Overview of Lesson One: Rebellion during the time of the Church and the French Monarchy

- Technique Focus: Iconography & Narrative

- Key Artists/Artwork
- Michelangelo di Lodovico Buonarroti Simon, Sistine Chapel: The Last Judgement
- Eugene Delacroix, Liberty Leading the People
- Jacques Louis David, Oath of the Horatii

Lesson & Guiding Questions & Activities Formative Assessment

POS connections: Technique Focus:

Lesson 1.1: 1. What technique Hook Class Brainstorm:

Rebellion during the did the artists use Class Brainstorm: What does it mean to Rebel? - Observing student
time of the Catholic to rebel against Purpose: Hook students, assess prior knowledge, and explore the meaning of answers to gain
Church the control of the rebellion before introducing the inquiry topic. insight into prior
GLE: catholic church? 1. Conduct a class brainstorm surrounding the question “What does it knowledge. Ex:
Encounter 2. How can the mean to rebel?”. How many
SLE’s: inclusion of 2. As a class, and using ideas brought up in the brainstorm, develop an students can
Transformations iconography be answer. answer the
Through Time used to 3. Add the question and answer to the Word Wall. question? How in-
- Students will communicate Introduction: Inquiry Question depth do they go?
identify thematic meaning? - Introduce the IQ: What techniques have artists used in their to rebel Think-Pair-Share:
and stylistic against repressive regimes throughout time? Why might it be valuable, - Observing student
variations of works Technique Focus: as an artist, to learn how they did so? participation by
as characteristics Iconography - Specify that they aren’t expected to know the answer to this question circulating
of certain artistic right now. But in the upcoming weeks we will be exploring content - Examining
periods surrounding this line of inquiry. students’ written
Impact of Images Activity One points on the
- Students will Art History: The Catholic Church & Iconography worksheet. Doing
become aware of [Direct Instruction: Teacher Led Presentation] so, may provide
the importance Purpose: Give students background knowledge on iconography, and how it understanding of
society places was used. Doing so allows for a greater understanding of how iconography student thinking,
upon various works can be used to communicate meaning. and whether they
of art - Explain how in European history, the Catholic church had a lot of social are reflecting on
DBAE: control, and that the church used art as a means to spread church rebellion as a
Art history ideals/beliefs. concept. Which will
Appreciation - Discuss how one method for artists, commissioned by the church to do help determine
Aesthetics so, was employment of iconography. Remind students of the whether the goal of
definition of iconography, making sure to direct attention to where it the activity was
stands on the Word Wall. Provide some examples of common met, and/or if the
Iconography to the class. Ex: The Coronation of the Virgin by Velazquez. activity was
Without introducing the name, point out the common symbols found effective.
in the work. The dove is meant to symbolise the Holy Spirit. Viewers Studio Production &
can tell that the woman in this work is Mary, because she is wearing Debrief Game:
blue, explaining the colour association. Ask students if they think they - While students are
see any other symbols, before giving a few more examples. Bring up working, circulate
the book cover for Stephanie Meyer’s Twilight. Iconography: Red apple to provide in the
symbolises ‘forbidden’ . moment feedback
- The Catholic church commissioned many artworks from artists to regarding their
spread propaganda, but we are going to be focusing on one in technical skills
particular. The Sistine Chapel: The Last Judgement by Michelangelo. - The debrief will
The work was commissioned with the intent that it would affirm the allow me further
Catholic Church’s legitimacy. insight into
- Discuss how Michangelo “grew to detest the opulence and corruption students’ decisions,
of the Church”. Even though the church was a huge patron for him, and their
and commissioned this artwork. A new study suggests that reasonings.
Michelangelo left hidden messages/figures in his artworks. If this was
intentional, what might it mean? Examine how the use of hidden,
subvert illustrations could have expressed a hidden ‘rebellious’
message.
Activity Two
Think-Pair-Share: Hidden Messages in The Last Judgement
[Interactive Instruction: student-peer discussion]
Purpose: For students to speculate on the effectiveness of Michelangelo’s
‘message’. As well as to consider the ‘point’ of rebellion.
- In pairs, students will answer discussion questions, writing their
answers on a worksheet (can be in point form). Once done, students
 will hand in the sheet.
- Discussion questions:
1. Do you think the ‘hidden symbols’ in The Last Judgement were
purposeful? Or just a coincidence? Why or why not?
2. If the viewer can’t easily ‘see’ a hidden message, is there a point
in having one? Why or why not?
3. If Michelangelo really was trying to rebel against the church by
including hidden symbols, do you think there is a different way
he could have made his message more clear? Even while still
escaping backlash from the church?
Activity Three
Studio Production: Hidden Messages
[Independent student work]
Purpose: Two purposes of this activity. The first is to engage students with
the previous content of this lesson. The second is to scaffold for the final
studio activity by giving the students the chance to practise technical skills
and engage in problem-solving.
- In their sketchbooks, students will use red markers to draw a simple
image of their choice.
- Using tracing paper taped to the top of the same sketchbook page,
they will draw over top of the original image in black marker. Doing
so with the intent to hide the first image.
Activity Four
Guessing Game: Hidden Messages Debrief
[Interactive Instruction Activity]
Purpose: Allows students to show their work, share their methods and
reasonings behind decisions.
- Introduce activity as a guessing game
- Random call on one student at a time, having them display the
Hidden Message work they created (with the tracing paper over top).
- Then randomly call on other students, asking them to guess what
they think the hidden original image is.
- Afterwards, the student who created the work will share what the
 original image was, and briefly explain their process.

Lesson 1.2: 1. What technique(s) Class Brainstorm:

Rebellion during the did the artists use Activity One - Observing student
French Monarchy to rebel against Art History: The Monarchy & Iconography answers to gain
GLE: the control of the [Direct Instruction: Teacher Led Presentation] insight into prior
Encounter monarchy? Purpose: Give students background knowledge on the French Monarchy, as knowledge. Ex:
SLE’s: 2. How can using a well as further information on iconography, and how it was used. Doing so How many
Transformations narrative in an allows for a greater understanding of how iconography can be used to students can
Through Time artwork change its communicate meaning, in different contexts. answer the
- Students will meaning? - Similar to the church, the monarchy also used art as propaganda in question? How in-
identify thematic Technique Focus: order to reaffirm/validate their control. depth do they go?
and stylistic Narrative - Show some examples: Portrait of Louis XIV by Hyacinthe Rigaud, which Think-Pair-Share:
variations of works was meant to convey the absolute power, vitality and wealth of the - Observing student
as characteristics king participation by
of certain artistic - Provide a brief explanation of the core components of Romanticism. Ex: circulating. Allows
periods placing emphasis on emotion and expression. The rejection of order, for conversation
Impact of Images calm and balance. guidance,
- Students will - Brief historical overview of the first French revolution: the french prompting or
become aware of revolution was a time of great tensions and upheaval, disdain for the feedback, when
the importance french monarchy grew and eventually they were overthrown. needed.
society places - Use Liberty Leading the People by the French painter Eugène Delacroix Exit Slip:
upon various works to transition from iconography to narrative. Specifically, start by - Enables insight into
of art discussing how Eugène Delacroix uses less covert iconography to student
DBAE: further illustrate the united working class fighting for freedom. Ex: Lady comprehension of
Art history Liberty herself is not depicted in an idealised form, she is barefoot, dirty the content.
Appreciation and her clothing is torn. She is meant to look like a woman from the
Aesthetics lower working class.
Activity Two
Class Brainstorm: Censorship and Rebellion
[Interactive Instruction: Group discussion]
Purpose: Because this is in a school setting with grade 9 students, I made the
decision to censor the nudity found in Liberty Leading the People. As such,
the purpose of this activity is to use the censorship as a learning opportunity
and explore whether, and to what extent, censorship can impact the
meaning of a work.
- Bring up the fact that I have censored the image, while providing a
reasoning for doing so. (Do not share uncensored version!)
- Prompt class discussion by asking students
1. Does the fact that I censored, Liberty Leading the People,
change its meaning in any way? (alternative guiding question:
does it change the way you, the viewer, see it?)
2. Can we still interpret the meaning of the work? How?
- Guide and/or end the discussion by addressing how the historical
context of the work, along with still the visible iconography, helps to
maintain the meaning.
Activity Three
Art History: The Monarchy & Narrative
[Direct Instruction: Teacher Led Presentation]
Purpose: Give students background knowledge on the French Revolution,
and introduce the concept of rebelling through narrative. Doing so allows for
a greater understanding of how narrative can be used to communicate
meaning.
- Introduce Jacques-Louis David and the Oath of The Horatii. David was
commissioned by King Louis XIV’s assistant who wanted a painting that
depicted loyalty to the royals. However, David used the narrative of a
Roman myth to convey a double message. To the working class, he
intended for it to act as a call to revolution. While, from the viewpoint
of the royalty, it appeared to depict requested theme of loyalty to the
monarch.
Activity Four
Think-Pair-Share: Double Meaning in David’s Oath of The Horatii
[Interactive Instruction: student-peer discussion]
Purpose: For students to speculate on the effectiveness of Jacques-Louis
David’s message. Additionally, this activity is meant to prompt students to
critically think about how David was able to communicate a double meaning
(hint: Narrative), and contemplate the value of learning about how he did so.
 - In pairs, students will deliberate on the answers to the discussion
questions.
- Discussion questions:
- How was David able to convey a ‘call to revolutionary action’
without the royal family noticing?
- As an artist, why might it be useful to know how David was able to
communicate a hidden message?
Activity Five
Exit Slip: Double Meaning in David’s Oath of The Horatii
[Independent Instruction: student work]
Purpose: Providing the chance for students to reflect on the discussion
questions, individually, by having them write down their answers. Doing so,
also provides the chance to gain insight into student comprehension of the
content.
- After conducting the think-pair-share, hand out exit slips to the
students. The slips will have the same discussion questions, from the
previous activity, written on them.
- Students will write down their answers to the questions, and then hand
them in to the teacher.

