A WorldWorld-Class Artist
The Life and Times of
William Edouard Scott
(1884-1964)
Lesson Plan
Grades 8 - 12
INFORMATION FOR EDUCATORS
TABLE OF CONTENTS:
Pre-Activities
Vocabulary
Timeline
Background text for Students
Activity Instructions
Indiana Academic Standards
Worksheet Masters
Articles
Visual Evidence
Evaluations
Resources
p. 4
p. 5
p. 6
p. 8
p. 13
p. 13
p. 17
p. 30
p. 31
p. 25
p. 28
INTRODUCTION:
This Lesson Plan incorporates oral and written language, reading, vocabulary
development, social studies and critical thinking. The lessons contained in this packet are
intended for grades 8 through 12. The activities are designed to be innovative and to meet
Indiana Academic Standards. The text and worksheets are reproducible.
SETTING THE STAGE:
This Lesson Plan focuses on the impact of social movements and public opinion on the
work of artists, specifically through the life and artistry of William Edouard Scott. It
challenges students to consider how world and community events influence the
development of an artist’s work and to question the significance of art in the
representation of history. To begin the lesson plan, you might want the environment of
your entire classroom to reflect prominent artists in America’s history. Be sure to include
a variety of artistic styles, time periods and artists of color. This can be achieved by
incorporating this theme into bulletin boards, learning centers, art projects and whatever
else you are doing in your classroom. When you set the tone of your classroom in this
manner, learning becomes an all-encompassing experience. Vocabulary words can
become part of your weekly spelling list and stories of famous artists can be used as
enrichment in your reading circles. We encourage you to use this lesson plan as a
springboard to further knowledge about famous artists and significant social movements
of the world. A post-test is included to help assess students’ application of the
information explored through the life and times of William Edouard Scott.
2
PRE-ACTIVITIES
In small groups, allow students to sift through materials (visual evidence) about Scott.
Come together as a class to discuss what the evidence shows about Scott’s life.
Suggestions
• Divide class into three groups. Give one piece of visual evidence to each group.
Each group will report its discoveries to the class.
• Divide class into groups. Give each group all visual evidence. Groups will share
discoveries with the class. Discuss the information found and differences in
interpretation or discoveries between groups.
William Edouard Scott was well-known as a muralist. Much of his art appeared in
schools, government buildings and other public spaces. Muralism was highly popular
during his lifetime and played an important role in society. Use the worksheet (page 22)
to analyze the murals of Scott and his peers.
Note: Teachers may use the resources listed (page 27) or do their own research to
generate murals created by artists of the time.
Read the Background Text (page 7). This may be done individually, in a small group, or
as a class. If done individually, group discussion should follow in order to ensure
comprehension and higher-level analysis of information. In groups, students should be
encouraged to discuss what they have read.
3
VOCABULARY
Emergency Quota Act A law enacted in 1921 to limit the number of immigrants allowed into the United
States to 3 percent of the members of that group already in the country based on the 1919 census. This is
only one of a series of acts that sought to limit immigration.
Klan The Ku Klux Klan (KKK) includes numerous fraternal organizations, the first created in 1866, that
support racism and prejudice, homophobia, anti-Catholicism and nativism. The KKK is associated with
violent acts or terrorism against these groups, such as church- and cross-burning, lynching and intimidation.
LULAC The League of United Latin American Citizens (LULAC) is the nation’s oldest Hispanic/Latino
organization. It was founded in 1929 to address the needs of Latinos in the United States.
Mexican Mural Renaissance The period, concurrent to the Harlem Renaissance, in which Mexican artists
wished to cast aside European influence and technique to create something new, separate and “of the
people.” Diego Riviera is one such artist.
NAACP The National Association for the Advancement of Colored People (NAACP) is one of the oldest
civil rights organizations. It was founded in 1909 by a diverse group to address the civil rights of NativeAmerican, Asian-American, African-American and Jewish peoples.
New Deal A series of programs developed by President Franklin Delano Roosevelt to heal the social,
psychological and financial effects of the Great Depression.
