Sacagawea - Amazon Web...

Broward CountyPublic Schools

Sacagawea

4th Grade

TITLE ONEReading Residency Program

2014 Study Guide

Broward County Literacy Department 2014 1

Welcome to the

SEAS READING RESIDENCY PROGRAM The School Board of Broward County, in partnership with the Broward Center for the Performing Arts, is proud to continue their reading residency program for students who attend Title I schools. Literacy is the fundamental building block to all learning. Without the ability to read and write, successful academic achievement is not possible. Research shows a strong link between reading comprehension skills and the dramatic enactment of stories. Additional research confirms that learning in the arts is especially beneficial for young children, students from disadvantaged economic backgrounds, for those needing remedial instruction, and for those developing proficiency in English. The SEAS, Reading Residency Program was designed upon the foundation of these findings. Broward County Public Schools’ Literacy Department has selected stories from the Broward School’s Core Literacy Program, Journeys, for Grades 2 and 4 (Click, Clack, Moo: Cows That Type by Doreen Cronin and Sacagawea by Lise Erdrich). The Broward Center has selected a professional theater company to perform each story as part of the SEAS program. Every second and fourth grade student attending a Title I school will attend these performances. We have identified three key components of literacy: plot development, story sequencing, and inference, as areas that would be directly advanced by a dramatic enactment of a story. As the curtain rises on the SEAS Title I Reading Residency Program, the spotlight focuses on ensuring that all students achieve at their highest potential, by energizing classroom learning through the arts. The Broward Center has had a partnership with the School Board of Broward County for over forty years. This partnership has provided the foundation from which the Student Enrichment in the Arts (SEAS) program has thrived. SEAS is the country’s only program, of such magnitude, to offer students free and equal access to professional performances, in a quality theater setting. The Kennedy Center Alliance for Arts Education Network and the National School Boards Association called the SEAS program a “national model for integration of the arts into the classroom curriculum.” The Broward Center has proudly hosted some two million Broward County Public School students since the program’s inception. The SEAS Reading Residency is the most innovative arts learning program in the nation. Thank you for being a part of history.


The SEAS staff and the Broward County Public Schools’ Literacy Department have developed this guide to provide support for the unique opportunities offered through the SEAS Reading Residency Program. This guide includes:

1. Welcome and overview of the SEAS Reading Residency Program 2. Tools for infusing drama and incorporating the arts 3. Suggested lesson plan ideas for implementation during a 180-minute extended literacy block

incorporating both the Journeys anchor text and the stage performance Teachers are encouraged to collaborate with fellow fourth grade teachers, in order to plan a curricular sequence using LAFS (Language Arts Florida Standards), NGSSS (Next Generation Sunshine State Standards), Journeys Literacy Program and this guide. Teams will choose components that meet the needs of their students and may be influenced by their yearlong plan for curriculum delivery. The activities are based on both the Journeys anchor text and stage performance of Sacagawea. Students will explore character traits of Sacagawea and use evidence from both sources to identify which one was most valuable to the Discovery of Corps expedition. Additional Sacagawea resources are referenced at the back of this packet. Adjust lesson plans in order to meet the needs of your students. SEAS Title I Reading Residency Program As the curtain rises on the SEAS Title I Reading Residency Program, the spotlight focuses on ensuring that all students achieve at their highest potential, by energizing classroom learning through the arts. The cast of players includes second and fourth grade teachers and students in Title I Broward Schools and professional theater companies. The experience will connect the story read aloud and the live performance, enabling teachers and students to apply Florida Standards. The three, targeted skill areas for fourth grade are: identifying characteristics, supporting details, and inferential thinking. The Title I Reading Residency Program supports the Broward County Public School Board’s Strategic Plan. Sacagawea Overview The play follows the courageous journey of the Native American Sacagawea (Sa-ka-ga-Way-ah), who traveled with the great expedition of the land acquired by President Thomas Jefferson under the Louisiana Purchase. Known as the Corps of Discovery and led by Merriweather Lewis and Lt. William Clark, history will unfold illuminating important moments in America’s past. *Note: If students are conducting additional research, they may also see Sacagawea spelled as Sacajawea.


