activities information pertaining to
Content Skills: about why this character has a - Turn-and-Talk each section of the graphic
Students will be able certain perspective on life. Participation organizer with narrative
to build structure of Student will write down ideas - Graphic Organizer examples.
narrative through the about what their short story Reflection
addition of detail narrative writing perspective - Journal Narrative Share-Out: Struggling
found within their might be in their graphic Free Write students will be given a list
individual organizers. (5 minutes) discussion prompts to offer
choreographic discussion context and
exploration and then Share-Out: Students will facilitate participation.
translate those details share ideas about their main
into a written character and what Dance Activity 1 & 2:
narrative. Students perspectives, emotions, and Struggling students will be
will be able to thoughts they might have. given access to a list of
expand their Ideas will be written on narrative and movement
movement whiteboard and discussed. (5 exploration development
vocabulary through minutes) prompts.
narratively inspired
movement Dance Activity 1: Students Turn-and-Talk: Turn-and-
explorations and then will break into partnerships of Talk: Struggling students
discuss and translate similar character design. will be offered a list of
newly found Students will explore these discussion prompts and
movement perspectives through sentence starters to consider
vocabulary to an movement improvisation. when participating in
expanded literary Students will observe each partnership discussion.
vocabulary to be other in their movement
utilized in benefit of explorations. (10 minutes) Journal Narrative Free
their narrative Writing: Struggling
writing. Turn-and-Talk 1: Students students will be given
Next Gen ELA will be required to ask one access to a list of sentence
Standards 9- question, give one compliment starters and additional
10W3d: Use precise and offer up one piece of questions to consider in
words and phrases, constructive feedback (in the their free writing.
explicit details, and form of a “in my fantasy, you
sensory language to would change/do/add this”
convey a vivid statement) to their partner
picture of the after viewing their individual
36
experiences, events, exploration. (5 minutes)
setting, and/or
characters. Dance Activity 2: Students
will repeat Dance Activity 1
while considering the
feedback given by their
partner. (10 minutes)
Turn-and-Talk 2: Students
will give feedback again to
their partner and notate what
was different between their
first and second movement
explorations. (5 minutes)
Graphic Organizer
Reflection: Students will fill
in new details gleaned from
their movement exploration
and turn-and-talk discussions.
(5 minutes)
Journal Narrative Free

Writing: Students will begin
writing their initial ideas into
narrative form through a free
writing format paying special
mind to the perspective ideas
gleaned through the
movement activities and turn-
and-talk discussions. (5
minutes)
37
Tuesday Content Knowledge: Do Now/Graphic - Do Now/Graphic Do Now/Graphic Organizer
Students will understand Organizers: Students will jot Organizers and Graphic Organizer
down ideas about who their - Share-Out Reflection: Struggling
including sequencing, supporting short story Participation students will be given an
adding details, and characters might be in their - Movement additional worksheet that
formulating perspective. graphic organizers. Students Participation in presents contextual
will decide who their Dance Activities information pertaining to
Content Skills:
supporting characters are, how - Turn-and-Talk each section of the graphic
Students will be able
they identify, and what Participation organizer with narrative
to build structure of
relationship they have to their - Graphic Organizer examples.
narrative through the
main character. (5 minutes) Reflection
addition of detail
- Journal Narrative Share-Out: Struggling
found within their
Share-Out: Students will Free Write students will be given a list
individual
share ideas about these discussion prompts to offer
choreographic
characters. Ideas will be discussion context and
exploration and then
written on whiteboard and facilitate participation.
translate those details
discussed. (5 minutes)
into a written
Dance Activity: Struggling
narrative. Students
Dance Activity 1: Students students will be given
will be able to
will break into small groups access to a list of narrative
expand their
and each student will take a and movement exploration
movement
turn giving group members development prompts.
vocabulary through
characters from their
narrative. Each student will Turn-and-Talk: Struggling
movement
provide their group members students will be offered a
explorations and then
with identifying qualities and list of discussion prompts
discuss and translate
descriptions. Students will and sentence starters to
newly found
then interact in a movement consider when participating
movement
exploration taking on the in partnership discussion.
vocabulary to an
characters that they were
expanded literary
given. (25 minutes) Journal Narrative Free
vocabulary to be
Writing: Struggling
utilized in benefit of
Small Group Turn-and- students will be given
their narrative
Talk: Students then discuss access to a list of sentence
writing.
their experience embodying starters and additional
Next Gen ELA
the characters and share with questions to consider in
Standards 9-
each other what was gleaned their free writing.
38
10W3d: Use precise while moving as this
words and phrases, character. (5 minutes)
explicit details, and
sensory language to Graphic Organizer
convey a vivid Reflection: Students will fill
picture of the in details gleaned from their
experiences, events, movement exploration and
setting, and/or turn-and-talk discussions. (5
characters. minutes)

