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This lesson will introduce intermediate students to the Japanese poetic form of "haiku," which is most effectively taught after students have an understanding of syllables. The lesson plan's introductory activity is designed to introduce students to the geography of Japan, as well as Japanese culture through Asian art and music--after learning about and listening to some examples of haiku, as the next activity, students will write their own haiku. The lesson's final activity has students illustrate and "publish" their finished poems in the style of a Japanese scroll using rice paper, ink, and watercolor. The lesson presents an overview; suggests lesson length and grade level; lists subjects and subtopics; cites dimensions of learning and intelligences being addressed; notes equipment and materials needed; lists teacher resources and general resources; and outlines National Arts Education Standards and other standards. It also gives instructional objectives and strategies; provides a detailed, step-by-step instructional plan; and suggests assessment and extension activities. Lists teacher references and offers suggestions of book and musical recordings to be used with the lesson. (NKA)

This lesson plan intends for students in Grade 3 to write to inform about oceans, using all their five senses in the "haiku" style of poetry. The lesson presents an overview; suggests length of time and grade level; cites subjects and subtopics; lists dimensions of learning and intelligence being addressed; notes equipment and materials needed; lists teacher and general resources; and cites relevant National Standards for Arts Education and other standards. It also gives instructional objectives and strategies; provides a detailed, step-by-step instructional plan; and suggests assessment and extension activities. (NKA)

In this lesson plan, students learn the rules and conventions of haiku, study examples by Japanese masters, and create haiku of their own. Its 4 lessons seek to help students be able to: (1) describe the traditional rules and conventions of haiku; (2) interpret examples of haiku; (3) characterize the image-evoking power of haiku; (4) develop a vocabulary and ideas for writing haiku; and (5) compose a haiku based on a personal experience. Intended for grades 3-5, the plan offers suggestions on preparing to teach this lesson. It also notes subject areas covered (language arts, literature, and Asian literature and history), time required to complete the lesson, skills used and taught in the lesson, and the standards developed by professional associations or governments that are related to the lesson. Activities to extend the lesson and further resources conclude the lesson plan. (SR)

In this lesson plan, students explore the traditions and conventions of haiku, comparing this classic form of Japanese poetry to a related genre of Japanese visual art. Students also compose haiku of their own. The lesson's learning objectives are: (1) to learn about the history and poetic conventions of Japanese haiku; (2) to read and interpret classic examples of haiku; (3) to compare the world of haiku with the world portrayed in Japanese woodblock prints; and (4) to practice writing haiku in English. Nine specific activities are described in detail, and ideas to extend the lesson conclude the lesson plan. (SR)

This curriculum outline introduces the components of a creative writing course which acquaints students with various forms of Japanese poetry. First, the goals and student objectives of the course are presented, emphasizing the history and different forms of Japanese poetry such as "renga," a kind of challenge poetry which will be used to develop skills used in more contemporary writing forms; "haiku," to distill thoughts of other literary forms (prose, long poems, and plays); and "tanka." Students will be encouraged to use the poetic forms as well as meditation and "koan" (a kind of riddle) to stimulate creative thought, break writing barriers, and inspire the use of the concrete detail in writing. Next, the course outline and assignments are listed; they are followed by a description of the methods used for evaluating students, which focus on the students' production of their own works based on Japanese poetry and the use of concrete detail. A list of discussion questions is then provided. The activities and strategies for presenting material are summarized, focusing on the process of creation and examining the importance of both the "experiencer" and the creator to the creative process. The remainder of the outline lists the audiovisual aids used in the course, and explains the importance of concrete detail in any genre. Includes a list of suggested sources for teaching Japanese poetry and course material. Contains an annotated bibliography. (TGI)

Describes a three dimensional poetry genre--a way of rewriting two dimensional haiku in a three dimensional cube that can only be viewed in cyberspace. Discusses traditional versus 3-D haiku, introducing 3-D haiku into the classroom, reasons to teach 3-D haiku, and creating 3-D haiku. (RS)

