This module is designed to highlight the many contributors to the advancements in space science—those who most often receive recognition and those who are often overlooked. To set up this juxtaposition for students, Unit 1 is designed to provide background information about the Space Race of the 1960s, featuring popular accounts of this historic course of events. Students generate excitement about the topic by watching videos, viewing images, and reading primary sources about the Space Race, a competition between the United States and the Soviet Union to be the first country to land an astronaut on the moon. Students learn how the Space Race supported advancements in math and science and notice which figures are highlighted in these sources.

As students build their background knowledge, they practice citing text evidence, identifying central idea(s), and determining the points of view expressed in the different texts. Critical to their understanding of this time period is the exposure to varying perspectives, including those who believed the funds used to send humans to the moon could be better spent improving the lives of the destitute and depressed at home. Students learn to trace the arguments in these claims by identifying the evidence and reasoning that supports these views. Once students begin their reading of the anchor text, Hidden Figures (Young Readers’ Edition) by Margot Lee Shetterly, in Unit 2, they will have the necessary background to better appreciate the contributions of the black women of NASA and how they impacted scientific and social progress in the face of both racial and gender discrimination.

In Unit 1, students built background knowledge about the historical context of the Space Race and the Apollo 11 mission featured in the anchor text. As students segue into Unit 2, they begin to recognize that many others contributed to the success of the missions beyond those most commonly recognized in history. This is made clear by reading selections from the anchor text, Hidden Figures (Young Readers’ Edition).

In the first half of Unit 2, students read the first nine chapters of Hidden Figures, which provide context for the contributions of the West Computers, the segregated pool of female African American mathematicians, and highlight the specific story of one hidden figure, Dorothy Vaughan. The Mid-Unit 2 Assessment, focused on passages from chapter 9, will evaluate students’ abilities to effectively determine the central idea(s) and the author’s point of view and purpose in a text, as well as discern figurative, connotative, and technical meanings of words as they are used in a text.

In the second half of Unit 2, students switch to a Jigsaw protocol, for which the chapters about hidden figure Mary Jackson are divided between Groups A and B. This protocol makes reading the text more manageable and allows students to co-construct knowledge about the topic by sharing what they have learned about Mary Jackson from their assigned chapters and listen to the knowledge shared by their peers studying the other chapters. Building on students’ learning from reading multiple texts and text types on the same topic, the End of Unit 2 Assessment will evaluate students’ ability to compare and contrast portrayals of the same individuals and events across texts.

In Unit 2, students selected and began conducting research about their focus figures: other important individuals in space science whose contributions have gone unrecognized. In Unit 3, they continue this research and prepare to write argument essays. First, they revisit the Painted Essay® to develop a deeper understanding of argument essay structure. As in previous modules, students deconstruct a model argument essay (about Dorothy Vaughan) and then complete a collaborative essay (about Mary Jackson or Katherine Johnson) that addresses a similar prompt. In each lesson, students examine aspects of the argument essay model and practice using it in their own writing. Using textual evidence about their focus figure (W.6.9), students generate sound argument essays (W.6.1, W.6.10) to answer the prompt: Why are my focus figure’s accomplishments remarkable?

After writing their independent essays for the mid-unit assessment, students move toward the culmination of the module: the development of a class picture book that highlights the key achievements of students’ chosen focus figures. In triads with their “crewmates,” students use narrative nonfiction writing techniques to produce three pages about their focus figures, complete with creative illustrations. Students then develop and deliver presentations, which serve as Part 1 of the End of Unit 3 Assessment. Students present their claims about why their focus figure’s accomplishments are remarkable, demonstrating appropriate presentation skills (SL.6.4) and a command of formal language (SL.6.6) and using their picture book illustrations as visual support (SL.6.5). As students listen to one another’s presentations, they practice delineating the arguments put forth by their classmates (SL.6.3). Part 2 of the assessment centers around a culminating discussion, during which students summarize and reflect upon key learning across the module (SL.6.1).

In Module 4, students learn about remarkable accomplishments in space science, paying special attention to accomplishments and people that may have been overlooked until recently. After reading supplemental texts to learn about key events and well-known figures of the Space Race, students begin their anchor text, Hidden Figures (Young Readers’ Edition) by Margot Lee Shetterly. This tells the story of the “West Computers,” the first black women hired by the National Advisory Committee for Aeronautics (NACA, later NASA), which had previously enforced discriminatory hiring policies. The work of these tremendously talented mathematicians, like Dorothy Vaughan, Mary Jackson, and Katherine Johnson, led to major advances in space science and helped land human beings on the moon. Major tasks in the module provide opportunities for students to uncover and uplift the stories of these and other hidden figures who have typically not been centered in popular accounts of space science.