DRAMA TOOLS FOR LEARNING

The SEAS Title I Reading Residency Program allows teachers to bring their classrooms alive through the use of drama strategies. During the experience, teachers are encouraged to imbed drama tools to increase student engagement and understanding. SCULPTURES Students work in pairs. One student is the imaginary “silent sculptor” who uses gestures, facial expressions, and other nonverbal communication to “shape” the second student into an imaginary “sculpture” that expresses a key word, idea, or character trait. Students are allotted one minute to create each sculpture. Signal students to ”freeze” and look around the room at all of the interesting “shapes”. Students take turns in each role. DESCRIPTIVE OBSERVATION

DESCRIBE - Instruct students that we are entering the land of Look and Describe where we see with our eyes and not our minds. Say, “For the moment, let’s take our imagination hats off and put on our expert eyes. Look carefully at ______________ (a painting, a video, the student shapes, etc.) in silence and see every detail. I will be the ‘describe police’, making sure that we describe the image by completing the sentence: ‘My eyes see….’.” If students begin to make interpretations or inferences, remind them to return to the land of Look and Describe. INFER/INTERPRET - After several minutes of describing, invite students to move to the land of Think and Infer, where they need to put imagination hats back on and try to figure out what the previously referenced painting, video, shape, etc. means. Prompt students to complete the sentence: “Because I see________, I wonder if it means ___________.” For example, “Because I see the student shape shaking his fist and speaking loudly, I wonder if he might be communicating FURIOUS?” EVALUATION - This is the last step in Descriptive Observation and a step that is not always used, especially when describing the work of other students. AFTER carefully observing all of the rich details in the previously referenced painting, video, shape, etc. and AFTER wondering about many possible meanings or interpretations, the next step is to invite the students to judge, by asking them such possible questions as: “Did you like it and why?” or “How did the strategies, described or inferred, help you understand the book/play?”

SHAPE, FACE, WALK, TALK Students move through the stages of acting, by discovering each of the ways that actors can communicate through body shapes, facial expression, ways of walking, and finally, with words, or dialogue. To prompt students with verbal cues that focus on vocabulary, ideas, or characters from the story, you may follow this sequence: Example: furious Make your whole body into a very FURIOUS shape. Now add your face: make a very FURIOUS face. Now, keep your shape and face and walk in a FURIOUS way. And finally, as you walk, say: “I am FURIOUS!” Extension: Before beginning the strategy, have students write lines of dialogue that a character from the story might say. They will read this dialogue as they walk.


TABLEAU Tell students they are going to create a frozen picture, like a photograph, with a small group. Using a signal, such as a countdown of 5,4,3,2,1, students should first practice their individual shapes, which will eventually be added to their team members’ shapes, to create the final tableau. You may choose to allow them to practice a few times, before making the final tableau. The tableau may portray characters from the story or vocabulary words. You may want to have the students hold each tableau for ten seconds. You may also choose to give small groups of students the topics for their tableaux. This might be a section of the story or play, a conflict or problem, the main idea, or moral of the story, etc. Students have three minutes to create their frozen pictures. After three minutes, do the countdown for a whole class practice. Finally, have each group show their tableau as other students practice DESCRIPTIVE OBSERVATION – “My eyes see…” Extensions: THOUGHT TRACK – After careful observation, students in the audience can suggest a “title” for the tableau. The teacher then taps each character in the tableau and each student speaks to capture the role of the character at that exact moment. For example, “On April 7, 1805, the Corps of Discovery started west, struggling upstream on the mighty, muddy Missouri in two pirogues and six smaller canoes.” or “Sacagawea stayed calm and rescued the captains’ important things—journals, gunpowder, medicines, scientific instruments—every bundle she could reach.” SLIDE SHOW – Students can also create several tableaux to show a sequence – one tableau for the beginning of the story, one for the middle and one for the end.