Notes that most English-language haiku are not written in the 5-7-5 syllable format. Discusses the nature of haiku. Describes a three-day lesson plan for teaching haiku. Appends hints for writing haiku, and lists books and Internet sites concerning teaching haiku. (RS)

This workshop offers activities to teach students about poetry. After describing haiku as a brief snapshot rather than a story, it explains how to teach poetry using an attached reproducible and poster. The tear-out reproducible sheet teaches students how to write their own haiku, offering a sample one as a model. The poster presents three sample haikus. (SM)

This book is intended for use by older beginning writers and visual artists. It is not intended to be a comprehensive guide to the complexities of the creative process. The document is a guide to opening and using the creative process in the later years of life. It is arranged in chapters that take the student through a learning process. Exercises to help begin and develop the creative process are provided. The exercises are for writing and drawing, but each chapter also includes physical exercises for developing flexibility of body and mind. The first exercise is the keeping of a 'doodle diary' for jotting down words, phrases, sentences, or making a quick sketch with pencil or pastels. Guidelines for using the book include: (1) trust your perception of what is right for you; (2) respect your own creativity; (3) give yourself permission to play and even to be foolish; (4) do the suggested exercises; (5) choose your tools carefully; (6) do not be afraid of seeing the world in a new way; and (7) keep the channel open, without stopping to criticize yourself while you are in process. Chapters discuss the language of lines or selecting words to express feelings and experiences, and the development of creativity. One chapter is devoted to haiku, a form of Japanese poetry, which attempts to capture the essential, the whatness of a thing, the primary quality that expresses its uniqueness, a way of seeing as well as a way of saying and writing. Instructions for pulling together the previous suggestions show how different approaches transform the same subject. (DK)

This teaching guide focuses on four forms of arts and crafts popular in China, Korea, and Japan, and explores the effects, if any, on American culture. It is part of the Louisville Area Ethnic Heritage Studies Project described in ED 150 043. The objective of this unit is to help students understand and appreciate East Asian calligraphy, haiku, ikebana, and shadow theater. Suggested time period is one or two weeks. The guide includes a pretest, four behavioral objectives accompanied by instructional strategies and facilitating materials, and three worksheets illustrating haiku, ikebana, and calligraphy. A posttest asking for definitions of the crafts, examples of use in Louisville, and student feelings about East Asian art is included, plus a bibliography of resources and materials. (Author/CK)

Intended for teachers in all content areas, this guide provides activities for teaching formula poetry (poetry written according to a defined format) in all subject areas. First, a rationale for why teachers should include writing in their classrooms is presented. Next, the stages of the writing process are explained and the benefits of formula poetry are discussed. Instructions for teaching students to write bio-poems, cinquains, concrete poems, definition poems, diamante poems, five-sense poems, found poetry, haiku, inside/outside poems, parallel poems, and vertical name poems are provided, as well as examples of poems that have been written in science, social studies, and English classes. (DF)

Provides lesson plans for grades one to three science, grades two to six social studies/Italian, grade three reading/language arts, grade four and five reading/language arts/social studies, grade five art/social studies, and grades five and six social studies. Lists print and nonprint resources and discusses library media skills and subject area objectives, instructional roles, activities, procedures, evaluation, and follow-up. Includes activity sheets. (PEN)

Suggests that composing "haiku" requires a discipline in a person's thinking and emoting patterns similar to that of a general semantics system for training people to make sense. Describes how such haiku are written and gives some guidelines to help individuals create their own. (PA)

In recent years, haiku has become a widely adopted part of the language arts, social studies, and multicultural studies curriculum, particularly at the elementary level. Haiku became popular in the 17th and 18th centuries in Japan. Haiku remains popular because these poems describe nature and human experiences, as well as being simple and short. Through inquiry, examples, and audio-visual materials, students will discover the essence of haiku and eventually apply what they learn in this unit in a final activity by writing their own haiku. This unit consists of an opening activity, plus three main activities and optional closing activities. Activities are entitled: (1) "Reading Haiku"; (2) "Characteristics of Haiku"; (3) "Visualizing Haiku"; and (4) "Writing Haiku." Three appendices conclude the unit: (1) "Teacher Introduction to Haiku Poetry"; (2) "Poems to Accompany Slides"; and (3) "Haiku Reading List." (EH)