New Negro A term used in relation to African Americans, during and after Reconstruction, to suggest the
diversity of the talents, abilities and interests that existed within the community outside of long-held
stereotypes.
Public art Art that is accessible to all because of its location in a public space. Traditionally, this type of
art is designed for a purpose and may be commissioned by the caretakers of the public space to express this
perspective.
Reconstruction The attempt to resolve the remaining problems resulting from the American Civil War and
the Emancipation Proclamation. Reconstruction acted to reintegrate seceded states, determine the status of
ex-confederate leaders, and the constitutional status and legal rights of newly freed African Americans. The
early phase of Reconstruction focused on attempts by the Radical Republicans to equalize the “freedmen”
by giving them significant civil opportunity, such as the right to vote and own property. However, by the
end of the period, the effort had failed to provide African Americans with complete social, political and
economic equity.
Social Movement A series of collective behaviors performed by a group with a common goal, strategy,
and purpose. These actions represent an attempt to create or resist social change.
Trepied-a-Etaples Henry O. Tanner’s summer home in Etaples, France.
UNIA This organization, now known as the Universal Negro Improvement Association (UNIA), was
created to uplift all people of African ancestry, while respecting the rights of all peoples, through
community, charitable, social, economic and political efforts. Marcus Garvey founded the organization in
1917.
4
TIMELINE
Date
1847
Event
John and Eliza A. Johnson Scott, grandparents of Scott, settled at 1124
N. Senate Ave. in Indianapolis.
1850
More than 11,000 free African Americans reside in Indiana.
1861
The American Civil War begins.
1863
President Abraham Lincoln invokes the Emancipation Proclamation.
1865
The American Civil War ends and Reconstruction begins.
1877
Reconstruction ends.
1882
Edward Miles Scott and Caroline Russell, Scott’s parents, are married.
They have a daughter named Edna.
March 11, 1884
William Edouard Scott is born.
1895
The term “New Negro” is used in a Cleveland Gazette editorial. The
New Negro Movement begins.
June 1903
Scott graduates from Manual Training High School in Indianapolis. He
spends the summer in Chicago, where he sells some of his work.
Fall 1903
Scott begins work as an art assistant for Otto Stark in Manual’s art
department.
Sept. 26, 1904
Scott enrolls at The Art Institute of Chicago.
June 21, 1907
Scott graduates from The Art Institute of Chicago.
1909
Scott travels to France, where he studies at the Julian Academy and is
hosted by renowned artist Henry O. Tanner at Trepied-a-Etaples.
NAACP is created.
1911
Scott returns to Chicago.
1912
Scott’s work “La Pauvre Voisine” is accepted by the Paris Salon and sold
to the Argentine government. Scott returns to Europe. An exhibition of
his work is held at the Otto Stark Studio at 1722 N. Delaware St. in
Indianapolis.
5
TIMELINE CONTINUED
1913
Scott is commissioned to complete murals at Indianapolis Public Schools
#23 and #26.
June 1914
World War I begins. The Great Migration begins.
1915
Scott completes a mural for City Hospital (now Wishard Memorial
Hospital) in Indianapolis.
1917
The first U.S. chapter of the UNIA is formed.
1918
Scott returns to France.
June 1919
The Treaty of Versailles is signed and the WWI is officially over. The
Harlem Renaissance begins.
1921
The Emergency Quota Act is passed. The Ku Klux Klan rises to power in
Indiana.
1922
Scott marries Esther.
1927
Crispus Attucks High School opens in Indianapolis.
1928
Scott is presented with a gold medal for distinctive achievement in the
fine arts from the Harmon Foundation.
1929
The Great Depression begins and LULAC is formed.
1930
Scott’s daughter, Joan, is born.
1931
Scott receives the Julius Rosenwald Fellowship for study in Haiti.
1933
The “New Deal” era begins.
1939
World War II begins.
1943
Scott is a winner of the National Anonymous Mural Competition.
1945
World War II ends.
1955
Scott travels to Mexico City.