Lesson 1.3: 1. Does including a Activity One Studio Production:

Studio Production narrative in an Studio Production: Narrative - Meeting with
GLE: artwork impact [Independent Instruction: student work] the students
Encounter our artmaking Purpose: Two purposes of this activity. The first is to engage students with individually,
SLE’s: process? the content from lesson 1.2. The second is to scaffold for the final studio before they
Transformations activity; as the students will practise using narrative as a technique, and use hand in their
Through Time problem-solving to effectively convey a double meaning. works, will allow
- Students will - Students will choose a narrative from a selection provided, which will be a chance for
identify thematic similar to scenarios in the final studio. feedback and
and stylistic - They will then have to create a drawing that depicts at least two insight into their
variations of works messages. thinking.
as characteristics - As they work on their drawings, sit one-on-one with each student.
of certain artistic During which, ask each student to explain their ideas and reasoning.
 periods
Impact of Images
- Students will
become aware of
the importance
society places
upon various works
of art
DBAE:
Creative Production
Aesthetics

Overview of Lesson Two: Rebellion during Repressive Regimes

- Technique Focus: Colour & Composition
- Key Artists/Artwork
- The Third of May 1808 by Francisco Goya
- Guernica by Pablo Picasso
- Weeping Woman by Pablo Picasso

Lesson & Guiding Questions & Activities Formative Assessment

POS connections: Technique Focus:

Lesson 2.1: Rebellion 1. What technique Activity One Word Wall:

during French did the artist(s) use Word Wall: Review of Vocabulary - Opportunity to
Occupation to rebel against [Interactive Instruction: class discussion] assess students’
GLE: oppressive Purpose: Prime students for the upcoming content, while confirming they understanding of
Encounter regimes? either have an understanding of key vocabulary and/or know where to find key vocabulary
Composition 2. How can the the definitions. Graffiti Poster:
SLE’s: colours used in a - Direct student attention to the word wall, posted on the classroom wall - Provides insight
Transformations work impact its - As a class, review the words: Mood, Space, Evoke, Monochromatic, into student ability
Through Time mood? Grayscale, Line, Convergence. Ask for examples and/or more in-depth to critique artwork
- Students will 3. How does the explanations from students to assess understanding. regarding a specific
identify thematic mood of a work topic. After which, I
and stylistic impact its Activity Two am able to adapt
variations of meaning? Art History: French Occupation of Spain my lesson to more
works as [Direct Instruction: Teacher Led Presentation] explicitly outline
characteristics of Technique Focus: Purpose: Inform students of the French occupation of Spain before certain
certain artistic Composition introducing Francisco Goya’s work The Third of May 1808. In doing so, connections, if
periods students will later be able to analyse The Third of May 1808 while taking into needed
Organisations: consideration the historical context surrounding the work.
- Students will - Review core components of Romanticism. Ex: placing emphasis on
investigate the emotion and expression. The rejection of order, calm and balance.
effects of - Briefly discuss the invasion of Spain by Napoleon, which led to French
modifying colour, occupation of Spain. As well as the subsequent War of Independence, in
space and form to which the Spanish resistance fought to regain freedom from the French,
change pictorial with the help from Britain.
style Activity Three
DBAE: Graffiti Poster: Analysing Colour, Composition and Mood in The Third of
Appreciation May 1808
Art History Purpose: Development of students’ critique skills. While further allowing me
Art Critique to gauge whether students are making connections, and how, between
Art Production historical events and art works created in the same time period without the
connections being explicitly outlined.
- Bring up the slide showcasing The Third of May 1808 by Francisco Goya.
But do not provide any information on the artwork.
- Instead, allow students 1-2 minutes to individually, and inwardly,
examine The Third of May 1808.
- Place students in small groups of 3-4.
- Each group will be given a lined poster paper and assigned a topic word,
which will be either: Colour, Composition or Mood
- In their groups, students will analyse The Third of May 1808 in relation
to their assigned topic word. Potential prompt questions for each topic
word will be placed on the board.
- The groups will be asked to write down, on the poster, point form
 versions of the connections they come up with.
- Each group will be asked to present their findings. After which, the
posters will be hung up on the white board.
Activity Four
Art History: Francisco Goya and Rebellion
[Direct Instruction: Teacher Led Presentation]
Purpose: Introducing colour and composition as techniques that can be used
by artists (such as Goya) to convey meaning in their artworks.
- Redirect student attention from the graffiti posters to the slide
showcasing The Third of May 1808 by Francisco Goya.
- Initially, connect to previous content by explicitly pointing out the
few instances wherein Goya employs iconography and narrative. Ex:
The pose of the central figure in the work is associated with the
crucifixion of Jesus Christ
- However, shift focus to Goya’s use of colour, and composition.
Outlining how those techniques allowed Goya to further emphasise
the artwork’s intended anti-war meaning.
- While doing so, directly connect students’ points to the in-depth
teacher explanation.

Lesson 2.2: Exploring 1. How can we apply Activity One Studio Production Part
the Impact of Colour compositional Art History: Review of Francisco Goya and Rebellion A & B:
& Composition elements to [Direct Instruction: Teacher Led Presentation] - By examining the
GLE: develop a focal Purpose: To prime students for activities taking place further on in the lesson thumbnails created,
Encounter point? by reviewing connected content. I can assess student
Composition 2. Does the - Review Goya’s The Third of May 1808, and the main takeaways from ability to apply
SLE’s: introduction of the last lesson: techniques used by Goya, why they were used and techniques
Transformations colour into a work examples. discussed in class.
Through Time impact the Activity Two - By comparing the
- Students will composition? Studio Production: Exploration of Colour and Composition, Part A work produced in
identify thematic Technique Focus: [Independent Instruction: Student work] the activity to
and stylistic Colour & Composition Purpose: Due to the limitations regarding the palette usage, students’ will previous student
variations of have to thoughtfully consider how to use other compositional elements to work, I will be able
 works as develop the focal point of their works. Which is meant to further develop to have a better
characteristics of their understanding of the impact of compositional elements, and further understanding of
certain artistic develop their technical skills. student growth and
periods - Before sending students’ off to do the studio portion of this activity, where additional
Organisations: scaffold using The Third of May 1808 as an example. Concisely, support/feedback
- Students will outline how the compositional components of convergence, may be needed.
investigate the placement, isolation and/or contrast, can be found within The Third Exit Slip:
effects of Of May 1808. - I can use the exit
modifying colour, - Students will use grey coloured pencils to make a thumbnail in their slips to assess
space and form to sketchbook. Time limit of 10-15 minutes. students’ ability to
change pictorial - As the sketch will be done in grey, they will have to rely on reflect, in writing,
style compositional elements to develop the focal point. Ex: convergence, on their artistic
DBAE: placement, isolation and/or by contrasting the subjects process.
Aesthetics - Once the time limit is up, students will quickly share in their table
Appreciation groups before moving on.
Art Production Activity Three
Studio Production: Exploration of Colour and Composition, Part B
[Independent Instruction: Student work]
Purpose: For students’ to think of creative solutions when faced with a
challenge, as well as to showcase the impact that colour can have on a work.
Which, is meant to further their understanding of the ways in which colour
can be used in their artworks as a way to convey meaning.
- Students will then be asked to recreate their works, with a small
twist. Once they recreated their thumbnail (to the best of their
abilities) they will add colour to one object or section found in the
work.
- However: an even bigger twist! The object CANNOT be the previous
focal point developed. Beyond that limitation, students may choose
the colour and the object itself.
- They will have 15 minutes, before being asked to individually
complete the exit slip.
Activity Four
Exit Slip: Studio Reflection
 [Independent Instruction: student work]
Purpose: Providing the chance for students to reflect on their artistic
process.
- Students will be given an exit slip, which will have the following
questions:
1. How did you develop the focal point?
2. Why did you choose that method?
3. How did adding colour impact the focal point?
- Students will write down their answers, in full sentences and then
hand in the exit slips.

