Shel Silverstein Read Aloud Lesson Plan NAME Erica Leima DATE 10 .pdf

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					                         Shel Silverstein Read Aloud Lesson Plan

NAME: Erica Leima                                                      DATE 10/26/10
Grade Level: 5th
Subject: Language Arts: Response & Analyses
Content Standard(s):
 Structural Features of Literature 3.1- Identify and analyze the characteristics of poetry
Communication of Meaning in Dance 2.5 - Convey a wide range of feeling and expression
through gestures, posture, and movement.

Purpose of the lesson:
     • My primary purpose is to make students more interested in poetry and the way they
        can adjust how to communicate.
     • Students will be exposed to poetry written by Shel Silverstein. This poetry will
        serve as a platform for developing aural presentation skills and an interest in poetry.
        Students will learn to use body language, facial expressions, acting out, gestures,
        tone, volume, and pacing to communicate.
     • All too often poetry is over-analyzed, this lesson is an attempt at making poetry
        more interactive by giving students artistic freedom to present the poetry in a unique
        but effective way.
Links to Prior Knowledge or Experience:
(Background knowledge/skills gained outside school or in school).
Students may or may not have read poems by Shel Silverstein. There have already been
poems presented to the class through the Open Court lessons. Exposure to the pacing and
intonation of poetry may carry over for some students who have started writing their own
rap music. Some of the similarities between rap and poetry have been linked in prior
classes but it may be beneficial to engage students by reiterating some of the connections.
For example, both use very specific and intentional language to get messages across and
both use rhythm and rhyme to emphasize, link, and create ideas and feelings in the
 Performance Objective(s):
     • Students will be able to identify some purposes of poetry and various feelings that
        poetry can invoke
     • Students will be able to present a poem, adjusting or amplifying the poems meaning
        through changes in tone, volume and/or pace relative to how the student normally
     • Students will show comprehension of the effectiveness of presenting poetry through
        critiquing their peer’s animated presentations

   • Formative assessment will take place through observing student participation in a
      group discussion about characteristics of poetry and the effects of changing tone,
      volume and pace. Ranges of feedback from students will dictate which areas need
      more modeling than others.
   •   Students will be evaluated on their ability to perform their poem, with an emphasis
       on their ability to adjust their tone, volume, pace, and body language while reading
       their poem.
   • Students will write critiques of each other’s presentations. These critiques will
       include the student’s opinion of what other students did effectively and in-
       effectively in their presentations. The critiques will show a student’s comprehension
       of various techniques used in performing poetry while keeping the students in the
       audience engaged & thinking critically.
Scaffolds for English learners & Children with Special Needs:
   • The activity will be thoroughly modeled for the entire class, in explicitly mentioned
       ineffective ways and in effective ways.
   • Expectations of an effective performance will be discussed and made visible.
   • Poems will be selected and ranged within appropriate reading abilities
   • Students will be peer-sharing as they develop and practice their poems, during this
       time peers will be able to help one another and the teacher can assist groups in need
       of guidance

Academic Language:
Target Vocabulary, Language Function, Language Demands
   • Rhythm – connect with pacing of the lines and stanzas
   • Rhyme – emphasize that rhyme does not always have to be present in poetry but that
       Shel’s poems often rhyme. The patterns of rhyming words are important for the
       pacing of the poems
   • Tone - types and emotional effects (cheerful, sad, depressed, sneaky, humorous,
       suggestive, scared, etc – the feelings that the author wants the reader/listener to
   • Volume - appropriate in-class ranges and emotional effects (rising volume might
       lead to suspense, softening might imply secrecy, etc.)
   • Pacing - ranges and emotional effects (fast, medium, slow; anxiety, cheerfulness,
       laziness, relaxed, etc.)
   • Body language – familiar expressions and exaggerations of feelings through posture,
       gestures and facial expressions without speaking
   • The poem “Snowman” pg. 65 of Where the Side Walk Ends to demonstrate
   • Any poetry book by Shel Silverstein
   • A variety of as many poems as students in the class, printed out - one copy for the
       student, one for the teacher to follow along during presentations.