1957
Scott’s leg is amputated due to complications from diabetes.
May 16, 1964
Scott dies at the age of 80 in Chicago.
6
BACKGROUND TEXT FOR STUDENTS
A World-Class Artist
The Life and Times of William Edouard Scott
(1884-1964)
In the 19th century, much of what would become the United States remained in
wilderness. Pioneers of diverse cultures set out for a number of reasons to claim these
lands and a new future for their families. During that century, the country struggled with
the concepts of change, freedom and equality. This struggle resulted in the American
Civil War, which tore the country apart before bringing it back together. The
Reconstruction era was a painful, yet hopeful chapter of U.S. history. Newly freed
African Americans now had the opportunity to reinvent themselves and throw aside the
negative stereotypes that had been cast upon them by the institution of slavery. Ex-slaves
and free African Americans rose to be entrepreneurs, artists, doctors, farmers and even
senators.
More than 40 years before the Emancipation Proclamation in 1863, free people of color
and fugitive slaves had been creating vibrant and thriving communities in Indiana. They,
too, were pioneers and cleared the path for future African Americans, Asians, Hispanics
and other groups to participate fully in the making of Indiana history.
William Edouard Scott
In 1847, 14 years before the Civil War, William Edouard Scott’s grandparents, John and
Eliza Johnson Scott, traveled by oxcart from Salem, North Carolina, to make a home at
1124 North Senate Avenue in Indianapolis, Indiana. Members of the family lived there
until the death of Scott’s sister in 1954.
William Edouard Scott was born to Edward Miles Scott, the son of John and Eliza, and
Caroline Russell Scott, on March 11, 1884. As a boy, Scott attended Indianapolis Public
School #23 and Manual Training High School, which remains a part of Indianapolis
Public Schools today.
It was at Manual High School that Otto Stark, a prominent Indianapolis artist who taught
there, helped Scott develop his natural artistic abilities. Scott is primarily known for his
work as a painter, but in 1903, when he graduated from Manual, he intended to study
sculpting. Scott spent that summer in Chicago; while there he sold two painting and was
commissioned to draw plans for the design of an apartment.
7
William Edouard Scott (1884 -1964)
The Maker of Goblins, 1919
Oil on canvas
32 1/8 x 26 1/8
Signed lower left WE Scott
From the Johnson Collection
These experiences may have been the crucial
turning point in Scott’s career aspirations. He
returned to Indianapolis to assist in the art
department at Manual and is recognized as the first
person of color employed to teach in the
Indianapolis Public Schools. During this time, he
was able to continue studying with Stark; some
believe it was Stark who encouraged him to enroll
at The Art Institute of Chicago. In 1904, with only
$65 in his pocket, Scott began his studies there. His
obvious talent for drawing enabled him to
participate in higher-level classes from the time he
enrolled. In order to survive, Scott also swept
classroom floors, worked at a diner for his daily
meal and cut his own hair. As his artistic skill
increased, he began to receive cash prizes for his
work, through competition with other art students,
and these helped fund his studies.
By 1909, Scott had finished his studies at the Institute. He then traveled to Europe on
what would be the first of many trips. He spoke only a few phrases of French when he
arrived in France and often had to use his sketchbook and pen to communicate what he
wanted or needed. After just a few months, Scott had run out of money and had no place
to go. Fortunately Henry O. Tanner, a renowned African-American artist of the time who
had left the U.S. to escape the racism and prejudice that limited his work, invited Scott to
stay in his summer home at Trepied. One of Scott’s paintings, Rainy Night, Etaples, now
a part of the Indianapolis Museum of Art collection, is an example of his work during his
stay at Trepied. Scott ultimately settled in Chicago, though he continued to travel and
train as an artist throughout his life.
Early on in his career, Scott discovered that his main source of income would be
commissioned works of public art. He created numerous murals throughout the U.S.,
particularly in his home cities of Chicago and Indianapolis. Much of his work could be
found within public schools in Indianapolis — including a work in his own first grade
classroom — and in city hospitals, banks and community centers. He did not gain fame
for his portraiture until winning the Rosenwald Fellowship, at the age of 47, which
allowed him to travel to Haiti, where he produced more than 100 paintings in 13 months.