Across the eight lessons of Unit 1, students read engaging informational texts about important events in the Space Race of the mid-twentieth century, leading up to the Apollo 11 moon landing. In the first half of Unit 1, much of the work around these texts is related to point of view (e.g., John F. Kennedy’s point of view toward space travel). In the mid-unit assessment, students apply this work to a new text, analyzing the author’s point of view toward the Apollo 11 astronauts and mission and toward the future of humans in space. The informational texts of the second half of Unit 2 add deeper complexity to students’ understanding of the Space Race. Students read arguments that challenge the United States’ decision to invest in space exploration, especially when civil rights abuses were taking place at home. In preparation for the end of unit assessment, which features similar tasks, students practice tracing the arguments posed in these texts, identifying the authors’ main claims and identifying the evidence and reasoning that the authors use to support their claims. This unit helps students build critical context needed to frame and understand the content and focus of Units 2 and 3.

In Unit 2, when students begin reading Hidden Figures, they quickly discover that popular accounts of the Space Race have generally overlooked the contributions of the West Computers. In the first half of Unit 2, students analyze the way that Shetterly introduces and illustrates Dorothy, Mary, and Katherine in the text. Students also practice identifying claims about the West Computers that can be supported using evidence from the text. Students apply this learning and complete similar tasks during the mid-unit assessment. In the second half of Unit 2, and on the end of unit assessment, students read supplemental texts about the West Computers and compare and contrast the authors’ presentations of events with Shetterly’s presentation of the same events in Hidden Figures.

In Unit 3, students revisit the Painted Essay® structure to analyze a model argument essay that addresses the prompt: What makes Dorothy Vaughan’s accomplishments remarkable? Using a similar prompt about Mary Jackson or Katherine Johnson, students write collaborative argument essays that prepare them to produce independent arguments later in the unit. Informed by research conducted across Units 2 and 3, students’ independent essays present arguments about the remarkable accomplishments of their focus figure: a major contributor to space science, outside of the anchor text, whose important work is also comparatively unknown. The performance task of Module 4 invites students to create illustrated pages for a narrative nonfiction picture book about the accomplishments of focus figures. These picture books provide engaging visual support to students’ presentations of their focus figure arguments during the end of unit assessment. During this assessment, students also delineate the arguments of their classmates and reflect on their learning across the module as a whole.

Students begin Unit 1 by reading the novel A Long Walk to Water. The focus of the first half of the unit of reading is catching questions about the conflict described and analyzing how the setting shapes the characters and plot and how an author develops and contrasts the points of view of different characters in the text. In the second half of the unit, students begin to analyze how themes have developed throughout the story so far. Students also create discussion norms in order to have productive discussions about the text at the end of the unit.

A Long Walk to Water contains references to sensitive topics such as war (including the violent death of family members and children), displacement, family separation, hunger, thirst (including death from lack of water), refugee camps, violent deaths from wild animals, and serious illness of family members. These issues must be carefully and sensitively discussed to give students context as they read the story. Speak with students and families in advance, especially those who may have sensitivity to topics discussed.

In this unit, students begin to read literary nonfiction texts at their level as they choose independent research reading texts. There are Independent Reading Sample Plans in online resources with ideas on how to launch independent reading. Students should complete 20 minutes of independent research reading for homework when they are not reading a chapter from the anchor text. Students should also continue independent research reading over weekends.

Students begin the unit researching to answer the questions generated while reading A Long Walk to Water during Unit 1, including questions about Lost Girls. While researching, students determine two or more central ideas in informational texts and provide objective summaries of them. Students also watch clips of the documentary God Grew Tired of Us, about the Lost Boys of Sudan, analyzing the main ideas and supporting details and explaining how the ideas clarify what they have been researching. In the second half of the unit, students use the Painted Essay® structure to write an informative essay comparing and contrasting how the novel and an informational text deal with the subject matter of the Lost Children of Sudan.

For homework, students continue to read chapters of A Long Walk to Water in preparation for reading and discussing them in class. When they are not reading the anchor text, they should continue their independent research reading for at least 20 minutes and respond to a prompt. Additionally, students should continue independent research reading over the weekends.

Students begin Unit 3 comparing A Long Walk to Water to the audiobook version of the text, exploring how authors and readers develop tone, mood, and expression. Students draw on this exploration as they start the second half of the unit, planning and then writing a narrative children’s book about a Lost Boy or Girl of Sudan. Through mini lessons and independent planning work, students focus on developing characters, settings, plot points, and narrative techniques such as pacing, description, and dialogue. Once students complete a draft of their narrative, they convert it into an ebook and publish it by sharing it with others, especially elementary school children.

For homework, students continue to read chapters of A Long Walk to Water in preparation for reading and discussing them in class. When they are not reading the anchor text, they should continue their independent research reading for at least 20 minutes and responding to a prompt. Additionally, students should continue independent research reading over the weekends.