SAMPLE CRITERIA FOR EFFECTIVE TABLEAU: Whole bodies are used. Facial expressions communicate. Body positions can be held without moving for several minutes. Students all stay in character the entire time. The tableau uses a variety of levels (some students low, some high). Students use eye contact and focus to communicate. The relationships among the characters are clear. The audience sees meaning in the tableau.

ROLE PLAY After students work with the nonverbal tools of drama, they are ready to retell parts of the biography by playing the roles of the characters, using body, face, movement, and dialogue. Props may or may not be used.


These are features of text Biography . . . Often starts with birth or early life and often covers birth-to-death.

Often delves in to a person's formative years, exploring early influences on a subject's later life.

Situates person’s life in historical terms and a cultural context.

Uses direct quotes from that person and those who knew him/her.

Sometimes uses fictionalized scenes/dialogues, but always based on what is known about the person and the events described.

Often uses pictures, maps, photographs, or other historically available documents.

Biographer possesses a point of view, a larger agenda, and a purpose in reporting on the person’s life.

These are features of a play In a Play . . . Only the most important events are shown.

The events may be organized into acts or scenes.

A narrator sometimes tells you what a character is thinking,

OR

A character sometimes thinks out loud to tell you how he/she feels,

OR

You might learn about a character through his/her expressions and actions.

The setting is shown using sets and props.

Sometimes you must use your imagination to complete the scene.

Actors may need to play more than one character.

Actors may change costumes, props, or voices to become different characters.

Music and sound effects may be used to tell the story, set the mood, or enhance the setting

This page maybe enlarged to create a classroom poster.


Experiencing the Arts Through Theater Before the Play . . . Discuss theater etiquette and expectations. Use Tableau to show both appropriate and inappropriate behavior. Discuss the story summary. Activities • Use Sculpture to demonstrate emotions (impatient, furious, demanding, sincere). • Discuss different ways that each character might be portrayed. Use Shape, Face, Walk, Talk. • Use Descriptive Observation tool. Describe what sets or props might be used. • Infer why the director might use the above. • Discuss the theme of negotiation and compromise. Role-play examples of these themes. • Introduce vocabulary related to theater. Sculpt roles or meanings of the words. Theater Vocabulary moral script act scene dialogue monologue director staging lighting set design special effect During the Play . . . • Ask yourself. . . What do I notice? • Think about – moral, scenes, dialogue, staging, lighting, and set design. • Make a brain note of how the actors move and what they say to express their ideas. • Identify the mood created during the different scenes. After the Play . . . • Lead a class conversation on the theater experience.

o Have students give examples of how they used or saw proper etiquette. o How did the characters change from the beginning to the end of the play? o How did the staging of the scenes help you understand the events? o Did the music, sound, or special effects create a particular mood? o How did the actors show you the characters’ feelings?

• Compare the play to the text. How was the biography told differently through action? • Use Role-Play to retell events in the play. • Write a class, group, or individual thank you note. • Perform a Reader’s Theater


Interdisciplinary Mini-Lessons Sacagawea by Lise Erdrich

Interdisciplinary Curriculum: The power of interdisciplinary curriculum lies in the ability to make connections across the disciplines through a transdisciplinary concept. A concept is an enduring idea that is not tied to a specific time or place. For example, The American Revolution could be a topic of study, but not a concept. There are a number of concepts, such as conflict or justice that could be used as a lens with which to study the American Revolution. Although one week is truly not enough time to fully develop a concept, the following activities were written through a conceptual lens of: Culture and Environment Throughout the week, the teacher can relate each activity to the concepts of culture and environment in order to increase student understanding and retention. Essential Question: How do character traits influence one’s relationships and actions? Performance Task: Each student will identify which of Sacagawea’s character traits was the most valuable to the Corps of Discover. Then determine if the Journeys biography or the stage production of Sacagawea demonstrated this trait most prominently. In order for students to successfully complete the performance task, below are some suggested lessons. The following lessons allow students to use graphic organizers to take notes about Sacagawea’s character traits while reading the Journeys anchor text and then after watching the stage production of Sacagawea. By collaborating with others, students discuss their findings and then select a character trait they believe was Sacagawea’s most valuable during the Discovery of Corps expedition. Building Authentic Background Discovery Education has several video segments about Sacagawea and the Discovery of Corps expedition. Also, your school’s media center most likely has reference materials on the topic including maps, photographs, informational resources, and even picture books. It may be in the students’ best interest to start with more basic, simplistic resources before moving to more complex ones. Before Reading Sacagawea in Journeys Take some time to review character traits with students. Here are some character traits that might be associated with Sacagawea.