Scott used his classical training to paint images of African-American life that had
previously been ignored due to common stereotypes of the time. Instead, he chose to
paint the positive spirit of African Americans in a diversity of circumstances — poor or
rich, educated or uneducated. His images showed equal respect for all.
8
Like many other artists, Scott was influenced by the
social movements of his times. His work, along
with his peers, regardless of their differences in
opinion, was one part of a collective effort to
empower the community and to change the way that
a group of people was viewed. This effort
contributed to shaping the United States into what it
is today. The social movements listed on the
following pages were extremely important to the
life and work of William Edouard Scott. What are
some social movements in the past and present that
continue to affect us today?
Significant Social Movements
New Negro Movement (1894-1941)
The term “New Negro” was first noted in 1895 in the
William Edouard Scott (1884 -1964)
Cleveland Gazette’s editorial section. There has been
Les Misre, 1913
Oil on canvas
much debate about the true meaning of the term. At
65 x 52 5/8
the time, it related to the culture of the educated and
From the Shortridge High School
Collection
economically self-sufficient African-American
middle class. Artists of the time attempted to showcase the diversity of the community by
capturing images, often through classical or European-influenced techniques, of this part
of the African-American population in an effort to inspire other African Americans and
to create a new image of the people. Leaders of the movement wanted to showcase the
“equal” skill of African Americans in the arena of arts and education.
World War I (1914-1919)
Employment opportunities created by an increase in manufacturing, encouraged many
people to come to industrial cities. Due to the halt in European immigration during the
war, African Americans were able to take service industry jobs previously held by white
Americans. White Americans left those jobs to take the new higher-paying jobs in
manufacturing created by the war.
The Great Migration (1914-1950)
The promise of greater economic opportunities, freedom from Jim Crow Laws, and
higher-quality education encouraged great numbers of African Americans to move north.
This major migration from rural to urban centers was furthered by significant events such
as the boll weevil infestation of cotton crops, World War I and II, the post-war economic
boom, anti-immigration legislation that created a shortage of workers and the Great
Mississippi Flood of 1927.
9
Harlem Renaissance (1919-1935)
This movement was sparked by the mass migration of African Americans to the New
York City neighborhood of Harlem and the desire to transform the stereotypical images
of them. African Americans chose to empower themselves and forcibly change the way
they were represented in the arts and literature. They sought to remove all traces of
European influence from their work and to create something new that was of their own
design. Members of this movement worked to embrace what it meant to be of African
descent, and Pan-African themes and Modernistic style dominated. Primary members of
this movement frowned upon artists who continued to use classical techniques and
subject matter.
Nativism
Attempts to reestablish native cultural traits in order to prevent or avoid assimilation or
acculturation were evident around the world during Scott’s lifetime. In the U.S., antiimmigration laws, the Back-to-Africa campaign, the Harlem Renaissance and rise of the
Ku Klux Klan are some examples of this movement. However, this phenomenon can be
found worldwide in the Mexican Mural Renaissance, the development of the Nazi party
and European nationalism. Many other examples exist throughout history.
Great Depression (1929-1939)
The economic devastation that began in 1929 caused widespread poverty and
homelessness. A lack of jobs and lowered wages affected almost all Americans. Farmers
suffered as crop prices dropped drastically and cities with heavy industry came to a
standstill. The economic and social impact was severe.
New Deal (1933-1937)
“New Deal” was the title given to a series of government programs designed to provide
“relief, recovery and reform” to Americans during the Great Depression. In an effort to
raise morale and restore pride, the government funded public art that reflected the history
and culture of the United States. Murals were a popular form of public art during this
time.
World War II (1939-1945)
World War II remains a war like no other. Sixty-two million people died during those six
violent years. African-American soldiers went to war alongside other Americans to fight
for world freedom, though freedom continued to elude them at home. Back in the United
States, African-American men and women worked in factories dedicated to war
industries to support the soldiers overseas. The economic boom that followed the war,
along with increasing educational opportunities, helped the African-American middleclass grow.
