I learned this activity, with modifications, from Sharon Grady at the University
of Texas. I use it with first, second and third grade classes and my Summer
mixed groups. It helps students become comfortable with their bodies, learn
to express ideas and emotions kinesthetically, and learn to trust each
other. It gives every child a chance to shine and be the star in two very
different ways. My students also really enjoy it.
First Part: Creating the Sculptures
Divide the class into pairs. In each pair, one student is the "sculptor"
and one the "clay."
The sculptor "sculpts" his or her partner's body into a statue of his
or her choosing. The sculptor may do this by physically moving the partner's
body into position, or by showing the "clay" how to stand. The sculptor
pays close attention to even small details like facial expression or the
position of a finger. When the "sculpture" is finished, she or he freezes.
(It the position is difficult or impossible to hold, the "sculpture" may
memorized it and then relax until her or his turn in the "tour" arrives.
Second Part: Gallery Tour
Once all of the artists have finished their masterpieces, I call them
together in the center of the room. The "sculptures" remain in place around
the room. In role as a museum guide, I conduct a tour of the "gallery."
When we reach each work, the artist who made it steps forward and explains
his or her work to the group. In this way we make a complete tour, giving
each artist a chance to show off and describe his or her work. (Once a
"sculpture" has been viewed, she or he may relax and join the group on
the rest of the tour.
Once the "tour" is finished, the partners switch roles and the process
In our discussions afterwards I always ask the students, "How many artists
created each statue?" At first they usually answer, "one," but I coach
them to see that the "clay" is an artist too, since each one is different,
and no matter how carefully he tried, an artist could not make exactly
the same statue with a different partner. Being human and not clay, the
"sculpture" makes real contribution to the work of art. This is a good
introduction to the relationship between playwright, director, and actor-the
actor makes a real contribution even if she does exactly what the director
says every time, just as even the most slavishly literal director makes
a contribution in addition to that of the playwright.
BACK TO LESSON PLANS