adventurous curious patient ambitious dependable resourceful attentive fierce responsible

bold generous spunky brave hard-working stubborn calm helpful trusting clever leader wise

A variety of activities students can do with these character traits: sort words, create mnemonics, define words, look at the shades of meanings between words, make connections, and examine word parts (prefixes, roots, suffixes).


Lesson for Reading Sacagawea in Journeys The target skill for this biography is identifying details. As students read the text, ask them to use the graphic organizer to identify Sacagawea’s character traits in the text. Explain that they will need to use evidence from the text or illustrations to support their findings. Model: Read aloud the prologue (p. 590). Point out that Sacagawea must have been brave after she had been kidnapped by the Hidatsa Indians and curious as she learned how to grow food in the Great Plains. Once students know the expectations, give them time to read and identify Sacagawea’s character traits within the text. Then provide time for students to compare and share their findings with a partner. Encourage students to make adjustments or additions to their graphic organizers during this time. Now give each student the Sacagawea’s Most Important Traits graphic organizer. Ask them to think about the traits they have identified and to determine which three they believe are the most valuable to Sacagawea in her role. Students can record that information along with referencing evidence from the text on the chart. It might be a good idea for students to indicate page numbers for future reference. Collect both graphic organizers so they can be used after seeing the play. Lesson for Following the Stage Performance of Sacagawea When students return from the play, give them another copy of the graphic organizer. Allow students to work with a partner to have conversation and to record traits that Sacagawea exhibited during the play. Remind them that they need to reference evidence from the play to support those traits. Now return the Sacagawea’s Most Important Traits graphic organizer to students. Ask them to record what they believe are the three most valuable traits from the stage performance. Some of them may be the same as from the Journeys text. Lesson for the Performance Task Return all graphic organizers to students and ask students to open their Journeys book to biography of Sacagawea. Explain that they need to review all their notes and to refer back to the text if necessary. Students need to identify which of Sacagawea’s character traits they believe was the most valuable to the Discovery of Corps expedition. Remind them they will need to back up their claims by using evidence from both the text and the play. Before writing, provide time for students to discuss their thoughts with a partner. Now it is time for the students to write. Journeys offers writing and presentation rubrics that may be used within the unit. STANDARDS COVERED: LAFS.4.RL.1.1, LAFS.4.RL.1.3, LAFS.4.RL.3.7, LAFS.4.RL.3.9. LAFS.4.W.1.1, LAFS.4.W.2.4, LAFS.4.W.2.5, LAFS.4.W.2.6, LAFS.4.W.3.9. LAFS.4.SL.1.1, LAFS.4.SL.1.2, LAFS.4.SL.1.3, LAFS.4.SL.2.4. LAFS.4.L.1.1, LAFS.4.L.1.2, LAFS.4.L.2.3, LAFS.4.L.3.6,


Name: Date: Use the graphic organizer to record Sacagawea’s traits found in the text or play. Then determine if the evidence of that trait was presented because of Sacagawea’s or someone else’s actions, dialogue, or feelings. Record your findings below.

SacagaweaText / Play

(circle one)

Traits Actions

Dialogue Feelings


Name: Date: Use this chart to gather your thoughts. Identify three of Sacagawea’s traits from the text and from the play that were important to the success of the Corps of Discovery. Then complete the chart. When you are finished, select the one trait that you believe is the most valuable by putting a star next to it.