Writing: Students will begin
writing their initial ideas into
narrative form through a free
mind to the perspective ideas
gleaned through the
movement activity and turn-
and-talk discussions. (10
minutes)
Wednesday Content Knowledge: Do Now/Graphic Organizer: - Do Now/Graphic Do Now/Graphic Organizer

Students will understand Students will be prompted to Organizers and Graphic Organizer
jot down ideas about what the - Share-Out Reflection: Struggling
including sequencing, short story narrative writing Participation students will be given an
adding details, and themes and motifs might be in - Movement additional worksheet that
formulating perspective. their graphic organizer. (5 Participation in presents contextual
minutes) Dance Activities information pertaining to
Content Skills:
- Graphic Organizer each section of the graphic
Share Out – Students will Reflection organizer with narrative
share ideas about what themes - Journal Narrative examples.
and motifs they might want to Free Write
addition of detail
include in their short story Share-Out: Struggling
found within their
narrative works. (5 minutes) students will be given a list
individual
discussion prompts to offer
choreographic
Dance Activity 1: Students discussion context and
will be led in an independent facilitate participation.
39
translate those details movement improvisation and
into a written prompted to explore Dance Activity 1 & 2:
narrative. Students movement that is Struggling students will be
will be able to “quintessentially you”. given access to a list of
expand their Students will be asked to narrative and movement
movement consider their movement exploration development
vocabulary through tendencies and their prompts.
narratively inspired movement tendencies in
movement relation to the culture of the Journal Narrative Free
explorations and then classroom. (10 minutes) Writing: Struggling
discuss and translate students will be given
newly found Graphic Organizer access to a list of sentence
movement Reflection: Students will be starters and additional
vocabulary to an asked to now consider their questions to consider in
expanded literary main character, their main their free writing.
vocabulary to be character’s perspective and
utilized in benefit of how their main character
their narrative interacts with others and the
writing. world around them. Students
Next Gen ELA will be directed to notate their
Standards 9- initial informal observations
10W3d: Use precise in their graphic organizers. (5
words and phrases, minutes)
explicit details, and
sensory language to Dance Activity 2: In
convey a vivid partnerships, students will be
picture of the asked to repeat the previous
experiences, events, dance activity for their
setting, and/or partners but now do so while
characters. embodying their main
character. Students will watch
one another and describe what
kind of character they
imagined through their
partners movement in as much
detail as possible. (20
minutes)
40
Writing: Students add to their
narrative through a free
mind to the ideas gleaned
through the movement
activities. (10 minutes)
Thursday Content Knowledge: Do Now/Graphic Organizer: - Do Now/Graphic Do Now/Graphic Organizer