Lesson 2.3: Rebellion 1. What technique(s) Activity One

during Dictatorship did Pablo Picasso Art History: Cubism and Pablo Picasso
GLE: use in his artwork [Direct Instruction: Teacher Led Presentation]
Encounter to symbolically Purpose: Provide students with background knowledge needed to
Composition rebel against contemplate Pablo Picasso’s artwork. This activity will also introduce the
SLE’s: Francisco's concept of rebelling through the use of colour and composition. Doing so
Transformations Franco’s allows for a greater understanding of how, in an artwork, colour and
Through Time dictatorship? composition can be used to communicate meaning.
- Students will 2. Will the use of a - Introduce Pablo Picasso as a prominent figure in the Cubist
identify thematic monotone palette movement. Provide an overview of the Cubist movement, framing
and stylistic over a vibrant the style as a type of rebellion itself in order to continuously connect
variations of palette impact the with the larger theme of rebellion. Focus on core elements of
works as mood of an Cubism: movement that emphasised flat, two-dimensional surface
characteristics of artwork? How planes and geometric forms. The movement rejected the traditional
certain artistic and/or why? techniques of perspective and foreshortening.
periods 3. Did Pablo Picasso’s - Display examples of other cubist works. Ex: Conquest of the Air by
Organisations: cubist style and/or Roger de la Fresnaye, Violin and Pipe by Georges Braque.
- Students will compositional Activity Two
investigate choices help or Studio: Act of Abstracting
the effects of hinder his ability to [Independent Instruction: Student work]
modifying symbolically rebel Purpose: Students will explore one way of breaking down objects into
colour, space against oppressive abstracted forms, in order to better understand Cubist works.
and form to forces? - Conduct a demo by showing how to find geometric shapes in a
 change picture. Indicate how once they’ve spotted the shape, they can use
pictorial style Technique Focus: the oil pastels to outline it and fill it in. Each shape should be a
DBAE: Colour & Composition different colour.
Appreciation - Explain that they have limited time, and so they should focus on
Art History getting the bigger shapes.
Art Critique - Demonstrate proper application of oil pastels on paper.
Art Production - Have the students come up in their desk groups to receive their
materials. Students will get a variety of coloured oil pastels, oil pastel
paper, and can choose from a selection of animal and plant photos
to use.
Activity Three
Art History: Dictatorship in Spain and Pablo Picasso
[Direct Instruction: Teacher Led Presentation]
Purpose: Provide students with historical context needed to comprehend
Pablo Picasso’s artwork. This activity will also introduce the concept of
rebelling through the use of colour and composition. Doing so allows for a
greater understanding of how, in an artwork, colour and composition can be
used to communicate meaning.
- Explain that during 1937, Spain was in the midst of a civil war
between the Republic and the Nationalists.
- Picasso was commissioned by the Spanish Republic to create a mural
for the 1937 world fair. Specifying, that before the world fair could
take place, Francisco Franco’s Nationalist army bombed the town of
Guernica.
- Upon hearing about the devastation caused by the bombing, Picasso
decided to base the commissioned artwork on this event. Discuss
how the work was meant to act as an “emotional response to the
war’s senseless violence”. Even after the pavilion, he refused to
allow the work to be shown in Spain while Franco was in power.
- Pablo Piccasso named the work Guernica, after the name of the town
that was bombed. Connect to previous lessons by asking the class
what they notice about the work, if it reminds them of any other
artist we’ve looked at and how/why.
 - Provide insight into the symbols, complex composition and the
monochrome palette present in the work. As well as how those
elements helped to further portray the emotions and message
behind the work.
- Movement Break: Have students stand up, and try to ‘strike’ a pose
that they would make if they were in Guernica
Activity Four
Think-Pair-Share: Compare and Contrast Guernica with Weeping Woman
[Interactive Instruction: Student-peer discussion] & [Direct Instruction:
Teacher led presentation]
Purpose: For students to recognize the ways in which these two artworks
contrast heavily, even though the historical context and stylistic form is the
same, as a result of the inclusion of colour.
- Introduce Weeping Woman by Pablo Picasso. Informing students
that it was originally a part of Guernica, but it is showing and
bringing focus to a specific perspective.
- Before moving into detailed insights regarding Weeping Woman,
display Guernica next to Weeping Woman.
- Within their table groups, have students form small groups of 2-3. In
their groups, students will compare and contrast Guernica with
Weeping Woman.
- Provide 3-4 minutes for the small group discussion. Afterwards, call
on one pair from each table to share one similarity/difference they
noticed.
Activity Five
Art History: Weeping Woman by Pablo Picasso
[Direct Instruction: Teacher Led Presentation]
Purpose: Provide students with specific context needed to comprehend
Pablo Picasso’s artwork. This activity will also introduce the concept of
rebelling through the use of colour. Doing so allows for a greater
understanding of how, in an artwork, colour can be used to communicate
meaning.
- Elaborate on the difference between Weeping Woman and Guernica
 by explaining how while Guernica is meant to showcase the horrors
of war, Weeping Woman illustrates the aftermath of grief.
- Picasso uses a vivid colour palette both to highlight her agonised
facial expression, and to provoke a visceral feeling in viewers.
- Picasso wanted viewers to feel unsettled and uncomfortable when
faced with her grief, while at the same time feeling her pain.
Activity Six
Class Brainstorm: Weeping Woman Palette
[Interactive Instruction: Group discussion]
Purpose: To support students in identifying oil pastel equivalents to the
colours found in Weeping Woman. Which will be necessary information for
the next activity. This activity would also be beneficial if there were any
colour-blind students in the class.
- With Weeping Woman up on the SMARTboard, students will be
asked to name one colour they see
- Random call on one student. As the student answers, write down
their answers on the board.
- Afterwards, ask students to (using the containers of oil pastels at
their tables) find the oil pastel that they think corresponds to the
colour on the board and/or is the closest in colour to the one written
on the board.
- Repeat until main colours have been identified: red, blue, yellow,
purple, light green, dark green, black and white.
Activity Seven
Studio: Contrasting Palettes
[Independent Instruction: Student work]
Purpose: For students to better understand the impact that colour can have
on the overall perception of an artwork by connecting it to their personal art
practice.
- Students will draw a still life of a chosen object, in their sketchbooks,
using a limited palette of black, white and grey oil pastels.
- Collection of objects will be provided by the teacher, and will include
objects such as: fruit, animal figures, plants etc.
 - Afterwards, students will be asked to recreate the work. However,
this time they will only be able to use the oil pastel colours that
correspond to colours found in Weeping Woman. Which were
identified in the previous activity.
Activity Eight
Small Group Critique: Impact of colour
[Interactive Instruction: Student-peer discussion]
Purpose: To promote deeper thinking and understanding in students.
Specifically, in relation to the idea that the colours present in an artwork can
be used to evoke emotion in its viewers. Additionally, students will be able to
practise using techniques of art criticism, on their own artworks.
- Students will share both of the artworks, created in Activity Seven,
in a small group of 3-4.
- There will be discussion questions provided.
1. What emotion does each artwork evoke?
2. Does the introduction of colour change anything?
3. In the future, when would you use each palette?
- Each member will write down group answers on their individual
sheet.

Overview of Lesson Three: Contemporary Rebellion against Oppressive Colonial Structures

- Technique Focus: Existence & Medium
- Existence refers to the act of rebellion by Indigenous artists through the process of art creation
- Key Artists/Artwork
- Fringe by Rebecca Belmore
- Indian Act by Nadia Myre

Lesson & Guiding Questions & Activities Formative Assessment

POS connections: Technique Focus:

Lesson 3.1: Rebellion 1. How has Introduction: Land Acknowledgement Think-Pair-Share:

 by Indigenous artists Indigenous art Purpose: In order to honour the people we are discussing today, I feel as if it - Observing student
through the act of art resisted being is important to recognize our own relation to colonialism. participation by
creation silenced? - Ideally, land acknowledgements would have been conducted by both circulating. Allows
2. How does Rebecca the school, and by us, on a consistent basis. However, I will reiterate for conversation
GLE: Belmore rebel that the land we reside on is Indigenous land, making sure to specify guidance, prompting
Encounters against repressive the names of which group(s) are associated with the land. or feedback, when
Drawing colonial structures? - Ex: I’ve been placed in Barnwell for my practicum. As such, I needed.
SLE’s: 3. Does the act of would make sure to specify that the school currently resides Group Centres Exit Slip:
Transformations participating in a on traditional Piikani land. - Enables insight into
Through Time field that purposely - Additionally, I will let students know that I am not indigenous but am student
- Students will identify excludes you, count a white settler. As well as the importance of recognizing my `comprehension of
thematic and as rebellion? positionality. Ex: that I am teaching this content from my perspective, the content.
stylistic variations of which is not indigenous.
works as Technique Focus: Activity One
characteristics of Existence* & Media Art History: Overview of Ojibwe culture and history
certain artistic - In this context, [Direct Instruction: Teacher led presentation]
periods existence refers to Purpose: Share insight about the Ojibwe people. Doing so, will provide
Articulate and the act of rebellion contextual knowledge needed to have a greater understanding of Rebecca
Evaluate: Belmore’s work, which will be discussed later on.
by Indigenous
- Students will use the - Remind students that the cultural context of an artist has an influence on
techniques of art artists through the their work, and how it is perceived.
criticism for analysis process of art - Since we will be looking at work created by artist Rebecca Belmore,
and comparison of creation who is a part of the Obishikokaang Ojibwe, I think it is important to
artworks have some background knowledge about the Ojibwe.
DBAE: - Inform students about Ojibwe language, culture and history. Specify that
Art history this is a brief overview, and Ojibwe history and culture is more complex
Appreciation than I am presenting it. Ex:
Art Critique - The Ojibwe language is part of the Algonquian language family, and
Aesthetics is typically known as Anishinaabemowin. Anishinaabemowin is
spoken all throughout Canada, and in 2011, was spoken by 25,000
people!
- In the Anishinaabemowin language, the Ojibwe people often refer
to themselves as Anishinaabeg. Which translates to: “Beings Made
 Out of Nothing” and/or “Spontaneous Beings”. However, it is not a
synonym for Ojibwe.
- Rather, Anishinaabe refers to a larger cultural/linguistic grouping
that encompasses several other nations.
- Before colonialism, the Objiwe lived in connection with the land;
they hunted, gathered plants, and fished to live. While they had
independent autonomous bands, the bands still had strong
community ties. Often thousands of people would attend gathering
activities, such as for large scale fishing, maple sugar preparation
and/or wild rice preparation.
- As a result of European colonisation efforts, natural resources
became heavily depleted. As a result, many Objibwe people faced
the threat of starvation. For many the only solution was to trade in
order to secure enough goods to survive. However, the fur trade
also introduced glass beads, which many Ojibwe people used to
cultivate ornate beadwork. Display examples of beadwork, both
historical and contemporary.
- As western colonisation continued, the government formed
treaties that diminished the rights of indigenous people. Later on,
the government also established the residential school system, in
an attempt to destroy indigenous culture.
- However, throughout time, Ojibwe culture, language and activism
has consistently resisted genocidal assimilation efforts by both
federal and provincial governments.
Activity Two
Movement Break: Body stretch and Deep breathing
[Interactive: teacher led student activity]
Purpose: I not only just shared a lot of information and will be sharing even
more, which deals with difficult topics, after this activity. As such, this activity
is meant to give the students a break, and ground them for the rest of the
lesson.
- If possible, dim or turn off the lights and rely on natural light, for this
activity.
 - Students will rise from their tables, and start by standing facing the
front of the room. They may have to move around a bit, depending
on how much space they have.
- Instruct students that as they slowly inhale, they will raise their arms
to the ceiling. When they exhale, they will lower their arms and try to
touch the ground if they can, while keeping their legs straight.
Demonstrate while instructing.
- Conduct the process 3-4 times, guiding the students through the
deep breathing.
Activity Three
Think-Pair-Share: Fringe by Rebecca Belmore
[Interactive Instruction: Student-peer discussion]
Purpose: for students to engage in art critique, while forming connections
between content discussed in class, and the guiding questions.con
- Before showing the image, identify that the artwork may be a trigger
or be difficult to see. Students are allowed and encouraged to step
away at any time, if needed. Secondary material can be provided.
- Display Fringe by Rebecca Belmore, giving students a minute to
reflect on it before introducing the discussion questions.
1. How might this artwork relate to our guiding questions?
2. What do you think the intended meaning of this artwork may
be?
3. Why might Belmore have used beading?
4. Do you think if she would have chosen a different colour for the
beads that it would change the impact of the work?
Activity Four
Art History: Fringe by Rebecca Belmore
[Direct Instruction: Teacher-led presentation]
Purpose: Allow for further comprehension as to how art can be a form of
rebellion both in its creation and content.
- Inform students as to how, throughout history, Indigenous art has
been actively ignored and silenced by the “Art World”.
- However, at the same time, European artists that appropriated
 indigenous art styles were considered ‘pioneers’. While they did face
some backlash, it had little to do with appropriation and more to do
with general critique of ‘low art’. Ex: Portrait Mask (Gba gba), from
the Baule peoples of Côte d'Ivoire and Amadeo Modigliani’s Sketch
for a Sculpture
- Shifting focus back onto Fringe, bring up the statement Rebecca
Belmore gave about Fringe. Read outloud for students.
- “As an Indigenous woman, my female body speaks for itself.
Some people interpret the image of this reclining figure as a
cadaver. However, to me it is a wound that is on the mend.
It wasn’t self-inflicted, but nonetheless, it is bearable. She
can sustain it. So it is a very simple scenario: she will get up
and go on, but she will carry that mark with her. She will
turn her back on the atrocities inflicted upon her body and
find resilience in the future. The Indigenous female body is
the politicised body, the historical body. It’s the body that
doesn’t disappear.”
- Afterwards, bring further insight into how the theme of resilience is
depicted through the use of colour, composition, and media chosen.
- Connecting the media chosen to the idea that art by indigenous
artists has been ignored and silenced by the “Mainstream Art World”.
Belmore is rebelling against this by not only producing art regardless,
but by choosing to use an indigenous feminine body as the ‘canvas’,
and the inclusion of beading [which is associated with Ojibwe culture]
.
Activity Five
Small Group Centres: Fringe by Rebeccca Belmore
[Interactive Instruction: Student-peer discussion]
Purpose: For students to engage in critical thinking. As well as for students to
form connections between content discussed in class, and the guiding
questions.
- In their table groups, students will discuss their thoughts surrounding
the provided prompt questions with each other.
 1. Do you think that ‘existence’ can be a form of rebellion? Should
it be? Why or why not?
2. Do you think Fringe by Rebecca Belmore was an act of
rebellion? How?
3. Are there any connections, or similarities, between Fringe and
other artworks we’ve looked at in class? (such as The Third of
May 1808 by Goya, Guernica by Picasso, Weeping Woman by
Picasso etc.)
- Afterwards, students will individually write down their answers on
exit slips provided by the teacher, and hand them in once they have
finished.