Sacagawea’s Important Character Traits

Trait Evidence Text or Play


Science This topic could be tied to Science Fusion Units 9 & 10. Social Studies This topic could be tied to Florida Social Studies, Florida Studies Unit 2, Lesson 5 and Unit 3, Lessons 1 – 3. Poetry Additional reading materials may include the three poems below. Some suggested activities for their use may include, but are not limited to:

• Reading for fun • Read to self • Read aloud • Discuss what is the mood • Discuss what is the main idea • Discuss what is the theme • List or discuss any unknown words • Think/ pair/ share your favorite part • Charting author’s style-‐label any text features • Count stanzas and shape circle rhyming words

• Label figurative language-‐ similes, metaphors, and personification

• Make connections text to text/ text to world/ text to self

• Were there any words (imagery) that made pictures? Which words?

• Discuss whether there were any repeated lines, why they were repeated and what the repeated lines say

July 30th, Monday 1804 Lewis:

The sun loiters in the river, Now drowns in gold, Turns black in night.

What lies beyond?

We must fix each place on maps

And give out names, Measure and record

The very sun and night.

Behind them toward the rising sun The traversed wilderness lay- About them gathered- one by one The baffling mysteries of their way! To Westward, yonder, peak on peak The glistening ranges rose and fell, - Ah, but among that hundred paths, Which led aright?—Could any tell? Brave Lewis and Immortal Clark! Bold spirits of that best crusade, You gave the waiting world the spark That thronged the empire paths you made! But standing on that snowy height, Where Westward yon wild rivers whirl, The guide who led your hosts aright Was that barefoot Shoshone girl! You halted in those dim arcades- You faltered by those baffling peaks- You doubted in those pathless glades, But ever, ever true she speaks! Where lay the perilous snows of Spring, Where streams their westward course forsook. The wildest mountain haunts to her Were as an open picture book!

Wherever you turned in wonderment In that wild empire, unsurveyed, Unerring still she pointed West- Unfailing, all your pathways laid! She nodded toward the setting sun- She raised a finger toward the sea- The closed gates opened one by one, And showed your path of Destiny! The wreath of Triumph give to her: She led the conquering Captains West; She charted first the trails that led The hosts across yon mountain crests! Barefoot she toiled the forest paths, Where now the course of Empire speeds Can you forget, loved Western land, The glory of her deathless deeds? In yonder city, glory-crowned, Where art will vie with art to keep The memories of those heroes green- The flush of conscious pride should leap To see her fair memorial stand Among the honored names that be- Her face toward the sunset still.

Sacajawea

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Let me tell you a story, A story of 28 great lives, Of hope, of enterprise, An inspiring story, Of adventure, of glory Clark, hero of Kentucky Lewis, loyal to the President With a melancholic strain, Sallied into the unknown The Corps of Discovery’s Body and brain. Commanded by The Son of America Equipped with bravery, A Giant, Who dared throw off The yoke of King’s slavery. Lured by a dream Of the virgin land, Set forth to discover The Northwest Passage, This ragtag band They sailed The mighty Mississippi Christening from the start, Madison, Gallatin, Jefferson A young republic Honored from their heart. The journey into the unknown Was fraught with surprise, Would they ever win And claim their prize? The west was Pristinely beautiful Rockies, Prairies, Great Plains, With death as their friend Persevered without complaints. Many a times voted In American tradition, Strengthened by discipline Their leaders’ demanding condition.

Enriched science with Idyllic flora and fauna, Won over the Mandans, Lakotas, Crows With their gentle persona. Sacagawea, the Shoshonee Stood with many a males, York, the slave Was devoted to the cause Of keeping the Corps a-sail. After long patient winter And portage over their backs, They finally stood atop The Continental Divide Gauging their stocks. Dumbstruck At the expanse ahead, They pressed on Into the unknown And chose starvation instead. Finally, at Fort Clatsop In misty Columbia Gorge The Shangri-La was claimed, Thanks to the defiant few The Wild West had been tamed It took 4 years For this momentous journey, Of adventure, of enterprise, Of great lives, Of glory, That inspires With its singular story. Madam Anonymous

Undaunted Courage

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Technology Connections: Resources available through BEEP portal: Discovery Education: Use these search words: Sacagawea, Lewis and Clark, and specify grades 3-5. TeachingBooks: 4 books found, use search word: Sacagawea The following websites are available for additional support: Name Web Address How It Fits PBS: Inside the Corps

http://www.pbs.org/lewisandclark/inside/saca.html

Provides additional Biographical information.