What can we learn from those who have survived the greatest tragedies and become even more determined to help others? How can we share these kinds of stories to inspire and educate? In this module, students develop their ability to analyze narratives and create their own stories as they learn about the Lost Boys and Girls of Sudan and the lessons revealed through their journeys.

Students begin Unit 1 reading the novel A Long Walk to Water. The focus of the reading is on how the setting shapes the characters and plot, how an author develops and contrasts the points of view of different characters in the text, and how themes are developed throughout the story. As they analyze and discuss the text, students also create discussion norms in order to have productive discussions about the text at the end of the unit.

Students begin Unit 2 researching to answer the questions generated while reading A Long Walk to Water during Unit 1, including questions about the Lost Girls of Sudan. While researching, they determine two or more central ideas in informational texts and provide objective summaries of them. Students also watch clips of the documentary God Grew Tired of Us about the Lost Boys of Sudan, analyzing the main ideas and supporting details and explaining how the ideas clarify what they have been researching. In the second half of the unit, students write a compare and contrast essay looking at how an informational text about the Lost Children of Sudan and the novel treat similar subject matter.

Students begin Unit 3 comparing A Long Walk to Water to the audiobook version of the text, exploring how authors and readers develop tone, mood, and expression. Students draw on this exploration as they start the second half of the unit, planning and then writing a narrative children’s book about a Lost Boy or Girl of Sudan. Through mini lessons and independent planning work, students focus on developing characters, settings, plot points, and narrative techniques such as pacing, description, and dialogue. For their performance task, students refine their narratives and convert them into ebooks to publish and share with others, especially elementary school children.

In Unit 1, students read chapters of the text Patient Zero and explore two related questions that thread through the entire module. One question relates to the people who have sought to understand and manage epidemics: the scientists, curious individuals, and epidemiologists whom we refer to as “epidemic detectives.” What were these people’s mindsets and contributions, and how did they behave differently from those around them? The other question relates to what an epidemic is, in general, and what a medical or biological epidemic is, in particular. What characteristics did the large-scale disease outbreaks that we refer to as epidemics have in common, and how do they spread? Exploring these foundational questions about epidemics and the people who “fought” them provides the conceptual scaffolding and some of the terminology necessary for extending the study of medical epidemics to social epidemics in Unit 2.

Students will read three chapters from the anchor text, Patient Zero, examining examples of epidemics in the 17th century to the early 20th century. In the first half of the unit, students examine the wide variety of text features and structures incorporated in each chapter of Patient Zero, as well as how major sections contribute to the whole text and the development of ideas. Students will practice determining the meanings of words and phrases, especially technical terms associated with epidemiology. In the second half of the unit, students focus more on the interactions among the individual epidemiologists or scientists, the events during the epidemics, and the ideas about disease at the time, as well as consider the mindsets, tools, and character traits that enabled the scientists to solve these medical mysteries. Students also practice determining the impact of word choice on meaning and tone.

Please note that students do not read about the COVID-19 pandemic in this unit; however, there are references to this pandemic in some of the chapters in Patient Zero. Students are given opportunities to share and discuss their experiences of epidemics.

Patient Zero contains references to sensitive topics such as disease and death as well as the conditions that contribute to disease. These issues must be carefully and sensitively discussed, particularly when making connections to the COVID-19 pandemic, to give students context as they read the story. Consider speaking with students and families in advance, especially those who may have sensitivity to topics discussed.

In this unit, students begin to read nonfiction texts at their level as they choose independent research reading texts. There are Independent Reading Sample Plans (see the Tools page: http://eled.org/tools) with ideas on how to launch independent reading. Students should complete 20 minutes of independent research reading for homework when they are not reading a chapter from the anchor text. Students should also continue independent research reading over weekends.

In Unit 2, students transfer the knowledge about how scientists think about and investigate medical epidemics to the study of social epidemics. Students are introduced to the topic of social epidemics through various articles that describe the basic terms and theories behind social and emotional contagion. They practice summarizing the central ideas of the articles as well as delineating and evaluating their claims. In small groups, students engage in discussions in preparation for the mid-unit assessment, a text-based discussion in which students evaluate whether the authors of an article have provided sufficient evidence and reasoning for their claims connecting social and disease epidemics.

In the second half of the unit, students learn and practice the skills necessary for completing their end of unit assessment, an informative essay that answers the question: How do social scientists use ideas from the study of epidemics to understand and explain human behavior? Students engage in the full writing process, from planning to drafting to peer critique to revision. By the end of the unit, students will be able to think critically about the latest research about how emotions, ideas, and behaviors spread. This will prepare them for further investigation of the topic in Unit 3, as they engage in their own research and develop a podcast script related to a social or disease epidemic.

In this unit, students continue to read nonfiction texts at their level as they choose independent research reading texts. Students should complete 20 minutes of independent research reading for homework when they are not reading a chapter from the anchor text. Students should also continue independent research reading over weekends.