INSTRUCTION: Procedures & Activity/Activities:                           (Time: 80-95 min)
Motivate, Model, Practice the skill or practice to gain deeper understanding of a concept.
   1) Instruct: Introduce Shel Silverstein – present Shel to the class, can be as simple as
      his description on the front sleeve of his books. Introduce some of the illustrations
      and read some of the shorter poems from the book casually, it is important to have at
      least one actual book in the classroom to read from. This allows the students to get
      engaged and, more importantly, see how they can access the poems outside of this
    assignment. (2 min)
2) Instruct & Openly Discuss: Move into the topic of poetry, building off of previous
    lessons where students have already defined different parameters of poetry, different
    forms and any rules (or lack of rules). Remind students of a previous conversations
    relating poetry (especially aurally presented poetry) with rap. Guide students toward
    discussing what emotions they’ve witnessed feeling when reading and listening to
    poetry and rap. Prompt the students to explore ideas about how those emotions are
    created (8 min)
3) Teach: Draw 4 columns on the front board labeling them “tone”, “volume”, “pace”,
    “body language” (This can be done prior to class). First discuss tone, defining it as
    the emotional state that the author tries to invoke in the reader. (1 min)
4) Model: Perform the first 2 lines of the poem “Snowman” twice. First read them with
    a tone of pride, pause and ask students to label the emotional tone (provide options
    such as “happy”, “sad”, “prideful”, “angry”). Then perform the same 2 lines with a
    tone of sadness, allow the students to label this second tone. Collaborate with the
    students to come up with a few different tones that a poem could be presented in and
    how those tones affect the meaning even though the words of the poem remain the
    same. (5 min)
5) Teach: Move on to the “volume” column, connecting different emotions with
    different volumes.
6) Model: Talk to the class in a booming voice, asking how it felt, (“HOW DOES IT
    switch to a mousy-whisper, still prompting for student participation in regards to
    ideas about volume changing feelings. Teach the potential of emphasizing a point
    by only changing the volume on a single word – read the first 2 sentences again but
    raise the volume on the word “first” to emphasize it. See what the student’s
    responses are and add them to the column. (2 min)
7) Teach: Discuss the pacing of poems and readings. Define pacing as the rate that you
    communicate the words, this rate (fast, slow, medium) helps engage the reader and
    also contribute to the tone of the poem. Show the lines and stanzas and explain that
    these are important and intentionally done by the author because that is how they
    think the reader should interpret and pace the poem. (1 min)
8) Model: Read the first 8 lines of Snowman with a very fast pace, hardly pausing for
    words and not at all for ends of lines. Pause and tell the class that you’ll finish this
    stanza with pacing, do so reading lines 7, 8, 9, 10 with dramatic pausing to
    emphasize pace (starting on line 7, despite having already read it, will preserve
    comprehension of the stanza) (2 min)
9) Model & Practice: Read the entire 2nd stanza with a dramatic “snoody” and “rude”
    tone, emphasizing a steady pace and change of volume when the robin speaks. Ask
    the students to describe the tone, volume, pacing and emotions of the second stanza.
    (4 min)
10) Teach: Body language – Introduce and define body language, teach the students that
    it is one of the most effective ways of communicating the emotions and feelings of
    any inter-personal encounter.
11) Model: display different emotions through facial features, gestures and posture.
    Have students label the emotions connected to the actions and add both to the Body
        Language column. Read the last stanza creating a sense of pride and doubt
        appropriately and asking the students to label these emotions. (6 min)
    12) Direct: Tell students that they will each get an opportunity to present a wonderful
        poem by Shel too. They will each receive an individual poem but they must practice
        performing it with a partner because each student will perform the poem in front of
        the class. Explain to the students that the expectations are that students will: a)
        decide what emotions they want the audience to feel while they read the poem based
        on the poems content, b) Instill these emotions in the audience by adjusting the way
        they read the poem. Remind them that the presenter can adjust their tone, pace,
        volume and body language (point to the examples in the 4 columns that the students
        just came up with), and c) be attentive and act as “critical listeners” while their peers
        present. Which means that students in the audience will describe the variance in the
        presenter’s tone, pace, volume and body language (This aspect of the assessment
        will show if students who are poor performers still comprehended the content
        covered and can evaluate or assess the content visible in their peer’s presentations).
        (4 min)
    13) Peer-Share: Pass out the various pre-assigned poems and allow the students to work
        with one partner (peer-share) to read, develop, and practice their presentation of the
        poem. Working with a friend is ok since reasonable levels of silliness and fun are a
        huge part of ensuring participation for all students. Remind the students to
        concentrate on the emotion that they want to convey. Then direct students to focus
        on different ways to adjust their pace, tone and volume in order to successfully
        present that emotion to an audience. (15 min)
    14) Teacher during peer-share time: circulate classroom, providing scaffolding to
        students moving off task. Guide students to notice the structural aspects of how the
        poem is written and the very intentional words chosen when trying to decide how to
        present the poems.
    15) Assessment: Students present poetry. (Rec: Have a structured way to move through
        the class efficiently). Student’s poems will take anywhere from 30 seconds to 1
        minute to present. Critics should be allowed an additional 30-sec to analyze the
        presenter. Prior to starting remind the students that the quality of the critiques is just
        as important as each individual’s presentation. (30-45 min)
Have class clap for all students who performed. Reiterate the uniqueness in poetry’s ability
to get ideas across with such specific and intentional language and how the aural
presentation can emphasize those ideas and emotions.
                                                                               (Time: 8 min )

Reflections: Students:                                                      (Time: 10 min)
At the bottom of the critiques the students will be asked to communicate how they liked
presenting poetry and what they found most interesting when watching their peers present.
Reflections: Teacher
Observe students who seem to have become more interested or less interested in the lesson.
Guide the more interested students towards more challenging poets and the less interested
students towards poetry that they might be able to relate to either by gender, race or s.e.s.

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