Lesson 3.2: Art and 1. What is the Activity One Class brainstorm:
Craft difference Class Brainstorm: What is Craft? - Provides an
GLE: between Art and Purpose: For students to explore the meaning of ‘Craft’, and develop a opportunity to
Encounters Craft? foundational understanding of what ‘Craft’ refers to. assess students
SLE’s: 2. How can using - Write “what is Craft?” on the white board before announcing the prior knowledge of
Transformations craft materials in question to the class. craft, and what they
Through Time art be a form of - On the whiteboard, draw a circle around the question. As students associate with it.
- Students will identify rebellion? answer, write down their answers around the circle. Draw lines, Think-Pair-Share:
thematic and Technique focus: physically connecting their answers to the main question. Effectively, - Observing student
stylistic variations of Medium/Materials forming a class concept map. participation by
works as - Draw a slightly smaller circle on the whiteboard, away but still close circulating. Allows
characteristics of to the circle around the main question. Draw a line connecting the for conversation
certain artistic two, before writing “What does it look like?” guidance, prompting
periods - Say the question out loud, and write down student answers. This or feedback, when
time, drawing lines to connect their answers to both the “What does needed. Gathering
DBAE: it look like?” circle and the “What is Craft?” circle. the worksheets
Art Production Activity Two afterwards will
Aesthetics Art History: Art and Craft provide further
[Direct Instruction: Teacher led presentation] insight into student
Purpose: To provide an outline of the relationship between “Art” and “Craft”, conversation, and
which will allow students to further explore and critique both concepts. questions they have
- Now that we have created a concept map of our initial ideas on Craft, regarding the topic
we can take a deeper look at what Craft is and its connection to Art.
- Introduce the technical definitions of the two.
- Inform students on how, historically in the West, art was produced
mostly by men. The expectation being the women who created
artwork that met the standards of ‘real art’. Standards, which
themselves were created by men.
- In contrast, craft was typically associated with work done by women.
Activities that are considered ‘craft’ include: quilting, knitting, sewing
and beading. Which, traditionally, were done almost exclusively by
women.
Activity Three
Think-Pair-Share: Art vs Craft
[Interactive Instruction: Student-peer discussion]
Purpose: For students to speculate on the distinctions between Art and Craft.
Additionally, this activity is meant to prime students for later content; using
craft materials as a form of rebellion.
- In pairs, students will answer discussion questions, writing their
answers on a worksheet (can be in point form). Once done, students
will hand in the sheet.
- Discussion questions:
1. What is the difference between Art and Craft?
2. Are there any similarities between the two? What are they?
3. Is your current understanding of Craft different from ideas on the
class concept map? If yes, in what ways?
4. What is something else you’d like to learn about Craft?
- Follow up with class debrief on student findings, prompting students
to explain their reasoning and/or elaborate on their answer if
needed.
Activity Four
Studio: Class Quilt
 [Interactive Instruction: student collaboration]
Purpose: To challenge the distinction between Art and Craft by producing
artwork that combines aspects of the both terms. Showcasing the complexity
and overlap of the two concepts, which will contribute to the idea that choice
of material can be a form of rebellion.
- Students will be asked to use wax crayons, and a 2x2 sheet of white
paper, to create a single panel for a class ‘quilt’.
- They may design/decorate their panels any way they want. However,
there will be images of quilt panels shown on the board, that they
can use as inspiration, if they would like. Examples may be pulled
from here.
- Remind students of the “Art Creation Expectations” that were
established at the start of the term, and explicitly stating that their
panels cannot break the expectations.
- As students complete the panels, they will be “sewn” together by
pinning them on a corkboard. Once finished, the class quilt can be
hung up.
- Debrief by asking the class “Now, do you think the class quilt is Art?
Or Craft?” Random call on students to gather their answers, asking
them to clarify or elaborate on their ideas, if needed.
- Connect to previous class content by asking “Similar to quilting,
beadwork is also considered to be Craft. But Belmore used beads in
Fringe, and we considered that Art. What is the difference?”.
- Guide the conversation to the answer that the class quilt is both,
and/or that the distinction between Art and Craft is an unclear one.

Lesson 3.3: Rebellion 1. How has Introduction: Land Acknowledgement

through material usage Indigenous art Purpose: In order to honour the people we are discussing today, I feel as if it
GLE: resisted being is important to recognize our own relation to colonialism.
Encounters silenced? - Ideally, land acknowledgements would have been conducted by both
Drawing 2. How do Indigenous the school, and by us, on a consistent basis. However, I will reiterate
SLE’s: artists rebel against that the land we reside on is Indigenous land, making sure to specify
Transformations repressive colonial the names of which group(s) are associated with the land.
structures? - Ex: I’ve been placed in Barnwell for my practicum. As such, I
 Through Time 3. Does the act of would make sure to specify that the school currently resides
- Students will identify participating in a on traditional Piikani land.
thematic and field that purposely - Additionally, I will let students know that I am not indigenous. I am a
stylistic variations of excludes you, count white settler. As well as the importance of recognizing my
works as as rebellion? positionality. Ex: that I am teaching this content from my
characteristics of 4. How can using craft perspective, which is not indigenous.
certain artistic materials in art be a Activity One
periods form of rebellion? Review: Fringe by Rebecca Belmore and Craft
Articulate and [Direct Instruction: Teacher Led Presentation]
Evaluate: Technique Focus: Purpose: To prime students for activities taking place further on in the lesson
- Students will use the Media/Materials by reviewing connected content. As well as to emphasise that through the
techniques of art usage of craft materials in their art, artists can perform an act of rebellion.
criticism for analysis - Ask students to name one thing they recall about Fringe. Random call
and comparison of on students to gather answers.
artworks - After roughly 3-4 student answers, bring up the artwork (reminding
DBAE: students of the warning, and that they are allowed to leave should it
Art history be triggering).
Appreciation - Review key concepts surrounding Belmore’s Fringe that were
Aesthetics discussed in Lesson 3.1. Afterwards, review the key concepts of Craft
and Art from Lesson 3.2
- Support connections between Lesson 3.1 and Lesson 3.2 by asking
the class “What are the connections between Fringe, and the concept
of Craft?”
Activity Two
Small Group Discussion: Indian Act by Nadia Myre
[Direct Instruction: Teacher led presentation]
Purpose: Illustrate, in a new context, as to how the material an artwork
consists of can further convey the meaning behind it. Apply concepts/content
learned in class, to other artworks.
- Before conducting the small group discussion, provide students with
an explanation of what the 1876 Indian Act entailed.
- Afterwards, display stills of Indian Act by Nadia Myre on the
SMARTboard. Explain how, in this work, Nadia Myre used traditional
 beading techniques to cover the first 56 pages of the Indian Act.
Myre used red beads for the page backgrounds, while using white
beads to replace the text. As a result, the Act is rendered null and
void.
- Have students gather in 5 small groups, deciding the groups by
numbering off students.
- Ex: pointing at them, and calling out either numbers 1,2,3,4
or 5
- Provide each group of students with one of the following prompt
questions (different groups can have the same question):
1. Why do you think that Nadia Myre chose to use beads over a
different material, such as painting?
2. What do you think the significance of using the 1876 Indian Act,
over other government documents, might be?
3. Would you consider Indian Act to be an act of rebellion? Why or
why not?
4. What similarities and differences are there between Nadia Myre’s
Indian Act and Rebecca Belmore’s Fringe?
- As they deliberate, each group will have one chosen scribe that will
write points that come up in group discussion. Afterwards, the group
will decide on at least one answer that they will then add to a Padlet.
- Once the class has regrouped, pull up the Padlet on the SMARTboard
and go over the answers as a class.