In Unit 3, students work in triads to create a podcast about a social or medical epidemic that concerns them or their community. Over the course of the unit, students will choose an epidemic topic, conduct research, write a script for their podcast, and use technology to record and sound edit their podcast. Students begin creating this podcast by listening to an exemplar podcast and reading a model podcast script. Students analyze what makes these model podcasts strong and build a criteria for success from their observations. Students then begin researching to gather information for their podcast, participating in a series of mini-lessons as needed to review research skills learned in Module 1, such as refining research questions, creating a research note-catcher, generating search terms, and evaluating the relevance and credibility of sources. Additionally, students consider how individuals, events, and ideas in their epidemic interact as they research. For students who may wish to research the COVID-19 pandemic, there is a chapter in Patient Zero that will support this research, as well as a lot of information available online. Encourage students who wish to research this topic to be sensitive to other students in the class who may have lost friends or family members in the pandemic or were significantly impacted in other ways. For the mid-unit assessment, students first read an article and answer questions to analyze the interaction of individuals, events, and ideas in a text. In the second part of the mid-unit assessment, students then conduct their own research to answer a question prompted by the article read in the first part of the assessment.

In the second half of Unit 3, students work in their triads to plan, write, and create their podcast. First each member of the triad drafts a narrative lead, being sure to include narrative elements such as a hook, characters, and the important events of the epidemic. Then triads spend time combining and refining these narratives into one strong lead for their podcast script, being sure to include narrative techniques such as dialogue, pacing, and description. Students then divide the rest of the script-writing among the members of their triad to write the remaining three sections of the script: the social and scientific ideas, the tools/mindsets/habits of character, and the message or lessons learned. Based on peer feedback from a tuning protocol, students revise their script to present their research findings in a coherent and engaging manner, using formal English when appropriate and eliminating wordiness and redundancy when necessary. Students also practice presenting their scripts in their triads and then for another triad of classmates to receive feedback on their presentation skills of adequate volume and clarity. For their end of unit assessment, students present their script to their classmates, focusing on all the skills they practiced and tuned throughout the unit: coherence and organization of information, volume, clarity, and formal, conventional English. During the performance task lessons, students turn their podcast presentations into actual podcast recordings with music and sound effects. Students must learn and use sound-editing skills as well as collaboration within and across triads to produce a high-quality podcast to publish for their classmates, community, or even the world by posting it online.

How do epidemics begin and spread? How do human responses help or hinder during trying times? Can the way we think about medical outbreaks tell us anything about how we should think about human behavior? In this module, students explore epidemics in many forms: historical and current, medical and social. While students learn about the scientific investigation and medical intervention in these outbreaks, they also focus on the social and cultural responses to develop a model of how best to respond to challenging circumstances. Students also examine the ways that the concept of “contagion” is applied to human behavior and ultimately explore the question of why we behave the way we do.

In Unit 1, students begin exploring the history of medical epidemics and focus on people’s mindsets and contributions, and how they behaved differently from those around them. Students define what a medical or biological epidemic is, answering questions such as: what characteristics do the large-scale disease outbreaks that we refer to as epidemics have in common, and how do they spread? Exploring these foundational questions about epidemics and the people who “fought” them provides the conceptual scaffolding and some of the terminology necessary for extending the study of medical epidemics to social epidemics in Unit 2. Students read three chapters from the anchor text, Patient Zero, examining the wide variety of text features and structures incorporated in each chapter of Patient Zero, as well as how major sections contribute to the whole text and the development of ideas. Students also practice determining the meanings of words and phrases, especially technical terms associated with epidemiology. In the second half of the unit, students focus more on the interactions between the individual epidemiologists or scientists, the events during the epidemics, and the ideas about disease at the time, as well as consider the mindsets, tools, and character traits that enabled the scientists to solve these medical mysteries. Students also practice determining the impact of word choice on meaning and tone.

In Unit 2, students transfer the knowledge about how scientists think about and investigate medical epidemics to the study of social epidemics. Students are introduced to the topic of social epidemics through various articles which describe the basic terms and theories behind social and emotional contagion. They analyze the articles both for central ideas and argument in order to evaluate whether the authors of an article have provided sufficient evidence and reasoning for their claims connecting social and disease epidemics. Students respond to the broader question of how learning from social epidemics is applied to medical epidemics both in formal discussion and informative writing.

In Unit 3, students begin by listening to exemplar podcasts and reading a model podcast script about epidemics and how people responded to them. They analyze what makes these podcasts strong and build criteria for success based off of their observations. Using these models as a template, students embark on researching an epidemic of their choosing. They gather research around the epidemic stories, toolkit, character traits, and message. In triads, students plan, write, and revise a narrative nonfiction podcast script. For their end of unit assessment, students present their script, focusing on coherence and organization of information, volume, eye contact, clarity, and formal, conventional English. Next, they find sound effects, and then finally, they record and splice together the podcast. In the end, they have a podcast created with craftsmanship to publish for their classmates, school, or even the world.