Biography Channel http://www.biography.com/people/sacagawea-9468731#awesm=~oD1jSmKiwC3gUo


PBS: New Perspectives on The West

http://www.pbs.org/weta/thewest/people/s_z/sacagawea.htm


National Park Service

http://www.nps.gov/lecl/historyculture/sacagawea.htm


Notable Woman Ancestors

http://www.rootsweb.ancestry.com/~nwa/sacajawea.html


History Channel http://www.history.com/topics/native-american-history/sacagawea


Scholastic http://teacher.scholastic.com/activities/lewis_clark/1805.htm

Interactive Website for experiencing Westward Expansion as an explorer.

National Archives http://docsteach.org/activities/77/detail?mode=browse&menu=closed&era%5B%5D=expansion-and-reform&sortBy=title

Interactive Activity analyzing primary sources of the different political interests in the west.

National Archives http://docsteach.org/documents/299807/detail?mode=browse&menu=closed&era%5B%5D=expansion-and-reform

Primary source of the agreement to pay France for the Louisiana Purchase.

Our Documents http://www.ourdocuments.gov/doc.php?doc=18

Primary source of the transcript of the Louisiana Purchase.

Our Documents http://www.ourdocuments.gov/doc.php?flash=true&doc=17

Primary source of Jefferson’s secret message to Congress about the Lewis and Clark Expedition.

Missouri Historical Society

http://www.lewisandclarkexhibit.org/4_0_0/page_4_1_7_1_3_4.html

Lesson Plan: Seeking Sacagawea’s Role

Theater Etiquette Notable behavior is a vital part of theater for youth. Going to the theater is not a casual event. It is a special occasion. If students are prepared properly, it will be a memorable, educational experience for all. AT SCHOOL: 1. Teacher should review Theater Etiquette rules and study guide information with students in

preparation for the upcoming performance. 2. Teacher should remind students to wear their best outfits on the day of the performance. 3. Before departure from school, send students to the restroom. Remind them that it will be

quite a while before they can use the restroom again. AT THE THEATER: 1. Upon arrival, teachers should keep all students from one class together and follow the

directions of the ushers. 2. While seated, teachers should space themselves so they are visible, every 10 students. (This

is School Board policy.) 3. During the performance: Teachers should model appropriate behavior and stop any

distracting student behavior immediately. 4. Teachers should instruct students that during the performance they must:

• Listen attentively

• Remain quiet • Stay seated • Remain in their own space

HAVE AN ENJOYABLE TIME AT THE THEATER!

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The School Board of Broward County, Florida

PATRICIA GOOD, Chair DONNA P. KORN, Vice Chair

ROBIN BARTLEMAN

HEATHER BRINKWORTH ABBY M. FREEDMAN

LAURIE RICH LEVINSON ANN MURRAY

DR. ROSALIND OSGOOD NORA RUPERT

ROBERT W. RUNCIE

Superintendent of Schools

The School Board of Broward County, Florida, prohibits any policy or procedure which results in discrimination on the basis of age, color, disability, gender, national origin, marital status, race, religion or sexual orientation. Individuals who wish to file a discrimination and/or harassment

complaint may call the Executive Director, Benefits & EEO Compliance at 754-321-2150 or Teletype Machine TTY 754-321-2158.

Individuals with disabilities requesting accommodations under the Americans with Disabilities Act

(ADA) may call Equal Educational Opportunities (EEO) at 754-321-2150 or Teletype Machine TTY 754-321-2158.

www.browardschools.com

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