Activity Three
Art History: Indian Act By Nadia Myre
[Direct Instruction: Teacher led presentation]
Purpose: Consolidate student learning?
- Using the statement provided by the gallery, highlight how the aim of
Indian Act by Nadia Myre is meant to “expose and dec[ry] the
colonial policy” that at the time the work was created, was still in
effect.
- Highlight the ways in which Myre does so: by using traditional
 indigenous techniques of beading to overtake it, and in the process,
rendering it void. Directly connect the more in-depth explanation
with student answers from the previous activity.

Overview of Lesson Four: Final Studio Production

Focus: Application of Unit Concepts through Art Production

Lesson & Guiding Questions & Activities Formative Assessment

POS connections: Technique Focus:

Lesson 4.1: Guiding Question: Activity One Padlet:

Introduction to final - What techniques have Strategy: Concept Map - The padlet will allow
studio project artists used in their Purpose: To consolidate unit learning, while also providing support and me to assess a)
to rebel against guidance for students, before they start working independently. whether students
GLE: repressive regimes - The physical map will be handed out to students, and will contain a understand what I
Drawing throughout time? predetermined main question. Which will be based on the inquiry am asking of them
SLE’s: Why might it be question. Ex: “What techniques have artists used to rebel, throughout b) student
Communicate: valuable, as an time?” comprehension of
- Students will use artist, to learn how - Initially, students will have time to think of a few points individually. unit content
expressiveness in they did so? - After which they will be sorted into small groups to share and come up
their use of with more connections/answers.
elements in the Technique Focus: - A class discussion will take place by having each group share their ideas
making of images Creation & Application on a Padlet. Once groups are finished inputting answers, the Padlet will
DBAE: be brought up on the board and groups will be asked to elaborate on
Art History their answers.
Art Production Activity Two
Aesthetics Introduction to Studio Activity:
[Direct Instruction: Teacher led presentation]
Purpose: For students to answer the inquiry question by applying content
 learned in the unit, to their own practice. (Demonstrate knowledge through
independent application)
- Inform students that they will choose a fake scenario from a list
provided. The fake scenarios will be based on real ones discussed in
class, and involve the students being ‘rebellious’.
- Example Scenarios:
- “The mean greedy King Bob has decided to commission an
artwork from you to win over his impoverished subjects. He
wants the artwork to showcase how modest and kind he is.
You must find a way to satisfy the king's wishes, while
showing his subjects the truth.”
- “You want to submit artwork to a local gallery. However,
they only allow art in the form of paintings, as they think it’s
the only ‘real art’. You must find a way to get your work
submitted, while rebelling against the idea of ‘real art’”
- Students will then create an artwork that responds to the chosen
scenario.
- They must employ at least three of the five techniques: Narrative,
Iconography, Colour, Composition and Media
- Students must also provide a written explanation of their work, that
includes:
1. The scenario chosen
2. How they decided to rebel
3. Which techniques they chose, and how they used them
4. Why they used the techniques the way that they did

Lesson 4.2: - What techniques Activity One Circulation:

Work period have artists used Studio Work: Final Project Checking in with
in their to rebel [Independent Instruction: student led] students one on one, as
GLE: against repressive Purpose: To allow class time for students to work on their final studio they work on their
Drawing regimes projects. project, will provide me
SLE’s: throughout time? - Students will work on their studio projects. with an opportunity to
Communicate: Why might it be - Circulate, checking in with each student and discussing their ideas for give feedback
valuable, as an the project. Offer feedback and guidance accordingly.
 - Students will use artist, to learn how
expressiveness in they did so?
their use of
elements in the Technique Focus:
making of images Creation & Application
DBAE:
Art Production
Aesthetics

Activity 4.3 Activity One Circulation:

Work period - What techniques have Studio Work: Final Project Checking in with
artists used in their [Independent Instruction: student led] students one on one, as
GLE: to rebel against Purpose: To allow class time for students to work on their final studio they work on their
Drawing repressive regimes projects. project, will provide me
SLE’s: throughout time? - Students will work on their studio projects. with an opportunity to
Communicate: Why might it be - Circulate, checking in with each student and discussing their ideas for give feedback
- Students will use valuable, as an the project. Offer feedback and guidance accordingly.
expressiveness in artist, to learn how
their use of they did so?
elements in the
making of images Technique Focus:
DBAE: Creation & Application
Art Production
Aesthetics

Activity 4.4: Activity One

Celebration of work! Gallery Walk: Sharing Studio Work
GLE: [Guided Instruction: Teacher guided art critique]
Drawing Purpose: Students to showcase, and grow pride in, their works. As well as,
SLE’: providing the chance for students to reflect on their own and others artistic
Articulate and processes.
Evaluate: - Frame as a celebration!
- Students will use the - Students will give a verbal explanation of their work: what scenario
 techniques of art they chose, brief what they did and why.
criticism for analysis - Other students will be asked to give two stars and then respond to a
and comparison of teacher prompt question. Prompt questions will be similar to “What
artworks emotion does this evoke?”
Communicate:
- Students will use
expressiveness in
their use of
elements in the
making of images

Class Profile C Class Size 21 - Split Grade

75% European Canadians English is first language 3 students French is first language
25 % Indigenous (English is first language)
2 students are fluent in Blackfoot
1 student is fluent in Cree
4 students are aspiring artists and have supplemental art classes in the community.
Many students have only experienced craft projects
7 Student are at least 2 grade levels below in reading and writing

LESSON PLAN 1
Grade: 9 Lesson 3.1: Rebellion by Indigenous artists through the act of art creation
Lesson Duration: 60 min
Overview of lesson. Write a clear and concise overview that indicates the following: What the lesson is, the purpose/goal of the lesson what students will do/learn and
how the lesson will conclude. *Instructional video in January 14th class give an example of a strong overview and in contrast an overview that is incomplete.

This lesson is meant to be a continuation of exploring rebellion in art. Specifically, it brings the values and ideals of contemporary rebellion through the lens of
indigenous art. Through Rebecca Belmore’s Fringe, we will examine how art can be a form of rebellion in both its creation, and the usage of the materials that form it.
Students will consider how the material aspects of a work hold significance. Additionally, this lesson will prompt students to consider indigenous history, and the impacts
of colonialism on art. The students will engage in various discussion activities which will be supplemented by direct instruction. Allowing for peer perspectives to be
heard, and as a result, for students to learn through peer discussion.

Alberta Program of Study: Goals and Objectives. Carefully select GLE and SLE that pertain to your lesson. Choose selectively and think carefully about what is
achievable for students to learn by the end of the lesson. Importantly this is connected clearly with the information in your Unit Map.

GLO /GLE SLO/SLE

GLE: SLE:
Encounters Transformations Through Time: Students will identify thematic and stylistic variations of works as
Drawing characteristics of certain artistic periods.

Articulate and Evaluate:

Students will use the techniques of art criticism for analysis and comparison of artworks
DBAE
Give an overview (50 words) of the learning taking place in the select DBAE areas. (The unit as a whole must cover all 4 areas of DBAE framework). For your
individual lessons, choose the DBAE area(s) that your lesson will address and explain how it will address it. Often you will find overlaps of several areas...but focus on
the more predominate areas(s)

1. Art Production
2. Aesthetics
3. Art Critique
Learning Objectives. Translate the SLE's into learning objectives. Using Stem, directing verb and what is to be learned language. Use Blooms Taxonomy directing
words. *Instructional video in January 14th Class folder reviews this clearly

Students will…
1. Explain the term Craft
2. Provide

Lesson Guiding Questions: Use Bloom's Taxonomy, directing verbs in the areas of: knowledge, skills and attitudes. Be clear on what type of knowledge/skill/attitudes
students are developing and expected to do. This informs the types of questions you develop. Guiding questions must support this and provoke student thinking and help
them understand what they are learning, why they are learning, what they have already learned, what they still need to learn etc..

- What is the difference between Art and Craft?