Please note that students do not read about the COVID-19 pandemic in the assigned reading in this module; however, there are references to this pandemic in some of the chapters in Patient Zero. For those students who may wish to research the COVID-19 pandemic in Unit 3, there is an entire chapter in Patient Zero dedicated to this topic.

Students begin the unit exploring collaboration in the Harlem Renaissance, noting how the Harlem Renaissance was an explosion and confluence of art, music, and literature. Throughout the first half of the unit, students explore literary texts, and the art and music they inspired, to develop their ability to compare and contrast these versions and analyze the effects of techniques unique to each medium and note thematic connections. First, students examine scenes and songs from the iconic Broadway musical Shuffle Along. They experience this celebratory text, which transformed American musical theater and was created through the collaboration of Eubie Blake, Noble Sissle, F. E. Miller, and Aubrey Lyles. Students analyze the text’s literary techniques, including figurative language such as allusion and metaphor. Next, students analyze the songs’ musical techniques—volume, tone, and tempo—noting how the musical and textual techniques affect meaning and develop themes such as love persevering through tough times. For the mid-unit assessment, students examine the thematic connections between the poem “Lift Every Voice and Sing” by James Weldon Johnson and the song and sculpture inspired by the text. Students compare the different versions, analyzing the effects of the techniques unique to each medium and how they develop themes around how black Americans collaborate to survive, thrive, and create art.

In the second half of the unit, students continue exploring Harlem Renaissance literature by analyzing poems that develop themes about drawing strength from the past and persevering to achieve dreams. First, students analyze “The Negro Speaks of Rivers” by Langston Hughes, learning how the structure and figurative language develops themes about black Americans connecting to and drawing strength from their African roots. Next, students analyze the poems “Calling Dreams” and “Hope” by Georgia Douglas Johnson, noting how she uses more formal structures and figurative language to develop themes about black Americans achieving their goals despite great obstacles. For the end of unit assessment, student learning is assessed with selected and constructed response questions about the structure, language, and themes in Claude McKay’s “I Shall Return.” Finally, students compare McKay’s poem to artwork by Meta Warrick Fuller and Winold Reiss for thematic connections around drawing strength from and longing for home or Africa. The unit concludes with a collaborative discussion about how all the poems and artwork examined in the unit relate thematically.

Students launch the second unit with a Build Background Knowledge protocol, reading short informational texts and examining visual art to further develop their sense of the social and political context of the Harlem Renaissance. They explore the context of the Harlem Renaissance, noting how the Harlem Renaissance occurred during the Great Migration, Jim Crow laws, and the racial violence of post-Civil War America. Students read two short stories, “His Motto” by Lottie Burrell Dixon and “The Boy and the Bayonet” by Paul Laurence Dunbar. Students explore character, plot, setting, theme, language, and point of view in these short stories. Additionally, students discuss how both stories develop themes about working hard to achieve dreams and how community helps to bring out our best selves. For the mid-unit assessment, students examine the third part of “The Boy and the Bayonet” for how particular elements of a story interact and how the author develops and contrasts the points of view of different characters.

In the second half of the unit, students continue to explore the context of the Harlem Renaissance by analyzing how the theme of looking to the past for strength and hope connects examples of its artwork and text. Students begin this work by examining a model literary argument essay, discussing how three pieces of work from the Harlem Renaissance are connected by this theme. Next, students study the introduction, Proof Paragraphs, and conclusion of the model literary argument essay as they work collaboratively to plan and write their own pair literary argument essay. This pair essay explores the theme of how collaboration and community bring out the best in people. In the end of unit assessment, students independently write their own literary argument essay about how three works from the Harlem Renaissance are connected by the theme of dreams giving life meaning and purpose.

Students launch the third unit with a Build Background Knowledge protocol, examining short informational and literary texts, visual art, and performances to further develop their sense of how the Harlem Renaissance continues to impact us today. They explore the legacy of the Harlem Renaissance through Nikki Grimes’ poem “Emergency Measures,” original artwork associated with the poem, and Alvin Ailey American Dance Theater’s ballet, “Uptown,” which was inspired by the people, places, art, music, and writing of the Harlem Renaissance. In the first half of the unit, students study Nikki Grimes’ poetry in conjunction with the poetry of the Harlem Renaissance. In her poems, Grimes uses the Golden Shovel method, whereby one line of text from a Harlem Renaissance poem becomes a part of her poetry. Grimes pairs her poem “On Bully Patrol” with Georgia Douglas Johnson’s “Hope” and her poem “David’s Old Soul” with Langston Hughes’ “A Negro Speaks of Rivers.” Students study these pairings for structure, language, and theme. They also explore the Golden Shovel approach by writing one or more poems borrowing lines from other Harlem Renaissance poems. For the mid-unit assessment, students examine the structure, figurative language, and themes in Nikki Grimes’ “The Sculptor” and its paired poem, Georgia Douglas Johnson’s “Calling Dreams”. Throughout the first half of the unit, students learn the relevance of the themes of the Harlem Renaissance in contemporary poetry.

