A. Engage the Learner - SL.7.4 (5 minutes)

• Repeated routine: Students respond to questions on Entrance Ticket: Unit 3, Lessons 8-9.

• Once students have completed their entrance tickets, ask for volunteers to share their responses to the discussion prompts, as well as examples of how they may revise their scripts to prepare for their presentations.

• Repeated routine: Follow the same routine as with the previous lessons to review learning targets and the purpose of the lesson, reminding students of any learning targets that are similar or the same as in previous lessons.

MEETING STUDENTS' NEEDS 

As necessary, encourage students to work with a partner to develop a word bank or web of vocabulary they can use in their entrance ticket responses. Generating vocabulary will enable them to better write about their previous presentations.

For the entrance ticket, encourage students to respond to the prompts in the modality that best suits them. They may want to record their responses in writing or practice their oral responses with a partner before writing them. They may want to share their responses in their home language. Allowing students to respond in multiple ways increases their confidence and success in considering their experience with previous presentations.

A. Gather Materials - RL.7.2 (20 minutes)

• Review appropriate learning targets relevant to the work to be completed in this section of the lesson:

"I can identify themes developed across works of the Harlem Renaissance."

• Inform students that they will now have the opportunity to gather materials for their exhibit. Remind students that three of the pieces must be from the Harlem Renaissance, including a piece of visual art. In addition, students must choose one piece from contemporary times that shows how Harlem Renaissance themes have carried into the present. Remind students that they can choose their material from any of the works they studied in this module and that they may include a piece they created in response to the works of the Harlem Renaissance to serve as their contemporary piece.

• Display the Harlem Renaissance Themes anchor chart and ask students to retrieve all the Module 3 texts and artwork, poetry and story note-catchers, Homework materials, and their Exit Ticket: Unit 3, Lesson 7 to guide them as they review and select their materials.

• Circulate and support students as necessary during the gathering process, using the following questions as necessary.

"What theme are you considering for your exhibit? What works from the Harlem Renaissance demonstrate that theme? What works from today demonstrate that theme? How does this work demonstrate this theme?" (Responses will vary. See Harlem Renaissance Themes anchor chart [example for teacher reference].) As necessary, remind students of the contemporary works they studied throughout this unit from their anchor text One Last Word: "On Bully Patrol," "David's Old Soul," "The Sculptor," and accompanying images. Students may also use other poems or images from One Last Word or their own creative or informational responses they have developed throughout the unit.

• Repeated routine: Invite students to reflect on their progress toward the relevant learning targets.

MEETING STUDENTS' NEEDS 

In Work Times A and B, foster a workshop atmosphere by allowing for flexible groupings, support, and time on tasks. Use this flexibility to create strategic groupings for one or more of the activities as needed as well as to provide individual support and extra time for students to complete the tasks. For example:

Some students may not need as much time as is allotted for gathering materials and can use the extra time for writing.

Some students may need the support of orally rehearsing their ideas with a partner before writing their curator's statement and label.

Some students may quickly finish the tasks in Work Time A and B and be ready to move on to the Tuning protocol. If this is the case, partner these students with others who finish quickly.

In Work Times A and B, foster a workshop atmosphere by allowing for flexible groupings, support, and time on tasks. Use this flexibility to create strategic groupings for one or more of the activities as needed as well as to provide individual support and extra time for students to complete the tasks. For example:

Some students may need to work in pairs to small groups to gather materials and write. These groups can be homogeneous by language or content proficiency.

Some students may need the support of orally rehearsing their ideas with a partner in English or in their home language before writing their curator's statement and label.

Some students may need teacher and peer support to identify sentences from the Model Curator's Statement and Label that they can adapt and use in their own writing.

B. Draft Curator’s Statement and Label – SL.7.4 (30 minutes)

• Review appropriate learning target relevant to the work to be completed in this section of the lesson:

“I can write and revise a curator’s statement and label for a museum exhibit on the Harlem Renaissance.” 

• Inform students they will now draft their curator’s statements and the label for the visual or multimedia piece in their exhibit. These will focus on providing key information about the Harlem Renaissance, theme, and evidence from the piece in their writing. Students may also choose to write about any connections that exist in the language and structure of the works in their exhibit. Students should also focus on developing an appreciative and enthusiastic tone in order to engage their audience. Tell students that today’s lesson will provide an opportunity to think more deeply about how listeners and viewers will understand the information in their statements and label, and help show the importance of the works they selected. Remind students that although they will be presenting their exhibit, including the curator’s statement and labels, to their classmates and community, their audience will also have the chance to read the writing themselves. Therefore, the writing is meant to both be listened to and read, but the presentation will serve as the “first impression” for the audience and will be an opportunity for students to engage their audience directly and create excitement.