- How can using craft materials in art be a form of rebellion?
Annotated Learning Resources List These must be relevant and age appropriate and from a reliable source. If it is on online resource provide an active link. If it a
book, cite the book and author. Provide 1-2 sentences (annotated) to indicate what the resource is and how it support your lesson/ student learning? *you may have more
or less than three resources. It depends on your lesson. If you are providing material on First Nations, Métis or Inuit, it must be an authorized source, from an Indigenous
author or Indigenous community. Beth Cormier in the Curriculum Lab has many resources to help you. If you are not sure connect with her.
Resource #1: https://www.thecanadianencyclopedia.ca/en/article/ojibwa
I will be using the information found in this resource when providing the overview of Ojibwe culture and history.
Resource #2: https://www.rebeccabelmore.com/fringe/
The resource contains high quality photos of Rebecca Belmore’s Fringe, as well as the statement made by Belmore about Fringe. Which I will include because I
feel it will have a more genuine impact on the students.
Resource #3: https://www.theartstory.org/movement/primitivism/
I will not be using the article in this resource. However, I found the image included in the article to clearly display the clear appropriation of a European artist.
Material and Equipment: List: Art supplies, manipulatives, smartboard, online white board etc…What you will use AND, therefore what you will organize ahead of
time prior to your lesson

- Slideshow containing all images needed, as well as slides containing discussion questions
- Fringe by Rebecca Belmore
- Image Comparison of Portrait Mask (Gba gba) from the Baule peoples of Côte d'Ivoire and Amadeo Modigliani’s Sketch for a Sculpture
- SMARTboard
- Whiteboard & Whiteboard markers
- Exit Slips, printed off and ready to be handed out
Lesson Procedures

Introduction ( 5 min.): Description of Hook/Attention Grabber; Expectations for Learning and Behavior; Transition to
Body. Indicate the timing for each section. This can be written in point form

Attention Grabber (2min):

After students have entered the class, and sat down at their desks, I will clap rapidly three time. This attention grabber has been used in previous classes, and as such,
students will be expected to clap back three times. After waiting a few seconds for students to clap back, I will clap again twice to ensure all student attention is on me.
Learning and behaviour expectations:
- As I am talking, students are expected to cease all talking, and raise their hands if they have a question and/or comment.
- I have outlined expectations for discussions, these will be posted in the classroom and before starting Activity #2 I would remind students of the discussion
expectations (2 min):
- “Be Respectful, which means:
- No interruptions, let others finish what they are saying first before responding
- Make sure everyone has a chance to share their thoughts (& encourage others in the group to participate!)
- Practise good listening skills by waiting until the speaker is finished before thinking of a response
- Don’t jump to conclusions, ask questions when you’re unsure if you understand the speaker's point.
 - It is okay to have different opinions, but it is NOT okay for that opinion to be hate speech or derogatory”*
*These terms would have been introduced at the beginning of the term and discussed multiple times to ensure student understanding. The definitions for these words will
also remain posted in class, as ‘bubbles’ that are near the expectation posters. Definitions for hate speech: making cruel,hostile, or negative statements about someone
based on their race, religion, national origin, disability, age, gender, or sexual orientation. Definition: derogatory: intentionally hurtful and harmful, designed to insult or
degrade
Transition to body (3 min):
I will greet the class by saying “Aaniin, bonjour, oki, tansi, hello”
- Aaniin is a Anishinaabemowin word for greetings, Bonjour is a French word for greetings, Tansi is a Cree word for greetings, Oki is a Blackfoot word for
greetings, and Hello is an English word for greetings. I hope that by using the greeting words of languages that my students speak, that they will feel welcome
and included. Additionally, by including the Anishinaabemowin greeting that might be unfamiliar, that doing so will pique their interest.
I will introduce the guiding questions for this lesson, and share the agenda for today’s class.
Land Acknowledgement: I will conduct a land acknowledgement, making sure to specify the names of which group(s) are associated with the land the school resides on.
Additionally, I will let students know that I am not indigenous. As well as the importance of recognizing my positionality.
- Ex: that I am teaching this content from my perspective, which will be different from an indigenous perspective, as that is not a part of my identity.

Body ( 52 min.): This is the largest part of your lesson. Write clearly and concisely. Writing must be descriptive and clearly organized. Specify activities and
transitions in lesson. Indicate timing of each section. Identify teaching strategies, include any questions that you will use, organization of class etc. How and
when are you using formative assessment in your lesson? Indicate differentiation within the body of your lesson.

Steps and Procedures: Lessons are divided into portions. In the lesson body Identify Teaching Strategies/Rational
there should be a least two activities and one transition. You may have 3 Example: Direct instructions, pair/share, jigsaw, whole group discussion etc. When will
activities and 2 transitions. An activity can be reading - transition - partner you use these and why? You will list in your body, but you will explain your choice here.
dialogue (as an example). * Style of writing in the lesson plan is descriptive
and concise (NOT POINT FORM). As well, you are not narrating, rather
you are describing the activity, the learning, critical information to carry out Art History, Activity #1 & #3
the lesson. Any questions you have developed to use during the learning, to Direct Instructions:
facilitate discussion for instance, are to be written directly into the lesson plan This will be used to introduce the main topic connecting to the activity.
in the area where it occurs. Thumbs up, sideways, down, Activity #1:
Activity #1: 20 min Engagement: To engage students with the direct instruction
Art History: Overview of Ojibwe culture and history [Direct Instruction: Think-Pair-Share, Activity #2:
Teacher led presentation] Interactive Instruction: For students to discuss with a peer on a specific topic and then
I will start by reminding students that “the cultural context of an artist can provide an answer to the larger group
have an influence on their work. So, one thing we can do, as viewers, to better Movement break, Transition:
understand an artwork is to learn about that context! Now, because we will be In order to give the students’ brains a break during the lecture period, while still
looking at artwork created by Rebecca Belmore, who is a part of the engaging in the content.
Obishikokaang Ojibwe, we will first be learning a bit about the Ojibwe Small Group Discussions, Activity #4:
nation.” In doing so, I aim to make the significance of why we are learning Interactive Instruction: For students to discuss questions with their peers.
about the Ojibwe clear. Before launching into information regarding the
Ojibwe nation, I will specify that this is a brief overview, and that Ojibwe
history and culture is more complex than I am going to be going into today.
Firstly, I will inform students that the Ojibwe language is part of the
Algonquian language family, and is typically known as Anishinaabemowin.
Making sure to place emphasis on the contemporary, not just historical by
acknowledging that Anishinaabemowin is spoken all throughout Canada
Engagement strategy: “Thumbs up if you think over a 10,000 people speak
Anishinaabemowin, Thumbs sideways if you’re unsure or thumbs down if you
think less than 10,000 people speak it. Congrats if you had your thumbs up!
As of 2011, it was spoken by at least 25,000 people!”
I will then go on to specify the distinction between the Anishinaabe and
Ojibwem, in order to dispel confusion, which is that while the Ojibwe people
often refer to themselves as Anishinaabeg, it is not a synonym for Ojibwe.
Rather, Anishinaabe refers to a larger cultural/linguistic grouping that
encompasses several other nations. To avoid framing indigenous life as
starting with colonialism, I will discuss life before colonialism. However,
since the effects of colonialism and indigenous connection to beading are
important aspects of Rebecca Belmore’s Fringe, I will connect the effects of
colonisation (lack of resources, starvation) to the introduction of beading.
Lastly, because of the indigenous students in my classroom, I will pay close
attention to making sure I stress that “throughout time Ojibwe culture,
language and activism has consistently resisted genocidal assimilation efforts
by both federal and provincial governments”
Transitional Movement Break: Body stretch and Deep breathing
To ground students in the moment, while giving them a break from
instruction, I will guide them through a breathing/stretching exercise.
Activity #2: Think-Pair-Share [Student-Peer Discussion] (10 min)
I will start this activity by giving the students a warning that Fringe deals with
difficult content, and in the work it looks like her skin has been stitched.
Students will be encouraged to know their boundaries, and step away at any
time if needed. Afterwards, I will bring Fringe by Rebecca Belmore up on the
SMARTboard. Provide a moment for reflection, before introducing discussion
questions:
1. How might this artwork relate to our guiding questions?\
2. What do you think the intended meaning of this artwork may be?
3. Why might Belmore have used beading?
4. Do you think if she would have chosen a different colour for the
Formative Assessments Type/Name:
Where Assessment Occurs/Purpose of assessment
Think-Pair-Share:
- Observing student participation by circulating. Allows for conversation
guidance, prompting or feedback, when needed.
Group Centres Circulation:
- Observing student participation by circulating, and will enable me to provide
conversation guidance, prompting or feedback, to students when needed.
Exit Slip:
- Enables insight into student comprehension of the content.
Differentiation: Indicate in brief sentences areas of differentiation.
Emphasis on resilience: I will make sure to a) not to frame indigenous culture as being
a thing of the past, and b) place emphasis on indigenous resilience. While this would be
important regardless, I am specifically doing so to empower my indigenous students
Movement Break: For the seven students that are below reading and writing levels, this
will provide a much needed break.
Reading questions out loud: Reading the questions out loud will provide the students
an alternative way, beyond reading, to comprehend the questions. Which will support
the seven students that are below reading and writing levels.
Think-Pair-Share: Similarly, giving students the chance to discuss the questions with
their peers before moving on to larger group or individual work will further support
students who struggle with reading/writing comprehension and/or expression.
Small Group Centres: giving students the chance to discuss the questions with their
peers before having to work on it individually and write it down, will provide support to
students struggle with reading/writing comprehension and/or expression
 beads that it would change the impact of the work?
I will state each question verbally, asking afterwards if there’s any questions
about the discussion questions. Then I will have students turn to the person
next to them to talk about their answers for the questions.
Afterwards, I will ask the class the questions, and have students respond with
what they & their partner thought. I will call on students with their hands
raised first, unless either a) no groups raise their hands or b) the same few
groups are the only ones raising hands. If that's the case, then I will remind
students that it's okay not to be 100% sure of the answer but any response is
appreciated, before random calling on students.
Activity #3: Art History [Direct Instruction] (10 minutes)
During this activity, I will inform students as to how, throughout history,
Indigenous art has been actively ignored and silenced by the “Art World”.
After which I will shift focus back onto Fringe, asking students to look at the
artwork one last time before lowering their heads. In order to provide an
authentic voice, I will read the statement Rebecca Belmore herself gave, about
the work. I will request that students close their eyes, and just focus on
absorbing the statement and the sentiment behind the words, as I read the
statement outloud, making sure to enunciate my words clearly. I will pause to
allow students time to take it in.
“As an Indigenous woman, my female body speaks for itself. Some people
interpret the image of this reclining figure as a cadaver. However, to me it is a
wound that is on the mend. It wasn’t self-inflicted, but nonetheless, it is
bearable. She can sustain it. So it is a very simple scenario: she will get up and
go on, but she will carry that mark with her. She will turn her back on the
atrocities inflicted upon her body and find resilience in the future. The
Indigenous female body/ is the politicised body, the historical body. It’s the
body that doesn’t disappear” Then, students can raise their heads, and I will
reread the statement again, with it displayed on the board this time. Then I
will ask students if they see any connections between the work itself and the
theme of resiliency, before providing explicit insight into how the theme of
resilience is depicted through the use of colour, composition, and media
chosen. Ensuring to connect the media chosen to the idea that art by
indigenous artists has been ignored and silenced by the “Mainstream Art
World”, and that Belmore is rebelling against this by not only producing art
regardless, but by choosing to use an indigenous feminine body as the
‘canvas’, and the inclusion of beading [which is associated with Ojibwe
culture].
Transition: I will bring up the slide that holds the assigned groups, instructing
students where each group will be located. Expectations are for students in
each group to wait until their names are called by the teacher before moving to
the assigned location.
Activity #4: Small Group Centres [Interactive Instruction: Student-Peer
Discussion] 12 min
In their assigned groups, students will discuss their thoughts surrounding the
provided prompt questions with each other.
1. Do you think that ‘existence’ can be a form of rebellion? Should it
be? Why or why not?
2. Do you think Fringe by Rebecca Belmore was an act of rebellion?
How?
3. Are there any connections, or similarities, between Fringe and other
artworks we’ve looked at in class? (such as The Third of May 1808
by Goya, Guernica by Picasso, Weeping Woman by Picasso etc.)
As they discuss the questions, I will circulate and make sure to check in with
each group several times. Providing further discussion prompts, clarify
questions, and/or extra support if needed. As I circulate, I will hand out the
exit slips, which will have the questions already printed on them, and remind
students to write their names on them.
Consolidating ( 8 mins)
After the group discussion, students will individually write down their answers to the discussion prompts on exit slips provided by
the teacher.