In the second half of the unit, students continue exploring the legacy of the Harlem Renaissance by creating a museum exhibit. It includes three pieces from the Harlem Renaissance and one contemporary piece that they have studied or created themselves, such as their Golden Shovel poems developed in the beginning of the unit. Students write a curator’s statement explaining how the works are connected by theme and create labels discussing the structure, language, and theme of each piece. For the end of unit assessment, students’ presentation skills are assessed in a presentation of a visual piece from the exhibit, the label for the piece, and the curator’s statement. Students revise their presentation, curator’s statements, and labels in two distinct Tuning Protocols: one for presentation skills and one for writing content. The unit concludes with a Harlem Renaissance museum, in which students contribute to making a better world by sharing these important works with their community.

Can we “find fuel for the future in the past”? Poet Nikki Grimes asks this question in her poem “Emergency Measures,” the first in her collection One Last Word: Wisdom from the Harlem Renaissance. As Grimes does in her book, students will spend the module pondering the wisdom from works created during the Harlem Renaissance. First students will explore scenes and songs from a play, poems, and artwork to experience the explosion of creativity and ideas of collaboration and innovation. Then students examine political artwork and cartoons, informative articles, and short stories to explore the social and political context of the Harlem Renaissance. Finally, students explore the legacy of the Harlem Renaissance, turning back to Nikki Grimes and her collection of poems crafted with lines from Harlem Renaissance poets. Students consider whether they and contemporary writers, singers, and musicians truly can “find fuel for the future in the past.”

In Unit 1, students explore collaboration in the Harlem Renaissance, noting how the Harlem Renaissance was an explosion and confluence of art, music, and literature. Students first examine scenes and songs from the Broadway musical Shuffle Along, experiencing this celebratory text that transformed American musical theater and was created through the collaboration of Eubie Blake, Noble Sissle, F. E. Miller, and Aubrey Lyles. Students analyze how the musical and textual techniques in the play affect meaning and develop themes such as love persevering through tough times. Similarly, students explore the thematic connections of triumph over hardships in the poem “Lift Every Voice and Sing” by James Weldon Johnson and the song and sculpture inspired by the text. Students then analyze iconic poems such as “The Negro Speaks of Rivers” by Langston Hughes, “Calling Dreams” and “Hope” by Georgia Douglas Johnson, and Claude McKay’s “I Shall Return.” In each of these poems, students analyze the structure, figurative language, and themes such as drawing strength from the past and overcoming adversity to fulfill one’s dreams. Students conclude their exploration of collaboration and cultural confluence in a collaborative discussion comparing McKay’s poem to artwork by Meta Warrick Fuller and Winold Reiss for thematic connections around drawing strength from and longing for home or Africa.

In Unit 2, students explore the social and political context of the Harlem Renaissance by reading short informational texts and examining visual art. Students learn how the Harlem Renaissance occurred during the era of the Great Migration, Jim Crow laws, and the racial violence of post-Civil War America. They then read two short stories, “His Motto” by Lottie Burrell Dixon and “The Boy and the Bayonet” by Paul Laurence Dunbar, analyzing point of view and the interactions between story elements, such as character, plot, and setting. Additionally, students discuss how both stories develop themes about working hard to achieve dreams and how community helps to bring out our best selves. Students continue their exploration of the Harlem Renaissance context by engaging with literary argument writing. Students examine a model literary argument essay then write pair and independent essays, discussing how three pieces of work from the Harlem Renaissance are connected by themes such as looking to the past for strength, collaboration and community to bring out one’s best self, and dreams giving life meaning and purpose.

In Unit 3, students explore the contemporary legacy of the Harlem Renaissance by examining short informational and literary texts, visual art, and performances to further develop their sense of how the Harlem Renaissance continues to impact us today. To develop their background knowledge about this legacy, students analyze Nikki Grimes’ poem “Emergency Measures,” original artwork associated with the poem, and Alvin Ailey American Dance Theater’s ballet, “Uptown,” which was inspired by the people, places, art, music, and writing of the Harlem Renaissance. Then students study several of Nikki Grimes’ poems in conjunction with the poetry of the Harlem Renaissance, learning how Grimes uses lines from poets such as Langston Hughes and Georgia Douglas Johnson to create her own poems which develop themes similar to those of the Harlem Renaissance but in a contemporary context. Students continue their exploration of the legacy of the Harlem Renaissance by creating a museum exhibit, which includes three pieces from the Harlem Renaissance and one contemporary piece that they have studied or created themselves. Students write a curator’s statement explaining how the works are connected by theme and create labels discussing the details of structure, language, and theme in each piece. Students practice and revise the presentation of their curator’s statements and labels preparing for the Harlem Renaissance museum, in which students contribute to making a better world by sharing these important works with their community.