In recent years, haiku has become a widely adopted part of the language arts curriculum, particularly at the elementary level. Educators appreciate the simplicity and brevity of haiku as a poetic form that young students can grasp fairly easily and therefore express themselves readily. However, this focus on form has often been to the exclusion of a deeper understanding of the artistic themes and cultural values found in Japanese literature that are an equally central part of the rich tradition of haiku poetry. This secondary level unit seeks to remedy this disparity. For the Japanese, haiku has been a very personal, meaningful form of self-expression, at the same time one which is molded according to certain conventions inherited from the past. By helping students understand how haiku developed within Japanese culture, students may appreciate more fully this unique poetic form. The specific goal of the unit is to stimulate the creative energies of secondary level students by instilling awareness of natural environment through haiku poetry. Contains six lessons: (1) "Haiku Structure and Themes"; (2) "Japanese Aesthetic Principles"; (3) ""Haiku and Nature"; (4) "Creative Writing"; (5) "Translating Haiku"; and (6) "Optional Activities." Appendices contain additional haiku, background information for teachers, a pronunciation guide, and 19 references. (EH)

Creative musical experiences appropriate to children's cognitive and psychomotor development should begin in kindergarten. Structured creativity through the process of musical composition can be used at grade 4 and above. Lesson plans using Haiku poetry, penatonic scales, rhythmic durations, and melodic contour to create a song are provided. (VW)

Self-directed activities designed to help elementary school students learn to use the cinquain and haiku poetic forms are presented in this booklet. An overall lesson plan including learning objectives, teaching approaches, and lists of materials needed for each task is provided, as is a record keeping form. Each of the eight chapters of the booklet contains a pretest, a posttest, and worksheet activities designed to develop specific points. A list of extra activities is appended. (FL)

Visual aids and worksheets designed for use with unit eight of a language arts strand for Spanish-speaking students in grade three are included in this packet, along with two small illustrated readers for students. These instructional aids are to help the teacher carry out learning and assessment activities found in the teacher's guide for kits 29-32, each of which is designed for a two to three-week teaching period. Timetable for use of the materials appears in the guide. Illustrated literature in the pupil readers includes a fable, mystery story, Haiku verses, a story describing the water cycle, a traditional poem, and biographies of Roberto Clemente, Lidia Diaz Cruz, and Armando Rodriguez. Instructional aids are to help in reading, language analysis, and creative expression activities. Ditto masters are for making multiple copies of visuals and sheets for individual seatwork. The materials encompass activities which pertain to use of the readers; Cuban, Mexican, and Puerto Rican linguistic variation; occupations; dictionary skills; contributions from different ethnic communities; nonverbal communication; parts of a letter; and basic grammar. All classroom materials are in Spanish (RS)

Notes that when introduced with care, haiku has the potential to become the virtual jack-of-all teaching tools. Describes how the author introduces haiku to her students. Suggests that haiku provides students with an uncluttered opportunity to apply alliteration to their writing. (SG)

Offers strategies for integrating poetry throughout the year and throughout the curriculum, including suggestions for creating a back-to-school poem and capturing scenes of nature in haiku. Student pages offer a primary poem coloring worksheet and an intermediate haiku worksheet. (SM)

Notes the relevance of the haiku form (unrhymed poetry "recording the essence of a moment keenly perceived in which nature is linked to human nature") to outdoor education. Lists anthologies, collections, books introducing haiku, and haiku magazines. Provides 17 haiku examples. (MH)

It is possible to connect art and language arts using traditional Japanese art. After explaining the Japanese art forms of Haiku poetry and sumi-e painting, the article describes a project in which students write haiku on special paper then illustrate their poems with gung and shey strokes. (SM)