jot down ideas about setting - Share-Out Reflection: Struggling
including sequencing, the scene and begin to develop Participation students will be given an
adding details, and which the plot events might be - Movement additional worksheet that
formulating perspective. in their graphic organizer. Participation in presents contextual
They will consider what the Dance Activity information pertaining to
Content Skills:
problem or main event is and - Presentation and each section of the graphic
what events lead up to that Discussion organizer with narrative
climactic moment. (5 minutes) Participation examples.
- Graphic Organizer
addition of detail
Share Out: Students will Reflection Share-Out: Struggling
found within their
share ideas about what how students will be given a list
individual
they might want to organize discussion prompts to offer
choreographic
these plot events to create discussion context and
their short story narrative facilitate participation.
works from. Students will
into a written
consider these questions – Dance Activity: Struggling
narrative. Students
Does a plot have to be linear students will be given
will be able to
in sequence? How is a access to a list of narrative
expand their
narrative constructed in dance and movement exploration
movement
choreography? How do we development prompts.
vocabulary through
convey a plot sequence
through choreography? (5 Presentation and
movement
minutes) Discussion: Struggling
students will be offered a
Dance Activity: In small list of responsive statement
newly found
groups, students will be asked formats to consider when
41
movement to develop three short participating in movement
vocabulary to an movement phrases each with a presentation discussion.
expanded literary defined movement that
vocabulary to be denotes a beginning, middle
utilized in benefit of and end points to each phrase.
their narrative Each phrase will represent one
writing. event. They will name these
Next Gen ELA phrases A, B and C. Each
Standards 9- group will thoroughly
10W3d: Use precise rehearse these phrases so that
words and phrases, they can be performed in any
explicit details, and order without prior knowledge
sensory language to to that order. (20 minutes)
convey a vivid
picture of the Presentation and Discussion:
experiences, events, Each small group will then
setting, and/or perform their movement
characters. sequences in order. The class
will then discuss the story that
they saw through these
movement phrases. Then, the
teacher will give them a new
sequence of events (ABBCA,
CBA, AACB, etc.) and they
will again perform their
movement phrases in this new
sequencing. The class will
again discuss the story that
was conveyed through this
new sequencing and
contemplate differences and
similarities. This performance
and discussion activity will be
repeated for all groups. (20
minutes)
Journal/Graphic Organizer:
42
Considering the dance activity
from this lesson, students will
write down how they might
like to sequence their plot
events and provide any
rationale to their decisions. (5
minutes)
43
Friday Content Knowledge: Do Now/Graphic Organizer: - Do Now/Graphic Do Now/Graphic Organizer
jot down ideas about what the - Share-Out Reflection: Struggling
including sequencing, resolution of their short story Participation students will be given an
adding details, and narrative might be in their - Movement additional worksheet that
formulating perspective. graphic organizer. (5 minutes) Participation in presents contextual
Dance Activity information pertaining to
Content Skills:
Share-Out: Students will - Presentation and each section of the graphic
share ideas about what Discussion organizer with narrative
resolution they might want to Participation examples.
give to their short story - Graphic Organizer
addition of detail
narrative works. Student will Reflection Share-Out: Struggling
found within their
consider these question – students will be given a list
individual
What feeling does the discussion prompts to offer
choreographic
resolution of a narrative give discussion context and
the viewer or reader? Should a facilitate participation.
resolution always satisfy the
into a written
reader or viewer? Does the Dance Activity: Struggling
narrative. Students
writer or choreographer have a students will be given
will be able to
responsibility to answer all of access to a list of narrative
expand their
the question of the viewer or and movement exploration
movement
reader? Is there benefit to development prompts.
vocabulary through
leaving the reader or viewer
with questions to consider? If Presentation and
movement
so, should the choreographer Discussion: Struggling
or writer be intentional with students will be offered a
which questions they leave list of responsive statement
newly found
unanswered? formats to consider when
movement
participating in movement
vocabulary to an
Dance Activity: The small presentation discussion.
expanded literary
groups for the previous lesson
vocabulary to be
will regroup and decide which
utilized in benefit of
version (their original order or
their narrative
the order given by the teacher)
writing.
that they would like to
Next Gen ELA
explore, based on the story
Standards 9-
that was conveyed through
44
10W3d: Use precise their phrase sequences. Each
words and phrases, group will decide on the
explicit details, and events of this story and 2
sensory language to potential resolutions. They
convey a vivid will take at least one
picture of the movement from phrase A, B
experiences, events, and C to create both of these
setting, and/or phrases from in addition to
characters. any other movement that
would allow them to illustrate
their resolution best. They will
name each of these resolution
phrases either D or E. Each
group will rehearse these
phrase sequences thoroughly
so that they are able to present
them with clarity for the class.
(25 minutes)
Presentation and Discussion:

Each group will perform both
versions of their dance phrase
sequence, concluding each
phrase sequence with either
resolution D or E. The class
will discuss each group’s
work and consider what
feeling they were left with
from each version, if they had
different feelings, why and if
they were left feeling
unsatisfied in any way. (20
minutes)
Journal/Graphic Organizer:
Considering the dance activity
from this lesson, students will
45
write down how they might
like to resolve their narrative
short story and provide any
rationale to their decisions. (5
minutes)
Week 4 Instructional Sequence of Activities Assessments Ideas for Differentiation

Goals: Content to Support Struggling
and Skills Students
46
Monday Content Knowledge: Do Now: Students will be - Do Now Do Now: struggling
Students will asked to write in their journals - Turn-and-Talk students will be given a
understand how to use
dance and movement
a summary of their main Participation teacher created Do Now
to both process and events in sequence. (5 - Writing/Choreography model to reference.
ultimately create minutes) Workshop
narrative. Participation Turn-and-Talk: struggling
Turn-and-Talk: In - Partner Showcase students will be given
Content Skills:
partnerships, students will Participation discussion points to
Students will be
read out their summary facilitate understanding and
able to utilize
journal writing to their discussion with partner.
movement
partners. Each partner will ask
exploration to craft
at least 2 questions about their Writing/Choreography
and develop
partners short story summary. Workshop: Struggling
narrative
(5 minutes) students will be able to
composition.
access teacher for guidance
Students will be
Writing/Choreography during this workshop.
able to recognize
Workshop: Students will be
writing as a tool for
given time to work on either Partner Showcase:
creative expression
their short story narrative or Struggling students will be
and vise versa.
solo choreography. (35 offered a list of discussion
Next Gen ELA
minutes) prompts and sentence
Standards 9-
starters to consider when
10W3: Write
Partner Showcase: In participating in partnership
narratives to
partnerships, students will discussion and providing
develop real or
share their work from the beneficial feedback to
imagined
workshop with one another. partner.
experiences or
Student will provide each
events using
other feedback in question
effective technique,
form. (10 minutes)
well-chosen
details, and well-
structured event
sequences.
Tuesday Content Knowledge: Do Now: Students will be - Do Now Do Now: struggling
dance and movement
about a part of their short Participation teacher created Do Now
to both process and story that they are excited - Writing/Choreography model to reference.
47
ultimately create about in as much detail as Workshop
narrative. possible. (5 minutes) Participation Turn-and-Talk: struggling
Content Skills:
- Partner Showcase students will be given
Students will be Turn-and-Talk: In Participation discussion points to
able to utilize partnerships, students will facilitate understanding and
movement read out their detailed journal discussion with partner.
exploration to craft writing to their partners. Each
and develop partner will ask at least 2 Writing/Choreography
narrative questions about their partners Workshop: Struggling
composition. detailed story segment. (5 students will be able to
Students will be minutes) access teacher for guidance
able to recognize during this workshop.
writing as a tool for Writing/Choreography
creative expression Workshop: Students will be Partner Showcase:
and vise versa. given time to work on either Struggling students will be
Next Gen ELA their short story narrative or offered a list of discussion
Standards 9- solo choreography. (35 prompts and sentence
10W3: Write minutes) starters to consider when
narratives to participating in partnership
develop real or Partner Showcase: In discussion and providing
imagined partnerships, students will beneficial feedback to
experiences or share their work from the partner
events using workshop with one another.
effective technique, Student will provide each
well-chosen other feedback in question
details, and well- form. (10 minutes)
structured event
sequences.
48
Wednesday Content Knowledge: Do Now: Students will be - Do Now Do Now: struggling
dance and movement
about a part of their short Participation teacher created Do Now
to both process and story that they are struggling - Writing/Choreography model to reference.
ultimately create with in as much detail as Workshop
narrative. possible. (5 minutes) Participation Turn-and-Talk: struggling
- Partner Showcase students will be given
Content Skills:
Turn-and-Talk: In Participation discussion points to
Students will be
partnerships, students will facilitate understanding and
able to utilize
read out their detailed journal discussion with partner.
movement
writing to their partners. Each
partner will ask at least 2 Writing/Choreography
and develop
questions about their partners Workshop: Struggling
narrative
detailed story segment and students will be able to
composition.
offer potential solutions or access teacher for guidance
Students will be
ideas to help their partner during this workshop.
able to recognize
work through their struggle. (5
minutes) Partner Showcase:
creative expression
Struggling students will be
and vise versa.
Writing/Choreography offered a list of discussion
Next Gen ELA
Workshop: Students will be prompts and sentence
Standards 9-
given time to work on either starters to consider when
10W3: Write
their short story narrative or participating in partnership
narratives to
solo choreography. Students discussion and providing
develop real or
will focus final fine tuning of beneficial feedback to
imagined
details and story sequence to partner