Clean up (3 mins).
- Students will be instructed to hand in their exit slips,
- Students are then to follow the procedures for clean up (such as sweeping up any pencil shavings, putting any notes away etc).
- After completing, students will be instructed to return to their seats before dismissal.
Reflection (after the lesson respond to these questions in brief. It is important that this reflective process is done after each lesson. These become points of extended
reflection and conversation in post conference with TA and UC)

How the students responded to the lesson as planned and taught:

Specific strengths of the lesson plan and delivery:
Specific weaknesses in the lesson plan and delivery:
What must be addressed to improve this plan?
How I have grown from this teaching experience:

Other Notes
 LESSON PLAN 2
Grade: 9 Lesson 3.2: Rebellion by Indigenous artists through the act of art creation
Lesson Duration: 60 min

Overview of lesson. Write a clear and concise overview that indicates the following: What the lesson is, the purpose/goal of the lesson what students will do/learn and
how the lesson will conclude. *Instructional video in January 14th class give an example of a strong overview and in contrast an overview that is incomplete.

This lesson is meant to be a continuation of exploring rebellion in art.

Within this lesson, we will also be looking into material aspects in the form of rebellion. The medium association with rebellion is seen through the idea of craft as a
form that is not art. However, we are looking at the rebellion of Craft as art.

Alberta Program of Study: Goals and Objectives. Carefully select GLE and SLE that pertain to your lesson. Choose selectively and think carefully about what is
achievable for students to learn by the end of the lesson. Importantly this is connected clearly with the information in your Unit Map.

GLO /GLE SLO/SLE

GLE: SLE:
Encounters Transformations Through Time: Students will identify thematic and stylistic variations of works as
characteristics of certain artistic periods.
DBAE
Give an overview (50 words) of the learning taking place in the select DBAE areas. (The unit as a whole must cover all 4 areas of DBAE framework). For your
individual lessons, choose the DBAE area(s) that your lesson will address and explain how it will address it. Often you will find overlaps of several areas...but focus on
the more predominate areas(s)

1. Art History/Culture
2. Art Production
3. Aesthetics
Learning Objectives. Translate the SLE's into learning objectives. Using Stem, directing verb and what is to be learned language. Use Blooms Taxonomy directing
words. *Instructional video in January 14th Class folder reviews this clearly

Students will be able to…

1. Design a ‘quilt panel’ using wax crayons
2. Define Craft as an activity involving skill and making things by hand
3. Provide a reasoning for why there is or is not a distinction between Art and Craft
Lesson Guiding Questions: Use Bloom's Taxonomy, directing verbs in the areas of: knowledge, skills and attitudes. Be clear on what type of knowledge/skill/attitudes
students are developing and expected to do. This informs the types of questions you develop. Guiding questions must support this and provoke student thinking and help
them understand what they are learning, why they are learning, what they have already learned, what they still need to learn etc..

- What is Craft?
- Is there a difference between Art and Craft? If so, what is it?

Annotated Learning Resources List These must be relevant and age appropriate and from a reliable source. If it is on online resource provide an active link. If it a
book, cite the book and author. Provide 1-2 sentences (annotated) to indicate what the resource is and how it support your lesson/ student learning? *you may have more
or less than three resources. It depends on your lesson. If you are providing material on First Nations, Métis or Inuit, it must be an authorized source, from an Indigenous
author or Indigenous community. Beth Cormier in the Curriculum Lab has many resources to help you. If you are not sure connect with her.
Resource #1: Examples used in Lesson
- https://www.nationalgallery.org.uk/paintings/elisabeth-louise-vigee-le-brun-self-portrait-in-a-straw-hat : Quality photo of Elisabeth Louis Vigee Le Brun’s Self
Portrait in a Straw Hat, which I will use as an example in Activity #1
- https://www.metmuseum.org/art/collection/search/10388 : Quality photo of Mary Cassat’s The Cup of Tea, which I will use as an example in the Transition
- https://roomtery.com/products/fried-egg-accent-rug Displays a fried egg rug for sale, which will be used as an example in the Transition
- https://www.artsy.net/article/artsy-editorial-6-rising-contemporary-artists-traditional-craft-techniques Includes a quality photo of Sarah Zapata’s A Famine of
Hearing which I will use as an example in Transition
- https://www.ranhwang.com/plum-blossoms_wooden/crsi7ubw09uifo45h4l4o45s8er2ar Includes quality photo of Ran Hwang’s Healing Temple, which I will
use as an example in Transition
- https://sewguide.com/types-of-quilts/ : Photos of different types of quilt panels, which will be used in Activity #3
Resource #2: Oxford English Dictionary
I will be using the definitions for Art and Craft, found in this dictionary, during Activity #1
Material and Equipment: List: Art supplies, manipulatives, smartboard, online white board etc…What you will use AND, therefore what you will organize ahead of
time prior to your lesson

- Slideshow containing all images needed, as well as slides containing discussion questions
- SMARTboard
- Whiteboard & Whiteboard markers
- 2 pieces of poster paper 20x26, with definitions for Art written on one, and the definition for Craft written on the other
- Magnets
- Discussion Question Sheet, printed off
- Corkboard
- Pins
- 2x2 sheet of White paper
- Crayons
Lesson Procedures
Introduction (5 min.): Description of Hook/Attention Grabber; Expectations for Learning and Behavior; Transition to
Body. Indicate the timing for each section. This can be written in point form

Attention Grabber:
- After students have entered the class, and sat down at their desks, I will speak at my normal volume and say “If you can hear me…touch your right shoulder
with your left hand” This attention grabber has been used in previous classes, and as such, students who can hear me will expect to follow instructions. After
waiting a few seconds for students to do so, I will more loudly say “If you can hear me…touch the top of your head with your right hand”.
Learning and behaviour expectations:
- As I am talking, students are expected to cease all talking, and raise their hands if they have a question and/or comment.
I have outlined expectations for discussions, these will be posted in the classroom and before starting Activity #2 I would remind students of the discussion expectations:
- “Be Respectful, which means:
- No interruptions, let others finish what they are saying first before responding
- Make sure everyone has a chance to share their thoughts (& encourage others in the group to participate!)
- Practise good listening skills by waiting until the speaker is finished before thinking of a response
- Don’t jump to conclusions, ask questions when you’re unsure if you understand the speaker's point.
- It is okay to have different opinions, but it is NOT okay for that opinion to be hate speech or derogatory”*
- *These terms would have been introduced at the beginning of the term and discussed multiple times to ensure student understanding. The definitions for these
words will also remain posted in class, as ‘bubbles’ that are near the expectation posters. Definitions for hate speech: making cruel,hostile, or negative
statements about someone based on their race, religion, national origin, disability, age, gender, or sexual orientation. Definition: derogatory: intentionally hurtful
and harmful, designed to insult or degrade
Art Creation Expectations:
- Basically: Art is expressive and that's okay! But this is still a school, and art created in the classroom needs to be respectful to our fellow students.
Transition to body (5 min):
I will greet the class by saying “Aaniin, bonjour, oki, tansi, hello”
- Aaniin is a Anishinaabemowin word for greetings, Bonjour is a French word for greetings, Tansi is a Cree word for greetings, Oki is a Blackfoot word for
greetings, and Hello is an English word for greetings. I hope that by using the greeting words of languages that my students speak, that they will feel welcome
and included.
Write “what is Craft?” on the white board before announcing the question to the class. If students need more prompting: “what do you think ‘craft’ is? Or what does it
mean to ‘do crafts’ or ‘be crafting’?
On the whiteboard, I will draw a circle around the written question. Choosing students with their hands raised, I will write down their answers around the circle. I will
then draw lines that will physically connect their answers to the main question. Effectively, forming a class concept map.
After listening to several student answers, and/or until all students with their hands raised have been called on, I will draw a slightly smaller circle on the whiteboard. The
smaller circle will be distanced from, but still relatively close, to the circle around the main question. I will draw a line connecting the two, before writing “What does it
look like?”. After repeating the question out loud, I will once again call on students and write down their answers on the board. This time, I will draw lines to connect
their answers to both the “What does it look like?” circle and the “What is Craft?” circle.
Body ( 50 min.): This is the largest part of your lesson. Write clearly and concisely. Writing must be descriptive and clearly organized. Specify activities and
transitions in lesson. Indicate timing of each section. Identify teaching strategies, include any questions that you will use, organization of class etc. How and
when are you using formative assessment in your lesson? Indicate differentiation within the body of your lesson.