In the first half of Unit 1, students are introduced to the topic of plastic pollution and how it affects humans, animals, and the environment. First, students infer the topic of plastic pollution through a scavenger hunt throughout the school (or classroom), in which they document plastic use, waste, and pollution in their environment. Students then begin studying the documentary A Plastic Ocean, noting the transcript’s portrayal of a subject as compared to the film’s portrayal. Students also analyze the film’s main ideas and supporting details, as well as how the ideas in the video introduce the issue of plastic pollution. Students identify and analyze the speakers’ arguments by evaluating their claims as well as the soundness of their reasoning and the relevance and sufficiency of their evidence. In each lesson throughout the first half of the unit, students view a film clip as a class several times. Then they work collaboratively to complete note-catchers and engage in discussions to compare the film and transcript portrayals of subjects as well as to evaluate the speakers’ arguments. Students then complete the mid-unit assessment, in which they watch a clip of A Plastic Ocean and answer selected and constructed response questions to demonstrate their ability to identify main ideas and supporting details, compare the portrayal of a subject in the film and transcript, and evaluate the speakers’ arguments.

In the second half of Unit 1, students address big ideas about where and how plastic pollutes, as well as what can be done about plastic pollution. Students analyze the anchor text Trash Vortex for author’s purpose and central ideas. Students then learn to analyze the text for how the author distinguishes her position from that of others. Throughout the second half of the unit, students work together as a class and in small groups to read and analyze the anchor text, completing note-catchers and participating in discussions to practice analyzing the central ideas and the author’s purpose and positions on plastic pollution. During the end of unit assessment, students read and analyze the end of Trash Vortex to analyze central ideas as well as the author’s purpose and how she distinguishes her position from others.

In Unit 2, students continue exploring the problem of plastic pollution by focusing on what can be done to address the problem. They read three articles and revisit their anchor texts to understand what interventions can be taken at each stage of the plastic life cycle: beginning, middle, and end. Students also learn about new materials being invented to replace plastic at the beginning of the life cycle, what consumers can do to use less plastic at the middle of the life cycle, and efforts by governments and organizations to stop single-use plastic and invent ways of cleaning up plastic pollution at the end of the plastic life cycle. With the first two articles, students practice analyzing how authors develop their points of view as well as how different authors writing about the same topic shape their presentations of key information. Students also practice finding the meanings of words using relationships between words. For their mid-unit assessment, they read a new article and answer selected response questions to demonstrate their understanding of point of view and how authors present similar information differently as well as how word relationships can help them discover the meaning of unfamiliar words. As students analyze these articles, they also practice debating which part of the plastic life cycle is the best place to intervene to reduce plastic pollution. By the middle of the unit, students will take a stand about which part of the plastic life cycle would be most effective to target. They will have the opportunity to defend their position in a debate with their classmates. Although this debate will not be assessed, students’ preparation and work in participating in the debate will continue to prepare them for their end of unit assessment and performance task in the following unit.

In the second half of the unit, students use the evidence and reasoning they’ve collected and organized from their reading to practice on-demand argument essay writing about which place in the plastic life cycle is the best place to target to reduce pollution. They work first in pairs to plan, draft, and revise argument essays before following the same routine for independent writing, while practicing revising sentences to avoid using dangling and misplaced modifiers as well as properly using coordinate adjectives. By the end of the unit, students will have strengthened their arguments about which part of the plastic life cycle they think would be the most effective place to intervene. In Unit 3, students will continue to develop this idea through experiential research and storytelling as they plan and execute a documentary about their attempts to solve the problem of plastic pollution for their performance tasks.

In the first half of Unit 3, students delve deeper into their chosen areas of intervention in the life cycle of plastic. Students choose a personal action to respond to the issue of plastic pollution, such as deciding to use less plastic or recycle more, communicating with officials, or researching an invention. They will form triads with classmates who have chosen the same category of action plan; together, they will determine how to coordinate their personal actions to be used in their documentary clip. Each homework includes the opportunity to enact and take notes on this personal action. Each lesson includes in-class time to discuss the results of the action plan and to further enact it through research or other efforts. In addition to working on their action plan, students will write their documentary script over the course of the first half of the unit. First, they review the Model Documentary Script, determining the characteristics of a strong narrative lead. Then each member of the triad practices these narrative writing skills by creating a lead to their documentary script. Triads work together to choose, revise, or combine their narrative drafts into one lead for their documentary script, focusing on eliminating redundancy and wordiness. Students then divide the remaining three sections of their documentary script among their triad, so that each student writes either the argument, action plan description, or conclusion. Before the mid-unit assessment, students engage in a Tuning protocol to improve the content of the script, focusing on presenting findings (including descriptions, facts, details, and examples) in a focused and coherent manner. For the mid-unit assessment, students demonstrate their revision skills, using the knowledge gained from the Tuning protocol to improve their section of the script.