10
Civil Rights (1945-1964)
This movement encompasses the ongoing effort to secure both legal and social rights to
equality and opportunity. Early attempts focused on litigation. Later, the movement
became increasingly physical through boycotts, sit-ins, marches, etc., and its members
demanded equal access to the liberty expressed in the ideals of the United States.
Eventually, the movement transformed itself into the Black Power Movement of the
1960s and ‘70s, which emphasized racial pride and self-sufficiency.
Questions
•
How do these movements relate to the life and work of William Edouard Scott?
•
What correlations exist between these movements and movements or events of
today? Explain.
11
CLASSROOM ACTIVITIES
Activity 1: The Life and Times of William Edouard Scott
Objectives:
• Students will learn about the life and times of William Edouard Scott.
• Students will consider how world events and social movements influenced Scott’s
work.
• Students will create a timeline that represents the events of Scott’s life along with
concurrent world events and social movements.
Indiana’s Academic Standards:
Social Studies: S.1.8, S.1.9, S.2.9, S.2.10, S.3.4, S.6.2, S.6.7, S.8.9, GHW.3.2
English/ Language Arts: 8.5.6, 8.5.7, 8.7.2, 8.7.4. 8.7.6, 8.7.10, 8.7.12, 9.2.3, 9.2.8, 9.7.6,
9.7.15, 9.7.19, 10.2.1, 10.2.2, 10.2.5, 10.4.6, 10.5.8, 10.7.6, 10.7.19, 11.4.8, 11.5.8,
11.7.6, 11.7.19, 12.4.8, 12.5.8, 12.6.2, 12.7.6, 12.7.19, SPC.1.7, SPC.1.19
Visual Arts: 8.1.1, 8.1.3, 8.2.1, 8.2.2, 8.2.3, 8.8.1, 8.9.1, 8.9.2, 8.10.1, 8.12.1, H.1.1,
H.2.1, H.2.2, H.2.3, H.8.1, H.8.2, H.9.1, H.10.3, H.13.1
Supplies:
Background information
Poster board
Markers
Scissors
Glue
Construction paper
Note: Students may need access to a computer and the Internet to complete this activity
and do further research.
Instructions:
1. In small groups, students will plot out the life of William Edouard Scott on a
timeline. The timeline should also include significant world and personal events,
as well as social movements, of the time.
2. Students will choose a movement and event that they feel influenced the artist
most. Teacher may choose to assign movements or events to each group.
3. Students are encouraged to do additional research about the event and/or social
movement using library resources and the Internet.
4. Students will present the timeline to the class and suggest how and why the
social movement and event that they chose impacted Scott’s life and work.
12
Enrichment:
Ask students to identify the push-pull factors in the migration of African Americans
throughout the timeline. Explore whether the same or different factors influenced the
movement of other groups.
13
Activity 2: From Senate Avenue to the World
Objectives:
• Students will create a map that notes Scott’s Indianapolis home and school.
• Students will use a world map to show Scott’s journey from Indianapolis as an
artist.
Indiana’s Academic Standards:
Social Studies: GHW. 6.3, S.2.10,
Visual Arts: 8.7.1, 8.7.3, 8.8.1, 8.9.1, 8.9.2, 8.10.1, 8.10.3, H.7.1, H.8.1, H.8.2, H.9.1,
H.10.3
Supplies:
Maps (city, country, and world)
Background information
Markers
Post-It Notes
Directions to Scott’s Indianapolis home and school (optional)
Students can also complete this exercise using the Internet and other technology
resources.
Instructions:
1. Students will use directions to find Scott’s family home and school on a city map.
Instructors have an opportunity to teach important resource skills involving
technology through the use of MapQuest or other search engines.
2. Students will then draw arrows to note Scott’s travel throughout the country and
the world.
3. Detail may be added by including the dates of this travel.
4. Class can discuss what was happening in those places when Scott lived or visited
there.