Steps and Procedures: Lessons are divided into portions. In the lesson body Identify Teaching Strategies/Rational
there should be a least two activities and one transition. You may have 3 Example: Direct instructions, pair/share, jigsaw, whole group discussion etc. When will
activities and 2 transitions. An activity can be reading - transition - partner you use these and why? You will list in your body, but you will explain your choice here.
dialogue (as an example). * Style of writing in the lesson plan is descriptive
and concise (NOT POINT FORM). As well, you are not narrating, rather
you are describing the activity, the learning, critical information to carry out Art History, Activity #1
the lesson. Any questions you have developed to use during the learning, to Direct Instructions: This will be used to introduce the main topic connecting to the
facilitate discussion for instance, are to be written directly into the lesson plan activity.
in the area where it occurs. Thumbs up, sideways, down, Activity #1:
Activity #1: 20 min To assess the students own sense of capability, which will help to decide if extra support
Art History: Art and Craft [Direct Instruction: Teacher led presentation] is needed
In order to make the purpose of the introduction activity more clear, I will Think-Pair-Share, Activity #2:
introduce Activity #1 by offering praise (depends on the student's answers but Interactive Instruction: For students to discuss with a peer on a specific topic and then
something like: pals, I really like you use real life examples!) and stating provide an answer to the larger group
“Now that we have created a concept map of our initial ideas on Craft, let's Movement break, Transition:
take a deeper look at what Craft is and its connection to Art”. In order to give the students’ brains a break during the lecture period, while still
Using magnets, hang two posters (20x26) on the side of the whiteboard that engaging in the content.
does not contain the concept map. Class Quilt:
- First poster will be labelled as “Craft” and have the dictionary definition Interactive Instruction: To challenge the distinction between Art and Craft by producing
of Craft written in big lettering: (an activity involving skill in making artwork that combines aspects of the both terms. Showcasing the complexity and
things by hand). overlap of the two concepts, which will contribute to the idea that choice of material can
- The other will be labelled as “Art” and have the dictionary definition of be a form of rebellion.
 Art written in big lettering: the expression or application of human
creative skill and imagination, typically in a visual form, producing works
to be appreciated primarily for their beauty or emotional power.”
Using a slideshow in the background, I will inform students on how,
historically in the West, art was something produced mostly by men. I will be
careful to emphasise that this doesn’t mean that historically women have not
made art! But, the ones who did and were considered to be artists, were the
ones whose artwork met the standards of ‘real art’. Standards, which
themselves were created by men. I will show examples such as: Elisabeth
Louis Vigee Le Brun’s Self Portrait in a Straw Hat. As I inform students that
women still created artwork, it just wasn’t seen as such at that time. In
contrast, craft was typically associated with work done by women. Activities
that are considered ‘craft’ include: quilting, knitting, sewing and beading.
Which, traditionally, were done almost exclusively by women. I will ask
students to give me a thumbs up if they feel like they could tell me whether
something was either art or craft, thumbs sideways if they’re unsure or thumbs
down if they don’t think so.
Transitional Movement Break: Art VS Craft (5 min)
Formative Assessments Type/Name:
Where Assessment Occurs/Purpose of assessment
Class Concept Map, Introduction:
- By gathering student insights surrounding the topic, before starting other
activities, I am able to assess students’ prior knowledge and associations with
Craft.
Thumbs up, sideways, down, Activity #1:
To assess the students own sense of capability, which will help to decide if extra support
is needed
Art vs Craft, Transitional movement break:
- Having the students provide verbal reasonings for their choices, gives me the
chance to gauge student comprehension of the content.
Think-Pair-Share, Activity #2:
- Observing student participation by circulating. Allows for conversation
guidance, prompting or feedback, when needed. Gathering the worksheets
afterwards will provide further insight into student conversation, and questions
they have regarding the topic.
To provide a chance for movement and give them a break from direct
instruction while displaying how grey the line between Art and Craft can be, I
will have students play a quick game. Instructing all students to stand up, I
will explain that I will be bringing up a picture on the SMARTboard. If they
think the picture is an example of Craft, they will move to the right wall in the
room (point at it), if they think it is Art, they will move to the left. As they do
this, I will not tell them that they’re ‘right’ or ‘wrong’. But I will call on
random students to ask them why they chose the side they’re on, making sure
to get one student from both sides each time
Ex of images I will show:
- The Cup of Tea by Mary Cassat
- Egg Rug
- A Famine of Hearing by Sarah Zapata
- Healing Temple by Ran Hwang
Activity #2: Think-Pair-Share [Student-Peer Discussion] (10 min)
After asking students to return to their seats at their table groups, I will
introduce the next activity. In which students will pair up, there may be one
group of three. Once they have chosen their pairing, one student from each
pair will come up and grab one sheet of paper. Students will then talk about
the discussion questions on the board with their partner. They are expected to
write their answers on the sheet they grabbed. The answers can be in point
form. Since the partners are sharing a sheet, they need to have both names
written at the top. I will read the questions out loud, and ask if there’s any
questions before having the students start the activity. As they work, I will
circulate to make sure students are on task, provide clarification or give
feedback.
Discussion questions:
1. What is the difference between Art and Craft?
2. Are there any similarities between Art and Craft? What are they?
3. Looking at our class concept map, would you change anything on it
now that we have talked more about Craft? What? Why?
4. What is something else you’d like to learn about Craft?
Transition:
I will refocus students' attention by clapping twice, and then clapping four
times. After student attention has been directed to me, I will end the lesson by
having a class debrief on student findings. Making sure to prompt students to
explain their reasoning and/or elaborate on their answer if needed. Lastly,
students will hand in their sheets before returning to their table groups.
Differentiation: Indicate in brief sentences areas of differentiation.
Content: The way I frame this lesson is purposeful, not just because later on I will want
the students to recognize that material can be used to rebel. But, also to further the idea
that ‘craft activities’ can be a form of art. In doing so, I hope to bolster the confidence of
the students who have little art experience beyond craft activities.
Inclusion of greetings in different languages: By starting the class with multiple
greetings in different languages (specifically ones from the other languages my students
speak), I aim to foster a sense of belonging & appreciation for their language.
Movement Break: For the seven students that are below reading and writing levels, this
will provide a much needed break. It may also help further their comprehension of the
topic, as they will be exposed to peer reasonings (which may be more relatable than my
instruction).
Reading questions out loud: Reading the questions out loud will provide the students
an alternative way, beyond reading, to comprehend the questions. Which will support
the seven students that are below reading and writing levels.
Think-Pair-Share: Similarly, giving students the chance to discuss the questions with
their peers before moving on to larger groups will further support students who struggle
with reading/writing comprehension and/or expression. Additionally, by allowing
students to answer in the point form, the focus will remain on the conversation. (instead
of students being more anxious about how to word the answers 'correctly’). But for the
writing that they do complete, they have a peer to support them.
Quilt:
For the students who are aspiring artists, they are able to be independent in the design of
their panel. But for students who may struggle with inspiration, or motivation, examples
are provided to assist them.
Activity #3: Class quilt [Interactive Instruction] (10 minutes)
After the class debrief, I will introduce the next activity in which students will
be creating a single panel that will be used in a ‘class quilt’. They will use wax
crayons to draw on a sheet of white paper, which will act as their panel. They
may design/decorate their panels any way they want. But if they get ‘art
block’ there will be images of quilt panels shown on the board that they can
use as inspiration, if they would like. Examples may be pulled from here.
After explaining the activity, and making sure there are no questions (or if
there are, answering them) I will assign two people from each table group to
come up. One will be told to grab two boxes of crayons, and the other will be
given sheets of paper which they will take back to their table groups. Students
can make more than one panel, but they have to start with just one and come
up and show it to me before moving onto their second.
Remind students of the “Art Creation Expectations” that were established at
the start of the term, and explicitly stating that their panels cannot break the
expectations. As students complete the panels, they will be “sewn” together
by pinning them on a corkboard. Once finished, the class quilt can be hung up.
Consolidating ( 7 mins)
I will consolidate the lesson by asking the class “Now, do you think the class quilt is Art? Or Craft?”
Random call on students to gather their answers, asking them to clarify or elaborate on their ideas, if needed. I will also connect to
previous class content by asking “Similar to quilting, beadwork is also considered to be Craft. But Belmore used beads in Fringe,
and we considered that Art. What is the difference?”.
Guide the conversation to the answer that the class quilt is both, and/or that the distinction between Art and Craft is an unclear one.
Clean up (3 mins).
- Students will place all crayons back in their respective box, before bringing them back up to the front.
- Students can take home panels not finished if they’d like, or give to me to keep safe until next class. Once done, I can pin it up on the class quilt for them.
- They will be expected to clean up any residual mess, ex: crayon shavings, paper scraps, crayon marks on desk etc.
Reflection (after the lesson respond to these questions in brief. It is important that this reflective process is done after each lesson. These become points of extended
reflection and conversation in post conference with TA and UC)

How the students responded to the lesson as planned and taught:

Specific strengths of the lesson plan and delivery:
Specific weaknesses in the lesson plan and delivery:
What must be addressed to improve this plan?
How I have grown from this teaching experience:

Other Notes