In the second half of Unit 3, students work in their triads to create a storyboard, using visuals to clarify their claims and findings as well as to emphasize the points in their documentary script. They then learn how to pitch their documentary to potential film producers, observing a model pitch and using a Tuning protocol to practice and refine their presentation skills, such as using appropriate eye contact, adequate volume, and clear pronunciation. Finally, in the end of unit assessment, each student in the triad pitches a part of their documentary script, focusing on using formal English, domain-specific vocabulary, their storyboard visuals, and their presentation skills.

“It is past time that we tackle the plastic problem that blights our oceans. Plastic pollution is surfing onto Indonesian beaches, settling onto the ocean floor at the North Pole, and rising through the food chain onto our dinner tables.” So explains Erik Solheim, the environment director of the U.N., quoted in Danielle Smith-Llera’s book Trash Vortex. Craig Leeson, one of the narrators of the documentary A Plastic Ocean, also conveys the urgency of the situation: “The problem with that is that today only a fraction of the plastic that we produce is recycled. The rest ends up in our environment, and it's coating our land and our oceans like a disease.” Students spend the module learning about how plastic pollution became such a widespread problem, particularly in our oceans, and what can be done to reduce pollution. Students use their anchor text, the documentary, and additional articles in Units 1 and 2 to gather background knowledge about the problem, as well as explore possible solutions to reducing plastic pollution at different points in the plastic life cycle. As students transform their understanding into action plans and documentary clips to share with their communities, they help make into reality the final part of Erik Solheim’s quote: “We’ve stood by too long as the problem has gotten worse. It must stop.”

In Unit 1, students are introduced to the topic of plastic pollution and how it affects humans, animals, and the environment. Students study the documentary A Plastic Ocean, noting the transcript’s portrayal of a subject as compared to the film’s portrayal. In each lesson throughout the first half of the unit, students view a film clip as a class several times. Then they work collaboratively to complete note-catchers and engage in discussions to compare the film and transcript portrayals of subjects as well as to evaluate the speakers’ arguments. In the second half of Unit 1, students address big ideas about where and how plastic pollutes, as well as what can be done about plastic pollution. Students analyze the anchor text Trash Vortex for the author’s purpose and central ideas. Students then learn to analyze the text to discover how the author distinguishes her position from that of others. During the end of unit assessment, students read and analyze the end of Trash Vortex, answering selected and constructed response questions to analyze central ideas as well as the author’s purpose and how she distinguishes her position from others.

In Unit 2, students continue exploring the problem of plastic pollution by focusing on what can be done to address the problem. They read three articles and revisit their anchor texts to understand what interventions can be taken at each stage of the plastic life cycle: beginning, middle, and end. Students also learn about new materials being invented to replace plastic at the beginning of the life cycle, what consumers can do to use less plastic in the middle of the life cycle, and efforts by governments and organizations to stop single-use plastic and invent ways of cleaning up plastic pollution at the end of the plastic life cycle. By the middle of the unit, students take a stand about which part of the plastic life cycle would be most effective to target. They have the opportunity to defend their position in a debate with their classmates. Although this debate is not assessed, students’ preparation and participation in the debate continues to prepare them for their end of unit assessment and performance task in the following unit. In the second half of the unit, students use the evidence and reasoning they’ve collected and organized from their reading to practice on-demand argument essay writing about which point in the plastic life cycle is the best place to target to reduce pollution.

In Unit 3, students delve deeper into their chosen areas of intervention in the life cycle of plastic. Students choose a personal action to respond to the issue of plastic pollution. Actions might include using less plastic or recycling more, communicating with officials, or researching an invention. They form triads with classmates who have chosen the same category of action to determine how to coordinate their personal actions to be used in their documentary clip. In addition to this action plan work, students write their documentary film clip script over the course of the first half of the unit. In the second half of Unit 3, students work in their triads to create a storyboard, using visuals and captions to clarify their claims and emphasize the points in their documentary script. They then learn how to pitch their documentary to potential film producers, observing a model pitch and using a Tuning protocol to practice and refine their presentation skills. These include using appropriate eye contact, adequate volume, and clear pronunciation. Finally, in the end of unit assessment, students work in triads to each pitch a part of their documentary script, focusing on their use of formal English, domain-specific vocabulary, storyboard visuals, and presentation skills.