experiences or
be ready for presentation the
events using
following day. (35 minutes)
well-chosen
Partner Showcase: In
details, and well-
partnerships, students will
structured event
share their work from the
sequences.
workshop with one another.
Student will provide each
other feedback in question
form. (10 minutes)
Thursday Content Knowledge: Do Now: Students will be - Do Now Do Now: struggling
49
Students will asked to reflect upon their - Presentation of Solo students will be given a
understand how to use narrative construction process Choreography: teacher created Do Now
dance and movement
to both process and
and final creation. They will Summative model to reference.
ultimately create be asked to consider the Assessment
narrative. questions – Would you have - Presentation Presentation and
done anything different? What Discussion Discussion: Struggling
Content Skills: parts of your final written Participation students will be offered a
Students will be works do you think really list of responsive statement
able to utilize work? What parts of your formats to consider when
movement final choreographic work do participating in movement
exploration to craft you think really work? What, presentation discussion.
and develop if anything, do you think still
narrative needs time to develop? (5
composition. minutes)
Students will be
able to recognize Presentation and
writing as a tool for Discussion: Students will
creative expression present and discuss each solo
and vise-versa. work thoroughly. Students
Next Gen ELA will have the choice to either
Standards 9- just present their solo
10W3: Write choreography or additionally
narratives to read their short story narrative
develop real or for the class. Each work will
imagined be given ample time for
experiences or classroom discussion. Focus
events using of discussion will be upon
effective technique, observations and
well-chosen accomplishment. (50 minutes)
details, and well-
structured event
sequences.
50
Friday Content Knowledge: Do Now: Students will be - Do Now Do Now: struggling
Students will asked to reflect upon their - Presentation of Solo students will be given a
dance and movement
narrative construction process Choreography: teacher created Do Now
to both process and and final creation. They will Summative model to reference.
ultimately create be asked to consider the Assessment
narrative. questions – Would you have - Presentation Presentation and
done anything different? What Discussion Discussion: Struggling
Content Skills:
parts of your final written Participation students will be offered a
Students will be
works do you think really - Final Closure list of responsive statement
able to utilize
work? What parts of your Reflective Discussion formats to consider when
movement
final choreographic work do Participation participating in movement
you think really work? What, presentation discussion.
and develop
if anything, do you think still
narrative
needs time to develop? (5 Final Closure Reflective
composition.
minutes) Discussion: Struggling
Students will be
students will be given list of
able to recognize
Presentation and discussion points to
Discussion: Students will facilitate active
creative expression
present and discuss each solo participation.
and vise versa.
work thoroughly. Students
Next Gen ELA
will have the choice to either
Standards 9-
just present their solo
10W3: Write
choreography or additionally
narratives to
read their short story narrative
develop real or
for the class. Each work will
imagined
be given ample time for
experiences or
classroom discussion. Focus
events using
of discussion will be upon
observations and
well-chosen
accomplishment. (40 minutes)
details, and well-
structured event
Final Closure Reflective
sequences.
Discussion: Students will be
asked to define their big “take
away” understandings from
the unit and discuss the
highlights they experienced
51
throughout. (10 minutes)
Rationale for Differentiated and Culturally Responsive Instruction:
This unit plan’s objective is to teach concepts of narrative writing and reading through the use of narrative-based, dance movement
construction and thematic exploration. Utilizing movement exploration and choreographic construction to develop literary understanding and
abilities should be an integral tool in common teaching practices. Francine Morine states that “more and more educators are coming to
appreciate the extent to which dance movement can lend insight, power, and perspective to learning. Interdisciplinary inquiry is an
instructional paradigm that acknowledges the idea that learners of all ages employ an amalgam of communicative forms in their academic
endeavors (Morin).” It is from this shared belief that this unit plan was constructed. When students are able to embody their curriculum, they
are much more likely to become invested in, and therefore authentic in, the learning experience. When students take on the elements of
narrative writing and reading comprehension from within the context of their own body’s movement, the students are able to relate the
concepts to their lived body experience which undoubtable facilitates deep understanding.
Dance is a valuable way for students to process and understand the complex concepts often presented through narrative texts in a
different and meaningful way. It allows students to not only read and comprehend these texts, but then go on to create something that explores
their own personal lived experiences, sense of identity, and self-awareness. Through movement, a student must embody the perspectives and
themes of a text in order to be successful in their creation. Furthermore, doing this movement-based work in a collaborative environment
gives students the opportunity to learn from one another. A powerful result of this project is also for students to learn from one another and to