Discussion or Essay:
After the amputation of his leg in July 1958, Scott said: “I have always painted with my
hands, not my feet.” What does this statement tell us about Scott? In what other ways did
this attitude affect his life and work?
14
Activity 3: Definitions of an Artist
Objectives:
• Students will read George Schuyler’s article about “Black Art.”
• Students will read Langston Hughes’ response to Schuyler’s article.
• Students will compare the articles by representing one of the positions presented.
Indiana’s Academic Standards:
Social Studies: 8.1.27, 8.1.30, S.1.6, S.2.13, S.4.10, S.4.13, S.5.8, S.5.13
English/ Language Arts: 8.2.3, 8.2.4, 8.4.2, 8.4.3, 8.4.10, 8.4.5, 8.4.6, 8.5.4, 8.5.6, 8.5.7,
8.7.1, 8.7.2, 8.7.13, 9.2.3, 9.2.4, 9.2.8, 9.4.2, 9.4.13, 9.4.4, 9.4.5, 9.5.3, 9.5.4, 9.7.18,
10.2.2, 10.2.5, 10.2.4, 10.4.2, 10.4.13, 10.5.4, 10.6.3, 10.7.3, 10.7.5, 10.7.18, 11.3.5,
11.4.4, 11.5.9, 11.6.1, 11.6.2, 11.7.6, 11.7.17, 12.2.1, 12.2.4, 12.2.5, 12.2.6, 12.4.2,
12.4.4, 12.5.9, 12.6.1, 12.6.2, 12.7.6, 12.7.17, CMP.1.2, CMP.1.4, CMP.1.12, CMP.2.3,
CMP.3.1, CMP.3.2, SPC.1.4, SPC.1.6, SPC.1.17
Visual Arts: 8.1.1, 8.1.3, 8.4.2, 8.5.2, 8.6.1, 8.6.2, 8.12.1, H.4.2, H.5.2, H.6.2, H.6.3
Supplies:
Schuyler’s Article (See Articles, p. 30)
Hughes’ Article (See Articles, p. 30)
Instructor may choose to develop a list of other current and historical U.S. artists of
color. Students may then choose to use the life and work of one of those artists to further
defend or support Schuyler’s or Hughes’ position.
Instructions:
1. In small groups, students will read one of the articles (p. 30). Students will choose
(teacher may help if necessary) various literary jobs (p. 17-22) from which to
approach discussion and analysis of the text.
The reading and literary jobs may be assigned a day in advance. This will enable
students to be prepared for more in-depth discussion of the article.
2. Students will discuss the article within the previously assigned small group, using
their literary jobs to add greater depth to the discussion.
3. Class will share points about the positions expressed in both articles and its
relationship to Scott and/or other artists.
4. Students may be asked to use the article analyzed to complete a position paper
that includes references to Scott or a chosen artist.
OR
Teacher may choose to have students debate the positions held by Hughes’ and
Schuyler.
15
Discussion or Essay:
What were some challenges Scott faced as an artist in his times? Do artists face similar
challenges today? Why or why not (The class can define “artist” to include other creative
types.)
16
Activity 4: Public Art
Objectives:
• Students will discuss the factors that influence an artist’s work.
• Students will design an example of public art.
• Students will share work.
• Students will discuss what personally influenced their public art.
Indiana’s Academic Standards:
Social Studies: S.2.10, S.2.13, S.5.2, S.5.8, S.6.2, S.6.3, S.8.2, S.8.7
Visual Arts: 8.1.1, 8.1.2. 8.1.3, 8.2.1, 8.2.2, 8.2.3, 8.3.1, 8.3.2, 8.7.1,8.7.2, 8.7.3, 8.8.1,
8.9.1, 8.9.2, 8.10.1, 8.10.3, 8.12.1, 8.13.2, H.1.1, H.1.2, H.1.3, H.2.2, H.2.3, H.3.1, H.3.2,
H.4.2, H.5.2, H.7.1, H.7.2, H.7.3, H.8.1, H.9.1, H.10.3, H.12.1, H.13.2
Supplies:
Large sheets of butcher paper
Art supplies (markers, scissors, glue, construction paper, paint, chalk, etc.)