• Ask students to Think-Pair-Share:

“What are some of the ways we might write if we intend for people to listen to as well as read our writing?” (Responses will vary but may include: We should think about how people only get to listen to once, so we should focus on making the sentences simpler and clearer. We can also think of ways to write to emphasize different words or sentences when we speak.)

“Who is the audience for our Harlem Renaissance Museum? How will you develop your content and tone considering this audience?” (Responses will vary but may include: Our audience is younger students, so I will make sure to explain the Harlem Renaissance, the pieces, and the themes in language that they can understand. I will also develop a tone that is engaging for younger students by asking a lot of simple questions and making connections to their lives.)

• Display and distribute the Presentation checklist. Inform students that as they draft and revise their curator’s statement and label today they will use the first three rows of this checklist. Read the first three rows aloud. Ask students to Think-Pair-Share:

“How will the first three criteria on the Presentation checklist help you make decisions about the content and language of your curator’s statement and label?” (The Presentation checklist focuses on “emphasizing salient points” and presenting findings in a “focused and coherent” way, which helps remind us to really focus on emphasizing what is most important in a spoken presentation.)

• Confirm for students that the Presentation checklist will help them consider how to draft their curator’s statements and labels so that they will be engaging and informative when read aloud. 

• Allow several minutes for students to generate criteria for the third column of the first three rows of the Presentation checklist based on this discussion. Students can work independently or in pairs. Circulate to identify any criteria to review as a class, using the Presentation checklist (example for teacher reference) for sample criteria as necessary.

• Invite students to begin drafting their curator’s statement and label for their visual art piece.

• Circulate to support students as they work. Ask questions to guide their thinking:

“What information about the Harlem Renaissance do you want to include in your presentation?” (For students who need more support, ask, “What did you learn about the Harlem Renaissance throughout this unit? Where did you include that information in your writing?”) ▲

“Do you plan to present your findings in a focused and coherent manner?” (For students who need more support, ask, “Do you give the information about your works in order? Do you use transition words between paragraphs and sections?”) ▲

“Do you use language that shows appreciation and enthusiasm for the work you’ve selected?” (For students who need more support, ask, “Do you give reasons why you like the work you selected?”) ▲

“Do you focus the audience’s attention on the visual art piece you selected and explain its elements in order to include a multimedia perspective in your work?” (For students who need more support, ask, “Do you share the art piece in your collection and explain why it is important to you?”)

“Do you emphasize salient points?” (For students who need more support, ask, “Do you have an exciting hook or opening? Do you end with a message and reflection on the Harlem Renaissance?”) ▲

“Do you use descriptions, facts, details, and examples to help the reader understand your group of work and writings?” (For students who need more support, ask, “Do you include description to show why the pieces you chose are important and interesting? In your label, do you use evidence from the text to show how the text develops the theme?”) ▲

• Invite students to record Y for yes and the date in the final column of their Presentation checklist if they feel the criteria marked on their checklists have been achieved in their writing in this lesson.

• Repeated routine: Invite students to reflect on their progress toward the relevant learning target.

MEETING STUDENTS' NEEDS 

In Work Times A and B, foster a workshop atmosphere by allowing for flexible groupings, support, and time on tasks. Use this flexibility to create strategic groupings for one or more of the activities as needed as well as to provide individual support and extra time for students to complete the tasks. For example:

Some students may not need as much time as is allotted for gathering materials and can use the extra time for writing.

Some students may need the support of orally rehearsing their ideas with a partner before writing their curator's statement and label.

Some students may quickly finish the tasks in Work Time A and B and be ready to move on to the Tuning protocol. If this is the case, partner these students with others who finish quickly.

In Work Times A and B, foster a workshop atmosphere by allowing for flexible groupings, support, and time on tasks. Use this flexibility to create strategic groupings for one or more of the activities as needed as well as to provide individual support and extra time for students to complete the tasks. For example:

Some students may need to work in pairs to small groups to gather materials and write. These groups can be homogeneous by language or content proficiency.

Some students may need the support of orally rehearsing their ideas with a partner in English or in their home language before writing their curator's statement and label.

Some students may need teacher and peer support to identify sentences from the Model Curator's Statement and Label that they can adapt and use in their own writing.

A. Tuning Protocol: Content - W.7.5 (20 minutes)

• Review the appropriate learning target relevant to the work to be completed in this section of the lesson:

"I can offer kind, specific, and helpful feedback to my peers."

• Explain to students that they will now share their curator's statement and label with another student to get feedback on the content.

• Move students into pairs, and invite them to label themselves Partner A and Partner B.

• Distribute sticky notes.

• Focus students on the Work to Contribute to a Better World anchor chart, specifically "I use my strengths to help others grow." Remind students that as they work to critique their partner's work, they will need to use their strengths.