create works inspired by a shared appreciation of the diversity in our classroom community, as seen through the multiple perspectives and
52
emotions of their individual characters. Ellen McIntyre describes this type of community as such, “Classroom literacy communities provide
the ideal social contexts for developing students’ academic, social, and cross-cultural skills because they create openings for students to take
intellectual risks, talk about their learning, and “take up” new literacy skills and strategies (McIntyre & Turner 149).” The varying large-
group, small-group, and partnership movement-based activities allow students to have a safe environment in which to process the text and
foster narrative understanding. Students can achieve this through exploring their own body in creative interaction with others.
Metlzer and Hamann describe, in reference to ELL teaching instruction, that “another common theme that underlies these promising
practices is the importance of interacting with and actively processing text in order to improve reading comprehension and learning. That is,
students are required to do something with the text, not just pass their eyes over the words, unsure of where to focus.” Additionally they state
that “studies indicate that students using these strategies learn more from the text, retain more of the information for a longer time, and
improve their strategic reading skills There is some evidence that this is also the case for reading disabled or delayed adolescents (19).” In
consideration of students with learning disabilities, Connor, Bickens and Bittman conclude that “when reading any literature students must be
required to hold their ideas accountable to the specific text; in other words, they must prove their claims through textual support. Moreover,
students are encouraged to closely read key sections of the text and consider the alternative or deeper interpretations that can come with
careful literary analysis of symbols, metaphors, characterization, and imagery (PAGE #).” In this model, dance serves as a vehicle for
students to consider these “alternative or deeper interpretations” through their movement exploration of metaphor, symbols, characterization,
and imagery of a given narrative text. It is also an active way for student to physically and creatively engage in “do[ing] something with the
text.”
53
Korina Jocson states that “for teachers and other literacy educators, a culturally responsive pedagogy at the very least means
expanding definitions of reading and writing to account for multiple differences situated in particular sociocultural contexts.” Utilizing dance
in literary education is by definition an expansion of our societal understanding of reading and writing practices in education. However, we
can easily conceive that movement is a language. The idea of dance as a form of language is in fact the main encompassing idea that this unit
plan is based upon. Dance has the power to transcend both verbal language and cultural barriers.
When considering the cultural barriers of educational practices, dance histories, technical training and idiom structures are exclusively
based off or derived from cultural dance forms. It is therefore easy to see how dance could not be inclusive of multiple cultural expressions.
However, when a lesson gives students agency through the cultivation of original choreography and movement exploration that are not based
in codified dance technique, these cultural barriers often dissipate. Francine Morine argues that, “dance is a unique form of communicating
non-verbally. It is the kinesthetic medium through which people in all times and cultures have conveyed their beliefs, values, and artistic
visions. Like other forms of literacy, sharing meaning through symbols is a central element of dance (Morine).” It is through this
understanding that dance and literacy are parallel forms of communication that we can conceive teaching narrative writing and reading
comprehension through narrative dance as a beneficial learning tool that should be utilized in literacy lessons.
54
Bibliography
Bakken, Jeffery. “Improving Comprehension.” Culturally Responsive Literacy Instruction, pp. 118–139.
Childre, Amy, et al. “Backward Design.” TEACHING Exceptional Children, vol. 41, no. 5, May 2009, pp. 6–14, 10.1177/004005990904100501.
Accessed 3 Nov. 2019.
Connors, David J., et al. “Combining Classic Literature with Creative Teaching for Essay Building in an Inclusive Urban High School
Classroom.” TEACHING Exceptional Children Plus, vol. 5, 2009.
Haddon, Mark. The Curious Incident of the Dog in the Nighttime. Brantford, Ont., W. Ross Macdonald School Resource Services Library, 2012.
Jocson, Korina. “Writing as a Site of Struggle.” Urban Literacies, Columbia University, 2011, pp. 145–159.
Jocson, Korina M. “Steering Legacies: Pedagogy, Literacy, and Social Justice in Schools.” The Urban Review, vol. 41, no. 3, 23 Sept. 2008, pp. 269–
285, 10.1007/s11256-008-0103-0. Accessed 15 Oct. 2019.
McIntyre, Ellen, and Jennifer Turner. “Meeting the Literacy Development Needs of Adolescent English Language Learners Through Content-Area
Learning.” Components of Literacy Lessons, pp. 137–161.
Meltzer, Julie, et al. Meeting the Literacy Development Needs of Adolescent English Language Learners through Content Area Learning.
Providence, Ri, Brown University, 2004.
Morine, Francine. “The Role of Dance in Literacy and Learning.” Physical & Health Education Journal, vol. 67, no. 2, 2001, p. 4.
Shanahan, Timothy. “Connecting Reading and Writing Instruction for Struggling Learners.” Challenges in Language and Literacy. Instruction and
Assessment for Struggling Writers: Evidence-Based Practices, by G.A. Troia, Guilford Press, 2009, pp. 113–131.
55