Analyzing Public Art worksheet (p. 23)
Instructions:
1. Teacher should encourage students to discuss examples of public art that they
have seen. Do not limit the discussion to traditional examples of public art.
Explore the idea of graffiti as public art. Do they agree with the idea that graffiti
is a form of public art? Why or why not? In all of the examples of public art that
they have experienced, what was the purpose? What was the purpose behind the
murals of Scott and his peers? What influences the content and type of artistry
seen? Teacher should help develop the conversation, but it should ultimately
become student-inspired.
2. After the discussion, students will work with partners to design their own public
art. Personal experiences and current or past events should inform the work.
3. Students will share work with class.
4. Class will apply analysis used in pre-activity to the work presented.
5. Students will share what influenced the work.
17
Literary Job: Discussion Director
Date: __________________
Article read: ___________________________________
As the Discussion Director, it is your job to write down some good questions that you
think your group would want to talk about. List at least five thought-provoking questions
below. (Think of these starters: Why ..., If ..., What ..., Who ... and How ...). Questions
should promote good conversation and insight about the article; they should be openended and should not encourage “yes” or “no” answers. Your main goal is to get the
group talking and to keep them on task with thought-provoking questions about what has
been read.
1.)
2.)
3.)
4.)
5.)
Self-assessment
Did your questions encourage conversation?
YES
NO
Was the conversation about the article?
YES
NO
Did you ask others about any questions that they may have had after reading the
article?
YES
NO
Did your group end the discussion with more understanding or insight about the
article?
YES
NO
18
Literary Job: Literary Luminary
Date: ____________________
Article read: ________________________
As the Literary Luminary, it is your job to read aloud parts of the article to your group in
order to help your group members remember some interesting, powerful, puzzling or
important sections of the text. You decide which passages or paragraphs are worth
reading aloud and justify your reasons for selecting them. Write the page numbers and
paragraph numbers on this form along with the reason you chose each passage. You must
choose at least three passages.
Some reasons for choosing passages to share might include:
* Pivotal events * Informative * Descriptive * Surprising * Scary
* Thought-provoking * Funny * Controversial * Confusing * Personally meaningful
Location
Reason for choosing the passage
Page _____
Paragraph
___
Location
Reason for choosing the passage
Page _____
Paragraph
___
19
Reason for choosing the passage
Location
Page _____
Paragraph
___
Self-assessment
Did you choose three passages?
YES
NO
Did you include the reason for your choices?
YES
NO
Did you encourage others to share passages that they wanted to explore further?
YES
NO
20
Literary Job: Summarizer
Date: __________________________
Article read: ______________________________________
As the Summarizer, your job is to prepare a short summary of the article. Be sure to
include the general purpose of the article, important points and/or positions, and main
ideas. The role of the Summarizer is extremely important to the work of the group. Your
job is to help everyone understand the overall idea or meaning of the article.
Summary of article:
Self-assessment
Did you include the important points of the article?
YES
NO
Do you feel that your work gave your group the overall perspective of the article?
Was your summary clear?
YES
NO
YES
NO
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Literary Job: Investigator
Date: ___________________
Article read: _____________________________________
As the investigator, your job is to find background information on any topic related to the
article. Topics that may relate to the article can include historical (dates/events),
geographical (locations), cultural (social movements, visual and creative arts, politics,
etc.) information. You may even consider finding out more about the author. Any
information you find may add insight to your group’s understanding of the article and the
author’s position.
Found facts:
Self-assessment
Did you complete your job?
YES
NO
Did you share at least four interesting pieces of information?
YES
NO
Did the information add to your group’s discussion?
YES
NO
Did the information found relate to the article?