• Tell students they are going to provide their partner with kind, specific, and helpful feedback according to the first three criteria on the Presentation checklist.

• Direct students' attention to the Peer Critique anchor chart, and remind them of what peer critique looks and sounds like.

• Display and distribute Directions for a Tuning Protocol, and read them aloud for the group. Invite students to ask questions to ensure that they understand the protocol. Remind them of the Tuning protocols they participated in during Module 2.

• Remind students who are giving feedback that they should focus on the first three rows of the Presentation checklist, putting themselves in the roles of listeners and telling the presenting group whether their content is clear and engaging. Explain to students that in the next lesson they will prepare for a Tuning protocol based on how they present the content, focusing on the last four items of the Presentation checklist.

• Invite students to retrieve their curator's statement, label, and Presentation checklists, and instruct students to begin the Tuning protocol.

• Circulate to support students as they work to give feedback to one another. Emphasize that students are not to make revisions yet, as they will be doing this in the next lesson.

• Repeated routine: Invite students to reflect on their progress toward the relevant learning target.

MEETING STUDENTS' NEEDS 

In Closing and Assessment A and B, continue to foster a workshop atmosphere by allowing for flexible groupings, support, and time on tasks. Use this flexibility to create strategic groupings for one or more of the activities as needed as well as to provide individual support and extra time for students to complete the tasks. For example:

Some students may benefit from several rounds of the Tuning protocol and can be placed in small groups of three or four rather than pairs.

Some students may quickly finish the Tuning protocol and be ready to move on to revisions.

Some students may quickly finish both tasks in Closing and Assessment A and B and be ready to assist other students with their Tuning Protocols and revisions. Mentoring others solidifies their understanding of vocabulary and language structures and gives them additional opportunities to practice their speaking skills.

In Closing and Assessment A and B, continue to foster a workshop atmosphere by allowing for flexible groupings, support, and time on tasks. Use this flexibility to create strategic groupings for one or more of the activities as needed as well as to provide individual support and extra time for students to complete the tasks. For example:

Some students may need additional time during the Tuning protocol to read and give feedback.

Some students may need additional support during the Tuning protocol to offer feedback. Before they begin the protocol, draw together these students and brainstorm sentence frames they can use to provide feedback.

Some students may need additional time and support to revise. Draw together these students, review their work, and target mini lessons on one or two key language issues.

B. Revise Curator Statement and Label – W.7.5 (15 minutes)

• Review the appropriate learning target relevant to the work to be completed in this section of the lesson:

“I can write and revise a curator statement and label for a museum exhibit on the Harlem Renaissance.”

• Ask students to use the feedback they received during the Tuning protocol to revise their curator’s statements and labels. Display or ask the following questions to guide students in their revisions:

“Did you use language to show your appreciation of the works and inspire your audience?” (For students who need more support, ask, “Do you use words that show you are excited about the work?”) ▲

“Does your label use evidence to show how the work is connected to the theme?” (For students who need more support, ask, “Does your label give an example from the text that shows the theme of your exhibit?”) ▲

“Does the label include interesting details about the piece?”

“Are there places to include more information or details that will help the audience see why the work is interesting and important?” (For students who need more support, ask, “Can you include more details to show why this work is exciting?”) ▲

• Invite students to reflect on the learning target and the habits of character focus in this lesson, discussing what went well and what could be improved next time.

MEETING STUDENTS' NEEDS 

In Closing and Assessment A and B, continue to foster a workshop atmosphere by allowing for flexible groupings, support, and time on tasks. Use this flexibility to create strategic groupings for one or more of the activities as needed as well as to provide individual support and extra time for students to complete the tasks. For example:

Some students may benefit from several rounds of the Tuning protocol and can be placed in small groups of three or four rather than pairs.

Some students may quickly finish the Tuning protocol and be ready to move on to revisions.

Some students may quickly finish both tasks in Closing and Assessment A and B and be ready to assist other students with their Tuning Protocols and revisions. Mentoring others solidifies their understanding of vocabulary and language structures and gives them additional opportunities to practice their speaking skills.

In Closing and Assessment A and B, continue to foster a workshop atmosphere by allowing for flexible groupings, support, and time on tasks. Use this flexibility to create strategic groupings for one or more of the activities as needed as well as to provide individual support and extra time for students to complete the tasks. For example:

Some students may need additional time during the Tuning protocol to read and give feedback.

Some students may need additional support during the Tuning protocol to offer feedback. Before they begin the protocol, draw together these students and brainstorm sentence frames they can use to provide feedback.

Some students may need additional time and support to revise. Draw together these students, review their work, and target mini lessons on one or two key language issues.