Dance and Literature Unit Plan

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Dance and Literature Unit Plan

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Laura Natario

Essential Questions: Enduring Understandings:

Students will be able to facilitate natural sequencing within plot development

Students will be able to understand vocabulary specific to fiction narrative text.

Formative: Graphic Organizer

works to the class for discussion and class wide analysis.

community, instilling a shared sense of classroom identity.

Week 2 Instructional Goals: Sequence of Activities Assessments Ideas for Differentiation

Graphic Organizer: Student

Turn-and-Talk: Students will

Turn-and-Talk: Students will

Dance Activity: Students will

Share-Out: Students will be

Week 3 Instructional Goals: Sequence of Activities Assessments Ideas for Differentiation

Journal Narrative Free

Journal Narrative Free

Wednesday Content Knowledge: Do Now/Graphic Organizer: - Do Now/Graphic Do Now/Graphic Organizer

Thursday Content Knowledge: Do Now/Graphic Organizer: - Do Now/Graphic Do Now/Graphic Organizer

Presentation and Discussion:

Week 4 Instructional Sequence of Activities Assessments Ideas for Differentiation

Rationale for Differentiated and Culturally Responsive Instruction:

Bakken, Jeffery. “Improving Comprehension.” Culturally Responsive Literacy Instruction, pp. 118–139.

Accessed 3 Nov. 2019.

Classroom.” TEACHING Exceptional Children Plus, vol. 5, 2009.

285, 10.1007/s11256-008-0103-0. Accessed 15 Oct. 2019.

Learning.” Components of Literacy Lessons, pp. 137–161.

Providence, Ri, Brown University, 2004.

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