YES
NO
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Literary Job: Illustrator
Date: __________________
Article read: ____________________________
As the illustrator, it is your job to bring the article and its message to life through artistic
creativity. You may choose how you want to represent the article. You may draw, paint
or create a collage to express the ideas behind the article. You may write a poem or give a
musical interpretation. You will then share your work with the group and explain what
parts of the article influenced your artistic choice. Your work should inspire some
interesting conversation within your group and encourage group members to think of the
different ways that ideas can be shared. Have fun!
In the space below, describe what you shared and how it represents ideas or
information from the article.
Self-Assessment
Did you complete your project?
YES
NO
Did your project reflect the ideas of the article?
YES
NO
Were you able to explain to your group why you felt that your project was relevant?
Did your project create more discussion?
YES
NO
YES
NO
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Analyzing Public Art
William Edouard Scott was well known as a muralist. Much of his art appeared in
schools, government buildings and other public spaces. Muralism was highly popular
during his lifetime and played an important role in society. Use this worksheet given to
analyze the murals of Scott and his peers.
What are the characters/objects in the scene?
What are the characters doing or what is happening to them?
Is there a relationship between the characters or objects?
What is the message that the artist seems to be expressing?
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POST-TEST
Name: ______________________________
1. African Americans living in Indiana before the Emancipation Proclamation were
…
a. Slaves, indentured servants and free people
b. Slaves
c. Free people
d. None lived in Indiana
2. What year did William Edouard Scott’s family arrive in Indianapolis?
a. 1750
b. 1847
c. 1900
3. What sparked the “New Negro Movement?”
a. World War I
b. Reconstruction
c. The Civil War
4. Where did William Edouard Scott attend school?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
5. Who were some of Scott’s artistic mentors?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
6. What are some of the characteristics of art from the Harlem Renaissance?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
7. What are some of the major social movements of Scott’s lifetime?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
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8. How are these social movements important to understanding Scott?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
9. In what ways did Europe influence artists of color during Scott’s life?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
10. What is the primary way that Scott earned his living?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
11. What is public art and what was its significance during Scott’s life?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
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Evaluation (Optional):
A point scale can evaluate student’s work during lessons. Teachers can also customdesign an evaluation that could include observation, a numeric rating scale and/or class
discussion.
Student Evaluation (Optional):
Tell students the word “evaluate” means to weigh, to judge or to determine the value of
something. The most important evaluator is the student. Give each student a copy of the
“I LEARNED…” worksheet with each activity. Instruct them to turn their answers in
with the assignment. Together as a class go over their questions and answers, discussing
how the answers to these questions could help the students to judge the quality of their
own work and improve it.
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“I LEARNED …” QUESTIONS
Name___________________________
Date__________________
1. What were you expected to do for this assignment?
2. In this assignment, what did you do well?
3. If you had to do this assignment over, what would you do
differently?
4. What help do you need from me?
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LESSON PLAN EVALUATION
Your feedback is important to us. We welcome your comments to help us plan lessons in
the future. Please check your responses and return to the Indiana State Museum. You may
return the evaluation by mail, fax, or e-mail to: Joanna Hahn, Cultural History Program
Specialist, jhahn@dnr.in.gov.
1. Please indicate the lesson plan you received:
James Whitcomb Riley
Lick Creek African-American Settlement
Indiana’s Ice Age Animals
Indiana Fossils
A World-Class Artist: The Life and Times of William Edouard Scott (1884-1964)
Her Stories: 10 Hoosier Women Students Should Know
2. Did you find the lesson plan easy to understand and use?
Yes ___
No ___
Not sure ___
If “no,” what was the problem? ________________________________________
__________________________________________________________________
3. Were the connections to the state standards appropriate?
Yes ___
No ___
Not sure ___
Comments: ________________________________________________________
4. Was the length of this lesson plan
Too short? ___
Too long? ___
Just right? ___
Comments: ________________________________________________________
5. Was the lesson plan appropriate for the grade/ability level of your students?
Yes ___
No ___
Not sure ___
Comments: ________________________________________________________
6. What activity did your students like the best? ______________________________
7. What activity did your student like the least? _______________________________
Why? _______________________________________________________________
How could we improve it? _______________________________________________
Additional comments: _____________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
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